Marcus Klugmann

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Guido Ceronetti
“Even the poorest and most squalid life is an Aeschylean drama, if you think about the tragedy of the bodily functions, the whispering of the secretions, the silence of the organs, the exertions of memory, the groping of the voice, the blood that courses, the mortal miasmas, the riots among microorganisms, the spermatic wars, the cellular eruptions, the pestilences of the nerves, the biochemical predestinations, and the fate that slowly but surely introduces you to the final infection, to the sores, the exploded boils, the snakes of madness, the furious bitches of Hunger.”
Guido Ceronetti, The Silence of the Body: Materials for the Study of Medicine

Julio Cortázar
“All profound distraction opens certain doors. You have to allow yourself to be distracted when you are unable to concentrate.”
Julio Cortázar, Around the Day in Eighty Worlds

John McPhee
“The routine produces. But each day, nevertheless, when you try to get started you have to transmogrify, transpose yourself; you have to go through some kind of change from being a normal human being, into becoming some kind of slave.

I simply don’t want to break through that membrane. I’d do anything to avoid it. You have to get there and you don’t want to go there because there’s so much pressure and so much strain and you just want to stay on the outside and be yourself. And so the day is a constant struggle to get going.

And if somebody says to me, You’re a prolific writer—it seems so odd. It’s like the difference between geological time and human time. On a certain scale, it does look like I do a lot. But that’s my day, all day long, sitting there wondering when I’m going to be able to get started. And the routine of doing this six days a week puts a little drop in a bucket each day, and that’s the key. Because if you put a drop in a bucket every day, after three hundred and sixty-five days, the bucket’s going to have some water in it.

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John McPhee

John Hawkes
“I began to write fiction on the assumption that the true enemies of the novel were plot, character, setting and theme, and having once abandoned these familiar ways of thinking about fiction, totality of vision or structure was really all that remained.”
John Hawkes

Samuel R. Delany
“But I realized something. About art. And psychiatry. They're both self-perpetuating systems. Like religion. All three of them promise you a sense of inner worth and meaning, and spend a lot of time telling you about the suffering you have to go through to achieve it. As soon as you get a problem in any one of them, the solution it gives is always to go deeper into the same system. They're all in rather uneasy truce with one another in what's actually a mortal battle. Like all self-reinforcing systems. At best, each is trying to encompass the other two and define them as sub-groups. You know: religion and art are both forms of madness and madness is the realm of psychiatry. Or, art is the study and praise of man and man's ideals, so therefore a religious experience just becomes a brutalized aesthetic response and psychiatry is just another tool for the artist to observe man and render his portraits more accurately. And the religious attitude I guess is that the other two are only useful as long as they promote the good life. At worst, they all try to destroy one another. Which is what my psychiatrist, whether he knew it or not, was trying, quite effectively, to do to my painting. I gave up psychiatry too, pretty soon. I just didn't want to get all wound up in any systems at all.”
Samuel R. Delany, Dhalgren

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