Lawrence Alan Kellogg > Lawrence Alan Kellogg's Quotes

“A few years ago, the wire services reported that, on account of a defective latch, the cargo door on a DC-10 opened, in flight. A coffin fell out. A lady at work in her flower garden saw what she took to be a coffin fall from the sky into a neighboring field. Having been recently widowed, the lady made the obvious inference. She put down her trowel, drove to the nearest state asylum, and committed herself. When reporters reached her, to tell her the thing had really happened, and to ask her reaction to it, the lady said she preferred to stay right where she was.”
― Renata Adler, Speedboat

“Doc remembered how Polaroids have no negatives and the life of the prints is limited. These, he noticed, were already beginning to shift color and fade.”
― Thomas Pynchon, Inherent Vice

“. . . yet there is no avoiding time, the sea of time, the sea of memory and forgetfulness, the years of promise, gone and unrecoverable, of the land almost allowed to claim its better destiny, only to have the claim jumped by evildoers known all too well, and taken instead and held hostage to the future we must live in now forever.”
― Thomas Pynchon, Inherent Vice

“She finds the door wide open and the place empty, another failed dotcom joining the officescape of the time—tarnished metallic surfaces, shaggy gray soundproofing, Steelcase screens and Herman Miller workpods—already beginning to decompose, littered, dust gathering . . . Well, almost empty. From some distant cubicle comes a tinny electronic melody Maxine recognizes as “Korobushka,” the anthem of nineties workplace fecklessness, playing faster and faster and accompanied by screams of anxiety. Ghost vendor indeed. Has she entered some supernatural timewarp where the shades of office layabouts continue to waste uncountable person-hours playing Tetris? Between that and Solitaire for Windows, no wonder the tech sector tanked.”
― Thomas Pynchon, Bleeding Edge

“It might be useful, she reminds herself, not to panic here. She imagines herself solidifying into not exactly a pillar of salt, something between that and a commemorative statue, iron and gaunt, of all the women in New York who used to annoy her standing by the curbsides “hailing a taxi,” though no taxis might be visible for ten miles in any direction—nevertheless holding their hand out toward the empty street and the oncoming traffic that isn’t there, not beseechingly but in a strangely entitled way, a secret gesture that will trigger an all-cabbie alert, “Bitch standing at corner with hand up in air! Go! Go!” Yet here, turning into some version of herself she doesn’t recognize, without deliberation she watches her own hand drift out into the wind off the river, and tries from the absence of hope, the failure of redemption, to summon a magical escape. Maybe what she saw in those women wasn’t entitlement, maybe all it is really is an act of faith. Which in New York even stepping out onto the street is, technically.”
― Thomas Pynchon, Bleeding Edge

“Slung on a stage over the gunwale of an old felucca, the Peri. A storm had just passed, rushing away toward the land in a great slope of clouds; already turning yellowish from the desert. The sea there is the color of Damascus plums; and how quiet. Sun was going down; not a beautiful sunset, more a gradual darkening of the air and that storm’s mountainside. The Peri had been damaged, we hove to alongside and hailed her master. No reply. Only the sailor—I never saw his face—one of your fellahin who abandon the land like a restless husband and then grumble for the rest of their term afloat. It’s the strongest marriage in the world. This one wore a kind of loincloth and a rag round his head for the sun which was almost gone. After we’d shouted in every dialect we had among us, he replied in Tuareg: ‘The master is gone, the crew is gone, I am here and I am painting the ship.’ It was true: he was painting the ship. She’d been damaged, not a load line in sight, and a bad list. ‘Come aboard,’ we told him, ‘night is nearly on us and you cannot swim to land.’ He never answered, merely continued dipping the brush in his earthen jar and slapping it smoothly on the Peri’s creaking sides. What color? It looked gray but the air was dark. This felucca would never again see the sun. Finally I told the helmsman to swing our ship round and continue on course. I watched the fellah until it was too dark: becoming smaller, inching closer to the sea with every swell but never slackening his pace. A peasant with all his uptorn roots showing, alone on the sea at nightfall, painting the side of a sinking ship.”
― Thomas Pynchon, V.

