John Gardner Quotes

As a general rule, highly rational writers (like Nabokov) write most comfortably in the morning, and mainly intuitive writers write most comfortably at night. ~ John Gardner

We slip into a dream, forgetting the room we're sitting in, forgetting it's lunchtime or time to go to work. We recreate, with minor and for the most part unimportant changes, the vivid and continuous dream the writer worked out in his mind (revising and revising until he got it right) and captured in language so that other human beings, whenever they feel like it, may open his book and dream that dream again. ~ John Gardner

A profound theme is of trifling importance if the characters knocked around by it are uninteresting, and brilliant technique is a nuisance if it pointlessly prevents us from seeing the characters and what they do. ~ John Gardner

Novel-writing is not so much a profession as a yoga, or "way," an alternative to ordinary life-in-the-world. Its benefits are quasi-religious - a changed quality of mind and heart, satisfactions no non-novelist can understand - and its rigors generally bring no profit except to the spirit. For those who are authentically called to the profession, spiritual profits are enough.
John Gardner ~ Marcy Sheiner

The people I've known who wanted to become writers, knowing what it meant, did become writers. ~ John Gardner

The best way a writer can find to keep himself going is to live off his (or her) spouse. The trouble is that, psychologically at least, it's hard. Our culture teaches none of its false lessons more carefully than that one should never be dependent. Hence the novice or still unsuccessful writer, who has enough trouble believing in himself, has the added burden of shame. It's hard to be a good writer and a guilty person; a lack of self-respect creeps into one's prose. ~ John Gardner

Space hurls outwards, falconswift, mounting like an irreversible justice, a final disease ~ John Gardner

They only think they think. No total vision, total system, merely schemes with a vague family resemblance, no more identity than bridges and, say, spiderwebs. But they rush across chasms on spiderwebs, and sometimes they make it, and that, they think, settles that! ~ John Gardner

They watch on, evil, incredibly stupid, enjoying my destruction.
'Poor Grendel's had an accident,' I whisper. 'So may you all. ~ John Gardner

In an interview in the Paris Review, novelist and Rebel John Gardner made an observation that I've never forgotten: Every time you break the law you pay, and every time you obey the law you pay. ~ Gretchen Rubin

A dragon is a confusion at the heart of things, a law unto himself. He embraces good, evil, and indifference; in his own nature he makes them indivisible and absolute. He knows who he is. Surely you see that... Put it this way. Dragons all love life's finer things- music, art, treasure- the works of the spirit; yet in their personal habits they're foul and bestial- they burn down cathedrals, for instance, and eat maidens- and they see in their whimsical activities no faintest contradiction... Dragons never grow, never change... Believe me, nothing in this world is more despicable than a dragon. They're a walking- or flying- condemnation of all we stand for, all we pray for our children, nay, for ourselves. We struggle to improve ourselves, we tortuously balance on the delicate line between our duties to society and our duties within- our duties to God and our own nature. ~ John Gardner

I look down past the stars to a terrifying darkness. I seem to recognize the place, but it's impossible. "Accident," I whisper. I will fall. I seem to desire the fall, and though I fight it with all my will I know in advance I can't win. Standing baffled, quaking with fear, three feet from the edge of a nightmare cliff, I find myself, incredibly, moving towards it. I look down, down, into bottomless blackness, feeling the dark power moving in me like an ocean current, some monster inside me, deep sea wonder, dread night monarch astir in his cave, moving me slowly to my voluntary tumble into death. ~ John Gardner

[the writer] must copy, with his finite mind, the process of the infinite 'I AM. ~ John Gardner

Gilgamesh said to him, to Utnapishtim the remote,
What can I do, Utnapishtim? Where can I go?
A thief has stolen my flesh.
Death lives in the house where my bed is,
and wherever I set my feet, there Death is. ~ John Gardner

Talking, talking, spinning a spell, pale skin of words that closes me in like a coffin. Not in a language that anyone any longer understands. Rushing, degenerate mutter of noises I send out before me wherever I creep, like a dragon burning his way through vines and fog. ~ John Gardner

The point is, whether or not they show it at dinner parties, writers learn, by a necessity of their trade, to be the sharpest of observers. ~ John Gardner

