For suppose, and mind it narrowly, that life is simply a shadow bodies cast inside themselves when struck by all those queerly various bits and particles, those pieces, those streams of—what?—of science. Death in such a case would be only another arrangement.
William H. GassHis dark room now seemed cool and restfully confining. You could imagine maps in the wallpaper. The roses had faded into vague shells of pink. Only a few silver lines along the vanished stems and in the veins of leaves, indistinct patches of the palest green remained—the faint suggestion of mysterious geography. A grease spot was a marsh, a mountain or a treasure. Irabestis went boating down a crack on cool days, under the tree boughs, bending his head. He fished in a chip of plaster. The perch rose to the bait and were golden in the sunwater. Specks stood for cities; pencil marks were bridges; stains and shutter patterns laid out fields of wheat and oats and corn. In the shadow of a corner the crack issued into a great sea. There was a tear in the paper that looked exactly like a railway and another that signified a range of hills. Some tiny drops of ink formed a chain of lakes. A darker decorative strip of Grecian pediments and interlacing ivy at the ceiling’s edge kept the tribes of Gog and Magog from invasion. Once he had passed through it to the ceiling but it made him dizzy and afraid. Shadows moved quixotically over the whole wall, usually from left to right in tall thin bands, and sank behind the bureau or below the bed or disappeared suddenly in a corner.
William H. GassOh he was like them, like those laced-up ladies—warm from wards. A man, he still chewed the nipple, titillation, and risked no freer, deeper draught. Fearless in speech, he was cowardly in all else…ah, to be rich, luxuriant, episcopal…well, he’d conquered that by flight.
William H. GassLook: if a bird were to rub its beak on a limb, you’d hear it—sure—and if a piece of water were to move an unaccustomed way, you’d feel it—that’s right—and if a fox were to steal a hen, you’d see-you’d see it—even in the middle of the night; but, heaven help you, if a friend a friend—god—were to slit your throat with his—his love—hoh, you’d bleed a week to notice it.
William H. GassI have never seen the Lord God. But I have seen Absalom alive in the tree.
William H. Gass...yes, words were superior; they maintained a superior control; they touched without your touching; they were at once the bait, the hook, the line, the pole, and the water in between.
William H. GassHe wanted to sink down and hug the coals to his chest. Flamboyant...coins of light...oil, wood, tatters...fumes from acids, soap, smoke...the sunlight shattered.
William H. GassWorks of art are meant to be lived with and loved, and if we try to understand them, we should try to understand them as we try to understand anyone—in order to know them better, not in order to know something else.
William H. GassMots clés art
Perceptions are always profound, associations deceiving. No watermelon tastes red. Apropos: while waiting for a bus once, I saw open down the arm of a midfat, midlife, freckled woman, suitcase tugging at her hand like a small boy needing to pee, a deep blue crack as wide as any in a Roquefort. Split like paper tearing. She said nothing. Stood. Blue bubbled up in the opening like tar. One thing is certain: a cool flute blue tastes like deep well water drunk from a cup.
William H. GassIf someone asks me, “Why do you write?” I can reply by pointing out that it is a very dumb question. Nevertheless, there is an answer. I write because I hate. A lot. Hard. And if someone asks me the inevitable next dumb question, “Why do you write the way you do?” I must answer that I wish to make my hatred acceptable because my hatred is much of me, if not the best part. Writing is a way of making the writer acceptable to the world—every cheap, dumb, nasty thought, every despicable desire, every noble sentiment, every expensive taste.
William H. GassMots clés writing hatred paris-review-interview
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