Seymour Glass Quotes

John Keats / John Keats / John / Please put your scarf on.

If only you’d remember before ever you sit down to write that you’ve been a reader long before you were ever a writer. You simply fix that fact in your mind, then sit very still and ask yourself, as a reader, what piece of writing in all the world Buddy Glass would most want to read if he had his heart’s choice. The next step is terrible, but so simple I can hardly believe it as I write it. You just sit down shamelessly and write the thing yourself. I won’t even underline that. It’s too important to be underlined.

Surely, he was all real things to us: our blue-striped unicorn, our double-lensed burning glass, our consultant genius, our portable conscience, our supercargo and our one full poet.

Personally, I'm not much for symbolism. I never get it. Why can't things be just as they are? I never thought to psychoanalyze Seymour Glass or sought to break down "Desolation Row." I just wanted to get lost, become one with somewhere else, slip a wreath on a steeple top solely because I wished it.

It would be quite a relief to rid my system of fustian this year.

You wrote down that you were a writer by profession. It sounded to me like the loveliest euphemism I had ever heard. When was writing ever your profession? It's never been anything but your religion. Never. I'm a little over-excited now. Since it is your religion, do you know what you will be asked when you die? But let me tell you first what you won't be asked. You won't be asked if you were working on a wonderful moving piece of writing when you died. You won't be asked if it was long or short, sad or funny, published or unpublished. You won't be asked if you were in good or bad form while you were working on it. You won't even be asked if it was the one piece of writing you would have been working on if you had known your time would be up when it was finished--I think only poor Soren K. will get asked that. I'm so sure you'll get asked only two questions.' Were most of your stars out? Were you busy writing your heart out? If only you knew how easy it would be for you to say yes to both questions. If only you'd remember before ever you sit down to write that you've been a reader long before you were ever a writer. You simply fix that fact in your mind, then sit very still and ask yourself, as a reader, what piece of writing in all the world Buddy Glass would most want to read if he had his heart's choice. The next step is terrible, but so simple I can hardly believe it as I write it. You just sit down shamelessly and write the thing yourself. I won't even underline that. It's too important to be underlined. Oh, dare to do it, Buddy ! Trust your heart. You're a deserving craftsman. It would never betray you.

Personally, I'm not much for symbolism. I never get it. Why can't things just be as they are? I never thought to analyze Seymour Glass or sought to break down "Desolation Row." I just wanted to get lost, become one with somewhere else, slip a wreath on a steeple top solely because I wished it.

Personally, I'm not much for symbolism. I never get it. Why can't things be just as they are? I never thought to psychoanalyze Seymour Glass or sought to break down 'Desolation Row.' I just wanted to get lost, become one with somewhere else, slip a wreath on a steeple top soleley because I wished it.

If Death - who was out there all the time, possibly sitting on the hood - if Death stepped miraculously through the glass and came in after you, in all probability you just got up and went along with him, ferociously but quietly. Chances were, you could take your cigar with you, if it was a clear Havana.

Główną osobą w tym moim opowiadaniu – przynajmniej w momentach jasności myśli, gdy będę mógł zmusić się do spokoju i rozsądku – ma być mój nieżyjący już najstarszy brat, Seymour Glass, który (wolę to wyrazić w jednym zdaniu i stylem nekrologu) w roku 1948, podczas wakacji spędzanych z żoną na Florydzie, popełnił samobójstwo. Za życia znaczył wiele dla wielu osób, a dla swoich braci i sióstr w naszej nieco zbyt licznej rodzinie był wszystkim, co najważniejsze: naszym niebieskopręgowanym jednorożcem, naszym wklęsłym zwierciadłem, naszym generalnym doradcą, naszym przenośnym sumieniem, konwojentem naszego ładunku.

As J.D. Salinger’s character Seymour says in Franny and Zooey, “This happiness is strong stuff!” Happiness is the strongest stuff in the world. It is more energizing than a cup of hot espresso on a cold morning. It is more mind-expanding than a dose of acid. It is more intoxicating than a glass of champagne under the stars.

