Don DeLillo citáty

page 3

“He took pains to avoid self-depreciation, self-mockery, ambiguity, irony, subtlety, vulnerability, a civilized world-weariness and a tragic sense of history--the very things, he says, that are most natural to him.”

“Stories have no point if they don't absorb our terror.”

“For most people, there are only two places in the world. Where they live and their TV set. If a thing happens on television, we have every right to find it fascinating, whatever it is.”

“A writer takes earnest measures to secure his solitude and then finds endless ways to squander it.”

“He wanted paper and something to write with, some way to sustain a thought, to place it in the world.”

“I don't want to do the type of writing where I recite biography, parentage and education. I want to rise up from the words on the page and do something, hurt someone.”

“The smoke alarm went off in the hallway upstairs, either to let us know the battery had just died or because the house was on fire.”

“Everything's a scandal. Dying's a scandal. But we all do it.”

“Too much has been forgotten in the name of memory.”

“Eye contact was a delicate matter. A quarter second of a shared glance was a violation of agreements that made the city operational.”

“We need time to lose interest in things.”

“It is all falling indelibly into the past.”

“Everything that goes on in your whole life is a result of molecules rushing around somewhere in your brain.”

“To become a crowd is to keep out death.”

“I think fiction rescues history from its confusions.”

“In this century the writer has carried on a conversation with madness. We might almost say of the twentieth-century writer that he aspires to madness. Some have made it, of course, and they hold special places in our regard. To a writer, madness is a final distillation of self, a final editing down. It's the drowning out of false voices.”

“Every disaster made us wish for something bigger, grander, more sweeping.”

“I am not particularly distressed by the state of fiction or the role of the writer. The more marginal, perhaps ultimately the more trenchant and observant and finally necessary he'll become.”

“Popular culture is inescapable in the U. S. Why not use it?”

“I've come to think of Europe as a hardcover book, America as the paperback version.”

“The supermarket shelves have been rearranged. It happened one day without warning. There is agitation and panic in the aisles, dismay in the faces of older shoppers. […]They scrutinize the small print on packages, wary of a second level of betrayal. The men scan for stamped dates, the women for ingredients. Many have trouble making out the words. Smeared print, ghost images. In the altered shelves, the ambient roar, in the plain and heartless fact of their decline, they try to work their way through confusion. But in the end it doesn’t matter what they see or think they see. The terminals are equipped with holographic scanners, which decode the binary secret of every item, infallibly. This is the language of waves and radiation, or how the dead speak to the living. And this is where we wait together, regardless of our age, our carts stocked with brightly colored goods. A slowly moving line, satisfying, giving us time to glance at the tabloids in the racks. Everything we need that is not food or love is here in the tabloid racks. The tales of the supernatural and the extraterrestrial. The miracle vitamins, the cures for cancer, the remedies for obesity. The cults of the famous and the dead.”

“He'd once told me that the art of getting ahead in New York was based on learning how to express dissatisfaction in an interesting way. The air was full of rage and complaint. People had no tolerance for your particular hardship unless you knew how to entertain them with it.”

“I'm a novelist, period. An American novelist.”

“I want to immerse myself in American magic and dread.”

“I think fiction comes from everything you've ever done, and said, and dreamed, and imagined. It comes from everything you've read and haven't read…I think my work comes out of the culture of the world around me. I think that's where my language comes from.”

“The nonbelievers need the believers. They are desperate to have someone believe." "As belief shrinks from the world, people find it more necessary than ever that someone believe… Those who have abandoned belief must still believe in us. They are sure that they are right not to believe but they know belief must not fade completely. Hell is when no one believes.”

“The family is the cradle of the world’s misinformation. There must be something in family life that generates factual error. Over-closeness, the noise and heat of being. Perhaps even something deeper like the need to survive. Murray says we are fragile creatures surrounded by a world of hostile facts. Facts threaten our happiness and security. The deeper we delve into things, the looser our structure may seem to become. The family process works towards sealing off the world. Small errors grow heads, fictions proliferate. I tell Murray that ignorance and confusion can’t possibly be the driving forces behind family solidarity. What an idea, what a subversion. He asks me why the strongest family units exist in the least developed societies. Not to know is a weapon of survival, he says. Magic and superstition become entrenched as the powerful orthodoxy of the clan. The family is strongest where objective reality is most likely to be misinterpreted. What a heartless theory, I say. But Murray insists it’s true.”

“The figure of the gunman in the window was inextricable from the victim and his history. This sustained Oswald in his cell. It gave him what he needed to live. The more time he spent in a cell, the stronger he would get. Everybody knew who he was now.”

“Fear is unnatural. Lightning and thunder are unnatural. Pain, death, reality, these are all unnatural. We can't bear these things as they are. We know too much. So we resort to repression, compromise and disguise. This is how we survive the universe. This is the natural language of the species.”