Quotes from So Much for That

“What would I like to get away from? Complexity. Anxiety. A feeling I've had my whole life that at any given time there's something I'm forgetting, some detail or chore, something that I'm supposed to be doing or should have already done. That nagging sensation - I get up with it, I go through the day with it, I go to sleep with it. When I was a kid, I had a habit of coming home from school on Friday afternoons and immediately doing my homework. So I'd wake up on Saturday morning with this wonderful sensation, a clean, open feeling of relief and possibility and calm. There'd be nothing I had to do. Those Saturday mornings, they were a taste of real freedom that I've hardly ever experienced as an adult. I never wake up in Elmsford with the feeling that I've done my homework.”
― Lionel Shriver, quote from So Much for That

“I have never in all my life considered you other people.”
― Lionel Shriver, quote from So Much for That

“The energy it sapped from him, not being able to protect her. You wouldn't think that something you couldn't do and were not doing would take any energy, but it did.”
― Lionel Shriver, quote from So Much for That

“He'd been unable to discern whether this frantic bustle of hers was what it claimed to be - an ardent determination to live every remaining day to the fullest - or quite the opposite: an evasion. An equally ardent determination to distract herself, from what only she could know, and thus a complete failure to inhabit her life in the scarcest respect.”
― Lionel Shriver, quote from So Much for That

“Pregnancy had seemed a reasonable excuse for letting her metal-smithing tools languish, but that accounted for only eighteen months of the last twenty-six years. Motherhood wasn't the real problem, though it took him a long time to figure out what was. She needed resistance, the very quality that metal most demonstrably offered up. Suddenly Glynis had no difficulty to overcome, no hard artisan's life with galleries filching half the too-small price of a mokume brooch that had taken three weeks to forge. No, her husband made a good living, and if she slept late and dawdled the afternoon away reading Lustre, American Craft Magazine and Lapidary Journal, the phone bill would still get paid. For that matter, she needed need itself. She could overcome her anguish about embarking on an object that, once completed, might not meet her exacting standards only if she had no choice. In this sense, his helping had hurt her. By providing the financial cushion that should have facilitated making all the metal whathaveyou she liked, he had ruined her life. Wrapped in a slackening bow, ease was a poisonous present.”
― Lionel Shriver, quote from So Much for That

“[T]he cardboard bookcase of her character had already collapsed under the strain.”
― Lionel Shriver, quote from So Much for That

“It was a short session of the simple being-ness that he had long coveted for The Afterlife. What Glynis had called "doing nothing," The smelling and seeing and hearing and small noticings of sheer animal presence in the world surely constituted activity of a sort, perhaps the most important kind. This was a form of companionship that he'd been especially cherishing with Glynis of late: devoid of conversation, but so surprising in its contrast to being by yourself.”
― Lionel Shriver, quote from So Much for That

“I don't understand why doctors don't advise everybody to lay on twenty extra pounds while they've got the chance. I might not advocate outright obesity, but there's a reason for fat - it's a resource.”
― Lionel Shriver, quote from So Much for That

“Individually, the experience of most people was of accelerating impotence and incomprehension. They lived in a world of superstition. They relied on voodoo - charms, fetishes, and crystal balls whose caprices they were helpless to govern, yet without which the conduct of daily life came to a standstill. Faith that the computer would switch on one more time and do as it was asked had more a religious than a rational cast. When the screen went black, the gods were angry.”
― Lionel Shriver, quote from So Much for That

“Glynis no sólo trabajaba (o había trabajado) con metal; era metal. Rígida, poco dispuesta a cooperar e inflexible. Dura, refractaria y de una radiante rebeldía. El cuerpo largo, estilizado y anguloso como las joyas y la cubertería que una vez diseñó; en la escuela de artes y oficios no había elegido su medio por casualidad. Se identificaba naturalmente con cualquier material que se negara encarnizadamente a hacer lo que uno quería, cuya forma fuese resistente al cambio y sólo respondiera al trato violento. El metal era un escándalo. Si alguna vez se lo maltrataba, sus abolladuras y arañazos captaban la luz como rencores ocultos.”
― Lionel Shriver, quote from So Much for That

“Un millón de dólares. Racionalmente admitía que un kilo ya no era lo mismo que antes, y que tendría que pagar la plusvalía. Con todo, la cifra nunca había perdido la imponente rotundidad de su infancia; daba igual cuántos otros tipos comunes y corrientes también llegaran a ser «millonarios», la palabra todavía seguía teniendo su aquél.”
― Lionel Shriver, quote from So Much for That