“The point was that the world of music—its language, beauty, and mystery—was already urging itself on me. Some shift had already begun. Music was no longer a metaphor for the real world somewhere out there. It was becoming the opposite. The “out there” stuff was the metaphor and the real part was, and is to this day, the music.”
― Philip Glass, Words Without Music: A Memoir

“One of Allen Ginsberg’s T-shirts said, “Well, while I’m here, I’ll do the work. And what’s the work? To ease the pain of living. Everything else, drunken dumbshow.”
― Philip Glass, Words Without Music: A Memoir

“In the scene when Belle begs La Bête for permission to visit her father, La Bête, moved by her plea, decides to let her go, but requires her, at the cost of his own life, to return in a week. He explains to her that his magic exists by the force of five power objects—the rose, the key, the mirror, the glove, and the horse. These five are the root of La Bête’s creativity and magic. The point is, if a young artist were to ask Cocteau directly what he would need to pursue the life and work of an artist, these five elements would be the answer. The rose represents beauty. The key represents technique—literally, the means by which the “door” to creativity is opened. The horse represents strength and stamina. The mirror represents the path itself, without which the dream of the artist cannot be accomplished. The meaning of the glove eluded me for a long time, but finally, and unexpectedly, I understood that the glove represents nobility. By this symbol Cocteau asserts that the true nobility of mankind are the artist-magician creators. This scene, which leads directly to the resolution of the fairy tale, is framed as the most significant moment of the film and is the message we are meant to take away with us: Cocteau is teaching about creativity in terms of the power of the artist, which we now understand to be the power of transformation.”
― Philip Glass, Words Without Music: A Memoir

“I used to worry about you, Zoyd, but I see I can rest easy now the Vaseline of youth has been cleared from your life’s lens by the mild detergent solution of time, in its passing. . . ”
― Thomas Pynchon, Vineland

“If you find the Great American Irony Binge to be intolerable, start with an active extraction of those ironic elements that reside in your speech, your clothing, your living space. Speak vulnerably. Behave vulnerably. Live vulnerably. And know in advance that the vultures will aim their hunger at you. This is the nature of the thing. The vulture lacks the imagination to think about how it feels to be dismembered.”
― Christy Wampole, The Other Serious: Essays for the New American Generation

“Brutality and love live in holy matrimony. Southern Niceness offsets Southern Meanness. For every sour thing our universe exudes, a sweet thing is there to meet it.”
― Christy Wampole, The Other Serious: Essays for the New American Generation

“place; it’s a mind-set. A strange coincidence: for my project on roots, I was reading a staggering book from 1980 called Le Corps noir (The Black Body) by a Haitian writer named Jean-Claude Charles. He coined the term enracinerrance, a French neologism that fuses the idea of rootedness and wandering. He spent his life between Haiti, New York, and Paris, very comfortably rooted in his nomadism. The first line of one of his experimental chapters is this: “il était une fois john howard griffin mansfield texas” (“once upon a time there was john howard griffin in mansfield texas”). I was stunned to find the small town that shares a border with my hometown in the pages of this Haitian author’s book published in France. What in the world was Mansfield, Texas, doing in this book I’d found by chance while researching roots for a totally unrelated academic project? The white man named John Howard Griffin referred to by Charles had conducted an experiment back in the late 1950s in which he disguised himself as a black man in order to understand what it must feel like to be black in the South. He darkened his skin with an ultraviolet lamp and skin-darkening medication and then took to the road, confirming the daily abuses in the South toward people with more melanin in their skin. His experiences were compiled in the classic Black Like Me (1962), which was later made into a film. When the book came out, Griffin and his family in Mansfield received death threats. It is astounding that I found out about this experiment, which began one town over from mine, through a gleefully nomadic Haitian who slipped it into his pain-filled essay about the black body. If you don’t return to your roots, they come and find you.”
― Christy Wampole, The Other Serious: Essays for the New American Generation

