“I know very well that human beings are the subject of the novel, of the Great Western Novel, and one of the great subjects of painting as well, but I can’t help thinking that people are much less different than they generally think. That there are too many complications in society, too many distinctions and categories.”

Jed Martin speaking in Michel Houellebecq’s The Map and the Territory

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“The more arid and affectless life became in the high rise, the greater the possibilities it offered. By it’s very efficiency… it removed the need to repress every kind of anti-social behaviour, and left them free to explore any deviant or wayward impulses… in many ways, the high rise was a model of all that technology had done to make possible the expression of a truly ‘free’ psychopathology.”

JG Ballard, High Rise

“Emotions, in my experience, aren’t covered by single words. I don’t believe in ‘sadness’, ‘joy’, or ‘regret’… I’d like to have at my disposal complicated hybrid emotions, Germanic train-car constructions like, say, ‘the happiness that attends disaster.’ Or ‘the disappointment of sleeping with one’s fantasy.'”

Jeffrey Eugenides, Middlesex

“The problem with cliches is not that they contain false ideas, but rather that they are superficial articulations of very good ones… Cliches are detrimental in so far as they inspire us to believe that they adequately describe a situation while merely grazing its surface. And if this matters, it is because the way we speak is ultimately linked to the way we feel, because how we describe the world must at some level reflect how we first experience it.”

Alain de Botton in How Proust Can Change Your Life

“The lesson? To hang on to the performance, to read the newspaper as though it were only the tip of a tragic or comic novel and to use thirty pages to describe a fall into sleep when need be. And if there is no time, at least to resist the approach… which Proust defined as, ‘the self-satisfaction felt by “busy” men – however idiotic their business – at “not having time” to do what you are doing.'”

Alain de Botton on the need to take time, in How Proust Can Change Your Life

“Out beyond the glistening green of the forest the city cracked open with light against the darkened sky, a pomegranate with a split gut, all jewels.”

Sarah Maria Griffin, Spare and Found Parts

“That day I carried the dream around like a full glass of water, moving gracefully so I would not lose any of it.”

Miranda July, in No one belongs here more than you

“Mother died today. Or, maybe, yesterday. I can’t be sure. The telegram from the Home says: Your mother passed away. Funeral tomorrow. Deep sympathy. Which leaves the matter doubtful; it could have been yesterday.”

Albert Camus’s great opening to The Outsider 

“Of course we have a waiting list. Don’t believe everything you hear about hell. Next time you run into some anti-hell propaganda, consider the source… And remember, we persecute only the guilty, which puts us one up on most other institutions.”

Andrew Wyvern (the devil) in James Morrow’s Only Begotten Daughter  

“reading Crime and Punishment changed him, Crime and Punishment was the thunderbolt that crashed down from heaven and cracked him into a hundred pieces, and by the time he put himself together again, Ferguson was no longer in doubt about the future, for if this was what a book could be, if this was what a novel could do to a person’s heart and mind and innermost feelings about the world, then writing novels was surely the best thing a person could do in life, for Dostoyevsky had taught him that made-up stories could go far beyond mere fun and diversion, they could turn you inside out and take off the top of your head, they could scald you and freeze you and strip you naked and thrust you into the blasting winds of the universe, and from that day forward, after flailing about for his entire boyhood, lost in an ever-thickening miasma of bewilderment, Ferguson finally knew where he was going, or at least knew where he wanted to go.”

Paul Auster, 4321

“On TV shows like Westerns this always seemed to work. All you had to do was point the gun at an unarmed man and demand he surrender; he grumbles, puts his hands in the air, and you go home to a pot roast and the plaudits of lovers and friends.

But TV did not take into account forty-plus years of substance abuse and psychological trauma.

Eugene Stapleton’s eyes opened wider than seemed possible and his face glowed red. He reached over to a shelf on his right and grabbed an honest-to-God meat cleaver.

Then he roared.”
Walter Mosley, Charcoal Joe

“I thought of Uriah and all the black men and women I knew who woke up angry and went to bed in the same state of mind. Life was like a bruise for us back then, and today too.”

Walter Mosley, Charcoal Joe

“One of the odd things about himself, Ferguson had discovered, was that there seemed to be several of him, that he wasn’t just one person but a collection of contradictory selves, and each time he was with a different person, he himself was different as well.”

Paul Auster (channeling Deleuze and Guattari) in 4321

“there are things that look like people dressed as dolls, or else dolls made up to look like people. I remember being confused about which it was… When I emerge from the bedroom, I see their eyes are shining in the white darkness, and their heads are turned in all directions. Paralysed – yes! – with terror, I merely return a fixed gaze, wondering if my eyes are shining the same as theirs. Then one of the doll people, slouching against the wall on my left, turns it’s head haltingly upon a stiff little neck and looks straight at me. Worse, it talks. And its voice is a horrible parody of human speech. Even more horrible are its words.”

Thomas Ligotti, Dream of a Manikin