Siri Hustvedt
Novelist
1955-02-19
Books by Siri Hustvedt
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What I Loved
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The Summer Without Men
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A woman looking at men looking at women
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Quotes by Siri Hustvedt
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My purely practical advice: Don't get excited. Don't raise your voice. Bite back. Bite back hard, but never cry.
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When a culture oppresses women, and all do to one degree or another, it isn't convenient to acknowledge that there are women who like submission in bed or who have fantasies about rape. Masochistic fantasies damage the case for equality, and even when they are seen as the result of a sick society, the peculiarity of our sexual actions or fantasies is not easily untangled or explained away. The ground from which they spring is simply too muddy. Acts can be controlled, but not desire. Sexual feeling pops up, in spite of our politics.
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The Singularity is at once an escape and a birth fantasy. I said to him: A Zeus dream that avoids the organic body altogether. Brand-new creatures burst forth from men's heads. Presto! The mother and her evil vagina disappears.
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Feminism was good for me, as were any number of causes, but as I developed as a thinking person, the truisms and dogmas of every ideology became as worn as that book's cover.
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But that's why you're upset now. Fiction is not life.''You don't believe that.''I think I do.''You know as well as I do that the line can't be drawn, that we're infected at every moment by fictions of all kinds, that it's inescapable.''Don't be a sophist,' he said. 'There is a world and it's palpable.''I don't mean that,' I said. 'I mean that it's hard really to see it, that it's all hazy with out dreams and fantasies.
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The very idea of a library for me is bound to my mother and father and includes the history of my own metamorphosis through books, fictions that are no less part of me than much of my own history.
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The tangible and intangible collide to cast a spell. But can a person or thing ever be stripped naked? Can we ever discover reality hiding under the meanings we give to people and things? I don't think so. And I don't think Fitzgerald thought so either. His book meditates on the necessity of fiction, not only as lies but as truths.
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The fictive is an emormous territory it turns out, its boundaries vague, and there is little certainty about where it begins and ends.
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The advice is a call to empathy, the ultimate act of the imagination, and the true ground of all fiction.
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Only the unprotected self can feel joy.
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Maybe the world isn't enough, or maybe the distinction between the world and fiction is not so clear. Fiction is made from the stuff of the world, after all, which includes dreams and wishes and fantasies and memory. And it is never really made alone, but from the material between and among us: language.
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We drank coffee. We talked. She loved Charles Dickens, whom she read in Norwegian. Years after she was dead, I wrote a dissertation on Dickens, and though my study of the great man would no doubt have alarmed her, I had a funny feeling that by taking on the English novelist I was returning to my Norwegian roots.
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We read each other through our eyes, and anatomically they are an extension of our brains. When we catch someone's eye, we look into a mind.
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The logic: Reading is a private pursuit, one that often takes place behind closed doors. A young lady might retreat with a book, might even take it into her boudoir, and there, reclining on here silken sheets, imbibing the thrills and chills manufactured by writerly quills, one of her hands, one not absolutely needed to grip the little volume, might wander. The fear, in short, as one-handed reading. [p. 146]
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I see what I did not see. I experience that which is outside my own experience. This is the magic of reading novels. This is the working out of the problem of illusion. I take a book off the shelf. I open it up and begin to read, and what I discover in its pages is real.
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The best works of art are never innocuous: they alter the viewer's perceptual predictions. It is only when the patterns of our vision are disrupted that we truly pay attention and must ask ourselves what we are looking at.
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There is no perception without memory. But good art surprise us. Good art reorients our expectations, forces us to break the pattern, to see in a new way.
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The history of art is full of women lying around naked for erotic consumption by men.
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In effect, painting is the still memory of [the artist's] human motion, and our individual responses to it depend on who we are, on our character, which underlines the simple truth that no person leaves himself behind in order to look at a painting.
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Artists are cannibals. We consume other artists, and they become part of us— flesh and bone— only to be spewed out again in our own works.
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