TED2009
Elizabeth Gilbert: Your elusive creative genius
Elizabeth Gilbert: Tvoj izmuzljivi kreativni genij
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Elizabeth Gilbert razmišlja o nemogočih stvareh, ki jih pričakujemo od umetnikov in genijev -- in predstavi radikalno idejo, ki pravi, da geniji niso neke redke osebe, pač pa, da imamo vsak svojega genija. Njen govor je prikupen, oseben in presenetljivo ganljiv.
Elizabeth Gilbert - Writer
The author of 'Eat, Pray, Love,' Elizabeth Gilbert has thought long and hard about some big topics. Her fascinations: genius, creativity and how we get in our own way when it comes to both. Full bio
The author of 'Eat, Pray, Love,' Elizabeth Gilbert has thought long and hard about some big topics. Her fascinations: genius, creativity and how we get in our own way when it comes to both. Full bio
Double-click the English transcript below to play the video.
00:13
I am a writer.
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Sem pisateljica.
00:15
Writing books is my profession but it's more than that, of course.
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Pisanje knjig je moj poklic,
pa tudi več od tega, seveda.
pa tudi več od tega, seveda.
00:19
It is also my great lifelong love and fascination.
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Je moja velika ljubezen
in fascinacija, ki traja že celo življenje.
in fascinacija, ki traja že celo življenje.
00:23
And I don't expect that that's ever going to change.
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Ne pričakujem,
da se bo to kdaj spremenilo.
da se bo to kdaj spremenilo.
00:25
But, that said, something kind of peculiar has happened recently
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Toda, ko smo že pri tem, nekaj
čudnega se je pred kratkim zgodilo
čudnega se je pred kratkim zgodilo
00:30
in my life and in my career,
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v mojem življenju in karieri,
00:33
which has caused me to have to recalibrate my whole relationship with this work.
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kar je povzročilo, da sem morala ponovno
razmisliti o svojem odnosu s tem delom.
razmisliti o svojem odnosu s tem delom.
00:38
And the peculiar thing is that I recently wrote this book,
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In ta čudna stvar je, da sem pred
kratkim napisala knjigo,
kratkim napisala knjigo,
00:41
this memoir called "Eat, Pray, Love"
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spomine z naslovom "Jej, moli, ljubi",
00:43
which, decidedly unlike any of my previous books,
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ki je, povsem v nasprotju
z mojimi prejšnjimi knjigami
z mojimi prejšnjimi knjigami
00:48
went out in the world for some reason, and became this big,
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šla v svet in iz nekega razloga
postala velika,
postala velika,
00:51
mega-sensation, international bestseller thing.
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mega-senzacionalna,
mednarodna prodajna uspešnica.
mednarodna prodajna uspešnica.
00:54
The result of which is that everywhere I go now,
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Rezultat tega pa je,
da me, kamorkoli zdaj grem,
da me, kamorkoli zdaj grem,
00:57
people treat me like I'm doomed.
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ljudje obravnavajo,
kot da sem obsojena na neuspeh.
kot da sem obsojena na neuspeh.
01:00
Seriously -- doomed, doomed!
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Prav zares: obsojena na neuspeh!
01:03
Like, they come up to me now, all worried, and they say,
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Na primer, zaskrbljeno pridejo do mene
in me vprašajo:
in me vprašajo:
01:05
"Aren't you afraid you're never going to be able to top that?
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"Ali se ne bojiš, da ne boš nikoli več
dosegla česa podobnega?
dosegla česa podobnega?
01:10
Aren't you afraid you're going to keep writing for your whole life
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Ali se ne bojiš, da boš nadaljevala
s pisanjem vse svoje življenje,
s pisanjem vse svoje življenje,
01:13
and you're never again going to create a book
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pa ne boš nikoli več ustvarila knjige,
01:15
that anybody in the world cares about at all,
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ki bi jo kdorkoli sploh želel prebrati,
01:18
ever again?"
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kadarkoli, sploh?"
01:20
So that's reassuring, you know.
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Veste, to je zelo pomirjajoče.
01:22
But it would be worse, except for that I happen to remember
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Bilo bi huje, če se ne bi spomnila,
01:25
that over 20 years ago, when I first started telling people -- when I was a teenager --
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da sem se še kot najstnica,
pred več kot dvajsetimi leti,
pred več kot dvajsetimi leti,
ko sem začela govoriti ljudem,
da želim biti pisateljica,
da želim biti pisateljica,
01:29
that I wanted to be a writer,
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01:31
I was met with this same kind of, sort of fear-based reaction.
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srečala s takimi,
na strahu temelječimi reakcijami.
na strahu temelječimi reakcijami.
01:34
And people would say, "Aren't you afraid you're never going to have any success?
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Ljudje so me spraševali:
"Ali se ne bojiš, da ne boš nikoli uspela?
"Ali se ne bojiš, da ne boš nikoli uspela?
01:37
Aren't you afraid the humiliation of rejection will kill you?
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Se ne bojiš, da te bo
ponižanje zavračanja ubilo?
ponižanje zavračanja ubilo?
01:40
Aren't you afraid that you're going to work your whole life at this craft
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Se ne bojiš, da boš celo življenje
posvetila temu delu,
posvetila temu delu,
01:43
and nothing's ever going to come of it
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pa ne bo nikoli nič od tega?
01:45
and you're going to die on a scrap heap of broken dreams
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In boš umrla na kupu razblinjenih sanj
01:47
with your mouth filled with bitter ash of failure?"
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in polna grenkobe poraza?"
01:51
(Laughter)
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(Smeh)
01:53
Like that, you know.
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Pa take stvari, saj veste.
01:55
The answer -- the short answer to all those questions is, "Yes."
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Odgovor na vsa ta vprašanja,
kratek odgovor, je "Ja."
kratek odgovor, je "Ja."
02:00
Yes, I'm afraid of all those things.
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Ja, bojim se vseh teh stvari.
02:02
And I always have been.
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Vedno sem se jih bala.
02:03
And I'm afraid of many, many more things besides
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In strah me je tudi veliko drugih stvari,
02:06
that people can't even guess at,
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ki jih nihče ne bi nikoli uganil,
02:08
like seaweed and other things that are scary.
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kot so na primer morske alge
in druge strašljive stvari.
in druge strašljive stvari.
02:12
But, when it comes to writing,
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Toda, ko razmišljam o pisanju,
02:14
the thing that I've been sort of thinking about lately, and wondering about lately, is why?
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se zadnje čase vedno bolj sprašujem,
zakaj?
02:18
You know, is it rational?
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Je to racionalno?
