Quotes From "A Single Man" By Christopher Isherwood

Think of two people, living together day after day, year after year, in this small space, standing elbow to elbow cooking at the same small stove, squeezing past each other on the narrow stairs, shaving in front of the same small bathroom mirror, constantly jogging, jostling, bumping against each other’s bodies by mistake or on purpose, sensually, aggressively, awkwardly, impatiently, in rage or in love — think what deep though invisible tracks they must leave, everywhere, behind them! . Christopher Isherwood

If it’s going to be a world with no time for sentiment, it’s not a world that I want to live in. Christopher Isherwood

As they embrace, she kisses him full on the mouth. And suddenly sticks her tongue right in. She has done this before, often. It’s one of those drunken long shots which just might, at least theoretically, once in ten thousand tries, throw a relationship right out of its orbit and send it whizzing off on another. Do women ever stop trying? No. But, because they never stop, they learn to be good losers. Christopher Isherwood

But now isn’t simply now. Now is also a cold reminder: one whole day later than yesterday, one year later than last year. Every now is labeled with its date, rendering all past nows obsolete, until – later of sooner – perhaps – no, not perhaps – quite certainly: it will come. Christopher Isherwood

The prefect evening...lying down on the couch beside the bookcase and reading himself sleepy... Jim lying opposite him at the other end of the couch, also reading; the two of them absorbed in their books yet so completely aware of each other's presence. Christopher Isherwood

..all around George, approaching him, crossing his path from every direction, is the male and female raw material which is fed daily into this factory, along the conveyor-belts of the freeways, to be processed, packaged and placed on the market.. What do they think they are up to? Well, there is the official answer; preparing themselves for life which means a job and security in which to raise children to prepare themselves for life which means a job and security in which.. Here, in their midst, George feels a sort of vertigo. Oh God, what will become of them all? What chance have they? Ought I yell out to them, right now, here, that it's hopeless? But George knows he can't do that. Because, absurdly, inadequately, in spite of himself almost, he is a representative of hope. And the hope is not false. No. It's just that George is like a man trying to sell a real diamond for a nickel, on the street. The diamond is protected from all but the tiniest few, because the great hurrying majority can never stop to dare to believe that it could conceivably be real. Christopher Isherwood

What’s so phony nowadays is all this familiarity. Pretending there isn’t any difference between people –well, like you were saying about minorities, this morning. If you and I are no different, what do we have to give each other? How can we ever be friends? Christopher Isherwood

I certainly should have, ' he agrees, smiling and thinking what an absurd and universally-accepted bit of nonsense it is, that your best friends must necessarily be the ones who best understand you. As if there weren't far too much understanding in the world already; above all, that understanding between lovers, celebrated in song and story, which is actually such torture that no two of them can bear it without frequent separations or fights. Christopher Isherwood

No, Geo–underneath all that, Nan really loves me. It’s just she wants me to see things her way. You know, she’s two years older; that meant a lot when we were children. I’ve always thought of her as being sort of like a road– I mean, she leads somewhere. With her, I’ll never lose my way. Christopher Isherwood

2NOTES“You broke your other appointment, didn’t you?”“ I did not! I told you on the phone–these people canceled at the last minute–”“ Oh, Geo dear, come off it! You know, I sometimes think, about you, whenever you do something really sweet, you’re ashamed of it afterwords! You knew jolly well how badly I needed you tonight, so you broke that appointment. I could tell you were fibbing, the minute you opened your mouth! You and I can’t pull the wool over each other’s eyes. I found that out, long ago. Haven’t you–after all these years?”“ I certainly should have, ” he agrees, smiling and thinking what an absurd and universally accepted bit of nonsense it is that your best friends must necessarily be the ones who best understand you. . Christopher Isherwood

But George knows he can't do that. Because, absurdly, inadequately, in spite of himself, almost, he is a representative of the hope. And the hope is not false. No. It's just that George is like a man trying to sell a real diamond for a nickel, on the street. The diamond is protected from all but the tiniest few, because the great hurrying majority can never stop to dare to believe that it could conceivably be real. Christopher Isherwood

George smiles to himself, with entire self-satisfaction. Yes, I am crazy, he thinks. That is my secret; my strength. Christopher Isherwood

The harassed look is that of a desperately tired swimmer or runner; yet there is no question of stopping. The creature we are watching will struggle on and on until it drops. Not because it is heroic. It can imagine no alternative. Staring and staring into the mirror, it sees many faces within its face - the face of the child, the boy, the young man, the not-so-young-man - all present still, preserved as fossils, dead. Their message to this live dying creature is: Look at us - we have died -what is there to be afra . Christopher Isherwood

Staring and staring into the mirror, it sees many faces within its face - the face of the child, the boy, the young man, the not-so-young man - all present still, preserved like fossils on superimposed layers, and, like fossils, dead. Their message to this live dying creature is: Look at us - we have died - what is there to be afraid of? It answers them: But that happened so gradually, so easily. I'm afraid of being rushed. Christopher Isherwood

