by
Nick Hornby
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I knew that Ken liked me, but I could never really work out why, apart from once he was looking for the original London cast recording of My Fair Lady, and I saw a copy at a record fair, and sent it to him. See where random acts of kindness get you? To fucking funerals, that's where.
[...] And when they do die it will hardly be the end of the world. Just, you know, wow, stop press, extremely ancient person dies. [...]
on his grandmothers
When I can't take it any more, when my white shirt is translucent and my jacket streaked with mud and Im gtting stabbing pains--cramp, or rheumatism, or arthritis, who knows?--in my legs, I stand up and brush myself off; and then Laura, who has obviously been sitting in her car by the bus stop all this time, winds down her window and tells me to get in.
trying to avoid Laura after the funeral
'So what should I be doing?'
'I don't know. Something. Working. Seeing people. Running a scout troop, or running a club even. Something more than waiting for life to change and keeping your options open. You'd keep your options open for the rest of your life, if you could. [...] And all the time you're keeping your options open, you're closing them off. [...]'
I mee Caroline when she comes to interview me for her newspaper, and I fall for her straight away, no messing [...] But I think I would have gone for anyone today. [...]
basically right after he gets back together with Laura
'Who's it for?' Laura asks when she sees me fiddling around with fades and running orders and levels.
'Oh, just that woman who interviewed me for the free paper. Carol? Caroline? Something like that. She said it would be easier, you know, if she had a feel for the kind of music we play.' But I can't say it without blushing and staring intently at the cassette deck, and I know she doesn't really believe me. She of all people knows what compilation tapes represent.
This time, something different happens, though. It's the day-dreaming that does it. I'm doing the usual thing--imagining in tiny detail the entire course of the relationship, from first kiss, to bed, to moving in together, to getting married (in the past I have even organized the track listing of the party tapes), to how pretty she'll look when she's pregnant, to names of children--until suddenly I realize that there's nothing left to actually, like, happen. I've done it all, lived through the whole relationship in my head. I've watched the film on fast-forward; I know the whole plot, the ending, all the good bits. Now I've got to rewind and watch it all over again in real time, and where's the fun in that?
And fucking ... when's it all going to fucking stop? I'm going to jump from rock to rock for the rest of my life until there aren't any rocks left? I'm going to run each time I get itchy feet? Because I get them about once a quarter, along with the utilities bills. More than that, even, during British Summer Time. I've been thinking with my guts since I was fourteen years old, and frankly speaking, between you and me, I have come to the conclusion that my guts have shit for brains.
I know what's wrong with Laura. What's wrong with Laura is that I'll never see her for the first or second or third time again. I'll never spend two or three days in a sweat trying to remember what she looks like, never again will I get to a pub half an hour early to meet her, staring at the same article in a magazine and looking at my watch every thirty seconds, never again will thinking about her set something off in me like 'Let's Get It On' sets something off in me. [...]
inspiration for Chris Fogle character
[...] A dangerous shift to the right in labor relations was underway.
It soon became clear that hte bosses were aiming to reverse the historic gains of the working class that dated back to the tempestuous class struggles of the Roosevelt New Deal era [...]
But the strength of organized labor was being sapped by more than just union busting and concessions bargaining. The greatest leverage capital enjoyed in its struggle to reverse the historic gains of the working class was the scientific-technological revolution percolating in corporate and univesrity laboratories, often supported by the Pentagaon.
THe anti-labor campagin was launched simultaneously and in conjunction with a technological assault on jobs and wages [...]
In fact, the revolution in technology and hte globalization of capitalist production and services are eroding the national determination of wages.
The wage level of the working class in the imperialist countries, under pressure of the global competition set up by the giant monopolies, is being increasingly determined internationally under the downward pressure of the wage level in the low-wage countries. From the point of view of the bosses, a worker in Detroit with health care, a pension, vacation and a living wage is overpriced, given the world labor market. Stating it from a Marxist point of view, the boss views wages paid that worker to be above the socially necessary value of labor power. [...]
The labor leaders repeat the line of the propagandists of capital in calling the present situation an economic crisis - a classless characterization - when, in fact, it is a capitalist economic crisis. It is a crisis of the system of exploitation in which the bosses are trying to pass their crisis of profitability onto the backs of the workers.
this is kinda a typical trotskyist critique but tbh it's not wrong