David Nicholls

Novelist

1966-11-30

Quotes by David Nicholls

All his words and actions would now be fit for his daughter's ears and eyes. Life would be lived as if under [her] constant scrutiny. He would never do anything that might cause her pain or anxiety or embarrassment and there would be nothing, absolutely nothing in his life to be ashamed of anymore.
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I'm just not going to do it so that we can say that we've done it. And I'm not going to do it if the first thing you say afterwards is 'please don't tell anyone' or 'let's forget it ever happened'. If you have to keep something secret it's because you shouldn't be doing it in the first place!
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Maybe they're in love.And is that what love looks like - all wet mouths and your skirt rucked up?Sometines it is.
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And is that what love looks like -- all wet mouths and your skirt rucked up?Sometimes it is.
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Cuddling was for great aunts and teddy bears. Cuddling gave him cramp.
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Afterward, there was some debate as to whether we'd actually done it properly, which gives you some idea of the awesome skill and artful dexterity of my lovemaking technique.
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Keep the change, he smiled. Was there ever a more empowering phrase than Keep the change?
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By the time Albie is my age I will be long gone, or, best-case scenario, barricaded into my living module with enough rations to see out my days. But outside, I imagine vast, unregulated factories where workers count themselves lucky to toil through eighteen-hour days for less than a living wage before pulling on their gas masks to fight their way through the unemployed masses who are bartering with the mutated chickens and old tin-cans that they use for currency, those lucky workers returning to tiny, crowded shacks in a vast megalopolis where a tree is never seen, the air is thick with police drones, where car-bomb explosions, typhoons and freak hailstorms are so commonplace as to be barely remarked upon. Meanwhile, in the literally gilded towers above the carcinogenic smog, the privileged 1 per cent of businessmen, celebrities and entrepeneurs look down through bullet-proof windows, accept coktails in strange glasses from the robot waiters hovering nearby and laugh their tinkling laughs and somewhere, down there in that hellish, stewing mess of violence, poverty and desperation, is my son, Albie Petersen, a wandering minstrel with his guitar and his keen interest in photography, still refusing to wear a decent coat.
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Over-familiar, the music has become a kind of audio-Valium, background music rather than something I listen to actively and attentively. A gin and tonic after a long day. A shame, I think, because while each note remains the same, I used to hear them differently. It used to sound better.
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Our biographies involve each other so intrinsically now that we're both on nearly every page. We know the answers because we were there, and so curiosity becomes hard to maintain; replaced, I suppose, by nostalgia.
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Well I can tell you now that married life is not a plateau, not at all. There are ravines and great jagged peaks and hidden crevasses that send the both of you scrabbling into darkness. Then there are dull, parched stretches that you feel will never end, and much of the journey is in fraught silence, and sometimes you can't see the other person at all, sometimes they drift off very far away from you, quite out of sight, and the journey is hard. It is just very, very, very hard.
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By contrast, my wife at fifty-two yeas old seems to me just as attractive as the day I first met her. If I were to say this out loud, she would say, 'Douglas, that's just a line. No one prefers wrinkles, no one prefers grey.' To which I'd reply, 'But none of this is a surprise. I've been expecting to watch you grow older ever since we met. Why should it trouble me? It's the face itself that I love, not that face at twenty-eight or thirty-four or fourty-three. It's that face.'Perhaps she would have liked to hear this but I had never got around to saying it out loud. I had always presumed there would be time and now, sitting on the edge of the bed at four a.m., no longer listening out for burglars, it seemed that it might be too late.
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a brief history of artCave paintings. Clay then bronze statues. Then for about 1,400 years, people painted nothing except bold but rudimentary pictures of either the Virgin Mary and Child or the Crucifixion. Some bright spark realised that things in the distance looked smaller and the pictures of the Virgin Mary and the Crucifixion improved hugely. Suddenly everyone was good at hands and facial expression and now the statues were in marble. Fat cherubs started appearing, while elsewhere there was a craze for domestic interiors and women standing by windows doing needlework. Dead pheasants and bunches of grapes and lots of detail. Cherubs disappeared and instead there were fanciful, idealised landscapes, then portraits of aristocrats on horseback, then huge canvasses of battles and shipwrecks. Then it was back to women lying on sofas or getting out of the bath, murkier this time, less detailed then a great many wine bottles and apples, then ballet dancers. Paintings developed a certain splodginess - critical term - so that they barely resembled what they were meant to be. Someone signed a urinal, and it all went mad. Neat squares of primary colour were followed by great blocks of emulsion, then soup cans, then someone picked up a video camera, someone else poured concrete, and the whole thing became hopelessly fractured into a kind of confusing, anything-goes free for all.
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You start out wanting to change the world through language, and end up thinking it's enough to tell a few good jokes.
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All young people worry about things, it's a natural and inevitable part of growing up, and at the age of sixteen my greatest anxiety in life was that I'd never again achieve anything as good, or pure, or noble, or true, as my O-level results.
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A moment passed, perhaps half a second when their faces said what they felt, and then Emma was smiling, laughing, her arms around his neck.
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I'm just not prepared to be treated like this anymore.''Treated like what?'She sighed, and it was a moment before she spoke. 'Like you always want to be somewhere else, with someone else.
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If you're my friend I should be able to talk to you but I can't, and if I can't talk to you, well, what is the point of you? Of us?
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So they were pen pals now, Emma composing long, intense letters crammed with jokes and underlining, forced banter and barely concealed longing; two-thousand-word acts of love on air-mail paper. Letters, like compilation tapes, were really vehicles for unexpressed emotions and she was clearly putting far too much time and energy into them. In return, Dexter sent her postcards with insufficient postage: "Amsterdam is MAD', "Barcelona INSANE', "Dublin ROCKS. Sick as DOG this morning.' As a travel writer, he was no Bruce Chatwin, but still she would slip the postcards in the pocket of a heavy coat on long soulful walks on Ilkley Moor, searching for some hidden meaning in "VENICE COMPLETELY FLOODED!!!!
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Maybe we've grown out of each other.
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