“And the kiss feels like something completely new. But it also feels like something deeply known.”
“You win some, you lose some. And sometimes you win and lose at the same time. Life's a bloody cockup.”
“That they will find each other during the play, once more, in the words of Shakespeare.”
“Allyson meanwhile is remembering. Why this person? All the things she has told herself, or other people have told her - infatuation or Paris or good acting or lust - no longer hold water, because she remembers so viscerally and feels it anew. It's not any of that. It's not even him. Or all him. It's her. The way she can be with him.”
“Except Allyson doesn't know about Saba (yet) or about kishkes (officially speaking, though she knows what they are and how to listen to them and she will never ever stop doing this). And she doesn't have the words to tell Willem what she needs to tell him.
So she doesn't use words. She licks her thumb and rubs it against he wrist.
Stained.
Willem grabs her wrist, rubs his own thumb against it. Does the same to his own wrist, just to make it clear.
Stained.”
“Sickness leading to healing. The truth and its opposite again”
“When Allyson smiles, Willem is reminded of a sunrise. A bit of light, then more of it, then a burst of brightness. A sunrise is something you can see all the time and still marvel at. Maybe that is why her smile feels so familiar. He has seen many sunrises”
“It was so new that day: the liberation of being honest, of being brave, maybe a little stupid.”
“The truth and its opposite are flip sides of the same coin”
“But today it feels as though home has come to him.”
“Saying goodbye is less fraught this time. They have done it now once, like normal people: leave, come back. It builds confidence.”
“There is so much to say. It is like shoving all the sand of the world into an hourglass. Or trying to get it out.”
“Are you famous in India?" Allyson asks.
"I am Brad Pitt in India" Willem says.”
“It isn't a first kiss. It isn't even their first kiss. But it feels like one.
Not because it is fumbling or awkward. Not because she doesn't know where to put her hand, or he doesn't know where to put his nose. None of those. They slot together like puzzle pieces. As Allyson and Willem kiss for the first time in a year, both are thinking the same thing: This feels new.
Though perhaps thinking is not the right term, because with a kiss like this, thinking goes out the window and something more instinctual takes over: inner voices, gut instincts. 'Knowing it in your kishkes' is how Willem's saba would've described it.
In his kishkes, Willem is marveling at how Allyson found him, as Yael found Bram. He doesn't know how it happened, only that it did happen and that it means something.”
“(The sight of her bare feet. What this is doing to Willem’s blood pressure. She might as well have taken off all her clothes.)”
“Willem has just glanced at the birthmark on Allyson's wrist, giving him an urgent desire to taste it again. Between her feet and her wrist, he is having a hard time getting out the door.”
“Backstage, Willem is thinking about accidents again. And things that seemingly don't make sense, except they do. Like right out there in the fifth row. All of them, together. That makes sense.”
“This isn’t about her. It was catalyzed by her, and she’s woven up in it, but this is ultimately about him and his life and what he needs to do to make himself whole. He’s stopped drifting, he’s stopped being tossed around by the wind.”
“Allyson sees Willem's face, his panic, and she knows he is misreading her. But she is helpless to explain right now. Words have left her. She is emotion only.”
“A veces se gana, otras se pierde. Y a veces se gana y pierde al mismo tiempo. La vida es un jodido desastre”
“La verdad y su opuesto son dos caras de una misma moneda.”
“Janaka gave his daughters to the sons of Dashratha, saying, ‘I give you Lakshmi, wealth, who will bring you pleasure and prosperity. Grant me Saraswati, wisdom. Let me learn the joy of letting go.’ This ritual came to be known as kanya-daan,”
“I also took up smoking Marlboro Reds and model-scowling at everyone to ensure that I would have no unwanted interactions. It worked, thank God.”
“Let’s explore this by considering two related themes that arise from the same Christian root. The first is Paul’s statement above. Here Paul in a single phrase repudiates an entire tradition of classical philosophy founded in Plato. For Plato, the problem of evil is a problem of knowledge. People do wrong because they do not know what is right. If they knew what was right, obviously, they would do it. But Paul denies that this is so. His claim is that even though he knows something is wrong, he still does it. Why? Because the human will is corrupt. The problem of evil is not a problem of knowledge but a problem of will.”
“I did not see Pirahã teenagers moping, sleeping in late, refusing to accept responsibility for their own actions, or trying out what they considered to be radically new approaches to life. They in fact are highly productive and conformist members of their community in the Pirahã sense of productivity (good fishermen, contributing generally to the security, food needs, and other aspects of the physical survival of the community). One gets no sense of teenage angst, depression, or insecurity among the Pirahã youth. They do not seem to be searching for answers. They have them. And new questions rarely arise.”
“It was from a weekly visit to the cinema that you learned (or tried to learn) how to strut, to smoke, to kiss, to fight, to grieve. Movies gave you tips about how to be attractive (...). But whatever you took home from the movies was only part of the larger experience of losing yourself in faces, in lives that were not yours - which is the more inclusive form of desire embodied in the movie experience. The strongest experience was simply to surrender to, to be transported by, what was on the screen”
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