Jae Kwon

“Around this time, Pelletier and Espinoza, worried about the current state of their mutual lover, had two long conversations on the phone. The first conversation began awkwardly, although Espinoza had been expecting Pelletier's call, as if both men found it difficult to say what sooner or later they would have to say. The first twenty minutes were tragic in tone, with the word 'fate' used ten times and the word 'friendship' twenty-four times. Liz Norton's name was spoken fifty times, nine of them in vain. The word 'Paris' was said seven times, 'Madrid', eight. The word 'love' was spoken twice, once by each man. The word 'horror' was spoken six times and the word 'happiness' once (by Espinoza). The word 'solution' was said twelve times. The word 'solipsism' once (Pelletier). The word 'euphemism' ten times. The word 'category', in the singular and plural, nine times. The word 'structuralism' once (Pelletier). The term 'American literature' three times. The word 'dinner' or 'eating' or 'breakfast' or 'sandwich' nineteen times. The word 'eyes' or 'hands' or 'hair' fourteen times. Then the conversation proceeded more smoothly. Pelletier told Espinoza a joke in German and Espinoza laughed. In fact, they both laughed, wrapped up in the waves of whatever it was that linked their voices and ears across the dark fields and the windows and the snow of the Pyrenees and the rivers and lonely roads and the separate and interminable suburbs surrounding Paris and Madrid.”
― Roberto Bolaño, 2666

“Still, American television is full of smiles and more and more perfect-looking teeth. Do these people want us to trust them? No. Do they want us to think they're good people? No again. The truth is they don't want anything from us. They just want to show us their teeth, their smiles, and admiration is all they want in return. Admiration. They want us to look at them, that's all. Their perfect teeth, their perfect bodies, their perfect manners, as if they were constantly breaking away from the sun and they were little pieces of fire, little pieces of blazing hell, here on this planet simply to be worshipped.”
― Roberto Bolaño, 2666

“Without turning, the pharmacist answered that he liked books like The Metamorphosis, Bartleby, A Simple Heart, A Christmas Carol. And then he said that he was reading Capote's Breakfast at Tiffany's. Leaving aside the fact that A Simple Heart and A Christmas Carol were stories, not books, there was something revelatory about the taste of this bookish young pharmacist, who ... clearly and inarguably preferred minor works to major ones. He chose The Metamorphosis over The Trial, he chose Bartleby over Moby Dick, he chose A Simple Heart over Bouvard and Pecouchet, and A Christmas Carol over A Tale of Two Cities or The Pickwick Papers. What a sad paradox, thought Amalfitano. Now even bookish pharmacists are afraid to take on the great, imperfect, torrential works, books that blaze a path into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.”
― Roberto Bolano, 2666

“Ivanov's fear was of a literary nature. That is, it was the fear that afflicts most citizens who, one fine (or dark) day, choose to make the practice of writing, and especially the practice of fiction writing, an integral part of their lives. Fear of being no good. Also fear of being overlooked. But above all, fear of being no good. Fear that one's efforts and striving will come to nothing. Fear of the step that leaves no trace. Fear of the forces of chance and nature that wipe away shallow prints. Fear of dining alone and unnoticed. Fear of going unrecognized. Fear of failure and making a spectacle of oneself. But above all, fear of being no good. Fear of forever dwelling in the hell of bad writers.”
― Roberto Bolaño, 2666