The vanity speaks so stark. DFW

He looked forward to the day when politics and the state would wither away. I would call that Utopian.

You say his politics were Utopian. Are you implying they were unrealistic?

He looked forward to the day when politics and the state would wither away. I would call that Utopian. On the other hand, he did not invest a great deal of himself in these Utopian longings. He was too much of a Calvinist for that.

Please explain.

You want me to say what lay behind Coetzee's politics? You can best get that from his books. But let me try anyway.
In Coetzee's eyes, we human beings will never abandon politics because politics is too convenient and attractive as a theatre in which to give play to our baser emotions. Baser emotions meaning hatred and rancour and spite and jealousy and bloodlust and so forth. In other words, politics is a symptom of our fallen state and expresses that fallen state.

--"Sophie," from Summertime

France is herself only in the winter, her naked self, without manners.

The mornings are growing colder, I enter them unprepared. Icy mornings. The streets are still dark. The bicycles go past me, their parts creaking, the riders miserable as beggars.

I have a coffee in the Cafe St. Louis. It's as quiet as a doctor's office. The tables have chairs still upturned on them. Beyond the thin curtains, a splitting cold. Perhaps it will snow. I glance at the sky. Heavy as wet rags. France is herself only in the winter, her naked self, without manners. In the fine weather, all the world can love her. Still, it's depressing. One feels like a fugitive from half a dozen lives.

These dismal mornings. I stand near the radiator, trying to warm my hands over iron that's cold as glass. The French have a nice feeling for simplicity. They merely wear sweaters indoors and sometimes hats as well. They believe in light, yes, but only as the heavens provide it. Most of their rooms are dark as the poorhouse. There's an odor of tobacco, sweat and perfume, all combined. A dispirited atmosphere in which every sound seems cruel and isolated--the closing of a door, footsteps beneath which one can detect the thin complaint of grit, hoarse bonjours. One feels part of a vast servitude, anonymous and unending, all of it vanishing unexpectedly with the passing image of Madame Picquet behind the glass of her office, that faintly vulgar, thrilling profile. As I think of it, there's an ache in my chest. I cannot control these dreams in which she seems to lie in my future like a whole season of extravagant meals if only I knew how to arrange it. I see her almost daily. I can always go down there on some pretext, but it's difficult to talk while she's working. Oh, Claude, Claude, my hands are tingling. They want to touch you. In her elaborately done hair there is a band which she keeps feeling for nervously. Then she touches the top button of her sweater as if it were a jewel. Around her neck there are festoons of glass beads the color of nightclub kisses. A green stone on her index finger. And she wears several wedding bands, three, it seems. I'm too nervous to count.

James Salter, A Sport and a Pastime

"He doesn't count because we don't know where he is."

a disease artist

I'd done one film only, an idea for a film, some people said. I did it, I finished it, people saw it but what did they see? An idea, they said, that remains an idea.

I didn't want to call it a documentary, although it was assembled completely from documents, old film footage, kinescopes of TV shows from the 1950s. This was social and historical material but edited well beyond the limits of information and objectivity and not itself a document. I found something religious in it, maybe I was the only one, religious, rapturous, a man transported.

The man was the one individual on-screen throughout, the comedian Jerry Lewis. This was Jerry Lewis of the early telethons, the TV shows broadcast once a year to benefit people suffering from muscular dystrophy, Jerry Lewis day and night and into the following day, heroic, tragicomic, surreal.

I looked at kinescopes of the early years, every distant minute, it was another civilization, midcentury America, the footage resembling some deviant technological lifeform struggling out of the irradiated dust of the atomic age. I edited out all the guest appearances, the lounge acts, movie stars, dancers, disabled children, the studio audience, the band. The film was all Jerry, pure performance, Jerry talking, singing, weeping, Jerry with his ruffled shirt open at the collar, bow tie undone, a raccoon flung over his shoulders, Jerry inviting the nation's love and wonder at four in the morning, in closeup, a crew-cut sweating man in semidelirium a disease artist, begging us to send money to cure his afflicted children.

