Best 58 quotes of Bonnie Jo Campbell on MyQuotes

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.

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.

Any of us who listen to the news or listen to stories our neighbors tell are accustomed to violence. We have to decide then to ignore the violence and create a gentler world in our fiction, or to heighten the violence through the use of point-of-view in order to explore it and gain some insight and understanding. 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.

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.

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

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.

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

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

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

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

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.

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.

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

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.

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.

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

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

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.

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

I love investigating the natural world, and I find a lot of truths there, truths about survival and beauty - nature continually surprises me (amazing how clever a woodchuck is, amazing how plants roots can break up concrete, amazing how delicious the thimbleberry is!).

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

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

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.

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 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 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 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.

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

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

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.

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.

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.

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 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.

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.

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.

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. The natural world is the place into which all my characters have to situate themselves in order to be who they really are, and that makes my rural fiction feel different from a lot of urban fiction.

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

My normal writing day involves three hours of actual writing, before noon, and the rest is just feeding the writing. There is teaching (so I can afford to write), travel to be planned and executed. There are dozens of emails daily, gardening, lots of dishes (where do all these dishes come from?), daily family emergencies, and, of course, the petting of the donkeys. The smell of donkeys is heavenly, and their he-honking is the sweetest music. I feel calm just thinking about them.

People seem to want to read more nonfiction than fiction.

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.

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.

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 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.

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

The great thing about fiction is that I don't have to settle on an answer to any troubling question, or even a solution. 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. We all screw up, but the women I write about don't have back-up plans or money in the back or resources to fix what they have broken.