"I really enjoy writing novels. It's like the ocean. You can just build a boat and take off"
About this Quote
Johnson makes the novelist sound less like an architect and more like a coastal drifter with a workable plan. The ocean metaphor is doing sly double duty: it flatters the freedom of fiction while quietly insisting on risk. You do not “take off” on the ocean without the possibility of being swallowed by it. That’s classic Denis Johnson: an almost boyish appetite for the ride, paired with the knowledge that the ride can turn on you.
The key move is the modesty baked into “build a boat.” Not a ship, not a yacht, not a cruise liner with a marketing plan. A boat is handmade, imperfect, liable to leak. Johnson’s intent reads as a defense of the novel as a craft form you can enter with tools, stubbornness, and nerve, not a credential. Anyone can lash together a vessel, he implies, but the ocean doesn’t care about your confidence. The subtext is that writing isn’t primarily self-expression; it’s navigation. You’re scanning weather, reading currents, making decisions mid-storm. Plot becomes seamanship.
Context matters, too. Johnson’s work (Jesus’ Son, Tree of Smoke) is famous for its hallucinatory drift and sudden moral clarity. His characters move through addiction, war, spiritual hunger - worlds where control is partial and consequences are real. So the pleasure he describes isn’t the safety of a blank page. It’s the exhilaration of launching into the unknown and discovering, sentence by sentence, whether your little boat can hold.
The key move is the modesty baked into “build a boat.” Not a ship, not a yacht, not a cruise liner with a marketing plan. A boat is handmade, imperfect, liable to leak. Johnson’s intent reads as a defense of the novel as a craft form you can enter with tools, stubbornness, and nerve, not a credential. Anyone can lash together a vessel, he implies, but the ocean doesn’t care about your confidence. The subtext is that writing isn’t primarily self-expression; it’s navigation. You’re scanning weather, reading currents, making decisions mid-storm. Plot becomes seamanship.
Context matters, too. Johnson’s work (Jesus’ Son, Tree of Smoke) is famous for its hallucinatory drift and sudden moral clarity. His characters move through addiction, war, spiritual hunger - worlds where control is partial and consequences are real. So the pleasure he describes isn’t the safety of a blank page. It’s the exhilaration of launching into the unknown and discovering, sentence by sentence, whether your little boat can hold.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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