I was apprehensive. I feared every time I talked about poetry, it would be filtered through the lens of race, sex, and age.
Starting at age 6, I was helping install the Formica table tops with that strong glue. My dad was the master. I was the apprentice. I'd be in there working until I'd be telling him, 'I feel woozy,' and he'd say, 'Go outside, son.' So I'd go organize his tools. He used the best ones made.
When I was 13, I entered the seminary in the hope of becoming a priest. But I often found myself helping the nuns in the kitchen and thus discovered my passion for cooking. I began to cultivate my skills and aspirations at the age of 15, when I embarked on my first apprenticeship.
I had used eclectic therapy and behavior therapy on myself at the age of 19 to get over my fear of public speaking and of approaching young women in public.
That appropriation of resources and the transformation of them into goods and services through the European production system characterized, and characterizes to this day, all industrial systems including the information age.
The Cube is approximately - it's around the same age as the Internet, and in that time, we had no personal computers yet.
Chronological age is only an approximation of your functional age.
I enjoy worldbuilding very much. I generally start with an approximation. With 'Flesh and Spirit' and 'Breath and Bone,' because I was thinking of a world on the brink of a dark age, I began with the sense of Roman Britain. But I purposely set the geography to match something other than Britain - which has been overdone.
The Arab Spring is a powerful and compelling response not only to an age of tyranny but also to the remnant chains of imperial influence.
It is utterly false and cruelly arbitrary to put all the play and learning into childhood, all the work into middle age, and all the regrets into old age.
We're still living with the old paradigm of age as an arch. That's the old metaphor: You're born, you peak at midlife and decline into decrepitude.
What's changed is we now have good anatomical, geological, archaeological evidence that Neanderthals are not our ancestors. When I wrote 'Lucy,' I considered Neanderthals ancestors of modern humans. We have gone back twice the age of Lucy, six million years. And we see that upright bipedal walking goes back that far in time.
When I turned 50, I asked some of my girlfriends, all actresses of the same age, 'What are we going to do now?' I wanted to go live somewhere for a while, learn archaeology, or take part in healing the world on some level. I wanted to dig deep and say, 'Who am I now? What do I have to offer? What do I have to learn?'
I always place myself as the archetypal Cure fan. I'm the wrong age, but I still think that if I like anything particularly, our fans will.
Every great architect is - necessarily - a great poet. He must be a great original interpreter of his time, his day, his age.
Believe me, that was a happy age, before the days of architects, before the days of builders.
It is a hopeless endeavor to make the form and content of earlier architectural epochs usable for our time; in this, even the strongest artistic talent must fail. We see repeatedly how the outstanding builders fail to achieve an effect because their work does not serve the will of the age.
And the fifteenth century was an impassioned age, so ardent and serious in its pursuit of art that it consecrated everything with which art had to ad as a religious object.
In the information age, you don't teach philosophy as they did after feudalism. You perform it. If Aristotle were alive today he'd have a talk show.
I don't think so-called high technology matters in death. I think they had high technology before Noah's Ark. And it got lost because that was the first Ice Age.
