Jun
22
Then Dédée said she'd make us some nescafé. I was happy to know that at least they had a tin of nescafé. I always know, whatever the score is, when somebody has a can of nescafé it's not fatal yet; they can still hold out. ***
He's the mouth and I'm the ear, so as not to say that he's the mouth and I'm the . . .
Every critic, yeah, is the sad-assed end of something that starts as taste, like the pleasure of biting into something and chewing on it. And the mouth moves again, relishing it, Johnny's big tongue sucks back a little string of saliva from the lips.
***
It's like in an elevator, you're in an elevator talking with people, you don't feel anything strange, meanwhile you've passed the first floor, the tenth, the twenty-first, and the city's down there below you, and you're finishing the sentence you began when you stepped into it, and between the first words and the last ones, there're fifty-two floors. I realized that when I started to play I was stepping into an elevator, but the elevator was time, if I can put it that way. Now realize that I haven't forgotten the mortgage or the religion. Like it's the mortgage and the religion are a suit I'm not wearing at the moment; I know the suit's in the closet, but at that moment you can't tell me that that suit exists. The suit exists when I put it on, and the mortgage and religion existed when I got finished playing and the old lady came in with her hair, dangling big hunks of hair all over me and complaining I'm busting her ears with that goddamned music.
-Julio Cortázar, The Pursuer
