字幕表 動画を再生する 英語字幕をプリント [Applause] -That's a pretty nice reception. - Nice place you have here. [Laughter] - Good afternoon everybody. My name is Caroline Baum and I'm delighted to be here with you today for what I think is going to be a very inspirational experience. Um, Elizabeth, you- if you'd been here yesterday, I suppose we would have had to call this talk "Heat, Pray Love." Youů poor Elizabeth was driving back from the, um, south coast yesterday and spent most of yesterday in a car, um, so, she deserves a medal, I think, for being here today. Um, most of you will have been asked when you booked your tickets whether you would like to ask a question today, and so I'll be incorporating some of those questions into our conversation. And, I hope, that those of you that don't get your question asked will still get some of the answers that you're seeking from the conversation that we're about to have. And, at the end of this session, Elizabeth will be, um, in the foyer and looks forward to saying hello to you. And, there will be some pre-signed books, um, her new book, which is her great-grandmother's cookbook, um, which will be available for sale. So, you will get a chance to say hello then. Um, you know you've made it when your bestselling book is satirised by Barry Humphries, [laughter] not to mention The Simpsons and also our own local comedienne Judith Lucy who wrote a book called Drink, Smoke Pass Out in your honour. [Laughter] - I saw it in a book store. I have to say I think that's one of the best ones I've seen yet. - Yeah, it's not bad. - Very nice. - Umů - I approve. - I thought that, given that the talk today is supposed to be about life after Eat, Pray, Love that, maybe it would be useful for us to go back to before Eat, Pray, Love in order that we can kind of understand the trajectory that you've been on a little better. Um, and I guess I wanted to start by asking you what your definition of success was before this tsunami kind of hit you. So, when you were growing up on your father's Christmas tree farm with two goats and honey bees and a television that didn't work very well, what was your dream and what was your idea of how to go about that? - Um, I always say that I'm very lucky because I've only ever wanted to do one thing with my life and I've only ever been good at one thing. And it's, I think it's rare that you get both of those pieces, right? Um, I, I don'tů I'm not interested in anything but writing and I'm not good at anything but writing so it makes your path extremely clear. You know? I have friends who are multi-talented and they're cursed by it. And I'm notů I do think of it as a curse. Um, they're pulled in, in many different directions. That's never been a problem for me, um, and so it's been pretty simple trajectory. There's been so much other stuff in my life that I've made messy and complicated but, for some reason, the writing path has been straight and narrow, um, from about the age of nine on, um, maybe even earlier. And, the idea was to just, um, write as much as I could. Start, I started sending short stories out for publication when I was about 18. Um, I collected rejection notes for six years. Um, that was okay. My goal was to get published before I was dead. And people [laughter], people in my family live a really long time. So, I thought: "I got a long arc here." And, it's not like, you know, it's not like being a dancer where, if you haven't done it by the time you're 22, you know? Um, I had, I knew that, that you only mellow more into your work as a writer. So, I wouldů took the long view. And, um, and, and, really honestly, from the beginning, my only goal was that I, someday, wanted to have something published somewhere. - I'm interested in this, because I know that in your 20s you left Connecticut, and you went off to Wyoming, and you became a cowgirl. And you, I think, cooked on a ranch, and you did various kind of very physical, very masculineů -Yeah. -ůvery rusticated things. And, um, I wondered whether, in fact, you were on a kind of personal quest there? That you could talk a little bit about exploring that masculine world at, because you were a tomboy weren't you? - No. That's theů - I thought you were? -No, look!! Um, no I wasn't and I'm not. And, um, and, in fact, I was on a quest to make a man out of myself. I think that's really what I was trying to do. Um, I come from very tough people and I'm not a tough person. And I've always felt that it was a liability. Um, I, my mother's tough, my dad's tough, my sister'sů macho. I mean, there are, like, people, my, my whole Gilbert side of the family. My uncle refers to them all as oxen, you know? Um, the Olsen side of the family are all Swedish immigrants, so they're like lazy and, no I'm just kidding, they're not at all. They're just, and I always felt like weak, you know? I always felt like I was the weakest link in, in every family gathering. I was a cry baby, and a sensitive, and emotional and, um, and I wasn't a pretty kid but I wanted to be, and, um, and, and somehow I just wanted to overcome that sense of, um, helplessness. And, I think that's what drew me to, to the west and to ranching, which I wasn't very good at. [Laughter] But I made friends, you know? - Well, and you, you discovered people who were incredibly competent and who lived by a very different set of values. And, and you wrote about those people very memorably. And, that's why I was sort of leading you, hoping that you were going to talk about, um, Eustace Conwayů -Mm. - because he is such a, an extraordinary character and I was just wondering, for people who haven't read your books from before Eat Pray Love, whether you could talk a little bit about what you learnt from encountering someone like Eustace Conway in terms of values. - Um, Eustace Conway, ah, for those of you who haven't read it, is, is a guy who I profiled in a book called The Last American Man. Um, he was one of the most fascinating people I'd ever met. I did a magazine article about him for GQ. He was the brother of a cowboy who I met on the ranch in Wyoming and, even among that set, where people were pretty macho and pretty tough, they were all like: "And then there's Eustace." You know, he was like, sort of at the Navy Seal level of, um, outdoorsmen. And he had left his family's suburban home when he was 17, moved into the woods of North Carolina, and has been living there ever since. He's a utopian, he's a visionary, he's, um, he's a tyrant. Um, he's a very complicated, difficult person, who I spent probably four years of my life with, um, writing this book about him. And, um, came away, ah, came away with a very different idea of our heroes. I mean, I think I started the book with a real sense of hero worship and came awayů um, there's a line that Ursula Le Guin says, that she says, um: "The other side of heroism is very sad; women and servants know this." Um, and when I was closer to his life, and you saw the sort of, the sadness of, of his, um, ferociousness, um, and the casualties of the people who admired him, and followed him into the woods and, and just the complications of being so grandiose. Um, it, it tempered me for hero worship in the future. - Because it's interesting, in the book you de-romanticized the idea of a man who lives in the woods. Because you say that, when people in cities talk about the woods, they get this sort of nostalgic look and they go: "Oh, the woods, the woods." And Eustace's view of life in the woods is harsh and brutal. -Yeah. -But then, you tell this story about seeing him talking about his life to a group of school children and that crystallises something for you about authenticity. So, when you saw Eustace Conway talking with these children, you saw authenticity that you wanted didn't you? - Well, he, he's incredibly compelling, um, and, and very real. Um, and his values are earnest. Um, I don't think you can be a fundamentalist of any stripe if you don't have earnest values. Ah, he, he believes, quite rightly, that we are driving this car off a cliff environmentally, um, on the planet earth and that America is leading that car chase over the edge of the precipice. He wants to transform the way we think