02:20
Is it logical that anybody should be expected
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Je logično, da se od nekoga pričakuje,
02:23
to be afraid of the work that they feel they were put on this Earth to do.
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da ga bo strah dela, za katerega meni,
da je njegovo življenjsko poslanstvo.
da je njegovo življenjsko poslanstvo.
02:27
And what is it specifically about creative ventures
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In kaj povzroča, da nas
ravno pri kreativnem udejstvovanju
ravno pri kreativnem udejstvovanju
02:32
that seems to make us really nervous about each other's mental health
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skrbi glede našega duševnega zdravja,
02:35
in a way that other careers kind of don't do, you know?
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bolj kot pri kateremkoli drugem poklicu?
02:38
Like my dad, for example, was a chemical engineer
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Moj oče, na primer, je bil inženir kemije
02:42
and I don't recall once in his 40 years of chemical engineering
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in ne spomnim se,
da bi ga v 40 letih kariere
da bi ga v 40 letih kariere
02:45
anybody asking him if he was afraid to be a chemical engineer, you know?
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kdo povprašal, če ga je strah biti
kemični inženir, veste?
kemični inženir, veste?
02:49
It didn't -- that chemical-engineering block, John, how's it going?
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"Tvoja blokada kemičnega inženirstva,
John, kako je kaj z njo?"
John, kako je kaj z njo?"
02:55
It just didn't come up like that, you know?
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Nikoli ni prišlo do takih vprašanj.
02:57
But to be fair, chemical engineers as a group
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Če pošteno pomislimo,
kemični inženirji kot poklicna kategorija
kemični inženirji kot poklicna kategorija
03:01
haven't really earned a reputation over the centuries
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si skozi stoletja niso prislužili slovesa
03:03
for being alcoholic manic-depressives.
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alkoholikov in maničnih depresivcev.
03:06
(Laughter)
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(Smeh)
03:08
We writers, we kind of do have that reputation,
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Mi pisatelji pa nekako imamo tak sloves,
03:11
and not just writers, but creative people across all genres,
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pa ne le pisatelji,
pač pa kreativni ljudje vseh vrst
pač pa kreativni ljudje vseh vrst
03:14
it seems, have this reputation for being enormously mentally unstable.
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slovijo po tem,
da so precej duševno neuravnovešeni.
da so precej duševno neuravnovešeni.
03:19
And all you have to do is look at the very grim death count
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Treba je le pogledati
zelo mračno statistiko smrti
zelo mračno statistiko smrti
03:23
in the 20th century alone, of really magnificent creative minds
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že samo v 20 stoletju;
velikih kreativnih umov,
velikih kreativnih umov,
03:27
who died young and often at their own hands, you know?
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ki so umrli mladi in pogosto
od lastne roke.
od lastne roke.
03:30
And even the ones who didn't literally commit suicide
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Pa tudi za tiste, ki niso
naredili samomora,
naredili samomora,
03:33
seem to be really undone by their gifts, you know.
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se zdi, da so prave razvaline
zaradi svojega talenta.
zaradi svojega talenta.
03:36
Norman Mailer, just before he died, last interview, he said
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Norman Mailer je pred smrtjo,
v zadnjem intervjuju rekel:
v zadnjem intervjuju rekel:
03:39
"Every one of my books has killed me a little more."
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"Prav vsaka moja knjiga
me je ubila še malo bolj."
me je ubila še malo bolj."
03:43
An extraordinary statement to make about your life's work.
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Nenavadna izjava glede
njegovega življenjskega dela.
njegovega življenjskega dela.
03:47
But we don't even blink when we hear somebody say this
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Ampak niti trenemo ne z očmi,
ko kdo to reče,
ko kdo to reče,
03:50
because we've heard that kind of stuff for so long
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ker smo podobne stvari
slišali že tako pogosto
slišali že tako pogosto
03:53
and somehow we've completely internalized and accepted collectively
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in smo zato povsem ponotranjili
in kolektivno sprejeli
in kolektivno sprejeli
03:57
this notion that creativity and suffering are somehow inherently linked
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premiso, da sta kreativnosti in trpljenje
neločljivo povezana
neločljivo povezana
04:01
and that artistry, in the end, will always ultimately lead to anguish.
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in da nas bo umetniško ustvarjanje
na koncu prignalo do agonije.
na koncu prignalo do agonije.
04:06
And the question that I want to ask everybody here today
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Danes bi vas vse tu zbrane
rada vprašala:
rada vprašala:
04:08
is are you guys all cool with that idea?
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Se vam zdi ta ideja v redu?
04:11
Are you comfortable with that?
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Se počutite v redu ob tem?
04:14
Because you look at it even from an inch away and, you know ...
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Ker, če jo pogledate
z malo distance, veste -
z malo distance, veste -
04:17
I'm not at all comfortable with that assumption.
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meni ta predpostavka niti malo ni všeč.
04:20
I think it's odious.
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Mislim, da je odvratna.
04:21
And I also think it's dangerous,
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In mislim tudi, da je nevarna.
04:23
and I don't want to see it perpetuated into the next century.
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In nočem, da se nadaljuje
še v naslednje stoletje.
še v naslednje stoletje.
04:26
I think it's better if we encourage our great creative minds to live.
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Mislim, da je bolje, da spodbujamo
naše kreativce k življenju.
naše kreativce k življenju.
04:30
And I definitely know that, in my case -- in my situation --
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In prepričana sem, da bi bilo
v mojem primeru - v moji situaciji -
v mojem primeru - v moji situaciji -
04:36
it would be very dangerous for me to start sort of leaking down that dark path
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zelo nevarno zame,
če bi se spustila po tej temni poti
če bi se spustila po tej temni poti
04:41
of assumption, particularly given the circumstance
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domnevanja,
še zlasti glede na trenutne
okoliščine moje kariere.
okoliščine moje kariere.
04:44
that I'm in right now in my career.
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04:46
Which is -- you know, like check it out,
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Torej, pomislite,
04:49
I'm pretty young, I'm only about 40 years old.
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sem še relativno mlada;
imam le okoli 40 let.
imam le okoli 40 let.
04:51
I still have maybe another four decades of work left in me.
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Pred seboj imam mogoče še
štiri desetletja dela.
štiri desetletja dela.
04:54
And it's exceedingly likely that anything I write from this point forward
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In zelo verjetno je, da bo svet vse,
kar bom napisala od te točke naprej,
kar bom napisala od te točke naprej,
04:59
is going to be judged by the world as the work that came after
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ocenjeval kot delo, ki je prišlo
05:02
the freakish success of my last book, right?
