A Quote by Herta Muller
I learned Romanian very late, when I was fifteen, in town, and I wanted to learn it. I like the language very much.
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I feel like it's not so much a tradition as a system that has been codified over the centuries starting in the Renaissance that applies to any painted surface. So if you're engaging in paintings, this is the language that one has to learn and is obliged to speak. I was very fortunate that I learned this language when I was a kid before I went to California, where I learned the language of attitude. Somehow the two things began to coexist.
All of a sudden it's twelve-year-olds who are contacting me, fifteen-year-olds, and they have very, very fascinating questions. However, they speak in a language of their age group which I have to learn first.
Romanian is a very beautiful, sensual, poetic language.
I don't hold on to fear as much as I used to, because I've learned a lot about genuinely not caring what strangers think about me. It's very liberating. It's very empowering, and I've learned a lot of that from Jay-Shawn Carter-Z, because his approach to life is very internal. It's a very good lesson to learn.
I wanted a new experience, to learn another language. I wanted to be different. I wanted people to realise I'm taking my coaching career very seriously. I wanted to create my own pathway.
I went to the Mary Lee Burbank School in Belmont. And it was a place where you, like, learned to go to the store? And I was saying, Oh God, I want to learn something else. I wanted to learn to read and write better and do mathematics better. They were very much into Abstract Expressionism and that artsy stuff. And where most kids did what I call meaningless blobs, I could render perfectly.
In the future, everyone will have fifteen minutes of fame. Followed by fifteen minutes of legal problems, fifteen minutes of ridicule from late-night TV hosts, fifteen minutes of obscurity, and fifteen minutes of "Where are they now?".
I didn't know I wanted to be a hairdresser. I was always interested in fashion and imagery in a very naive way, but it was always an attraction, like glitter balls. This was in the late '70s, early '80s, so it wasn't like today, where you kind of know all about the industry. Fashion was a very insider industry then - it was very closed. So I didn't really know what I wanted to do.
My mom and my dad wanted my brother and I to have a better life, you know, better education, better jobs. It was probably harder, much, much harder, for my parents. When you're a kid, you can learn a language much more easily; I learned English in less than a year.
The experimental film scene was very much misogynistic as well. I don't know if you have read what little attention was given to the films of Joyce Wieland, who was the wife of Michael Snow. Michael was the "genius" and she was not. If you look at the films they're wonderful, but very different. Michael was very proud of the films too, so it was not coming from him. It was coming from the general environment. I think both Chantal Akerman and I shared that. We wanted to find a language, which was the language of women.
On the other hand, Surrealism has been a part of Romanian literature since forever. Even before Tzara, who was originally Romanian, we had Urmuz, who was a surrealist before the term even existed. During Breton's era too, there was a very active Romanian Surrealist group (Ghérasim Luca, Gellu Naum, etc.) closely related to the French. They had to quit their activities as soon as the Soviet communists took over.
I very much wanted a family and children. I came to it late in life.
I've learned so much, so very much about myself in defeat. I've learned very little to nothing in victory.
Romanian? That's impressive," said Jace. "Not many people speak it." "Do you?" Sebastian asked with interest. "Not really," Jace said with a smile so disarming Simon knew he was lying. "My Romanian is pretty much limited to useful phrases like, 'Are these snakes poisonous?' and 'But you look much too young to be a police officer.
I think it was something I inherited from my mother, who learned to do it. You know, I, like a baby duckling, was merely mimicking the survival traits that my mother possessed. And I came to learn very quickly that language was a powerful, powerful tool.
The language "it's too late" is very unsuitable for most environmental issues. It's too late for the dodo and for people who've starved to death already, but it's not too late to prevent an even bigger crisis. The sooner we act on the environment, the better.
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