I didn't know I was a zombie pedant until I started considering what from the zombie canon to keep in 'Zone One' and what to ignore.
Colson WhiteheadRead
If you go to a big publishing house, editorial aside, it's completely white.
Interpretation
This quote highlights the lack of diversity and representation in major publishing houses.
Colson Whitehead's quote critiques the cultural homogeneity that often exists in the publishing industry, suggesting that while there may be editorial talent, the prevailing environment lacks representation and variety, particularly in perspectives and voices. This remark underscores the importance of inclusivity in literature and the need for diverse narratives that reflect the richness of human experience.
In practice
During a talk on diversifying literature, I would highlight Colson Whitehead's words to emphasize the need for varied voices in publishing.
I didn't know I was a zombie pedant until I started considering what from the zombie canon to keep in 'Zone One' and what to ignore.
I don't generally follow sports. At an early age, I discovered that nature had apportioned me only a small reserve of enthusiasm. Best to ration.
In keeping with my family's affection for doomed product lines and hexed formats, we purchased a Betamax. The year before, we'd bought a TRS-80 instead of an Apple II, and in due course we'd unbox Mattel's Intellivision, instead of Atari's legendary gizmo. This was good training for a writer, for the sooner you accept the fact that you are a deluded idiot who is always out of step with reality the better off you will be.
Access to information, to music or any kind of culture, is getting faster and faster and more streamlined. At each juncture, people are thrown into tumult and have to adapt or die.
I use New York to talk about home, but the ideas in 'Colossus' could be transferred to other cities. The story about Central Park is really about the first day of spring in any park. The Coney Island chapter is really about beaches and summer and heat waves.
Early on my career, I figured out that I just have to write the book I have to write at that moment. Whatever else is going on in the culture is just not that important. If you could get the culture to write your book, that would be great. But the culture can't write your book.
I've always been interested in photographs, collecting them not systematically but randomly. They get lost, then turn up again.
Donβt go to a museum with a destination. Museums are wormholes to other worlds. There are ecstasy machines. Follow your eyes to wherever they lead you, stop, get very quiet, and the world should begin to change for you. And if you see me, say something! We can talk about it together.
I knew I wanted to act from a very young age - from about nine, really - but I didn't know how to go about it. I had no idea. The world was a much bigger place then.
Three children have become adults since a phone call with Jo Rowling, containing one small clue, persuaded me that there was more to Snape than an unchanging costume, and that even though only three of the books were out at that time, she held the entire massive but delicate narrative in the surest of hands.
The next time you look into the mirror, just look at the way the ears rest next to the head; look at the way the hairline grows; think of all the little bones in your wrist. It is a miracle. And the dance is a celebration of that miracle.
My fiction may, now and again, illuminate aspects of the human condition, but I do not consciously set out to do so: I am a storyteller.
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