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po zastrašujočem uspehu
moje zadnje knjige, kajne?
moje zadnje knjige, kajne?
05:05
I should just put it bluntly, because we're all sort of friends here now --
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Če povemo kar naravnost, saj smo
vsi nekako prijatelji tule -
vsi nekako prijatelji tule -
05:09
it's exceedingly likely that my greatest success is behind me.
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zelo verjetno je,
da je moj največji uspeh že za mano.
da je moj največji uspeh že za mano.
05:13
So Jesus, what a thought!
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Jezus, kakšna misel!
05:16
That's the kind of thought that could lead a person
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To je misel tiste vrste,
ki lahko pripravi človeka,
ki lahko pripravi človeka,
05:18
to start drinking gin at nine o'clock in the morning,
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da začne piti gin ob devetih zjutraj
05:21
and I don't want to go there.
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in ne želim pristati tam.
05:24
(Laughter)
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(Smeh)
05:25
I would prefer to keep doing this work that I love.
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Raje bi nadaljevala z delom,
ki ga imam tako rada.
ki ga imam tako rada.
05:27
And so, the question becomes, how?
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Zdaj pridemo do vprašanja, kako?
05:31
And so, it seems to me, upon a lot of reflection,
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Zdi se mi, po veliko razmišljanja,
05:33
that the way that I have to work now, in order to continue writing,
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da moram zdaj,
da bi lahko nadaljevala s pisanjem,
da bi lahko nadaljevala s pisanjem,
05:37
is that I have to create some sort of protective psychological construct, right?
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ustvariti nek psihološki
zaščitni konstrukt, razumete?
zaščitni konstrukt, razumete?
05:41
I have to sort of find some way to have a safe distance
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Najti moram način,
ki mi bo pomagal držati distanco
ki mi bo pomagal držati distanco
05:44
between me, as I am writing, and my very natural anxiety
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med menoj, ko pišem in med mojo
zelo naravno zaskrbljenostjo
zelo naravno zaskrbljenostjo
05:49
about what the reaction to that writing is going to be, from now on.
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glede tega, kakšnih reakcij
bo deležno moje pisanje od zdaj naprej.
bo deležno moje pisanje od zdaj naprej.
05:53
And, as I've been looking over the last year for models for how to do that
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Ko sem v zadnjem letu
iskala kak vzor, kako to doseči,
05:57
I've been sort of looking across time,
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sem pogledala tudi v zgodovino,
05:59
and I've been trying to find other societies
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skušala sem poiskati druge družbe,
06:01
to see if they might have had better and saner ideas than we have
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da bi ugotovila, če so morda oni odkrili
boljši in bolj zdrav način od nas,
boljši in bolj zdrav način od nas,
06:05
about how to help creative people, sort of manage
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kako pomagati kreativnim ljudem,
spopasti se z neizogibnim
čustvenim tveganjem kreativnosti.
čustvenim tveganjem kreativnosti.
06:08
the inherent emotional risks of creativity.
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06:11
And that search has led me to ancient Greece and ancient Rome.
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Moje raziskovanje me je vodilo
v Antično Grčijo in Antični Rim.
v Antično Grčijo in Antični Rim.
06:16
So stay with me, because it does circle around and back.
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Malce potrpite, zgodba gre
naokoli, ampak se bo vrnila.
naokoli, ampak se bo vrnila.
06:19
But, ancient Greece and ancient Rome --
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V Antični Grčiji in Rimu
06:21
people did not happen to believe that creativity
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ljudje niso verjeli, da kreativnost
06:24
came from human beings back then, O.K.?
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prihaja iz človeških bitij.
06:26
People believed that creativity was this divine attendant spirit
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Verjeli so, da je kreativnost
nek božanski spremljevalni duh,
nek božanski spremljevalni duh,
06:30
that came to human beings from some distant and unknowable source,
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ki je prišel k človeškim bitjem
iz nekega daljnega in nepoznanega vira
iz nekega daljnega in nepoznanega vira
06:34
for distant and unknowable reasons.
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iz oddaljenih in neznanih razlogov.
06:37
The Greeks famously called these divine attendant spirits of creativity "daemons."
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Grki so jim rekli "demoni".
06:42
Socrates, famously, believed that he had a daemon
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Znano je, da je Sokrat verjel,
da ima demona,
da ima demona,
06:45
who spoke wisdom to him from afar.
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ki mu iz daljave govori modrosti.
06:48
The Romans had the same idea,
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Rimljani so razmišljali podobno,
06:49
but they called that sort of disembodied creative spirit a genius.
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toda temu netelesnemu
kreativnemu duhu so rekli "genij".
kreativnemu duhu so rekli "genij".
06:54
Which is great, because the Romans did not actually think
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To se mi zdi super;
Rimljani torej niso verjeli,
Rimljani torej niso verjeli,
06:57
that a genius was a particularly clever individual.
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da je genij neka zelo bistra oseba.
06:59
They believed that a genius was this, sort of magical divine entity,
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Verjeli so, da je genij neke vrste
čarobna božanska entiteta,
čarobna božanska entiteta,
07:03
who was believed to literally live in the walls
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ki dobesedno živi
v stenah umetnikovega ateljeja,
v stenah umetnikovega ateljeja,
07:07
of an artist's studio, kind of like Dobby the house elf,
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kot kakšen hišni vilinec,
07:11
and who would come out and sort of invisibly assist the artist with their work
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in pride na plano
ter nekako nevidno pomaga
umetniku pri njegovem delu
umetniku pri njegovem delu
07:15
and would shape the outcome of that work.
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in vpliva na rezultat njegovega dela.
07:18
So brilliant -- there it is, right there, that distance that I'm talking about --
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Odlično! Pa smo jo našli,
to distanco, o kateri sem govorila,
to distanco, o kateri sem govorila,
07:21
that psychological construct to protect you from the results of your work.
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ta psihološki konstrukt, ki te zaščiti
pred rezultati tvojega dela.
pred rezultati tvojega dela.
07:26
And everyone knew that this is how it functioned, right?
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In vsi so vedeli, da to tako deluje.
07:29
So the ancient artist was protected from certain things,
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Starodavni umetniki so bili
zaščiteni pred nekaterimi stvarmi
zaščiteni pred nekaterimi stvarmi
07:32
like, for example, too much narcissism, right?
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kot, na primer, preveč narcisizma.
07:34
If your work was brilliant you couldn't take all the credit for it,
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Če je bilo tvoje delo briljantno,
si nisi mogel pripisati vseh zaslug,
si nisi mogel pripisati vseh zaslug,
07:37
everybody knew that you had this disembodied genius who had helped you.
