Cannes City Quotes

It struck me that distant cities are designed precisely so you can know where you came from.

The city was bigger than its buildings, bigger than its inhabitants too. It had its own nuances. It accepted whatever came its way, the crime and the violence and the little shocks of good that crawled out from underneath the everyday.

One of those out-of-the-ordinary days that made sense of the slew of ordinary days. New York had a way of doing that. Every now and then the city shook its soul out. It assailed you with an image, or a day, or a crime, or a terror, or a beauty so difficult to wrap your mind around that you had to shake your head in disbelief.

Seriously, Jack, I think you might be the only guy in this city who hasn’t read his stuff. Collin McCann is like the Carrie Bradshaw of Chicago men.” “You mean Terry Bradshaw,” Jack corrected. “No, Carrie,” Wilkins repeated. “You know, Sarah Jessica Parker. Sex and the City.” A silence fell over the room as Collin and Jack stared at Wilkins, seriously fearing for the fate of men.

One of those out-of-the-ordinary days that made sense of the slew of ordinary days. New York had a way of doing that. Every now and then the city shook its soul out. It assailed you with an image, or a day, or a crime, or a terror, or a beauty so difficult to wrap your mind around that you had to shake your head in disbelief. He had a theory about it. It happened, and re-happened, because it was a city uninterested in history. Strange things occurred precisely because there was no necessary regard for the past. The city lived in a sort of everyday present. It had no need to believe in itself as a London, or an Athens, or even a signifier of the New World, like a Sydney, or a Los Angeles. No, the city couldn’t care less about where it stood. He had seen a T-shirt once that said: NEW YORK FUCKIN’ CITY. As if it were the only place that ever existed and the only one that ever would. New York kept going forward precisely because it didn’t give a good goddamn about what it had left behind. It was like the city that Lot left, and it would dissolve if it ever began looking backward over its own shoulder. Two pillars of salt. Long Island and New Jersey.

He didn't like it all that much when he first came - all the rubbish and the rush - but it was growing on him, it wasn't half bad. Coming to the city was like entering a tunnel, he said, and finding to your surprise that the light at the end didn't matter; sometimes in fact the tunnel made the light tolerable.

It struck me that distant cities are designed precisely so you can know where you came from. We bring home with us when we leave. Sometimes it becomes more acute for the fact of having left.

Every now and then the city shook its soul out. It assailed you with an image, or a day, or a crime, or a terror, or a beauty so difficult to wrapy your mind around that you had to shake your head in disbelief.

I had enough electricity in my booty to jump-start the whole of New York City.

One of those out-of-the-ordinary days that made sense of the slew of ordinary days. New York had a way of doing that. Every now and then the city shook its soul out. It assailed you with an image, or a day, or a crime, or a terror, or a beauty so difficult to wrap your mind around that you had to shake your head in disbelief.

It (NY) was like the city that Lot left behind and it would dissolve if it ever began looking backward over its own shoulder. Two pillars of salt. Long Island and New Jersey.

Outside, the dark brushed the city and the wind unleashed the snow

Every now and then the city shook its soul out. It assailed you with an image, or a day, or a crime, or a terror, or a beauty so difficult to wrap your mind around that you had to shake your head in disbelief.

There were canvases in our backseat. We had tried to flog them at Max's Kansas City the night before, but we had failed. Paintings that nobody wanted. Still, we had carefully arranged them so they wouldn't get scratched. We had even placed bits of styrofoam between them to keep them from rubbing one another. if only we had been so careful with ourselves.

Cannes was to blame, he told himself defensively. It was a city made for the indulgence of the senses, all ease and sunshine and provocative flesh. “What had he seen, what had he learned? He had seen all kinds of movies, good and bad, mostly bad. He had been plunged into a carnival, a delirium of film. In the halls, on the terraces, on the beach, at the parties, the art or industry or whatever it deserved to be called in these few days was exposed at its essence. The whole thing was there—the artists and pseudo-artists, the businessmen, the con men, the buyers and sellers, the peddlers, the whores, the pornographers, critics, hangers-on, the year’s heroes, the year’s failures. And then the distillation of what it was all about, a film of Bergman's and one of Bunuel's, pure and devastating.

