

“3. The lovely landscape of southern Ohio betrayed by strip mining, the thick gold band on the adulterer’s finger the blurred programs of the offshore pirate station are causes for hesitation. Here in the matrix of need and anger, the disproof of what we thought possible failures of medication doubts of another’s existence —tell it over and over, the words get thick with unmeaning— yet never have we been closer to the truth of the lies we were living, listen to me: the faithfulness I can imagine would be a weed flowering in tar, a blue energy piercing the massed atoms of a bedrock disbelief. 1971”
― Diving into the Wreck: Poems 1971-1972
― Diving into the Wreck: Poems 1971-1972

“Our great novelists, though experts on indignity and assault, on loneliness and terror, tend to avoid treating the passionate encounter of a man and a woman, which we expect at the center of a novel. Indeed, they rather shy away from permitting in their fictions the presence of any full-fledged, mature women, giving us instead monsters of virtue or bitchery, symbols of the rejection or fear of sexuality.”
― Love and Death in the American Novel
― Love and Death in the American Novel

“Beneath the haunted castle lies the dungeon keep: the womb from whose darkness the ego first emerged, the tomb to which it knows it must return at last. Beneath the crumbling shell or paternal authority, lies the maternal blackness, imagined by the Gothic writer as a prison, as a torture chamber- from which the cries of the kidnapped anima cannot even be heard. The upper and the lower levels of the ruined castle or abbey represent the contradictory fears at the heart of Gothic terror: dread of the superego, whose splendid battlements have been battered but not quite cast down- and of the id, whose buried darkness abounds in dark visions no stormer of the castle had ever touched.”
― Love and Death in the American Novel
― Love and Death in the American Novel
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