A Quote by Sarah Weinman
Despite the volatile mixture of family, politics and past misdeeds darkening the present, 'Hardball' doesn't have the sharp tang of the early novels or the expansive reach of more recent series installments.
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He was a volatile mixture of confidence and vulnerability. He could deliver extended monologues on professional matters, then promptly stop in his tracks to peer inquisitively into his guest's eyes for signs of boredom or mockery, being intelligent enough to be unable fully to believe in his own claims to significance. He might, in a past life, have been a particularly canny and sharp-tongued royal advisor.
The more you see, especially being young, the more you see the past, the more you can draw upon that and the more you can make the present and the future. It's how you process the past and at oftentimes in the picture, there are references to certain imagery from certain pictures, and certain novels.
The normal present connects the past and the future through limitation. Contiguity results, crystallization by means of solidification. There also exists, however, a spiritual present that identifies past and future through dissolution, and this mixture is the element, the atmosphere of the poet.
For the past few years my fans have made it very clear that they would like to read my novels and revisit my family of characters faster than I can write them. For them, I am willing to make a change to my working methods so the stories in my head can reach the page more frequently.
A. E. Maxwell wrote one of the smartest, most consistent PI series in recent memory. Big plots, great villains, and a kickass private eye with plenty of humanity. The toughness of Robert B. Parker's early Spenser novels blended with the wry humor and scope of Ross Thomas. Wholly original, endlessly entertaining. The books of A. E. Maxwell are a forgotten treasure.
The biggest mistake investors make is to believe that what happened in the recent past is likely to persist. They assume that something that was a good investment in the recent past is still a good investment. Typically, high past returns simply imply that an asset has become more expensive and is a poorer, not better, investment.
One has to live in the present. Whatever is past is gone beyond recall; whatever is future remains beyond one's reach, until it becomes present. Remembering the past and giving thought to the future are important, but only to the extent that they help one deal with the present.
But the past does not exist independently from the present. Indeed, the past is only past because there is a present, just as I can point to something over there only because I am here. But nothing is inherently over there or here. In that sense, the past has no content. The past - or more accurately, pastness - is a position. Thus, in no way can we identify the past as past
There's no present. There's only the immediate future and the recent past.
We don't tend to write about disease in fiction - not just teen novels but all American novels - because it doesn't fit in with our idea of the heroic romantic epic. There is room only for sacrifice, heroism, war, politics and family struggle.
The past went that-a-way. When faced with a totally new situation, we tend always to attach ourselves to the objects, to the flavor of the most recent past. We look at the present through a rear view mirror. We march backwards into the future.
A society is always eager to cover misdeeds with a cloak of forgetfulness, but no society can fully repress an ugly past when the ravages persist into the present. America owes a debt of justice which it has only begun to pay.
Originally the structure was . . . a modern narrator who would appear intermittently and talk about his memories of his grandmother, which would then be juxtaposed against scenes from the past. But the stories from the past were always more interesting that the things in the present. I find this almost endemic to modern plays that veer between past and present. . . . So as we've gone on developing GOLDEN CHILD, the scenes from the past have become more dominant, and all that remains of the present are these two little bookends that frame the action.
Noticing and remembering everything would trap bright scenes to light and fill the blank and darkening past which was already piling up behind me. The growing size of that blank and ever-darkening past frightened me; it loomed beside me like a hole in the air and battened on scraps of my life I failed to claim. If one day I forgot to notice my life, and be damned grateful for it, the blank cave would suck me up entire.
A politics of vengeance is not politics. Revenge is a recklessness towards the future in a vain attempt to make the present abolish a suffering which is already past.
We might realize that the present moment may be one of an eternal or sempiternal series of moments, all of which will resemble it because, in some ways, they are the present, and won't in other ways, because the present will be the past by that time.
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