3
" SETTLING into the seat of his ’81 banged-up black 320i, Jade rolled the radio tuning knob through a cacophony of static. Giving up, he reached into his glove compartment, pulled out a CD, and slipped it in. Miles Davis, Kind of Blue. The green lights floated overhead, one after another, as Jade swerved from lane to lane, darting between cars. He drove along the streets with his left arm extended out the broken window, his hand tapping the car roof furiously to the tune: “Du nu nu nu nu nu nu na. So what. Du nu nu nu nu nu nu na. So what. "
― Gregg Andrew Hurwitz , The Tower
9
" Jade had already recognized some of Allander’s language as Freudian, but now he uncovered more of its meaning. For example, Allander had expressed disdain for sublimation. “What I carve, I’ll carve in flesh. What I write, I’ll write in blood,” he had said. He felt that his art was reality; by his art, he meant his violence. Instead of sublimating his violent tendencies into something productive or healthy, he prided himself on acting them out. While others distracted themselves with fantasies, he alone indulged his true self. His way was more real, he thought, more courageous. "
― Gregg Andrew Hurwitz , The Tower