about resources. He wants to transform the way that we think about nature. Um, and he has this kind of messianic ability, especially with young people. They're awestruck by him. Um, and it's beautiful to watch. And, whenever you see him in action like that, it's incredibly moving, and it's incredibly stirring. And it's incredibly unrealistic. And it's incredibly un-pragmatic. And, it comes with, um, a whole other sort of darkness as well, um, that, that I needed to get away from after a while. - 'cause I was going to ask you whether you think you're very susceptible to charismatic leader figures? Are youů - I'm susceptible to everything [laughter] - But are youů - But, yeah? -ůare you a follower? - Oh, hell yeah. What, what do you have? What are you selling? I'm buying it. What do you believe in? I believe it. You know? What's the fad? I'm drinking acai juice right now, and pomegranate. Like whatever! I'm, I'm the permeable membrane, you know? I'm a, I'm a Cancer. Um, I, I just believe. I'm very gullible. Um, it's why I think it's funny that I was a journalistů -Mm. - Um, because I think it, it doesn't really make for great journalism [laughter]. Um, I believe anything people tell me about themselves and then I report it, you know? Um, [laughter] like people, you know, people would be like: "I'm the best six string guitar player the east coast of the United States has ever produced" and I'll be: "This guy is the best sixů" You know? I fact checked it because I asked him and he told me [laughter]. Um, you know, and there's a, you know, that's kind of just how I am, and I'm always going to be that way. Um, there's, there's nothing for it really, you know? Like I keep waiting to, I mean, the world has beaten a bit of it out of me, but I come back for more all the time. Um, and on the other hand, there's great benefits of being like that. -Mm. -You know, there's a great openness and, um, people trust me and should. Um, and, you know, there's that sort of feeling that comesů - In a sense, you've kept your sense of wonder? - Yeah, yeah, I would say so I think, I think the scariest thing for me about going through depression, um, when I went through my divorce and, and the subsequent despair, was having that dulled down. Um, you know, that, what depression does to you and what despair does to you, is it makes everything in the world into sawdust. - Mm. - And you lose all the shimmer, and all the marvel, and all the wonder and, and that made me feel more unfamiliar to myself than, than anything I could imagine. - Hmmm. We may come back to that. Um, just staying with the journalism for a moment, one of the things that really strikes me about that journalism period of your life, again before Eat, Pray, Love is that you were often the only woman in a very macho world. -Yeah. - You liked to go into those very masculine worlds. - Yeah. - So, for example, one of the pieces that you wrote that got a lot of attention at GQ was about a bar The Coyote Ugly bar, which subsequently, that story got turned into a movie. Um, can you talk a little bit about what you were looking for in terms of what, what interested you about masculinity? - Um, I think I have, I think I had to spend my 20s solving it. Um, I ů I like men. Um, and I think that that interested me because I don't think that's necessarilyů I don't think everybody necessarily feels that. I don't think every woman necessarily feels that way about men. Um, I enjoy the company of men. I grew up with a, a lot of uncles and they were all, to my mind, incredibly funny and, and very charming, and their attention was worth the world. And they were, um, they were great story tellers, um, I, I mean my, my, weirdly, my happiest memories of my family were when everybody was still a, um, an actual alcoholic and not a recovered alcoholic [laughter]. And they used to have these family gatherings and my uncles and my grandfather and my great-grandfather, I mean, like I said, people live a long time in my family, despite how much they drink. And they, um, they were just brilliant and, and, and alluring to me. Um, and I felt like, in those moments, when I was a little kid, and I got to sit in the corner of the kitchen and they didn't know I was there, and I was listening to the dirty jokes and the raunchy stories and the, and the outrageousness of men, um, they just seemed more interesting to me. And, I'm sorry to say this, and I do regret this, they seemed more interesting to me than the women who were, now I see, taking care of everything while these men were having a very good time being extremely irresponsible. And the women were being very responsible and responsibility isn't alluringů - Mm. -ů in the same way as irresponsibility. And, um, and so I wanted to be with those people at that table. I didn't want to be with the people who were making the casseroles, and washing the dishes, and paying the bills and raising the children. I wanted to be with those guys. Um, and so I spent my 20s mostly with those guys, um, and more identified with them. And, and I think I did so both at a gain and at a loss for myself. I think it, they were interesting years. They were exciting years. Um, but I deniedů there was a lot that I wasn't noticing about the world and there was a lot that I wasn't respecting. And, um, there was a lot that I wasn't paying attention to in my, my own self. -So, I, I'm curious about, given what you've just said about how, when you come to Eat, Pray, Love, the voice and the tone, the very, um, intimate, very conversational tone, as if you're talking to a girlfriend, umů - Mm. - How you arrived at that feminine sensibility and that feminine voice, given what you've just said. - I hadůI had it, um, forced out of meůthrough tremendous pain, wierdly. Um, I came at it through a pathway of pain. Um, I was so disconnected. I'd made such mistakes. I had, um, chosen so poorly, in really important ways in my life, um, in, in really important interpersonal ways. AndůI had denied, you know, in trying to be tough and trying to be cool, and trying to be one of the guys, I, I had justů just buried some very important feelings and emotions and, and, I feel like by the time it came to the point to write Eat, Pray, Love the only way I could write it was with that sort of raw, earnestness, um, and, and, and honesty. And I did write it to a girlfriend. One of the rules that, that I have as a writer, um, that I got from my elder sister, who's, who's a really brilliant writer, is: never sit down to write anything, um, whether it's a newspaper article, or a novel, or anything, um, until you know precisely who the one person is that you're speaking to. And have it be one person only. And each one of my books has been written to a different person. And, it's a really important decision as I'm beginning a project, who it's going to be, because it effects the way you speak. We speak to different people differently. And so, I wrote the entirety of Eat, Pray, Love to my friend Darcy, who lives in Brooklyn. She's a, um, she's a very funky, hipster Christian. Um, she and I had, her parents were Lutheran ministers and she became a punk rocker and then kind of drifted back toward Christianity, um, but in a very kind of sceptical and, and, and complicated way. Um, she's a single mum who went through searing divorce, she's been through terrible depression, she's a novelist whose work I really admire, and she's somebody who, in the year or two prior to my going on the journey, I'd become very close with and we'd spent a lot of time talking about the issues that subsequently became discussed in Eat, Pray, Love. So when it came time to write the book, it was a letter to Darcy. And so, when people say to me: "I feel like you were speaking directly to me," I'm like, well I kind of was speaking directly to somebody and that's what you're hearingů - Mm. - Is that intimacy of, of, of an actual conversation and not, um, just writing out into the empty world. - Given that intimacy that you create in the book so memorably, I'm just wondering Liz, what the price is for that degree of candour? Whether, when you wrote it, given what you were saying before about how gullible you areů - Yeah. -ůwhether you had absolutely no idea that, in creating this intimate voice, and in speaking to us all this way, you were laying yourself, maybe too bare? - You think? [Laughter] Somebody said to me, they read the book, a friend of mine read the book in galley, you know, before it was published, and she gave it back to me and we, she took me out to a cafÚ and she said: "Are you really comfortable with putting all this out in the world? It's really intimate." And I'm paging through it going: "It is, is it? Do you thinků?" You know, like I really was, I just felt like: this is the story, this is what happened. And, um, would I have written it that way had I known that 10 million people were going to read it? You know? I wouldn't have been able toů - No. - Because I would have not been thinking about my friend Darcy, I would have been thinking about that audience. And, um, and it wouldn't have occurred. Um, I don't regret itů in the least. And, and I feel like, is there, there's a little price to be paid for it but it's the one that I'm, I'm contented to pay. Um, the benefits of what has come into my life from that journey are, are so staggering, um, that, that whatever inconveniences may have arisen from it, I would be ashamed to even mention, um, because they're so overshadowed by the great blessing. And, it, really like, shame on me, if I have all this tremendous good fortune and then say like: "Oh, people think they know me." [Laughter] Um, you know what? People think they know me 'cause they freakin do [laughter]. You know? [Laughter] Like, lots of people come at you, and they're like: "I feel like I know you." I'm like, you do! If you read this and you read Committed you do know me. You know? Um, I can't fault anybody for feeling that way. - So, when you talk about the blessings, let's just acknowledge thenů - Yeah. - ůthese blessings. What is the single best thing that has happened to you as a result of this book? - The book, or the journey that led to the book? - Okay, the journey. - Um, the, the best thing that, that's happened to me from the journey, was the four months in India. Um, and the best thing that came of that, was spending time, needing to negotiate a peace resolution between me and myself. Um, and it was arduous. Um, it was like the YALTA Conference, you know, I mean, it was really painful and difficult but it needed, you know I, there was really a, it was a moment of reckoning. And I feel like my whole life hinges from before that time and after. -Mm. -Um, and it, and it really was, you know, I reached this place, um, that I slip from constantly, but still, at least, I kind of know how to access it now, which is that, like all of us, um, you know, I always say that, you know, my, my head is a neighbourhood you wouldn't want to walk around alone in at night [laughter]. Um, and most of us, I think, have that head. Um, and, and, you know, I have demonic voices, ah, that we all have and I abuse myself, and I attack myself, and I demean myself, and I accuse myself and I, you know, I have those, that sort of court room drama going on constantly. And it wasn'tů.you know, all that work of meditation, and all that work of reconciliation and all that work of self-acceptance finally kind of allowed me to discover this other voice that I've got, um, who's the 'mom' of all those insane children who live in my head. Um, and I've really come to think of it as that. What I thought were demonic monsters are actually just, um, very anxious orphans. - Mm. - Um, you know? And they're, you know, it wasn't 'til I realised that they're just scared. It's just a bunch of fear and somewhere above all of that, there's a mom in a mini-van saying like: "Shhhh. Mommy's driving." [Laughter] Um, you know: "Tut, tut, tut, tut, tut, everybody quiet down." You know? And, and, that, you know, finding that place to just be able to sort of calm myself rather than need to distract myselfů -Mm. - ůor impale myself on somebody with the hopes that they would save me from myself. Or run away from somebody with the fear that they had destroyed me or, you know? Like all of this madness that defined my life up until that point. Um, and, and the price, you know, the value of that is beyond rubies. Umů - There are many writers in the audience today, I know. Um, and so, I just wondered whether we could explore that voice, that judgemental voice, because I know that many, many writer, all writers I think, are afflicted with that voice. - Yeah. - And, um, I read an interview with you in which you said that, you know, the persistent voice, um, the judgemental voice in your head was saying as you were writing Eat, Pray, Love: "This sucks." - Yeah. - All the time. - Yeah. - So, can you just talk about the process of self-forgiveness and how you learntů - Yeah. -ůto quieten that voice and, and bring the voice of that nurturing mother forward. - Yeah, it's another orphan, who lives there right? Um, you think it's this big powerful judge in a, in a cloak and a wig, but it's actually just a really freaked out little kid who's just very afraid of being vulnerable. Because, when you present something of yourself, um, in any form into the world, it's scary. And, the thing that wants to protect you from that, is going to tell, like, stop you from doing it, um, by any means necessary and one of the best means is by telling you that you're, you're not worthy of, of, of even attempting it, and that'll stop, that'll shut you up, right? [Laughter] Um, and it, and it often works. And I feel likeů there'sůsome of it is motherliness, you have to be very kind to yourself and very forgiving to yourself. Some of it is stubbornness. Um, I'm stubborn about wanting to do this work. And you have to be more stubborn than that voice. Um, I'm, I stubbornly love and respect this work. Andůyou have to, sort of, out-endure it, you know? Um, it, it'll tire, that voice will tire itself out, hopefully sooner than the part of you that just insists on being heard and insists on, on trying. And, I, I think, really one of the big breakthroughs I had as a writer was when I wrote Stern Men, my first novel, which was very intimidating for me. I'd never written anything of that length, I didn't know whether I could sustain fiction to that level. It was writing about a culture I didn't really know about. I'd set the bar very high. And, there were tears on every page of that manuscript and, and I remember, you know, being at that point of just not even wanting to open up the computer because you can't even look at it 'cause it's so awful. And, and then I had this really stubborn moment one day, where I just said: "I am not going to be somebody who dies with 75 pages of a novel in my desk drawer. I simply will not be that. And it doesn't have to be good. It just has to be done." - Mm. - And, for that, I'm grateful to my mother because that was a motto that we grew up with, that she always said, is: "Done is better than good." And, um, and it was, you just, I just thought, if you don't, you know, and I was always taking to the, you're always talking to the critics who are coming, you know, they're coming. And I remember, sort of, as I was writing that novel, just saying to the critics: "Write your own fucking book if you don't like it!" [Laughter] You know? Like this is mine, I'm sorry. It's the best I can do. It may not be good but it's all I've got. Here it is. Leave me alone. Get a real job. You know? Umů[laughter]ůand, and, and that's the sort of, you have to push hard like that, um, and, and, and be relentless about wanting to be out there. - And, at the same time, not complain about how hard this is. Would you like to tell the story about your friend and their letter to Werner Herzog. - Oh, this is one of my favourite stories. Um, yeah, I get really tired of people complaining about how difficult the arts are. Um, it's fairyland that we live in, you know? Um, and working in a steel mill is a difficult job. - Mm. - You know? Um, writing can be a frustrating job but it'sů. I mean, can we get serious aboutůyou know, really? Um, I, I just feel like sometimes, you know, us artistic souls can be a little over-dramatic, and we, you know, act, make it