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vsi so namreč vedeli, da ti je tvoj
breztelesni genij pomagal.
breztelesni genij pomagal.
07:41
If your work bombed, not entirely your fault, you know?
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Če je bilo tvoje delo zanič,
tudi ni bila v celoti tvoja krivda, ne?
tudi ni bila v celoti tvoja krivda, ne?
07:45
Everyone knew your genius was kind of lame.
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Vsi so vedeli,
da je tvoj genij malce zanič.
da je tvoj genij malce zanič.
(Smeh)
07:48
And this is how people thought about creativity in the West for a really long time.
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In tako so ljudje na zahodu
razmišljali o kreativnosti
razmišljali o kreativnosti
zelo dolgo časa.
07:53
And then the Renaissance came and everything changed,
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Potem pa je prišla renesansa
in vse se je spremenilo,
in vse se je spremenilo,
07:55
and we had this big idea, and the big idea was
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pojavila se je velika ideja,
07:57
let's put the individual human being at the center of the universe
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ki je postavila posamezno človeško bitje
v center vesolja,
v center vesolja,
08:01
above all gods and mysteries, and there's no more room
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nad vse bogove in skrivnosti,
in ni bilo več prostora
za skrivnostna bitja,
za skrivnostna bitja,
08:03
for mystical creatures who take dictation from the divine.
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ki jim narekujejo božanske sile.
08:06
And it's the beginning of rational humanism,
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To je začetek racionalnega humanizma,
08:09
and people started to believe that creativity
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ljudje začeli verjeti, da kreativnost
08:11
came completely from the self of the individual.
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izvira izključno iz posameznika samega.
08:13
And for the first time in history,
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Prvič v zgodovini se je zgodilo,
08:16
you start to hear people referring to this or that artist as being a genius
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da so ljudje začeli govoriti za nekatere
umetnike, da so geniji
umetnike, da so geniji
08:21
rather than having a genius.
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in ne več, da imajo genija.
08:22
And I got to tell you, I think that was a huge error.
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Moram vam povedati,
meni se zdi to velika napaka.
meni se zdi to velika napaka.
08:26
You know, I think that allowing somebody, one mere person
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Veste, zdi se mi, da to,
da dovolimo, da ena sama oseba...
da dovolimo, da ena sama oseba...
08:30
to believe that he or she is like, the vessel,
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da verjamemo, da je on ali ona
rezervoar,
rezervoar,
08:33
you know, like the font and the essence and the source
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kot kak vodnjak in bistvo in izvor
08:35
of all divine, creative, unknowable, eternal mystery
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vsega božanskega, kreativnega,
neznanega, večne skrivnosti;
neznanega, večne skrivnosti;
08:39
is just a smidge too much responsibility to put on one fragile, human psyche.
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da je to le malce preveč odgovornosti
za eno samo, krhko človeško psiho.
za eno samo, krhko človeško psiho.
08:45
It's like asking somebody to swallow the sun.
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Kot da bi nekoga prosili,
naj sklati zvezde z neba.
naj sklati zvezde z neba.
08:48
It just completely warps and distorts egos,
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Povsem zmaliči ego človeka.
08:51
and it creates all these unmanageable expectations about performance.
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In ustvarja neobvladljiva pričakovanja
glede tega, kako se boš odrezal.
glede tega, kako se boš odrezal.
08:55
And I think the pressure of that
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Mislim, da je to ta pritisk,
08:57
has been killing off our artists for the last 500 years.
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ki ubija naše umetnike zadnjih 500 let.
09:00
And, if this is true,
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Če je to res
09:02
and I think it is true,
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in mislim, da je,
09:04
the question becomes, what now?
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je čas, da se vprašamo: kaj zdaj?
09:07
Can we do this differently?
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Lahko kaj spremenimo v zvezi s tem?
09:09
Maybe go back to some more ancient understanding
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Mogoče se lahko vrnemo nazaj
k nekaterim starodavnim razumevanjem
k nekaterim starodavnim razumevanjem
09:12
about the relationship between humans and the creative mystery.
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o dnosa med človekom
in kreativno skrivnostjo.
in kreativno skrivnostjo.
09:17
Maybe not.
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Mogoče pa tudi ne.
09:18
Maybe we can't just erase 500 years of rational humanistic thought
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Mogoče ne moremo kar izbrisati 500 let
racionalne humanistične misli
racionalne humanistične misli
09:22
in one 18 minute speech.
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v enem 18 minutnem govoru.
09:24
And there's probably people in this audience
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In verjetno je kar nekaj
ljudi tu v občinstvu,
ljudi tu v občinstvu,
09:27
who would raise really legitimate scientific suspicions
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ki bi ugovarjali z legitimnimi
znanstvenimi pomisleki
znanstvenimi pomisleki
09:31
about the notion of, basically fairies
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glede ideje o, več ali manj, vilah,
09:33
who follow people around rubbing fairy juice on their projects and stuff.
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ki sledijo ljudem in vlivajo vilinski sok
na njihove projekte in podobne stvari.
na njihove projekte in podobne stvari.
09:38
I'm not, probably, going to bring you all along with me on this.
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Najbrž vas ne bom vseh
prepričala glede tega.
prepričala glede tega.
09:43
But the question that I kind of want to pose is --
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Vseeno pa želim
zastaviti naslednje vprašanje:
zastaviti naslednje vprašanje:
09:45
you know, why not?
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Zakaj pa ne?
09:48
Why not think about it this way?
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Zakaj ne bi razmišljali na ta način?
09:49
Because it makes as much sense as anything else I have ever heard
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Je smiselno prav toliko kot
karkoli drugega, kar sem kdaj slišala
karkoli drugega, kar sem kdaj slišala
09:54
in terms of explaining the utter maddening capriciousness
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o razlagi te nore muhavosti
09:58
of the creative process.
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kreativnega procesa.
09:59
A process which, as anybody who has ever tried to make something --
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Proces, ki, kot vedo vsi, ki so
kdaj skušali nekaj ustvariti -
kdaj skušali nekaj ustvariti -
10:02
which is to say basically everyone here ---
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to pomeni verjetno vsi tukaj,
10:04
knows does not always behave rationally.
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se ne obnaša vedno racionalno.
10:07
And, in fact, can sometimes feel downright paranormal.
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Pravzaprav se ga včasih občuti
kot naravnost nadnaravnega.
kot naravnost nadnaravnega.
