I love this idea of shape-shifting and changing when you put on clothes, and turn into somebody else.
When I start, I have a feeling for the characters, and maybe the shape of the story. Sometimes I might even have the last sentence in mind. But, no book I've ever written has ever ended the way I thought it would. Characters disappear, others come forward. Once you start writing, everything changes.
I love soul music, that's my real love in life and in whatever shape or form it is.
Every time I make a record, it's a gem with different facets, and every time I like to explore a different side. The core is the same, it never changes, but I try to create a different shape.
Anorexia was my attempt to have control over my body and manipulate my body and starve my body and shape my body. It was not a very good relationship. It was the sort of relationship my father had to my body. It was a tyrannical, "you'll do what I tell you" relationship.
If you listen to the real in you, that part that's pulsing and has questions and is trying to figure something out, it will shape your life in a way where, when you get to be sixty, you'll succeed. You'll be happy about your life.
Being hapa, or more specifically, half-Japanese half-Euro mutt (English, Irish, Scottish, Dutch, French, Welsh, German. . .in case you were wondering), has definitely helped shape who I am. It's very cool to get to identify and learn about all these unique cultures and I think it's helped put the world in perspective.
If I hadn't spent a big chunk of time in academia I might not have the depth of consciousness I do about ideas like that. I might think, for instance, that Freud was no big deal in terms of the shape of social organization then or now. I might think that the discourses of politics and law are real and stable and fair.
I think that's a really important role that people sometimes forget about, especially with all these newspaper shutting down and having trouble, where are all these stories going to go? I think you have something really great with all those stories waiting to be told, but I just don't know how it shapes up exactly. I don't think there are going to be a lot of newspaper reporters sitting around not writing.
When you're writing, you're making decisions about compression and the shape of a life, which are very similar to how we experience our inner consciousness.
The world comes to us in fragments and shards. Whatever stories we shape from our days, we're always dealing with gaps, blank-spots, and blackouts - and in handling all these breakages, we are, at all times, so incredibly intimate with sharp edges, the unending knife-like moments of failure and joy in our lives.
Girls need to know that we are all unique and that we should all celebrate our unique beauty because it comes in all different shapes and sizes.
For me, form is something I locate in the process of writing the poems. What I mean is, I start scribbling, and then try to form the poem - on a typewriter or on my computer - and, by trial and error, try to find the right shape. I just try to keep forming the poem in different ways until it feels right to me.
think we're still stuck in that agricultural mindset, where we imagine that we can shape the Earth. Sure, we can do that. But the Earth has the power to shape us much more powerfully. To survive climate change, we'll have to realize how dependent we are on our ecosystems for our own survival.
Amphibians are dying out like crazy, and frogs and salamanders may be largely extinct by the end of the twenty-first century. Imagine an animal that begins its life in the water, but ends it on land - already, that's pretty weird. But, also, a lot of them are incredibly tiny and look wildly improbable. They have funny little toes, they stretch their throats into weird bubble shapes when they croak, and some of them are poisonous to the touch. I think kids from the twenty-second century might mythologize amphibians the way kids today mythologize dinosaurs.
Basically political economy - that you have to look at how funding structures shape the media landscape. You have to look at commercial interests, consolidation - the economy structures are experience.
I just want the songs to have the staying power as my favorite songs. If you listen to any Hank Williams song, when you're in a good mood, it's going to put you in a better mood. If you happen to be bummed-out, you're going to feel maybe a little more bummed-out and better at the same time. At any time in my life, his music has had meaning and value to me. If a song can shape-shift in that way, that's a sign of success.
Perhaps adding a line or two of dialogue to try to better capture an emotion. But I've found that if the story isn't there in the beginning, right from the start, I generally can't beat it into shape no matter how much rewriting I do.
I tend to employ braided narrative threads in the lyric, so often echoes (of phrases or images) will occur and will hit my ear so I can shape different resonances and shifts in tone.
The landscape of childhood shapes us as it shapes the characters in our stories. You never forget the sacred places of your childhood.
In almost every book I've written, there is a reference to a movie - legendary films, actors and actresses, and forgotten made-for-TV movies. The leaps poems make are not unlike the cuts in a film. The miniature and avant-garde prose poets have perhaps the most obvious ties to film, as a prose poem in its shape is not unlike a movie screen.
I grew up in the dance school my mother owned, and I see everything in body shapes, everything visual.
The White Horse video which was directed by Marco Ovando started off with a biker theme. Once Ava Sanjurjo came in as stylist along with Marco & I it really took it's own shape. It was all very improvised but wound up paying homage to NY and night life. People say it reminds them of a Guess ad which I love!
Overall, our population is in the worst shape it's ever been. Children are in terrible shape. We have absolutely unprecedented numbers of obese and overweight children - one in three now. A generation ago it was something like one in ten.
As a male, I thought the female voice was so strong, unique, real and accessible to most females. In some way, shape or form, they felt like they could relate to it, on some level, because they went through some form of unspeakable horror like what Kilgrave did to Jessica [Jones]. That, in itself, is something that most people shy away from, even in shows that are on cable or in movies.
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