Carolina Quotes

Tom Robbins

North Carolina · born or raised1932–2025

American writer (1932–2025)

  • Born in Blowing Rock

writer, novelist, journalist, biographer, autobiographer

Quotations with a citation

So you think that you're a failure, do you? Well, you probably are. What's wrong with that? In the first place, if you've any sense at all you must have learned by now that we pay just as dearly for our triumphs as we do for our defeats. Go ahead and fail. But fail with wit, fail with grace, fail with style. A mediocre failure is as insufferable as a mediocre success. Embrace failure! Seek it out. Learn to love it. That may be the only way any of us will ever be free.
Even Cowgirls Get the Blues (1976), Ch. 55 , p. 206
If we're ever going to get the world back on a natural footing, back in tune with natural rhythyms, if we're going to nurture the Earth and protect it and have fun with it and learn from it — which is what mothers do with their children — then we've got to put technology (an aggressive masculine system) in its proper place, which is that of a tool to be used sparingly, joyfully, gently and only in the fullest cooperation with nature. Nature must govern technology, not the other way around.
Even Cowgirls Get the Blues (1976), Ch. 56, p. 211
I set an example. That's all anyone can do. I'm sorry the cowgirls didn't pay better attention, but I couldn't force them to notice me. I've lived most of my entire adult life outside the law, and never have I compromised with authority. But neither have I gone out and picked fights with authority. That's stupid. They're waiting for that; they invite it; it helps keep them powerful. Authority is to be ridiculed, outwitted and avoided. And it's fairly easy to do all three. If you believe in peace, act peacefully; if you believe in love, acting lovingly; if you believe every which way, then act every which way, that's perfectly valid — but don't go out trying to sell your beliefs to the system. You end up contradicting what you profess to believe in, and you set a bum example. If you want to change the world, change yourself.
Even Cowgirls Get the Blues (1976), Ch. 118, p. 416
I’m not quite twenty, but, thanks to you, I’ve learned something that many women these days never learn: Prince Charming really is a toad. And the Beautiful Princess has halitosis. The bottom line is that (a) people are never perfect, but love can be, (b) that is the one and only way that the mediocre and the vile can be transformed, and (c) doing that makes it that. Loving makes love. Loving makes itself. We waste time looking for the perfect lover instead of creating the perfect love. Wouldn’t that be the way to make love stay?
Leigh-Cheri to Bernard, in Phase III, Ch. 46.
It is their desire to honor L. Cohen, songwriter, that has prompted a delegation of our brightest artists to climb, one by one, joss sticks smoldering, the steep and salty staircase in the Tower of Song. There is evidence that the honoree might be privy to the secret of the universe, which, in case you’re wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person’s biochemical sky more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact, the poetic image may be the only device remotely capable of dissecting romantic desire, let alone disclosing the hidden mystical essence of the material world. Cohen is a master of the quasi-surrealistic phrase, of the “illogical” line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and the bewildering assaults of culture.
Liner notes for the Leonard Cohen tribute album Tower of Song (1995).

In the libraries

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Recorded without a firm citation

Kept here, labelled, rather than mixed in above.

How can one person be more real than any other? Well some people do hide and others seek. Maybe those who are hiding — escaping encounters, avoiding surprises, protecting their property, ignoring their fantasies, restricting their feelings, sitting out the Pan pipe hootchy-kootch of experience — maybe those people, people who won't talk to rednecks, or if they're rednecks won't talk to intellectuals, people who are afraid to get their shoes muddy or their noses wet, afraid to eat what they crave, afraid to drink Mexican water, afraid to bet a long shot to win, afraid to hitchhike, jaywalk, honky-tonk, cogitate, osculate, levitate, rock it, bop it, sock it, or bark at the moon, maybe such people are simply inauthentic, and maybe the jackleg humanist who says differently is due to have his tongue fried on the hot slabs of liars hell. Some folks hide and some folks seek,and seeking when its mindless, neurotic, desperate, or pusillanimous, can be a form of hiding. But there are folks who want to know and aren't afraid to look, and won't turn tail should they find it — and if they never do, they'll have a good time anyway, because nothing, neither the terrible truth, nor the absence of it, is going to cheat them out of one honest breath of earth's sweet gas.
Still Life with Woodpecker (1980)