10:12
I had this encounter recently where I met the extraordinary American poet Ruth Stone,
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Pred kratkim sem bila na srečanju,
kjer sem spoznala izjemno
ameriško pesnico Ruth Stone,
ameriško pesnico Ruth Stone,
10:18
who's now in her 90s, but she's been a poet her entire life
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ki je zdaj v svojih 90ih
in je pesnica že celo življenje.
in je pesnica že celo življenje.
10:20
and she told me that when she was growing up in rural Virginia,
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Povedala mi je, da je v času
odraščanja v Virginiji,
odraščanja v Virginiji,
10:24
she would be out working in the fields,
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1601
ko je delala na njivah,
10:25
and she said she would feel and hear a poem
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3157
včasih začutila in slišala pesem,
10:28
coming at her from over the landscape.
194
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2007
ki se ji je približevala čez pokrajino.
10:30
And she said it was like a thunderous train of air.
195
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3157
Rekla je, da je bilo
kot gromoglasni vlak iz zraka.
kot gromoglasni vlak iz zraka.
10:34
And it would come barreling down at her over the landscape.
196
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2328
In na vso silo je drvelo k njej
čez pokrajino.
čez pokrajino.
10:36
And she felt it coming, because it would shake the earth under her feet.
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3602
Čutila je, da prihaja, ker se je
tresla zemlja pod njenimi nogami.
tresla zemlja pod njenimi nogami.
10:39
She knew that she had only one thing to do at that point,
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Vedela je, da takrat lahko stori le eno;
10:43
and that was to, in her words, "run like hell."
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2151
da teče, kot bi šlo za življenje.
10:45
And she would run like hell to the house
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1732
Tako je tekla do hiše,
10:46
and she would be getting chased by this poem,
201
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pesem pa se je podila za njo,
10:48
and the whole deal was that she had to get to a piece of paper and a pencil
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3130
in treba je bilo priti
do papirja in svinčnika
do papirja in svinčnika
10:51
fast enough so that when it thundered through her, she could collect it
203
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3068
dovolj hitro, da je pesem,
ko jo je dohitela in oddrvela skoznjo,
ko jo je dohitela in oddrvela skoznjo,
10:54
and grab it on the page.
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1501
10:56
And other times she wouldn't be fast enough,
205
643530
1955
pograbila in jo zapisala.
Včasih se je zgodilo,
da ni bila dovolj hitra,
da ni bila dovolj hitra,
10:58
so she'd be running and running and running, and she wouldn't get to the house
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3327
da je tekla in tekla, pa ni prišla do hiše
11:01
and the poem would barrel through her and she would miss it
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2838
in pesem je odtopotala
skoznjo in jo je zamudila;
skoznjo in jo je zamudila;
11:04
and she said it would continue on across the landscape,
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2288
rekla je, da je neulovljena pesem
nadaljevala svojo pot
nadaljevala svojo pot
11:06
looking, as she put it "for another poet."
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2964
in iskala "nekega drugega pesnika".
11:09
And then there were these times --
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2370
Včasih pa -
11:12
this is the piece I never forgot --
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2379
tega dela ne bom nikoli pozabila -
rekla je, da so bili trenutki,
ko je skoraj zamudila pesem.
ko je skoraj zamudila pesem.
11:14
she said that there were moments where she would almost miss it, right?
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3199
11:17
So, she's running to the house and she's looking for the paper
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Torej, teče proti hiši, išče papir
11:20
and the poem passes through her,
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in pesem gre skoznjo,
11:22
and she grabs a pencil just as it's going through her,
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2934
ona pograbi svinčnik ravno ko gre skoznjo,
11:25
and then she said, it was like she would reach out with her other hand
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potem je rekla, da je bilo kot
da bi s prosto roko segla po njej
da bi s prosto roko segla po njej
11:27
and she would catch it.
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in jo ujela.
11:29
She would catch the poem by its tail,
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Ujela jo je za rep
11:31
and she would pull it backwards into her body
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2778
in jo potegnila nazaj v svoje telo
11:34
as she was transcribing on the page.
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1860
in hkrati jo je zapisovala.
11:36
And in these instances, the poem would come up on the page perfect and intact
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4855
V takih primerih je bila pesem
zapisana popolna in nedotaknjena
zapisana popolna in nedotaknjena
11:41
but backwards, from the last word to the first.
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3405
samo od zadaj; od zadnje besede do prve.
11:44
(Laughter)
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1712
(Smeh)
11:46
So when I heard that I was like -- that's uncanny,
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4717
Ko sem to slišala, sem si rekla -
to je malce strašljivo,
to je malce strašljivo,
11:50
that's exactly what my creative process is like.
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natanko tak je moj kreativni proces.
11:53
(Laughter)
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3613
(Smeh)
11:57
That's not at all what my creative process is -- I'm not the pipeline!
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3066
Ni res, moj kreativni proces
ne izgleda tako - nisem medij!
ne izgleda tako - nisem medij!
12:00
I'm a mule, and the way that I have to work
228
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1854
Sem garač in moje delo zahteva,
12:01
is that I have to get up at the same time every day,
229
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1667
da moram vsak dan vstati ob istem času,
12:03
and sweat and labor and barrel through it really awkwardly.
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2797
da se potim, da se mučim
in se prav nerodno prebijam skozi.
in se prav nerodno prebijam skozi.
12:06
But even I, in my mulishness,
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Toda tudi jaz, v vsem svojem garaštvu,
12:09
even I have brushed up against that thing, at times.
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celo jaz sem se včasih
srečala s takimi stvarmi.
srečala s takimi stvarmi.
12:13
And I would imagine that a lot of you have too.
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1959
In mislim si, da se je
veliko vas ravno tako.
veliko vas ravno tako.
12:15
You know, even I have had work or ideas come through me from a source
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3609
Veste, tudi meni se je zgodilo, da je
kakšna ideja prišla skozi mene iz vira,
kakšna ideja prišla skozi mene iz vira,
12:18
that I honestly cannot identify.
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2511
ki ga, iskreno, ne morem identificirati.
12:21
And what is that thing?
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In kaj je ta reč?
12:22
And how are we to relate to it in a way that will not make us lose our minds,
237
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4038
In kako naj se povezujemo z njo,
da ne bomo spotoma izgubili pameti,
da ne bomo spotoma izgubili pameti,
12:26
but, in fact, might actually keep us sane?
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2886
ampak bomo, morda prav zaradi nje,
ostali pri zdravi pameti?
ostali pri zdravi pameti?
12:29
And for me, the best contemporary example that I have of how to do that
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Zame je najboljši vzor
takega početja dandanes
takega početja dandanes
12:33
is the musician Tom Waits,
240
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2332
glasbenik Tom Waits,
12:35
who I got to interview several years ago on a magazine assignment.
