A Quote by Zoe Saldana
I had to quit ballet because it felt like a part of me was dying inside.
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I've trained in dance for most of my life, but ballet was the thing I left behind the earliest because they felt like I didn't have the right body for it, and I didn't like that and never felt like I could be a part of that dance structure.
I too was frightened the first time I felt I hated my father. I felt like a criminal. But could I help it what was inside of me? I had to feel what I felt even if it killed me.
I was used to having a job - ballet was my job, and I felt like I needed something artistic to focus on after I quit.
What was wrong with me? I had a decent life. I was healthy. I wasn't starving or maimed by a land mine or orphaned. Yet somehow, it wasn't enough. I had a hole in me, and everything I took for granted slipped through it like sand. I felt like I had swallowed yeast, like whatever evil was festering inside me had doubled in size.
I felt like I was a good woman, a good person. But I was sinking deeper and deeper into depression, because my soul wasn't living. I was purposely holding down my soul and my spirit. It was dying inside of me.
A lot of times people get to a certain age and they quit. I always felt sorry for the Frank Capras, the Billy Wilders, directors like that, because they quit in their sixties. Why would you quit? Think of the great work they could've done in their sixties, seventies, and on up.
I didn't grow up thinking I was pretty; there was always a prettier girl than me. So I learned to be smart and tried to be funny and develop the inside of me, because I felt like that's what I had.
You still had to find the music inside your language. You know, it was - that's a big part of what sort of moved me to begin writing the book. I wrote a little essay and I felt, yeah, this is a good voice. This is a good feeling. It feels like me.
I never felt like a boy or a girl, never felt I should wear this or dress like that. I think that's where that confidence comes from because I never felt I had to play a part in my life. I just always come as Shamir.
The Catcher in the Rye had such a deep impact on me, because it felt like it was just Holden and me. I didn't feel like any other person had read that book. It felt like my secret. Writing that I identify with feels like it's just me and the writer. So I hope that whoever is reading what I do feels like that.
Something in my gut twisted so hard that it felt like I was being tickled by an invisible hand, and it took me a moment to realize what it was. Hope. It had been so long since I'd felt it that the sensation was like something living inside me, something wonderful waiting to break free, just like I was.
I made Children of God because I had to make it. And with Cargo, I also felt like I had to. The impulse comes from something deep inside. Wanting to my country to be better. Because of where we are, we don't always have spaces to reflect.
I quit because that thing inside of me that was driving me to drink that way was causing me so much pain that I was starting to get afraid for my own life, and my own health. It wasn't necessarily one instance. It was a lot that had piled up.
Then I felt something inside me break and music began to pour out into the quiet. My fingers danced; intricate and quick they spun something gossamer and tremulous into the circle of light our fire had made. The music moved like a spiderweb stirred by a gentle breath, it changed like a leaf twisting as it falls to the ground, and it felt like three years Waterside in Tarbean, with a hollowness inside you and hands that ached from the bitter cold.
The Dying Christian to His Soul (1712) -Vital spark of heav'nly flame! Quit, oh quit, this mortal frame: Trembling, hoping, ling'ring, flying, Oh the pain, the bliss of dying! Stanza 1.
I feel a whole country growing inside me, thousands of years, millions of people, stupid, crazy, shrewd people, and all of them me. I never felt like that before, I never felt that there was anything inside me, even myself.
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