Home > Work > How the Dead Dream

How the Dead Dream QUOTES

How the Dead Dream QUOTES

1 " There was the honour and austerity of money as he walked through art galleries, as he saw around him the collections of oil paintings by dead men, lit so carefully that warmth seemed to emanate from within - and not because their art was loved or understood but because it could be sold and bought for handsome sums. "

― Lydia Millet , How the Dead Dream

2 " Forget the buildings and the monuments. Let the softness of dark come in, all those light-years between stars and planets. Cities were the works of men but the earth before and after those cities, outside and beneath and around them, was the dream of a sleeping leviathan--it was god sleeping there and dreaming, the same god that was time and transfiguration. From whatever dreamed the dream at the source, atom or energy, flowed all the miracles of evolution--tiger, tiger burning bright, the massive whales in the deep, luminescent specters in their mystery. The pearls that were their eyes, their tongues that were wet leaves, their bodies that were the bodies of the fantastic.

Spectacular bestiaries of heaven, the limbs and tails of the gentle and the fearsome, silent or raging at will . . . they could never be known in every detail and they never should be. "

― Lydia Millet , How the Dead Dream

3 " The rooms of his apartment were full with the dog home again, convalescing. He was satisfied to know, even when she was out of sight, that somewhere in the apartment she was sleeping or eating or sitting watchfully. It was family, he guessed, more or less. Did most people want a house of living things at night, to know that in the dark around them other warm bodies slept?

Such a house could even be the whole world. "

― Lydia Millet , How the Dead Dream

4 " As he was leaving it occurred to him that he would not come back, to this zoo or to any of them.

With the elephants more than any of the others, he thought as he left them--as he left behind these great beasts who recognized him when he came, who rumbled and swayed sadly--he could feel them waiting. He had thought at first it was food they were waiting for. Here they were, the last animals, locked up and ogled, who had no chance remaining of not being alone. Here they were, and what he had assumed in his smallness was that they wanted food. It was possible to be fooled by the signs of their animation, in the course of a day. But it was not food that interested them. Food was only a diversion for them, because they had little else.

They were not waiting for food, but they were, in fact, waiting. He had not been wrong about that. It was obvious: all of them waited and they waited, up until their last day and their last night of sleep. They never gave up waiting, because they had nothing else to do. They waited to go back to the bright land; they waited to go home. "

― Lydia Millet , How the Dead Dream

5 " What was a face on television but a code, and what was the difference between these faces but a realignment of line and color to shift among signals? If he grasped deeply this language of symbols, grasped it beneath the surface, he could course through the currents of authority as they coursed through him like heat or the tremble of cold. "

― Lydia Millet , How the Dead Dream

6 " Then there was the gray of human habitation. The blue places were turning brown, the yellow places to dust, the green places to smoke and ashes. Each time one of the animals disappeared--they went by species or sometimes by organizations of species, interconnected--it was as though all mountains were gone, or all lakes. A certain form of the world. But in the gray that metastasized over continents and hemispheres few appeared to be deterred by this extinguishing or even to speak of it, no one outside fringe elements and elite groups, professors and hippies, small populations of little general importance. The quiet mass disappearance, the inversion of the Ark, was passing unnoticed. "

― Lydia Millet , How the Dead Dream

7 " What place would that be, a whole world without roads? It was a panicking thought. A world without roads! He would go nowhere in such a place. He would be trapped where he was, he would have lived out his life only where he was born. "

― Lydia Millet , How the Dead Dream

8 " Forget the buildings and the monuments. Let the softness of dark come in, all those light-years between stars and planets. Cities were the works of men but the earth before and after those cities, outside and beneath and around them, was the dream of a sleeping leviathan—it was god sleeping there and dreaming, the same god that was time and transfiguration. From whatever dreamed the dream at the source, atom or energy, flowed all the miracles of evolution—tiger, tiger, burning bright, the massive whales in the deep, luminescent specters in their mystery. The pearls that were their eyes, their tongues that were wet leaves, their bodies that were the bodies of the fantastic. Spectacular bestiaries of heaven, the limbs and tails of the gentle and the fearsome, silent or raging at will . . . they could never be known in every detail and they never should be. When time moved, mountains rose from the plains and the miracles multiplied, infinitely lovely. The miracles were the beasts. "

― Lydia Millet , How the Dead Dream

9 " And it became clear to him that his early mentors—the founders, the dead sages of the judiciary—did not have modern counterparts in government. The great roofs that had sheltered them were raised now not over heads of state but over the motile geniuses of corporate novelty; these men now wore the mantles formerly worn by the fathers of the nation-state. They held up economies and reshaped them at will. After the robber barons had come the technophile visionaries, the practical philosophers of earning, and they, not the government men, were the new kingmakers. "

― Lydia Millet , How the Dead Dream