Good writers may "tell" about almost anything in fiction except the characters' feelings. One may tell the reader that the character went to a private school (one need not show a scene at the private school if the scene has no importance for the rest of the narrative), or one may tell the reader that the character hates spaghetti; but with rare exceptions the characters' feelings must be demonstrated: fear, love, excitement, doubt, embarrassment, despair become real only when they take the form of events - action (or gesture), dialogue, or physical reaction to setting. Detail is the lifeblood of fiction. ~ John Gardner

I think there really is no other way to write a long, serious
novel. You work, shelve it for a while, work, shelve it again,
work some more, month after month, year after year, and then
one day you read the whole piece through and, so far as you
can see, there are no mistakes. (The minute it's published and
you read the printed book you see a thousand.) This tortuous
process is not necessary, I suspect, for the writing of a popular
novel in which the characters are not meant to have depth and complexity, where character A is consistently stingy and character
B is consistently openhearted and nobody is a mass of
contradictions, as are real human beings. But for a true novel
there is generally no substitute for slow, slow baking.
We've all heard the stories of Tolstoy's pains over Anna Karenina,
Jane Austen's over Emma, or even Dostoevsky's over Crime and Punishment, a novel he grieved at having to publish prematurely,though he had worked at it much longer than most popular-fiction writers work at their novels. ~ John Gardner

To write with taste, in the highest sense, is to write [ ... ] so that no one commits suicide, no one despairs; to write [ ... ] so that people understand, sympathize, see the universality of pain, and feel strengthened, if not directly encouraged to live on.
If there is good to be said, the writer should say it. If there is bad to be said, he should say it in a way that reflects the truth that, though we see the evil, we choose to continue among the living.
The true artist [ ... ] gets his sense of worth and honor from his conviction that art is powerful
~ John Gardner

Another bad cure is the sentence awkwardly stretched out by a "that" or "which" clause. For example, "Leaping from the couch he seized the revolver from the bookshelf that stood behind the armchair," or, "She turned, shrieking, throwing up her arms in terror at the sight of the gorilla that had arrive that morning from Africa, which had formerly been its home." What happens in such sentences, obviously, is that they tend to trail off, lose energy. ~ John Gardner

Our noblest hopes grow teeth and pursue us like tigers. ~ John Gardner

One
cannot judge in advance whether or not the idea of the story
is worthwhile because until one has finished writing the story
one does not know for sure what the idea is; and one cannot
judge the style of a story on the basis of a first draft, because
in a first draft the style of the finished story does not yet exist. ~ John Gardner

The best way in the world for breaking up a writer's block is to write a lot. ~ John Gardner

As in the universe every atom has an effect, however miniscule, on every other atom, so that to pinch the fabric of Time and Space at any point is to shake the whole length and breadth of it, so that to change a character's name from Jane to Cynthia is to make the fictional ground shudder under her feet. ~ John Gardner

Like other kinds of intelligence, the storyteller's is partly
natural, partly trained. It is composed of several qualities, most
of which, in normal people, are signs of either immaturity or
incivility: wit (a tendency to make irreverent connections);
obstinacy and a tendency toward churlishness (a refusal to
believe what all sensible people know is true); childishness (an
apparent lack of mental focus and serious life purpose, a fondness
for daydreaming and telling pointless lies, a lack of proper
respect, mischievousness, an unseemly propensity for crying
over nothing); a marked tendency toward oral or anal fixation
or both (the oral manifested by excessive eating, drinking,
smoking, and chattering; the anal by nervous cleanliness and
neatness coupled with a weird fascination with dirty jokes);
remarkable powers of eidetic recall, or visual memory (a usual
feature of early adolescence and mental retardation); a strange
admixture of shameless playfulness and embarrassing earnestness,
the latter often heightened by irrationally intense feelings
for or against religion; patience like a cat's; a criminal streak of
cunning; psychological instability; recklessness, impulsiveness,
and improvidence; and finally, an inexplicable and incurable
addiction to stories, written or oral, bad or good. ~ John Gardner

Character is the very life of fiction. Setting exists only so that the character has someplace to stand. Plot exists so the character can discover what he is really like, forcing the character to choice and action. And theme exists only to make the character stand up and be somebody. ~ John Gardner

Fate often enough will spare a man if his courage holds. ~ John Gardner

What the young writer needs to develop, to achieve his goal of becoming a great artist, is not a set of aesthetic laws but artistic mastery. He cannot hope to develop mastery all at once; it involves too much. But if he pursues his goal in the proper way, he can approach it much more rapidly than he would if he went at it hit-or-miss, and the more successful he is at each stage along the way, the swifter his progress is likely to be. Invariably when the beginning writer hands in a short story to his writing teacher, the story has many things about it that mark it as amateur. But almost as invariably, when the beginning writer deals with some particular, small problem, such as description of a setting, description of a character, or brief dialogue that has some definite purpose, the quality of the work approaches the professional. Having written some small thing very well, he begins to learn confidence. ~ John Gardner

