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1 " ...the restaurant itself is weird especially because of a big raunch mad thicklipped sloppy young Fillipino woman sitting alone at the end of the restaurant gobbling up her food obscenely and looking at us insolently as tho to say " Fuck you, I eat the way I like splashing gravy everywhere (p. 156) "
2 " The word “marriage” lingered in Guy’s ears, too. It was a solemn word to him. It had the primordial solemnity of holy, love, sin. It was Miriam’s round terra cotta-coloured mouth saying, “Why should I put myself out for you?” and it was Anne’s eyes as she pushed her hair back and looked up at him on the lawn of her house where she planted crocuses. It was Miriam turning from the tall thin window in the room in Chicago, lifting her freckled, shield-shaped face directly up to his as she always did before she told a lie, and Steve’s long dark head, insolently smiling. "
― Patricia Highsmith , Strangers on a Train
3 " I'm in love with New York. It matches my mood. I'm not overwhelmed. It is the suitable scene for my ever ever heightened life. I love the proportions, the amplitude, the brilliance, the polish, the solidity. I look up at Radio City insolently and love it. It's all great, and Babylonian. Broadway at night. Cellophane. The newness. The vitality. True, it is only physical. But it's inspiring. Just bring your own contents, and you create a sparkle of the highest power. I'm not moved, not speechless. I stand straight, tough and I meet the impact. I feel the glow and the dancing in everything. The radio music in the taxis, scientific magic, which can all be used lyrically. That's my last word. Give New York to a poet. He can use it. It can be poetized. Or maybe that's mania of mine, to poetize. I live lightly, smoothly, actively, ears or eyes wide open, alert, oiled! I feel the glow and the dancing in every thing and the tempo is like that of my blood. I'm at once beyond, over and in New York, tasting it fully. "
― Anaïs Nin
