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“It reminded me of how I’d felt applying to college. Night after night, I sat with my father in his study while he read aloud from Baron’s. He’d read the name of the college, the number of men and the number of women, and a description in guidebook prose; then he’d say, ‘How does that sound?’ and I’d think, Sounds just like the last one.
It took me a few nights to realize that my father was reading only the colleges that I had some chance of getting into – not Brown but Bowling Green; not Wesleyan but Ohio Wesleyan; not Williams or Smith, but William Smith. Until that moment, it hadn’t occurred to me that my grades and test scores over the years were anything more than individual humiliations; I hadn’t realized that one day all of them would add up and count against me.”
Melissa Bank, The Wonder Spot

John Irving
“Of course: because it was in one of the camps that he went blind. They had performed some failed experiment on his eyes in the camp.
‘No, not summer camp,’ Franny had to tell Lilly, who had always been afraid of being sent to summer camp, and was unsurprised to hear that they tortured the campers.”
John Irving, The Hotel New Hampshire

Zadie Smith
“There are two different kinds of glee club in this world. The first sing barbershop favourites and Gershwin tunes, they swing gently, moving from side to side and sometimes clicking their fingers and winking. Howard could basically deal with that type. He had got through those occasions graced by glee clubs of that type. But these boys were not of that type. Swaying and clicking and winking were just how they got warmed up. Tonight this glee club had chosen as their opener ‘Pride (In the Name of Love)’ by U2, which they had taken the trouble to transform into a samba. They swayed, they clicked, they winked. They did coordinated spins. They switched places with each other. They moved forward, they moved back – always retaining their formation. They smiled the kind of smile you might employ when trying to convince a lunatic to quit holding a gun to your mother’s head.”
Zadie Smith, On Beauty

John Irving
“Doris Wales was a woman with straw-blond hair whose body appeared to have been dipped in corn oil; then she must have put her dress on, wet. The dress grabbed at all her parts, and plunged and sagged over the gaps in her body; a lover’s line of hickeys, or love bites – ‘love-sucks,’ Franny called them – dotted Doris’s chest and throat like a violent rash; the welts were like wounds from a whip. She wore plum-covered lipstick, some of which was on her teeth, and she said, to Sabrina Jones and me, ‘You want hot-dancin’ music, or slow-neckin’ music? Or both?’
‘Both,’ said Sabrina Jones, without missing a beat, but I felt certain that if the world would stop indulging wars and famines and other perils, it would still be possible for human beings to embarrass each other to death. Our self-destruction might take a little longer that way, but I believe it would be no less complete.”
John Irving, The Hotel New Hampshire

John Irving
“Franny’s Hollywood name, her acting name, is one you know. This is our family’s story, and it’s inappropriate for me to use Franny’s stage name – but I know that you know her. Franny is the one you always desire. She is the best one, even when she’s the villain; she always the real hero, even when she dies, even when she dies for love – or worse, for war. She’s the most beautiful, the most unapproachable, but the most vulnerable too, somehow – and the toughest. (She’s why you go to the movie, or why you stay.)”
John Irving, The Hotel New Hampshire

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