A Quote by Rachel Kushner
I begin a book with imagery, more than I do with an idea or a character. Some kind of poetic image.
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I love the idea of seeing a character - I mean, there's nothing like seeing a character and having the huge detail and roundness that a character in a book can give you. It's so much more full than a character in a script can give you, isn't it?
The image cannot be dispossessed of a primordial freshness, which idea can never claim. An idea is derivative and tamed. The imageis in the natural or wild state, and it has to be discovered there, not put there, obeying its own law and none of ours. We think we can lay hold of image and take it captive, but the docile captive is not the real image but only the idea, which is the image with its character beaten out of it.
The music video director really wanted to incorporate the imagery of guns into 'Nega Dola' because the lyrics are very aggressive. It kind of portrayed a very strong image. So that's how we connected weapons and the imagery of a dangerous atmosphere.
Politics will eventually be replaced by imagery. The politician will be only too happy to abdicate in favor of his image, because the image will be so much more powerful than he could ever be.
Politics will eventually be replaced by imagery. The politician will be only too happy to abdicate in favor of his image, because the image will be much more powerful than he could ever be.
When we read a book, we have a blurry image that's kind of physical but blurry. But we have an emotional image also. We have an emotional connection to the character.
The first function of a book review should be, I believe, to give some idea of the contents and character of the book.
My career always involved being the person in charge of what I was portraying to people. "I never wanted to be an image of something I didn't believe in, an image that somebody else had put together. The idea of that just really scared me, more than the idea of failing.
Spatial art does not begin with a poetic mood or idea, but with construction of one or more figures, with the harmonizing of several colors and tones, or with the devaluation of spatial relationships and so on.
On rare occasions there comes along a profound original, an odd little book that appears out of nowhere, from the pen of some obscure storyteller, and once you have read it, you will never go completely back to where you were before. The kind of book you may hesitate to lend for fear you might miss its company. The kind of book that echoes from the heart of some ancient knowing, and whispers from time's forgotten cave that life may be more than it seems, and less.
I know that the Bible is a special kind of book, but I find it as seductive as any other. If I am not careful, I can begin to mistake the words on the page for the realities they describe. I can begin to love the dried ink marks on the page more than I love the encounters that gave rise to them.
I know that in some ways I operate from a kind of antiquated interest in imagery, while many contemporary poets are not so interested in imagery. I think part of it is my training, and just my visual sense of things.
'Betsy' is one of my favorites because it is the one to which I've imposed the least clear narrative. To me, it's so much more about the feeling - desperation - than any kind of story at all. There's very little imagery or character development; it's just about a deep and desperate search for something.
I still love poetic imagery. I love the idea of using surrealist speak to generate lyrical content and I love the way English can be exciting in and of itself.
I write in a very peculiar way. I think about a book for 25 or 30 years in a kind of inchoate way, and at one point or another, I realize the book is ready to be written. I usually have a character, a first line, and general idea of what the book is going to be about.
Imagery is powerful. Imagery is provocative - satellite imagery much more so because it is from space, and it allows us to get this perspective that we don't have to have otherwise.
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