"I'm not used to not having enough time to live with the songs. Usually, if I write something, I live with it for a little while"

Fiona Apple, a well-known singer-songwriter known for her introspective lyrics and emotive soundscapes, offers a revealing look into her innovative procedure with this quote. In these words, she articulates a sense of dislocation and possibly anxiousness with the concept of time-- specifically, the time required to deeply internalize and resonate with the music she develops.

Apple's use of the expression "deal with the songs" recommends that songwriting for her is not merely a task of structure and plan however a holistic experience that extends beyond simple production. It involves a duration of pregnancy, where she exists side-by-side with the music, enabling it to evolve naturally. This method signifies a deeper relationship where the music and artist influence one another, each forming the final type the tunes will take.

The phrase "I'm not used to not having enough time" exposes an unusual restriction on her process. It hints at an external pressure or scenario that disrupts her customary method of working. Apple might be navigating tighter schedules, possible commercial pressures, or individual scenarios that demand a quicker turn-around than she's accustomed to. This disturbance can be upsetting for an artist who values the reflective and iterative nature of her imagination.

Moreover, Apple's words echo a universal style in the innovative world: the tension in between art and time. Many artists discover themselves at odds with deadlines or business expectations, which can stifle the natural flow of imagination. Apple's longing to "deal with" her songs strengthens the idea that imagination prospers in a space where time is a versatile buddy rather than an overbearing force.

In essence, this quote highlights the significance of temporal flexibility in the imaginative procedure, highlighting how important time is to the authenticity and depth of one's creative output. It calls for a reevaluation of how we perceive performance in art, promoting for a process that is as much about introspection and absorption as it has to do with production.