Калужская правда

Тони Моррисон о том, почему прозаику важно придумывать и выдумывать

INTERVIEWER

When you create a character is it completely created out of your own imagination?

MORRISON

I never use anyone I know. In The Bluest Eye I think I used some gestures and dialogue of my mother in certain places, and a little geography. I’ve never done that since. I really am very conscientious about that. It’s never based on anyone. I don’t do what many writers do.

INTERVIEWER

Why is that?

MORRISON

There is this feeling that artists have—photographers, more than other people, and writers—that they are acting like a succubus … this process of taking from something that’s alive and using it for one’s own purposes. You can do it with trees, butterflies, or human beings. Making a little life for oneself by scavenging other people’s lives is a big question, and it does have moral and ethical implications.

In fiction, I feel the most intelligent, and the most free, and the most excited, when my characters are fully invented people. That’s part of the excitement. If they’re based on somebody else, in a funny way it’s an infringement of a copyright. That person owns his life, has a patent on it. It shouldn’t be available for fiction.


The Paris Review, 128 (осень 1993)

www.group-telegram.com/jp/zhskii.com/986

181 viewsedited  Dec 15 at 17:10

Тони Моррисон о том, почему прозаику важно придумывать и выдумывать

INTERVIEWER

When you create a character is it completely created out of your own imagination?

MORRISON

I never use anyone I know. In The Bluest Eye I think I used some gestures and dialogue of my mother in certain places, and a little geography. I’ve never done that since. I really am very conscientious about that. It’s never based on anyone. I don’t do what many writers do.

INTERVIEWER

Why is that?

MORRISON

There is this feeling that artists have—photographers, more than other people, and writers—that they are acting like a succubus … this process of taking from something that’s alive and using it for one’s own purposes. You can do it with trees, butterflies, or human beings. Making a little life for oneself by scavenging other people’s lives is a big question, and it does have moral and ethical implications.

In fiction, I feel the most intelligent, and the most free, and the most excited, when my characters are fully invented people. That’s part of the excitement. If they’re based on somebody else, in a funny way it’s an infringement of a copyright. That person owns his life, has a patent on it. It shouldn’t be available for fiction.


The Paris Review, 128 (осень 1993)

BY Калужская правда