Airflame

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Pale Fire
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Listen to This
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Gravity’s Rainbow
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  (page 283 of 776)
"Part 2: Un Perm' au Casino Hermann Goering" Oct 05, 2025 04:03PM

 
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Julio Cortázar
“What good is a writer if he can’t destroy literature? And us ... what good are we if we don’t help as much as we can in that destruction?”
Julio Cortázar, Hopscotch

David Foster Wallace
“The so-called ‘psychotically depressed’ person who tries to kill herself doesn’t do so out of quote ‘hopelessness’ or any abstract conviction that life’s assets and debits do not square. And surely not because death seems suddenly appealing. The person in whom Its invisible agony reaches a certain unendurable level will kill herself the same way a trapped person will eventually jump from the window of a burning high-rise. Make no mistake about people who leap from burning windows. Their terror of falling from a great height is still just as great as it would be for you or me standing speculatively at the same window just checking out the view; i.e. the fear of falling remains a constant. The variable here is the other terror, the fire’s flames: when the flames get close enough, falling to death becomes the slightly less terrible of two terrors. It’s not desiring the fall; it’s terror of the flames. And yet nobody down on the sidewalk, looking up and yelling ‘Don’t!’ and ‘Hang on!’, can understand the jump. Not really. You’d have to have personally been trapped and felt flames to really understand a terror way beyond falling.”
David Foster Wallace

Witold Gombrowicz
“I placed no trust in faiths, doctrines, ideologies, institutions. Thus I could stand only upon my own feet. But I was a Pole, molded by Polishness, living in Poland. And so I needed to look deeper for my ‘self,’ in the place where it was no longer Polish but simply human”
Witold Gombrowicz

Guy Debord
“The more he identifies with the dominant images of need, the less he understands his own life and his own desires. The spectacle’s estrangement from the acting subject is expressed by the fact that the individual’s gestures are no longer his own; they are the gestures of someone else who represents them to him.”
Guy Debord, The Society of the Spectacle

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