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Quote by Ranjani Ramachandran

“Everyday, in the afternoon, When the sun and the clouds are in equipoise, I look up, with shrunken eyes and shadowed forehead, To see whether you hide in them, If those shapes could make some sense, And I find you walking your dog, laughing aloud, Driving your car and Dancing in the bar, Working very hard and playing retard, Hurting my eyes, head and heart; I look upon the ground, Tossing a stone as cold as your soul, Realisation is a fantasy, Omnipresence is not your genre, but Obsession is mine.”

Quote by Ranjani Ramachandran

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Ranjani Ramachandran

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“It's hard to explain how an infatuation actually starts. It's a state so all-encompassing that it's almost impossible to remember how it felt to live inside your own head before it began. Everything that precedes it becomes a pathway that was always leading there. Time before is valuable only as a resource with which to create a persona, to bind the object of the infatuation closer. I had given my (partially fabricated) past life to Mizuko to make a story that in the end never got told. Or not by her. It is also hard to explain the intensity of the infatuation itself. There is rarely an explanation that seems reasonable to anyone but you. Unless you're part of a cult or viral phenomenon, so that when you weep outside the object of your infatuation's hotel room, you do so in the company of millions.”

ObsessionSympathyInfatuationHysteriaOlivia Sudjic
Book:Sympathy
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“In his fight against the powers of the surrounding world his first weapon was magic, the first forerunner of our modern technology. We suppose that this confidence in magic is derived from the over-estimation of the individual’s own intellectual operations, from the belief in the ‘omnipotence of thoughts’, which, incidentally, we come across again in our obsessional neurotics.”

ThinkingScienceHumanityTechnologyPowerMagicConfidenceIntellectObsessionNeurotics
Book:New Introductory Lectures on Psychoanalysis
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“Once or twice, at night, he planted himself in front of the type-writer, trying to get back to the book he'd come to New York to write. It was supposed to be about America, and freedom, and the kinship of time to pain, but in order to write about these things, he'd needed experience. Well, be careful what you wish for. For now all he seemed capable of producing was a string of sentences starting, Here was William. Here was William's courage, for example. And here was William's sadness, smallness of stature, size of hands. Here was his laugh in a dark movie theater, his unpunk love of the films of Woody Allen, not for any of the obvious ways they flattered his sensibility, but for something he called their tragic sense, which he compared to Chekhov's (whom Mercer knew he had not read). Here was the way he never asked Mercer about his work; the way he never talked about his own and yet seemed to carry it with him just beneath the skin; the way his skin looked in the sodium light from outside with the light off, with clothes off, in silver rain; the way he embodied qualities Mercer wanted to have, but without ruining them by wanting to have them; the way his genius overflowed its vessel, running off into the drain; the unfinished self-portrait; the hint of some trauma in his past, like the war a shell-shocked town never talks about; his terrible taste in friends; his complete lack of discipline; the inborn incapacity for certain basic things that made you want to mother him, fuck him, give your right and left arms for him, this man-child, this skinny American; and finally his wildness, his refusal to be imaginable by anyone.”

LoveWritingInspirationRelationshipGayExperienceObsessionMuseCity On FireGarth Risk HallbergOtpWoody AllenAnton ChekhovMercer And WilliamGay CoupleTragic Sense
Book:City on Fire
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