A Quote by Rick Moody

Maybe when I'm sixty-five I'll talk about my literary life. — © Rick Moody
Maybe when I'm sixty-five I'll talk about my literary life.
Sixty-five days principle photography, five-day weeks, which is the only way I'll work. With my cinematographer Russell Boyd, we take as much time as possible before pre-production, looking at stills. The next most important thing: he will come to me and talk about lenses. And I'll see his plan, which is generally great, and I might talk about how the light will be, handheld or not? I talk very freely, and try not to talk specifically, just talk around it, because it can unlock all sorts of things.
Retirement at sixty-five is ridiculous. When I was sixty-five I still had pimples.
Sixty-five seconds," he said. "You weren't breathing for sixty-five seconds after we found you. I lived and died during each one of them." He let out a breath. "Never again.
I couldn't claim that I was smarter than sixty-five other guys--but the average of sixty-five other guys, certainly!
Maybe the culture is [particularly] shabby now. Maybe it's because I'm over sixty, that I can feel that about everything.
It is a hard thing when one has shot sixty-five lions or more, as I have in the course of my life, that the sixty-sixth should chew your leg like a quid of tobacco. It breaks the routine of the thing, and putting other considerations aside, I am an orderly man and don't like that. This is by the way.
I'm such a lucky guy. I've been able to make my own decisions for my own life for the last fifty years...or sixty ... well maybe not sixty. Even though I think I was making my own decisions at the tender age of eight.
There is a vast difference between success at twenty-five and success at sixty. At sixty, nobody envies you. Instead, everybody rejoices generously, sincerely, in your good fortune.
All my life I have been trying to learn, to read, to see and hear, and to write. At sixty-five I began my first novel and after the five years, lacking a month, I took to finish it, I was still traveling, still a seeker.
[Michael] Chabon, who is himself a brash and playful and ebullient genre-bender, writes about how our idea of what constitutes literary fiction is a very narrow idea that, world-historically, evolved over the last sixty or seventy years or so - that until the rise of that kind of third-person-limited, middle-aged-white-guy-experiencing-enlightenment story as in some way the epitome of literary fiction - before that all kinds of crazy things that we would now define as belonging to genre were part of the literary canon.
And if you take one from three hundred and sixty-five what remains?" "Three hundred and sixty-four, of course." Humpty Dumpty looked doubtful, "I'd rather see that done on paper," he said.
How can one talk in a classical language about a child who's torn apart in an explosion in the market near his school? People in Iraq don't talk about their joys, their problems, and the destruction of the country in literary diction.
When we talk about books, we rarely talk about the economic side of writing, especially of writing literary works, and that, at base, it's a pretty costly enterprise.
Sixty-five percent of Americans say they know nothing about either Muhammad or Islam.
What's the big deal about still working? Retirement age is sixty-five, and that's at a normal job - and I ain't there yet.
Imagine a world in which no writer has written a literary novel in sixty years. Imagine a place where not a single person has read a book that is truly about the character at its center.
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