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Quote by Maya Shepherd

“Jeden Tag habe ich mich in der Sicherheitszone danach gesehnt, den Himmel, die Sterne oder lebende Pflanzen zu sehen. […] Durch ihre Glasfenster können sie jeden Tag die Sonne beim Auf- und Untergehen beobachten. Sie können die Sterne zählen, wenn sie wollen, und dem Mond dabei zusehen, wie er zu- und wieder abnimmt. Warum haben sie uns unter der Erde eingesperrt, während sie selbst die Fenster weit aufreißen und ihre Lungen mit frischer Luft füllen konnten? Warum haben sie das nie mit uns geteilt? Warum haben sie uns belogen?”

Quote by Maya Shepherd

Book:Die Verstoßenen
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Die Verstoßenen

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Maya Shepherd

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“It is a hot summer day in Tennessee in the midst of the sixth decade of this century. The girl has climbed the fence to get to the swimming hole she has visited so many summers of her life in the time before this part of the land was enclosed. She stands now at the edge of it. Her body is sticky with heat. The surface of the water moves slightly. Sunlight shimmers and dances in a green reflection that seems as she stares at it to pull her in even before her skin is wet with it. Drops of water on the infant’s head. All the body immersed for baptism. Do these images come to her as she sinks into the coolness? The washing of hands before Sunday’s midday meal. All our sins washed away. Water was once the element for purification. But at the bottom of this pool, There is no telling what is there now. This is what the girl’s father will say to her finally: corroded cans of chemical waste, some radioactive substances. That was why they put the fence there. She is not thinking of that now. The words have not yet been said, and so for her no trouble exists here. The water holds up her body. She is weightless in this fulsome element, the waves her body makes embracing her with their own benediction. Beneath her in the shadowy green, she feels the depth of the pond. In this coolness as the heat mercifully abates, her mind is set free, to dream as the water dreams.”

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“[H]e was one of those people who got to the top of an organisation through luck, connections, the indulgence of superiors and that sort of carelessness towards others that the easily impressed termed ruthlessness and those of a less gullible nature called sociopathy. But sometimes, just through his sheer unthinking brusqueness and inability to think through the consequences of a remark, he said what everybody else was only thinking. A comic poet working in obscene doggerel.”

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“Bulgakov always loved clowning and agreed with E. T. A. Hoffmann that irony and buffoonery are expressions of ‘the deepest contemplation contemplation of life in all its conditionality’. It is not by chance that his stage adaptations of the comic masterpieces of Gogol and Cervantes coincided with the writing of The Master and Margarita. Behind such specific ‘influences’ stands the age-old tradition of folk humour with its carnivalized world-view, its reversals and dethronings, its relativizing of worldly absolutes—a tradition that was the subject of a monumental study by Bulgakov’s countryman and contemporary Mikhail Bakhtin. Bakhtin’s Rabelais and His World, which in its way was as much an explosion of Soviet reality as Bulgakov’s novel, appeared in 1965, a year before The Master and Margarita. The coincidence was not lost on Russian readers. Commenting on it, Bulgakov’s wife noted that, while there had never been any direct link between the two men, they were both responding to the same historical situation from the same cultural basis.”

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“Some people believe that it isn’t so much power that is exchanged in TPE, as it is authority. The intrinsic difference between power and authority can best be explained thusly: If we were talking about a car, then power would be what was under the hood. Exercising that power would mean taking the car out for a spin. Having the authority to do so might involve a driver’s license, possessing the keys, or having the title and registration.”

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