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There are essential and inessential insanities. The latter are solar in character, the former are linked to the moon. Inessential insanities are a brittle amalgamation of ambition, aggression, and pre-adolescent anxiety — garbage that should have been dumped long ago. Essential insanities are those impulses one instinctively senses are virtuous and correct, even though peers may regard them as coo-coo. Inessential insanities get one in trouble with one's self. Essential insanities get one in trouble with others. In fact, it may be essential. Poetry, the best of it, is lunar and is concerned with the essential insanities. Journalism is solar... and is devoted to the inessential.
Still Life with Woodpecker (1980)

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When we're incomplete, we're always searching for somebody to complete us. When, after a few years or a few months of a relationship, we find that we're still unfulfilled, we blame our partners and take up with somebody more promising. This can go on and on — series polygamy — until we admit that while a partner can add sweet dimension to our lives, we, each of us, are responsible for our own fulfillment. Nobody else can provide it for us, and to believe otherwise is to delude ourselves dangerously and to program for eventual failure every relationship we enter.
Still Life with Woodpecker (1980)

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On the campus of Outlaw College, professors of essential insanities would characterize the conflicting attitudes of Nina Jablonski and Leigh-Cheri as indicative of a general conflict between social idealism and romanticism. As any of the learned professors would explain, plied with sufficient tequila, no matter how fervently a romantic might support a movement, he or she eventually must withdraw from active participation in that movement because the group ethic — the supremacy of the organization over the individual — is an affront to intimacy. Intimacy is the principal source of the sugars with which this life is sweetened. It is absolutely vital to the essential insanities.
Still Life with Woodpecker (1980)

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Three of the four elements are shared by all creatures, but fire was a gift to humans alone. Smoking cigarettes is as intimate as we can become with fire without immediate excruciation. Every smoker is an embodiment of Prometheus, stealing fire from the gods and bringing it on back home. We smoke to capture the power of the sun, to pacify Hell, to identify with the primordial spark, to feed on the marrow of the volcano. It's not the tobacco we're after but the fire. When we smoke, we are performing a version of the fire dance, a ritual as ancient as lightning.
Still Life with Woodpecker (1980)

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Who knows how to make love stay? Tell love you are going to the Junior's Deli on Flatbush Avenue in Brooklyn to pick up a cheesecake, and if love stays, it can have half. It will stay. Tell love you want a momento of it and obtain a lock of its hair. Burn the hair in a dime-store incense burner with yin/yang symbols on three sides. Face southwest. Talk fast over the burning hair in a convincingly exotic language. Remove the ashes of the burnt hair and use them to paint a mustache on your face. Find love. Tell it you are someone new. It will stay. Wake love up in the middle of the night. Tell it the world is on fire. Dash to the bedroom window and pee out of it. Casually return to bed and assure love that everything is going to be all right. Fall asleep. Love will be there in the morning.
Still Life with Woodpecker (1980)

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There's no such thing as security in this life, sweetheart; and the sooner you accept that fact, the better off you'll be. The person who strives for security will never be free. The person who believes that she's found security will never reach paradise. What she mistakes for security is purgatory. You know what purgatory is, Gwendolyn? It's the waiting room, it's the lobby. Not only does she have the wrong libretto, she's stuck in the lobby where she can't see the show.
Half Asleep in Frog Pajamas (1994)

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There are landscapes in which we feel above us not sky but space. Something larger, deeper than sky is sensed, is seen, although in such settings the sky is invariably immense. There is a place between the cerebrum and the stars where sky stops and space commenses, and should we find ourselves on a particular prairie or mountaintop at a particular hour [...] our relationship with sky thins and loosens while our connection with space becomes as solid as bone.
Half Asleep in Frog Pajamas (1994)

