"'There's never any knowing - how am I to put it? - which of our actions, which of our idlenesses won't have things hanging on it for ever.'"
E.M. Forster, Where Angels Fear to Tread
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@sotoomuch
"'There's never any knowing - how am I to put it? - which of our actions, which of our idlenesses won't have things hanging on it for ever.'"
E.M. Forster, Where Angels Fear to Tread

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Style? A certain lightness. A sense of shame excluding certain actions or reactions. A certain proposition of elegance. The supposition that, despite everything, a melody can be looked for and sometimes found. Style is tenuous, however. It comes from within. You can't go out and acquire it. Style is about an invisible promise. This is why it requires and encourages a talent for endurance and an ease with time. Style is very close to music. - John Berger, here is where we meet
"Don't worry, the soul doesn't perish, somehow it lives on.
In another body?
Why in a body at all? I see your soul as a pillar. It looks stony but it's made of fire and wind. And it towers so high that from down on the ground you can't see the top of it. And up there it is smiling.
That pillar?
Your soul, darling. Because you have a smile inside you, even if you think you've only got grief, and that's why I feel good with you."
Ivan Klima, Love and Garbage
"Perhaps just that is the essence or the meaning of writing: we speak about our most personal concerns in a language which turns equally to human beings as to someone who is above us and who, in some echo or reflection, also resides within us. If a person does not glimpse or hear within himself something that surpasses him, that has cosmic depth, then language will not make him respond anyway."
Ivan Klima, Love and Garbage
How can a person win love if he can't come to a decision? - Ivan Klima, Love and Garbage

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She was rather, said Peter. Yet, said Sally, in her emotional way, with a rush of that enthusiasm which Peter used to love her for, yet dreaded a little now, so effusive she might become - how generous to her friends Clarissa was! and what a rare quality one found it, and how sometimes at night or on Christmas Day, when she counted up her blessings, she put that friendship first. They were young; that was it. Clarissa was pure-hearted; that was it. Peter would think her sentimental. So she was. For she had come to feel that it was the only thing worth saying - what one felt. Cleverness was silly. One must say simply what one felt. Virginia Woolf, Mrs Dalloway
"It was hard to explain the feeling they had of dissatisfaction; not knowing people; not being known. For how could they know each other? You met every day; then not for six months, or years. It was unsatisfactory, they agreed, how little one knew people. But she said, sitting on the bus going up Shaftesbury Avenue, she felt herself everywhere; not 'here, here, here'; and she tapped the back of the seat; but everywhere. She waved her hand, going up Shaftesbury Avenue. She was all that. So that to know her, or any one, one must seek out the people who completed them; even the places. Odd affinities she had with people she had never spoken to, some woman in the street, some man behind a counter - even trees, or barns. It ended in a transcendental theory which, with her horror of death, allowed her to believe, or say that she believed (for all her skepticism), that since our apparitions, the part of us which appears, are so momentary compared with the other, the unseen part of us, which spreads wide, the unseen might survive, be recovered somehow attached to this person or that, or even haunting certain places, after death. Perhaps - perhaps."
Virginia Woolf, Mrs Dalloway
"Quiet descended on her, calm, content, as her needle, drawing the silk smoothly to its gentle pause, collected the green folds together and attached them, very lightly, to the belt. So on a summer's day waves collect, overbalance, and fall; collect and fall; and the whole word seems to be saying 'that is all' more and more ponderously, until even the heart in the body which lies in the sun on the beach says too, that is all. Fear no more, says the heart. Fear no more, says the heart, committing its burden to some sea, which sighs collectively for all sorrows, and renews, begins, collects, lets fall. And the body alone listens to the passing bee; the wave breaking, the dog barking, far away barking and barking."
Virginia Woolf, Mrs Dalloway
"In the event they all turned out to be pleasant to me and full of smiles as Americans are, and with varying degress of urgency they asked me to explain what on earth possessed me to want to leave their free and wealthy country to return home, to a poor and unfree country, where they'd probably lock me up or send me to Siberia. I tried to be equally pleasant. I conjured up some kind of patriotism, some kind of mission, until I hit on a convincing explanation. I said that back home people knew me. Even if I had to sweep up garbage in the streets I would be for them what I was, what I wanted to be to the exclusion of anything else, a writer, whereas here, even if I could drive around in my little Rod, I would always be just one of those immigrants on whom a great country had taken pity. These were my boastful words. In reality I wanted to return home, to the place where there were people I was fond of, where I was able to speak fluently, to listen to my native language.
Ivan Klima, Love and Garbage
Desire is unstoppable. The other day I heard one of us explaining why. But I knew it before. Think of a bottomless pit, think of a nothing. An absolute nothing. In it there's already an appeal - are you following me? A Nothing is an appeal for Something. It can't be otherwise. Yet the appeal is all there is; there's only a naked crying-out appeal. A yearning. And so we come to the eternal conundrum of making something out of nothing. - John Berger, "here is the place we meet"