worse than it is. And, it's just, it's challenging, um, but everything's that challenging is worth doing. But it's not impossible. And, and there is a wonderful story, I have a friend who's an Italian independent filmmaker, and he wrote a letter, um, in his 20s, that he, he got a response from, from the great German filmmaker Werner Herzog, um, who's sort of aůfascinating character in his own right. Um, but he wrote a letter to Werner saying, um: "I'm incredibly frustrated. I'm really, it's hard to live in Italy, there's no arts funding, um, I can't get anybody to make my movie, I can't get anybody to read my script, I can't get any actors to come to auditionsů" just a, a litany of complaints about how difficult it was to make films. And Werner wrote him back a letter and, and the first line was, and he has it framed, I've seen it, he said: "Stop complaining, nobody wants to hear it." Um, and, and he said: "It's not your fault. It's not the worů" sorry, "It's not the world's faultů" - Mm. - "ůthat you want to be a filmmaker. And it's not the world's responsibility to like what you do. It's not the world's responsibility to fund what you do. It is your passion. It is your responsibility. You don't have money to make a film? Go steal a camera." Umů [laughter] like, he just laid it down. He said: "You're doing this voluntarily. You want to be an artist voluntarily. Don't keep waiting for somebody to give you permission, or to give you funding, or to do anything. And stop whiningů" - Mm. - "And go make a movie. And don't bother writing me letters about how hard it is." And, and that's another kind of resilience. And that's why Werner Herzog has made, what, 197,000 movies? [Laughter] Um, you know, each one different and each one complicated in its own way. - Let's talk a little bit about some of the, um, sort of, public aspects of the aftermath of Eat, Pray, Love um... - I like the word aftermath [laughter] -Umů -Tsunami [laughter] - We were talking backstage a little bit about, um, Oprah's interview yesterday with Lance Armstrong and you have also been a guest on Oprah, and I'm very grateful to the fact, that today, you're not giving answers that are just one word long likeů[laughter]ůlike him. - I've never given a one word long answer to anything. Sorry, I don't know how to do that. Ah, Oprah Winfreyů? - Yeah, what was she like? - She's amazing. Um, I won't hear a bad word spoken about her. I think she's fabulous. And I think, um, as I was saying to you backstage, I think she very much cares about the lives of women. And she takes those lives seriously. And, um, there are, aren't, you know, that's not often done. -Mm. -And she's demeaned for that. Um, but, but she's got a mission. Um, and, and she's brilliant, and she's, she's funny, she's witty, and it's incredibly scary to go on the show. Um, you don't meet her beforehand. She likes to keep it very fresh, which means that, the second you sit down in this chair, you have this huge speed bump that you have to get over, that suddenly, there's Oprah Winfrey [laughter]. You know? And so, she's asking you a question and I'm like: "Oh my God her eyes are so big and herů." you know, like, you're just, you're trying to take in like, you know: "Look at her. Wow. I like that. I wonder how much that ring cost?" [Laughter] You know, you'reů? And you have to really focus. Like, she's asking you something. And she's so engaging and warm and makes, you know, um, I said to her at one point: "You're really good at this." [Laughter]. You should, you should think about this as a career. And, um, but she's also, you know, she's running the world. And so her boundaries are, are very, um, established and they're very appropriate. Um, she made me feel, in the first 10 minutes of the interview, that we were the best friends who had ever met. And she does that with everybody. And of course we're not, but of course I thought we were. [Laughter] And, um, and so, when they do the commercial break, she doesn't talk to you. And it's not because she's arrogant. It's because she's got, she's opening up a new school in Africa or something. Ah, she's busy. And so, she's got producers all around her and she's looking at cards and she's running her empire. And I'm sort of sitting there in the chair like this, and I don't, I'm not comfortable sitting next to someone and not speakingů -Mm. - So, she's sort of looking at her index cards and the clock is ticking down to the commercial and I go: "Do you like my shoes?" [Laughter] Because, I was really goingůmake conversation out of whatever's there right? I was like "Do you likeů" and she looks over and she says: "Oh yes, they're very nice" and, ah, goes back to her notes. And I said: "They're not mine." [Laughter] They're my friend's. They're my friend Cheryl's, she lent them to me." She said: "Oh, that's nice sweetheart." You know? She goes back to her thing. And I go: "They're from Paris." [Laughter] Waitůgets worse. [Laughter] She didn't respond. And I said: "That's in France." [Laughter] And then she took her reading glasses off and she just looked at me and she said: "Is it?" And later in the show somebody in the audience was saying that they were, um, they had gotten inspired by Eat, Pray, Love to go do a marathon in Paris and, it's in the clip, you can see it, Oprah just turns to me and she goes: "That's in France." [Laughter] And it's out of context, it makes no sense. And I was likeů[laughter] but, ahů - I think it's so telling that you would share this story with us, [laughter] I would keep that to myself. -Oh it's too good. It's too good to not. It's too, ahůnever let a little humiliation get in the way ofů sharing a good story. - Well, since we're on a little bit of a celebrity roll hereů - Mm. - ůI suppose we should ask you about Julia Roberts and about what the experience of meeting Julia isů -Yeah. - ůbecause she's another person who's sort of like Oprahů -Yeah. - She's almost a one, one named brand. -Yeah. Um, she isůluminescent. Um, she's lovely. She's very private. She's very professional. And I didn't have much interaction with her, to be honest. Um, and I was kind of happy for that in a way. They, when it came to making the film, I just felt like, another thing that it'sů I'm going to list all the things that annoy me about, when, when writers complain about what happened to their books when they were made into films, I always think it's weird because, you sold it. Um, and it's like selling your house and then driving by your house every day and being like: "They took down the pergola!" [Laughter] You know? You sold it! It's not yours anymore. You know like, once you sell it, you know, it's out of your hands. And I feel like, once you sell it, you should relinquish it, and, and, and, in exchange for a, a handsome sum of money that makes your life better, you should let them do their jobs and stay out of their way. And so, that's the attitude that I took toward it and, and so I didn't really want to throw myself intoů - Mm. - ůthe production. But they asked me, invited me to come to Rome and to watch the filming. And I got to meet Javier Bardem and we, and I got toů[laughter] I ate dinner. I ate dinner across from him. We shared a fork. I'm just saying. [Laughter] That is not a euphemism. I wish that it was. But it's not. Um, weůhe's beautiful. Him andůanywayůJulia [laughter] is also very, very beautiful. Um, but, but, but, the thing about her, so, I met her, and she, she also didn't want to meet meů -Mm. -ů because she had created her own idea. -Mm. - And so, she didn't want to meet me until the filming was halfway finished and she'd already kind of established and owned herself on the stage, which I completely understood. Um, so we met very briefly and she was gorgeous and there's absolutely nothing on this planet that can prepare you for what that face looks like from this distance. She, I mean we're all familiar, we know Julia Roberts' faces over the years better than we know our own. And, there is no picture I have ever seen of her, there is no moment I've ever seen of her, that is nearly as beautiful as what she actually looks like. It's crazy. Um, youůI walked in and I looked at her and I just