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I’m acquainted with a, uh, gentleman who claims that the extent to which a society focuses on the needs of its lowest common denominator is the extent to which that society’ll be mired in mediocrity. Whereas, if we would aim the bulk of our support at the brightest, most talented, most virtuous instead, then they would have the wherewithal to solve a lot of our problems, to uplift the whole culture, enlighten it or something, so that eventually there wouldn’t be so many losers and weaklings impeding evolution and dragging the whole species down. He claims that martyrs like you just perpetuate human misery by catering to it. He believes individuals have to take responsibility for their own lives and accept the consequences of their choices.
Half Asleep in Frog Pajamas (1994)

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What is it that separates human beings from the so called lower animals? Well as I see it, it's exactly one half dozen significant things: Humor, Imagination, Eroticism — as opposed to the mindless, instinctive mating of glow-worms or raccoons — Spirituality, Rebelliousness, and Aesthetics, an appreciation of beauty for its own sake. Now, since those are the features that define a human being, it follows that the extent to which someone is lacking in those qualities is the extent to which he or she is less than human. Capisce?
Fierce Invalids Home from Hot Climates (2000)

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Suppose the neutral angels were able to talk to Yahweh and Lucifer — God and Satan, to use their popular titles — into settling out of court. What would be the terms of the compromise? Specifically, how would they divide the assets of their earthly kingdom? Would God be satisfied to take loaves and fishes and itty-bitty thimbles of Communion wine, while allowing Satan to have the redeye Gravy, eighteen ounce New York steak, and buckets of chilled champagne? Would God really accept twice-a-month lovemaking for procreative purposes and give Satan the all-night, no-holds-barred, nasty "can't-get-enough-of-you" hot-as-hell fucks?
Fierce Invalids Home from Hot Climates (2000)

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For most people, self-awareness and self-pity blossom simultaneously in early adolescence. It's about that time that we start viewing the world as something other than a whoop-de-doo playground, we start to experience personally how threatening it can be, how cruel and unjust. At the very moment when we become, for the first time, both introspective and socially conscientious, we receive the bad news that the world, by and large, doesn't give a rat's ass.
Fierce Invalids Home from Hot Climates (2000)

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I've always assumed that every time a child is born, the Divine reenters the world. Okay? That's the meaning of the Christmas story. And every time that child's purity is corrupted by society, that's the meaning of the Crucifixion story. Your man Jesus stands for that child, that pure spirit, and as its surrogate, he's being born and put to death again and again, over and over, every time we inhale and exhale, not just at the vernal equinox and on the twenty-fifth of December.
Fierce Invalids Home from Hot Climates (2000)

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I'm descended from a long line of preachers and policemen. Now, it's common knowledge that cops are congenital liars, and evangelists spend their lives telling fantastic tales in such a way as to convince otherwise rational people that they're factual. So, I guess I come by my narrative inclinations naturally. Moreover, I grew up in the rural South, where, although television has been steadily destroying it, there has always existed a love of colorful verbiage.
High Times interview (2002)

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Usually, my witticisms are composed on the spot. They're simply intrinsic; an inseparable, integral, organic part of my writing process — doubtlessly because humor is an inseparable, integral part of my philosophical worldview. The comic sensibility is vastly, almost tragically, underrated by Western intellectuals. Humor can be a doorway into the deepest reality, and wit and playfulness are a desperately serious transcendence of evil. My comic sense, although deliberately Americanized, is, in its intent, much closer related to the crazy wisdom of Zen monks and the goofy genius of Taoist masters than it is to, say, the satirical gibes on Saturday Night Live. It has both a literary and a metaphysical function.
High Times interview (2002)

