“When Mies van der Rohe said that God was in the details, and Paul Valéry insisted that there were no details in execution, both meant the same thing—namely that every element of the work must be made to count.” — William H. Gass, “Three Lives,” from A Temple of Texts
“I must say I trust hatred more than love. It is frequently constructive, despite the propaganda to the contrary; it is less frequently practiced by hypocrites; it is more clearly understood; it is painfully purchased and therefore often earned; and its objects sometimes even deserve their hoped-for fate. If you love the good, you have to hate evil. I cannot imagine a love so puerile and thin and weak-kneed it cannot rage.” — William H. Gass, “Fifty Literary Pillars,” from A Temple of Texts
“Everything around us is terrifying. There is no longer a common language. No one understands anyone else. I believe no one wants to understand.” — Elias Canetti, The Agony of Flies (quoted in “Influence,” from A Temple of Texts, by William H. Gass (emphasis in original))
“If you enjoy the opinions you possess, if they give you a glow, be suspicious. They may be possessing you. An opinion should be treated like a guest who is likely to stay too late and drink all the whiskey.” — William H. Gass, “Influence,” from A Temple of Texts
“True strength, throughout its spectrum, shows itself through unflustered gentleness and forbearance, since only such strength has nothing to fear.” — William H. Gass, “Influence,” from A Temple of Texts
“It may be that in a state of nature, since it is a state of war, the life of man is solitary, poor, nasty, brutish, and short, but in our present state of mediocrity, it is cowardly, shallow, tedious, banal, and uselessly drawn out.” — William H. Gass, “To a Young Friend Charged with Possession of the Classics,” from A Temple of Texts
“It is not death that is to be feared but, rather—and something history should be devoted to demonstrating—the loss of excellence.” — William H. Gass, “There Was an Old Woman Who,” from Tests of Time
“A fiction is forever a fiction, and everything that was will remain as it was eternally.” — William H. Gass, “There Was an Old Woman Who,” from Tests of Time
“No amount of relativism, no degree of deconstruction, no namby-pamby pluralism, despite debunking, the disclosure of bias, the so-called unreliability of observers and their cultural conditioning—their class and color blindness—or the oft-bewailed problems of representation, language’s betrayal of the mind, should be allowed to shake the singleness, consistency, and wholeness of any happening.” — William H. Gass, “There Was an Old Woman Who,” from Tests of Time
“To be stupid and selfish and to have good health are the three requirements for happiness, though if stupidity is lacking, the others are useless.” — Gustave Flaubert (quoted in Tests of Time, by William H. Gass)
“For the real writer, life does more than accept or resemble language; it coughs up words like gobs of bloody spit, suggests them, insists, and every one is more historical than history, deep beyond diving, wide beyond reach.” — William H. Gass, “Quotations from Chairman Flaubert,” from Tests of Time
“A writer should be wary of the world, as if it were a place of poisonous ivies and venomous snakes.” — William H. Gass, “Quotations from Chairman Flaubert,” from Tests of Time
“A book may have been published, but it is not available if I don’t know it exists; if it costs more than I can afford; if it is locked up and out of reach; if I am illiterate, or ashamed of bookishness, or teased or told I am uppity if I want to rise above my fellows. Entire societies are devoted to keeping their citizens ignorant, unskilled, unschooled, fanatical in support of their own stupidity and of the forces which would switch off every intellectual light.” — William H. Gass, “The Shears of the Censor,” from Tests of Time
“Ideally, magazines should be supported by their subscribers. But our educational system doesn’t produce such audiences. We publish poetry; we don’t read it. We like it performed for us so that it will, with the poet, take the plane. And we like our few books autographed, because they will, one day, be worth more to our heirs and our assigns.” — William H. Gass, “The Shears of the Censor,” from Tests of Time
“The chief mode of censorship in a commercial society is, naturally enough, the marketplace. It is not that we suppress serious books entirely. But in capitalist countries, only on the margins can excellence be located. Poetry and most significant fiction have to find a few little magazines to appear in, or an occasional small press which may be prepared to nourish them. However, those obscure mags are read only by their editors; the presses are being pennied to death; while their distributors go bankrupt.” — William H. Gass, “The Shears of the Censor,” from Tests of Time
“There is a bond between us, readers and writers—an ancient tie as old as writing is, if not as old as speech itself, a pact, a promise which the act of setting down sentences in a moving way implicitly solidifies—that what we shall say shall be as true to things and to our own hearts as we can manage with our skills to make them; and that what we read shall be free and unforced and uttered out of the deepest respect for the humanity all language represents, whatever its content otherwise; and that this covenant (broken tragically, every day which history has been there to mark) is the model for all exchange of thought and need and feeling, and that this community, the community of unveiled countenance and free speech, must be sustained if we are to continue, either in the harsh and unforgiving condition of survival or in terms of every genuine enterprise of the moral spirit—in short, so we can say, though we may be here by genetic accident or god’s decree, that we deserve to stay.” — William H. Gass, “Tribalism, Identity, and Ideology,” from Tests of Time
