Michael Cunningham Quotes

The secret of flight is this — you have to do it immediately, before your body realizes it is defying the laws.

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.

Venture too far for love, she tells herself, and you renounce citizenship in the country you've made for yourself.

Susan was a tough-minded romantic. She wanted to fall in love with a book. She always had reasons for her devotions, as an astute reader would, but she was, to her credit, probably the most emotional one among us. Susan could fall in love with a book in more or less the way one falls in love with a person. Yes, you can provide, if asked, a list of your loved one’s lovable qualities: he’s kind and funny and smart and generous and he knows the names of trees.

But he’s also more than amalgamation of qualities. You love him, the entirety of him, which can’t be wholly explained by even the most exhaustive explication of his virtues. And you love him no less for his failings. O.K., he’s bad with money, he can be moody sometimes, and he snores. His marvels so outshine the little complaints as to render them ridiculous.

Her cake is a failure, but she is loved anyway. She is loved, she thinks, in more or less the way the gifts will be appreciated: because they have been given with good intentions , because they exist, because they are part of a world in which one wants what one gets.

He wanted to tell her that he was inspired and vigilant and recklessly alone, that his body contained his unsteady heart and something else, something he felt but could not describe: porous and spiky, shifting with flecks of thought, with urge and memory; salted with brightness, flickerings of white and green and pale gold; something that loved stars because it was made of the same substance.

Clarissa will be bereaved, deeply lonely, but she will not die. She will be too much in love with life, with London. Virginia imagines someone else, yes, someone strong of body but frail-minded; someone with a touch of genius, of poetry, ground under by the wheels of the world, by war and government, by doctors; a someone who is, technically speaking insane, because that person sees meaning everywhere, knows that trees are sentient beings and sparrows sing in Greek. Yes, someone like that. Clarissa, sane Clarissa -exultant, ordinary Clarissa - will go on, loving London, loving her life of ordinary pleasures, and someone else, a deranged poet, a visonary, will be the one to die.

You grow weary of being treated as the enemy simply because you are not young anymore; because you dress unexceptionally.

End of story. ‘Happily ever after’ fell on everyone like a guillotine’s blade.

The problem with the truth is, it's so often mild and clichéd.

He insists on a version of you that is funnier, stranger, more eccentric and profound than you suspect yourself to be — capable of doing more good and more harm in the world than you've ever imagined — it is all but impossible not to believe, at least in his presence and a while after you've left him, that he alone sees through your essence, weighs your true qualities . . . and appreciates you more fully than anyone else ever has.

She will remain sane and she will live as she was meant to live, richly and deeply, among others of her kind, in full possession and command of her gifts.

Gus the driver is everywhere and yet he appears nowhere, not in portraits or photographs, not even in the stories of men like Barthelme and Carver, who were all about guys with jobs and prospects like Gus's but who insisted on more sorrow, more angst, than Gus remotely manifests. If Gus weeps sometimes for no reason, if he stands despairing in the aisle of a Wal-Mart, it is not apparent in his daily demeanor...

The song is an unvarnished love shout, an implorement tinged with...anger? Something like anger, but the anger of a philosoher, the anger of a pot. An anger directed at the transience of the world, at its heartbreaking beauty that collides constantly with our awareness of the fact that everything gets taken away, that we're being shown marvels but reminded always that they don't belong to us. They're sultans' treasures; we're lucky, we're expected to feel lucky to have been invited to see them at all.

But there are still the hours, aren't there? One and then another, and you get through that one and then, my god, there's another.