“What he liked about these books was their sense of plenitude and economy. In the good mystery there is nothing wasted, no sentence, no word that is not significant. And even if it is not significant, it has the potential to be so—which amounts to the same thing. The world of the book comes to life, seething with possibilities, with secrets and contradictions. Since everything seen or said, even the slightest, most trivial thing, can bear a connection to the outcome of the story, nothing must be overlooked. Everything becomes essence; the center of the book shifts with each event that propels it forward. The center, then, is everywhere, and no circumference can be drawn until the book has come to its end.”— Paul Auster, “City of Glass” (The New York Trilogy)
“After all a cup is really only a small plate with its collar up.”—A Technicolor study of English pottery, the skill of the potter and the modern mechanized factories of the legendary Wedgwood, hosted byBritish Council Film. Via the Ace Hotel.
“The problem is the puer […puer aeternus–the eternal child–Peter Pan–the boy who never grows up…] ever anticipates loss, disappointment, and suffering–which they foresee at the end of every experience, so they cut themselves off at the beginning, retreating almost at once in order to protect themselves. In this way, they never give themselves to life–living in constant dread of the end. Reason, in this case, has taken too much from life.”—Sheila Heti, How Should a Person Be?
“By wandering aimlessly, all places became equal, and it no longer mattered where he was. On his best walks, he was able to feel that he was nowhere. And this, finally, was all he ever asked of things: to be nowhere. New York was the nowhere he had built around himself, and he realized that he had no intention of ever leaving it again.”—Paul Auster, “City of Glass” (The New York Trilogy)