A Quote by Leila Slimani
Everyone asks me, 'Why do you choose such subversive or shocking themes?' but when I'm alone in my office, I'm not like, 'OK I'm going to shock.' I want to write about a character who fascinates me, someone who I don't understand.
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If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.
I'm a husband and a dad. Two thirds of my day is spent being that character. It's a huge part of my identity and why I pursue things I do. I'm interested in questions my son asks me, like, "Why do animals fight? Why do you have to leave us to go on the road?" Everything he asks gets me thinking. If I'm going to do this, sacrifice time with family and friends, sacrifice resources, I need to think carefully about what I going to say and how I'm going to say it.
Everyone asks me about being so worried or thinking about existence as if I'm the only person who can't understand why a tree grows the way it does or why a person is in power when they're not that great. These are questions everyone has.
I like to sit and talk to someone, and if they want to write about it, OK. But when it's a chore, I have a choice. There's a choice for all of us, including me.
A lot of the themes that I write about are an affirmation of our existence on earth and making people feel like they are not alone, and making them feel like it is OK to be a little bit insane. That has always been sort of my credo in life.
What fascinates me as a writer is the stuff underneath, To me, what drives a novel is the curiosity behind the character and the depths that you want to find in that character.
Someone wanted me to write a profile for ESPN about the commissioner of baseball, and I said, "He's just some suit! Some Republican. No!" I mean if you want me to write about baseball, boxing or football, I'll write about those things because I watch them, I think about them a lot and I like them. But I don't want to write about Barry Bonds.
I get letters from classes all the time. Say it's assigned in someone's 8th grade class, and the teacher asks everyone to write a letter to me about their impressions and what they learned. So, it's incredibly gratifying to hear.
I'm interested in questions my son asks me, like, "Why do animals fight? Why do you have to leave us to go on the road?" Everything he asks gets me thinking.
For me it is essential to understand that everyone is alone. Not in the sense of loneliness, but rather in the sense that no one can completely understand someone else. I know very well what Diane Arbus means when she says that one cannot crawl into someone else's skin, but there is always an urge to do so anyway. I want to awaken definite sympathies for the person I have photographed.
When someone asks you the question 'Are you ticklish' it doesn't matter if you say yes or no, cause they're going to touch you. If someone asks if you're ticklish and you don't want to be touched you should something like 'I have diarrhea, now don't touch me cause you'll make it come out... and yes I'm very ticklish'.
The funny thing about me is I'm kind of schizophrenic, because after four or five nights in a row of going out to parties, I just have to be alone. I hate people and feel like they're keeping me from what I really want to do, like write a fabulous novel, which I probably never will.
Personally, I'm afraid of suffering and afraid of dying. I'm also afraid of witnessing the suffering and death of those who are close to me. And no doubt I project these fears on those around me and those to come, which makes it impossible for me to understand why everyone isn't an antinatalist, just as I have to assume pronatalists can't understand why everyone isn't like them.
Perhaps, therefore, it is odd that if there is any one phrase that is guaranteed to set me off it's when someone says to me, 'OK, fine. You're the boss!' What irks me is that in 90% of such instances what that person is really saying is, 'OK, then, I don't agree with you, but I'll roll over and do it because you're telling me to. But if it doesn't work out I'll be the first to remind everyone that it wasn't my idea.'
No matter what, if you write a song that's great that everyone expects to be a hit, then everyone's going to be expecting another one from you. If you write a song that no one notices, you're going to want to write one that someone will.
I don't know where the characters are going to go or what's going to happen. I know that something inevitable will happen. I know that they want certain things and they're in a certain room and they smell like this and they look like that. More often than not, an entropy creeps in that strangles me, and then the inevitable happens. I don't know if I have the ability to write an ending like My Fair Lady's, when everyone gets what they want after a few minor conflicts. If I tried to write that it would just be false. Or I'd have someone enter with a machine gun.
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