"I'm talking about a little truth-in-packaging here. To be perfectly frank, you don't quite look like yourself. And if you walk around looking like someone other than who you are, you could end up getting the wrong job, the wrong friends, who knows what-all. You could end up with somebody else's life."
I shrugged again, and smiled. "This is my life," I said. "It doesn't seem like the wrong one."
American novelist and screenwriter
Michael Cunningham (born November 6, 1952) is an American novelist and short story writer. He is best known for his 1998 novel The Hours, which won the Pulitzer Prize for Fiction and the PEN/Faulkner Award in 1999. Cunningham is a senior lecturer of creative writing at Yale University.
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He believes that a real work of art can be owned but should not be subject to capture; that it should radiate such authority, such bizarre but confident beauty (or unbeauty) that it can't be undone by even the most ludicrous sofas or side tables. A real work of art should rule the room, and the clients should call up not to complain about the art but to say that the art has helped them understand how the room is all a horrible mistake, can Peter suggest a designer to help them start over again.
Which is probably one of the reasons those of us who love contemporary fiction love it as we do. We’re alone with it. It arrives without references, without credentials we can trust. Givers of prizes (not to mention critics) do the best they can, but they may — they probably will — be scoffed at by their children’s children. We, the living readers, whether or not we’re members of juries, decide, all on our own, if we suspect ourselves to be in the presence of greatness. We’re compelled to let future generations make the more final decisions, which will, in all likelihood, seem to them so clear as to produce a sense of bafflement over what was valued by their ancestors; what was garlanded and paraded, what carried to the temple on the shoulders of the wise.
"She's had a long life. Now she's going to the Lord."
"Frankly it creeps me out a little when you say things like that," Simon said.
"It shouldn't. If you don't like 'Lord,' pick another word. She's going home. She's going back to the party. Whatever you like."
"I suppose you have some definite ideas about an afterlife."
"Sure. We get reabsorbed into the earthly and celestial mechanism."
"No heaven?"
"That's heaven."
"What about realms of glory? What about walking around in golden slippers?"
"We abandon consciousness as if we were waking from a bad dream. We throw it off like clothes that never fit us right. It's an ecstatic release we're physically unable to apprehend while we're in our bodies. Orgasm is our best hint, but it's crude and minor by comparison."