Making books has always felt very connected to my bookselling experience, that of wanting to draw people's attention to things that I liked, to shape things that I liked into new shapes.
Ron Karenga wrote a book back in 1968, and in that book, he said that the reason, part of his motivation for starting Kwanzaa was because he felt that Christianity was the white man religion, and he didn't like Jews, and so he made up this lie. And he called it an African holiday because he was concerned that if he didn't call it an African holiday, that black Americans would not participate in it.
I tried eating vegetarian. I felt like a wimp going into a restaurant. "What do you want to eat sir? Broccoli?" Broccoli's a side dish, folks. Always was, always will be, OK! When they ask me what I want, I say: What do you think I want? This is America. I want a bowl of raw red meat right now.
I think I let go of the need for approval. It certainly feels good when you get it, but I used to be more desperate for it. Once I felt better inside about myself... I could do everything based on how I want to do things.
One time I went to a hotel. I asked the bellhop to handle my bag. He felt up my wife!
All the authors who've ultimately published Louder Than Words memoirs have been very happy to be chosen and excited about the possibility of having their memoir published. Even though these books deal with serious, often painful, issues, in all cases the authors felt as though writing their story would be an empowering and healing experience.
I hated being "Mrs." from the first second each time. I didn't know why. All I knew was how uncomfortable it felt. I hated being one half of a couple, without understanding that it wasn't the husband or the man I hated, it was situation, the identity.
If you know nothing, it could be like an enemy in a way. I think that's the way I felt when I was young.
I owe a lot to my parents, because they kept no genre off limits. Music was always playing in the house. They never told me to be quiet, turn the music down or anything like that. So I felt pretty free and experimental as a kid to kind of figure out my own voice.
I went to extreme measures to achieve my goals, from strapping heavy sandbags on my ankles, hopping on one leg, up and down four flights of stairs at 5 am to practice my turns in front of the candle light when others are asleep. I felt like that I had climbed many tall mountains and made so many impossible dreams come true through sheer determination, perseverance, passion, self conviction and belief.
I've sung my whole life. I did a lot of musical theater growing up, I sing in the shower, sing in the car, sing everywhere really, on set at Chuck, all the time. I like it, and I've always felt like I've had a knack for it, or a talent for it, on some level, I don't know.
For a perfect holiday I need my iPhone and my writing tools. I write all my books by hand so black felt pens and yellow legal pads are a must. And my eyebrow pencil. I'm very low-maintenance.
I felt as out of place as a left-handed violinist in a crowded string section.
You really felt a radical shift in the advance of a poetics that had really been engendered by [Walt] Whitman. This was very exciting. I wanted to work in this environment.
When I got back to NY had the opportunity to work with the beginning years of the poetry project which was founded with money from the OEO under Lyndon Johnson to work with alienated youth on the lower East side. This was extraordinary, to be able to help then to create a culture that would capture the energy that I felt at Berkley.
I did go to Vietnam in 2000 as a kind of pilgrimage and to feel my generation was very much a part of this. I felt responsible but also connected and empathetic. It was a very complicated relationship we had, whichever side you were on. The shock of being there was very few people my own age - I was primarily in the North in the streets of Hanoi. A whole generation was essentially decimated.
As a woman I have felt encouraged and fed by and nurtured by the work of [Jack] Kerouac and others.
I remember being caught in this earthquake in Mexico City and having a sense of people coming before me, of being part of this lineage. I felt similarly when I went to India and South America.
I love singing. I've never felt I've had a great voice but I feel I've gotten better. It's funny. I can hear my voice aging and getting stronger. I've relaxed about my singing so I'm hearing it the way I like it.
I've never felt really creative or intuitive using software. I like paper and pens and paint. I need to angle real lights on my artwork and work with my hands and build props. Computers just take all that fun out of it [animation drawing].
I think I started writing as a young person because I felt a lot of psychic confusion and emotional confusion, and writing was a way to sort it out. You know, to externalize it, sort it out, put it down, look at it, and hopefully it would become clearer.
In the short stories - if I can make a very lumpy contrast - in the short stories I feel like the lives of the people have a kind of prior desperation and a prior need and my longing is for the story and their lives to somehow come together, even if not finally or forever, to face something; and it felt like a lot of the time with the essays I was wading into situations where there was an assumption of finality of understanding, and I felt like I could wade into any understood moment and tear it apart and make it fall apart.
I think it's probably true that creative people are touched by melancholy more than the average person, and to the extent that delving into that shadow world produces good work, I'm all for it. But I think you have to be able to step back from the work, and say, "Look how miserable I felt. Look how beautifully I wrote about it. Now I'm going to get an iced coffee and chat with a friend." Writing should be a way out of despair.
When I re-read the Odyssey, it felt like I was reading PD James or Minette Walters - you feel that you are sharing in something that hundreds of millions of people have read with love, and I think that this is worth holding onto. It is not a matter of canonical texts or elitism, which the universities are trying to make us wary about. It is about shared language and metaphor and experience and imagery and that is all good.
Of course, change requires change. Until there is a felt need for change, it is only an event not a pattern.
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