Nothing bad can happen to a writer. Everything is material.
Interpretation
Writers can find inspiration in any experience, even negative ones.
Philip Roth's quote suggests that for a writer, all experiences, whether good or bad, can serve as valuable material for their work. It emphasizes the idea that adversity and challenges can lead to creativity and deeper exploration of the human condition in literature.
In practice
In a writing workshop, you might use this quote to encourage participants to draw from personal struggles for their stories.
American society [...] not only sanctions gross and unfair relations among men, but it encourages them. Now, can that be denied? No. Rivalry, competition, envy, jealousy, all that is malignant in human character is nourished by the system. Possession, money, property--on such corrupt standards as these do you people measure happiness and success.
I have a slogan I use when I get anxious writing, which happens quite a bit: ‘the ordeal is part of the commitment.’ It’s one of my mantras. It makes a lot of things doable.
Everybody who flashed the signs of loyalty he took to be loyal. Everybody who flashed the signs of intelligence he took to be intelligent. And so he had failed to see into his daughter, failed to see into his wife, failed to see into his one and only mistress—probably had never even begun to see into himself
When you publish a book, it's the world's book. The world edits it.
It isn't that you subordinate your ideas to the force of the facts in autobiography but that you construct a sequence of stories to bind up the facts with a persuasive hypothesis that unravels your history's meaning.
That's what you're looking for as a writer when you're working. You're looking for your own freedom. To lose your inhibition to delve deep into your memory and experiences and life and then to find the prose that will persuade the reader.
I hate slick and pretty things. I prefer mistakes and accidents. Which is why I like things like cuts and bruises - they're like little flowers. I've always said that if you have a name for something, like 'cut' or 'bruise,' people will automatically be disturbed by it. But when you see the same thing in nature, and you don't know what it is, it can be very beautiful.
I haven't found a drug yet that can get you anywhere near as high as a sitting at a desk writing, trying to imagine a story no matter how bizarre it is, [or] going out and getting into the weirdness of reality and doing a little time on the Proud Highway.
The language of art is celestial in origin and can only be understood by the chosen.
I can explain all the poems that were ever invented - and a good many that haven't been invented just yet.
Because, if one is writing novels today, concentrating on the beauty of the prose is right up there with concentrating on your semi-colons, for wasted effort.
It dawned on me that comics were not an intrinsically limited medium. There was a tremendous amount of things you could do in comics that you couldn't do in other art forms - but no one was doing it. I figured if I'd make a try at it, I'd at least be a footnote in history.
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