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Quote by Mei Hachimoku

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The Tunnel to Summer, the Exit of Goodbyes

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Mei Hachimoku

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“The words kept coming and he could not stop them, not while Callie was standing there so indecipherably, and so he was going to keep talking until he used up all the words there were and then no one would be able to talk to anyone else anymore and then all anyone would have left were one another's unintelligible faces, and maybe some weird gesturing, too, and it would be all Oscar's fault.”

AnxietyPanicAwkwardSocial Cues
Book:The Real Boy
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“There are ways to do things, ways to act with people, and I do not understand them. I cannot understand what people mean when they talk. I do not do things right. I do not feel things right. I do not see things right. I am not...I'm not made of the same thing as everyone else.' The baker took in a deep breath. 'I think if you'll look around, my boy,' he said gently, 'you'll find that no one is quite right. But we all do the best we can.”

Self WorthSelf DoubtBeing NormalSocial Cues
Book:The Real Boy
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“You’re evacuating us, aren’t you?’ I said in surprise. ‘But you can’t. I mean… you need us here… we need to be here.’ That was always what Mum said. We needed to be together, especially after Dad went off to fight. When war was declared, all the schools round our way closed. Our classmates and our teacher Miss Higgins got evacuated to Kent and for a while I’d get postcards from my friends Maggie and Susan, who told me all I was missing – which wasn’t much by the sound of it.”

P 28
Book:Letters from the Lighthouse
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“In a way, what Tarantino has done with the French New Wave and with David Lynch is what Pat Boone did with rhythm and blues: He's found (ingeniously) a way to take what is ragged and distinctive and menacing about their work and homogenize it, churn it until it's smooth and cool and hygienic enough for mass consumption. Reservoir Dogs, for example, with its comically banal lunch chatter, creepily otiose code names, and intrusive soundtrack of campy pop from decades past, is a Lynch movie made commercial, i.e., fast, linear, and with what was idiosyncratically surreal now made fashionably (i.e., "hiply") surreal [...] D. Lynch is an exponentially better filmmaker than Q. Tarantino. For, unlike Tarantino, D. Lynch knows that an act of violence in an American film has, through repetition and desensitization, lost the ability to refer to anything but itself. A better way to put what I just tried to say: Quentin Tarantino is interested in watching somebody's ear getting cut off; David Lynch is interested in the ear.”

FilmViolenceCommercialismDavid Foster WallaceDavid LynchQuentin TarantinoMuzak
Author:David Foster Wallace
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