Miss U Terribly Quotes

It’s of some interest that the lively arts of the millennial U.S.A. treat anhedonia and internal emptiness as hip and cool. It’s maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it’s the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip — and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent (at least since the Reconfiguration). One of the things sophisticated viewers have always liked about J. O. Incandenza’s The American Century as Seen Through a Brick is its unsubtle thesis that naïveté is the last true terrible sin in the theology of millennial America. And since sin is the sort of thing that can be talked about only figuratively, it’s natural that Himself’s dark little cartridge was mostly about a myth, viz. that queerly persistent U.S. myth that cynicism and naïveté are mutually exclusive. Hal, who’s empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naïve and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is the way he despises what it is he’s really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia. 281 281 - This had been one of Hal’s deepest and most pregnant abstractions, one he’d come up with once while getting secretly high in the Pump Room. That we’re all lonely for something we don’t know we’re lonely for. How else to explain the curious feeling that he goes around feeling like he misses somebody he’s never even met? Without the universalizing abstraction, the feeling would make no sense.

What are Robots made for? FABRY For work, Miss Glory! One Robot can replace two and a half workmen. The human machine, Miss Glory, was terribly imperfect. It had to be removed sooner or later. BUSMAN It was too expensive. FABRY It was not effective. It no longer answers the requirements of modern engineering. Nature has no idea of keeping pace with modern labor. For example: from a technical point of view, the whole of childhood is a sheer absurdity. So much time lost.

Kenny, used a ramrod to force the ammunition down the length of the barrel of a gun that everyone referred to as Nuke-U-Ler. “Okay,” Kenny said, his speech slightly slurred, beer cans scattered around his feet, “now I just open the valve here on the propane tank and set the pressure regulator to sixty PSI.” Buster struggled to write this down in his notebook, his fingers frozen at the tips, and asked, “Now what does PSI stand for?” Kenny looked up at Buster and frowned. “I have no idea,” he said. Buster nodded and made a notation to look it up later. “Open the gas valve,” Kenny continued, “wait a few seconds for it to regulate, then close the valve and open up the second valve here. That sends the propane into the combustion chamber.” Joseph, missing two fingers on his left hand, his face round and pink like a toddler’s, took another swig of beer and then giggled. “It’s about to get good,” he said. Kenny closed the valves and pointed the contraption into the air. “Squeeze the igniter button and—” Before he could finish, the air around the men vibrated and there was a sound like nothing Buster had ever heard before, a dense, punctuated explosion. A potato, a trail of vaporous fire trailing behind it, shot into the air and then disappeared, hundreds of yards, maybe a half mile across the field. Buster felt his heart stutter in his chest and wondered, without caring to discover the answer, why something so stupid, so unnecessary and ridiculous, made him so happy. Joseph put his arm around Buster and pulled him close. “It’s awesome, isn’t it?” he asked. Buster, feeling that he might cry at any moment, nodded and replied, “Yes it is. Hell yes it is.” Buster had come to Nebraska on assignment from a men’s magazine, Potent, to write about these four ex-soldiers who had been, for the past year, building and testing the most high-tech potato cannons ever seen. “It’s so goddamned manly,” said the editor, who was almost seven years younger than Buster, “we have to put it in the magazine.” Buster had been in his one-room apartment in Florida, his Internet girlfriend not returning his e-mails, nearly out of money, not working on his overdue third novel, when the editor had called him to offer the job. Even with the terrible circumstances of his life at the moment, he was loath to accept the assignment.