Quotes from Rachel Kushner

Because I didn't move here to fall in love. The desire for love is universal but that has never meant it's worthy of respect. it's not admirable to want love it just is.

But since you bring it up, Didier, you know what I think of language? That it's a fake horizon and there's something else, a real truthful thing, but language is keeping us from it. And I think we should torture language to stop fucking around and tell it to us. We should torture language to tell the truth.

I was assigned a public defender. We were all hopeful things would go differently. They did not go differently. They went this way.

We were in separate realities, fast and slow. There is no fixed reality, only objects in contrast.

At the end of Th Brother's K, Alyosha asks the children to always remember the good feeling they share, in praising and celebrating the life of their beloved dead friend, the lost child. Remember this always, Alyosha says, and he means, as an antidote. Retain the innocence of the most wholesome feeling you ever had in your life. Part of you stays innocent forever. That part of you is worth more than the rest.

it is easier to like difficult people when they are leaving, or already gone.

Silent people can be misleading, suggesting profundity and thoughtfulness where there may be none.

I was in an acute case of the present tense. P.30

She was drunk, as everyone was, most of the time.

I should get one of those T-shirts that says ORGASM DONOR," he said.

When the revolution comes it won't make any difference," Gloria said. "They'll have a special guillotine for girls like that. With an even rustier blade for the artists who ogle her.

When I was little, skiing in the Sierras, I felt that I was drawing on the mountain's face, making big sweeping graceful lines. That was how I had started to draw, I'd told Sandro, as a little girl, five, six years old, on skis. Later, when drawing became a habit, a way of being, of marking time, I always thought of skiing.

Lovers offered only what they offered and nothing more, and what they offered came with provisos.

his ridiculousness was a form of vitality.

They toasted Gordon's departure. "To my rustication," Gordon said. "Isn't that when they boot you from Oxford?" "They just send you down to the country for a while.

The rest of us lined up for debugging and muumuus.

And there you were," he said. "In your cotton-underweared splendor.

By caring just that much less than whatever you ante as indifference.

Save your freedom for a rainy day," someone had written on the bathroom wall at Rudy's Bar in SoHo,

There were hours built in where you had to hear someone express feelings about something that didn't seem important, and you nodded and pretended that it was. You had to mask your own ambivalence and pretend to be in love one hundred percent of the time, and he'd rather swim in a lake of hellfire.

The thing about songwriting," John Dogg was saying to someone, "is that you can address things obliquely, but no matter. You can't get away from the content that is the essence of the form. All songs are about unrequited love." "Except 'Green Onions,' " Ronnie said. "Which isn't about love at all.

It wasn't a hoax,' Burdmore said quickly. 'It was theater. Real theater. Like Brecht.' ¶ 'What does Brecht have to do with it? I think you should leave Brecht out of this--

Haberlerin özelli?i bunlar?n hiçbir zaman sizin ba??n?za gelmemesidir.

For the face, time relays some essential message, and time is the message. It takes things away. But it's passage, it's damages, are all we have. Without it, there is nothing.