Chang-rae Lee

“This is how we were meant for each other. How we make our living. The lives of frustrated poets and imposters. This, too, how the love works and then doesn't: a mutual spectacle of imagination.”

“I wonder if my father, given the chance, would have wished to go back to the time before he made all that money, when he just had one store and we rented a tiny apartment in Queens. He worked hard and had worries but he had a joy then that he never seemed to regain once the money started coming in. He might turn on the radio and dance cheek to cheek with my mother. He worked on his car himself, a used green Impala with carburetor trouble. They had lots of Korean friends that they met in church and then even in the street, and when they talked in public there was a shared sense of how lucky they were, to be in America but still have countrymen near.”

“...it seems to me that life's moments don't have to be so right or not right anymore, so fraught and weighted with "valve", but just of themselves, what they are...”

“And perhaps most I loved this about her, her helpless way, love it still, how she can't hide a single thing, that she looks hurt when she is hurt, seems happy when happy. That I know at every moment the precise place where she stands. What else can move a man like me, who would find nothing as siren or comforting?”

“There is something universally chilling about a new plot. And I could see how my boy needed time and space for a story to bloom in his mind, because at any age what comes before sight is a conjuring. A trope, which is just a way to believe.”

“indelible, our last clues to a beautiful woman”

“I'm a B+ student of life.”

“...whether the people are happy or not in their lives, they have learned to keep steadily moving, moving all the time.”

“The truth, finally, is who can tell it. ”

“And though the implication is that I am the sort who is always careful and preparing, I that that's not right, either' in fact I feel I have not really been living anywhere or anytime, not for the future and not in the past and not at all of-the-moment, but rather in a lonely dream of an oblivion, the nothing-of-nothing drift from one pulse beat to the next, which is really the most bloodless marking-out, automatic and involuntary. [pp. 320-321]”

“It seems I have always been fortunate to be in a certain provident, which must be my sole skill, and worth, and luck. [p. 138]”

“I know again why I favor it so much here, how I esteem the hush of this suburban foliage in every season, the surprising naturalness of its studied, human plan, how the privying hills and vales and dead-end lanes make one feel this indeed is the good and decent living, a cloister for those of us who are modest and unspecial. [p. 130}”

“And it occurred to me that in this new millennial life of instant and ubiquitous connection, you don't in fact communicate so much as leave messages for one another, these odd improvisational performances, often sorry bits and samplings of ourselves that can't help but seem out of context. And then when you do finally reach someone, everyone's so out of practice or too hopeful or else embittered that you wonder if it would be better not to attempt contact at all.”