A Quote by Salman Rushdie
I had become a kind of information magpie, gathering to myself all manner of shiny scraps of fact and hokum and books and art-history and politics and music and film, and developing, too, a certain skill in manipulating and arranging these pitiful shards so that they glittered and caught the light. Fool's gold, or priceless nuggets mined from my singular childhood's rich bohemian seam? I leave it to others to decide.
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As I got older I became a kind of sub cultural junkie, foraging around in music, street fashion and eventually art, politics and the freakier reaches of the Internet, hunting the next discovery, the next seam of underground gold.
But you know me-I'm an information magpie, always interested in shiny bits of intel. I've never gotten in trouble because of knowing too much.
My head was a magpie's nest lined with such bright scraps of information.
My treasure chest is filled with gold.
Gold . . . gold . . . gold . . .
Vagabond's gold and drifter's gold . . .
Worthless, priceless, dreamer's gold . . .
Gold of the sunset . . . gold of the dawn . . .Gold of the showertrees on my lawn . . .
Poet's gold and artist's gold . . .
Gold that can not be bought or sold -
Gold.
Music expresses feeling, that is to say, gives shape and habitation to feeling, not in space but in time. To the extent that music has a history that is more than a history of its formal evolution, our feelings must have a history too. Perhaps certain qualities of feeling that found expression in music can be recorded by being notated on paper, have become so remote that we can no longer inhabit them as feelings, can get a grasp of them only after long training in the history and philosophy of music, the philosophical history of music, the history of music as a history of the feeling soul.
Sometimes you think you've found love, when it's really just one of those objects that are shiny in a certain light--a trophy, say, or a ring, or a diamond, even. Glass shards, maybe. You've got to be careful, you do. The shine can blind you. The edges can cut you in way you never imagined. It is up to you to allow that or not.
Books leave gestures in the body; a certain way of moving, of turning, a certain closing of the eyes, a way of leaving, hesitations. Books leave certain sounds, a certain pacing; mostly they leave the elusive, which is all the story. They leave much more than the words.
I lived in Italy for quite a while and married an Italian woman. While there, I immersed myself in the complete culture: the music, art, literature, film, food, and history. It's easy to fall in love with. As a country, Italy does a good job of holding onto its rich traditions and culture. There's a real lack of embracing history in America.
Arranging is sort of the most exciting part of making music right now for me. I really enjoy the process of arranging because you're given all the time that you need to decide on every single note.
Chess is my profession. I am my own boss; I am free. I like literature and music, classical especially. I am in fact quite normal; I have a Bohemian profession without being myself a Bohemian. I am neither a conformist nor a great revolutionary.
I don't know if it's that my own childhood felt brief, or I grew up too fast, or I was pushing myself too much at a young age, but I do feel like I am clinging to a certain childlike quality in myself, as a result of a childhood that was sometimes complicated.
It became a question of taste. I have a certain taste in art history. And that - I had a huge library of art history books in my studio. And I would simply have the models go through those books with me, and we began a conversation about, like, what painting means, why we do it, why people care about it why or how it can mean or make sense today.
The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.
Lately I feel films are more and more like music. Music deals with abstractions and, like film, it involves time. It has many different movements, it has much contrast. And through music you learn that, in order to get a particular beautiful feeling, you have to have started far back, arranging certain things in a certain way. You can't just cut to it.
There are moments when I can wander through my childhood's landscape, through rooms long ago, remember how they were furnished, where the pictures hung on the walls, the way the light fell. It's like a film - little scraps of a film, which I set running and which I can reconstruct to the last detail - except their smell.
Up until Beijing where I had my greatest victory, I had trained for 16 years of life with a singular goal and singular obsession that I wanted to win gold medal at the Olympics.
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