'The Sex Pistols made a breach in the pop milieu, in the screen of received cultural assumptions governing what one expected to hear and how one expected to respond. Because received cultural assumptions are hegemonic propositions about the way the world is supposed to work—ideological constructs perceived and experienced as natural facts—the breach in the pop milieu opened into the realm of everyday life: the milieu where, commuting to work, doing one's job in the home or the factory or the office or the mall, going to the movies, buying groceries, buying records, watching television, making love, having conversations, not having conversations, or making lists of what to do next, people actually lived. Judged according to its demands on the world, a Sex Pistols record had to change the way a given person performed his or her commute—which is to say that the record had to connect that act to every other, and then call the enterprise as a whole into question. Thus would the record change the world.'

Your life will vanish.

'You're not going to hear anything you're not hearing now.'

'Our ability to be believed is at risk.'

'In this malady, that which is, is wholly to themselves'

'Now it just seems like, really, that's what you did?'

'Most writers of fiction are interested in anonymity.'

'In this room he felt the chalky atmosphere of the classroom again, the same sort of chair, the same boredom.'

The first speech Flaubert actually quotes in the narration of Sentimental Education, after Moreau and Arnoux have already had quite a conversation, its contents reported in the narrator's summary, is still not even quite quoted:

But he broke off to observe the ship's funnel and muttered a lengthy, rapid calculation, to work out 'how often each piston, at so many strokes per minute, would have to etc.'—and, once he had arrived at an answer, he talked about the beauties of the landscape.

Funny.