Kevin Wilson is the author of two collections, Tunneling to the Center of the Earth (Ecco/Harper Perennial, 2009), which received an Alex Award from the American Library Association and the Shirley Jackson Award, and Baby You’re Gonna Be Mine (Ecco, 2018), and three novels, The Family Fang (Ecco, 2011), Perfect Little World (Ecco, 2017) and Nothing to See Here (Ecco, 2019), a New York Times bestseller and a Read with Jenna book club selection.
His new novel, Now is Not the Time to Panic, will be published by Ecco in November of 2022.
His fiction has appeared in Ploughshares, Southern Review, One Story, A Public Space, and elsewhere, and has appeared in Best American Short Stories 2020 and 2021, as well as The PEN/O. Henry Prize Stories 2012. He has received fellowships from the MacDowell Colony, Yaddo, and the KHN Center for the Arts. He lives in Sewanee, Tennessee, with his wife, the poet Leigh Anne Couch, and his sons, Griff and Patch, where he is an Associate Professor in the English Department at the University of the South.
“Was this how trauma worked? she wondered. Those closest to it remained dumbfounded by the fact that those who weren't present could derive meaning from it?”
“The simplest things are the hardest to understand.”
“Up to this point, all I knew were beaten paths, tattooed with footprints, and I had come to the understanding that they were not much fun to travel because so many people were waiting for you at the end, wondering what took you so long.”
“He would teach himself to dislike what he actually liked, to approve of what he did not totally understand, in the hopes that he would come out the other side with something that resembled inspiration, something that would make him more famous than Chris Burden or even Hobart Waxman.”
“I understand that art is a necessary component of a civilized society, but you cannot just go around shooting people. That's going to be a problem.”
“[S]he found it impossible to move, the weight of her failure keeping her anchored to the sofa.”
“Great art is difficult," Caleb said. After a few moments, he said, "But I don't understand why it has to be so difficult sometimes.”
“Wyoming, to Annie, was represented by a blank, bleak space in her imagination. It was a place she could hide. The worst that could happen would be that she would sleep with Daniel and then get eaten by a wolf. She could live with that.”
“Buster sat on the curb in front of the college, waiting for his sister to pick him up. To pass the time, he skimmed the stories of the creative writing students. One was about a wild party and the story consisted almost entirely of a detailed explanation of a drinking game called Flip 'N Chug that seemed, to Buster, to be too complicated to facilitate the simple goal of getting drunk.”
“Atop a Ferris wheel, Orson Welles told Joseph Cotten how Italy's thirty years of war and terror and bloodshed had produced the Renaissance and Michelangelo, and how Switzerland's five hundred years of democracy and peace had produced, goddamn, only the cuckoo clock.”
“I know why you picked that movie,' he told her. Annie smiled and said, 'It fits our life in a few ways, I guess.' Buster pointed at the screen, which was now blank. 'It shows you that you have to stay vigilant to find a missing person, even when people tell you not to, that it's possible to bring them back from the dead.' Annie shook her head. 'I picked it because it shows that after you bring someone back from the dead, you get to kill them yourself.”
“I don't think I can keep looking at this stuff, Buster," she informed him, handing the camera to her brother. "It makes me want to drink either more alcohol or none, and I can't imagine either possibility.”
“People would call him Professor Fang, which sounded so much like a super villain that he wasn't sure he could go through with it.”
“It was hard to see where he was going, and he was careful not to damage the camera, so expensive that his father made him name it (Carl), so he would treat it more carefully.”
“His writing had become, like a stash of rare and troubling pornography, something that must be kept hidden, an obsession that other people would be mystified to discover.”
“Even awful people can be polite for a few minutes,” their father told them. “Any longer than that and they revert to the bastards they really are.”
“But do you enjoy it?” Annie asked. Raven stared at Annie’s reflection in the mirror. “I don’t hate it,” Raven said. “You spend enough time with anything, that’s all you can really ask for.”
“What do you think I'm going to do?" she asked him. "Whatever it is," he answered, "I think you'll be terrified when it happens. Don't let that stop you.”
“You are very sweet," she told him after a year of dating, as they shared dessert at a restaurant, "but it's like your family trained you to react to the world in a way that was so specific to their art that you don't know how to interact with people in the real world. You act like every conversation is just a buildup to something awful.”
“Annie took another sip of the vodka, letting the alcohol seep through her system, turning bad ideas into good ones.”
“These weird thoughts come into my head, and I don't even really want to think about it, but I can't let go of it until I take it as far as I can, until I reach some kind of ending, and then I can move on. That's what writing is like for me.”
“Annie, no stranger to disappointment, felt the hope break down inside her body and disperse without any lingering effects.”
“What you'll find, I think, is that the things you most want to avoid are the things that make you feel the greatest when you actually do them.”
“Buster closed his eyes, held his breath, and, before he realized that the gun had been fired, a gust of heat and wind passed over him and deconstructed the beer can atop his head, the sound of something irrevocably giving up its shape and becoming, in an instant, something new.”
“I don't know what I'm saying, really, but I guess it's like having a kid, though I don't have any kids. It's yours, you made it, and no matter what happens, you have that pride of ownership. You love it, even it it didn't amount to much.”
“It had all been fake, a choreographed event, but they could not escape the dread that rattled inside their chests. It was a testament to their proficiency and talent as artists. They had affected themselves with the authenticity of the moment.”
“Don't you see? The things we once loved do not change, only our belief in them... You are left with the only things that any of us have in the end. The things we keep inside of ourselves, that grow out of us, that tell us who we are.”
“Conventional lives are the perfect refuge if you are a terrible artist.”
“Children are not guaranteed the luxuries of family, Ms. Wells," he said. "If people are unable to exist within the parameters that have been created for them, they lose any claim to titles like son and daughter.”
“Again,' he said and, without waiting for an answer, ran into the growing dark without fear, every single part of his body overwhelmed with the task of being alive.”
“He tried to think of all the people in his life as chemicals, the uncertainty of mixing them together, the potential for explosions and scarring.”
“When she called her brother, Buster said that she should climb out the window of the bathroom and run away, which was his solution to most problems.”
“She's got a way of making a man feel guilty for certain things he'd never feel bad about on his own, like watching someone shoot himself in the face.”
“She is prettier than her picture had prepared me for, blond curls, big blue eyes, like a fake child that someone would make in order to convince people to have children.”
“That does not surprise me,' Annie said and once again hung up the phone thinking that she had chosen to surround herself with people who were, for lack of a better term, retarded.”