said: "You're so pretty." [Laughter] And, I just, she's soooo pretty. And she's like: "Thank you." I'm like: "I know people have probably told you that before but really!" [Laughter] Umů -You didn't tell her about your shoes did you? - I didn't tell her but I didn't have a chance to get into the shoes. Umůshe's, she just is in sort of a cone of light. And, um, and she looks like a, a fairy. And she couldn't have another job besides being a movie star. - Did she put on the pounds to do the Italianů? - She, she didn't. Um, I don't think so. I mean, there is a scene where's she's trying to button her pantsů -Yeah, but she doesn't look likeů -And I'm like: "You call that a muffin top?" - Mm. - "Honey, let me show you what itů" no, I, I don't think sheů -No. -ů she wanted to do that to herself. -Are you contractually obliged to say that you like the film? - No. But I am contractually forbidden to say that I didn't like it. [Laughter] - But I like it, so it's easy. I like it. I saw it, it makes me, I've seen it a number of times. It makes me cry. Um, it's, it's so surreal to me, that's it's almost beyond like or not like. -Mm mm. Of course, -Um, you know, I can't have an, I can't have a neutral opinion on it. Um, it's, it's just like, the first time she opens her mouth, like one of the first things she says in the movie. She's going to visit Katut Liyer, she's on her bicycle and then they flash back and she, she goes to the medicine man in Indonesia, and she says: "Hi, my name is Liz Gilbert" and I'm like: "No it's not!" It's so weird. I'm like: "You're Julia Roberts!" [Laughter] That's crazy! [Laughter] Everybody knows you're Julia Roberts. No-one's going to believe that. [Laughter] Wild. Umůbut I love, I, I love it, I thought it was gorgeous. - Now, one of the other, um, sort of, honours I suppose that gets bestowed on you when you, um, achieve what you've achieved is you get invited to give a talk at TED. -Mm. - Um, and your TED talk about creativity and genius and about, sort of, how to deal with expectations, unrealistic expectations, and put those aside in order to keep working, is one of the most popular TED talks of all time. Um, and I know it's a source of great inspiration to a lot of writers. How did you come to the theory that you posit in that talk. And could you just give us a little sort of synopsis for those who haven't seen it? - Sure. Um, the, the theory isůit's just to, I was talking about, umůcreativity and, and, and madness and despair. And, and the western obsession with the idea of theůumůthe artist who becomes a victim to their own work, um, and the way that we have Romanticised that, a capital R German Romanticisation of, of the artist. And what a dangerous idea that is. And how that's not, um, I think it's an idea that's literally claimed lives. Um, I think that there are a lot of books that haven't been written because of that idea, and there's a lot of poetry that hasn't been written, and there's a lot of artists who have died younger than they may have needed to because of that idea. Um, and we, we support that idea because we kind of love it. It's our favourite story about the arts. Um, and I was looking for other models for how to think about creativity that, that maybe predated that or came from other societies, and that led me on a search to the classical idea ofů -Mm. -ůof the arts, and that led me a Roman idea which was that, um, you know, there was the word 'genius,' um, to the Romans did not mean that somebody was brilliant. It meant that somebody had a genius, and a genius was kind of like an elf who lives in the walls of your house, um, and who assists you on your work. And it's a collaboration between you, the craftsman, and this thing called a genius which is just this kind of mysterious other being, um, who you are negotiating your work with. And it takes a lot of pressure off the artist. Because everybody knew that, um, it wasn't totally up to you. That the work may have failed because your genius was not on the job that day. Um, or the work may have, you know, you also don't get that sort of crazed narcissism, that, um, the work wasn't entirely your creation either. Um, that there's some sort of a relationship that, that exists between you and what I also call "the mystery." Um, and that that just feels like a healthier, and certainly more interesting idea, than the, the notion of the single, healer, great genius artist who, um, you know, who, who, is above us all, and therefore is also to, you know, to be brought down and destroyed by their angst and their suffering and, um, and you know? I've just sort of had it with that, um, and I think, it, it's time to kind of think about things differently. So, the speech was speaking to that. And speaking to my own encounters with that mystery, um, and I think anybody who has ever made anything, um, which is probably most people in this audience, know that you brush up against that sometimes. - Mm. - Um, you know, as rational as we may be, there are moments when, when we do work that we can't necessarily account for. Um, you know, where we slip from our own labour into suddenly moving, on that moving sidewalk through the airport, there's something under you that's sort of pulling you along. Um, and it's not you, um, but it's related to you, it's interacting with you, and those are, you know, that's the big magic. Um, and, and that's the beauty of that path. It's the moments where you get to have that. It doesn't always last. - Mm. - Um, it doesn't, it doesn't always show up. And the stubbornness is showing up yourself, um, whether your genius is in the room or not. - Because the idea is, isn't it, that, that there's a sort of contract between you and your, is it your unconscious or your subconscious, I can never remember? - I can't, I think unconscious is when you're hit on the head with a hammer? [Laughter] - Oh, okayůso you'reů thank you. - Subconscious is when you can't remember why you keep hitting yourself on the head with a hammer? [Laughter] - Right. So, the idea is that you show up and, if you keep showing up, then your subconscious will keep its part of the bargain and it will show up too. Whereas, if you don't show up, then you don't know whether your subconscious is there or not? - That's the one way to guarantee it won't worků - Mm. - ůis to just not show up. - Mm. - Um, and the best you can hope for is, and I think the angels reward people who are at their desk at six in the morning every day. Um, and, after a while, they take pity on you, [laughter] and, they, they throw you a bone, you know? Um, and, and that's a feeling I've had too where I've been like: "God..? Three months I've been sitting here?!" You know? Um, and eventually, you know, something happens, something gets loosened up and, and, and comes through. - Now, the process of giving a TED talk is, from what I understand, because there is a TED alumnus in the audience here today I know, a fairly, um, stressful experienceů -Yeah. -ůand over a fairly protracted period of time. - It's terrifying. And, and, those of you who don't know what TED is, it's a, um, it's a speaking series that's now in its 26th or 27th year that started in Long Beach California where they just get together 50 people a year, and each person is given 18 minutes to give the speech of their lifetime on the subject that they know the most about, or care the most about. Um, the audience is, or consists of Nobel Laureates, and innovators and venture capitalistsů - A bit like here todayů - Yeah, like the normal audience who shows up to hear me speak; a lot of Nobel Laureates. [Laughter] And um, and it's incredibly intimidating. And, um, the one thing that I've found spoken, um, speaking to anybody who has ever given a TED talk is that everyone there agrees that, um, they all felt they were the only person who shouldn't have been invited. [Laughter] Um, because it's a really intimidate, it's a really intimidating group of people. I mean, you're looking out and Bill Gates is watching you speak and waiting for you to impress him, you know? And it's scary. Um, and I was in tears two hours before I gave that talk, um, in, in my hotel room. Really, really, regretting, I