I don't ever remember a single day of hopelessness. I knew from the history of the labor movement, especially of the black people, that it was an undertaking of great trial. That, live or die, I had to stick with it, and we had to win.
Lincoln merely nominally freed the bodies of Negroes. But Debs would free the bodies and minds of Negroes.
Comedy is a universal language. I grew up watching Nagesh, Surilirajan, Thenga Srinivasan and S.V. Shekhar's comedies. And, of course, Charlie Chaplin! These artists are so blessed: they can make other people happy.
I follow a simple formula when I compose. I ask myself, 'What would the audience want to hear?' and 'Why would they buy my CDs?' And the process of answering these questions through music follows. Sometimes, it works. Sometimes, it backfires.
We talk about feelings. And about sex. And about bodies, and their gratification, violation, repair, decoration, deferred, maybe permanently deferred, mortality. Feelings are a bodily thing, and respecting them is called, is, kindness.
In novels in general - and also on the television - we do live in a world where bodies is what we are. We do not talk about the spirit or the soul, and there is a sense that we no longer talk about beliefs, either Freudian or Marxist.
I think literary theory has not been terribly good for English studies in a while. It's not that theory isn't interesting, but it isn't about books, or the idiosyncrasies and complexities of putting language together.
I have been connected with the Niels Bohr Institute since the completion of my university studies, first as a research fellow and, from 1956, as a professor of physics at the University of Copenhagen. After the death of my father in 1962, I followed him as director of the Institute until 1970.
I began to work the stage and get the audience into it. I also learned how to have fun out there. It is something I will never forget.
Romeo Must Die came at the right time. It was the right vehicle for me.
