Elif Batuman Quotes

When I wrote the book, I thought that I was the hero of my story. And in writing it, I came to realize over time that my mom was the hero. And I was, you know - I was just her punk-ass sidekick.

A story is how we construct our experiences.

I have never successfully written in the third person. If there's a rhythm or a musicality that interests me, I become obsessed with the character, and I just have this need to spend time with him or her. Sometimes I'll be in the park playing ball, and I'll hear a kid say something that I've never heard before. Sometimes one word can set me off.

I do think of 'The Idiot,' in a way, as a self-standing book about a certain struggle to make meaning, the struggle for a girl to find meaning outside of the romance plot.

Humans think in stories, and we try to make sense of the world by telling stories.

I loved the book [The Adderall Diaries] I optioned it, I think some years ago. But there's a lot of different threads in the book. It starts off as one thing, where he's trying to cover this murder trial, and then his own life starts to impinge on that, so it becomes something else. I found that fascinating.

Some literature is knowledge, some is just data. But if I can get a "happy" ending - which is when for the characters I'm writing about, something happens that they move from wherever they are in the beginning to knowledge or wisdom, they know something they never would have acknowledged or realized if it hadn't been for my book - that for me is what literature does.

What I've experienced, I'm trying to put in a narrative form, I suppose, to say that it does make sense in this way.

I want hard stories, I demand them from myself. Hard stories are worth the difficulty. It seems to me the only way I have forgiven anything, understood anything, is through that process of opening up to my own terror and pain and reexamining it, re-creating it in the story, and making it something different, making it meaningful - even if the meaning is only in the act of the telling.

With the story of your life, you dont get to write the whole book, just your character.

I'm aware of narrating certain experiences as they happen or obliterating those experiences with narrative and then those stories - not the experiences themselves - might become material for art. This kind of transformation shows up a lot in 10:04 because the book tracks the transposition of fact into fiction in the New Yorker stor

I always think about the books I'm doing in pretty much the same way. I'm simply trying to write that particular novel as well as that particular novel can be written. I want to listen to what it is telling me, trying to figure out what it wants to do as much as what I want to do with it. There's a negotiation that's constant and ongoing between me and the material I'm working with, because I'm trying to listen to it.

The person you are (in total, at that moment in time) is what creates the story you're writing. It's infused in every piece of punctuation, in the plot, in the most minor character who crosses the page. It's all your voice.

The inspiration of a single book has made preachers, poets, philosophers, authors, and statesmen. On the other hand, the demoralization of a single book has sometimes made infidels, profligates, and criminals.

I'm scared. I'm excited. I'm ready for whatever happens but I think that fame is what comes along with the territory when you open yourself up and become this story, this book for anyone to read.

I think it was simply word of mouth that made it a New York Times bestseller for more than 60 weeks, over a year. People being moved and changed and transformed by the book [ One Thousand Gifts: A Dare to Live Fully Right Where You Are] and wanting to share that with hurting people all around them.

Reading ... changes you. You aren't the same person after you've read a particular book as you were before, and you will read the next book, unless both are Harlequin Romances, in a slightly different way.

Books are a really fun way to get yourself in a certain mindset or mood as an actress. Also, the way people tell a story is so revealing and I think it's important as an actress to see all the different ways people can unravel a story, and introduce the characters and the way people speak.

We no longer just take religious identity from our parents, so what's going on? Why are people going to this series, why are people reading so many books about religion? It's because they want answers. The answers are no longer just passed down from generation to generation. It's harder for people. In effect, you have to roll up your sleeve and ask the questions. But if you do it, if you forge your own identity, it can be much more personal and much more meaningful to you.

You may look through the streets of heaven, asking each how they came to b there, and you will look in vain everywhere for a person who is morally and spiritually strong, whose strength did not come to him in struggle. There is no exception anywhere. Every true strength is gained in struggle.

I read a book one day and my whole life was changed.

Its subtlest, most appealing accomplishment may be in how other characters respond to Gregorius' precipitous swerve onto the spiritual path. (...) That said, Night Train to Lisbon is a very long, ambitious book that's feverishly overwritten. (...) Think of W.G. Sebald recast for the mass market: stripped of nuance, cooked at high temperature and pounded home, clause after clause. Some of the clumsiness derives from Barbara Harshav's inelegant translation -- we're often aware of her struggle -- but she can't be blamed for the pervasive bloat.

I think sometimes it's sort of easier to be playing a role based on a real person because there's quite often a lot more information, you're not making it up, it's there in books, it's there in research form. But really the questions you ask about the character, and why people behave, and where they come, and how they've ended up in the places they've ended up are the same.

We can bring brilliant flowers of victory to bloom in our lives when we weather the hardships of winter and emerge triumphant based on our practice of the Mystic Law. The key to victories lies in how hard we struggle when we are in winter, how wisely we use this time and how meaningful we live each day confident that spring will definitely come.

If you reflect on your life, you may recall times when you couldn't see the value of some person and were tempted to brush him or her off. It takes hindsight to recognize that the very situation you may have seen as an irritating bother turned out to be a blessing in disguise. Wouldn't life be a much more enjoyable and meaningful experience if we decided to look at the difficult people and irritating situations as blessings in disguise? If we look deeply enough, we might see how these experiences as situations that motivate us to grow and change for the better.