2
" So they were pen pals now, Emma composing long, intense letters crammed with jokes and underlining, forced banter and barely concealed longing; two-thousand-word acts of love on air-mail paper. Letters, like compilation tapes, were really vehicles for unexpressed emotions and she was clearly putting far too much time and energy into them. In return, Dexter sent her postcards with insufficient postage: ‘Amsterdam is MAD’, ‘Barcelona INSANE’, ‘Dublin ROCKS. Sick as DOG this morning.’ As a travel writer, he was no Bruce Chatwin, but still she would slip the postcards in the pocket of a heavy coat on long soulful walks on Ilkley Moor, searching for some hidden meaning in ‘VENICE COMPLETELY FLOODED!!!! "
― David Nicholls
4
" [W]hile our souls are meager, nature has surplus. Yet something of the mechanism's subject was indeed dissolved in that silver chloride, flattened then minted as those promiscuous postcards we saw now, which we could not now unsee, for we had accepted unawares a bit of the Canyon each time we saw a photograph of it, and those pieces, filtered and diluted, had accumulated in us, so that we never saw anything for the first time. Perhaps the ugliest of our impulses, to shove the sublime through a pinhole. "
― Claire Vaye Watkins , Gold Fame Citrus
7
" In the street below, a posh-looking drunk man is reading the card of a prostitute, Blue-Tacked up by a doorbell. He’s examining it with all the forensic care I presume he puts into reading a wine list.
‘What are you looking for?’ I ask him, in my head. ‘What woman will go best with your main course of terrible, horny loneliness?’
I speculate, briefly, on how different the world would be if it were run by women. In that world, if you were a lonely, horny woman – as I am. As I always am – you’d see Blu-tacked postcards by Soho doorways that read, ‘Nice man in cardigan, 24, will talk to you about The Smiths whilst making you cheese-on-toast + come to parties with you. Apply within. "
― Caitlin Moran , How to Build a Girl (How to Build a Girl, #1)
10
" There is a difference between arrival and entrance. Arrival is physical and happens all at once. The train pulls in, the plan touches down, you get out of the taxi with all your luggage. You can arrive a place and never really enter it; you get there, look around, take a few pictures, make a few notes, send postcards home. When you travel like this, you think you know where you are, but, in fact, you have never left home. Entering takes longer. You cross over, slowly, in bits and pieces. […] It is like awakening slowly, over a period of weeks. And then one morning, you open your eyes and you are finally here, really and truly here. You are just beginning to know where you are. "
― Jamie Zeppa
14
" We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. " No one sees the barn," he said finally. A long silence followed. " Once you've seen the signs about the barn, it becomes impossible to see the barn." He fell silent once more. People with cameras left the elevated site, replaced by others.We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. " Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism." Another silence ensued. " They are taking pictures of taking pictures," he said. "
16
" Going by Dr. Marriott's description, Zoe imagined it to be small and elegant as she peered into dozens of shelves, rummaging through the contents. There were globes and charts and atlases, pocket watches and hand-painted Indian silk, gold-plated cutlery, litter coffers of spice, inlaid combs, silver fasteners, trinket boxes, blown-glass figurines, turn-of-the-century postcards with foreign stamps, and portraits of Victorian authors in elaborate frames. But nowhere did she discover a stone of any kind, with or without runes. "
― Christine Brodien-Jones , The Glass Puzzle
19
" I suppose you think you know what autumn looks like. Even if you live in the Los Angeles dreamed of by September’s schoolmates, you have surely seen postcards and photographs of the kind of autumn I mean. The trees go all red and blazing orange and gold, and wood fires burn at night so everything smells of crisp branches. The world rolls about delightedly in a heap of cider and candy and apples and pumpkins and cold stars rush by through wispy, ragged clouds, past a moon like a bony knee. You have, no doubt, experienced a Halloween or two.
Autumn in Fairyland is all that, of course. You would never feel cheated by the colors of a Fairyland Forest or the morbidity of a Fairyland moon. And the Halloween masks! Oh, how they glitter, how they curl, how their beaks and jaws hook and barb! But to wander through autumn in Fairyland is to look into a murky pool, seeing only a hazy reflection of the Autumn Provinces’ eternal fall. And human autumn is but a cast-off photograph of that reflecting pool, half burnt and drifting through the space between us and Fairyland.
And so I may tell you that the leaves began to turn red as September and her friends rushed through the suddenly cold air on their snorting, roaring high wheels, and you might believe me. But no red you have ever seen could touch the crimson bleed of the trees in that place. No oak gnarled and orange with October is half as bright as the boughs that bent over September’s head, dropping their hard, sweet acorns into her spinning spokes. But you must try as hard as you can. Squeeze your eyes closed, as tight as you can, and think of all your favorite autumns, crisp and perfect, all bound up together like a stack of cards. That is what it is like, the awful, wonderful brightness of Fairy colors. Try to smell the hard, pale wood sending up sharp, green smoke into the afternoon. To feel to mellow, golden sun on your skin, more gentle and cozier and more golden than even the light of your favorite reading nook at the close of the day. "
― Catherynne M. Valente , The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making (Fairyland, #1)
