Author: Jonathan Coe

Cites

• Jean Cocteau (1)
  • IN: The Winshaw Legacy (1994) Fiction, British
    EPIGRAPH: Orphee: Enfin, Madame...m'expliquerez-vois? La Princesse: Rien. Si vous dormez, si vous revez, acceptez vos reves. C'est le role du dormeur.
    FROM: Orphee, (1950), Screenplay, France
• Louis Philippe (3)
  • IN: The Winshaw Legacy (1996) Fiction, British
    EPIGRAPH: Meet me', he'd said and forgotten 'Love me': but of love we are frightened We'd rather leave and fly for the moon Than say the right words too soon
    FROM: Yuri Gagarin, (1989), Song, France
  • IN: What a Carve Up! (1994) Fiction, British
    EPIGRAPH: Meet me, he’d said and forgotten / Love me: but of love we are frightened
    FROM: Yuri Gagarin, (1994), Song, France
  • IN: What a Carve Up (1994) Fiction, British
    EPIGRAPH: Meet me,' he'd said and forgotten 'Love me': but of love we are frightened We'd rather leave and fly for the moon Than say the right words too soon
    FROM: Yuri Gagarin, (1989), Song, UK
• B.S. Johnson (1)
  • IN: Like a Fiery Elephant: The story of B.S. Johnson (2004) Fiction, British
    EPIGRAPH: Telling stories is telling lies.
    FROM: Albert Angelo, (1964), Novel, UK
• Cocteau (2)
  • IN: What a Carve Up! (1994) Fiction, British
    EPIGRAPH: Orphee: Enfin, Madame... m’expliquerez-vous?...
    FROM: screenplay to Orphee, (1950), Film, France
  • IN: What a Carve Up (1994) Fiction, British
    EPIGRAPH: Orphée: Enfin, Madame ... m'expliquerez-vous? La Princesse: Rien. Si vous dormez, si vous rêvez, acceptez vos rêves. C'est le rôle du dormeur.
    FROM: screenplay to Orphée, (1950), NULL, France
• NULL (2)
  • IN: Expo 58 (2013) Fiction, British
    EPIGRAPH: You know, I'm half inclined to believe that there's some rational explanation to all this.
    FROM: The Lady Vanishes, (1938), Film, UK
  • IN: The Dwarves of Death (1990) Fiction, British
    EPIGRAPH: Nuair chi mi eun a' falhb air sgiath, Bu mhiann leam bhith 'na chuideachd: Gu'n deanainn cùrs' air tir mo rùin, Far bheil an sluagh ri fuireach.
    FROM: NULL, (None), NULL, NULL
• Robert W. Rydell (1)
  • IN: Expo 58 (2013) Fiction, British
    EPIGRAPH: By opening day, the American pavilion had been molded into an espionage weapon against the Soviet Union and its allies.
    FROM: World of Affairs: The Century-of-Progress Expositions, (1993), Book, US
• Jonathan Coe (1)
  • IN: Number 11 (2015) Fiction, British
    EPIGRAPH: Because there comes a point, you know, Michael' -- he leaned forward and pointed at him with the syringe -- 'there comes a point, where greed and madness becomes practically indistinguishable. One and the same thing, you might almost say. And there comes another point, where the willingness to tolerate greed, and to live alongside it, and even to assist it, becomes a sort of madness too.'
    FROM: What a Carve Up!, (1994), NULL, UK
• Tony Blair (1)
  • IN: Number 11 (2015) Fiction, British
    EPIGRAPH: In another part of our globe, there is shadow and darkness.
    FROM: NULL, (2003), NULL, Australia
• Donald Crowhurst (qtd by Nicholas Tomalin & Ron Hall) (1)
  • IN: The Terrible Privacy of Maxwell Sim (2010) Fiction, British
    EPIGRAPH: Man is a lever whose ultimate length and strength he must determine for himself.
    FROM: quoted in The Strange Voyage of Donald Crowhurst, (1970), Book, US
• Alasdair Gray (1)
  • IN: The Terrible Privacy of Maxwell Sim (2010) Fiction, British
    EPIGRAPH: Geography no longer matters because there is no near or far, the monetary sheath enclosing the globe has destroyed the geography of distances.
    FROM: 1982, Janine, (1984), Novel, UK
• David Nobbs (1)
  • IN: The Terrible Privacy of Maxwell Sim (2010) Fiction, British
    EPIGRAPH: One day I will die, and on my grave it will say, 'Here lies Reginald Iolanth Perrin; he didn't know the names of the flowers and the trees, but he knew the rhubarb crumble sales for Schleswig-Holstein.'
    FROM: The Fall and Rise of Reginald Perrin, (1975), Novel, UK
• James Wood (1)
  • IN: The Terrible Privacy of Maxwell Sim (2010) Fiction, British
    EPIGRAPH: Through words, she offers us her shaming revelations. Through words, she gives us her terrible privacy.
    FROM: writing about Toni Morrison in the Guardian, (1992), Article, US
• Rosamond Lehmann (1)
  • IN: The House of Sleep (1997) Fiction, British
    EPIGRAPH: I do get ocnfused about time. If one loses one's emotional focus' -- she stopped, struggled, werit on huskily -- 'that's what happens. Aeons -- split seconds -- they interchange. One gets outside the usual way of counting.'
    FROM: The Echoing Grove, (1953), Novel, UK

Cited by

• Jonathan Coe (1)
  • IN: Number 11 (2015) Fiction, British
    EPIGRAPH: Because there comes a point, you know, Michael' -- he leaned forward and pointed at him with the syringe -- 'there comes a point, where greed and madness becomes practically indistinguishable. One and the same thing, you might almost say. And there comes another point, where the willingness to tolerate greed, and to live alongside it, and even to assist it, becomes a sort of madness too.'
    FROM: What a Carve Up!, (1994), NULL, UK