Elif Batuman (born in 1977) is an American author, academic, and journalist. She is the author of a memoir, The Possessed, and a novel, The Idiot, which was a finalist for the 2018 Pulitzer Prize for Fiction.
Writing fiction lets you be a little more emotional and unguarded, a little freer. Writing fictional characters is also really different from writing about real people. In nonfiction, you can only say so much about the people you interact with. After all, they're actual people, their version of their story trumps yours. In a novel, you can build a character, using certain parts or impressions of someone you know, and guessing or inventing others, without having to worry that your guesses or memories or inventions are wrong.
There is salvation - happiness and virtue - in beauty. I would define beauty in this context as a kind of richness, complexity, mystery, diversity, otherness, and unexpectedness - something that comes from the outside.
If you think about Don Quixote, Don Quixote is this guy who wants to live as if he was in a medieval chivalric romance, when actually he lives in sixteenth-century Spain, which is already going through secularization, industrialization, modernization. He goes out to kill a giant, and instead he collides with this huge windmill and injures himself and also damages the windmill. I think that's a metaphor for the collisions we all have over time, as our ideas of ourselves get out of synch with the historical moment.
There are ideas it will be easy to say in the future that we just don't have the language for now.
I've gotten a lot of comfort from the philosophy of the Roman Stoics. For me, one of the most powerful ideas of Stoicism is that you can't pick or choose in the world what you want to happen and what you don't want to happen, and that actually if you did get to choose, the version you would come up with would be unsociable, lame, and basically less beautiful than the truth.
I try really hard to cultivate the pure love of reading, to make time for it, because it would be really sad to still be a writer without remembering why, on some visceral, emotional level.
Obviously there are many, many ways of being an outsider, but having immigrant parents is one of them. For one thing, it makes you a translator: there are all kinds of things that American parents know about life in America ,and about being a kid in America, that non-American parents don't know, and in many cases it falls on the kid to tell them, and also to field questions from Americans about their parents' native country.
Part of flirting is that you tend to give each other a little extra slack to be obscure - to say things that are suggestive and nuanced, rather than clear and comprehensible, things you wouldn't put up with in an essay or something written by a stranger - and that can be so exciting.
As a grad student and later as a writer, I have found it hard to sustain the pure, almost erotic love of reading I had as a kid - you know, where you climb in bed and read for hours and hours, and the book itself is this charged magical object. Later, when writing becomes your job, it's tied up with ego and all kinds of worry, and it's not always easy to get to that state of pure escape.
Love is a rare and valuable thing, and you don't get to choose its object. You just go around getting hung up on all the least convenient things-and if the only obstacle in your way is a little extra work, then that's the wonderful gift right there.
If I could start over today, I would choose literature again. If the answers exist in the world or in the universe, I still think that's where we're going to find them.
I don't think anything can substitute long talks, and long talks are somehow never as easy to schedule again as they were in school, when most people - at least in my little socioeconomic corner of the world - live not with their families or sexual partners, but with same-sex friends. I really miss that from college. I never really thought at the time about how things would never be that way again.
When you invent something, you're drawing on reservoirs of knowledge that you already have. It's only when you're faithful to the truth that something can come to you from the outside.
When you're reading a novel, I think the reason you care about how any given plot turns out is that you take it as a data point in the big story of how the world works. Does such-and-such a kind of guy get the girl in the end? Does adultery ever bring happiness? How do winners become winners?
I think time just goes faster and faster. I'm saying this a few months away from my fortieth birthday. I don't know when and if one's identity ever does catch up with one's actual age. Personally I feel like I just got the hang of thirty-five.
I think humor is a really important way of creating solidarity - like, through humor you can make people realize that certain situations, where they thought they were alone, are actually shared by everyone.
One of the things that really impressed me about Anna Karenina when I first read it was how Tolstoy sets you up to expect certain things to happen - and they don't. Everything is set up for you to think Anna is going to die in childbirth. She dreams it's going to happen, the doctor, Vronsky and Karenin think it's going to happen, and it's what should happen to an adulteress by the rules of a nineteenth-century novel. But then it doesn't happen. It's so fascinating to be left in that space, in a kind of free fall, where you have no idea what's going to happen.
I think any start has to be a false start because really there’s no way to start. You just have to force yourself to sit down and turn off the quality censor. And you have to keep the censor off, or you start second-guessing every other sentence. Sometimes the suspicion of a possible false start comes through, and you have to suppress it to keep writing. But it gets more persistent. And the moment you know it’s really a false start is when you start … it’s hard to put into words.
In a way all writers are writing against death, because writing is an attempt to defy the passage of time, to refuse to let the past disappear and be forgotten, and to refuse to let the present become the past - to try to keep living another day, to try to talk your way into life, or seduce your way into it.
Everyone is used to speaking a slightly different "language" with their parents than with their peers, because spoken language changes every generation - like they say, the past is a foreign country - but I think this is intensified for children whose parents also grew up in a geographically foreign country.