Michael Chabon
Pulitzer Prize winning American author, essayist, short-story writer, and screenwriter.
It was in this man's class that I first began to wonder if people who wrote fiction were not suffering from some kind of disorder--from what I've since come to think of, remembering the wild nocturnal rockings of Albert Vetch, as the midnight disease.
[A]dventures befall the unadventurous as readily, if not as frequently, as the bold. Adventures are a logical and reliable result—and have been since at least the time of Odysseus—of the fatal act of leaving one's home, or trying to return to it again. All adventures happen in that damned and magical space, wherever it may be found or chanced upon, which least resembles one's home. As soon as you have crossed your doorstep or the county line, into that place where the structures, laws, and conventions of your upbringing no longer apply, where the support and approval (but also the disapproval and repression) of your family and neighbors are not to be had: then you have entered into adventure, a place of sorrow, marvels, and regret.
[Comics] were viewed as the literary equivalent of bubblegum cards, meant to be poked into the spokes of a young mind where they would produce a satisfying—but entirely bogus—rumble of pleasure.
The young men listen dutifully, for the most part, and from time to time some of them even take the trouble to go over to the college library, and dig up one or another of his novels, and crouch there, among the stacks, flipping impatiently through the pages, looking for parts that sound true.
I found myself going over a particular troublesome scene in the novel, for the one thousand and seventy-third time, in the manner of a lunatic ape in a cage at the zoo, running his fingers back and forth along the iron bars of his home.
The point of Obama's candidacy is that the damaged state of American democracy is not the fault of George W. Bush and his minions, the corporate-controlled media, the insurance industry, the oil industry, lobbyists, terrorists, illegal immigrants or Satan. The point is that this mess is our fault. We let in the serpents and liars, we exchanged shining ideals for a handful of nails and some two-by-fours, and we did it by resorting to the simplest, deepest-seated and readiest method we possess as human beings for trying to make sense of the world: through our fear. America has become a phobocracy.
When I first set my sights on becoming a writer at age eleven or so, I wanted to be a fantasy and science fiction writer. That was my preferred reading material and that's what I thought I was going to write. That's always been there. You can even see little hints of it in Mysteries of Pittsburgh and Wonderboys.
I knew that I shouldn't have, but I did it all the same; and there you have my epitaph, or one of them, because my grave is going to require a monument inscribed on all four sides with rueful mottoes, in small characters, set close together.
Childhood, at its best, is a perpetual adventure, in the truest sense of that overtaxed word: a setting forth into trackless lands that might have come to existence the instant before you first laid eyes on them.
Dr. Roboy, in Litvak’s measured view, had a vice common to believers: He was all strategy and no tactics. He was prone to move for the sake of moving, too focused on the goal to bother with the intervening sequence.
He doesn’t know how one proceeds under the circumstances, except with the certainty, pressed to the heart like a keepsake of love, that in the end nothing really matters.
A couple of years later I would marry her for a little while.
The problem, if anything, was precisely the opposite. I had too much to write: too many fine and miserable buildings to construct and streets to name and clock towers to set chiming, too many characters to raise up from the dirt like flowers whose petals I peeled down to the intricate frail organs within, too many terrible genetic and fiduciary secrets to dig up and bury and dig up again, too many divorces to grant, heirs to disinherit, trysts to arrange, letters to misdirect into evil hands, innocent children to slay with rheumatic fever, women to leave unfulfilled and hopeless, men to drive to adultery and theft, fires to ignite at the hearts of ancient houses.
Every writer has an ideal reader, I thought, and it was just my good luck that mine wanted to sleep with me.
Yes, all right, Landsman understands, so go shit in the ocean, that he made not the right but the only choice. He understands that the necessity of covering up for the dark deeds of the boys in the top drawer is one that nozzes have been making into a virtue since the dawn of police work.
The Weinreichs have laid out, with numerical precision, the outlines of a world, of a fantastic land in which it would behoove you to know how to say, in Yiddish,
250. What is the flight number?
1372. I need something for a tourniquet.
1379. Here is my identification.
254. Can I go by boat/ferry to----?
Pity those—adventurers, adolescents, authors of young adult fiction—who make their way in the borderland between worlds. It is at worst an invisible and at best an inhospitable place. Build your literary house on the borderlands, as the English writer Philip Pullman has done, and you may find that your work is recommended by booksellers, as a stopgap between installments of Harry Potter, to children who cannot (one hopes) fully appreciate it, and to adults, disdainful or baffled, who 'don't read fantasy.' Yet all mystery resides there, in the margins, between life and death, childhood and adulthood, Newtonian and quantum, 'serious' and 'genre' literature. And it is from the confrontation with mystery that the truest stories have always drawn their power.
The overcoat was a trademark of his. It was an impermeable thrift-shop special with a plaid flannel lining and wide lapels, and it looked as though it had been trying for many years to keep the rain off the stooped shoulders of a long series of hard cases, drifters, and ordinary bums. It emitted an odor of bus station so desolate that just standing next to him you could feel your luck changing for the worse.
The imagination of teenagers is often -- I'm tempted to say always -- the only sure capital they possess apart from the love of their parents, which is a force far beyond their capacity to comprehend or control.