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4541
ki sem ga pred precej leti
intervjuvala za neko revijo.
intervjuvala za neko revijo.
12:40
And we were talking about this,
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1249
Govorila sva o tem
12:41
and you know, Tom, for most of his life he was pretty much the embodiment
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3713
in saj veste, Tom je bil večino svojega
življenja pravo utelešenje
življenja pravo utelešenje
12:45
of the tormented contemporary modern artist,
244
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1924
trpečega sodobnega umetnika,
12:47
trying to control and manage and dominate
245
754621
2623
ki skuša nadzirati, upravljati in vladati
12:50
these sort of uncontrollable creative impulses
246
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2474
divjim kreativnim vzgibom,
12:52
that were totally internalized.
247
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1887
ki so povsem ponotranjeni.
12:54
But then he got older, he got calmer,
248
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2005
Potem se je postaral, postal je mirnejši
12:56
and one day he was driving down the freeway in Los Angeles he told me,
249
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2923
in nekega dne med vožnjo po
avtocesti v Los Angelesu
avtocesti v Los Angelesu
12:59
and this is when it all changed for him.
250
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1840
se je zanj vse spremenilo.
13:01
And he's speeding along, and all of a sudden
251
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1991
Hitro vozi in kar naenkrat
13:03
he hears this little fragment of melody,
252
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3741
sliši male delčke melodije,
13:06
that comes into his head as inspiration often comes, elusive and tantalizing,
253
774105
4029
ki prihaja v njegove misli, kot navdih
pogosto pride, izmuzljiv in dražeč,
pogosto pride, izmuzljiv in dražeč,
13:10
and he wants it, you know, it's gorgeous,
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2128
želi si to melodijo, čudovita je,
13:13
and he longs for it, but he has no way to get it.
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2071
hrepeni po njej,
ampak ne more si je zapisat.
ampak ne more si je zapisat.
13:15
He doesn't have a piece of paper, he doesn't have a pencil,
256
782333
1868
Nima papirja niti svinčnika
niti snemalnika.
niti snemalnika.
13:17
he doesn't have a tape recorder.
257
784201
1451
13:18
So he starts to feel all of that old anxiety start to rise in him
258
785652
2968
Začenja čutiti običajno tesnobo,
ki se dviguje v njem,
ki se dviguje v njem,
13:21
like, "I'm going to lose this thing,
259
788620
1991
ko si misli: "Izgubil bom to reč
13:23
and then I'm going to be haunted by this song forever.
260
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1920
in ta pesem me bo preganjala za vedno.
13:25
I'm not good enough, and I can't do it."
261
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1771
Nisem dovolj dober in ne zmorem."
13:27
And instead of panicking, he just stopped.
262
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2392
Toda namesto paničarjenja,
se je samo ustavil.
se je samo ustavil.
13:29
He just stopped that whole mental process
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796694
1748
Ustavil je celotni mentalni proces
in je naredil nekaj čisto novega.
in je naredil nekaj čisto novega.
13:31
and he did something completely novel.
264
798442
2155
13:33
He just looked up at the sky, and he said,
265
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2722
Pogledal je navzgor v nebo in rekel:
13:36
"Excuse me, can you not see that I'm driving?"
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3014
"Oprostite, res ne vidite, da vozim?"
13:39
(Laughter)
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3701
(Smeh)
13:42
"Do I look like I can write down a song right now?
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2734
"Vam izgleda, da si lahko
zdajle zapišem pesem?
zdajle zapišem pesem?
13:45
If you really want to exist, come back at a more opportune moment
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3845
Če hočeš res obstajati,
pridi nazaj ob bolj primernem trenutku,
pridi nazaj ob bolj primernem trenutku,
13:49
when I can take care of you.
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1662
ko bom lahko poskrbel zate.
13:51
Otherwise, go bother somebody else today.
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3077
Če ne, pa pojdi težit komu drugemu danes.
13:54
Go bother Leonard Cohen."
272
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3296
Pojdi nadlegovat Leonarda Cohena."
13:57
And his whole work process changed after that.
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3132
Njegov celotni proces dela
se je takrat spremenil.
se je takrat spremenil.
14:00
Not the work, the work was still oftentimes as dark as ever.
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3608
Pravzaprav ne delo, to je bilo
še vedno pogosto enako temačno.
še vedno pogosto enako temačno.
14:04
But the process, and the heavy anxiety around it
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Pač pa proces in močna tesnoba okoli njega
14:07
was released when he took the genie, the genius out of him
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je popustila, ko je vzel duha,
genija, izven sebe,
genija, izven sebe,
kjer je povzročal le težave,
in ga spustil nazaj tja, od koder izvira
in ga spustil nazaj tja, od koder izvira
14:10
where it was causing nothing but trouble, and released it kind of back where it came from,
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14:13
and realized that this didn't have to be this internalized, tormented thing.
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in ko je spoznal, da ni nujno,
da gre za ponotranjen, mučen proces.
da gre za ponotranjen, mučen proces.
14:17
It could be this peculiar, wondrous, bizarre collaboration
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Lahko gre tudi
za nenavadno in čudaško sodelovanje,
za nenavadno in čudaško sodelovanje,
14:20
kind of conversation between Tom and the strange, external thing
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nekakšen pogovor med Tomom in to
čudno, zunanjo zadevo,
čudno, zunanjo zadevo,
14:25
that was not quite Tom.
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ki ni bila Tom.
Ko sem slišala to zgodbo,
se je tudi pri meni
se je tudi pri meni
14:27
So when I heard that story it started to shift a little bit
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začel spreminjati način dela
in to me je enkrat že rešilo.
in to me je enkrat že rešilo.
14:30
the way that I worked too, and it already saved me once.
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14:32
This idea, it saved me when I was in the middle of writing "Eat, Pray, Love,"
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Rešilo me je, ko sem bila sredi
pisanja knjige "Jej, moli, ljubi"
pisanja knjige "Jej, moli, ljubi"
14:36
and I fell into one of those, sort of pits of despair
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in sem zapadla v enega tistih
brezen brezupa,
brezen brezupa,
14:38
that we all fall into when we're working on something and it's not coming
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kamor vsi padamo, ko delamo
in nam ne gre od rok,
in nam ne gre od rok,
14:42
and you start to think this is going to be a disaster,
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ko si začnemo mislit, da bo vse skupaj
ena polomija, da bo to najslabša knjiga.
ena polomija, da bo to najslabša knjiga.
14:44
this is going to be the worst book ever written.
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14:46
Not just bad, but the worst book ever written.
