I like living near my family, and near the people I understand the best. The landscape of Michigan speaks to me, and the humility and humor of the people here makes sense. It just feels right to live here, in a place where I don’t dare put on airs.
BONNIE JO CAMPBELLI can’t personally drink or fight too much nowadays because I have to be perky in the morning in order to write.
More Bonnie Jo Campbell Quotes
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For ‘King Cole’s American Salvage,’ I rode around in the wrecker with a local driver and watched him deal with customers and hook up the cars.
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All those are locked up tight, of course. We have a couple of pellet guns that get more use than the real guns.
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That’s why I have to be a fiction writer, because I can’t remember what just happened or where I went last week or what movie I just watched with my husband. I’m better off just making things up.
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A mathematical proof is beautiful, but when you’re finished, it’s really only about one thing. A story can be about many things.
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We know that we need to explore desire in fiction – many say that the only way a story exists is that a character feels a strong desire – and nature is the place where creatures act on their desires in the most pure way imaginable.
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I mostly write about the working poor. Somehow, they’re not being written about much anymore.
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Any of us who listen to the news or listen to stories our neighbors tell are accustomed to violence.
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I have a second-degree black belt in Okinawan kobudo weapons training.
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I always felt a weird obligation to be adventurous.
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You can’t beat a good sonnet, and you can write a sonnet without being married to the damned thing.
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Since I’m living with the violence and trouble in my brain, it’s kind of a relief to write about it, to get it on paper, to put it in context, to find meaning in it.
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That’s where I live, a junkyard in a neighborhood of junkyards. We have three tractors from the 1940s and ’50s, several old pickup trucks, and a pile of scrap metal.
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Mostly the natural landscapes work as a sounding board for my characters, so they can understand themselves, and it acts as a mirror in which we readers see ourselves.
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So maybe nature also works as a metaphor for whatever emotional troubles my characters have to negotiate. I’m interested in my characters as survivors, and maybe that works best when the old-fashioned notion of humans surviving in wilderness is not too far away.
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I thought that you had to learn to write by yourself and if you couldn’t do it, then you were out of luck.
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Men didn’t understand that you couldn’t let yourself be consumed with passion when there were so many people needing your attention, when there was so much work to do.
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In fact, when I finally realized I was really going to write, when I was about thirty-four, I was working on my Ph.D. in Mathematics.
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Being five-foot-ten at fourteen years old was a little bit scary.
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It occurred to Susan that men were always waiting for something cataclysmic-love or war or a giant asteroid.
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If you have someone falling out of the boat, you’d have to drag the boat up the river and film the same scene ten times, every time, dragging the boat exactly where it was up the river.
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I’m pro-life, in the sense that chaos seems like life to me and order seems like death.
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I’m of the people in the bar and the people in my stories. They are my tribe.
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A Life in Men is a joyful, ambitious novel that is also an adventure traversing three continents, as well as a meditation on love, sex, and, most important, friendship, which can overcome time, distance, and even death.
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I’m very interested in people who are in a situation that needs a little puzzling out. The thing that gets me started on a story is a person in a tough situation.
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I figure that I’m always going to be fine, one way or another, but I do worry about other people who have difficulty moving from one world to the next. It’s the folks who are truly invested in their lives who have the hardest time with change.
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I hope that my stories serve as explorations and help show readers how and why real-life women don’t always make the “correct” decisions in the face of economic and sexual troubles.
BONNIE JO CAMPBELL