Jonathan Lethem Quotes

The thing about this bookshelf is that each of these books is a vast experience unto itself, while also being both self-contained and superbly useless. Reading any one of them doesn't get you anywhere particularly meaningful; you haven't arrived or graduated; you've just gone and done something that passed the time. It's like taking a long walk with a friend who's got a lot to say. There's not cumulative purpose to it - it's just an excellent way to waste your life.

The world was ersatz and actual, forged and faked, by ourselves and unseen others. Daring to attempt to absolutely sort fake from real was a folly that would call down tigers or hiccups to cure us of our recklessness. The effort was doomed, for it too much pointed past the intimate boundaries of our necessary fictions.

Eighth grade's a distant rumor, a tabled issue, and Dylan knows from experience that the summer between might change anything, everything. He and Mingus Rude too and even Arthur Lomb for that matter are released from the paint-by-numbers page of their schooldays, from their preformatted roles as truant or victim, freed to an unspoiled summer, that inviting medium for doodling in self-transformation.

We were all four of us an arrangement around a missing centrepiece, as incoherent as a been less sentence.

Give it up, Chaos. Sane and real only go so far these days.

Despite their authoritarian light show, those ice-cream trucks of death couldn't do any more for Perkus's murdered infatuation, his crushed crush, than could keening Greek chorus, or a moaning witch doctor.

Don't try to figure me out," I said. "It doesn't work—I've tried it myself.

Open duh computer.” Germans ought to farm out all positions of petty authority. The accent remained too full of implication.

The earth itself was unchangeable, the endless tracts of sand and water and pavement. It was the people, the perturbable madmen who roamed its surface, who viewed the world as transient and broken. Everett wished the earth could somehow reach up and still them, the crazy people, and invest them with its silence and permanence and depth.

It was entirely possible that one song could destroy your life. Yes, musical doom could fall on a lone human form and crush it like a bug. The song, that song, was sent from somewhere else to find you, to pick the scab of your whole existence. The song was your personal shitty fate, manifest as a throb of pop floating out of radios everywhere.

Minna Agency errands mostly stuck in Brooklyn, rarely far from Court Street, in fact. Carroll Gardens and Cobble Hill together made a crisscrossed game board of Frank Minna’s alliances and enmities, and me and Gil Coney and the other Agency Men were the markers — like Monopoly pieces, I sometimes thought, tin automobiles or terriers (not top hats, surely) — to be moved around that game board. Here on the Upper East Side we were off our customary map, Automobile and Terrier in Candyland — or maybe in the study with Colonel Mustard.

I'd underestimated him. I assumed anyone who started out gut-punching you in an elevator couldn't have all that much else in his arsenal. For instance, I had no idea he could smile, let alone at such an inappropriate time.

I met someone who lives in an elevator.

He couldn't be more than twenty-five, but he obviously lived enough to have things to regret. He looked like he'd taken a long fall a short time ago. Pieces of the man he'd been were jumbled up with the new guy, the lost soul.

The voices may propel you to warble along, or to dance, they may inspire you to seduction or insurrection or inspection or merely to watching a little less television. The voices of Barrett Rude Jr. and the Subtle Distinctions lead nowhere, though, if not back to your own neighborhood. To the street where you live. To things you left behind.
And that's what you need, what you needed all along.