It is the importance of this quality of generosity in fiction that requires a measure of childishness in the writer. People who have strong mental focus and a sense of purpose in their lives, people who have respect for all that grownups generally respect (earning a good living, the flag, the school system, those who are richer than oneself, those who are beloved and famous, such as movie stars), are unlikely ever to make it through the many revisions it takes to tell a story beautifully, without visible tricks, nor would they be able to tolerate the fame and fortune of those who tell stories stupidly, with hundreds of tricks, all of them old and boring to the discriminating mind. First, with his stubborn churlishness the good writer scoffs at what the grownups are praising, then, with his childish forgetfulness and indifference to what sensible people think, he goes back to his foolish pastime, the making of real art. ~ John Gardner

True artists, whatever smiling faces they may show you, are obsessive, driven people
whether driven by some mania or driven by some high, noble vision need not presently concern us. Anyone who has worked both as artist and as professor can tell you, that he works differently in his two styles. No one is more careful, more scrupulously honest, devoted to his personal vision of the ideal, than a good professor trying to write a book about the Gilgamesh. He may write far into the night, he may avoid parties, he may feel pangs of guilt about having spent too little time with his family. Nevertheless, his work is no more like an artist's work than the work of a first-class accountant is like that of an athlete contending for a championship. ~ John Gardner

True criticism praises true art for what it does-praises as plainly and comprehensively as possible-and denounces false art for its failure to do art's proper work. No easy task, the task of the critic, since the trolls are masters of disguise. ~ John Gardner

The chief offense in bad fiction: we sense that characters are being manipulated, forced to do things they would not really do. ~ John Gardner

Sometimes when one cannot stand the story or novel one
is working on, it helps to write something else - a different
story or novel, or essays venting one's favorite peeves, or exercises
aimed at passing the time and incidentally polishing up
one's craft. The best way in the world for breaking a writer's
block is to write a lot. Jabbering away on paper, one gets
tricked into feeling interested, all at once, in something one is
saying, and behold, the magic waters are flowing again. Often
it helps to work on a journal, since that allows the writer to
write about those things that most interest him, yet frees him
of the pressure of achievement and encourages him to develop
a more natural, more personal style. ~ John Gardner

They hacked down trees widening rings around their central halls and blistered the land with peasant huts and pigeon fences till the forest looked like an old dog dying of mange. they thinned out the game, killed birds for sport, set accidental fire that would burn for days. their sheep killed hedges, snipped valleys bare, and their pigs nosed up the very roots of what might have grown. hrothgar's tribe made boats to drive farther north and west. there was nothing to stop the advance of man. huge boars fled at the click of a harness. wolves would cower in the glens like foxes when they caught that deadly scent. i was filled with a wordless, obscurely murderous unrest. ~ John Gardner

Thus I fled, ridiculous hairy creature torn apart by poetry ~ John Gardner

One of the things that should go into the writer's notebook is a set of experiments with the sentence. A convenient and challenging place to begin is with the long sentence, one that runs to at least two pages. ~ John Gardner

The citizen can bring our political and governmental institutions back to life, make them responsive and accountable, and keep them honest. No one else can. ~ John Gardner

What true materialist would settle for a MacDonald's hamburger? ~ John Gardner

After moving his family from Yakima to Paradise, California, in 1958, he enrolled at Chico State College. There, he began an apprenticeship under the soon-to-be-famous John Gardner, the first "real writer" he had ever met. "He offered me the key to his office," Carver recalled in his preface to Gardner's On Becoming a Novelist (1983). "I see that gift now as a turning point." In addition, Gardner gave his student "close, line-by-line criticism" and taught him a set of values that was "not negotiable." Among these values were convictions that Carver held until his death. Like Gardner, whose On Moral Fiction (1978) decried the "nihilism" of postmodern formalism, Carver maintained that great literature is life-connected, life-affirming, and life-changing. "In the best fiction," he wrote "the central character, the hero or heroine, is also the 'moved' character, the one to whom something happens in the story that makes a difference. Something happens that changes the way that character looks at himself and hence the world." Through the 1960s and 1970s he steered wide of the metafictional "funhouse" erected by Barth, Barthelme and Company, concentrating instead on what he called "those basics of old-fashioned storytelling: plot, character, and action." Like Gardner and Chekhov, Carver declared himself a humanist. "Art is not self-expression," he insisted, "it's communication. ~ William L. Stull

