밸보니 선생은 몸을 움찍거렸고, 꽉 끼는 검정 가죽바지에서 찌익 소리가 났다. 그는 학생들에게 글을 읽을 때는 풍부한 식견과 비판적 시각을 유지하면서도 긍정적인 면에 역점을 두라고 지도하는 입장이다. "흐음, 벌써부터 생생한 묘사가 느껴지는걸."

"농담이에요, 밸보니 선생님. 활유법에서 벗어나려 노력하는 중입니다."

"기대되네, 얼른 읽어보고 싶군요." 밸보니 선생이 말했다.

- <섬에 있는 서점>, 개브리얼 제빈 - 밀리의 서재
https://www.millie.co.kr/v3/bookDetail/a36b87fd98f0423d - P233

"그건 여러가지로 해석할 수 있게 한 것 같은데." 밸보니 선생이 말했다. "지난주에 열린 결말에 관해 얘기한 것 기억나요?" - <섬에 있는 서점>, 개브리얼 제빈 - 밀리의 서재
https://www.millie.co.kr/v3/bookDetail/a36b87fd98f0423d - P234


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Later that night, Maya finds a slip of paper under her door: Maya,
If you’re stuck, reading helps:
"The Beauties" by Anton Chekhov, "The Doll’s House" by Katherine Mansfield, "A Perfect Day for Bananafish" by J. D. Salinger, "Brownies" or "Drinking Coffee Elsewhere" both by ZZ Packer, "In the Cemetery Where Al Jolson Is Buried" by Amy Hempel, "Fat" by Raymond Carver, "Indian Camp" by Ernest Hemingway.
We should have them all downstairs. Just ask if you can’t find anything, though you know where everything is better than I.
Love,
Dad - P178

Mr. Balboni shifts, and his tight, black leather pants squeak. He encourages them to emphasize the positive while at the same time reading with a critical and ideally informed eye. "Well, that sounds like it has evocative description already."
"I’m kidding, Mr. Balboni. I’m trying to move away from anthropomorphizing."
"I’ll look forward to reading it," Mr. Balboni says. - P179

"I think it’s ambiguous," Mr. Balboni says. "Remember last week when we talked about ambiguity?" - P180

Maya sees Mr. Balboni talking to a person who can only be a teacher from another school. She is wearing teacher clothes—a floral dress and a beige cardigan with snowflakes embroidered on it, and she is nodding adamantly at whatever Mr. Balboni is saying. Of course, Mr. Balboni is wearing his leather pants, and because he is out, a leather jacket—basically, a leather suit. - P183

A.J. kisses his daughter on the forehead. He is delighted to have produced such a fantastic nerd. - P196

"You are being so rude," Amelia says. "You can’t put your head in the sand and act like e-readers don’t exist. That’s no way to deal with anything." - P218

"Well, for those of us with husbands who are growing farsighted, and I’m not going to mention any names here. For those of us with husbands who are rapidly becoming middle-aged and losing their vision. For those of us burdened by pathetic half men for spouses—" - P219

Amelia sets down her book to smile smugly at her husband, but when she looks over the man is frozen. A.J. is having one of his episodes. The episodes trouble Amelia, though she reminds herself not to be worried. - P219

"No," A.J. says. "You know I’ve had these since I was a chive."
"A chive?" she asks.
"A child. What did I say?" - P220

"You are the father of Maya. And the love of my life. And a purveyor of culture to this community." - P221

The real gift of the holiday season, A.J. thinks, is that it ends. He likes the routine. He likes making breakfast in the morning. He likes running to work. - P221

He runs past Ismay’s house, which she once shared with Daniel and now shares improbably with Lambiase. He runs past the spot where Daniel died, too. He runs past the old dance studio. What was the dance teacher’s name? He knows she moved to California not too long ago, and the dance studio is empty. He wonders who will teach the little girls of Alice Island to dance? He runs past Maya’s elementary school and past her junior high and past her high school. High school. She has a boyfriend. The Furness boy is a writer. He hears them arguing all the time. He takes a shortcut through a field, and is almost through it to Captain Wiggins Street when he blacks out.
It is twenty-two degrees out, and when he wakes his hand is blue where it had rested on the ice.
He stands and warms his hands on his jacket. He has never passed out in the middle of a run before.
"Madame Olenska," he says. - P222

Why is any one book different from any other book? They are different, A.J. decides, because they are. We have to look inside many. We have to believe. We agree to be disappointed sometimes so that we can be exhilarated every now and again. - P238

The one real fight they’d ever had was over David Foster Wallace. It was around the time of Wallace’s suicide. A.J. had found the reverent tone of the eulogies to be insufferable. The man had written a decent (if indulgent and overlong) novel, a few modestly insightful essays, and not much else.
"Infinite Jest is a masterpiece," Harvey had said.
"Infinite Jest is an endurance contest. You manage to get through it and you have no choice but to say you like it. Otherwise, you have to deal with the fact that you just wasted weeks of your life," A.J. had countered. "Style, no substance, my friend." - P18

"It’s funny that you should mention Infinite Jest. Why did you choose that particular title, by the way?" A.J. says.
"I always see it in the store. It takes up a lot of space on the shelf." - P228


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Ismay drives because Daniel is too drunk to drive. They live in the Cliffs, the most expensive part of Alice Island. All the houses have views, and the road that leads to them is uphill, twisty with many blind spots, poorly lit, and lined with yellow signs imploring caution. - P166

"You’re the grasshopper, and I’m the ant. And I’m tired of being the ant."
"That’s a rather juvenile reference. I’m sure you can do better." - P167

She thinks about driving them both off the road and into the ocean, and the thought makes her happy, happier than she would have been if she’d only killed herself. She realizes in that moment that she doesn’t want to be dead. She wants Daniel to be dead. Or at least gone. Yes, gone. She’d settle for gone. - P167

"You are bad. And what’s worse is, you’ve made me bad," she says. - P168

"Every time I see her with A.J. and Amelia, I’m sick. She should be ours." - P168

At that moment, headlights catch the rearview mirror.
The hit comes from behind, knocking the car into the center of the road so that it is crossing both lanes of traffic. - P169

More headlights, this time from the opposite side of the road. "Ismay, you have to drive." He turns in time to see the truck. A twist, he thinks. - P169

Lights, bright enough to dilate her eyes.
Horns, flaccid and come too late.
Metal crumpling like tissue.
The body was not in pain but only because the body was gone, elsewhere.
Yes, Daniel thinks just after impact but before death, like that. The passage hadn’t been as bad as he had thought. - P169


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She is forty-four years old. She is married to a too-handsome man, whom she no longer loves. She has had seven miscarriages in the last dozen years. She is, according to her gynecologist, in perimenopause: So much for that. - P162


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"난 항상 마야의 어머니가 왜 앨리스를 택했을까 궁금했어요."

이즈메이는 팬케이크를 뒤집고, 또 하나 뒤집었다. "사람들이 하는 행동의 이유를 누가 다 일일이 알겠어요?" - <섬에 있는 서점>, 개브리얼 제빈 - 밀리의 서재
https://www.millie.co.kr/v3/bookDetail/a36b87fd98f0423d - P272


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