Gilbert Sorrentino

“I like to synthesize; I hate analysis. I don’t like to take a subject and break it down into parts; I like to take disparate parts and put them all together and see what happens. I believe the old saw that the whole is more than the sum of its parts. Of course, it may also be less. But it’s the parts that interest me; it’s not the whole.”

“Rapacity plus taste is a formidable combination, since it so often passes for intelligence. One pities the artist in a world of such predators, all of whom are deeply engaged in the arts too.”

“Q: What literary complexities do you find most interesting? That is, what do you like most to "solve," so to speak, as a novelist?A: One wishes to create characters who will speak directly to the minds of comparative literature professors and intelligent book reviewers.”

“Outside of the dreary rubbish that is churned out by god knows how many hacks of varying degrees of talent, the novel is, it seems to me, a very special and rarefied kind of literary form, and was, for a brief moment only, wide-ranging in its sociocultural influence. For the most part, it has always been an acquired taste and it asks a good deal from its audience. Our great contemporary problem is in separating that which is really serious from that which is either frivolously and fashionably "radical" and that which is a kind of literary analogy to the Letterman show. It's not that there is pop culture around, it's that so few people can see the difference between it and high culture, if you will. Morton Feldman is not Stephen Sondheim. The latter is a wonderful what-he-is, but he is not what-he-is-not. To pretend that he is is to insult Feldman and embarrass Sondheim, to enact a process of homogenization that is something like pretending that David Mamet, say, breathes the same air as Samuel Beckett. People used to understand that there is, at any given time, a handful of superb writers or painters or whatever--and then there are all the rest. Nothing wrong with that. But it now makes people very uncomfortable, very edgy, as if the very idea of a Matisse or a Charles Ives or a Thelonious Monk is an affront to the notion of "ain't everything just great!" We have the spectacle of perfectly nice, respectable, harmless writers, etc., being accorded the status of important artists...Essentially the serious novelist should do what s/he can do and simply forgo the idea of a substantial audience.”

“Only death can cure the hip dilettante.”

“It is no wonder lesbians love women.”

“There is no sincere stupidity that doesn't create, eventually, its own rationale, conduct, operating procedures, its own critical formulae whereby it may be, in all seriousness, discussed: witness the advertising business. Witness the best-seller list. Areas of idiocy within which various degrees of the spurious are compared.”

“All I do know, for certain, after 53 years in this business, is that writers who sincerely think that their language can represent reality ought to be plumbers.”

“One must find some structure, even if it be this haphazard one of the alphabet.”

“…and to all you other cats and chicks out there, sweet or otherwise, buried deep in wordy tombs, who never yet have walked from off the page, a shake and a hug and a kiss and a drink. Cheers!”

“You are perfectly justified in scoffing at the outrageous transparency of it if I tell you that his wife said that he was so pale that he looked as if he had seen a ghost, but that is, indeed, what she said. Art cannot rescue anybody from anything.”

“Art cannot save anybody from anything.”

“The maimings of love are endlessly funny....”

“A writer discovers what he knows as he knows it, i.e., as he makes it. No artist writes in order to objectify an “idea” already formed. It is the poem or novel or story that quite precisely tells him what he didn't know he knew: he knows, that is, only in terms of his writing. This is, of course, simply another way of saying that literary composition is not the placing of a held idea into a waiting form.”