Now I'm writing about contemporary Los Angeles from memory. My process was to hang out, observe, research what I was writing about, and almost immediately go back to my office and write those sections. So it was a very close transfer between observation and writing.
Certainly being in California has encouraged a sustained commitment to rethinking the nature, purposes, and relevance of the contemporary arts, specifically music, for a society which by and large seems to manage quite well without them.
A lot of men do have a fear of my ultra-femininity. Sometimes people say I look like a drag queen, that I look scary, but I think that's a fear of my confidence. Most women in contemporary culture pare down their femininity, so there's a slight androgyny about them, and I think men have got used to seeing that.
I read everything. I've always got a book on the go and I'm really nerdy about it, I get through books and don't remember anything about them afterwards. But I read all sorts, from classic to contemporary.
I write 'by the seat of my pants.' I love to do research. I am inspired by contemporary writers and contemporary events. I live in the real world.
I enjoy meeting not only contemporary children, but yesterday's children as well. It's nice to talk about the experiences we shared, they tell me, 'You were a good friend.' That's the warmest part.
Literacy is part of everyday social practice - it mediates all aspects of everyday life. Literacy is always part of something else - we are always doing something with it. Its what we choose to do with it that is important. There are a range of contemporary literacies available to us - while print literacy was the first mass media, it is now one of the mass media.
I don't think my looks are modern. I always imagined I'd end up doing Chekhov, Ibsen and Shakespeare all my life and never play a contemporary character.
There's this idea that when you turn 40, you automatically go to adult contemporary heaven, but I want to try and challenge that.
There's a phrase in Shakespeare: he refers to it as the 'hidden imposthume', and this idea of a hidden swelling is seminal to cancer. But even in more contemporary writing it's called 'the big C'.
I went to the University/Resident Theatre Association auditions. Deans come and watch you in this theater. You have three minutes, and you have to do two contrasting monologues - at that time, this is 2003 - one classical and one contemporary.
In Australia I was seen as somebody who did only very modern, contemporary stuff. Then as soon as I went overseas I did two period pieces so it was like, 'When are you going to get out of the corsets?' And I was thinking I just got into them!
So much of contemporary crime fiction is painful to read and obsessed with violence, particularly against women, and I can't read that.
Before I started LimoLand, I mainly bought my clothes in Harlem, where I found clothing my size in fun colors. I still like to go there and see the vibrancy and colors of the neighborhood. I am also very influenced by the colors of my contemporary African and Japanese art collections.
In the last 20 years of collecting contemporary African art, I have been bombarded by incredible shapes and colors that I now want to translate into clothes.
When I was writing 'The Abstinence Teacher,' I really tried to immerse myself in contemporary American evangelical culture.
Belief demands that you dispense with illusion after illusion, while contemporary common sense requires continual, fluffy pretending - pretending that might as well be systematic, it's so thoroughly incentivised by our culture.
One of the sad things about contemporary journalism is that it actually matters very little. The world now is almost inured to the power of journalism. The best journalism would manage to outrage people. And people are less and less inclined to outrage.
I love contemporary art, although I wouldn't want a pickled shark in my house.
Writing songs is about trying to connect with people on a deeper spiritual level - but I'm not a fan of contemporary Christian music.
I'm sure the movie industry is going up but I would love to see more Chinese films about contemporary Chinese about the problems of life on the street.
I've always loved writing emotionally rich, character-driven novels that explore the way people fall in love and deal with life's triumphs and tragedies. I enjoy writing the contemporary and historical books equally, though perhaps 'enjoy' is the wrong word.
Beyond a narrow, elite audience, there is a pervasive sense from the side of the public that much contemporary art fails to connect - a failure not evident throughout centuries of earlier art.
I would say that most of my books are contemporary realistic fiction... a couple, maybe three, fall into the 'historic fiction' category. Science fiction is not a favorite genre of mine, though I have greatly enjoyed some of the work of Ursula LeGuin. I haven't read much science fiction so I don't know other sci-fi authors.
My parents met in music school and my father was a music professor and conductor. Growing up, we always had classical and contemporary music playing. There was a lot of Mozart and the Beatles.
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