“The problem is that if you’re self-conscious about being a person on whom nothing is lost, isn’t something lost – some kind of presence? You’re distracted by trying to be totally, perfectly impressionable.”

If I was a poet, I had become one because poetry, more intensely than any other practice, could not evade its anachronism and marginality and so constituted a kind of acknowledgment of my own preposterousness, admitting my bad faith in good faith, so to speak.

I was a violent, bipolar, compulsive liar. I was a real American.

I’ll work my way from irony to sincerity in the sinking city, a would-be Whitman of the vulnerable grid.

I don’t think it’s always a sign of respect for persons (inside or outside of fiction) to pretend to be able to represent, to have access to, their multi-dimensionality at every moment. That doesn’t imply people aren’t multi-dimensional.

Every relationship can feel saturated by market logic or at best purchased at the price of the immiseration of others.

Maggie Nelson cuts through our culture’s prefabricated structures of thought and feeling with an intelligence whose ferocity is ultimately in the service of love. No piety is safe, no orthodoxy, no easy irony. The scare quotes burn off like fog.

Are there are fireflies on the West Coast? I never saw any when I lived in California.

Experiments with the “as if” of fiction are often more lively in poetry and criticism and other modes of writing than in weak short stories or novels.

I didn’t want to write another book about fraudulence.

When the narrator feels like an octopus, when he says his limbs are starting to multiply, he means he has inklings of orders of perception beyond his individual body.

I remember I had this recurring dream that we were playing a night game and instead of eye black we had mashed up the glowing bodies of fireflies and put that under our eyes. So our faces were glowing – a kind of night vision.

What interests me about fiction is, in part, its flickering edge between realism and where a tear in the fabric of a story lets in some other sort of light.

I have no interest in artists who are purely affirmative, who’ve made a commercialized fetish of the culture’s stupidity.

I’m trying to be somebody on whom the experience is lost by supplanting it with its telling. I definitely do that in medical contexts, even in trivial ones.

I think the parable is a peculiar way of saying that redemption is immanent whether or not it’s imminent, that the world to come is in a sense always already here, if still unavailable. I find this idea powerful for several reasons. For one thing, it’s an antidote to despair.

Henry James claim that if you want to be a novelist you should be somebody on whom nothing is lost.

What does democracy come down to? The persuasive power of slogans invented by wily self-seeking politicians.

Luck is not something you can mention in the presence of self-made men.

Only a person who is congenially self-centered has the effrontery and the stamina to write essays

Nationalism has two fatal charms for its devotees: It presupposes local self-sufficiency, which is a pleasant and desirable condition, and it suggests, very subtly, a certain personal superiority by reason of one’s belonging to a place which is definable and familiar, as against a place that is strange, remote.

There is only one corner of the universe you can be certain of improving, and that’s your own self.

I think that feeling that if one believed absolutely in any cause, then one must have the confidence, the self-certainty, to go through with that particular course of action.

Fortunately, however, we no longer have to argue that self -love is not only necessary and good but that it also is a prerequisite for loving others.

There is only one corner of the universe you can be certain of improving, and that is your own self. So you have to begin there, not outside, not on other people. That comes afterwards, when you have worked on your own corner.