We burned with love for ourselves, all of us, starters of the fire we suffered- our love was the affliction for which only our love was the cure.
Jonathan Safran FoerRead
My greatest fear is feeling like a professional novelist. Somebody who creates characters, who sits down and has pieces of paper taped to the wall - what's going to happen in this scene, or this act. What I like is for it to be a much more scary, sloppy reflection of who I am.
Interpretation
The quote expresses an artist's fear of conforming to professional standards over authentic expression.
Jonathan Safran Foer highlights his fear of losing genuine creativity by adhering to the structured and often rigid expectations of a professional novelist. He prefers the chaos and rawness of true self-reflection in his work rather than the meticulous planning that can overshadow personal authenticity in storytelling.
In practice
Encouraging aspiring writers to embrace their messy process.
We burned with love for ourselves, all of us, starters of the fire we suffered- our love was the affliction for which only our love was the cure.
Memory was supposed to fill the time, but it made time a hole to be filled. Each second was two hundred yards, to be walked, crawled. You couldn't see the next hour, it was so far in the distance. Tomorrow was over the horizon, and would take an entire day to reach.
She was not crying Which surprised me very much But I understand now That she had found places For her melancholy That were behind more masks Than only her eyes
What do babies dream of? She must be dreaming of the before-life, just as I dream of the afterlife.
A few weeks after the worst day, I started writing lots of letters. I don't know why, but it was one of the only things that made my boots lighter.
What is being awake if not interpreting our dreams, or dreaming if not interpreting our wake?
Every time I get in the studio, I feel like I wanna have some fun. My fun is not doing the easy work. My fun is doing what's me.
I see my own style as being a symbiosis of the styles of Alekhine, Tal and Fischer.
Design is inherently optimistic. That is its power.
The stage is not merely the meeting place of all the arts, but is also the return of art to life.
When I write, I don't know what is going to emerge. I begin in a condition of complete unknowing, an utter nakedness of concept or goal. A word appears, another word appears, an image. It is a moving into mystery.
We go to poetry, we go to literature in general, to be forwarded within ourselves.
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