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“Getting even is one great reason for writing. The precise statement of the motive is tricky, but the clearest expression of my unwholesome nature and my mean motives appears in a line I like in [one of my books]: the character says, “I want to rise so high that when I shit I won’t miss anybody.” […] I also take considerable pleasure in giving obnoxious ideas the best expression I can. But getting even isn’t necessarily vicious. There are two ways of getting even: one is destructive and the other is restorative. It depends on how the scales are weighted. Justice, I think, is the word I want.”
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“I don’t believe in the novel that teaches. When you’re teaching, you’re engaged with something other than yourself. When you’re writing novels, you’re bringing things mainly out of yourself. You may be trying to make something that’s not autobiographical or self-reflective, but it’s made...
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...yes, words were superior; they maintained a superior control; they touched without your touching; they were at once the bait, the hook, the line, the pole, and the water in between.
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”If someone asks me, ‘Why do you write?’ I can reply by pointing out that it is a very dumb question. Nevertheless, there is an answer. I write because I hate. A lot. Hard. And if someone asks me the inevitable next dumb question, ‘Why do you write the way you do?’ I must answer that I wish to ma...
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Works of art are meant to be lived with and loved, and if we try to understand them, we should try to understand them as we try to understand anyone—in order to know them better, not in order to know something else.
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William H. Gass was a boundary-breaking experimental writer, as well as a critic, essayist and philosophy professor. Most importantly, Gass was a reigning master of the art of the sentence, and every one he wrote, he wrote with singular purpose. “If I am anything as a writer, tha...
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“I was turned down for ten years. I couldn’t get a thing in print. My writing went nowhere. I guess you have to be persistent. Talent is just one element of the writing business. You also have to have a stubborn nature. That’s rarer even than the talent, I think. You have to be grimly det...
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“I don’t think much about the reader. Ways of reading are adversaries—those theoretical ways. As far as writing something is concerned, the reader really doesn’t exist. The writer’s business is somehow to create in the work something which will stand on its own and make its own demands; a...
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“Try to remember that artists in these catastrophic times, along with the serious scientists, are the only salvation for us, if there is to be any. Be happy because no one is seeing what you do, no one is listening to you, no one really cares what may be achieved, but sometimes accidents ...
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“Even an ideologically driven artist who is working well has got to do that. Oh, he can create a character who speaks brilliantly from a half-baked point of view, but he cannot create a drama of conflict between points of view unless he can imaginatively put himself in two positions… Any ...
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“I write slowly because I write badly. I have to rewrite everything many, many times just to achieve mediocrity. Time can give you a good critical perspective, and I often have to go slow so that I can look back on what sort of botch of things I made three months ago. Much of the stuff wh...
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CURATED FROM
IDEAS CURATED BY
Thoughts on creativity, creators and their creations, three things that we have come to consider consubstantial, coincident and coexistent, but that are fundamentally separate and disparate.
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The poi nt isn’t to read Crime and Punishment on day one. The point is to get you reading. So start with what’s easy and what you’re into. Seriously, guilty pleasures abound (I like I Hope They Serve Beer in Hell and Shit My Dad Says).
Once you’ve tested the waters (maybe 2 — 3 months), sta...
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