Boulevard Nights Quotes

I was sentimental about many things: a woman’s shoes under the bed; one hairpin left behind on the dresser; the way they said, 'I’m going to pee.' hair ribbons; walking down the boulevard with them at 1:30 in the afternoon, just two people walking together; the long nights of drinking and smoking; talking; the arguments; thinking of suicide; eating together and feeling good; the jokes; the laughter out of nowhere; feeling miracles in the air; being in a parked car together; comparing past loves at 3am; being told you snore; hearing her snore; mothers, daughters, sons, cats, dogs; sometimes death and sometimes divorce; but always carring on, always seeing it through; reading a newspaper alone in a sandwich joint and feeling nausea because she’s now married to a dentist with an I.Q. of 95; racetracks, parks, park picnics; even jails; her dull friends; your dull friends; your drinking, her dancing; your flirting, her flirting; her pills, your fucking on the side and her doing the same; sleeping together

Before she closed the door, she hit me with this one: "I feel like it's November first," she said, "and I'm that discarded jack-o'-lantern whose heart and guts are splattered all over the boulevard of broken promises." "And a good night to you, too," I said.

Like a blazing comet, I've traversed infinite nights, interstellar spaces of the imagination, voluptuousness and fear. I've been a man, a woman, an old person, a little girl, I've been the crowds on the grand boulevards of the capital cities of the West, I've been the serene Buddha of the East, whose calm and wisdom we envy. I've known honor and dishonor, enthusiasm and exhaustion. ...I've been the sun and the moon, and everything because life is not enough.

When I got home I mixed a stiff one and stood by the open window in the living room and sipped it and listened to the groundswell of traffic on Laurel Canyon Boulevard and looked at the glare of the big angry city hanging over the shoulder of the hills through which the boulevard had been cut. Far off the banshee wail of police or fire sirens rose and fell, never for very long completely silent. Twenty four hours a day somebody is running, somebody else is trying to catch him. Out there in the night of a thousand crimes, people were dying, being maimed, cut by flying glass, crushed against steering wheels or under heavy tires. People were being beaten, robbed, strangled, raped, and murdered. People were hungry, sick; bored, desperate with loneliness or remorse or fear, angry, cruel, feverish, shaken by sobs. A city no worse than others, a city rich and vigorous and full of pride, a city lost and beaten and full of emptiness. It all depends on where you sit and what your own private score is. I didn't have one. I didn't care. I finished the drink and went to bed.

It was love at first touch rather than at first sight, for I had met her several times before without experiencing any special emotions; but one night as I was seeing her home, something quaint she had said made me stoop with a laugh and lightly kiss her on the hair - and of course we all know of that blinding blast which is caused by merely picking up a small doll from the floor of a carefully abandoned house: the soldier involved hears nothing; for him it is but an ecstatic soundless and boundless expansion of what had been during his life a pinpoint of light in the dark center of his being. And really, the reason we think of death in celestial terms is that the visible firmament, especially at night (above our blacked-out Paris with the gaunt arches of its Boulevard Exelmans and the ceaseless Alpine gurgle of desolate latrines), is the most adequate and ever-present symbol of that vast silent explosion' The time, the place, the torture. Her fan, her gloves, her mask. I spent that night and many others getting it out of her bit by bit, but not getting it all. I was under the strange delusion that first I must find out every detail, reconstruct every minute, and only then decide whether I could bear it. But the limit of desired knowledge was unattainable, nor could I ever foretell the approximate point after which I might imagine myself satiated, because of course the denominator of every fraction of knowledge was potentially as infinite as the number of intervals between the fractions themselves.

By nature independent, gay, even exuberant, seductively responsive and given to those spontaneous sallies that sparkle in the conversation of certain daughters of Paris who seem to have inhaled since childhood the pungent breath of the boulevards laden with the nightly laughter of audiences leaving theaters, Madame de Burne's five years of bondage had nonetheless endowed her with a singular timidity which mingled oddly with her youthful mettle, a great fear of saying too much, of going to far, along with a fierce yearning for emancipation and a firm resolve never again to compromise her freedom.

Adriana: I can never decide whether Paris is more beautiful by day or by night. Gil: No, you can't, you couldn't pick one. I mean I can give you a checkmate argument for each side. You know, I sometimes think, how is anyone ever gonna come up with a book, or a painting, or a symphony, or a sculpture that can compete with a great city. You can't. Because you look around and every street, every boulevard, is its own special art form and when you think that in the cold, violent, meaningless universe that Paris exists, these lights, I mean come on, there's nothing happening on Jupiter or Neptune, but from way out in space you can see these lights, the cafés, people drinking and singing. For all we know, Paris is the hottest spot in the universe.

The four cafés on the Boulevard Victor-Noir, shining in the night, side by side, and which are much more than café--aquariums, ships, stars or great white eyes--have lost their ambiguous charm.

Dead-end streets and boulevards You threw in the towel, I broke your heart But there's a first time for everything Who would've thought you'd feel so cold And all these memories seem so old To think you were my everything Remember when we'd talk all night But time ain't easy on us, how can love die? I got so much shit to say But I can't help feeling like I'm camouflage Fortress around my heart You were mine just yesterday Now I have no idea who you are It's like you camouflage

I rented a dark little bar on Sunset Boulevard that had pool tables, three bars inside and out, and a movie theater where we played only Quentin Tarantino movies all night.

