Vaughan & Chiang's "Paper Girls" Builds a Familiar Yet Disconcerting World
It came to me that he meant something different by “smile” than I did; that the irony, the humourlessness, the ruthlessness I had always noticed in his smiling was a quality he deliberately inserted; that for him the smile was something essentially cruel, because freedom is cruel, because the freedom that makes us at least partly responsible for what we are is cruel. So that the smile was not so much an attitude to be taken to life as the nature of the cruelty of life, a cruelty we cannot even choose to avoid, since it is human existence. (John Fowles, from The Magus)
Ah! but it was something to have at least a choice of nightmares. (Joseph Conrad, from Heart of Darkness)
Aliye’s death, and its echoes, had been stilled by the greater horror of this mother’s death, which burned inside him like a smothered coal in the silence there. But Aliye had started dying from the moment his mother told him that they were not to marry, in spite of the bey’s gracious visit, in spite of the fine carpet, in spite of the words he has whispered to Aliye and which he had thought were true words. He knew then how it must end for her, though his mother said it would be otherwise. He wished that there were one fixed thing in the world that would never change, or disappoint him, or leave him, but he did not know what that might be, unless it was the idea of God, which was a certitude without delight or consolation. (Starling Lawrence, from Montenegro)
“What of the success of the Expulsion?” Carranque asked. The driver was momentarily silenced.
“Success for the Catholics?” I ventured.
“Certainly not, Señora.” Now it was Carranque who laughed. “The Expulsion of the Jews was an unmitigated disaster for the Catholics. For a brief time, Their Catholic Majesties feasted on the properties and treasures left behind by the running Jews. But after a very short while they awoke to the truth that their best and their brightest had fled. Gone were their merchants, their statesmen, their doctors, their artisans and their artists, their poets, their musicians, their singers, and their leatherworkers. Without its Jews, Spain dried up into the shriveled olive it is today.”
“So the success?”
“Was the success of the Jews — the Jews who fled to Morocco, to Italy, to Greece, to Turkey, to the Netherlands. They spread their art and learning across the Mediterranean, through the Strait of Gibraltar and northward into Europe. They made a virtue of exile, found their greatest reward in exile, found their humanity, their lost identity, in exile.” (Jonathan Levi, from A Guide For The Perplexed)
“It’s sex, isn’t it? We can’t deal with it. That’s why our religions hate it so much. It wants to save us from ourselves. If we don’t have any certainties, we can’t trust ourselves.” (Graham Joyce, from Requiem)
“Stories have no point if they don’t absorb our terror.” (Don DeLillo, from Mao II)
“It’s all right. Keep right on lying to me. That’s what I want you to do.” (Ernest Hemingway, from A Farewell To Arms)
As you might be able to figure out, there’s a NSFW panel below. No gold star for figuring out which comic it comes from! I just thought it would be better to tell you now!
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“How do you feel, Yossarian?”
“Fine. No, I’m very frightened.”
“That’s good,” said Major Danby. “It proves you’re still alive.” (Joseph Heller, from Catch-22)
For them it might stave off what he could not help but see with clarity: that the world was silent and cold and bare and that in this lay its terrible beauty. (David Guterson, from Snow Falling on Cedars)
“That’s what I came to tell you, that I can’t free our people from the rule of the Romans.”
“Because that’s not true freedom. Any freedom that can be given can be taken away. Moses didn’t need to ask Pharaoh to release our people, our people didn’t need to be released from the Babylonians, and they don’t need to be released from the Romans. I can’t give them freedom. Freedom is in their hearts, they merely have to find it.” (Christopher Moore, from Lamb)
“That’s one of the Devil’s main tricks, of course. Fill a man with faith. What evils, what absolute horrors the noble sword of faith sends pouring into the world!” (John Gardner, from Freddy’s Book)
“Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules absurd, their perspectives deceitful, and everything conceals something else.” (Italo Calvino, from Invisible Cities)
Those slightly heavy, slightly watery eyes are enough to make me realize that the drama between the two has not yet ended: he continues coming to this café every evening to see her, to open the old wound again, perhaps also to know who is walking her home this evening; and she comes to this café every evening perhaps deliberately to make him suffer, or perhaps hoping that the habit of suffering will become for him a habit like any other, that it will take on the flavor of the nothingness that has coated her mouth and her life for years. (Italo Calvino, from If on a winter’s night a traveler)
And so I stood perfectly still with folded arms, allowing my eyes to receive the tracery of apian flight, so like curling silver strings in the air. White butterflies, faint as powder on a mirror, yet imbued with the mysterious force of life, hovered and flitted, half-powered by their own efforts and half-carried by the breeze. That all these creatures, and all these plants and dirt and blossoms, from the earthworms to the dung beetles, to the rhododendrons, catnip, delphinium, clematis, lupine, campanula, and bearded iris should all come together here in this spot to create this wondrous place seemed a fact beyond all possibility of mere formality, betokening some kind of marvelous presence having the sense of an artist and the mechanical persistence of an inventor. (Steve Szilagyi, from Photographing Fairies)
“Usually girls dance together because the boys are too shy to ask. But this boy – I didn’t know him – he asked me to dance, and so we had the first dance and then the next, and by that time we were talking … And you know what it is when you like someone, you know it at once; well, I liked him such a lot. And we kept on talking and then there was a birthday cake. And he took a bit of marzipan and he just gently put it in my mouth – I remember trying to smile, and blushing, and feeling so foolish – and I fell in love with him just for that, for the gentle way he touched my lips with the marzipan.” (Philip Pullman, from The Amber Spyglass)
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