23
" Of course it had been in the air - as the endgame, the worst-case scenario, an inevitability or relief. The word was weighted, ca me pese, a condition of adulthood. In childhood, words are weightless - I shout I hate you and it means nothing, the same can be said for I love you - but as an adult, those very words are used with greater care, they no longer slip out of the mouth with the same ease. I do is another example, a phrase that in childhood is only the stuff of playacting, a game between children, but then grows freighted with meaning. "
― Katie Kitamura , A Separation
26
" As she observed him, she briefly frowned, it was one of the quandaries a woman sometimes faces, not just a woman, but all of us: she entrances one man without effort, a man who is undesired, who follows her around like a dog, however much he is whipped or abused, while all her efforts to attract and then ensnare another man, the truly desired man, come to naught. Charm is not universal, desire is too often unreciprocated, it gathers and pools in the wrong places, slowly becoming toxic. "
― Katie Kitamura , A Separation
34
" . I thought that was why, as I stood before a painting of a young girl in half-light, there was something that was both guarded and vulnerable in her gaze. It was not the contradiction of a single instant, but rather it was as if the painter had caught her in two separate states of emotion, two different moods, and managed to contain them within the single image. There would have been a multitude of such instants captured in the canvas, between the time she first sat down before the painter and the time she rose, neck and upper body stiff, from the final sitting. That layering—in effect a kind of temporal blurring, or simultaneity—was perhaps ultimately what distinguished painting from photography. I wondered if that was the reason why contemporary painting seemed to me so much flatter, to lack the mysterious depth of these works, because so many painters now worked from photographs. "
― Katie Kitamura , Intimacies
36
" Still, they were clearly at ease in front of the camera. They behaved as if they were professionals, that was a function of the age we lived in, people took photographs of themselves all day long, in every act and situation, eating their breakfast, sitting on the train, standing in front of the mirror. The effect was not a new candidness or verisimilitude to the photographs that proliferated—on our phones, computers, on the Internet—but rather the opposite: the artifice of photography had infiltrated our daily lives. We pose all the time, even when we are not being photographed at all. "
― Katie Kitamura , A Separation
37
" When I finally did sit down in front of the machine - a familiar object, I had seen it daily when we were living together - I was reminded of how abrupt and unnatural death always is, at least as we experience it: always an interruption, always things that are left unfinished. This was manifested in Christopher's laptop, the desktop was covered in an intricate mosaic of files and document, there were at least a hundred different and sometimes oddly named folders - other people's work, internet. You name a folder without thinking, there are obvious names for some - accounts, articles - but others have the quality of junk drawers, you hardly remember their contents, you never imagine that one day someone else would be rummaging through them. "
― Katie Kitamura , A Separation