“They are examin’d skeptickally. “Not from the Press, are you?” “ ’Pon my Word,” cry both Surveyors at once. “Drummers of some kind’s my guess,” puts in a Countryman, his Rifle at his Side, “am I right, Gents?” “What’ll we say?” mutters Mason urgently to Dixon. “Oh, do allow me,” says Dixon to Mason. Adverting to the Room, “Why aye, Right as a Right Angle, we’re out here to ruffle up some business with any who may be in need of Surveying, London-Style,— Astronomickally precise, optickally up-to-the-Minute, surprisingly cheap. The Behavior of the Stars is the most perfect Motion there is, and we know how to read it all, just as you’d read a Clock-Face. We have Lenses that never lie, and Micrometers fine enough to subtend the Width of a Hair upon a Martian’s Eye-ball. This looks like a bustling Town, plenty of activity in the Land-Trades, where think yese’d be a good place to start?” with an amiability that Mason recognizes as peculiarly Quaker,— Friendly Business.”
― Thomas Pynchon, Mason & Dixon

“Acts have consequences, Dixon, they must. These Louts believe all’s right now,— that they are free to get on with Lives that to them are no doubt important,— with no Glimmer at all of the Debt they have taken on. That is what I smell’d,— Lethe-Water. One of the things the newly-born forget, is how terrible its Taste, and Smell. In Time, these People are able to forget ev’rything. Be willing but to wait a little, and ye may gull them again and again, however ye wish,— even unto their own Dissolution. In America, as I apprehend, Time is the true River that runs ’round Hell.”
― Thomas Pynchon, Mason & Dixon

“The Purveyor of Delusion confers upon his wife a certain expression or twist of Phiz I daresay as old as Holy Scripture,— a lengthy range of Sentiment, all comprest into a single melancholick swing of the eyes. From some personal stowage he produces another Flask, containing, not the Spruce Beer ubiquitous in these parts, but that favor’d stupefacient of the jump’d-up tradesman, French claret,— and without offering it to anyone else, including his Wife, begins to drink. “It goes back,” he might have begun, “to the second Day of Creation, when ‘G-d made the Firmament, and divided the Waters which were under the Firmament, from the Waters which were above the Firmament,’— thus the first Boundary Line. All else after that, in all History, is but Sub-Division.” “What Machine is it,” young Cherrycoke later bade himself goodnight, “that bears us along so relentlessly? We go rattling thro’ another Day,— another Year,— as thro’ an empty Town without a Name, in the Midnight . . . we have but Memories of some Pause at the Pleasure-Spas of our younger Day, the Maidens, the Cards, the Claret,— we seek to extend our stay, but now a silent Functionary in dark Livery indicates it is time to re-board the Coach, and resume the Journey. Long before the Destination, moreover, shall this Machine come abruptly to a Stop . . . gather’d dense with Fear, shall we open the Door to confer with the Driver, to discover that there is no Driver, . . . no Horses, . . . only the Machine, fading as we stand, and a Prairie of desperate Immensity. . . .”
― Thomas Pynchon, Mason & Dixon

“When they come to explain about the two Transits of Venus, and the American Work filling the Years between, “By Heaven, a ‘Sandwich,’” cries Mr. Edgewise. “Take good care, Sirs, that something don’t come along and eat it!” His pleasure at being able to utter a recently minted word, is at once much curtailed by the volatile Chef de Cuisine Armand Allègre, who rushes from the Kitchen screaming. “Sond-weech-uh! Sond-weech-uh!,” gesticulating as well, “To the Sacrament of the Eating, it is ever the grand Insult!” Cries of “Anti-Britannic!” and “Shame, Mounseer!” Mitzi clutches herself. “No Mercy! Oh, he’s so ’cute!” Young Dimdown may be seen working himself up to a level of indignation that will allow him at least to pull out his naked Hanger again, and wave it about a bit. “Where I come from,” he offers, “Lord Sandwich is as much respected for his nobility as admired for his Ingenuity, in creating the great modern Advance in Diet which bears his name, and I would suggest,— without of course wishing to offend,— that it ill behooves some bloody little toad-eating foreigner to speak his name in any but a respectful manner.” “Had I my batterie des couteaux,” replies the Frenchman, with more gallantry than sense, “before that ridiculous little blade is out of his sheath, I can bone you,— like the Veal!”
― Thomas Pynchon, Mason & Dixon

“Where may one breathe?” demands one Continental Macaroni, in a yellow waistcoat, “— in New-York, Taverns have rooms where Smoke is prohibited.” “Tho’ clearly,” replies the itinerant Stove-Salesman Mr. Whitpot, drawing vigorously at his Pipe, “what’s needed is a No-Idiots Area.”
― Thomas Pynchon, Mason & Dixon

