"You know, when something like, even like a coal mine disaster, or something like this, you think that well everybody's going to make a run to be able to get out, but it happened to fast that they were just all dead"
About this Quote
The line lands with the blunt force of someone realizing, mid-sentence, that the story they rely on to make tragedy legible is a lie. Grimes starts in the familiar moral script: in a disaster, people scramble, survival instincts kick in, there is movement and agency. Then the sentence collapses into its own correction: it happened too fast. No scramble. No heroics. Just the terrible stillness of “they were just all dead.”
That hesitation-heavy phrasing (“you know,” “like,” “or something like this”) matters. It’s not verbal clutter so much as a mind trying to buffer itself from what it’s naming. Euphemism fails, analogy fails, even grammar fails. The speaker reaches for the coal mine disaster as a culturally shared image of calamity and claustrophobia, then uses it to underline the most unnerving detail: the absence of time. The horror isn’t only death; it’s death without narrative, without the consoling idea that effort could have mattered.
The specific intent reads less like reportage than like a confession of cognitive dissonance. Grimes is mourning an expectation as much as people: the expectation that there’s always a chance to “make a run” for it, that readiness and will can outrun catastrophe. The subtext is fatalistic but also accusatory toward our instincts as spectators. We want to picture bodies in motion because motion implies meaning. The line denies that comfort, insisting on randomness and speed as the real antagonists.
That hesitation-heavy phrasing (“you know,” “like,” “or something like this”) matters. It’s not verbal clutter so much as a mind trying to buffer itself from what it’s naming. Euphemism fails, analogy fails, even grammar fails. The speaker reaches for the coal mine disaster as a culturally shared image of calamity and claustrophobia, then uses it to underline the most unnerving detail: the absence of time. The horror isn’t only death; it’s death without narrative, without the consoling idea that effort could have mattered.
The specific intent reads less like reportage than like a confession of cognitive dissonance. Grimes is mourning an expectation as much as people: the expectation that there’s always a chance to “make a run” for it, that readiness and will can outrun catastrophe. The subtext is fatalistic but also accusatory toward our instincts as spectators. We want to picture bodies in motion because motion implies meaning. The line denies that comfort, insisting on randomness and speed as the real antagonists.
Quote Details
| Topic | Mortality |
|---|---|
| Source | Help us find the source |
More Quotes by Richard
Add to List








