Elif Batuman Quotes
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There is salvation - happiness and virtue - in beauty. I would define beauty in this context as a kind of richness, complexity, mystery, diversity, otherness, and unexpectedness - something that comes from the outside.
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Humor is really important to me. All my favorite writers are writers I consider to be funny, including Tolstoy and Dostoevsky, even though that's not necessarily their rap.
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I am a great admirer of Henry Jeffreys and have been eagerly awaiting his booze and empire book for many years!
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I've been thinking a lot about why it was so important to me to do The Idiot as a novel, and not a memoir. One reason is the great love of novels that I keep droning on about. I've always loved reading novels. I've wanted to write novels since I was little. I started my first novel when I was seven.I don't have the same connection to memoir or nonfiction or essays. Writing nonfiction makes me feel a little bit as if I'm producing a product I don't consume - it's a really alienating feeling.
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I thought clarity of communication was the most important thing in writing, and if you really cared about getting your idea across, you would say it in the most straightforward way possible. Later, in college and grad school, I came to realize that language is a technology like any other, and that it's always evolving - clarity of expression is always evolving.
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Obviously there are many, many ways of being an outsider, but having immigrant parents is one of them. For one thing, it makes you a translator: there are all kinds of things that American parents know about life in America ,and about being a kid in America, that non-American parents don't know, and in many cases it falls on the kid to tell them, and also to field questions from Americans about their parents' native country.
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Everyone is used to speaking a slightly different "language" with their parents than with their peers, because spoken language changes every generation - like they say, the past is a foreign country - but I think this is intensified for children whose parents also grew up in a geographically foreign country.
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People are shaped by friendship as much as by romance.
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It's really a trade-off: you're always having to decide whether you're going to say the more ambitious thing, and lose a little clarity - or are you going to say something really clearly, and sacrifice a little nuance? Get too obscure, and you sound like a pretentious asshole; go overboard with the clarity, and you sound like you're talking down to your audience, or like you yourself are a reductive simpleton.
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One of my favorite literary theorists, Mikhail Bakhtin, wrote that the defining characteristic of the novel is its unprecedented level of "heteroglossia" - the way it brings together so many different registers of language. He doesn't mean national languages, but rather the sublanguages we all navigate between every day: high language, low language, everything. I think there's something really powerful about the idea of the novel as a space that can bring all these languages together - not just aggregate them, like the Internet is so good at doing, but bring them into a dialogue.
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Poetry is another space, like love, where we extend that extra credit to the writer.
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I think humor is a really important way of creating solidarity - like, through humor you can make people realize that certain situations, where they thought they were alone, are actually shared by everyone.
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When a novelist manages to describe or evoke something you thought or felt, without realizing that other people also found themselves in the same situation and had the same feelings, it creates that same solidarity. Maybe it's better to think of humor not as a tool to express the solidarity, but a kind of by-product. Maybe the realization "I'm not on my own on this one" is always, or often, funny.
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Nom de Plume uses the device of the pseudonym to unite the likes of Charlotte Bronte, Mark Twain, Fernando Pessoa, and Patricia Highsmith into a cohesive yet highly idiosyncratic literary history. Each page affords sparkling facts and valuable insights onto the manufacturing of books and reputations, the keeping and revealing of secrets, the vagaries of private life and public opinion, and the eternally mysterious, often tormented interface between life and literature.
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Writing fiction lets you be a little more emotional and unguarded, a little freer. Writing fictional characters is also really different from writing about real people. In nonfiction, you can only say so much about the people you interact with. After all, they're actual people, their version of their story trumps yours. In a novel, you can build a character, using certain parts or impressions of someone you know, and guessing or inventing others, without having to worry that your guesses or memories or inventions are wrong.
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I don't think anything can substitute long talks, and long talks are somehow never as easy to schedule again as they were in school, when most people - at least in my little socioeconomic corner of the world - live not with their families or sexual partners, but with same-sex friends. I really miss that from college. I never really thought at the time about how things would never be that way again.
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I try really hard to cultivate the pure love of reading, to make time for it, because it would be really sad to still be a writer without remembering why, on some visceral, emotional level.
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One of the things that really impressed me about Anna Karenina when I first read it was how Tolstoy sets you up to expect certain things to happen - and they don't. Everything is set up for you to think Anna is going to die in childbirth. She dreams it's going to happen, the doctor, Vronsky and Karenin think it's going to happen, and it's what should happen to an adulteress by the rules of a nineteenth-century novel. But then it doesn't happen. It's so fascinating to be left in that space, in a kind of free fall, where you have no idea what's going to happen.
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There are ideas it will be easy to say in the future that we just don't have the language for now.
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Now that I'm almost forty, I look back at some of the decisions I made when I was younger - decisions that I thought of as courageous, or generous, or otherwise befitting a writer; befitting someone who had taken it as their life's goal to understand the human condition - and I wish I could go back in time and be like, "Hey, you don't actually have to do that - you're allowed to look out for yourself a little bit."
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I think any start has to be a false start because really there’s no way to start. You just have to force yourself to sit down and turn off the quality censor. And you have to keep the censor off, or you start second-guessing every other sentence. Sometimes the suspicion of a possible false start comes through, and you have to suppress it to keep writing. But it gets more persistent. And the moment you know it’s really a false start is when you start … it’s hard to put into words.
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Love is a rare and valuable thing, and you don't get to choose its object. You just go around getting hung up on all the least convenient things-and if the only obstacle in your way is a little extra work, then that's the wonderful gift right there.
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The novel form is about the protagonist's struggle to transform his arbitrary, fragmented, given experience into a narrative as meaningful as his favorite books.
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As a grad student and later as a writer, I have found it hard to sustain the pure, almost erotic love of reading I had as a kid - you know, where you climb in bed and read for hours and hours, and the book itself is this charged magical object. Later, when writing becomes your job, it's tied up with ego and all kinds of worry, and it's not always easy to get to that state of pure escape.
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I do like the idea of the novel of repressed college students being a contemporary novel of courtship! I guess what I would say to that is, we tend to think of historical periods and historical mores as ending a lot more concretely than they do. Like, in an Austen novel, there are lots of reasons - cultural, moral, religious - why the characters don't have sex during courtship. Maybe, even though those reasons have kind of expired, historically, they're still around in some sense.
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At any given time, there are ideas and images that can only be communicated indirectly.
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There's an amazing line in Marcus Aurelius: "The healthy eye ought to see all visible things and not to say, I wish for green things; for this is the condition of a diseased eye." Maybe green is your favorite color - but if you saw everything as green, that wouldn't be a blessing, it would be an eye disease. By the same token, if there was no heartbreak, and everything happened exactly as you want - it would be a less beautiful and meaningful story than the actual story, where you're a part of a huge complicated mysterious whole.
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If I could start over today, I would choose literature again. If the answers exist in the world or in the universe, I still think that's where we're going to find them.
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If you're writing a book where you want to make a positive truth claim, then you should absolutely call it nonfiction or memoir. If you don't want to make that claim - if that's not what's important to you; if you're more interested in storytelling and interiority and interpersonal relationships than in objective, checkable facts about the world - then why wouldn't you call it a novel, and take advantage of what that gets you, of the extra freedom, of belonging to the tradition of the novel?
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The novel tradition is the closest thing I have to a religion, and being a part of that tradition means a lot to me. I don't really see - I never have seen - why I should have to forfeit that feeling, or hope, of belonging, just because the stories I want to tell are close to my own experience.
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