“Sometimes I feel that I am destined always to be offstage whenever the main action occurs. That God has made me the victim of some cosmic practical joke, by assigning me little more than a walk-on part in my own life. Or sometimes I feel that my role is simply to be a spectator to other people's stories, and always to wander away at the most important moment, drifiting into the kitchen to make a cup of tea just as the denouement unfolds.”
― Jonathan Coe, quote from The Rotters' Club
“These pieces, he already realised, were merely stepping stones at the start of a journey towards something - some grand artefact, either musical, or literary, or filmic, or perhaps a combination of all three - towards which he knew he was advancing, slowly but with a steady, inexorable tread. Something which would enshrine his feelings for Cicely, and which she would perhaps hear, or read, or see in ten or twenty years' time, and suddenly realize, on her pulse, that it was created for her, intended for her, and that of all the boys who had swarmed around her like so many drones at school, Benjamin had been, without her having the wit to notice it, by far the purest in heart, by far the most gifted and giving. On that day the awareness of all she had missed, all she had lost, would finally break upon her in an instant, and she would weep; weep for her foolishness, and of the love that might have been between them.
Of course, Benjamin could always just have spoken to her, gone up to her in the bus queue and asked her for a date. But this seemed to him, on the whole, the more satisfactory approach.”
― Jonathan Coe, quote from The Rotters' Club
“You didn't take part, Benjamin?" Gunther asked, as he passed me a plate of cheese and cold meat.
"My brother doesn't play games," said Paul. "He's an aesthete. He sat by the window all afternoon with a funny look on his face: probably composing a tone poem.”
― Jonathan Coe, quote from The Rotters' Club
“...he was the proud owner of a quite colossal member, which on the many awestruck occasions it had been exposed to public view had been compared variously to a giant frankfurter, an overfed python, a length of led piping, the trunk of a rogue elephant, a barrage balloon, an airport-sized Toblerone and a roll of wet wallpaper.”
― Jonathan Coe, quote from The Rotters' Club
“Half an hour later, as I was deeply immersed in the story of The Man of the Hill, that curious, lengthy digression which seems to have nothing to do with the main narrative but is in fact its cornerstone..”
― Jonathan Coe, quote from The Rotters' Club
“Am I the same person that I dream about?”
― Jonathan Coe, quote from The Rotters' Club
“Well, I thought you might want to listen to this. I mean, I thought you might be . . . ready for it.
"I don't know if you remember, but just before . . . just before Malcolm died, he took me to see a concert in the town. We went to Barbarella's, and we heard all these weird bands. You remember the kind of music he used to like? Well, the people who made this record were playing that night, and they were his favourite. He liked them more than anyone. And I thought that if you heard it, it might remind you . . . might help you to think a bit about the kind of person he was.
"And there's another reason too. You see the title of the record? It's called The Rotters' Club.
"The Rotters' Club: that's us, Lois, isn't it? Do you see? That's what they used to call us, at school. Bent Rotter, and Lowest Rotter. We're The Rotters' Club. You and me. Not Paul. Just you and me.
"I think this record was meant for us, you see. Malcolm never got to hear it, but I think he . . . knows about it, if that doesn't sound too silly. And now it's his gift, to you and me. From - wherever he is.
"I don't know if that makes any sense.
"Anyway.
"I'll just leave it on the table here.
"Have a listen, if you feel like it.
"I've got to go now.
"I've got to go, Lois.
"I've got to go.”
― Jonathan Coe, quote from The Rotters' Club
“Hey - Duggie! Duggie! Duggie!" He came running up to me, sparkler in hand. I felt like sticking one on him, the cheeky bastard. Nobody called me Duggie.
He held the sparkler up in front of my face and said, "Wait. Wait."
I was already waiting. What else was there to do?
"Here you are," he said. "Look! What's this?"
At that precise moment, his sparkler fizzled out. I didn't say anything, so he supplied the answer himself. "The death of the socialist dream," he said.
He giggled like a little maniac, and stared at me for a second or two before running off, and in that time I saw exactly the same thing I'd seen in Stubbs's eyes the day before. The same triumphalism, the same excitement, not because something new was being created, but because something was being destroyed. I thought about Phillip and his stupid rock symphony and I swear that my eyes pricked with tears. This ludicrous attempt to squeeze the history of the countless millennia into half an hour's worth of crappy riffs and chord changes suddenly seemed no more Quixotic than all the things my dad and his colleagues had been working towards for so long. A national health service, free to everyone who needed it. Redistribution of wealth through taxation. Equality of opportunity. Beautiful ideas, Dad, noble aspirations, just as there was the kernel of something beautiful in Philip's musical hodge-podge. But it was never going to happen. If there had ever been a time when it might have happened, that time was slipping away. The moment had passed. Goodbye to all that.
