In 1899, when American writer Nellie Bly set out on her record-breaking journey around the world in seventy-two days, she carried British gold coins and Bank of England notes with her. It was possible to circumnavigate the globe and use one form of money everywhere Nellie went.— Saifedean Ammous
Simplistic American Writer quotations
Every time I make an American film I just trust the American director and American writer. Myself, I would never make this kind of film. For me, those kinds of films are ridiculous. They don't make sense.
Although I write in English, and despite the fact that I'm from America, I consider myself an Armenian writer. The words I use are in English, the surroundings I write about are American, but the soul, which makes me write, is Armenian. This means I am an Armenian writer and deeply love the honor of being a part of the family of Armenian wrtiters.
As a young writer, I was on guard against the Latina in me, the Spanish in me because as far as I could see the models that were presented to me did not include my world. In fact, 'I was told by one teacher in college that one could only write poetry in the language in which one first said Mother. That left me out of American literature, for sure.
I don't like political poetry, and I don't write it.
If this question was pointing towards that, I think it is missing the point of the American tradition, which is always apolitical, even when the poetry comes out of politically active writers.
For the writer, there is nothing quite like having someone say that he or she understands, that you have reached them and affected them with what you have written.
I cannot remember the books I've read any more than the meals I have eaten;
even so, they have made me.
It seems to me that you are better off, as a writer and as an American, in a small town than you'd be in New York. I thoroughly detest New York, though I have to go there very often.... Have you ever noticed that no American writer of any consequence lives in Manhattan? Dreiser tried it (after many years in the Bronx), but finally moved to California.
In one particular chapter in Ulysses, James Joyce imitates every major writing style that's been used by English and American writers over the last 700 years - starting with Beowulf and Chaucer and working his way up through the Renaissance, the Victorian era and on into the 20th century.
I am honorary President of the American Humanist Society, having succeeded the late, great science fiction writer Isaac Asimov in that utterly functionless capacity. We Humanists behave as well as we can, without any rewards or punishments in an Afterlife.
Incidentally, I am honorary president of the American Humanist Association, having succeeded the great science fiction writer and biochemist Dr. Isaac Asimov. John Updike, who is religious, says I talk more about God than any seminarian. Socialism is, in fact, a form of Christianity, people wishing to imitate Christ.
The English tourist in American literature wants above all things something different from what he has at home. For this reason the one American writer whom the English whole-heartedly admire is Walt Whitman. There, you will hear them say, is the real American undisguised. In the whole of English literature there is no figure which resembles his - among all our poetry none in the least comparable to Leaves of Grass
Chicago is the Great American City, and it was really great to live there during a time of economic expansion and opportunity and growth. I felt like I was living at the center of the world. Unlike New York, no one expects you to be a professional writer.
Fantasy doesn't have to be fantastic.
American writers in particular find this much harder to grasp. You need to have your feet on the ground as much as your head in the clouds. The cute dragon that sits on your shoulder also craps all down your back, but this makes it more interesting because it gives it an added dimension.
I am writing this from what we Americans call Yurrp.
In Yurrp writers are taken as seriously as Lana Turner's legs are in America - a ridiculous situation.
I would not describe myself as a political writer except in the sense that the personal is political, which is something that I do strongly believe. And in that sense American Gods is a very personal novel and a political novel. I was trying to describe the experience of coming to America as an immigrant, the experience of watching the way that America tends to eat other cultures.
I realized the other day that about the only author I genuinely read for pure pleasure is one of the worst authors in the world, a guy called Harry Stephen Keeler, a long dead American mystery writer. He was probably the greatest bad writer America ever produced.
But there are certain very practical things American Negro writers can do.
And must do. There's a song that says, "the time ain't long." That song is right. Something has got to change in America-and change soon. We must help that change to come.
The best writing advice I had was [in] ‘Heinlein’s Rules for Writers’ by (American science fiction author) Robert A. Heinlein. His first rule is that you must write, and I was already doing that, but his second rule is, ‘You must finish what you write,’ and that had a big impact on me.
The best American writers have come from the hinterlands -- Mark Twain, Theodore Dreiser, Jack London, Hemingway, Faulkner, Wolfe, Steinbeck. Most of them never even went to college.
I am happy to be a regional writer. My region is the American West, old Mexico, West Virginia, New York, Europe, Australia, the human heart, and the male groin.
