10 Writers on the Magic of Reading

I know that there are moments in my life when I feel a need for literature and only for literature there are still things and there will always be things that only only literature can do we spent a holiday Salman Muslims from the severe Oval had a mystical it's a burqa someone Lester soul on the purpose is not to ocan some ghetto so to kadiebug him for save on the move Lester Obama thanked I said initially abusing me I think I grew up in what you can call a real real labor and family because first of all no one said anything if you were late night reading and secondly no one asked what you read and that is to me a good definition of what is a liberal family garage de ville de Mia and I mean mu is a hotel warming will Mumia what uhmm and ethic we musn't melted the kid away a multiple me you stay there nice cool it over control litter a wanna come scan some me a farewell to the me and like lesson and I have doubted in book so although devoid Stedman yeah Canadian Shanna and teen Sumatra dot a viral annum biospecimens stood of hinting appreciation tempt opponent so metal a portable headphone Ouellette up no voy my clay sakuni's graphene am dia a burkina it's a relief to me to open a book by writer i love suddenly all the noise of life and the small talk and a pettiness and the things that are in essential they suddenly drop away you open a book i don't know open your Thompson's hunger or open book by WG soval or whoever you love Thomas Barnard everything that doesn't matter is gone and in and you're in a world where everything matters I think that the best accumulation of knowledge is born out of genuine curiosity so on the very few occasions that I found myself in a classroom talking to students I always say you know follow your own nose one text will lead you to the next one image will lead you to the next image a painting may lead you to a book but you know follow your own passionate curiosity don't allow yourself to be told what to think or what's good or what's great with the capital G this can only mislead you you know I think people have to learn from the inside out not the outside in oh so now you're listening listening in Austin again do be you convene the Muslim as you can be the data that the convener them and turn us into coming to less to much more or less increment to less about suppose a fella seems equal to less budget give us a furnace into less a Peter Hanukkah so the miss Melissa mega as which baboog ahead city policy so tsukumo montolo committed equal coppola undone na human filthy thou me the integral I just was on the nut inside for both lower right the little a trophy on the building entrance he had us V noia leaped up like the front as one Classica boudin a classic edita me as my last to breathe Kafka the American goes not only Faulkner Hemingway devoting from over for lack of titles paparazzo it is shown after mark about that's one zip zipper in the foyer élisa élisa not include center under out here doctors in there side of the island Lee doctor for nikah Globetrotter search larvae issued for Hydra sois luck nearby mitosis dish biased if it's torture DVD of gum and chiefly I think for me the language is pleasurable to a reader I mean it reader finds it pleasurable to read a description and thinks she or he can identify that out of life but they also take pleasure in the fact of seeing that it's made up of all of these words which can be put together in such a felicitous way as to become almost but not quite invisible so the complexity of that kind of dual medium experience is very pleasurable for a reader and it's something that we all as people who live on the earth are better if we know we're better if we know we're better if we know that we look out a window and we see the surf but it will also see the window we also see the droplets on the window sits in an attempt to make lived experience be more valuable to be more morally good and to be alert to it so from way until they are tomalak together miss the ending of the fact that the pounds for faster mrs. mortenhoe meek develop from other one was mother skinny little I think the poorest man there's mongolian novellas only find some early school in welcome speaker gloss attila they in tell you're a fraud no money only owed not a functional bird well then couldn't one of my book you know i think that if the reader can know the true story in the background that it changes the reading and i think it changes the reading for the better because i think that there's something that happens in writing that there's an actual act of transformation that that occurs on the page in the writing when I was writing about my father's suicide I worked on the book for ten years and I didn't know how to write about it and I wrote to literally at first I wrote about the day we found out he died and so we're all crying and it's impossible to read but then I was writing the short novel that's in the middle of the book and halfway through there's an enormous surprise where everything changes and I didn't see that moment coming until I was halfway through writing the sentence and so the next day I went back and I planned to cut that and continue with my plan but I reread all the pages leading up to that moment and it was like seeing them for the first time even though I wrote them I saw all this pattern in them for the first time that was leading to that moment that I hadn't seen I think I recognize it it's a chance to create myself to actually decide for myself who I was going to be and that's an incredibly exciting idea it's radical in a certain sense particularly when you're young you're 14 years old and almost everything your life is decided for you your parents decide your family your school the peer pressure your friends this is whole world cosmos is pressuring you into a shape and then you have this blank page and on that page you can decide to become anything and say anything and you show it to so now you don't years later you publish it or you don't but that possibility absolute freedom as far as you're willing to go it's up to you right and this chance to become something to invent yourself I think for me has always been incredibly enticing and to this day it's probably the most compelling reasons to write I think that the real artist is the child because if you remember back that when you were four or five six years old you know you had an enormous belief in the fact that you could transform a stone into a car or a piece of wood into whatever now then when you then you start school and you know what happens rationality takes over maybe it's necessary but later on when you maybe eventually would like to become an artist then you have to in a way reconquer the thing you had as a child I think that it has to do with the sort of connection back to what the courage you had as a child to ask the really really difficult questions I brought poems about 20 pounds and I read them to her and we talked about them and in that moment when we together mostly just her of course but together we're confronting this you know the biggest moment of life which is death we relied on poetry and I think that poems and stories and novels are very helpful exactly when we most need language in the most sort of dire or urgent or existential moments of life you

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