When he went out it was freezing, and a pale winter sun was rising over Paris. No thought of escape had as yet crossed Monsieur Monde's mind. 'Morning, Joseph.' 'Morning, monsieur.' As a matter of fact, it started like an attack of flu. In the car he felt a shiver. He was very susceptible to head colds. Some winters they would hang on for weeks, and his pockets would be stuffed with wet handkerchiefs, which mortified him. Moreover, that morning he ached all over, perhaps from having slept in an awkward position, or was it a touch of indigestion due to last night's supper? 'I'm getting flu,' he thought. Then, just as they were crossing the Grands Boulevards, instead of automatically checking the time on the electric clock as he usually did, he raised his eyes and noticed the pink chimney pots outlined against a pale blue sky where a tiny white cloud was floating. It reminded him of the sea. The harmony of blue and pink suddenly brought a breath of Mediterranean air to his mind, and he envied people who, at that time of year, lived in the South and wore white flannels.

My hand slid into his. The warmth of his hand surrounded mine and made me wish Carson Boulevard was miles more than six lanes wide. He let my hand go when we made it to the sidewalk.

She'd let him fuck her that night, as many times as he wanted, until his balls were drained and they were both satisfied, and Bad Decision Boulevard would welcome its newest resident to the Dumb Bitch Court condominiums.

When I came out of the Charity Ward of the L.A. County General Hospital in 1955 after drinking ten years without missing a night or day (except while in jail) they told me that if I ever took another drink I would be dead. I went back to my shack job and I asked her, “What the hell am I going to do now?” “We’ll play the horses,” she said. “Horses?” “Yeah, they run and you bet on them.” She had found some money on the boulevard so we went out. I had 3 winners, one of them paid over 50 bucks. It seemed very easy. We went out a second time and I won again. That night I decided that if I mixed some wine with milk it might not hurt me. I tried a glass, half wine, half milk. I didn’t die. The next glass I tried a little less milk and a little more wine. By the time the night was over I had been drinking straight wine. In the morning I got up without hemorrhaging. After that I drank and played the horses. 27 years later I am still doing both. Time is made to be wasted...

certain element—a few crazies—that don’t have anything to do. They shot out two streetlights on Goodwinter Boulevard last night. When I was a kid we smashed pumpkins and strung trees with toilet paper on Halloween, but this new generation does it all year round.

A Word with Jose Rodriguez-Feo" As one of the secretaries of the moon The queen of ignorance, you have deplored How she presides over imbeciles. The night Makes everything grotesque. Is it because Night is the nature of man's interior world? Is lunar Habana the Cuba of the self? We must enter boldly that interior world To pick up relaxations of the known. For example, the old man selling oranges Sleeps by his basket. He snores. His bloated breath Bursts back. what not quite realized transit Of ideas moves wrinkled in a motion like The cry of an embryo? the spirit tires, It has, long since, grown tired, of such ideas. It says there is an absolute grotesque. There is a nature that is grotesque within The boulevards of the generals. Why should We say that it is man's interior world Or seeing the spent, unconscious shapes of night, Pretend they are shapes of another consciousness? The grotesque is not a visitation. It is Not apparition but appearance, part Of that simplified geography, in which The sun comes up like news from Africa.

Silent, where you can't hear anything on the outside, but inside you are singing with every fiber of your being. And you're connected, through joy, to every stranger near you, even if nobody stops to speak. Not that I wish to talk, either. Instead, I stand still, mid-block, on Queens Boulevard, while listening for something that can't be quite heard physically. Yet somehow the sweetest silence is peeking out through the whoosh and rushing of other pedestrians, and despite how loudly the cars are squeaking, due to the wet roads.

