JM Tohline Quotes

“The way my mind flows is conducive to self-learning. I do better obsessively studying various writers and writing techniques and writing theories on my own than I would do if I were in a classroom and the professor was telling me (and 20 other students at the same time) to study these same things. Even if the professor told us to study the exact things I would otherwise be studying on my own, I would have a much harder time applying myself and focusing and taking anything the professor assigned seriously. That’s just the way my mind works–my fear of groupthink, my desire toward (passion for, obsession with) uniqueness and originality and the creation of new things. By studying things on my own, I might arrive at the exact same place others arrive at as they study amongst their peers–but to my mind, this would be okay. I at least would have arrived there (at those thoughts, at those techniques, at those ideas and approaches and whatever-else-have-you) on my own. And that’s just me.”

“Without desire how is it possible to make a story?”

“I'm a fan of the old 'Creature Features' like 'Critters,' and 'Gremlins' and 'Tremors.' 'Jaws' is classic. It's funny that I still like those films because I remember my mom would tease me about getting a pet Critter to keep under my bed.”

“It's funny the things dreams can do to you.”

“Music is the great unifier. It doesn’t matter which country you’re in or what language is being spoken, the fans just magically seem to get it. They share a common goal of love and celebration for the purity of magnificence and brilliance that has been created by the artist. It’s transcendent. It’s inspiration. It’s raw emotion. It’s communication – a perfect marriage of notes, harmonies, lyrics and melodies. It’s the beauty within the beast.”

“A mistake does not make a shadow. The people who you hurt through the mistake and what they decide to say about it is what leaves a shadow. The only way to erase that shadow is to shed light on it. If that is not possible, moving on to somewhere brighter is always an option.”

“This may not be art as art commonly goes; the lack of discipline, of control, would seem to rule it out of that category. And yet Woolrich's lack of control over emotions is a crucial element in his work, not only because it intensifies the fragility and momentariness of love but also because it tears away the comfortable belief, evident in some of the greatest works of the human imagination such as Oedipus Rex, that nobility in the face of nothingness is possible. And if Woolrich's work is not art as commonly understood, there is an art beyond art, whose form is not the novel or story but the scream; and of this art Woolrich is beyond doubt a master. ("Introduction")”

“But suspense presupposes uncertainty. No matter how nightmarish the situation, real suspense is impossible when we know in advance that the protagonist will prevail (as we would if Woolrich had used series characters) or will be destroyed. This is why, despite his congenital pessimism, Woolrich manages any number of times to squeeze out an upbeat resolution. Precisely because we can never know whether a particular novel or story will be light or dark, allegre or noir, his work remains hauntingly suspenseful.("Introduction")”

“The viewpoint character in each story is usually someone trapped in a living nightmare, but this doesn't guarantee that we and the protagonist are at one. In fact Woolrich often makes us pull away from the person at the center of the storm, splitting our reaction in two, stripping his protagonist of moral authority, denying us the luxury of unequivocal identification, drawing characters so psychologically warped and sometimes so despicable that a part of us wants to see them suffer. Woolrich also denies us the luxury of total disidentification with all sorts of sociopaths, especially those who wear badges. His Noir Cop tales are crammed with acts of police sadism, casually committed or at least endorsed by the detective protagonist. These monstrosities are explicitly condemned almost never and the moral outrage we feel has no internal support in the stories except the objective horror of what is shown, so that one might almost believe that a part of Woolrich wants us to enjoy the spectacles. If so, it's yet another instance of how his most powerful novels and stories are divided against themselves so as to evoke in us a divided response that mirrors his own self-division.("Introduction")”

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