A Quote by Uma Krishnaswami
Terry Farish seems to breathe the reader into the emotional spaces of war, exile, and refugee life. The Good Braider is a delicate stunning exploration of its young protagonist's life and heart.
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I am just a refugee from the long slow toothache of English life. It is terrible to love life so much you can hardly breathe!
I am the face of a refugee. I was once a refugee. I was with my family in exile.
Probably all of us, writers and readers alike, set out into exile, or at least into a certain kind of exile, when we leave childhood behind...The immigrant, the nomad, the traveler, the sleepwalker all exist, but not the exile, since every writer becomes an exile simply by venturing into literature, and every reader becomes an exile simply by opening a book.
The exile is a singular, whereas refugees tend to be thought of in the mass ... What is implied in these nuances of social standing is the respect we pay to choice. The exile appears to have made a decision, while the refugee is the very image of helplessness.
The book is finished by the reader. A good novel should invite the reader in and let the reader participate in the creative experience and bring their own life experiences to it, interpret with their own individual life experiences. Every reader gets something different from a book and every reader, in a sense, completes it in a different way.
Believe in the reader and they can connect the dots, if you succeed breathe life into the story
Curiosity is the essence of human existence and exploration has been part of humankind for a long time. The exploration of space, like the exploration of life, if you will, is a risk. We've got to be willing to take it.
'The Odyssey' is a great poem to refugee-dom... Odysseus is not entirely a refugee... he's somebody who's blown off course. The entire book is an exploration of that theme... I reread it every year... That's not as surprising as it sounds, because it's a rip-roaring book.
As much as I love to dive into the action early, I think the hero's journey is important - the idea that the reader needs to experience the protagonist's everyday life before you turn that world upside down.
Whoever hired me might've just heard 'Refugee.' Well, I'm not the secret to 'Refugee.' The secret to 'Refugee' is the song. But if somebody really good calls me up to play on something because they like the way I played on 'Refugee,' then I wind up playing on another really good song.
A life is a moment in season. A life is one snowfall. A life is one autumn day. A life is the delicate, rapid edge of a closing door's shadow. A life is a brief movement of arms and of legs.
I do think I have an ability to record sensual and emotional facts and factoids, to construct a convincing surface of what life feels like, both physical life and emotional life.
I think there has to be an empathic strike between the reader and the protagonist. There has to be something said or known that connects the reader to this person you're going to ride through the story with.
My life and the life of my family has to do with exploration, with adventure. My grandfather was the first man in the stratosphere, and my father was the first to touch the deepest point in the ocean... For me, adventure and exploration is something in the blood.
People said when I was a young lad 'Oh he's got good feet.' He's good in small spaces and that's something I have always had since a young age.
The protagonist of folktale is always, and intensely, a young person moving through ordeals into adult life. . . . and this is why there are no wicked stepchildren in the tales.
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