sansian > sansian's Quotes

“The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist; a refusal to admit the banality of evil and the terrible boredom of pain.”
― Ursula K. LeGuin, The Ones Who Walk Away from Omelas

“so I wait for you like a lonely house
till you will see me again and live in me.
Till then my windows ache.”
― Pablo Neruda, 100 Love Sonnets

“He fought because he actually felt safer fighting than running.”
― Richard Adams, Watership Down

“Rabbits live close to death and when death comes closer than usual, thinking about survival leaves little room for anything else.”
― Richard Adams, Watership Down

“Because I know you, he says tenderly, "and I remember what you sound like when you like something.”
― Emily Henry, People We Meet on Vacation

“You’re in a car with a beautiful boy, and he won’t tell you that he loves you, but he loves you. And you feel like you’ve done something terrible, like robbed a liquor store, or swallowed pills, or shoveled yourself a grave in the dirt, and you’re tired. You’re in a car with a beautiful boy, and you’re trying not to tell him that you love him, and you’re trying to choke down the feeling, and you’re trembling, but he reaches over and he touches you, like a prayer for which no words exist, and you feel your heart taking root in your body, like you’ve discovered something you didn’t even have a name for.”
― richard siken

“Every atom of your flesh is as dear to me as my own: in pain and sickness it would still be dear. Your mind is my treasure, and if it were broken, it would be my treasure still.”
― Charlotte Brontë, Jane Eyre

“Think you that I forget this Modred's mother
Was mine as well as Modred's? When I meet
My mother's ghost, what shall I do — forgive?
When I'm a ghost, I'll forgive everything . . .
It makes me cold to think what a ghost knows.
Put out the bonfire burning in my head,
And light one at my feet. When the King thought
The Queen was in the flames, he called on you:
'God, God,' he said, and 'Lancelot.' I was there,
And so I heard him. That was a bad morning
For kings and queens, and there are to be worse.”
― E.A. Robinson

“Saints and martyrs had never interested Maggie so much as sages and poets.”
― George Eliot, The Mill on the Floss

“Oh Lion in a peculiar guise,
Sharp Roman road to Paradise,
Come eat me up, I'll pay thy toll
With all my flesh, and keep my soul.”
― Stevie Smith, Selected Poems of Stevie Smith

“There's nothing holy about suffering. The stories of the martyrs illustrate their faith because in spite of what they endured they did not suffer. A saint always dies smiling.”
― Julia Gfrörer, Laid Waste

“Martyrdoms would rarely lead to conversions because they were themselves relatively rare.

The vast majority of pagans—including the millions who eventually converted—never saw a martyrdom, as recent scholarship has shown.

As the most prolific and one of the best-traveled authors of the first three Christian centuries, Origen of Alexandria, stated in no uncertain terms: “Only a small number of people, easily counted, have died for the Christian religion.”
― Bart D. Ehrman, The Triumph of Christianity: How a Forbidden Religion Swept the World

“All right," said Susan. "I'm not stupid. You're saying humans need... fantasies to make life bearable."

REALLY? AS IF IT WAS SOME KIND OF PINK PILL? NO. HUMANS NEED FANTASY TO BE HUMAN. TO BE THE PLACE WHERE THE FALLING ANGEL MEETS THE RISING APE.

"Tooth fairies? Hogfathers? Little—"

YES. AS PRACTICE. YOU HAVE TO START OUT LEARNING TO BELIEVE THE LITTLE LIES.

"So we can believe the big ones?"

YES. JUSTICE. MERCY. DUTY. THAT SORT OF THING.

"They're not the same at all!"

YOU THINK SO? THEN TAKE THE UNIVERSE AND GRIND IT DOWN TO THE FINEST POWDER AND SIEVE IT THROUGH THE FINEST SIEVE AND THEN SHOW ME ONE ATOM OF JUSTICE, ONE MOLECULE OF MERCY. AND YET—Death waved a hand. AND YET YOU ACT AS IF THERE IS SOME IDEAL ORDER IN THE WORLD, AS IF THERE IS SOME...SOME RIGHTNESS IN THE UNIVERSE BY WHICH IT MAY BE JUDGED.