I had him babbling in unsequential edits, one year shading into another, or Jerry soundless, clowning, he is knock-kneed and bucktoothed, bouncing on a trampoline in slow motion, the old flawed footage, the disturbed signals, random noise on the soundtrack, streaky patterns on the screen. He inserts drumsticks in his nostrils, he sticks the handmike in his mouth. I added intervals of modern music to the track, rows of tones, the sound of a certain re-echoing drone. There was an element of austere drama in the music, it placed Jerry outside the moment, in some larger surround, ahistorical, a man on a mission from God.

--Don DeLillo, Point Omega

where you aren't is more fun than where you are

You started on the Upper East Side with champagne and unlimited prospects, strictly observing the Allagash rule of perpetual motion: one drink per stop. Tad's mission in life is to have more fun than anyone else in New York City, and this involves a lot of moving around, since there is always the likelihood that where you aren't is more fun than where you are.

Jay McInerney, Bright Lights, Big City

I was obliged to repeat the story that I had already told hundreds of times that morning; then I went up to my room to think. But instead I fell asleep, sitting on the sofa, and dreamed that bird-women, gathering in a flock outside, near the balcony, were looking at me through the windows, their wings beating quietly in the warm humid air. One by one I began to recognize them: Lola and Nuria, and other women from Z, although their faces were blurry so I couldn't be sure. The old woman was fluttering in the middle, like a queen surrounded by her entourage. She was the only one really watching me. A gust blew the windows open and I felt her voice, just as the group of bird-women began to rise and clouds came down over the town. Even so, the dead woman's voice made the windowpanes shake. She was singing. The words of her song were simple and repetitive: Avenge me, avenge me, avenge me--dear colleague, avenge me, avenge me, avenge me.

Roberto Bolano, The Skating Rink

To Elsie

The pure products of America
go crazy --
mountain folk from Kentucky

or the ribbed north end of
Jersey
with its isolate lakes and

valleys, its deaf-mutes, thieves
old names
and promiscuity between

devil-may-care men who have taken
to railroading
out of sheer lust of adventure --

and young slatterns, bathed
in filth
from Monday to Saturday

to be tricked out that night
with gauds
from imaginations which have no

peasant traditions to give them
character
but flutter and flaunt

sheer rags succumbing without
emotion
save numbed terror

under some hedge of choke-cherry
or viburnum --
which they cannot express --

Unless it be that marriage
perhaps
with a dash of Indian blood

will throw up a girl so desolate
so hemmed round
with disease or murder

that she'll be rescued by an
agent --
reared by the state and

sent out at fifteen to work in
some hard-pressed
house in the suburbs --

some doctor's family, some Elsie
voluptuous water
expressing with broken

brain the truth about us --
her great
ungainly hips and flopping breasts

addressed to cheap
jewelry
and rich young men with fine eyes

as if the earth under our feet
were
an excrement of some sky

and we degraded prisoners
destined
to hunger until we eat filth

while the imagination strains
after deer
going by fields of goldenrod in

the stifling heat of September
somehow
it seems to destroy us

It is only in isolate flecks that
something
is given off

No one
to witness
and adjust, no one to drive the car

William Carlos Williams

For Grace, After a Party

You do not always know what I am feeling.
Last night in the warm spring air while I was
blazing my tirade against someone who doesn't
interest
                 me, it was love for you that set me
afire,
             and isn't it odd? for in rooms full of
strangers my most tender feelings
                                                                  writhe and
bear the fruit of screaming. Put out your hand,
isn't there
                    an ashtray, suddenly, there? beside
the bed?  And someone you love enters the room
and says wouldn't
                                    you like the eggs a little
different today?
                            And when they arrive they are
just plain scrambled eggs and the warm weather
is holding.

Frank O'Hara