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"Everything in life, John, is a question of drawing a line, and you have to decide for yourself where to draw it. You can't draw it for others. You can try, of course, but it doesn't work. People obeying rules laid down by somebody else is not the same thing as respecting life. And if you want to respect life, you have to draw a line."
John Berger, here is where we meet
"As he grew older his litanies became an unchanging prayer which I knew by heart and to which I no longer had to listen. And then one night I awoke. Everyone else was sleeping, and from the corner of the room where grandfather slept I could hear a strange muttering. I recognised the old man's voice and the plaintive intonation of a prayer spoken in the language he still knew but of which I no longer understood anything, a prayer addressed to God. I did not stir and listened with amazement to the voice which seemed to come from a great distance, from some long-past time. That was the first time I realised that the depth of the human soul is unfathomable."
Ivan Klima, Love and Garbage
"The next day I collected her and took her to meet my friends; none of them would have hurt her and there was no need for me to protect her against them - but I realised that she saw things differently, that she needed my presence, that with me she felt safer. [...] We were never alone together, away from the company of our playmates, but I always tried to get as close to her as possible. We also lent each other the few books we owned, but we dared not go any further, I dared not go any further; and yet everything was suddenly changed, life was moving between different milestones, no longer from morning to evening or from meal to meal, but from meeting to meeting. The fortress ran out of salt, the potatoes were black and rotten and the bread was mouldy, but I didn't care; they took grandfather to the camp hospital and we guessed that he'd never come back, but I scarcely took it in. The fortress corridors, always so overcrowded, seemed empty when she walked alongside me, and the tiny space allotted to us grew wide, or rather it was enclosed in itself and thus became infinite."
Ivan Klima, Love and Garbage
"I'd sit at my table and listen to the silence which was swallowing me up. I could hear nothing but a barely perceptible individual snapping sound as some of the individual threads broke, and I longed to discover some hope I could attach myself to. That was when she appeared. If we had met at some other time we'd probably have passed each other by, but at just that moment I raced after her like a man drugged, and it took years for me to come to again. At the same time I never stopped conducting a silent argument with her. Even when I longed for her most my words died in my throat the moment she looked at me, whenever the night separated me from her embracing and comforting glance I would compose answers to questions, reproaches, wishes and yearnings which until then I had left unanswered.
And now, as the night lazily stretched its back over me, I was continuing, by force of habit, with the silent letter in which I had defended myself and tried to prove that I didn't want to hurt her. Before throwing it into the big box full of unsent letters and wishes, full of promises, requests and half-whispered hopes I tried once more to visualise what she was doing just then, at least to visualise her room. Who knows if she was even there. I no longer knew how she spent her nights. Maybe she was just returning home, her swift footsteps were closing the circle. If I got up now and ran after her, maybe I could cut the circle open, clutch her to myself, within the confines of that circle forget everything outside of it, everything that was, that is, and that would inevitably be. But I knew I wouldn't do it. I'd only get up in the morning to set off for the streets I'd decided to sweep clean. It suddenly occurred to me that this was the reason why I'd found myself in the street with a handcart yesterday morning. I needed to go somewhere in the morning, at least I'd now have a natural objective for a while: set out somewhere, preform whatever kind of activity and listen to whatever kind of talk, just so I don't have to sit amidst the silence listening to the snapping of the threads."
Ivan Klima, Love and Garbage
"What depressed me were certainly not doubts about the rightness of my choice, but the knowledge that I'd made the decision once and for all. I suspected that for me the most blissful prospect was not so much having the person I loved permanently by my side as a need, from time to time, to reach out to emptiness, to let longing intensify within me to the point of agony, to alternate the pain of separation with the relief of renewed coming together, the chance of escape and return, of glimpsing before me a will-o'-the-wisp, the hope that the real encounter was still awaiting me.
Man is reluctant to accept that his life has come to a conclusion in that most important respect, that his hopes have been fulfilled. He hesitates to look death in the face, and there is little that comes so close to death as fulfilled love."
Ivan Klima, Love and Garbage

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A person never sees his own light in another person's eyes, or only at moments of special grace. But maybe she'd seen something after all, because otherwise she wouldn't have wished to meet me again, she wouldn't have voluntarily set out on a pilgrimage which, in moments of anger, she was to proclaim had led her only to pain. - Ivan Klima, Love and Garbage
"I was not allowed to enter into life except as a guest, as a visitor, or as a day-wage labourer in selected jobs. Over those years there grew within me a longing for something to happen, something that would change my life, while at the same time my timidity, which I had inherited from my mother, increased and made me shy away from any kind of change and from all strangers. Thus my home became for me both a refuge and a cage, I wanted to remain in it and yet also to flee from it; to have the certainty that I would not be driven out and also the hope that I'd escape one day."
Ivan Klima, Love and Garbage