62 David Shields Quotes On Honesty And Nature

Honesty is the best policy; the only way out is deeper in: a candid confrontation with existence is dizzying, liberating.

I’m just a totally selfish worker bee creating my little mini projects.

I believe in copyright, within limited precincts. But I also believe in fair use, public domain, and especially transformation.

If the bus driver is black, I thank him… when I get off at my spot, whereas I would never think of doing this if the driver were white.

I am interested in work that jumps boundaries, and that makes trouble. Part of me is comfortable with that: with being a bit of a troublemaker.

If the bus driver is black, I thank him… when I get off at my spot, whereas I would never think of doing this if the driver were white.

The reigning mythology of the Northwest is obviously nature, and the reigning mythology of the Northeast corridor is culture.

I’m not super-polite or civil – I try to be civil, but I’m not into Seattle’s niceties, and I’m not hugely wired into Seattle’s natural beauty.

The originating sin of America is slavery, for which reparations should be paid and will never be paid; as a result, mini-reparations are paid daily, and the NBA remains, for me, reparations theater.

In the case of the Web, each of us has slightly more access to a mass audience – a few more people slide through the door – but Facebook is finally a crude, personal multimedia conglomerate machine, personal nation-state machine, reality-show machine. New gadgets alter social patterns, new media eclipse old ones, but the pyramid never goes away.

Collage is not a kitchen sink; it’s not a refuge for the compositionally disabled.

In music, they’re not endlessly rewriting Beethoven’s ‘Third Symphony;’ in visual art, they aren’t painting portraits of 16th-century royalty. Art moves forward.

My particular demigod is the Sonics point guard Gary Payton, who is one of the most notorious trash-talkers in the National Basketball Association. He’s not really bad. He’s only pretend bad – I know that – but he allows me to fantasize about being bad.

I’m really interested in the new nonfiction. I think the hyper-digital culture has changed our brains in ways we cannot begin to fathom.

I really love that idea of the essay as an investigation. That’s all anyone’s life is.

Reality isn’t straightforward or easily accessible.

Straightforward fiction functions only as more Bubble Wrap, nostalgia, retreat.

We like non-fiction because we live in fictitious times

Seattle is still more Caucasian than most medium-sized cities. The sort of psychosexual politics of white fandom in context of black athletes who are also both very rich and slightly angry is just, to me, bottomlessly fascinating.

Basically, I really love work that puts the reader into a kind of vertigo, into a real doubt, and a beautiful way to convey that, a really perfect metaphor for that, is to make the reader also experience doubt.

A major focus of ‘Reality Hunger’ is appropriation and plagiarism and what these terms mean. I can hardly treat the topic deeply without engaging in it. That would be like writing a book about lying and not being permitted to lie in it.

We’ve been appropriating in art since Duchamp, and we’ve been appropriating in music since the first person was banging on drums.

A book makes claims of literary art.

The ways in which I was obsessed with Gary Payton and Shawn Kemp 20 years ago is completely replicated by my daughters’ and my crush on Marshawn Lynch and Richard Sherman now.

I don’t know what’s the matter with me, why I’m so adept at distance, why I feel so remote from things, why life feels like a rumor.

In many senses, creativity and ‘plagiarism’ are nearly indivisible.

I’m very fond of this phrase: ‘Collage is not a refuge for the compositionally disabled.’ If you put together the pieces in a really powerful way, I think you’ll let a thousand discrepancies bloom.

We’re completely confused about the boundaries between fiction and non-fiction. To me, the moment you compose, you’re fictionalising; the moment you remember, you’re dreaming. It’s ludicrous that we have to pretend that non-fiction has to be real in some absolute sense.

From the first slave ship arriving in harbor, America stole and judged blacks. Black life that didn’t fit into white logic was commercially exploited or lynched.

Every writer from Montaigne to William S. Burroughs has pasted and cut from previous work. Every artist, whether it’s Warhol or, you know, Dangermouse or whoever.

Swimming is by far the best tonic I’ve found for my back. I’m not a good swimmer – I do the breaststroke or elementary backstroke in the slow lane – but when I took a two-week break from swimming I was surprised how much I missed it.

I want a nonfiction that explores our shifting, unstable, multiform, evanescent experience in and of the world.

I hope readers will think that ‘The Thing About Life’ is beautifully patterned, a tapestry.

All art is theft.

During Ronald Reagan’s administration, ’60 Minutes’ ran a segment about the difference between Reagan’s rhetoric and Reagan’s actions. The show thought it had produced a hard-hitting piece; Reagan’s team called up ’60 Minutes’ to thank them for the 15-minute commercial.

The difference between kitties and humans is that we are aware of our mortal condition, and the burden of consciousness is to evoke and embody and explore the coordinates of our condition.

Our culture is obsessed with real events because we experience hardly any.

The American writer has his hands full, trying to understand and then describe and then make credible much of American reality.

I worry that I am not really a person anymore: I’m more of just a writing machine. I wonder what that has done to either my life and or my art.

In a way, it’s taken me 25 years to acknowledge that I am from the West Coast. I was always sort of pretending I was bicoastal or that I really belonged on the East Coast.

You could easily do a book of Marshawn Lynch’s quotes, which have a quite serious political pushback. I think he’s really amazing.

Considering the relatively brief careers of professional athletes, teenagers who are good enough to play at the highest level should be able to exploit that market.

The N.F.L.’s rule on underclassmen should be abolished, and the N.B.A. should be discouraged from adding an age limit.

I suspect the real reason the N.F.L. and N.B.A. don’t want high schoolers and college underclassmen to play with their ball is that they don’t want to jeopardize their relationship with National Collegiate Athletic Association, which serves as a sort of free minor league and unpaid promotional department for the pros.

The N.C.A.A. is a multibillion-dollar business built on the talents of players who are often unqualified for or uninterested in being students and who benefit materially from the system only if they are among the few who turn professional.

Business Professional Only Students

The trajectory of nearly all technology follows this downward and widening path: by the time a regular person is able to create his own TV network, it doesn’t matter anymore that I have or am on a network.

Nothing really changes: the individual’s ability to project his message or throw his weight around remains minuscule.

I like art with a visible string to the world.

Denied dancing and musical instruments, slaves expressed a hidden tradition of musicality and poetics by tongue and signal.

I went to graduate school in Iowa City, at the Iowa Writers’ Workshop, where the most passionate thing I did was attend University of Iowa basketball games.

Sports passion is deeply, infamously territorial: our city-state is better than your city-state because our city-state’s team beat your city-state’s team. My attachment to the Sonics is approximately the reverse of this.

The ruling ethos of Seattle is forlorn apology for our animal impulses.

I’m a sucker for sports movies.

Flipping through the channels late at night, I’ll come across ‘The Longest Yard’ and not be able to get up off the couch until Burt Reynolds has scored the winning touchdown.

The movie – any sports movie – becomes a praise song to life here on earth, to physical existence

Sports movies are often very good at dramatizing the intersection of public and private realms: the body politic.

I do not think it feasible to examine the phenomenon of hatefulness without being hateful.

As a work gets more autobiographical, more intimate, more confessional, more embarrassing, it breaks into fragments.

Our lives aren’t prepackaged along narrative lines and, therefore, by its very nature, reality-based art – underprocessed, underproduced – splinters and explodes.

In the NBA, as in nowhere else in America, white people are utterly beholden to black people, and they’re not about to let us off that easily. It’s a kind of very mild payback for the last 500 years.

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