Writer and Director
When I compare novelists to short story writers or very short story writers, I can’t compare them, but one thing for sure, the purpose is different. I think that someone who writes tries to create or document a world. And when you write very short fiction you try to document a motion, some kind of movement.
Writer and Director
When I compare novelists to short story writers or very short story writers, I can’t compare them, but one thing for sure, the purpose is different. I think that someone who writes tries to create or document a world. And when you write very short fiction you try to document a motion, some kind of movement.
Curator · Writer · Interviewer & Artistic Director of Serpentine Gallery
I always thought that curating has to do with junction making. I think when I wake up in the morning, I always think how can I bring people together? We haven't met each other yet. And I think my activity has always to do with junction making. When I do exhibitions, I make junctions between artworks. I make junctions between artists. I make junctions between art and different disciplines because I think we live in a society where there are a lot of silos. There are different very specialized worlds. And I've always seen it as my role to make connections between these different worlds. If we want to address the big questions or challenges of the 21st century–if it's extinction and ecology or if it's inequality or if it's the future of technology–I think it's very important that we go beyond the fear of pooling knowledge. We go beyond these silos of knowledge and bring the different disciplines together.
Curator · Writer · Interviewer & Artistic Director of Serpentine Gallery
I always thought that curating has to do with junction making. I think when I wake up in the morning, I always think how can I bring people together? We haven't met each other yet. And I think my activity has always to do with junction making. When I do exhibitions, I make junctions between artworks. I make junctions between artists. I make junctions between art and different disciplines because I think we live in a society where there are a lot of silos. There are different very specialized worlds. And I've always seen it as my role to make connections between these different worlds. If we want to address the big question or challenges of the 21st century–if it's extinction and ecology or if it's inequality or if it's the future of technology–I think it's very important that we go beyond the fear of pooling knowledge. We go beyond these silos of knowledge and bring the different disciplines together.
The artificial beginning is interesting to me. There is a clear-cut: old life, that's old country, and here's there's new life, new country. It is an advantage. You are looking at life through an old pair of eyes and a new pair of eyes. And there's always that ambivalence––Where do you belong? And how do you belong? And I do think these are advantages of immigrant writers or writers with two languages or who have two worlds.
The artificial beginning is interesting to me. There is a clear-cut: old life, that's old country, and here's there's new life, new country. It is an advantage. You are looking at life through an old pair of eyes and a new pair of eyes. And there's always that ambivalence––Where do you belong? And how do you belong? And I do think these are advantages of immigrant writers or writers with two languages or who have two worlds.
Writer
I don’t start off to create a moral in telling a story, but there are certainly consequences to the decisions that we make and some of those will inevitably have what we call a moral dimension. I don’t respond enthusiastically to fiction when I can see a thumb on the scales, when I can see that it’s a sermon in disguise. I’m more interested in writing that explores rather than proclaims.
Writer
I don’t start off to create a moral in telling a story, but there are certainly consequences to the decisions that we make and some of those will inevitably have what we call a moral dimension. I don’t respond enthusiastically to fiction when I can see a thumb on the scales, when I can see that it’s a sermon in disguise. I’m more interested in writing that explores rather than proclaims.
All Is Forgotten, Nothing Is Lost was a departure. It’s actually my favorite because it was just a huge pleasure to write. So much fun to write. Nothing to do with my background, my family, it’s all about lived experience and observations I made coming up as a writer. Because for me becoming a writer went hand in hand with me becoming a person.
All Is Forgotten, Nothing Is Lost was a departure. It’s actually my favorite because it was just a huge pleasure to write. So much fun to write. Nothing to do with my background, my family, it’s all about lived experience and observations I made coming up as a writer. Because for me becoming a writer went hand in hand with me becoming a person.
In a way, I sometimes think that it’s when the divergences from what really happened are quite small that it calls for the services of a very scrupulous and clever biographer. Certainly the stuff you get about me from my books it’s not–how can I put it?–it’s not reliable as evidence in any court of law. I’m very conscious that I’m not under oath when I’m writing.
In a way, I sometimes think that it’s when the divergences from what really happened are quite small that it calls for the services of a very scrupulous and clever biographer. Certainly the stuff you get about me from my books it’s not–how can I put it?–it’s not reliable as evidence in any court of law. I’m very conscious that I’m not under oath when I’m writing.
Writer
In the course of writing a novel I will sometimes lock myself away. During most of my previous novels there comes a point where I just go to the country and hide for 5 or 6 weeks. Sometimes it’s the first draft, sometimes it’s the second. There are periods when I feel like you just have to cut out the world and listen to the voice in your own head. In the course of writing a novel I will sometimes lock myself away. During most of my previous novels there comes a point where I just go to the country and hide for 5 or 6 weeks. Sometimes it’s the first draft, sometimes it’s the second. There are periods when I feel like you just have to cut out the world and listen to the voice in your own head.
The artificial beginning is interesting to me. There is a clear-cut: old life, that's old country, and here's there's new life, new country. It is an advantage. You are looking at life through an old pair of eyes and a new pair of eyes. And there's always that ambivalence––Where do you belong? And how do you belong? And I do think these are advantages of immigrant writers or writers with two languages or who have two worlds.
The artificial beginning is interesting to me. There is a clear-cut: old life, that's old country, and here's there's new life, new country. It is an advantage. You are looking at life through an old pair of eyes and a new pair of eyes. And there's always that ambivalence––Where do you belong? And how do you belong? And I do think these are advantages of immigrant writers or writers with two languages or who have two worlds.
Writer
I don’t start off to create a moral in telling a story, but there are certainly consequences to the decisions that we make and some of those will inevitably have what we call a moral dimension. I don’t respond enthusiastically to fiction when I can see a thumb on the scales, when I can see that it’s a sermon in disguise. I’m more interested in writing that explores rather than proclaims.
Writer
I don’t start off to create a moral in telling a story, but there are certainly consequences to the decisions that we make and some of those will inevitably have what we call a moral dimension. I don’t respond enthusiastically to fiction when I can see a thumb on the scales, when I can see that it’s a sermon in disguise. I’m more interested in writing that explores rather than proclaims.
Writer and Director
When I compare novelists to short story writers or very short story writers, I can’t compare them, but one thing for sure, the purpose is different. I think that someone who writes tries to create or document a world. And when you write very short fiction you try to document a motion, some kind of movement.
Writer and Director
When I compare novelists to short story writers or very short story writers, I can’t compare them, but one thing for sure, the purpose is different. I think that someone who writes tries to create or document a world. And when you write very short fiction you try to document a motion, some kind of movement.
The Creative Process: Podcast Interviews & Portraits of the World’s Leading Authors & Creative Thinkers
Inspiring Students – Encouraging Reading - Connecting through Stories
The Creative Process exhibition is traveling to universities and museums. The Creative Process exhibition consists of interviews with over 100 esteemed writers, including Joyce Carol Oates, Hilary Mantel, Neil Gaiman, Viet Thanh Nguyen, Tobias Wolff, Richard Ford, Junot Díaz, Marie Darrieussecq, Michel Faber, T.C. Boyle, Jay McInerney, George Saunders, Geoff Dyer, Etgar Keret, Douglas Kennedy, Sam Lipsyte, and Yiyun Li, among others. Artist and interviewer: Mia Funk.
