I understand if everyone looking at me is seeing a Jew and seeing me as a kind of 'other.' But I can't be expected to see myself that way. That is, to me, Jewish is the normal way to be; it's not a type of being.
It's so easy to call something a Jewish story or a gay story or a woman's story. Aesthetically, if a story is not universal, it has failed. Your obligation is to the story. One rule creatively, and emotionally, is its universality.
Interpretation
What this quote means
The quote emphasizes the importance of universality in storytelling, suggesting that stories should transcend specific identities to resonate broadly.
Nathan Englander's quote reflects on the idea that labeling a story solely by specific identities, such as race or gender, limits its potential impact and reach. He argues that true artistic success lies in the story's ability to connect with universal human experiences, rather than confining it to a particular category. This underscores the obligation of storytellers to prioritize the essence and universality of their narratives over identity-based labels.
Themes
In practice
Example use cases
In a creative writing workshop, to inspire students to write universally relatable stories.
More from Nathan Englander
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If what you want to paint is the emotive mood in all its strength... then you must not sit and stare at everything and depict it exactly as one sees it.
and the sad notes floated out to the patio and hung in the trees like birds too tired to fly
I’m just a storyteller, and the cinema happens to be my medium. I like it because it recreates life in movement, enlarges it, enhances it, distills it. For me, it’s far closer to the miraculous creation of life than, say, a painting or music or even literature. It’s not just an art form; it’s actually a new form of life, with its own rhythms, cadences, perspectives and transparencies. It’s my way of telling a story.
Poems infatuated with their own smarts and detached from any emotional grounding can leave the reader feeling lonely, empty and ashamed for having expected more. Like icy adolescents, such poetry is more interested in commiserating than acknowledging that feelings — the sentiments that make us susceptible to sentimentality — actually exist.
The camera need not be a cold mechanical device. Like the pen, it is as good as the man who uses it. It can be the extension of mind and heart.
It was only after a while, after photographing mines and clear-cutting of forests in Maine, that I realized I was looking at the components of photography itself. Photography uses paper made from trees, water, metals, and chemistry. In a way, I was looking at all these things that feed into photography.