Max lifted his head, with great sorrow and great astonishment. 'There were stars,' He said. 'They burned my eyes. ’. . . from a Himmel street window, he wrote, the stars set fire to my eyes.
I often wonder if you wrote your memoir today, if your life story would be lived on the edge of possibility, if you held wonder in one hand and courage in the other and truly believed that anything was possible.
Here's a little song I wrote. You might want to sing it note for note. Don't worry, be happy.
It's amazing to me in retrospect that I wrote as much as I did with full-time jobs. Each city gave me a new distance from - and a new way of looking at - India. I'm grateful for the movement. I feel as if I've crammed several lives into one.
I went before the Lord, and I wrote what the Lord told me to write. . . .
No man ever wrote more eloquently and luminously [than Heraclitus].
I read Warren Zevon's bizarre biography, "I'll Sleep When I'm Dead. " His wife, Crystal Zevon, posthumously published a journal he wrote and some interviews with ex-band members. Like [Keith] Richards's book "Life," it's brutally honest.
Galileo wrote that 'the book of nature is written in the language of mathematics; without its help it is impossible to comprehend a single word of it. '
When I originally wrote "Jealousy," it was more like an exercise to try to write a girl-group kind of pop song. It was really contrary to most of the material I'd ever written. I didn't pay much attention to the song after I'd recorded it. I didn't really perform it at all the last 20 years. When it came time to make the new record, I decided to make peace with the song and have fun with it.
I spill it out as fast as I can. I don’t really edit. In Brazil, recently, I wrote 70 pages. In London, 80 pages.
I sort of just wrote the songs, the way I wanted to write them, sing them the way I wanted to sing them, perform the way I wanted to perform.
I wrote newspaper articles professionally for seven years, and I love newspapers.
When I was very little, say five or six, I became aware of the fact that people wrote books. Before that, I thought that God wrote books. I thought a book was a manifestation of nature, like a tree. When my mother explained it, I kept after her: What are you saying? What do you mean? I couldn't believe it. It was astonishing. It was like--here's the man who makes all the trees. Then I wanted to be a writer, because, I suppose, it seemed the closest thing to being God.
I was the first home-grown sex symbol, rather like Britain`s naughty seaside postcards. When Marilyn Monroe`s first film was shown here [The Asphalt Jungle (1950)], a columnist actually wrote: `How much like our Diana Dors she is`.
I love the term "everything is copy," attributed to Nora Ephron, which was my guiding principle as I wrote.
I'm reading "The Sunset of a Splendid Century" by W. H. Lewis. He was C. S. Lewis's brother. He wrote two books about the French court of Louis XIV that are incredibly detailed. They are books that on every page you say, "Wow, think of that. "
I have learned, as I wrote, that history must be discovered, not declared. It's an admission that one grows in life.
My sense of a poem - my notion of how you revise - is: you get yourself into a state where what you are intensely conscious of is not why you wrote it or how you wrote it, but what you wrote.
I have always been supported by the men in my life, which is why I think I've been successful in many of my endeavors. My father believed I could do anything. He even wrote to Al Gore and told him that he thought I should be his vice president.
I wrote short stories for seven years and used to mail them out. You couldn't send them by e-mail. I called them manila boomerangs. I'd seal the self-addressed stamped envelope inside an envelope and I'd mail it off, and it would come back six weeks later with a rejection letter in it.