She put her tongue out and felt the raw edges of the torn silk. She looped her tongue around them and drew them into her teeth. Just a little bit, she thought, that's all I need to free my eyelids. She pulled the tasteless web between her teeth and ground, pulling her jaw down in a grimace - it felt as it she was eating the very skin off her face. But the silk over her eyelids shifted.
He was a very private person, and sometimes it seemed to me that he was no longer interested in the world or in other people... I got the feeling that Julián was living in the past, locked in his memories. Julián lived within himself, for his books and inside them - a comfortable prison of his own design.""You say this as if you envied him.""There are worse prisons than words.
I thought about all the people who'd had to do this through history. The millions taking flight from disasters, fleeing tyrannical despots, making exodus from pogroms, escaping waring soldiers and pouring out of bombed cities. What had kept them going was the promise of safe haven, whether in some sprawling refugee camp or under the protection of a friendly army. We didn't have that.
To read fiction means to play a game by which we give sense to the immensity of things that happened, are happening, or will happen in the actual world. By reading narrative, we escape the anxiety that attacks us when we try to say something true about the world. This is the consoling function of narrative — the reason people tell stories, and have told stories from the beginning of time.
Shandy looked ahead. Blackbeard, apparently willing to get the explanation later, had picked up his oars and was rowing again. 'May I presume to suggest,' yelled Shandy giddily to Davies, 'that we preoceed the hell out of here with all due haste.' Davies pushed a stray lock of hair back from his forehead and sat down on the rower's thwart. 'My dear fellow consider it done.
Deanna Durbin's movies are about innocence and sweetness. They're from a different time and a different place. Outside the movie house, there was Depression, poverty, war, death, and loss. Audiences then were willing to pretend, to enter into a game of escape. No one really thought that the world was like a Deanna Durbin movie, they just wanted to pretend it was for about an hour and a half.
Los Angeles was the kind of place where everybody was from somewhere else and nobody really droppped anchor. It was a transient place. People drawn by the dream, people running from the nightmare. Twelve million people and all of them ready to make a break for it if necessary. Figuratively, literally, metaphorically -- any way you want to look at it -- everbody in L.A. keeps a bag packed. Just in case.
It might interest you to know," Tully says, "that there's a reason people build miniatures. Doesn't matter if it's guys laying out model railroads or women decorating dollhouses. It's about control. It's about reinventing reality." [...] "Some people get a lot of satisfaction in creating a little world they can escape to. In making things turn out the way they want, at least in their dreams.
He’s got things to do, places to be, realities to believe in. He can feel the phone he’s been told to keep switched off in this communication-free zone vibrating in his pocket and he thanks God for its rebellion and, when the nurse pops out, he quickly reaches closer to life and lets the screen light up inside his pocket. Someone – a beautiful, living someone – is trying to speak with him.
Growing up in my family meant ambushes on your birthday, crossbows for Christmas, and games of dodge ball where the balls were occasionally rigged to explode. It also meant learning how to work your way out of a wide variety of death traps. Failure to get loose on your own could lead to missing dinner, or worse, being forced to admit that you missed dinner because your baby sister had tied you to the couch. Again.
For I'm afraid of loneliness; shiveringly, terribly afraid. I don't mean the ordinary physical loneliness, for here I am, deliberately travelled away from London to get to it, to its spaciousness and healing. I mean that awful loneliness of spirit that is the ultimate tragedy of life. When you've got to that, really reached it, without hope, without escape, you die. You just can't bear it, and you die.
How much better it would be if they weren't so damn understanding--if they kicked me out of the house. To find yourself out in the street with two dollars to your name, to catch the streetcar downtown and get a job, perhaps as an airline stewardess. Think how wonderful it would be to fly to Houston and back three times a week for the next twenty years. You think I'm kidding? I'm not. It would be wonderful.
To Cassidy, the panopticon wasn't a metaphor. It was the greatest failing on everything she was, a prison she had built for herself out of an inability to appear anything less than perfect. And so she ghosted on, in relentless pursuit of escape, not from society, but from herself. She would always be confined by what everyone expected of her because she was too afraid and too unwilling to correct our imperfect imaginings.
I choose to write because it's perfect for me. It's an escape, a place I can go to hide. It's a friend, when I feel out casted from everyone else. It's a journal, when the only story I can tell is my own. It's a book, when I need to be somewhere else. It's control, when I feel so out of control. It's healing, when everything seems pretty messed up.And it's fun, when life is just flat-out boring.
I think about dying, but i don't want to die. Not even close. In fact, my problem is the complete opposite. I want to live, I want to escape. I feel trapped and bored and claustrophobic. There's so much to see and so much to do but I somehow still find myself doing nothing at all. I'm still here, in this metaphorical bubble of existence and I can't quite figure out what the hell I'm doing or how to get out of it.
