Slumberland Quotes

“Hereos. Idols. They're never who you think they are. Shorter. Nastier. Smellier. And when you finally meet them, there's something that makes you want to choke the shit out of them.”
― Paul Beatty, Slumberland

“Sometimes just making yourself at home is revolutionary.”
― Paul Beatty, Slumberland

“My litmus test of compatibility is 'Tom Cruise.' I hate people who hate Tom Cruise, cultural automatons who at the mention of his name reflexively bridle and say the diminutive thespian and Theta level Scientoligist is 'crazy' and 'a terrible actor'. They hate him because he's easy to hate. They think that despising Tom Cruise's lack of personality and supposed lack of talent is somehow a blow against the bland American Anschluss of the rest of the planet. Tom Cruise may indeed be the Christopher Columbus of the twentieth century, sent off by the kings of Hollywood to prove the new world of International Box Office isn't flat and to find a direct route into the Asian market, but the decline of everything isn't his fault; he's just a cinematic explorer and a damn fine actor. And hating him doesn't make you seditious- it makes you complicit.”
― Paul Beatty, Slumberland

“Man, didn't anybody ever tell you that art is propaganda? It doesn't matter whether you think it should be or it shouldn't be, it just is, and motherfucker, like or not, you're sitting on a funky Magna Carta.”
― Paul Beatty, Slumberland

“There are many similarities between Germans and blacks. The nouns themselves are loaded with so much historical baggage it's impossible for anyone to be indifferent to the simple mention of either group. We're two insightful people looking for reasons to love ourselves; and let's not forget we both love pork and wear sandals with socks.”
― Paul Beatty, Slumberland

“Look, dude, you've sampled your life, mixed those sounds with a funk precedent, and established a sixteen-bar system of government for the entire rhythm nation. Set the Dj up as the executive, the legislative, and judicial branches. I mean, after listening to your beat, anything I've heard on the pop radio in the last five years feels like a violation of my civil rights.”
― Paul Beatty, Slumberland

“In English you label groups of people by their moral intentions and collective needs. A mob tries to convince itself it’s right and needs to prove it. A crowd knows it’s right because if it weren’t right, they would all need to be someplace else. A throng doesn’t give a fuck about moral imperatives, it just wants and needs something to happen.”
― Paul Beatty, Slumberland

“I’m convinced that Nabokov wrote his novels around words like agglutinate, siliceous, gardyloo, ophidian, triskelions. That he took an ESL course at a local night school and the teacher wrote those words on the blackboard and said, “Today’s assignment is to take these words and use them in a first novel the New York Times will call ‘Riveting, truly a classic for the ages.”
― Paul Beatty, Slumberland

“Most languages have a word for the day before yesterday. Anteayer in Spanish. Vorgestern in German. There is no word for it in English. It’s a language that tries to keep the past simple and perfect, free of the subjunctive blurring of memory and mood. I take out a pen, tapping the end impatiently on a bar napkin as I try to think of a English word for “the day before yesterday.”

I consider myself to be a political-linguistic refugee, come to Germany seeking asylum in a country where I don’t have to hear people say “nonplussed” when they mean “nonchalant” or have to listen to a military spokesperson euphemistically refer to a helicopter’s crashing into a mountainside as a “hard landing,” and I can’t begin to explain how liberating it is to live in a place where I can go through an autumn of Sundays without once having to hear someone say, “The only thing the prevent defense does is prevent you from winning.” Listening to America these days is like listening to the fallen King Lear using his royal gibberish to turn field mice and shadows into real enemies. America is always composing empty phrases like “keeping it real,” “intelligent design,” “hip-hop generation,” and “first responders” as a way to disguise the emptiness and the mundanity.”
― paul beatty, Slumberland

“I got light-headed. Smoking-California-homegrown-and-drinking-Hennessy-at-the-beach-my-God-look-at-that-fucking-sunset-how-come-nobody-ever-talks-about-Zen-anymore light-headed.”
― Paul Beatty, Slumberland

“Germans either want to kill you or fuck you.”
― Paul Beatty, Slumberland

“Most of the concert reviews in the next day’s paper would describe the crowd milling about the Slumberland as “diverse” without saying what made them so. In polite democratic society it’s important to note stratification but impolite to label the layers.”
― Paul Beatty, Slumberland: A Novel

“In polite democratic society its important to note stratification but impolite to label the layers.”
― Paul Beatty, Slumberland

“At least Lars was curious about the appeal of jazz to black folk; for most observers, such ponderation is akin to contemplating why gorillas like bananas. The attractiveness of jazz to the nonblack is well documented in publicly funded documentaries where experts speak of jazz in the past tense. They look authoritatively into the camera and ingratiate themselves with the Man by saying things like, “White people were hearing something in jazz that says something deeply about their experience. I’m not sure that it would have been this way if we were not a country of immigrants . . . so many people felt kind of displaced . . . I think that was part of its amazing appeal, was how it spoke to feeling out of sort and out of joint and maladjusted.”
What hogwash. Does my fondness for classical music make me well adjusted? Besides, people who are really fucked up don’t turn to jazz; they turn to heroin, opium, whiskey, and Vonnegut.”
― Paul Beatty, Slumberland

“Satyajit”
― Paul Beatty, Slumberland: A Novel