Karan

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Book cover for Tell Me How it Ends: An Essay in Forty Questions
“I understood, some time after, that once you stay here long enough, you begin to remember the place where you originally came from the way a backyard might look from a high window in the deep of winter: a skeleton of the world, a tract of ...more
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“He would expose, remorselessly, those hypocrites and cynics who publicly denied the catastrophe of climate change while secretly short-selling that very same position and hedging all their bets; the millionaires and billionaires who preached self-reliance while accepting vast handouts in the form of subsidies and easy credit, and who bemoaned red tape while building contractual fortresses to shield their capital from their ex-wives; the tax-dodging economic parasites who treated state treasuries like casinos and dismantled welfare programmes out of spite, who secured immensely lucrative state contracts through illegitimate back channels and grubby, endlessly revolving doors, who eroded civil standards, who demolished social norms, and whose obscene fortunes had been made, in every case, on the back of institutions built with public funding, enriched by public patronage, and rightfully belonging to the public, most notably, the fucking Internet; the confirmed sociopaths who were literally vampiric with their regular transfusions of younger, healthier blood; the cancerous polluters who consumed more, and burned more, and wasted more than half the world’s population put together; the crypto-fascist dirty tricksters who pretended to be populists while defrauding and despising the people, who lied with impunity, who stole with impunity, who murdered with impunity, who invented scapegoats, who incited suicides, who encouraged violence and provoked unrest, and who then retreated into a private sphere of luxury so well insulated from the lives of ordinary people, and so well defended against them, that it basically amounted to a form of secession.”
Eleanor Catton, Birnam Wood

“he had found himself increasingly at odds with the prevailing orthodoxies of the contemporary feminist left, which seemed to him to have abandoned the worthy goal of equality between the sexes in pursuit of either naked self-interest or revenge. He could not accept a worldview whose terms he was not allowed to question, and he resented the caricature of power and entitlement that he was forever being told that he embodied, automatically and absolutely, no matter what his intentions were, and no matter what he felt or thought, or even did;”
Eleanor Catton, Birnam Wood

Bridget Collins
“There's a growing trade in fakes, you know. Does that concern you? He paused, but he didn't seem surprised not to get an answer. I've never seen one - well, as far as I know - but I'm curious. Could one really tell the difference? Novels, they call them. They must be much cheaper to produce. You can copy them, you see. use the same story over and over, and as long as you're careful how you sell them, you can get away with it. It makes one wonder who would write them. People who enjoy imagining misery, I suppose. People who have no scruples about dishonesty. People who can spend days writing a long sad lie without going insane.”
Bridget Collins, The Binding

Ottessa Moshfegh
“A grown woman is like a coyote--she can get by on very little. Men are more like house cats. Leave them alone for too long and they'll die of sadness”
Ottessa Moshfegh, Eileen

Gabrielle Zevin
“A truly magnificent thing about the way the brain was coded, Sam thought, was that it could say “Excuse me” while meaning “Screw you.” Unless they were unreliable or clearly established as lunatics or scoundrels, characters in novels, movies, and games were meant to be taken at face value—the totality of what they did or what they said. But people—the ordinary, the decent and basically honest—couldn’t get through the day without that one indispensable bit of programming that allowed you to say one thing and mean, feel, even do, another.”
Gabrielle Zevin, Tomorrow, and Tomorrow, and Tomorrow

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