Rachel Kushner Quotes
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I have enormous respect for people who are gifted mechanics.
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I spent a huge amount of time by myself. I daydreamed and learned how to be alone and not be lonely.
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I suppose I am interested in women plus anonymity plus disappearance.
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The Seventies seemed like this really open time. There were a lot of strong women characters deciding what kind of artists they wanted to be.
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I knew that I wanted to write about a very young woman because I wanted to see the eyes of the art world in a fresh or even slightly naive way. Because there's something very honest about entering a room and not having a read on everyone there.
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These women were taking over these former manufacturing warehouses in SoHo and figuring out a way to be fashionable and viable without money. It's hard to imagine a life like that in Manhattan now - there's something romantic about it.
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I am not a sun person at all. I think it's a cancerous poison and I don't want it touching me.
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If a writer is always trying to keep a narrator emitting a tone of complete knowingness, it can become false.
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The art world is filled with vibrancy.
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My dad had a Vincent Black Shadow, which was a quite particular thing: it was the fastest cycle of its era... It sparked a world for me; when I was old enough, I got a motorcycle.
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I don't believe in the model of pure inspiration. All of my creative work stems from a dialogue with others.
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I was really inspired by these larger-than-life female artists like Lee Bontecou and Eva Hesse and Yvonne Rainier and the incredible Lynda Benglis. There were many women who were really driven and became successful, who were part of essential paradigm shifts, despite the fact that the art world was still dominated by men.
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I think that when the social stakes for people are higher, how you present yourself may sometimes feel like it's going to inform your destiny. Because if other people regard you in a certain way, they'll want to help you, and you will end up having a career.
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I had always wanted to include images in a novel, and with my first book, 'Telex From Cuba,' I made an elaborate website that is basically all images.
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The late Seventies was the death of the manufacturing age in the United States. It was also a time when the Pictures Generation artists were getting started. They co-opted the language of advertising. The factory disappeared, and weirdly, so did the art object - it was the age of making gestures, not objects.
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Citizenship and ethnicity can become, in certain contexts, restrictive, and perhaps that's one reason I was interested in people who feel compelled to mask their origins and thereby circumvent the restrictions.
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Writing a first novel was an arduous crash course. I learned so much in the six years it took me to write it, mostly technical things pertaining to craft.
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I like to read novels where the author seems knowledgeable, like someone you know you could walk calmly next to through a complicated situation, and he or she would be alive to its meaning and ironies. And you wouldn't even have to mention them out loud to each other.
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I'm drawn in some strangely natural way to immersing myself in a milieu whose rules I don't understand, where there are things you can't access simply by being intelligent or doing well in school.
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I don't like the info-dump, as it's known.
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I begin a book with imagery, more than I do with an idea or a character. Some kind of poetic image.
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I got all my politics and culture and my sense of the great wide world of adults from 'Mad Magazine.' But all other comic books literally gave me a headache.
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My parents were hippies.
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The 1970s seemed particularly playful. People were trying to make work that couldn't be sold.