As quoted in "Banned In Boston: Too Hot for USA Today" in Human Events (26 July 2004) http://www.humanevents.com/article.php?id=4646.
2004
Le Manifeste du Surréalisme, Andre Breton (Manifesto of Surrealism; 1924)
"Reading", p. 12
The Dyer's Hand, and Other Essays (1962)
On how her mother’s influence appears in her works in “Adrienne Kennedy by Suzan-Lori Parks” https://bombmagazine.org/articles/adrienne-kennedy/ in BOMB Magazine (1996 Jan 1)
Interview: Seven Magazine in the London Telegraph (6 January 2008)
Source: Faitheist (2012), Chapter 5, “Unholier Than Thou: Saying Goodbye to God” (p. 86)
As quoted in "The Art of Connection – A Conversation with Alain de Botton" by Kim Nagy in Wild River Review (19 November 2007).
Context: I think where people tend to end up results from a combination of encouragement, accident, and lucky break, etc. etc. Like many others, my career happened like it did because certain doors opened and certain doors closed. You know, at a certain point I thought it would be great to make film documentaries. Well, in fact, I found that to be incredibly hard and very expensive to do and I didn’t really have the courage to keep battling away at that. In another age, I might have been an academic in a university, if the university system had been different. So it’s all about trying to find the best fit between your talents and what the world can offer at that point in time.
talking about http://asoiaf.westeros.org/index.php/topic/30792-daniel-abraham/page__st__60 his epic fantasy series The Dagger and the Coin
Context: For the moment, it's called the Dagger and the Coin, but with any luck, that'll swap out for a better name. There are some things in the proposal that need to get smoothed out so that everyone's on board, but I think it'll happen.
It's a very different from the Long Price books. It looks and feels more like traditional epic fantasy -- quasi-Europe, ferinstance, and some dragons in the background, no 15-year gaps between books -- but the plot structure is packed with everything I think is cool. There are echoes I'm intentionally building in of from things as familiar as Firefly and The Count of Monte Cristo and as obscure as Tevis' Queen's Gambit and Reck-Malleczewen's Diary of a Man in Despair. And the magic system is all about faith and deception, which will be tricky and fun both.
What I want to do is write something that I could read now (39 years old, married, raising a kid, 10 year IT career behind me, post 9-11, post-Bush, etc.) with the same joy I read the Belgariad when I was 16.
Statement to World Artists : 1950-1980 as quoted n "Grace Hartigan, 86, Abstract Painter, Dies" in The New York Times (18 November 2008)
Unsourced variant: I have found "my subject", it concerns that which is vital and vulgar in American life and the possibility of its transcendence into the beautiful.
