Quotes by: Rachel Kushner
I am occasionally enraptured by Western landscape. But I don't identify that state of mind as having to do with my own origins, having grown up in the West, although I certainly crisscrossed Nevada countless times growing up, and then as a young adult, in cars and on motorcycles.
I am just getting into Zora Neale Hurston, who is possibly a much better writer than the critics and rivals who tried to erase her from history, resulting in a life in which she worked as a maid and died in a welfare nursing home. She's clever. She does something modern to the sentence.
I don't really know what the Great American Novel is. I like the idea that there could be one now, and I wouldn't object if someone thought it was mine, but I don't claim to have written that - I just wrote my book.
I had always wanted to include images in a novel, and with my first book, 'Telex From Cuba,' I made an elaborate website that is basically all images.
L.A. is a great place to write because you have a lot of space. I have a big office at home, I can leave the doors open. Flowers bloom all year. But it's unglamorous in all the right ways.
I'm not the kind of person who would want to go into a studio and manage other people and listen to the phone ringing. That's alien to me.
My neighbors think I do nothing because I don't go to a job, which is fine and good.
Tone is somewhat totalising in that, once I locate it, it tells me what kind of syntax to use, what word choices to make, how much white space to leave on the page, what sentence length, what the rhythmic patterning will be. If I can't find the tone, I sometimes try narrating through the point of view of someone else.
I knew that I wanted to write about a very young woman because I wanted to see the eyes of the art world in a fresh or even slightly naive way. Because there's something very honest about entering a room and not having a read on everyone there.
I spent a huge amount of time by myself. I daydreamed and learned how to be alone and not be lonely.
When I see someone for the first time in a while, and they ask, 'How have you been?' or 'What have you been up to?', it's politeness but a bit of a conversation stopper.
I'm very interested in the idea of a large group of people who come together quite suddenly, but not illogically, for reasons that could not have been anticipated.
I shy away from plot structure that depends on the characters behaving in ways that are going to eventually be explained by their childhood, or by some recent trauma or event. People are incredibly complicated. Who knows why they are the way they are?
I am not a sun person at all. I think it's a cancerous poison and I don't want it touching me.
Story and plot, not historical facts, are the engine of a novel, but I was committed to working through the grain of actual history and coming to something, an overall effect, which approximated truth.
I'm a very interior person. I love silence. I revel in it. I'm happy that way.
The late Seventies was the death of the manufacturing age in the United States. It was also a time when the Pictures Generation artists were getting started. They co-opted the language of advertising. The factory disappeared, and weirdly, so did the art object - it was the age of making gestures, not objects.
I was really inspired by these larger-than-life female artists like Lee Bontecou and Eva Hesse and Yvonne Rainier and the incredible Lynda Benglis. There were many women who were really driven and became successful, who were part of essential paradigm shifts, despite the fact that the art world was still dominated by men.
I think the art world heightens the intensity of desires for inclusion, and the humiliations of exclusion, which is why it's a great place to circulate when you are in the lucky position, as I am, of not wanting or needing anything from anyone.