Autobiography Quotes
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Fiction is a web of lies that attempts to entangle the truth. And autobiography may well be the reverse: data tricked up and rearranged to invent a fictive self.
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Because I didn't go to film school, I had a collection of books that were inspiring or taught me how to make movies, shorts with my friends back in Brooklyn, and one of those books was How I Made a Hundred Movies in Hollywood and Never Lost a Dime which is Roger's autobiography. After reading that, I realized that oh my God, this guy is behind all my favorite Pam Grier movies. Oh my God, he made the Vincent Price Poe films that ran on television when I was little. He did Grand Theft Auto. He made Death Race 2000.
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My approach to the work is the same, whether I had the lead or a supporting role. I consider myself a character actor in the true sense of the word. Unless I'm doing my autobiography, I'm playing a character.
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I think there is a great tendency toward autobiography among women today. It is perhaps facile - and I say that even though I have written one myself.
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In writing the autobiography, I can really chuckle when I look at the songs. I was acting out the part. I saw myself as a victim.
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Literary lineage is part of your autobiography. The authors are the literary base, the image base, the character base that you bring into your civilian work. Same with film, architecture, music, sports. That's one tributary of the autobiography.
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The unconscious of an artist is her greatest treasure. It is what transmutes the dross of autobiography into the gold of myth.
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Autobiography at least saves a man or woman that the world is curious about from the publication of a string of mistakes called 'Memoirs.
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All autobiography is fiction.
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According to Colonel Ely Garrison, in his autobiography and according to the United States Naval Secret Service Report on Paul Warburg, the Russian Revolution had been financed by the Rothschilds and Warburgs, with a member of the Warburg family carrying the actual funds used by Lenin and Trotsky in Stockholm in 1918.
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American Splendor is just an ongoing journal. It's an ongoing autobiography. I started it when I was in my early 30s, and I just keep going.
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My move to autobiography came about after two public humiliations, one by my advisor, one by another feminist. Don’t believe in the institution and its authorities, but do your work.
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I wish I could breathe a Nabokovian air. I wish I could have the Olympian freedom of sensibility that disdains, in his autobiography, to give the Russian Revolution more than a passing mention, as if such common events did not have the power to wreak fundamental changes in his own life, or as if it were vulgar, tactless, to dwell on something so brutishly, so crudely collective. I wish I could define myself -a s Nabokov defines both himself and his characters - by the telling detail, as preference for months over lozenges, an awkwardness at cricket, a tendency to lose floes or umbrellas. I wish I could live in a world of prismatic reflections, carefully distinguished colours of sunsets and English scarves, synthetic repetitions and reiterative surprises - a world in which even a reddened nostril can be rendered as a delicious hue rather than a symptom of a discomfiting common cold. I wish I could attain such a world because in part that is our most real, and most loved world - the world of utterly individual sensibility, untrampled by history, or horrid intrusions of social circumstance. Oh ye, I think the Nabokovian world is lighted, lightened, and enlightened by the most precise affection. Such affection is unsentimental because it is free and because it attaches to free objects. It can notice what is adorable (or odious, for that matter), rather than what is formed and deformed by larger forces. Characters, in Nabokov's fiction, being perfectly themselves, attain the graced amorality of aesthetic objects.
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A scientific autobiography belongs to a most awkward literary genre. If the difficulties facing a man trying to record his life are great - and few have overcome them successfully - they are compounded in the case of scientists, of whom many lead monotonous and uneventful lives and who, besides, often do not know how to write . . .
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The trajectory of my writing has moved further and further away from autobiography. My first stories in Confessions of a Falling Woman worked familiar territory - places I had lived, people I knew, my life as an actor in New York - and many were prompted by or grounded in personal experience.
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Sometimes I think there are two kinds of people - the autobiographists and the biographists.
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I have no plans to write an autobiography, I will leave that to others. I'm sure they will turn me into a homosexual or a Nazi spy or something else.
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A writer's work may be a coded autobiography, but only a very close friend could decipher it.
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I don't want to get into autobiographies, I don't want to talk about myself.
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To write an autobiography, you've got to expose other people. I hope to get out of this world as gracefully as possible, without embarrassing anyone.
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I've been asked to write my autobiography and really they only want 8 years (1962-1970), and I keep saying it would be five volumes before I even got into the band!
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Literature in its most comprehensive sense is the autobiography of humanity.
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The different sensations that entered the brain at the time of the trauma are not properly assembled into a story, a piece of autobiography.
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In a way, an autobiography seems to me like a household book of accounts – what has been acquired, to what purpose has it been put, was too much paid for it and did it teach you anything? How much has been learned by experience? Have I discovered where I am useful and useless, how I am nourished and starved?
