Stacy Schiff
Stacy Schiff
Stacy Madeleine Schiff is a Pulitzer Prize-winning American nonfiction author and guest columnist for The New York Times...
NationalityAmerican
ProfessionAuthor
Date of Birth26 October 1961
CountryUnited States of America
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Recently a study proved that working from a larger, less cluttered computer screen increases concentration. I could have told them that. And yes, I write first drafts with a mechanical pencil and a yellow legal pad. There's good reason for this primitive behavior: I am a crackerjack typist. My hand moves far more quickly than my brain.
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When finally I mustered the courage to tell a novelist friend that I was talking to editors about a biography, her reply was, 'Oh, that's okay. That's not a real book.'
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For thousands of years, men have written history, so it seems to me that most of what we've read is from the male point of view.
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Have you ever been married? Had that thing of someone calling you by a name not your own? It's unsettling. It's like a fictitious person.
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Life-writing calls for any number of dubious gifts: A touch of O.C.D., a lack of imagination, a large desk, neutrality of Swiss proportions, tactlessness, a high tolerance for archival dust. Most of all it calls for an act of displacement. 'To find your subject, you must in some sense lose yourself along the way,' is Richard Holmes's version.
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From every ancient source, we have testimony to Cleopatra's irresistible charm, as Plutarch has it, to her ability to speak many languages including, as he puts it, the language of flattery and essentially, to be able to turn people to her will - really a great political genius, in that respect.
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Nonfiction writers are the packhorses of literature. We're meant to carry the story. If we can make it up and down the mountain by a reliable if not scenic route, we have delivered. Technique is optional.
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We're talking about, essentially, the Roman historians, who wrote Cleopatra into the story mostly so that they could talk about the rise of Rome. And that is one of the problems, of course, in recounting her life. She's only ever apparent to us when there is a Roman in the room, or when her story intersects with the rise of Rome.
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Reality does not easily give up meaning; it's the biographer's job to clobber it into submission. You're meant not only to tame it but to extract substance, to identify cause and axiomatic effect. You subsist on the tactical omissions, the hollow words, the oddly unconnected dots.
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By the time Florence Nightingale got her neurotic hands on Cleopatra, she had been mangled beyond recognition by both history and literature.
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The desk thing is a problem for me. The ideal one would be vast and perfectly clear. Yet the bane of the biographical existence is paper; if you're 'an artist under oath' you're writing from a mountain of documentation.
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What we know about Cleopatra's looks is based purely on her coin portraits. Engraving was imperfect, and that when you are a ruler and you ask for a coin to be engraved with your likeness on it, you are probably trying to project a certain air of authority.
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Cleopatra was on a political mission to save her country and her power, but what we remember about her are these two famed seductions, which are a matter of politics, not a matter of love.
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Of course, women have long exercised influence behind the scenes. A few thousand years ago this drove Aristotle to distraction: 'What difference does it make whether women rule or the rulers are ruled by women? The result is the same.'