I stare out the window and reflect on the similarity between writing and saving a life and the inevitable failure of one's imagination and one's goals and ambitions to create a character or a life worth saving.
Miriam ToewsRead
A writer is always, always searching, even against her will, against all her better instincts, for the thread of a story. Everything is fodder. Everything is fuel. You can feel it coming on like the tingling of a sore throat. The brain never stops struggling to reshape every experience and feeling into a coherent narrative.
Interpretation
Writers constantly seek inspiration from their experiences to create stories, driven by an innate urge to narrate.
Miriam Toews highlights the relentless nature of a writer's quest for stories, suggesting that they are continuously processing their experiences and emotions to find narrative threads even when they might not consciously desire to do so. This process is instinctual and pervasive, turning everyday moments into potential material for storytelling, emphasizing how deeply integrated storytelling is in a writer's life.
In practice
During a writing workshop, this quote can inspire participants to embrace their life's experiences as potential stories.
I stare out the window and reflect on the similarity between writing and saving a life and the inevitable failure of one's imagination and one's goals and ambitions to create a character or a life worth saving.
My father died beside trees on iron rails... He had 77 dollars on him at the time, and we used the money for Thai takeout because, as my friend Julie says about times like this, 'You still have to eat.'
When a person becomes a legend, the very thing that makes them human and knowable is killed off, so it's like being killed over and over and over again, for all eternity.
There are people who are just suicidal, regardless. They are built to self-destruct. It seems, in my family, like a virus that's resistant to any kind of help or care or medication.
Writing helps me to create order out of chaos and make sense of things. It helps me to understand what I've experienced, what I've felt and seen, so it becomes a little easier to handle. On the other hand, I don't want it to be just a cathartic experience, an outpouring of grief or whatever it is.
I had a thought, on the way home from the rock field, that the things we don't know about a person are the things that make them human, and it made me feel sad to think that, but sad in that reassuring way that some sadness has, a sadness that says welcome home in twelve different languages.
Orcs, and talking trees, and leagues of grass, and galloping riders, and glittering caves, and white towers and golden halls, and battles, and tall ships sailing, all these passed before Sam's mind.
Design is the term we use to describe both the process and the result of giving tangible form to human ideas. Design doesn't just contribute to the quality of life; design, in many ways, now constitutes the quality of life.
I am uncompromising to the point of huge dissension in the studio. And it's served me very well. My theory and my philosophy is, 'Compromise breeds mediocrity.' Obviously, you have to pick your battles, and the more success an artist has, the more they want to be involved in their own career, which is not necessarily a good thing.
I can't live where I want to, I can't go where I want to go, I can't do what I want to, I can't even say what I want to. I decided I was a very stupid fool not to at least paint as I wanted to.
When I applied for grad school, I did not specify genre. I said I wanted an MFA in Creative Writing. I was so cute and stupid! The admissions committee at Pitt decided to put me in poetry.
I started to do stop-motion when I was a kid. You take a Super 8 and make some models, and move, click, move, click. All that. I love all forms of animation, but there is something unique and special to stop-motion: it's more real and the set is lit like a set. But I think it's also a kind of lonely and dark thing to want to do.
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