The Ticket That Exploded Quotes

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Any messages for me?" Usually I got one or two, but mostly people who wanted my help preferred to talk in person. "Yes. Hold on." She pulled out a handful of pink tickets and recited from memory, without checking the paper. "Seven forty-two a.m., Mr. Gasparian: I curse you. I curse your arms so they wither and die and fall off your body. I curse your eyeballs to explode. I curse your feet to swell until blue. I curse your spine to crack. I curse you. I curse you. I curse you.
Ilona Andrews (Magic Bleeds (Kate Daniels, #4))
The word is now a virus. The flu virus may have once been a healthy lung cell. It is now a parasitic organism that invades and damages the central nervous system. Modern man has lost the option of silence. Try halting sub-vocal speech. Try to achieve even ten seconds of inner silence. You will encounter a resisting organism that forces you to talk. That organism is the word.
William S. Burroughs (The Ticket That Exploded (The Nova Trilogy, #3))
The 'Other Half' is the word. The 'Other Half' is an organism. Word is an organism. The presence of the 'Other Half' is a separate organism attached to your nervous system on an air line of words can now be demonstrated experimentally. One of the most common 'hallucinations' of subject during sense withdrawal is the feeling of another body sprawled through the subject's body at an angle...yes quite an angle it is the 'Other Half' worked quite some years on a symbiotic basis. From symbiosis to parasitism is a short step. The word is now a virus. The flu virus may have once been a healthy lung cell. It is now a parasitic organism that invades and damages the central nervous system. Modern man has lost the option of silence. Try halting sub-vocal speech. Try to achieve even ten seconds of inner silence. You will encounter a resisting organism that forces you to talk. That organism is the word.
William S. Burroughs (The Ticket That Exploded (The Nova Trilogy, #3))
You can find out more about the nervous system and gain more control over your reaction by using a tape recorder than you could find out sitting twenty years in the lotus posture.
William S. Burroughs (The Ticket That Exploded (The Nova Trilogy, #3))
Know who I am? . . . 'Good Bye Mister' is my name . . . 'Wind and Dust' is my name . . . 'Never Happened' is my name . . .
William S. Burroughs (The Ticket That Exploded (The Nova Trilogy, #3))
In the beginning was the word and the word was bullshit.
William S. Burroughs (The Ticket That Exploded (The Nova Trilogy, #3))
Modern man has lost the option of silence. Try halting your sub-vocal speech. Try to achieve even ten seconds of inner silence. You will encounter a resisting organism that forces you to talk. That organism is the word. In the beginning was the word. In the beginning of what exactly?
William S. Burroughs (The Ticket That Exploded (The Nova Trilogy, #3))
Death is orgasm is rebirth is death in orgasm is their unsanitary Venusian gimmick is the whole birth death cycle of action -- You got it?
William S. Burroughs (The Ticket That Exploded (The Nova Trilogy, #3))
The next morning I told Mom I couldn't go to school again. She asked what was wrong. I told her, “The same thing that’s always wrong.” “You’re sick?” “I'm sad.” “About Dad?” “About everything.” She sat down on the bed next to me, even though I knew she was in a hurry. “What's everything?” I started counting on my fingers: “The meat and dairy products in our refrigerator, fistfights, car accidents, Larry–” “Who's Larry?” “The homeless guy in front of the Museum of Natural History who always says ‘I promise it’s for food’ after he asks for money.” She turned around and I zipped her dress while I kept counting. “How you don’t know who Larry is, even though you probably see him all the time, how Buckminster just sleeps and eats and goes to the bathroom and has no ‘raison d’etre’, the short ugly guy with no neck who takes tickets at the IMAX theater, how the sun is going to explode one day, how every birthday I always get at least one thing I already have, poor people who get fat because they eat junk food because it’s cheaper…” That was when I ran out of fingers, but my list was just getting started, and I wanted it to be long, because I knew she wouldn't leave while I was still going. “…domesticated animals, how I have a domesticated animal, nightmares, Microsoft Windows, old people who sit around all day because no one remembers to spend time with them and they’re embarrassed to ask people to spend time with them, secrets, dial phones, how Chinese waitresses smile even when there’s nothing funny or happy, and also how Chinese people own Mexican restaurants but Mexican people never own Chinese restaurants, mirrors, tape decks, my unpopularity in school, Grandma’s coupons, storage facilities, people who don’t know what the Internet is, bad handwriting, beautiful songs, how there won’t be humans in fifty years–” “Who said there won't be humans in fifty years?” I asked her, “Are you an optimist or a pessimist?” She looked at her watch and said, “I'm optimistic.” “Then I have some bed news for you, because humans are going to destroy each other as soon as it becomes easy enough to, which will be very soon.” “Why do beautiful songs make you sad?” “Because they aren't true.” “Never?” “Nothing is beautiful and true.
Jonathan Safran Foer (Extremely Loud & Incredibly Close)
Or suppose you are a singer. Well splice your singing in with the Beatles, the Rolling Stones, the Animals. Splice yourself in with newscasters, prime ministers, presidents. Why stop there? Why stop anywhere? Everybody splice himself in with everybody else.
William S. Burroughs (The Ticket That Exploded (The Nova Trilogy, #3))
You can find out more about the nervous system and gain more control over your reaction by using a tape recorded than you could find out sitting twenty years in the lotus posture.
