Kirk Marshall > Kirk's Quotes

“It's reasonable to try for success. Paradoxically, it's also sane to admit defeat. This excels the coming of the end. And when that tide has crested and broken, it recedes from the shore to leave behind something of principle significance. An artefact borne from the lunatic fight. The human struggle. And I can see myself, not too far into the future, with my hair whipping about in the fray of coastal spray, arching low to pick up that wriggling, billion-limbed nautilus, to hold it to my winter-cold ear, to hear what I could hear.”
― Kirk Marshall, A Solution to Economic Depression in Little Tokyo, 1953

“Godzilla, you see, is toppled, is depleted, is immobile and breathless, the non-conversative dictator and his polemical primeval tyranny dashed to social smithereens... for some his demise will evince agitation, adulation and appraisal, but for me, Yasuhiro Dustin T-Bird, it returns the lingering largesse of an inconsolable fear. The fear is this: that there's a thing as big as pirate continents in the China Sea that we've together mythologised up to now currently obstructing the procession of metropolitan traffic all the way to Yoyogi. His formidable draconian jaw with its legend of gargantuan teeth slacks open like a lifelong foe's long-withheld liability, and sulphur rents the air in acrid, acid plumes as though the most cultured and violent yellowcake fart in categorical memory.”
― Kirk Marshall, A Solution to Economic Depression in Little Tokyo, 1953

“The best fact I know is that kindred souls collect like dew to morning thistle. So if any of this gets out of hand, or collapses to pillars of bromide and dust, or our solitary struggle is cheapened and dashed, I'll die knowing we were all stupid in stupid togetherness, and the allure, lustre, good in that phrase consoles my wanting spirit, that we made it all too messy, but kicked out the jams in the process.”
― Kirk Marshall, A Solution to Economic Depression in Little Tokyo, 1953

“One day, I think, we'll invent the most impressive broom an interrogating mind might ever attest to seeing. Enormous, this thing would be, and whole formidable chōbu high and with bristles as coarse and catching as the most perniciously effective cleaning tool. And we will invent a mess esteemed and distinguished enough to satisfy the functions of our enormous, genius broom, and the time will converge wherein both the mess and the broom will not do, so what then, but manufacture something bigger, and more furious, and less manageable?”
― Kirk Marshall, A Solution to Economic Depression in Little Tokyo, 1953

“But Shunt, he thirsted for understanding with obsessive perseverance. It was a pathology in this way, and pathologies aren't hobbies to be entertained through the inclination of the willing. With some assertion, you certainly can't direct a pathology: it directs, contorts, warps, wears you. Shunt walked through school, down his bedroom corridor, high-ceiling'd and close-panelled, over asphalt as hot as holiday sex, in his head, always relegated to a realm of internal mystery, a sphere of indecipherable symbols that were filtered in, held fast to, but never understood. He saw things or deduced things, and they were there for eternity. Once Shunt had them inside, it was impossible to divorce or expunge them, and so there they remained, infecting his peace and placidity of mind, thoughts like foreign bodies entering a gaping, unquenched wound, and after that Shunt's life devolved into the gangrene set in by these unpurged foreign bodies. Shunt suffered from epilepsy and a panic disorder. He didn't know who he was. He was not a funny person, a wise person, a valorous person, a soft person. Shunt was epilepsy and a panic disorder, and that's as encompassing as his personality had ever been. When you suffer a pathology it directs, contorts, warps, wears you.”
― Kirk Marshall, A Solution to Economic Depression in Little Tokyo, 1953

“He could smoke through the water as though an aquamarine submarine, he could sever the festoonery of the poolside ebb and eddy into fiery fluttering swathes of hot-cut flax, he could treble beneath the meniscus of the pool, sharp as synthesiser music and with a trajectory of theological impermanence, a crucifixion affected underwater, a kingfisher with the velocity and capriciousness of a shooting star, a knife in the arm of a masochist, a cleft hatchet of rock through the porous orb of a sea urchin, a dick through butter, a tyrannical nutter, Shunt through water, watch Shunt corrupt your daughter. He could move in wet like a lion through wildebeest.”
― Kirk Marshall, A Solution to Economic Depression in Little Tokyo, 1953

“The man exhaled and wondered. He thought about the squid, and he thought about summers divested of chill and abundant with the strange precocity of wild laughter, of warm days spent tracking footfalls in warm sands, of that electric mane of hair, as black as starlight, wheeling and blowing into her eyes and his mouth as the air accelerated over the water. He thought about the dresses, as candid and diaphanous as photographs captured of butterflies in flight, packed up, boxed in, sent away.

