Ken Kesey Quotes (1935-2001)

“I got high on psychedelics before I was ever drunk. I never smoked. Then LSD came by. And to me it was the most wonderful thing that had ever happened... And, of course, the best drugs ever were manufactured by the government. … LSD lets you in on something. When you're tripping, the idea of race disappears; the idea of sex disappears; you don't even know what species you are sometimes. And I don't know of anybody who hasn't come back from that being more humane, more thoughtful, more understanding.”

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

“The real crazies who are looking for a messiah... after an hour or so they realize I'm not it and go off and look somewhere else.”

“You have to laugh at the things that hurt you just to keep yourself in balance, just to keep the world from running you plumb crazy.”

“You can't bomb for a humane reason. What we should do is just Mother Teresa them to death with love. It's that old hippie nonsense but it's still the best stuff there is.”

“We are always acting on what has just finished happening. It happened at least 1/30th of a second ago. We think we’re in the present, but we aren’t. The present we know is only a movie of the past.”

“We are always acting on what has just finished happening. It happened at least 1/30th of a second ago. We think we’re in the present, but we aren’t. The present we know is only a movie of the past.”

“What I always wanted to be was a magician... My real upbringing when I was a teenager was doing magic shows, all over the state, with my father and brothers. Doing magic, you not only have to be able to do a trick, you have to have a little story line to go with it. And writing is essentially a trick.”

“I'm for mystery, not interpretive answers. … The answer is never the answer. What's really interesting is the mystery. If you seek the mystery instead of the answer, you'll always be seeking. I've never seen anybody really find the answer, but they think they have. So they stop thinking. But the job is to seek mystery, evoke mystery, plant a garden in which strange plants grow and mysteries bloom. The need for mystery is greater than the need for an answer.”

“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.'''”

“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.”

“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.”

“Leary can get a part of my mind that's kind of rusted shut grinding again, just by being around him and talking, 'cause that's where he works. He knows that area of the mind and the brain, and he knows the difference between the two areas. He's a real master at getting your old wheel squeaking again. … When we first broke into that forbidden box in the other dimension, we knew that we had discovered something as surprising and powerful as the New World when Columbus came stumbling onto it. It is still largely unexplored and uncharted. People like Leary have done the best they can to chart it sort of underground, but the government and the powers do not want this world charted, because it threatens established powers. It always has.”

“Kesey creates finally in McMurphy a modern unhero or anti-hero who expands himself, through a gradual shift in his concern from himself to those around him, into the role of the traditional hero. It is a strange and preposterous role... In the modern world, such a hero, individualistic to the point of disaffiliation but at the same time altruistic to the point of self-sacrifice, is by definition absurd; and all people and actions touched by such heroism are tinted by its absurdity.”

“Big Nurse speaks for the fixed pattern, the unbreakable routine, the submission of individual will to mechanical, humorless control. McMurphy speaks an older American language of freedom, unhindered movement, self-reliance, anarchic humour and a trust in the more animal instincts.”

“Kesey practices what has come to be known as Gonzo journalism. The reporter, often intoxicated, fails to get the story but delivers instead a stylishly bizarre account that mocks conventional journalism.”

“McMurphy is not merely up against the Big Nurse and her ward, but against all the controlling aspects of society, which molds its conformists into dull mechanical robots for the Combine.”

“He talks in a soft voice with a country accent, almost a pure country accent, only crackling and rasping and cheese-grated over the two-foot hookup, talking about — "—there's been no creativity," he is saying, "and I think my value has been to help create the next step. I don't think there will be any movement off the drug scene until there is something else to move to —" — all in a plain country accent about something — well, to be frank, I didn't know what in the hell it was all about. Sometimes he spoke cryptically, in aphorisms. I told him I had heard he didn't intend to do any more writing. Why? I said. "I'd rather be a lightning rod than a seismograph," he said. He talked about something called the Acid Test and forms of expression in which there would be no separation between himself and the audience. It would be all one experience, with all the senses opened wide, words, music, lights, sounds, touch — lightning.”