Book club
Ham on rye (1982) - Charles Bukowski
But I had this feeling inside of me that something real was there. Just hardened shit, maybe, but that was more than they had.
(p. 32)
"I looked up a little girl's dress. I kicked my mother. I ate some of my snot. That's about all. Except today I baptized a dog."
"You baptized a dog ?"
I was finished. A Mortal Sin. No use going on. I got up to leave. I didn't know if the voice recommended my saying some Hail Marys or if the voice didn't say anything at all. I pulled the curtain back and there was Frank waiting.
(p. 82)
Why did I come here ? I thought. Why is it always only a matter of choosing between something bad and something worse ?
(p. 203)
Crime et châtiment (1866) - Fiodor Dostoïevski
De quoi les hommes ont-ils le plus peur ? De tenter une démarche nouvelle, de prononcer une parole personnelle et inédite, voilà ce qu'ils redoutent le plus...
(p. 8 / tome 1)
Il y eut un moment de silence. Sans se hâter, Pierre Petrovitch tira de sa poche un mouchoir de batiste qui répandit des effluves de parfum et se moucha de l'air d'un homme quoique vertueux mais, néanmoins, un peu offensé dans sa dignité et, en même temps, fermement décidé à exiger des explications.
(p. 32 / tome 2)
Raskolnikov était si fatigué ces temps derniers, depuis tout ce mois, qu'il ne pouvait plus résoudre de pareilles questions autrement qu'en décidant : "alors je le tuerai", et il le pensa avec un froid désespoir.
(p. 289 / tome 2)
Libellés :
(F),
comportements,
D,
réalité,
roman
To the Lighthouse (1927) - Virginia Woolf
"And pausing there she looked out to meet that stroke of the Lighthouse, the long steady stroke, the last of the three, which was her stroke, for watching them in this mood always at this hour one could not help attaching oneself to one thing especially of the things one saw ; and this thing, the long steady stroke, was her stroke."
(p. 73)
"When darkness fell, the stroke of the Lighthouse, which had lait itself with such authority upon the carpet in the darkness, tracing its pattern, came now in the softer light of spring mixed with moonlight gliding gently as if it laid its caress and lingered stealthily and looked and came lovingly again."
(p. 151)
"He began to search among the infinite series of impressions which time had laid down, leaf upon leaf, fold upon fold softly, incessantly upon his brain ; among scents, sounds ; voices, harsh, hollow, sweet ; and lights passing, and brooms tapping ; and the wash and hush of the sea, how a man had marched up and down and stopped dead, upright, over them."
(p. 192)
Les fleurs bleues (1965) - Raymond Queneau
Il y a des rêves qui se déroulent comme des incidents sans importance, de la vie éveillée on ne retiendrait pas des choses comme ça et cependant ils intéressent lorsqu'on les saisit au matin se poussant en désordre contre la porte des paupières. Peut-être ai-je rêvé ?
(p.23)
- Les gens, continue Lalix, ils se croient des petites merveilles, tout ce qu'ils font, tout ce qu'ils sont. Ils s'attribuent une importance... Alors s'il fallait, par-dessus, encaisser le récit de leurs rêves, on n'en finirait plus.
(p.156)
- L'instruction ! Voyez ce que c'est, monsieur, que l'instruction. On apprend quelque chose à l'école, on se donne même du mal, beaucoup de mal, pour apprendre quelque chose à l'école, et puis vingt ans après, ou même avant, ce n'est plus ça, les choses ont changé, on ne sait plus rien, alors vraiment ce n'était pas la peine. Aussi je préfère penser qu'apprendre.