The wisdom god, Woden, went out to the king of the trolls, got him in an armlock, and demanded to know of him how order might triumph over chaos. "Give me your left eye," said the troll, "and I'll tell you." Without hesitation, Woden gave up his left eye. "Now tell me." The troll said, "The secret is, 'Watch with both eyes!'" - John Gardner ~ Benjamin Graham

The primary subject of fiction is and has always been human emotion, values, and beliefs. ~ John Gardner

Were they my brothers, my uncles, those creatures shuffling brimstone-eyed from room to room, or sitting separate, isolated, muttering forever like underground rivers, each in his private, inviolable gloom? ~ John Gardner

Writing a novel is like heading out over the open sea in a small boat. It helps, if you have a plan and a course laid out. ~ John Gardner

So childhood too feels good at first, before one happens to notice the terrible sameness, age after age. ~ John Gardner

In university courses we do exercises. Term papers, quizzes, final examinations are not meant for publication. We move through a course on Dostoevsky or Poe as we move through a mildly good cocktail party, picking up the good bits of food or conversation, bearing with the rest, going home when it comes to seem the reasonable thing to do. Art, at those moments when it feels most like art
when we feel most alive, most alert, most triumphant
is less like a cocktail party than a tank full of sharks. ~ John Gardner

Because his art is such
a difficult one, the writer is not likely to advance in the world
as visibly as do his neighbors: while his best friends from high
school or college are becoming junior partners in prestigious
law firms, or opening their own mortuaries, the writer may be
still sweating out his first novel. ~ John Gardner

The trick, of course, is to find a profession you like and one that will also feed your writing, and not eat up all your time. ~ John Gardner

It enraged me. It was their confidence, maybe - their blissful, swinish ignorance, their bumptious self-satisfaction, and, worst of all, their hope. ~ John Gardner

The child of the lower or lower middle class is urged in both overt and subtle ways to surpass his background, his well-meaning parents and friends never anticipating that if their dream of upward mobility is realized, the child may adopt the prejudices of the class to which he's lifted and, with a touch of neurotic distress, may permanently scorn his former life and also, to a certain extent, himself, since the class he's invaded is unlikely to accept him fully. ~ John Gardner

There seems little or no hope for the adult writer who produces sentences like these: "Her cheeks were thick and smooth and held a healthy natural red color. The heavy lines under them, her jowls, extended to the intersection of her lips and gave her a thick-lipped frown most of the time." The phrase "Her cheeks were thick and smooth" is normal English, but "[Her cheeks] held a healthy natural red color" is elevated, pseudo-poetic. The word "held" faintly hints at personification of "cheeks," and "healthy natural red color" is clunky, stilted, slightly bookish. The second sentence contains similar mistakes. The diction level of "extended to the intersection of her lips" is high and formal, in ferocious conflict with the end of the sentence, which plunges to the colloquial "most of the time. ~ John Gardner

It occurs to me,Jim,that you spend too much time trying to be interesting. Why don't you invest more time being interested?
Collin's advice from John Gardner that he took to heart. ~ James C. Collins

But she was beautiful and she surrendered herself with the dignity of a sacrificial virgin. My chest was full of pain, my eyes smarted, and I was afraid – O monstrous trick against reason – I was afraid I was about to sob. I wanted to smash things, bring down the night with my howl of rage. But I kept still. She was beautiful, as innocent as dawn on winter hills. She tore me apart as once the Shaper's song had done. ~ John Gardner

It's a law of the universe that 87 percent of all people in all professions are incompetent. ~ John Gardner

I cannot believe such monstrous energy of grief can lead to nothing! ~ John Gardner

By the time you've run your mind through it a hundred times, relentlessly worked out every tic of terror, it's lost its power over you ... [Soon it's] a story on a page or, more precisely, everybody's story on a page. ~ John Gardner

Mastery is not something that strikes in an instant, like a thunderbolt, but a gathering power that moves steadily through time, like weather. ~ John Gardner

There is some realm where feelings become birds and dark sky, and spirit is more solid than stone. ~ John Gardner

