A Quote by Orhan Pamuk
Sometimes I sensed that the books I read in rapid succession had set up some sort of murmur among themselves, transforming my head into an orchestra pit where different musical instruments sounded out, and I would realize that I could endure this life because of these musicales going on in my head.
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I had a lot of great lakes of ignorance that I was up against, I would write what I knew in almost like islands that were rising up out of the oceans. Then I would take time off and read, sometimes for months, then I would write more of what I knew, and saw what I could see, as much as the story as I could see. And then at a certain point I had to write out what I thought was the plot because it was so hard to keep it all together in my head. And then I started to write in a more linear way.
(Whispered to a novice while standing in front of the convent library) Oh! I would have been sorry to have read all those books...If I had read them, I would have broken my head, and I would have wasted precious time that I could have employed very simply in loving God.
I don't read a lot of the sports, because I think people sometimes either build it up, or you have this guy that hates sports that is going to write bad about it, so I figure I'm not going to read it. Because I'm not going to let him put an idea into my head.
Meanwhile someone is shining my head to get it dry to attach my top-hat to my head with toupee tape. I get into microphone and get back up into my dressing room for the rest of my costume. I get snapped into all these things and layers and bundled up. I walk downstairs to the pit. Someone hands me my baton (which lights up like a wand) and I watch the first three minutes of the show. Then I come up out of the pit and there I am.
I first read 'Lolita' when I was 16, which I think is a little bit young. But it was a thrilling and disturbing read because it was the first time I really sensed that you could have an unreliable narrator, that you didn't have to sort of tell the truth in a narrative, that there could be something deeper and richer and more complicated going on.
Sometimes we'll walk into a set, and I'll think, 'Oh, this film doesn't look like this.' You know, 'cause I read the script, and I saw it in my head in some other way. Which is a lot like what happens when they're writing a movie that's based on a book - I'm like, 'Ah! He doesn't have a beard.' You have these visions in your head about it.
I had a period when I was sixteen where I started to get a big head. I was going through puberty, and I was nominated for an Academy Award. My head got inflated. My friends were the real ones who said, 'You're acting different.' But the truth is that I don't need that, because I don't get out of hand.
I sat on the bench by the willows and at my honey bun and read Triton. There are some awful things in the world, it’s true, but there are also some great books. When I grow up I would like to write something that someone could read sitting on a bench on a day that isn’t all that warm and they could sit reading it and totally forget where they were or what time it was so that they were more inside the book than inside their own head. I’d like to write like Delany or Heinlein or Le Guin.
I was this kid, and I was scared to death of all these pros around me... My head would shake, and my hands would shake, and I discovered if I kept my head down and looked up, my head would not shake, so I started to do that when I could, when it was appropriate in a scene.
Of course my books are translated into many languages. I have here, in my home, translations on my shelf of my books into forty-five different languages. Almost none of them I can read. I can read only the English editions. But, I know that a translation of a work of literature is like playing a violin concerto on the piano. You can do this. You can do this very successfully on one strict condition: never try to force the piano to produce the sounds of the violin. This will be grotesque. So, different musical instruments provide for different music.
One of the things I do take some pride in is that if you had never read an article about my life, if you knew nothing about me, except that my books were being set in front of you to read, and if you were to read those books in sequence, I don't think you would say to yourself, 'Oh my God, something terrible happened to this writer in 1989.'
I'm thinking about anything and everything. I'm making stuff up in my head, I'm using sense memory. Sometimes when it doesn't come and you've got no choice because you're getting paid to do it, you grasp at straws. It's always easy now with my kids. I just create some "what-ifs" in my head, something horrible that would devastate me as a mother.
I had a thick accent, and people didn't understand me, and I was ashamed, and I fumbled. I radiated an uncertain energy; sometimes baristas sensed this and wouldn't try to talk to me, and then an insecure voice in my head would cry, 'He's racist!'
I had this chronic hyperactivity and an inability to focus, so I was forever being moved to another class, with a much smaller group of children - some of them about 18. If I was asked to read a paragraph, this white wall would go up in my head. Still now, I read very slowly and can rarely work out a tip.
Jim had melodies as well as words. He didn't know how to play a chord on any instrument, but he had melodies in his head. To remember the lyrics he would think of melodies and then they would stay in his head. He had melodies and lyrics in his head, and he would sing them a cappella, and we would eke out the arrangements.
I am not afraid to stop the puck with my head. I try to do it sometimes even in practice; not everyday but once in a while, I say to my teammates, shoot me in my head and I'll try to stop the puck. I am not afraid at all of the puck, so sometimes, if the shot comes at my head, it's an easier save to make with your head. Maybe the people think a different way, but for me, I do it with my head.
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