A Quote by Steve Almond
The single biggest reason I got my stories taken in various literary magazines - and I want to stress this - is because I refused to give up. Period.
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I don't want to play myself up as a hero, because it would make me unbelievable. I'd rather settle for people thinking that I'm a bum, but digging my stories, than liking me and not being able to believe in my stories. That's one reason I've been hard on myself, because I want my stuff to be believable.
When I got into the Royal Academy of Dramatic Art, a doctor told me to give up the course as I'd be totally deaf within a couple of years. But I refused to give in.
Raphael lifted a finger, tracing it over her cheekbone. She flinched. Not because he was hurting her. The opposite. The places he touched ... it was as if he had a direct line to the hottest, most feminine part of her. A single stroke and she was embarrassingly damp. But she refused to pull away, refused to give in." (page 33 , Gollancz edition)
I'm the biggest draw. I do the biggest numbers in this division, and it's not even close. There's a reason all these guys want to fight me. They don't want to fight Tyron Woodley. Because I'm the biggest fight and the biggest draw in the division.
I love the way the American trade magazines never give anybody a bad review because they're afraid the advertising will be taken out. It's so hysterical.
The reason I'm in San Diego is not because I want distance from South Africa but because I want proximity to the people I love. But I don't envy growing up in America. As ugly as aspects of it were, my biggest blessing was to be born a South African.
I've got confidence that I'll be able to pick it up eventually, but that's the reason I'm a full-time Sevens player this year: because I knew coming into it that it would be really tough, and I've got to give it my all.
I'd done occasional short stories, but I don't like publishing them in literary magazines; they treat you too much like college boys.
I'm a magazine junkie. I have 30 different subscriptions to various magazines, and I like old-school, real magazines.
There are characters in some short stories who exist as people, and there are other characters in different short stories who exist as purely literary constructs. You know, the young man in "Forbidden Brides of the Faceless Slaves in the Secret House of the Night of Dread Desire" - I probably got that right - is a literary construct, and enjoys being a literary construct. He has no life off stage, whereas the young men in "How to Talk to Girls at Parties" were as near to being real human beings as I could possibly get them.
Whenever you do any one thing intensely over a period of time you have to give up other lives you could be living. You have to have a real single-minded kind of tunnel vision if you want to get anything significant accomplished. Especially if the desire is not to be a businessman, but to be a creative person.
Millions of people have wrecked their lives in angry turmoil, because they refused to accept the worst; refused to try to improve upon it; refused to salvage what they could from the wreck. Instead of trying to reconstruct their fortunes, they engaged in a bitter and "violent contest with experience"- and ended up victims of that brooding fixation known as melancholia.
For whatever reason, I am just very attracted to mystery stories, solving mysteries. I was a huge fan of 'The Jinx.' That's such a satisfying show because it's all... I don't want to give it away to anybody, but it's really amazing.
Phooey, I say, on all white-shoe college boys who edit their campus literary magazines. Give me an honest con man any day.
Men's magazines in the period immediately after World War II were almost all outdoor-oriented. They were connected to some extent in the male bonding that came out of a war... And what I tried to create was a magazine for the indoor guy, but focused specifically on the single life: in other words, the period of bachelorhood before you settle down.
I'd made it this far and refused to give up because all my life I had always finished the race.
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