Geoff Dyer Quotes

Life is bearable even when it's unbearable: that is what's so terrible, that is the unbearable thing about it.

Have regrets. They are fuel. On the page they flare into desire.

To be interested in something is to be involved in what is essentially a stressful relationship with that thing, to suffer anxiety on its behalf.

Read widely and with discrimination. Bad writing is contagious." [Ten rules for writing fiction, The Guardian, 20 February 2010 (with Diana Athill, Margaret Atwood, Roddy Doyle, Helen Dunmore, Geoff Dyer, Anne Enright, Richard Ford, Jonathan Franzen, Esther Freud, Neil Gaiman, David Hare, and AL Kennedy)]

The perfect life, the perfect lie, I realised after Christmas, is one which prevents you from doing that which you would ideally have done (painted, say, or written unpublishable poetry) but which, in fact, you have no wish to do. People need to feel that they have been thwarted by circumstances from pursuing the life which, had they led it, they would not have wanted; whereas the life they really want is precisely a compound of all those thwarting circumstances.

In photography there is no meantime. There was just that moment and now there’s this moment and in between there is nothing. Photography, in a way, is the negation of chronology.

The history of sex is the history of glimpses: first ankles, then cleavage, then knees. More recently, tattoos, navel rings, tongue studs, underwear…” (p. 92).

Nine times out of 10, the most charming thing to say in any given situation will be the exact opposite of what one really feels.

People say it's not what happens in your life that matters, it's what you think happened. But this qualification, obviously, did not go far enough. It was quite possible that the central event of your life could be something that didn't happen, or something you thought didn't happen. Otherwise there'd be no need for fiction, there'd only be memoirs and histories...

A restaurant on the moon could not have had less atmosphere.

Everyone was nowhere to be seen

It's striking how many of the world's biggest problems, and many of the small ones too. are eliminated by the simplest of solutions – having women around.

Have more than one idea on the go at any one time. If it's a choice between writing a book and doing nothing I will always choose the latter. It's only if I have an idea for two books that I choose one rather than the other. I ­always have to feel that I'm bunking off from something.

If the regular length of a shot is increased, one becomes bored, but if you keep on making it longer, a new quality emerges, a special intensity of attention.' At first there can be a friction between our expectations of time and Tarkovsky-time and this friction is increasing in the twenty-first century as we move further and further away from Tarkovsky-time towards moron-time in which nothing can last—and no one can concentrate on anything—for longer than about two seconds.

I am always on the edge of what I am doing. I do everything badly, sloppily, to get it over with so that I can get on to the next thing that I will do badly and sloppily so that I can then do nothing - which I do anxiously, distractedly, wondering all the time if there isn't something else I should be getting on with.

When I'm working I'm wishing I was doing nothing and when I'm doing nothing I'm wondering if I should be working. I hurry through what I've got to do and then, when I've got nothing to do, I keep glancing at the clock, wishing it was time to go out. Then, when I'm out, I'm wondering how long it will be before I'm back home.

I've always liked things I can just trance out to. Because what that means is that you've escaped the chafe of time. Often when you're bored, it's that friction between you and time.

Not having children is seen as supremely selfish, as though the people having children were selflessly sacrificing themselves in a valiant attempt to ensure the survival of our endangered species and fill up this vast and underpopulated island of ours.

He [Thelonious Monk] played each note as though astonished by the previous one, as though every touch of his fingers on the keyboard was correcting an error and this touch in turn became an error to be corrected and so the tune never quite ended up the way it was meant to.

Part of jazz is the illusion of spontaneity and Monk played the piano as though he’d never seen one before.

I always like to be in the presence of people who are good at and love their jobs, Irrespective of their jobs.

My greatest urge in life is to do nothing. It's not even an absence of motivation, a lack, for I do have a strong urge: to do nothing. To down tools, to stop. Except I know that if I do that I will fall into despair, and I know that it is worth doing anything in one's power to avoid depression because from there, from being depressed, it is only an imperceptible step to despair: the last refuge of the ego.

