To me, there is nothing higher than fiction. Nothing. It is fundamentally who I am. I am a teller of stories. For me, that's the only way I can make sense of the world, with all the dance that it involves.
Arundhati RoyRead
As she watched him she understood the quality of his beauty. How his labor had shaped him. How the wood he fashioned had fashioned him. Each plank he planed, each nail he drove, each thing he made molded him. Had left its stamp on him. Had given him his strength, his supple grace.
Interpretation
This quote reflects on how a person's work and creativity shape their identity and character.
In this quote, Arundhati Roy emphasizes the deep connection between an artist and their craft. It illustrates how the labor put into creating something beautiful also transforms the creator, enriching their life experience and honing their skills. Each action taken in the creative process leaves a lasting impact, forging a unique identity and contributing to personal strength and grace.
In practice
In a workshop, you might say, 'As Arundhati Roy noted, our work shapes us, reflecting our dedication and skill.'
To me, there is nothing higher than fiction. Nothing. It is fundamentally who I am. I am a teller of stories. For me, that's the only way I can make sense of the world, with all the dance that it involves.
When she listened to songs that she loved on the radio, something stirred inside her. A liquid ache spread under her skin, and she walked out of the world like a witch.
Caste is about dividing people up in ways that preclude every form of solidarity, because even in the lowest castes, there are divisions and sub-castes, and everyone's co-opted into the business of this hierarchical, silo-ised society.
When I decided to write 'The God of Small Things', I had been working in cinema. It was almost a decision to downshift from there. I thought that 300 people would read it. But it created a platform of trust.
In California, there are huge problems because of dams. I'm against big dams, per se, because I think that they are economically unfeasible. They're ecologically unsustainable. And they're hugely undemocratic.
To call someone 'anti-American', indeed, to be anti-American, is not just racist, it's a failure of the imagination.
Interpretation is the revenge of the intellectual upon art.
I realised a long time ago that instrumental music speaks a lot more clearly than English, Spanish, Yiddish, Swahili, any other language. Pure melody goes outside time.
Art is something that grows and breathes and lives, and it shouldn't be predicated on the success of box office - but it is. But within that, you have to give people a chance to find their voice, to play, to continue to create.
The world concerns me only in so far as I feel a certain indebtedness and duty toward it because I have walked this earth for thirty years, and, out of gratitude, want to leave some souvenir in the shape of drawings or pictures — not made to please a certain taste in art, but to express a sincere human feeling.
I think there's a kind of desperate hope built into poetry that one really wants, hopelessly, to save the world. One is trying to say everything that can be said for the things that one loves while there's still time.
I won't call my work entertainment. It's exploring. It's asking questions of people, constantly. 'How much do you feel? How much do you know? Are you aware of this? Can you cope with this?' A good movie will ask you questions you don't already know the answers to. Why would I want to make a film about something I already understand?
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