“Death is ordinary. Behold it, subtract its patterns and lessons from those of the death that weapons bring, and maybe the residue will show what violence is.”

“The smoke detectors began to ring; for they were battery-powered and thus still functioned, just as a record can still be played after the death of every member of the orchestra.”

“Maybe life is a process of trading hopes for memories.”

“Regardless of its textual component, Noh is ultimately indescribable, like sexual ecstasy; what consoles me for my failure of language is the fact that so is everything else. Moreover, Noh aspires to indescribability.”

“Frank thought. Each time he became someone else’s spy it got easier. The ideological virgin usually finds his first time an excruciating experience, just as an amateur hiker, used to the straight-and-narrow freeway of nine-to-five reliability, looks askance at the boulder-strewn path of mercenary betrayal, winding on up into the clouds and down into terrible moraines. But after the first time, the pain and intimacy and guilt becomes a habit subject to check listed procedures; and to the professional, the politically promiscuous soul, all that matters is the craft itself, the right skitter and stab and swing of the hips, so that in the end you can laugh at the inevitability of your own violent death. Frank was now almost at that stage.”

“I studied Comparative Literature at Cornell. Structuralism was real big then. The idea of reading and writing as being this language game. There's a lot of appeal to that. It's nice to think of it as this playful kind of thing. But I think that another way to look at it is "Look, I just want to be sincere. I want to write something and make you feel something and maybe you will go out and do something." And it seems that the world is in such bad shape now that we don't have time to do nothing but language games. That's how it seems to me.”

“Rising up, rising down! History shambles on! What are we left with? A few half-shattered Greek stelae; Trotsky's eyeglasses; Gandhi's native-spun cloth, Cortes' pieces of solid gold (extorted from their original owner, Montezuma); a little heap of orange peels left on the table by the late Robespierre; John Brown's lengthily underlined letters; Lenin's bottles of invisible ink; one of Di Giovanni's suitcases, with an iron cylinder of gelignite and two glass tubes of acid inside; the Constitution of the Ku Klux Klan; a bruised ear (Napoleon pinched it with loving condescension)... And dead bodies, of course. (They sing about John Brown's body.) Memoirs, manifestoes, civil codes, trial proceedings, photographs, statues, weapons now aestheticized by that selfsame history - the sword of Frederick the Great, and God knows what else. Then dust blows out of fresh graves, and the orange peels go grey, sink, wither, rot away. Sooner or later, every murder becomes quaint. Charlemagne hanged four and a half thousand "rebels" in a single day, but he has achieved a storybook benevolence. And that's only natural: historiography begins after the orange has been sucked,; the peeler believes in the "great and beautiful things," or wants to believe; easy for us to believe likewise, since dust reduced truth and counterfeit to the same greyness - caveat emptor. But ends remain fresh, and means remain inexplicable. Rising up and rising down! And whom shall I save, and who is my enemy, and who is my neighbor?”