T. Coraghessan Boyle

“I've always been a quitter. I quit the Boy Scouts, the glee club, the marching band. Gave up my paper route, turned my back on the church, stuffed the basketball team. I dropped out of college, sidestepped the army with a 4-F on the grounds of mental instability, went back to school, made a go of it, entered a Ph.D. program in nineteenth-century British literature, sat in the front row, took notes assiduously, bought a pair of horn-rims, and quit on the eve of my comprehensive exams. I got married, separated, divorced. Quit smoking, quit jogging, quit eating red meat. I quit jobs: digging graves, pumping gas, selling insurance, showing pornographic films in an art theater in Boston. When I was nineteen I made frantic love to a pinch-faced, sack-bosomed girl I'd known from high school. She got pregnant. I quit town.”

― T.C. Boyle

“But then, that’s the beauty of writing stories—each one is an exploratory journey in search of a reason and a shape. And when you find that reason and that shape, there’s no feeling like it."

[Peter Wild Interviews TC Boyle, 3:AM Magazine, June 2003]”
― T.C. Boyle

“Writing is a habit, an addiction, as powerful and overmastering an urge as putting a bottle to your lips or a spike in your arm. Call it the impulse to make something out of nothing, call it an obsessive-compulsive disorder, call it logorrhea. Have you been in a bookstore lately? Have you seen what these authors are doing, the mountainous piles of the flakes of themselves they're leaving behind, like the neatly labeled jars of shit, piss, and toenail clippings one of John Barth's characters bequeathed to his wife, the ultimate expression of his deepest self?”
― T.C. Boyle

“There are always surprises. Life may be inveterately grim and the surprises disproportionately unpleasant, but it would be hardly worth living if there were no exceptions, no sunny days, no acts of random kindness.”
― T.C. Boyle, The Tortilla Curtain

“Pleasure, I remind myself, is inseparable from its lawfully wedded mate, pain.”
― T.C. Boyle, A Friend of the Earth

“In order to create you have to believe in your ability to do so and that often means excluding whole chunks of normal life, and, of course, pumping yourself up as much as possible as a way of keeping on. Sort of cheering for yourself in the great football stadium of life."

(Barnes & Noble Review, email dialogue with Cameron Martin, Feb. 09, 2009)”
― T.C. Boyle

“First you have nothing, and then, astonishingly, after ripping out your brain and your heart and betraying your friends and ex-lovers and dreaming like a zombie over the page till you can't see or hear or smell or taste, you have something.”
― T.C. Boyle

“To be a friend of the earth, you have to be an enemy of man.”
― T. Corraghessan Boyle, A Friend of the Earth

“Why ruin my sister's birthday simply because the entire planet was going to hell in a hand basket?”
― T.C. Boyle, Without a Hero: Stories

“Sometimes, when she's out here alone, she can feel the pulse of something bigger, as if all things animate were beating in unison, a glory and a connection that sweeps her out of herself, out of her consciousness, so that nothing has a name, not in Latin, not in English, not in any known language.”
― T.C. Boyle, When the Killing's Done

“I do feel that literature should be demystified. What I object to is what is happening in our era: literature is only something you get at school as an assignment. No one reads for fun, or to be subversive or to get turned on to something. It's just like doing math at school. I mean, how often do we sit down and do trigonometry for fun, to relax. I've thought about this, the domination of the literary arts by theory over the past 25 years -- which I detest -- and it's as if you have to be a critic to mediate between the author and the reader and that's utter crap. Literature can be great in all ways, but it's just entertainment like rock'n'roll or a film. It is entertainment. If it doesn't capture you on that level, as entertainment, movement of plot, then it doesn't work. Nothing else will come out of it. The beauty of the language, the characterization, the structure, all that's irrelevant if you're not getting the reader on that level -- moving a story. If that's friendly to readers, I cop to it.”
― T.C. Boyle

“She didn't recognize him and he didn't recognize her, because people and places change and what once was will never be again.”
― T.C. Boyle, Tooth and Claw

“They wore each other like a pair of socks.

