A Quote by Ishaan Khatter
I wasn't very academically inclined, growing up as a child, and the only subject I was good at was English. I had a flair for it, since I came from a literary background.
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My parents have always had a very limited command of English. Of course, when we first arrived in the UK, none of us spoke English, but it's much easier for a child to pick up languages. But the problem was not a lack of English; the problem was poor communication in any language. Remember, my parents came from rural Bangladesh with little education. It was alarming for them, I'm sure, to watch their boy very quickly exhaust whatever ability they had to teach the child something.
My sisters are very academically inclined so whenever they would fix me up, it would always be from someone in their world, people they would find attractive. When they came to the door in suits, it was over.
I had a bad background just growing up as a child.
There was - there still is - a big shortage of good Chinese-English literary translators. So for two years in London, I was stuck waiting, not writing, with several Chinese books I couldn't get translated. That's when I decided to write in English, since I had been living here and had decided to reconstruct my life here. Even if I wrote in broken English, it was better than getting bored and weary and bitter on the long queue of authors waiting to be translated by a stranger.
I came from a very strict background, and didn't hear any Jamaican music when I was growing up.
Growing up, it was kind of a struggle being small, since everyone would make fun of you - except for when it came to hide and seek: that's the only advantage I ever had!
Since the background is as important as the subject, you mustn't let it default by chance. You must control not only vertical and horizontal, you must be aware of the depth of field (or lack of it) that you want in the background.
Jewish history has been in my cultural DNA since I was a child growing up in post-war London. In the midst of that dark, gray, lamenting monochromatic world of the '50s, I had a sense that both Jewish and English history were full of color and light and animation.
My English is closer to the literary English, and I'm not very familiar with jokes in English or with, you know, with small talk in English.
I didn't grow up watching films, as I was more academically inclined.
Growing up was very interesting for me. If you were Haitian, people just automatically assumed that English was a second language. So they had a special class for my brother and I, but we spoke proper English.
I was always very academically focused when I was growing up, and music was something for which I really had no preconceptions or expectations for myself or really any rules. It kind of represented, at least for me, a divergent path of creativity and self-discovery.
My mother came from a very affluent background, very Westernized, while my father was more Eastern. So I've had a very good blend of the East and the West. I guess this has been extremely helpful in making my career and the way I function.
There is a certain age at which a child looks at you in all earnestness and delivers a long, pleased speech in all the true inflections of spoken English, but with not one recognizable syllable. There is no way you can tell the child that if language had been a melody, he had mastered it and done well, but that since it was in fact a sense, he had botched it utterly.
As a child growing up in World War II, I was very moved and stirred by what was going on, but I distanced myself from history. I regarded history as just one more subject.
I ended up [doing video] meeting Gillian [Grassie] at the same time that we were getting together a book. We ended up working on it, and she recognized that I had a flair for certain things, and we've worked through it together so that the writing could be really good. It was the perfect partnership, just finding my literary voice and figuring out how comedy translates to the written word.
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