O Captain, My Captain: Lish Power Quote #2
Here is what I wanted. You know what I wanted? I wanted for me not to have to make believe I wanted something.
– Arcade, p. 156
Tags: arcade, gordon lish, Power Quote
Justin Taylor
kendra’s back??!!! I hope so-
o captain my captain n shit
this gets me amped
o captain my captain n shit
this gets me amped
all i can think of is ‘i want to lick her hips’
i am a perv.
justin damnit do not put girl pics with these posts. i cannot focus.
all i can think of is ‘i want to lick her hips’
i am a perv.
justin damnit do not put girl pics with these posts. i cannot focus.
Gordon Lish: The first sentence is the catastrophic equation. . . is a sentential event. . . is congested. . . is dense with utterance. It comes from the body, not the mind and cannot be taught; the rest can.
You are trying to produce an opening . . . You have to find in yourself the bearing of a god . . . The best way to start is to build more fear of dying, cultivate an awareness of its omnipresence in your life; then the consequences of your act, your utterance, are more likely to reach farther . . .
You should have nothing but that object of your fascination . . . Go to an extreme of desire . . . Engage in an act of self-interrogation; what is the real mystery? Who is talking? Who has the need? Who sees? Who sees me? Who’s talking when you talk? What do you see first? Go deeper, what aspect of this fascinates you? What language do you need to describe them?
Your task is to produce an illusion of the world beginning now . . . Don’t write until the totality of the song is in your head as a total eruption . . . The sentence should not be a sentence that communicates, but one that presents. Not a sentence about the world, but one that is the world entire.
Gordon Lish: The first sentence is the catastrophic equation. . . is a sentential event. . . is congested. . . is dense with utterance. It comes from the body, not the mind and cannot be taught; the rest can.
You are trying to produce an opening . . . You have to find in yourself the bearing of a god . . . The best way to start is to build more fear of dying, cultivate an awareness of its omnipresence in your life; then the consequences of your act, your utterance, are more likely to reach farther . . .
You should have nothing but that object of your fascination . . . Go to an extreme of desire . . . Engage in an act of self-interrogation; what is the real mystery? Who is talking? Who has the need? Who sees? Who sees me? Who’s talking when you talk? What do you see first? Go deeper, what aspect of this fascinates you? What language do you need to describe them?
Your task is to produce an illusion of the world beginning now . . . Don’t write until the totality of the song is in your head as a total eruption . . . The sentence should not be a sentence that communicates, but one that presents. Not a sentence about the world, but one that is the world entire.
Lish talk pretty.
Lish talk pretty.