A Quote by Robert Barry
But if I did read, say, [Maurice] Merleau-Ponty, for instance, it always seemed to me that the parts that I understood in what he was talking about - and I read him because - well, he wrote a book, well, the Phenomenology of Perception [New York: Humanities Press, 1962]. And it seemed to me that perception had a lot do with how we take in art.
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For me, the existentialists are important critics of 'absolutist' claims, and Heidegger and Merleau-Ponty are, at least in their later writings, also exponents of a doctrine of mystery: Being or the 'well-spring' of everything is, for Heidegger, ineffable, just as what Merleau-Ponty called 'Flesh' is for him.
I follow my own nose. So I read things that are different. People will always say to me, "Have you read Robert S. Bosco's latest novel?" or "Have you read so and so's history of Peru, which is reviewed in the New York Review of Books and the New York Times and has a buzz about it?" I don't even know what you're talking about. I'm like from another planet. I'm a pygmy from the jungle.
I read 'How to Rig an Election.' Well, I read parts of it. I wouldn't necessarily quote me as saying I read the whole thing.
I can read books and news articles about people who have excelled, people who have done extremely well in their chosen field, or made a lot of money, or married well, or what have you. When some people read this stuff, they get inspired, but when I read it, it makes me feel worse. Sometimes I wish I had never learned to read.
Aside from birthing me my first grey hairs and keeping me up at night more times than I'd like to count, 'The Subtle Art' taught me a lot about the nature of work. And a lot of that had to do with how my perception of the work itself evolved over the course of writing the book.
All I wanted was to live a life where I could be me, and be okay with that. I had no need for material possessions, money or even close friends with me on my journey. I never understood people very well anyway, and they never seemed to understand me very well either. All I wanted was my art and the chance to be the creator of my own world, my own reality. I wanted the open road and new beginnings every day.
My uncle Randall always had a book in his hand. He read in the car, he read at restaurants, he read when you were talking to him. He read lots of different things, but mostly it was Louis L'Amour's westerns and contemporary thrillers.
I have come to communism because of daddy Stalin and nobody must come and tell me that I mustn’t read Stalin. I read him when it was very bad to read him. That was another time. And because I’m not very bright, and a hard-headed person, I keep on reading him. Especially in this new period, now that it is worse to read him. Then, as well as now, I still find a Seri of things that are very good.
Well, I was passionately curious about what my body was doing, and when I got the lessons on how to meditate, it seemed really solid to me. It seemed real.
As a historically voracious reader - pre-baby, I averaged a book every week or two, and when I was a kid, I'd routinely read a book a day - I never understood how some people could not read. When I heard people say they didn't have time to read, in my head, I simultaneously pitied and ridiculed them: there was always time to read.
I was raised pretty much a fundamentalist, but the one thing that fundamentalism gave to me was the love for that book and a commitment to read and study it. The difficulty is that I've read it all, I didn't skip around, I read it all, and when you read it all, you can't take it literally because you don't want to blame God for a lot of stuff that occurs in that book. There are some pretty violent scenes.
I wrote the Dickens book because I loved Dickens, not because I felt a kinship with him, but after writing the book it seemed to me that there was at least one similarity between us and that was that Dickens loved to write and wrote with the ease and conviction of breathing. Me, too.
When I've written for Bill Murray - I've written six films for him - people would read it and say, "Oh, that's so perfectly Bill." He'd read it and say, "Are you kidding? I can't say these words." So it's all about perception.
I remembered a long time ago, Kit Williams hid a golden hare somewhere in Britain and wrote a book which was layered with clues about where the it was. This really fired my imagination, I read the book and it was way too cryptic for me to understand, but it seemed to fascinated people - it even got on the news.
Why? Why did you do this to me?" "He's going to come after me. He won't just kill me. He'll go after you, too." "That's right, He can't take the chance. I didn't tell you about it...why?" He repeated on a sob? "Why did you-" You wouldn't take me to New York" His mouth dropped open "NEW YORK?" he shouted. "You did all this because I wouldn't take, you to New York!
You ever buy a book and not read it? You feel almost guilty having it up on a bookshelf. People are like, "Hey, how's that book?" "I haven't read it." "Oh, did you just buy it?" "I've had it since high school." "Well, can I borrow it?" "No."
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