A Quote by Jonathan Lethem

Context is everything. Dress me up and see. I'm a carnival barker, an auctioneer, a downtown performance artist, a speaker in tongues, a senator drunk on filibuster. I've got Tourette's. My mouth won't quit, though mostly I whisper or subvocalize like I'm reading aloud, my Adam's apple bobbing, jaw muscle beating like a miniature heart under my cheek, the noise suppressed, the words escaping silently, mere ghosts of themselves, husks of empty breath and tone.
I was walking downtown and the drunk tank stopped and picked me up... I was like, 'Wait a minute here fellas, there's a misunderstanding. I'm not drunk. I have cerebral palsy.' They were like, 'That's a pretty big word for a drunk.'
Peter curled his hands into fists at his sides. 'Kiss me,' he said. She leaned towards him slowly, until her face was too close to be in focus. Her hair fell over Peter's shoulder like a curtain and her eyes closed. She smelled like autumn-like apple cider and slanting sun and the snap of the coming cold. He felt his heart scrambling, caught inside the confines of his own body. Josie's lips landed just on the edge of his, almost his cheek and not quite his mouth. 'I'm glad I wasn't stuck in here alone,' she said shyly, and he tasted the words, sweet as mint on her breath.
My job scoring a horror movie is like being the barker at a carnival. A good barker can get anyone to walk into the roped-off tent. Especially with the main title, my job is to convince the audience to take the leap into the film even though their better sense is telling them, "I should put my popcorn down and get the hell outta here"!
I didn't quit drinking because I was a bad drunk. I quit because I was a spectacular drunk. It got to be like a video game, where you get to the highest level and it's not even a challenge any more.
Often, some people dress something up to make it sound scientific, use scientific words, call themselves doctor something-or-other, and then you look them up, and they're trying to make it sound like something it's not. There's this entire field that's adding the word 'quantum' to everything. It doesn't even make sense in that context.
The words are not mere words. They are the breath and mind, perhaps even the soul, of the person who is reading.
Your heart like a hawk-mouth in the sun, your heart like a ship on an atoll, your heart like a compass needle driven mad by a little piece of lead, like washing drying in the wind, like a whining of horses, like seed thrown to the birds, like an evening paper one has finished reading! Your heart is a charade that the whole world has guessed.
Madame V begins the lesson by reading aloud the first stanza of a famous French poem: Il pleure dans mon coeur Comme il pleut sur la ville; Quelle est cette langueur Qui penetre mon coeur? Then she looks up and without any warning she calls on me to translate it. I swallow hard, and try: "It's raining in my heart like it's raining in the city. What is this sadness that pierces my heart?" Saying these words out loud, right in front of the whole class, makes me feel like I'm not wearing any clothes.
On bended knee is no way to be free lifting up an empty cup I ask silently that all my destinations will accept the one that's me so I can breath Circles they grow and they swallow people whole half their lives they say goodnight to wive's they'll never know got a mind full of questions and a teacher in my soul so it goes.
People who work in horror know they are contributing to a genre that has always been loved and will always be loved - privately. It's the forbidden evil working behind the curtain. My job scoring a horror movie is like being the barker at a carnival. A good barker can get anyone to walk into the roped-off tent.
I dress how I feel that day. If I'm feeling tired, you might see me in a hoodie. If I'm feeling like I want to dress up, you might see me in a button-down. I try to mix it up with my shoes, but I don't really look at it as competitive, like, 'I want to dress better than this guy.' I'm just myself.
Unlike most readers in Antiquity who read their books aloud, we have developed the convention of reading silently. This lets us read more widely but often less well, especially when what we are reading-such as the plays of Shakespeare and Holy Scripture-is a body of oral material that has been, almost but not quite accidentally, captured in a book like a fly in amber.
Listen! Clam up your mouth and be silent like an oyster shell, for that tongue of yours is the enemy of the soul, my friend. When the lips are silent, the heart has a hundred tongues.
Paying to teach in the trenches was like putting my face through a cutout hole at a carnival while a quarterback threw pies at me. At least with a carnival, I'd see it coming.
And there were other rocks that were like animals, creeping, horrible animals, putting out their tongues, and others were like words I could not say, and others like dead people lying on the grass. I went on among them, though they frightened me, and my heart was full of wicked song they put into it; and I wanted to make faces and twist myself about the way they did, and I went on and on a long way till at last I liked the rocks and they didn’t frighten me any more
I try to write each piece in the language of the piece, so that I'm not using the same language from piece to piece. I may be using ten or twenty languages. That multiplicity of language and the use of words is African in tradition. And black writers have definitely taken that up and taken it in. It's like speaking in tongues. It may sound like gibberish to somebody, but you know it's a tongue of some kind. Black people have this. We have the ability as a race to speak in tongues, to dream in tongues, to love in tongues.
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