In the course of my life I have had pre-pubescent ballerinas; emaciated duchesses, dolorous and forever tired, melomaniac and morphine-sodden; bankers' wives with eyes hollower than those of suburban streetwalkers; music-hall chorus girls who tip creosote into their Roederer when getting drunk... I have even had the awkward androgynes, the unsexed dishes of the day of the *tables d'hote* of Montmartre. Like any vulgar follower of fashion, like any member of the herd, I have made love to bony and improbably slender little girls, frightened and macabre, spiced with carbolic and peppered with chlorotic make-up. Like an imbecile, I have believed in the mouths of prey and sacrificial victims. Like a simpleton, I have believed in the large lewd eyes of a ragged heap of sickly little creatures: alcoholic and cynical shop girls and whores. The profundity of their eyes and the mystery of their mouths... the jewellers of some and the manicurists of others furnish them with *eaux de toilette*, with soaps and rouges. And Fanny the etheromaniac, rising every morning for a measured dose of cola and coca, does not put ether only on her handkerchief. It is all fakery and self-advertisement - *truquage and battage*, as their vile argot has it. Their phosphorescent rottenness, their emaciated fervour, their Lesbian blight, their shop-sign vices set up to arouse their clients, to excite the perversity of young and old men alike in the sickness of perverse tastes! All of it can sparkle and catch fire only at the hour when the gas is lit in the corridors of the music-halls and the crude nickel-plated decor of the bars. Beneath the cerise three-ply collars of the night-prowlers, as beneath the bulging silks of the cyclist, the whole seductive display of passionate pallor, of knowing depravity, of exhausted and sensual anaemia - all the charm of spicy flowers celebrated in the writings of Paul Bourget and Maurice Barres - is nothing but a role carefully learned and rehearsed a hundred times over. It is a chapter of the MANCHON DE FRANCINE read over and over again, swotted up and acted out by ingenious barnstormers, fully conscious of the squalid salacity of the male of the species, and knowledgeable in the means of starting up the broken-down engines of their customers. To think that I also have loved these maleficent and sick little beasts, these fake Primaveras, these discounted Jocondes, the whole hundred-franc stock-in-trade of Leonardos and Botticellis from the workshops of painters and the drinking-dens of aesthetes, these flowers mounted on a brass thread in Montparnasse and Levallois-Perret! And the odious and tiresome travesty - the corsetted torso slapped on top of heron's legs, painful to behold, the ugly features primed by boulevard boxes, the fake Dresden of Nina Grandiere retouched from a medicine bottle, complaining and spectral at the same time - of Mademoiselle Guilbert and her long black gloves!... Have I now had enough of the horror of this nightmare! How have I been able to tolerate it for so long? The fact is that I was then ignorant even of the nature of my sickness. It was latent in me, like a fire smouldering beneath the ashes. I have cherished it since... perhaps since early childhood, for it must always have been in me, although I did not know it!

But the natural emotion of the situation one could not escape from, and on Thursday night I sate up in my dressing gown till nearly one, listening to the distant firing from the boulevards. Thursday was the only day in which there was fighting of any serious kind. There has been no resistance on the part of the real people

Ode to the Beloved’s Hips" Bells are they—shaped on the eighth day—silvered percussion in the morning—are the morning. Swing switch sway. Hold the day away a little longer, a little slower, a little easy. Call to me— I wanna rock, I-I wanna rock, I-I wanna rock right now—so to them I come—struck-dumb chime-blind, tolling with a throat full of Hosanna. How many hours bowed against this Infinity of Blessed Trinity? Communion of Pelvis, Sacrum, Femur. My mouth—terrible angel, ever-lasting novena, ecstatic devourer. O, the places I have laid them, knelt and scooped the amber—fast honey—from their openness— Ah Muzen Cab’s hidden Temple of Tulúm—licked smooth the sticky of her hip—heat-thrummed ossa coxae. Lambent slave to ilium and ischium—I never tire to shake this wild hive, split with thumb the sweet- dripped comb—hot hexagonal hole—dark diamond— to its nectar-dervished queen. Meanad tongue— come-drunk hum-tranced honey-puller—for her hips, I am—strummed-song and succubus. They are the sign: hip. And the cosign: a great book— the body’s Bible opened up to its Good News Gospel. Alleluias, Ave Marías, madre mías, ay yay yays, Ay Dios míos, and hip-hip-hooray. Cult of Coccyx. Culto de cadera. Oracle of Orgasm. Rorschach’s riddle: What do I see? Hips: Innominate bone. Wish bone. Orpheus bone. Transubstantiation bone—hips of bread, wine-whet thighs. Say the word and healed I shall be: Bone butterfly. Bone wings. Bone Ferris wheel. Bone basin bone throne bone lamp. Apparition in the bone grotto—6th mystery— slick rosary bead—Déme la gracia of a decade in this garden of carmine flower. Exile me to the enormous orchard of Alcinous—spiced fruit, laden-tree—Imparadise me. Because, God, I am guilty. I am sin-frenzied and full of teeth for pear upon apple upon fig. More than all that are your hips. They are a city. They are Kingdom— Troy, the hollowed horse, an army of desire— thirty soldiers in the belly, two in the mouth. Beloved, your hips are the war. At night your legs, love, are boulevards leading me beggared and hungry to your candy house, your baroque mansion. Even when I am late and the tables have been cleared, in the kitchen of your hips, let me eat cake. O, constellation of pelvic glide—every curve, a luster, a star. More infinite still, your hips are kosmic, are universe—galactic carousel of burning comets and Big Big Bangs. Millennium Falcon, let me be your Solo. O, hot planet, let me circumambulate. O, spiral galaxy, I am coming for your dark matter. Along las calles de tus muslos I wander— follow the parade of pulse like a drum line— descend into your Plaza del Toros— hands throbbing Miura bulls, dark Isleros. Your arched hips—ay, mi torera. Down the long corridor, your wet walls lead me like a traje de luces—all glitter, glowed. I am the animal born to rush your rich red muletas—each breath, each sigh, each groan, a hooked horn of want. My mouth at your inner thigh—here I must enter you—mi pobre Manolete—press and part you like a wound— make the crowd pounding in the grandstand of your iliac crest rise up in you and cheer.