Sometimes I think my ability to concentrate is being nibbled away by the internet; other times I think it's being gulped down in huge, Jaws-shaped chunks. In those quaint days before the internet, once you made it to your desk there wasn't much to distract you. You could sit there working or you could just sit there. Now you sit down and there's a universe of possibilities – many of them obscurely relevant to the work you should be getting on with – to tempt you. To think that I can be sitting here, trying to write something about Ingmar Bergman and, a moment later, on the merest whim, can be watching a clip from a Swedish documentary about Don Cherry – that is a miracle (albeit one with a very potent side-effect, namely that it's unlikely I'll ever have the patience to sit through an entire Bergman film again). Then there's the outsourcing of memory. From the age of 16, I got into the habit of memorising passages of poetry and compiling detailed indexes in the backs of books of prose. So if there was a passage I couldn't remember, I would spend hours going through my books, seeking it out. Now, in what TS Eliot, with great prescience, called "this twittering world", I just google the key phrase of the half-remembered quote. Which is great, but it's drained some of the purpose from my life. Exactly the same thing has happened now that it's possible to get hold of out-of-print books instantly on the web. That's great too. But one of the side incentives to travel was the hope that, in a bookstore in Oregon, I might finally track down a book I'd been wanting for years. All of this searching and tracking down was immensely time-consuming – but only in the way that being alive is time-consuming.

The perfect life, the perfect lie, I realised after Christmas, is one which prevents you from doing that which you would ideally have done (painted, say, or written unpublishable poetry) but which, in fact, you have no wish to do.

It was so hot we spent our waking hours dozing and our sleeping hours lying awake, trying to sleep.

That is why Lawrence, like Rilke, hated photographs of himself. To both writers photographs prefigured an end of becoming.

Lange claimed that every photograph was a self-portrait of the photographer.

It occurred to Jeff that he had entered the vague phase of his life. He had a vague idea of things, a vague sense of what was happening in the world, a vague sense of having meant someone before. It was like being vaguely drunk all the time.

Beware of clichés. Not just the clichés that Martin Amis is at war with. There are clichés of response as well as expression. There are clichés of observation and of thought—even of conception. Many novels, even quite a few adequately written ones, are clichés of form which conform to clichés of expectation.

The paradox is that some of the most artistically valuable contemporary photographs are content with being photographs, are not under the same compulsion to pass themselves off - or pimp themselves out - as art. The simple truth is that the best exponents of the art of contemporary photography continue to produce work that fits broadly within the tradition of what Evans termed 'documentary style'.

I had read four thousand pages of letters by Lawrence and I wanted thousands of pages more... I wanted them not to end. And yet, at the same time that I was wishing they would not come to an end, I was hurrying through these books because however much you are enjoying a book, however much you want it never to end, you are always eager for it to end. However much you are enjoying a book you are always flicking to the end, counting to see how many pages are left, looking forward to the time when you can put the book down and have done with it. At the back of our minds, however much we are enjoying a book, we come to the end of it and some little voice is always saying, "Thank Christ for that!

although I was as zealous in my anti-faith as Paul was in his belief I would be lying if I did not confess to a slight chink in my armour of nonbelief.

Rarely understanding how much shopkeepers and waiters were charging him, he paid for everything with fifty-or hundred-franc notes and came home with sagging pockets of change.

It was impossible to say where one gesture ended and the next began.

There was something very American about this ability to dwell constantly in the realm of the improvable superlative.

He was the subject of a little respectful ribbing. But he was, of course, the captain, which meant he had to do lots of the ribbing himself.

If you help them (the crew) create good memories, they'll forget all the bad stuff

Arbus would later insist, ‘the subject of the picture is always more important than the picture

since the only way to avoid giving into depression and despair is to do something, even something you hate, anything in fact, I force myself to keep bashing away at something, anything.

Mingus had always known that that was what the blues was: music played to the dead, calling them back, showing them the way back to the living. Now he realized part of the blues was the opposite of that: the desire to be dead yourself, a way of helping the living find the dead.

You know that feeling when you first arrive in a new city? However tired you are, however shattered by the flight, you are impatient to get out and sample the streets, the life, the action.

The discovery in art is often gradual, a process of minor discoveries riddled with uncertainties and the potential for making that which is discovered vanish before your eyes, like a mirage.

