Elif Batuman Quotes
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There's definitely a culture of Russian literature in Turkey. And in the U.S. too, to an extent - especially Dostoevsky.
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A lot of fiction doesn't answer a question that any reasonable person would ever ask.
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I felt grateful to Ataturk that my parents were so well educated, that they weren't held back by superstition or religion, that they were true scientists who taught me how to read when I was three and never doubted that I could become a writer.
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My parents were educated in the Turkish system and went straight from high school to medical school; my mom, who had skipped a grade, was dissecting corpses at age seventeen. Growing up in America, I think I envied my parents' education. By comparison, everything I did in school seemed so sort of low-stakes and infantilizing.
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Awkwardness comes from the realization that, when you look around the world, it's difficult to identify anyone who isn't either the victim or the beneficiary of injustice.
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The one text that most changed my opinion on criticism was probably Freud's 'Interpretation of Dreams,' which I read in college.
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When I read that nobody should ever feel ashamed to be alone or to be in a crowd, I realized that I often felt ashamed of both of those things.
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No time you spend writing will be wasted - even if you write something that's bad.
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I like a novel to have a certain amount of dead time and filler - unremarkable scenery, descriptions of getting from point A to point B, dialogue in which not much is said - in between the parts that are electric. With a long work that you don't read in one sitting, I think that makes for the best reading experience.
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'Gone Girl' is as much about the near impossibility of being a good husband as it is about the anguish of being a good wife.
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For a Nabokov fan, paging through 'Fine Lines,' which includes a critical introduction and several essayistic evaluations of Nabokov's scientific oeuvre, can feel a bit like reading the second half of 'Pale Fire': one is confronted by a content-rich, almost dementedly tangential commentary on an increasingly inscrutable work.
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Everyone has a certain amount of bad writing to get out of their system.
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Why is there an end of the year? Because the calendar imposes numerical order on time. There is a natural fitness in the celebration of the New Year, a holiday of numbers imposed on things, with lists, as well as with Advent calendars and songs like 'The Twelve Days of Christmas.'
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My parents were born into a secular country. They met in Turkey's top medical school, moved to America in the nineteen-seventies, and became researchers and professors.
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When in doubt, it is better to do the less conservative thing and to err on the side of the more colorful, possibly terrible mistake. That comes from thinking of yourself as a writer.
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When you walk around, you have all this stuff rattling around in your head, things that have happened to you, things you have read. Life is just life, and you get what you get out of it.
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If you are in a breakup, you might as well go all the way and spend the summer in Samarkand, with no air-conditioning, learning a language you have no use for. At least it adds some romance to a depressing situation.
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Every time a meteor comes close to the earth, we all think about the end of the world - but our internal soundtrack doesn't turn off. We're also thinking about pizza or passing a slow tractor or making a turn, and for a magical instant, our lives seem to be in conversation with the stars.
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The book that made me decide to go into Russian literature was 'Anna Karenina,' which I first read in high school. The thing that appealed to me and constituted its Russianness for me was that it was simultaneously incredibly funny and sad.
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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.
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The Himalayan glaciers, China's trade surplus, Olympic ice hockey - the world is full of pressing subjects that people never consult me about.
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Even when I was very small, my mother treated me like a great novelist. She was like: 'Oh, I'm sitting at the breakfast table with Flaubert,' and would say, if she burned some food or was late arriving, 'Don't put this in your novel!'
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One of the most painful parts of a breakup is having the feeling that your life is a story, and then the other person leaves and takes the story with them. And you're left there without it. You're left in this version of life that's basically a succession of events and interactions that don't seem to be going anywhere.
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Even in novels where the love relationship isn't the focus, I feel like it's often there, and the background is some barometer of whether this is a happy or sad story or whether this is a successful or unsuccessful life.