I love The End of the Batman story. I have my original copy, the hardcover, at my house from when I was a kid, whenever that was,'88 or '89. It was very influential to me because it was so explicit in touching on the notion that Batman might be mad and that he might belong in the mad house.
I think it's very hard to reconcile oneself to the notion that it may not matter what you think if you still want to write.
I like the notion of guiding, because I can offer advice through my own experiences, tastes and beliefs. But it's all in that individual's hands.
I love challenging the notion that, in order to be a tech founder, you have to be holed up in a dark room wearing a T-shirt and baggy jeans.
I like to blow up this notion that all we have to do as writers and artists is represent reality, which is presumably solid and self-evident, with no negotiation of the gap between myself and the world, between this body and this space, which needs narration to close it.
Despite all that I know rationally, and everything that I can put into words, I can say that I have difficulty giving up the notion of the nobility of art.
Be content where you are! The sooner I let go of the notion that something could only be one way, the way I had planned it, without fail, I have always gotten more done and with far less discomfort.
In any regime there is always something that one should agree with, and in Shades there are quite a few notions that, on the face of it, seem like a good thing - the strict adherence to good manners, the fact that learning a musical instrument is compulsory, as is dancing, performing musicals and an hour's Useful Work every day in order to properly discharge your duty to society. But a cage is still a cage, irrespective of the nature of its bars.
Once I became historically aware, I realized there are these formative moments of history tied around tragedy and disaster and sacrifice, that led people to survive and take stock and move on with some kind of notion of betterment.
That requires quite an imaginative leap because it's hard for me to imagine that my biography would be of much interest to anyone, and because I'm a fairly private person, the notion doesn't appeal to me.
The ways sexuality plays out in political economies is central. And Cambodia's political economy is organized around this notion of family. So lesbianism is actually perceived as being threatening to a degree that it would have not been, for example, under socialist East Germany. But it's one of the essential issues of women's freedom: Do you get to do want you want to do with your body? Not if you don't know what your body is for.
I did a lot of work with early 20th century attitudes, the kind of superficial notions and behavior that prompt people who don't know history very well to think that "people were different back then" - but beneath all that are characters who react in ways that we can all recognize, and will always be able to recognize.
When you have an authority figure tell you something that distinguishes you, there's a little bit of a badge of courage or pride point that comes with it, and also some relief that the grownups actually have an answer for the problem. But, at the same time, there's suspicion and defensiveness, like, Why is the way I do things a problem? Maybe the way you do things is the problem. All of these things come with the very notion that you've been described.
There's a ton of truth in Flannery O'Connor's notion that "Anybody who has survived his childhood has enough information about life to last him the rest of his days."
Radio, or at least the kind of radio we're proposing to do, can cut through that. It can reach people who would otherwise never hear your work, and of course I find that very notion inspiring. Radio stories are powerful because the human voice is powerful. It has been and will continue to be the most basic element of storytelling. As a novelist (and I should note that working my novel is the first thing I do in the morning and the very last thing I do before I sleep), shifting into this new medium is entirely logical. It's still narrative, only with different tools.
As a writer, I was deliberately creating an alternate world, and then populating it with experiences and people that I knew in this world, but I'd shake up the mix considerably. And about the same time that the memoir was becoming the dominant popular literary form in the mid to late 90s, I started reading writers who were deliberately playing with the notion of "truth" and "fiction" - that struck me as a much more interesting way to tell certain stories, particularly in the realm of comedy.
It seemed like, in the early '80s, there was just a moment where there was suddenly no specific notion of what a rock band could be or what a song could be.
Palestine is an extremely familiar place to me. Someone like me who lives everywhere in the world cannot be contained. If my hope and ambitions are in the right place, you can judge that in my films. I want to make films that diffuse any local notion. Cinema criss-crosses borders and check points. If the film is good, then it's universal.
The notion that "this too shall pass" is comforting, both in knowing that whatever pain I'm in will change into something else and allowing myself to experience the pain, not trying to blunt it or brush it aside. It's important to feel and to be connected to your emotions, whichever way they play out.
This whole notion that the robot has to declare nuclear war is one part of the discussion, but it may not be reality. Reality is, maybe it can empathize to a far greater degree than we can and experience a way wider range of emotions. So, why not have a robot that can do that?
And of course, FDR was very charming. At 6'2", he was tall enough to be her beau, and they made a beautiful couple. And she could encourage him. His mother also encouraged him. So this notion of a woman with ideas of her own and a spirit of her own and a style of her own was very congenial to Franklin. And he loved her. And their romance was a very dear and true and deep romance.
We, the United States, have to be guilty. We have to be guilty. We have to be underperforming. We have to be not showing compassion or dignity or whatever code word is used to transmit the notion that we're mean-spirited, that we're selfish, and that we're probably bigoted and racist and don't want people here like that.
I don't have much use for the concept of innateness. The everyday concept incorporates a number of different notions that can come apart in in many ways, and as a result encourages a range of dangerously fallacious inferences.
The notion of a conscious model of oneself as an individual entity actively trying to establish epistemic relations to the world and to oneself, I think, comes very close to what we traditionally mean by notions like "subjectivity".
I'm not a literary writer who is wedded to notions of realism and fiction. I believe that you can write anything if you can feel it convincingly.
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