Can I language something that is inherently beyond language? Can I actually render a moment or emotion? Can I create something as beautiful as a Tarkovsky film or as provocative and strange as a Pina Bausch choreography?
Laurapalooza: Unbonneted with Nancy McCabe
I’m afraid Laura might be horrified that people are wearing sunbonnets, since she hated hers so much, and she might be somewhat bemused at our celebration of pioneer life accompanied by power point presentations and tweets.
There is no element of craft that is more important to me than tone, and I work best when I’m working with a tone that is somehow at odds with itself, or at odds with the subject matter, or both
Lynette D’Amico & Nathan Poole
I really want to address and uphold in fiction the idea that human suffering is inherently meaningful. I think this is why the aesthetic idea of pathos arises so readily from our earliest stories.
In that day and age the only writing that was considered serious was the novel. To be a literary figure, to be a literary artist, to have literary pretensions of any kind, one had to write a novel.
I believe that if you become too aware of or too focused on your intention, you’re likely to end up dead in the water.
I thought it was an interesting idea to explore, that the decision that saves someone could, first of all, be based on a misinterpretation of a sacred text, and then, second, could be a less complex worldview.
I’ve been thinking a lot about the difference between giving a shit and giving a fuck. Or not giving a fuck, I guess.
glo: Lauri Stallings and Mary Virginia Coleman
glo has this great persistence to it. I would probably be put on fire if I ask any less of myself, the world, human nature, the human condition — no one would hang around.
The rhythms of cognition interest me as much as any object or series of objects in space; the latter doesn’t exist without the former, and that interplay is where so much of the poetry happens for me.