I never mind the accusations of domesticity, as long as people recognise that all of us, even the luckiest, will live lives in which we have our hearts broken, suffer the loss of loved ones, worry ourselves half to death about our kids.
You'll remember someone who broke your heart, and you'll think to yourself, 'Oh yes, I remember how that feels.' But you can't.
I love the detail about the workings of the human heart and mind that only fiction can provide - film can't get in close enough.
That is another chamber of my heart that shows no electrical activity - the chamber that used to flicker into life when I saw a film that moved me, or read a book that inspired me, or listened to music that made me want to cry. I closed that chamber myself, for all the usual reasons. And now I seem to have made a pact with some philistine devil: if I don't attempt to re-open it, I will be allowed just enough energy and optimism to get through a working day without wanting to hang myself.
Clockers" asks--almost in passing, and there's a lot more to it than this--a pretty interesting question: if you choose to work for the minimum wage when everyone around you is pocketing thousands from drug deals, then what does that do to you, to your head and to your heart? (Hornby's thoughts after reading "Clockers" by Richard Price)
We spent all those years talking about stuff we had in common, and the last few months noticing all the ways we were different and it broke both of our hearts.
Indeed, there is a moment on the first CD - the electrifying opening to "I Got Loaded," which sounds like an R&B standard but isn't - when you might find yourself asking whether anyone who has ever been smitten by pop music can fail to have his heart stopped by the chords, the swing, and, once again, Steve Berlin's wonderfully greasy sax.