What do you think? Probably slightly better than his, but not by much. Definitely not as good as that The Peach Basket quip about Kobe’s being like “if a Robert Frost poem took its own sense of self-satisfaction and used it to assault a John Donne love poem”…for sure.
There is at the back of every artist’s mind something like a pattern and a type of architecture. The original quality in any man of imagination is imagery. It is a thing like the landscape of his dreams; the sort of world he would like to make or in which he would like to wander, the strange flora and fauna, his own secret planet, the sort of thing he likes to think about. This general atmosphere, and pattern or a structure of growth, governs all his creations, however varied.
I love language. To me, screenwriting is an interesting activity, but I like to think in language. I like to hear things. I like to shape a sentence in a way that is not merely invoking an image.
The first excerpts from A Manner of Being have started to appear. Check out George Saunders’ “My Writing Education” in The New Yorker‘s Page-Turner and Padgett Powell on Donald Barthelme in Tin House‘s The Open Bar.
I don’t ask people about socialism, I ask about love, jealousy, childhood, old age. Music, dances, hairstyles. The myriad sundry details of a vanished way of life. This is the only way to chase the catastrophe into the framework of the mundane and attempt to tell a story.
Flavorwire excerpts Erratic Fire, Erratic Passion and sayeth: “In the wrong hands, this concept could be cheesy and awful, but Malla and Parker carry it off to great effect — their handling of athletes’ words is careful and respectful, and the results are surprising: profound, funny, poignant and occasionally beautiful”
I am nothing.
I will always be nothing.
I can’t hope to be something.
But within me, I have all the dreams of the world.
–Fernando Pessoa, from his poem “The Tobacco Shop”
I am not sure that I exist, actually. I am all the writers that I have read, all the people that I have met, all the women that I have loved; all the cities I have visited
–Jorge Luis Borges
“Our first night professionally onstage,” Colbert said, the longtime Second City director Jeff Michalski told them that the most important lesson he could pass on to them was this: “You have to learn to love the bomb.”
“It took me a long time to really understand what that meant,” Colbert said. “It wasn’t ‘Don’t worry, you’ll get it next time.’ It wasn’t ‘Laugh it off.’ No, it means what it says. You gotta learn to love when you’re failing.… The embracing of that, the discomfort of failing in front of an audience, leads you to penetrate through the fear that blinds you. Fear is the mind killer.” (You’re welcome, Dune nerds.)