William L. Stull Quotes

“After moving his family from Yakima to Paradise, California, in 1958, he enrolled at Chico State College. There, he began an apprenticeship under the soon-to-be-famous John Gardner, the first "real writer" he had ever met. "He offered me the key to his office," Carver recalled in his preface to Gardner’s On Becoming a Novelist (1983). "I see that gift now as a turning point." In addition, Gardner gave his student "close, line-by-line criticism" and taught him a set of values that was "not negotiable." Among these values were convictions that Carver held until his death. Like Gardner, whose On Moral Fiction (1978) decried the "nihilism" of postmodern formalism, Carver maintained that great literature is life-connected, life-affirming, and life-changing. "In the best fiction," he wrote "the central character, the hero or heroine, is also the ‘moved’ character, the one to whom something happens in the story that makes a difference. Something happens that changes the way that character looks at himself and hence the world." Through the 1960s and 1970s he steered wide of the metafictional "funhouse" erected by Barth, Barthelme and Company, concentrating instead on what he called "those basics of old-fashioned storytelling: plot, character, and action." Like Gardner and Chekhov, Carver declared himself a humanist. "Art is not self-expression," he insisted, "it’s communication.”

“After moving his family from Yakima to Paradise, California, in 1958, he enrolled at Chico State College. There, he began an apprenticeship under the soon-to-be-famous John Gardner, the first "real writer" he had ever met. "He offered me the key to his office," Carver recalled in his preface to Gardner’s On Becoming a Novelist (1983). "I see that gift now as a turning point." In addition, Gardner gave his student "close, line-by-line criticism" and taught him a set of values that was "not negotiable." Among these values were convictions that Carver held until his death. Like Gardner, whose On Moral Fiction (1978) decried the "nihilism" of postmodern formalism, Carver maintained that great literature is life-connected, life-affirming, and life-changing. "In the best fiction," he wrote "the central character, the hero or heroine, is also the ‘moved’ character, the one to whom something happens in the story that makes a difference. Something happens that changes the way that character looks at himself and hence the world." Through the 1960s and 1970s he steered wide of the metafictional "funhouse" erected by Barth, Barthelme and Company, concentrating instead on what he called "those basics of old-fashioned storytelling: plot, character, and action." Like Gardner and Chekhov, Carver declared himself a humanist. "Art is not self-expression," he insisted, "it’s communication.”

“I don't fire up the prose. I just tell it straight and don't fool around with it.”

“Let's be real. Like I would date someone who didn't go out of their way to be my nemesis." - Shane Carver (The Carver's Magic)”

“As a panting Tracy Ferris scrambled into the life-pod, this thought was precisely what was running through her already agitated mind. From the very beginning of their association, she’d had a bad feeling about Brandon Carver. Something about that guy just never seemed to fit. Sure, he was good looking – but so were many of the other out of work space bums hitch-hiking from place to place she’d also had the misfortune to meet.”

“The wood-carver can fashion whatever he will. Yet his products are but toys of the moment, to be glanced at in jest, not fashioned according to any precept or law. When times change, the carver too will change his style and make new trifles to hit the fancy of the passing day. But there is another kind of artist, who sets more soberly about his work, striving to give real beauty to the things which men actually use and to give to them the shape which tradition has ordained. This maker of real things must not for a moment be confused with the maker of idle toys.”

“There could be something wrong with me because I see Negroes neither better nor worse than any other race. Race pride is a luxury I cannot afford. There are too many implications bend the term. Now, suppose a Negro does something really magnificent, and I glory, not in the benefit to mankind, but the fact that the doer was a Negro. Must I not also go hang my head in shame when a member of my race does something execrable? If I glory, then the obligation is laid upon me to blush also. I do glory when a Negro does something fine, I gloat because he or she has done a fine thing, but not because he was a Negro. That is incidental and accidental. It is the human achievement which I honor. I execrate a foul act of a Negro but again not on the grounds that the doer was a Negro, but because it was foul. A member of my race just happened to be the fouler of humanity. In other words, I know that I cannot accept responsibility for thirteen million people. Every tub must sit on its own bottom regardless. So 'Race Pride' in me had to go. And anyway, why should I be proud to be Negro? Why should anyone be proud to be white? Or yellow? Or red? After all, the word 'race' is a loose classification of physical characteristics. I tells nothing about the insides of people. Pointing a achievements tells nothing either. Races have never done anything. What seems race achievement is the work of individuals. The white race did not go into a laboratory and invent incandescent light. That was Edison. The Jews did not work out Relativity. That was Einstein. The Negros did not find out the inner secrets of peanuts and sweet potatoes, nor the secret of the development of the egg. That wad Carver and Just. If you are under the impression that every white man is Edison, just look around a bit. If you have the idea that every Negro is a Carver, you had better take off plenty of time to do your searching.”

“Empathy is the starting point for creating a community and taking action. It's the impetus for creating change.”

“The 'Teen Wolf' fans are so great.”

“Life and death matters, yes. And the question of how to behave in this world, how to go in the face of everything. Time is short and the water is rising.”

“Write what you know, and what do you know better than your own secrets?”