Armchair poverty tourism has been around as long as authors have written about class. As an author, I have struggled myself with the nuances of writing about poverty without reducing any community to a catalog of its difficulties.
Leslie JamisonRead
When you're a writer and something difficult happens to you, one of the things involved in that is this emergence of narrative potential. And there's then a kind of self-consciousness about telling a story in which you suffered.
Interpretation
Adversity can inspire writers to find deeper narratives in their experiences of suffering.
Leslie Jamison's quote reflects the idea that for writers, personal challenges can create opportunities to craft compelling stories. The process of experiencing difficulty not only fosters the potential for narrative but also brings about a heightened awareness of how one's suffering can be translated into art, inviting introspection on the story behind the struggle.
In practice
A writer sharing this quote during a workshop about overcoming obstacles in creative expression.
Armchair poverty tourism has been around as long as authors have written about class. As an author, I have struggled myself with the nuances of writing about poverty without reducing any community to a catalog of its difficulties.
The pain is what you make of it. You have to find something in it that yields. I understood my guiding imperative as: keep bleeding, but find some love in the blood.
Empathy isn’t just listening, it’s asking the questions whose answers need to be listened to. Empathy requires inquiry as much as imagination. Empathy requires knowing you know nothing. Empathy means acknowledging a horizon of context that extends perpetually beyond what you can see.
I really believe in people putting stories out there that contain the most difficult moments because nothing to me is more lonely making than sanitized stories or airbrushed stories that kind of allied how hard it got.
Empathy isn’t just something that happens to us — a meteor shower of synapses firing across the brain — it’s also a choice we make: to pay attention, to extend ourselves.
The short story is an imploding universe. It has all the boil of energy inside it. A novel has shrapnel going all over the place. You can have a mistake in a novel. A short story has to be perfect.
I think theatre should always be somewhat suspect.
Does an architecture to assuage the spirit have a place in all this? Unfortunately we are no longer the interpreters of our culture's myths but the followers of that dubious client, the developer, who has little patience with the art of architecture, the fine detail and obscure promise, which can upset his financial activity.
I can't become another person, no matter how much makeup I wear. Something of your own past, your experiences and personality always comes out in the role, and that makes acting very risky. You're exposed. You always wonder if you can pull it off.
I'm more comfortable writing traditional protagonists. But 'Steve Jobs' and 'The Social Network' have antiheroes. I like to write antiheroes as if they're making their case to God about why they should be allowed into heaven. I have to find something in that character that is like me and write to that.
If you've been fortunate enough to do a film that appeals to the entire family, that's the audience that's probably going to come back to you in something else.
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