Inspirational quotes with editors.
The mandarins of culture—what do they do to teach the common folk to read? It's no good writing down lists of books for farmers and compiling five-foot shelves; you've got to go out and visit the people yourself—take the books to them, talk to the teachers and bully the editors of country newspapers and farm magazines and tell the children stories—and then little by little you begin to get good books circulating in the veins of the nation. It's a great work, mind you!
Nobody reads poetry, we are told at every inopportune moment. I read poetry. I am somebody. I am the people, too. It can be allowed that an industrious quantity of contemporary American poetry is consciously written for a hermetic constituency; the bulk is written for the bourgeoisie, leaving a lean cut for labor. Only the hermetically aimed has a snowball's chance in hell of reaching its intended ears. One proceeds from this realization. A staggering figure of vibrant, intelligent people can and do live without poetry, especially without the poetry of their time. This figure includes the unemployed, the rank and file, the union brass, banker, scientist, lawyer, doctor, architect, pilot, and priest. It also includes most academics, most of the faculty of the humanities, most allegedly literary editors and most allegedly literary critics. They do so--go forward in their lives, toward their great reward, in an engulfing absence of poetry--without being perceived or perceiving themselves as hobbled or deficient in any significant way. It is nearly true, though I am often reminded of a Transtromer broadside I saw in a crummy office building in San Francisco:We got dressed and showed the houseYou live well the visitor saidThe slum must be inside you.If I wanted to understand a culture, my own for instance, and if I thought such an understanding were the basis for a lifelong inquiry, I would turn to poetry first. For it is my confirmed bias that the poets remain the most 'stunned by existence,' the most determined to redeem the world in words..
Some editors are failed writers, but so are most writers.
Believe in yourself and in your own voice, because there will be times in this business when you will be the only one who does. Take heart from the knowledge that an author with a strong voice will often have trouble at the start of his or her career because strong,distinctive voices sometimes make editors nervous. But in the end, only the strong survive.
Editors can be stupid at times. They just ignore that author’s intention. I always try to read unabridged editions, so much is lost with cut versions of classic literature, even movies don’t make sense when they are edited too much. I love the longueurs of a book even if they seem pointless because you can get a peek into the author’s mind, a glimpse of their creative soul. I mean, how would people like it if editors came along and said to an artist, ‘Whoops, you left just a tad too much space around that lily pad there, lets crop that a bit, shall we?’. Monet would be ripping his hair out.
To be fair, much of the Bible is not systematically evil but just plain weird, as you would expect of a chaotically cobbled-together anthology of disjointed documents, composed, revised, translated, distorted and 'improved' by hundreds of anonymous authors, editors and copyists, unknown to us and mostly unknown to each other, spanning nine centuries
Every time you think about settling on a more mundane question to answer, or reducing your sample size, or skipping an experiment that would strengthen your interpretation, remember that reviewers and editors of the major journals are looking for the small minority of papers that stand out from the rest.
It began to falter not when the book publishers who loved books gave way to those who preferred profits to reading. It happened when publishers and editors cut back on their drinking. If there is one national flower in book publishing, it is the martini.
The Hitchhiker's Guide to the Galaxy is an indispensable companion to all those who are keen to make sense of life in an infinitely complex and confusing Universe, for though it cannot hope to be useful or informative on all matters, it does at least make the reassuring claim, that where it is inaccurate it is at least definitively inaccurate. In cases of major discrepancy it's always reality that's got it wrong.This was the gist of the notice. It said "The Guide is definitive. Reality is frequently inaccurate."This has led to some interesting consequences. For instance, when the Editors of the Guide were sued by the families of those who had died as a result of taking the entry on the planet Tralal literally (it said "Ravenous Bugblatter Beasts often make a very good meal for visiting tourists: instead of "Ravenous Bugblatter Beasts often make a very good meal of visiting tourists"), they claimed that the first version of the sentence was the more aesthetically pleasing, summoned a qualified poet to testify under oath that beauty was truth, truth beauty and hoped thereby to prove that the guilty party in this case was Life itself for failing to be either beautiful or true. The judges concurred, and in a moving speech held that Life itself was in contempt of court, and duly confiscated it from all those there present before going off to enjoy a pleasant evening's ultragolf.
He left to do whatever editors do.
But editors are still the world's readers. And thus the eyes of the world.
My objective is to create my own world and these images which we create mean nothing more than the images which they are. We have forgotten how to relate emotionally to art: we treat it like editors, searching in it for that which the artist has supposedly hidden. It is actually much simpler than that, otherwise art would have no meaning. You have to be a child—incidentally children understand my pictures very well, and I haven’t met a serious critic who could stand knee-high to those children. We think that art demands special knowledge; we demand some higher meaning from an author, but the work must act directly on our hearts or it has no meaning at all.
