Michael

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The Buddha's Return
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  (page 71 of 224)
"“I saw myself as a composer, a miner, an officer, a labourer, a diplomat, a tramp: there was something convincing about each transformation, and so I began to believe that I really had no idea who I might be the very next day or what distance would separate me from this night after the darkness had passed. Where would I be and what awaited me? I had lived what seemed like so many different lives…”" 4 hours, 46 min ago

 
The Pasha's Concu...
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  (page 3 of 302)
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Palm-of-the-Hand ...
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  (page 84 of 238)
"“Looking out at the mountais, the guest said, ‘The true joy of a moonlit night is something we no longer understand. Only the men of old, when there were no lights, could understand the true joy of a moonlit night.’”" Feb 22, 2026 02:44PM

 
See all 32 books that Michael is reading…
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Tom Robbins
“When we're incomplete, we're always searching for somebody to complete us. When, after a few years or a few months of a relationship, we find that we're still unfulfilled, we blame our partners and take up with somebody more promising. This can go on and on--series polygamy--until we admit that while a partner can add sweet dimensions to our lives, we, each of us, are responsible for our own fulfillment. Nobody else can provide it for us, and to believe otherwise is to delude ourselves dangerously and to program for eventual failure every relationship we enter.”
Tom Robbins

Anne Carson
“You remember too much,
my mother said to me recently.
Why hold onto all that? And I said,
Where can I put it down?”
Anne Carson, Glass, Irony and God

T.S. Eliot
“music heard so deeply
That it is not heard at all, but
you are the music
While the music lasts.”
T.S. Eliot, Collected Poems, 1909-1962

Tom Robbins
“The highest function of love is that it makes the loved one a unique and irreplaceable being.”
Tom Robbins, Jitterbug Perfume

Michael Ondaatje
“Mahler put the word schwer beside certain passages in his musical scores. Meaning “difficult.” “Heavy.” We were told this at some point by The Moth, as if it was a warning. He said we needed to prepare for such moments in order to deal with them efficiently, in case we suddenly had to take control of our wits. Those times exist for all of us, he kept saying. Just as no score relies on only one pitch or level of effort from musicians in the orchestra. Sometimes it relies on silence. It was a strange warning to be given, to accept that nothing was safe anymore. “ ‘Schwer,’ ” he’d say, with his fingers gesturing the inverted commas, and we’d mouth the word and then the translation, or simply nod in weary recognition. My sister and I got used to parroting the word back to each other—“schwer.”
Michael Ondaatje, Warlight

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