T.C. Boyle

In order to create you have to believe in your ability to do so and that often means excluding whole chunks of normal life, and, of course, pumping yourself up as much as possible as a way of keeping on. Sort of cheering for yourself in the great football stadium of

Music was like food, like water, like air - that necessary, that essential - and here she was in a break-on-through mood and nothing for it but her own stumbling version caught like lint on her tongue.

Pleasure, I remind myself, is inseparable from its lawfully wedded mate, pain.

But then, that__ the beauty of writing stories__ach one is an exploratory journey in search of a reason and a shape. And when you find that reason and that shape, there__ no feeling lik

I do feel that literature should be demystified. What I object to is what is happening in our era: literature is only something you get at school as an assignment. No one reads for fun, or to be subversive or to get turned on to something. It's just like doing math at school. I mean, how often do we sit down and do trigonometry for fun, to relax. I've thought about this, the domination of the literary arts by theory over the past 25 years -- which I detest -- and it's as if you have to be a critic to mediate between the author and the reader and that's utter crap. Literature can be great in all ways, but it's just entertainment like rock'n'roll or a film. It is entertainment. If it doesn't capture you on that level, as entertainment, movement of plot, then it doesn't work. Nothing else will come out of it. The beauty of the language, the characterisation, the structure, all that's irrelevant if you're not getting the reader on that level -- moving a story. If that's friendly to readers, I cop to it.

I was reading, absorbed in an assault on K2 by a team of Japanese mountaineers, my lungs constricting in the thin burning air, the deadly sting of wind-lashed ice in my face, when the record -- Le Sacre du Printemps -- caught in the groove with a gnashing squeal as if a stageful of naiads, dryads and spandex satyrs had simultaneously gone lame.

In order to create you have to believe in your ability to do so and that often means excluding whole chunks of normal life, and, of course, pumping yourself up as much as possible as a way of keeping on. Sort of cheering for yourself in the great football stadium of life.", email dialogue with Cameron Martin, Feb. 09, 2009)

First you have nothing, and then, astonishingly, after ripping out your brain and your heart and betraying your friends and ex-lovers and dreaming like a zombie over the page till you can't see or hear or smell or taste, you have something.

But then, that__ the beauty of writing stories__ach one is an exploratory journey in search of a reason and a shape. And when you find that reason and that shape, there__ no feeling like it.", 3:AM Magazine, June 2003]

I've always been a quitter. I quit the Boy Scouts, the glee club, the marching band. Gave up my paper route, turned my back on the church, stuffed the basketball team. I dropped out of college, sidestepped the army with a 4-F on the grounds of mental instability, went back to school, made a go of it, entered a Ph.D. program in nineteenth-century British literature, sat in the front row, took notes assiduously, bought a pair of horn-rims, and quit on the eve of my comprehensive exams. I got married, separated, divorced. Quit smoking, quit jogging, quit eating red meat. I quit jobs: digging graves, pumping gas, selling insurance, showing pornographic films in an art theater in Boston. When I was nineteen I made frantic love to a pinch-faced, sack-bosomed girl I'd known from high school. She got pregnant. I quit town.

Writing is a habit, an addiction, as powerful and overmastering an urge as putting a bottle to your lips or a spike in your arm. Call it the impulse to make something out of nothing, call it an obsessive-compulsive disorder, call it logorrhea. Have you been in a bookstore lately? Have you seen what these authors are doing, the mountainous piles of the flakes of themselves they're leaving behind, like the neatly labeled jars of shit, piss, and toenail clippings one of John Barth's characters bequeathed to his wife, the ultimate expression of his deepest self?

He regarded marriage as an arbitrary and essentially adversarial relationship, akin to the yoking of prisoners on the chain gang.

I introduced Nora as my wife, though that was a lie. Old people, that's what they wanted to hear. If you were married, you were mature, reliable, exactly like them, because in their day men and women didn't just live together--they made a commitment, they had children and went on cruises and built big houses on lakes and filled them with all the precious trinkets and manufactured artifacts they'd collected along the way.

These occasions always took him by surprise. He was shocked anew each time the crisply surveyed, neatly kept world he so cherished rose up to confront him with all its essential sloppiness, irrationality, and bad business sense.

I have an idea and a first line -- and that suggests the rest of it. I have little concept of what I__ going to say, or where it__ going. I have some idea of how long it__ going to be -- but not what will happen or what the themes will be. That__ the intrigue of doing it -- it__ a process of discovery. You get to discover what you__e going to say and what it__ going to mean.

A glad zest and hopefulness might be inspired even in the most jaded and ennui-cursed, were there in our homes such simple, truthful natures as that of my heroine, and it is in the sphere of quiet homes__ot elsewhere__ believe that a woman can best rule and save the world.

But then all writers smoke, don't they? And drink? And sit in front of computer screens till their arteries clog and muscles atrophy?

He'd been a fool, he saw that now. How could he have thought, even for a minute, that they'd be safe out here in the suburbs? The world was violent, rotten, corrupt, seething with hatred and perversion, and there was no escaping it. Everything you worked for, everything you loved, had to be locked up as if you were in a castle under siege.