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[s]he was a compulsive pessimist, always looking for the soft brown spot in the fruit, pressing so hard she created it.

Amy Waldman

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Amy Waldman
Age: 55
Born: 1969
Born: May 21
Author
Journalist
Writer
the United States of America
Looking
Pressing
Hard
Pessimist
Always
Spot
Soft
Spots
Brown
Fruit
Created
Compulsive

More quotes by Amy Waldman

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I found 'The Twin' sitting on a coffee table at a writers' colony in 2009. It carried praise from J.M. Coetzee. That seemed ample justification for using it to avoid my own writing. I finished it - weeping - a day later, and I've been puzzling over its powerful hold on me ever since.
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Sorrow can be a bully.
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In America time was gold in Bangladesh, corrugated tin.
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Over the centuries, and even today, the Bible and Christian theology have helped justify the Crusades, slavery, violence against gays, and the murder of doctors who perform abortions. The words themselves are latent, inert, harmless - until they aren't.
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Eden, paradise - all the best gardens are imaginary.
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Religious speech is extreme, emotional, and motivational. It is anti-literal, relying on metaphor, allusion, and other rhetorical devices, and it assumes knowledge within a community of believers.
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In life, redemption was walking up the down escalator: stop to congratulate yourself, and back you slid.
Amy Waldman
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I read Claire Messud's 'The Emperor's Children,' I read Joseph O'Neill's 'Netherland' - but to me, they're not 9/11 novels. In 'The Emperor's Children,' 9/11 felt to me like a piece of the plot the novel wasn't wrestling with what 9/11 meant. And 'Netherland' felt the same way. I liked both books a lot but I don't see them as 9/11 novels.
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The September 11, 2001, attacks on the World Trade Center and the Pentagon prompted a fundamental shift in the American government's approach to Islamic terrorism.
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As a novelist, you deepen your characters as you go, adding layers. As a reporter, you try to peel layers away: observing subjects enough to get beneath the surface, re-questioning a source to find the facts. But these processes aren't so different.
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I think in the wake of 9/11, like a lot of Americans, you know, we were all very traumatized by the attacks, traumatized in a totally different way by some of what happened afterward in response. And I think there have been these questions hovering in the past decade of, what kind of country are we? Who are we?
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In Germany, you have a huge official memorial to the murdered Jews and then you have this artist who's been putting these stumbling blocks, these brass cobblestones, outside the houses Jews were taken away from. It's somewhat controversial and has met some resistance.
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Work less than you think you should. It took me a while to realise there was a point each day when my creativity ran out and I was just producing words - usually lousy ones - for their own sake. And nap: it helps to refresh the brain, at least mine.
Amy Waldman
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While researching 'The Submission,' I went to a protest against the Ground Zero mosque in New York when I was about to give birth to twins. It was about 100 degrees. People thought I was very dedicated.
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Fabricating reality was criminal editing it, commonplace.
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My children, who are almost two: watching them develop has made me pay much closer attention to how we become who we are.
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Fiction just has a lot more room for ambivalence and internal conflict, contradiction, and for me that sums up so much of what people felt after 9/11 - confusion even. And I think that's hard to capture in journalism.
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History is the history of human behavior, and human behavior is the raw material of fiction. Most people recognize that novelists do research to get the facts right - how a glove factory works, for example, or how courtesans in imperial Japan dressed.
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The rhetoric is the first step, it coarsens attitudes
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Jealousy clings to love's underside like bats to a bridge.
Amy Waldman