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#is SO very real and visceral to me like. i actually cant picture another outcome
horce-divorce · 1 year
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tbh I have been doing really well all things considered but when I hit a low now it's extremely lower than low. anyway I'm fucked up tonight. it feels like I'm invisible even to my favorite people and the only thing I'm good for is whatever I can do to quietly support others while they all largely go on without me. living their lives and acting their age and falling in love and being real human people while I'm doing uhh. whatever the fuck my whole deal is.
I have done such a good job self isolating in these situations over the past few years I no longer know how or where to reach out for the same comfort I readily give my friends in this situation. it feels like every friendship I've ever had was something I was more invested in and like it's not right for me to ask them to hold my hand back.
I don't like where my head is rn but. I took my pill already and I'm falling asleep and I'm gonna have such fucked up dreams. I feel so profoundly empty right now. I just wish someone cared enough to text me goodnight and good morning anymore. every time I felt that way about someone it was either not reciprocated or, *checks notes* not reciprocated. like even platonically I usually feel like I'm way more invested.
It has to be me right I mean. I'm the common denominator here. it has to be something I do wrong. I just keep trying harder to take care of everyone else around me like that's gonna make me more lovable somehow, and not just. in the same one sided situation I'm always in.
Sorry for the big sads but as mentioned I don't reach out much anymore when I should and I think admitting I'm crying myself to sleep on main is the closest I can get rn so. here we are
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I recently read A Visit From the Goon Squad written by Jennifer Egan.
This novel reads more like a collection of short stories about different characters who are almost inconsequentially related to various degrees. 
One obvious theme is about the interconnectedness of all people. 
More deeply, the book is a reflection on time and the endlessness of growing up; how our values and, more seriously, our identities change--or don’t--with time. 
These are the lines and excerpts I highlighted as I read: 
“I’m always happy,” Sasha said. “Sometimes I just forget.” (Chapter 1).
“She could tell that he was in excellent shape, not from going to the gym but from being young enough that his body was still imprinted with whatever sports he’d played in high school and college.”
“...something more than relief: a blessed indifference, as if the very idea of feeling pain over such a thing were baffling.”
“In fact the whole apartment, which six years ago had seemed like a way station to some better place, had ended up solidifying around Sasha, gathering mass and weight, until she felt both mired in it and lucky to have it—as if she not only couldn’t move on but didn’t want to.” 
“She wanted badly to please him, to say something like, It was a turning point everything feels different now, or I called Lizzie and we made up finally, or I’ve picked up the harp again, or just I’m changing I’m changing I’m changing: I’ve changed! Redemption, transformation--God how she wanted these things. Every day, every minute. Didn’t everyone?”
“Bennie knew that what he was bringing into the world was shit. Too clear, too clean. The problem was precision, perfection; the problem was digitization, which sucked the life out of everything that got smeared through its microscopic mesh. Film, photography, music: dead. An aesthetic holocaust! Bennie knew better than to say this stuff aloud.” (Chapter 2).
“an urge to confess the malapropism to his fourth grader.”
“As he sipped, a sensation of pleasure filled his whole torso the way a snowfall fills up a sky. Jesus, he felt good.”
“Hearing the music get made, that was the thing: people and instruments and beaten-looking equipment aligning abruptly into a single structure of sound, flexible and alive.”
“The baby he and Stephanie had nuzzled and kissed—now this painful, mysterious presence.”
“He remembered his mentor, Lou Kline, telling him in the nineties that rock and roll had peaked at Monterey Pop. They’d been in Lou’s house in LA with its waterfalls, the pretty girls Lou always had, his car collection out front, and Bennie had looked into his idol’s famous face and thought, You’re finished. Nostalgia was the end—everyone knew that.”
“Rich people like to hostess, so they can show off their nice stuff.“ (Chapter 3). 
“Hey, Lou goes. He leans down so our faces are together, and stares straight into my eyes. He looks tired, like someone walked on his skin and left footprints. He goes, The world is full of shitheads, Rhea. Don’t listen to them—listen to me. And I know that Lou is one of those shitheads. But I listen.”
“I can’t tell if she’s actually real, or if she’s stopped caring if she’s real or not. Or is not caring what makes a person real?”
“Lou is one of those men whose restless charm has generated a contrail of personal upheaval that is practically visible behind him:” (Chapter 4, [My favorite chapter]).
“Structural Resentment: The adolescent daughter of a twice-divorced male will be unable to tolerate the presence of his new girlfriend, and will do everything in her limited power to distract him from said girlfriend’s presence, her own mascent sexuality being her chief weapon.”
“Structural Affection: A twice-divorced male’s preadolescent son (and favorite child) will embrace and accept his father’s new girlfriend because he hasn’t yet learned to separate his father’s loves and desires from his own. In a sense, he, too, will love and desire her, and she will feel maternal toward him...” 
