Hanya Yanagihara Quotes
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What any writer hopes for is that the reader will stick with you to the end of the contract and that there is a level of submission on the reader's part.
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I wanted to see how flavors, spices, and grains traveled back and forth along the Silk Road and were interpreted by a multitude of cultures' palates.
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Misanthropy is born, I think, out of an almost oppressive sense of loneliness, a conviction that there's no one on earth who understands you. I don't think misanthropes hate people: They hate that people hate them.
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We think of writing a book as a process, but the very word - process - suggests that there is one: a template to follow, a map to guide us. If that were true, someone would have surely figured out some marketable method we could all buy.
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If the only thing you knew about Oman was its location, you might never go at all.
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I have only a few really enviable skills, but packing - condensing just the right amount of stuff into a single bag, whether the trip is for a weekend or, as in this case, seven weeks - is one of them.
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Between their rise in the thirteenth century and their sudden fall in the seventeenth, when the line abruptly ended, the Medicis produced three popes, two queens, and many Florentine rulers, and they supported the work of Galileo, Michelangelo, Leonardo, and Botticelli - a veritable parade of geniuses.
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Eating local is a relatively new concept in American dining; for the Italians, it's a way of life.
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Even before it opened its retail arm, Beigh was renowned among pashmina cognoscenti for the quality and complexity of the work produced in its workshop, a large, airy, sunlit rectangle of a room directly across from its second-floor shop.
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One of the writers I most admire is Hilary Mantel because in the middle of her career, she just changed paths entirely and became just a totally different novelist.
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In novels, and American novels in particular, it's not just about redemption, it's about forward movement and healing oneself. Americans are very big on getting better.
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I wanted to write a story about colonization and about Hawaii. I went to college right at the height of identity politics, and that's how I always read 'The Tempest,' for example.
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We tend to talk about death as if it is losing a battle, but that assumes living is winning and dying is not.
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I was interested about how relationships change as you get older. You are great friends in your 20s. In your 30s, you get married. Your 40s are all about your kids. In your 50s, you get divorced, and your friendships become primary again.
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No religion makes more use of color than Hinduism, with its blue-skinned gods and peony-lipped goddesses, and even the spring festival of Holi is focused on color: Boys squirt arcs of dyed water on passersby or dump powder, all violently hued, on their marks.
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The beauty of a Moroccan riad is undeniable, but even the most die-hard fan may find herself growing a little weary of what can come to feel like a one-size-fits-all aesthetic: tilework, white Berber rugs, woolen tribal throw pillows in reds and ochers, cut-metal lanterns.
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So much of writing isn't the fun parts like we get to discuss. It is sitting there putting the words down.
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Where most of the country is, well, hot - from the bone-baking dry heat of the desert to the flesh-melting humidity of Kerala in the south - Kashmir is cool: so cool, in fact, that in the winter, the temperatures can sink to sub-zero.
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You see a virus very differently when it's caught and suspended on a slab of glass than when you're observing how it's ravaged a fellow human being.
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There is something uniquely American about the motel: It speaks to the transient nature of America itself, one enabled and encouraged by our roads and highways.
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When we think of India, most of us are in fact thinking of Rajasthan, that large splotch of dun-colored desert in the country's northwest which, from the seventeenth through the nineteenth centuries, was ruled by a succession of maharajas whose sense of color, opulence, and splendor created the most enduring images of India in the West.
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I do have the sense that, although there may be no one way to write a novel, there are many novelists who are in fact part of some sort of larger literary community, whether in the form of a writing group or an MFA program, to name two of the more common forms.
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Writing is, by its nature, interior work. So being forced to be around people is a great gift for a novelist. You get to be reminded, daily, of how people think, how they speak, how they live; the things they worry about, the things they hope for, the things they fear.
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We think of the 1950s as an oppressive time in the culture, and indeed it was, but it was also in many ways a more secular moment, and one in which great scientific achievements flourished. I don't want to get too gauzy about this, but there was much more respect for science as a necessary part of society.