When State Way Gardens and The Robert Taylor Homes were being torn down, it seemed like a perfect opportunity to use that as a backdrop for the development of a super hero narrative.
Certainly, my friends and the common narrative is people are trying to shore up their own lives with regards to family planning and reproduction.
Matthew loved the magi. He gave their story more square inches of text than he gave the narrative of the birth of Jesus. He never mentions the shepherds or the manger, but he didn't want us to miss the star and the seekers. It's easy to see why. Their story is our story.
A political decision has been made not to irritate the intelligence community. The spy agencies are really embarrassed, they're really sore - the revelations really hurt their mystique. The last ten years, they were getting the Zero Dark Thirty treatment - they're the heroes. The surveillance revelations bring them back to Big Brother kind of narratives, and they don't like that at all.
I would go so far as to say that a painting is narrative, because I have the moment where I approach it and see it for the first time, and then I spend time with it, discover details and things I haven't seen, and then I have the moment when I decide to leave it.
I, as a person, make anything a narrative experience because I experience things linearly. The biggest question for me, is will I go through a transformation? Will I be bored or not? Is it a good or bad narrative experience?
I was just fooling around with the piano and Todd [Phillips] was like, 'Hey there's a great spot in the movie [The Hangover] where we need a little bit of a breath in the narrative. You should write a song and stick it in there.' And I was like, 'Well, what should the song be about?' And he said, 'The tiger.' 'Oh, okay.' So I went off and I wrote this song. I came back and Todd and I tinkered with it a little more and then we shot it right then. It all happened in a day.
My documentaries have always been very much constructed in the spirit of dominant cinema. From the time I started making non-fiction, I was mainly interested in designing and creating documentaries like fiction, so it was a natural evolution to try and embark on doing a dramatic narrative.
I like narrative, and I ultimately am in love with the men and women I write about, most of them.
I love the Russian absurdists - [Nikolai] Gogol,[Daniil] Kharms, and [Vladimir] Bulgakov. Even within the Russian experimentalists, there's a lineage of traditional narrative, conflict, and character development, which I find vital to my storytelling.
I really admire the experimentalists who challenge traditional narrative - writers like Ishmael Reed, Michael Martone, Donald Barthelme, Tatyana Tolstaya, George Saunders, and many others.
David Foster Wallace was a brilliant experimentalist who I deeply admire. His ability to do formalism helped me understand how to tackle stories like "Dictionary" and "Failed Revolution." "Dictionary," in particular, functions against narrative in many ways - each of the definitions are their own mini-story or prose poem, and the collection of them adds up to create a different effect than the traditional Freytagian Pyramid story.
There is really no fiction or non-fiction; there is only narrative. One mode of perception has no greater claim on the truth than the other; that the distance has perhaps to do with distance - narrative distance - from the characters; it has to do with the kind of voice that is talking, but it certainly hasn't to do with the common distribution between fact and imagination.
Part of the narrative which is sort of supported by the data is that Trump voters are the least educated, and they're voting for Trump out of white solidarity or out of frustration that they're, quote, unquote, "losing their country". And my concern with that is that it sort of reduces the condition of the Trump voter to one of pure ignorance. And I think it's far more complicated.
Whole swaths of the book [Lincoln in the Bardo] are made up of verbatim quotes from various historical sources, which I cut up and rearranged to form part of the narrative.
In law school they teach you that everything is a contract; well, in poetry everything is a narrative.
There was always resistance and there was always a counter-narrative, but we were told all through the early twentieth century that black people in the South don't want an education, they don't want to vote, they're simple people, they don't want this, they don't want that.
The weird thing was that I went to Trump rallies thinking I was going to run into militant, right wing, racist people and mostly I didn't. That should have been a clue to me. The people I talked to were not, on the surface level, crazy. They were quite nice, quite normal, employed, and actually were wealthier than the press at that time would have led us to believe. At that time, the narrative was that these were all working poor but these were not working poor. That should've been a clue to me that this was a little bigger than I thought.
The first mistake in the New York Times is worrying about granting Trump access. They're not "granting" Trump access. Trump is commanding access. Trump is taking access. Trump is dictating the daily narrative.
Hillary Clinton doesn't know how to counterprogram Trump, if you will. Hillary doesn't know how to go out and write her own narrative of the day. Hillary doesn't know whether to focus on herself or to criticize Trump or to go after Crazy Bernie. She doesn't know what to do. And the press doesn't, either.
Get out of the office. Roam the frontline. Be observant. Hold your people accountable for creating the new narrative, a new story, in which your customers are the most important "characters". Because, you know, they really are.
I do myself think that history is a set of skills rather than a narrative.
Most people are glad for somebody else to share their own story of how they have found spiritual help. The problems start when you begin to universalize your story - when your narrative becomes authoritative and begins affecting their lives as well.
I believe a good memoir should have all of the narrative elements of a novel: character development, dialogue, descriptive language, and metaphor.
Finding one's voice - or creating a narrative voice that has the power to carry your story - is the hardest part.
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