“Structural Desire: The much younger temporary female mate of a powerful male will be inexorably drawn to the single male within range who disdains her mate’s power.”  
“These four are locked in a visceral animal-sighting competition. (Structural Fixation: A collective, contextually induced obsession that becomes a temporary locus of greed, competition, and envy.)”
“The members of Ramsey’s safari have gained a story they’ll tell for the rest of their lives. It will prompt some of them, years from now, to search for each other on Google and Facebook, unable to resist the wish-fulfillment fantasy these portals offer: What ever happened to...? In a few cases, they’ll meet again to reminisce and marvel at one another’s physical transformations, which will seem to melt away with the minutes.” 
“Structural Dissatisfaction: Returning to circumstances that once pleased you, having experienced a more thrilling or opulent way of life, and finding that you can no longer tolerate them.”
“My questions all seem wrong: How did you get so old? Was it all at once, in a day, or did you peter out bit by bit? When did you stop having parties? Did everyone else get old too, or was it just you?“ (Chapter 5).
“Your desultory twenties,” my mother calls my lost time, trying to make it sound reasonable and fun, but it started before I was twenty and lasted much longer.”
“The TV is new, flat and long, and its basketball game has a nervous sharpness that makes the room and even us look smudged.“
“Seventeen, hitchhiking. He was driving a red Mercedes. In 1979, that could be the beginning of an exciting story, a story where anything might happen. Now it’s a punch line.”
“...how better to mark success than by going to a place where you didn’t belong?“ (Chapter 7).
“I don’t want to fade away, I want to flame away.” 
“It felt impossible, as if Jules’s excitement were being siphoned from inside her, leaving Stephanie drained to the exact degree that he was invigorated.“
“All that can be said for sure is that in the presence of Kitty Jackson, the rest of us become entagled by our sheer awareness that we ourselves are not Kitty Jackson, a fact so brusquely unifying that it temporarily wipes out all distinctions betwen us--our tendency to cry inexplicably during parades, or the fact that we never learned French, or have a fear of insects that we do our best to conceal from women, or liked to eat construction paper as a child--in the presence of Kitty Jackson, we no longer are in possession of these traits; indeed, so indistinguishable are we from every other non–Kitty Jackson in our vicinity that when one of us sees her, the rest simultaneously react.” (Chapter 9.)
“At what precise moment did you tip just slightly out of alignment with the relatively normal life you had been enjoying theretofore, cant infinitesimally to the left or the right and thus embark upon the trajectory that ultimately delivered you to your present whereabouts—in my case, Rikers Island Correctional Facility?”
“Bix and Lizzie’s apartment is tiny, like a dollhouse, full of plants and the smell of plants (wet and planty), because Lizzie loves plants.” (Chapter 10).
“It’s okay,” she says, and you know you should leave it there—it’s fine, leave it alone, but some crazy engine inside you won’t let you stop:”
“He has an optimist’s attraction to everything new—a faith that it will enrich him, not hurt him.“
“The two of you reel away from her. Hilarity keeps you busy for several blocks, but there’s a sickness to it, like an itch that if you keep on scratching, will grind straight through skin and muscle and bone, shredding your heart.”
“We’re going to meet again in a different place,” Bix says. “Everyone we’ve lost, we’ll find. Or they’ll find us.” “Where? How?” Drew asks. Bix hesitates, like he’s held this secret so long he’s afraid of what will happen when he releases it into the air. “I picture it like Judgment Day,” he says finally, his eyes on the water. “We’ll rise up out of our bodies and find each other again in spirit form. We’ll meet in that new place, all of us together, and first it’ll seem strange, and pretty soon it’ll seem strange that you could ever lose someone, or get lost.”
“Sunsan was baffled at first, then distraught. [...] But eventually a sort of amnesia had overtaken Susan; her rebellion and hurt had melted away, deliquesced into a sweet, eternal sunniness that was terrible in the way that life would be terrible, Ted supposed, without death to give it gravitas and shape.” (Chapter 11).
“...all of this bolstered his awe at the gymnastic adaptability of the human mind.”
“...a fibrillating excitement such as he hadn’t felt for years in response to a work of art, compounded by further excitement that such excitement was still possible.” 
“A feeling,” Bennie said, rousing himself slightly from his deep recline. “That we have some history together that hasn’t happened yet.” (Chapter 13).
“Her confidence seemed more drastic than the outcome of a happy childhood; it was cellular confidence, as if Lulu were a queen in disguise, without need or wish to be recognized.”
“There are so many ways to go wrong,” Lulu said. “All we’ve got are metaphors, and they’re never exactly right. You can’t ever just Say. The. Thing.”
“They could meander indefinitely, these conversations...” 
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