“Envuelta en papel celofán, la buena vida era un regalo envenenado.”
― Lionel Shriver, quote from So Much for That

“Puesto que el resentimiento produce el equivalente psíquico de la acidez, a Glynis le molestaba el propio resentimiento. No haber tenido nunca mucho de que quejarse con razón era una razón más para sentirse ofendida.”
― Lionel Shriver, quote from So Much for That

“Hay algo especialmente terrible en el hecho de que te digan una y otra vez que tienes la vida más maravillosa del mundo y que ni siquiera así esa vida mejore y siga siendo una mierda.”
― Lionel Shriver, quote from So Much for That

“Según el gilipollas del jefe, de lo que se trataba era precisamente de malgastar el dinero. Una empresa que mantiene en su local una temperatura tropical en pleno enero, y ártica en agosto, alentaba a los clientes a creer que el negocio iba viento en popa. Era un signo de prosperidad, igual que estar gordo solía ser símbolo de abundancia. Antes uno se podía permitir sobrealimentarse; ahora se podía permitir sobrecalefaccionarse.”
― Lionel Shriver, quote from So Much for That

“No obstante, incluso cuando los médicos se hacían los amables, no solían controlar el alcance de su capacidad para serlo. Por muy gentilmente que se expresaran, más de un mensaje de los que se veían obligados a comunicar era cruel, y si no, una mentira y, por tanto, aún más cruel. Personalmente Shep no entendía por qué alguien querría ser médico.”
― Lionel Shriver, quote from So Much for That

“Por sí mismo no tenía valor, naturalmente. El dinero era un medio. Pero cuando se trataba de llegar a fin de mes nadie lo desestimaba rápidamente como algo que «no preocupaba». Comida, vivienda, ropa. Seguridad, en la medida en que tal cosa existiera, y por tanto también la capacidad de salvarse. Eficacia, poder, influencia. Desahogo, libertad, elección. Generosidad, caridad, si no amor, por sus hijos, por su mujer, por su padre, la evidencia palpable del amor. Educación, si no sabiduría, el requisito previo de información precisa. Si no felicidad, confort, que, de ser necesario, podía hacer las veces de felicidad. Billetes de avión: experiencias, belleza y la posibilidad de escapar.”
― Lionel Shriver, quote from So Much for That

“―La democracia es una broma.

―Sí. Muy incisivo ―dijo Jackson, satisfecho―. Una buena tesis también. En teoría es posible que el cincuenta y uno por ciento de la población desplume todo lo que puede al otro cuarenta y nueve por ciento. Ese tipo de Venezuela, ¿cómo se llama? Howard Chávez, algo así. Así hace él las cosas. En serio, él sólo envía cheques a los marginados. Les das a los gorrones dinero ajeno y después te votan.”
― Lionel Shriver, quote from So Much for That

“La idea es conseguir que quien compra tu libro se sienta un poco menos infeliz porque ahora sabe que es un infeliz, a diferencia de todos los demás, que son tan infelices que ni siquiera saben que lo son.”
― Lionel Shriver, quote from So Much for That

“¿Y cómo se supone que uno puede ser «comprensivo» antes de comprender?”
― Lionel Shriver, quote from So Much for That

“Era uno de esos tipos con una conversación increíblemente lúcida, pero que se paralizaban ante el teclado. Era extraño cómo algunas personas podían ser tan parlanchinas y expresarse tan bien cuando estaban de palique por la calle y, sin embargo, ser incapaces de escribir una frase con sentido aun cuando en ello les fuera la vida.”
― Lionel Shriver, quote from So Much for That

“Ahora bien, esos tipos, los hippies, sí que eran gorrones. Siempre pidiendo dinero, o robándolo, fomentando el libre esto y el libre lo otro, hablando por los codos del anticapitalismo que sólo habían hecho posible los padres trabajadores a los que esquilmaban.”
― Lionel Shriver, quote from So Much for That

“La ocultación podía ser sinónimo de poder. Como andar por la casa con un revólver cargado.”
― Lionel Shriver, quote from So Much for That

“Se parece a mucha gente que siempre ha estado mal de dinero. Piensan que hay dos clases de personas, la gente como ellos y luego los demás, que son increíblemente ricos. Un poco de dinero es lo mismo que una cantidad infinita de dinero.”
― Lionel Shriver, quote from So Much for That

“Nanako, la nueva recepcionista, me ha hablado de esos chicos japoneses que nunca salen de la habitación. ¿Cómo los llaman? ¿Haikumo? Los padres les dejan la comida delante de la puerta, recogen la ropa sucia, a veces vacían la cuña. Los chicos no hablan, y nunca salen de la habitación. Ni asoman la cabeza por la puerta. La mayoría de ellos viven conectados al ordenador. Allí es un gran fenómeno. Deberías estudiarlo, Jacks, es un tema ideal para ti.

