Filiberto Cacibauda > Filiberto's Quotes

“Seems like the only kind of job an American can get these days is committing suicide in some way.”
― Kurt Vonnegut, Breakfast of Champions

“Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.”
― Kurt Vonnegut, Bagombo Snuff Box

“America is the wealthiest nation on Earth, but its people are mainly poor, and poor Americans are urged to hate themselves.... It is in fact a crime for an American to be poor, even though America is a nation of poor. Every other nation has folk traditions of men who were poor but extremely wise and virtuous, and therefore more estimable than anyone with power and gold. No such tales are told by American poor. They mock themselves and glorify their betters.”
― Kurt Vonnegut, Slaughterhouse-Five

“There's only one rule that I know of, babies—God damn it, you've got to be kind.”
― Kurt Vonnegut, God Bless You, Mr. Rosewater

“Fucking was how babies were made.”
― Kurt Vonnegut, Breakfast of Champions

“I tiger can smile
A snake will say it loves you
Lies make us evil”
― Chuck Palahniuk, Fight Club

“Why do I do anything?' she says. 'I'm educated enough to talk myself out of any plan. To deconstruct any fantasy. Explain away any goal. I'm so smart I can negate any dream.”
― Chuck Palahniuk, Choke

“Their talk was endless, compulsive, and indulgent, sometimes sounding like the remains of the English language after having been hashed over by nuclear war survivors for a few hundred years.”
― Douglas Coupland, Generation X: Tales for an Accelerated Culture

“This was not a good idea coming home for Christmas. I'm too old. Years ago, coming back from schools or trips, I always expected some sort of new perspective or fresh insight about the family on returning. That doesn't happen anymore-the days of revelation about my parents, at least, are over... its time to move on. I think we'd all appreciate that.”
― Douglas Coupland, Generation X: Tales for an Accelerated Culture

“You see, when you're middle class, you have to live with the fact that history will ignore you. You have to live with the fact that history can never champion your causes and that history will never feel sorry for you. It is the price that is paid for day-to-day comfort and silence. And because of this price, all happinesses are sterile; all sadnesses go unpitied.”
― Douglas Coupland

“Life is maybe like deep-sea fishing. We wake up in the morning, we cast our nets into the water, an, if we are lucky, at day's end we will have netted one-- maybe two-- small fish. Occasionally we will net a seahorse or sometimes a shark-- or a life preserver or an iceberg, or a monster. And in our dreams at night we assess our Catch of the Day-- the treasures of this long, slow process of accumulation...”
― Douglas Coupland, Shampoo Planet

“Denn wenn man niemanden hat, den man ab und an aus der Stadt verjagen kann, wie soll man dann wissen, dass man selbst dorthin gehört?”
― Richard Bachmann

“„»Ich hatte Angst«, sagte er.
»Leute, die keine haben, sterben jung«,”
― Richard Bachmann

“EXPLOSIVE IN MY COAT POCKET—THE VARIETY THEY CALL BLACK IRISH. TWELVE POUNDS IS ENOUGH TO TAKE OUT EVERYTHING AND EVERYONE WITHIN A THIRD OF A MILE AND PROBABLY ENOUGH TO EXPLODE THE JETPORT FUEL STORAGE TANKS. IF YOU DON’T FOLLOW MY INSTRUCTIONS”
― Richard Bachman, The Running Man

“It is always easy to be logical. It is almost impossible to be logical to the bitter end.”
― Albert Camus

“He discovered the cruel paradox by which we always decieve ourselves twice about the people we love-first to their advantage, then to their disadvantage”
― Albert Camus, A Happy Death

“Without work, all life goes rotten, but when work is soulless, life stifles and dies”
― Albert Camus

“Beauty, no doubt, does not make revolutions. But a day will come when revolutions will have need of beauty.”
― Albert Camus, The Rebel

“Hair on a man's head is like the opposite of salt in a dish; you can take it away but you can't add it in.”
― Iain Banks, The Business

“like when I walk along a pavement in Porteneil and I accidentally scuff one heel on a paving stone. I have to scuff the other foot as well, with as near as possible the same weight, to feel good again.”
― Iain Banks, The Wasp Factory