mean, beyond regret. Just saying; "You have done an incredibly foolish thing to have accepted this invitation and this is going to be very humiliating." Especially because, the day before I spoke, everyone was speaking on subjects of science and technology and robotics and genetics. And I was speaking about, basically, fairies. Um, and you can feel, when you watch the talk, you can feel they're not into it, at first. You're like, they're the first, like, they see where I'm going with the fairies, and they're like "errr." And then, you know like, they, you know, I broke 'em down. - Oh, you got a standing ovation! Come on! - But it was like, but, for a while, it was, I was talking to a very cold room. You know, like it didn't start warmly. And, the other thing about, you know, it's not a self-selecting audience. I mean, you guys are here because, presumably, you know, either someone dragged you here or you came because you like what I do. And that's an audience of people who had, half of them had never heard of me, so you have to introduce yourselfů - Mm. - And kind of, it's really, it's, it's difficult. -What wasů? - UmůI never want to do it again. - Was there any follow up or anything that span off it that was a particularly interesting or unexpected thing? - The thing is, when people, I, it gave me a different audience because most people only know me from Eat, Pray, Love. Most people who didn't, well even some people who did read Eat, Pray, Love, but a lot of people who will diminish or dismiss that book as Chick Lit, whatever that means, or just, you know? They have an idea about me based on that book. And so, often now, I'll find that I'm, I'm at an event and somebody will come up to me and, I know what they're going to say when they begin with, umm, you know: "I'm not really the typical person who would like you, but, ah, I saw your TED talk" you know? [Laughter] And like they really need to let you know that they're a lot smarter than people who like you, [laughter] um, and, and I don't think they understand how terribly insulting that is to me and to people who like me. [Laughter] Um, but, but they, you know, there's people who want to just distinguish themselves from, from that crowd. And that, and that TED, TED talk brought me those fans. - Mm. - Yay. [Laughter] - You were, you were also, in terms of pressure, and kind of a burden of responsibility, you were named by Time magazine as one of a 100 most influential people, um, in the world. What does that feel like? And what do you do with that? - I have done nothing with it. And, um, [laughter] and they need to pick a 100 people every year, and now that I know how hard it is for them, 'cause after you've done that for years and years and years, you can't have Oprah Winfrey every single time [laughter] and so they're like pretty desperate, I mean, pretty desperate really. Like, you get, I start getting emails now from the editors of Time six months in advance saying: "We really needů" and they're always like "We really need women" you know? "We really needů" ah, people who aren't, you know, techno people. "We really needů" So, um, ah, still, it's a great honour [laughter]. Sorry, I don't mean to be diminishing it. But that year, was the year that I kind of hid. Um, soůah, that was kind of the culmin, I think that was sort of at the peak of everything. I went to the event with my dad which was very fun. I got to introduce him to Martha Stewart and people like that, which was exciting for him. And, um, andůIůI went home and never, really never thought about it again. - Because, I mean, judging from your TED talk performance, which is very polished and you look very casual, and very relaxed and very at ease. And, and the way you are here today, I'm just thinking one could be forgiven for mistaking you for an extrovert. - Oh. -Yeah? - I am. No I..wellů - But presumablyů - I'm and introvert trapped in an extrovert's body. - Right. - Umů - 'Cause, 'cause to be a writer, you do need to be able toů -Yeah. -ůto face the solitude andů - Yeah. -ů not always be out there getting the loveů. - Yeah. -ůfrom an audience. So, do you find that difficult to sort of, withdraw? - Um, I find it difficult toůit's not like from 'my public' that I find it difficult to withdraw. It's from, I have a big, I have a large, a lot of friends. You know, personally, I have, um, people in my life I care about a lot, and, and spend a lot of time with, and invest a lot of energy in. Um, I have a, a group of friends who mean the world to me, um, and, and they take more of my time than, you know, I mean, this is fun and this is easy and this is an afternoon, and it's a delight. Um, you know, your friends who are going through serious problems in their lives, you know, obviously, you need to be there for them in a more serious way, or, your friends who you just love and want to enjoy. And the hard thing for me is setting that boundary. -Mm. - It's easy to say: "I'm not accepting any speaking engagements for the year 2011." That's done and done, you know? Um, it's harder to say: "I'm not, you're not going to hear from me for about six months" um, and "Please don't be offended, but I will never write a book if I am going out to dinnerů" - Mm. - And, and, and that's, that's hard. - Mm. - And it's painful for me. Um, because I love them, and, and I want to be there but it doesn't work any other way. - You need some of those boundaries of Oprah's? You need that kind ofů? - I need the index cards and the looking down, yeah. - Um, let's just, since we're talking about friends, um, let's just backtrack to Eat, Pray, Love and maybe you can just give us a kind of a little kind of an update on Wayan. How's she doing? - Oh she's doing splendidly. I was in Bali last year and I saw her. Um, she's doing great. She's got a fancy car. Um, she's got her business thriving. She hasn't moved. She's still in the same place. You can find her right next to the post office is Ubud. Um, she's looking gorgeous. She, the coolest thing about her, aside from the fact that she's really financially stable now, um, in, in ways that she wasn't before, and that she continues to kind of, reap the boon of Eat, Pray, Love in a way that's really been helpful to her and her daughter, especially as a single woman in Indonesia. Um, but she's become an advocate for dispossessed people. Um, she, you know what, those of you who are familiar with Bali, and I know, ah, many of you probably are, know that each one of the villages in Bali is run by something called a 'banjar,' um, which is sort of a village council. - Mm. - Um, tends to be men. Well, it's always men. And, she has a certain amount of authority now, as a landowner and a business owner, and, um, a woman who has some celebrity. Um, she takes on cases where she feels that people in the village aren't being treated right. Um she goes and makes, you know, comes to their defence. Um, she looks after elderly people, who, um, you know, she feels have been neglected by the community. She demands that they be paid attention to. Um, she's really become this really passionate social activist. And, the story that I love, is that an American woman moved to her home village, not Ubud but a much smaller and more provincial village where she comes from, and, um, and happened to be a, a lesbian, and was living with her Indonesian lover, and this wasn't going over well, um, in the village. There was a lot of discrimination and also they didn't like that it was a white woman and an Indonesian woman, and they didn't like that it was two women, and, and, um, they were running into a lot of trouble. And Wayan went and just laid it down in this banjar meeting and said, um, oh she had the best line, she was telling me about it later and she said: "And I told them, not your business. If she's a girl and her girlfriend is also a girl." [Laughter]. - Mm. - "Not your business. You have to be kind to people anyway." And, um, so she, it's just wonderful to see, this person who was really struggling, um, not only achieve a certain amount of security and stability in her own life, but then take that power and use it to, to better the lives of other women as well. - Mm. What