William T. Vollmann > Quotes

“So he lent her books. After all, one of life's best pleasures is reading a book of perfect beauty; more pleasurable still is rereading that book; most pleasurable of all is lending it to the person one loves: Now she is reading or has just read the scene with the mirrors; she who is so lovely is drinking in that loveliness I've drunk.”
― William Vollmann

“I just make the best book that I can and try to not worry about audience or if it will sell. The odds are against you, so why abuse your talent for the sake of a chimera? The only real pleasure for me in writing comes from pleasing myself. What readers think is interesting and illuminating (and it may even be correct), but that is nothing compared to the excitement of seeing a world develop. Besides, even though I like most individuals I meet, I have a pretty low opinion of people in general. So if I were to write for people in general, I would have to drastically lower my estimation of the intelligence of my reader. Rather than doing that, I write the way it seems the book has to appear. I don’t think that’s egotistic. There are often things I would like to include in my books—things about me personally and other materials—that I feel I have to leave out because they aren’t relevant to the book. I’m fairly ruthless along those lines, because I try to let nothing come in the way of what’s best for the book. If that means that the book won’t sell or that a publisher won’t buy it, then that’s my problem. I’ll suffer for that, but I won’t let the book suffer for it.”
― William T. Vollmann

“I studied Comparative Literature at Cornell. Structuralism was real big then. The idea of reading and writing as being this language game. There's a lot of appeal to that. It's nice to think of it as this playful kind of thing. But I think that another way to look at it is "Look, I just want to be sincere. I want to write something and make you feel something and maybe you will go out and do something." And it seems that the world is in such bad shape now that we don't have time to do nothing but language games. That's how it seems to me.”
― William T. Vollmann

“Maybe life is a process of trading hopes for memories.”
― William T. Vollmann, The Rifles

“We all lived for money, and that is what we died for.”
― William T. Vollmann, No Immediate Danger: Volume One of Carbon Ideologies

“Most literary critics agree that fiction cannot be reduced to mere falsehood. Well-crafted protagonists come to life, pornography causes orgasms, and the pretense that life is what we want it to be may conceivably bring about the desired condition. Hence religious parables, socialist realism, Nazi propaganda. And if this story likewise crawls with reactionary supernaturalism, that might be because its author longs to see letters scuttling across ceilings, cautiously beginning to reify themselves into angels. For if they could only do that, then why not us?”
― William T. Vollmann, Europe Central

“Rising up, rising down! History shambles on! What are we left with? A few half-shattered Greek stelae; Trotsky's eyeglasses; Gandhi's native-spun cloth, Cortes' pieces of solid gold (extorted from their original owner, Montezuma); a little heap of orange peels left on the table by the late Robespierre; John Brown's lengthily underlined letters; Lenin's bottles of invisible ink; one of Di Giovanni's suitcases, with an iron cylinder of gelignite and two glass tubes of acid inside; the Constitution of the Ku Klux Klan; a bruised ear (Napoleon pinched it with loving condescension)... And dead bodies, of course. (They sing about John Brown's body.) Memoirs, manifestoes, civil codes, trial proceedings, photographs, statues, weapons now aestheticized by that selfsame history - the sword of Frederick the Great, and God knows what else. Then dust blows out of fresh graves, and the orange peels go grey, sink, wither, rot away. Sooner or later, every murder becomes quaint. Charlemagne hanged four and a half thousand "rebels" in a single day, but he has achieved a storybook benevolence. And that's only natural: historiography begins after the orange has been sucked,; the peeler believes in the "great and beautiful things," or wants to believe; easy for us to believe likewise, since dust reduced truth and counterfeit to the same greyness - caveat emptor. But ends remain fresh, and means remain inexplicable. Rising up and rising down! And whom shall I save, and who is my enemy, and who is my neighbor?”
― William T. Vollmann

“Are you a censor? Do you tell people not to say “girl”? Shame on you! If nothing offends you, you’re a saint or you’re psychotic. If a few things offend you, deal with them--fairly. If you’re often offended by things, you’re probably a self-righteous asshole and it’s too bad you weren’t censored yourself--by your mother in an abortion clinic.”
― William T. Vollmann, Expelled from Eden: A William T. Vollmann Reader

“Death cannot be experienced either by the dead or the living.”
― William T. Vollmann, Rising Up and Rising Down: Some Thoughts on Violence, Freedom and Urgent Means

“Do you want to know what happiness is? Happiness is the absence of unpleasant information.”
― William T. Vollmann, Europe Central

“Death is ordinary. Behold it, subtract its patterns and lessons from those of the death that weapons bring, and maybe the residue will show what violence is.”
― William T. Vollmann

“Self-deception is a pessimistic definition of optimism.”
― William T. Vollmann, Europe Central

“If this advertisement be not sufficient, I can only protrude my wormlike tendrils of apology, craving forbearance on the grounds that a writer must write about what he knows, and since I know nothing about any subject it scarcely matters where I dabble.”
― William Vollmann, Butterfly Stories

“Who dies best, the soldier who falls for your sake, or the fly in my whiskey-glass? The happy agony of the fly is his reward for an adventurous dive in no cause but his own. Gorged and crazed, he touches bottom, knows he's gone as far as he can go, and bravely sticks. I sleep on. In the morning I pour new happiness upon the crust of the old, and only as I raise the glass to my lips descry through that rich brown double inch my flattened hero. I drink around his death, being no angler by any inclination, and leave him in the weird shallows. The glass set down, I idle beneath the fan, while beyond my window-bars a warm drizzle passes silently from clouds to leaves.
How to die? How to live? These questions, if we ask the dead fly, are both answered thus: In a drunken state. But drunk on WHAT should we all be? Well, there's love to drink, of course, and death, which is the same thing, and whiskey, better still, and heroin, best of all—except maybe for holiness. Accordingly, let this book, like its characters, be devoted to Addiction, Addicts, Pushers, Prostitutes and Pimps. With upraised needles, Bibles, dildoes and shot glasses, let us now throw our condoms in the fire, unbutton our trousers, and happily commit