I am occasionally desired by congenital imbeciles and the editors of magazines to say something about the writing of detective fiction “from the woman’s point of view.” To such demands, one can only say “Go away and don’t be silly. You might as well ask what is the female angle on an equilateral triangle.
This is where we should start focusing this conversation: how men (as readers, critics, and editors) can start to bear the responsibility for becoming better, broader readers.
I don't think we can afford to emulate the beauty editors of fashion magazines, airbrushing out blemishes and hawking a political ideal in which progressive people have no acne, no stupid remarks.
In early 1970, Newsweek's editors decided that the new women's liberation movement deserved a cover story. There was one problem, however: there were no women to write the piece.
Don't be dismayed by the opinions of editors, or critics. They are only the traffic cops of the arts.
Be a good editor. The Universe needs more good editors, God knows.
Great poets are great copy editors.
Depression, we are told over and over again, is a brain disease, a chemical imbalance that can be adjusted by antidepressant medication. In an informational brochure issued to inform the public about depression, the US National Institute for Mental Health tells people that 'depressive illnesses are disorders of the brain' and adds that 'important neurotransmitters - chemicals that brain cells use to communicate - appear to be out of balance'. This view is so widespread that it was even proffered by the editors of PLoS [Public Library of Science] Medicine in their summary that accompanied our article. 'Depression,' they wrote, 'is a serious medical illness caused by imbalances in the brain chemicals that regulate mood', and they went on to say that antidepressants are supposed to work by correcting these imbalances.The editors wrote their comment on chemical imbalances as if it were an established fact, and this is also how it is presented by drug companies. Actually, it is not. Instead, even its proponents have to admit that it is a controversial hypothesis that has not yet been proven. Not only is the chemical-imbalance hypothesis unproven, but I will argue that it is about as close as a theory gets in science to being dis-proven by the evidence.
Imagination and recollection of cherished memories of the pastimes are closely related. We do not recall memories verbatim. As our perspective changes regarding our place in the world, we shift through our recollections and revise our memories. People possess the ability to edit their memories by repressing unbearable episodes and highlighting incidences that generate fond memories. How we perceive and comprehend ourselves in the past, the present, and the future shapes our evolving sense of self. Humankind’s ability to repress unpleasant events and humankind’s ability to act as the solo editors of our germinating awareness of the world that we occupy is ultimately responsible for activating our metamorphosing sense of identity.
There's mainstream pornography--soft-core airbrushed fluff such as Penthouse and Playboy. The folks makin' this stuff do men and their range of desires a disservice; their implication is that anything outside the "big hair, fake tits, tiny waste, no pores, limited body hair" aesthetic is deviant, weird, not normal--and not something that a red-blooded American man would be interested in. The common boys-will-be-boys explanation for porn--that men get turned on visually (in contrast to "feminine" mode of arousal, which is mental and emotional)--is nothing more than an insult, making men out to be Pavlovian dogs who salivate uncontrollably and strain at their trousers upon contact with nudie pictures.Antiporn arguments, however well-meaning, are no better. Folks like Catherine MacKinnon also believe that men are inherently drawn to porn. And to them, porn is by definition violent, suggesting that it's somehow in men's nature to be aroused by hurting others. Furthermore, antipornography activists think that porn leads men to commit violence--as if men have no self-control or capacity to separate fantasy from reality, as if an erection is a driving force that can't be stopped once it's started... The only difference is one of perspective: Antiporn folk believe that male sexuality is always threatening, while men's-magazine editors think it's always fabulous.
...The editors of (i)Life(i) rejected Kerész'a photographs when he arrived in the United States in 1937 because, they said, his images 'spoke too much'; they made us reflect, suggested a meaning — a different meaning from the literal one. Ultimately, Photography is subversive not when it frightens, repels, or even stigmatizes, but when it is (i)pensive(i), when it thinks.
we know God is dead, they’ toldus, but listening to you I wasn’ sure. maybeit was the upper case. you were one of thebest female poets and I told the publishers, editors, “ her, print her, she’ mad but she’magic. there’ no lie in her fire.” I loved youlike a man loves a woman he never touches, onlywrites to, keeps little photographs of. I would haveloved you more if I had sat in a small room rolling acigarette and listened to you piss in the bathroom,but that didn’ happen. your letters got sadder.your lovers betrayed you. kid, I wrote back, alllovers betray. it didn’ help. you saidyou had a crying bench and it was by a bridge andthe bridge was over a river and you sat on the cryingbench every night and wept for the lovers who hadhurt and forgotten you. I wrote back but neverheard again. a friend wrote me of your suicide3 or 4 months after it happened. if I had met youI would probably have been unfair to you or youto me. it was best like this.
To my editors, I graciously thank you. I now know “is” and “was” aren't the same thing. It's the periods and commas that got me. Can't see the darn things.
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