about the impact of the film and the book on Bali? - Mm. - Because, I was there just after the filming had finished and everywhere, there were T-Shirtsů - Yeah. - Eat, Pray, Love T-Shirts and there are toursů - Yeah. - Obviously Eat, Pray, Love tours. So, how do you feel about all of that? - Ambivalent. Um, did you see the "Eat, Pay, Leave" T-shirts? [Laughter] I like those better. They're very funny. Umůit's you know, it's ůBali's a paradise that has been under assault for a long time. Um, and, and I, and I know that, ah, the expat community in Bali is certainly unhappy about the fact that, that their private paradise has become a public paradise. Um, the Balinese that I've met are really gratefulů - Mm mm? - Um, because it's provided an enormous amount of, um, economic uplift for them, and they, especially after the bombingů - Mm. - ůthey had really, there were people in very desperate straits. And now, all the drivers have jobs, and the rest, I mean I can't credit myself with all of this, but they're not complaining. It's westerners who are, who are complaining about it. And it's westerners who live there and who have that thing that we all have, um, where we move to a neighbourhood and then we don't want anyone else to discover it after we've, you know? [Laughter] And so, they all have that kind of sense of people who are like: "Oh, I remember Provence when it was a sleepy fishing village." Um, you know? And, and they don't want it to be anything else. - Mm. - And I understand that. That's their home and, and they've made their home at it. I can't, I didn't expect for that to happen. You know, all I can ever say, I don't generally try to go around defending myself 'cause I think it just sounds weird, but, um, I didn't mean to. I didn't mean to bring everybody to Bali. Um, and, ah, you know, I, I hope some good comes of it too, to deserving people. - Mm. I'm sure it is. Um, just on that subject of, you know, people's reactions to things, and complaining, and, and, and all of that, you, you may know that, um, ah, the Australian writer, critic and poet Clive James once wrote a poem called The Book of My Enemy Has Been Remaindered and I was wondering, ah, and the next line is "And I was glad" or "I am glad." - Yeah. - Um, and I was just wondering whether you've come across a lot of envy of your success, in the writing community and in the general community. Whether people have come up to you and said: "I could have written about that. I could have written about going to Italy and eating pasta and going to an ashram and going to look for love in Bali. I could have done that but I just didn't bother." I mean, do you? - I do. I do hear that a lot. Or, a kind of funny reaction is a kind of angry, um, "That's my story." You know, um, which is, like I, it's, you get two ways of peopleů - Mm. -ůpresenting that. One is, "I felt like you were telling my story. Wow." Or, "That's my story. I, I had a horrible divorce too." You know? Um, and I'm always like: "I'm not blocking your door. Write your book." You know? Um, feel free, it's, the, you know? There, there's many more stories to be told. Um, I think, when something gets that much attention it's going to attract all kinds of stuff. Um, andůbut it's also, I feel like, you know, with what I have benefitted from, you knowů - Mm. - financially, creatively, emotionally, you know, in every wayůit's fair game. You know? That's kind of how I feel about it. It's like: "Take your shot at it. It's okay. It's a big book. It can handle people attacking it." You know? Um, I mean, once something gets up there, it's, it's up there, and thenů - Mm mm. - ůpeople, it's, it becomes this big projection screen and everybody projects either their love, or their hate, or their disgust or their distaste and that's kind of their business. Um, and I don't really know if I should make it my business. - Does it change any of the other more intimate and more personal dynamics with writers who are in your orbit, or even for example, in your family. Your sister is a writerů -Yeah. - She's written many books for young, adult writers. - Yeah. - And what she says about you on her website is, um, "My sister Liz is now a VERY famous writer who travels all over the world collecting stories and diseases, while I stay home, scowling over paint chips and trying to keep my kids off our garage. -Yeah. - So, she's obviously jokingů - Yeah. - ůthere, about the fact that you are the "VERY" famous writerů - Yeah. - But I'm just wondering whether in your, in your closer, in your more intimate circle you've had to deal with envy that you suspect, and that isn't completely overtly expressed? - I think, um, yes. - Okay. - But, umů - The reason I'm asking that is because there are some writers in the audience who've asked me about that. - Yeah, but it's not, um, it's notůit's not as much as, as you might think. I think the fact that my circle of friends have known me for so many years and they knew me long before this ů -Mm. - umůandůtheyůalso know my admiration for them. Um, you know, as does my sister who taught me how to write. You know? When I was a child and who I've credited my entire life with being the Sheheraůthe Scheherazade in our familyů - Mm. - ůwho just spun stories and, and, and formed me as an author. Um, no one knows more than her how much I admire her. Um, and she'll always be my big sister who's better at everything. Um, so she can tease me like that. - Yeah. - You know? Um, because we know, we know who'sů the real one [laughter]. You know, like we know who's always been the, and, and soůum, I think the fact that this, this thing, this success and this stuff happened to me when I was closer to 40 than to 20 means that, for one thing, I've hoped that I've processed it as well as possible and that I don't rub it in people's faces in any way. And two, that the people who I've chosen to surround myself with by this point in my life, are people of such decency, um, that, that we don't base our relationships on competition and resentment. - Mm. - Um, if I've had friends like that in my life, I don't have them anymore. Um, by this age, you get a sense of knowing if somebody has that in them and you cross the street. - Mm. - You know? Umůsoůso I feel really protected more by my friends than I feel envied. - As a result, again, of this kind of success and, and celebrity, you get invited to, um, speak at a lot of conferences and events. And, when I was looking at your website to see what you're doing after you leave here, I see that you're speaking at a women's leadership conference. I think, in the US? - Yeah. - And I was interested in the fact that this new phrase has come into being in the US "Lean In" which is the phrase of Sheryl Sandberg, the COO of Facebook. And she says that the problem that women have had in the workplace in getting as far as they need to get is that they lean back whereas they need to lean forward. - Uh huh. - So, this new phrase is gathering a kind of momentum, I suppose a little bit like "destroying the joint" does here. And I was just wondering whether you had a theory about this, this idea, this notion of leaning in and of empowering women, and of women fulfilling their destiny. - Um, that's an easy question. No, I'm just kidding. Um, I, I feel, I feel sometimes, umůthat I only ever have one message for women. You know, um, and that it's the same one all the time. And, and I don't know whether, I don't know how useful it is. I don't really understand, it's funny when I get invited to these women leadership things because I've never worked in the corporate world. - Mm. - Um, I don't have, I'm not struggling with the burden of a career and raising a family. Um, I've chosen a different path than that. I'm a childless artist. I really almost have no business speaking to people who are leaning forward into those male dominated business worlds. They invite me. I come. You know? And I bring what I've got. And, and, and I feel likeůthe only thing I've ever got to say is that we, as women in the 21st Century, need to constantly maintain a very realistic perspective on how far we have come and how quickly, and how tricky our position is right now. Um, there's