Station Eleven

“It’s not looking promising for a quick end to the emergency,” a newscaster said, understating the situation to a degree previously unmatched in the history of understatement, and then he blinked at the camera and something in him seemed to stutter, a breaking down of some mechanism that had previously held his personal and professional lives apart

The theater tickets had been intended as a romantic gesture, a let’s-do-something-romantic-because-all-we-do-is-fight, and she’d abandoned him there, she’d left him onstage performing CPR on a dead actor and gone home, and now she wanted him to buy milk.

Hell is the absence of the people you long for.

Survival might be insufficient, she’d told Dieter in late-night arguments, but on the other hand, so was Shakespeare.

All three caravans of the Traveling Symphony are labeled as such, THE TRAVELING SYMPHONY lettered in white on both sides, but the lead caravan carries an additional line of text: Because survival is insufficient.

“Do you think he’d describe himself as unhappy in his work?” “No,” Dahlia said, “because I think people like him think work is supposed to be drudgery punctuated by very occasional moments of happiness, but when I say happiness, I mostly mean distraction. You know what I mean?”

“If you are the light, if your enemies are darkness, then there’s nothing that you cannot justify. There’s nothing you can’t survive, because there’s nothing that you will not do.”

“To what end, though?” Michael accepted the wine bottle from her with a nod. “You see the way their eyes glaze over when anyone talks to them about antibiotics or engines. It’s science fiction to them, isn’t it? And if it only upsets them—” He broke off to drink wine.

“I’m talking about these people who’ve ended up in one life instead of another and they are just so disappointed. Do you know what I mean? They’ve done what’s expected of them. They want to do something different but it’s impossible now, there’s a mortgage, kids, whatever, they’re trapped. Dan’s like that.”