Here, one wants to create the Paris of the Far West. Evening traffic on Hollywood Boulevard attempts to mimic Parisian boulevard life. However, life on the Boulevard is extinct before midnight, and the seats in front of the cafes, where in Paris one can watch street life in a leisurely manner, are missing. . . . At night the illuminated portraits of movie stars stare down from lampposts upon crowds dressed in fake European elegance – a declaration that America yearns to be something other than American here. . . . Yet, in spite of the artists, writers and aspiring film stars, the sensibility of a real Montmartre, Soho, or even Greenwich Village, cannot be felt here. The automobile mitigates against such a feeling, and so do the new houses. Hollywood lacks the patina of age.75

He disappeared inside and I leaned back on the seat to stare straight up the star-crazed sky. It seemed about 6 feet above my eyes. Or maybe 60 feet, or 600. I couldn't be sure, and it didn't matter, anyway, because by that time I was convinced I was in the cockpit of a 727 coming into LA at midnight. Jesus, I thought, I am ripped straight to the tits. Where am I? Are we going up or down? Somewhere in the back of my brain, I knew I was sitting in a Jeep in the parking lot of a night club on an island off the Mexican coast - but how could I really be sure, with another part of my brain convinced that I was looking down on the huge glittering bowl of Los Angeles from the cockpit of a 727? Was that the Milky Way? Or Sunset Boulevard? Orion, or the Beverly Hills Hotel? Who gives a fuck? I thought.

He had decided before the accident not to chase them anymore, but the circumstances of the accident made him fear for Lilia's safety. he would never bring her in, not anymore; all he wanted now was to watch over her. Michaela had been reading his notes for years, but his notes were only part of it: the other part was the way he woke up at night in his bed in Montreal and knew where Lilia was, the way he could glance at a map of the United Staes and realize with absolute, inexplicable certainty that she was in West Virginia, the way he tried to ignore his terrifying clairvoyance and forget where she was and couldn't, the way he knew where she was but had to keep driving south to check, the horror of always being right: he saw her face in the crowd on Sunset Boulevard, he stepped into a hardware store in St. Louis at the moment she stepped out of the deli across the street, he stood on a corner in a run-down neighborhood in Chicago and watched her emerge from an apartment building down the block. After each sighting he returned north more depleted, more frightened, less intact.

We walk the streets of Fuzhou at night, in the one summer when I come back. Streetlights send our elongated shadows tumbling ahead of us, across the neon-tinged storefronts and buzzing lamps. Everyone comes out, the old men in wife-beaters and plastic sandals, the teenagers in fake American Eagle. Senior citizen ladies roll out before bedtime in pajama pants printed with SpongeBob or fake Chanel logos. There is a Mickey D's and a KFC, street dumpling stands, bootleg shops, karaoke bars. Everything is open late, midnight or even later. There are places to get a full-body massage, an eight ball, a happy ending. If you stay on these streets long enough, it's possible you could get everything you want, have ever wanted. Because I disremember everything, because I watch a lot of China travel shows when I am alone at night in New York, because TV mixes with my dreams mixes with my memories, we walk along the concourse that runs alongside the river even though there is no river, we turn down boulevards punctuated by palm-tree clusters even though those belong in Singapore, we smoke cigarettes openly even though it's unseemly for women, especially in my family, to smoke in public. But the feeling, the feeling of being in Fuzhou at night, remains the same.

I was sentimental about many things: a woman’s shoes under the bed; one hairpin left behind on the dresser; the way they said, 'I’m going to pee...' hair ribbons; walking down the boulevard with them at 1:30 in the afternoon, just two people walking together; the long nights of drinking and smoking, talking; the arguments; thinking of suicide; eating together and feeling good; the jokes; the laughter out of nowhere; feeling miracles in the air; being in a parked car together; comparing past loves at 3 AM; being told you snore, hearing her snore; mothers, daughters, sons, cats, dogs; sometimes death and sometimes divorce; but always carrying on, always seeing it through…

going anyplace outside L.A. Just bothering to go someplace other than Santa Monica was incomprehensible when I could just wake up every morning at dawn, yank on my bathing suit still on the floor from the night before when I’d yanked it off, hurry down to Hollywood and Gower to catch the 91S bus down Hollywood Boulevard and then Santa Monica Boulevard to Beverly Hills and transfer to the 83 going straight out to the beach untilfinally there I’d be, at 8:00 A.M. or so, able to feel the cool sand get warm as the morning sun glazed over the tops of the palm trees up on the palisades while waves of the ocean crashed down day after day so anyone could throw himself into the tides and bodysurf throughout eternity.

Ocean waves remind me of our laughter our first night out together, the first date beside the shore of the boulevard that was called to be the place of broken dreams. While some hearts are breaking, we tried to mend ours hoping we could make memories and we could prove that this place isn't always for broken dreams. Hoping that every step we took would never end that the smiles we shared will help us mend. It's never easy to trust again but I tried to gain some strength to try the luck in love once more. But you failed. It was always my love that stays. You failed the moment you choose to let go. You failed to prove that some hearts stay even if others don't. I was the only one holding, but not your heart this time. I kept our memories in me while I watched you lose your grasp of ours. It's never easy.

