A Quote by Porochista Khakpour
Because for me to go fully experimental, it would turn into an artist book actually. And I'm not opposed to that. But I wanted to toy with the conventions of traditional narrative and sometimes to do that all the way, you have to actually utilize traditional narrative, I think - or it's one way to do it.
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I like to think traditional narrative can be subverted by an experiential narrative, by an immersion in the temporal event of the film and a a play with our expectations of that.
If you think of even Tolstoy or a book like 'Anna Karenina,' you go from character to character, and each section is from the third person perspective of a different character, so you get to see the whole world a little more kaleidoscopically that way. That's traditional narrative manner, and I haven't done a book like that before, but I enjoyed it.
I obviously read and adore traditional fiction. I teach traditional fiction, I also teach all kind of not-so-traditional fiction. And since I'm such a plot buff, and I'm really such a narrative buff, I can't seem to relinquish my - not just reliance - but excitement about those traditional techniques.
I think the most experimental way to a film is to tell the story the traditional way, because everyone is doing the other thing.
I think that this misses out on some of the interesting narrative realities, which is that it actually doesn't work very well, that eliminating diversity is actually a really good way to make a species and its individuals less robust.
I was never raised with the traditional story of creation in religion, and because of that I think I had a lot of questions. And evolution, the evolutionary narrative, helped provide some of that for me.
Artists and the traditional record company model are at odds. The music business has notoriously taken from the artist. That shouldn't be the narrative.
I do love Shirley Jackson, but I don't deserve to be named in connection with her. I remember reading 'The Haunting of Hill House' and having goosebumps for hours. The way she builds narrative pressure in that book is just amazing. I think you could reread it a few times and actually go out of your mind.
I always wanted to sing, I always loved to sing. As a child I was singing all the time, and my parents were singing all the time, but not the traditional songs because they were very Christian; the Christian Sámis learnt from the missionaries and the priests that the traditional songs were from the Devil, so they didn't teach them to their children, but they were singing the Christian hymns all the time. So I think I got my musical education in this way. And of course the traditional songs were always under the hymns, because it doesn't just disappear, the traditional way of singing.
Without sounding too pretentious, I was sort of a slave to the narrative. When the narrative cracks in, I have to go where it takes me. I had to go to the Bohemian Grove. It was the obvious end to the book.
Writers imagine that they cull stories from the world. I'm beginning to believe that vanity makes them think so. That it's actually the other way around. Stories cull writers from the world. Stories reveal themselves to us. The public narrative, the private narrative - they colonize us. They commission us. They insist on being told. Fiction and nonfiction are only different techniques of story telling. For reasons that I don't fully understand, fiction dances out of me, and nonfiction is wrenched out by the aching, broken world I wake up to every morning.
It's traditional for an heiress to be raised in a sheltered way. No one thinks that's true of me, but it actually was.
The strange thing about the apocalypse is that it's uneven. For some people, it goes one way and for others another way, so that there's always this shifting relation to the narrative of the disaster. Sometimes apocalypses are just structural fictions, and sometimes they're real. Sometimes a narrative requires an end - the fact that the beginning was always leading somewhere becomes clear at the end. There's an idea that we're always in the middle, but we posit this apocalyptic end in order to also be able to project into the past or the beginning. I think that's true and false.
I do sort of question the notion that conservatives should try and turn America into a place where people can come from traditional societies and continue to be fully traditional in every sense.
The way that I see third person is it's actually first person. Writing for me is all voice work. Third person narrative is just as character-driven as first person narrative for me in terms of a voice. I don't write very much in third person.
I can't see much purpose in archaeology unless you can find out the narrative about that place, or even realise that nobody actually knows what the narrative was.
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