From "Love of my Life”
― T. C. Boyle

“Who was she in high school? Little Miss Nobody. She could have embroidered it on her sweaters, tattooed it across her forehead. And in small letters: i am shit, i am anonymous, step on me. please. She wasn't voted Most Humorous in her high school yearbook or Best Dancer or Most Likely to Succeed, and she wasn't in the band or Spanish Club and when her ten year reunion rolled around nobody would recognize her or have a single memory to share.”
― T.C. Boyle, Drop City

“I am concerned with social and environmental issues. What rational person is not? But advocacy and art do not mix. Art is a seduction. Good art invites the reader to think and feel deeply and come to his/her own conclusions.”
― T.C. Boyle

“I introduced Nora as my wife, though that was a lie. Old people, that's what they wanted to hear. If you were married, you were mature, reliable, exactly like them, because in their day men and women didn't just live together--they made a commitment, they had children and went on cruises and built big houses on lakes and filled them with all the precious trinkets and manufactured artifacts they'd collected along the way.”
― T. Coraghessan Boyle

“I have an idea and a first line -- and that suggests the rest of it. I have little concept of what I’m going to say, or where it’s going. I have some idea of how long it’s going to be -- but not what will happen or what the themes will be. That’s the intrigue of doing it -- it’s a process of discovery. You get to discover what you’re going to say and what it’s going to mean.”
― T.C. Boyle

“This was what he was born for. This was what made sense. The only thing.”
― T.C. Boyle, The Women

“To readers who tend to think primarily in terms of liking or disliking characters: these people are fictional. They do not stand before us asking to be liked. They stand before us asking to be read. They ask to be seen and heard and maybe even understood, or at least for their motives to be understood, if that is what the author is after. But, for the sake of argument, let’s pretend these characters are in fact real, that they are human beings standing before us. Let us open up at least a little to those we might not like—in their presence, we might experience something new. To me, facing those we might not want to face is crucial to living in a diverse world.”
― T.C. Boyle, The Best American Short Stories 2015

“I was reading, absorbed in an assault on K2 by a team of Japanese mountaineers, my lungs constricting in the thin burning air, the deadly sting of wind-lashed ice in my face, when the record -- Le Sacre du Printemps -- caught in the groove with a gnashing squeal as if a stageful of naiads, dryads and spandex satyrs had simultaneously gone lame.”
― T. Coraghessan Boyle

“The moment we pulled up in front of her apartment she had the door open. She turned to me with the long, elegant, mournful face of her Puritan ancestors and held out her hand.

'It's been fun,' she said.

'Yes,' I said, taking her hand.

She was wearing gloves.”
― T. C. Boyle

“I SHALL WIN!" She exclaimed. "You'll see! When the smoke of battle clears away I shall be a rainbow again--and, undying name--an altar of fire that you have tried to dash to hell. I shall weave a rose wreath and hang it round your neck. You will call it a yoke of bondage and curse it--no matter. You are afraid of the light I give you. You crouch in the darkness. Come, take my hand, I will lead you." And her valediction, intimating in its restraint whole words of love and grief and passionate regret, was, simply, Miriam.”
― T. C. Boyle

“constellations hanging overhead in the rafters of the universe”
― TC Boyle, The Women

“At best, I consider flying an unavoidable necessity, a time to resurrect forgotten prayers and contemplate the end of all joy in a twisted howling heap of machinery; at worst, I rank it right up there with psychotic episodes and torture at the hands of malevolent strangers.”
― T.C. Boyle, If the River Was Whiskey

“It was then that my gaze happened to fall on the bookcase, on the gap there, where the old paperback of "Nine Stories" had fallen flat. "Where's the thing?" I said.
"What thing?"
"The mesh. My mesh."
She shrugged. "I tossed it."
"Tossed it? Where? What do you mean?"
In the next moment I was in the kitchen, flipping open the lid of the trash can, only to find it empty. "You mean outside?" I shouted. "In the dumpster?"
When I came thundering back into the room, she still hadn't moved. "Jesus, what were you thinking? That was mine. I wanted that. I wanted to keep it."
Her lips barely moved. "It was dirty.”
― T.C. Boyle, Stories II: The Collected Stories of T. Coraghessan Boyle, Volume II

“Besides, to like something, to really like it and come out and say so, is taking a terrible risk. I mean, what if I'm wrong? What if it's really no good?”
― T.C. Boyle, If the River Was Whiskey

“But then all writers smoke, don't they? And drink? And sit in front of computer screens till their arteries clog and muscles atrophy?”
― T.C. Boyle, When the Killing's Done

“She was at sea. She knew the rocking of the boat as intimately now as if she’d never known anything else, felt the muted drone of the engines deep inside her, in the thump of her heart and the pulse of her blood. At sea. She was at sea.”
― T.C. Boyle, When the Killing's Done

“The thought arrested her and she pulled away from him just to stand there a moment and take in the strangeness of it all. Music drifted down to her then, an odd tinkling sort of music with a rippling rhythmic undercurrent that seemed to tug the melody in another direction altogether, into the depths of a deep churning sea, but beautiful for all that, and so perfect and unexpected. She felt languid and free--all eyes were on her, every man turning to stare--and it came to her that she loved this place, this moment, these people. She could stay here forever, right here, in the gentle sway of the Japanese night.”
― T.C. Boyle, The Women