La possibilité d’une île / Michel Houellebecq. – Paris : Fayard, 2005. – ISBN: 2-213-62547-6
Extrait, page 9:
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Soyez les bienvenus dans la vie éternelle, mes amis.
In some sense, all of anarchic French duo Benoit Delepine and Gustave Kervern’s films are road movies: In “Aaltra,” “Louise-Michel,” “Mammuth” and “Le Grand Soir,” misfit characters split with society, veer off into the wilderness and wreak black-comedy havoc. 664 more words
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At no moment in human history does growing old seem to have been a pleasure cruise; but, in the years preceding the disappearance of the species, it had manifestly become atrocious to the point where the level of voluntary deaths, prudishly renamed departures by the public-health bodies, was nearing 100 percent, and the average age of departure, estimated at sixty across the entire globe, was falling toward fifty in the most developed countries.
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My attraction to film as a medium—i.e., a dead medium, as opposed to what they pompously called at the time a living spectacle—had undoubtedly been the first sign in me of a disinterest in, even a disgust for, the general public—and probably for mankind in general.
“Tell me this,” says a character in Don DeLillo’s novel, Falling Man: “What kind of painter is allowed to behave more unspeakably, figurative or abstract?” 1,178 more words