"Yes, but people have got to believe that, or what's the point—"

MY POINT EXACTLY.”
― Terry Pratchett, Hogfather

“Getting an education was a bit like a communicable sexual disease. It made you unsuitable for a lot of jobs and then you had the urge to pass it on.”
― Terry Pratchett, Hogfather

“You can't give her that!' she screamed. 'It's not safe!'
IT'S A SWORD, said the Hogfather. THEY'RE NOT MEANT TO BE SAFE.
'She's a child!' shouted Crumley.
IT'S EDUCATIONAL.
'What if she cuts herself?'
THAT WILL BE AN IMPORTANT LESSON.”
― Terry Pratchett, Hogfather

“And then Jack chopped down what was the world's last beanstalk, adding murder and ecological terrorism to the theft, enticement, and trespass charges already mentioned, and all the giant's children didn't have a daddy anymore. But he got away with it and lived happily ever after, without so much as a guilty twinge about what he had done...which proves that you can be excused for just about anything if you are a hero, because no one asks inconvenient questions.”
― Terry Pratchett, Hogfather

“You said I killed you-haunt me, then! [...] Be with me always-take any form-drive me mad! only do not leave me in this abyss, where I cannot find you!”
― Emily Bronte, Wuthering Heights

“All the world will be your enemy, Prince with a Thousand Enemies, and whenever they catch you, they will kill you. But first they must catch you, digger, listener, runner, prince with the swift warning. Be cunning and full of tricks and your people shall never be destroyed.”
― Richard Adams, Watership Down

“Richard Crawford, his brother’s wrist in his hand, laid it down gently and turned to him. “We are,” he said, “at least no less than the animals. We are members of a race, and of a kingdom, and of a family. The world has borrowed his strength often enough: can we not lend him ours when he needs it? What can be done? What is wrong?”
― Dorothy Dunnett, Checkmate

“The present life of man upon earth, O King, seems to me in comparison with that time which is unknown to us like the swift flight of a sparrow through the mead-hall where you sit at supper in winter, with your Ealdormen and thanes, while the fire blazes in the midst and the hall is warmed, but the wintry storms of rain or snow are raging abroad. The sparrow, flying in at one door and immediately out at another, whilst he is within, is safe from the wintry tempest, but after a short space of fair weather, he immediately vanishes out of your sight, passing from winter to winter again. So this life of man appears for a little while, but of what is to follow or what went before we know nothing at all.”
― St. Bede, Ecclesiastical History of the English People

“A writer sets out to write science fiction but isn’t familiar with the genre, hasn’t read what’s been written. This is a fairly common situation, because science fiction is known to sell well but, as a subliterary genre, is not supposed to be worth study—what’s to learn? It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

In the same way, critics who set out to talk about a fantasy novel without having read any fantasy since they were eight, and in ignorance of the history and extensive theory of fantasy literature, will make fools of themselves because they don’t know how to read the book. They have no contextual information to tell them what its tradition is, where it’s coming from, what it’s trying to do, what it does. This was liberally proved when the first Harry Potter book came out and a lot of literary reviewers ran around shrieking about the incredible originality of the book. This originality was an artifact of the reviewers’ blank ignorance of its genres (children’s fantasy and the British boarding-school story), plus the fact that they hadn’t read a fantasy since they were eight. It was pitiful. It was like watching some TV gourmet chef eat a piece of buttered toast and squeal, “But this is delicious! Unheard of! Where has it been all my life?”
― Ursula K. Le Guin

“Being indebted is to be cautious, inhibited, and to never speak out of turn. It is to lead a life constrained by choices that are never your own. The man or woman who feels comfortable holding court at a dinner party will speak in long sentences, with heightened dramatic pauses, assured that no one will interject while they’re mid-thought, whereas I, who am grateful to be invited, speak quickly in clipped compressed bursts, so that I can get a word in before I’m interrupted.

If the indebted Asian immigrant thinks they owe their life to America, the child thinks they owe their livelihood to their parents for their suffering. The indebted Asian American is therefore the ideal neoliberal subject. I accept that the burden of history is solely on my shoulders; that it’s up to me to earn back reparations for the losses my parents incurred, and to do so, I must, without complaint, prove myself in the workforce.”
― Cathy Park Hong, Minor Feelings: An Asian American Reckoning

“The ethnic literary project has always been a humanist project in which nonwhite writers must prove they are human beings who feel pain. Will there be a future where I, on the page, am simply I, on the page, and not I, proxy for a whole ethnicity, imploring you to believe we are human beings who feel pain? I don’t think, therefore I am—I hurt, therefore I am. Therefore, my books are graded on a pain scale. If it’s 2, maybe it’s not worth telling my story. If it’s 10, maybe my book will be a bestseller.”
― Cathy Park Hong, Minor Feelings: An Asian American Reckoning

“Much of Lahiri’s fiction complies with the MFA orthodoxy of show, don’t tell, which allows the reader to step into the character’s pain without having to, as Susan Sontag writes, locate their own privilege “on the same map” as the character’s suffering. Because the character’s inner thoughts are evacuated, the reader can get behind the cockpit of the character’s consciousness and cinematically see what the character sees without being disturbed by incessant editorializing.”
― Cathy Park Hong, Minor Feelings: An Asian American Reckoning