Jess Walter

“This is a love story,” Michael Dean says, ”but really what isn’t? Doesn’t the detective love the mystery or the chase, or the nosey female reporter who is even now being held against her wishes at an empty warehouse on the waterfront? Surely, the serial murder loves his victims, and the spy loves his gadgets, or his country or the exotic counterspy. The ice-trucker is torn between his love for ice and truck and the competing chefs go crazy for scallops, and the pawnshop guys adore their junk. Just as the housewives live for catching glimpses of their own botoxed brows in gilded hall mirrors and the rocked out dude on ‘roids totally wants to shred the ass of the tramp-tatted girl on hookbook. Because this is reality, they are all in love, madly, truly, with the body-mic clipped to their back-buckle and the producer casually suggesting, “Just one more angle.”, “One more jello shot.”. And the robot loves his master. Alien loves his saucer. Superman loves Lois. Lex and Lana. Luke loves Leia, til he finds out she’s his sister. And the exorcist loves the demon, even as he leaps out the window with it, in full soulful embrace. As Leo loves Kate, and they both love the sinking ship. And the shark, god the shark, loves to eat. Which is what the Mafioso loves too, eating and money and Pauly and Omertà. The way the cowboy loves his horse, loves the corseted girl behind the piano bar and sometimes loves the other cowboy. As the vampire loves night and neck. And the zombie, don’t even start with the zombie, sentimental fool, has anyone ever been more love-sick than a zombie, that pale dull metaphor for love, all animal craving and lurching, outstretched arms. His very existence a sonnet about how much he wants those brains. This, too is a love story.”

“In the kitchen Valeria was making breakfast, his aunt never made breakfast even though Carlo insisted for years that a hotel hoping to cater to French and Americans must offer breakfast. “It’s a lazy man’s meal.", she always said. "What laggard expects to eat before doing any work?”

“What kind of wife would I be if I left your father simply because he was dead?”

“On any given day in Spokane, Washington, there are more adult men per capita riding children's BMX bikes than in any other city in the world.”

“Two kinds of people always lie about their ages: actresses and Latin American pitchers.”

“„I don't think you put the swear word in the right place, Grandpa,” Teddy says. When Dad first came here, my boys would look shocked whenever Dad went Old-Faithful-profane, and I began to wonder if Lisa and I shouldn't swear more so Franklin and Teddy weren't so put off by curse words.”

“„Listen,” Richard says, „unless you're about to inherit some money, what we're talking about here is irreversible, fatal. You have fiscal Ebola, Matt. You are bleeding out through your nose and your mouth and your eye sockets, from your financial asshole.” See! Fiscal Ebola? My financial asshole is bleeding? This was exactly why I started poetfolio.com; there are money poets everywhere.”

“(…) my money guy Richard is going without a tie now, like a politician who wants to appeal to the suffering common man (or perhaps every morning his firm takes the ties and shoelaces away from the brokers and financial planners to keep them from offing themselves)”

“I don't know what I expected – no maybe I do, Al Pacino from Scarface- but this drug dealer is more like Al Pacino at the beginning of The Godfather reasonably bemused, untouched by his criminal world, sitting with Diane Keaton whispering about Luca Brazzi, not yet asleep with the fishes, or like Al Pacino from Glengarry Glen Ross, although actually, now that I think about it, he's not like Al Pacino at all but more like Kevin Spacey from that film, and who's ever been afraid of Kevin Spacey?”

“Alarmingly, though, on top of the bookcase there is also a family portrait of Bea with two just-as-striking blond-and-blue-eyed sisters and a pair of handsome proud Nordic parents, whose stares make me aware of the vast age difference between Bea and me, and I am profoundly ashamed to be here buying drugs in this girl's apartment. What I'd really like to do, I think, is lie down on this couch and take a nap.”

“(…) met the owner of this cozy book-and-candle Apt. G, a tall, leggy, striking girl named Bea or maybe just the letter B or maybe the insect Bee, not sure, her long blond hair pulled in a ponytail, her no-doubt banging body effortlessly buried beneath a pile of tights and sweaters and scarves – she is a walking coat rack – and as we shook hands, Bea fixed me with the most alarming blue-eyed stare of my life, the kind of stare in which you think some potent subliminal message is being passed along (Run away with me or maybe just Run away), (…)”

“Stories are people. I'm a story, you're a story...your father is a story. Our stories go in every direction, but sometimes, if we're lucky, our stories join into one, and for awhile, we're less alone.”

“erhaps it was the difference in age between the countries—America with its expansive youth, building all those drive-in movie theaters and cowboy restaurants; Italians living in endless contraction, in the artifacts of generations, in the bones of empires.”

“Stories are bulls. Writers come of age full of vigor, and they feel the need to drive the old stories from the herd. One bull rules the herd awhile but then he loses his vigor and the young bulls take over.Stories are nations, empires. They can last as long as ancient Rome or as short as the Third Reich. Story-nations rise and decline. Governments change, trends rise, and they go on conquering their neighbors. Stories are people. I'm a story, you're a story . . . your father is a story. Our stories go in every direction, but sometimes, if we're lucky, our stories join into one, and for a while, we're less alone.”

“A writer needs four things to achieve greatness, Pasquale: desire, disappointment, and the sea.”“That’s only three.”Alvis finished his wine. “You have to do disappointment twice.”

“And even if they don't find what they're looking for, isn't it enough to be out walking together in the sunlight?”

