American - Author | July 22, 1956 -
The only requirement of a fan or a patient is the surrender to authority.
David Shields
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I want a nonfiction that explores our shifting, unstable, multiform, evanescent experience in and of the world.
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I like some of Annie Proulx, some of those very brief stories of hers. And I love J. M. Coetzee's Elizabeth Costello. I like Geoff Dyer. I also liked W. G. Sebald, especially his book 'The Emigrants'.
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I argued strongly to the American publisher that 'Reality Hunger' should come out first. They thought that 'The Thing About Life' would have more appeal because it's on a broader topic; it's about mortality rather than art.
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So many of the things I talk about in 'Reality Hunger' seem to be the things that 'The Thing About Life' does - things like risk, contradiction, compression, mixing modes of attack from the memoristic gesture to data-crunching.
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To be honest, there are parts of 'How Literature Saved My Life' that began as interviews. Someone was telling me that they think the book sounds very phonic: that it sounds like me speaking. And I don't think it's a coincidence that there are six to ten passages that I cadged from various interviews that I did post-'Reality Hunger'.
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People like Ian McEwan and Jonathan Franzen completely bore me.
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You, Dad, in the large scheme of things, don't matter. I, Dad, don't matter. We're vectors on the grids of cellular life.
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Aging followed by death is the price we pay for the immortality of our genes. You find this information soul-killing; I find it thrilling, liberating.
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I'm really drawn toward work that is trying to capture what it's like to think now and to live now.
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The ways in which I was obsessed with Gary Payton and Shawn Kemp 20 years ago is completely replicated by my daughters' and my crush on Marshawn Lynch and Richard Sherman now.
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The real impulse of most books is to tell a story to keep the reader lashed to the page. I don't get why that's a proper use of an adult's time.
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