A Quote by Philipp Meyer
When you look at 'Grapes of Wrath,' the weakest moments are those in which Steinbeck is spouting a political idea directly at the reader. The book's real power comes from its slower, broader movement.
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'The Road' reminds me of Steinbeck's 'The Grapes of Wrath.'
I remember reading 'The Grapes of Wrath' in high school in 1983. My family had immigrated to the U.S. three years before, and I had spent the better part of the first two years learning English. John Steinbeck's book was the first book I read in English where I had an 'Aha!' moment, namely in the famed turtle chapter.
John Steinbeck's 'The Grapes of Wrath' also speaks urgently to today's concerns: the cratered trail of dreams for Mexican immigrants seeking a promised land in the Western [United States]; the perfidy of banks in foreclosing on poor people's homes; and the insurgent urge of the book's protagonist, Tom Joad, to speak truth to police power. 'Wherever there's a cop beatin' up a guy,' Tom promises, 'I'll be there.' In Salinas, Calif., Ferguson, Mo., or Staten Island, N.Y., Tom's truth goes marching on.
I was born January 6, 1937, eight years after Wall Street crashed and two years before John Steinbeck published The Grapes of Wrath, his Pulitzer Prize-winning novel about the plight of a family during the Great Depression.
I look like the wrath of grapes.
When you think about 'The Grapes of Wrath,' it's an American masterpiece, and a very long process goes into the making of such a book.
The brave man uses wrath for his own act, above all in attack, 'for it is peculiar to wrath to pounce upon evil. Thus fortitude and wrath work directly upon each other.
I think if a book has the power to move a reader, it also has the power to offend a reader. And you want your books to have power, so you just have to take what comes with that.
I hate to express political ideas directly in a book. I don't want my books to be seen as an expression of this or that political idea. At the same time I want to show a kind of rebellion and transgression, something further.
The idea that when one reacts, one is not reacting to any one of those moments. You're reacting to the accumulation of the moments. I wanted the book, as much as the book could do this, to communicate that feeling. The feeling of saturation. Of being full up. I wanted it to be simulacra.
The real danger of democracy is, that the classes which have the power under it will assume all the rights and reject all the duties-that is, that they will use the political power to plunder those-who-have.
With VR, you are directing in a 360-degree environment. The biggest challenge is that the viewer can look anywhere. They might look at the the weakest moments, the very things you edit for TV. You don't control where they look.
The evil eye is the fascinum, it is that which has the effect of arresting movement and, literally, of killing life. At the moment the subject stops, suspending his gesture, he is mortified. This anti-life, anti-movement function of the terminal point is the fascinum, and it is precisely one of the dimensions in which the power of the gaze is exercised directly.
I believe that political power exercises itself through the mediation of a certain number of institutions which look as if they have nothing in common with the political power, and as if they are independent of it, while they are not.
Every reader, as he reads, is actually the reader of himself. The writer's work is only a kind of optical instrument he provides the reader so he can discern what he might never have seen in himself without this book. The reader's recognition in himself of what the book says is the proof of the book's truth.
Ideally there should not be a men's movement but a gender transition movement; only the power of the women's movement necessitates the temporary corrective of a men's movement. And this creates a special challenge for men: There are few political movements filled with healthy people, yet few healthy changes have occurred without political movements.
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