Novelists From The United States

"Afraid of a woman! Ha, great writer this! How can he write about women, when he's never had a woman? Oh you lousy fake, you phony, no wonder you can't write! No wonder there wasn't a woman in The Little Dog Laughed. No wonder it wasn't a love story, you fool, you dirty little schoolboy."

"The hotel was called the Alta Loma. It was built on a hillside in reverse, there on the crest of Bunker Hill, built against the decline of the hill, so that the main floor was on the level with the street but the tenth floor was downstairs ten levels. If you had room 862, you got in the elevator and went down eight floors, and if you wanted to go down in the truck room, you didn't go down but up to the attic, one floor above the main floor."

"Los Angeles, give me some of you! Los Angeles come to me the way I came to you, my feet over your streets, you pretty town I loved you so much, you sad flower in the sand, you pretty town."

"I was passing the doorman of the Biltmore, and I hated him at once, with his yellow braids and six feet of height and all that dignity, and now a black automobile drove to the curb, and a man got out. He looked rich; and then a woman got out, and she was beautiful, her fur was silver fox, and she was a song across the sidewalk and inside the swinging doors, and I thought oh boy for a little of that, just a day and a night of that, and she was a dream as I walked along, her perfume still in the set morning air."

"And I remembered the inside of that apartment, how it smelled of mice and dust, and the old women who sat in the lobby on hot afternoons, and the old woman with the pretty legs. Then there was the elevator man, a broken man from Milwaukee, who seemed to sneer every time you called your floor, as though you were such a fool for choosing that particular floor, the elevator man who always had a tray of sandwiches in the elevator, and a pulp magazine."

"The afternoon moved like lava."

"But I was gone, hurrying through the darkness of the vast warehouse, only the echo of [Naylor's] voice reaching me. On the way out I passed through the wet clammy room where they dumped mackerel, from the fishing boats. But tonight there were no mackerel, the season had just ended, and instead there were tuna, the first real tuna I ever saw in such numbers, the floor littered with them, thousands of them scattered over a carpet of dirty ice, their white corpse-like bellies blundering through the semi-darkness. Some of them were still alive. You could hear the sporadic slapping of tails. There in front of me flapped the tail of one who was more alive than dead. I dragged him out of the ice. He was bitter cold and still kicking. I carried him as best I could, dragging him too, until I got him upon the cutting table where the women would dress him tomorrow. He was tremendous, weighing almost a hundred pounds, a monster of a fellow from another world, with great strength still left in his body, and a streak of blood coming from his eye, where he had been hooked. Strong as a man, he hated me and tried to break away from the cutting board. I pulled a gutting knife from the board and held it under his white pulsing gills. "You monster!" I said. "You black monster! Spell Weltanschauung! Go on - spell it!" But he was a fish from another world; he couldn't spell anything. The best he could do was fight for his life, and he was already too tired for that. But even so, he almost got away. I slugged him with my fist. Then I slid the knife under his gill, amused at his helpless gasping, and cut off his head. "When I said spell Weltanschauung, I meant it!" I pushed him back among his comrades upon the ice. "Disobedience means death." There was no response save the faint flapping of a tail somewhere in the blackness. I wiped my hands on a gunny sack and walked into the street toward home."

"His mother had too much God in her."

"He closed the door carefully, as though his whole life had been spent in the exact science of closing doors."

""A butcher will always cheat a fool," she said."

"My father was teaching me his trade. I was his son and he was showing me how to write the way his own father from Torricella Peligna had shown him, as a boy, how to work a wall of stone or lay a row of brick. I was learning how to build books. Watching a master at work. Those would be the most important days of my life."

"Then one day [i.e. while in the Los Angeles Public Library] I pulled a book down and opened it, and there it was. I stood for a moment, reading. Then like a man who had found gold in the city dump, I carried the book to a table. The lines rolled easily across the page, there was a flow. Each line had its own energy and was followed by another like it. The very substance of each line gave the page a form, a feeling of something carved into it. And here, at last, was a man who was not afraid of emotion. The humour and the pain were intermixed with a superb simplicity. The beginning of that book was a wild and enormous miracle to me. I had a library card. I checked the book out, took it to my room, climbed into my bed and read it, and I knew long before I had finished that here was a man who had evolved a distinct way of writing. The book was Ask the Dust and the author was John Fante. He was to be a lifetime influence on my writing."

