Jeffrey Eugenides Quotes (99 Quotes)


    I saw the movie, he said. I know what it's about. Listen to this. When girls get to be about twelve or so - he leaned toward us - their tits bleed.

    Three times a day Petrovich showed up at the nurse's office for his injections, always using the hypodermic needle himself like the most craven of junkies, though after shooting up he would play the concert piano in the auditorium with astounding artistry, as though insulin were the elixir of genius.


    I'm the final clause in a periodic sentence, and that sentence begins a long time ago, in another language, and you to read it from the beginning to get to the end, which is my arrival.

    She had given birth to me and nursed me and brought me up. She had known me before I knew myself and now she had no say in the matter. Life started out one thing and then suddenly turned a corner and became something else.



    In the end we had the pieces of the puzzle, but no matter how we put them together, gaps remained, oddly shaped emptinesses mapped by what surrounded them, like countries we couldn't name.



    Is there anything as incredible as the love story of your own parents? Anything as hard to grasp as the fact that those two over-the-hill players, permanently on the disabled list, were once in the starting lineup? It's impossible to imagine my father, who in my experience was aroused mainly by the lowering of interest rates, suffering the acute, adolescent passions of the flesh.

    She understood that her heart operated on its own instructions, that she had no control over it or, indeed, anything else.

    When I think back about my immediate reaction to that redheads girl, it seems to spring from an appreciation of natural beauty. I mean the heart pleasure you get from looking at speckled leaves or the palimpsested bark of plane trees in Provence. There was something richly appealing to her color combination, the ginger snaps floating in the milk-white skin, the golden highlights in the strawberry hair. it was like autumn, looking at her. It was like driving up north to see the colors.


    We knew that Cecilia had killed herself because she was a misfit, because the beyond called to her, and we knew that her sisters, once abandoned, felt her calling from that place, too.

    But in the end it wasn't up to me. The bigs things never are. Birth, I mean, and death. And love. And what love bequeaths to us before we're born.


    Sixty trillion years ago a god-scientist dug a hole through the earth, filled it with dynamite and blew the earth in two. The smaller of these two pieces became the moon.

    Where else would she feel more comfortable than in this subterranean realm where people wrote down what they couldn't say, where they gave voice to their most shameful longings and knowledge?

    On the morning the last Lisbon daughter took her turn at suicide- it was Mary this time, and sleeping pills, like Therese- the two paramedics arrived at the house knowing exactly where the knife drawer was, and the gas oven, and the beam in the basement from which it was possible to tie a rope.



    It was one of those humid days when the atmosphere gets confused. Sitting on the porch, you could feel it: the air wishing it was water.


    Within the substandard construction of the Charlevoix church, literally upon a shaky foundation, I was baptized into the Orthodox faith; a faith that had existed long before Protestantism had anything to protest and before Catholicism called itself catholic; a faith that stretched back to the beginnings of Christianity, when it was Greek and not Latin, and which, without an Aquinas to reify it, had remained shrouded in the smoke of tradition and mystery whence it began.


    What lingered after them was not life, which always overcomes natural death, but the most trivial list of mundane facts: a clock ticking on a wall, a room dim at noon, and the outrageousness of a human being thinking only of herself.


    Just like ice, lives crack, too. Personalities. Identities. Jimmy Zizmo, crouching over the Packard's wheel has already changed past understanding.

    The essential matrimonial facts: that to be happy you have to find variety in repetition; that to go forward you have to come back to where you begin.

    You used to be able to tell a person's nationality by the face. Immigration ended that. Next you discerned nationality via the footwear. Globalization ended that.




    Lefty, who'd been observing all the ways Greece had been handed down to America, arrived now at where the transmission stopped. In other words: the future. He stepped off to meet it. Desdemona, having no alternative, followed.

    The last thing the hockey ball symbolized was Time itself, the unstoppability of it, the way we're chained to our bodies, which are chained to Time.

    Added to their loveliness was a new mysterious suffering, perfectly silent, visible in the blue puffiness beneath their eyes or the way they would sometimes stop in mid-stride, look down, and shake their heads as though disagreeing with life.





    The mind self-edits. The mind airbrushes. It's a different thing to be inside a body than outside. From outside, you can look, inspect, compare. From inside there is no comparison.

    All sixteen mentioned her jutting ribs, the insubstantiality of her thighs, and one, who went up to the roof with Lux during a warm winter rain, told us how the basins of her collarbones collected water.



    The book has many different characteristics: some are extremely old-fashioned storytelling traits, but there are also a fair number of postmodern traits, and the self-consciousness is one.

    He knew a lot about his grandparents - and perhaps he feels he's been endowed with abilities to go into people's heads who are long dead - but, to a certain extent, he's making it up.

    It wasn't conscious, but I guess that one book is the reaction to the other. The first is so imprisoned in a male point-of-view, and the second is a point-of-view that can go anywhere it wants.

    When I wrote The Virgin Suicides, I gave myself very strict rules about the narrative voice: the boys would only be able to report what they had seen or found or what had been told to them.

    At the same time, it's a family story and more of an epic. I needed the third-person. I tried to give a sense that Cal, in writing his story, is perhaps inventing his past as much as recalling it.


    Related Authors


    Umberto Eco - P. D. James - Naguib Mahfouz - Louisa May Alcott - Katherine Dunn - James Clavell - Erich Segal - Elizabeth Gilbert - Anne Bronte - Alexander Solzehnitsyn


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