Toda una subcultura de chicos que mandan el mundo a la mierda, que dicen dejadme en paz, no nos interesa vuestra mierda. Y no hablamos de chicos disfuncionales de ocho años; muchos de los que optan por excluirse ya tienen veinte o más. Nanako piensa que es una reacción a la enrarecida competencia japonesa. Antes de arriesgarse a perder, se niegan a jugar. La versión intramuros de la Otra Vida, sin el billete de avión.”
― Lionel Shriver, quote from So Much for That

“¿Os habéis fijado alguna vez en cómo los bohemios, esos… artistas, están convencidos de que les debemos el sustento? Como si todos tuviéramos que sentirnos muy agradecidos por el mero hecho de que se dediquen a crear sentido y belleza para nosotros, que somos unos pobres e incultos neandertales. Mientras tanto, ellos viven pasando la gorra delante de nuestras narices, pidiendo otra beca del gobierno o un ático en el centro, cortesía del hermano mayor, el Mezquino Capitalista.”
― Lionel Shriver, quote from So Much for That

“¿Alguna vez has intentado hacer realidad una fantasía sexual? No tiene gracia. Es desagradable e incómodo, o afectado. Cuando vas a hacerla realidad, no te excita. La fantasía funciona mejor mientras sigue siendo una fantasía. La dejas salir al mundo y termina pareciendo una placenta deforme y toda ensangrentada.”
― Lionel Shriver, quote from So Much for That

“El tema del amianto…, a ella le imprime cierto rumbo. Hace que el cáncer parezca algo más importante que una pequeña desgracia personal, que parezca algo más que pura y absurda mala suerte. La conecta con el mundo. Con la historia, con la política, con la justicia. Y entiendo por qué se aferra a eso. Porque creo que ésa es la parte más dura cuando uno enferma, vivir en un universo separado de todos los demás, como exiliado en un país extranjero.”
― Lionel Shriver, quote from So Much for That

“Los chicos nunca parecían darse cuenta de que «sus» habitaciones eran un acto de generosidad por parte del padre, que había pagado toda la casa. Legal, moral y económicamente, Shep tenía derecho a entrar en ese cuarto siempre que quisiera. Con todo, cierta vaga conciencia de que en realidad los niños no tenían territorio podría haber explicado por qué defendían con semejante fiereza su ilusión de tenerlo.”
― Lionel Shriver, quote from So Much for That

“La televisión digital era magia. Internet también. Incluso el coche del padre, la maquina con la que antes los chicos conseguían dominar por primera vez el mundo físico, ahora la controlaba un ordenador. El diagnostico de un fallo no implicaba ponerse a desmontar un motor y pringarse de aceite. En el concesionario, el coche se enchufaba a otro ordenador impenetrable.

Si al mobiliario técnico de la vida de Zach le pasaba algo —y en estos días las máquinas no chisporrotean encima de uno ni empiezan a soltar extraños bufidos ni se ponen a chillar—, a él nunca se le pasaría por la cabeza la idea de arreglarlo con sus propias manos. Para esas cosas había brujos, aunque el concepto mismo de reparación ya se había vuelto arcano; mucho más probable era ir a comprarse otra máquina que trabajaba mágicamente y que luego, mágicamente también, dejaba de funcionar.

En conjunto, la especie humana estaba volviéndose cada vez más autoritaria en lo tocante a los mecanismos del universo. Individualmente, la experiencia de la mayoría eran una impotencia y una falta de comprensión flagrantes. La gente vivía en un mundo de supersticiones. Se fiaba del vudú, de hechizos y fetiches, de bolas de cristal cuyos caprichos no se podían manejar pero sin los cuales el gobierno de la vida cotidiana se paralizaba. La fe en que el ordenador se encendería una vez más y haría lo que se le pedía tenía un tinte religioso más que racional. Cuando la pantalla se oscurecía, los dioses estaban enfadados.”
― Lionel Shriver, quote from So Much for That

