Michael Cunningham Quotes

He's one of those smart, drifty young people who, after certain deliberations, decides he wants to do Something in the Arts but won't, possibly can't, think in terms of an actual job; who seems to imagine that youth and brains and willingness will simply summon an occupation, the precise and perfect nature of which will reveal itself in its own time.

It’s better, really, to go out in a blaze. That’s why we love Marilyn, and James Dean. We love the ones who walk right into the fire.

She has failed. She wishes she didn't mind. Something, she thinks, is wrong with her.

The implication of this particular tale is: Trust strangers. Believe in magic.

Eventually, decades later, when the king was dying, the queen gently ushered everybody out into the corridor, closed the door to the royal bedchamber, and got into bed with her husband. She started singing to him. They laughed. He was short of breath, but he could still laugh. They asked each other, Is this silly? Is this...pretentious? But they both knew that everything there was to say had been said already, over and over, across the years. And so the king, relieved, released, free to be silly, asked her to sing him a song from his childhood. He didn't need to be regal anymore, he didn't need to seem commanding or dignified, not with her. They were, in their way, dying together, and they both knew it. It wasn't happening only to him. So she started singing. They shared one last laugh - they agreed that the cat had a better voice than she did. Still, she sang him out of the world.

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.

You know, if you're hopeful, if you're even a little bit happy about something that might happen, it doesn't affect the outcome. You could still give yourself a period of optimism, even if it all falls apart.

What lives undimmed in Clarissa's mind more than three decades later is a kiss at dusk on a patch of dead grass, and a walk around the pond as mosquitoes droned in the darkening air. There is still that singular perfection, and it's perfect in part because it seemed, at the time, so clearly to promise more. Now she knows. That was the moment. There has been no other.

That summer when she was eighteen, it seemed anything could happen, anything at all.

The art we produce lives in queasy balance with the art we can imagine the art the room expects.

"Any other vexations to report?" he asks.

"I love the word 'vexations.'"

"It's the 'x.' Nice to jump off a 'v' and bite into an 'x' like that."

"Just the usual ones," she says.

"How was the weekend?"

"Vexing. Not really, I just wanted to say it. You?"

There's just this for consolation: an hour here or there when our lives seem, against all odds and expectations, to burst open and give us everything we've ever imagined, though everyone but children (and perhaps even they) know these hours will inevitably be followed by others, far darker and more difficult. Still, we cherish the city, the morning; we hope, more than anything, for more.

We worship numberless gods or idols, but we all need to be the grandest possible versions of ourselves, we need to walk across the face of the earth with as much grace and beauty as we can muster before we’re wrapped in our winding sheets, and returned.

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

Silly humans. Banging on a tub to make a bear dance when we would move the stars to pity.