24
" As some people turned to religion for comfort, so, Highsmith wrote in her notebook in September 1970, she took refuge in her belief that she was making progress as a writer. But she realised that both systems of survival were, however, fundamentally illusory. She wrote, she said, quoting Oscar Wilde because, 'Work never seems to me a reality, but a way of getting rid of reality'. "
― Andrew Wilson , Beautiful Shadow: A Life of Patricia Highsmith
26
" Those close to [Patricia Highsmith], particularly her family, often commented on how Highsmith's vision of reality was a warped one. In April 1947, she transcribed into her notebook what was, presumably, a real dialogue between herself and her mother, in which Mary accused her of not facing the world. Highsmith replied that she did indeed view the world 'sideways, but since the world faces reality sideways, sideways is the only way the world can be looked at in true perspective.' The problem, Highsmith said, was that her psychic optics were different to those around her, but if that was the case, her mother replied, then she should equip herself with a pair of new spectacles. Highsmith was not convinced. 'Then I need a new birth,' she concluded. "
― Andrew Wilson , Beautiful Shadow: A Life of Patricia Highsmith
29
" I want the real story, the one that won’t make it into the history books or the scientific journals.”
“And you think I’m the man to tell it, do you?”
“If you were actually there, you are most definitely the person to tell it. You’re absolutely right. There have been plenty of stories. The trouble is, every account is different. Most of them are second or third hand. I don’t know . . . I guess I figured, maybe since you weren’t in such a rush to tell your version, it might be the closest to the truth.”
Garvey chuckled heartily. “Well, I can’t argue with that logic, son. Despite my choice of reading materials . . .” he nodded towards the adventure novel he’d set down, a recent translation of the French novel by Jules Verne, A Journey to the Center of the Earth, “I’ve never been one for unnecessary embellishment. You want the God’s honest truth? In this particular case, there’s no need. It’s a hell of a goddamn story.”
I was already flipping open a notebook and licking the tip of a sharpened pencil to take notes. I may have been salivating. "
― Wynne McLaughlin , The Bone Feud
38
" She’d bought a blue notebook in the pharmacy to write down her aunt’s remedies. Star tulip to understand dreams, bee balm for a restful sleep, black mustard seed to repel nightmares, remedies that used essential oils of almond or apricot or myrrh from thorn trees in the desert. Two eggs, which must never be eaten, set under a bed to clean a tainted atmosphere. Vinegar as a cleansing bath. Garlic, salt, and rosemary, the ancient spell to cast away evil. "
― Alice Hoffman , The Rules of Magic (Practical Magic, #0.2)
39
" I pass to the Stationery Department. I buy several fountain and stylographic pens - it being my experience that, though a fountain pen in England behaves in an exemplary manner, the moment it is let loose in desert surroundings, it perceives that it is at liberty to go on strike and behaves accordingly, either spouting ink indiscriminately over me, my clothes, my notebook and anything else handy, or else coyly refusing to do anything but scratch invisibly across the surface of the paper. I also buy a modest two pencils. Pencils are, fortunately, not temperamental, and though given to a knack of quiet disappearance, I have always a resource at hand. After all, what is the use of an architect if not to borrow pencils from. "
― , Come, Tell Me How You Live
40
" It all comes back. Perhaps it is difficult to see the value in having one's self back in that kind of mood, but I do see it; I think we are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind's door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were. I have already lost touch with a couple of people I used to be; one of them, a seventeen-year-old, presents little threat, although it would be of some interest to me to know again what it feels like to sit on a river levee drinking vodka-and-orange-juice and listening to Les Paul and Mary Ford and their echoes sing " How High the Moon" on the car radio. (You see I still have the scenes, but I no longer perceive myself among those present, no longer could ever improvise the dialogue.) The other one, a twenty-three-year-old, bothers me more. She was always a good deal of trouble, and I suspect she will reappear when I least want to see her, skirts too long, shy to the point of aggravation, always the injured party, full of recriminations and little hurts and stories I do not want to hear again, at once saddening me and angering me with her vulnerability and ignorance, an apparition all the more insistent for being so long banished. It is a good idea, then, to keep in touch, and I suppose that keeping in touch is what notebooks are all about. And we are all on our own when it comes to keeping those lines open to ourselves: your notebook will never help me, nor mine you. "