Stephen Dobyns

“A work of art gives testimony to what it is to be a human being. It bears witness, it extracts meaning. A work of art is also the clearest nonphysical way that emotions is communicated from one human being to another. The emotion isn't referred to; it is re-created. The emotion shows us that our most private feelings are in fact shared feelings. And this offer us some relief from our existential isolation. (p: 10)”

“For the past thirty years or so, much American poetry has been marked by an earnestness that rejects the comic. This has nothing to do with seriousness. The comic can be very serious. The trouble with the earnest is that it seeks to be commended. It seeks to be praised for its intention more than for what it is saying.”

“There are many reasons for violence. This is just something that sometimes happens. We'd see it in treatment centers - the child who'd suffered something awful. Even in the best recovery there'd be a fear that everything would fall apart and they'd become victims again. And their final loyalty was to themselves. They couldn't be forced. They preferred to wreck everything, preferred self-destruction to surrender. (175)”

“Let's say someone has experienced a violent trauma or betrayal: a child has been raped by a parent or has witnessed the destruction of someone he loves or has been so traumatized by the possibility of beatings and punishments that he's afraid to act. If the trauma is great enough, that person's life may become frozen, emotionally frozen even though he still gets up in the morning, is busy all day, and goes to bed at night. But there's this empty space that begins to fill with rage, rage toward everyone - the perpetrator, the people in the world who haven't suffered, even toward himself. (174)”

“When he began to talk about Wyndham, it was almost with relief, as if his purpose in life was to tell that story over and over. To tell it until its last shard had been pulled from him. As he listened to himself, he realized that the story sounded practiced as it changed from event and recollection into language, as if each retelling were an attempt to scrub away the awfulness.”

“Adolescence is a dreadful period. We tend to notice those youngsters who misbehave and call attention to themselves, but there are others, equally miserable, who receive no help simply because they are silent. (41)”

“You should welcome your ignorance because it enables you to learn. (31)”

“They are asleep. This is the condition they prefer. They are afraid of the world and sleep is a way of dealing with their fear. Someday they will wake. Perhaps something frightful will happen. Indeed, there is no better invitation to the frightful than ignorance - that is, sleep. (29)”

“Actions have consequences. Ignorance about the nature of those actions does not free a person from responsibility for the consequences. (28)”

“Each thing I do, I rush through so I can do something else. In such a way do the days pass---a blend of stock car racing and the never ending building of a gothic cathedral. Through the windows of my speeding car I see all that I love falling away: books unread, jokes untold, landscapes unvisited...”

“My wife's dying upstairs and I can't do anything about it. I look in her face and I see the memories there. I see how I hurt her and how I said the wrong things and how I got angry and how I wasn't the man she hoped I'd be. I see that in her face and I see she's going to die with that. You think I'm not preoccupied?”

“These people you used to see every day, friends or acquaintances, after a while they become as distant as any stranger, people you suddenly recall late at night--you remember something they said or something silly that someone once did. For a few moments they completely occupy your mind; then you forget them again.”

“If it weren't for the Chicagos and Detroits and Toledos, the terrible things would spread out across the whole country and make trouble for everybody else. Such places were collectors of badness in the way hospitals were collectors of the sick and damaged.”

“It was as if pain were a room he had entered and the door had been locked behind him.”

“Most women are more into real estate than sex. They want to own you.”

“The obsession was gone. We liked each other, even loved each other. And our sex was still good, but the hunger was gone. Either it just wore out or we wore each other out. A passion like that pushes everything else out of its path. You can't be married and have jobs and children and work and write and have something like an emotional bubonic plague.”

“It was not that she felt any allegiance to the truth. God knows she had cheated on too many men for the truth to be more than a stumbling block. But sometimes falsehood took more strength than she could summon up.”

“It's peculiar to eat naked, but not crazy. What's crazy is to shoot yourself. You've got to get these things in perspective.”

“Isn't that why you want to shoot yourself? To make a protest against change?”

“He thinks of that ocean house and wishes he were back in his former life or that one could take one moment and remain inside it like an egg inside its shell, instead of constantly being hurried into the future by good luck or bad.”

“Hesitancy is the surest destroyer of talent. One cannot be timorous and reticent, one must be original and loud. New metaphors, new rhythms, new expressions of emotion can only spring from unhindered gall. Nothing should interfere with that intuition--not the fear of appearing stupid, nor of offending somebody, nor jeopardizing publication, nor being trivial. The intuition must be as unhindered as a karate chop.”

“One writes a poem when one is so taken up by an emotional concept that one is unable to remain silent.”

“If he could not find beauty, nothing else would be worth finding.”