Garth Greenwell Quotes

Love isn’t just a matter of looking at someone, I think now, but also of looking with them, of facing what they face.

He had always been alone, I thought, gazing at a world in which he had never found a place and that was now almost perfectly indifferent to him; he was incapable even of disturbing it, of making a sound it could be bothered to hear.

I fell back from him then, I lay next to him thinking, as I had had cause to think before, of how helpless desire is outside its little theater of heat, how ridiculous it becomes the moment it isn't welcomed, even if that welcome is contrived.

But then there’s something theatrical in all our embraces, I think, as we weigh our responses against those we perceive or project; always we desire too much or not enough, and compensate accordingly.

You can't speak to him, he said, if you speak to him, if you give any sign to him at all, he will come back; he has to stop existing for you.

As I walked along that path, I felt drawn from myself, elated, struck stupidly good for a moment by the extravagant beauty of the world.

Making poems was a way of loving things, I had always thought, of preserving them, of living moments twice; or more than that, it was a way of living more fully, of bestowing on experience a richer meaning. But

That's the worst thing about teaching, that our actions either have no force at all or have force beyond all intention, and not only our actions but our failures to act, gestures and words held back or unspoken, all we might have done and failed to do; and, more than this, that the consequences echo across years and silence, we can never really know what we've done.

That's all care is, I thought, it's just looking at a thing long enough, why should it be a question of scale? This seemed like a hopeful thought at first, but then it's hard to look at things, or to look at them truly, and we can't look at many at once, and it's so easy to look away.

What would it mean to do enough, I wondered, as I had wondered before about that obligation to others that sometimes seems so clear and sometimes disappears altogether, so that now we owe nothing, anything we give is too much, and now our debt is beyond all counting.

words in a foreign language never wound us like words in the language to which we’re born. But

Even annoyance was part of the pleasure we took in each other, we were that early in love.

You can call out for anything you desire, however aberrant or unlikely, and nearly always there comes an answer, it's a large world, we're never as solitary as we think, as unique or unprecedented, what we feel has always already been felt, again and again, without beginning or end.

Sometimes we talked the whole night long, as one does only in adolescence or very early in love. I was happy, but also I felt an anxiety that gnawed at me and for which I could find no cause, that gnawed at me more deeply precisely because I could find no cause.

Like everything else in my past he was part of the story that had led us to each other; it’s a way of being in love, I think, to see the past like that.

I had been sick before, of course, but this felt more than sickness, like a physical confirmation of shame.

It was a habit of mine, to rush toward an ending once I thought I could see it, as if the fact of loss were easier to bear than the chance of it.

I wanted to root into him, even as the wind said all rootedness was a sham, there were only passing arrangements, makeshift shelters and poor harbors, I love you, I thought suddenly in that rush that makes so much seem possible, I love you, anything I am you have use for is yours.

Whatever the weather I went out and wandered, and now I wandered with K.; I introduced him to my solitude and he deepened it without disturbance.

I wanted to ruin what he had made, what he had made me, I mean, the person he had made me.

Anything I am you have use for is yours.

As we joined the line of people getting off at the last stop before Sofia, I looked once more at the little boy, whom I felt I would never forget, though maybe it wasn't exactly him I would remember, I thought, but the use I would make of him. I had my notes, I knew I would write a poem about him, and then it would be the poem I remembered, which would be both true and false at once, the image I made replacing the real image. Making poems was a way of loving things, I had always thought, of preserving them, of living moments twice; or more than that, it was a way of living more fully, of bestowing on experience a richer meaning. But that wasn't what it felt like when I looked back at the boy, wanting a last glimpse of him; it felt like a loss. Whatever I could make of him would diminish him, and I wondered whether I wasn't really turning my back on things in making them into poems, whether instead of preserving the world I was taking refuge from it.

If there is a gay ghetto, then that’s where James Baldwin is, and Thomas Mann is, and Virginia Woolf is, and that’s the only place I would ever want to be. And that’s not on the margins of the literary tradition: That’s right at the heart of it.

How easily we are made to feel, I thought, and with what little foundation, with no foundation at all. At

What tale of the two years did the sight of me tell?

I’ve worn myself down to a bearable size.

Писането на стихотворения беше начин да обичаш нещата, така знаех открай време, да ги съхраняваш, да ги преживяваш повторно; и дори повече от това – беше начин да живееш по-пълноценно, да насищаш опита с по-богат смисъл (...) почудих се дали всъщност не обръщах гръб на нещата, когато ги превръщах в стихотворения, дали вместо да съхранявам света, не бягах от него.