People realize that a life that had seemed enjoyable (travel, social life, romance) and fulfilling (work) was actually empty and meaningless. So they urge you to join the child-rearing party: they want you to share the riches, the pleasures, the joys. Or so they claim. I suspect that hey just want to share and spread the misery. (The knowledge that someone is at liberty or has escaped makes the pain of incarceration doubly hard to bear). Of all the arguments for having children, the suggestion that it gives life 'meaning' is the one to which I am most hostile--apart from all the others" (201).

...if mankind was put on earth to create works of art, then other people were put on earth to comment on those works, to say what they think of them. Not to judge objectively or critically assess these works but to articulate their feelings about them with as much precision as possible, without seeking to disguise the vagaries of their nature, their lapses of taste and the contingency of their own experiences, even if those feelings are of confusion, uncertainty or-in this case-undiminished wonder.

At some time all cities have this feel: in London it's at five or six on a winer evening. Paris has it too, late, when the cafes are closing up. In New York it can happen anytime: early in the morning as the light climbs over the canyon streets and the avenues stretch so far into the distance that it seems the whole world is city; or now, as the chimes of midnight hang in the rain and all the city's longings acquire the clarity and certainty of sudden understanding. The day coming to an end and people unable to evade any longer the nagging sense of futility that has been growing stronger through the day, knowing that they will feel better when they wake up and it is daylight again but knowing also that each day leads to this sense of quiet isolation. Whether the plates have been stacked neatly away or the sink is cluttered with unwashed dishes makes no difference because all these details--the clothes hanging in the closet, the sheets on the bed--tell the same story--a story in which they walk to the window and look out at the rain-lit streets, wondering how many other people are looking out like this, people who look forward to Monday because the weekdays have a purpose which vanishes at the weekend when there is only the laundry and the papers. And knowing also that these thoughts do not represent any kind of revelation because by now they have themselves become part of the same routine of bearable despair, a summing up that is all the time dissolving into everyday. A time in the day when it is possible to regret everything and nothing in the same breath, when the only wish of all bachelors is that there was someone who loved them, who was thinking of them even if she was on the other side of the world. When a woman, feeling the city falling damp around her, hearing music from a radio somewhere, looks up and imagines the lives being led behind the yellow-lighted windows: a man at his sink, a family crowded together around a television, lovers drawing curtains, someone at his desk, hearing the same tune on the radio, writing these words.

If the regular length of a shot is increased, one becomes bored, but if you keep on making it longer, it piques your interest, and if you make it even longer, a new quality emerges, a special intensity of attention.’ This is Tarkovsky’s aesthetic in a nutshell.

We'd never seen anything as green as these rice paddies. It was not just the paddies themselves: the surrounding vegetation - foliage so dense the trees lost track of whose leaves were whose - was a rainbow coalition of one colour: green. There was an infinity of greens, rendered all the greener by splashes of red hibiscus and the herons floating past, so white and big it seemed as if sheets hung out to dry had suddenly taken wing. All other colours - even purple and black - were shades of green. Light and shade were degrees of green. Greenness, here, was less a colour than a colonising impulse. Everything was either already green - like a snake, bright as a blade of grass, sidling across the footpath - or in the process of becoming so. Statues of the Buddha were mossy, furred with green.

VARANASI TRAFFIC is shambolic. It’s a humbling reminder that the British drive on the left side of the road and we (Indians) drive on what’s left of the road. “The traffic is not terrible at all,” wrote novelist Geoff Dyer. “It is beyond any idea of terribleness. It is beyond any idea of traffic.

Instead of spending his afternoons prowling the parks and jerking off like this he should have been working on his French, which was so poor that even the simplest tasks – deciphering menus, buying bleach to clean out the toilet, ordering sandwiches – became major exercises in pantomime diplomacy.

Maybe all exiles are drawn to the sea, the ocean. There is an inherent music in the working sounds of docks and harbors and there were times when he thought that all the melancholy beauty of the blues was present in a foghorn, wailing out to sea, warning men of the dangers that awaited them. Increasingly

In the cramped confines of the toilet I had trouble getting out of my wet trousers, which clung to my legs like a drowning man. The new ones were quite complicated too in that they had more legs than a spider; either that or they didn't have enough legs to get mine into. The numbers failed to add up. Always there was one trouser leg too many or one of my legs was left over. From the outside it may have looked like a simple toilet, but once you were locked in here the most basic rules of arithmetic no longer held true.

Then he just let it ring, the phone pressed to his head like a pistol, her picture in his hands.

