When I write, I have a sort of secret kinship of readers in all countries who don't know each other but each of whom, when they read my book, feels at home in it. So I write for those readers. It's almost a sense of writing for a specific person, but it's a specific person who I don't know.
I'm not trying to be a poet on Twitter; I'm trying to be aware of the fact that a very simple sentence, well written, can have a very moving effect without that person knowing why. There's a deep genetic part of you that somehow, even without your permission, recognizes good language when it arrives.
There was a feeling during the years of George W. Bush's presidency that his gracelessness as well as his appetite for war were linked to his impatience with complexity. He acted 'from the gut,' and was economical with the truth until it disappeared.
I'd like to meet fewer people who say 'Oh, I want to write a book, here are 10 pages I've written,' and more 'Oh, I want to write a book, here are 300 pages I've written.'
Swear you'd rather die than use 'literally' as an intensifier.
Where land mines are indiscriminate, cheap, and brutal, drones are discriminate, expensive, and brutal. And yet they are insufficiently discriminate: the assassination of the Taliban chief Baitullah Mehsud in Pakistan in 2009 succeeded only on the seventeenth attempt.
We don't experience our lives as plots. If I asked you to tell me what your last week was like, you're not really gonna give me plot. You're gonna give me sort of linked narrative. And I wanted to see how do we bring that into fiction without losing the reader.
I am on Vine. It's another early-adopter kind of thing. I'm trying to figure out what I'm going to do with it. What's interesting about it is that everybody knows these amazing restrictions we've put on it: I have to use my iPhone, I can only use one continuous take, I cannot edit afterwards, I cannot put sound afterwards.
The content of Saul Leiter's photographs arrives on a sort of delay: it takes a moment after the first glance to know what the picture is about. You don't so much see the image as let it dissolve into your consciousness, like a tablet in a glass of water.
Never say 'I went to Harvard.' Say 'I schooled in the Boston area.'
Old-school hip hop, i.e., whatever was popular when you were nineteen, is great. Everything since then is intolerable.
Religion is close to theatre; much of its power comes from the effects of staging and framing.
Because I'm an art historian, I have some experience of writing that comes out of close attention. That's what really art history is. You're looking at something very closely, and you try to write in a meticulous way about it.
I am suspicious of writers who say their work is original and influenced by nobody. If it is, it is probably uninteresting. The biggest source of novels is other novels.
I probably get a deeper satisfaction of having taken a very good photograph than of having written something very good, a very good story. Maybe it's because the element of magic is so present in a good photograph - luck and magic, but also hard work and being ready and all that.
There are many people who know nothing of a world in which we take the reality of the 'other' seriously. I'm running on that platform: other people in other countries are really, really real, and there has to be a way of presenting their reality that is not condescending to them or about our psycho-social needs.
In countries with a properly functioning legal system, the mob continues to exist, but it is rarely called upon to mete out capital punishment. The right to take human life belongs to the state. Not so in societies where weak courts and poor law enforcement are combined with intractable structural injustices.
On many days my primary artistic struggle is, in fact, photography because it is harder to do good work with that. I see myself as an observer of the world who has a strong drive to testify, which I can do because I have the privilege of living in New York with enough food to eat and shelter.
The most common thing I find is very brilliant, acute, young people who want to become writers but they are not writing. You know, they really badly want to write a book but they are not writing it. The only advice I can give them is to just write it, get to the end of it. And, you know, if it's not good enough, write another one.
Lyrical poetry is not a big part of most people's lives. Twitter now becomes an interesting way of getting cared for language into people's space. Because there is something deep inside of us that responds to cared for language, whether it's literary, poetry, or really good lyrics in a song.
