A Quote by Rachel Kushner
Subject matter is sort of overemphasized in the way books get discussed, I think.
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I think that actually the rhythmic nature of picture books and of young reader story books is a way to help kids fall in love with language and what you can do with it and how it sounds in your range. It sort of has a musicality but on the other hand they get the story and the ideas and the context of it. I think it's a way to get kids into it and I also think that when kids are around people who love books it rubs off on them.
Everything is pointing to one's own activity of looking, to an awareness and sort of hyper-consciousness of visual perception. The only way I know how to invite this experience is by removing the other things (i.e., subject matter) for you to think about.
I always love it best when you have a project where there is this commingling of the subject matter and the way in which you're recording that subject matter.
The kind of stuff I usually read is a bit more on the literary side, like books that I think are influential in the sense that they're doing pulpy subject matter in a refined way. Like 'The Road' by Cormac McCarthy; I loved that book.
I do tend to look at my books in many ways as conceptual fiction, even to the point where I think the author's photograph is part of the package. And I have gone out of my way to select the photograph to connect to the subject matter of each book.
The kind of stuff I usually read is a bit more on the literary side, like books that I think are influential in the sense that they're doing pulpy subject matter in a refined way. Like 'The Road' by Cormac McCarthy, I loved that book.
I have always had a tendency to keep enlarging problems which I personally think is the way the world works... that seeing anything one dimensionally on the kinds of political, sort of big issues of human progress is going to be a distorted view of things, which is why over my career I have gone seemingly from subject to subject to subject.
Trying to write books with a subject matter or in a genre or style you're not familiar with is the best way to find the Big Block looming.
The subject matter that I am really spending my time on has become an acceptable subject matter. Living, lifestyle, family, is now in the forefront of interest in America, and I've just stuck with it. I mean, I've been doing this for years, and I never got angry. I never said, you know, listen, I'm fighting for this subject. That wasn't my point. My point was to continue working in a subject matter, knowing full well that finally it would be recognized as a viable subject once again.
So much of the way books get classified has to do with marketing decisions. I think it's more useful to think of literary books and sci-fi/fantasy books as existing on a continuum.
I feel, holding books, accommodating their weight and breathing their dust, an abiding love. I trust them, in a way that I can't trust my computer, though I couldn't do without it. Books are matter. My books matter. What would I have done through these years without the library and all its lovely books?
If your players believe in what you're telling them, no matter how trivial the subject, no matter how important the subject, then it influences the way they behave, and that will influence results.
They are people who, by and large, think the Administration's policy - and the Iranian case is a classic one - is very stupid. They can't get that view in, and so by talking to me, they accomplish something. It's a way of saying, this ought to be discussed, we got to get this out. That's a form of patriotism, in a funny way.
It was a sort of organic thing. I never went, 'I must be an actress.' I thought, 'I think I could do this. I think I could be good at this.' I would just get sort of hungry when I read something I thought I can do well, whether it was in books or in scripts or if I saw a certain movie. It sort of happened quite naturally.
Well, I think in my own work the subject matter usually deals with characters I know, aspects of myself, friends of mine - that sort of thing.
What I sought in books was imagination. It was depth, depth of thought and feeling; some sort of extreme of subject matter; some nearness to death; some call to courage. I myself was getting wild; I wanted wildness, originality, genius, rapture, hope. ... What I sought in books was a world whose surfaces, whose people and events and days lived, actually matched the exaltation of the interior life. There you could live.
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