“And over my head,” relates Squire Haligast, “it form’d an E-clipse, an emptiness in the Sky, with a Cloud-shap’d Line drawn all about it, wherein words might appear, and it read,— ‘No King . . .”
― Thomas Pynchon, Mason & Dixon

“— ’tis flatten and fold, isn’t it, and flatten again, among the thicknesses of Hide, till presently you’ve these very thin Sheets of Gold-Leaf.” “Lamination,” Mason observes. “Lo, Lamination abounding,” contributes Squire Haligast, momentarily visible, “its purposes how dark, yet have we ever sought to produce these thin Sheets innumerable, to spread a given Volume as close to pure Surface as possible, whilst on route discovering various new forms, the Leyden Pile, decks of Playing-Cards, Contrivances which, like the Lever or Pulley, quite multiply the apparent forces, often unto disproportionate results. . . .” “The printed Book,” suggests the Revd, “— thin layers of pattern’d Ink, alternating with other thin layers of compress’d Paper, stack’d often by the Hundreds.” “Or an unbound Heap of Broadsides,” adds Mr. Dimdown, “dispers’d one by one, and multiplying their effect as they go.” The Macaroni is of course not what he seems, as which of us is?— the truth comes out weeks later, when he is discover’d running a clandestine printing Press, in a Cellar in Elkton. He looks up from the fragrant Sheets, so new that one might yet smell the Apprentices’ Urine in which the Ink-Swabs were left to soften, bearing, to sensitiz’d Nasalia, sub-Messages of youth and Longing,— all about him the word repeated in large Type, LIBERTY. One Civilian leads in a small band of Soldiers. “Last time you’ll be seeing that word.” “Don’t bet your Wife’s Reputation on it,” the Quarrelsome Fop might have replied. Philip Dimdown, return’d to himself, keeps his Silence.”
― Thomas Pynchon, Mason & Dixon

“Someone brings up “Sandwiches,” and someone else a Bottle, and as night comes down over New-York like a farmer’s Mulch, sprouting seeds of Light, some reflected in the River, the Company, Mason working on in its midst, becomes much exercis’d upon the Topick of Representation. “No taxation— ” “— without it, yesyes but Drogo, lad, can you not see, even thro’ the Republican fogs which ever hang about these parts, that ’tis all a moot issue, as America has long been perfectly and entirely represented in the House of Commons, thro’ the principle of Virtual Representation?” Cries of, “Aagghh!” and, “That again?” “If this be part of Britain here, then so must be Bengal! For we have ta’en both from the French. We purchas’d India many times over with the Night of the Black Hole alone,— as we have purchas’d North America with the lives of our own.” “Are even village Idiots taken in any more by that empty cant?” mutters the tiny Topman McNoise, “no more virtual than virtuous, and no more virtuous than the vilest of that narrow room-ful of shoving, beef-faced Louts, to which you refer,— their honor bought and sold so many times o’er that no one bothers more to keep count.— Suggest you, Sir, even in Play, that this giggling Rout of poxy half-wits, embody us? Embody us? America but some fairy Emanation, without substance, that hath pass’d, by Miracle, into them?— Damme, I think not,— Hell were a better Destiny.”
― Thomas Pynchon, Mason & Dixon

“The first day of the West Line, April 5th, falls upon a Friday,— the least auspicious day of the week to begin any enterprise, such as sailing from Spithead, for example. To stand at the Post Mark’d West, and turn to face West, can be a trial for those sentimentally inclin’d, as well as for ev’ryone nearby. It is possible to feel the combin’d force, in perfect Enfilade, of ev’ry future second unelaps’d, ev’ry Chain yet to be stretch’d, every unknown Event to be undergone,— the unmodified Terror of keeping one’s Latitude.”
― Thomas Pynchon, Mason & Dixon

