Quotes by André Aciman - Page 2

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.'
André Aciman / Writer
Day To Day
Not Interested
Real Human
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And on that evening when we grow older still we'll speak about these two young men as though they were two strangers we met on the train and whom we admire and want to help along. And we'll want to call it envy, because to call it regret would break our hearts.
André Aciman / Writer
Men
Heart
Regret
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Besides the fear of ending up with the totally wrong person, the first time between two persons is underscored by two things: desire and awkwardness. The awkwardness of the first time when two individuals touch each other is never lost on the young...or the old.
André Aciman / Writer
Desire
First Time
Individual
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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.
André Aciman / Writer
Direct
Qualifying
Tacky
Undecided
Unfinished
Authors
Avoid
Definitely
Dishonest
Outright
Repulsive
Stating
Unwholesome
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There was a time when Stefan Zweig was the most widely read author in the world. He was lionized everywhere, translated into every language. For the first four decades of the 20th century, his novellas and biographies were devoured by rich and poor, young and old, well read or less so.
André Aciman / Writer
Biographies
Decades
Author
Devoured
Translated
Widely
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Don't all writers have a hidden nerve, call it a secret chamber, something irreducibly theirs, which stirs their prose and makes it tick and turn this way or that, and identifies them, like a signature, though it lurks far deeper than their style, or their voice or other telltale antics?
André Aciman / Writer
Chamber
Deeper
Prose
Tick
All Writers
Hidden
Lurks
Nerve
Signature
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Under Nasser, Egyptian nationalism was built on little more than pan-Arab irredentism and anti-Western and anti-Israeli sentiment. Mr. Mubarak retained these powerful brainwashers and allowed the rise of a religious component to further alienate Egyptians from liberal and democratic thinking.
André Aciman / Writer
Egyptian
Mubarak
Nationalism
Rise
Alienate
Mr
Component
Sentiment
Further
Liberal
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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.
André Aciman / Writer
Conventions
Justify
Narrative
History Past People
Neutral
Log
Memoirs
Provided
Tale
Trial
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There is always going to be a risk in a new love, a difficulty to be overcome, and more so considering all the challenges facing gay love, particularly in an adolescent. The desired other person could turn out to be a wolf in sheep's clothing, could hurt us, could even ruin us. But the risk has to be taken.
André Aciman / Writer
Gay
Hurt
Taken
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Proust is interested in minutiae because life, as he sees it, is seldom ever about things but about our impression of things, not about facts but about the interpretation of facts, not about one particular feeling but about a confluence of conflicting feelings. Everything is elusive in Proust because nothing is ever certain.
André Aciman / Writer
Elusive
Impression
Interpretation
Minutiae
Proust
Conflicting
Sees
Seldom
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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.
André Aciman / Writer
Family
Born
British
Citizenship
Italian
Members
Seven
Speak
Turkish
Uncommon
Acquired
Arabic
German
Bit
Became
English
Brazilian
Languages
French
Subsequently
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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.
André Aciman / Writer
Empty
Prophet
Quiet
Descend
Seat
Time Moment Way
Doorway
His Way
Invariably
Movements
Spell
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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.
André Aciman / Writer
Disguise
Memoir
Needs
Secret
Shameful
Wish
Writer
All Writers
Deep
First Thing
Hidden
Learns
Nerve
Personal
The First Thing
Themselves
Though
Ultimately
Uncover
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Would I still feel this way on leaving the party tonight? Or would I find cunning ways to latch on to minor defects so they'd start to bother me and allow me to snuff the dream till it tapered off and lost its luster and, with its luster gone, remind me once again, as ever again, that happiness is the one thing that in our lives others cannot bring.
André Aciman / Writer
Dream
Breakup
Party
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Most of us can't help but live as though we've got two lives to live, one is the mockup, the other the finished version, and then there are all those versions in between. But there's only one, and before you know it, your heart is worn out, and, as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now there's sorrow. I don't envy the pain. But I envy you the pain. (p. 225)
André Aciman / Writer
Heart
Pain
Two
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Many critics speak about coming-of-age love, about initiation, about young libido, and so forth. I've never seen it only this way. We continue to examine things ever so minutely, we interpret obsessively. We may be less bold at 40 than we were at 17, but we're familiar with the road map; we know the bumps in the road; we recognize the sudden turns, the one-way streets, and the dead ends. And we are hurt just the same as when we were teenagers.
André Aciman / Writer
Hurt
Speak
Teenager
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My love stories are about people who are reluctant to actualize what they so desperately want. They are timid, cautious, but eventually they dare to speak. My characters are not only hesitant; they are ambivalent about which way their libido flows: toward men or women? They are fluid in their sexuality, and this ambivalence says more about how we think about sex today than, say, Tinder. And this is a truly modern idea: Most of us don't know who we are sexually.
André Aciman / Writer
Men
Character
Thinking
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If there is pain, nurse it, and if there is a flame, don't snuff it out, don't be brutal with it. Withdrawal can be a terrible thing when it keeps us awake at night, and watching others forget us sooner than we'd want to be forgotten is no better. We rip out so much of ourselves to be cured of things faster than we should that we go bankrupt by the age of thirty and have less to offer each time we start with someone new. But to feel nothing so as not to feel anything - what a waste!
André Aciman / Writer
Night
Pain
Rip
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I stopped for a second. If you remember everything, I wanted to say, and if you are really like me, then before you leave tomorrow, or when you’re just ready to shut the door of the taxi and have already said goodbye to everyone else and there’s not a thing left to say in this life, then, just this once, turn to me, even in jest, or as an afterthought, which would have meant everything to me when we were together, and, as you did back then, look me in the face, hold my gaze, and call me by your name
André Aciman / Writer
Doors
Goodbye
Names
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