Bonnie Jo Campbell Quotations

We have a shotgun we inherited from my father-in-law, a paranoid Englishman living in Texas. I have a .22 Marlin rifle, similar to the one Annie Oakley had, and my husband has a .357 Magnum pistol. All those are locked up tight, of course. We have a couple of pellet guns that get more use than the real guns.

When I was little, we lived on 8 acres and my mom had a horse. But when I was 7, my mom kicked my dad out, and then in order to feed us five kids, she got critters cheap or for free and raised them for food. We milked a cow, raised chickens, pigs and beef cattle. We heated our one-story house with wood and stayed cold all winter.

I enjoy shooting. Around where I live, it's something you do for entertainment once in a while, you go out and shoot targets.

Writing is so wrapped up in ego, but with math one is just trying to get it right, although you're often wrong. I think math helped me become a good critic of myself, come at writing a little less personally.

A mathematical proof is beautiful, but when you're finished, it's really only about one thing. A story can be about many things.

I read stories aloud at every stage. I listen to my writer friends when they kindly offer criticism. I listen to my husband when he tells me something doesn't seem right. I have my mother's boyfriend, Loring Janes, read to make sure I get everything right with the machines and guns.

I always felt a weird obligation to be adventurous.

I think by writing about a place with great specificity, you manage to make it universal.

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. I watched the guy who tore apart the cars in the junkyard. I also wrote poems about those guys. I loved hanging around the yard.

I love writing about men. To get by in the world you have to know how men think. Not that all guys think alike, but women tend to think about more things at the same time, an overgeneralization, but I find it easier to make my male characters focus than I do my female characters.

I mostly write about the working poor. Somehow, they're not being written about much anymore. 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.

I've worked behind counters serving food, and I've lived on the circus train, and I've led bicycle tours in Eastern Europe and the Balkans and Russia. I've been a key liner for a newspaper, I've done typesetting. Oh, all sorts of things.

Being five-foot-ten at fourteen years old was a little bit scary.

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.

Weirdly the writing experience has not really changed that much except it used to be that I was busy because I had to work a couple of jobs to earn money, so I didn't have time to write.

I do different work, teaching and running around visiting universities and bookstores, and that prevents me from writing. But it's nice to be wanted as a writer.

Time is never wasted coming to an old man bar.

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.

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.

Donkeys are the most misunderstood and abused animals around the world.

I grew up with donkeys, as well as horses, but I'm more interested in donkeys.

After a year, it was great to get out of L.A. and return to Hyde Park. Since my grandparents lived in Hyde Park, I had been coming there since I was a tyke.

There were a lot of beautiful, thin people out there driving nice cars. It was a whole different experience being in L.A.

Nobody tells young writers it's okay if you're not very good, you'll get better. So I just thought I'm not very good, so I should try to do every other thing besides writing. That's how I ended up being a hitchhiker, a world traveler, and a mathematician.

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. I was just about to earn my Master's along the way, but I knew something was wrong because I found myself crying all the time.

I was unhappy and I couldn't figure out what was the matter. And he told me to go take a writing course. And I didn't even know that one could learn to write in writing courses.

I thought that you had to learn to write by yourself and if you couldn't do it, then you were out of luck.

I worked probably fewer jobs than most people, or fewer real soul-killing jobs than other people. I've been a typist, a typesetter, a keyliner, cappuccino-maker. I think I've been pretty lucky.

I think back when I was kind of a crappy writer, I really did know my time was better spent working and having adventures and seeing the world.

That was a mistake, I guess, going out to California. They have these things called guidance counselors in high school. They drink a lot of herbal tea.

I didn't actually figure out how to get guidance, so I just decided to go to school at University of Southern California because they sent me a glossy brochure.

My donkeys are Jack and Don Quixote. They're very smart, very cautious. Much of what people consider stubbornness in donkeys is actually cautiousness.

Where I live you're not supposed to shoot a firearm within a quarter mile of a dwelling.

Maybe the hardest lesson is the one I have to learn over and over again, that each story is its own animal, that every story I write is going to come only with difficulty.

The best and easiest lesson for me was to learn that writing is mostly hard work.

As a writer, I can live somewhat independently, occupying nooks and crannies and finding meaning there. I can even live in my mind a good portion of most days.

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.

I'm not much interested in my own self when I write. I'm interested in what I observe out there, what's going on around me.

I can't personally drink or fight too much nowadays because I have to be perky in the morning in order to write.

Drugs and drinking affect every family I know, country and city, middle-class and poor.

I realized that I was writing about folks with lots of skills, especially fix-it skills and survival skills, who were nonetheless not doing well in the new-millennium America.

I wasn't writing stories with the intention of creating a particular collection. I simply wrote stories, and then discovered common themes among a good number of them.

I'm of the people in the bar and the people in my stories. They are my tribe.

I have a second-degree black belt in Okinawan kobudo weapons training.

People seem to want to read more nonfiction than fiction.

Eighty percent of all novels are bought by women, or so I've heard.

I was never a big reader as a kid. My imagination wasn't captured by books very often. It was captured more often by boys and partying and riding horses.

In a regular class I don't focus on the form, but I think that focus is helpful for brainstorming and coming up with ideas quickly, especially with autobiographical material.

I like to go where the life is.

I'm pro-life, in the sense that chaos seems like life to me and order seems like death.

Cocoa-buttered girls were stretched out on the public beach in apparently random alignments, but maybe if a weather satellite zoomed in on one of those bodies and then zoomed back out, the photos would show the curving beach itself was another woman, a fractal image made up of the particulate sunbathers. All the beaches pressed together might form female landmasses, female continents, female planets and galaxies. No wonder men felt tense.

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.

It occurred to Susan that men were always waiting for something cataclysmic-love or war or a giant asteroid. Every man wanted to be a hot-headed Bruce Willis character, fighting against the evil foreign enemy while despising the domestic bureaucracy. Men just wanted to focus on one big thing, leaving the thousands of smaller messes for the women around them to clean up.

You can't beat a good sonnet, and you can write a sonnet without being married to the damned thing.

The truth is I tried to write for years and I wasn't very good.

I loved writing for the school newspaper. I liked to report and interview people, but I really liked to write columns, funny columns.

Some people tell me they would be afraid of my characters, but I tell those people [that] they meet these characters all the time. They just don't care about them when they meet them, at the gas station, the car wash, the post office even.

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. Men didn't understand that there was nothing big enough to exempt you from your obligations, which began as soon as the sun rose over the paper company and ended only after you'd finished the day's chores and fell exhausted into sleep against the background noise of I-94.