Mary E. Davis: Erik Satie

“I came into the world very young, in an age that was very old.”

"When I was young, I was told: 'You'll see, when you're fifty.' I am fifty and I haven't seen a thing."

"I eat only white foods: eggs, sugar, grated bones, the fat of dead animals; veal, salt, coconut, chicken cooked in white water; fruit mold, rice, turnips; camphorated sausage, dough, cheese (white), cotton salad, and certain fish (skinless)."

"Before I compose a piece, I walk around it several times, accompanied by myself."

"Why attack God? He may be as miserable as we are."

"The musician is perhaps the most modest of animals, but he is also the proudest. It is he who invented the sublime art of ruining poetry."

“I am by far your superior, but my notorious modesty prevents me from saying so.”

"As a person, I am neither good nor bad. I waver between the two, so to speak. So I have never really done harm to anyone — nor good, come to that. All the same, I have plenty of enemies — loyal enemies, of course. Why? For the most part, it is because they don't know me — or only know me secondhand, in short, through hearsay (lies worse than death). Man can never be perfect. I bear no grudge against them: they are the main victims of their ignorance and short-sightedness.... Poor folk! ... So I am sorry for them. Let us pass on. I shall come back to this subject later."

Antonio Muñoz Molina: In the Night of Time

But he wouldn’t have been able to explain to his wife that the antagonism he felt toward her family was due not to ideological but to esthetic differences, the same silent antagonism he felt towards the inexhaustible Spanish ugliness of so many common place things, a kind of national depravity that offended his sense of beauty more deeply than his convictions regarding justice: the stuffed heads of bulls over bars in taverns; the paprika red and saffron-substitute yellow of bullfight posters; folding chairs and carved desks that imitated the Spanish Renaissance; dolls in flamenco dresses, a curl on their forehead, which closed their eyes when leaned back and opened them as if resuscitated when they were upright again; rings with cubic stones; gold teeth in the brutal mouths of tycoons; the newspaper obituaries of dead children – he rose to heaven, he joined the angels – and their tragic white coffins; baroque moldings; excrescences carved in granite on the vulgar facades of banks; coat and hat racks made with the horns and hooves of deer or mountain goats; coats of arms for common last names made of glazed ceramic from Talavera; funeral announcements in the ABC or El Debate; photographs of King Alfonso XIII hunting, just a few days before he left the country, indifferent or blind to what was happening around him, leaning on his rifle beside the head of a dead deer, or erect and jovial next to a sacrifice of partridges or pheasants or hares, surrounded by gentlemen in hunting outfits and gaiters and servants in poor men’s berets and espadrilles and smiles diminished by toothless mouths.

Professor Rossman no longer had to wait for anything. He’d been buried with several dozen other corpses and hurriedly covered in lime in a common grave in Madrid, infected without reason or fault by the great medieval plague of Spanish death, spread indiscriminately by the most modern and most primitive means alike, everything from Mauser rifles, machine guns, and incendiary bombs to crude ancestral weapons: pocketknives, harquebuses, hunting shotguns, cattle prods, even animal jawbones if necessary, death that descended with the roar of airplane engines and the neighing of mules, with scapulars and crosses and red flags, with rosary prayers and the shouting of anthems on the radio.

Words are nothing, the delirium of desires and phantasmagoria whirling in vain inside the hard, impenetrable concavity of the skull; only physical contact counts, the touch of another hand, the warmth of a body, the mysterious beat of a pulse. How long has it been since someone touched him, a figure folding in on himself on the train seat, as hard and mineral-like as a thick, closed seashell.