Don't we forgive everything of a lover? We forgive selfishness, desire, guile. As long as we are the motive for it...There are some European words you can never translate properly into another language.
Michael OndaatjeRead
You don't want to write your own opinion, you don't want to just represent yourself, but represent yourself through someone else.
Interpretation
This quote emphasizes the value of expressing oneself through the interpretations and perspectives of others.
Michael Ondaatje suggests that true expression often comes not just from a solitary voice, but rather through the lens of others' experiences and insights. When we allow ourselves to connect with and convey our thoughts through the narratives and voices of others, we can enrich our own identity and creativity, leading to a deeper understanding and resonance.
In practice
During a writing workshop, a participant could use this quote to discuss the importance of collaboration in creative writing.
Don't we forgive everything of a lover? We forgive selfishness, desire, guile. As long as we are the motive for it...There are some European words you can never translate properly into another language.
When we are young we do not look into mirrors. It is when we are old, concerned with our name, our legend, what our lives will mean to the future. We become vain with the names we own, our claims to have been the first eyes, the strongest army, the cleverest merchant. It is when he is old that Narcissus wants a graven image of himself.
Water is the exile, carried back in cans and flasks, the ghost between your hands and your mouth.
You must talk to me, Caravaggio. Or am I just a book? Something to be read, some creature to be tempted out of a loch and shot full of morphine, full of corridors, lies, loose vegetation, pockets of stones.
A man in a desert can hold absence in his cupped hands, knowing it is something that feeds him more than water.
I have spent weeks in the desert, forgetting to look at the moon, he says, as a married man may spend days never looking into the face of his wife. These are not sins of omission but signs of pre-occuopation.
My film is not a movie; it's not about Vietnam. It is Vietnam.
The camera could be a very powerful instrument against discrimination, against poverty, against racism.
I can produce any instrument, any sound that I can imagine; it may be percussive to the audience, but in my mind it may be a piano, a melody, or a tuba, or a harp, or a harmonica. My mission is to allow people to hear the dance in its purity and up against any other type of sound or music.
I want to sound like an instrument. I want my voice and my words to marry the beat. I go with the rhythm of it and the words start to come to my mind and those words could be based on things that's been on my mind for the past year, the past month, the past week, whatever; I write it.
So I write melodies - thirty, forty, fifty - then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide.
I like things that don't sound particularly processed or mechanical or made by machines. I like music that contains human elements, with all their flaws. There's air in it, and you can hear a room of a bunch of guys playing. Those are the magic parts.
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