A Quote by Anna Deavere Smith
I remember from my father's funeral that the minister kept using a metaphor about life of a prism. And I took that away like a cherished image.
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I remember when my father passed away, we drove the funeral procession past the bank so he could say one last goodbye. That's how much the bank meant to my father.
Creativity is more about taking the facts, fictions, and feelings we store away and finding new ways to connect them. What we're talking about here is metaphor. Metaphor is the lifeblood of all art, if it is not art itself. Metaphor is our vocabulary for connecting what we are experiencing now with what we have experienced before. It's not only how we express what we remember , it's how we interpret it - for ourselves and others.
When I went to jail, reality hit so hard that it took my breath away, took my stance away, took my strength away. I was there buck naked, humiliated, sitting in my own crap and urine - this is a metaphor. My ego had run off. Your ego is the biggest coward.
'Selfie' is the word du jour, and it became cause celebre at Nelson Mandela's funeral when the Danish Prime Minister Helle Thorning-Schmidt took a selfie with U.S. President Barack Obama and U.K. Prime Minister David Cameron.
It took me 14 years to write 'Crazy Brave' because I kept changing the form and I also kept running away from the story. I said I don't really want to write about myself. But it's about writing about memory.
My poems always begin with a metaphor, but my way into the metaphor may be a word, an image, even a sound. And I rarely know the nature of the metaphor when I begin to write, but there is an attentiveness that a writer develops, a sudden alertness that is much like the feel of a fish brushing against a hook.
If you remember only one thing I've said, remember that an idea is a feat of association, and the height of it is a good metaphor. If you have never made a good metaphor, then you don't know what it's all about.
My father never really encouraged me or even took an interest after I walked away from the family business. No one did except my mother and my grandfather. To be truthful, I cannot remember one meaningful conversation I had with my father.
When I was 40, I wrote my first book, The Pilgrimage, and I said to myself, "why did it take so long for me to write this book?" Because my dream, since I was 10 years old, was to be a writer. I said, I have to revisit my life using a metaphor, and the metaphor was basically this boy that has a dream and has to go far away to realize that his dream is close to him.
Kids chase the love that eludes them, and for me, that was my father's love. He kept it tucked away, like papers in a briefcase. And I kept trying to get in there.
My father took one hundred and thirty-two minutes to die. I counted. It happened on the Jellicoe Road. The prettiest road I’d ever seen, where trees made breezy canopies like a tunnel to Shangri-La. We were going to the ocean, hundreds of miles away, because I wanted to see the ocean and my father said that it was about time the four of us made that journey. I remember asking, 'What’s the difference between a trip and a journey?' and my father said, 'Narnie, my love, when we get there, you’ll understand,' and that was the last thing he ever said.
Some people say they use images to help them remember intricacies. Others say they just remember. If they are able to form an image of the face, it is because they remember how it was: it is not that an image guides memory, but that memory produces an image, or the sense of imaging. We have no agreed way to talk clearly about such things.
I can understand how people would despise my image and my father's persona. My father's image amongst the poorest of people, those forgotten by the state, still remains a respected image. Whether we like it or not, my father was an important figure who filled a vacuum left by the state amongst the lower social classes.
Every backstory involves my father. I remember hearing Gary Oldman talking about backstories and saying, 'I got to stop using my father...' And I feel the same way. I don't know. What I come up with always involves some element of this son trying to prove himself to his father.
'District 9' was a singular anti-Apartheid metaphor, and 'Elysium' is a more general metaphor about immigration and how the First World and Third World meet. But the thing that I like the most about the metaphor is that it can be scaled to suit almost any scenario.
I learned a lot from Elvis. He never took his image seriously. So many performers today put their image before themselves. It can ruin them. Like Elvis, I never took my image seriously.
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