No fiction can have real interest if the central character is not an agent struggling for his or her own goals but a victim, subject to the will of others. (Failure to recognize that the central character must act, not simply be acted upon, is the single most common mistake in the fiction of beginners.) ~ John Gardner

The question one asks of the young writer who wants to
know if he's got what it takes is this: "Is writing novels what
you want to do? Really want to do?"
If the young writer answers, "Yes," then all one can say is:
Do it. In fact, he will anyway. ~ John Gardner

Talking, talking. Spinning a web of words, pale walls of dreams, between myself and all I see. ~ John Gardner

All to often, on the long road up, young leaders become servants of what is rather than shapers of what might be. ~ John Gardner

It would be, for me, mere pointless pleasure, an illusion of order for this one frail, foolish, flicker-flash in the long dull fall of eternity. ~ John Gardner

I know what's in your mind. I know everything. That's what makes me so sick and old and tired. ~ John Gardner

I am mad with joy.
At least I think it's joy. Strangers have come, and it's a whole new game. I kiss the ice on the frozen creeks, I press my ear to it, honoring the water that rattles below, for by water they came: the icebergs parted as if gently pushed back by enormous hands, and the ship sailed through, sea-eager, foamy-necked, white sails, riding the swan-road, flying like a bird! O happy Grendel! Fifteen glorious heroes, proud in their battle dress, fat as cows! ~ John Gardner

As a rule of thumb I say, if Socrates, Jesus and Tolstoy wouldn't do it, don't. ~ John Gardner

He could forget all these people, just like that, become fond again of strangers and leave them too. ~ John Gardner

A true work of fiction does all of the following things, and does them elegantly, efficiently: it creates a vivid and continuous dream in the reader's mind; it is implicitly philosophical; it fulfills or at least deals with all of the expectations it sets up; and it strikes us, in the end, not simply as a thing done but as a shining performance. ~ John Gardner

Though we run across exceptions, philosophical novels where explanation holds interest, the temptation to explain is one that should almost always be resisted. A good writer can get anything at all across through action and dialogue, and if he can think of no powerful reason to do otherwise, he should probably leave explanation to his reviewers and critics. The writer should especially avoid comment on what his characters are feeling, or at very least should be sure he understands the common objection summed up in the old saw Show, don't tell. ~ John Gardner

He was saner than anyone --had fallen out of the world of illusion: love, interesting work, hope for the future. ~ John Gardner

This highest kind of truth is never something the artist takes as given. It's not his point of departure but his goal. Though the artist has beliefs, like other people, he realizes that a salient characteristic of art is its radical openness to persuasion. Even those beliefs he's surest of, the artist puts under pressure to see if they will stand. ~ John Gardner

We read five words on the first page of a really good novel and we begin to forget that we are reading printed words on a page; we begin to see images. ~ John Gardner

Poor Grendel's had an accident. So may you all. ~ John Gardner

The instruction here is not for every kind of writer - not for the writer of nurse books or thrillers or porno or the cheaper sort of sci-fi - though it is true that what holds for the most serious kind of fiction will generally hold for junk fiction as well. (Not everyone is capable of writing junk fiction: It requires an authentic junk mind. Most creative-writing teachers have had the experience of occasionally helping to produce, by accident, a pornographer. The most elegant techniques in the world, filtered through a junk mind, become elegant junk techniques.) ~ John Gardner

What the best fiction does is make powerful affirmations of familiar truths ... the trivial fiction which times filters out is that which either makes wrong affirmations or else makes affirmations in a squeaky little voice. Powerful affirmation comes from strong intellect and strong emotions supported by adequate technique. ~ John Gardner

The world resists me and I resist the world. ~ John Gardner

What do you call the Hrothgar-wrecker when Hrothgar has been wrecked? ~ John Gardner

Art Gropes. It stalks like a hunter lost in the woods, listening to itself and to everything around it, unsure of itself, waiting to pounce. ~ John Gardner

the world: a mechanical chaos of casual, brute enmity on which we stupidly impose our hopes and fears. . ~ John Gardner

Find a pile of gold and sit on it. ~ John Gardner

The image-managers encourage the individual to fashion himself into a smooth coin, negotiable in any market. ~ John Gardner

I had a chance. I knew I had no more than that. it's all a hero asks for. ~ John Gardner

To put all this in the form of another traditional metaphor, aesthetic styles - patterns for communicating feeling and thought - become dull with use, like carving knives, and since dullness is the chief enemy of art, each generation of artists must find new ways of slicing the fat off reality. ~ John Gardner

