Which writers or artists most influenced your work?

One was Roscoe Gilkey Dickinson. He had got his doctorate in physical chemistry — x-ray crystallography — in 1920. He was the first person to get a Ph.D. from California Institute of Technology. And he was continuing with x-ray crystallography, determining the structure of inorganic crystals. After I had accepted appointment as a graduate student at California Institute of Technology, A.A. Noyes, the head of the division of chemistry and chemical engineering, wrote to say that he had decided I should work with Roscoe Dickinson on determining the structure of crystals. This was really extremely fortunate for me, in my opinion. I don’t think that there was any field that was more suited to my interests, and I don’t really know why Dr. Noyes selected me out of eight or ten new graduate students to do x-ray crystallography. Dickinson had a remarkable mind. He was a very careful investigator and thinker, a very logical thinker. When he was teaching me x-ray crystallography, he also taught me to ask at each stage in the argument, “What assumptions are being made? How reliable is the conclusion that you draw? What chance is there that one of the assumptions you have made is not correct?” “You should recognize,” he said to me, “that there is in almost every investigation a lack of complete rigor. You should understand just how reliable the arguments are that you are presenting.

That’s an easy question. It was, of course, George Balanchine. He came from Russia via Europe and settled in America in 1933. He started a little company which was not very successful, so he had to start over and over again. Ultimately, he founded the New York City Ballet. I happened to be born at the right time, came to the right place, and had the fortune to audition for him, and work with him, because he is the genius of the century of ballet. I learned how to dance with him.

It was a very important finding for us because we were involved in nucleic acids. There weren’t many people interested in nucleic acids. There weren’t many people who believed that was the way to find drugs. But when we found out the structure, and we began to understand what kind of bases could be incorporated, and which ones couldn’t, and where they could be incorporated, it put a whole new dimension on it. So it had a very significant effect.

Most scientists do. Of course there are the classical figures. I might talk about Einstein a little bit, for example. Now, when I was in college, I was taking my second course in physics, I remember very well, and it had a chapter on relativity. And I took this relativity on a vacation in the mountains; my family went with me. And I remember very well sitting on a rock up in the hills there overlooking a stream, reading this relativity derivation. And it was just very exciting and interesting. It was a strange new world, relativity. I even thought I had found where Einstein made a mistake. And I went back for lunch, and I thought about it, came back. And I said, “No, he was right after all,” but it was still very exciting. To see a completely different kind of idea and world from what one’s normal intuition shows. Of course, Einstein was one of the great scientists; I’ve always admired him. I fortunately had a chance to talk with him and interact with him a little bit as well.

Only Mies influenced me. Le Corbusier I met. He was a nasty man, but obviously a genius. You don’t have to like the people just because they’re geniuses. Mies and I got along better and we became pretty close. I worked with him on his greatest building here, the Seagram building, which was kind of fun, but again, you can’t be a hero-worshipper and be an uncommon architect; you’ve got to be your own man. So I split with Mies and did a different kind of work.

We had the classics, published by Scribners, all the great stories by Robert Louis Stevenson and the rest which were illustrated by the great N.C. Wyeth. In those days, when childhood diseases were extended, you were home with the measles or mumps or chicken pox for two or three weeks at a time, and you were supposed to stay in bed. There wasn’t any television, there wasn’t much to do, so I would stare at those paintings in those books by the hour. I didn’t read them all. I loved to just look at those pictures and study every detail. I could sit down and draw most of those pictures right now without having to refresh my memory because they were so exciting to me.

When I was in high school, there was a book by James MacGregor Burns, a wonderful historian, called The Lion and the Fox, about FDR. And it was about his personality, his character, his early years in Hyde Park, his polio experience and… I remember that so vividly as the first real, live history book that I love so much. And I later met him, and have gotten to know him as a colleague, and he’s about 30 years older than I am, and I couldn’t wait to tell him, “You were the one who made it happen.

I remember one teacher in particular. I was in a school in the third grade and they were thinking of skipping me, putting me in a higher grade. But then somebody said that would be bad psychologically. So, for that entire year, because I had learned all the lessons that year — the multiplication tables, whatever the reading was — this teacher let me go off by myself and draw pictures. So I had hours and hours of time where I was just left to my own devices, drawing pictures. And she would encourage me. That was a wonderful period in my life. I mean, I didn’t become an artist, but somebody let me do something I loved. What a luxury, to do something you love to do. I would still like to have that luxury, to be able to just sit and draw for hours and hours and hours. In a way, that’s what I do as a writer. I just sit by myself, being in my own mind, not being directed at what I should be doing moment-by-moment, not having a clear plan set out by anybody and just letting imagination enter into the blank page. So in that respect, I can thank Miss Grudoff of the third grade for allowing me that.

