Armchair poverty tourism has been around as long as authors have written about class. As an author, I have struggled myself with the nuances of writing about poverty without reducing any community to a catalog of its difficulties.
Leslie JamisonRead
When you're a writer and something difficult happens to you, one of the things involved in that is this emergence of narrative potential. And there's then a kind of self-consciousness about telling a story in which you suffered.
Interpretation
Adversity can inspire writers to find deeper narratives in their experiences of suffering.
Leslie Jamison's quote reflects the idea that for writers, personal challenges can create opportunities to craft compelling stories. The process of experiencing difficulty not only fosters the potential for narrative but also brings about a heightened awareness of how one's suffering can be translated into art, inviting introspection on the story behind the struggle.
In practice
A writer sharing this quote during a workshop about overcoming obstacles in creative expression.
Armchair poverty tourism has been around as long as authors have written about class. As an author, I have struggled myself with the nuances of writing about poverty without reducing any community to a catalog of its difficulties.
The pain is what you make of it. You have to find something in it that yields. I understood my guiding imperative as: keep bleeding, but find some love in the blood.
Empathy isn’t just listening, it’s asking the questions whose answers need to be listened to. Empathy requires inquiry as much as imagination. Empathy requires knowing you know nothing. Empathy means acknowledging a horizon of context that extends perpetually beyond what you can see.
I really believe in people putting stories out there that contain the most difficult moments because nothing to me is more lonely making than sanitized stories or airbrushed stories that kind of allied how hard it got.
Empathy isn’t just something that happens to us — a meteor shower of synapses firing across the brain — it’s also a choice we make: to pay attention, to extend ourselves.
In the experience of art, time seems not to exist.
The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.
I have a very healthy relationship to my work, and I find that if a scene is working, no matter how intense it is, you have the catharsis on screen, and you can let it go. I think it's, if at the end of the day you feel like you haven't cracked it, that's when you go home and it's more difficult to switch off.
He stared up at the stars: and it seemed to him then that they were dancers, stately and graceful, performing a dance almost infinite in its complexity.
A nation devoid of art and artists cannot have a full existence.
Folklore is the perfect second skin. From under its hide, we can see all the shimmering, shadowy uncertainties of the world.
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