Susan Orlean Quotes
Born: October 31, 1955
The biggest problem with working at a treadmill desk: the compulsion to announce constantly that you are working at a treadmill desk.
I didn't want to talk, and I didn't think dogs could solve my problems. But they were so uncritical and un-judgmental. Sometimes when you're really blue, you don't want to talk, but you want that sense of companionship. I certainly enjoy that with my beasts.
I've definitely taken a lot of consolation from animals in my life. There have been times when I've been really sad, and they gave solace and comfort and companionability more than a person.
Animals can seem more pure. Without complication, I mean, animals are selfless. What animals do for us, they do out of instinct.
I think part of a hero construct is overcoming loss, or being abandoned, or having to make your own way in the world.
The fact that dogs are not people means you don't have as much response to the particulars.
Among all life forms, there are creatures with charisma and creatures without. It's one of those ineffable qualities we can't quite define, but we all seem to respond similarly to.
I think on a day-to-day basis, what attracts us in coexisting with another living, evolving thing, is that you have a relationship that's different than with a piece of furniture. We experience the cycle of life through these other beings.
I think coexisting with another life form is a very rich experience. It's why people keep plants and animals.
We're fascinated by animals because it's almost like having Martians living among us. We can see some familiarity in them, but they're entirely different creatures.
Being a good designer certainly doesn't guarantee that you're good at business. It's probably more surprising when the two talents coexist in one person.
I think the responsibility of running a huge business, which happens if you become a successful designer, probably makes you more careful.
I like the idea that people get engaged thinking about design, about creativity. I don't see how it could possibly be bad.
I love Japanese design and fabrics. I also love people who make clothes for mass consumption but do it well and cleverly.
I love convincing a reader that an unusual or seemingly ordinary subject is worth his or her time - it's part of the fun for me as a writer.
Writing about unknown people means I spend a lot of time arguing to the reader about why it's worth knowing about them. That's challenging, but then the piece is pure discovery.
Writing about someone well known removes that obligation of defending it as a subject, but it also means that some of the surprise and freshness is already gone. It's so different - in some ways much harder for me.
I've used Twitter now and again to try to figure something out, it's an amazing resource. But I think you have to use it judiciously: it's a self-selected group, so it's important not to start thinking of it as the whole world.
I approach stories as a private educational enterprise: I want to learn about something. I teach myself through research, reporting, and thinking, and then, when I feel like I know the story, I tell it to readers.
Writing about fashion forces you to overcome the nagging feeling that fashion doesn't 'matter', that it's trivial or fleeting. I just look at it anthropologically, which is different from the way I'd write about art.