I was thinking a lot about the aftermath of bad choices, how people deal with the trauma of having survived trauma, if that makes sense, and so I wrote about this character's last day on the job, how after spending 15 years pretending to be a rabbi, he'd in effect become a rabbi.
Most music culture these days runs on systems and networks devised to deal with the aftermath of thermonuclear war. Music culture has a habit of using these moods and machines in creative, unintended ways.
If you were president 50 years ago, the tragedy in Syria might not even penetrate what the American people were thinking about on a day to day basis. Today, they're seeing vivid images of a child in the aftermath of a bombing.
A different kind of pleasure surfaced in the aftermath, the pleasure of seeing the towers fall time and again, the experience of being entranced by the visual spectacle, and then also the very graphic forms of public mourning for exemplary citizens (taking place at the same time as the refusal to mourn the undocumented, the foreign, gay and lesbian lives lost there, for example). I am not sure that the guilt over the pleasure re-installed the good citizen.
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