Roberto Bolaño Quotes - Page 2

El silencio de la muerte es el peor de los silencios, porque el silencio rulfiano es un silencio aceptado y el rimbaudiano es un silencio buscado, pero el silencio de la muerte es el que corta de tajo lo que pudo ser y nunca más va a poder ser, lo que no sabremos jamás.

I wrote this book for the ghosts, who, because they're outside of time, are the only ones with time. After the last rereading (just now), I realize that time isn't the only thing that matters, time isn't the only source of terror. Pleasure can be terrifying too, and so can courage.

Every hundred feet the world changes

…I realized my happiness was artificial. I felt happy because I saw the others were happy and because I knew I should feel happy, but I wasn't really happy.

If it was true that all effort led to a vast abyss, she had two recommendations to begin with, first, not to cheat people, and, second, to treat them properly. Beyond that, there was room for discussion.

No one knew what she was doing in Colonia Hidalgo, although it was most likely, according to the police, that she'd been taking a walk and had come upon death purely by chance.

I have hope in children. In children and warriors. In children who fuck like children and warriors who fight like brave men.

The pain, or the memory of pain, that here was literally sucked away by something nameless until only a void was left. The knowledge that this question was possible: pain that turns finally into emptiness. The knowledge that the same equation applied to everything, more or less.

As time goes by, as time goes by, the whip-crack of the years, the precipice of illusions, the ravine that swallows up all human endeavour except the struggle to survive.

All names disappear. Children should be taught that in elementary school. But we're afraid to teach them.

For her, reading was directly linked to pleasure, not to knowledge or enigmas or constructions or verbal labyrinths…

I try to find the books that I lost or forgot more than 30 years ago on another continent, with the hope and dedication and bitterness of those who search for their first lost books, books that if found I wouldn't read anyway, because I've already read them over and over, but that I would look at and touch just as the miser strokes the coins under which he's buried...Books are like ghosts

You can woo a girl with a poem, but you can't hold onto her with a poem. Not even with a poetry movement.

[A]nd the wizened youth trembles more and more violently, wrinkles his nose and then pounces on the story. But only I know the story, the real story. And it is simple and cruel and true and it should make us laugh, it should make us die laughing. But we only know how to cry, the only thing we do wholeheartedly is cry.

Reading is like thinking, like praying, like talking to a friend, like expressing your ideas, like listening to other people's ideas, like listening to music (oh yes), like looking at the view, like taking a walk on the beach.

He chose The Metamorphosis over The Trial, he chose Bartleby over Moby-Dick, he chose A Simple Heart over Bouvard and Pecuchet, and A Christmas Carol over A Tale of Two Cities or The Pickwick Papers. What a sad paradox, thought Amalfitano. Now even bookish pharmacists are afraid to take on the great, imperfect, torrential works, books that blaze paths into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.

You have to listen to women. You should never ignore a woman's fears.