American - Writer | 1983 -
I am temperamentally drawn to work that shoves the strange and normal against one another, it's true, although I don't see the 'strange' and the 'normal' as being two separate categories of experience; for me, they are intertwined, hard to separate.
Laura van den Berg
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To me, in general, something that's really rich in terms of identity about transit spaces is that they're so intimate. Especially thinking about long international flights when we're trying to sleep on the plane - we're total strangers, but we're sleeping next to each other.
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When I'm between projects, I keep a journal I call a 'thought log,' and it's my practice to write down whatever interests me.
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Paradoxically, the only thing that helps when I'm feeling despairing about writing is to write.
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The short story has been here and is here and will be here as long as we are.
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As a young writer, I was sort of sailing around trying to 'find my voice' - for lack of a better term - and I was really chafing against the very minimal brand of domestic realism that I'd read so much of in college.
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In 'The Third Hotel,' my narrator, Claire, is wrestling with this sense of perpetual unfinishedness. She's trying to make sense of her husband's death, how someone's life can just stop and not continue, and of the lack of resolution in her own inner life.
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Holy cow - everything about writing a novel is hard for me.
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I wager we have a vast amount of literature out there that tends to the stories of men, so I've never really worried too much about attending to stories of women.
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I lived in Florida until I was 22.
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Here's something a little more personal: In my teens, I was having a hard time and ended up in a therapy group of young women, some of whom had endured terrible childhood traumas.
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Children exist in the worlds that adults create for them, both locally and globally, and their options are, by virtue of age, often painfully limited.
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