Words matter. These are the best Teju Cole Quotes, and they’re great for sharing with your friends.
To read Transtromer – the best times are at night, in silence, and alone – is to surrender to the far-fetched. It is to climb out of bed and listen to what the house is saying, and to how the wind outside responds. Each of his readers reads him as a personal secret.
There was a feeling during the years of George W. Bush’s presidency that his gracelessness as well as his appetite for war were linked to his impatience with complexity. He acted ‘from the gut,’ and was economical with the truth until it disappeared.
When I’ve had enough of words, I go out into the city for a long walk; sometimes I’ll go out walking for several miles. And I’ll just take photographs and hope for something striking or unusual to happen that I can organize into a picture frame.
Oh, I love labels, as long as they are numerous. I’m an American writer. I’m a Nigerian writer. I’m a Nigerian American writer. I’m an African writer. I’m a Yoruba writer. I’m an African American writer.
Breughel is an example of an artist – I mean, this is true about artists and painters in general, but he is a specific example of an artist whose work contains more than you think it does at first glance. Whose work rewards, sustains attention and looking.
Each time I caught sight of geese swooping in formation across the sky, I wondered how our life below might look from their perspective, and imagined that, were they ever to indulge in such speculation, the high-rises might seem to them like firs massed in a grove.
Swear you’d rather die than use ‘literally’ as an intensifier.
I’d like to meet fewer people who say ‘Oh, I want to write a book, here are 10 pages I’ve written,’ and more ‘Oh, I want to write a book, here are 300 pages I’ve written.’
Barack Obama is an elegant and literate man with a cosmopolitan sense of the world. He is widely read in philosophy, literature, and history – as befits a former law professor – and he has shown time and again a surprising interest in contemporary fiction.
The content of Saul Leiter’s photographs arrives on a sort of delay: it takes a moment after the first glance to know what the picture is about. You don’t so much see the image as let it dissolve into your consciousness, like a tablet in a glass of water.
We have for too long been taught that the sight of a man speaking to himself is a sign of eccentricity or madness; we are no longer at all habituated to our own voices, except in conversation or from within the safety of a shouting crowd.
Punitive murder by the police and by vigilantes has existed in all societies at some point, and probably still exists in most.
Throughout his career, W.G. Sebald wrote poems that were strikingly similar to his prose. His tone, in both genres, was always understated but possessed of a mournful grandeur.
For purposes of marketing, writers are designated as poets, novelists, or something else. But writing is about matchmaking, an attempt to marry sensations with apt words.
Old-school hip hop, i.e., whatever was popular when you were nineteen, is great. Everything since then is intolerable.
In countries with a properly functioning legal system, the mob continues to exist, but it is rarely called upon to mete out capital punishment. The right to take human life belongs to the state. Not so in societies where weak courts and poor law enforcement are combined with intractable structural injustices.
I was in New York City on 9/11. Grief remains from that awful day, but not only grief. There is fear, too, a fear informed by the knowledge that whatever my worst nightmare is, there is someone out there embittered enough to carry it out.
On many days my primary artistic struggle is, in fact, photography because it is harder to do good work with that. I see myself as an observer of the world who has a strong drive to testify, which I can do because I have the privilege of living in New York with enough food to eat and shelter.
When I write, I have a sort of secret kinship of readers in all countries who don’t know each other but each of whom, when they read my book, feels at home in it. So I write for those readers. It’s almost a sense of writing for a specific person, but it’s a specific person who I don’t know.
I probably get a deeper satisfaction of having taken a very good photograph than of having written something very good, a very good story. Maybe it’s because the element of magic is so present in a good photograph – luck and magic, but also hard work and being ready and all that.
Probably the biggest temptation that young writers face is to be entertaining, to show your bag of tricks and do a bit of tap dancing. I read a lot of things, and I keep seeing this brocade of voice where someone is trying to be too pally with you or ingratiating on the page.
I am on Vine. It’s another early-adopter kind of thing. I’m trying to figure out what I’m going to do with it. What’s interesting about it is that everybody knows these amazing restrictions we’ve put on it: I have to use my iPhone, I can only use one continuous take, I cannot edit afterwards, I cannot put sound afterwards.
Lyrical poetry is not a big part of most people’s lives. Twitter now becomes an interesting way of getting cared for language into people’s space. Because there is something deep inside of us that responds to cared for language, whether it’s literary, poetry, or really good lyrics in a song.
I am a novelist. I traffic in subtleties, and my goal in writing a novel is to leave the reader not knowing what to think. A good novel shouldn’t have a point.
One of the difficulties of photography is that it is much better at being explicit than at being reticent.
Religion is close to theatre; much of its power comes from the effects of staging and framing.
In ‘Open City,’ there is a passage that any reader of Joyce will immediately recognise as a very close, formal analogue of one the stories in ‘Dubliners.’ That is because a novel is also a literary conversation.
The original sense of the word ‘influence’ is ‘to flow into.’ For the most part, these writers that I admire… their style flows into me without my intervention, which is what explains the broad range of writers who I’ve been compared with; it reflects my reading.
We don’t experience our lives as plots. If I asked you to tell me what your last week was like, you’re not really gonna give me plot. You’re gonna give me sort of linked narrative. And I wanted to see how do we bring that into fiction without losing the reader.
Always say ‘no pun intended’ to draw attention to the intended pun.
