Rachel Quotes
I think in spring, we don't want to wear makeup, we don't want to wear a ton of clothes, we just want everything to be easier.
I started styling people when I was just eight years old, without even knowing what a stylist was.
I guess I'm not really fond of just chit-chatting. I want to learn something and have an experience.
The desire for love is universal but that has never meant it’s worthy of respect. It’s not admirable to want love, it just is.
I was very precocious when I was young. I went to college at 16, and I graduated at 20. I wanted to be a writer, but I was more interested in experience than in applying myself intellectually.
It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character.
L.A. is a great place to write because you have a lot of space. I have a big office at home, I can leave the doors open. Flowers bloom all year. But it's unglamorous in all the right ways.
My mother told me many stories about her childhood in Cuba. Living there had a profound impact on her and how she regards herself.
People who are harder to love pose a challenge, and the challenge makes them easier to love. You're driven to love them. People who want their love easy don't really want love.
You have time. Meaning don't use it, but pass through time in patience, waiting for something to come. Prepare for its arrival. Don't rush to meet it. Be a conduit.
I am not a sun person at all. I think it's a cancerous poison and I don't want it touching me.
A lot of politics in art is just institutional critique, which, in my opinion, is not all that political.
Lovers offered only what they offered and nothing more, and what they offered came with provisos: believe what you want and don't look carefully at what isn't acceptable to you.
When I see things in the world that leap out at me, I want to make use of them in fiction. Maybe every writer does that. It just depends on what you claim or appropriate as yours.
I have spent a lot of time in the art world, and I guess I do listen to how people speak. I'm interested in what they say and how they say it.
I begin a book with imagery, more than I do with an idea or a character. Some kind of poetic image.
The kids I knew growing up who worked on bikes all loved the smell of gas. It is the liquid agent for speed.
Since it's fiction, the book resonates, at least for me, on various levels, some of which intimate ideas about history but none of which have the kind of directly causal reasoning you cite.
Authenticity is too big a subject to just toss in with the question about the photographs!
In short, I'm pretty suspicious of the idea that there's a real and true and authentic world, and then a bunch of false ones.
Truthfully, I've never seen myself as being too thin. Sometimes I'll look at photos and be like, 'Oh, that's not a good look.' But generally speaking, I'm not too thin.
I think any time you deal with humans and the way they exploit one another and cause pain you are in the realm of politics, on some level.
I like to think each writer is doing his or her part. Feeding the lake, as Jean Rhys said. And maybe there are different lakes.
Nobody has ever accused Donald Trump of lowering the temperature on anything - I don't think.
I don't really have those kinds of intentions when I write a scene. I try to follow the internal logic of the fiction, rather than make an argument or an assertion.
I'm releasing myself from the responsibility of claiming to know when something is good and when it isn't.
I didn't think of the narrative as making a judgment. It didn't occur to me the reader would either, but that doesn't mean it isn't possible there would be that risk.
Making art was really about the problem of the soul, of losing it. It was a technique for inhabiting the world. For not dissolving into it.
Writing a first novel was an arduous crash course. I learned so much in the six years it took me to write it, mostly technical things pertaining to craft.
I don't quite see the 20th century as one of chaos. But I believe in certain inevitable outcomes of a materialist nature.
One of the strategies for doing first-person is to make the narrator very knowing, so that the reader is with somebody who has a take on everything they observe.
I'm not a tough boss in that I don't raise my voice, I don't freak out, and I don't have a temper most of the time.
There is so much to the human mind we don't understand. But, you see, if you have faith, you can do anything.
He understood that in walking to atone for the mistakes he had made, it was also his journey to accept the strangeness of others.
But it never ceases to amaze me how difficult the things that are supposed to be instinctive really are.
And it can take a lifetime, a life of many years, to accept the incongruity of things: that a small moment can sit side by side with a big one, and become part of the same.