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Ne samo slaba, najslabša knjiga sploh.
14:48
And I started to think I should just dump this project.
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Začela sem že razmišljati,
da bi morala opustiti ta projekt.
da bi morala opustiti ta projekt.
14:52
But then I remembered Tom talking to the open air
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Potem pa sem se spomnila Toma,
kako govori zraku nad seboj
kako govori zraku nad seboj
14:55
and I tried it.
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in sem poskusila tudi sama.
14:57
So I just lifted my face up from the manuscript
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Dvignila sem obraz z rokopisa
14:59
and I directed my comments to an empty corner of the room.
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in naslovila svoje pritožbe
praznemu kotu sobe.
praznemu kotu sobe.
15:02
And I said aloud, "Listen you, thing,
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Naglas sem rekla: "Poslušaj, ti,
15:06
you and I both know that if this book isn't brilliant
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oba veva: če tale knjiga ne bo odlična,
15:09
that is not entirely my fault, right?
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ne bo samo moja krivda, ne?
15:11
Because you can see that I am putting everything I have into this,
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Ker kot vidiš, se trudim
po svojih najboljših močeh,
po svojih najboljših močeh,
in to je to, več ne gre.
15:14
I don't have any more than this.
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15:15
So if you want it to be better, then you've got to show up and do your part of the deal.
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Če želiš, da bo knjiga boljša, se moraš
prikazat in opravit svoj del posla.
prikazat in opravit svoj del posla.
15:19
O.K. But if you don't do that, you know what, the hell with it.
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Če ne boš, veš kaj,
potem naj gre vse k vragu.
potem naj gre vse k vragu.
15:22
I'm going to keep writing anyway because that's my job.
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Jaz bom še naprej pisala,
saj to je moja služba.
saj to je moja služba.
15:25
And I would please like the record to reflect today
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Hočem pa, da gre danes v zapisnik,
15:26
that I showed up for my part of the job."
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da sem prišla in opravila svoj del posla."
15:29
(Laughter)
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(Smeh)
15:32
Because --
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Ker -
15:35
(Applause)
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(Aplavz)
15:37
in the end it's like this, O.K. --
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Ker na koncu koncev, je to tako:
15:39
centuries ago in the deserts of North Africa,
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stoletja nazaj so se
v puščavah Severne Afrike
v puščavah Severne Afrike
15:41
people used to gather for these moonlight dances of sacred dance and music
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ljudje zbirali in plesali
svete plese ter igrali glasbo v mesečini.
svete plese ter igrali glasbo v mesečini.
15:46
that would go on for hours and hours, until dawn.
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To je trajalo ure in ure, vse tja do zore.
15:49
And they were always magnificent, because the dancers were professionals
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Vedno je bilo veličastno,
saj so bili plesalci profesionalci
saj so bili plesalci profesionalci
15:52
and they were terrific, right?
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in bili so odlični.
15:53
But every once in a while, very rarely, something would happen,
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Toda na vsake toliko časa,
zelo redko, se je nekaj zgodilo
zelo redko, se je nekaj zgodilo
15:57
and one of these performers would actually become transcendent.
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3512
in en od nastopajočih
je postal transcendenten.
je postal transcendenten.
16:00
And I know you know what I'm talking about,
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Vem, da veste o čem govorim,
16:02
because I know you've all seen, at some point in your life, a performance like this.
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ker vem, da ste vsi že
kdaj v svojem življenju videli
kdaj v svojem življenju videli
tak nastop.
16:06
It was like time would stop,
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Bilo je, kot bi se čas ustavil
16:08
and the dancer would sort of step through some kind of portal
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in plesalec,
kot da bi prestopil nek prag,
kot da bi prestopil nek prag,
16:11
and he wasn't doing anything different than he had ever done, 1,000 nights before,
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pa ne, da bi počel karkoli drugačnega
od tega, kar je počel 1000 noči pred tem,
16:15
but everything would align.
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ampak vse se je nekako poklopilo.
16:17
And all of a sudden, he would no longer appear to be merely human.
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Kar naenkrat se je zazdelo,
da ni več samo človek.
da ni več samo človek.
16:20
He would be lit from within, and lit from below
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Bil je kot osvetljen
od znotraj in od spodaj
od znotraj in od spodaj
16:23
and all lit up on fire with divinity.
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3790
in kot napolnjen z ognjem božanskosti.
16:26
And when this happened, back then,
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In ko se je to zgodilo, takrat,
16:29
people knew it for what it was, you know, they called it by its name.
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so ljudje vedeli, kaj se dogaja
in so to tudi poimenovali.
in so to tudi poimenovali.
16:33
They would put their hands together and they would start to chant,
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Sklenili so roke in so začeli vzklikati:
16:35
"Allah, Allah, Allah, God, God, God."
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"Alah, Alah, Alah, Bog, Bog, Bog."
16:40
That's God, you know.
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To je Bog, veste.
16:43
Curious historical footnote --
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Ena zanimiva zgodovinska opomba:
16:45
when the Moors invaded southern Spain, they took this custom with them
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Ko so Mavri zavzeli južno Španijo,
so ta običaj prinesli s seboj,
so ta običaj prinesli s seboj,
16:50
and the pronunciation changed over the centuries
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skozi stoletja pa se je
izgovorjava spremenila
izgovorjava spremenila
16:52
from "Allah, Allah, Allah," to "Olé, olé, olé,"
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iz "Alah, Alah, Alah" v
"Olé, olé, olé",
"Olé, olé, olé",
16:55
which you still hear in bullfights and in flamenco dances.
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3174
kar še vedno slišimo na bikoborbah
in na plesih flamenka.
in na plesih flamenka.
16:58
In Spain, when a performer has done something impossible and magic,
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V Španiji, kadar nastopajoči naredi
nekaj nemogočega in magičnega,
nekaj nemogočega in magičnega,
17:02
"Allah, olé, olé, Allah, magnificent, bravo,"
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"Alah, olé, olé, Alah;
čudovito, bravo,"
čudovito, bravo,"
17:05
incomprehensible, there it is -- a glimpse of God.
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3404
nekaj nedoumljivega,
kot bi za hip uzrli Boga.
kot bi za hip uzrli Boga.
17:09
Which is great, because we need that.
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2172
To je super, ker to potrebujemo.
17:11
But, the tricky bit comes the next morning,
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Toda, kaj se zgodi naslednje jutro,
17:15
for the dancer himself, when he wakes up
340
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2925
za plesalca, ki se zbudi in ugotovi,
17:18
and discovers that it's Tuesday at 11 a.m., and he's no longer a glimpse of God.
