William H. Gass quotes:

For the speedy reader paragraphs become a country the eye flies over looking for landmarks, reference points, airports, restrooms, passages of sex.

Surely it's better to live in the country, to live on a prairie by a drawing of rivers, in Iowa or Illinois or Indiana, say, than in any city, in any stinking fog of human beings, in any blooming orchard of machines. It ought to be.

We converse as we live by repeating, by combining and recombining a few elements over and over again just as nature does when of elementary particles it builds a world.

The true alchemists do not change lead into gold; they change the world into words.

For me, the short story is not a character sketch, a mouse trap, an epiphany, a slice of suburban life. It is the flowering of a symbol center. It is a poem grafted onto sturdier stock.

it is discouraging to leave the past behind only to see it coming toward you like the thunderstorm which drenched you yesterday.

Wills aren't really strong or weak; it is the characters that they express and serve that are.

So if hunger provokes wailing and wailing brings the breast; if the breast permits sucking and milk suggests its swallow; if swallowing issues in sleep and stomachy comfort, then need, ache, message, object, act, and satisfaction are soon associated like charms on a chain; shortly our wants begin to envision the things which well reduce them, and the organism is finally said to wish.

As a teacher, it's a great help to be teaching philosophical systems you don't believe. You can actually do a better job of presenting them if you leave your beliefs at the door.

Getting even is one reason for writing.

As Borges has taught us, all the books in the library are contemporary. Great poems are like granaries: they are always ready to enlarge their store.

Blue is therefore most suitable as the color of interior life.

If there were genders to genres, fiction would be unquestionably feminine.

We have scarcely gotten home ... when our children's sneezes greet us, skinned knees bleed after waiting all day to do so. There is the bellyache and the burned-out basement bulb, the stalled car and the incontinent cat. The windows frost, the toilets sweat, the body of our spouse is one cold shoulder and the darkness of our bedroom is soon full of the fallen shadows of our failures.

Words [are] more beautiful than a found fall leaf.

As Rilke observed, love requires a progressive shortening of the senses: I can see you for miles; I can hear you for blocks, I can smell you, maybe, for a few feet, but I can only touch on contact, taste as I devour

Fiction becomes visual by becoming verbal

Freud thought that a psychosis was a waking dream, and that poets were daydreamers too, but I wonder if the reverse is not as often true, and that madness is a fiction lived in like a rented house

The expression to write something down suggests a descent of thought to the fingers whose movements immediately falsify it.

The speeding reader guts a book the way the skillful clean fish. The gills are gone, the tail, the scales, the fins; then the fillet slides away swifly as though fed to a seal.

I don't know myself, what to do, where to go... I lie in the crack of a book for my comfort... it's what the world offers... please leave me alone to dream as I fancy.

until summer becomes ein Zimmer in einem Traum -- a room in a dream.

I don't know myself, what to do, where to go... I lie in the crack of a book for my comfort... it's what the world offers... please leave me alone to dream as I fancy."

So it's true: Being without Being is blue.

[As] authorities "over" us are removed, as we wobble out on our own, the question of whether to be or not to be arises with real relevance for the first time, since the burden of being is felt most fully by the self-determining self.

And I am in retirement from love.

But the body fails us and the mirror knows, and we no longer insist that the gray hush be carried off its surface by the cloth, for we have run to fat, and wrinkles encircle the eyes and notch the neck where the skin wattles, and the flesh of the arms hangs loose like an overlarge sleeve, veins thicken like ropes and empurple the body as though they had been drawn there by a pen, freckles darken, liver spots appear, the hairah, the hair is exhausted and gray and lusterless, in weary rolls like cornered lint.

How do we know, then, when a code's been cracked?when we are right?when do we know if we have even received a message? Why, naturally, when, upon one set of substitutions, sense emerges like the outline under a rubbing; when a single tentative construal leads to several; when all the sullen letters of the code cry TEAM! after YEA! has been, by several hands, uncovered.

I am unlikely to trust a sentence that comes easily.

I cannot walk under the wires. The sparrows scatter like handfuls of gravel. Really, wires are voices in thin strips. They are words wound in cables. Bars of connection.

I do have a very conscious desire not to be academic. I'm antiacademic. I hate jargon. I hate that sort of pretension. I am a person who [commits] breaches of decorum - not in private life, but in my work. They are part of my mode of operation. That kind of playfulness is part of my nature in general. The paradox that, in a way, to take something very seriously, you can't always be serious about it.

I do think of my reader, or listener, really, more often, if I give a lecture, for example, and I know that I'm talking to these people; I enjoy sort of preening them a bit. But it's a matter of decorum, basically.

I get very tense working, so I often have to get up and wander around the house. It is very bad on my stomach. I have to be mad to be working well anyway, and then I am mad about the way things are going on the page in addition. My ulcer flourishes and I have to chew lots of pills. When my work is going well, I am usually sort of sick.

I hate ideologies of all kinds, so I avoid jargon. I've done enough philosophy to know that some specialized terms are really needed. I don't complain when Kant does it. Or when Aristotle introduces all kinds of new words; he needed them. But these other people [modern philosophers] are just obfuscating. It just makes me annoyed.

I publish a piece in order to kill it, so that I won't have to fool around with it any longer.