Easy to be clever with hindsight, I know, but I was right, wasn't I? Look back on that night from the perspective of now, the closing weeks of the closing century of our second millennium - if the calendar of some esoteric and fast-disappearing religious sect counts for anything any more - and you have to admit that I was right. And so was Benjamin's brother, the little bastard, with his sparkler and his horrible grin and that nasty gleam of incipient victory in his twelve-year-old eyes. Goodbye to all that, he was saying. He'd worked it out already. He knew what the future held in store.”
― Jonathan Coe, quote from The Rotters' Club
“They sat and drank their pints. The tables in which their faces were dimly reflected were dark brown, the darkest brown, the colour of Bournville chocolate. The walls were a lighter brown, the colour of Dairy Milk. The carpet was brown, with little hexagons of a slightly different brown, if you looked closely. The ceiling was meant to be off-white, but was in fact brown, browned by the nicotine smoke of a million unfiltered cigarettes. Most of the cars in the car park were brown, as were most of the clothes worn by the patrons. Nobody in the pub really noticed the predominance of brown, or if they did, thought it worth remarking upon. These were brown times.”
― Jonathan Coe, quote from The Rotters' Club
“Can you make her out at all?'
Benjamin shrugged. As usual, in Cicely's presence, he was afraid of appearing inarticulate, and as usual, this fear robbed him of his power of speech.”
― Jonathan Coe, quote from The Rotters' Club
“A volte mi sento come se fossi destinato a essere sempre dietro le quinte quando arriva una scena madre. Come se Dio mi avesse scelto come vittima di un cosmico tiro mancino, assegnandomi poco più di una comparsata nella mia vita. Altre volte mi sento come se non avessi altro role che quello dello spettatore di storie di altra gente e per di più fossi condannato a lasciare il mio posto sempre al momento cruciale, e andare in cucina a farmi una tazza di tea proprio quando arriva la resa dei conti”
― Jonathan Coe, quote from The Rotters' Club
“None of this made any sense to Benjamin, however hard he tried. Roll-Up Reg was talking another language. But then, he was no more persuaded by the things his parents told him, or the teachers at school. It was the world, the world itself that was beyond his reach, this whole absurdly vast, complex, random, measureless construct, this never-ending ebb and flow of human relations, political relations, cultures, histories . . . How could anyone hope to master such things? It was not like music. Music always made sense. The music he heard that night was lucid, knowable, full of intelligence and humour, wistfulness and energy and hope. He would never understand the world, but he would always love this music.”
― Jonathan Coe, quote from The Rotters' Club
Jonathan Coe
Born place: in Birmingham, The United Kingdom
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“And what about him saying the book had chosen her, but to access its full power, she first had to heal her heart?”
― John Stephens, quote from The Emerald Atlas
“If you can't convince 'em, confuse 'em.”
― Sherry Argov, quote from Why Men Love Bitches: From Doormat to Dreamgirl—A Woman's Guide to Holding Her Own in a Relationship
“That's precisely what's so extraordinary about you, you enjoy giving pleasure. Offering your body as an object of pleasure, giving pleasure unselfishly: that's what Westerners don't know how to do any more. They've completely lost the sense of giving. Try as they might, they no longer feel sex as something natural. Not only are they ashamed of their own bodies, which aren't up to porn standards, but for the same reasons they no longer feel truly attracted to the body of the other. It's impossible to make love without a certain abandon, without accepting, at least temporarily, the state of being in a state of dependency, of weakness. Sentimental adulation and sexual obsession have the same roots, both proceed from some degree of selflessness; it's not a domain in which you can find fulfilment without losing yourself. We have become cold, rational, acutely conscious of our individual existence and our rights; more than anything, we want to avoid alienation and dependence; on top of that we're obsessed with health and hygiene: these are hardly ideal conditions in which to make love.”
― Michel Houellebecq, quote from Platform
“I don’t know," she said. "I’m not sure you would like me in real life. I’m a lot different there, you know. I don’t even look the same."
" I don’t care if you look like a troll with warts," Sir Leo declared, taking her hand in his. "I love you.”
― Mari Mancusi, quote from Gamer Girl
“But if renting all those movies had taught me anything more than how to lose myself in them, it was that you only actually have perfectly profound little moments like that in real life if you recognize them yourself, do all the fancy shot work and editing in your head, usually in the very seconds that whatever is happening is happening. And even if you do manage to do so, just about never does anyone else you’re with at the time experience that exact same kind of moment, and it’s impossible to explain it as it’s happening, and then the moment is over.”
― Emily M. Danforth, quote from The Miseducation of Cameron Post
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Les Misérables
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