The Favourite Game
4 stars
Content warning language
1) "His mother regarded her whole body as a scar grown over some earlier perfection which she sought in mirrors and windows and hub-caps. Children show scars like medals. Lovers use them as secrets to reveal. A scar is what happens when the word is made flesh."
2) "A city was a great achievement, bridges were fine things to build. But the street, harbours, spikes of stone were ultimately lost in the wider cradle of mountain and sky. It ran a chill through his spine to be involved in the mysterious mechanism of city and black hills."
3) "'Where you live, you?' Breavman and Krantz knew what they wanted to hear. Westmount is a collection of large stone houses and lush trees arranged on the top of the mountain especially to humiliate the underprivileged."
4) "She ran to me and we hugged. The texture of her clothes felt funny against my skin. She wet my neck and cheek with tears. 'We haven't the time to hurt each other,' she whispered."
5) "And there was something frightened in their speed. Back in the city their families were growing like vines. Mistresses were teaching a sadness no longer lyrical but claustrophobic. The adult community was insisting that they choose an ugly particular from the range of beautiful generalities. They were flying from their majority, from the real bar mitzvah, the real initiation, the real and vicious circumcision which society was hovering to inflict through limits and dull routine. They spoke gently to the French girls in the diners where they stopped. They were so pathetic, false-toothed and frail. They'd forget them in the next twenty miles. What were they doing behind the Arborite counters? Dreaming of Montreal neon?"
6) "Breavman, you're eligible for many diverse experiences in this best of all possible worlds. There are many beautiful poems which you will write and be praised for, many desolate days when you won't be able to lay pen to paper. There will be many lovely cunts to lie in, different colours of skin to kiss, various orgasms to encounter, and many nights you will walk out your lust, bitter and alone. There will be many heights of emotion, intense sunsets, exalting insights, creative pain, and many murderous plateaux of indifference where you won't even own your personal despair. There will be many good hands of power you can play with ruthlessness or benevolence, many vast skies to lie under and congratulate yourself on humility, many galley rides of suffocating slavery. This is what waits for you. Now, Breavman, here is the proposition. Let us suppose that you could spend the rest of your life exactly as you are at this very minute, in this car hurtling towards brush country, at this precise stop on the road beside a row of white guide posts, always going past these posts at eighty, this juke-box song of rejection pumping, this particular sky of clouds and stars, your mind including this immediate cross-section of memory – which would you choose? Fifty-more years of this car ride, or fifty more of achievement and failure? And Breavman never hesitated in his choice."
7) "'Krantz, do you know why Sherbrooke Street is so bloody beautiful?' 'Because you want to get laid.'"
8) "Some say that no one ever leaves Montreal, for that city, like Canada itself, is designed to preserve the past, a past that happened somewhere else. This past is not preserved in the buildings or monuments, which fall easily to profit, but in the minds of her citizens. The clothes they wear, the jobs they perform are only the disguises of fashion. Each man speaks with his father's tongue. Just as there are no Canadians, there are no Montrealers. Ask a man who he is and he names a race. So the streets change swiftly, the skyscrapers climb into silhouettes against the St. Lawrence, but it is somehow unreal and no one believes it, because in Montreal there is no present tense, there is only the past claiming victories. Breavman fled the city."
9) "I'm afraid of loneliness. Just visit a mental hospital or factory, sit in a bus or cafeteria. Everywhere people are living in utter loneliness. I tremble when I think of all the single voices raised, lottery-chance hooks aimed at the sky. And their bodies are growing old, hearts beginning to leak like old accordions, trouble in the kidneys, sphincters going limp like old elastic bands. It's happening to us, to you under the green stripes. It makes me want to take your hand. And this is the miracle that all the juke-boxes are eating quarters for. That we can protest this indifferent massacre. Taking your hand is a very good protest. I wish you were beside me now."