I've made a career writing about fictitious anti-heroes. To create these worlds, I've spent a lot of time with active members on both sides of the law. And if I had to pick the most interesting of the two, the choice is obvious - we all love the guys in black.
Interpretation
The quote reflects the fascination with anti-heroes in storytelling, emphasizing our attraction to morally complex characters.
Kurt Sutter highlights the allure of anti-heroes in fiction, suggesting that these morally ambiguous characters often captivate audiences more than traditional heroes. His experience interacting with people from both sides of the law deepens his understanding of this phenomenon, reinforcing the idea that we are drawn to those who defy conventional morals, often represented metaphorically as 'the guys in black'.
In practice
During a lecture on modern literature, this quote can illustrate how complexities in character development engage readers.
The stuff that I learned on 'Sons,' the education of how to tell stories, was part of that mythology. It's hard to look at it and go, 'Oh, if I knew this, I would have done it this way,' because the fact is I like to think that all that sort of unraveled as it was supposed to.
There is no longer beauty except in the struggle. No more masterpieces without an aggressive character. Poetry must be a violent assault against the unknown forces in order to overcome them and prostrate them before men.
A good poem looks life straight in the face, unflinching, sincere, equal to revelation through loss or gain.
It's been a long time...I shouldn't have left you_x000D_ _x000D_ Without a strong rhyme to step to.
Why shouldn't rap be esoteric, able to take in current events, history and criticism? I guess it's this old idea of containment - that rappers, because they're black, can't and shouldn't aspire to look outside the ghetto for influence.
I've always been interested in photographs, collecting them not systematically but randomly. They get lost, then turn up again.
First we draw what we see; then we draw what we know; finally we see what we know.
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