Michael Chabon

Author

1963-05-24

Quotes by Michael Chabon

• My grandfather often felt frustrated or baffled by my grandmother's illness, but when it came to the origins of the Skinless Horse he thought he understood. The Skinless Horse was a creature sworn to pursue my grandmother no matter where she went on the face of the globe, whispering to her in the foulest terms of her crimes and the blackness of her soul. There was a voice like that in everyone's head, he figured; in my grandmother's case it was just a matter of degree. You could almost see the Skinless Horse as a clever adapation, a strategy for survival evolved by a proven survivor. If you kept the voice inside your head, the way most people did, there could really be only one way to silence it. He admired the defiance, the refusal to surrender, involuntary but implicit in the act of moving that reproachful whisperer to a shadowy corner of a room, an iron furnace in a cellar, the branches of a grand old tree.

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• All literature, highbrow or low, from the Aeneid onward, is fan fiction....Through parody and pastiche, allusion and homage, retelling and reimagining the stories that were told before us and that we have come of age loving--amateurs--we proceed, seeking out the blank places in the map that our favorite writers, in their greatness and negligence, have left for us, hoping to pass on to our own readers--should we be lucky enough to find any--some of the pleasure that we ourselves have taken in the stuff that we love: to get in on the game. All novels are sequels; influence is bliss.

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• He has the memory of a convict, the balls of a fireman, and the eyesight of a housebreaker. When there is crime to fight, Landsman tears around Sitka like a man with his pant leg caught on a rocket. It's like there's a film score playing behind him, heavy on the castanets. The problem comes in the hours when he isn't working, when his thoughts start blowing out the open window of his brain like pages from the blotter. Sometimes it takes a heavy paperweight to pin them down.

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• His body had almost no hair and his naked little circumcised johnson was nearly as pale as the rest of him, white as a boy's - perhaps over time one's genitals emerge from the pots and bubbling vats of love permanently stained, like the hands of a wool dyer.

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• The city was new again, and newly dangerous, and I would walk the streets quickly, eyes averted from those of passersby, like a spy in the employ of lust and happiness, carrying the secret deep within me but always on the tip of my tongue.

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• It never takes longer than a few minutes, when they get together, for everyone to revert to the state of nature, like a party marooned by a shipwreck. That's what a family is. Also the storm at sea, the ship, and the unknown shore. And the hats and the whiskey stills that you make out of bamboo and coconuts. And the fire that you light to keep away the beasts.

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• Love great first lines and paragraphs. From The Yiddish Policemen's Union:Nine months Landsman's been flopping at the Hotel Zamenhof without any of his fellow residents managing to get themselves murdered. Now somebody has put a bullet in the brain of the occupant of 208, a yid who was calling himself Emanuel Lasker.

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• I was conscious, then, of a different ache, deeper and more sharp than the feeling of bereavement that a hangover will sometimes uncover in the heart.

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• There is only one sure means in life, Deasey said, of ensuring that you are not ground into paste by disappointment, futility, and disillusion. And that is always to ensure, to the utmost of your ability, that you are doing it solely for the money.

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• Landsman and Bina were married to each other for twelve years and together for five before that. Each was the other's first lover, first betrayer, first refuge, first roommate, first audience, first person to turn to when something -- even the marriage itself -- went wrong. For half their lives they tangled their histories, bodies, phobias, theories, recipes, libraries, record collections. They mounted spectacular arguments, nose-to-nose, hands flying, spittle flying, throwing things, kicking things, breaking things, rolling around on the ground grabbing up fistfuls of each other's hair. The next day he would bear the red moons of Bina's nails in his cheeks and on the meat of his chest, and she wore his purple fingerprints like an armlet.

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• Although sex was something they both regarded as perilous, marriage had, by contrast, seemed safe– a safe house in a world of danger; the ultimate haven of two solitary, fearful souls. When you were single, this was what everyone who was already married was always telling you. Daniel himself had said it to his unmarried friends. It was, however, a lie. Sex had everything to do with violence, that was true, and marriage was at once a container for the madness between men and women and a fragile hedge against it, as religion was to death, and the laws of physics to the immense quantity of utter emptiness of which the universe was made. But there was nothing at all safe about marriage. It was a doubtful enterprise, a voyage in an untested craft, across a hostile ocean, with a map that was a forgery and with no particular destination but the grave.

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• But there is no Messiah of Sitka. Landsman has no home, no future, no fate but Bina. The land that he and she were promised was bounded only by the fringes of their wedding canopy, by the dog-eared corners of their cards of membership in an international fraternity whose members carry their patrimony in a tote bag, their world on the tip of the tongue.

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• {...} I was okay with things the way they were. No, not okay: I longed and suffered and pined with the rest of humanity. Sometimes I was happy enough with the book I was reading or the book I was writing, and the life I was stuck inside felt like a house on a rainy day. But most of the time I was just plain dying to get out. All I needed— all I have ever needed— was someone to challenge me, to serve as a goad, an instigator, a stirrer of the pot. I hated trouble, but I loved troublemakers. I hated chance and uncertainty, but I was drawn to those who showed up on your doorstep with their own pair of dice.

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• Airplane Dream #13' told the story, more or less, of a dream Rosa had had about the end of the world. There were no human beings left but her, and she had found herself flying in a pink seaplane to an island inhabited by sentient lemurs. There seemed to be a lot more to it -- there was a kind of graphic sound track constructed around images relating to Peter Tchaikovsky and his works, and of course abundant food imagery -- but this was, as far as Joe could tell, the gist. The story was told entirely through collage, with pictures clipped from magazines and books. There were pictures from anatomy texts, an exploded musculature of the human leg, a pictorial explanation of peristalsis. She had found an old history of India, and many of the lemurs of her dream-apocalypse had the heads and calm, horizontal gazes of Hindu princes and goddesses. A seafood cookbook, rich with color photographs of boiled crustacea and poached whole fish with jellied stares, had been throughly mined. Sometimes she inscribed text across the pictures, none of which made a good deal of sense to him; a few pages consisted almost entirely of her brambly writing, illuminated, as it were, with collage. There were some penciled-in cartoonish marginalia like the creatures found loitering at the edges of pages in medieval books.

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• The rocket was beautiful. In conception it had been shaped by an artist to break a chain that had bound the human race ever since we first gained consciousness of earth's gravity and all it's analogs in suffering, failure and pain. It was at once a prayer sent heavenward and the answer to that prayer: Bear me away from this awful place.

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• People with Books. What, in 2007, could be more incongruous than that? It makes me want to l

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• I said that I had heard curiosity could be harmful, in particular to cats

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• I'm disappointed in myself. In my life. All my life, everything I tried, I only got halfway there. You try to take advantage of the time you have. That's what they tell you to do. But when you're old, you look back and you see all you did, with all that time, is waste it. All you have is a story of things you never started or couldn't finish. Things you fought with all your heart to build that didn't last or fought with all your heart to get rid of and they're all still around. I'm ashamed of myself.

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• All at once he feels weary of ganefs and prophets, guns and sacrifices and the infinite gangster weight of God. He's tired of hearing about the promised land and the inevitable bloodshed required for its redemption.

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• I don't care what is written, Meyer Landsman says. I don't care what supposedly got promised to some sandal-wearing idiot whose claim to fame is that he was ready to cut his own son's throat for the sake of a hare-brained idea. I don't care about red heifers and patriarchs and locusts. A bunch of old bones in the sand. My homeland is in my hat. It's in my ex-wife's tote bag.

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