I have worked really hard to defy categorization, to break down a taxonomy whenever it comes my way.— Rick Moody
The most almighty Rick Moody quotes that will transform you to a better person
Impotence, fetishism, bisexuality, and bondage are all facts of life, and our fiction should reflect that.
I am in Boston right now, in fact, to do work at the New England Historical Genealogical Library, where I'm trying to finish up tracing my lineage back to the seventeenth century.
I suppose I should say that I treasure blasphemy, as a faith of the highest order.
It's also true, however, that having conquered the regional writer ghetto, I am now intent on conquering the nationalist writer ghetto and moving out into the world more.
I'm trying to read more dead people because I keep having to read stuff for juries and so forth.
Genre is a bookstore problem, not a literary problem.
Major theme of the book ["Hotels of North America"], from my point of view: what is persona, what is self, in the digital sphere, and/or what is the effect of it on self in a prolonged interaction.
But that incessant drive to be out there in the literary universe that was important to me when I was in my twenties, like going to a Paris Review party or whatever, that seems totally irrelevant now.
My contention is that that style is just as stylized as an ornate style.
The Ice Storm, because of the movie, has had, or is to have, a vigorous life in other cultures.
Tangled in one another's arms and nine times out of ten the things you think about a person make it impossible to touch them.
I believe in choosing the hardest book imaginable.
I believe in reading up on what others have to say about this difficult book, and then making up my own mind.
My suspicion is that this is an unavoidable human dilemma, that people will always want to avoid pain, to avoid those who are in pain, and so will be vulnerable to anyone or anything that seems to promise permanent avoidance.
The idea to make hotel reviews the form of the novel came first.
So I just started writing hotel reviews and tried to come up with a consistent voice.
I had a talk with the president of my publisher, and he averred that e-books are dropping off . So I wonder if the potential advantages are really going to happen as quickly as they ought.
People know that pain is part of our nature, that it cannot be avoided and that it should not be avoided. But capitalism in this country is focused on the idea 1) that life can and should be absolutely beautiful; 2) that beauty can be defined according to an ironclad objective standard; 3) that beauty can be held onto forever if only you do the right things perfectly enough; and 4) that it can be purchased.
The point is to balance on the edge between musicality and content.
Literature precedes genre.
My grandfather was a newspaper publisher and his paper had all the comics in NYC, so some of my earliest memories are of reading the family paper and heading straight for the comics insert.
I didn't know how to kill off a character unless I was able, as a narrator, to get really complicated. Because it was a big deal. I'd never killed a character before.
There is no right or wrong reading of Naked Lunch, though some readings are more common, and thus Burroughs commercial is not the issue.
I am a better writer for having fewer demons, and I am more curious about the world and the people in it. So those of you thinking you might need your demons in order to be creative: I beg to differ.
I read a lot of 'The Canterbury Tales' on my phone last year, because I was cycling between three different editions, and I needed to have a middle-of-the-night edition for the insomniac reading.
All the stuff that I used to treat with contempt - you know, I'm an artist, man, I don't do that family stuff - has begun to seem really important.
I suppose that the sympathetic/unsympathetic debate about characters sometimes feels to me like a misstatement of purpose. I always think of truly complex characters are falling between the cracks in that debate.
God howls with laughter at earthly plans, you know?
People tend to be scared of what they can't see.
I have admired Melissa Pritchard's writing for several years now for its wisdom, its humble elegance, and its earthy comedy.
Maybe when I'm sixty-five I'll talk about my literary life.
The process of composition, messing around with paragraphs and trying to make really good prose, is hardwired into my personality.
Capitalism, in the realm of sexuality, I figure, thinks that we behave in specific ways, like a breast is always going to produce a hard-on for some product, whereas the truth is that sexuality is always a continuum, which can be characterized by reversals.
I'm trying to make sure that there's comedy as well as sadness. It makes the sadness more memorable.
I judged about a zillion awards this year so I've been reading a lot of books that just came out.
I turned forty, and I'm finally going to get married and maybe have a kid.
There’s something really rich and powerful in not talking about what you need to talk about sometimes.
When prose gets too stylized and out of control - and Stein is sometimes a good example - when you don't know what the hell is going on, then it's kind of boring.
I sort of hate the novel when it doesn't push, restlessly, against the tradition and the traditional.
I believe that God locates himself at the spot where you recognize your own fallibility....And the paradox of it all has been that whenever I give up I seem to do better.
If I'm going to feel estranged and alienated and away from home I don't want anyone interrupting it to debate which berries to have in their pancakes.
I do think that just about whenever I am writing, or more accurately, whenever I have written, I feel better and more at peace as a human being. That doesn't mean, unfortunately, that the literary product is any good.
I think people on antidepressants often lose sexual feelings.
I don't mean that I think sex is only about sadness; it is obviously about joy and vitality and birth as well.
What genre it falls under is only of interest later.
It turns out that my memory is just not that great, so for specific scenes with people doing stuff, sometimes I'd have the details all wrong or I couldn't remember what happened exactly, so I just let that be.
The Great Recession is not imaginary, and the effects loom large.
There was an article in the NYT about the galloping death rate among white men in middle age. Higher than among any other demographic, etc. Mostly death by drugs, alcohol, or suicide. Many of them rural. My feeling is that it's many people who haven't been able to get back into the work force. Reg Morse is an example of the problem.
I don't know exactly how long the book as we know it will exist, but I fully expect to make it to my death without having to give up on books.
Have I mentioned that I expect death around every turn, that every blue sky has a safe sailing out of it, that every bus runs me over, that every low, mean syllable uttered in my direction seems to intimate the violence of murder, that every family seems like an opportunity for ruin and every marriage a ceremony into which calamity will fall and hearts will be broken and lives destroyed and people branded by the mortifications of love?
I'm not the guy to ask about the most up to date stuff.
In general, each form is a relief from the other forms.
I can't write a novel after a novel. I just use up all the material each time, and I need to rest.
Writing the book was itself a process of concealing and revealing.