The problem with the High Critical Language of the art historian: it’s so easy to make it support utter nonsense.
Gunnar Grimes, The Persistence of Vision.
Gap: A space between two or more reference points. All gaps are unbridgeable.
Clive Morrow, A Crustacean’s Dictionary.
Here is something that I have come to regret deeply: running out of ways to express my contempt.
Gunther Pinks, A Paranoid’s Pitiful Propositions.
People today are too busy to reflect on anything. Too busy noticing themselves.
Rollo Marquardt, Living in the Cupcake World.
“I was thinking about buying a used Vespa,” admitted Nigel. “It’s a big step, I know.”
Grayling Stott, An Inventory of Characters.
The corpse presented a telling sneer, now more or less permanent. It reminded me of one of my former friends. A leftist. From the old days.
Victoria Salt, A Compendium of Opening Lines.
Modernism leans too heavily on the notion that being difficult—e.g., difficult to like—is evidence of substance.
Connor Eastwicke, Fear of the Orthogonal.
Bela Lugosi: The strangest vowels; new and wholly unexpected consonants; and stone physical stillness.
Jeremy Breedlove, A Sardonic View of the Movies.
“Strawberry fields forever. Really? Give me a break, will you? Just a small one.” Gareth just did not like the Beatles. He tried so hard. But no.
Grayling Stott, An Inventory of Characters.
How does one get off the runaway train? You do not get off. You stay onboard the train, and listen to the reassuring voices.
Virgil Simms, The Case of the Frivolous Factotum.
