I don't know if you've ever been shoved into the bow of a nutshell pram, a boat that is very easily almost liftable with one hand, and quite tippy, and is being piloted by a 12-year-old, but it is the true feeling of having your life in someone else's hands, and it's very precarious.
My favorite season is autumn, and Maine is lovely for that reason. In Maine, autumn begins on July 29. That's when you start building a fire in the fireplace and the leaves literally start falling from the trees. It is a cold and rugged and a beautiful place that reminds you with its many death traps - its painfully cold oceans, its sharp, jagged beaches, and perilous cliffsides - that nature doesn't care whether you live or die.
I think that I'm reaching a point in my life and in my career where soon it will be important for me to get out of the way and let younger, hungrier, more interesting people do what it is that I do. Maine is a wonderful place to hide, because no one ever looks for you there. And the goal of every person in Maine, whether native or from away, seems to be to mitigate as possible all human interaction. So it's a good place to disappear in.
Sports is a bloodless rehearsal of confrontation, and everyone shakes hands or high fives or fist bumps at the end to show that everything is okay.
I navigated the world as a hedge maze of constant fear and worry in which I might take the wrong turn and jeopardize the love of everyone around me and everyone on Earth. That's what I needed in order to survive.
For many years, people would say, "Only child? Must have been terrible," and I wanted to say, "You are mentally ill, because it was the greatest." You got all the attention. You never had to share anything. No one ever ate your food. No one ever took your toys. But the unintended consequence was that I didn't appreciate that being universally loved was not only not required for happiness, but also not possible.
There is no metaphor for death. All comparisons are odious, but I'll do one anyway. We all have these moments of harsh clarity where we realize that something is gone, whether that is youth, whether that is someone we care about, whether that is where we literally lose someone we care about to death. Or we end a relationship that we thought would last forever, or have one ended for us. We all have these moments in life where it seems impossible to fill up the time that we have left for us, and yet we have to do it somehow.
When you're a young person, you are biologically driven to believe you are immortal, and that's why you engage in all kinds of risky behavior you stop once you feel death's cruel breath on your neck. I think that as a straight white man in particular, I was tempted to believe that I was immortal and eternal because, after all, in this culture, straight white dudes are the heroes of every story that you see or read about with very rare exception. So how could the story go on without the hero, you know?
The understanding that we reach a point where we stop becoming something and start ending as something. That comes at different times in different points in different people's lives, and obviously there are lots of people who experience the presence of death much more keenly and much earlier than I did. But we all come to grips with it eventually.
The fact is I'm very self-similar.
I used to enjoy the anonymity of being a literary figure and occasionally a public radio figure.
I realized that we're now at a point of self-reference with the Internet culture that there's almost no there left, you know? It's important to make new things. It's important to make culture, rather than simply reference it. I love a good cultural reference, and it's one of the great joys in my life, but it has to all be in balance with the core job, which is to make something new. And that sort of brings me around to why I started talking about my fondness for marijuana.
The nice thing about live performance is that I've never, ever been let down. Partly I'm lucky that my audience self-selects itself. Generally they know what they're in for, and generally we all just like each other and get along. But I always find one or two or a dozen really interesting people in the audience who make the show different. And that's one of the things I really like about performing.
My whole creative career is a product of the Internet. ...I'll take that back. To some degree. My fascination with cultural esoterica and trivia and so on was well-formed long before I got my first AOL account.
So I am a product of the Internet, and to some degree a product of this sensibility of constant cultural reference.
That catharsis is really the core of the incredibly personal comedy of Louis C.K. or Marc Maron or whatever. And look - I find it fascinating that I'm sitting here talking about some of these things, and not to low tones, and my kids are in the other room. I have to trust that if they hear what I'm saying and they have questions about it, I'll be able to answer it, and that's fine. But that's part of the scariness of it - the reality of opening up my own life and my own feelings.
This is something that the nimblest standup comedians learn, over time, to handle gracefully. They'll go between prepared material, then they'll respond to what's happening in the room and weave it back into the prepared material and so on.
One of the things about crowd work that's so exciting is when you discover a character in the audience who's interesting or funny, who you can vibe off of. If someone's got a weird job that you can make reference to throughout, or you can bring that person onstage - humiliate them, or celebrate them! You can put people in conversation with one another. The best is when something that they're doing can reflect back on something that you're doing.
When you're sitting down and you're blocked and you just start writing and something in your mind just clicks, you start seeing connections and so on, you really do feel like you're channeling something else.
I'm not a particularly religious person, but that feeling of getting transmissions from someplace else, even if it's from your own consciousness, is very, very real. To me, at least.
So much of creativity is the feeling that you're either getting a gift from some other dimension or some other part of yourself.
I really wouldn't censor myself. But because it was on such a slower scale, I would throw things out, and I indulged the personal stuff as little flashes of truth. Little in-jokes for anyone who was paying particular attention.
You know, I began my life as a creative person writing true things for magazines and telling some very honest, straightforward personal essaying for This American Life, but until someone forces you, with a deadline, to really observe your life - unless you're motivated to do it yourself - there's so many stories that you miss.
Panic is an incredibly catalyzing creative force. And almost out of sheer necessity, I found I had to talk about myself and my real life as it is effectively lived by me.
I don't wish to brag, but I'm very intelligent.
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