2
" We would like to go and see the field that Millet…shows us in his Springtime, we would like Claude Monet to take us to Giverny, on the banks of the Seine, to that bend of the river which he hardly lets us distinguish through the morning mist. Yet in actual fact, it was the mere chance of a connection or family relation that give…Millet or Monet occasion to pass or to stay nearby, and to choose to paint that road, that garden, that field, that bend in the river, rather than some other. What makes them appear other and more beautiful than the rest of the world is that they carry on them, like some elusive reflection, the impression they afforded to a genius, and which we might see wandering just as singularly and despotically across the submissive, indifferent face of all the landscapes he may have painted.’
It should not be Illiers-Combray that we visit: a genuine homage to Proust would be to look at our world through his eyes, not look at his world through our eyes.
To forget this may sadden us unduly. When we feel interest to be so dependent on the exact locations where certain great artists found it, a thousand landscapes and areas of experience will be deprived of possible interest, for Monet only looked at a few stretches of the earth, and Proust’s novel, though long, could not comprise more than a fraction of human experience. Rather than learn the general lesson of art’s attentiveness, we might seek instead the mere objects of its gaze, and would then be unable to do justice to parts of the world which artists had not considered. As a Proustian idolater, we would have little time for desserts which Proust never tasted, for dresses he never described, nuances of love he didn’t cover and cities he didn’t visit, suffering instead from an awareness of a gap between our existence and the realm of artistic truth and interest.
The moral? There is no great homage we could pay Proust than to end up passing the same verdict on him as he passed on Ruskin, namely, that for all its qualities, his work must eventually also prove silly, maniacal, constraining, false and ridiculous to those who spend too long on it.
‘To make [reading] into a discipline is to give too large a role to what is only an incitement. Reading is on the threshold of the spiritual life; it can introduce us to it: it does not constitute it. "
― Alain de Botton , How Proust Can Change Your Life
5
" In every woman, Claude had told Mickey, there is a need rarely satisfied by men, a need for simply caressing, and she had described how one of her women friends loved to cares the 'neutral parts' of her body for hours at a time. The neutral parts were the shoulders, the arms, the throat, the back, the parts that men seemd to forget. The insatiable desire for tenderness was felt most strongly in these neutral parts, wich were so rarely caressed. Men made love each in his fashion, more or less expertly, according to Claude, and they were especially fond of those things in women that were different from their own bodies. "
11
" You are in his car and your words taste like honey. The suns yolk is stretching over the road, with hues of pink and red ribbon pressed against the bruises of the sky. He is talking about mechanics or sugar factories, and you are touching the rings on your fingers. The windows are open and the wind is making a home in your bones. Your jeans are ripped, your perfume smells like lilacs, your nails painted the color of sea weed. You forget about noise. You forget about color. It’s your lungs - I think, it’s your lungs that are morphing into purple butter. You are in his car and you are Mozart composing art, Claude Monet painting Water Lilies, you are Aphrodite, you are Shakespeare. You are in his car and you can’t remember what salt feels like against your tongue. You are in his car and you are ocean, fire - lip, tongue, breath, sweat. You are in his car and you are telling him you love him. You are in his car and he is telling you he loves you back. "
17
" Beside him Mr. Harris folded his morning newspaper and held it out to Claude." Seen this yet?" " No." " Don't read it," Mr. Harris said, folding the paper once more and sliding it under his rear. " It will only upset you, son." " It's a wicked paper... " Claude agreed, but Mr. Harris was overspeaking him." It's the big black words that do it. The little grey ones don't matter very much, they're just fill-ins they take everyday from the wires. They concentrate their poison in the big black words, where it will radiate.Of course if you read the little stories too you've got sure proof that every word they wrote above, themselves, was a fat black lie, but by then you've absorbed a thousand greyer ones, and where and how to check on those? This way the mind deteriorates. The best way you can save yourself is not to read it, son." " No, I... " " That's right, if you're not careful," Mr. Harris went on, blue-eyed, red-faced, " you find yourself pretty