Walter Kirn

Walter Kirn
Walter Kirn is an American novelist, literary critic, and essayist. He is the author of eight books, most notably Up in the Air, which was made into a movie starring George Clooney...
NationalityAmerican
ProfessionNovelist
CountryUnited States of America
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Nothing is less suspenseful than a threat that threatens the maker of the threat at least as much as the subject of the threat. Congress hasn't learned this yet, but America has learned it over and over.
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No matter how you cut them, paste them, rotate them, or distort them, lip syncing and air-guitar playing are fundamentally foolish activities, and anyone seen to be engaging in them with anything approaching a straight face is, by definition, taking herself or himself much too seriously.
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It's been a concern of mine for years that the mainstream media coverage of culture and politics takes place in two nodes, Washington and New York, and yet all the voting goes on somewhere else.
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If writers, like comedians or singers, could only hear themselves bombing as they worked, it's likely that certain books would be cut short after the first few leaden sentences.
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I studied English at Princeton in the early eighties in what I consider a period of high obscurity. Professors and students ran around discussing the work of critics and philosophers that I doubt they'd read or understood.
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You're able to do things in novels: introduce subplots, other characters, thematic layers and so on, in a way that you simply can't in a movie. A movie really has to choose its battles.
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When we have a favorite writer, it's always the places where they grew up, lived, worked, and that they recreated on the page that we most want to visit and commune with. Faulkner's Mississippi, Raymond Chandler's Los Angeles, etc. The mind of the reader longs to be somewhere, not just anywhere, and certainly not nowhere.
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When I was writing about the Republican primaries, it was as though the Bible was a black box that people reached into to pull out edicts and prejudices and rules and opinions, and I wish they had fact-checked it! Especially Rick Santorum.
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Truth is stranger than nonfiction. And life is too interesting to be left to journalists. People have stories, but journalists have 'takes,' and it's their takes that usually win out when the stories are too complicated or, as happens, not complicated enough.
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The idea that Americans favor politicians who either remind them of themselves or can imagine what their selves are like because they too have struggled and sung the blues, is, like very best theories of human behavior, immune to falsification by mere evidence.
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Thanks to Twitter, iPads, BlackBerrys, voice-activated in-dash navigation systems, and a hundred other technologies that offer distraction anywhere, anytime, boredom has loosened its grip on us at last - that once-crushing 'weight' has become, for the most part, a memory.
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Let the novelists fret about consistency - story writers should feel free to jam; to get things right in new, surprising ways by allowing themselves, now and then, to get things wrong.
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In America, to be ID'd - sorted, tagged, and permanently filed - is to lose a bit of one's soul. To die a little. This sounds like a subtle, poetic notion. It's not. In American legal and cultural tradition, one essential privilege of citizenship is not having to prove it on demand.
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I review books as a day job, and through the years I've come to view the contemporary memoir as, almost always, a saga of victimization, sometimes by others, sometimes by the self, and sometimes by illness or misfortune, leading, like clockwork, to healing and redemption.