William T. Vollmann Quotes

Across the street an addict was mumbling, his words, like Dan Smooth’s, reminiscent of the structure of graphite, which is to say comprised of slender hexagonal plates of atoms which slough off at a touch like the multitudinous crusts of a Turkish pastry.

There was no one as good as he at using the ovens of logic to bake agreeable results.

(Can you understand your own dreams, which arise with mushrooms' rank richness in the night-forests within your skull?)

Life had been as inviting as tracks leading everywhere, shining within the frame of the boxcar’s darkness I lived in. Yes, I live in a frame! How can I enter the picture itself? But as soon as I do, or not long after, it loses its magic, which is why I want to travel again. Was the magic ever there? Was I or “reality” to blame for its destruction?

So even that doesn’t make you happy? What about your Seventh Symphony? At least it rallied people. Once you told me how alive you felt then; you said you gave it your all — Didn’t you learn in school, he demanded in a hateful voice, that Ivan the Terrible, having coaxed his architect into, so to speak, putting the very best of himself into building Polrovsky Cathedral, afterwards put out his eyes? Anyway, things are so much easier in our century. LIFE HAS BECOME MORE JOYFUL!

When it comes to revolutionaries, trust only the sad ones. The enthusiastic ones are the oppressors of tomorrow.

Are you a censor? Do you tell people not to say “girl”? Shame on you! If nothing offends you, you’re a saint or you’re psychotic. If a few things offend you, deal with them — fairly. If you’re often offended by things, you’re probably a self-righteous asshole and it’s too bad you weren’t censored yourself — by your mother in an abortion clinic.

Even Tyler would be infected by this surprising outbreak of sadness, which he certainly would not have felt had he simply never happened to see Lily again. This taught him the vanity and egotism of grief, which so often compromises nothing except childish rebellion against the closing off of possibilities.

Maybe life is a process of trading hopes for memories.

As surely as the town of Rochelle is Protestant I can see you now becoming impatient. The covers of my book are between your relentless palms. A single hint of insolence on this page, the faintest shine of gloating over all these delays, and you will slam the volume shut - don't claim I can't predict it!

But the remarkable thing about the beetles was their sensitivity to all the grammar and directives and slogans and even unstated desires of the ant world, which they learned to manipulate. They first memorized the proper antenna-vibration and foreleg-tap which the ants themselves used to request food. The poor workers, busy going here and there and back again all day and never getting a chance to think, automatically assumed that these fearsome strangers had been authorized by the Central Committee since they knew the password, and so they regurgitated a drop or two of fruit juice on cue, much the same as when one is traveling across Europe or Asia on the train and a person in uniform requests one’s passport, one’s ticket, takes them away, and comes back, or else does not come back, having sold them; a badge and a superior manner can obtain anything in this world.

"I studied Comparative Literature at Cornell. Structuralism was real big then. The idea of reading and writing as being this language game. There's a lot of appeal to that. It's nice to think of it as this playful kind of thing. But I think that another way to look at it is "Look, I just want to be sincere. I want to write something and make you feel something and maybe you will go out and do something." And it seems that the world is in such bad shape now that we don't have time to do nothing but language games. That's how it seems to me."

I just make the best book that I can and try to not worry about audience or if it will sell. The odds are against you, so why abuse your talent for the sake of a chimera? The only real pleasure for me in writing comes from pleasing myself. What readers think is interesting and illuminating (and it may even be correct), but that is nothing compared to the excitement of seeing a world develop. Besides, even though I like most individuals I meet, I have a pretty low opinion of people in general. So if I were to write for people in general, I would have to drastically lower my estimation of the intelligence of my reader. Rather than doing that, I write the way it seems the book has to appear. I don’t think that’s egotistic. There are often things I would like to include in my books — things about me personally and other materials — that I feel I have to leave out because they aren’t relevant to the book. I’m fairly ruthless along those lines, because I try to let nothing come in the way of what’s best for the book. If that means that the book won’t sell or that a publisher won’t buy it, then that’s my problem. I’ll suffer for that, but I won’t let the book suffer for it.

This is the heart of it, the scared woman who does not want to go alone to the man any longer, because when she does, when she takes of her baggy dress, displaying to him rancid breasts each almost as big as his own head, or no breasts, or mammectomized scar tissues taped over with old tennis balls to give her the right curves; when, vending her flesh, she stands or squats waiting, congealing the air firstly with her greasy cheesey stench of unwashed feet confined in week-old socks, secondly with her perfume of leotards and panties also a week old, crusted with semen and urine, brown-greased with the filth of alleys; thirdly with the odor of her dress also worn for a week, emblazoned with beer-spills and cigarette-ash and salted with the smelly sweat of sex, dread, fever, addiction — when she goes to the man, and is accepted by him, when all these stinking skins of hers have come off (either quickly, to get it over with, or slowly like a big truck pulling into a weigh station because she is tired), when she nakedly presents her soul’s ageing soul, exhaling from every pore physical and ectoplasmic her fourth and supreme smell which makes eyes water more than any queen of red onions — rotten waxy smell from between her breasts, I said, bloody pissy shitty smell from between her legs, sweat-smell and underarm-smell, all blended into her halo, generalized sweetish smell of unwashed flesh; when she hunkers painfully down with her customer on bed or a floor or in an alley, then she expects her own death. Her smell is enough to keep him from knowing the heart of her, and the heart of her is not the heart of it. The heart of it is that she is scared.

The things you love too much perish” — After Shostakovich and Volkov, p. 78. The composer goes on: “You have to treat everything with irony, especially the things you hold dear.