Andre Aciman Quotes
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I was born into a Turkish family that had acquired Italian citizenship. Many members of the family subsequently became British, French, Brazilian, and German, so there was a bit of everything. It was not uncommon for people in the family to speak seven languages: English, French, Ladino, Italian, Turkish, Arabic, and even Greek.
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With ritual, I punctuate my days till they no longer belong to who I am today but to who I'll be when I look back in days and years to come.
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Egypt wants to be young again. Israel must show it never grew old. Egypt wants to wake up and dream again. Israel must learn to dream though it cannot sleep.
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The last thing I want to do is to write about real things. I am not interested in reality and in real human beings and their real day-to-day problems - I just want to say to them, 'Hold still, and I'm just going to unpack, see what's inside.'
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For the religious, Passover is the grateful remembrance of a homeward journey after years of suffering.
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Writing the past is never a neutral act. Writing always asks the past to justify itself, to give its reasons... provided we can live with the reasons. What we want is a narrative, not a log; a tale, not a trial. This is why most people write memoirs using the conventions not of history, but of fiction.
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With Eric Rohmer - as with Mozart, Austen, James, and Proust - we need to remember that art is seldom about life, or not quite about life. Art is about discovery and design and reasoning with chaos.
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As a memoirist, I may claim to write the easier-to-remember things, but I could also just be writing to sweep them away. 'Don't bother me about my past,' I'll say, 'It's out in paperback now.'
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I like to read the paper online. And I love email. And I love nothing better than to be interrupted.
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My family were finally kicked out of Egypt in 1965 for being Jewish. We managed to remain longer than most.
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Writing plays fast and loose with the past.
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Whenever we're having a great time, we're already anticipating the day when we will remember this great time. Many of us live in that unreal area between the past, the present, and the future.
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Take away our things, and something in us dies.
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Rituals are magical.
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I write - so it would seem - to recapture, to preserve and return to the past, though I might just as easily be writing to forget and put that past behind me.
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Authors use 'almost' to avoid stating an outright fact, as though there were something inauthentic, dishonest, unfinished, undecided or even unwholesome - some might say repulsive, tacky, snub-nosed, too direct - in qualifying anything as definitely a this or a that.
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Homer, Vergil, Dante, Shakespeare, Goethe, Proust - not exactly authors one expects to whiz through or take lightly, but like all works of genius, they are meant to be read out loud and loved.
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We are, each one of us, not just defined by the arrangement of protein molecules in our cells, but also by the things we call our own.
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My vacations last one hour. Then I get bored, impatient.
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'My Night at Maud's,' 'Claire's Knee,' 'Chloe in the Afternoon' are grafted onto my life.
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A hidden nerve is what every writer is ultimately about. It's what all writers wish to uncover when writing about themselves in this age of the personal memoir. And yet it's also the first thing every writer learns to sidestep, to disguise, as though this nerve were a deep and shameful secret that needs to be swathed in many sheaths.
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There comes the time at every Passover seder when someone will open a door to let in the prophet Elijah. At that moment, something like a spell invariably descends over the celebrants, and everyone stares into the doorway, trying to make out the quiet movements of the prophet as he glides his way in and takes the empty seat among us.
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Losing his wealth, his home, the life he had built, killed my father. He didn't die right away; it took four decades of exile to finish him off.
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I may write about place and displacement, but what I'm really writing about is dispersion, evasion, ambivalence: not so much a subject as a move in everything I write.