Summer's the same, autumn is even more extreme. Then winter is when you sort of condense all of your ideas. You process all these things and you try to look for new concepts. In that sense, your intuition is in hibernation. What you fill up is your imagination; you fill up your memories there.
I'm writing a memoir. I'm four pages in. I start with my first memory, which is kicking my uncle in the balls. I was four.
I think most people get hit by the music first and you can be singing along and realize a song has this melancholy feel. As Swedes, I think we see a beauty in melancholy. You're heartbroken, you're looking out the window and you feel really at ease in the pain. I have so many memories as a teenager with music, sad music, but I was just so into it.
I don't really collect anything. I grew up in a family that collected things and then they'd get sick and people die and then they have their basements full of stuff that goes from one box to the next, so I try not to get sentimental with stuff. I just try to collect memories.
Typically in my novels the narrator tells a story by remembering, and the memories are colored by this and colored by that. So the whole universe of the novel tends to be framed by the narrator's memories and thoughts.
Usually I'm not really conscious of what's going on. I don't have a lot of memories onstage. At all.
A great cologne can really attract a partner. Women particularly respond to smell, and they also have a good sense of memory in terms of men. I think it's very important for a man to wear a good fragrance.
Making work without memory is probably one of my biggest fears. It would be indistinguishable from work that is lazy.
When you travel, you can see lots of great buildings and monuments and stuff, but the best part of traveling is meeting people as you go. Those are the people who made the places you go to anyway. All my memories of traveling - yeah, there are some buildings or landscapes that I'll always remember - but I still think I remember the people I meet more than any of that.
In terms of performance, something unexpected is always good, it's preferable if it's unexpectedly good. But unexpectedly bad has a lot to say for it as well. It's always nice to be able to look back on a show and say, "Oh, that's the night that this happened," and a lot of the worst memories are better than the shows with no memories. A good rehearsal is a lot harder to describe. A lot of rehearsals that end up feeling best are the ones where something really bad was happening, and you just kind of got past it and fought through it. Just dealing with things that are inevitable.
I started to realize, a lot of times if you go into your memory, your sense memory, you know more than you think you do, from having watched and listened.
My sense of the poet is classical - the poet is one who makes poems. In each book, I develop and repeat certain general themes - time, place, memory, God, history, class, race, beauty, love, poetry, identity. The core identity is the poet making the poems.
In April 2007 I learned that Yves Saint Laurent had a brain tumor, and he died on June 1, 2008. During those 14 months I had plenty of time to think about what would happen. There was only one solution: the auction. An auction establishes memory. That's what I want to do.
Hyperpolyglots are not born, and they are not made, but they are born to be made. There is a finite subset of the human population which has the right neurological equipment for learning and using lots of languages. That equipment may serve only a sub-component of language learning, such as mimicry, pattern recognition, or memory, or it serves those sub-components in a global fashion.
My earliest memory is having my grandfather, who was born in 1899, read the newspaper to me in a foreign language. I was utterly captivated by the fact that he took the time to read it to me. I didn't know what he saying, it was in a completely different language. I think it was in French. But I was just so honored that he was with me and talking to me. It's extraordinary that you know someone from that time, and also someone that's willing to give you the time of day, who's lived through so much.
Quantum physics says that there is an infinite number of possibilities and parallels to the one that we know, and every event is also played out in a parallel world. It's kind of a crazy idea, but someone called Saibal Mitra at the University of Amsterdam says that if you could back up your memory in case of a catastrophic event, you could actually revert to that back-up and find an alternative world in which the Earth didn't explode or collide with Mars.
I like Quentin Tarantino, especially the early films, but I'm a big fan of Billy Wilder and Preston Sturges... you know, people were writing great dialogue back then. It's as if people only have the memory of the last 15 years. So, before Tarantino no one was writing witty dialogue? That's ridiculous. Why do we have to keep referring to Tarantino?
Actually, in a lot of circumstances, the Kalashnikov is poorly used by people who are not especially good shots, or who are outright bad shots. In these cases, the rifle's weaknesses emerge. As far as accuracy goes, the Kalashnikov is stubbornly mediocre, and the ease with which it can be fired on automatic means that many people fire it on automatic when they would be better served firing a single, aimed shot. Getting shot at by a sniper is a much different experience, and far more frightening. But either experience is, to borrow your word, memorable. These memories are pretty much all bad.
Some of my fondest and most impressionable movie memories are from those early sci-fi and horror films. I've always been a Dracula/vampire aficionado, being half-Romanian myself. Dracula has always been close to my heart - in fact, I have a first edition of Bram Stoker's book. I read it over and over again as a young kid.
There are so many possibilities around what a magazine should be today. I still believe in the printed object because, for me, print is memory. This is my main message for this 25th anniversary issue.
Memory and the imagination are almost identical. It's the same place in the brain and the same thing is happening. When you think about your own life, there are no memories without place. You are always situated somewhere. I think the imagination - the narrative imagination at least - situates you in a specific space when you start to think of a story. I often use places I know. I put my characters inside rooms and houses that I'm familiar with - sometimes the houses of my parents or grandparents or previous apartments I've lived in.
I sometimes feel fiction is the ideal preservation for real memories. Fiction is such a good place to keep things.
I do think that we're pretty future-obsessed right now, and I think that capitalism works best when we have a very short memory of the past, when we can just go forward seamlessly into a future of ever-new products and ever-new experiences - even though they're exactly the same, just on a watch instead of on a phone or whatever.
The muscle memory of filtering away all the wrong versions of what you're doing improves the more time you're on a film set. I feel like my problem-solving algorithm got kicked up a notch.
I'm inspired as a writer by any place where I've lived for a significant amount of time that have memories, my past, and stories attached to them, and that's really New York and L.A. Any place where there's ghosts are inspiring.
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