Todd

“And why did this Probert pretend to be so Welsh? I remembered that like me he’d been awarded nought for Welsh in School Certificate. Such a result, in that language, means an almost psychotic ignorance. It’s standard practice, of course, with writers of Probert’s allegiance to pretend to be wild valley babblers, woaded with pit-dirt and sheep-shit, thinking in Welsh the whole time and obsessed by terrible beauty, etc., but in fact they tend to come from comfortable middle-class homes, have a good urban education, never go near a lay preacher and couldn’t even order a pint in Welsh, falling back, as Probert had done earlier in the evening, on things like the Welsh for big Jesus. (And don’t tell me they can think in Welsh without knowing the language. Ever tried thinking in Bantu?)”
― Kingsley Amis, That Uncertain Feeling

“It might even be said one pulls himself together to disintegrate. The scattered particles of self - love, wood thrush calling, homework sums, broken nerves, rag dolls, one Phi Betta Kappa key, gold stars, lamplight smiles, night cries, and the shambles of contemplation - are collected for a split moment like scraps of shrapnel before they explode.”
― Peter De Vries, The Blood of the Lamb

“They went outside and stood where a sign used to say Taxi and now said Taxi/Tacsi for the benefit of Welsh people who had never seen a letter X before.”
― Kingsley Amis, The Old Devils

“They grew some of their own vegetables, but Semple was never in eighteen years allowed out into the truck gardens. Instead, he watched out the north window of the violent ward through the thick cyclone mesh and felt himself out there, going down the rows of corn, cutting suckers or tugging up the dark-leafed weeds, feeling the strain low in his back and hearing the dry rustle of stalks in the July wind; the sun reddening his neck and rills of sweat cutting lines through the dust on his cheeks; bent over, his hands green stained and sore, blistered and cut from the weeds and the sharp-edged corn plant leaves; feet hot and swollen in state-issue shoes cracked and dirty; but smelling it, the corn, the dirt, the hand-mashed weeds, the sticky white milk gumming and clotting his fingers; the smell on cloudy days when everything was heavy with the expectancy of rain and sullen with the summer heat, the smell denser then, making him straighten up, his nose high, waiting for it, for something, a man in silhouette against the background of corn, like all the other men in cornfields and gardens and on farms, even the men in cities between the buildings on crowded streets lifting their noses to the heavy clouds and feeling the expectancy of the rain, waiting for the first thick drops to sound against the corn, to strike his face. And then the gallop home through sheets of rain, ducking into doorways, newspapers over heads, laughter coming up out of the heart at this common happening, and men together, in doorways, cafeterias, kitchens, barns, tractor sheds, or even in the lee of haystacks, looking at each other happily with wet red faces because it was raining hard. Loving it and feeling joy from such a thing. He stood at the window and made it happen, even under a blue sky. And would, early in his eighteen years, turn from the window expressing how he felt in snapping wild-eyed growls and grunts, his hands jerking out of control and his legs falling out from under him, thrashing between the beds, bumping along the floors, his contorted face frightening the other madmen into shrieks and fits and dribbles; happy, so happy inside that it all burst in one white hot uncontrollable surge; the two white-coated attendants coming with their stockings full of powdered soap rolled into fists to club him without marking him, knocking him into enough submission that they could drag him twitching still across the open floor and out to the restraining sheets.”
― Don Carpenter, Blade of Light