Los reyes de la casa Quotes

“At her age it was probably unusual, or even worrying, to be thinking about her parents so often. It was a void, an absence, a source of regret, and she was not sure she wanted to fill that emptiness. Their conversation had been interrupted before they ran out of things to say. And because she hadn't become a mother herself, perhaps she'd remained a daughter more than anything.”
― Delphine de Vigan, Kids Run the Show: The new novel from the author of No and Me

“Cada familia cultiva su fábula. O al menos una versión épica de su historia, enriquecida con los años, a la que poco a poco van sumándose hazañas, coincidencias, detalles extraordinarios, y hasta algunas invenciones.”
― Delphine de Vigan, Los reyes de la casa

“Delphine de Vigan has published several novels, a number of which were nominated and won major literary prizes in France, including the Prix Goncourt, Prix Goncourt des lycéens, Prix Renaudot, Prix de Libraires, Prix du roman Fnac and Gran prix de lectrices de Elle. She lives in Paris.”
― Delphine de Vigan, Kids Run the Show

“Everything is fine.”
― Delphine de Vigan, Kids Run the Show

“Over the last five years, twenty or more diagnoses of Truman Show delusion have been made in France, affecting patients born after 2005 and who have been on display on sharing platforms or social media since their infancy.”
― Delphine de Vigan, Kids Run the Show

“Now that he has had two phone conversations with Sammy Diore, he is almost certain that the young man is showing the most characteristic signs of what is known as the Truman Show delusion, first observed in Los Angeles in the early 00s. A few cases have been described in Europe, concurrently, although they have not led to any university publications. This syndrome, which used to be viewed as an undiagnosed psychiatric disorder (paranoid delirium, schizophrenia, bipolarity), is now held to be a fully-fledged pathology.”
― Delphine de Vigan, Kids Run the Show

“By leaving her the room to rebel, he made it possible for her to escape.”
― Delphine de Vigan, Kids Run the Show

“She would have liked to release her anger, her guilt, her sorrow. Leave behind, in those walls, the years of fake joy and unspeakable malaise.”
― Delphine de Vigan, Kids Run the Show

“2031 You got the feeling that unimaginable things would appear during your lifetime, things that people would get used to, the way they had so quickly gotten used to cell phones, computers, iPods, and GPS. —ANNIE ERNAUX, The Years”
― Delphine de Vigan, Kids Run the Show

“She’d been given 1984 and Fahrenheit 451 for her fourteenth birthday, she’d grown up surrounded by adults who were always ready to protest against the excesses of their era (what would Réjane and Philippe have made of the era she lived in?), she came from a world where everything had to be constantly called into question and thought through—and yet she had watched the train pull away and hadn’t been able to board. Her parents had got it wrong. They’d believed that Big Brother would be incarnated in an outside power, authoritarian and totalitarian, against which they would have to take up arms. But Big Brother hadn’t needed to use force. Big Brother had been welcomed with open arms and a heart starving for likes, and everyone had agreed to become their own torturer.”
― Delphine de Vigan, Kids Run the Show

“One third of the children who were born already had a digital life at birth.”
― Delphine de Vigan, Kids Run the Show

“Tenía la sensación de que se estaba produciendo una mutación silenciosa, profunda, solapada, de una violencia sin precedentes –una etapa de más, un funesto umbral franqueado en la línea del tiempo–, sin que nadie fuese capaz de detenerla.”
― Delphine de Vigan, Los reyes de la casa

“Cada familia cultiva su fábula. O al menos una versión épica de su historia, enriquecida por los años, a la que poco a poco van sumándose hazañas, coincidencias, detalles extraordinarios, y hasta algunas invenciones.”
― Delphine de Vigan, Los reyes de la casa

“Her parents had got it wrong. They’d believed Big Brother would be incarnated in an outside power, authoritarian and totalitarian, against which they would have to take up arms. But Big Brother hadn’t needed to use force. Big Brother had been welcomed with open arms and a heart starving for likes, and everyone had agreed to become their own torturer. The borders of privvacy had moved. All it took was one click, one heart, one thumbs up, and you could display your children, your family, and the story of your life. Everyone had become the curator of their own exhibition, and that exhibition in turn had become an indispensable part of self-realization.”
― Delphine de Vigan, Les Enfants sont rois

“The borders between private and public had disappeared long ago. This staging of the self, of one’s family, one’s everyday life, he pursuit of ‘likes’: this was not something Melanie had made up. It had all become a way of life, a way of being in the world. One third of the children who were born already had a digital life.”
― Delphine de Vigan, Les Enfants sont rois

“From now on, everyone would exist through the exponential multiplication of their own traces, in the form of images or comment. Traces, they would learn soon enough, that could not be erased. Accessible to all, the Internet and social media would quickly take over the television and multiply the range of possibilities. Live to be seen, or live vicariously.”
― Delphine de Vigan, Les Enfants sont rois

“ofreció una vía de escape.”
― Delphine de Vigan, Los reyes de la casa