A Quote by Haruki Murakami
There's not much you can do about time - it just keeps on passing. But experience? Don't tell me that. I'm not proud of it, but I don't have any sexual desire. And what sort of experience can a writer have if she doesn't feel passion? It'd be like a chef without an appetite.
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One of the big misconceptions is that affairs or trysts are flings about sex. And sometimes they are, but much more often they are about desire. And that is very different. The desire to feel special, to feel seen, to feel appreciated, to be laughed at or with. The desire to be desired. That does not manifest in a sexual act per se. Affairs make you feel alive. Alchemy means it's not about the actual sex, but the sexuality, the energy, the aura. It's the imagination and anticipation of it as much or instead of the actual experience of it.
I was in the fantasy. I was selling myself on the fantasy as I was doing it. It never occurred to me. I did take notes, but just because I am a writer. I've been a writer since I was five. You don't have any sort of outlandish, shocking, extraordinary, horrifying experience without writing it down, because I know and knew that you forget things. No matter how outrageous and amazing and extraordinary and seemingly unforgettable an experience is, it's kind of like a dream. It will erode inevitably, for me.
I think a lot of things are written from experience, but then you become a writer and talk about other people's experience and you tell stories. I mean, you can't just tell your own story all the time.
I wonder if those experts who tell us that our sexual appetite is the strongest know what real thirst feels like; I can imagine the desire for water driving someone to commit a crime to which sexual desire could never drive them.
Films are a very personal experience - just like a martini - so I try to think about what I like, what projects I like to be in, and make sure I feel proud about it because, at the end, I'm the only one that's going to look back and feel proud or not about what I was doing.
My kind of nightmare quote is from Deborah Tolman, who does research on girls and desire and is, I think, brilliant. She told me that by the time girls are teenagers, when she asks them how sexual experience made them feel, they respond by how they think they looked; they think that how they look is how they feel.
She was not an existence, an experience, a passion, a structure of sensations, to anybody but herself. To all humankind besides Tess was only a passing thought. Even to friends she was no more than a frequently passing thought.
In our time, we have become too interested in the artist and his or her character and experience as a way of understanding art. In my view, you should be able to read a book or see a film without knowing a single thing about conditions or circumstances or character of the artist, and experience the work to the full without such information. Sometimes I feel - speaking for myself - that people know much too much about me, and I wish people knew less and could just read these books and respond to them purely as words on a page.
If you tell people what everything is before they have a chance to experience it, then I feel like it's a much different experience.
People question me all the time about my experience. They question my experience in politics, and the first thing I always tell them is yes, I have no experience raising taxes over and over. I have no experience increasing the debt in a state.
The sexual act - thinking about the sexual act, the telling about the sexual act, after the sexual act, is so much more important than the actual sexual act - just in time. It's like of the whole sexual act, you probably spend 95% of the time thinking about it, talking about it afterwards. The actually sexual act, especially when you're 17, is minutes.
Being a dominatrix, sticking my foot up people's asses for money, necessitated that I divorce myself from any sort of objective perspective on what I was doing. In order to think about things as a writer you have to objectify your experience. I couldn't have been enacting that experience if I was objectifying it.
As in the sexual experience, there are never more than two persons present in the act of reading-the writer, who is the impregnator, and the reader, who is the resspondent. This gives the experience of reading a sublimity and power unequalled by any other form of communication.
Romance lives by repetition, and repetition converts an appetite into an art. Besides, each time that one loves is the only time one has ever loved. Difference of object does not alter singleness of passion. It merely intensifies it. We can have in life but one great experience at best, and the secret of life is to reproduce that experience as often as possible.
Any person of any philosophic persuasion who sits on a hot stove will verify without any intellectual argument whatsoever that he is in an undeniably low-quality situation: that the value of his predicament is negative. This low quality is not just a vague, woolly-headed, crypto-religious, metaphysical abstraction. It is an experience. It is not a judgment about an experience. It is not a description of experience. The value itself is an experience. As such it is completely predictable. It is verifiable by anyone who cares to do so.
I would tell any aspiring designer to take the time to experience everything they can to really get a feel for what direction they want to go in. And most importantly, let your passion and your gut lead you.
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