When he was young and dreaming of the future, hadn’t he imagined an ideal profession which unfortunately doesn’t exist in real life? He hadn’t told anyone, and never uttered these words aloud, even to himself, but he would have liked to be a ‘mender of destinies’.
MAIGRET AND THE HEADLESS CORPSE, Georges Simenon
‘4′ 33″’ is not about silence at all, in fact, but the impossibility of it. This was something he discovered on visiting an anechoic chamber at Harvard University, supposedly a sensory deprivation experience, but during which he was aware of two droning sounds, high and low. These were, the duty engineer told him, the sounds of his nervous system and blood circulation respectively. And so the point of ‘4′ 33″’ is that it is the ultimate ambient piece: it consists of whatever sounds happen to fill the listening space while the musicians do not play – a passing car or overhead plane, perhaps, a shuffle, a cough or simply the sound of the venue’s central heating system. These sounds are now in the frame, just like the reflections of the observers of Rauschenberg’s black and white canvasses became their (albeit transient) subject matter.
MARS BY 1980, David Stubbs
‘My theory,’ Hole continued with an innocent smile, making him look like a boy trying to persuade his mother he should have an atomic bomb for Christmas, ‘is that…”
POLICE, Jo Nesbo
We no longer even make the mistake of the wild young ones, by claiming that our judgment is the last judgment or declaring that this is where the road ends.
THE WORLD GOES ON, Laszlo Krasznahorkai