"Civilization without its appliances is weaker than barbarism."

"(How did you meet George Trow, the New Yorker editor?) JK: I met National Lampoon editor Michael O’Donoghue in an elevator. We started to talk, and he said, “I know someone who would like you very much!” And he introduced me to George, who adopted me as a sister. He thought I was funny, so he would take me to events with him, and I would say something, and he would write it down. And the things I said began to appear in “Talk of the Town”; George would say “we went somewhere with our sassy black friend Jamaica Kincaid” and the whole rest of it would be something I had said."

"Maybe that’s why everyone died young. Some of the questions you didn’t dare ask about Earth People’s Park were: Where is it? Who will run it? Will anyone want to do the real work? Like the global economy now, it was just something assumed, and the people in the room were there to embody the zeitgeist of it and kill the people who didn’t belong (or seem to belong) in the body of the zeitgeist."

"The fact is that fifty percent of our national mind is a giant, explosive blowup of a Xerox of a 1970s rock-and-roll press list."

"I don’t just like Ike; I love him. I think he’s the guy of guys, I think he’s uniquely American, and I’m sorry we’re not going to have him anymore."

"[O]ne loss in our era has been any interest in stories told from the top down."

"[Ike] was presiding over a situation in which history was turning into demography, in which judgment—and Ike possessed judgment with a capital J—was being drained out of every powerful situation, and marketing considerations were being pumped in."

"Our third American Tragedy is Martin Luther King. King was Mario Cuomo and Stevenson another way. Oh, he had some Roosevelt will to power, but Cuomo has a will to power, and Stevenson had a little, maybe more than I’m giving him credit for. He was who you wanted it to be, in a way. Old America. We’re singing spirituals again. We’re having dreams again. Well, that left mechanization entirely out of the question. There was no Hollywood there. There were no gangsters there. There was no World War II victory there. I hope everyone understands I’m being completely nonracist when I say he was Adlai Stevenson another way."

"With Eisenhower, we’re dealing with something after the fact, a kind of Diocletian grace of God to rule over us, for a time, while we figure out who we are, as rulers."

"As that little child in the spacesuit in The Seven year Itch grew up, three things would become obvious to him. He would be aware that he hadn’t been trained to really understand the history of mechanization, and was insufficient in that regard; that he hadn’t been trained to be anything like Winston Churchill, and was going to be permanently insufficient in that regard; and that he wasn’t actually going to be able to look a mine worker in the eye, and was going to be insufficient in that regard. He was going to be aware that he had been a Video Ranger from the start, and that he was going to have to keep on being a Video Ranger, and that he was going to have to learn to laugh about that. And, also, because he wanted to get married, to be a man in some sense, he was going to have to be serious about something. He was going to have to touch base with some real thing going on in his father, and what he got hold of was the irony in his father....And the evolution of that process is toward David Letterman…. We were going to have to grow up to be entirely ironic in our visceral reactions to our own manhood."

"Don’t let me get grand with you; I’m not someone who was, from day one, turning himself into a philosophical academic or anything; I was, from day one, someone who was determined to survive, and to pay attention to what was going on around him, period, and when Elvis Presley came along, my heart stood still, to borrow the Larry Hart lyric. The first note I heard from him, I said, “Well, this is it, this is a sufferer like me, this is something new, this is what I want, this is who I am, in a way,” and Elvis had that gift. That’s why there are so many Elvis imitators."

"…the film [Elvis ’56] is moving to me because it shows his vital uniqueness walking—a new kind of old American, innocent, with old American experience, and that’s always been our formula, our innocence, plus a unique kind of experience that other people haven’t had in other lands—walking with all of that, plus physical beauty, into Rear Window—down-the-drain-land."