So far I’ve only read a page but I like that page a lot.

Dorothea Lange said that ‘the camera is an instrument that teaches people how to see without a camera.

That is probably the most painful part: when you are still tormented by the thought that one last effort of will might improve things.

Sheets and towels hung from every balcony. Washing hanging out to dry: that is the real national flag of Italy, emblem and proof of how the fabric of daily life endures.

I've always liked things I can just trance out to. Because whatat means is that you've escaped the chafe of time. Often when you're bored, it's that friction between you and time.

The sea: you watch it for a while, lose interest, and then, because there is nothing else to look at, go back to watching it. It fills you with great thoughts which, leading nowhere and having nothing to focus on except the unfocused mass of the sea, dissolve into a vacancy which in turn, for want of any other defining characteristic, you feel content to term 'awe'.

So it comes about that the war [World War I] seems, to us, to have been fought less over territory than the way it would be remembered, that the war’s true subject is remembrance. Indeed the whole war — which was being remembered even as it was fought, whose fallen were being remembered before they fell — seems not so much to be tinted by retrospect as to have been fought retrospectively.

I’ve always been intimidated by gyms, have never been able to enjoy the towel-round-the-shoulder confidence of somebody who knows he can bench-press 250 pounds, or even knows what that means or how much 250 pounds weighs. I just know I don’t like lifting heavy things, especially since I had this wrist injury which stopped me playing tennis and which means that I’ve gone from being fit and thin-looking to just a feeble streak of unshouldered manhood whose only saving grace is that he doesn’t take up much space, who leaves plenty of room for others—especially now that I was several days into a quasi-hunger strike.

thinking of giving up is probably the one thing that’s kept me going. I think about it on a daily basis but always come up against the problem of what to do when I’ve given up. Give up one thing and you’re immediately obliged to do something else. The only way to give up totally is to kill yourself but that one act requires an assertion of will equal to the total amount that would be expanded in the rest of a normal lifetime.

The mountains in the background were cut from the same cloth as the sky: a slightly darker shade, that was the only difference. Had we the capacity to analyse it there would almost certainly be a geology of the air as well as of rock.

It occurred to Jeff that he had entered the vague phase of his life. He had a vague idea of things, a vague sense of what was happening in the world, a vague sense of having met someone before. It was like being vaguely drunk all the time.

It is a simple choice: work or succumb to melancholia, depression and despair. Like it or not you have to try to do something with your life, you have to keep plugging away. Besides, the alternatives to giving in and giving up are never as simple as they seem.

...in Dillard it's the comedy of rapture. Or at least it's a comedy that permits prose and thought to soar while inoculating the rapturous against the three ills of which nature writers should live in permanent dread: preciousness, reverence, and earnestness...

Photographers sometimes take pictures of each other; occasionally they take pictures of each other at work; more usually they take photographs - or versions - of each other's work. Consciously or not they are constantly in dialogue with their contemporaries and predecessors.

The perfect life, the perfect lie … is one which prevents you from doing that which you would ideally have done (painted, say, or written unpublishable poetry) but which, in fact, you have no wish to do. People need to feel that they have been thwarted by circumstances from pursuing the life which, had they led it, they would not have wanted; whereas the life they really want is precisely a compound of all those thwarting circumstances. It is a very elaborate, extremely simple procedure, arranging this web of self-deceit: contriving to convince yourself that you were prevented from doing what you wanted. Most people don’t want what they want: people want to be prevented, restricted. The hamster not only loves his cage, he’d be lost without it. That’s why children are so convenient: you have children because you’re struggling to get by as an artist—which is actually what being an artist means—or failing to get on with your career. Then you can persuade yourself that your children prevented you from having this career that had never looked like working out. So it goes on: things are always forsaken in the name of an obligation to someone else, never as a failing, a falling short of yourself.

I was too irritable from the drive to go straight into the D. H. Lawrence Birthplace Museum and Gift Shop so I ordered a calming cup of tea in the White Peacock Cafe. 'Mug or cup?' 'Cup please,' I said, thinking that I could have said 'I said "cup".' I said cup because I have never enjoyed tea from a mug - and for that matter, only rarely from a cup. Basically I don't like tea but what else is there? Life is really no more than a search for a hot drink one likes.