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Certain individual words do possess more pitch, more radiance, more shazam! than others, but it's the way words are juxtaposed with other words in a phrase or sentence that can create magic. Perhaps literally. The word "grammar," like its sister word "glamour," is actually derived from an old Scottish word that meant "sorcery." When we were made to diagram sentences in high school, we were unwittingly being instructed in syntax sorcery, in wizardry. We were all enrolled at Hogwarts. Who knew? When a culture is being dumbed down as effectively as ours is, its narrative arts (literature, film, theatre) seem to vacillate between the brutal and the bland, sometimes in the same work. The pervasive brutality in current fiction – the death, disease, dysfunction, depression, dismemberment, drug addiction, dementia, and dreary little dramas of domestic discord – is an obvious example of how language in exploitative, cynical or simply neurotic hands can add to the weariness, the darkness in the world. Less apparent is that bland writing — timid, antiseptic, vanilla writing – is nearly as unhealthy as the brutal and dark. Instead of sipping, say, elixir, nectar, tequila, or champagne, the reader is invited to slurp lumpy milk or choke on the author's dust bunnies.
The Syntax of Sorcery (2012)

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I'll say this much: virtually every advancement made by our species since civilization first peeked out of its nest of stone has been initiated by lone individuals, mavericks who more often than not were ignored, mocked, or viciously persecuted by society and its institutions. Society in general maintains such a vested interest in its cozy habits and solidified belief systems that it had rather die – or kill – than entertain change. Consider how threatened religious fundamentalists of all faiths remain to this day by science in general and Darwin in particular. Cultural institutions by and large share one primary objective: herd control. Even when ostensibly benign, their propensity for manipulation, compartmentalization, standardization and suppression of potentially disruptive behavior or ideas, has served to freeze the evolution of consciousness practically in its tracks. In technological development, in production of material goods and creature comforts, we've challenged the very gods, but psychologically, emotionally, we're scarcely more than chimpanzees with bulldozers, baboons with big bombs.
The Syntax of Sorcery (2012)

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We humans have always defined ourselves by narration. What's happening today is that we're allowing multi-national corporations to tell our stories for us. The theme of corporate stories (and millions drink them in every day) seldom varies: to be happy you must consume, to be special you must conform. Absurd, obviously, yet our identities have become so fragile, so elusive, that we seem content to let advertisers provide us with their version of who we are, to let them recreate us in their image: a cookie-cutter image based on market research, shallow sociology, and insidious lies. Individualism is bad for business – though absolutely necessary for freedom, progressive knowledge, and any possible interface with the transcendent. And yes, it's entirely possible to function as a free-thinking individual without succumbing to narcissism..
The Syntax of Sorcery (2012)

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Although I participated enthusiastically in the sixties psychedelic revolution, and tried to mimic it – its trappings, its mythology, its silliness, its profundity – in print in my first novel, I had nothing to do with its creation. Rather, it was the confluence of two disparate elements – acute socio-political dissatisfaction and pharmacological neo-shamanism – that precipitated it; and it was democracy, as much as ferocious opposition from both the right-wing and left-wing establishments, that caused it to eventually unravel. Democracy? Yep, oddly enough. The counterculture light was so bright it began to attract moths (people who sadly were not intellectually or spiritually prepared to meaningfully assimilate transformative multi-dimensional data streams from hyperspace) and stinging stink bugs (the thugs that invariably invade every utopia) in such great numbers that they eventually crowded out the butterflies (the educated middle class truth-seekers who switched on the light in the first place). That's an oversimplification, of course, but it's good to bear in mind that like it or not, enlightenment has always been, even in a golden age, pretty much limited to an elite. In America, the relatively finite psychedelic culture was shoved aside by the burgeoning boogie culture, whose drugs of choice were booze, speed, and cocaine; and whose goal was not to attain spiritual bliss, deeper understanding, or an end to war and repression but rather to get thoroughly fucked up.
The Syntax of Sorcery (2012)

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Except in the areas of civil rights and medical marijuana, the legacy of the sixties counterculture has been largely superficial. Still, though the light has dimmed and gone underground, something in me would like to think the sixties phenomenon was a dress rehearsal for a grander, wider leap in consciousness yet to come. However, since Seafood Kabob is likely to win the Belmont Stakes before a psychic jailbreak of that magnitude materializes, my strategy is to try to live as if that day were already here.
The Syntax of Sorcery (2012)

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