segunda-feira, 12 de setembro de 2011
além de amar
eu sei que é clichê. muitos dos leitores deste blogue vão imediatamente desfavoritá-lo depois que souber que vou publicar uma entrevista da revista da Oprah com a Elizabeth Gilbert (autora de Comer, Rezar, Amar). Mas a verdade é que a mulher é uma heroina. Se você está pensando com nojo do best seller dela, basta dizer que num mar de moiçolas casamenteiras, ela é uma pessoa madura que problematiza a razão de ser da mulher nesse mundo. e vende milhões de cópias. palmas pra ela! (é muito bom chegar no final da comédia romântica e, pra variar, não pensar que a solução pra todos os meus problemas é casar com um cara perfeito e ficar grávida). LK: While the book Commited is fundamentally about marriage, you are also quite frank about not wanting children, which had been a big problem in your first marriage. How did you reach that decision? LG: Where other women hear that tick, tick, tick and they're like, Must have baby, for me, it was like, tick, tick, tick, boom. [Laughs] It was a biological clock, but it was attached to a bunch of C-4 explosives. I've often thought that if I had been married to somebody who wanted to be a mom, I could have done it. I used to say, "Man, I think I'd be a really good dad. I'll be a great provider. I'm funny; I'll go on trips with them—I'll do all sorts of stuff." But the momming? I'm not made for that. I have a really good mom; I know what she put into it. I didn't think I had the support to both have that and continue on this path that was really important to me. I wasn't married to a man who wanted to stay home and raise kids. So. LK: You tell a story in the book that is pivotal for you, about your grandmother. She was born with a cleft palate and thought to be unmarriageable, so she got an education and took care of herself, one day rewarding herself with a $20 fur-trimmed, wine-colored coat, which she adored. Eventually she does marry. And when she gives birth to her first daughter, she cuts up the coat to make something for the child. LG: That's the story of motherhood, in a large way. You take the thing that is most precious to you, and you cut it up and give it to somebody else who you love more than you love the thing. And we tend to idealize that, and I'm not sure we should. Because the sacrifice that it symbolizes is also huge. Her marriage and her seven children, in a life of constant struggle and deprivation—it was heavy. And that beautiful mind, that beautiful intellect, that exquisite sense of curiosity and exploration, was gone. I went to Africa when I was 19, and when I came back, I was showing her pictures. And I remember her stopping me and just—she had to collect herself. And she said, "I cannot believe that a granddaughter of mine has been to Africa. I just can't imagine how you got there." I think that her story is so central to my story. To be able to choose the shape of your own life—you sort of must do that, as an act of honor to those who couldn't. There were times, especially when I was traveling for Eat, Pray, Love, when, I swear to God, I would feel this weight of my female ancestors, all those Swedish farmwives from beyond the grave who were like, "Go! Go to Naples! Eat more pizza! Go to India, ride an elephant! Do it! Swim in the Indian Ocean. Read those books. Learn a language. Do it!" I could just feel them. They were just like, "Go beat the drum." Leia mais aqui.