Кизи, Кен цитаты

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Кизи, Кен

Дата рождения: 17. Сентябрь 1935
Дата смерти: 10. Ноябрь 2001
Другие имена:کن کیسی

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Кен Э́лтон Ки́зи — американский писатель. Известен, в частности, как автор романа «Пролетая над гнездом кукушки». Кизи считается одним из главных писателей бит-поколения и поколения хиппи, оказавшим большое влияние на формирование этих движений и их культуру.

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Цитаты Кизи, Кен

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„But it's the truth even if it didn't happen.“

—  Ken Kesey, One Flew Over the Cuckoo's Nest

„Man, when you lose your laugh you lose your footing.“

—  Ken Kesey, One Flew Over the Cuckoo's Nest
Context: Maybe not you, buddy, but the rest are even scared to open up and laugh. You know, that's the first thing that got me about this place, that there wasn't anybody laughing. I haven't heard a real laugh since I came through that door, do you know that? Man, when you lose your laugh you lose your footing. Ch. 5

„There were other books that were being kept, real books. In those real books is the real accounting of your life.“

—  Ken Kesey
Context: When people ask me about LSD, I always make a point of telling them you can have the shit scared out of you with LSD because it exposes something, something hollow. Let’s say you have been getting on your knees and bowing and worshiping; suddenly, you take LSD and you look and there’s just a hole, there’s nothing there. The Catholic Church fills this hole with candles and flowers and litanies and opulence. The Protestant Church fills it with hand-wringing and pumped-up squeezing emotions because they can’t afford the flowers and the candles. The Jews fill this hole with weeping and browbeating and beseeching of the sky: How long, how long are you gonna treat us like this? The Muslims fill it with rigidity and guns and a militant ethos. But all of us know that’s not what is supposed to be in that hole. After I had been at Stanford two years, I was into LSD. I began to see that the books I thought were the true accounting books — my grades, how I’d done in other schools, how I’d performed at jobs, whether I had paid off my car or not — were not at all the true books. There were other books that were being kept, real books. In those real books is the real accounting of your life.

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„When I see bad-looking bikers with black leather studs on their wrists hanging out at the Oregon Country Fair, I take it as a sign of health. No, I don’t want them hanging around, but trying to eliminate them all, arrest them all, legislate against them all — that’s evil.“

—  Ken Kesey
Context: When I see bad-looking bikers with black leather studs on their wrists hanging out at the Oregon Country Fair, I take it as a sign of health. No, I don’t want them hanging around, but trying to eliminate them all, arrest them all, legislate against them all — that’s evil. I have asked feminists, If you could, would you eliminate all male chauvinist pigs? If you could come up with some kind of spray to spray in the air and do away with them, would you? Would you do away with all scorpions and rattlesnakes, mosquitoes? Mosquitoes are part of the ecosystem. So are male chauvinist pigs. You’ve got to fight them, but you don’t try to exterminate them. A purifying group or system that would eliminate them all — that would be an evil force. Anytime you have a force that comes along and says, We will eradicate these people, you have evil. Looking back in history, what has seemed the worst turns out not to be the worst.

„Melville took on the whole world, saw it all in a vision, and risked everything in prose that sings. You have a sense from the very beginning that Melville had a vision in his mind of what this book was going to look like, and he trusted himself to follow it through all the way.“

—  Ken Kesey
Context: Kerouac had lots of class — stumbling drunk in the end, but read those last books. He never blames anybody else; he always blames himself. If there is a bad guy, it’s poor old drunk Jack, stumbling around. You never hear him railing at the government or railing at this or that. He likes trains, people, bums, cars. He just paints a wonderful picture of Norman Rockwell’s world. Of course it’s Norman Rockwell on a lot of dope. Jack London had class. He wasn’t a very good writer, but he had tremendous class. And nobody had more class than Melville. To do what he did in Moby-Dick, to tell a story and to risk putting so much material into it. If you could weigh a book, I don’t know any book that would be more full. It’s more full than War and Peace or The Brothers Karamazov. It has Saint Elmo’s fire, and great whales, and grand arguments between heroes, and secret passions. It risks wandering far, far out into the globe. Melville took on the whole world, saw it all in a vision, and risked everything in prose that sings. You have a sense from the very beginning that Melville had a vision in his mind of what this book was going to look like, and he trusted himself to follow it through all the way.

„Anytime you have a force that comes along and says, We will eradicate these people, you have evil.“

—  Ken Kesey
Context: When I see bad-looking bikers with black leather studs on their wrists hanging out at the Oregon Country Fair, I take it as a sign of health. No, I don’t want them hanging around, but trying to eliminate them all, arrest them all, legislate against them all — that’s evil. I have asked feminists, If you could, would you eliminate all male chauvinist pigs? If you could come up with some kind of spray to spray in the air and do away with them, would you? Would you do away with all scorpions and rattlesnakes, mosquitoes? Mosquitoes are part of the ecosystem. So are male chauvinist pigs. You’ve got to fight them, but you don’t try to exterminate them. A purifying group or system that would eliminate them all — that would be an evil force. Anytime you have a force that comes along and says, We will eradicate these people, you have evil. Looking back in history, what has seemed the worst turns out not to be the worst.