justůwomen are very hard on themselves and I feel like my message is, is constantly about trying to relax that grip a bit. Um, and one of the things I think that, that women in the States are hard on themselves about, and I am assuming that it's the same here, is this, um, perfectionism, of, you know, why can't I make it work? Why can't I be fantastic at my career, and a total success at my marriage, and a fantastic mother, and a terrific neighbour and all these things that are somehow expected of me? And why, you know, why does it appear that this is the model and I'm failing at, at that? Um, and, and why am I exhausted, and why am I confused and why do I have huge crises of conscience whenever I look at something that another woman is doing that's totally different from my life and suddenly I have to re-evaluate whether I've taken all the wrong steps the entire time because her life looks a lot better than mine does. And this is the dialogue that's kind of going on with all of us all the time. And, and, and all I can say is that, it's so new, what we are. You know? Um, women of, of, of I say 'this generation,' by which I mean any woman probably born in the last 70 years in the industrialised west, almost are a new species of human being. We don't have centuries and centuries and centuries of role models and mythologies to look back to, at how you do it, because no one ever was given what we are given. We don't have literate, articulate, financially autonomous, biologically autonomous, um, women to look back at through history because they didn't exist. Um, it's, we're just starting, you know? And, and so, of course we don't totally know how to do it yet. And it doesn't help that in my country, um, we are asked to be all these things. To be successful career women, to be mothers, to be wives. And the society at large also says: "Oh, by the way, we're not going to help you with any of that." - Mm. - Um, we're not going to give you any childcare, we're not going to give you any healthcare, we're not going to do anything to help you with that. You just have to do it, um, and make it look easy, and stop crying. Um, why, why are you so sad, and why are you taking anti-depressants? [Laughter] What's the matter with you? Um, you know, and, and, and there's, there's justůI just feel like we have to take the long view. Um, you know, we're standing on the shoulders, I'm standing on the shoulders of women of the previous generation who took incredible risks for me to have the freedoms that I've got, but they're new freedoms. - Mm. - Um, and, and it's going to take us a while to figure out exactly how to do it. Is that 'leaning forward' I don't know. Umů.butů - It's standing straight, it's a start. - Standing straightůor maybeůputting down the knife that you're holding to your own throatů -Mm. -ůum, which, which I would certainly hope to encourage people to do. - We've got about, um, according to this, we've got 5 minutes and 22 seconds leftůokayů.soů - 19ů18ů - Given, that that's the case, I would love it if you would tell us a little bit about the book that's in the foyer, your great-grandmother's cookbook and also, ah, perhaps a little bit about your novel which is coming out in October. - Cool. Okay, my great-grandmother's cookbook is a book I rediscovered when I was cleaning out my attic. I have an extraordinary great-grandmother it turns out, who wrote a brilliant and hilarious cookbook that was published in 1947 in Philadelphia. She was a food columnist for the local newspapers and I found this book, started reading it, and realised that she was so much of our time than of her time, speaking of, of, um, the freedoms that we've now got. Um, she would have been a fabulous writer of this generation but she didn't have a voice then. So, I've brought the book back into print, and all the proceeds go to a wonderful educational charity called ScholarMatch that helps send very promising kids from, um, under-served communities to university. So, because of this new book being published, there are, um, I think the number now is 25 or 26 kids in the States who are able to start college this year who wouldn't have been able to otherwise. So, that's fantastic. - Mm. - So, and the recipes are terrific and, she has a voice like Dorothy Parker. Um, she's just a delight. - She's hilarious. - She's fantastic. Um, and then the novel is coming out in October. It's called The Signature of All Things and it is a period novel. It takes place, um, in the 19th Century and covers the, ah, the fortunes of a family who is involved in botanical exploration and the early, basically pharmaceutical business. Um, it takes place all over the world. It's a, it's a, big romping travel adventure, history, fun, sadůyou'll laugh, you'll cryůahů. - It has an Australian dimension to it. - Yes. - Um, I've only been able to read the first chapter but Joseph Banks is a character in the first chapterů - Yeah. - So, maybe you'd like to say how you decided that you wanted to write about him? - Ah, well, I found another attic find, I think, from now on, I'm only going to write books based on things I find in my attic, but, umů.[laughter] ah, a book that had been, belonged to my great-grandfather that had come down through the generations in my family. Um, an incredibly rare, beautiful, um, 1780 volume of Cook's Voyages um, with the original ethnographic illustrations, the original botanical illustrations, the prints, the incredibleůscientific work that these guys were doing when they were travelling around the world on the Endeavour. Um, andůahůand soů.I became fascinated with that book, and, and, and as I started to study Cook, I realised that the, the much more interesting character, was Banks. - Mm. - Um, in the same way that when you start to study Darwin, you find that the much more interesting character is, um, Wallace. You know, like there's these sort of shadow, more charismatic people hidden in history, and, and so, um, Banks becomes a very powerful figure in the beginning of the book, setting the destiny of the young man who's the patriarch of the family about which I write. - 'Cause it's interesting that the book has botany as, as a theme. And, I'm thinking of you growing up on your Christmas tree farm, and the fact that I know that you like gardening as a kind of relaxation, and it seems that you've integrated all sorts of things and come back to the beginning which is: growing up in the country andů -Yeah. - ůand having your hands dirty, and the sort of peace that comes from gardening, which is a very good, um, ahůthing to do when, when you're not writing, and, in fact, frees up your mindů - Yeah. - ůoften, so that the creativity comes to you while you've got your hands in the soil. Do you find that? - Definitely. It's a, it's a fantastic, um, alternative. It's something that you can generate, um, that isn't intellectual, it's more physical, um, but it's still creative and, and, and, my mum always told us when we were growing up, that any day that you don't put your hands in the earth is a day you're not living. Um, and despite the fact that I made every effort as a child to learn nothing from her, um, I accidentally learned a lot of really wonderful things. And found, when it came, when I settled down and bought a house in the country, and looked out the window of my kitchen and saw a patch of lawn and realised, well that won't do, um, that, that is now just this huge cottage garden, um, that, that, I accidentally had learned how to be a gardener, despite really resentfully pushing back against those chores, um, and that I knew more than I knew I knew. Um, and, and so, when I got into that, and then found Cook's book, and then realised, you know, just got very interested in the history of botany, um, it, it, it did seem to come full circle. - We've come to the end of our time together. I hope you found it as inspiring as I have. Please join me in thanking Elizabeth Gilbert. [Applause] - Thank you. [Applause] Thank you. Do we get up? [Applause] Thank you. -Enjoy it while you can. [Applause] -Thank you so much.
A2 初級 Elizabeth Gilbert - Life after Eat Pray Love 1543 136 孫子文 に公開 2013 年 12 月 12 日 シェア シェア 保存 報告 動画の中の単語