Fiction, like sculpture or painting, begins with a rough
sketch. One gets down the characters and their behavior any
way one can, knowing the sentences will have to be revised,knowing the characters' actions may change. It makes no difference
how clumsy the sketch is - sketches are not supposed
to be polished and elegant. All that matters is that, going over
and over the sketch as if one had all eternity for finishing one's
story, one improves now this sentence, now that, noticing
what changes the new sentences urge, and in the process one
gets the characters and their behavior clearer in one's head,
gradually discovering deeper and deeper implications of the
characters' problems and hopes. ~ John Gardner

When I was a child I truly loved:
Unthinking love as calm and deep
As the North Sea. But I have lived,
And now I do not sleep. ~ John Gardner

So, when I write a piece of fiction I select my characters and settings and so on because they have a bearing, at least to me, on the old unanswerable philosophical questions. And as I spin out the action, I'm always very concerned with springing discoveries
actual philosophical discoveries. But at the same time I'm concerned
and finally more concerned
with what the discoveries do to the character who makes them, and to the people around him. It's that that makes me not really a philosopher, but a novelist. ~ John Gardner

He must shape simultaneously (in an expanding creative moment) his characters, plot, and setting, each inextricably connected to the others; he must make his whole world in a single, coherent gesture, as a potter makes a pot ... ~ John Gardner

From all we have said about plotting in general it should be evident that even in those modern plots in which events happen by laws not immediately visible, as when, for instance, the tattooed man in the circus reveals in the course of a whimsical conversation that he has on his chest a tattoo of the little girl now looking at him, a child he has never before seen, or as when, in Isak Dinesen, a decorous old nun turns abruptly into a monkey
there must be some rational or poetically persuasive basis. ~ John Gardner

I have eaten several priests. They sit on the stomach like duck eggs. ~ John Gardner

Art is as original and important as it is precisely because it does not start out with clear knowledge of what it means to say. ~ John Gardner

When people are serving, life is no longer meaningless. ~ John Gardner

It is for this reason that Aristotle recommends that the writer begin "in the middle of things" and fill in the exposition as he can. But for purposes of discussion it will be useful to treat the three components separately. ~ John Gardner

Do you think it possible for a woman to love two men at the same time?' 'A man can love two women, so I see no problem. ~ John Gardner

Nothing is sillier than the creative writing teacher's dictum
"Write about what you know." But whether you're writing
about people or dragons, your personal observation of how
things happen in the world - how character reveals itself - can
turn a dead scene into a vital one. Preliminary good advice
might be: Write as if you were a movie camera. Get exactly
what is there. All human beings see with astonishing accuracy,
not that they can necessarily write it down. ~ John Gardner

How, if I know all this, you may ask, could I hound him – shatter him again and again, drive him deeper and deeper into woe? I have no answer, except this: why should I not? Has he made any move to deserve my kindness? If I give him a truce, will the king invite me in for a kiss on the forehead, a cup of mead? Ha! ~ John Gardner

Only very odd people don't realize that truth-telling is always a relative value. ~ John Gardner

Tedium is the worst pain. the mind lays out the world in blocks, and the hushed blood waits for revenge. all order, i've come to understand, is theoretical, unreal - a harmless sensible, smiling mask men slide between the two great, dark realities, the self and the world - two snake pits. ~ John Gardner

We need to stop excusing mediocre and downright pernicious art, stop 'taking it for what it's worth' as we take our fast foods, our overpriced cars that are no good, the overpriced houses we spend all our lives fixing, our television programs, our schools thrown up like barricades in the way of young minds, our brainless fat religions, our poisonous air, our incredible cult of sports, and our ritual of fornicating with all pretty or even horse-faced strangers. We would not put up with a debauched king, but in a democracy all of us are kings, and we praise debauchery as pluralism. This book is of course no condemnation of pluralism; but it is true that art is in one sense fascistic: it claims, on good authority, that some things are healthy for individuals and society and some things are not. ~ John Gardner

One should fight like the devil the temptation to think well of editors. They are all, without exception - at least some of the time, incompetent or crazy. ~ John Gardner

Art, of course, is a way of thinking, a way of mining reality. ~ John Gardner

What art ought to do is tell stories which are moment-by-moment wonderful, which are true to human experience, and which in no way explain human experience. ~ John Gardner