106
" Mother, have you noticed that this society we’re in tends to be a little…repressive?”
“What does that mean, Eugenie? What does that mean, that strange new word, ‘repressive,’ that I have never heard before?”
“It means…it’s like when you decide to do something, and you get up out of your chair to do it, and you take a step, and then become aware of frosty glances being directed at you from every side.”
“Frosty glances?”
“Your desires are stifled.”
“What desires are you talking about?”
“Just desires in general. Any desires. It’s a whole…I guess atmosphere is the…word…a tendency on the part of the society…”
“You’d better sew some more pillow cases, Eugenie. "
― Donald Barthelme , Sixty Stories
109
" The Dead Father was slaying, in a grove of music and musicians. First he slew a harpist and then a performer upon the serpent and also a banger upon the rattle and also a blower of the Persian trumpet and one upon the Indian trumpet and one upon the Hebrew trumpet and one upon the Roman trumpet and one upon the Chinese trumpet of copper-covered wood. Also a blower upon the marrow trumpet and one upon the slide trumpet and one who wearing upon his head the skin of a cat performed upon the menacing murmurous cornu and three blowers on the hunting horn and several blowers of the conch shell and a player of the double aulos and flautists of all descriptions and a Panpiper and a fagotto player and two virtuosos of the quail whistle and a zampogna player whose fingering of the chanters was sweet to the ear and by-the-bye and during the rest period he slew four buzzers and a shawmist and one blower upon the water jar and a clavicytheriumist who was before he slew her a woman, and a stroker of the theorbo and countless nervous-fingered drummers as well as an archlutist, and then whanging his sword this way and that the Dead Father slew a cittern plucker and five lyresmiters and various mandolinists, and slew too a violist and a player of the kit and a picker of the psaltery and a beater of the dulcimer and a hurdy-gurdier and a player of the spike fiddle and sundry kettledrummers and a triangulist and two-score finger cymbal clinkers and a xylophone artist and two gongers and a player of the small semantron who fell with his iron hammer still in his hand and a trictrac specialist and a marimbist and a maracist and a falcon drummer and a sheng blower and a sansa pusher and a manipulator of the gilded ball.
The Dead Father resting with his two hands on the hilt of his sword, which was planted in the red and steaming earth.
My anger, he said proudly.
Then the Dead Father sheathing his sword pulled from his trousers his ancient prick and pissed upon the dead artists, severally and together, to the best of his ability-four minutes, or one pint.
Impressive, said Julie, had they not been pure cardboard.
My dear, said Thomas, you deal too harshly with him.
I have the greatest possible respect for him and for what he represents, said Julie, let us proceed. "
― Donald Barthelme , The Dead Father
112
" INTERVIEWER
Why don’t you write tragedy?
BARTHELME
I’m fated to deal in mixtures, slumgullions, which preclude tragedy, which require a pure line. It’s a habit of mind, a perversity. Tom Hess used to tell a story, maybe from Lewis Carroll, I don’t remember, about an enraged mob storming the palace shouting “More taxes! Less bread!” As soon as I hear a proposition I immediately consider its opposite. A double-minded man—makes for mixtures.
INTERVIEWER
Apparently the Yiddish theater, to which Kafka was very addicted, includes as a typical bit of comedy two clowns, more or less identical, who appear even in sad scenes—the parting of two lovers, for instance—and behave comically as the audience is weeping. This shows up especially in The Castle.
BARTHELME
The assistants.
INTERVIEWER
And the audience doesn’t know what to do.
BARTHELME
The confusing signals, the impurity of the signal, gives you verisimilitude. As when you attend a funeral and notice, against your will, that it’s being poorly done. [...] I think of the line from the German writer Heimito von Doderer: “At first you break windows. Then you become a window yourself. "
― Donald Barthelme
118
" You told me that Kafka was not a thinker, and that a "genetic" approach to his work would disclose that much of it was only a kind of very imaginative whining. That was during the period when you were going in for wrecking operations, feeling, I suppose, that the integrity of your own mental processes was best maintained by a series of strong, unforgiving attacks. You made quite an impression on everyone, in those days: you ruffled blouse, you long magenta skirt slit to the knee, the dagger thrust into your boot. "Is that a metaphor?" I asked, pointing to the dagger; you shook your head, smiled, said no. "
― Donald Barthelme