A Quote by Russell Smith
Canadian writers don't live in gated mansions; you can just talk to them when you see them lining up at the Second Cup.
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I didn't want to audition the kids so much; I just wanted to talk to them because I like seeing how they are because their mothers usually mess them up with practice. So, I'd rather talk to them and see how they respond. I just throw things at them and see how they can hit the ball back, and Saniyya Sidney was good.
It makes me proud not just to be a Canadian writer but to be a Canadian, to live in a country where we treat our writers like movie stars.
We see women on the field; we see them interviewing players, we see them coming out of the dugout. But if you put them in the booth - like, hold up, wait a second - you haven't been there before. This is different.
..few writers like other writers' works. The only time they like them is when they are dead or if they have been for a long time. Writers only like to sniff their own turds. I am one of those. I don't even like to talk to writers, look at them or worse, listen to them. And the worst is to drink with them, they slobber all over themselves, really look piteous, look like they are searching for the wing of the mother. I'd rather think about death than about other writers. Far more pleasant.
On the second half of 'Under Pressure,' I talk about my family, and there are voicemails on my phone from when I was on the road that actually make up the second half of the nine-minute song. I transcribe them and rap them as if I were my sister, my brother, or my father.
I don't live with my head in the sand - I see people's flaws. I don't like everything my friends do or say. But one, I don't judge or reprimand them to their face because it's not my job to tell them they're screwing up; it's just my job to love them.
It's very tempting to have a nanny and live in a gated community and have a chef - I'd love to have a few dinners cooked for me. But I don't want that for my children. When they're older, if people say to them, 'Did you have a chef?' I want them to be shocked by the question.
You know that thing when you break up with someone and you’re walking around the town where you both live and you’re just really hoping to see them? You know that you’re not supposed to see them, but there’s nothing you want more.
Writers are such phonies: they sometimes have wise insights but they don't live by them at all. That's what writers are like...you think they know something, but usually they are just messes.
Your characters get angry at you if you speak about them and stop you from giving birth to them on the page in revenge. Real writers sit down and write. Wannabe writers sit around and talk.
I'm all about empowering women. And by lining them up against the wall and weighing them, surely you are making them feel more like meat than ever - even if it's little meat, if you know what I mean.
You know you're in love with somebody when you wake up next to them, comfortable despite your breath smelling like the week-old water at the bottom of a vase, when you are terribly excited to see them, to talk to them again, having missed them after all that sleep.
As time goes on you're getting more knowledge of your playbook and football, and you just pick it up a lot easier. Lining up everywhere is just second nature to me now.
I certainly think it's very important that writers as citizens - not necessarily as writers, but just as ordinary citizens - should talk about things that matter to them.
I certainly think its very important that writers as citizens - not necessarily as writers, but just as ordinary citizens - should talk about things that matter to them.
I've grown up on a diet of metaphors. If young writers would find those writers who can give them metaphors by the bushel and the peck, then they'll become better writers - to learn how to capsualize things and present them in metaphorical form.
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