A Quote by Victor LaValle

Try imagining James Joyce not writing about being a Catholic. — © Victor LaValle
Try imagining James Joyce not writing about being a Catholic.
A friend came to visit James Joyce one day and found the great man sprawled across his writing desk in a posture of utter despair. James, what’s wrong?' the friend asked. 'Is it the work?' Joyce indicated assent without even raising his head to look at his friend. Of course it was the work; isn’t it always? How many words did you get today?' the friend pursued. Joyce (still in despair, still sprawled facedown on his desk): 'Seven.' Seven? But James… that’s good, at least for you.' Yes,' Joyce said, finally looking up. 'I suppose it is… but I don’t know what order they go in!
James Joyce: His writing is not about something. It is the thing itself.
I've gained a lot from James Joyce, Tolstoy, Chekhov and R. K. Narayan. While writing, I try to see if the story is going to radiate spokes. Their literature has always done that and gifted me beautiful things.
I'm a postmodern commentator, and so, in a cheeky parallel to James Joyce or James Kelman, I get to places, verbally, that are a little unusual - when I talk about Jocky Wilson and end up sounding like a Jackson Pollock of the commentary box.
The censors have always had a field day with James Joyce, specifically with 'Ulysses,' but also with his other writings. The conventional wisdom is that this is because of sexually explicit passages (and there certainly are those). I have always thought that what the critics hated and feared about Joyce is his cry for human freedom.
For me, it's all about The Dubliners by James Joyce. I love The Dead.
I went to a Catholic University and there's something about being a Catholic-American. You know, St. Patrick's Day is, I'm Irish-Catholic. There's alcoholism in my family. It's like I've got to be Catholic, right?
I remember looking at James Joyce's journals. It was just amazing - it looked like ants had written on the page. So much writing on one page, every corner of the page was filled. Some of the lines were underlined in yellow or blue or red. A lot of color, intense writing.
When I wrote 'Your Republic Is Calling You,' it was Franz Kafka's writing that I had most in mind, and James Joyce's 'Ulysses.' Entirely out of the blue, Kafka's characters receive an order to go somewhere, and when they try to comply, they never quite manage it. Ki-yong in 'Your Republic Is Calling You' is precisely that sort of character.
It's impossible to read a distinctive stylist like Faulkner, Joyce, Kafka, Mann, Woolf, James - and many more - without wanting to write, however entirely different one's writing will be.
Chuck Norris doesn't need to understand the work of James Joyce; James Joyce needs to understand the work of Chuck Norris.
Genius still means to me, in my Russian fastidiousness and pride of phrase, a unique dazzling gift. The gift of James Joyce, and not the talent of Henry James.
When I was younger, people were inventing a new way of writing - James Joyce, Hemingway, Faulkner. And I thought we had to find a structure for cinema. I fought for a radical cinema, and I continued all my life.
James Joyce wrote the definitive work about Dublin while he was living in Switzerland. We're all where we come from. We all have our roots.
It is okay to experiment with language. Writers such as James Joyce, Virginia Woolf experimented with writing, but basically, one must have a familiarity with the language. And to have that, one must respect it.
I'm not imagining me being the James Bond girl, because anyway I don't have the good maturation.
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