Il personaggio principale, almeno in quei momenti di lucidità in cui riuscirò ad impormi una linea di condotta, sarà il mio defunto fratello maggiore Seymour Glass che (preferisco dir tutto in un'unica frase da necrologio) nel 1948, all'età di trentun anni, mentre era in vacanza in Florida con sua moglie, si tolse la vita. Egli ebbe un grande significato per moltissime persone con cui venne a contatto e per noi, suoi fratelli e sue sorelle, egli fu tutto. Tutto quel che è realtà, egli fu, per noi: il nostro unicorno striato di blu, il nostro specchio ustorio, il genio di famiglia che dà consigli a tutti, la nostra coscienza portatile, il nostro commissario di bordo, il nostro unico poeta...

Виж какво, седнеш ли да пишеш, винаги гледай да се сещаш, че преди да станеш писател, дълго време си бил читател. Запечатал веднъж това в главата си, сядаш спокойно и се запитваш каква творба би се харесала най-много на Бъди Глас като читател, ако трябва да избира по сърце. Следващата стъпка, решителната, е толкова проста, че чак не е за вярване. Сядаш и без да ти мигне окото, написваш сам творбата. Дори не подчертавам това. То е толкова важно, че не се нуждае от подчертаване. О, Бъди, имай тази смелост. Довери се на сърцето си. Ти си достоен художник и то няма да ти изневери. If only you'd remember before ever you sit down to write that you've been a reader long before you were ever a writer. You simply fix that fact in your mind, then sit very still and ask yourself, as a reader, what piece of writing in all the world Buddy Glass would most want to read if he had his heart's choice. The next step is terrible, but so simple I can hardly believe it as I write it. You just sit down shamelessly and write the thing yourself. I won't even underline that. It's too important to be underlined. Oh, dare to do it, Buddy ! Trust your heart. You're a deserving craftsman. It would never betray you.

I'm profoundly attracted to classical Zen literature, I have the gall to lecture on it and the literature of Mahayana Buddhism one night a week at college, but my life itself couldn't very conceivably be less Zenful than it is, and what little I've been able to apprehend - I pick that verb with care - of the Zen experience has been a by-result of following my own rather natural path of extreme Zenlessness. Largely because Seymour himself literally begged me to do so, and I never knew him to be wrong in these matters.) Happily for me, and probably for everybody, I don't believe it's really necessary to bring Zen into this. The method of marble-shooting that Seymour, by sheer intuition, was recommending to me can be related, I'd say, legitimately and un-Easternly, to the fine art of snapping a cigarette end into a small wastebasket from across a room. An art, I believe, of which most male smokers are true masters only when either they don't care a hoot whether or not the butt goes into the basket or the room has been cleared of eyewitnesses, including, quite so to speak, the cigarette snapper himself. I'm going to try hard not to chew on that illustration, delectable as I find it, but I do think it proper to append - to revert momentarily to curb marbles - that after Seymour himself shot a marble, he would be all smiles when he heard a responsive click of glass striking glass, but it never appeared to be clear to him whose winning click it was. And it's also a fact that someone almost invariably had to pick up the marble he'd won and hand it to him.

When are you going to join us, Vera? History is done. It’s time for stories.’ […] It was during one of these exchanges that Seymour called me. And he was the one who came out of the nightclub and took me in. He spoke to me amidst the clatter of glasses and shouting revellers. I only understood half of what he was saying. The same went for him I’m sure. He’d been drinking, passed me his whisky, ordered another, chatted me up for a bit, gesticulated and sketched out the years to come: ‘No more blood, toil, tears and sweat,’ Churchill’s words at the start of the war, and I wondered whether, perhaps it was true, a page was turning – Winston’s, left in his war room with his fingers in a victory sign and a cigar in his mouth.

Editör hanım, Muz Balığı için Mükemmel Bir Gün öyküsünde Seymour Glass, intihar etmek üzere oteldeki odasına çıkarken asansörde bir kadını sırf sinsi sinsi ayaklarına baktığı için azarlamakla kalmaz, aynı zamanda bütün sağlam edebi kahramanların yaptığı şeyi yapar, dünya üzerindeki insanları zarif bir biçimde ikiye ayırır: Seymour gibi olanlar ve olmayanlar.