John Leonard Quotes

I don't have a sense of sanctuary. I don't have a place where I think I can go. I once went to the famous Kyoto temple with the Zen garden, the gravel, the little mounds and it's, you know, it's been pictured over and over and over again. And what they don't tell you is that this little acre or some acre of serenity is surrounded by millions of people taking pictures. So it sounds like a storm of mosquitoes constantly. And it never stops. And there's no serenity. And so not even in Japan can I find sanctuary.

There are too many ironies in the fire!

It makes me itchy, this wry fatalism, but it doesn't make me itch nearly as much as the heroes of so many other modern novels for whom stalking the savage libido is more fun than kinship or community; who will leave town either to find their callow selves, as if they'd lost anything important, or, more transgressively, to kill a bear, a bull, a whale, a unicorn, a hippogriff, a signifier or, preferably, their fathers.

Every fall I imagine once again that something wonderful will happen at a party. This is like imagining that the telephone book will prove to be a wonderful novel.

The culture as a whole is losing its individual notes, its diversity. And this is… it's not only sad. It's devastating. It's devastating because routine language means routine thought. And it means unquestioning thought. It means if I can't — if new words cannot occur to me and new image does not occur to me, then what I'm doing is I'm simply repeating what I've heard. And what we hear from an overpowering cultural force and the forces of homogenization, what we hear is sell, sell, buy, buy. That's it. That is the function.

Run from the Furies, and they find you, as if fear were a homing device, as if literature itself, on contemplating the abyss, were an invitation to jump into it, while Wagner whistles.

Isn't it amazing the way the future succeeds in creating an appropriate past?

Do you suppose Latin American writers, trying to mix literary modernism with revolutionary politics, resent our blue-eyed exploitation of their continent as a sort of compost heap of the libidinal and the symbolic? Aren't D. H. Lawrence, Graham Greene, Robert Stone and Paul Theroux imperialists? What do black Africans think of Conrad, Bellow, Updike and Edgar Rice Burroughs? Why don't the white guys look for the heart of darkness in their own bathrooms?

Granted, religion is wishful thinking, but there is no other kind of thinking.

My whole life I have been waving the names of writers, as if we needed rescue. From these writers, for almost 50 years, I have received narrative, witness, companionship, sanctuary, shock, and steely strangeness; good advice, bad news, deep chords, hurtful discrepancy, and amazing grace. At an average of five books a week, not counting all those sighed at and nibbled on before they go to the Strand, I will read 13,000. Then I'm dead. Thirteen thousand in a lifetime, about as many as there are new ones published every month in this country. It's not enough, and yet rich to excess. The books we love, love us back. In gratitude, we should promise not to cheat on them — not to pretend we're better than they are; not to use them as target practice, agit-prop, trampolines, photo ops or stalking horses; not to sell out scruple to that scratch-and-sniff info-tainment racket in which we posture in front of experience instead of engaging it, and fidget in our cynical opportunism for an angle, a spin, or a take, instead of consulting compass points of principle, and strike attitudes like matches, to admire our wiseguy profiles in the mirrors of the slicks. We are reading for our lives, not performing like seals for some fresh fish.

Somewhere in the Bill of Rights is a Pig Amendment; our freedom to stuff ourselves cannot be abridged. Having so stuffed, we demand a technological solution to the fat problem. Give me cyclamates, or give me death! This is not only immoral; it is also boring.

Everybody remembers his or her first magic show. Mine was in a garage in the dark. I passed out bowls of peeled grapes and described them as the devil's eyeballs. After that, by the light of a lantern on a wall of cinderblocks, there were card tricks and some pigeons we pretended to decapitate. The attraction of magic, to the amateur magician, derived from the fact that it wasn't magic at all; it was science in the service of illusion. Having sent in the magazine coupon and received our kit, we knew how everything worked toward achieving the ecstatic grasp.

The life, no matter how traumatic, never explains the work, if the work is any good. W. B. Yeats, Ezra Pound, Doris Lessing, and Saul Bellow variously believed in faeries, funny money, flying saucers, and orgone energy accumulation, but so have millions of other people who never got around to writing even a mediocre poem or novel.

The magaicians of the 19th century, enthralled by the science of optics, photography and electricity, opened the door to motion pictures and thereby rendered themselves obsolete. Any amateur with a pair of scissors can cut and edit a strip of film in order to make a woman vanish, sever a head, burn a body down to the skeleton and reverse time. Talent went out of style.… People either didn't believe Houdini when he said that his tricks on film were real, or they didn't care. Illusion became big bigness, and the magicians were out of work.

Rimbaud gave up poetry when it failed to change the world. Orwell at the end must have had his doubts about language, too, or he wouldn't have dreamed up Newspeak. Neither is remembered for his hard work at identity-making. Instead, the poet's name is worn by freaks, geeks and videodrones as if it were a logo on a T-shirt or a jet-propelled sneaker, and the novelist is propped up on a horse like the dead El Cid to frighten the Moorish hordes. They have both been turned into the standard-issue celebrity flacks of this empty, buzzing time, selling something other than themselves, unattached to honor, glory, kingship, sainthood or genius. They join a talk-show parade of the power-mad, the filthy rich and the serial killers, the softboiled fifteen-minute Warhol eggs, the rock musicians addled on cobra venom, the war criminals whose mothers never loved them and the starlets babbling on about their substance abuse, their child molestations, their anorexia and their liposuction. "I have never belonged to this race," said Rimbaud.