Joshua Mohr (born July 8, 1976) is an American author.
I don't think escaping is necessarily a problem, but we can get addicted to almost anything. If you're craving being in this other reality and you don't want to participate in your own reality, those are the times we have to start asking ourselves difficult questions.
I'm a semi-failed writer, but I'm a capital-F Failed musician.
I want to be the kind of adult that keeps learning. I want to always be open to new experiences.
I'm always working on something. Addiction never gets any credit, always talked about as a total liability, and I'll admit that most of its traits aren't positive in our lives. But there's one amazing thing it gave me: a tireless work ethic.
I always wished to be a better planner. It seems more elegant, while my trial and error process is more akin to someone scratching an awful case of poison oak.
My father deprived me of any truths about himself. He died without ever letting me know who he truly was. I only knew his facades, basically. And it breaks my heart that he never trusted me enough to tell me the truth.
It was important to buy into the fact that the nine hundred pages an end-reader never sees are just as valuable as the ones that are bound and placed on the shelf.
I always feel that as the author, once I know what a character is ashamed of, then I can go about making her truthful on the page.
I struggle with staying clean every day, and what really keeps me from doing something stupid is my daughter.
Yes, things happened to me - brutal things - but I'm not going to give them so much clout by dwelling on them, empowering them to haunt my heart years after the events transpired. And no good comes from that. These ghosts don't need us to help them stay alive. If we're after real deal healing, these ghosts must desiccate.
Today is going to be free of the past. Today, the past can't hurt me.
Hughes' debut novel, At Dawn, follows a former All-American wrestler, and is there any better metaphor for contemporary American life? We're all wrestling, tussling with the economy, no jobs, doing the best we can. Hughes doesn't flinch from the tough existential questions. He embraces them.
I just thought it was important that people knew right from the jump that I've got problems. But in all seriousness, that's a huge part of my writing process.
The question why, at least in my life, often leads to despair. Why did this happen to me? Why didn't someone who claimed to love me treat me with respect, compassion, kindness? Etc. These questions never have answers. They are an ocean, and you'll never swim to the other side. Eventually, you'll tire and die.
My tunnel vision allows me to have a longer work day than most writers. I'm thankful for that.
The point of reading is to inhabit a consciousness that doesn't belong to the reader, immersing yourself in a life that's wholly realized. And a huge facet of our psychic and existential make-ups is the things we're not proud of, things we didn't ask to experience, the scenarios we flubbed.
Memoir is a unique opportunity to revisit yourself. I don't mean by memory. I mean in the revision process. You don't just write a chapter and that's it. You must constantly return to it. You must dote on it. And even if it's saying something ugly about who you are, you have to find the poetry in it. You have to find the poetry in yourself.
It takes a lot of time to be a good junkie or alcoholic - you spend hours getting the necessary supplies, then imbibing, then recovering, rinse and repeat. That's like eighteen hours of a day. And assuming you get out of that lifestyle before it macerates your heart, you have that Junkie Tunnel Vision, except now you get to use it for something positive: you know how to work tirelessly for one thing. Instead of using that tunnel vision to get high, I use it to make art.
Self-respect doesn't come naturally to me. I need to constantly remind myself and do the work to err on the side of self-respect, rather than self-punishment.
I'm a very tactile learner, so I need analog index cards, moving them all about, trying out various sequences for the book's architecture.