Bill Bash > Bill's Quotes

“When your mama was the geek, my dreamlets," Papa would say, "she made the nipping off of noggins such a crystal mystery that the hens themselves yearned toward her, waltzing around her, hypnotized with longing.”
― Katherine Dunn, Geek Love

“There are the those whose own vulgar normality is so apparent and stultifying that they strive to escape it. They affect flamboyant behaviour and claim originality according to the fashionable eccentricities of their time. They claim brains or talent or indifference to mores in desperate attempts to deny their own mediocrity.”
― Katherine Dunn, Geek Love

“I get glimpses of the horror of normalcy. Each of these innocents on the street is engulfed by a terror of their own ordinariness. They would do anything to be unique.”
― Katherine Dunn, Geek Love

“There are parts of Texas where a fly lives ten thousand years and a man can't die soon enough. Time gets strange there from too much sky, too many miles from crack to crease in the flat surface of the land.”
― Katherine Dunn, Geek Love

“It is, I suppose, the common grief of children at having to protect their parents from reality. It is bitter for the young to see what awful innocence adults grow into, that terrible vulnerability that must be sheltered from the rodent mire of childhood.
Can we blame the child for resenting the fantasy of largeness? Big, soft arms and deep voices in the dark saying, "Tell Papa, tell Mama, and we'll make it right." The child, screaming for refuge, senses how feeble a shelter the twig hut of grown-up awareness is. They claim strength, these parents, and complete sanctuary. The weeping earth itself knows how desperate is the child's need for exactly that sanctuary. How deep and sticky is the darkness of childhood, how rigid the blades of infant evil, which is unadulterated, unrestrained by the convenient cushions of age and its civilizing anesthesia.
Grownups can deal with scraped knees, dropped ice-cream cones, and lost dollies, but if they suspected the real reasons we cry they would fling us out of their arms in horrified revulsion. Yet we are small and as terrified as we are terrifying in our ferocious appetites.
We need that warm adult stupidity. Even knowing the illusion, we cry and hide in their laps, speaking only of defiled lollipops or lost bears, and getting lollipop or a toy bear'd worth of comfort. We make do with it rather than face alone the cavernous reaches of our skull for which there is no remedy, no safety, no comfort at all. We survive until, by sheer stamina, we escape into the dim innocence of our own adulthood and its forgetfulness.”
― Katherine Dunn, Geek Love

“Dear daughter, I won't try to call my feeling for Arty love. Call it focus. My focus on Art was an ailment, noncommunicable, and, even to me all these years later, incomprehensible. Now I despise myself. But even so I remember, in hot floods, the way he slept, still as death, with his face washed flat, stony as a carved tomb and exquisite. His weakness and his ravening bitter needs were terrible, and beautiful, and irresistible as an earthquake. He scalded or smothered anyone he needed, but his needing and the hurt that it caused me were the most life I ever had. Remember what a poor thing I have always been and forgive me.

He saw no use for you and you interfered with his use of me. I sent you away to please him, to prove my dedication to him, and to prevent him from killing you...

My job was to come back [from the convent] directly, with nothing leaking from beneath my dark glasses, to give Arty his rubdown and then paint him for the next show, nodding cheerfully all the while, never showing anything but attentive care for his muscular wonderfulness. Because he could have killed you. He could have cut off the money that schooled and fed you. He could have erased you so entirely that I never would have had those letters and report cards and photos, or your crayon pictures, or the chance to spy on you, and to love you secretly when everything else was gone.”
― Katherine Dunn, Geek Love

“Later, at the sink in our van, Mama rinsed the blue stain and the odd spiders, caterpillars, and stems from the bucket.
"Not what we usually start with, but we can go again tomorrow. And this will set up nicely in about six, eight jars."
The berries were beginning to simmer in the big pot on the back burner. Mama pushed her dark wooden spoon into the foaming berries and cicrcled the wall of the pot slowly.
I leaned my hot arms on the table and said, "Iphy better not go tomorrow. She got tired today." I was smelling the berries and Mamaa's sweat, and watching the flex of the blue veins behind her knees.
"Does them good. The twins always loved picking berries, even more than eating them. Though Elly likes her jam."
"Elly doesn't like anything anymore."
The knees stiffened and I looked up. The spoon was motionless. Mama stared at the pot.
"Mama, Elly isn't there anymore. Iphy's changed. Everything's changed. This whole berry business, cooking big meals that nobody comes for, birthday cakes for Arty. It's dumb, Mama. Stop pretending. There isn't any family anymore, Mama."
Then she cracked me with the big spoon. It smacked wet and hard across my ear, and the purple-black juice spayed across the table. She started at me, terrified, her mouth and eyes gaping with fear. I stared gaping at her. I broke and ran.
I went to the generator truck and climbed up to sit by Grandpa. That's the only time Mama ever hit me and I knew I deserved it. I also knew that Mama was too far gone to understand why I deserved it. She'd swung that spoon in a tigerish reflex at blasphemy. But I believed that Arty had turned his back on us, that the twins were broken, that the Chick was lost, that Papa was weak and scared, that Mama was spinning fog, and that I was an adolescent crone sitting in the ruins, watching the beams crumble, and warming myself in the smoke from the funeral pyre. That was how I felt, and I wanted company. I hated Mama for refusing to see enough to be miserable with me. Maybe, too, enough of my child heart was still with me to think that if she would only open her eyes she could fix it all back up like a busted toy.”
― Katherine Dunn, Geek Love

