Boris Vian L'Écume des jours (1947) |
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: Boris Vian |
John Harding Florence and Giles (2010) |
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: John Harding |
Fred Vargas Un peu plus loin sur la droite (1996) |
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: Fred Vargas |
Gore Vidal Messiah (1954) |
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Much of the luminous crockery which was seen in the sky was never entirely explained. And explanation, in the end, was all that the people required. It made no difference how extraordinary the explanation was, if only they could know what was happening: that the shining globes which raced in formation over Sioux Falls, South Dakota, were mere residents of the Andromeda Galaxy, at home in space, omnipotent and eternal in design, on a cultural visit to our planet... if only this much could definitely be stated, the readers of newspapers would have felt secure, able in a few weeks' time to turn their attention to other problems, the visitors from farther space forgotten. It made little difference whether these mysterious blobs of light were hallucinations, inter-galactic visitors or military weapons, the important thing was to explain them.
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There is a certain dignity and excitement in possessing a dangerous secret life. To lose it in maturity is hard... and once promiscuously shared, it does become ordinary, no more troublesome than obvious dentures.
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The sky that day was like an idiot's mind, wild with odd clouds, but lovely too, guileless, natural, allusive.
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I had a small income which made modest living and careful travel easy for me... a fortunate state of affairs since, in my youth, I was of an intense disposition, capable of the passions and violence of a Rimbaud without, fortunately, the will to translate them into reality; had I had more money, or none, I might have died young, leaving behind the brief memory of a minor romanticist.
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I was of course interested in the movies, though they no longer had the same hold over the public imagination that they had had in earlier decades when a process of film before light could project, larger than life, not only on vast screens but also upon the impressionable minds of an enormous audience made homogeneous by a common passion, shadowy figures which, like the filmy envelopes of the stoic deities, floated to earth in public dreams, suggesting a braver more perfect world where love reigned and only the wicked died. But then time passed and the new deities lost their worshipers: there were too many gods and the devotees got too used to them, realizing finally that they were only mortals, involved not in magical rites but in a sordid business. Television (the home altar) succeeded the movies and their once populous and ornate temples, modeled tastefully on baroque and Byzantine themes, fell empty, the old gods moving to join the new hierarchies, becoming the domesticated godlings of television which, although it held the attention of the majority of the population, did not enrapture, did not possess dreams or shape days with longing and with secret imaginings the way the classic figures of an earlier time had.
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: Gore Vidal |
(1933) |
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Jo Nesbø Gjenferd (2012) |
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: Jo Nesbø |
Christopher Isherwood Goodbye to Berlin (1939) |
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: Christopher Isherwood |
Richard Brautigan The Abortion: An Historical Romance 1966 (1971) |
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: richard brautigan |
Carlton Mellick III Satan Burger (2001) |
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: Carlton Mellick III - |
Fred Vargas Debout les morts (1995) |
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: Fred Vargas |
Mons Kallentoft Midvinterblod (2007) |
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: Mons Kallentoft |
Mil Millington Things My Girlfriend and I Argued About (2002) |
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: Mil Millington |
Richard Brautigan An Unfortunate Woman: A Journey (1982) |
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: Richard Brautigan |
Jo Nesbø Panserhjerte (2009) |
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: Jo Nesbø |
Daniel Wallace Big Fish: A Novel of Mythic Proportions (1998) |
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: daniel wallace |
Robertson Davies The Cornish Trilogy: The Lyre of Orpheus (1988) |
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: Robertson Davies |
Jo Nesbø Snømannen (2007) |
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: Jo Nesbø |
Kurt Vonnegut Galápagos: A Novel (1985) |
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: Kurt Vonnegut |
Arnaldur Indriðason Mýrin (2000) |
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: Arnaldur Indriðason |
Jo Nesbø Frelseren (2005) |
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: Jo Nesbø |