Andreas Piaggio

“He thus didn’t find himself outside the limits of his experience; he was high above it. His distaste for himself remained down below; down below he had felt his palms become sweaty with fear and his breath speed up; but here, up high in his poem, he was above his paltriness, the key-hole episode and his cowardice were merely a trampoline above which he was soaring; he was no longer subordinate to his experience, his experience was subordinate to what he had written.

The next day he used his grandfather’s typewriter to copy the poem on special paper; and the poem seemed even more beautiful to him than when he had recited it aloud, for the poem had ceased to be a simple succession of words and had become a thing; its autonomy was even more incontestable; ordinary words exist only to perish as soon as they are uttered, their only purpose is to serve the moment of communication; subordinate to things they are merely their designations; whereas here words themselves had become things and were in no way subordinate; they were no longer destined for immediate communication and prompt disappearance, but for durability.

What Jaromil had experienced the day before was expressed in the poem, but at the same time the experience slowly died there, as a seed dies in the fruit. “I am underwater and my heartbeats make circles on the surface”; this line represents the adolescent trembling in front of the bathroom door, but at the same time his feature in this line, slowly became blurred, this line surpassed and transcended him. “Ah, my aquatic love”, another line said, and Jaromil knew that aquatic love was Magda, but he also knew that no one could recognise her behind these words; that she was lost, invisible, buried there, the poem he had written was absolutely autonomous, independent and incomprehensible as reality itself, which is no one’s ally and content simply to be; the poem’s autonomy provided Jaromil a splendid refuge, the ideal possibility of a second life; he found that so beautiful that the next day he tried to write more poems; and little by little he gave himself over to this activity.”
― Milan Kundera, Life is Elsewhere

“There is no such thing as a good father because the role itself is bad. Strict fathers, soft fathers, nice moderate fathers — one's as bad as another. They stand in the way of our progress while they try to burden us with their inferiority complexes, and their unrealized aspirations, and their resentments, and their ideals, and the weaknesses they've never told anyone about, and their sins, and their sweeter-than-honey dreams, and the maxims they've never had the courage to live by — they'd like to unload all that silly crap on us, all of it!”
― Yukio Mishima, The Sailor Who Fell from Grace with the Sea

“To the extent that heaven above is isolation, it seems to be hell. To the extent that hell below is a crowd, it apparently is heaven. Maybe we are condemned to an endless nagging sense of discomfort balanced against comfort, satisfaction against the itch to escape.”
― Michael S.A. Graziano, The Divine Farce

“I remember my youth and the feeling that will never come back any more—the feeling that I could last for ever, outlast the sea, the earth, and all men; the deceitful feeling that lures us on to joys, to perils, to love, to vain effort—to death; the triumphant conviction of strength, the heat of life in the handful of dust, the glow in the heart that with every year grows dim, grows cold, grows small, and expires—and expires, too soon, too soon—before life itself.”
― Joseph Conrad, Youth, a Narrative