Tuesday, December 24, 2024 Text is available under the CC BY-SA 3.0 licence.

Elizabeth Gilbert

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I walk up the stairs to my fourth-floor apartment, all alone. I let myself into my tiny little studio, all alone. I shut the door behind me. Another early bedtime in Rome. Another long night's sleep ahead of me, with nobody and nothing in my bed except a pile of Italian phrase books and dictionaries.
I am alone, I am all alone, I am completely alone.
Grasping this reality, I let go of my bag, drop to my knees, and press my forehead against the floor. There I offer up to the universe a fervent prayer of thanks.
First in English.
Then in Italian.
And then — just to get the point across — in Sanskrit. 
And since I am already down there in supplication on the floor, let me hold that position as I reach back in time three years earlier to the moment where this entire story began — a moment that also found me in this exact same posture: on my knees, on a floor, praying.

 
Elizabeth Gilbert

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I am not interested in making a picture. Then what the hell I am interested in? I must be interested in that process that I am talking about.. I don’t keep the studio very tidy. You have on the floor like cow dung in the field.. ..and I look down at this stuff on the floor and it’s just a lot of inert matter, inert paint. Then what is it? I look back on the canvas, and it’s not inert, it’s active, moving and living.. ..Why I need this kind of miracle, I don’t know it, but I need it. my conviction is that this is the act of creation to me. That’s how I have it.

 
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