“Takes them less than a week to run the Line thro’ somebody’s House. About a mile and a half west of the Twelve-Mile Arc, twenty-four Chains beyond Little Christiana Creek, on Wednesday, April 10th, the Field-Book reports, “At 3 Miles 49 Chains, went through Mr. Price’s House.” “Just took a wild guess,” Mrs. Price quite amiable, “where we’d build it,— not as if my Husband’s a Surveyor or anything. Which side’s to be Pennsylvania, by the way?” A mischievous glint in her eyes that Barnes, Farlow, Moses McClean and others will later all recall. Mr. Price is in Town, in search of Partners for a Land Venture. “Would you Gentlemen mind coming in the House and showing me just where your Line does Run?” Mason and Dixon, already feeling awkward about it, oblige, Dixon up on the Roof with a long Plumb-line, Mason a-squint at the Snout of the Instrument. Mrs. Price meantime fills her Table with plates of sour-cherry fritters, Neat’s-Tongue Pies, a gigantick Indian Pudding, pitchers a-slosh with home-made Cider,— then producing some new-hackl’d Streaks of Hemp, and laying them down in a Right Line according to the Surveyors’ advice,— fixing them here and there with Tacks, across the room, up the stairs, straight down the middle of the Bed, of course, . . . which is about when Mr. Rhys Price happens to return from his Business in town, to find merry Axmen lounging beneath his Sassafras tree, Strange Stock mingling with his own and watering out of his Branch, his house invaded by Surveyors, and his wife giving away the Larder and waving her Tankard about, crying, “Husband, what Province were we married in? Ha! see him gape, for he cannot remember. ’Twas in Pennsylvania, my Tortoise. But never in Maryland. Hey? So from now on, when I am upon this side of the House, I am in Maryland, legally not your wife, and no longer subject to your Authority,— isn’t that right, Gents?” “Ask the Rev,” they reply together,”
― Thomas Pynchon, Mason & Dixon

“What’ll happen is,” Alex McClean advises, “is you’ll get hammer’d paying double taxes, visits all the time from Sheriffs of both provinces looking for their quitrents, tax collectors from Philadelphia and Annapolis, and sooner or later you’ll have to decide just to get it up on some Logs, and roll it, one way or the other. Depends how your Property runs, I’d guess.” “. . . as North is pretty much up-hill,” Mr. Price is reckoning,” ’twould certainly not be as easy, to roll her up into Pennsylvania, as down into Maryland.” “Where I am no longer your Wife,” she reminds him. “Aye, and there’s another reason,” he nods soberly. “Well then, let’s fetch the Boys and get to it,— ’tis Maryland, ho!”
― Thomas Pynchon, Mason & Dixon

“Dixon, our, um, Lives? are in Danger?” “Hardly enough to interrupt a perfectly good—” Here he is silenc’d by an immense Thunder-Bolt from directly overhead, as their frail Prism is bleach’d in unholy Light. “— Saturday Night for, is it I ask you . . . ?” his Head emerging at last from beneath a Blanket, “Mason? Say, Mason,— are thee . . . ?” Mason, now outside, pushes aside the Tent-flap with his head, but does not enter. “Dixon. I will now seek Shelter beneath that Waggon out there, d’ye see it? If you wish to join me, there’s room.” “Bit too much Iron there for me, thanks all the same.”
― Thomas Pynchon, Mason & Dixon

“Mason prefers to switch over to Tea, when it is Dixon’s turn to begin shaking his head. “Can’t understand how anyone abides that stuff.” “How so?” Mason unable not to react. “Well, it’s disgusting, isn’t it? Half-rotted Leaves, scalded with boiling Water and then left to lie, and soak, and bloat?” “Disgusting? this is Tea, Friend, Cha,— what all tasteful London drinks,— that,” pollicating the Coffee-Pot, “is what’s disgusting.” “Au contraire,” Dixon replies, “Coffee is an art, where precision is all,— Water-Temperature, mean particle diameter, ratio of Coffee to Water or as we say, CTW, and dozens more Variables I’d mention, were they not so clearly out of thy technical Grasp,—”
― Thomas Pynchon, Mason & Dixon

