A Quote by Sara Paretsky

Reviewers said Ghost Country was rich, astonishing and affecting in the way it blended comedy, magic, and a gritty urban realism in a breathtaking ride along Chicago's mean streets.
When people use the term magic realism, usually they only mean 'magic' and they don't hear 'realism', whereas the way in which magic realism actually works is for the magic to be rooted in the real. It's both things. It's not just a fairytale moment. It's the surrealism that arises out of the real.
'Chicago Fire' has been a wonderful outlet for me. We're thrown into the gritty streets of Chicago working among actual first responders. They're a wonderful bunch, and the sense of community among Midwesterners is very similar to Australians.
I'm really into ghost towns. I've driven cross-country the past few summers, and I would stop at some ghost towns along the way. They're like a microcosm of America as a whole.
Buckley and Vidal were both stand-ins for what was happening on the streets of Chicago and the streets of America. I mean, they're representing these two different camps that are at war in the streets. And they're at war with their words. And each was looking for a knockout.
One woman I interviewed, Amanda Ghost, said, "Let's not bullshit, there are no women at the top of the music business, and that is a serious problem." And I said, "Yes!" And I didn't shy away from saying that. But I still don't want to be in the firing line. I'm not clever or witty or brave enough to get into the political nitty-gritty with it.
One of the things that sells music is when the artist is looked at as someone who's come up from the streets. Not just any streets, but the toughest, meanest streets of the urban ghetto. And that's called 'street credibility'.
One of the things that sells music is when the artist is looked at as someone who's come up from the streets. Not just any streets, but the toughest, meanest streets of the urban ghetto. And that's called 'street credibility.'
[ Gil Cates] said, "You've got a point of view with your magic. There's this comedy to it, there's drama. You're telling stories with magic."
Gritty and witty, The Chicago Way is done the classic Raymond Chandler Way. Harvey's taut plot, snappy prose, and memorable characters make this debut novel a real winner.
We were talking about urban youth. And by urban I mean lives in a city not urban as in black like white people use it.
A musical sweeps you along, like you're on a magic carpet ride of sorts. But you have to keep up.
Don't soil your pretty little shoes The gutter's deep and red Climb up climb up and ride along with me the tumbrel driver said But she never said a word never turned her head Don't soil your pretty little pants I only go one way Climb up climb up and ride along with me There's no gold coach today But she never said a word never turned her head
The public doesn’t have to be hostile to the rich. ‘Robbing the rich to help the poor’ will only drive the rich away to other countries along with their money. As a matter of fact, their wealth should be respected. All wealth in China belongs to the country.
I don’t distinguish between magic and art. When I got into magic, I realised I had been doing it all along, ever since I wrote my first pathetic story or poem when I was twelve or whatever. This has all been my magic, my way of dealing with it.
My mom and dad are from the streets. My mom's from Chicago. My dad's from Memphis. My dad got out of school and got with my mom. They were hustlers. They were from the streets. They were doing their thing. The streets ain't got no love for the streets. You can light up the streets, or be a victim of the streets.
I'm a huge fan of French comedy. The French play comedy in a slightly different way than we do: they play it with a sort of realism that we don't necessarily often do ourselves.
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