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Gary Shteyngart

Gary Shteyngart Quotes

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Famous Gary Shteyngart Quotes

“After you publish a book, you become a writer and you're supposed to take it very seriously. You're supposed to show up at your desk - although frankly, I don't have a desk, I write in bed - you're supposed to show up at your bed and produce work. I think it's a little bit like work. I like to have fun with it, do things like make silly book trailers. I don't want to take this too seriously.”

“We know summer is the height of of being alive. We don't believe in God or the prospect of an afterlife mostly, so we know that we're only given eighty summers or so per lifetime, and each one has to be better then the last, has to encompass a trip to that arts center up at Bard, a seemingly mellow game of badminton over at some yahoo's Vermont cottage, and a cool, wet, slightly dangerous kayak trip down an unforgiving river. Otherwise, how would you know that you have lived your summertime best? What is you missed out on some morsel of shaded nirvana?”

“... I'm the fortieth-ugliest man in this bar. But so what! So what! What if someday she lets me kiss each one of her freckles again? She has like a million. But every one of them means something to me. Isn't this how people used to fall in love? I know we're living in Rubenstein's America, like you keep saying. But doesn't that just make us even more responsible for each other's fates? I mean, what if Eunice and I just said no to all this. To this bar. To this FACing. The two of us. What if we just went home and read books to each other?”

“Do not throw away your heart. Keep your heart. Your heart is all that matters ... Throw away your ancestors! ... Throw away your shyness and the anger that lies just a few inches beneath ... Accept the truth! And if there is more than one truth, then learn to do the difficult work -- learn to choose. You are good enough, you are HUMAN ENOUGH, to choose!”

“I wish I were stronger and more secure in myself so that I could really spend my life with a guy like Lenny. Because he has a different kind of strength than Joshie. He has the strength of his sweet tuna arms. He has the strength of putting his nose in my hair and calling it home. He has the strength to cry when I go down on him. Who IS Lenny? Who DOES that? Who will ever open up to me like that again? No one. Because it's too dangerous. Lenny is a dangerous man. Joshie is more powerful, but Lenny is much more dangerous.”

“Summer is a Latvian chicken. We make foolish choices. We think we’re young again. We run with outstretched arms toward an object of love and it pecks us and pecks us until we’re standing there snot-nosed and teary in the middle of Astor Place and the sun sets fire to our Penguin shirts and all that is left to do is go to our air-conditioned homes and ponder the cruelty of our finest season.”

“My hair would continue to gray, and then one day, it would fall out entirely, and then, on a day meaninglessly close to the present one, meaninglessly like the present one, I would disappear from the earth. And all these emotions, all these yearnings, all these data, if that helps to clinch the enormity of what I'm talking about, would be gone. And that's what immortality means. It means selfishness. My generations belief that each one of us matters more than you or anyone else would think.”

“In contravention of my belief that any life ending in death is essentially pointless, I needed my friends to open up that plastic bag and take one last look at me. Someone had to remember me, if only for a few more minutes in the vast silent waiting room of time.”

“Then I celebrated my Wall of Books. I counted the volumes on my twenty-foot-long modernist bookshelf to make sure none had been misplaced or used as kindling by my subtenant. “You’re my sacred ones,” I told the books. “No one but me still cares about you. But I’m going to keep you with me forever. And one day I’ll make you important again.” I thought about that terrible calumny of the new generation: that books smell.”

“In the first few pages, Kundera discusses several abstract historical figures: Robespierre, Nietzsche, Hitler. For Eunice's sake, I wanted him to get to the plot, to introduce actual "living" characters - I recalled this was a love story - and to leave the world of ideas behind. Here we were, two people lying in bed, Eunice's worried head propped on my collarbone, and I wanted us to feel something in common. I wanted this complex language, this surge of intellect, to be processed into love. Isn't that how they used to do it a century ago, people reading poetry to one another?”