Writer's Diary
1/3/25
notes & aphorisms for a new year:1
The reason to write a play script is to give yourself and others the intellectual land moral freedom to eschew their sociological scripts.
Defeat is the precondition of hope.
There is nobody to impress, especially yourself.
IBSEN/CHEKHOV: the two hemispheres of the dramatic brain.
The organism hurts; the mind thinks; the soul endures.
Love keeps the ship afloat between the swells.
I could be so much subtler and sharper in everything I write.
Loneliness isn’t the absence of love, but the memory of it.
I hide my contradictions in my life; purge them in my work—and I can go further in this.
Merely asking God to appear.
Truth is a mood which produces unique semantic structures.
Present in the presence (and for it).
Hybrid IRL/Internet life is inherently embarrassing; it’s not easy to transfer one’s identity back and forth; there are translation error.
The ‘facts’ of our lives are interpretation—liable to change.
There is no unity of perception, only modes.
When you get to the need of a notebook, your handwriting gets smaller, you use more of the white space.
There is no poet without the muse; no muse without the poet!
Good health upsets conventional morality.
We still watch and read Chekhov because we squander our talent.
The magic of a life in art—….
If and when you’re an artist, you build layer after layer, wall after wall, moat after moat around your essential innocence. Within that protected zone, you remain a child—not in an infantile way, but in a holy way, or almost holy. You try to sustain this your whole life, but anyone who lives this way must also admit there’s a corresponding loneliness, maybe even one that’s ineradicable.