In Notes of a Jazz Survivor, a documentary about his drug- and jail-ravaged life, Art Pepper and his wife, Laurie, listen to his recording of “Our Song.” The entry of the saxophone, Pepper explains, is “like the most subtle hello.” Ramamani’s voice is the response to this call; it is Laurie’s hand reaching for her husband’s as they listen. Ramamani tells us not only what it is like to love, but also what it is like to be loved. When I hear her voice, darling, I feel your hand in mine.

In his book Real Presences, George Steiner asks us to "imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a "republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer "invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art "embody an expository reflection which they pertain". In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. "The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, "The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz.

New laws are always being passed but they alter almost nothing. Their real purpose is, precisely, to engender debate, to give the people of Italy a chance to express a lively opposition to the state so unanimous that it actually creates a supportive atmosphere of unity and national well-being. Everyone feels the state is fleecing them, treating them unfairly, so that feeling cheated by the state - and finding some small ways of cheating the state - turns out to be the cement that binds the nation together. In this way, the state is sacrificed to the idea of the nation.

I think the distinction between fiction and nonfiction is less about “Did it really happen or was it made up?” than it is about form. And, more than form, it’s about the expectations that are brought to certain forms. According to how a book is presented, packaged, or identified, readers have certain expectations. Following from that they expect books within broadly identified categories to behave in certain ways. So people can find it quite disconcerting when a book isn’t doing what they think it’s meant to be doing, even if the book is completely fine on its own terms and has no desire to conform to some external set of expectations. My books are often disappointing in that regard. Maybe in other ways, too, but I am mercifully and necessarily oblivious on that score.

A number of children kept coming over to the tennis courts, rattling on the gate, and trying to get in. The watching middle-class mums did nothing to restrain them. Eventually my friend yelled, “Go AWAY!” Whereupon the watching mums did do something. A mob of them descended on us as though my friend had exposed himself. Suddenly we were in the midst of a maternal zombie film. It was the nearest I’ve ever come to getting lynched—they were after my friend rather than me and though, strictly speaking, I was his opponent, I was a tacit accomplice—and a clear demonstration that the rights of parents and their children to do whatever they please have priority over everyone else’s. “A child is the very devil,” wrote Virginia Woolf in a letter, “calling out, as I believe, all the worst and least explicable passions of the parents.

London is the worst. Lawrence realised this in 1916: London was ‘so foul’, he reckoned, that ‘one would die in it in a fortnight’. Since then it’s got even worse. Now it’s the world capital of flu. The sky in London drizzles flu, it rains flu. People from all over the world go there and get flu. Whether they come to see the changing of the guard, or to take ecstasy at raves, they all end up getting flu. Those who work in London are all either going down with flu, recovering from flu, or in the grip of flu – even though most of the people going down with flu, recovering from flu or in the grip of flu don’t have flu at all. What they’re actually suffering from is verbal inflation because no one says they have a cold any more, it’s always flu. If people have a cold they say they have flu; if they say they have a cold it means there’s nothing wrong with them. Flu and cold are becoming interchangeable. We say flu when we mean cold but we say flu when we mean flu because no one wants to say they have pneumonia when all they’ve got is flu because if you say you have pneumonia people might think you have AIDS. It’s even possible that people who do have pneumonia call it flu so that flu now runs the whole gamut of illness from the common cold upwards. To say we have flu is merely to express the common condition of urban life at the tail-end of the twentieth century.

Most of all, he loved Celia Johnson, her hats,her face,her cracked porcelain voice: 'This can't last. This misery can't last.Nothing lasts really,neither happiness nor despair.Not even life lasts long....There'll come a time in the future when i shan't mind about this any more....

down memory lane with his old rival John McEnroe, who, alongside everything else—music, art, tennis commentary, and punditry—maintained a busy life reminiscing about his earlier life. Sometimes it seemed as if the lucrative business of reminiscing was not just a full-time job but a full-time life as McEnroe rehearsed the key moments and told and retold the old stories, in his autobiography, Serious, in numerous documentaries, in the course of his match commentary and punditry for TV (hopping profitably between the BBC and an American channel in the course of the same day),

There was a moment of shocked disbelief and then, almost immediately, the idea of a glass costing eighty euros began to be assimilated. Dostoevsky might have had these glasses, these prices, in mind when he defined man as a creature who got used to things.

