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Kurt Vonnegut

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“And I think now, as my fiftieth birthday draws near, about the American novelist Thomas Wolfe, who was only thirty-eight years old when he died. He got a lot of help in organizing his novels from Maxwell Perkins, his editor at Charles Scribner’s Sons. I have heard that Perkins told him to keep in mind as he wrote, as a unifying idea, a hero’s search for a father. It seems to me that really truthful American novels would have the heroes and heroines alike looking for mothers instead. This needn’t be embarrassing. It’s simply true. A mother is much more useful. I wouldn’t feel particularly good if I found another father.”

“The writing style which is most natural for you is bound to echo the speech you heard when a child. English was the novelist Joseph Conrad's third language, and much of that seems piquant in his use of English was no doubt colored by his first language, which was Polish. And lucky indeed is the writer who has grown up in Ireland, for the English spoken there is so amusing and musical. I myself grew up in Indianapolis, where common speech sounds like a band saw cutting galvanized tin, and employs a vocabulary as unornamental as a monkey wrench. In some of the more remote hollows of Appalachia, children still grow up hearing songs and locutions of Elizabethan times. Yes, and many Americans grow up hearing a language other than English, or an English dialect a majority of Americans cannot understand. All these varieties of speech are beautiful, just as the varieties of butterflies are beautiful. No matter what your first language, you should treasure it all your life. If it happens not to be standard English, and if it shows itself when you write standard English, the result is usually delightful, like a very pretty girl with one eye that is green and one that is blue. I myself find that I trust my own writing most, and others seem to trust it most, too, when I sound most like a person from Indianapolis, which is what I am. What alternatives do I have? The one most vehemently recommended by teachers has no doubt been pressed on you, as well: to write like cultivated Englishmen of a century or more ago.”

“I felt after I finished Slaughterhouse-Five that I didn’t have to write at all anymore if I didn’t want to. It was the end of some sort of career. I don’t know why, exactly. I suppose that flowers, when they’re through blooming, have some sort of awareness of some purpose having been served. Flowers didn’t ask to be flowers and I didn’t ask to be me. At the end of Slaughterhouse-Five…I had a shutting-off feeling…that I had done what I was supposed to do and everything was OK .”

“Here is a lesson in creative writing. First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you've been to college. And I realize some of you may be having trouble deciding whether I am kidding or not. So from now on I will tell you when I'm kidding. For instance, join the National Guard or the Marines and teach democracy. I'm kidding. We are about to be attacked by Al Qaeda. Wave flags if you have them. That always seems to scare them away. I'm kidding. If you want to really hurt your parents, and you don't have the nerve to be gay, the least you can do is go into the arts. I'm not kidding. The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possibly can. You will get an enormous reward. You will have created something.”

“I paraphrase Aristotle: If you want to be comical, write about people to whom the audience can feel superior; if you want to be tragical, write about at least one person to whom the audience is bound to feel inferior, and no fair having human problems solved by dumb luck or heavenly intervention.”

“A lot of critics think I'm stupid because my sentences are so simple and my method is so direct: they think these are defects. No. The point is to write as much as you know as quickly as possible.”

“Somebody realized, hey, students are printing dummy ads and dummy news stories, why don't they really print something. So there was the Shortridge Daily Echo, and a hell of a lot of writers have come out of Shortridge on that account. The head writer of the I Love Lucy show, Madelyn Pugh, was a schoolmate of mine. Dan Wakefield. Writing was a perfectly reasonable thing to do.”

“Any reviewer who expresses rage and loathing for a novel is preposterous. He or she is like a person who has put on full armor and attacked a hot fudge sundae.”

“We have to continually be jumping off cliffs and developing our wings on the way down.”

“If you want to really hurt you parents, and you don't have the nerve to be gay, the least you can do is go into the arts. I'm not kidding. The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possible can. You will get an enormous reward. You will have created something.”

“Novelists have, on the average, about the same IQs as the cosmetic consultants at Bloomingdale’s department store. Our power is patience. We have discovered that writing allows even a stupid person to seem halfway intelligent, if only that person will write the same thought over and over again, improving it just a little bit each time. It is a lot like inflating a blimp with a bicycle pump. Anybody can do it. All it takes is time.”

“There is this thing called the university, and everybody goes there now. And there are these things called teachers who make students read this book with good ideas or that book with good ideas until that's where we get our ideas. We don't think them; we read them in books. I like Utopian talk, speculation about what our planet should be, anger about what our planet is. I think writers are the most important members of society, not just potentially but actually. Good writers must have and stand by their own ideas.”

“If I were a younger man, I would write a history of human stupidity; and I would climb to the top of Mount McCabe and lie down on my back with my history for a pillow; and I would take from the ground some of the blue-white poison that makes statues of men; and I would make a statue of myself, lying on my back, grinning horribly, and thumbing my nose at You Know Who.”

“As for myself: I had come to the conclusion that there was nothing sacred about myself or any human being, that we were all machines, doomed to collide and collide and collide. For want of anything better to do, we became fans of collisions. Sometimes I wrote well about collisions, which meant I was a writing machine in good repair. Sometimes I wrote badly, which meant I was a writing machine in bad repair. I no more harbored sacredness than did a Pontiac, a mousetrap, or a South Bend Lathe.”

“I have been a writer since 1949. I am self-taught. I have no theories about writing that might help others. When I write, I simply become what I seemingly must become. I am six feet two and weigh nearly two hundred pounds and am badly coordinated, except when I swim. All that borrowed meat does the writing. In the water I am beautiful.”