Category: Diane Williams

“Ask yourself sincerely at odd moments, ‘Am I prone to deep feeling?’ for it is less than necessary—that very small, bright, enlarging thing. The passions do not knock one out, but they may permit you to have carnal complaints before proceeding further.” – Diane Williams, “Woman in Rose Dress”

“The customer entered his home, approached his wife, and considered his chances. Hadn’t his wife been daily smacked across the mouth with lipstick and cut above the eyes with mascara?” – Diane Williams, “On the Job”

“Do you know how the animals got their tails? How the lesser gods came into the world? The longer this goddess lives, the more she shakes her tail—or pulls on it with all her strength.” – Diane Williams, “How Blown Up”

Why?Why?

“I am certain that amorality is the natural condition of the psyche, the unconscious—or of whatever name you give that mysterious wellspring. Our dreams are evidence enough for me. I can’t argue the case for freedom in art as persuasively as Freud did, or as Jung did, or as any of their heirs did and do. Psychic freedom is crucial to our sanity and to our humanity—so nothing differentiates an amoral piece of writing from one concerned with truth, justice and morals. A great work of art that can deliver Hell has a purifying effect. Why?  Ask why.” – Diane Williams, “Now Find a Free Mind” (interview by Alec Niedenthal)

Eternal veritiesEternal verities

“Unfortunately, we are bound up in ourselves, and we really can only perceive through our own eyes and our own heart, and what we see is us. We think we’re exploring exterior worlds, but we’re not, so undoubtedly it’s the same consciousness, the same voice. But the intellectual excitement is when you tap into the idiosyncratic, eccentric selfness that you know is time-bound and experience-bound—and I do believe this—that you’re tapping into the knowledge of the species. The fact is that you can find your truth, but it’s also the truth about human nature.” — Diane Williams (interview with John O’Brien, The Review of Contemporary Fiction, Fall 2003, Vol. 23.3)