Jonathan Lethem Quotes

I’d never pondered the bourgeois implications of an earplug.

I suppose there was never a reason for tearing down a cabin or scrapping a stopped automobile, if you had all those acres.

Did I read The New Yorker? This question had a dangerous urgency. It wasn't any one writer or article he was worried about, but the font. The meaning embedded, at a preconscious level, by the look of the magazine; the seal, as he described it, that the typography and layout put on dialectical thought. According to Perkus, to read The New Yorker was to find that you always already agreed, not with The New Yorker but, much more dismayingly, with yourself. I tried hard to understand. Apparently here was the paranoia Susan Eldred had warned me of: The New Yorker's font was controlling, perhaps assailing, Perkus Tooth's mind. To defend himself he frequently retyped their articles and printed them out in simple Courier, an attempt to dissolve the magazine's oppressive context. Once I'd enter his apartment to find him on his carpet with a pair of scissors, furiously slicing up and rearranging an issue of the magazine, trying to shatter its spell on his brain.

I was famously in love with a woman who had no time to spare, not even a breath, for she dwelled in a place beyond time or the reach of anyone’s Rolodex, her every breath measured out of pressurized tanks.

The Hippie Parents weren't for all their distraction and funk, for their love triangles and LPs and antiwar demonstrations, illiterates...You'd find the books in the downstairs bathroom, or on their bedside tables, or maybe see them unwrapped at holidays as gifts, a cherished revelation passed from one to another, shared like a joint...

As I get older I find that the friendships that are the most certain, ultimately, are the ones where you and the other person have made substantial amounts of money for one another.

Relax,' she said. 'There's nothing wrong with a slow, awkward beginning. The text for the whole relationship, the sustaining mythos, is built in the first few encounters. The whirl of emotions, the push and pull. So the more of this kind of material we generate, the better.

Have you ever felt, in the course of reading a detective novel, a guilty thrill of relief at having a character murdered before he can step onto the page and burden you with his actual existence? Detective stories always have too many characters anyway. And characters mentioned early on but never sighted, just lingering offstage, take on an awful portentous quality. Better to have them gone.

They got stoneder and stoneder and quit talking.

Go buy milk,' Robert said at last.
Dylan moved for Buggy's door.
But if ou come around here with that old lady's money next time I might have to take it off you.'
Dylan recognized this as a sort of philosophical using. He was grateful for the implied sense of pooled information. He and Robert could move forward together from this point into whatever was required.

"Paranoia has its downsides as an agency in daily life, or in the political sphere of collective action, which finds itself beset everywhere by the nightmarish influence of conspiracy thinking (they call it theory, but theories exist to be tested, and conspiracy thinking exists never to be tested, and globally ignores the results of tests imposed by others). The suspicion that malign operators are responsible for every one of the injustices and heartbreaks of existence is a consoling view, a balm to bleak glimpses of the void behind our reality. It's brave to pursue truth, and brave to pursue and expose tricky and well-hidden bad guys (Nazi doctors, Pentagon intelligence-distorters, etc.). It's not brave to think tricky, well-hidden bad guys are the whole truth of what's out there. It might even be bravery's opposite. Or maybe it should go under the name "religion.

The house on The Crescent, stepped into the hillside, had no face.

How strange it began to seem that cars have bodies that never are supposed to touch, a disaster if they do.

But the stories you told yourself — which you pretended to recall as if they'd happened every afternoon of an infinite summer — were really a pocketful of days distorted into legend, another jailhouse exaggeration, like the dimensions of those ballpoint-crosshatched tits or of the purported mountains of blow you once used to enjoy, or how you'd bellowed an avenger's roar when you squeezed the trigger of a pistol you'd actually brandished in self-pissing terror. How often had that hydrant even been opened? Did you jet water through a car window, what, twice at best? Summer burned a few afternoons long, in the end.

However appalling to consider, however tedious to enact, every novel requires furniture, whether it is to be named or unnamed, for the characters will be unable to remain in standing position for the duration of the story.