Well, naturally, my grandfather. He was a Hasid, meaning a member of the Hasidic community, and I loved him, I adored him. So thanks to him, I became a Hasid too. And my mother — who actually continued his tradition — she’s the one who brought me to Hasidic Masters. And all the stories I tell now — I’ve written so many books with Hasidic tales — these are not mine, these are theirs, my mother’s and my grandfather’s. My father taught me how to reason, how to reach my mind. My soul belonged to my grandfather and my mother. They enriched me, of course. They influenced me profoundly, to this day. When I write, I have the feeling, literally, physically, that one of them is behind my back, looking over my shoulder and reading what I’m writing. I’m terribly afraid of their judgment.

The music of the “I Have a Dream” speech is a replication of the music which comes out of the mouths of the African American preacher. Preacher, singer, blues singer, jazz singer, rap person, it is so catching, so hypnotic, so wonderful that, as a poet, I continue to try to catch it, to catch the music.

The films that influenced me were so disparate that there’s almost no pattern. Stanley Kubrick was an influence because I loved 2001: A Space Odyssey. and the more I learned about him and his methodology the more I realized what a rigorous intellectual exercise filmmaking was for him, and I was inspired by that.

I liked all the normal kinds of adventure books, Kidnapped, Treasure Island, Huck Finn sorts of things. I loved Swiss Family Robinson and that whole period of South Sea adventure movies. I liked westerns. Westerns were very big when I was growing up. When we finally got a television there was a whole run of westerns on television. John Wayne films, directed by John Ford, before I knew who John Ford was. I think those were very influential in my enjoyment of movies.

The last teacher I had was a man named O’Halloran. But he was the only one who offered words of encouragement, who told us we were distinct, unique individuals with a right to think for ourselves. And that was just before we left Leamy’s National School. And he told me, “My boy, you are a literary genius.” And you can imagine what I had to put up with at the schoolyard with all the others. “Hey, McCourt, you’re a literary genius. Look at him. Look at the literary genius.

I read Turgenev, Ivan Turgenev’s Fathers and Sons , and that book had a tremendous impact on me. It was about a young man who came back to the old village to visit the old people after he had graduated from his university, and he used to be a doctor, and falls in love with a beautiful woman and all that sort of thing. They lived out in the country. When I was writing my first novel, Catherine Carmier — I started writing it in ’58, I think, ’58, ’59 — I knew nothing about writing a novel, and I used that Fathers and Sons as sort of my Bible, my guide. My first novel was about a young man who had been away from the old place, and then returning, and falls in love with a beautiful girl, and he loses her. I was really very much impressed by — influenced by — Turgenev’s Fathers and Sons at that time, but then I started reading other books, of course. I was reading other books at the same time, but that was the book that had the earliest influence on my structure

No. Although I have to qualify that. Though he was, by jazz standards, a very square composer, he was, by musical theater standards, a not square composer, and he taught me to be less square. I tend to be square.

One of my mentors, Tom Frank, a professor of law at NYU, he was really instrumental in making me understand that we need to look at the global picture, and we always need to not take anything for granted, but go very much through a process of critical thinking before we formulate our views. So he was, I think, instrumental in shaping my views as to how to pursue my career in the future.

I wrote a little book called Screening History , in which I go in great detail into the movies that affected me growing up. This was in the years of puberty, and so on. The Prince and the Pauper , based on Mark Twain’s novel with the Mauch twins in it. All of the propaganda films I loved, because they were political.

Thrust into my profession without any training whatsoever, I had to just flounder and just find my way. It was an agonizing experience. It’s like jumping off a diving board in the Olympic contest without knowing how to swim or dive, and I just had to find my way. So one day, I said to Jimmy Cagney, “Jimmy, what is acting?” and he said, “I don’t know.” He said, “All I can tell you is whatever you say, mean it,” and I thought that marvelous counsel.

Professor Randall was a great advisor and a great mentor. He taught me, I think, in the best possible way. He was not a brilliant lecturer. His courses were fairly pedestrian. I didn’t think his seminars were particularly interesting. But working with him on a one-to-one basis as his assistant, I think that’s the way one has to learn to be a historian. That is, he was writing, and if he needed some particular reference, I had to go find it and get it. If he was writing, he wanted everything checked meticulously over and over again. So I had to take the manuscript over to the library and check it all out. So that by working closely with him, I got to see, first of all, a lot of the library and its extensive holdings, but I got, even more important, to understand what a scholar is about. It is about care. It is about “pains-taking.” It is about judgment as well as it’s about very skillful writing. He was an excellent writer as well. So in that sense, Professor Randall and Mrs. Randall shaped my future career.

Yes, a major one, along with Sir Georg Solti. Because they’re both Hungarian, I used to call them the Hungarian mafia. He was always onto me. “Have you bring to Vera?” And then she’d say, “Georg, he won’t be liking this bit.” And between the two of them, there was this whish-whish-whish, like sword fighting, and I was being killed by the both of them. But I enjoyed every minute of it. It was good for me.