(p.200)
Coming up for air (1939) - George Orwell
Practically everything worth doing was forbidden, in theory anyway. According to Mother, everything that a boy ever wants to do was ‘dangerous’. Swimming was dangerous, climbing trees was dangerous, and so were sliding, snowballing, hanging on behind carts, using catapults and squailers, and even fishing. All animals were dangerous, except Nailer, the two cats, and Jackie the bullfinch. Every animal had its special recognized methods of attacking you. Horses bit, bats got into your hair, earwigs got into your ears, swans broke your leg with a blow of their wings, bulls tossed you, and snakes ‘stung’. All snakes stung, according to Mother, and when I quoted the penny encyclopedia to the effect that they didn’t sting but bit, she only told me not to answer back. Lizards, slow-worms, toads, frogs, and newts also stung. All insects stung, except flies and blackbeetles. Practically all kinds of food, except the food you had at meals, were either poisonous or ‘bad for you’. Raw potatoes were deadly poison, and so were mushrooms unless you bought them at the greengrocer’s. Raw gooseberries gave you colic and raw raspberries gave you a skin-rash. If you had a bath after a meal you died of cramp, if you cut yourself between the thumb and forefinger you got lockjaw, and if you washed your hands in the water eggs were boiled in you got warts. Nearly everything in the shop was poisonous, which was why Mother had put the gate in the doorway. Cowcake was poisonous, and so was chicken corn, and so were mustard seed and Karswood poultry spice. Sweets were bad for you and eating between meals was bad for you, though curiously enough there were certain kinds of eating between meals that Mother always allowed. When she was making plum jam she used to let us eat the syrupy stuff that was skimmed off the top, and we used to gorge ourselves with it till we were sick.
(pp. 52-53)
If I tot up the account, I suppose I must admit that the war did me good as well as harm. At any rate that year of reading novels was the only real education, in the sense of book-learning, that I’ve ever had. It did certain things to my mind. It gave me an attitude, a kind of questioning attitude, which I probably wouldn’t have had if I’d gone through life in a normal sensible way. But—I wonder if you can understand this—the thing that really changed me, really made an impression on me, wasn’t so much the books I read as the rotten meaninglessness of the life I was leading.
(p.126)
It struck me that perhaps a lot of the people you see walking about are dead. We say that a man’s dead when his heart stops and not before. It seems a bit arbitrary. After all, parts of your body don’t stop working—hair goes on growing for years, for instance. Perhaps a man really dies when his brain stops, when he loses the power to take in a new idea. Old Porteous is like that. Wonderfully learned, wonderfully good taste—but he’s not capable of change. Just says the same things and thinks the same thoughts over and over again. There are a lot of people like that. Dead minds, stopped inside. Just keep moving backwards and forwards on the same little track, getting fainter all the time, like ghosts.
(p.168)
Franny and Zooey (1961) - J.D. Salinger
The rest, with very little exaggeration, was books. Meant-to-be-picked-up books. Permanently-left-behind books. Uncertain-what-to-do-with books. But books, books. Tall cases lined three walls of the room, filled to and beyond capacity. The overflow had been piled in stacks on the floor. There was little space left for walking, and none whatever for pacing. A stranger with a flair for cocktail party descriptive prose might have commented that the room, at a quick glance, looked as if it had once been tenanted by two struggling twelve-year-old lawyers or researchists.
(p. 117)
Manifeste de la poésie vécue (1994) - Alain Jouffroy
Un manifeste surgit d'un manque de parole et d'écoute. Il révèle ce qu'Amiel appelait une conscience consciente d'elle-même, porte l'attention sur ce dont on ne parle pas, ou trop peu, s'oppose en toutes lettres à une invivable domination. Écrivant un manifeste, on projette une idée, qu'on juge nécessaire, sur ce mur où il est plus que jamais "défendu d'afficher" ce dont on se sait le plus intimement convaincu, ce mur qui sépare chacun de tous au lieu d'être abattu par tous.
(p. 21)
Le premier point d'ancrage qui a disparu, c'est la croyance au pouvoir de la poésie dans la vie.
(p. 23)
Ce qui résiste le plus, c'est notre extraordinaire tendance à l'aveuglement. Nos paupières sont distraction de nos pupilles et paupières. Et cela, dans un temps où, dans les mégapoles, la lumières est envahie par ce gris plombé qui pétrifie l'espace et le temps tous les dimanches après-midi, un temps où les fenêtres allumées en pleine nuit se font partout de plus en plus rares.
(p. 30)
Peindre non la chose, mais l'effet qu'elle produit.
(p. 33)
L'utopie qui m'anime consiste à restituer une part plus grande de la réalité du monde, des univers visibles et invisibles qui le composent, à l'intérieur même de chaque geste, de chaque action-création poétique.
(p. 47)
Je considère que les pages des livres sont les lieux de rencontres réelles avec des individus qui, sans leur lecture, vivraient leur propre pensée comme une insupportable séparation.
(p. 48)
Un poète n'a pas une obligation d'écriture. Il n'a qu'une obligation de regard.
Le regard est cette interrogation inlassable, qui met en contact l'appréhension que nous avons du monde avec le monde lui-même.
Une révolution permanente du regard est la condition de la réalisation dans la vie.
(p. 55)
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