David Shields Quotes
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To be honest, there are parts of 'How Literature Saved My Life' that began as interviews. Someone was telling me that they think the book sounds very phonic: that it sounds like me speaking. And I don't think it's a coincidence that there are six to ten passages that I cadged from various interviews that I did post-'Reality Hunger'.
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It's true of so many fiction writers that I much prefer the essayistic work they did, whether it's David Foster Wallace's, or John Cheever's, or Nathaniel Hawthorne's.
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We're completely confused about the boundaries between fiction and non-fiction. To me, the moment you compose, you're fictionalising; the moment you remember, you're dreaming. It's ludicrous that we have to pretend that non-fiction has to be real in some absolute sense.
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The ways in which I was obsessed with Gary Payton and Shawn Kemp 20 years ago is completely replicated by my daughters' and my crush on Marshawn Lynch and Richard Sherman now.
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Life, in my view, is simple, tragic, and frighteningly beautiful.
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In the NBA, as in nowhere else in America, white people are utterly beholden to black people, and they're not about to let us off that easily. It's a kind of very mild payback for the last 500 years.
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I still see life entirely through its Darwinian prism. I keep trying to shake off the aftereffects of writing 'The Thing About Life Is That One Day You'll Be Dead', and I find I can't.
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Aging followed by death is the price we pay for the immortality of our genes. You find this information soul-killing; I find it thrilling, liberating.
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The 'Times' is understood to be almost the unofficial biographer of the country, in some strange way to be printing a kind of quasi-neutral truth or even, in some people's minds, slightly center-left version of reality.
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I couldn't tell a story if my life depended on it. I'm the world's worst joke-teller.
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Both of my parents were journalists, and my rebellion, such as it was, was to become a fiction writer.
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I hope readers will think that 'The Thing About Life' is beautifully patterned, a tapestry.
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I'm very drawn to the way in which a life lived can be an art of sorts or a failed art, and a life-lived-told can be art as well.
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In many senses, creativity and 'plagiarism' are nearly indivisible.
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Our lives aren't prepackaged along narrative lines and, therefore, by its very nature, reality-based art - underprocessed, underproduced - splinters and explodes.
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The N.F.L.'s rule on underclassmen should be abolished, and the N.B.A. should be discouraged from adding an age limit.
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I went to graduate school in Iowa City, at the Iowa Writers' Workshop, where the most passionate thing I did was attend University of Iowa basketball games.
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The essential gesture of the contemporary novel is to get people to turn the page, to entertain them, and I hate that. I want a novel where the gesture is towards existential investigation on every page. That, to me, is thrilling.
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A major focus of 'Reality Hunger' is appropriation and plagiarism and what these terms mean. I can hardly treat the topic deeply without engaging in it. That would be like writing a book about lying and not being permitted to lie in it.
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In music, they're not endlessly rewriting Beethoven's 'Third Symphony;' in visual art, they aren't painting portraits of 16th-century royalty. Art moves forward.
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Nothing really changes: the individual's ability to project his message or throw his weight around remains minuscule.
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The thing I hate the most in any kind of writing is self-righteousness. Where you pretend you don't have the same kinds of flaws your subject has.
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If the bus driver is black, I thank him... when I get off at my spot, whereas I would never think of doing this if the driver were white.
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From Matthew Brady and the Civil War through, say, Robert Capa in World War II to people like Malcolm Brown and Tim Page in Vietnam. There was, seems to me, a kind of war-is-hell photography where the photographer is actually filming from life.