He spoke to her as if she could understand him, never in high pitch or in monosyllables, and never in nonsense words. This is milk that I am feeding you. It comes from Mordechai the milkman, whom you will meet one day. He gets the milk from a cow, which is a very strange and troubling thing if you think about it, so don't think about it . . . This is my hand that is petting your face. Some people are left-handed and some are right-handed. We don't know which you are yet, because you just sit there and let me do the handling . . . This is a kiss. It is what happens when lips are puckered and pressed against something, sometimes other lips, sometimes a cheek, sometimes something else. It depends . . . This is my heart. You are touching it with your left hand, not because you are left-handed, although you might be, but because I am holding it against my heart. What you are feeling is the beating of my heart. It is what keeps me alive.
Jonathan Safran FoerWas his death an essential stage in the continuation of his life?
Jonathan Safran FoerSuddenly Yankel was overcome with a fear of dying, stronger than he felt when his parents passed of natural causes, stronger than when his only brother was killed in the flour mill or when his children died, stronger even than when he was a child and it first occurred to him that he must try to understand what it could mean not to be alive -- to be not in darkness, not in unfeeling -- to be not being, not to be.
Jonathan Safran FoerYou will remember when a bird crashed through the window and fell to the floor. You will remember, those of you who were there, how it jerked its wings before dying, and left a spot of blood on the floor after it was removed. But who among you was first to notice the negative bird it left in the window? Who first saw the shadow that the bird left behind, the shadow that drew blood from any finger that dared to trace it, the shadow that was better proof of the bird's existence than the bird ever was?
Jonathan Safran FoerWhen he pulled her out to feed her or just hold her, her body was tattooed with the newsprint . . . Sometimes he would rock her to sleep in his arms, and read her left to right, and know everything he needed to know about the world. If it wasn't written on her, it wasn't important to him.
Jonathan Safran FoerWhat do babies dream of? She must be dreaming of the before-life, just as I dream of the afterlife.
Jonathan Safran FoerIt would be possible, in theory, for life and art to be reversed.
Jonathan Safran FoerShe spent an afternoon staring at their front door.
Waiting for someone? Yankel asked.
What color is this?
He stood very close to the door, letting the end of his nose touch the peephole. He licked the wood and joked, It certainly tastes like red.
Yes, it is red, isn't it?
Seems so.
She buried her head in her hands. But couldn't it be just a bit more red?
Which, then, brings us closer to what we want to communicate: saying what we intend, or trying to say the opposite?
Jonathan Safran FoerSome make their worlds without knowing it. Their universes are just sesame seeds and three-day weekends and dial tones and skinned knees and physics and driftwood and emerald earrings and books dropped in bathtubs and holes in guitars and plastic and empathy and hardwood and heavy water and high black stockings and the history of the Vikings and brass and obsolescence and burnt hair and collapsed souffles and the impossibility of not falling in love in an art museum with the person standing next to you looking at the same painting and all the other things that just happen and are.
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