Harry Crews Quotes

All Sam Peckinpah ever did in his movies was show that getting hit on the chin doesn't sound like [makes a small popping noise]. When one grown man hits another grown man in the face, it splatters like an overripe tomato. And it's not fun getting killed. It's bloody and gory and altogether unpleasant. That's all Sam Peckinpah ever did.

survival is triumph enough.

Hell came right along with God, hand in hand. The stink of sulfur swirled in the air of the church, fire burned in the aisles, and brimstone rained out of the rafters. From the evangelist's oven mouth spewed images of a place with pitchforks, and devils, and lakes of fire that burned forever. God had fixed a place like that because he loved us so much.

That was the only decision there was once upon a time: what to do with the night.

Joe Lon and Willard slipped out of their shirts. Willard flipped over and walked around in the dirt on his hands. Joe Lon took the bottle of whiskey out of his back pocket, set it carefully on the step of the Winnebago, checking out Susan Gender's red pants again as he did. Then he went into a steady handstand and did six dips, his nose just short of the dirt each time he went down. They both came off their hands and looked at Duffy.
"I'm impressed," said Duffy, shortly. "What the hell are you, gymnasts?"
"Drunks," said Joe Lon picking up the bottle.

If you wait until you got time to write a novel, or time to write a story, or time to read the hundred thousands of books you should have already read - if you wait for the time, you will never do it. 'Cause there ain't no time; world don't want you to do that. World wants you to go to the zoo and eat cotton candy, preferably seven days a week.

There ought to be a law against the sun rising and setting for you in somebody else.

The artist lives in an atmosphere of perpetual failure.

He had been hurt doing everything he had ever done. He expected it, even wanted it. Nothing centered a man like pain. Nothing drove the irrelevant bullshit our of your mind like the taste of your own blood. Duffy always wanted to tell people who were worried about the future of their children, or about God and the order of the universe, to go out and break a rib or two. A few broken ribs threw all thoughts of children, God and the order of the universe right out the window. Nobody with broken ribs ever had free-floating anxiety, or so Duffy was convinced. It was cheaper that a psychiatrist and never so humiliating.

So far as I can see, nothing good in the world has ever been done by well-rounded people. The good work is done by people with jagged, broken edges, because those edges cut things and leave an imprint, a design.

He did not know what love was. And he did not know what good it was. But he knew he carried it around with him, a scabrous spot of rot, of contagion, for which there was no cure.

It was not any one thing that scared him. It was everything. It was his life. His life terrified him. He didn't see how he was going to get through the rest of it.

There is something beautiful about all scars of whatever nature. A scar means the hurt is over, the wound is closed and healed, done with.

Survival is truimph enough.

What the artist owes the world is his work; not a model for living.

The writer's job is to get naked ...

I am not perfect." It came out in a rush of breath. "See I thought I was. Thank God I ain't. See a perfect thing ain't got a chance. The world kills it, everything perfect. (Listen to him!) Now see a thing that ain't perfect, it grows like a weed. Yeah, like a weed! A thing that ain't perfect gets hand clapping, smiles, takes the wire an easy winner. But the world ain't set up right if you perfect. You lible to run right into a brick wall. Looks like suicide. All the weeds say, looka there, it suicide!

Men to whom God is dead worship one another.

God love the car. It has shown the naked heart that lives in all of us. Man invented the car but the car
out of pure malevolence no doubt
changed the history of the world by reinventing man.

She felt the snake between her breasts, felt him there, and loved him there, coiled, the deep tumescent S held rigid, ready to strike. She loved the way the snake looked sewn onto her V-neck letter sweater, his hard diamondback pattern shining in the sun. It was unseasonably hot, almost sixty degrees, for early November in Mystic, Georgia, and she could smell the light musk of her own sweat. She liked the sweat, liked the way it felt, slick as oil, in all the joints of her body, her bones, in the firm sliding muscles, tensed and locked now, ready to spring
to strike
when the band behind her fired up the school song: "Fight On Deadly Rattlers of Old Mystic High."
Harry Crews- A Feast of Snakes

I believe some people are just too damn smart to write fiction.

The writers job is to get naked,
To hide nothing.
To look away from nothing.
To look at it.
To not blink.
To be not embarrassed or shamed of it.
Strip it down and lets get down to where the blood is, the bone is.
Instead of hiding it with clothes and all kinds of other stuff, luxury!

White people were dangerous and snakes were dangerous and now the two were working together, each doing what the other told it to. She was sure she had seen a snake in a weeded ditch with the head of a white man. Right after she came out of the house on the way to Big Joe's, which she had immediately forgotten, she saw it, long and black and diamond-patterned in the ditch with a white man's head. It had blue eyes. The bluest eyes any white man ever had. She was sure she had seen it. She thought she had seen it. Maybe it was only a dream or a memory of another time. Whatever it was, she still saw it every time she closed her eyes, coiled there on the back of her eyelids, blue-eyed and dangerous.

Blood is our only permanent history, and blood history does not admit of revision

Writers spend all their time preoccupied with just the things that their fellow men and women spend their time trying to avoid thinking about ... It takes great courage to look where you have to look, which is in yourself, in your experience, in your relationship with fellow beings, your relationship to the earth, to the spirit or to the first cause - to look at them and make something of them.