If there is one thing I learned by reading Epstein's "The Sports Gene" it is that world-class athletes are, by definition, abnormal: that is, the kind of person capable of competing at that level is necessarily very different from the rest of us physiologically. They are outliers.
I don't go to an office, so I write at home. I like to write in the morning, if possible; that's when my mind is freshest. I might write for a couple of hours, and then I head out to have lunch and read the paper. Then I write for a little bit longer if I can, then probably go to the library or make some phone calls. Every day is a little bit different. I'm not highly routinized, so I spend a lot of time wandering around New York City with my laptop in my bag, wondering where I'm going to end up next. It's a fairly idyllic life for someone who likes writing.
Take a random group of 8-year-old American and Japanese kids, give them all a really, really hard math problem, and start a stopwatch. The American kids will give up after 30, 40 seconds. If you let the test run for 15 minutes, the Japanese kids will not have given up. You have to take it away.
David Epstein, the author of the best book on athletics in recent memory - "The Sports Gene" - wrote to me to say that he thinks I'm being overly generous. He points out that, for years, there used to be an "all-star challenge" on television, in which the best professional athletes from a variety of sports competed in a kind of makeshift decathlon.
My highest compliment is when someone comes up to me to say, "My 14-year-old daughter, or my 12-year-old son read your book and loved it." I cannot conceive of a greater compliment than that - to write something that as an adult I find satisfying, but also that manages to reach a curious 13- or 14-year-old.
The iPod is clearly a tipping point (and I'm not quite sure it is a wholly positive development), because it is a revolution in the way that we consume creative property, which I would call art. It has radically changed the relationship between the artist and the audience, how money changes hands, and how much money changes hands. Music was the first, and books are coming next. The Kindle or some form of electronic book is clearly inevitable, and it will massively reshape how books are sold, who pays for them, and how they're consumed. It is going to be really fascinating.
I don't think people are averse to thinking about things in a deep way, but we have limited time and opportunity to think about things in a deep way. I think that's why there is an appetite for non-fiction - it gives people the opportunity to reexamine ordinary experience and be smarter about it.
I worry that track is going to enter into an impossibly complicated stage, where our understanding of the complexities of human physiology - and our ability to accentuate and exploit them - is going to make the notion of pure competition impossible.
When crime drops dramatically in New York for no apparent reason, or when a movie made on a shoestring budget ends up making hundreds of millions of dollars - we're surprised. I'm saying, don't be surprised. This is the way social epidemics work.
I always resist seeing my own personal motivation in my work, but I guess it must be there on some level. And I do feel very much that my life follows the kinds of things I talk about in my books. I've always thought of myself as an insanely lucky person, so perhaps the success of my first two books led me to want to examine this phenomenon on some unconscious level.
Советских актёров часто ставят в пример как образец духовной силы, национальной гордости и внутренней красоты. Они стали символами эпохи, носителями культуры и нравственности. Но, как известно, за кул...
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