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His unrivaled genius as an ideological novelist was this capacity to invent actions and situations in which ideas dominate behavior without the latter becoming allegorical. He possessed what I call an eschatological imagination, one that could envision putting ideas into action and then following them out to their ultimate consequences. At the same time, his characters respond to such consequences according to the ordinary moral and social standards prevalent in their milieu, and it is the fusion of these two levels that provides Dostoevsky's novels with both their imaginative range and their realistic grounding in social life. ↗
I was beginning to understand something I couldn't articulate. It was a jazzy feeling in my chest, a fluttering, a kind of buzzing in my brain. Warmth. Life. The circulation of blood. Sanguinity. I don't know. I understood the enormous risk of telling the truth, how the telling could result in every level of hell reigning down on you, your skin scorched to the bone and then bone to ash and then nothing but a lingering odour of shame and decomposition, but now I was also beginning to understand the new and alien feeling of taking the risk and having the person on the other end of the telling, the listener, say: Bad shit at home? You guys are running away? Yeah, I said. I understand, said, Noehmi. ↗
Lumpini Park at night: love at its cheapest, but the incidence of HIV is said to be over 60 per cent. In the darkness: furtive movement on benches and on the grass, muted moans and whispers, rustlings of large animals in heat, the intensity of the atomic fusion of sec and death (highly addictive, they say). ↗
Life is like a game of cards. The hand that is dealt you represents determinism; the way you play it is free will. ↗