John M. Keller

“Fear finds its prey in adolescents for the exact same reason fearlessness does. Every cut, scrape, broken arm or cancer is a cut, scrape, broken arm or cancer that has yet to arrive, that is on the sidelines waiting, along with fate and the story of your life, of everything bad that can happen, some of which will happen—but right now, they’re purely theoretical. It is up to the adolescent’s imagination to make them bleed, to make them hurt.”

“Speculation was now news. News had been confused with fact. Fact had been replaced by expert opinion. People had been replaced by their biographies. Ability had been replaced by disability. Thinking had been replaced by psychology. History had been reduced to story. And while the news media pumped out a new story every week on things that could kill you, Hollywood simultaneously created stories that showed that everything could be prevailed over. Meaning, he said, was so malleable that it could be turned inside out, and no one would know the difference—and it would—and, just like the universe that had expanded to its maximum size, everything that had ever been would happen in reverse and revert back to its original form until existence would disappear without leaving a trace of itself as the Big Bang backfired.”

“We had traveled far and long to get here but were still the same still-born, unreconstructed people who had once met on this landscape that began somewhere not too far south of the south and ended all the way up in the northernmost extremes of the north, and every soul begotten upon this land was a bastard child of that interminable human equation: colonizer and colony, slave and master, rapist and victim, and any pledge to loyalty and patriotism was an oath to both parts of this equation—we were the seconds obliviously turned up on the old, unregenerate battlefield, here to fight in history’s redundant, never-ending duel, always carrying someone else’s sword and flag in the name of the myth.”

“In literature, the reader standing at the threshold of the end of a book harbors no illusion that the end has not come—he or she can see where it finishes, the abyss the other side of the last chunk of text. Which means that the writer is never in danger of ending too soon—or if he does the reader has been so forewarned. This is the advantage a book has over a film—it is the brain that marshals forward the text and controls the precise moment of conclusion of the book, as the density of the pages thins. A film can end without you if you’ve fallen asleep or, because you can’t wait any longer to use the bathroom, slipped out of the darkness of the theatre salon, and missed it. There will never be a form more perfect than the book, which always moves at your pace, that sits waiting for you exactly where you’ve left it and never goes on without you.”

“But now books and men had gone their separate ways. Who has the patience for a book? Only a book.”