“As far as arms go, I think they’re the one part of the body that tends to get short shrift in fiction, even though they’re the place where the trouble between people usually gets its start.” – Gary Lutz (from Justin Taylor interview in Bookslut)
“A job does things to a person, deducts a person pretty brutally from life. Desks are terrible places, no matter how many wheels a chair might have. You can’t do much about how drawers fill up.” – Gary Lutz (from Justin Taylor interview in Bookslut)
“Writing is rich to the extent that the drama of the subject matter is supplemented or deepened by the drama of the letters within the words as they inch their way closer to each other or push significantly off.” – Gary Lutz, “The Sentence Is a Lonely Place”
“Once the words begin to settle into their circumstance in a sentence and decide to make the most of their predicament, they look around and take notice of their neighbors. They seek out affinities, they adapt to each other, they begin to make adjustments in their appearance to try to blend in with each other better and enhance any resemblance. Pretty soon in the writer’s eyes the words in the sentence are all vibrating and destabilizing themselves: no longer solid and immutable, they start to flutter this way and that in playful receptivity, taking into themselves parts of neighboring words, or shedding parts of themselves into the gutter of the page or screen; and in this process of intimate mutation and transformation, the words swap alphabetary vitals and viscera, tiny bits and dabs of their languagey inner and outer natures; the words intermingle and blend and smear and recompose themselves. They begin to take on a similar typographical physique. The phrasing now feels literally all of a piece. The lonely space of the sentence feels colonized. There’s a sumptuousness, a roundedness, a dimensionality to what has emerged. The sentence feels filled in from end to end; there are no vacant segments along its length, no pockets of unperforming or underperforming verbal matter. The words of the sentence have in fact formed a united community.” – Gary Lutz, “The Sentence Is a Lonely Place”
“The sentence, with its narrow typographical confines, is a lonely place, the loneliest place for a writer, and the temptation for the writer to get out of one sentence as soon as possible and get going on the next sentence is entirely understandable. In fact, the conditions in just about any sentence soon enough become (shall we admit it?) claustrophobic, inhospitable, even hellish. But too often our habitual and hasty breaking away from one sentence to another results in sentences that remain undeveloped parcels of literary real estate, sentences that do not feel fully inhabitated and settled in by language.” – Gary Lutz, “The Sentence Is a Lonely Place”
“A lie is a truth struck through with other, further truth.” – Gary Lutz, “This Is Nice of You”
“I have read descriptions of Paradise which would make any sensible person stop wanting to go there: according to some, the spirits of the blessed spend all their time playing the flute; others sentence them to walk about for ever; others again claim that while up there they dream about their mistresses down here, considering that a hundred million years is not too long for them to lose their taste for being love-sick.” – Montesquieu, “Letter 125,” Persian Letters (trans. Betts)
“The urge to greet every answer with another question is one we find in children not because it’s childish but because it’s natural. Once you begin the search for knowledge, there is no obvious place to stop. The fact that the desire for omniscience cannot be met does not make it either foolish or pathological. Indeed, it is embodied in the principle of sufficient reason itself. The principle of sufficient reason expresses the belief that we can find a reason for everything the world presents. It is not an idea that we derive from the world, but one that we bring to it.” – Susan Neiman, Evil in Modern Thought
“Is the desire for transcendence a matter of psychology—in which case it’s advisable to seek a good cure? Or is the existence of that desire fundamental to any experience we could recognize as human?” – Susan Neiman, Evil in Modern Thought
“The wish to undo an evil that was done to you in the past is the very model of senseless obsession. If you cannot abandon it, you will be trapped in the sterile self-defeat of rage without revenge, pain without relief.” – Susan Neiman, Evil in Modern Thought
“The difference between invoking collective good as a way of consoling us for individual suffering and invoking it as a way of justifying individual suffering is so fine that it is routinely ignored in political practice.” – Susan Neiman, Evil in Modern Thought (emphasis in original)
“To think that suffering can be redeemed by the demonstration that it’s necessary for future good is not only to be instrumentalist; it shows you know nothing about pain. Time itself does not heal; it only buries.” — Susan Neiman, Evil in Modern Thought
“If our life were without end and free from pain, it would possibly not occur to anyone to ask why the world exists.” – Schopenhauer, The World as Will and Representation (trans. Payne)
