But what I kept wondering about is this: that first second when she felt her skirt burning, what did she think? Before she knew it was candles, did she think she'd done it herself? With the amazing turns of her hips, and the warmth of the music inside her, did she believe, for even one glorious second, that her passion had arrived?
Light is good company, when alone; I took my comfort where I found it, and the warmest yellow bulb in the living-room lamp had become a kind of radiant babysitter all its own.
With my hand in his, I looked at all the apartment buildings with rushes of love, peering in the wide streetside windows that revealed living rooms painted in dark burgandies and matte reds.
I knew if I ate anything of hers again, it would lkely tell me the same message: help me, I am not happy, help me -- like a message in a bottle sent in each meal to the eater, and I got it. I got the message.
Glen Hirshberg's stories are haunting, absolutely, but not only because of the content -- the stories themselves haunt, they stick around, they linger, inhabiting a little corner of the reader's brain and resurfacing to evoke mystery or sadness or longing. It's a pleasure to dive into Hirshberg's storytelling skills in American Morons.
We're all getting too smart. Our brains are just getting bigger and bigger, and the world dries up and dies when there's too much thought and not enough heart.
Listen. Look. Desire is a house. Desire needs closed space. Desire runs out of doors or windows, or slats or pinpricks, it can’t fit under the sky, too large. Close the doors. Close the windows. As soon as you laugh from nerves or make a joke or say something just to say something or get all involved with the bushes, then you blow open a window in your house of desire and it can’t heat up as well. Cold draft comes in.
While she cut the mushrooms, she cried more than she had at the grave, the most so far, because she found the saddest thing of all to be the simple truth of her capacity to move on.
Not getting bored of my own story and/or character is one of the main struggles I have had with novel writing, and I have put to bed big chunks of work that just didn't sustain my interest.
That at the same time of this very intimate act of concentrating so carefully on the details of our mother's palm and fingertips, he was also removing all traces of any tiny leftover parts, and suddenly a ritual which I'd always found incestuous and gross seemed to me more like a desperate act on Joseph's part to get out, to leave, to extract every little last remnant and bring it into open air.