But let us not forget that cities are like human beings. They are born, they go through childhood and adolescence, they grow old, and eventually they die
Elif SafakRead
I write as if I were drunk. It is a process of intuition rather than placing myself above my story like a puppeteer pulling strings. For me, it's a scary, chaotic process over which I have little control. Words demand other words, characters resist me.
Interpretation
The quote emphasizes the chaotic and instinctive nature of the writing process, as opposed to a controlled and methodical approach.
Elif Safak's quote highlights the organic and tumultuous nature of writing, suggesting that true creativity comes from intuition rather than a calculated manipulation of narrative. It reflects the experience of an author who feels deeply connected to their characters and story, allowing themselves to be guided by the unfolding chaos of the creative journey rather than trying to control it like a puppeteer.
In practice
Sharing this quote during a writing workshop could inspire participants to embrace their chaotic creative processes.
But let us not forget that cities are like human beings. They are born, they go through childhood and adolescence, they grow old, and eventually they die
I like to question cultural biases wherever I go, and I question Islamophobia as much as I question anti-western sentiment because I think all extremist ideologies are very similar.
Stories cannot demolish frontiers, but they can punch holes in our mental walls, and through those holes we can get a glimpse of the other and sometimes even like what we see.
What iβm saying is, my friends, one ought to be able to let go. If a path does not please us, instead of insisting on going that specific way, of making our selfishness the guide, we ought to forsake. The books we cannot write, the films we cannot shoot, the projects we cannot develop, the jobs we cannot pursue and the people who no longer love us. Being able to let go, at times, is the most beautiful of all!
For me, writing stories is one way of feeling connected to the universe and God.
I like to borrow a metaphor from the great poet and mystic Rumi who talks about living like a drawing compass. One leg of the compass is static. It is fixed and rooted in a certain spot. Meanwhile, the other leg draws a huge wide circle around the first one, constantly moving. Just like that, one part of my writing is based in Istanbul. It has strong local roots. Yet at the same time the other part travels the whole wide world, feeling connected to several cities, cultures, and peoples.
As far as I'm concerned, the entire reason for becoming a writer is not having to get up in the morning.
For children of my generation, anime was an escape from Japan's loser complex following World War II. Anime wasn't foreign. It was our own.
The moment of creative impulse is what an artist gives you. You look at a Pollock, and it can't give you the tools to do a painting like that yourself, but in doing the work, Pollock shares with you the moment of creative impulse that drove him to do that work.
At first blush I am tempted to conclude that a satisfactory hobby must be in large degree useless, inefficient, laborious, or irrelevant.
My working method has more often than not involved the subtraction of weight. I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language. . . . Maybe I was only then becoming aware of the weight, the inertia, the opacity of the world--qualities that stick to the writing from the start, unless one finds some way of evading them.
When I'm dead, I want to be remembered as a musician of some worth and substance.
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