THIS MULTITUDE OF CRIMES.”
― William T. Vollmann, The Royal Family

“Lovers may never meet again, but the ways of enemies oft do intersect: This proves some corollary about gravity.”
― William T. Vollmann

“We always see ourselves as constant, and others as less so, no matter what policy shifts we ourselves may have been guilty of.”
― William T. Vollmann, You Bright and Risen Angels

“In the preface of "The Rifles"
"Another rule we followed was never kill an animal that we were not going to use for food or clothing." Barnabas Piryuaq
"Well, in those high latitudes we found such quantities of seals and walruses that we simply did not know what to do with them.There were thousands and thousands lying there; we walked among them and hit them on the head, and laughed heartily in the abundance which God had created." Jan Welzi 1933. ”
― William T. Vollmann, The Rifles

“Great art projects a sense of inexhaustibility. In literature, particularly in poetry, this may be accomplished through ambiguity: Beneath each and every meaning that I can descry lie others, so that rereading holds out the prospect of new subtleties, inversions, secret codes and ineffabilities”
― William T. Vollmann, Kissing the Mask: Beauty, Understatement, and Femininity in Japanese Noh Theater

“Anyone who would pay to have sex with a woman who has no options deserves to get ripped off.”
― William T. Vollmann, The Royal Family

“When it comes to revolutionaries, trust only the sad ones. The enthusiastic ones are the oppressors of tomorrow.”
― William T. Vollmann, Rising Up and Rising Down: Some Thoughts on Violence, Freedom and Urgent Means

“(Can you understand your own dreams, which arise with mushrooms' rank richness in the night-forests within your skull?)”
― William T. Vollmann, The Ice-Shirt

“Standing on your own feet, naturally, is as tiresome and dangerous as standing your ground; and when the wild dogs begin to circle grinning round you with their dripping tongues hanging out and you know that with mock servility they like to go for your toes first, why, then, you should stand on someone else’s feet, or head if necessary. It is a point of faith for me never to be Hitler; he stood his ground in his own two shoes in his own little hole almost to the end, the fool. But I may disguise myself as any other animate or inanimate object in what follows. I can be eight lame women with falsies, eight cracked chamber pots, or -- let’s get right to the point -- a gladiator who is actually constructed of old clothes, brooms, and a paper plate with a face daubed on in finger-paints, not to mention two vagrants inside each shirt-sleeve and pant-leg, moving Goliath’s limbs at my say-so; but as long as you believe in the gladiator, you are whipped, and the Museum people will set out on your track, and then once they catch you, don’t think I won’t come study your exhibit until I can convince your own sweetheart that I am you come back from the dead. For I am Big George, the eternal winner.”
― William T. Vollmann, You Bright and Risen Angels

“But how could he explain anything to them, when they understood good but not goodness, strong but not strength, black but not blackness?

Give us bread! the Savages cried. Heal us!

They were frightened by the consecrated wine, believing that the Black-Gowns drank human blood.

This is the blood of JESUS, said Pere Masse.
Was that a man? they asked.
He was the SON OF GOD, but He became a man to die for us. In memory of his sacrifice, we drink His blood.

At this they drew back and whispered in their language, with many terrified glances. ”
― William T. Vollmann, Fathers and Crows: Volume Two of Seven Dreams: A Book of North American Landscapes

“I do most sincerely believe that ethical behavior as we best construe it ought to be followed by us throughout our lives, even on the last day of life, and that if we have made a bad or even evil choice we are not barred (or excused) thereby from continuing to live the last moments or years given to us in whatever way we consider to be most right.”
― William T. Vollmann, Rising Up and Rising Down: Some Thoughts on Violence, Freedom and Urgent Means

“This book was written by a traitor to his class. It is dedicated to bigots everywhere. Ladies and gentlemen of the black shirts, I call upon you to unite, to strike with claws and kitchen pokers, to burn the grub-worms of equality’s brood with sulfur and oil, to huddle together whispering about the silverfish in your basements, to make decrees in your great solemn rotten assemblies concerning what is proper, for you have nothing to lose but your last feeble principles.”
― William T. Vollmann, You Bright and Risen Angels

“I wish I could go back and rewrite my first book, You Bright and Risen Angels; I could do a better job. But in the meantime, nobody knows as much about my books as I do. Nobody has the right but me to say which words go into my books or get deleted or edited. When I'm dying, I'll smile, knowing I stood up for my books. If I die with more money, that wouldn't bring a smile to my face. Unless I got better drugs or more delicious-looking nurses.”
― William T. Vollmann

“Such mental haziness is in order, given the delightful vagueness of the terrain.”
― William T. Vollmann, You Bright and Risen Angels

“But where corpses were buried secretly, there the grass grows thick; such signs (and there are ever so many others!) may be read by those to whom truth is more important than beauty.”
― William T. Vollmann, The Ice-Shirt

“The reformed addict who feels the craving almost believes in it, then merely smiles…”
― William T. Vollmann, Europe Central

“What is a woman to me? The answer must be: A projection. Who is projecting, and for what reason, I cannot necessarily know from the performance itself. Mr. Umewaka and Mr. Mikata do not when playing their feminine roles feel themselves to be women; they strive, as I so often in my wonderment repeat, to be nothing; yet when they enact women I see them as women. Meanwhile the psyche within a male body which mechanically performs itself as such may see itself as female”
― William T. Vollmann, Kissing the Mask: Beauty, Understatement, and Femininity in Japanese Noh Theater