In apartments and cottages, on the street and in the train... I listen... More and more, I turn into one large ear, always turning to another person.
Svetlana AlexievichRead
I write my books at moments of shock. I meet people in extremis and their stories are highly emotionally charged.
Interpretation
The quote highlights the profound impact of intense emotional experiences on storytelling.
Svetlana Alexievich emphasizes that her writing is deeply influenced by moments of extreme emotions and circumstances. By engaging with people during times of crisis or significant life events, she gathers powerful narratives that reflect the human condition, illustrating how passion and turmoil can inspire art and literature.
In practice
In a writing workshop, discussing how personal trauma can lead to powerful storytelling.
In apartments and cottages, on the street and in the train... I listen... More and more, I turn into one large ear, always turning to another person.
The subjects I wanted to write about - the mystery of the human soul, evil - didn't interest newspapers, and news reporting bored me.
'Women's' war has its own colors, its own smells, its own lighting, and its own range of feelings. There are no heroes and incredible feats; there are simply people who are busy doing inhumanly human things.
There is no need to give in to the compromise that totalitarian regimes always count on.
I've been searching for a genre that would be most adequate to my vision of the world to convey how my ear hears and my eyes see life. I tried this and that, and finally, I chose a genre where human voices speak for themselves. But I don't just record a dry history of events and facts; I'm writing a history of human feelings.
From the point of view of art, the butcher and the victim are equal as people. You need to see the people.
For a number of years, I'd been around the kind of people who financed movies and the kind of people who are there to make the deals for movies. But I'd always had this naive idea that everybody wants to make movies as good as they can be, which is stupid.
To me, a building - if it's beautiful - is the love of one man, he's made it out of his love for space, materials, things like that.
When I make a film I'm always in reality among the trees, and among the people like yourselves. There's no symbolic or conventional filter between me and reality as there is in literature. The cinema is an explosion of my love for reality.
At one time, I was very angry. I even treated fashion like a kind of crusade: you were either with us or against us, that kind of feeling. Now I know we need ideas, not kicking down a door.
I like to feel like you can bite my paintings. Not to eat them, to hurt them. I like to feel like I'm painting with my teeth.
For a long time, I thought when you do a box set, you're giving up; you're saying, 'OK, I don't have anything left.' But now I've listened to some of the old stuff I haven't heard in 20 to 40 years with fresh ears. It's like, 'Oh yeah, I can see where people might want to to hear some of this stuff that didn't make it onto the records.'
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