like the time he’d dashed into Minton’s out of the pouring rain and seen this kid playing tenor, making it wail and wriggle around like the horn was a bird whose neck he was trying to wring. Breathing heavy, dripping rain on the floor, he listened to the loops and knots of sound tying and untying themselves. Hearing the horn squealing and wailing that way was like seeing a child he loved getting hit. He’d never seen the guy before, so he just rolled up to the stage, waited for the guy to end his solo, and said, as if it was his horn the guy’d been messing with: —Tenor ain’t supposed to sound that fast. Grabbed it out of the guy’s hands and laid it gentle on a table. —What’s your name? —Charlie Parker. —Well, Charlie, you gonna make cats crazy blowing the horn that way. Then laughed that big snorting laugh, like someone blowing their nose hilariously, and walked out into the rain again, a sheriff who had just taken a dangerous weapon off a drunk cowboy. He

metonymy into dinner-party chat back at London beach. I

Estamos aquí para morirnos de aburrimiento y luego preguntarnos cómo es posible aburrirse tanto.

The recruits of 1914 have the look of ghosts. They are queuing up to be slaughtered: they are already dead.

So why did I do it? I ask myself. Why did I do it? I had to live somewhere. You have to live somewhere. This is the awful truth, the latest increment of the immense fund of wisdom that I have been building up over the years. You have to live somewhere. Wherever you are, you have to live somewhere. And not Rome, I decided. Oh, I got into a terrible state there. The winter was cold and Rome is one of the worst places to be when it is cold. We were cold at home, cold in cafés, cold in pizzerias and cold on the buses we were forced to take because it was too cold to be on the moped. Staying in was cold, going out was colder. It was uncharacteristically cold, apparently. This is how Romans cope with the cold: every year everyone declares ‘it never gets this cold’ and in this way, even though it gets this cold every year, enough rhetorical heat is generated to get through the unseasonably seasonable cold. You are better off in a seriously cold place like England.

Walker Evans said it was ‘a pet subject’ of his — how writers like James Joyce and Henry James were ‘unconscious photographers’.

Right after my own breakfast today—a not ignoble soft scramble—in the course of looking up something in Michael Ondaatje’s The English Patient, I came across the titular patient’s notebook entries about winds: There is a whirlwind in southern Morocco, the aajej, against which the fellahin defend themselves with knives. There is the africo, which has at times reached into the city of Rome. The alm, a fall wind out of Yugoslavia. The arifi, also christened aref or rifi, which scorches with numerous tongues. These are permanent winds that live in the present tense. There are other, less constant winds that change direction, that can knock down horse and rider and realign themselves anticlockwise. The bist roz leaps into Afghanistan for 170 days—burying villages. Literature is not a packed nightclub operating a one-in, one-out door policy but I am conscious that a VIP like this (with the P standing for ‘passage’), while scoring well on a Beaufort scale of quality, no longer commands the easy admission to my affections that it once did. It’s been bounced to the margins of my tonal receptiveness by Eve Babitz, who knows the winds of Southern California ‘the way Eskimos know their

Most people don't want what they want: people love to be prevented, restricted. The hamster not only loves his cage, he'd be lost without it.

The most famous footballing episode was Captain Nevill’s kicking a ball into No Man’s Land on the first day of the Somme. A prize was offered to the first man to dribble the ball into the German trenches; Nevill himself scrambled out of the trench in pursuit of his goal and was cut down immediately. (Perhaps the Somme was not only an indictment of military strategy but also of the British propensity for the long-ball game.)

Luke, azamet ve masumiyetle ifade ettiği şekilde "sürgünde" geçen bir kitap yazma niyetiyle Paris'e geldiğinde yirmi altı yaşındaydı (Scott Fitzhgerald'a göre " bir erkek için hoş bir yaş").

In New York it can happen anytime: early in the morning as the light climbs over the canyon streets and the avenues stretch so far into the distance that it seems the whole world is city; or now, as the chimes of midnight hang in the rain and all the city’s longings acquire the clarity and certainty of sudden understanding. The day coming to an end and people unable to evade any longer the nagging sense of futility that has been growing stronger through the day, knowing that they will feel better when they wake up and it is daylight again but knowing also that each day leads to this sense of quiet isolation.