“To diminish the worth of women, men had to diminish the worth of the moon. They had to drive a wedge between human beings and the trees and the beasts and the waters, because trees and beasts and waters are as loyal to the moon as to the sun. They had to drive a wedge between thought and feeling...At first they used Apollo as the wedge, and the abstract logic of Apollo made a mighty wedge, indeed, but Apollo the artist maintained a love for women, not the open, unrestrained lust that Pan has, but a controlled longing that undermined the patriarchal ambition. When Christ came along, Christ, who slept with no female...Christ, who played no musical instrument, recited no poetry, and never kicked up his heels by moonlight, this Christ was the perfect wedge. Christianity is merely a system for turning priestesses into handmaidens, queens into concubines, and goddesses into muses.”
― Tom Robbins, Jitterbug Perfume

“The beet is the most intense of vegetables. The radish, admittedly, is more feverish, but the fire of the radish is a cold fire, the fire of discontent not of passion. Tomatoes are lusty enough, yet there runs through tomatoes an undercurrent of frivolity. Beets are deadly serious.

Slavic peoples get their physical characteristics from potatoes, their smoldering inquietude from radishes, their seriousness from beets.

The beet is the melancholy vegetable, the one most willing to suffer. You can't squeeze blood out of a turnip...

The beet is the murderer returned to the scene of the crime. The beet is what happens when the cherry finishes with the carrot. The beet is the ancient ancestor of the autumn moon, bearded, buried, all but fossilized; the dark green sails of the grounded moon-boat stitched with veins of primordial plasma; the kite string that once connected the moon to the Earth now a muddy whisker drilling desperately for rubies.

The beet was Rasputin's favorite vegetable. You could see it in his eyes.”
― Tom Robbins, Jitterbug Perfume

“Meet me in Cognito, baby. In Cognito, we'll have nothing to hide.”
― Tom Robbins, Jitterbug Perfume

“Ellen Cherry was from the south and had good manners. She didn´t have any panties on, but she had good manners.”
― Tom Robbins, Skinny Legs and All

“Mockingbirds are the true artists of the bird kingdom. Which is to say, although they're born with a song of their own, an innate riff that happens to be one of the most versatile of all ornithological expressions, mocking birds aren't content to merely play the hand that is dealt them. Like all artists, they are out to rearrange reality. Innovative, willful, daring, not bound by the rules to which others may blindly adhere, the mockingbird collects snatches of birdsong from this tree and that field, appropriates them, places them in new and unexpected contexts, recreates the world from the world. For example, a mockingbird in South Carolina was heard to blend the songs of thirty-two different kinds of birds into a ten-minute performance, a virtuoso display that serve no practical purpose, falling, therefore, into the realm of pure art.”
― Tom Robbins, Skinny Legs and All

“The Conch Shell´s tint was that of a vagina blowing bubble gum.”
― Tom Robbins, Skinny Legs and All

“The Divine was expansive, but religion was reductive. Religion attempted to reduce the Divine to a knowable quantity with which mortals might efficiently deal, to pigeonhole it once and for all so that we never had to reevaluate it. With hammers of cant and spikes of dogma, we crucified and crucified again, trying to nail to our stationary altars the migratory light of the world.”
― Tom Robbins, Skinny Legs and All

“Summer had come to sit on New York's face.”
― Tom Robbins, Skinny Legs and All

“The Divine was beyond description, beyond knowing, beyond comprehension. To say that the Divine was Creation divided by Destruction was as close as one could come to definition. But the puny of soul, the dull of wit, weren't content with that. They wanted to hang a face on the Divine. They went so far as to attribute petty human emotions (anger, jealousy, etc) to it, not stopping to realize that if God were a being, even a supreme being, our prayers would have bored him to death long ago.”
― Tom Robbins, Skinny Legs and All

