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But a book suggests conversation: one person is speaking to another, and audible sound is, or should be, natural to that exchange. So I read aloud with myself as the audience, and gave voice to another's words.
Teju Cole
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Teju Cole
Age: 49
Born: 1975
Born: June 27
Art Historian
Photographer
Writer
Michigan
United States
Read
Aloud
Voice
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Exchange
Natural
Speaking
Another
Gave
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Person
Audience
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Audible
More quotes by Teju Cole
It's an Obama book, certainly. I was delighted, and astonished, to hear recently that he was reading it. It's a book about a new kind of American reality, one that takes diversity for granted. It doesn't celebrate diversity, actually, it just says: this is how we live now.
Teju Cole
The site was a palimpsest, as was all the city, written, erased, rewritten.
Teju Cole
Perhaps this is what we mean by sanity: that, whatever our self-admitted eccentricities might be, we are not villains of our own stories.
Teju Cole
So, for a book set in 2006, Open City evades certain markers, while it embraces certain others. Julius doesn't use a smartphone, and he doesn't discuss contemporary US politics in any fine detail.
Teju Cole
I deeply respect American sentimentality, the way one respects a wounded hippo. You must keep an eye on it, for you know it is deadly.
Teju Cole
Always say no pun intended to draw attention to the intended pun.
Teju Cole
It takes a few years to understand what we've lived through. At the moment, we're still sort of mired in the irrelevant bullshit. There isn't yet that public conversation about 9/11.
Teju Cole
The novelist loses, every time. Politics is insidious, the modern conduct of war (from shoulder-launched rockets to drone strikes) is insidious. Someone presses a button in California and twenty people are incinerated at a wedding in Pakistan. The killer is spared the sight of the corpses.
Teju Cole
Writing as writing. Writing as rioting. Writing as righting. On the best days, all three.
Teju Cole
I just realized that we're facing here is an empathy gap. And this was just another way to generate conversation about something that nobody wanted to look at.
Teju Cole
Not in this specific form. But all great cities are inhabited by ghosts. A book of this kind could probably be written about Jakarta, Manila, or London by anyone who had a feeling for the invisible truths of those places.
Teju Cole
I often say I've spent more time with photography than I have with literature just in terms of hours.
Teju Cole
It is dangerous to live in a secure world.
Teju Cole
Still, there's that faint glimmer of hope we feel when we sense, in other people, the same kind of attentiveness to life that we take comfort in. Why else would anyone watch Haneke films or read Sebald? The material is grim, but it's redeemed by the quality of the attention.
Teju Cole
One of the difficulties of photography is that it is much better at being explicit than at being reticent.
Teju Cole
tried to focus on a particular aspect of this historical moment: the failure of mourning. This is something I haven't seen a great deal of in the writing around this disaster. And my view is that you write about disaster by writing around it, by writing allusively.
Teju Cole
Each neighborhood of the city appeared to be made of a different substance, each seemed to have a different air pressure, a different psychic weight: the bright lights and shuttered shops, the housing projects and luxury hotels, the fire escapes and city parks.
Teju Cole
The big idea behind it was to somehow participate in the discussion about justice. What does it mean to be just to the others out there whose lives we do not think about. One of the answers I came up with was simply tell their stories.
Teju Cole
Perhaps this is what we mean by sanity: that, whatever our self-admitted eccentricities might be, we are not the villains of our own stories. In fact, it is quite the contrary: we play, and only play, the hero, and in the swirl of other people's stories, insofar as these stories concern us at all, we are never less than heroic.
Teju Cole
My own literary interest is more about excavating the past, or sensing the past inside the present. This requires all kinds of exclusions and sleights of hand. There's an admittedly antiquarian flavor to it, even though there's enough of the present included to lull the reader.
Teju Cole