I should like to suggest that at least on the face of it a stroke by stroke story of a copulation is exactly as absurd as a chew by chew account of the consumption of a chicken's wing.

I usually have poor to absent relations with editors because they have a habit of desiring changes and I resist changes.

I was struck by the way in which meanings are historically attached to words: it is so accidental, so remote, so twisted. A word is like a schoolgirl's room--a complete mess--so the great thing is to make out a way of seeing it all as ordered, as right, as inferred and following.

I write because I hate. A lot. Hard.

If death itself were to die, would it have a ghost, and would the ghost of death visit the dead in the guise of someone alive, if only to fright them from any temptation to return?

If you were a fully realized person-whatever the hell that would be-you wouldn't fool around writing books.

In general, I would think that at present prose writers are much in advance of the poets. In the old days, I read more poetry than prose, but now it is in prose where you find things being put together well, where there is great ambition, and equal talent. Poets have gotten so careless, it is a disgrace. You can't pick up a page. All the words slide off.

It art can only succeed through the cooperating imagination and intelligence of its consumers, who fill out, for themselves, the artist's world and make it round, and whose own special genius partly determine the ultimate glory of it.

It's not the word made flesh we want in writing, in poetry and fiction, but the flesh made word

Knowing has two poles, and they are always poles apart: carnal knowing, the laying on of hands, the hanging of the fact by head or heels, the measurement of mass and motion, the calibration of brutal blows, the counting of supplies; and spiritual knowing, invisibly felt by the inside self, who is but a fought-over field of distraction, a stage where we recite the monotonous monologue that is our life, a knowing governed by internal tides, by intimations, motives, resolutions, by temptations, secrecy, shame, and pride.

Literature is composed of quarter truths, and the quarters are often spent on penny candy.

My face is muffled in my mother's clothing. Her rhinestones injure me. See: my feet are going. Fish flee the forefinger of my aunt. The sun streams over the geraniums. What has this to do with what I feel, with what I am.

Of course there is enough to stir our wonder anywhere; there's enough to love, anywhere, if one is strong enough, if one is diligent enough, if one is perceptive, patient, kind enough -- whatever it takes.

One may decide that the nipple most nearly resembles a newly ripened raspberry (never, be it noted, the plonk of water on a pond at the commencement of a drizzle, a simple bladder nozzle built on the suction principal gum bubble, mole, or birth ward, bumpy metal button, or the painful red eruption of a swelling), but does one care to see his breakfast fruit as a sweetened milky bowl of snipped nips? no.

Only the slow reader will notice the odd crowd of images-flier, butcher, seal-which have gathered to comment on the aims and activities of the speeding reader, perhaps like gossips at a wedding.

Philosophy has a great sort of appeal in terms of an artistic or aesthetic organization of concepts. It's a conceptual art.

So to the wretched writer I should like to say that there's one body only whose request for your caresses is not vulgar, is not unchaste, untoward, or impolite: the body of your work itself; for you must remember that your attentions will not merely celebrate a beauty but create one; that yours is love that brings it own birth with it, just as Plato has declared, and that you should therefore give up the blue things of this world in favor of the words which say them

Some people say their life is full of darkness and I wonder why they don't just try and switch the lights on.

Sports, politics, and religion are the three passions of the badly educated.

The alcoholic trance is not just a haze, as though the eyes were also unshaven. It is not a mere buzzing in the ears, a dizzinessor disturbance of balance. One arrives in the garden again, at nursery time, when the gentle animals are fed and in all the world there are only toys.

The body of Our Saviour shat but Our Saviour shat not.

The death of God represents not only the realization that gods have never existed, but the contention that such a belief is no longer even irrationally possible: that neither reason nor the taste and temper of the times condones it. The belief lingers on, of course, but it does so like astrology or a faith in a flat earth.

The things that stayed were things that didn't matter except they stayed, night and day, all seasons the same, and were peaceful to a fault and boded no ill but thought well enough of themselves to repeat their presences.

The word itself has another color. It's not a word with any resonance, although the e was once pronounced. There is only the bump now between b and l, the relief at the end, the whew. It hasn't the sly turn which crimson takes halfway through, yellow's deceptive jelly, or the rolled-down sound in brown. It hasn't violet's rapid sexual shudder or like a rough road the irregularity of ultramarine, the low puddle in mauve like a pancake covered in cream, the disapproving purse to pink, the assertive brevity of red, the whine of green.

The world of conceptualized ideas is quite wonderful, even when it's - like Aristotle's Physics - an outmoded book. The physics is not true. But the reasoning is dazzling.

We must take our sentences seriously, which means we must understand them philosophically, and the odd thing is that the few who do, who take them with utter sober seriousness, the utter sober seriousness of right-wing parsons and political saviors, the owners of Pomeranians, are the liars who want to be believed, the novelists and poets, who know that the creatures they imagine have no other being than the sounding syllables which the reader will speak into his own weary and distracted head. There are no magic words. To say the words is magical enough.

What else is soul but a listener?

What one wants to do with stories is screw them up.

When book and reader's furrowed brow meet, it isn't always the book that's stupid.

When reviewers take the trouble to compliment a writer on her style, it is usually because she has made it easy for them to slide from one sentence to another like an otter down a slope.

Words are the supreme objects. They are minded things.