The challenge for a nonfiction writer is to achieve a poetic precision using the documents of truth but somehow to make people and places spring to life as if the reader was in their presence.
Simon SchamaRead
The default mode of modern writing about art is to despise any notion of singularity as so much overheated genius-fetishism.
Interpretation
The quote critiques the prevailing trend in contemporary writing about art to reject the idea of individual genius.
In this quote, Simon Schama addresses the contemporary tendency in art criticism to dismiss the concept of singular artistic genius as merely an exaggerated form of fetishism. He suggests that modern discourse often overlooks the value of singular creativity in favor of a more collective or relativistic understanding of art, thereby undermining the appreciation of individual contributions and unique perspectives that shape artistic expression.
In practice
Using this quote during a panel discussion on contemporary art criticism to challenge conventional views.
The challenge for a nonfiction writer is to achieve a poetic precision using the documents of truth but somehow to make people and places spring to life as if the reader was in their presence.
In its Greek origins, historia meant inquiry, and from Thucydides onwards, the past has been studied to understand its connections with the present.
Jewish history turns out not to be an either/or story - as in, either pure Judaism detached from its surroundings or else assimilation - but rather, for the vast majority, the adventure of living in between.
I understood when I was quite small that there were two special things about the Jews. That we'd endured for over 3,000 years despite everything that had been thrown at us, and that we had an extraordinarily dramatic story to tell.
History is admirably dangerous. It is not the soft option. Teachers need to be grown up and brave. Sensitivity is fine, but it stops at the door of honest narrative.
History gives you insight of the same quality of truth as poetry or philosophy or a novel.
A jazz musician is a combination orator, dialectician, mathematician, athlete, entertainer, poet, singer, dancer, diplomat, educator, student, comedian, artist, seducer, public masturbator, and general all-round good fellow.
Prowling the meanings of a word, prowling the history of a person, no use expecting a flood of light. Human words have no main switch. But all those little kidnaps in the dark. And then the luminous, big, shivering, discandied, unrepentant, barking web of them that hangs in your mind when you turn back to the page you were trying to translate.
The lovely thing about writing is, well, two things. One, writing fiction allows us to bring an order to our lives that doesn't exist in real life. And two, it allows us to create human characters that we know better than we will ever know anyone in real life.
Music comes from the musician, not the instrument.
Writing is the same as music. Itβs in how you phrase it, how you hold back the note, bend it, shape it, then release it. And what you donβt play is as important as what you do say.
There were three of us; Witkiewicz, Bruno Schulz, and myself--the three muskateers of the Polish avant-garde between the wars. Only Witkiewicz remains to be discovered.
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