341
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3949
da je torek, ura je 11
in on ni več odblesk Boga.
in on ni več odblesk Boga.
17:22
He's just an aging mortal with really bad knees,
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3492
Spet je le človek, ki se stara,
ki je umrljiv in ki ga bolijo kolena
ki je umrljiv in ki ga bolijo kolena
17:25
and maybe he's never going to ascend to that height again.
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in morda nikoli več ne bo dosegel
tega, kar se je zgodilo včeraj.
tega, kar se je zgodilo včeraj.
17:29
And maybe nobody will ever chant God's name again as he spins,
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3727
In mogoče nihče ne bo nikoli več
uzrl boga v njegovem plesu.
uzrl boga v njegovem plesu.
17:33
and what is he then to do with the rest of his life?
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2858
Kako naj sploh preživi
preostanek svojega življenja?
preostanek svojega življenja?
17:36
This is hard.
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1382
To je težko.
17:37
This is one of the most painful reconciliations to make
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2842
To je ena najbolj bolečih
stvari, ki jih moramo sprejeti
stvari, ki jih moramo sprejeti
17:40
in a creative life.
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2091
v kreativnem življenju.
17:42
But maybe it doesn't have to be quite so full of anguish
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Morda pa ni nujno,
da je ta proces tako poln tesnobe,
da je ta proces tako poln tesnobe,
17:45
if you never happened to believe, in the first place,
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če že od začetka ne verjameš,
17:49
that the most extraordinary aspects of your being came from you.
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1056316
4105
da najbolj izjemno,
kar nosiš v sebi, prihaja iz tebe.
kar nosiš v sebi, prihaja iz tebe.
17:53
But maybe if you just believed that they were on loan to you
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1060421
2861
Bilo bi lažje, če bi verjeli,
da ti je dano le na pósodo
da ti je dano le na pósodo
17:56
from some unimaginable source for some exquisite portion of your life
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3806
od nekega nepredstavljivega vira
za čudovit del tvojega življenja,
za čudovit del tvojega življenja,
in ki bo potem, ko ne bo več pri tebi,
17:59
to be passed along when you're finished, with somebody else.
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3844
šlo k nekomu drugemu.
Veste, če začneš takole razmišljati,
se vse spremeni.
se vse spremeni.
18:03
And, you know, if we think about it this way it starts to change everything.
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4884
Tako sem začela razmišljati tudi jaz
18:08
This is how I've started to think,
356
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1634
18:10
and this is certainly how I've been thinking in the last few months
357
1077450
3349
in definitivno tako razmišljam
v zadnjih nekaj mesecih,
v zadnjih nekaj mesecih,
18:13
as I've been working on the book that will soon be published,
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1080799
2841
odkar delam na knjigi,
ki bo kmalu objavljena,
ki bo kmalu objavljena,
18:16
as the dangerously, frighteningly over-anticipated follow up
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1083640
3643
kot nevarno, zastrašujoče
težko pričakovano nadaljevanje
težko pričakovano nadaljevanje
18:20
to my freakish success.
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2660
mojega norega uspeha.
18:22
And what I have to, sort of keep telling myself
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2923
In kar si moram stalno ponavljati,
18:25
when I get really psyched out about that,
362
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2025
ko začnem paničarit glede vsega tega,
je, naj me ne bo strah.
je, naj me ne bo strah.
18:27
is, don't be afraid.
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18:29
Don't be daunted.
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Ne bodi prestrašena.
Samo opravi svoje delo.
Samo opravi svoje delo.
18:31
Just do your job.
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1983
18:33
Continue to show up for your piece of it, whatever that might be.
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Nadaljuj z opravljanjem
svojega dela naloge, karkoli že ta je.
svojega dela naloge, karkoli že ta je.
18:36
If your job is to dance, do your dance.
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Če si plesalec, odpleši svoj ples.
18:39
If the divine, cockeyed genius assigned to your case
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3965
Če se bo božanski genij, ki ti je dodeljen
18:43
decides to let some sort of wonderment be glimpsed, for just one moment
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5084
odločil, da pokaže to čarobnost
samo za trenutek,
samo za trenutek,
18:48
through your efforts, then "Olé!"
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skozi tvoje prizadevanje, potem "Olé!"
18:50
And if not, do your dance anyhow.
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3639
In če ne, prav tako odpleši svoj ples.
18:53
And "Olé!" to you, nonetheless.
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In "Olé!" kljub temu.
18:55
I believe this and I feel that we must teach it.
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Verjamem v to in mislim,
da je to treba učiti.
da je to treba učiti.
18:57
"Olé!" to you, nonetheless,
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1788
"Olé!" kljub vsemu,
18:59
just for having the sheer human love and stubbornness
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3313
že samo zato, ker zaradi
same ljubezni in vztrajnosti
same ljubezni in vztrajnosti
19:02
to keep showing up.
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1845
nadaljuješ svoje delo.
19:04
Thank you.
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1675
Hvala.
19:06
(Applause)
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2075
(Aplavz)
19:08
Thank you.
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1491
Hvala.
19:09
(Applause)
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3114
(Aplavz)
19:12
June Cohen: Olé!
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June Cohen: Olé!
19:14
(Applause)
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(Aplavz)
ABOUT THE SPEAKER
Elizabeth Gilbert - WriterThe author of 'Eat, Pray, Love,' Elizabeth Gilbert has thought long and hard about some big topics. Her fascinations: genius, creativity and how we get in our own way when it comes to both.
Why you should listen
Elizabeth Gilbert faced down a premidlife crisis by doing what we all secretly dream of -- running off for a year. Her travels through Italy, India and Indonesia resulted in the megabestselling and deeply beloved memoir Eat, Pray, Love, about her process of finding herself by leaving home.
She's a longtime magazine writer -- covering music and politics for Spin and GQ -- as well as a novelist and short-story writer. Her books include the story collection Pilgrims, the novel Stern Men (about lobster fishermen in Maine) and a biography of the woodsman Eustace Conway, called The Last American Man. Her work has been the basis for two movies so far (Coyote Ugly, based on her own tale of working at the famously raunchy bar in New York City), and Eat, Pray, Love, with the part of Gilbert played by Julia Roberts. Not bad for a year off.
In 2010, Elizabeth published Committed, a memoir exploring her ambivalent feelings about the institution of marriage. And her 2013 novel, The Signature of All Things, is "a sprawling tale of 19th century botanical exploration."
Gilbert also owns and runs the import shop Two Buttons in Frenchtown, New Jersey.
Elizabeth Gilbert | Speaker | TED.com