By 1950, he had come to view the pedestrian as a threshold or indicator species capable of foretelling things to come—if the rights of the pedestrian were threatened, it would be an early indicator that broader freedoms of thought and action were also at risk. This conclusion was deeply rooted in personal experience. In 1941, while walking through Pershing Square late at night with friend and occasional coauthor Henry Hasse, Bradbury had his first relatively mild encounter with police. The specific incident that sparked “The Pedestrian” involved a similar late-night walk with a friend along Wilshire Boulevard near Western Avenue sometime in late 1949. Bradbury often wrote and spoke about being questioned that evening by a passing patrolman, and usually described as well his somewhat confrontational response (“What am I doing? Just putting one foot in front of the other . . .”).

Don't Stop Believing Just a small town girl, livin' in a lonely world She took the midnight train goin' anywhere... Just a city boy, born and raised in South Detroit He took the midnight train goin' anywhere... A singer in a smoky room, the smell of wine and cheap perfume For a smile they can share the night It goes on and on and on and on... Strangers, waiting, up and down the boulevard Their shadows searching in the night Streetlight people, living just to find emotion Hiding, somewhere in the night Working hard to get my fill, everybody wants a thrill Payin' anything to roll the dice, Just one more time Some will win, some will lose Some were born to sing the blues Oh, the movie never ends It goes on and on and on and on Strangers, waiting, up and down the boulevard Their shadows searching in the night Streetlight people, living just to find emotion Hiding, somewhere in the night Don't stop believin' Hold on to that feelin' Streetlight people Don't stop believin' Hold on to that feelin' Streetlight people Don't stop believin' Hold on to that feelin' Streetlight people

In that place there were no train stations, crowded ferries, or boulevards where everyone bumped into each other as they walked. There were no lampposts, bridges, or towers either. Everything consisted of a great meaning. One part of that meaning was haste, the other part was agitation. Every tiny thing was a reflection of that greater meaning. Drawn curtains, leaving the workplace at the end of the working day, and the squares where lovers arranged to meet, were all reflections of it. If it rained, and washed and cleansed the city’s dirt for days, it would still be that meaning that emerged with the first ray of sunshine. Time that ticked on in maternity hospitals, in back streets and in late night bars, toyed with the city’s pace. People forgot the sun, the moon, and the stars and lived only with times. Time for work, time for school, time for an appointment, time to eat, time to go out. When it was finally time to sleep, people had no more strength or desire left to think about the world. They let themselves go in the darkness. They were dragged along by a single meaning, a meaning that was hidden in every single thing. What was that meaning and where was it taking us? People created small pleasures for themselves to stop their minds from clouding over with such questions, and chased after them relentlessly. They ran away from life’s hardships, slept peacefully, and thus lightened their minds’ burden. And their hearts’. They believed that. Until a wall inside them came crashing down and their hearts were crushed.

Moscow can be a cold, hard place in winter. But the big old house on Tverskoy Boulevard had always seemed immune to these particular facts, the way that it had seemed immune to many things throughout the years. When breadlines filled the streets during the reign of the czars, the big house had caviar. When the rest of Russia stood shaking in the Siberian winds, that house had fires and gaslight in every room. And when the Second World War was over and places like Leningrad and Berlin were nothing but rubble and crumbling walls, the residents of the big house on Tverskoy Boulevard only had to take up a hammer and drive a single nail—to hang a painting on the landing at the top of the stairs—to mark the end of a long war. The canvas was small, perhaps only eight by ten inches. The brushstrokes were light but meticulous. And the subject, the countryside near Provence, was once a favorite of an artist named Cézanne. No one in the house spoke of how the painting had come to be there. Not a single member of the staff ever asked the man of the house, a high-ranking Soviet official, to talk about the canvas or the war or whatever services he may have performed in battle or beyond to earn such a lavish prize. The house on Tverskoy Boulevard was not one for stories, everybody knew. And besides, the war was over. The Nazis had lost. And to the victors went the spoils. Or, as the case may be, the paintings. Eventually, the wallpaper faded, and soon few people actually remembered the man who had brought the painting home from the newly liberated East Germany. None of the neighbors dared to whisper the letters K-G-B. Of the old Socialists and new socialites who flooded through the open doors for parties, not one ever dared to mention the Russian mob. And still the painting stayed hanging, the music kept playing, and the party itself seemed to last—echoing out onto the street, fading into the frigid air of the night. The party on the first Friday of February was a fund-raiser—though for what cause or foundation, no one really knew. It didn’t matter. The same people were invited. The same chef was preparing the same food. The men stood smoking the same cigars and drinking the same vodka. And, of course, the same painting still hung at the top of the stairs, looking down on the partygoers below. But one of the partygoers was not, actually, the same. When she gave the man at the door a name from the list, her Russian bore a slight accent. When she handed her coat to a maid, no one seemed to notice that it was far too light for someone who had spent too long in Moscow’s winter. She was too short; her black hair framed a face that was in every way too young. The women watched her pass, eyeing the competition. The men hardly noticed her at all as she nibbled and sipped and waited until the hour grew late and the people became tipsy. When that time finally came, not one soul watched as the girl with the soft pale skin climbed the stairs and slipped the small painting from the nail that held it. She walked to the window. And jumped. And neither the house on Tverskoy Boulevard nor any of its occupants ever saw the girl or the painting again.