“He thought it might be the most intimate thing possible, to fall asleep next to someone in the afternoon.”

“If London was an alien city, Edinburgh was another planet”

“He found himself in habiting the vast, empty plateau where most people live, between boredom and contentment.”

“Sometimes what we want to do and what we must do are not the same. Pasquo, the smaller the space between your desire and what is right, the happier you will be.”

“He considered it a shame when people couldn't grasp the infinite-a failure not just of imagination but of simple vision.”

“He wished he could reassure his mother: a man wants many things in life, but when one of them is also the right thing, he would be a fool not to choose it.”

“I guess I forgot we were going out tonight.""We always go out on Fridays.""It's Thursday, Alvis.""You are so tied to routine.”

“To pitch here is to live. People pitch their kids into good schools, pitch offers on houses they can’t afford, and when they’re caught in the arms of the wrong person, pitch unlikely explanations. Hospitals pitch birthing centers, daycares pitch love, high schools pitch success . . . car dealerships pitch luxury, counselors self-esteem, masseuses happy endings, cemeteries eternal rest . . . It’s endless, the pitching—endless, exhilarating, soul-sucking, and as unrelenting as death. As ordinary as morning sprinklers.”

“But aren't all great quests folly? El Dorado and the Fountain of Youth and the search for intelligent life in the cosmos-- we know what's out there. It's what isn't that truly compels us. Technology may have shrunk the epic journey to a couple of short car rides and regional jet lags-- four states and twelve hundred miles traversed in an afternoon-- but true quests aren't measured in time or distance anyway, so much as in hope. There are only two good outcomes for a quest like this, the hope of the serendipitous savant-- sail for Asia and stumble on America-- and the hope of scarecrows and tin men: that you find out you had the thing you sought all along.”

“There are only two good outcomes for a quest like this, the hope of the serendipitous savant — sail for Asia and stumble on America — and the hope of scarecrows and tin men: that you find out you had the thing you sought all along.”

“It was odd and intimate, their hands connected, their heads in different rooms. They could talk. They could hold hands. But they couldn't see each other's faces.”

“Life, he thought, is a blatant act of imagination.”

“And Pasquale forced himself to look away from her then. It was like prying a magnet off steel, but he did it: he turned forward in the boat, closed his eyes, still seeing her standing there in his memory. He shook with the strain of not looking back until they rounded the breakwater into the open sea and Pasquale exhaled, his head falling to his chest. "You are a strange young man," Tomasso the Communist said.”

“This reminded him of Alvis Bender's contention that stories were like nations - Italy, a great epic poem, Britain, a thick novel, America, a brash motion picture in technicolor...”

“She saw death as just another wedding she wasn't invited to.”

“...the smaller the space between your desire and what is right, the happier you will be.”

“Weren’t movies his generation’s faith anyway- its true religion? Wasn’t the theatre our temple, the one place we enter separately but emerge from two hours later together, with the same experience, same guided emotions, same moral? A million schools taught ten million curricula, a million churches featured ten thousand sects with a billion sermons- but the same movie showed in every mall in the country. And we all saw it. That summer, the one you’ll never forget, every movie house beamed the same set of thematic and narrative images…flickering pictures stitched in our minds that replaced our own memories, archetypal stories that become our shared history, that taught us what to expect from life, that defined our values. What was that but a religion?”

“All we have is the story we tell. Everything we do, every decision we make, our strength, weakness, motivation, history, and character-what we believe-none of it is real; it's all part of the story we tell. But here's the thing: it's our goddamned story!”

“What business does memory have with time?”

“And if a moment exists only in one's perception anyway, then perhaps the rush of feeling he has now is THE MOMENT, and not merely its shadow.”

“He wondered if the German girl ever knew that someone had loved her so much that he painted her twice on the cold cement wall of a machine-gun pillbox.”

“This is what happens when you live in dreams, he thought: you dream this and you dream that and you sleep right through your life.”

“I think so, too. I know I felt that way. For years. It was as if I was a character in a movie and the real action was about to start at any minute. But I think some people wait forever, and only at the end of their lives do they realize that their life has happened while they were waiting for it to start.”

“Then she smiled, and in that instant, if such a thing were possible, Pasquale fell in love, and he would remain in love for the rest of his life--not so much with the woman, whom he didn't even know, but with the moment.”

“His life was two lives now: the life he would have and the life he would forever wonder about.”

“Some memories remain close; you can shut your eyes and find yourself back in them. But there are second-person memories, too, distant you memories, and these are trickier: you watch yourself in disbelief.”

“And while his mother's lecture had gone over his seven-year-old head, Pasquale saw now what she meant--how much easier life would be if our intentions and our desires could always be aligned.”

“Yes, what is it like? Certainly not like she dreamed. But maybe that's okay. We want what we want. At home, she works herself into a frenzy worrying about what she isn't--and perhaps loses track of just where she is.”

“And because he felt like he might burst open and because he lacked the dexterity in English to say all that he was thinking--how in his estimation, the more you lived the more regret and longing you suffered, that life was a glorious catastrophe--Pasquale Tursi said, only, "Yes.”

“No one gets to tell you what your life means!”

“The movie I was working on, "Cleopatra", it's about how destructive a force love can be. But maybe that's what every story is about.”

“If a police officer arrests a mime, does he need to tell him he has the right to remain silent.”

“Maybe every couple lived in the gaps between conversations, unable to say the important things for fear they had already been said, or couldn't be said; maybe every relationship started over every time two people came together.”