If you ever want to find out just how uninteresting you really are, get a job where the quality and frequency of your thoughts determine your livelihood. I’ve found that the only way I can keep writing every day, year after year, is to let my mind wander into new territories. To do that, I’ve had to cultivate a kind of mental playfulness.
At school, new ideas are thrust at you every day. Out in the world, you’ll have to find the inner motivation to search for new ideas on your own. With any luck at all, you’ll never need to take an idea and squeeze a punchline out of it, but as bright, creative people, you’ll be called upon to generate ideas and solutions all your lives. Letting your mind play is the best way to solve problems. […] A playful mind is inquisitive, and learning is fun. If you indulge your natural curiosity and retain a sense of fun in new experience, I think you’ll find it functions as a sort of shock absorber for the bumpy road ahead.
Shutting off the thought process is not rejuvenating; the mind is like a car battery — it recharges by running.
“Keepers of private notebooks are a different breed altogether, lonely and resistant rearrangers of things, anxious malcontents, children afflicted apparently at birth with some presentiment of loss.
It is a difficult point to admit. We are brought up in the ethic that others, any others, all others, are by definition more interesting than ourselves; taught to be diffident, just this side of self-effacing.”—Joan Didion on Keeping a Notebook
“Most novels today are inadequate because they reflect not our experience, but people’s fear of experience. They portray all the evasions.
The constant evasion of emotional experience has created an immaturity which turns all experience into traumatic shocks from which the human being derives no strength or development, but neurosis.
This personal relationship to all things, which is condemned as subjective, limiting, I found to be the core of individuality, personality, and originality. The idea that subjectivity is an impasse is as false as the idea that objectivity leads to a larger form of life.
It is in the movements of emotional crisis that human beings reveal themselves most accurately. … The heightened movements … are the moments of revelation. It is the moment when the real self rises to the surface, shatters its false roles, erupts and assumes reality and identity. The fiery moments of passionate experience are the moments of wholeness and totality of the personality.
To achieve perfection in writing while retaining naturalness it was important to write a great deal, to write fluently, as the pianist practices the piano, rather than to correct constantly one page until it withers. To write continuously, to try over and over again to capture a certain mood, a certain experience. Intensive correcting may lead to monotony, to working on dead matter, whereas continuing to write and to write until perfection is achieved through repetition is a way to elude this monotony, to avoid performing an autopsy. Sheer playing of scales, practice, repetition — then by the time one is ready to write a story or a novel a great deal of natural distillation and softing has been accomplished.
It is surprising how well one writes if one thinks no one will read [the writing]. This honesty, this absence of posturing, is a most fecund source of material. The writer’s task is to overthrow the taboos rather than accept them.
[…]”—Anaïs Nin on Writing
se tem uma frase horrível, é essa “a fila anda”, como quando alguém critica uma pessoa lenta, um namoro que não atinge o índice esperado de produtividade, coisas assim. a fila não anda, não. e nem deve andar. ela pára, ela empaca, ela nem existe. não tem fila nos relacionamentos, no trabalho, nos encontros. só tem no banco, no cinema, no sus e ela é ruim.