1
" Now and again, one could detect in a childless woman of a certain age the various characteristics of all the children she had never issued. Her body was haunted by the ghost of souls who hadn't lived yet. Premature ghosts. Half-ghosts. X's without Y's. Y's without X's. They applied at her womb and were denied, but, meant for her and no one else, they wouldn't go away. Like tiny ectoplasmic gophers, they hunkered in her tear ducts. They shone through her sighs. Often to her chagrin, they would soften the voice she used in the marketplace. When she spilled wine, it was their playful antics that jostled the glass. They called out her name in the bath or when she passed real children in the street. The spirit babies were everywhere her companions, and everywhere they left her lonesome - yet they no more bore her resentment than a seed resents uneaten fruit. Like pet gnats, like phosphorescence, like sighs on a string, they would follow her into eternity. "
― Tom Robbins , Fierce Invalids Home from Hot Climates
3
" Mr. Lisbon knew his parental and neighborly duty entailed putting the retainer in a Ziploc bag, calling the Kriegers, and telling them their expensive orthodontal device was in safe keeping. Acts like theses -- simple, humane, conscientious, forgiving -- held life together. Only a few days earlier he would have been able to perform them. But now he took the retainer and dropped it in the toiler. He pressed the handle. The retainer, jostled int he surge, disappeared down the porcelain throat, and, when waters abated, floated triumphantly, mockingly, out, Mr. Lisbon waited for the tank to refill and flushed again, but the same thing happened. The replica of the boy's mouth clung to the white slope. "
― Jeffrey Eugenides , The Virgin Suicides
5
" One day I found him amid large packages from which spilled attractive, glossy paperbacks with mythical covers. He had tried to use, as a " generator of ideas" — for we were running out of them — those works of fantastic literature, that popular genre (especially in the States), called, by a persistent misconception, " science fiction." He had not read such books before; he was annoyed — indignant, even — expecting variety, finding monotony. " They have everything except fantasy," he said. Indeed, a mistake. The authors of these pseudo-scientific fairy tales supply the public with what it wants: truisms, clichés, stereotypes, all sufficiently costumed and made " wonderful" so that the reader may sink into a safe state of surprise and at the same time not be jostled out of his philosophy of life. If there is progress in a culture, the progress is above all conceptual, but literature, the science-fiction variety in particular, has nothing to do with that. "
6
" For that moment at least they seemed to give up external plans, theories, and codes, even the inescapable romantic curiosity about one another, to indulge in being simply and purely young, to share that sense of the world’s affliction, that outgoing sorrow at the spectacle of Our Human Condition which anyone this age regards as reward or gratuity for having survived adolescence.
For them the music was sweet and painful, the strolling chains of tourists like a Dance of Death. They stood on the curb, gazing at one another, jostled against by hawkers and sightseers, lost as much perhaps in that bond of youth as in the depths of the eyes each contemplated. "
― Thomas Pynchon , V.
7
" The game jostled back and forth, and then came the final inning. Some player named Casey came to bat, like his teammates, looking like a rock. Lightning ripped through the air as rain came down in sheets. The scoreboard said the horses were beating the rocks by two points, but there were two men on base. If Casey hit a homerun, the rocks would beat the horses. If not, too bad for the rocks.
This man, Ben, and the two people with him looked horrified as this Casey came to bat. They had red shirts with horses painted on them. They jumped up and down for joy when they saw the final pitch, and Casey sulking back to the dugout. He had struck out. After the game, the four hiked back to a very small car. "
― Molly Maguire McGill , A Sappy Piece of Crap: A Love Story (Growing Up in Levittown, Again!, #2)
8
" London was a city of ghosts, some deader than others. Thorne knew that in this respect, it wasn't unlike any other major city - New York or Paris or Sydney - but he felt instinctively that London was .... at the extreme. The darker side of that history, as opposed to the parks, palaces and pearly kings' side that made busloads of Japanese and American tourists gawk and jabber. The hidden history of a city where the lonely, the dispossessed, the homeless, wandered the streets, brushing shoulders with the shadows of those that had come before them. A city in which the poor and the plague-ridden, those long-since hanged for stealing a loaf or murdered for a shilling, jostled for position with those seeking a meal, or a score, or a bed for the night.A city where the dead could stay lost a long time "
11
" Three years in London had not changed Richard, although it had changed the way he perceived the city. Richard had originally imagined London as a gray city, even a black city, from pictures he had seen, and he was surprised to find it filled with color. It was a city of red brick and white stone, red buses and large black taxis, bright red mailboxes and green grassy parks and cemeteries.
It was a city in which the very old and the awkwardly new jostled each other, not uncomfortably, but without respect; a city of shops and offices and restaurants and homes, of parks and churches, of ignored monuments and remarkably unpalatial palaces; a city of hundreds of districts with strange names - Crouch End, Chalk Farm, Earl's Court, Marble Arch - and oddly distinct identities; a noisy, dirty, cheerful, troubled city, which fed on tourists, needed them as it despised them, in which the average speed of transportation through the city had not increased in three hundred years, following five hundred years of fitful road-widening and unskillful compromises between the needs of traffic, whether horse-drawn, or, more recently, motorized, and the need of pedestrians; a city inhabited by and teeming with people of every color and manner and kind. "
― Neil Gaiman , Neverwhere (London Below, #1)