“What is unthinkable? Think it. What is unutterable? Utter it. What cannot be spelled without a dash? Fill in the dashes with doubts. What is obscene? Dream it. In all its tones, in seamy detail, at indelicate length. What is too horrible to contemplate? Describe it. With cool and indifferent interest. As though peeling a peach. You will not be the first, for the unthinkable has already been thought, the unutterable uttered innumerable times, God’s various names have been taken in vain, the obscene has been enjoyed, the horrible carried out.” — William H. Gass, “The Writer and Politics: A Litany,” from Tests of Time
“In every country, in every clime, regarding any rank or race, at any time and with little excuse, orthodoxy will act evilly toward its enemies. Survival is its single aim–that is, to rigidify thought, sterilize doubt, cauterize criticism, and mobilize the many to brutalize the few who dare to dream beyond the borders of their village, the walls of their room, the conventions of their community, the givens of some god, the mother-smother of custom, or the regimen of an outmoded morality.” — William H. Gass, “The Writer and Politics: A Litany,” from Tests of Time
“There is nothing truly beautiful but that which can never be of any use whatever; everything useful is ugly, for it is the expression of some need, and man’s needs are ignoble and disgusting like his own poor and infirm nature. The most useful place in a house is the water-closet.” — Theophile Gautier, quoted in “The Writer and Politics: A Litany” (from Tests of Time, by William H. Gass)
“History is not an agent who goes about trampling traditions into dust, ending lives, stifling others, despoiling the land, and poisoning the sea. History is humanity on its rampage. Considering the frequency of natural calamities, our treatment of warfare as a seasonal sport, and the insatiable squirrelliness of human greed, it should be an occasion for surprise when anything excellent survives.” — William H. Gass, “The Test of Time,” from Tests of Time
“Verbs need nouns to be the agents of their doing and the object of their wrath, but only the way that strings need puppets.” — William H. Gass, “The Nature of Narrative and Its Philosophical Implications,” from Tests of Time
“In stories, there are agents and actions; there are patterns; there is direction; most of all, there is meaning. Even when the consequences are tragic, there is a point; there is a message, a moral, a teaching. And that is a consolation. It is consoling to believe that our lives have a shape, a purpose and direction; that the white hats and the black hats have appropriate heads beneath them, and are borne about by bodies with the right souls inside; that there are historical entities, called events, which we can understand, periods which have cohesion and personalities all their own, causes we can espouse or oppose, forces we can employ, and so on.” — William H. Gass, “The Nature of Narrative and Its Philosophical Implications,” from Tests of Time
“We’ve been trained from babyhood to have three square meals a day, the full factory-industrial revolution idea of how you’re supposed to eat. Before then it was never like that. You’d have a little bit often, every hour. But when they had to regulate us all, ‘OK, mealtime!’ That’s what school’s about. Forget the geography and history and mathematics, they’re teaching you how to work in a factory. When the hooter goes, you eat. For office work or even if you’re being trained to be a prime minister, it’s the same thing. It’s very bad for you to stuff all that crap in at once. Better to have a bit here, a mouthful there, every few hours a bite or two. The human body can deal with it better than shoving a whole load of crap down your gob in an hour.” — Keith Richards, Life
“I take the view that God, in his infinite wisdom, didn’t bother to spring for two joints–heaven and hell. They’re the same place, but heaven is when you get everything you want and you meet Mummy and Daddy and your best friends and you all have a hug and a kiss and play your harps. Hell is the same place–no fire and brimstone–but they just all pass by and don’t see you. There’s nothing, no recognition. You’re waving, ‘It’s me, your father,’ but you’re invisible. You’re on a cloud, you’ve got your harp, but you can’t play with nobody because they don’t see you. That’s hell.” — Keith Richards, Life (emphasis in original)
“Great songs write themselves. You’re just being led by the nose, or the ears. The skill is not to interfere with it too much. Ignore intelligence, ignore everything; just follow it where it takes you.” — Keith Richards, Life
“I’ve been through more cold turkeys than there are freezers. I took the fucking hell week as a matter of course. I took it as being part of what I was into.” — Keith Richards, Life
“To write a song that is remembered and taken to heart is a connection, a touching of bases. A thread that runs through all of us. A stab to the heart. Sometimes I think songwriting is about tightening the heartstrings as much as possible without bringing on a heart attack.” — Keith Richards, Life
“If I sleep with someone, I at least have the right to wear her clothes.” — Keith Richards, Life
“Nothing like a good ten, fifteen minutes of pubescent female shrieking to cover up all your mistakes.” — Keith Richards, Life