“Religion is nothing but institutionalized mysticism. The catch is, mysticism does not lend itself to institutionalization. The moment we attempt to organize mysticism, we destroy its essence. Religion, then, is mysticism in which the mystical has been killed. Or, at least diminished.”
― Tom Robbins, Skinny Legs and All

“This is the room of the wolfmother wallpaper.”
― Tom Robbins, Skinny Legs and All

“Love is the ultimate outlaw. It just won't adhere to any rules. The most any of us can do is to sign on as its accomplice. Instead of vowing to honor and obey, maybe we should swear to aid and abet. That would mean that security is out of the question. The words "make" and "stay" become inappropriate. My love for you has no strings attached. I love you for free.”
― Tom Robbins, Still Life with Woodpecker

“Who knows how to make love stay?

1. Tell love you are going to Junior's Deli on Flatbush Avenue in Brooklyn to pick up a cheesecake, and if loves stays, it can have half. It will stay.

2. Tell love you want a momento of it and obtain a lock of its hair. Burn the hair in a dime-store incense burner with yin/yang symbols on three sides. Face southwest. Talk fast over the burning hair in a convincingly exotic language. Remove the ashes of the burnt hair and use them to paint a moustache on your face. Find love. Tell it you are someone new. It will stay.

3. Wake love up in the middle of the night. Tell it the world is on fire. Dash to the bedroom window and pee out of it. Casually return to bed and assure love that everything is going to be all right. Fall asleep. Love will be there in the morning.”
― Tom Robbins, Still Life with Woodpecker

“It's never too late to have a happy childhood.”
― Tom Robbins, Still Life with Woodpecker

“Albert Camus wrote that the only serious question is whether to kill yourself or not.
Tom Robbins wrote that the only serious question is whether time has a beginning and an end.
Camus clearly got up on the wrong side of bed, and Robbins must have forgotten to set the alarm.
There is only one serious question. And that is: Who knows how to make love stay?
Answer me that and I will tell you whether or not to kill yourself.”
― Tom Robbins, Still Life with Woodpecker

“When the mystery of the connection goes, love goes. It's that simple. This suggests that it isn't love that is so important to us but the mystery itself. The love connection may be merely a device to put us in contact with the mystery, and we long for love to last so that the ecstacy of being near the mystery will last. It is contrary to the nature of mystery to stand still. Yet it's always there, somewhere, a world on the other side of the mirror (or the Camel pack), a promise in the next pair of eyes that smile at us. We glimpse it when we stand still.
The romance of new love, the romance of solitude, the romance of objecthood, the romance of ancient pyramids and distant stars are means of making contact with the mystery. When it comes to perpetuating it, however, I got no advice. But I can and will remind you of two of the most important facts I know:
1. Everything is part of it.
2. It's never too late to have a happy childhood.”
― Tom Robbins, Still Life with Woodpecker

“There are two kinds of people in this world: Those who believe there are two kinds of people in this world and those who are smart enough to know better.”
― Tom Robbins, Still Life with Woodpecker

“red hair is caused by sugar and lust.”
― Tom Robbins, Still Life with Woodpecker

“The only authority I respect is the one that causes butterflies to fly south in fall and north in springtime.”
― Tom Robbins, Another Roadside Attraction

“And then the rains came. They came down from the hills and up from the sound. And it rained a sickness. And it rained a fear. And it rained an odor. And it rained a murder. And it rained dangers and pale eggs of the beast. Rain poured for days, unceasing. Flooding occurred. The wells filled with reptiles. The basements filled with fossils. Mossy-haired lunatics roamed the dripping peninsulas. Moisture gleamed on the beak of the raven. Ancient Shaman's rained from their homes in dead tree trunks, clacked their clamshell teeth in the drowned doorways of forests. Rain hissed on the freeway. It hissed at the prows of fishing boats. It ate the old warpaths, spilled the huckleberries, ran into the ditches. Soaking. Spreading. Penetrating. And it rained an omen. And it rained a poison. And it rained a pigment. And it rained a seizure.”
― Tom Robbins, Another Roadside Attraction

“The purpose of art is to provide what life does not.”
― Tom Robbins, Another Roadside Attraction

“And it rained a screaming. And it rained a rawness. And it rained a plasma. And it rained a disorder.”
― Tom Robbins, Another Roadside Attraction

“To an artist a metaphor is as real as a dollar.”
― Tom Robbins, Another Roadside Attraction