„I didn’t know what to think and she didn’t either, but I was glad she came up to me.“

—  Ken Kesey
Context: I was performing The Sea Lion in the Newport Performing Arts Center. Afterwards a white-haired old woman approached me and said, Hey, you remember me? I looked her over, and I knew I remembered her, but had no idea who she was. She said, Lois. It still didn’t click. She said, Lois Learned, Big Nurse, and I thought, Oh my God. She was a volunteer at Newport, long since retired from the nursing business. This was the nurse on the ward I worked on at the Menlo Park hospital. I didn’t know what to think and she didn’t either, but I was glad she came up to me. I felt there was a lesson in it, the same one I had tried to teach Hollywood. She’s not the villain. She might be the minion of the villain, but she’s really just a big old tough ex-army nurse who is trying to do the best she can according to the rules that she has been given. She worked for the villain and believed in the villain, but she ain’t the villain.

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„The job of the writer is to kiss no ass, no matter how big and holy and white and tempting and powerful.“

—  Ken Kesey
Context: One of these days you're going to have a visitation. You're going to be walking down the street and across the street you're going to look and see God standing over there on the street corner motioning to you, saying, "Come to me, come to me." And you will know it's God, there will be no doubt in your mind — he has slitty little eyes like Buddha, and he's got a long nice beard and blood on his hands. He's got a big Charlton Heston jaw like Moses, he's stacked like Venus, and he has a great jeweled scimitar like Mohammed. And God will tell you to come to him and sing his praises. And he will promise that if you do, all of the muses that ever visited Shakespeare will fly in your ear and out of your mouth like golden pennies. It's the job of the writer in America to say, "Fuck you God, fuck you and the Old Testament that you rode in on, fuck you." The job of the writer is to kiss no ass, no matter how big and holy and white and tempting and powerful.

„It’s the same old wilderness, just no longer up on that hill or around that bend or in the gully. It’s the fact that there is no more hill or gully, that the hollow is there and you’ve got to explore the hollow with faith.“

—  Ken Kesey
Context: It’s the same old wilderness, just no longer up on that hill or around that bend or in the gully. It’s the fact that there is no more hill or gully, that the hollow is there and you’ve got to explore the hollow with faith. If you don’t have faith that there is something down there, pretty soon when you’re in the hollow, you begin to get scared and start shaking. That’s when you stop taking acid and start taking coke and drinking booze and start trying to fill the hollow with depressants and Valium. Real warriors like William Burroughs or Leonard Cohen or Wallace Stevens examine the hollow as well as anybody; they get in there, look far into the dark, and yet come out with poetry.

„Kerouac had lots of class — stumbling drunk in the end, but read those last books. He never blames anybody else; he always blames himself.“

—  Ken Kesey
Context: Kerouac had lots of class — stumbling drunk in the end, but read those last books. He never blames anybody else; he always blames himself. If there is a bad guy, it’s poor old drunk Jack, stumbling around. You never hear him railing at the government or railing at this or that. He likes trains, people, bums, cars. He just paints a wonderful picture of Norman Rockwell’s world. Of course it’s Norman Rockwell on a lot of dope. Jack London had class. He wasn’t a very good writer, but he had tremendous class. And nobody had more class than Melville. To do what he did in Moby-Dick, to tell a story and to risk putting so much material into it. If you could weigh a book, I don’t know any book that would be more full. It’s more full than War and Peace or The Brothers Karamazov. It has Saint Elmo’s fire, and great whales, and grand arguments between heroes, and secret passions. It risks wandering far, far out into the globe. Melville took on the whole world, saw it all in a vision, and risked everything in prose that sings. You have a sense from the very beginning that Melville had a vision in his mind of what this book was going to look like, and he trusted himself to follow it through all the way.

„Lois Learned, Big Nurse, and I thought, Oh my God.“

—  Ken Kesey
Context: I was performing The Sea Lion in the Newport Performing Arts Center. Afterwards a white-haired old woman approached me and said, Hey, you remember me? I looked her over, and I knew I remembered her, but had no idea who she was. She said, Lois. It still didn’t click. She said, Lois Learned, Big Nurse, and I thought, Oh my God. She was a volunteer at Newport, long since retired from the nursing business. This was the nurse on the ward I worked on at the Menlo Park hospital. I didn’t know what to think and she didn’t either, but I was glad she came up to me. I felt there was a lesson in it, the same one I had tried to teach Hollywood. She’s not the villain. She might be the minion of the villain, but she’s really just a big old tough ex-army nurse who is trying to do the best she can according to the rules that she has been given. She worked for the villain and believed in the villain, but she ain’t the villain.

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