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“Pay attention to everything the dying person says. You might want to keep pens and a spiral notebook beside the bed so that anyone can jot down notes about gestures, conversations, or anything out of the ordinary said by the dying person. Talk with one another about these comments and gestures. • Remember that there may be important messages in any communication, however vague or garbled. Not every statement made by a dying person has significance, but heed them all so as not to miss the ones that do. • Watch for key signs: a glassy-eyed look; the appearance of staring through you; distractedness or secretiveness; seemingly inappropriate smiles or gestures, such as pointing, reaching toward someone or something unseen, or waving when no one is there; efforts to pick at the covers or get out of bed for no apparent reason; agitation or distress at your inability to comprehend something the dying person has tried to say. • Respond to anything you don’t understand with gentle inquiries. “Can you tell me what’s happening?” is sometimes a helpful way to initiate this kind of conversation. You might also try saying, “You seem different today. Can you tell me why?” • Pose questions in open-ended, encouraging terms. For example, if a dying person whose mother is long dead says, “My mother’s waiting for me,” turn that comment into a question: “Mother’s waiting for you?” or “I’m so glad she’s close to you. Can you tell me about it?” • Accept and validate what the dying person tells you. If he says, “I see a beautiful place!” say, “That’s wonderful! Can you tell me more about it?” or “I’m so pleased. I can see that it makes you happy,” or “I’m so glad you’re telling me this. I really want to understand what’s happening to you. Can you tell me more?” • Don’t argue or challenge. By saying something like “You couldn’t possibly have seen Mother, she’s been dead for ten years,” you could increase the dying person’s frustration and isolation, and run the risk of putting an end to further attempts at communicating. • Remember that a dying person may employ images from life experiences like work or hobbies. A pilot may talk about getting ready to go for a flight; carry the metaphor forward: “Do you know when it leaves?” or “Is there anyone on the plane you know?” or “Is there anything I can do to help you get ready for takeoff?” • Be honest about having trouble understanding. One way is to say, “I think you’re trying to tell me something important and I’m trying very hard, but I’m just not getting it. I’ll keep on trying. Please don’t give up on me.” • Don’t push. Let the dying control the breadth and depth of the conversation—they may not be able to put their experiences into words; insisting on more talk may frustrate or overwhelm them. • Avoid instilling a sense of failure in the dying person. If the information is garbled or the delivery impossibly vague, show that you appreciate the effort by saying, “I can see that this is hard for you; I appreciate your trying to share it with me,” or “I can see you’re getting tired/angry/frustrated. Would it be easier if we talked about this later?” or “Don’t worry. We’ll keep trying and maybe it will come.” • If you don’t know what to say, don’t say anything. Sometimes the best response is simply to touch the dying person’s hand, or smile and stroke his or her forehead. Touching gives the very important message “I’m with you.” Or you could say, “That’s interesting, let me think about it.” • Remember that sometimes the one dying picks an unlikely confidant. Dying people often try to communicate important information to someone who makes them feel safe—who won’t get upset or be taken aback by such confidences. If you’re an outsider chosen for this role, share the information as gently and completely as possible with the appropriate family members or friends. They may be more familiar with innuendos in a message because they know the person well.”
― quote from Final Gifts: Understanding the Special Awareness, Needs, and Communications of the Dying

“My earliest memories are of CP4 — that's a Kähler manifold that looks locally like a vector space with four complex directions, though the global topology's quite different. But I didn't really grow up there; I was moved around a lot when I was young, to keep my perceptions flexible. I only used to spend time in anything remotely like this" — he motioned at the surrounding more-or-less-Euclidean space — for certain special kinds of physics problems. And even most Newtonian mechanics is easier to grasp in a symplectic manifold; having a separate visible coordinate for the position and momentum of every degree of freedom makes things much clearer than when you cram everything together in a single three-dimensional space.”
― Greg Egan, quote from Schild's Ladder

“I don't remember this earlier,' said Tuck.

'No?' said Robin in a neutral voice, and Tuck was too busy to pursue it, but merely bound it up and told him it was time for him, too, to try to sleep. Robin never had to tell anyone of his meeting, weaponless and with an armful of dead branches to break up for firewood, with one of Guy's men. The next day, when the burying began, no one questioned the body of another mercenary.”
― Robin McKinley, quote from The Outlaws of Sherwood

“God in his unending greatness and glory and man in his unending littleness, prepared for the worst but rarely for the best, prepared for the possible but rarely for the impossible.”
― Frederick Buechner, quote from Telling the Truth: The Gospel as Tragedy, Comedy, and Fairy Tale

“And, like the prodigal son, he had returned broken in body and also in mind to the house where he had been born, and he and his child had been welcomed with open arms.”
― Catherine Cookson, quote from The Black Candle

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