“As a writer, you get to play, you get to alter time, you get to come up with the smart lines and the clever comebacks you wish you'd thought of.”
― Iain Banks

“If every cunt had a ride whin they hud a heidache, thir widnae be as much fuckin trouble in the world.”
― Irvine Welsh, Porno

“Ah sortay jist laugh whin some cats say that racism's an English thing and we're aw Jock Tamson's bairn up here . . . it's likesay pure shite man, gadges talkin through their erses.”
― Irvine Welsh, Trainspotting

“She's nothing to do with my shit, but fuck it, none of us are saints and scapegoats are always handy.”
― Irvine Welsh, The Bedroom Secrets of the Master Chefs

“Eroinden söz ederken kendimi şaşırtıcı ölçüde iyi, sakin ve berrak hissediyordum.
"Tam olarak bilmiyorum, Tom, bilmiyorum. Bi şekilde her şeyi daha gerçekçi kılıyor. Hayat sıkıcı ve anlamsız. Büyük umutlarla başlıyoruz, sonra çuvallıyoruz. Hepimiz bi gün büyük sorulara cevap bulmadan öleceğimizi keşfederiz. Hayatımızın gerçeğini farklı biçimlerde yorumlayacak dolambaçlı düşünceler geliştiririz, bedenimizle büyük şeylere, gerçek şeylere dair kayda değer bi bilgiye uzanmaksızın. Aslında, kısa ve hayal kırıklıklarıyla dolu bi hayat yaşar, sonra da ölürüz. Kendimizi her şeyin tamamen anlamdan yoksun olmadığına inandırmak için hayatlarımızı bokla doldururuz; kariyerle, ilişkiyle falan. Eroin dürüst bir uyuşturucudur, çünkü bu yanılsamaları sıyırıp atar. Eroin çaktığında iyiysen, kendini ölümsüz hissedersin. Kötüysen zaten var olan sıkıntıyı artırır. Tek dürüst uyuşturucudur. Bilincini değiştirmez. Bi anda çarpar ve gevşetir. Ondan sonra dünyanın sefaletini olduğu gibi görür, kendini buna karşı duyarsızlaştıramazsın.”
― Irvine Welsh, Trainspotting

“where are we going?' I asked.
'I don't know,' he said. 'just driving.'
'But this road doesn't go anywhere,' I told him.
'That doesn't matter.'
'What does?' I asked, after a little while.
'Just that we're on it, dude,' he said.”
― Bret Easton Ellis, Less Than Zero

“How do I know you're not crazy?" she asks. "How do I know you're not the craziest dude I've ever met?"
"You'll have to test me out."
"You have my info," she says. "I'll think about it."
"Rain," I say. "That's not your real name."
"Does it matter?"
"Well, it makes me wonder what else isn't real."
"That's because you're a writer," she says. "That's because you make things up for a living."
"And?"
"And"-- she shrugs--"I've noticed that writers tend to worry about things like that.”
― Bret Easton Ellis, Imperial Bedrooms

“Everything suddenly seems displaced, subtle gradations erase borders, but it’s more forceful than that.”
― Bret Easton Ellis, Glamorama

“ABANDON ALL HOPE YE WHO ENTER HERE is scrawled in blood red lettering on the side of the Chemical Bank near the corner of Eleventh and First and is in print large enough to be seen from the backseat of the cab as it lurches forward in the traffic leaving Wall Street and just as Timothy Price notices the words a bus pulls up, the advertisement for Les Miserables on its side blocking his view, but Price who is with Piece and Piece and twenty-six doesn't seem to care because he tells the driver he will give him five dollars to turn up the radio, "Be My Baby" on WYNN, and the driver, black, not American, does so.”
― Bret Easton Ellis, American Psycho

“Side by side they were very much alike, in similarity less of lineament than of manner and bearing, a correspondence of gestures which bounced and echoed between them so that a blink seemed to reverberate, moments later, in a twitch of the other's eyelid.”
― Donna Tartt, The Secret History