25
" He had grown fat on solitude, he thought, and had learned to expect nothing from the day but at best a dull contentment. Sometimes the dullness came to the fore with a strange and insistent ache which he would entertain briefly, but learn to keep at bay. Mostly, however, it was the contentment he entertained; the slow ease and the silence could, once night had fallen, fill him with a happiness that nothing, no society nor the company of any individual, no glamour or glitter, could equal. "
― Colm Tóibín , The Master
33
" We read a good novel not in order to know more people, but in order to know fewer. Instead of the humming swarm of human beings, relatives, customers, servants, postmen, afternoon callers, tradesmen, strangers who tell us the time, strangers who remark on the weather, beggars, waiters, and telegraph-boys--instead of this bewildering human swarm which passes us every day, fiction asks us to follow one figure (say the postman) consistently through his ecstasies and agonies. That is what makes one impatient with that type of pessimistic rebel who is always complaining of the narrowness of his life and demanding a larger sphere. Life is too large for us as it is: we have all too many things to attend to. All true romance is an attempt to simplify it, to cut it down to plainer and more pictorial proportions. What dullness there is in our life arises mostly from its rapidity; people pass us too quickly to show us their interesting side. By the end of the week we have talked to a hundred bores; whereas, if we had stuck to one of them, we might have found ourselves talking to a new friend, or a humorist, or a murderer, or a man who had seen a ghost. "
― G.K. Chesterton ,
35
" She’s not happy in her marriage. Not unhappy exactly, but not happy. He doesn’t want kids, so that’s nothing to look forward to. Her life is chock-full of quiet tedium. Suddenly, she falls in love. And sure, there’s the excitement of being with her lover, but there’s also the excitement of not being with him. Of waiting and going on with her ordinary life. And all that dullness now becomes part of the drama. Because that’s her cover story. All the dreary anguish and monotony that fills ninety-eight percent of her life is electrified with meaning, since it now serves as the perfect camouflage to hide the two percent of passion. And, yes, she felt guilt and, yes, she felt shame. But those are powerful emotions too, and were all part of the glorious transformation of a featureless bland life into an adventure. "
― Phoef Sutton , Fifteen Minutes to Live
36
" It is the lowered head that makes her seem less noble than, say, a horse, or a deer surprised in the woods. More exactly, it is her lowered head and neck. As she stands still, the top of her head is level with her back, or even a little lower, and so she seems to be hanging her head in discouragement, embarrassment, or shame. There is at least a suggestion of humility and dullness about her. But all these suggestions are false. "
― Lydia Davis , Can't and Won't