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It was nice standing out in the darkness, in the damp grass, with spring coming on and a feeling in my heart of imminent disaster.
Michael Chabon
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Michael Chabon
Age: 61
Born: 1963
Born: May 24
Author
Columnist
Essayist
Novelist
Science Fiction Writer
Screenwriter
Television Producer
Writer
Washington
District of Columbia
Leon Chaim Bach
Malachi B. Cohen
August Van Zorn
Feeling
Imminent
Nice
Damp
Feelings
Grass
Heart
Disaster
Spring
Standing
Darkness
Coming
More quotes by Michael Chabon
That evening I rode downtown on an unaccountably empty bus, sitting in the last row. At the front I saw a thin cloud of smoke rising around the driver’s head. ‘Hey, bus driver,’ I said. ‘Can I smoke?’ ‘May I,’ said the bus driver. ‘I love you,’ I said.
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To me, Clark Kent in a phone booth and Houdini in a packing crate, they were one and the same thing, he would learnedly expound at WonderCon or Angoulême or to the editor of The Comics Journal . You weren't the same person when you came out as when you went in.
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Poor little librarians of the world, those girls, secretly lovely, their looks marred forever by the cruelty of a pair of big dark eyeglasses!
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Nothing is boring exept to people who aren't really paying attention.
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Never say love is like anything... It isn't.
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Forget about what you are escaping from. Reserve your anxiety for what you are escaping to.
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A father is a man who fails every day.
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I suppose there is something appealing about a word that everyone uses with absolute confidence but on whose exact meaning no two people can agree. The word that I'm thinking of right now is genre, one of those French words, like crêpe, that no one can pronounce both correctly and without sounding pretentious.
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They lay there for a few seconds, in the dark, in the future, listening to the fabulous clockwork of their hearts and lungs, and loving each other
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A delicate, inexorable lattice of inferences began to assemble themselves, like a crystal, in the old man's mind, shivering, catching the light in glints and surmises.
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The two dozen commonplace childhood photographs - snowsuit, pony, tennis racket, looming fender of a Dodge - were an inexhaustible source of wonder for him, at her having existed before he met her, and of sadness for his possessing nothing of the ten million minutes of that black-and-white scallop-edged existence save these few proofs.
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And then the man reminded Max, with a serious but suave and practiced air, that freedom was a debt that could be repaid only by purchasing the freedom of others.
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Childhood is a branch of cartography.
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He took a step toward her, than another, tentatively, gathering all his strength, as though about to throw a heavy switch that would, if his calculations were correct, bring light to a hundred cities and ten thousand darkened rooms. He was going to ask her to dance - that was all.
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Every Messiah fails, the moment he tries to redeem himself.
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So it was scary, but that's how it goes. To my great delight, I discovered that it did all belong.
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I was surprised that my wife thought it was a good idea, then again with my agent, another woman, then my editor, another woman - in spite of the fact that all three of them reacted positively I still have this fear.
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All the preparation in the world doesn't avail you if you can't make that imaginative leap and put yourself in the position of the characters you've created, to imagine what it's like to be somebody else.
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When I'm writing solitude feels very good. But when I'm not writing it feels lonely... Having a big family solves that problem.
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All novels are sequels influence is bliss.
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