The alcohol had the code and mystery about it as a writer’s drug, but I’m glad that’s been debunked. But the trouble with the drinking, much as I hate to admit it, is it helped the work.
BARRY HANNAHYou need to see a bit of hell now and then. That, and great joy.
More Barry Hannah Quotes
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A writers job is to destroy and then to build the thing back up again by a chosen means.
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The wild stuff is all so overrated. Drinking, you don’t feel good all the time. There’s a lot of down, a lot of misery.
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If you are able to explain suffering, a man once told him, you weren’t really there.
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What a bog and labyrinth the human essence is… We are all overbrained and overemotioned.
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I always intended to be light and open. I misjudged the American audience.
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I wouldn’t buy somebody’s album on a dare if they called him a musician’s musician. I don’t write to be a writer’s writer. I don’t want to be like the little-magazine writer.
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I do believe that as you write more and age, the arrogance and most of the vanity goes. Or it is a vanity met with vast gratitude, that you were hit by something as you stood in the way of it, that anybody is listening.
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I hate to be fatalistic about it, but alcoholism, it’s just in your genes. We had some of it in my family, and it just got me.
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Love and despair go hand in hand.
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Where is the angry machine of all of us? Why is God such a blurred magician? Why are you begging for your life if you believe those things? Prove to me that you’re better than the rabbits we ate last night.
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I wake my wife up at 3 a.m. and say, “Listen to this!”
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Some writers are curiously unmusical. I don’t get it. I don’t get them. For me, music is essential. I always have music on when I’m doing well. Writing and music are two different mediums, but musical phrases can give you sentences that you didn’t think you ever had.
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The first two drinks were always wonderfully liberating. You think better. You’re braver, and you’ll say anything. If you could just hang in there with two or three, it’d be beautiful. The trouble was I couldn’t.
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I wanted very much to be Miles Davis when I was a boy, but without the practice. It just looked like an endless road.
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My stories do have plot. They’re not just scattered language; they’re controlled, toward an end.
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I was always kind of florid. And full of rhetoric. That was my flaw. My whole time writing, I’ve had to work against that because it can be a wrecking posture.
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When you’re not involved, other people’s unhappiness seems to be about the funniest damn thing on earth because you think you can solve it, that you are God, that you are above this, and that their unhappiness is just such useless toil and agony. If it’s you, it ceases to be a comedy.
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I don’t write under the ghost of Faulkner. I live in the same town and find his life and work inspiring, but that’s it. I have a motorcycle and tool along the country lanes. I travel at my own speed.
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You need to see a bit of hell now and then. That, and great joy.
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Randomness I love. And I still love just a holler right in the middle of an ongoing narrative. Pain or joy, ecstasy.
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The Deep South might be wretched, but it can howl.
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I thought I was writing for a fairly hip, intelligent crowd; I just thought there were more of them out there. But they’re not. They’re not out there waiting. They’re not gonna use their intelligence on your book.
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Most novels I come across have all the excitement of a long trip on a bus with a sensitive glee club. Yammer and chat.
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There was no one, when I was in school, who talked about going in and blowing up students. The teachers were very stern and hateable, but nobody ever mentioned murder.
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I grew up when people seemed actually to be hurting themselves for their art. Of course, some of it was phony.
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Literature is the history of the soul.
BARRY HANNAH