A Quote by Phoebe Gloeckner

It always seems to people that I'm avoiding saying, 'It's autobiographical,' but I really do believe that human beings make stories and they make themselves. If I told you the same story twelve years ago, I could have emphasized something different. The importance changes, the meaning of things shifts over time. Also, I think all art is autobiographical. Every endeavor is full of impressions of ourselves.
Even if the experience in my stories is not autobiographical and the actual plot is not autobiographical, the emotion is always somewhat autobiographical. I think there's some of me in every one of the stories.
Like most filmmakers and writers, there are roots in my own life, but they are stories that I invent. There was a period of time in my life when I made directly autobiographical films where I truly told what happened to me. But, now, I don't make directly autobiographical films anymore. I am more for renouncing that and being in front of history. The large part of my work tells about something I know. It's close.
Over the years, I had something in principle against autobiographical writing altogether because memory plays tricks on us, and we also tend to reinvent ourselves. But there comes an age when one begins to observe life, and there are things that need time to mature, also in terms of literary form.
People ask, 'Are your things autobiographical?,' and I think, no, they're not autobiographical directly, but of course my life has informed my work.
All novels must be autobiographical because I am the only material that I know. All of the characters are me. But at the same time, a novel is never autobiographical even if it describes the life of the author. Literary writing is a completely different medium.
I don't eschew autobiographical writing, but I'm not interested in mine to be so straightforward. The things that tend to move me the most are often those that I have to figure out its meaning for myself. The human being's ability to make a metaphor to describe a human experience is just really cool.
Autobiographical writings, essays, interviews, various other things... All the non-fiction prose I wanted to keep, that was the idea behind this collected volume, which came out about few years ago. I didn't think of Winter Journal, for example, as an autobiography, or a memoir. What it is is a literary work, composed of autobiographical fragments, but trying to attain, I hope, the effect of music.
[H]uman beings...make a limit in their mind of what their potential is. They decide, "I've been told this," or "this is what society tells me," or they've been made to believe something. If every human being actually threw away those thoughts...the potential of human beings is great, it's huge, compared to what they actually think of themselves.
The truth about autobiographical songs, he realized, was that you had to make the present become the past, somehow: you had to take a feeling or a friend or a woman and turn whatever it was into something that was over, so that you could be definitive about it. You had to put it in a glass case and look at it and think about it until it gave up its meaning.
Writing two stories [in the Thorn and the Blossom] about the same set of events that were complete stories in themselves, but also added up to a larger story. As I was writing them, I kept going back and forth, because something would happen in one story that would have to be reflected in the other story. And yet the same event would also have to be perceived in different ways by Brendan and Evelyn, because they are different people with their own interpretations.
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.
If I like hardcore straight-edge punk music, gentle psychedelic folk music, gangster rap, indie-rock with a lot of guitar pedals, and I find inspiration from all these things in different songs of mine, shouldn't I be allowed to make any of this kind of music that I want? And it's the same for the comic books, why should I only make autobiographical stories? Or only political stories? Or only superhero stories? Or only comedy stories? I am a bit creatively desperate, when I sit with a pen and paper I am desperate for ANY idea that makes me excited, I don't care what kind of idea it is!
I don't view my memory as accurate or static - and, in autobiographical fiction, my focus is still on creating an effect, not on documenting reality - so 'autobiographical,' to me, is closer in meaning to 'fiction' than 'autobiography.'
I found out a long time ago that if I didn't have a good story for a song, I could just make one up! Now it seems over half the stories in my show are made up. The funny thing is, those seem to be the ones that resonate the most with the audiences.
I think it's not really difficult to write about love. We've been saying the same thing over and over for so many years. But it depends on how honest it is and how good you make it feel. You can say 'I love you' in a trillion ways, and it can always sound different or feel different.
I don't think that there's a target audience at all. These stories were in circulation. The stories were told by men, told in the marketplace by men, but also behind doors by women, but there's no real record of this. It's likely they were told by women to children in their interior rooms. The story could be a negative story, they could be presented as a, "Watch out! Women will get round you, do things to you, weave you in their toils." It could be buried in it an old cautionary story about women and their wiles.
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