Rachel Kushner Quotes
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One is sometimes meant to reassure the reader that she's qualified to write about a certain topic.
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L.A. is a great place to write because you have a lot of space. I have a big office at home, I can leave the doors open. Flowers bloom all year. But it's unglamorous in all the right ways.
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I know what it's like to go very fast on motorcycles. Those moments, they stay with you.
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One of the strategies for doing first-person is to make the narrator very knowing, so that the reader is with somebody who has a take on everything they observe.
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Telluride has an incredible history and reputation, and I've long known of it as a unique entity that makes a place for writers - one more aspect of this exceptional film festival in the Colorado Alps.
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Subject matter is sort of overemphasized in the way books get discussed, I think.
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The 1970s seemed particularly playful. People were trying to make work that couldn't be sold.
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I'm not the kind of person who would want to go into a studio and manage other people and listen to the phone ringing. That's alien to me.
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I have spent a lot of time in the art world, and I guess I do listen to how people speak. I'm interested in what they say and how they say it.
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I don't read for plot, a story 'about' this or that. There must be some kind of philosophical depth rendered into the language, something happening.
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I am occasionally enraptured by Western landscape. But I don't identify that state of mind as having to do with my own origins, having grown up in the West, although I certainly crisscrossed Nevada countless times growing up, and then as a young adult, in cars and on motorcycles.
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I have to arrange my life very carefully. I need eight hours' sleep to work.
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Danny Lyon is one of my favorite photographers.
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I have crashed on a motorcycle that was going at 140mph, so I know what it feels like.
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I grew up in Oregon, and then I lived in San Francisco and New York.
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I had a Stuart Davis poster growing up.
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The social dimension of the art world is fascinating to me, but I also want to entertain the reader, so I will let a character say something funny.
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Some writers think that fiction is the space of great neutrality where all humans share the same concerns, and we are all alike. I don't think so. I'm interested in class warfare because I think it's real.
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It's through engagement with the world, and not separation from it, that something with meaning gets produced.
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I love the novels of Didion and Bret Ellis and consider them L.A. writers because they write about L.A.
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Italy in the Seventies seems like a fascinating place.
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In fiction, there happens to be a long history of creative engagement with marginality, with the very human components of society that others don't want to think about, from writers such as Dostoyevsky, Baudelaire, and Rimbaud to Genet and Sarrazin and right on up to Norman Mailer.
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When one is the type of writer who cares about the meaning of the historically specific setting, the history itself is not something that I would call backdrop. It's not window dressing for a timeless relationship about love and betrayal. For me, the setting and the specific history are active co-agents with me in trying to form the novel.
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I am not fond of lengthy descriptions of phony artworks.