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Read through the most famous quotes by topic #gardner
I did get so wigged out that I sneaked out to his house a couple times in the middle of the night to watch over him while he slept, just in case, I don't know, his comic book collection decided to spontaneously combust. This was dumb and admittedly creepy in an Edward Cullen kind of way, but it was the only thing I could think to do. ↗
I can't leave you," he says hoarsely. "I can't leave you either," I say, shaking my head. "I can't." "Then don't," he says, and grabs me behind the neck and kisses me again, and the world is tilting, and everything goes black. ↗
So this was where lust was satisfied. If I'd been an old-time miner I'd have asked for my gold nugget back. ↗
What we have is divine. It's beautiful and good and right. I feel it..." He presses his his hand to his chest, over his heart. "I feel it all the time. You're in here, part of me. You're what I go to bed thinking about and what I wake up to in the morning. ↗
After moving his family from Yakima to Paradise, California, in 1958, he enrolled at Chico State College. There, he began an apprenticeship under the soon-to-be-famous John Gardner, the first "real writer" he had ever met. "He offered me the key to his office," Carver recalled in his preface to Gardner’s On Becoming a Novelist (1983). "I see that gift now as a turning point." In addition, Gardner gave his student "close, line-by-line criticism" and taught him a set of values that was "not negotiable." Among these values were convictions that Carver held until his death. Like Gardner, whose On Moral Fiction (1978) decried the "nihilism" of postmodern formalism, Carver maintained that great literature is life-connected, life-affirming, and life-changing. "In the best fiction," he wrote "the central character, the hero or heroine, is also the ‘moved’ character, the one to whom something happens in the story that makes a difference. Something happens that changes the way that character looks at himself and hence the world." Through the 1960s and 1970s he steered wide of the metafictional "funhouse" erected by Barth, Barthelme and Company, concentrating instead on what he called "those basics of old-fashioned storytelling: plot, character, and action." Like Gardner and Chekhov, Carver declared himself a humanist. "Art is not self-expression," he insisted, "it’s communication. ↗
What I learned is that it's arrogant to be certain of anything. The world is a complex place and only idiots or assholes think they know it all. ↗
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Don’t be fooled by clever hands, sir” the Sunlight Man said. He’d be lying with the back of his head on his hands, as he always lay. “Entertainment’s all very well, but the world is serious. It’s exceedingly amusing, when you think about it: nothing in life is as startling or shocking or mysterious as a good magician’s trick. That’s what makes stagecraft deadly. Listen closely, friend. You see great marvels performed on the stage - the lady sawed in half, the fat man supported by empty air, the Hindu vanishing with the folding of a cloth - and the subtlest of poisons drifts into your brain: you think the earth dead because the sky is full of spirits, you think the hall drab because the stage is adazzle with dimestore gilt. So King Lear rages, and the audience grows meek, and tomorrow, in the gray of old groceries, the housewife will weep for Cordelia and despair for herself. They weren’t fools, those old sages who called all art the Devil’s work. It eats the soul. ↗