Clad in red velvet it came, the very covering my old Master had so loved, the dream king, Marius. It came swaggering and camping through the lighted streets of Paris as though God had made it. But it was a vampire child, the same as I, son of the seventeen hundreds, as they reckoned the time to be then, a blazing, brash, bumbling, laughing and teasing blood drinker in the guise of a young man, come to stomp out whatever sacred fire yet burnt in the cleft scar tissue of my soul and scatter the ashes. It was The Vampire Lestat. It wasn't his fault. Had one of us been able to strike him down one night, break him apart with his own fancy sword and set him ablaze, we might have had a few more decades of our wretched delusions. But nobody could. He was too damned strong for us. Created by a powerful and ancient renegade, a legendary vampire by the name of Magnus, this Lestat, aged twenty in mortal years, an errant and penniless country aristocrat from the wild lands of Auvergne, who had thrown over custom and respectability and any hope of court ambitions, of which he had none anyway since he couldn't even read or write, and was too insulting to wait on any King or Queen, who became a wild blond-haired celebrity of the boulevard gutter theatricals, a lover of men and women, a laughing happy-go-lucky blindly ambitious self-loving genius of sorts, this Lestat, this blue-eyed and infinitely confident Lestat, was orphaned on the very night of his creation by the ancient monster who made him, bequeathed to him a fortune in a secret room in a crumbling medieval tower, and then went into the eternal comfort of the ever devouring flames. This Lestat, knowing nothing of Old Covens and Old Ways, of soot covered gangsters who thrived under cemeteries and believed they had a right to brand him a heretic, a maverick and a bastard of the Dark Blood, went strutting about fashionable Paris, isolated and tormented by his supernatural endowments yet glorying in his new powers, dancing at the Tuileries with the most magnificently clad women, reveling in the joys of the ballet and the high court theater and roaming not only in the Places of Light, as we called them, but meandering mournfully in Notre Dame de Paris itself, right before the High Altar, without the lightning of God striking him where he stood. Armand’s description of Lestat from The Vampire Armand

The bus was going at a vertiginous speed. Night fell. Through the fogged-up windows the riders thrown against one another, as the bus shook along, saw fantastic landscapes unfold looking nothing like those of Parisian boulevards.…When Pearl White woke up, the bus had as if run aground on a deserted field. Thousands of empty cans were the only presence in these in-decipherable lands." [From, Homme sans tête]

Would the bastard ever call? Smoke drifted from the ashtray where a fine Cohiba lay unattended. Several burned-out butts crowded the glass, competing for space. The man looked at his watch. Had it been done? He smashed the lit cigar into the thick-cut crystal. It smoldered with the rest as he moved through his office. He went to the window, grimy panes lightly frosted with a thin layer of freezing condensation. It was cold early this year. With one gloved finger, he traced an X in the frost. He stared out into the night. Though nearly midnight, the skyline was bright and raucous. Some festival on the grounds of Cheekwood, good cheer, grand times. If he squinted, he could make out headlights flashing by as overpaid valets squired the vehicles around the curves of the Boulevard. He

Nunzio snapped his fingers in front of my face. “What the hell is going on? Is it about last night?” My train of thought screeched to a halt. “What? No! Why would I be upset about that?” “Gee, I don’t know. Maybe the part where I ad-libbed the porn script and shoved my dick in your ass?” “Ay

Her face bruised and her lip swollen, Rosa Parks, the mother of the civil rights movement, seemed more sad than angry today as she quietly described being robbed and beaten in her bedroom here on Tuesday night. ‘I regret very much that some of our people are in such a mental state that they would hurt and rob an older person,’ Mrs. Parks said as she sat in living room of her modest, rented home, five blocks from the boulevard named in her honor.

Even asleep, the little greyhound trailed after her madame, through a weave of green stars and gas lamps, along the boulevards of Paris. It was a conjured city that no native would recognize—Emma Bovary’s head on the pillow, its architect. Her Paris was assembled from a guidebook with an out-of-date map, and from the novels of Balzac and Sand, and from her vividly disordered recollections of the viscount’s ball at La Vaubyessard, with its odor of dying flowers, burning flambeaux, and truffles. (Many neighborhoods within the city’s quivering boundaries, curiously enough, smelled identical to the viscount’s dining room.) A rose and gold glow obscured the storefront windows, and cathedral bells tolled continuously as they strolled past the same four landmarks: a tremulous bridge over the roaring Seine, a vanilla-white dress shop, the vague façade of the opera house—overlaid in more gold light—and the crude stencil of a theater. All night they walked like that, companions in Emma’s phantasmal labyrinth, suspended by her hopeful mists, and each dawn the dog would wake to the second Madame Bovary, the lightly snoring woman on the mattress, her eyes still hidden beneath a peacock sleep mask. Lumped in the coverlet, Charles’s blocky legs tangled around her in an apprehensive pretzel, a doomed attempt to hold her in their marriage bed.

Ni✝e Synesthesia Night has come, darkness peals Like thunder muffled in black velvet's fold. Shadows twirl like Ferris wheels, Click-clacking cobblestones wrought of gold. Light leapfrogs unobscured across avenues; Boulevards twinkle with rose perfume. Wind keens septic streets in crimson shoes, Dancing barefoot on a witch’s broom.

