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I'll never forget you. Your husband will beat you with an extension cord and the bus will pull away leaving you standing there in tears, but you were my mother.

Denis Johnson

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Denis Johnson
Age: 67 †
Born: 1949
Born: July 1
Died: 2017
Died: May 24
Actor
Essayist
Film Actor
Musician
Novelist
Playwright
Poet
Science Fiction Writer
Screenwriter
Short Story Writer
Writer
München
Denis Hale Johnson
Dionysius Johnson
Dennis Johnson
Away
Pull
Mother
Beat
Never
Beats
Leaving
Cord
Standing
Cords
Husband
Extension
Tears
Extensions
Forget
Bus

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I think it's silly for anyone to think you could write under the influence, but if they'd like to think that, I'd like to keep the legend alive. Maybe I was under the influence when I wrote Jesus' Son and I just didn't know it.
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In my writing, I want to be laid bare as a human being.
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We can’t always tell the whole story about ourselves.
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I'd been staying at the Holiday Inn with my girlfriend, honestly the most beautiful woman I'd ever known, for three days under a phony name, shooting heroin. We made love in the bed, ate steaks at the restaurant, shot up in the john, puked, cried, accused one another, begged of one another, forgave, promised, and carried one another to heaven.
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Memories assailed him of how gently she had spoken, touched, and moved of how she'd loved him fiercely despite his mistakes and obsessions and weaknesses. And the conviction descended on him that love like theirs couldn't possibly suffer any change.
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The abyss is full of reality, the abyss experiences itself, the abyss is alive.
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All the modern verse plays, they're terrible they're mostly about the poetry. It's more important that the play is first.
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Love and violence-not to conquer one with the other but to live with both, that's what I've learned. Each pulling me a different way. If I relax my struggles they don't tear me in two, but lift me up.
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Through this feeling of helplessness suddenly burst a piercing nostalgia for the lost world of childhood. The way it came right up against the heart, that world, and against the face. No indoors or outdoors, only everything touching us, and the grown-ups lumbering past overhead like constellations.
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Talk into my bullet hole. Tell me I'm fine.
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I hate two kinds of sentences you hear in workshops, the ones beginning I really like ... and the ones beginning My problem with this poem is ...
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If you take a lie and allow your desire for the truth, you'll end up with some truth - not fact, but something that gets you closer to the truth. That's what we want. When we go to a play, we need to be assured that the experience we're having.
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