A Quote by Twyla Tharp
No artist is well served in thinking what will happen to their works. The best one can hope is that they'll enter the mainstream, and people will pull bits and pieces from them.
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I hope you will love your baby. I hope it will be a boy. That husband of yours, I hope, will always treat you well, because otherwise my specter shall come out of him, like black smoke, like a demented giant, and pull him apart nerve by nerve. ... I am thinking of aurochs and angels, the secret of durable pigments, prophetic sonnets, the refuge of art. And this is the only immortality you and I may share, my Lolita.
We pick up the lost bits and pieces, from the grass where we left them, and bring them with us into a future that will be made up of so much more as well.
The hurried can become unhurried. But it will not happen by trying alone, nor will it happen instantly. You will have to enter a life of training.
The best way to not feel hopeless is to get up and do something. Don’t wait for good things to happen to you. If you go out and make some good things happen, you will fill the world with hope, you will fill yourself with hope.
If you keep thinking about what you want to do or what you hope will happen, you don't do it, and it won't happen.
I work in bits and pieces. When I'm touring it's difficult. After touring, when I have space and time, it's a process, something I've been doing since I was 10 or 11 years old. I collect lyrics, melodies, bits and pieces, and finally it all comes together. It's hard to say - I've been trying to figure out how the process works.
The hardest bits of my book to read were the easiest bits to write because they were the most immediate. Probably because I had never stopped thinking about them on some level. Those bits I was just channelling and those were the most exciting writing days. The bits I found harder were the bits that happen in between, you know, the rest of living. There were whole years, whole houses, that I just got rid of.
They benefit from all these people, "I just don't like the fighting. Could you stop the shouting? All I want to do is just get along." They're easily able to bulldoze large groups of people into laying down and letting it happen in the hope that this will be peace, in the hope that there will be no confrontations, in the hope that the shouting will stop.
Well, I was thinking this very thing. I was thinking: I am going to die today, but Jesu also died, so he knows how it is with me. And I was thinking, would he know me when I came to him? Yes! Sitting in his hall, he will see me sail into the bay, and he will run down to meet me on the shore; he will wade into the sea and pull my boat onto the sand and welcome me as his wayfaring brother. Why will he do this? Because he too has suffered, and he knows...HE KNOWS...Is that not good news?
I feel very protective in the first draft, when all the pieces are coming together. I work in a way that is not linear or chronological at all, even with the short story. I will just be writing bits and pieces, and then when I have all the pieces on the table, that for me is when it feels like the real work begins.
I haven't written my own epitaph, and I'm not sure I should. Whatever it is, I hope it will be simple, and that it will point people not to me, but to the One I served.
The artist of the future will live the ordinary life of a human being, earning his living by some kind of labour. He will strive to give the fruit of that supreme spiritual force which passes through him to the greatest number of people, because this conveying of the feelings that have been born in him to the greatest number of people is his joy and his reward. The artist of the future will not even understand how it is possible for an artist, whose joy consists in the widest dissemination of his works, to give these works only in exchange for a certain payment.
The best programs are written so that computing machines can perform them quickly and so that human beings can understand them clearly. A programmer is ideally an essayist who works with traditional aesthetic and literary forms as well as mathematical concepts, to communicate the way that an algorithm works and to convince a reader that the results will be correct.
I remember doing 'La Bamba' and thinking, 'Do you really think that Latinos will be accepted in mainstream?' and I said, 'Someday I hope so, but there is no guarantee.'
I always like to borrow bits and pieces of things. There's a line between jumping on something that's happening and incorporating bits and pieces of it into my work.
Shattered people are best represented by bits and pieces.
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