The major challenge was Navin Johnson’s mansion, which he bought when the Opti-Grab glasses made him rich, and did we get lucky. In the heart of Beverly Hills on Sunset Boulevard, just down the road from the Beverly Hills Hotel, was a fully furnished, decorated, enormous, gigantic, outrageous estate owned by an Arab potentate. No one had ever slept in it, not even for one night.

Tropical night breezes from the mountains rattled the copey leaves along the boulevard where Harry Penfield was hiding. Harry had planted those copey himself three years before and was astonished that he could conceal himself in their dark shadow such a short time later. He shifted the holstered .38 more toward the center of his back and listened for the sound of an engine.

The last night of his sojourn in Paris is given up to "the fucking business." He has had a full program all day---conferences, cablegrams, interviews, photographs for the newspapers, affectionate farewells, advice to the faithful, etc., etc. At dinner time, he decides to lay aside his troubles. He orders champagne with the meal, he snaps his fingers at the garcon and behaves in general like the boorish little peasant that he is. And since he has had a bellyful of all the good places he suggests now that I show him something more primitive. He would like to go to a very cheap place, order two or three girls at once. I steer him along the Boulevard de la Chapelle, warning him all the while to be careful of his pocketbook. Around Aubervilliers we duck into a cheap dive and immediately we've got a flock of them on our hands. In a few minutes, he's dancing with a naked wench, a huge blonde with creases in her jowls. I can see her ass reflected a dozen times in the mirrors that line the room---and those dark, bony fingers of his clutching her tenaciously. The table is full of beer glasses, the mechanical piano is wheezing and gasping. The girls who are unoccupied are sitting placidly on leather benches, scratching themselves peacefully just like a family of chimpanzees. There is a sort of subdued pandemonium in the air, a note of repressed violence, as if the awaited explosion required the advent of some utterly minute detail, something microscopic but thoroughly unpremeditated, completely unexpected. In that sort of half-reverie which permits one to participate in an event and yet remain quite aloof, the little detail which was lacking began obscurely but insistently to coagulate, to assume a freakish, crystalline form, like the frost which gathers on the windowpane. And like those frost patterns which seem so bizarre, so utterly free and fantastic in design, but which are nevertheless determined by the most rigid laws, so this sensation which commenced to take form inside me seemed also to be giving obedience to ineluctable laws. My whole being was responding to the dictates of an ambiance which it had never before experienced; that which I could call myself seemed to be contracting, condensing, shrinking from the stale, customary boundaries of the flesh whose perimeter knew only the modulations of the nerve ends.

Offspring of some wretched tribe, he prowls the boulevards of the West. Cherishing one country after the next, he no longer hopes for any; stuck in a timeless twilight citizen of the world--and of no world--he is ineffectual, nameless, powerless... Peoples without a destiny cannot give one to their sons who, thirsting for other horizons, attach themselves to a fate and ultimately exhaust it to finish their days as ghosts of their admirations and their exhaustions. Having nothing to love at home, they locate their love elsewhere, in other lands, where their fervor astonishes the natives. Overworked, the feelings erode and disintegrate, admiration first of all... And the Alien who dispersed himself on so many highways of the world, exclaims: "I have set up countless idols for myself, have raised too many altars everywhere, and I have knelt before a host of gods. Now, weary of worship, I have squandered my share of delirium. One has resources only for the absolutes of one's breed; a soul--like a country--flourishes only within its frontiers. I am paying for having crossed them, for having made the Indefinite into a fatherland, and foreign divinities into a cult, for having prostrated myself before ages which excluded my ancestors. Where I come from I can no longer say: in the temples I am without belief; in the cities, without ardor; among my kind, without curiosity; on the earth, without certitudes. Give me a specific desire and I could shake the world to its foundations. Release me from this shame of actions which makes me perform, every morning, the farce of resurrection and, every night, that of entombment; in the interval, nothing but this torment in the shroud of ennui... I dream of wanting--and all I want seems to me worthless. Like a vandal corroded by melancholy, I proceed without a goal, self without a self, toward some unknown corner... in order to discover an abandoned god, a god who is his own atheist, and to fall asleep in the shadow of his last doubts and his last miracles.

As we cruise smoothly and steadily through the night, it feels like we’re on a boulevard built only for us.

I was sentimental about many things: a woman’s shoes under the bed; one hairpin left behind on the dresser; the way they said, 'I’m going to pee.' hair ribbons; walking down the boulevard with them at 1:30 in the afternoon, just two people walking together; the long nights of drinking and smoking; talking; the arguments; thinking of suicide; eating together and feeling good; the jokes; the laughter out of nowhere; feeling miracles in the air; being in a parked car together; comparing past loves at 3am; being told you snore; hearing her snore; mothers, daughters, sons, cats, dogs; sometimes death and sometimes divorce; but always carring on, always seeing it through…

I climbed out of the car, and before I turned back, I waited for it to disappear over by Port-Royal. Truth be told, I didn’t actually live in Val-de-Grâce, but a bit farther down in a building at 85, boulevard Saint-Michel, where I had miraculously found a room when I first arrived in Paris. From the window, I could see the dark façade of my school. That night, I couldn’t tear my eyes away from that monumental façade or from the great stone stairs of the entrance. What would they think if they found out I took those steps almost every day and was a student at the École Supérieure des Mines?

