A Quote by Rachel Kushner

One of the strategies for doing first-person is to make the narrator very knowing, so that the reader is with somebody who has a take on everything they observe. — © Rachel Kushner
One of the strategies for doing first-person is to make the narrator very knowing, so that the reader is with somebody who has a take on everything they observe.
It is hard to create a first-person narrator that can be a child and yet is able to take in enough information for the narrative to be legible to the reader.
When the reader and one narrator know something the other narrator does not, the opportunities for suspense and plot development and the shifting of reader sympathies get really interesting.
I think first-person narrators should be complex, because otherwise the first-person is too shallow and predictable. I like a first-person narrator who can't totally be trusted.
Choosing the narrator for a first-person story like 'Downriver' is a crucial decision because the voice has to be one the reader wants to listen to, and the voice has to be a match for the emotion you want the story to carry.
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
When you get divorced, all the truths that come out, you sit there and go, 'What the f**k was I doing? What was I doing believing that this person was invested in this way?' Which is a fantastically strong humiliation in the best sense. It can make somebody very bitter and very hard and closed off, but I find it does the opposite to me.
Almost all of the stories in The Matchmaker, the Apprentice, and the Football Fan are told in the first person, yet, depending on the angle and distance of the narrator, they exert different effects. The best are those in which the speaker never poses as an objective outsider. (...) Other stories are damaged by the urge to distance the narrator.
Shirley Jackson said that a confused reader is an antagonistic reader, and I live by that. It's okay to start anywhere, and to let yourself write a big sloppy overly-detailed first draft. You just jump in, knowing that the water will be cold at first, but no one is making you swim.
History is for human self-knowledge. Knowing yourself means knowing, first, what it is to be a person; secondly, knowing what it is to be the kind of person you are; and thirdly, knowing what it is to be the person you are and nobody else is. Knowing yourself means knowing what you can do; and since nobody knows what they can do until they try, the only clue to what man can do is what man has done. The value of history, then, is that it teaches us what man has done and thus what man is.
My ideal reader is somebody who trips over a copy of my book on the sidewalk; then they pick it up and read as they walk. Somebody who comes in knowing nothing, caring nothing, but responds to the story.
Lauren Kirshner creates a first-person narrator you never stop rooting for. . . . [Where We Have to Go] highlights Kirshner as a new novelist to watch. A very strong, original debut.
I don't like to appoint myself to nothing, knowing I'm no better than anybody else. But it always makes me feel good to know I try to do the best I can, and those who might observe say, 'Hey, I can take a little something from that person.'
Observe the life like a wise tree by the side of a calm lake! Do not move; just sit and observe! Observe the Sun, observe the storms; observe the wisdom, observe the stupidities!
Everyone is interesting except the narrator in a first-person story.
I never take a picture of a face because a face is somebody, an arm is not recognizable as somebody. When you take a photograph of someone's face, it identifies it as somebody, but if you take just a fragment, it's everybody. It's not one person.
There are a couple of strategies for writing about an absence or writing about a loss. One can create the person that was lost, develop the character of the fiancee. There's another strategy that one can employ, maybe riskier... Make the reader suffer the loss of the character in a more literal way.
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