A Quote by Philip Schultz
My father's death when I was eighteen and his struggles as a Jewish immigrant provided me with the raw material, but for a long time I went from painting to fiction and then finally to poetry before I could find the right way of telling this story.
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My father was a Jewish immigrant who settled in Argentina and was left to his own devices at the age of 15. My mother was a teacher, herself the daughter of a poor immigrant family.
Fiction is of the essence of poetry as well as of painting; there is a resemblance in one of human bodies, things, and actions which are not real, and in the other of a true story by fiction.
In, 1950, at the age, 19 I dropped out of St. George William College in Montreal, as it then was, and sailed for England on the Franconia. Foolishly, no arrogantly, believing I could put Canada and its picayune problems behind me, never dreaming it would become the raw material of most of my fiction and non-fiction. Or that I would care so deeply about its surviving intact.
I guess it was easier for me to find my voice in poetry than it was in fiction. I'm working on fiction again, and I find it a lot more difficult. It's a struggle. At a certain point, you have your voice and you go to it every time, so it's not like reinventing the wheel. That's the way I see it at least.
I went to school in California, at Stanford when I was seventeen, and I lived in San Francisco until I was twenty-three, and then I lived in Hungary for, like, a summer, and then I went to Iowa for three years. At Iowa, I actually did the fiction program, not poetry. I was a fiction writer for a long time before I was 'out' as a poet.
If time came before me, time is not before the Word, whose Begetter is atemporal. When the beginningless Father was there, leaving nothing superior to His divinity, then also was there the Father's Son, having in the Father a timeless beginning, like the sun's great circle of overwhelming clear light.
My father, Eric Trethewey, is a poet, so I had one right inside the house. And on long trips, he'd tell me, if I got bored in the car, to write a poem about it. And I did find that poetry was a way for me, I think as it for a lot of people, to articulate those things that seem hardest to say.
What writers of fantasy, science fiction, and much historical fiction do for a living is different from what writers of so-called literary or other kinds of fiction do. The name of the game in F/SF/HF is creating fictional worlds and then telling particular stories set in those worlds. If you're doing it right, then the reader, coming to the end of the story, will say, "Hey, wait a minute, there are so many other stories that could be told in this universe!" And that's how we get the sprawling, coherent fictional universes that fandom is all about.
I had a Jewish grandfather. We managed to hide this fact from the authorities by falsifying documents, my father and I. His father was Jewish, but because my father was an illegitimate child, it was rather easy to pretend that his father was unknown.
I spend most of my time reading non-fiction of all sorts. Then poetry. Then fiction to blurb. Then fiction I want to read.
... imaginary gardens with real toads in them ... ... if you demand on one hand, the raw material of poetry in all its rawness and that which is on the other hand genuine, then you are interested in poetry.
Characters simply come and find me. They sit down, I offer them a coffee. They tell me their story and then they almost always leave. When a character, after drinking some coffee and briefly telling her story, wants dinner and then a place to sleep and then breakfast and so on, for me the time has come to write the novel.
The story, I like to say and remember, is always smarter than you—there will be patterns of theme, image, and idea that are much savvier and more complex than what you could come up with on your own. Find them with your marking pens as they emerge in your drafts. Become a student of your work in progress. Look for what your material is telling you about your material. Every aspect of a story has its own story.
I'm a first-time father, and it was amazing to me to learn that my son could actually use sign language before the spoken word. I could see this intelligence in his eyes before he could speak: how he could understand what was going on around him and was frustrated by that.
I have many reasons why I think reading is really important. It provided for me a refuge, especially during difficult times. It provided me with the notion that I could find an ending that was different from what was happening to me at the time.
The digestive canal is in its task a complete chemical factory. The raw material passes through a long series of institutions in which it is subjected to certain mechanical and, mainly, chemical processing, and then, through innumerable side-streets, it is brought into the depot of the body. Aside from this basic series of institutions, along which the raw material moves, there is a series of lateral chemical manufactories, which prepare certain reagents for the appropriate processing of the raw material.
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