I've always loved America.
Holy angel, in Heaven blessed, My spirit longs with thee to rest
He stared dully at the desolate, cold road and the pale, dead night. Nothing was colder or more dead than his heart. He had loved an angel and now he despised a woman.
why do you condemn a man whom you have never met, whom no one knows and about whom even you yourself know nothing?
Look!You want to see? See! Feast your eyes, glut your soul on my cursed ugliness! Look at Erik's face! Now you know the face of the voice! You were not content to hear me, eh? You wanted to know what I looked like? Oh, you women are so inquisitive! Well, are you satisfied? I'm a good-looking fellow, eh?. . . When a woman has seen me, as you have, she belongs to me. She loves me forever! I am a kind of Don Juan, you know!. . . Look at me! I am Don Juan Triumphant! -Erik in The Phantom of the Opera
Sometimes, the Angel [of Music] leans over the cradle. . . and that is how there are little prodigies who play the fiddle at six better than men of fifty, which, you must admit is very wonderful. Sometimes, the Angel comes much later, because the children are naughty and won't learn their lessons or practice their scales. And sometimes, he does not come at all, because the children have a wicked heart or a bad conscience.
She's singing to-night to bring the chandelier down!
It's not the big things that add up in the end; it's the hundreds, thousands, or millions of little things that separate the ordinary from the extraordinary.
If Murakami's novels are grand enigmas, his stories are bite-sized conundrums. (. . . ) The great pleasure of the new story collection, Blind Willow, Sleeping Woman, is watching Murakami come at his obsessions from so many different angles. There's a panoply of strangeness between these covers (. . . . . ) This collection shows Murakami at his dynamic, organic best. As a chronicler of contemporary alienation, a writer for the Radiohead age, he shows how taut and thin our routines have become, how ill-equipped we are to contend with the forces that threaten to disrupt us.
All art is communication of the artists' ideas, sounds, thoughts; without that no one will support the artist.
The only thing I know that makes me feel comfortable is to know as much as I can. Not like what the shots are going to be, but knowing enough about my character that I can forget those things. And more specifically, my lines. I have to know my lines. I have to know something really well, so I can forget it when we're doing it. And there is comfort in knowing, "Okay, there's not another stone that I could have overturned. "