Z. > Z.'s Quotes

“To be a mass tourist, for me, is to become a pure late-date American: alien, ignorant, greedy for something you cannot ever have, disappointed in a way you can never admit. It is to spoil, by way of sheer ontology, the very unspoiledness you are there to experience, It is to impose yourself on places that in all non-economic ways would be better, realer, without you. It is, in lines and gridlock and transaction after transaction, to confront a dimension of yourself that is as inescapable as it is painful: As a tourist, you become economically significant but existentially loathsome, an insect on a dead thing.”
― David Foster Wallace, Consider the Lobster and Other Essays

“I realized in a flash that the memory was already literature and that perhaps Lila was right: my book—even though it was having so much success—really was bad, and this was because it was well organized, because it was written with obsessive care, because I hadn’t been able to imitate the disjointed, unaesthetic, illogical, shapeless banality of things.”
― Elena Ferrante, The Story of the Lost Child

“To be born in that city is useful for only one thing: to have always known, almost instinctively, what today, with endless fine distinctions, everyone is beginning to claim: that the dream of unlimited progress is in reality a nightmare of savagery and death.”
― Elena Ferrante, The Story of the Lost Child

“Unlike stories, real life, when it has passed, inclines toward obscurity, not clarity.”
― Elena Ferrante, The Story of the Lost Child

“She was like the full moon when it crouches behind the forest and the branches scribble on its face.”
― Elena Ferrante, Those Who Leave and Those Who Stay

“Maybe there’s something mistaken in this desire men have to instruct us; I was young at the time, and I didn’t realize that in his wish to transform me was the proof that he didn’t like me as I was, he wanted me to be different, or, rather, he didn’t want just a woman, he wanted the woman he imagined he himself would be if he were a woman. For Franco, I said, I was an opportunity for him to expand into the feminine, to take possession of it: I constituted the proof of his omnipotence, the demonstration that he knew how to be not only a man in the right way but also a woman. And today when he no longer senses me as part of himself, he feels betrayed. I”
― Elena Ferrante, Those Who Leave and Those Who Stay

“The compass the fur trader had given him he had no use for because he had the music of the river and the bright configuration of the stars, but he carried it in his hand because he liked it for its beauty and the suspicion that it had some secret power of its own the fur trader wasn’t telling him about; that it was alive in some way. He liked the way the tiny needle quivered beneath the clear covering, like his own heart when he was out stalking or waiting with a hook for a fish to bite.”
― Carys Davies, West

“Around her the trees and wild flowers, with that oddly courteous air of natural things suddenly interrupted in their pressing occupations of growing and dying, turned toward her with attention, as though, dull and imperceptive as she was, it was still necessary for them to be gentle to a creation so unfortunate as not to be rooted in the ground, forced to go from one place to another, heart-breakingly mobile.”
― Shirley Jackson, The Haunting of Hill House

“No Human eye can isolate the unhappy coincidence of line and place which suggests evil in the face of a house, and yet somehow a maniac juxtaposition, a badly turned angle, some chance meeting of roof and sky, turned Hill House into a place of despair, more frightening because the face of Hill House seemed awake, with a watchfulness from the blank windows and a touch of glee in the eyebrow of a cornice.”
― Shirley Jackson, The Haunting of Hill House

“Marble is always a shock,” she said. “It never feels like you think it's going to. I suppose a lifesize statue looks enough like a real person to make you expect to feel skin.”
― Shirley Jackson, The Haunting of Hill House

“When I am afraid, I can see perfectly the sensible, beautiful not-afraid side of the world, I can see chairs and tables and windows staying the same, not affected in the least, and I can see things like the careful woven texture of the carpet, not even moving. But when I am afraid I no longer exist in any relation to these things. I suppose because things are not afraid.”
― Shirley Jackson