Alexandra

“Look,’ said Giovanni, as we crossed the river. ‘This old whore, Paris, as she turns in bed, is very moving.’ I looked out, beyond his heavy profile, which was grey—from fatigue and from the light of the sky above us. The river was swollen and yellow. Nothing moved on the river. Barges were tied up along the banks. The island of the city widened away from us, bearing the weight of the cathedral; beyond this, dimly, through speed and mist, one made out the individual roofs of Paris, their myriad, squat chimney stacks very beautiful and vari-colored under the pearly sky. Mist clung to the river, softening that army of trees, softening those stones, hiding the city’s dreadful corkscrew alleys and dead-end streets, clinging like a curse to the men who slept beneath the bridges—one of whom flashed by beneath us, very black and lone, walking along the river. ‘Some rats have gone in,’ said Giovanni, ‘and now other rats come out.”
― James Baldwin, Giovanni's Room

“London was drab and grey; was exploding in colour; was a raucous din, bursting with life; was eerily quiet, haunted by ghosts and graveyards. As the Countess of Harcourt sailed inland up the River Thames into the dockyards at the beating heart of the capital, Robin saw immediately that London was, like Canton, a city of contradictions and multitudes, as was any city that acted as a mouth to the world. But unlike Canton, London had a mechanical heartbeat. Silver hummed through the city. It glimmered from the wheels of cabs and carriages and from horses’ hooves; shone from buildings under windows and over doorways; lay buried under the streets and up in the ticking arms of clock towers; was displayed in shopfronts whose signs proudly boasted the magical amplifications of their breads, boots, and baubles. The lifeblood of London carried a sharp, tinny timbre wholly unlike the rickety, clacking bamboo that underwrote Canton. It was artificial, metallic – the sound of a knife screeching across a sharpening steel; it was the monstrous industrial labyrinth of William Blake’s ‘cruel Works / Of many Wheels I view, wheel without wheel, with cogs tyrannic, moving by compulsion each other’.* London had accumulated the lion’s share of both the world’s silver ore and the world’s languages, and the result was a city that was bigger, heavier, faster, and brighter than nature allowed. London was voracious, was growing fat on its spoils and still, somehow, starved. London was both unimaginably rich and wretchedly poor. London – lovely, ugly, sprawling, cramped, belching, sniffing, virtuous, hypocritical, silver-gilded London – was near to a reckoning, for the day would come when it either devoured itself from inside or cast outwards for new delicacies, labour, capital, and culture on which to feed.”
― R.F. Kuang, Babel

“We were heady with ideals, drunk with hopes of our languorous lope into a future that had learnt from its past.”
― Polly Samson, A Theatre for Dreamers

“It seemed to me as if it were somewhat in the manner of floating, painted dreams, whereas I in my hole, like a larva, went on with a restful nocturnal existence, and at times I had the feeling I was sinking slowly, as into sleep or a lake or a maternal breast or even a state of incest, to the spiritual center of the earth. My periods of happiness were never luminously happy, my peace never what men of letters and theologians call a “celestial peace.” That's as it should be, for I would be horrified if I were pointed at by God, singled out by Him; I know very well that if I were sick, and were cured by a miracle, I would not survive it. Miracles are unclean; the peace I used to seek in the outhouse, the one I am going to seek in the memory of it, is a reassuring and soothing peace.”
― Jean Genet, Our Lady of the Flowers