On that bench, I too, now that night had fallen, had the impression of being in a dream in which I continued to follow Jacqueline Delanque’s trail. Or to be more precise, I felt her presence on this boulevard, its lights shining like signals without my being able to decipher them very well. They spoke to me from the depths of the years, but I didn’t know which ones. And these lights, they seemed even more vivid to me from the dimness of the median. Vivid and distant at the same time.

Jones generally forbade drinking alcohol, but on this night at the Geary Boulevard temple he told the P.C. members that it was all right for once. Each of them drank some, and after their cups were emptied Jones informed them that their wine had been laced with poison—all of them would die within forty-five minutes to an hour. There was no antidote. They were doomed.

The seventies were crazy everywhere, but crazier in Los Angeles. It was the era of freewheeling drugs and sex, the rag end of the sixties. I refer to sprees, to strange couplings and triplings, to nights that started with beer and wine and ended with cocaine and capsules, to debaucheries too various to chronicle. In a sense, we were all Robert Mitchum, smoking rope in bed with two girls while the sun was still noon high. We thought it was normal. You would walk into a house for a pool party, and there, on the cocktail table in the center of the living room, as if it were nuts or cooked shrimp, would be a platter of cocaine. We did it because we were stupid, because we did not know the danger. When I talk about my drug years, I am talking about twenty-four months in the middle of the seventies. I was in the rock and roll world, which meant I was around the stuff all the time. Of course, it was more than mere proximity. I was fun when I was high, talkative and all-encompassing. I could go forever, never be done talking. To some extent, I was really self-medicating, using the drugs to skate over issues in my own life. The fact is, money and success had come so fast, while I was away doing something else, not paying attention, that, when I finally realized where I was and just what I had, I could not understand it. There was this voice in my head, saying, Who do you think you are? What do you think you did? You are a fraud! You don’t deserve any of this! I tortured myself, and let the anxiety well up, then beat back the anxiety with the drugs, on and on, until one day, I stood up and said, “Screw it. That’s over. I’m done.” No rehab, no counseling, nothing like that. Just a moment of clarity, in which I saw myself from the outside, the mess I was making, the waste. I was slipping, not working as hard as I used to. I started leaving the office early on Fridays, then skipping Fridays altogether. Then I started leaving early on Thursdays, then arriving late on Mondays. I was letting myself go. Then one day, I just decided, It has to stop. I threw away the pills and bottles, took a cold shower, had a barbershop shave, and stepped into the cool of Sunset Boulevard, and began fresh. Maybe it had to do with my family situation. I was a father again.

Hollywood Boulevard at night was a dream in neon. Mickey cruised along the strip, colorful lights blurring by like hallucinations. On his right, the El Capitan Theatre lured customers in like a Vegas casino, while the Walk of Fame preserved stardom on his left. Tourists bustled beneath the blinking signs like extras in the giant story of this land of stories, hoping for a real-life glimpse of that other world just behind the veneer of this place. In the ’50s, Hollywood Boulevard had looked different—less buildings, less vehicles, less pedestrians—but the aura of the strip, the energy, hadn’t changed at all.

HOLLYWOOD BOULEVARD IS THE HEART OF the heartless Hollywood legend. Like special moths attracted to the special glitter of the nihilistic movie capital, the untalented or undiscovered are spewed into the streets by the make-it legend.

And the night that Chris Rock said, “Any time you find yourself on Martin Luther King Boulevard, get off.

For all its tropical beauty there was something charmless and hard about it, a vulgarity as decidedly American as the picture industry which thrived on the constant waves of transplants eager for work, offering them nothing more substantial than sunshine. It was a city of strangers, but, unlike New York, the dream L.A. sold, like any Shangri-La, was one not of surpassing achievement but unlimited ease, a state attainable by only the very rich and the dead. Half beach, half desert, the place was never meant to be habitable. The heat was unrelenting. On the streets there was a weariness that seemed even more pronounced at night, visible through the yellow windows of burger joints and drugstores about to close, leaving their few customers nowhere to go. Inconceivably, he was one of that rootless tribe now, doomed to wander the boulevards, and again he marveled at his own fall, and at his capacity for appreciating it.

So the bad Ninjamobile swept along on the great Ventura, among Olympic visitors from everywhere who teemed all over the freeway system in midday densities till far into the night, shined-up, screaming black motorcades that could have carried any of several office seekers, cruisers heading for treed and more gently roaring boulevards, huge double and triple trailer rigs that loved to find Volkswagens laboring up grades and go sashaying around them gracefully and at gnat's-ass tolerances, plus flirters, deserters, wimps and pimps, speeding like bullets, grinning like chimps, above the heads of TV watchers, lovers under the overpasses, movies at malls letting out, bright gas-station oases in pure fluorescent spill, canopied beneath the palm trees, soon wrapped, down the corridors of the surface streets, in nocturnal smog, the adobe air, the smell of distant fireworks, the spilled, the broken world.