I jabbered too much in class about all the Russian writers whom I admired for being, among other things, uncouth and somewhat humorously melodramatic, such as Gogol and Dostoyevsky, just as it was in my own household when I was growing up.
I took a 19th-century Russian novel class in college and have been smitten with Russian literature ever since. Writers like Tolstoy, Dostoyevsky, Grossman, and Solzhenitsyn tackle the great questions of morality, politics, love, and death.
I like reading... French, Russian classics - Gogol, Tolstoy, Dostoyevsky, Flaubert. I also like Hemingway, Virginia Woolf.
I love the Russian classics very much, the Russian classical literature. But I also read modern literature. As far as Russian literature is concerned, I am very fond of Tolstoy and Chekhov, and I also enjoy reading Gogol very much.
Living in a cultural milieu where the foreign writers most widely available and admired were Russian, I came very late to postwar American writers, and I had great trouble with the canonically exalted white male writers I tried first.
There were class differences among black people then and there are class differences among black people now. There is still an assumption among many people in American society that being black is its own class, a blanket class. That, I believe, is an erroneous and deeply offensive view.
I do think it's important for black writers to show that we too can make it into the mainstream. Growing up, I didn't just watch The Cosby Show, I watched Growing Pains and Family Ties too. We can tell those stories too.
My view is that life is too short. I'm not being melodramatic or anything, but when your mother dies in your arms - just you and her, and it's one o'clock in the morning, and you're waiting for her to exhale - you just think, life's too bloody short to argue about the little things.
Women I admired growing up - Debra Winger, Diane Keaton, Meryl Streep - were all beautiful and thin, but not too thin. There are a lot of actresses who are unhealthy-skinny - much, much too skinny. You can't Pilates to that.
I'm most impressed by the Russian writers, so I love reading the works of Tolstoy and Dostoyevsky. Another author who has informed the way I think is the French philosopher, Blaise Pascal.
Personally, being somewhat envious of Richard's (Thompson) songwriting and guitar playing, it's somewhat satisfying he's not yet achieved household-name status. It serves him right for being so good.
The love of new acquaintance comes not so much from being weary of what we had before, or from any satisfaction there is in change, as from the distaste we feel in being too little admired by those that know us too well, and the hope of being more admired by those that know us less.
Growing up, I didn't know any writers and felt somewhat isolated.
If I was born into a household with anxiety about money, I wouldn't have had as much freedom to be in my own world. So it's impossible for me to divorce the privilege of my childhood from the other things.
We just kind saw the images and knew the cliches, so to have the opportunity to go there and learn something about Russian music and about Russian people and to see things apart from being a tourist.
Of course, an English aristocrat might have some contact with the staff downstairs and could adequately say a thing or two about inter-class dramas unfolding in the household. But something less parochial might be harder to come by. This is relevant because stories about the divisiveness of class are by definition stories that straddle class boundaries. A story about a miner in a mining town is not obviously one that speaks to the divisiveness of class. In other words, class doesn't just divide us in the world but it also divides us in the stories we're presented.
Typically, there's this perspective among writers - and black writers: there's this idea that there is one person - and maybe beyond writers - among blacks, there is always one person who everyone should go to learn about all things black.