Rather than teasing the buyers, we may blame the society in which they lived for setting up a situation where the purchase of ornate cabinets felt psychologically necessary and rewarding, where respect was dependent on baroque displays. Rather than a tale of greed, the history of luxury could more accurately be read as a record of emotional trauma. It is the legacy of those who have felt pressured by the disdain of others to add an extraordinary amount to their bare selves in order to signal that they too may lay a claim to love.
I think fiction can help us find everything. You know, I think that in fiction you can say things and in a way be truer than you can be in real life and truer than you can be in non-fiction. There's an accuracy to fiction that people don't really talk about - an emotional accuracy.
It's exciting having a student who is not used to expressing their emotional side and bringing that out in them and see that developing and helping to nurture that. That's an exciting thing. In a class of fifteen there are usually two very good writers, equal to good student writers anywhere in the country. Those two make the class wonderful.
To invest successfully over a lifetime does not require a stratospheric IQ, unusual business insights, or inside information. What's needed is a sound intellectual framework for making decisions and the ability to keep emotions from corroding that framework. You must supply the emotional discipline.
I'm entirely interested in people, and also other creatures and beings, but especially in people, and I tend to read them by emotional field more than anything. So I have a special interest in what they're thinking and who they are and who's hiding behind those eyes and how did he get there, and what's the story, really?
Our capacity to draw happiness from aesthetic objects or material goods in fact seems critically dependent on our first satisfying a more important range of emotional or psychological needs, among them the need for understanding, for love, expression and respect.
I set myself up for a lot of trouble by wanting to tell a story that is fairly earnest and emotional and expressive, but to do it in the most subtle, realistic way.
To me exposition always contains tenderness. While a dramatized scene is a way of proving and guaranteeing an emotional experience for the reader, exposition assumes that the reader is sophisticated and can see the universal.
Each makes this cosmos and its construction the pivot of his emotional life, in order to find in this way peace and security which he can not find in the narrow whirlpool of personal experience.
Novels aren't pedagogical instruments, or instructions in law or physics or any other discipline. A novel has to be an emotional experience, a trip of the imagination, and because science has raised so many issues that concern and affect humans, it's a good starting place for me.
Time, space, and natural law hold for me suggestions of intolerable bondage, and I can form no picture of emotional satisfaction which does not involve their defeat - especially the defeat of time, so that one may merge oneself with the whole historic stream and be wholly emancipated from the transient and the ephemeral.
Afflictive emotions - our jealousy, anger, hatred, fear - can be put to an end. When you realize that these emotions are only temporary, that they always pass on like clouds in the sky, you also realize they can ultimately be abandoned.
I can look back . . . at two distinct periods of opinion whose foundations I have successively come to distrust - a period before 1919 or so, when the weight of classic authority unduly influenced me, and another period from 1919 to about 1925, when I placed too high a value on the elements of revolt, florid colour, and emotional extravagance or intensity.