He thought about domestic sounds smote to dark corners in dim rooms as vast and terrestrial as forsaken landscape, sounds that should not ever be pursued and evicted from this hillside house, sounds that had as much utility and purpose as the wood fashioned to stabilise the house, sounds who proved the most generous tenants he could have ever invited to share the burdensome wealth of his privacy, sounds who left like friends do when they mean not to return, without word or signal or symbol, but with the cruelty of caprice and the loveless whispers of memories receding to a breakwater of ruin.

He thought about how sad he had become, and how ugly, and how fast. He thought about all the mornings covertly spoiled by a ramshackle attack of tears, he thought about the immeasurable distance from his house on its hill to the first forge of shoreline by the bay, he thought about the dialogue of terns and the sordid mystery of snow, but he fell asleep thinking about summers ended and the squid, at rest in a shoebox in the bathroom.”
― Kirk Marshall, Carnivalesque, And: Other Stories

“The point is to strip down, get protestant, then even more naked. Walk over scorched bricks to find your own soul. Your heart a searching dog in the rubble.”
― Barry Hannah

“I looked over the despondency of the home crowd. Fools! Fools! I thought. Love it! Love the loss as well as the gain. Go home and dig it. Nobody was killed. We saw victory and defeat, and they were both wonderful.”
― Barry Hannah, Airships

“If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it.

Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years.

We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent.

You burn with hunger for food that does not exist.

A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness.”
― David Foster Wallace

“For a moment the two of them looked at each other, wordless, as if they were asleep and their dreams had converged on common ground, a place where sound was alien.”
― Roberto Bolaño, 2666

“Everything takes time. Bees have to move very fast to stay still.”
― David Foster Wallace, Brief Interviews with Hideous Men

“Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it."

[Q&A with Larry McCaffery, Review of Contemporary Fiction, Summer 1993, Vol. 13.2]”
― David Foster Wallace

“And I submit that this is what the real, no-shit value of your liberal arts education is supposed to be about: How to keep from going through your comfortable, prosperous, respectable adult life dead, unconscious, a slave to your head and to your natural default setting of being uniquely, completely, imperially alone, day in and day out.”
― David Foster Wallace, This Is Water: Some Thoughts, Delivered on a Significant Occasion, about Living a Compassionate Life

“Most of all, I blamed the Icelander for the society and emotional remoteness and irrelevance of birds, that feathered people who seemed to reign over us all with economy of presence and with illicit incentive, perhaps waiting for the epoch in which humanity jettisoned our limbs to reunite with the worms so that their beaks might claim the kingdom which had eluded the diffuse protests of thrashing wings for so long. Oh yes, the birds could go get fucked best of all!”
― Kirk Marshall

“And I would have answered:
"The knottier the branch, the more twisted and misshapen, the more bent people called it, the harder it is to find it a place among the smooth planks, the more people agree that it should be thrown on the fire, the more useless it is, the more unsuitable for anything except letting one's imagination run riot, the more I covet it, the more I yearn to weigh it in my hand, the more I long to let my whittling knife be guided by its knots and veins...Yes, bring that piece to me...”
― Sjón, From the Mouth of the Whale

“I was in Nashville, Tennessee last year. After the show I went to a Waffle House. I'm not proud of it, I was hungry. And I'm alone, I'm eating and I'm reading a book, right? Waitress walks over to me: 'Hey, whatcha readin' for?' Isn't that the weirdest fuckin' question you've ever heard? Not what am I reading, but what am I reading FOR? Well, goddamnit, ya stumped me! Why do I read? Well . . . hmmm...I dunno...I guess I read for a lot of reasons and the main one is so I don't end up being a fuckin' waffle waitress.”
― Bill Hicks

