Quotes by: Rachel Kushner
||1968 (age 48–49)
Eugene, Oregon, U.S.
||University of California, Berkeley
||The Flamethrowers (2013), Telex from Cuba (2008)
Even if it happened in real life - and oftentimes, especially if it happened in real life - it might not work in fiction.
Telluride has an incredible history and reputation, and I've long known of it as a unique entity that makes a place for writers - one more aspect of this exceptional film festival in the Colorado Alps.
For me, everything about the telling is guided by tone. It's a bit mysterious; it's either there, or it isn't.
It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character.
I guess I'm not really fond of just chit-chatting. I want to learn something and have an experience.
Art is about play and about transcendent meanings, not reducible to politics.
One of the strategies for doing first-person is to make the narrator very knowing, so that the reader is with somebody who has a take on everything they observe.
When the art world is done wrong, a reader's faith is lost and possibly not recuperable.
Art is something special because it can come up with a way of approaching the truth that is a little to the side.
Eventually, I decided that if I was going to really write a novel, I couldn't do it in New York City while holding down a job. You need a constant money source to live in New York City unless you're independently wealthy, which I'm not.
The interaction between the two matters, but to me, each doesn't really exist independently of the other, so I'm not ever faced with a situation where the tone is wrong for the story, or the story wrong for the tone. They are two parts of one thing.
I love the novels of Didion and Bret Ellis and consider them L.A. writers because they write about L.A.
I don't think a woman riding a motorcycle thinks of herself as doing something that has sex appeal. I think she's trying to replicate for herself an experience that she sees men having.
I have crashed on a motorcycle that was going at 140mph, so I know what it feels like.
I'm hesitant to ever take on the crest of the veteran. So I don't know who I am to warn the younger writer about the perils to come. I think maybe the most dangerous influence is to think you have all the answers and should be giving counsel.
My older brother, Jake, and I had a bohemian childhood. My parents are deeply unconventional people from the beatnik generation. They weren't married, and I thought that was normal. We called them by their first names.
Like most writers, I've read a lot of Hemingway, and I admire him greatly.
For me, art is not 'brooding.' It comes from someplace that is more fun and that has a kind of electricity to it.
It's no secret that Cuba is a typical Latin American culture in that it has a fair amount of homophobia. Homosexuals have been notoriously persecuted under Fidel's government.
The 1970s seemed particularly playful. People were trying to make work that couldn't be sold.
I don't have any outside view of myself, and if I did, I would probably be creatively inhibited. I just write in the way that I write.
I begin a book with imagery, more than I do with an idea or a character. Some kind of poetic image.