6
" This time, something different happens, though. It’s the daydreaming that does it. I’m doing the usual
thing—imagining in tiny detail the entire course of the relationship, from first kiss, to bed, to moving in
together, to getting married (in the past I have even organized the track listing of the party tapes), to how
pretty she’ll look when she’s pregnant, to names of children—until suddenly I realize that there’s
nothing left to actually, like, happen. I’ve done it all, lived through the whole relationship in my head.
I’ve watched the film on fast-forward; I know the whole plot, the ending, all the good bit. Now I’ve got
to rewind and watch it all over again in real time, and where’s the fun in that?
And fucking … when’s it all going to fucking stop? I’m going to jump from rock to rock for the rest of
my life until there aren’t any rocks left? I’m going to run each time I get itchy feet? Because I get them
about once a quarter, along with the utilities bills. More than that, even, during British Summer Time.
I’ve been thinking with my guts since I was fourteen years old, and frankly speaking, between you and
me, I have come to the conclusion that my guts have shit for brains. "
― Nick Hornby , High Fidelity
9
" It would be nice to think that as I've got older times have changed, relationships have become more sophisticated, females less cruel, skins thicker, reactions sharper, instincts more developed. But there still seems to be an element of that evening in everything that happened to me since; all my other romantic stories seem to be a scrambled version of that first one. Of course, I have never had to take that long walk again, and my ears have not burned with quite the same fury, and I have never had to count the packs of cheap cigarettes in order to avoid mocking eyes and floods of tears... not really, not actually, not as such. It just feels that way, sometimes. "
― Nick Hornby , High Fidelity
12
" A good compilation tape, like breaking up, is hard to do. You've got to kick off with a corker, to hold the attention (I started with 'Got To Get You Off My Mind', but then realised that she might not get any further than track one, side one if I delivered what she wanted straight away, so I buried it in the middle of side two), and then you've got to up it a notch, and you can't have white music and black music together, unless the white music sounds like black music, and you can't have two tracks by the same artist side by side, unless you've done the whole thing in pairs, and ... oh there are loads of rules. "
― Nick Hornby , High Fidelity