Douglass laid aside his pen for a moment, opened the curtains to the still dark. No sounds at all. On the street, a lone man in rags hurried along, hunched into the wind. He thought then that he had found the word for Dublin: a huddled city. He, too, had spent so many years huddled into himself.

Our father came to sleep in our house that night. He carried a small suitcase with a black mourning suit and a pair of polished shoes. Corrigan stopped him as he made his way up the stairs. 'Where d'you think you're going?'Our father gripped the bannister. His hands were liverspotted and I could see him trembling in his pause. 'That's not your room,' sad Corrigan. Our father tottered on the stairs. He took another step up. 'Don't,' said my brother. His voice was clear, full, confidant. Our father stood stunned. He climbed one more step and then turned, descended, looked around, lost. 'My own sons,' he said. We made a bed for him on a sofa in the living room, but even then Corrigan refused to stay under the same roof; he went walking in the direction of the city center and I wondered what alley he might be found in later that night, what fist he might walk into, whose bottle he might climb down inside.

All around, the applause of the city, in the leaves and the trees and buildings, and a red-tail hawk shooting over the courts, and some clouds skillful overhead in the blue, and the babysitter in the background, rocking the carriage, and he had the fleeting desire to make the phone calls to Stormont, leave it all at deuce.

Known to Israelis as the city of Akko. Known to Palestinians still as Akka. Known beyond Israel and Palestine as Acre: a mosaic town with a low skyline of mosque and flat roof and synagogue, a town of bells and loudspeakers and muezzin calls, where the warm-water wind retreats the tongue and sneaks multiple sounds into the throat: Acre, Akko, Akka.

It’s a vast mystery to me, like it is to most New Yorkers, how this ugly lovely town became my lovely ugly town, this gorgeous rubbish heap of a place, this city of the timeless Now, with little of the style of Paris, little of the beauty of Rome, little of the history of London, and not even much of the dear dirty dereliction of my hometown, Dublin. (from My First New York)

The sun beams down on Algiers — but the inhabitants do not smile back. It is a surly city, harrowed by the stresses of over-population and under-employment; with the architecture of Cannes, but the atmosphere of Aberdeen. During the day the cafés are thronged with all-male, typically Arab society. At night the city, responsive to President Boumedienne’s own personal brand of puritanism, closes down like wartime Toronto on a Sunday.

Chang opened the door and checked the hallway. She said, “Let’s go.” She opened the door wider. There was a guy standing there. Eyewitness testimony was suspect because of preconditions, and cognitive bias, and suggestibility. It was suspect because people see what they expect to see. Reacher was no different. He was human. The front part of his brain wasted the first precious split second working on the image of the guy at the door, trying to rearrange it into a plausible version of a theoretical McCann. Which was not an easy mental task, because McCann was supposed to be sixty years old and thin and gaunt, whereas the guy at the door was clearly twenty years younger than that, and twice as solid. But still Reacher tried, instinctively, because who else could it be, but McCann? Who else could be at McCann’s door, in McCann’s building, in McCann’s city? Then half a second later the back part of Reacher’s brain took over, and the image resolved itself, crisp and clear, not a potential McCann at all, not even remotely a contender, but the familiar twice-glimpsed face, now three times seen, first in the diner, next in the Town Car, and finally in the there and then, in a dim upstairs hallway in a three-floor walk-up.

Cannes was thought of as a playground for the rich; a city of lovely villas and gardens, a paradise of fashionable elegance. Few stopped to realize what a mass of labor was required to maintain that cleanliness and charm: not merely the servants who dwelt on the estates, but porters and truckdrivers, scrubwomen and chambermaids, kitchen-workers, food-handlers; and scores of obscure occupations which the rich never heard about. These people were housed in slum warrens,

Celeste had a look on her face like she was trying to remember something, then she snapped her fingers. “Yeah! I bet they’re from Canne—they had a big vote there to make the crab their city animal. It lost to the armadillo though. Anyway, there’s a huge group of crab lovers from there.