Stephen Dobyns Quotes

Actions have consequences. Ignorance about the nature of those actions does not free a person from responsibility for the consequences. (28)

When a philosopher, scientist, or psychologist discusses the discrepancy between the actual and the ideal, he or she attempts to convince us with the tools of discursive thought ... An artist does it differently ... their primary approach is different, even though both groups, if you will, are investigating the actual, the ideal, and the discrepancy in between.

You should welcome your ignorance because it enables you to learn. (31)

They are asleep. This is the condition they prefer. They are afraid of the world and sleep is a way of dealing with their fear. Someday they will wake. Perhaps something frightful will happen. Indeed, there is no better invitation to the frightful than ignorance - that is, sleep. (29)

Hesitancy is the surest destroyer of talent. One cannot be timorous and reticent, one must be original and loud. New metaphors, new rhythms, new expressions of emotion can only spring from unhindered gall. Nothing should interfere with that intuition
not the fear of appearing stupid, nor of offending somebody, nor jeopardizing publication, nor being trivial. The intuition must be as unhindered as a karate chop.

It was not that she felt any allegiance to the truth. God knows she had cheated on too many men for the truth to be more than a stumbling block. But sometimes falsehood took more strength than she could summon up.

When he began to talk about Wyndham, it was almost with relief, as if his purpose in life was to tell that story over and over. To tell it until its last shard had been pulled from him. As he listened to himself, he realized that the story sounded practiced as it changed from event and recollection into language, as if each retelling were an attempt to scrub away the awfulness.

Each thing I do, I rush through so I can do something else. In such a way do the days pass
a blend of stock car racing and the never ending building of a gothic cathedral. Through the windows of my speeding car I see all that I love falling away: books unread, jokes untold, landscapes unvisited ...

Many of my poems try to use a comic element to reach a place that isn't comic at all. The comic element works as a surprise. It is unexpected and energizing.

My wife's dying upstairs and I can't do anything about it. I look in her face and I see the memories there. I see how I hurt her and how I said the wrong things and how I got angry and how I wasn't the man she hoped I'd be. I see that in her face and I see she's going to die with that. You think I'm not preoccupied?

Why are doors more difficult to open
as if some sadness were leaning against them?
Why do windows darken and trees bend
when there is no wind? You call that occasional
roar the roar of a plane and I imagine
a time when I might have believed that. But now the darkness has been going on
for too long, and I have accustomed myself
to the pleasure of thinking that soon
there will be no reason to hold on in this place
where rocks are like water and it's so difficult
to find something solid to hold on to.

One writes a poem when one is so taken up by an emotional concept that one is unable to remain silent.

It's peculiar to eat naked, but not crazy. What's crazy is to shoot yourself. You've got to get these things in perspective.

If it weren't for the Chicagos and Detroits and Toledos, the terrible things would spread out across the whole country and make trouble for everybody else. Such places were collectors of badness in the way hospitals were collectors of the sick and damaged.

Love doesn't need a reason. Hate needs a reason.

Trying to remember you
is like carrying water
in my hands a long distance
across sand. Somewhere people are waiting.
They have drunk nothing for days.

Theseus Within the Labyrinth pt.1

The lives of Greeks in the old days were deep,
mysterious and often lead to questions like
just what was wrong with Ariadne anyway, that's
what I'd like to know? She would have done
anything for that rascally Theseus, and what
did he do but sneak out in the night and row
back to his ship with black sails. Let's get
the heck out of here, he muttered to his crew
and they leaned on their oars as he went whack-
whack on the whacking board - a human metronome
of adventure and ill-fortune. She was King Minos's
daughter and had helped Theseus kill the king's
pet monster, her half-brother, so possibly
he didn't like feeling beholden - people might
think he wasn't tough. But certainly he'd spent
his life knocking chips off shoulders and flattening
any fellow reckless enough to step across a line
drawn in the dust. If you wanted a punch thrown,
Theseus was just the cowboy to throw it. I'm only
happy when hitting and scratching, he'd told Ariadne
that first night. So he'd been the logical choice
to sail down from Athens to Crete to stop this
nonsense of a tribute of virgins for some
monster to eat. Those Cretans called it eating but
Theseus thought himself no fool and liked a virgin
as well as the next man. Not that he could have got
into the Labyrinth without Ariadne's help or out
either for that matter. As f

Isn't that why you want to shoot yourself? To make a protest against change?

I like it to be quiet, and it usually occurs in the morning. There are three or four places in my house where I can write and I like to keep moving around. The moment I find myself falling into a necessary routine, I change it. I'd rather not accumulate superstitions.

Like this week." "So you're Carl's replacement?" "I guess you could say that.

My poems always begin with a metaphor, but my way into the metaphor may be a word, an image, even a sound. And I rarely know the nature of the metaphor when I begin to write, but there is an attentiveness that a writer develops, a sudden alertness that is much like the feel of a fish brushing against a hook.

I can't believe there is a poet who hasn't eagerly put down a word one day, only to erase it the next day deciding it was sheer lunacy. It's part of the process of selection.