A Quote by Peter V. Brett
The ward designs were co-created by myself and Lauren K. Cannon. She read how they were described in 'The Warded Man,' and we had long discussions about what sources to draw from for the symbols, drawing inspiration from Arabic, Japanese, Chinese and Sanskrit.
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The idea of the book ["The Japanese Lover"] came in a conversation that I had with a friend walking in the streets of New York. We were talking about our mothers, and I was telling her how old my mother was, and she was telling me about her mother. Her mother was Jewish, and she said that she was in a retirement home and that she had had a friend for 40 years that was a Japanese gardener. This person had been very important in my friend's upbringing.
When we were working on 'River Ota' in the '90s, I learnt to read Japanese, which was how I discovered that it incorporates elements of Chinese calligraphy.
The Boxer Rebellion is a war that was fought on Chinese soil in the year 1900. The Europeans, the Japanese and their Chinese Christian allies were on one side. On the other were poor, starving, illiterate Chinese teenagers whom the Europeans referred to as the Boxers.
I remember one letter from a girl in a midwestern town who read one of my books and thought she had discovered it- that no one had ever read it or knew about it. Then one day in her local library she found cards for one or two of my other books. They were full of names- the books were borrowed all the time. She resented this a bit and then walked around the town looking in everybody's face and wondering if they were the ones who were reading my books. That is someone I write for.
Until we can insert a USB into our ear and download our thoughts, drawing remains the best way of getting visual information on to the page. I draw as a collagist, juxtaposing images and styles of mark-making from many sources. The world I draw is the interior landscape of my own personal obsessions and of cultures I have absorbed and adapted, from Latvian folk art to Japanese screens. I lasso thoughts with a pen. I draw a stave church or someone from Hello! magazine not because I want to replicate how they look, but because of the meaning they bring to the work.
I am biased towards the belief that every painter must be grounded in strong and faultless drawing skills, and until one has not experimented with all styles of painting and has not comprehended their potentialities one's work is not complete. Even an abstract painter must know how to draw as well as a figurative artist. As for me, drawing has never created any problem, since I know how to draw anatomy correctly if I had to, I understand the function of muscle groups and sculpture.
We had Chinese artists that would put in elements for the Chinese audience like the calligraphy actually means something so the audience when they read it they'll understand. So there were definitely little things we were able to do that specifically leveraged the artists' talents.
Walt had a seat-of-the-pants approach on what he wanted musically. We kind of 'read' the boss and had a very high batting average, but there were occasions when he felt we had just written the wrong piece for the situation he wanted. We invariably listened to what he wanted - he was very descriptive in what he wanted and we could read him. We'd go back to the drawing board and work out what he wanted. He was a great inspiration, but a tough taskmaster.
Some years ago our Japanese counterparts asked us to resume the discussions of the issue and so we did meeting them halfway. Over the passed couple of years the contacts were practically frozen on the initiative of the Japanese side, not ours. At the same time, presently our partners have expressed their eagerness to resume discussions on this issue [the Kuril Islands].
Many Chinese criticize me not only on Baidu but on Facebook. Some say, do you think Chinese authorities were stupid enough not to realize you were a North Korean defector? If they read my book, they'd understand. I did my best to escape. I think it's all a miracle. It's not because Chinese policemen were stupid enough to believe my fake story.
I don't draw every day. I tend to draw intensely during certain periods of time. I draw to amuse myself on occasion, when I am bored and drawing is the only fun to be had.
There was about six months when I was absorbing other stuff and not drawing very much. After a long period of not drawing, you have to, like, relearn how to draw. It's not very fun.
Symbols and emblems were everywhere. Buildings and pictures were designed to be read like books. Everything stood for something else; if you had the right dictionary, you could read Nature itself. It was hardly surprising to find philosophers using the symbolism of their time to interpret knowledge that came from a mysterious source.
Since I am a Japanese man who's been building through the experience of Japanese architecture, my actual designs come from Japanese architectural concepts, although they're based on Western methods and materials.
As she had been walking from the ward to that room, she had felt such pure hatred that now she had no more rancor left in her heart. She had finally allowed her negative feelings to surface, feelings that had been repressed for years in her soul. She had actually FELT them, and they were no longer necessary, they could leave.
We can act as if there were a God; feel as if we were free; consider Nature as if she were full of special designs; lay plans as if we were to be immortal; and we find then that these words do make a genuine difference in our moral life.
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