Quotes by: Garth Risk Hallberg
A fragmented film such as 'Babel' gives the impression of 'edginess' but, in its form, tells us nothing we didn't already know.
I always thought I was going to be a great poet, and go and live in New York, where the great poets lived - you know, where Whitman had walked the streets.
I had one week in the fall of 1996 where I was like, 'I'm America's greatest living teenage poet.'
The writing that feels the best to me, I experience sometimes, is a kind of weirdly deep listening - like, it feels like if you just listen hard enough, the next sentence will tell you what it needs to be.
We who curate our Twitter feeds and Facebook walls understand that at least part of what we're doing publicly, 'like'-ing what we like, is trying to separate ourselves from the herd.
You don't have to subject yourself to the sweep and rigor of Bourdieu's book 'Distinction' to feel how thoroughly a lower-calorie version of its ideas has been absorbed into the cultural bloodstream.
I'd been coming to New York for weekends since I was 17, and after 9/11, I started making these trips more frequently, just to make contact with the city.
When something is at risk or in danger or about to be lost, those are the moments you start to realize how much it means to you.
I was working my first adult job, a quasi journalistic job, writing content for a website. In the offices, we had banks of TVs, papers, a constant media stream, which was unusual for 2001.
Any character that can't be kept straight, to me, isn't a character who should be in the book - you know, anyone not vivid enough to have a claim on my attention.
I happen to be the kind of reader who, if I like something, I don't want it to end.
In college, I was a huge fan of 'Les Miserables.' I seem to remember that people who were into French literature preferred Hugo's poetry.
I grew up in a university town in eastern North Carolina - what's called Tobacco Road. It was very rural.
I'm trying to focus on my job as I see it, which is to write the next thing and to remain, to the degree that I ever was, a noticer.
It may be that Tolstoy and Virginia Woolf were sitting around fretting about their Amazon reviews or their pre-pub whatever, but I kind of doubt it. I don't think that's how the work probably got made.
The central question driving literary aesthetics in the age of the iPad is no longer 'How should novels be?' but 'Why write novels at all?'
Definitely, something is happening out there in Internet world at any given moment, but the likelihood that it's something that can't wait until that evening for you to find out about it is very small.