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Reif Larsen

Reif Larsen’s first novel, The Selected Works of T. S. Spivet, was a New York Times bestseller and is currently translated into twenty-seven languages. The novel was shortlisted for the Guardian First Book Award and the James Tait Black memorial Prize and was adapted into a movie by Jean-Pierre Jeunet (Amélie). Larsen's essays and fiction have appeared in The New York Times, The Guardian, Tin House, One Story, The Millions, Virginia Quarterly Review, Travel + Leisure, Asymptote Journal and The Believer. Larsen is currently serving as the International Writer-in-Residence at the University of St Andrews in Scotland. His second novel, I Am Radar, was published in 2015 by Penguin Press in the US and Harvill Secker in the UK.


“What happened to all the historical detritus in the world? Some of it made it into drawers of museums, okay, but what about all those old postcards, the photoplates, the maps on napkins, the private journals with little latches on them? Did they burn in house fires? Were they sold at yard sales for 75¢? Or did they all just crumble into themselves like everything else in this world, the secret little stories contained within their pages disappearing, disappearing, and now gone forever.”
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“Adults were pack rats of old, useless emotions.”
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“One cannot spend one's entire life running into bathrooms when danger calls!”
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“Irgendwie fühle ich mich immer noch wie ein Kind. Pass auf, dass du das nicht verlierst; das ist mein Rat an dich. Die Welt wird alles tun, um dich zu bescheißen, aber wenn du dein Leben lang irgendwo tief drin ein bisschen sechzehn bist, dann kommst du schon irgendwie durch.”
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“I just get a feeling sometimes that everything is predetermined, and I am going through the motions of tracing an existence that will be what it will already be.”
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“I suddenly had an idea of how adults can hold on to a feeling for very long periods of time, long after the event is finished, long after cards have been sent and apologies made and everyone else had moved on. Adults were pack rats of old, useless emotions”
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“Did the true, umbilical love that bound people together for the length of their lives require a certain intellectual dislocution in order to push past our insistent rationalization and enter the rough, uneven space inside our hearts?”
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“A text is evolutionary by its very nature.”
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“A map does not just chart, it unlocks and formulates meaning; it forms bridges between here and there, between disparate ideas that we did not know were previously connected.”
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“A novel is a tricky thing to map.”
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“I had trouble listening to adults who didn't really mean anything that they said; it was as if their language poured into my ears only to drain right out a little spigot in the back of my head.”
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“Outside, there was that predawn kind of clarity, where the momentum of living has not quite captured the day. The air was not filled with conversation or thought bubbles or laughter or sidelong glances. Everyone was sleeping, all of their ideas and hopes and hidden agendas entangled in the dream world, leaving this world clear and crisp and cold as a bottle of milk in the fridge. ”
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“Whenever I smelled the same perfume on other women, no matter where I was, I was instantly transported back to that feeling of discovery. The sensation of fingertips against old paper, whose surface was powdery and fragile, like the membrane of a moth’s wing.”
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“I suddenly missed the curious shelving patterns of my room, those old planks from the barn groaning under the weight of the notebooks. Shelving is an intimate thing, like the fingerprint of a room.”
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“I'm a practicing Zen Buddhist and I'm influenced by my readings in that tradition, such as the notion that everyone is born a perfect being and we spend most of our lives with a clouded vision trying to realize our perfection," he says. At critical moments in the book, T.S. registers his inkling of this realization. When he makes his maps, it feels like taking down dictation from the universe.”
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“I was only twelve, but through the slow, inevitable burn of a thousand sunrises and sunsets, a thousand maps traced and retraced, I had already absorbed the valuable precept that everything crumbled into itself eventually, and to cultivate a crankiness about this was just a waste of time.”
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“Dr. Clair looked at Layton. The mancala pieces were still in her hand.If Angela Ashforth ever says anything like that to you again, you tell her that just because she's insecure about being a little girl in a society that puts an inordinate amount of pressure on little girls to live up to certain physical, emotional and ideological standards -- many of which are improper, unhealthy and self-perpetuating -- doesn't mean she has to take her misplaced self-loathing out on a nice boy like you. You may be inherently a part of the problem but that doesn't mean you aren't a nice boy with nice manners and it certainly doesn't mean you have AIDS."I'm not sure I can remember all that," Layton said.Well then, tell Angela that her mother is a white trash drunk from Butte.”
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“Do you ever get the feeling like you already know the entire contents of the universe somewhere inside of your head, as if you were born with a complete map of this world already grafted onto the folds of your cerebellum and you are just spending your entire life figuring out how to access this map?”
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“I do love the sound of ripping corn husks. The violence of the noise, the sustained popping and shoring of the silky organic threads, made me think of someone tearing up an expensive and potentially Italian set of trousers in a fit of madness that this person just might regret later. ”
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“The sun was crouched on its haunches over the Pioneers. The mountains were both purple and brown, the angle of light hitting the moiré of pine and fir and bleeding out a smoky mirage that made the valley seem to tremble. It was a sight. We both looked.”
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“I would not know what to say to you, except this: there was never a map that got it all right, and truth and beauty were never married to one another for long.”
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