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With a book you can read the same paragraph four times. You can go back to page 21 when you're on page 300. You can't do that with film. It just charges ahead.
The more film I watch, the more John Ford looks like a giant. His politics aren't so good, and you have to learn to accept John Wayne as an actor, but he's a poet in black and white.
I hate libraries for the way they put stickers on things. I don't approve of folding over pages, or of writing in books. God, forget scissors - that's beyond the pale.
The computer is the way I'm making books, but I still think about the physical properties. I visualize the length of a book, the proportions of a book, in material terms.
The past is still visible. The buildings haven't changed, the layout of the streets hasn't changed. So memory is very available to me as I walk around.
Making books has always felt very connected to my bookselling experience, that of wanting to draw people's attention to things that I liked, to shape things that I liked into new shapes.
I definitely care about how the concept of New York punk was constructed, and why it mattered. But I wasn't gonna do that. Partly because I'm not a great journalist...
When Rolling Stone handed me this crazy assignment to be in the studio with James Brown, they had the misapprehension that I'd written for them already just because I claimed my character had.
In the sea of words, the in print is foam, surf bubbles riding the top. And it's a dark sea, and deep, where divers need lights on their helmets and would perish at the lower depths.
I got into underground comics fairly early on and kind of wandered away from the superhero stuff, but I was an art student and I was drawing a lot as a kid.
I'm gregarious with writers and never with manuscripts . . . I [like to] create the illusion of seamless perfection, so I alone know the flawed homely process along the way.
You don’t have the slightest idea of what it means to write a scene and a character in the English language, with images and words chock full of received meaning.
Once you fall into habits, I think, you're dead as an artist. You have to challenge yourself and never rest on your laurels, never think about what you've done in the past.
No matter how enormous a novel may become, the physical act of reading determines that there's no way it can become a communal experience. To read is intimate. It's almost masturbatory.
What's beautiful about art is that it circumscribes a space, a physical and mental space. If you try to put the entire world into every page, you turn out chaos.
I don't really ask of myself a given word or page count or number of hours. To work every day, that's my only fetish. And there is a physical quality to it when a novel is thriving.
What I'm constantly striving for in my prose is clarity. So that, ideally, the writing will become so transparent that the reader will forget that the medium of communication is language.