William T. Vollmann
William T. Vollmann
William Tanner Vollmannis an American novelist, journalist, war correspondent, short story writer, and essayist. He won the 2005 National Book Award for Fiction for the novel Europe Central. He lives in Sacramento, California, with his wife and daughter...
NationalityAmerican
ProfessionNovelist
Date of Birth28 July 1959
CountryUnited States of America
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I decided that there is really some sort of entity that I call Imperial, and I decided to extend it all the way along the California-Mexico border and into Tijuana and then to the Pacific because it all has a similar feeling.
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Death is ordinary. Behold it, subtract its patterns and lessons from those of the death that weapons bring, and maybe the residue will show what violence is.
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There are parts of L.A. that feel very, very Mexican, and there are weird little enclaves of Northside in Mexico - Cancún for instance. So what is a border?
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We're living in what used to be Mexico, and there's this very fluid border feeling. You go a little bit south of Tijuana, for instance, into Ensenada, and it still seems kind of borderlike. And you go much farther, suddenly the prices are lower, the prostitution is different, the commerce is different, everything feels more "Mexican."
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A common measure of poverty is how much money you have in relation to other people - that is useful as far as it goes, but that excludes the case of, say, a hunter in the rainforest who has no money but is not poor. And there can be a number of people with money but who can consider themselves unwanted or invisible or estranged from society.
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I'm still a marginal figure living from book to book, but, as long as I'm producing labour as a good Marxist prole, I guess I'm satisfied.
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I don't subscribe to organised religion. I've travelled enough to see that adherents of organised religion often attack adherents of other religions.
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As large publishers turn into monopolies, and the MBAs who are running them - maybe editors used to run them before - are steadily tightening the screws, they feel more and more that they get to call the shots.
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Really what it gets down to is that my idea of the American life, the American dream, whatever, is that I can do what I wish in the privacy of my own home. And as long as I'm not hurting anyone, no one has a right to know what I do. The main thing that I have to hide is that I don't have anything to hide.
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Everybody is an expert on one thing - that's what I learned in my high school journalism class - and that's, of course, his own life. And everybody deserves to live and have his story told. And if it doesn't seem like an interesting story, then that's the failure of the listener, or the journalist who retells it badly.
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So far, I've never missed a deadline for a term paper, a review, a manuscript. I perform the mumbo-jumbo of voting with belief in my heart, I've not yet won even a jaywalking ticket, and unlike my father, whom I fault in this respect, I refrain from opting out of jury duty; instead, they mostly kick me out.
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Everybody is probably guilty of something. I'm sure that if anyone looked into my heart long enough, they could say, you know, 'Bill had some unkind thoughts back in second grade.'
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I first got really interested in Noh in about 1977. There was an independent bookstore in Bloomington, Indiana where I was going to high school. It was a really nice place. There was a New Directions paperback. It was the Pound/Fenollosa book, 'The Classic Noh Theatre of Japan.'
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The first chance I had to go to Japan, which was in the early nineties, I went to a Noh play. I thought, 'This is very, very slow.' I noticed lots of people falling asleep. I didn't really know what was going on; I was getting a little sleepy myself. Then the more I studied it, the more fascinated I got.