Red Hook Road made me happy, and happy to be alive. It took me out of my home on the coast of South Carolina, placed me in the town along Red hook Road, and changed me the way good books always do.
I don’t know why it is that I have always been happier thinking of somewhere I have been or wanted to go, than where I am at the time. I find it difficult to be happy in the present.
I had come to a place where I was meant to be. I don’t mean anything so prosaic as a sense of coming home. This was different, very different. It was like arriving at a place much safer than home.
Faulkner didn’t know he was William Faulkner. But they had to take the first step. They had to call themselves writers. That is the first revolutionary act a writer has to make. It takes courage. But it’s necessary
Political correctness has a stranglehold on academia, on feminism, and on the media. It is a form of both madness and maggotry, and has already silenced the voices of writers like James Dicky across the land.
My attraction to story is a ceaseless current that runs through the center of me. My inexhaustible ardor for reading seems connected to my hunger for storylines that show up in both books and in the great tumbling chaos of life.
It did not look like the work of God, but it might have represented the handicraft of a God with a joyous sense of humor, a dancing God who loved mischief as much as prayer, and playfulness as much as mischief.
My mother, Southern to the bone, once told me, “All Southern literature can be summed up in these words: ‘On the night the hogs ate Willie, Mama died when she heard what Daddy did to Sister.’” She raised me up to be a Southern writer, but it wasn’t easy.
Here’s what I love: when a great writer turns me into a Jew from Chicago, a lesbian out of South Carolina, or a black woman moving into a subway entrance in Harlem. Turn me into something else, writers of the world. Make me Muslim, heretic, hermaphrodite.
