Chantal

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Parable of the Sower
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Saturday Night an...
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The Melancholy of...
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Colson Whitehead
“Her father dropped her off in front of the place where she was to live and left the engine running. Lila Mae removed the two suitcases from the back of the pickup truck. The suitcases were new, with a formidable casing of green plastic. Scratchproof, supposedly. Her father had only been able to afford them because they were, manufacturer's oats aside, scratched — gouged actually, as if an animal had taken them in its fangs to teach them about hubris.”
Colson Whitehead

Samuel Beckett
“The sweet creature! She would look it up in her big Dante when she got home. What a woman!”
Samuel Beckett, More Pricks Than Kicks

Tania James
“As she continues to answer questions about her employment, all these words mean little more to her now than I AM SOPHISTICATED, I AM WORTHY, I AM SOPHISTICATED, I AM WORTHY. She attempts the posture of a politician's wife, shoulders held back, dignifIed yet modest.”
Tania James, Atlas of Unknowns

Shelley Jackson
“Still, I know how to use the little I have, my flat stomach and rather flatter chest, my slightly bowed, but strong and flexible legs. I produce plenty of phlegm. I have clever hands and a stare that could take the silvering off a mirror. Men flatter themselves they are original in admiring me. How confused they are when they find out they have competition. (There is no desperation like that of a lover who has decided to do you a favor, and finds himself waiting in line.)”
Shelley Jackson

Alfred Hitchcock
“There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean.

We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"

In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”
Alfred Hitchcock

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