Don DeLillo cytaty (105 cytatów, strona 4)

Don DeLillo: 105 cytatów0 Polubień

Don DeLillo słynne cytaty

„Tyle w nich było chrześcijaństwa. I tak niewiele z Chrystusa.”

Americana

„Zobaczył ludzi ociekających wodą, w biegu, ubrania i ciała mokre od spryskiwaczy. Na ulicy leżały porozrzucane buty, torebki, laptopy, mężczyzna siedzący na chodniku kaszlał krwią. Papierowe kubki turlały się dziwnie w dal. Świat był też sylwetkami w oknach na wysokości trzystu metrów, padającymi w wolną przestrzeń, i odorem płonącego paliwa, i monotonnym rozdzierającym wyciem syren.”

Don DeLillo Spadając

Źródło: Spadając, 2007

„Nie mam ciała. Jestem umysłem, świadomością, samotny w wielkiej przestrzeni.”

Don DeLillo książka Biały szum

White Noise

„Moją duszę wypełniała litość nade mną samym.”

Don DeLillo książka Biały szum

White Noise

Don DeLillo: Cytaty po angielsku

“Remember literature, Charlie? It involved getting drunk and getting laid.”

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Don DeLillo Mao II

Part 2, Ch. 9
Mao II (1991)

“I had centered myself, learning of the existence of an interior motion, a shift in the levels from isolation to solitude to wordlessness to immobility. When Opel occupied that center I became the thing that swirled.”

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Don DeLillo książka Great Jones Street

Źródło: Great Jones Street (1974), Ch. 11

“I heard a noise, faint, monotonous, white.”

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Don DeLillo książka Biały szum

Źródło: White Noise (1984), Ch. 39

“When I read obituaries I always note the age of the deceased. Automatically I relate this figure to my own age. Four years to go, I think. Nine more years. Two years and I'm dead. The power of numbers is never more evident than when we use them to speculate on the time of our dying.”

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Don DeLillo książka Biały szum

White Noise (1984)

“Terror makes the new future possible. All men one man, Men live in history as never before. He is saying we make an change history minute by minute. History is not the book or the human memory. We do history in the morning and change it after lunch.”

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Don DeLillo Mao II

In Beiruit
Mao II (1991)

“Who knows what I want to do? Who knows what anyone wants to do? How can you be sure about something like that? Isn't it all a question of brain chemistry, signals going back and forth, electrical energy in the cortex? How do you know whether something is really what you want to do or just some kind of nerve impulse in the brain? Some minor little activity takes place somewhere in this unimportant place in one of the brain hemispheres and suddenly I want to go to Montana or I don't want to go to Montana. How do I know I really want to go and it isn't just some neurons firing or something? Maybe it's just an accidental flash in the medulla and suddenly there I am in Montana and I find out I really didn't want to go there in the first place. I can't control what happens in my brain, so how can I be sure what I want to do ten seconds from now, much less Montana next summer? It's all this activity in the brain and you don't know what's you as a person and what's some neuron that just happens to fire or just happens to misfire.”

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Don DeLillo książka Biały szum

White Noise (1984)

“When a writer doesn't show his face, he becomes a local symptom of God's famous reluctance to appear.”

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Don DeLillo Mao II

Part 1, Ch. 3
Mao II (1991)

“We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. "No one sees the barn," he said finally. A long silence followed. "Once you've seen the signs about the barn, it becomes impossible to see the barn." He fell silent once more. People with cameras left the elevated site, replaced by others. We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. "Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism."”

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Don DeLillo książka Biały szum

Another silence ensued. "They are taking pictures of taking pictures," he said.”
White Noise (1984)

“Who will die first?”

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Don DeLillo książka Biały szum

Źródło: White Noise (1984), Ch. 4

“Only a catastrophe gets our attention. We want them, we depend on them. As long as they happen somewhere else. This is where California comes in. Mud slides, brush fires, coastal erosion, mass killings, et cetera. We can relax and enjoy these disasters because in our hearts we feel that California deserves whatever it gets. Californians invented the concept of life-style. This alone warrants their doom.”

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Don DeLillo książka Biały szum

White Noise (1984)

“Evil is movement towards void.”

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Don DeLillo książka Great Jones Street

Źródło: Great Jones Street (1974), Ch. 15

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