William S. Burroughs (The Ticket That Exploded (The Nova Trilogy, #3))
The ‘Other Half’ is the word. The ‘Other Half’ is an organism. Word is an organism. The presence of the ‘Other Half’ is a separate organism attached to your nervous system on an air line of words can now be demonstrated experimentally. One of the most common ‘hallucinations’ of subject during sense withdrawal is the feeling of another body sprawled through the subject’s body at an angle…yes quite an angle it is the ‘Other Half’ worked quite some years on a symbiotic basis. From symbiosis to parasitism is a short step. The word is now a virus. The flu virus may have once been a healthy lung cell. It is now a parasitic organism that invades and damages the central nervous system. Modern man has lost the option of silence. Try halting sub-vocal speech. Try to achieve even ten seconds of inner silence. You will encounter a resisting organism that forces you to talk. That organism is the word. ― William S. Burroughs, The Ticket That Exploded. (Grove Press January 12, 1994) Originally published 1962.
William S. Burroughs (The Ticket That Exploded (The Nova Trilogy, #3))
The next morning I told Mom I couldn’t go to school again. She asked what was wrong. I told her, “The same thing that’s always wrong.” “You’re sick?” “I’m sad.” “About Dad?” “About everything.” She sat down on the bed next to me, even though I knew she was in a hurry. “What’s everything?” I started counting on my fingers: “The meat and dairy products in our refrigerator, fistfights, car accidents, Larry—” “Who’s Larry?” “The homeless guy in front of the Museum of Natural History who always says ‘I promise it’s for food’ after he asks for money.” She turned around and I zipped her dress while I kept counting. “How you don’t know who Larry is, even though you probably see him all the time, how Buckminster just sleeps and eats and goes to the bathroom and has no raison d’être, the short ugly guy with no neck who takes tickets at the IMAX theater, how the sun is going to explode one day, how every birthday I always get at least one thing I already have, poor people who get fat because they eat junk food because it’s cheaper . . . ” That was when I ran out of fingers, but my list was just getting started, and I wanted it to be long, because I knew she wouldn’t leave while I was still going. “ . . . domesticated animals, how I have a domesticated animal, nightmares, Microsoft Windows, old people who sit around all day because no one remembers to spend time with them and they’re embarrassed to ask people to spend time with them, secrets, dial phones, how Chinese waitresses smile even when there’s nothing funny or happy, and also how Chinese people own Mexican restaurants but Mexican people never own Chinese restaurants, mirrors, tape decks, my unpopularity at school, Grandma’s coupons, storage facilities, people who don’t know what the Internet is, bad handwriting, beautiful songs, how there won’t be humans in fifty years—
Jonathan Safran Foer (Extremely Loud and Incredibly Close)
You were a fucking moron to think this girl wanted anything more from you. I’m just her meal ticket, the same as I was for the rest of them. Red-hot rage builds in my chest as I stand there, staring at the screen, waiting for another email to pop up in the chain so I can write FUCK OFF in capital letters, repeated hundreds of times. What should I do? Confront her? No. I stride out of the room and slam the door, relishing the sound of it. I’m going to make Princess Daisy’s life hell. F*CK THE ROYALS! Madness in Harronvale Café Daisy Cheeseburgers. Sometimes I dream about the taste of them. The fried onions cooked in the ground beef patty, the toasted sesame bun, American cheese oozing over the whole thing, and the tang of ketchup to accompany it. Yeah, I fantasize about them a lot. I sometimes smell them. The moment I wake up, it hits my nose. I open my eyes, waiting for it to disappear, but the greasy smell doesn’t disappear. I nearly fall over my sheets in my haste to get out of bed. Anglefell doesn’t have a burger joint. I don’t think I’ve ever gone this long without a burger or a pizza. I haven’t realized how much I need fast food until the tantalizing scent hits my stomach. I burst through the guest room door and walk toward it. Liam sits on the couch with his feet kicked up on the coffee table. There’s a half-eaten carton of french fries next to him with a little tub of red paste, and in his hand is a giant cheeseburger. He bites into it, and I imagine the taste exploding over my own tongue. He chews loudly, the sound carrying across the room. He gives the burger a thoughtful look. “Wow—this is—really adequate.” I make a strangled sound,
Vanessa Waltz (Dirty Prince)
Video-on-demand rentals and digital downloads helped a bit as the years went on, but the movie business never fully recovered. Annual home-entertainment revenue, and the studio profits that follow from it, fell by nearly half between 2004 and 2016, from nearly $22 billion to $12 billion. At the same time, Americans became much less important to the American movie business. As the economies of developing nations throughout Latin America and Asia grew, theater construction surged and the rising middle class spent their newfound wealth on what was to them the novel and luxurious experience of a night out to see the latest Hollywood flick. International box office exploded, from $8.6 billion in 2001 to $27.2 billion in 2016. The biggest driver of growth in recent years has been China; its box office grew from $2 billion in 2011 to $6.6 billion in 2016 and is expected to surpass U.S. box office before the end of the decade. Domestic box office, meanwhile, grew by only 40 percent between 2001 and 2015, to $11.4 billion—reflecting a slight decline in attendance, once you factor in ticket price increases. Both trends were like a siren’s wail to studio executives, urging them to make fewer, bigger, louder movies. DVD sales declines were smallest for movies with budgets of more than $75 million, and as studios tried to cut costs in response to plummeting home-entertainment revenues, risky original scripts and adaptations of highbrow books were the first to go. Annual movie releases by major studios were 139 in 2016, down 32 percent
Ben Fritz (The Big Picture: The Fight for the Future of Movies)
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