[Wilson] has this strange inability to censor himself, and he'll say these things that are sometimes quite caustic or end up creating some kind of violent reaction, you know. But, you know, I admire that.
It seems strange to me that someone thought of making marble statues.
I think that may be the biggest difference between Americans and people elsewhere. Unlike Americans, Canadians know that there are places just as real as Canada. It's a self-centeredness that's a very strange thing.
Stand alone books are nice because they have everything all in one tidy little package. Neverwhere was awesome because you get action, adventure, character development, the exploration of a strange world, PLUS resolution of all the problems and mysteries at the end. No lines no waiting. That's very satisfying. Multi-volume stories are satisfying too, just in a different way.
I thought it was strange that I was called after a woman who killed herself in ancient literature. You just don't call your kid Dido and send her to school. But it's great for me now. It's just another thing that makes me stand out.
As much as there is joy in writing, there's always the little bit of terror to keep you on edge, on your toes. It is a strange way to occupy yourself - to enjoy your life on a daily basis. There is no guarantee that something great is going to come next.
I don't like to try strange foods. I like to explore different foods, but if you ask me to eat crocodile or frogs... I'm like no. That's where I draw the line.
It always felt like the price of being a writer was that you would - even in the most terrible moments, there was a little phantom version of you sitting on your shoulder with a notebook going, I can use this. OK, look at the way that the light is glinting off the broken plastic on the road next to the blood. You can use this. And it was always a very strange feeling.
America is a very venal place; everything has to be sold there. You can repackage your own s**t and sell it if it is marketed in the right way. The motivation is to sell. It's so illogical and strange to me. It's such a disposable culture and yet I feel comfortable being American.
Sometimes my life has been Odyssean - landing on strange islands of consciousness and reality and meeting very curious monsters who turn out to be very great teachers. Sometimes my life has been a quest for a grail of knowledge and education. Like Parsifal, my life has been a quest to pierce the veil, stumbling along but eventually finding it.
As a non-western artist, you have to ask yourself a question fairly early in your life: do I want to become a bridge maker, do I want my culture to be understood by the west? I have no intentions of doing such things. I'm fine being a little strange to a non-western audience. It doesn't bother me if my book doesn't change a generation of American readers.
As much as we - in a revisionist way - tell ourselves that we've always been a righteous country with a couple of swerves off the path, we need to look back and see that we've always also been a racist country and have had a tendency towards banal aggressiveness. The thing that's alarming is not so much that a few people in America at the top are initiating these crazy policies, but that the middle is willing to go there too. There's a strange movement of the middle to this position of banal aggressiveness.
People do need a social license to go, "Ha ha ha," and have a good time. It's a strange thing. There's a lot of social ritual around comedy and laughter. It's a bonding experience for groups, but nobody can tell you much about how funny somebody is. Sometimes people just need to be in a group and be laughing together, just like they need to be in a group in watching some really terrifying film.
There probably is a lot of music that no one's ever gonna hear. For anyone doing music, just do exactly what it is that makes you want to do it. If you like listening to odd, strange, bizarre noise and that makes you want to create it, do it. Even if everyone around you tells you it's crap or thinks it won't work, someone out there is going to appreciate it.
The funny thing is, nationalism only could have come about in Europe after the invention of printing. You could have this thing that was a book in a vernacular language, and you could imagine there were other readers of this book who you couldn't see, but they were a theoretical union of readers who all use the same language. That is kind of a prerequisite for a national fantasy. You need that thing, and it's a strange thing.
When you speak a foreign language, you become someone else. If you aren't used to speaking a language, and you start speaking it again, for the first few sentences you'll find yourself in very strange shape, because you're still the person who was speaking the first language. But if you keep speaking that language, you will become the person who corresponds to it.
With the children of Holocaust survivors, there is always a very close relationship. You grow with the sense that you are parenting your parents and - with this kind of responsibility to protect them. That's what makes the children of Holocaust survivors strange.
I believe that many lives around us now can reflect this strange pattern of migration and movement. The question is: are we aware of it, and do we embrace it as a kind of birthright? I do. And yet, I feel deeply connected to at least two homespaces - Jamaica and Ghana, and more recently, South Carolina.
One of the fairly interesting things about money is that it makes certain things possible that wouldn't be possible otherwise - it doesn't make them inevitable. Hence the strange blindness of economists to what would actually happen when one does exchange things if there isn't money in such contexts.
Looking back, the only person that really surprised me was Chris Vrenna only because I've known him since 1992, and for him not to be able to say it to my face, "Hey, I don't want to do this anymore." Instead, he said "I'll see you tomorrow" and then he never came back. I find that strange. I don't know if he is afraid of me or thinks I'm going to beat him over the head with something. I'm not like that.
I feel like you have to earn something with an audience. If I just did it now, I think producers on any superhero movie, I think they wouldn't trust me to do it the way I'd want to do it, because I'd want to do something basically really strange. I think you have to earn that freedom to do stuff like that. So I think, if I keep kind of chipping away, trying to do good movies and interesting, strange movies then people will eventually trust you to do that on a bigger scale.
Music making features real-time creation, real-time decisions and actions. It's basically improvisation, which is the stuff of everyday life. In the realm of discourse about music, improvisation is marginal, but in the realm of doing it, it's omnipresent. Strange distinction here: we're improvising all the time, but when we tend to talk about music, we tend to talk about objects that are fixed, like recordings, scores, pieces.
When you see these characters like Captain America or Thor, laughing at their own situation or about how strange they are, then you are able to accept more readily that it's fine to wear a cape. You can also accept that it's fine to be enormous and green, or to shoot arrows at aliens racing through the sky. It all makes sense if you've been able to laugh at it and with it.
I'm really interested in the United States, what it means to be American - maybe because my father's an immigrant and my grandparents were immigrants, and also because I grew up so isolated from mainstream life, and it was such a total shock to leave the commune and, in a way, enter America for the first time when I was eleven - so I've always felt a little like an anthropologist - like, what is this strange place I find myself in, what are the rules here?
There are all kinds of strange threads in American culture, and places where sympathy is extended and places where it isn't, and places where outrage is extended and places where it's not. It's this constantly shifting barrel of eels.
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