41
" It began with a telephone call from Isabella.
And although I could have said, For what?—after all, wasn’t I here, in his home, in his bed, and weren’t we engaged—I knew exactly what he meant, and I could only say that I was sorry, and that I agreed—although what we were waiting for, what exactly it was, neither of us could say. "
― Katie Kitamura , A Separation
43
" The word was weighted, ça me pèse, 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
46
" But fluency was merely the foundation for any kind of interpretive work, which demanded extreme precision, and I often thought that it was my natural inclination toward the latter, rather than any linguistic aptitude, that made me a good interpreter. That exactitude was even more important in a legal context, and within a week of working at the Court I learned that its vocabulary was both specific and arcane, with official terminology that was set in each language, and then closely followed by all the interpreters on the team. This was done for obvious reasons, there were great chasms beneath words, between two or sometimes more languages, that could open up without warning. "
― Katie Kitamura , Intimacies
49
" Literally an out-of-body experience, he had said. You, the bereaved are completely liberated from the need to emote. All the pressures of the funeral, the expectation that you will perform your grief for the assembled crowd - imagine that you are a widow, burying your husband, people expect a good show. But the nature of grief is incompatible with this demand, people say that when you are grieving, when you have experienced a profound loss, you are impaled beneath it, hardly in a condition to express your sorrow. Instead, you purchase an instrument to express your sorrow, or perhaps it's less like an instrument and more like a tape recorder and tape, you simply press play and the ceremony, the long and elaborate production, carries on without you. You walk away and are left alone with your grief. It is a remarkably enlightened arrangement, of course the financial aspect is crucial, the fact that it is a monetary transaction makes the entire arrangement clean, refined. It's no wonder that such a custom is native to Greece, the so-called cradle of civilization - it makes perfect sense. "
― Katie Kitamura , A Separation
52
" the paintings opened up a dimension that you did not normally see in photographs, in these paintings you could feel the weight of time passing. 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
54
" Over the course of those long hours in the booth, I sometimes had the unpleasant sensation that of all the people in the room below, of all the people in the city itself, the former president was the person I knew best. In those moments, out of what I can only describe as an excess of imagination, he became the person whose perspective I occupied. I flinched when the proceedings seemed to go against him, I felt quiet relief when they moved in his direction. It was disquieting in the extreme, like being placed inside a body I had no desire to occupy. I was repulsed, to find myself so permeable. With increasing frequency, I avoided looking down into the courtroom, I concentrated on the notes on the page before me, on the words being spoken into my earpiece. "
― Katie Kitamura , Intimacies