Read it again, read it more slowly, that was the whole of my pedagogy when I taught my students, who were pressured everywhere else to be more efficient, to take in information more quickly, to make each moment count, to instrumentalize time, which is a terrible way to live, dehumanizing, it disfigures existence.

I realized that my pleasure wasn't lessened by his absence, that what was surely a betrayal (we had our contract, though it had never been signed, never set in words at all) had only refined our encounter, allowing him to become more vividly present to me even as I was left alone on my stained knees, and allowing me, with all the freedom of fantasy, to make of him what I would.

Making poems was a way of loving things, I had always thought, of preserving them, of living moments twice; or more than that, it was a way of living more fully, of bestowing on experience a richer meaning. But that wasn’t what it felt like when I looked back at the boy, wanting a last glimpse of him; it felt like a loss. Whatever I could make of him would diminish him, and I wondered whether I wasn’t really turning my back on things in making them into poems, whether instead of preserving the world I was taking refuge from it.

K. hung his arm around my neck. It was a casual gesture but one I wasn’t used to, and I was almost frightened by the happiness that overtook me, that filled me up and charged me and at the same time carried a thread; it was too unrestrained, there was nothing to keep it in check. I felt solid again as I walked with him, more certain of myself than I had been for years, with his arm around my neck and my own slung at his waist We knocked against each other but what did it matter, there was no one to see us, we moved with an awkward freedom but a freedom nonetheless.

I passed people shopping or walking their dogs, and young people, university students maybe, busy about their lives, so that the streets I walked seemed vibrant to me, more vibrant than my own. But then almost everywhere I went I imagined a place more accommodating of the life I wanted, as if happiness were a matter of streets or parks, as maybe to a point it is; and with R. away for so long I was accustomed to thinking of my real life existing in some distant place or future time, projecting forward in a way that I was afraid might keep me from living fully where I was.

I had never wanted permanence before, not really, or I had wanted my freedom more; I had accepted that passionate feeling faded, all my earlier experience had confirmed it, when love that seemed certain simply dissolved, on one side or both, for no particular reason, leaving little trace.

that I can carry on these multiple conversations, each its own window so that sometimes my screen is filled with them; and in each I have the sense of being entirely false and entirely true, like

What had I done but extend my rootlessness, the series of false starts that became more difficult to defend as I got older? I think I hoped I would feel new in a new country, but I wasn’t new here, and if there was comfort in the idea that my habitual unease had a cause, that if I was ill-fitted to the place there was good reason, it was a false comfort, a way of running away from real remedy. But

He would be all right, I thought again, comforting myself by thinking it, though I thought too that he wasn’t altogether mistaken in what he had said, that there would be loss in loving another, that the perspective that limited his grief would also limit his love, which, having taken the measure of its bounds, he could never again imagine as boundless. And I had thought this before, too, how much we lose in gaining this truer version of ourselves, the vision I had urged upon my student, the vision it was my obligation to urge, though it carried us away from our dreams of ourselves, from the grandeur of novels and poems which it was also my obligation to impart. How much smaller I have become, I said to myself, through an erosion necessary to survival perhaps and perhaps still to be regretted, I’ve worn myself down to a bearable size.

He caught me and held my gaze without welcome or warmth or any hint of what we had shared, and my sense of having violated something, of having looked where I shouldn't have faded, as I understood that this was what he wanted me to see all along, that I was there not as guard but as audience. I was there to see how different from me he was, how free of the foulness my father had shown him; and now that I had seen it, I knew our friendship had run its course.

[L]ike poems, cruising carves privacy out of public spaces. Poems are a kind of private communication that occurs in public speech. And I think cruising is that too: a training in reading occult codes; a way of seeing a significance in the world that most people don’t see.

But I'm your son, which was my only appeal and the last thing I would say. He made a dismissive sound, almost a laugh, and then he spoke again, with a snarling voice I had never heard before, he said The hell you are. He went on, he spoke without stopping, A faggot, he said, if I had known you would never have been born. You disgust me, he said, do you know that, you disgust me, how could you be my son? As I listened to him say these things it was as though even as I laid claim to myself I found there was nothing to claim, nothing or next to nothing, as though I were dissolving and my tears were the outward sign of that dissolution.

They embraced for a long time, a kind of physical contact seldom seen in public, maybe seen only between parents and their very young children, an intimacy confident of absolute possession... [h]ow quickly those embraces would pass. They would take on different meanings as the child grew older, they would become impermissible; the same touch that here warmed our hearts would just in a few years elicit our disapproval, our concern, finally our scorn. And so it is, I thought then, as the man and child released each other and moved away from the water, so it is that at the very moment we come into full consciousness of ourselves what we experience is leave-taking and a loss we seek the rest of our lives to restore.