"(discussing the Alfred Hitchcock film Saboteur): …I saw when I was young that, in fact, when you got to the top or toward the top of things, you found, indeed, very flawed but glamorous people, people who were, in fact, not thinking about the kinds of problems that the blind man was thinking about in 1943, not acting intuitively and bravely and in some kind of harmony with nature as that blind man in Saboteur was acting, and certainly not taking on impossible tasks. People were acting in a kind of what I’ve come to call a deutero-Hemingway way: they were preserving their own vitality by being adventurous within the media. The James Stewart character is someone who roams the world, but with a camera, not a gun, and not like Schweitzer, setting up modes of change in impossible places. He’s touring the world adventurously in the interest of preserving his masculine independence, but he’s doing it with a camera."

"By 1956, out of all the Cultural Avatars and Vectors available in 1950, THE GIRL had won. Authority. (And they had it, those girls; no one today has it.) They’d won the war, in a way."

"USA Today is back-formed from the Assumed Dominant Mind of television."

"...my friend Dr. Arno Gruen, author of The Insanity of Normality, has said an interesting thing. He said that culture, in recent decades, has taken on a life of its own, without reference to the people it is supposed to protect."

"Your parents had a third parent—television. If you went back to 1950, you would be surprised. Many people—of all kinds and conditions—had just two parents. In the time since then, the referee has won all the championship matches—and the referee is a value-free ritual."

"World War II changed the demography. For a while, high seriousness was a part (only a part) of the mix. No one likes to think that the vector that has carried him into the demography could get lost in the demography, but that is what happens. Rock and roll—or the generating spirit of rock and roll—could get lost there, easily. And just think of all the ideas—and changes—there were implicit in the hegemony of rock and roll. We could be left with . . . just some of the music."

"The 1960s weren’t the 1920s again; they were the Liberal Arts expressed in the negative. The 1970s, despite the hedonism, weren’t the 1920s; they were the Negative out to get all the rewards formerly held by the Positive. The Goat and Adding Machine Ritual is now."

"Each one of these social generations—from the ‘50s, from the ‘60s, from the ‘70s, from the Reagan era, from now—thinks of its social aesthetic as definitive. In fact, they are all in a process: encouraged toward, and beyond, hubris, by demography."

"The idea of choice is easily debased if one forgets that the aim is to have chosen successfully, not to be endlessly choosing."

"The work of television is to establish false contexts and to chronicle the unraveling of existing contexts; finally, to establish the context of no-context and to chronicle it."

"Celebrities have an intimate life and a life in the grid of two hundred million. For them, there is no distance between the two grids of American life. Of all Americans, only they are complete."

"Wonder was the grace of the country."

"[p]eople who go to Wikipedia to get ideas for whom to hire, or honor, or read, and look at that list of 'American Novelists' for inspiration ... might simply use that list without thinking twice about it."

"The intention appears to be to create a list of ‘American Novelists’ on Wikipedia that is made up almost entirely of men. The category lists 3,837 authors, and the first few hundred of them are mainly men."

"His body was now very close to hers, and he dared to bring his hand under her skirt. “Where is your underwear?” he asked. “I lost it.” “Where?” “In the garden. It fell off when I was spying. I didn’t have time to retrieve it.”"

"Reality is so dull, Alan thought. Any mistake in one’s perception of it is inevitably more interesting than the real thing, and lucky are those who remain uninformed of their error."

"“One of my greatest pleasures in life is promising myself I will not drink, or smoke, or take coke, or do heroin, or eat cookies, then doing it. It’s a pleasure that can be repeated daily.”"

"Lynn stalked. She had taken up stalking for health reasons, but it was not paying off as handsomely as she had hoped."

""My gift to you will be to take away your freedom of choice for a while. Freedom can be very unhealthy and unproductive. Instead, you’ll have freedom from choice.”"

"For months I had been trying to be less myself."

"I bring Laura to the edge of the clapping crowd, and I watch her sink, becoming engulfed in the sea of clapter."

"I am a man without many pleasures in life, a man whose few pleasures are small, but a man whose small pleasures are very important to him. One of them is eating. One reading. Another eating while reading."

"Up anchor! Up anchor! Set sail and away! The ventures of dreamland Are thine for a day."

"Where did this filthy thing come from?"

"The first thing to be done by a biographer in estimating character is to examine the stubs of his victim's cheque-books."

"When youth was lord of my unchallenged fate, And time seemed but the vassal of my will, I entertained certain guests of state— The great of older days."