Of course I'm a black writer. I'm not just a black writer, but categories like black writer, woman writer and Latin American writer aren't marginal anymore. We have to acknowledge that the thing we call literature is more pluralistic now, just as society ought to be. The melting pot never worked. We ought to be able to accept on equal terms everybody from the Hasidim to Walter Lippmann, from the Rastafarians to Ralph Bunche.
The one good thing to be said about announcing yourself as a writer in the colonial Canadian fifties is that nobody told me I couldn't do it because I was a girl. They simply found the entire proposition ridiculous. Writers were dead and English, or else extremely elderly and American; they were not sixteen years old and Canadian.
Most American writers don't get asked their opinion on current affairs, whereas in Europe and England, we still do. There are writers here who are the most sophisticated commentators, but they're not asked. Like Don DeLillo, who sort of forecast most of the modern world before it happened.
The great American writer Herman Melville says somewhere in The White Whale that a man ought to be 'a patriot to heaven,' and I believe it is a good thing, this ambition to be a cosmopolitan, this idea to be citizens not of a small parcel of the world that changes according to the currents of politics, according to the wars, to what occurs, but to feel that the whole world is our country.
Salter is a writer who particularly rewards those for whom reading is an intense pleasure. He is among the very few North American writers all of whose work I want to read, whose as-yet-unpublished books I wait for impatiently.
There is a terrible, mean American resentment toward a writer who tries to do many things.
I came out of Capitol Hill. Well, that's just not an ordinary background for a writer of the ordinary American sort.
Class is the most difficult subject for American writers to deal with as it is the most difficult for the English to avoid.
Sex was a great no-no for Americans, so that was obviously an attraction to the writers, and since sex is a great part of most people's lives, it's a great subject.
American writers want to be not good but great; and so are neither.
One of the most glorious messes in the world is the mess created in the living room on Christmas day. Don't clean it up too quickly." ~ (1919-), American writer, producer, humorist.
Some American writers who have known each other for years have never met in the daytime or when both were sober.
We cannot educate white women and take them by the hand.
Most of us are willing to help but we can't do the white woman's homework for her. That's an energy drain. More times than she cares to remember, Nellie Wong, Asian American feminist writer, has been called by white women wanting a list of Asian American women who can give readings or workshops. We are in danger of being reduced to purveyors of resource lists.
It is more worthy in the eyes of God .
. . if a writer makes three pages sharp and funny about the lives of geese than to make three hundred fat and flabby about God or the American people.
European society has always been divided into classes in a way that American society never has been. A European writer considers himself to be part of an old and honorable tradition--of intellectual activity, of letters--and his choice of a vocation does not cause him any uneasy wonder as to whether or not it will cost him all his friends. But this tradition does not exist in America.
My friend, Dennis Mathis, was reading Eastern European and Japanese experimental writers, and I brought the Latin American writers to his attention, so we exchanged books and bounced off one another.
We do have American Idiot picked up by HBO and I wrote the record and concept to it. [We have] the writer Rolin Jones and [director] Michael Mayer [who also directed the Broadway production], so we'll see what happens.
The Anglo-American tradition is much more linear than the European tradition.
If you think about writers like Borges, Calvino, Perec or Marquez, they're not bound in the same sort of way. They don't come out of the classic 19th-century novel, which is where all the problems start. 19th-century novels are fabulous and we should all read them, but we shouldn't write them.
...the traces to the East haven been broken, the Republican party will never again be dominated by the editorial writers for the New York Herald Tribune. Free at last.
I'm definitely more influenced by European writers than I am by American writers, there's no doubt about that.
Americans think African writers will write about the exotic, about wildlife, poverty, maybe AIDS. They come to Africa and African books with certain expectations.
It is in this matter that I fall foul of so many American writers on writing;
they seem to think that writing is a confidence game by means of which the author cajoles a restless, dull-witted, shallow audience into hearing his point of view. Such an attitude is base, and can only beget base prose.
I know the struggle from the inside out and I would never be so bold as to call myself a writer. I think that is what other people call you. But I consider myself a member of a community in Salt Lake City, in Utah, in the American West, in this country. And writing is what I do. That is the tool out of which I can express my love.
When I was starting out, science fiction was a little genre over there, which only a few people read. But now -- where are you going to put, for example, Salman Rushdie? Or any of the South American writers? Most people get by calling them magical realists.