Steve Erickson Quotes
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By the plain form of my delirium I will blast the obstruction of every form around me into something barely called shadow. I sail. I swim to you. I know the water.
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The last thing I want is that sense of artifice - rather I want the reader drawn into the story and lost in it and vested in it. So the emotional connection is everything, albeit a connection on my terms.
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a dream is only a memory of the future
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In essence I'm really a very traditional writer. I subscribe to the notion that, ultimately, characters do drive everything else.
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There are millions of white Americans today who still can barely bring themselves to acknowledge that the Civil War, with its twin Americas locked in a death match, was about slavery. They'll argue it was about economics, and they're right only because one of those economies was a slave economy. They'll argue it was about culture, and they're right only because one of those cultures was a slave culture.
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One of the reasons I'm not so keen on people calling me an "experimental" writer is that it suggests the work is about the experiment, when it's always the opposite - any "experimentation" is dictated by the material.
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In my early twenties the nature of conservatism itself changed. When I identified as a fourteen-year-old conservative, it was closer to what we today think of as libertarianism - conservatism, at least for me, had been defined by Jeffersonian credos like "the best governed are the least governed" and "I have sworn eternal hostility against every form of tyranny over the mind of man" that were very idealistic and romantic to a kid.
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With a few exceptions like Kraftwerk, most great 20th century Western music is in some way American-based. And the great paradox of America, the paradox that distills America, is that this greatest of American contributions to humanity, this American contribution that probably has influenced more people around the world for the good, that probably has brought more people around the world unqualified joy, was born of America's greatest evil, slavery. Or one of the two great evils anyway, counting the European extinction of those who were on the continent first.
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I think most novelists I know, certainly including me, feel the novels choose them rather than vice-versa.
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To me experimental fiction ultimately is about the experiment and I'm not interested in experiments for their own sake.
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Is the humanism intuitive or labored over?, the answer is: Yes. It begins intuitively, it becomes the reason for writing the thing, and then it's to be considered and fine-tuned and even calculated.
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To the extent that I've ever understood postmodernism - and I'm sure there are people out there who do, but I'm not one of them - one of its distinguishing traits is the story's awareness of its own artifice, and how that awareness becomes part of the story. And if that's right, then I have no idea how I ever got lumped into postmodernism except that I believe, since I was first published, people just haven't quite known where else to put me.
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One of the basic philosophical tenets of conservatism - which says that the more power devolves from the federal government to the states, the greater individual freedom grows - is just flatly contradicted by crucial junctures in the country's life, most conspicuously in the 1860s and 1960s, when it's been the federal government that's interceded against the states to secure individual freedom.
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These days in particular it seems not only unavoidable but even irresponsible to not acknowledge politics in some way.
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While I do believe I become a technically better writer over time, in others ways writing gets harder because inspiration is finite.
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My own personal experience has become more first-hand.
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I write almost purely by instinct. I've never made an outline.
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The material dictates the approach.
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The form is always integral to the expression of the theme or to the sheer telling of the story, and sometimes the right form is apparent to me from the outset and sometimes it isn't.
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It became inescapable that as conservatives were wrong about people of color, they were also wrong about women. They were wrong about gay people. The only individual freedoms they seemed to get exercised about were the freedom to make a profit and the freedom to own a gun.
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Half the country seceded from the other half when Abraham Lincoln was elected because half the country couldn't abide his position on slavery. You would think 150 years later this had all become pretty historically incontestable. Yet millions continue to contest it in the face of history. Rather the denial of slavery and all its monstrous repercussions defines to one twin America what the country is and means, and therein is the DNA of those "alternative facts" that people believe when they can't stand to believe the truth.
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For better or worse I'm the writer I am today because of hearing those Dylan records. For better and most certainly not for worse, I'm the person I am today because of hearing Charles.
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While a particularly deft sense of irony may be one of the tools of great storytellers, I think it's also true that if irony serves as a retreat from an emotional engagement that you're overly concerned is uncool, that's a failure of nerve.
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I believe novels can have secrets from their author, a notion I imagine would appall Nabokov.
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I have members of my immediate family, and my wife's immediate family, who voted for Donald Trump, and now there's this gulf that I have no interest in bridging however much I love those people. It's almost like the Civil War.
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Out of the house and on my own, I faced the fact I didn't much like who I was. I didn't like my judgmentalism; I didn't like my absolutism. I didn't like my repression of natural empathy, my pinched lack of emotional generosity. How I had been thinking politically had less to do with what was wrong with the world and more to do with what was wrong with me, with my fears and insecurities, failings, weaknesses.
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To me experimental fiction ultimately is about the experiment and I'm not interested in experiments for their own sake, and if anything I've always steered a bit clear of that kind of thing, because it seems gimmicky to play around with text rather than do the work of telling a story and creating characters.
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Western music is arguably America's greatest contribution to the 20th century, cultural or otherwise.
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There have been times I thought that when I got a certain point in the story, a certain character was going to do a certain thing, only to get to that point and have the character make clear that he or she doesn't want to do that at all. That long phone conversation I thought the character was going to have? He hangs up the phone before the other person answers, and twenty pages of dialog I had half written in my head go out the window.
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In terms of America, I think any profound consideration is bound to return us to the notion of twins because, though you certainly can contend there are many Americas, our history has been binary from the beginning, with its hairline fracture down the country's center between what American has wanted to be and what America has been. That fracture is slavery, of course. To some extent it's still slavery, in that collectively we refuse to come to grips with the American fact of slavery.
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