A Quote by Ellen Gallagher
At times we would have these whole cities that would take up rooms and stretch out all over the house. But they were also very abstract, like 'this piece of cardboard is a pool' and so forth.
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Every Sunday after church we would go over to my grandparents' house and spend time with them and they had a pool in their backyard, and I would like eat as fast as I could just so I could be the first one in the pool. And then I would be the last one out.
When I was younger, I would set up Grammy parties at my house where I would invite all of my friends over, and my whole family would sit in the living room glued to the TV. But I would just dream of someday going there, and I would watch the red carpet interviews over and over and study what was happening.
The police [in South Africa] would check in on you randomly. And they would come into the house, and they would look through that registry and look at all the names of all the people who were registered to be living in the house. And they would, you know, cross-reference that with the actual inhabitants of the dwelling.I was never on that piece of paper. I was always hidden. My grandmother would hide me somewhere if the police did show up. And it was a constant game of hide and seek.
Growing up, I didn't have any comic books, at all. But my friend had a trunk full of them, so comic books were like candy for me. I would go over to his house for a sleep-over, and I would just be devouring everything I could get my hands on. I knew the sleep-over was going to be over, and I was going to go back to my house and it was going to be Kipling.
There were times my mom and I butted heads - over my curfew, over something like that. Whenever we would hit these moments of emotional backfire, she would say, 'You just don't understand what it's like to be a mother... I could never handle losing you.' I was like, 'OK, but just, like, chill out.'
The house I grew up in was a tall Victorian town house in Bristol. There were very big rooms, which were under-furnished and always cold.
My siblings and I were friends with the boys who would become our stepbrothers - we grew up on the same street. I feel very special to have these amazing people in my life and if we hadn't all moved into this big house together I think I would have missed out on that, because we would have drifted apart.
They would spend a lot of their time simply walking around in the woods or in the cities, or they would come over to his house and he would teach them with a great deal of humor and laughter about the nature of existence.
It is a pink and blue feeling, as sharp as clear sky; a slight breeze, and the edges of Lake Nakuru would rise like the ruffle at the edge of a skirt; and I am pockmarked with whole-body pinpricks of potentiality. A stretch of my body would surely stretch as far as the sky. The whole universe poised, and I am the agent of any movement.
Stealing, of course, is a crime, and a very impolite thing to do. But like most impolite things, it is excusable under certain circumstances. Stealing is not excusable if, for instance, you are in a museum and you decide that a certain painting would look better in your house, and you simply grab the painting and take it there. But if you were very, very hungry, and you had no way of obtaining money, it would be excusable to grab the painting, take it to your house, and eat it.
I often wonder: suppose we could begin life over again, knowing what we were doing? Suppose we could use one life, already ended, as a sort of rough draft for another? I think that every one of us would try, more than anything else, not to repeat himself, at the very least he would rearrange his manner of life, he would make sure of rooms like these, with flowers and light ... I have a wife and two daughters, my wife's health is delicate and so on and so on, and if I had to begin life all over again I would not marry. ... No, no!
'Blueprint 3' is made up of songs, but it's also a commentary on the idea that in order for rap to survive, we have to stretch out the drama. We have to stretch out the audience. It can't be this narrow - we have to stretch out the point of view.
El Bulli was created by 2,000 people that passed through it. And we didn't know that something big was happening. It was like a game in a way. You didn't really know how it was going to end up, and people who would leave, they would take a piece of it with them, but they would leave another piece behind.
When I write plays, I'm already seeing the shapes on stage, of the actors and their interaction, and so on and so forth. I don't think I've ever written one play as an abstract piece, as a literary piece, floating in the air somewhere, to be flushed out later on.
When I was about 8, I used to go into one of the rooms in the mansion, and I would open a magazine like the 'Ladies Home Journal,' and I would see these characters on the pages and then become them, talking back and forth.
You would think that growing up in a foreign country would be so easy and fitting in would be a piece of cake, and although my parents were completely liberal and allowed us the opportunity to explore this world, I always felt as though I was searching for people that were more like me.
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