Metro Quotes

“Never follow the crowd....

Until and unless you're crossing the road...”
― Sanhita Baruah

“This is Denmark. We are Danes. We keep our distance. We do not pick a seat close to strangers if other seats are available. We do not talk to strangers in the trains.”

William Wilson in the short story 'Metro' by Steen Langstrup”
― Steen Langstrup, Metro

“I turn off my cell phone and reluctantly slide it down my pocket. My hands are shaking. A large knife appears in his hand.”

William Wilson in the short story 'Metro' by Steen Langstrup”
― Steen Langstrup, Metro

“My doppelganger wraps the ear in a handkerchief and shoves it into his pocket as he leaves the train with a nod of his head in my direction.”

William Wilson in the short story 'Metro' by Steen Langstrup”
― Steen Langstrup, Metro

“Kalabalık üreten bir yeraltı fabrikası gibi çalışıyordu metro. Tavandan sarkan paslı tüplerden, hareket halindeki siyah bandın üzerine düzenli aralıklarla et parçaları sıkılıyor, üzerlerine biraz kıl serpiştiriliyor ve bu karışım farklı renklerdeki kumaş parçalarıyla çevrilip bandın üzerinde ilerleyerek sırayla gün ışığına çıkıyordu. Farklı kombinasyonlardaki et, kıl ve kumaş karışımları caddeye doğru ilerliyordu.”
― Hakan Bıçakcı, Karanlık Oda

“Why didn’t you call me at… Sorry, I have no idea where I’ve been. Berlin? Was it Berlin today?”

William Wilson in the short story 'Metro' by Steen Langstrup”
― Steen Langstrup, Metro

“No era un monstruo. Era un ser humano normal y corriente. Cruel, imbécil y rencoroso. Igual que todos los demás.”
― Dmitry Glukhovsky, Metro 2034

“Die Rettung des Volkes liegt im Wodka.”
― Dmitry Glukhovsky, Metro 2035

“Everywhere power has to be seen in order to give the impression that it sees. But this is not the case. It doesn't see anything. It is like a woman walled up in a 'peepshow'. It is separated from society by a two-way mirror. And it turns slowly, undresses slowly, adopting the lewdest poses, little suspecting that the other is watching and masturbating in secret.

The metro. A man gets on - by his glances, gestures and movements, he carves out a space for himself and protects it. From that space, he sets his actions to those of the neighbouring, approximate molecules. He becomes the centre of a physical pressure, sniffs out hostile vibrations and emanations, or friendly ones, on the verge of panic. He joins up with others out of fear. He innervates his whole body with a calculated indifference, wraps himself in a superficial reverie, created only to keep others at a distance. He deciphers nothing, protects himself from the crossfire of everyone's gazes and sets his own as a backhand down the line, staring at a particular face at the back of the carriage until the very lightness of his stare stirs the other in his sleep. When the train accelerates or brakes, all the bodies are thrown in the same direction, like the shoals of fish which change direction simultaneously. The marvellous underwater lethargy of the metro, the self-defence of the capillary systems, the cruel play of vague thoughts - all while waiting for the stop at Faidherbe-Chaligny.

The crucial thing is not to have sweeping views of the future, but to know where to plant your primal scene. The danger for us is that we'll keep running up against the wall of the Revolution. For this is the source of our misery: our phobias, our prohibitions, our phantasies, our utopias are imbedded in the nineteenth century, where their foundations were laid down. We have to put an end to this historical coagulation. Beyond it, all is permitted. It will perhaps be the adventure of the end of the century to dissolve the wall of the Revolution and to plunge on beyond it, towards the marvels of form and spirit.”
― Jean Baudrillard, Cool Memories

“Meteorites are not just in the sky; get down on the subway of a city, and you will find people who do not know what they are doing, scattering around in space just like meteorites!”
― Mehmet Murat ildan

“Wszystkie oczy były skierowane na żelazne drzwi na zasuwę. Teraz były otwarte, a w prześwicie stał wysoki człowiek, widząc którego Artem też zapomniał po co tu przyszedł. Stalker. Dokładnie tak ich sobie wyobrażał – z opowiadań ojczyma i historyjek straganiarzy. Poplamiony i miejscami osmalony skafander ochronny, długa ciężka kamizelka kuloodporna, potężne bary, na prawym ramieniu niedbale zarzucona potężna bryła erkaemu, z lewej, na podobieństwo bandoletu, zwisa pobłyskująca smarem taśma z nabojami. Masywne sznurowane buty, wpuszczone do środka spodnie, na plecach przepastny płócienny plecak. Stalker zdjął okrągły hełm specnazu, ściągnął gumową maskę przeciwgazową i, zaczerwieniony, mokry, rozmawiał o czymś z dowódcą posterunku. Był już niemłody, Artem widział siwy zarost na jego policzkach i brodzie i srebrne nitki wśród krótkich, czarnych włosów. Ale biło od niego siłą, pewnością siebie, cały był spięty, czujny, jakby nawet tu, na cichej, jasnej stacji był gotów w każdej chwili stawić czoła niebezpieczeństwu i nie dać mu się zaskoczyć.”
― Dmitry Glukhovsky, Metro 2033

“They called it the city of tomorrow. In most cities around the world, the only people who ever look up are the tourists. In Metropolis, everyone looked up.”
― Tom Taylor, Injustice: Gods Among Us, Vol. 1

“Tramvay, metroya göre insan ruhuna daha yakındır, çünkü yolcuların ruhlarına tatlı bir güneş ışığı ile dokunur!”
― Mehmet Murat ildan

“moartea seceră entuziastă
oameni ca tine
striviți unul
în celălalt
în vagoane de metrou
dimineața
atenție se închid ușile
se aude
ca un
sincere condoleanțe”
― Tăușance, Saga - bilete la clasa de mijloc

“spune-mi pe frică
a cui e gheara care te urmărește
luni dimineață de pe o parte
pe alta a patului te aleargă apoi
de-a lungul liniilor vieții cu schimbare la dristor”
― Tăușance, Saga - bilete la clasa de mijloc

“niciun om în metrou
cu care să pot împărți o bucată de pâine
de pământ
sub pământ”
― Tăușance, Legende urbane

“termină-i mai repede
urmează stația Grozăvești
cu peronul pe partea dreaptă”
― Tăușance, Legende urbane