Straub, Peter. Ghost Story. New York: Coward, McCann and Geoghegan, Inc. 1979. Print.
“A nice exercise in genre writing. More literary than most. A few nice phrases, a reasonably well-constructed plot.”
(50)
Sears would no be able to sleep, not after telling a story like that. By now, they all knew the effects of reliving these past events.
But [...]

Barthes:
Boredom is not far from bliss: it is bliss seen from the shores of pleasure. (26)
In Bouvard and Pecuchet, I read this sentence, which gives me pleasure: “Cloths, sheets, napkins were hanging vertically, attached by wooden clothespins to taut lines.” (26)
…repetition affords access, in effect, to a different temporality: where the Occidental
subject experiences in ingratitude [...]

Niffenegger, Audrey. Her Fearful Symmetry. New York: Scribner, 2009.
He felt that some sort of exchange was about to take place: he would give Elspeth the cemetery, and the cemetery would give him… what, he didn’t know. Surely there must be something.
[11]
Completeness: when done correctly, Martin derived a (fleeting) satisfaction from each series of motions, tasks, [...]

Waters, Sarah. The Little Stranger. New York: Riverhead Books, 2009. Print.
[Caroline] shook her head, unconvinced. ‘It was more than mere anger. It was as though the war itself had changed him, made an utter stranger out of him. He seemed to hate himself, and everyone around him. Oh, when I think of all the boys [...]

Babula, William. “The Character and the Conclusion: Bertram and the Ending of ‘All’s Well That Ends Well.’” South Atlantic Bulletin, Vol. 42, No. 2 (May, 1977): 94-100. JSTOR. Web. 20 April 2010.
In the figure of Bertram, we are dealing with the “passion of a foolish adolescent” who has been “a foolish boy throughout the entire [...]

I picture you in scenes of longing so great my brain nearly explodes inside the shell of its skull. I picture you framed in a great cinematic square open to thousands of voyeuristic eyes eating at you from the distance of a theater. I picture you with almost no notion of humanity, or else with [...]

It is at the same time true that the world is what we see and that, nevertheless, we must learn to see it - first in the sense that we must watch this vision with knowledge, take possession of it, say what we and what seeing are, act therefore as if we knew nothing about [...]

What we look at projected on the screen… addresses us as the expressed perception of an anonymous, yet present, “other.” And, as we watch this expressive projection of an “other’s” experience, we, too, express our perceptive experience. Through the address of our own vision, we speak back to the cinematic expression before us, using a [...]

…we also have the ability to observe [our] entire experience, to see through the moments of anger, fear, and tenderness rather than just experience them. We are part of our experience and yet we can see through it. We can see through it, yet we are not free from it. We are both appreciators and [...]