“Mason prefers to switch over to Tea, when it is Dixon’s turn to begin shaking his head. “Can’t understand how anyone abides that stuff.” “How so?” Mason unable not to react. “Well, it’s disgusting, isn’t it? Half-rotted Leaves, scalded with boiling Water and then left to lie, and soak, and bloat?” “Disgusting? this is Tea, Friend, Cha,— what all tasteful London drinks,— that,” pollicating the Coffee-Pot, “is what’s disgusting.” “Au contraire,” Dixon replies, “Coffee is an art, where precision is all,— Water-Temperature, mean particle diameter, ratio of Coffee to Water or as we say, CTW, and dozens more Variables I’d mention, were they not so clearly out of thy technical Grasp,— ” “How is it,” Mason pretending amiable curiosity, “that of each Pot of Coffee, only the first Cup is ever worth drinking,— and that, by the time I get to it, someone else has already drunk it?” Dixon shrugs. “You must improve your Speed . . . ? As to the other, why aye, only the first Cup’s any good, owing to Coffee’s Sacramental nature, the Sacrament being Penance, entirely absent from thy sunlit World of Tay,— whereby the remainder of the Pot, often dozens of cups deep, represents the Price for enjoying that first perfect Cup.” “Folly,” gapes Mason. “Why, ev’ry cup of Tea is perfect . . . ?” “For what? curing hides?”
― Thomas Pynchon, Mason & Dixon

“Out in the Field, Down by the Sea, The Hour has peal’d, Whoever ye be,   Daughter of Erin, Scotia’s Son, Let us be daring,— Let it be done.   It is time for The Choosing,— Americans all, No more refusing   The Cry, and the Call,— For the Grain to be sifted, For the Tyrants to fall, As the Low shall be lifted,— Americans all . . .   Till the end of the Story, Till the end of the Fight, Till the last craven Tory Has taken to Flight,   Let us go to the Wall, Let us march thro’ the Pain, Americans all, Slaves ne’er again.”
― Thomas Pynchon, Mason & Dixon

“I dreamt of a City to the West of here,” Dixon tries to recall, scrying in his Coffee-Mug, the wind blowing Wood-smoke in his eyes, “at some great Confluence of Rivers, or upon a Harbor in some inland Sea,— a large City,— busy, prospering, sacred.” “A Sylvan Philadelphia. . . .” “Well . . . well yes, now tha put it thah’ way,— ” “I hope you are prepar’d for the possibility, that waking Philadelphia is as sacred as anything over here will ever get, Dixon,— observe you not, as we move West, more and more of those Forces, which Cities upon Coasts have learn’d to push away, and leave to Back Inhabitants,— the Lightning, the Winter, an Indifference to Pain, not to mention Fire, Blood, and so forth, all measur’d upon a Scale far from Philadelphian,— whereunto we, and our Royal Commission, and our battery of costly Instruments, are but Fleas in the Flea Circus. We trespass, each day ever more deeply, into a world of less restraint in ev’rything,— no law, no convergence upon any idea of how life is to be,— an Interior that grows meanwhile ever more forested, more savage and perilous, until,— perhaps at the very Longitude of your ‘City,’— we must reach at last an Anti-City,— some concentration of Fate,— some final condition of Abandonment,— wherein all are unredeemably alone and at Hazard as deep as their souls may bear,— lost Creatures that make the very Seneca seem Christian and merciful.”
― Thomas Pynchon, Mason & Dixon

“I dreamt of a City to the West of here,” Dixon tries to recall, scrying in his Coffee-Mug, the wind blowing Wood-smoke in his eyes, “at some great Confluence of Rivers, or upon a Harbor in some inland Sea,— a large City,— busy, prospering, sacred.” “A Sylvan Philadelphia. . . .” “Well . . . well yes, now tha put it thah’ way,— ” “I hope you are prepar’d for the possibility, that waking Philadelphia is as sacred as anything over here will ever get, Dixon,— observe you not, as we move West, more and more of those Forces, which Cities upon Coasts have learn’d to push away, and leave to Back Inhabitants,— the Lightning, the Winter, an Indifference to Pain, not to mention Fire, Blood, and so forth, all measur’d upon a Scale far from Philadelphian,— whereunto we, and our Royal Commission, and our battery of costly Instruments, are but Fleas in the Flea Circus. We trespass, each day ever more deeply, into a world of less restraint in ev’rything,— no law, no convergence upon any idea of how life is to be,— an Interior that grows meanwhile ever more forested, more savage and perilous, until,— perhaps at the very Longitude of your ‘City,’— we must reach at last an Anti-City,— some concentration of Fate,— some final condition of Abandonment,— wherein all are unredeemably alone and at Hazard as deep as their souls may bear,— lost Creatures that make the very Seneca seem Christian and merciful.” “Eeh, chirpy today . . . ?”
― Thomas Pynchon, Mason & Dixon