A Quote by Ron Rash
Intensely moving but never sentimental, Academy Street is a profound meditation on what Faulkner called 'the human heart in conflict with itself'. In Tess Lohan, Mary Costello has created one of the most fully realized characters in contemporary fiction. What a marvel of a book.
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John Colman Wood's The Names of Things is a thoughtful, patient, and ultimately rewarding book. It's about, among many other things, the connections human beings make, that in spite of everything, we will always make. To quote from the book, 'What he saw in the people was what the old anthropologists called communitas. It wasn't that the people sang and moved. It was their singing and moving together' Singing and moving together, Wood has found a way to express this profound and beautiful idea through fiction.
Comic book characters are characters who wear costumes. They're not necessarily different than other characters. The trend I think that you're seeing are comic book movies, at least the ones that Marvel makes, don't have comic book stories. They have dramatic human stories.
No created mind, no created heart, no human force is capable of knowing how much love the Heart of Mary had for the Lord.
I have grown up reading Marvel Comics and Marvel movies with their intricately woven storylines. It is fascinating to see how Marvel has created characters and stories that resonate so well with audiences across the globe, making movies at a scale that one had never before imagined.
Stories are there to be told, and each story changes with the telling. Time changes them. Logic changes them. Grammar changes them. History changes them. Each story is shifted side-ways by each day that unfolds. Nothing ends. The only thing that matters, as Faulkner once put it, is the human heart in conflict with itself. At the heart of all this is the possibility, or desire, to create a piece of art that talks to the human instinct for recovery and joy.
I've always preferred writing about grey characters and human characters. Whether they are giants or elves or dwarves, or whatever they are, they're still human, and the human heart is still in conflict with the self.
The fact that I'm able to portray these complex, fully realized, queer Asian characters? I never thought it would be in this position. You just never see those types of characters and that type of representation.
I came from the time of so-called New Criticism - the poem in itself, the writing in itself - but around that time I had come across a critic called Kenneth Burke, who wrote a book called A Rhetoric of Motives, and it seemed to talk about another way, and gradually I realized that other way was that the reader made a difference.
I've always taken that as my guiding principle and the rest is just set dressing. You can have dragons in it, or aliens and starships, or a western about a gunslinger, or even literary fiction, and ultimately you're still writing about the human heart in conflict with itself.
My belief is that when the military is used as the sole instrument of power, that never has a good outcome. If there's no one to take ownership and develop that failed state, human suffering can be even worse than that created by the conflict itself.
Fiction does not spring into the world fully grown, like Athena. It is the process of writing and rewriting that makes a fiction original, if not profound.
The strange and wonderful Book of Job treats of the same subject as we are discussing; its contents are a fiction, conceived for the purpose of explaining the different opinions which people hold on Divine Providence. ...This fiction, however, is in so far different from other fictions that it includes profound ideas and great mysteries, removes great doubts, and reveals the most important truths. I will discuss it as fully as possible; and I will also tell you the words of our Sages that suggested to me the explanation of this great poem.
High culture is paranoid about sentiment. But human beings are intensely sentimental.
Go deep into meditation. and be meditation I mean silence, awareness, witnessing. You can meditate any time of the day, you can meditate working, walking, doing things. Meditation is not something separate from life; it should not be separate, otherwise it remains a little artificial. Meditation should be spread all over life. You should walk in meditation, you should sit in meditation; that means silently, fully aware. Slowly slowly it becomes your very flavour, then the bridge is created.
Tess, Tess, Tessa. Was there ever a more beautiful sound than your name? To speak it aloud makes my heart ring like a bell. Strange to imagine that, isn’t it—a heart ringing? But when you touch me, that is what it is like, as if my heart is ringing in my chest and the sound shivers down my veins and splinters my bones with joy.
I'm a little hesitant to make my characters sentimental or to risk having the work labeled sentimental. It's something that I resist as a reader, and I don't resist it in life. I'm not an unmoved person by any stretch, but I think I don't want, I guess, to indulge those kinds of things sometimes in fiction. I can't tell you why exactly.
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