Quotes with narrator

There is no list of rules. There is one rule. The rule is: there are no rules. Happiness comes from living as you need to, as you want to. As your inner voice tells you to. Happiness comes from being who you actually are instead of who you think you are supposed to be. Being traditional is not traditional anymore. It’s funny that we still think of it that way. Normalize your lives, people. You don’t want a baby? Don’t have one. I don’t want to get married? I won’t. You want to live alone? Enjoy it. You want to love someone? Love someone. Don’t apologize. Don’t explain. Don’t ever feel less than. When you feel the need to apologize or explain who you are, it means the voice in your head is telling you the wrong story. Wipe the slate clean. And rewrite it. No fairy tales. Be your own narrator. And go for a happy ending. One foot in front of the other. You will make it.

What am I? The modest narrator who accompanies your triumphs; the dancer who supports you when you rise in your lovely grace; the branch upon which you rest a moment when you are tired of flying; the bass that interposes itself below the soprano’s fervour to let it climb even higher—what am I? I am the earthly gravity that keeps you on the ground. What am I, then? Body, mass, earth, dust and ashes.—You, my […], you are soul and spirit.”—Johannes the Seducer, from_Either/Or_

She was like a heroine in a novel that she herself was writing the character kept protesting that she was too strong for love and yet the narrator went on describing her desire.

[W]hen I put Jorge in the library I did not yet know he was the murderer. He acted on his own, so to speak. And it must not be thought that this is an 'idealistic' position, as if I were saying that the characters have an autonomous life and the author, in a kind of trance, makes them behave as they themselves direct him. That kind of nonsense belongs in term papers. The fact is that the characters are obliged to act according to the laws of the world in which they live. In other words, the narrator is the prisoner of his own premises.

When I read a novel my imagination starts off at a gallop and leaves the narrator hidden in a cloud of dust I have to come jogging twenty miles back to the denouement.

There’s a writer for you,” he said. “Knows everything and at the same time he knows nothing.” [narrator]It was my first inkling that he was a writer. And while I like writers—because if you ask a writer anything you usually get an answer—still it belittled him in my eyes. Writers aren’t people exactly. Or, if they’re any good, they’re a whole lot of people trying so hard to be one person. It’s like actors, who try so pathetically not to look in mirrors. Who lean backward trying—only to see their faces in the reflecting chandeliers.

I loved the zebras, the cheetahs, the fruit flies, the octopi and the rest. But The Nature of Sex “climaxed” with a species I’d never heard of before, “bonobos,” which the narrator also called by their Latin/scientific name Pan paniscus. I knew “Pan” as classical Greek mythology’s horned and horny god of the wild, so maybe I shouldn’t have been surprised. But when the bonobos started swinging onto my screen, well… what can I say? Today, I’ve got a whole book’s worth of stuff to say, but back then, I couldn’t utter a word. Imagine looking into an evolutionary funhouse mirror and seeing a side of yourself you’ve never seen before, shocking yet deeply familiar. “Who are these vibrant, joyful creatures that look so much like me, only hairier?” I wondered. “And what’s with all the sex?” They weren’t just going at it for procreation. They were engaging in sex for recreation and interpersonal communication, very much like humans, but without the pretense, hypocrisy and shame. I got very excited, but no, I still didn’t want to have sex with them. I wanted to have sex like them (at least occasionally), in that playful yet deeply meaningful way of theirs I started calling the Bonobo Way. But would it keep our sex life out of the dreaded sinkhole? Only time would tell.

As sneakily addictive as a game of Pong (which was named, we're told, after the narrator's dad), this zany zip-line of a novel takes the piss out of the Asian-American 'good immigrant' story. Full of charming antiheroes making comically bad choices, the story dazzles us with its absurdity, which makes its eventual wisdom--about lineage, ethnicity, and the meaning of family--all the more wonderfully surprising.

At the moment when, ordinarily, there was still an hour to be lived through before meal-time sounded, we would all know that in a few seconds we should see the endives make their precocious appearance, followed by the special favour of an omelette, an unmerited steak. The return of this asymmetrical Saturday was one of those petty occurrences, intra-mural, localised, almost civic, which, in uneventful lives and stable orders of society, create a kind of national unity, and become the favourite theme for conversation, for pleasantries, for anecdotes which can be embroidered as the narrator pleases; it would have provided a nucleus, ready-made, for a legendary cycle, if any of us had had the epic mind.

Speaking about time’s relentless passage, Powell’s narrator compares certain stages of experience to the game of Russian Billiards as once he used to play it with a long vanished girlfriend. A game in which, he says, “...at the termination of a given passage of time...the hidden gate goes down...and all scoring is doubled. This is perhaps an image of how we live. For reasons not always at the time explicable, there are specific occasions when events begin suddenly to take on a significance previously unsuspected; so that before we really know where we are, life seems to have begun in earnest at last, and we ourselves, scarcely aware that any change has taken place, are careering uncontrollably down the slippery avenues of eternity."

At a time when history made its way slowly, the few events were easily remembered and woven into a backdrop, known to everyone, before which private life unfolded the gripping show of its adventures. Nowadays, time moves forward at a rapid pace. Forgotten overnight, a historic event glistens the next day like the morning dew and thus is no longer the backdrop to a narrator's tale but rather an amazing adventure enacted against the background of the over-familiar banality of private life.

If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find at work the same process of simplification or selection as in the imagination. Artistic accounts include severe abbreviations of what reality will force upon us. A travel book may tell us, for example, that the narrator journeyed through the afternoon to reach the hill town of X and after a night in its medieval monastery awoke to a misty dawn. But we never simply 'journey through an afternoon'. We sit in a train. Lunch digests awkwardly within us. The seat cloth is grey. We look out the window at a field. We look back inside. A drum of anxieties resolves in our consciousness. We notice a luggage label affixed to a suitcase in a rack above the seats opposite. We tap a finger on the window ledge. A broken nail on an index finger catches a thread. It starts to rain. A drop wends a muddy path down the dust-coated window. We wonder where our ticket might be. We look back at the field. It continues to rain. At last, the train starts to move. It passes an iron bridge, after which it inexplicably stops. A fly lands on the window And still we may have reached the end only of the first minute of a comprehensive account of the events lurking within the deceptive sentence 'He journeyed through the afternoon'.A storyteller who provides us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearking us out with repetitions, misleading emphases[,] and inconsequential plot lines. It insists on showing us Burdak Electronics, the safety handle in the car, a stray dog, a Christmas card[,] and a fly that lands first on the rim and then the centre of a laden ashtray.Which explains the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present.

The narrator, I think, must succeed in frightening himself before he can think of frightening his reader…