Does he know about me? George wonders; do any of them? Oh yes, probably. It wouldn't interest them. They don't want to know about my feelings or my glands or anything below my neck. I could just as well be a severed head carried into the classroom to lecture to them from a dish. Christopher Isherwood

By the time it has gotten dressed, it has become he; has become already more or less George – though still not the whole George they demand and are prepared to recognize. Those who call him on the phone at this hour of the morning would be bewildered, maybe even scared, if they could realize what this three-quarters-human thing is what they are talking to. But, of course, they never could–its voice's mimicry of their George is nearly perfect. Christopher Isherwood

He crosses the front room, which he calls his study, and comes down the staircase. The stairs turn a corner; they are narrow and steep. You can touch both handrails with your elbows, and you have to bend your head, even if, like George, you are only five eight. This is a tightly planned little house. He often feels protected by its smallness; there is hardly room enough here to feel lonely. Nevertheless. Christopher Isherwood

The supermarket is still open; it won't close till midnight. It is brilliantly bright. Its brightness offers sanctuary from loneliness and the dark. You could spend hours of your life here, in a state of suspended insecurity, meditating on the multiplicity of things to eat. Oh dear, there is so much! So many brands in shiny boxes, all of them promising you good appetite. Every article on the shelves cries out to you, take me, take me; and the mere competition of their appeals can make you imagine yourself wanted, even loved. But beware - when you get back to your empty room, you'll find that the false flattering elf of the advertisement has eluded you; what remains is only cardboard, cellophane and food. And you have lost the heart to be hungry. Christopher Isherwood

They keep telling you, when you’re older, you’ll have experience–and that’s supposed to be so great. What would you say about that, sir? Is it really any use, would you say?"" What kind of experience?”“ Well–places you’ve been to, people you’ve met. Situations you’ve been through already, so you know how to handle them when they come up again. All that stuff that’s supposed to make you wise, in your later years.”“ Let me tell you something, Kenny. For other people, I can’t speak–but, personally, I haven’t gotten wise on anything. Certainly, I’ve been through this and that; and when it happens again, I say to myself, Here it is again. But that doesn’t seem to help me. In my opinion, I, personally, have gotten steadily sillier and sillier and sillier–and that’s a fact.”“ No kidding, sir? You can’t mean that! You mean, sillier than when you were young?”“ Much, much sillier.”“ I’ll be darned. Then experience is no use at all? You’re saying it might just as well not have happened?”“ No. I’m not saying that. I only mean, you can’t use it. But if you don’t try to–if you just realize it’s there and you’ve got it–then it can be kind of marvelous. Christopher Isherwood

Waking up begins with saying am and now. That which has awoken then lies for a while staring up at the ceiling and down into itself until it has recognized I, and therefrom deduced I am, I am now. Here comes next, and is at least negatively reassuring; because here, this morning, is where it has expected to find itself: what’s called at home. Christopher Isherwood

For other people, I can't speak - but, personally, I haven't gotten wise on anything. Certainly, I've been through this and that; and when it happens again, I say to myself, Here it is again. But that doesn't seem to help me. In my opinion, I, personally, have gotten steadily sillier and sillier - and that's a fact. Christopher Isherwood

So now George has arrived. He is not nervous inthe least. As he gets out of his car, he feels an upsurge of energy, of eagerness for the play to begin. And he walks eagerly, with a springy step, along the gravel path past the Music Building toward the Department office. He is all actor now–an actor on his way up from the dressing room, hastening through the backstage world of props and lamps and stagehands to make his entrance. A veteran, calm and assured, he pauses for a well-measured moment in the doorway of the office and then, boldly, clearly, with the subtly modulated British intonation which his public demands of him, speaks his opening line: "Good morning! " And the three secretaries–each one of them a charming and accomplished actress in her own chosen style–recognize him instantly, without even a flicker of doubt, and reply "Good morning! " to him. (There is something religious here, like responses in church–a reaffirmation of faith in the basic American dogma that it is, always, a good morning. Good, despite the Russians and their rockets, and all the ills and worries of the flesh. For of course we know, don't we, that the Russians and the worries are not really real? They can be un-thought and made to vanish. And therefore the morning can be made to be good. Very well then, it is good.) . Christopher Isherwood

But your book is wrong, Mrs. Strunk, says George, when it tells you that Jim is the substitute I found for a real son, a real kid brother, a real husband, a real wife. Jim wasn't a substitute for anything. And there is no substitute for Jim, if you'll forgive my saying so, anywhere. Christopher Isherwood

These books have not made George nobler or better or more truly wise. It is just that he likes listening to their voices, the one or the other, acording to his mood. He misuses them quite ruthlessly - despite the respectful way he has to talk about them in public - to put him to bed, to take his mind off the hands of the clock, to relax the nagging of his pyloric spasm, to gossip him out of his melancholy, to trigger the conditioned reflexes of his colon. Christopher Isherwood

A veteran, calm and assured, he pauses for a well-measured moment in the doorway of the office and then, boldly, clearly, with the subtly modulated British intonation which his public demands of him, speaks his opening line, 'Good mor Christopher Isherwood