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Image of the quote is loading... SaveSave My dear woman, our greatest problem is that almost everything is a goddamned code. We do not know what is real any more. Every gesture is symbolic. A man cannot shit short of some pundit finding hidden meaning in it. Even having children is a metaphor. Hence, we cannot trust ourselves; and, therefore, we do not trust anybody. No my dear, I do not believe in codes, and even if I did I certainly would not use one in my sleep! (from the play, Sixteen Words For Water) - Quote by Billy Marshall-Stoneking

My dear woman, our greatest problem is that almost everything is a goddamned code. We do not know what is real any more. Every gesture is symbolic. A man cannot shit short of some pundit finding hidden meaning in it. Even having children is a metaphor. Hence, we cannot trust ourselves; and, therefore, we do not trust anybody. No my dear, I do not believe in codes, and even if I did I certainly would not use one in my sleep! (from the play, Sixteen Words For Water)

Billy Marshall-Stoneking
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POUNDttWe spend twelve hundred generations developing t so-called civilization to the point where it produces an expert who can offer us salvation from our superstitions, and all we end up with is another superstition! If it takes someone like Freud to save us from our neuroses, what’s ttit gonna take to save us from Freud?
Billy Marshall-Stoneking
The answer to the question, 'where's the drama?' is another question: 'what's the problem?
Billy Marshall-Stoneking
As a writer, you can’t get to where you want to be, coming from the place you started, unless you have something extremely important you want to say to someone who really doesn’t want to know.
Billy Marshall-Stoneking
The burning off and the gathering together are one.
Billy Marshall-Stoneking
Fear is elemental to every human endeavour involving risk and change, which includes ALL creative endeavours. To be creative is to be anxious. To endure the anxiousness - to face it and work with it, to allow it to lay bare what has been hidden - is the beginning of faith, which, in a certain sense, is the courage to become, to become present, along with all the other characters, tribes and audiences whose actions move the unfolding drama that is the world.
Billy Marshall-Stoneking
Your audience is your adversary. If you don't have one get one - imagine it. Imagine it now. To whom is your story addressed and why? Audience is always a creative act of the imagination. You can't tell your story effectively and leave it out. It must be alive in you, vividly alive. It is in conflict with everything that is false in what you have written. If it is an audience worthy of your talent and potential, it won't let you slide by the lies, the laziness, the shortcuts. If you don't take audience seriously, you can be sure it will return the favor.
Billy Marshall-Stoneking
Some writers might tell you that writing is like a piece of magic - a process of creating something out of nothing, and I guess I used to think about it that way too a long long time ago. But as I've lived my life and loved and lost friends and family, and seen dreams smashed and resurrected, and marveled at the pettiness, drear ambition and ignorance of the herd of which I am a part, I can no longer say that a poem or a story or a script comes from nothing. If it's any good, if it has any power, any potent emotional body, then it's something that a writer has paid for, not only in time, but in all the anxiety that accompanies living and those small fret-filled acts of becoming present that make it possible for us to see beyond our little patch of immediacy. It's not just a reaching out, but a reaching in, into the depths of our being from whence we've sprung.
Billy Marshall-Stoneking
The story writes you as much as you write it. And the process of re-writing isn't so much a quest to re-write the story as it is to re-write the writer.
Billy Marshall-Stoneking
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