The stakes involved in Washington policy debates are often so high-- whether we send our young men and women to war; whether we allow stem cell research to go forward-- that even small differences in perspective are magnified. The demands of party loyalty, the imperative of campaigns, and the amplification of conflict by the media all contribute to an atmosphere of suspicion. Moreover, most people who serve in Washington have been trained either as lawyers or as political operatives-- professions that tend to place a premium on winning arguments rather than solving problems. I can see how, after a certain amount of time in the capital, it becomes tempting to assume that those who disagree with you have fundamentally different values-- indeed, that they are motivated by bad faith, and perhaps are bad people.
Listen to what is being preached today. Look at everyone around us. You've wondered why they suffer, why they seek happiness and never find it. If any man stopped and asked himself whether he's ever held a truly personal desire, he'd find the answer. He'd see that all his wishes, his efforts, his dreams, his ambitions are motivated by other men. He's not really struggling even for material wealth, but for the second-hander's delusion - prestige. A stamp of approval, not his own. He can find no joy in the struggle and no joy when he has succeeded. He can't say about a single thing: 'This is what I wanted because I wanted it, not because it made my neighbors gape at me'. Then he wonders why he's unhappy.
Lou hoisted up her gown and winced as she tottered across the parking lot. The sparkly four-inch heels had looked so pretty in the box, but they felt like a mortar and pestle grinding each bone in her foot. She missed her green Crocs.Lou plucked at the tight elastic, squeezing her under the sleek black dress her fiancé, Devlin, had given her. He walked five steps ahead of her, so she scurried to catch up."Overstuffed truffle and foie gras sausage," Lou said.Devlin's face crinkled in confusion. "What?""It's a new dish, inspired by how I feel in these clothes. Maybe served over brown butter dumplings..." Lou tilted her head, visualizing the newly formed meal.
Be inspired; you have seen another day! Smile; you have another chance! Take a step; you can do it again! Move; you can't continue like this! Do something for that is all life is about! Impact makers take steps. Impact makers face challenges. Impact makers overcome challenges. Each day is a new day to have a different view of the real purpose why we live. Each day is another chance to take a step towards a great end. Each day is another day to choose courage or fear! Each day is another moment of time to dare tactically or to do anything! When you wake up, do something! Smile, you have seen another day! Be happy and make each day count!
A man who says that no patriot should attack the [war] until it is over is not worth answering intelligently; he is saying that no good son should warn his mother off a cliff until she has fallen over it. But there is an anti-patriot who honestly angers honest men…he is the uncandid candid friend; the man who says, "I am sorry to say we are ruined," and is not sorry at all…Granted that he states only facts, it is still essential to know what are his emotions, what is his motive. It may be that twelve hundred men in Tottenham are down with smallpox; but we want to know whether this is stated by some great philosopher who wants to curse the gods, or only by some common clergyman who wants to help the men.
There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ... No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others
Emotions, in my experience, aren't covered by single words. I don't believe in "sadness," "joy," or "regret." Maybe the best proof that the language is patriarchal is that it oversimplifies feeling. I'd like to have at my disposal complicated hybrid emotions, Germanic train-car constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." I'd like to show how "intimations of mortality brought on by aging family members" connects with "the hatred of mirrors that begins in middle age." I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever.
It's easy to want to be an author. You see it in your mind with sun streaming through windows and a Siamese cat purring on an antique rug and a little pellet stove and somehow the bills are paid and there's wit and self-sufficiency and divine inspiration seeping through walls and pores. And then, in your mind, you skip ahead to a book launch party and more Siamese cats.When you graduate from wanting to working, you say, "I am going to flesh out this idea and write the whole thing down, and rewrite it, and rewrite it again, and rewrite it unendingly, and I'll have no real assurance of when it'll be good enough, but at some point I'll pitch it to someone who will decide if I'm delusional or not." The optimism and the ego-bruising, unsexy work needed to follow through feels unending.
Sometimes I think that creativity is a matter of seeing, or stumbling over, unobvious similarities between things—like composing a fresh metaphor, but on a more complex scale. One night in Hiroshima it occurred to me that the moon behind a certain cloud formation looked very like a painkiller dissolving in a glass of water. I didn’t work toward that simile, it was simply there: I was mugged, as it were, by the similarity between these two very different things. Literary composition can be a similar process. The writer’s real world and the writer’s fictional world are compared, and these comparisons turned into text. But other times literary composition can be a plain old slog, and nothing to do with zones or inspiration. It’s world making and the peopling of those worlds, complete with time lines and heartache.
The literary experience extends impression into discourse. It flowers to thought with nouns, verbs, objects. It thinks. Film implodes discourse, it deliterates thought, it shrinks it to the compacted meaning of the preverbal impression or intuition or understanding. You receive what you see, you don't have to think it out. . . . Fiction goes everywhere, inside, outside, it stops, it goes, its action can be mental. Nor is it time-driven. Film is time-driven, it never ruminates, it shows the outside of life, it shows behavior. It tends to the simplest moral reasoning. Films out of Hollywood are linear. The narrative simplification of complex morally consequential reality is always the drift of a film inspired by a book. Novels can do anything in the dark horrors of consciousness. Films do close-ups, car drive-ups, places, chases and explosions.