A Quote by Anthony Marra

My work often begins as little internal dares, wondering if I can pull something off. So I spent a few years drawing these stories together, trying to build a Pangea of what began as separate continents.
I am trying to represent design through drawing. I have always drawn things to a high degree of detail. That is not an ideological position I hold on drawing but is rather an expression of my desire to design and by extension to build. This has often been mistaken as a fetish I have for drawing: of drawing for drawing’s sake, for the love of drawing. Never. Never. Yes, I love making a beautiful, well-crafted drawing, but I love it only because of the amount of information a precise drawing provides
We must risk the journey to a higher ground where there is freedom from the gravitational pull of our stories, the pull that comes from years of trying to prove that the stories we tell ourselves, the ones we've made up, are the truth.
We want Facebook to be one of the best places people can go to learn how to build stuff. If you want to build a company, nothing better than jumping in and trying to build one. But Facebook is also great for entrepreneurs/hackers. If people want to come for a few years and move on and build something great, that's something we're proud of.
I'm not somebody who is going to build something for a few years, sell it, and then go off and just have fun.
Primitive, naive drawing can also be good drawing but it's hard to pull off. I don't think most submitters realize that.
I saw so many amazing musicians struggling to build something good. They would play and play... and play some more, but it seemed like there was something missing. I wanted to go someplace higher myself, and go there with the people who come to hear me play. So I began to envision events with their own gravity, that would pull a community of people together for a meaningful experience.
Think, for a moment, of the countless happy childhood hours you spent with this amazing device: Drawing perfect horizontals, drawing perfect verticals, drawing really spastic diagonals, trying to scrape away the silver powder from the window so you could look inside.
I had an agent who spent eight years - eight years! - trying to sell my stories. She sold other people's work; she just didn't sell mine.
I have been trying to retire to the back of the camera for quite a few years, and in 1970, when I first started directing, I said, 'If I could pull this off, I can some day move to the back of the camera and stay there.'
I'd been trying to retire to the back of the camera for quite a few years. And then, in 1970, when I first started directing, I if I could pull this off, I can some day just move in back of the camera and stay there.
It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.
I spent years only ever reading horror and then trying to write horror - and deep down, a horror writer is still what I'd love to be. But it wasn't until I started writing crime that things began to work for me.
I saw 'Beauty and the Beast' at eight years old in theatres and spent hours trying to recreate the majestic imagery of that story in a drawing notepad at home.
During my years as a press secretary, I developed a powerful internal filter, which worked to strip all things 'off message' from my thoughts before they came out of my mouth. It didn't always work, of course, and I said more than a few things I regretted.
When I was about twenty-one, I published a few poems. Maybe I wrote a couple of stories before, but I really began to write stories in my mid-thirties. My kids were still little, and they were in school and day care, and I had begun to think a lot about wanting to tell some stories and not being able to do it in poetry.
At the beginning of my career, I can honestly say there were a few things I was doing wrong, and I was wondering why I was going a little bit off track.
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