A Quote by Amitava Kumar
Michael Ondaatje’s work taught me how to be at home in fragments, and how to think about a big story in carefully curated vignettes. All his books were odd, all of them ‘unfinished’ the way Chopin’s Études are unfinished: no wasted gestures, no unnecessary notes.
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I always believed that my work should be unfinished in the sense that I encourage people to add their creativity to it, either conceptually or physically. Back in the 1960s, I was calling for 'Unfinished Music,' number one, and number two, with my artwork - I was taking unfinished work into the gallery. And that's how I was looking at it.
Various books revolutionised what I think about novels and showed me that they're not strict, formulaic things. 'Coming Through Slaughter' by Michael Ondaatje was one of them.
I never want projects to be finished; I have always believed in unfinished work. I got that from Schubert, you know, the 'Unfinished Symphony.'
Once I'm given an idea for a story I have a million ideas on how it should be illustrated, but I don't have a big shoebox full of unfinished ideas.
The only work that can be compared to Chopin's Etudes, innovatively, where every note is essential and one becomes completely exposed, is the Brahms-Paganini variations. These are etudes - not as interesting musically as, say, the Brahms-Handel - but they are incredible.
At work, you think of the children you have left at home. At home, you think of the work you've left unfinished. Such a struggle is unleashed within yourself. Your heart is rent.
In a strange way, architecture is really an unfinished thing, because even though the building is finished, it takes on a new life. It becomes part of a new dynamic: how people will occupy it, use it, think about it.
Lots of my dying patients say they grow in bounds and leaps, and finish all the unfinished business. But assisting a suicide is cheating them of these lessons, like taking a student out of school before final exams. That's not love, it's projecting your own unfinished business
My parents, they gave me everything. They taught me how to work hard. They taught me how to be a good Catholic. They taught me how to love people, how to respect people, but how to stand my ground, as well.
My best experience as a writer was working with Michael Ondaatje. He let me dismantle his novel, reimagine it, and still had dinner with me and gave me good notes. But the best thing about writing has been the writer's life, the sense of being expressed, the ownership of the day, the entirely specious sense of freedom we have, however slave we are to some boss or other. I wouldn't trade it for any other life.
I think that actually the rhythmic nature of picture books and of young reader story books is a way to help kids fall in love with language and what you can do with it and how it sounds in your range. It sort of has a musicality but on the other hand they get the story and the ideas and the context of it. I think it's a way to get kids into it and I also think that when kids are around people who love books it rubs off on them.
A man who becomes conscious of the responsibility he bears toward a human being who affectionately waits for him, or to an unfinished work, will never be able to throw away his life. He knows the 'why' for his existence, and will be able to bear almost any 'how.'
A man who becomes conscious of the responsibility he bears toward a human being who affectionately waits for him, or to an unfinished work, will never be able to throw away his life. He knows the "why" for his existence, and will be able to bear almost any "how."
Thirty was a big deal for me. It was the age where I reevaluated everything - how I approached life and how I thought about myself. When I look at my 20s, or when I look at any period in my life, I think about how much time I've wasted trying to find the right man.
For notes related to books I'm writing, I've wondered whether I should organize my notes better, but I do find that the action or scrolling through them and seeing odd juxtapositions of ideas helps to stimulate my own ideas and creativity. I worry that if I kept the notes in a highly-structured way, I might lose some of these benefits.
As my father taught me, and he drove home that point, he said, 'Just remember something. You don't need to tell anybody how good you are. You show them how good you are.' And he drove that home with me. So I learned early not to brag about how good I was or what I could do but let my game take that away and show them that I could play well enough.
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