A Quote by Shirley Geok-lin Lim
This distraction is what one wants, which is very, very bad for the muse, because the muse hates not being in the line of sight. It's no longer an external conflict, like, oh, I have all these demands and I don't like them. The split is in the self.?This may explain why, when I was in Santa Barbara before I went to Singapore and then now to Hong Kong, there was a writing moment when I was writing a poem a day. I had never done that before.
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The concept of muse is alien to me. To speak of a muse implies there is a couple in which one person is the objectified passive element - there to help the creative, active, often male part of the duo to create. A muse is very passive. Who wants a muse? I don't want a muse.
It's not like that when you're a songwriter - songwriters aren't like pulp writers or journalists, even. You just follow the muse. It's called muse-ic. Whenever the muse decides to bestow her inspiration on the songwriter, then the song is born.
I learned to produce whether I wanted to or not. It would be easy to say oh, I have writer's block, oh, I have to wait for my muse. I don't. Chain that muse to your desk and get the job done.
Discipline is what makes a writer. If writing was like lifting weights, then I'd look like Mr. Universe. Write every day. Give the Muse a chance to get to know you.
Hong Kong is the bellwether. If the Chinese stick to their agreement to let Hong Kong go its own path, then China will also go that way. If they don't, that is a very bad sign. I'm optimistic.
I was Versace's muse, I was Valentino's muse, I was Alaia's muse, Lancetti's muse, Calvin Klein's, Halston's. I could go on and on.
As you get drawn more and more into other activities, like political activities, very demanding, you have to find different rhythms of writing; I think that's the word I'm looking for, rhythms of creativity which then, of course, become very intense. I think your writing then tends to be very intensified simply because there are other demands which seem equally important.
Really, whatever I was seeking and looking into in those days like creative arts, chant, the muse being in touch with the muse for poetry and writing and music. It's all part of the spirit and if we look particularly at Hinduism and Buddhism, the tantric stream of those traditions totally embraces all aspects of human life and life on this world.
I still remember 2002. It's a very hard time for Hong Kong industry, no movies in Hong Kong, and also at this moment I start my new company, so many people said, 'You're crazy.'
I've never had a mentor personally of any kind. It feels like, generally, in the writing world or the art world, it's more of a thing in America, because you have writing programs, which we don't have. You have these amazing writers who are teachers. I never did a writing program so I never met a writer until I was published. I guess I can't really explain my compulsion for writing these kind of mentor characters.
I had enormous self-image, problems and very low self-esteem, which I hid behind obsessive writing and performing. It's exactly what I do now except I enjoy it now. I'm not driven like I was in my twenties. I was driven to get through life very quickly.
When I look at 'Fallen Angels,' I realize it is not a film that is truly about Hong Kong. It's more like my Hong Kong fantasy. I want Hong Kong to be quiet, with less people.
I wept when the muse Ulla bent over me. Blinded by tears I could not prevent her from kissing me, I could not prevent the Muse from giving me that terrible kiss. All of you who have ever been kissed by the Muse will surely understand that Oskar, once branded by that kiss, was condemned to take back the drum he had rejected years before, the drum he had buried in the sand of Sapse Cemetery.
People are very surprised when they come to Hong Kong after seeing my films, because my version of it is quite different than Hong Kong in reality.
When I escaped from China and came to Hong Kong, the contrast was that China was like hell and Hong Kong like heaven. Though I was very poor, I smelled the air of freedom and was full of hope for the future. That's the way I thought heaven is.
Hazel had read enough books to know that a line like this one is the line down which your life breaks in two. And you have to think very carefully about whether you want to cross it, because once you do it’s very hard to get back to the world you left behind. And sometimes you break a barrier that no one knew existed, and then everything you knew before crossing the line is gone. But sometimes you have a friend to rescue. And so you take a deep breath and then step over the line and into the darkness ahead.
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