JOSEPH ROTH

A moving shadow means more to us than a body at rest. We are no longer taken in by a fixed grin. We know that only death has a rictus.

I am not an encore, not a pudding, I am the main dish.

It is only the feebelists of dilettantes who flourish in the Swastika’s shadow, in the bloody glow cast by the ash heaps in which we are consumed.

The European mind is capitulating. It is capitulating out of weakness, out of [intellectual] sloth, out of apathy, out of lack of imagination

Anyway, I am unfitted to hold down a job anywhere unless they were to pay me for getting angry at the world." 96

There is a fear of voluptuousness that is itself voluptuous, just as a certain fear of death can itself be deadly.

A lot of truths about the living world are recorded in bad books; they are just badly written about.

That was how things were back then. Anything that grew took its time growing, and anything that perished took a long time to be forgotten. But everything that had once existed left its traces, and people lived on memories just as they now live on the ability to forget quickly and emphatically.

The escalator seems to me to typify this: It leads us up, by climbing on our behalf. Yes, it doesn't even climb, it flies. Each step carries its shopper aloft, as though afraid he might change his mind. It takes us up to merchandise we might not have bothered to climb an ordinary flight of steps for.

I believe that my observations have always led me to find that the so-called realist moves about the world with a closed mind, ringed as it were with concrete and cement, and that the so-called romantic is like an unfenced garden in and out of which truth can wander at will.

It is only the feebelists of dilettantes who flourish in the Swastika’s shadow, in the bloody glow cast by the ash heaps in which we are consumed.

The European mind is capitulating. It is capitulating out of weakness, out of [intellectual] sloth, out of apathy, out of lack of imagination

That was how things were back then. Anything that grew took its time growing, and anything that perished took a long time to be forgotten. But everything that had once existed left its traces, and people lived on memories just as they now live on the ability to forget quickly and emphatically.

A lot of truths about the living world are recorded in bad books; they are just badly written about.

I believe that my observations have always led me to find that the so-called realist moves about the world with a closed mind, ringed as it were with concrete and cement, and that the so-called romantic is like an unfenced garden in and out of which truth can wander at will.

Although the noise of the chattering clientele is much more significant than the topics of their chatter, it does finally constitute that type of social and indistinct expression that we refer to as rhubarb. The very particular volume in which people tell each other their news seems to generate all by itself that acoustic chiaroscuro, a sounding murk, in which every communication seems to lose its edges, truth projects the shadow of a lie, and a statement seems to resemble its opposite.

I am not an encore, not a pudding, I am the main dish.

A moving shadow means more to us than a body at rest. We are no longer taken in by a fixed grin. We know that only death has a rictus.

The escalator seems to me to typify this: It leads us up, by climbing on our behalf. Yes, it doesn't even climb, it flies. Each step carries its shopper aloft, as though afraid he might change his mind. It takes us up to merchandise we might not have bothered to climb an ordinary flight of steps for.

Anyway, I am unfitted to hold down a job anywhere unless they were to pay me for getting angry at the world." 96

There is a fear of voluptuousness that is itself voluptuous, just as a certain fear of death can itself be deadly.