“Why does the rain make us feel so romantic and strange? Maybe it's the fact that we are unnatural spectators of it, from inside our homes, and it is a reminder that we have the power to live our whole lives like this, if we choose. It's not the smell of fertile ground kicked up by raindrops, or the slick leaves, or the way we must amplify our voices to be heard over this larger presence. It's the power of the rooftop that makes us want to fuck under it.”
― Amelia Gray, AM/PM

“Don't judge each day by the harvest you reap but by the seeds that you plant.”
― Robert Louis Stevenson

“That's the thing about being a Labrador retriever - you were born for fun. Seldom was your loopy, freewheeling mind cluttered by contemplation, and never at all by somber worry; every day was a romp. What else could there possibly be to life? Eating was a thrill. Pissing was a treat. Shitting was a joy. And licking your own balls? Bliss. And everywhere you went were gullible humans who patted and hugged and fussed over you.”
― Carl Hiaasen

“Fantasy. Lunacy.
All revolutions are, until they happen, then they are historical inevitabilities.”
― David Mitchell, Cloud Atlas

“Nobody ever got started on a career as a writer by exercising good judgment, and no one ever will, either, so the sooner you break the habit of relying on yours, the faster you will advance. People with good judgment weigh the assurance of a comfortable living represented by the mariners’ certificates that declare them masters of all ships, whether steam or sail, and masters of all oceans and all navigable rivers, and do not forsake such work in order to learn English and write books signed Joseph Conrad. People who have had hard lives but somehow found themselves fetched up in executive positions with prosperous West Coast oil firms do not drink and wench themselves out of such comfy billets in order in their middle age to write books as Raymond Chandler; that would be poor judgment. No one on the payroll of a New York newspaper would get drunk and chuck it all to become a free-lance writer, so there was no John O’Hara. When you have at last progressed to the junction that enforces the decision of whether to proceed further, by sending your stuff out, and refusing to remain a wistful urchin too afraid to beg, and you have sent the stuff, it is time to pause and rejoice.”
― George V. Higgins

“For it must be remembered that at the time I knew quite nothing, naturally, concerning Milo Payne, the mysterious Cockney-talking Englishman with the checkered long-beaked Sherlockholmsian cap; nor of the latter’s ‘Barr-Bag,’ which was as like my own bag as one Milwaukee wienerwurst is like another; nor of Legga, the Human Spider, with her four legs and her six arms; nor of Ichabod Chang, ex-convict, and son of Dong Chang; nor of the elusive poetess, Abigail Sprigge; nor of the Great Simon, with his 2,163 pearl buttons; nor of — in short, I then knew quite nothing about anything or anybody involved in the affair of which I had now become a part, unless perchance it were my Nemesis, Sophie Kratzenschneiderwümpel — or Suing Sophie!”
― Harry Stephen Keeler

“If there's a book that you want to read, but it hasn't been written yet, then you must write it.”
― Toni Morrison

“He'd always had a quickening of the heart when he crossed into Arizona and beheld the cactus country. This was as the desert should be, this was the desert of the picture books, with the land unrolled to the farthest distant horizon hills, with saguaro standing sentinel in their strange chessboard pattern, towering supinely above the fans of ocotillo and brushy mesquite.”
― Dorothy B. Hughes, The Expendable Man

“I want to throw up because we're supposed to quietly and politely make house in this killing machine called America and pay taxes to support our own slow murder and I'm amazed we're not running amok in the streets, and that we can still be capable of gestures of loving after lifetimes of all this.”
― David Wojnarowicz, Close to the Knives: A Memoir of Disintegration

“As democracy is perfected, the office of president represents, more and more closely, the inner soul of the people. On some great and glorious day the plain folks of the land will reach their heart's desire at last and the White House will be adorned by a downright moron.”
― H.L. Mencken, On Politics: A Carnival of Buncombe

“The sun, coming hard around the world: the island rises from the sea, sinks, rises, holds.”
― Peter Matthiessen, Far Tortuga

“You have to know where the funny is, and if you know where the funny is, you know everything.”
― Sheila Heti, How Should a Person Be?

“We tried not to smile, for smiling only encourages men to bore you and waste your time.”
― Sheila Heti, How Should a Person Be?