Men tend to dominate whatever public discourse they participate in, and another big part of feminism is to let women have their say. Men's voices can be welcome at the table, but there is a time and a place, and maybe it's now, for men to make a little less noise, make their needs less known, and listen to the needs of others.
As important as politics are to me, the life and the spirit of people's emotions are much more important. People live real lives where they love and grieve and feel pain and joy and that is a whole separate sphere. All that political stuff, I believe in it strongly, but not as strongly as I believe that at some point you or someone is going to need a song to sit with and comfort them in a hard time.
I'm finding things out about myself as a person - as a writer - as I write, and so are the people who listen to what I do. But they have this additional aspect of how they take the stuff that I do, and so it broadens the work and it creates this strange connection. It's really a way of strangers communicating through this third thing, which is a body of work. But really, I know it's a cliché to say I write for myself, but I write for myself.
What I like is horror movies, including '80s slasher movies that politically I have all kinds of problems with. Which is an interesting balance, because I have this leftist puritan strain that, well, if you like something that goes against your politics, maybe you should train yourself not to like it. But I know that I like horror movies and that's what I watch when I get a moment.
I make up stories that take place in real space with real people. If I could convert this into a technique for experimental novels, I might really be onto something.
I like a lot of hardcore, but it's just a genre about which I don't have much to say. It's kind of a thing where, unless you're active in the hardcore community, what could you have to say of value about it? It resists criticism because it's not just a style but an entrance into several different worlds of ideas- political, philosophical, societal. The music is really only part of the whole scene. In that sense, the music doesn't change much because it shouldn't: It needs to be there as a signal that you're entering into a certain discursive mode, maybe.
You're not really going to know what a place is like 'til you've lived there a few years - you sort of just have to go with your gut.
I always worry that I'm a dilettante: I know something about lots of things but don't have exhaustive knowledge of much. Take dance music: I like enough of it and its history to be able to say a word or two about this or that record, but I'm nobody's authority. I couldn't name more than a couple of good drum'n'bass acts, and I have no idea what's big in the dance world right now.
I don't understand being idle; I don't have an idle setting. I probably should develop one.
In the present political situation, it's an interesting phenomenon to look at: what is the appeal of an autocratic leader? Why do people want somebody who yells at them? For most of us, that's so hard to understand. Who wants that? I think there are a lot of people for whom that fulfills some kind of need.
It's an important moment as a reader, I think, when you can forget the question of whether you need to know what happened. Some people really want hard explanations. I'm the other way. I like mysteries. I don't want to frustrate people. I don't want people to feel like they got no answers, but I want to approach the mystery and sit with it.
My family, before the divorce, moved several times, and after that we moved a whole bunch more times, and so I don't have an anchor to a single place. Probably as a result of that, I'm a little more attenuated to when people do feel close identification to place, whether they say it out aloud or not. I think that there's a sort of local patriotism that is deeper than national patriotism.
When I became conscious of being a person, when I was very small, I knew that I was from Indiana, but I had never seen Indiana. I was born there, but we moved when I was, like, a year old. I always had a sense of a place that was far away from where I was. I would research it and find out about it and I remember on Christmas morning I used to always call Indiana to find out what the weather was like; to see if it was snowing or not.
When you know where somebody is, you know the most important thing about them.
I think grief is a huge subject; it's one of the things that everybody is going to confront in one way or another. There's been a lot of books written about how Americans have an odd way of trying to defer grief or minimize the need to grieve. People used to have a lot more ritual grief in their lives. For the most part, we think of it as a strictly temporal process: you grieve for a time and then you're over [it], but it's also a spatial process. It travels across a map.
I don't really have any position to complain about my job. Yeah, every job has its moments like, "Ah, you know, it's Wednesday." But I'm blessed. I love my work.
I did a lot of music criticism. I don't think much of it was any good. I think I wanted to show off a lot when I was younger. Now I just want people to enjoy the story. If it were possible to publish anonymously, that would be awesome.
I was 14 or 15 when I discovered poetry, and I pretty much stopped writing prose until Master of Reality.
I wrote short stories when I was a teenager, but they weren't any good and I kinda knew it.
There are stylists I really love. I'm a huge Joan Didion fan - if I wrote something that she might like, then I'd feel very proud. I want the action to move as quickly as it does in A Book of Common Prayer, where one thing bonks right into another very quickly.
There are real teachers out there; I don't pretend to have their mantle.
I have a hunger for justice, but art is a place I've always enjoyed being able to be free - to live in worlds that you don't have to be thinking about that all the time. I don't see myself writing Upton Sinclair books. My books are to entertain, although to me, entertainment is to make you feel sadness or to get in touch with your own pain - or fear, or to remember somebody who has gone missing from your life. That's my calling.
The South actually has a very strong tradition of activism. The civil rights movement came from down here! It was black activists demanding that their voices be heard. People say these are red states. No they're not!
Over the past 40 years, the tradition of Southern progressivism has been somewhat successfully erased by right-wing revisionist historians.
Our [former] governor [Pat McCrory] was supposed to be a moderate, but he found himself beholden to people who have much more draconian ideas. I think he assumed this stuff flew under the radar.
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