American - Director | February 15, 1974 -
My job is to have new ideas and take risks every day, so I'm always looking forward to the next thing being done or making the next thing that I haven't yet gotten to. That's sort of the constant in my life.
Miranda July
LifeDayJobRisksLooking Forward
I've been using the same 'I Ching' since I was teenager when it was given to me by a fellow teenager; it seems too late to change now. I don't use it often, but when I do, it really does help. You can fool yourself, but not the 'I Ching.'
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Long before I started to write in earnest, Lorrie Moore taught me you could have a woman narrator who was funny and complex and even wrongheaded. She opened up a lot of space that me and a million other women rushed into.
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There's no law against asking strangers about their lives and feelings, although sometimes it really feels like there is.
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I am a big fan of work in any medium that can take on death - being dead, being a soul - in a new way.
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I prefer a great novel, but many novels come with a bunch of novel-y writerliness that feels sort of macho to me, so I do end up reading lots of shorter things.
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I know I'm going to lose a lot of readers over this, and I don't care: 'Garfield' is overrated. I have always felt this, even as a child. That dumb man and his dumb, mean cat have gotten more of our attention than they deserve.
ManChildCareAttentionLoseDumb
The moment I feel pressure to read a book, I instinctively rebel against it - which is probably one reason I didn't last long in college.
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I'm not embarrassed about not having read any book.
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Each couple's version of intimacy is so fascinating to me. A friend will tell me about her marriage, and I'll think, 'Yikes, they have horrible communication! They're going to get divorced!' And then I'll hear about them at another time and think, 'Wow, they love each other so much!'
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Women writers are often conflated with their narrators - as if we can't consciously construct fictional worlds from the ground up and can only write diary entries.
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I'm often drawn in by a description of a woman thinking something familiar that's never been articulated before, as in Diane Cook's 'Somebody's Baby' or Nina Berberova's 'The Tattered Cloak.'
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