“Does experience really show that pleasure becomes insipid if it lasts long—or is this just the sort of thing we say for comfort because it usually doesn’t?” – Susan Neiman, Evil in Modern Thought
“Being human means to strive to realize a world so perfect that its realization would undo us.” – Susan Neiman, Evil in Modern Thought
“As an educational tool, pain has value nothing else can replace.” – Susan Neiman, Evil in Modern Thought
“Freedom, if it’s universal freedom, must allow for the failure of others.” – Susan Neiman, Evil in Modern Thought
“Recognizing one’s limits seems a form of fair trade: if we withdraw some of our claims on the world, surely those remaining will be met. Yet the wish to determine the world can’t be coherently limited, for you cannot know which event will turn out to be not just another event, but one that will change your life.” – Susan Neiman, Evil in Modern Thought
“To imagine a God who judges many of the forms of life He created to be sinful, then tortures us eternally for our brief participation in them, is hardly to imagine a solution to the problem of evil.” – Susan Neiman, Evil in Modern Thought
“What if the world were created by a Being whose whole purpose was to cause us torment and illusion? God knows it sometimes looks that way.” – Susan Neiman, Evil in Modern Thought
“Everywhere I see people who talk continually about themselves. Their conversation is a mirror which always shows their own conceited faces. They will talk to you about the tiniest events in their lives, which they expect to be magnified in your eyes by the interest that they themselves take in them.” – Montesquieu, “Letter 50,” Persian Letters (trans. Betts)
“Those who enjoy learning are never idle.” – Montesquieu, “Letter 48,” Persian Letters (trans. Betts)
“The distant rear of an army engaged in battle is not the best place from which to judge correctly what is going on in front.” – Ulysses S. Grant, Personal Memoirs
“Nothing is more depressing than consolations based on the necessity of evil, the uselessness of remedies, the inevitability of fate, the order of Providence, or the misery of the human condition. It is ridiculous to try to alleviate misfortune by observing that we are born to be miserable. It is much better to prevent the mind from indulging in such reflections, and to treat men as emotional beings, instead of treating them as rational.” – Montesquieu, “Letter 33,” Persian Letters (trans. Betts)
“I would not have the anniversaries of our victories celebrated, nor those of our defeats made fast days and spent in humiliation and prayer; but I would like to see truthful history written.” – Ulysses S. Grant, Personal Memoirs
“A limp that tells the world we are compensating for an injury becomes a habit hard to break even when its cause has healed and there is no longer any ‘reason’ for it. Except that the limp wishes to remain. Our stutter wants to stay. Our fall from a ladder would be forever like a cast-out angel if we didn’t fetch up in a lake of fire or at least on a floor.” — William H. Gass, “Auguste Rodin,” from A Temple of Texts
“All of us have emotions urgently seeking release, and many of us have opinions we think would do the world some good; however, the poet must also be a maker, as the Greeks maintained, and, like the sculptor, like every other artist, should aim at adding real beings to the world, beings fully realized, not just things like tools and haberdashery that nature has neglected to provide, or memos and laws that society produces in abundance.” — William H. Gass, “Auguste Rodin,” from A Temple of Texts
“The world is not simply good and bad on different weekends like an inconsistent pitcher; we devour what we savor and what sustains us; out of ruins more ruins will after, in their polished towers, rise; lust is the muscle of love: its strength, its coarseness, its brutality; the heart beats and is beaten by its beating; not a shadow falls without the sun’s shine and the sun sears what it saves. These are not the simplicities my saying has suggested. In our civilization, the center has not held for a long time; neither the center nor the place where the center was can now be found. We are disordered, arthritic fingers without palms. Inside the silence of unmoving things, there are the sounds of repeated explosions. Perhaps it is catastrophe breathing.” — William H. Gass, “Humors of Blood & Skin,” from A Temple of Texts
“There are those who like to sail alone around the world; they shut themselves up in towers to write or watch for fires; in huts encased in ice, they give up their lives to loneliness; who hunt for pelts in the mountains or are driven with aimless intensity from place to place like sand through a desert; fly solo, take to the woods. Searching for a second self, they dislike distraction. They want something to pit their strength against: angel or shade or element of nature that will assume the shape, and become the substance, of their enemy within.” — William H. Gass, “On Heroes and Tombs,” from A Temple of Texts
“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