soon hating everyone but God, the Babe, and a few dead senators. That's no fun. Men aren't so bad as that." " No." " That's right, you begin to worry about anyone who opens his mouth except to say ho it looks like rain, let's bowl. Otherwise you wonder what the hell he's trying to prove, or undermine. If he asks what time it is, you wonder what terrible thing is scheduled to happen, where it will happen, when. You can't even stand to be asked how you feel today - he's probably looking at the bumps on you, they may have grown more noticeable overnight. Soon you feel you should apologize for standing there where he can watch you dying in front of him, he'd rather for you to carry your head around in a little plaid bag, like your bowling ball. There's no joy in that. Men aren't so very bad." Mr. Harris paused to remove his Panama hat. Water seeped from his knobby forehead, which he mopped with a damp handkerchief. " I've offended you, son," he said." Not at all, I entirely agree with you." Mr. Harris replaced his hat, folded his handkerchief." I shouldn't shoot off this way," he said. " I read too much." " No, no. You're right... "
18
" They looked so familiar that for a moment Claude feared he had doubled back to Mrs. Merritt's city, until a sudden wave of water blinded his wipers and drove him along with everyone else to the curb, where the crackling radio reported an old man had just now been swept from his backyard by a cloudburst, the latest in a series deluging Tulsa. Clinging there to the side of the hill, no hand brake, Claude rode out the storm, stuffing blankets into the cracks under the doors, watching overhead drips as best he could with the babyseat. When the car next in front crept away from the curb, Claude followed as far as a gas station. There he wondered aloud what lay ahead, but the attendant couldn't say, having swum to work just five minutes ago. Now as Claude pulled away the rain suddenly ceased, it seemed from exhaustion, and for the next hundred miles he spun his dial to catch the latest reports: that old man was still missing, he had last been seen floating downhill toward the river, he had been found, he was dead, he was dying, he was still missing... Claude turned off the radio, for he was beyond range of Tulsa, and Joplin had not heard the news yet. He raced in silence toward the night which he knew already had begun not far ahead. "
― , Wall to Wall
19
" At the high school a pretty girl strolled across the parking lot to her black stallion, let her cigarette dangle from her lips while she put on her helmet, adjusted her goggles. Throwing a slender white leg over the side she jacked her little backside up and down a few times, exciting the steed. Now she came down on his back and he squatted, moaning to the soft squeeze of her hand, then at her sudden clutch shot out fast between the press of her knees. Claude looked down at his shoes as they passed, having seen nothing. But he glanced up in time to watch them glide off under the next streetlamp, the gleaming beast appearing almost languid with release, very pleased with himself and with the girl who clung to his back, small and stiff and unsatisfied.
She had been noticed: everywhere along the way the leaning people looked after her as though wondering if the new week had finally begun, then they looked at one another, then back at nothing. "
― , Wall to Wall
20
" People retreated behind their front doors into the hidden zone of their private, family worlds and when outsiders asked how things were they answered, Oh, everything’s going along just fine, not much to report, situation normal. But everyone secretly knew that behind that door things were rarely humdrum. More typically, all hell was breaking loose, as people dealt with their angry fathers, drunken mothers, resentful siblings, mad aunts, lecherous uncles and crumbling grandparents. The family was not the firm foundation upon which society rested, but stood at the dark chaotic heart of everything that ailed us. It was not normal, but surreal; not humdrum, but filled with event; not ordinary, but bizarre. He remembered with what excitement he had listened, at the age of twenty, to the Reith Lectures delivered on BBC Radio by Edmund Leach, the great anthropologist and interpreter of Claude Lévi-Strauss who, a year earlier, had succeeded Noel Annan as provost of King’s. “Far from being the basis of the good society,” Leach had said, “the family, with its narrow privacy and tawdry secrets, is the source of all our discontents.” Yes! he thought. Yes! That is a thing I also know. The families in the novels he later wrote would be explosive, operatic, arm-waving, exclamatory, wild. People who did not like his books would sometimes criticize these fictional families for being unrealistic—not “ordinary” enough. However, readers who did like his books said to him, “Those families are exactly like my family. "
― Salman Rushdie , Joseph Anton: A Memoir
