elle-angelique > elle-angelique's Quotes

“[...]the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes “Awww!”
― Jack Kerouac, On the Road

“Boys and girls in America have such a sad time together; sophistication demands that they submit to sex immediately without proper preliminary talk. Not courting talk — real straight talk about souls, for life is holy and every moment is precious.”
― Jack Kerouac, On the Road

“The ultimate sexist put-down: the prick which lies down on the job. The ultimate weapon in the war between the sexes: the limp prick. The banner of the enemy's encampment: the prick at half-mast. The symbol of the apocalypse: the atomic warhead prick which self-destructs. That was the basic inequity which could never be righted: not that the male had a wonderful added attraction called a penis, but that the female had a wonderful all-weather cunt. Neither storm nor sleet nor dark of night could faze it. It was always there, always ready. Quite terrifying, when you think about it. No wonder men hated women. No wonder they invented the myth of female inadequacy.”
― Erica Jong, Fear of Flying

“We drove to the hotel and said goodbye. How hypocritical to go upstairs with a man you don't want to fuck, leave the one you do sitting there alone, and then, in a state of great excitement, fuck the one you don't want to fuck while pretending he's the one you do. That's called fidelity. That's called monogamy. That's called civilization and its discontents.”
― Erica Jong, Fear of Flying

“...the feminine appetite for possession tends to emasculate every living contest, and can reduce a magnificient but inferior male to the status of a courtesan.”
― Colette, The Last of Cheri

“When she raises her eyelids, it's as if she were taking off all her clothes.”
― Colette, Claudine and Annie

“I am awfully greedy; I want everything from life. I want to be a woman and to be a man, to have many friends and to have loneliness, to work much and write good books, to travel and enjoy myself, to be selfish and to be unselfish… You see, it is difficult to get all which I want. And then when I do not succeed I get mad with anger.”
― Simone de Beauvoir

“When she does not find love, she may find poetry. Because she does not act, she observes, she feels, she records; a color, a smile awakens profound echoes within her; her destiny is outside her, scattered in cities already built, on the faces of men already marked by life, she makes contact, she relishes with passion and yet in a manner more detached, more free, than that of a young man. Being poorly integrated in the universe of humanity and hardly able to adapt herself therein, she, like the child, is able to see it objectively; instead of being interested solely in her grasp on things, she looks for their significance; she catches their special outlines, their unexpected metamorphoses. She rarely feels a bold creativeness, and usually she lacks the technique of self-expression; but in her conversation, her letters, her literary essays, her sketches, she manifests an original sensitivity. The young girl throws herself into things with ardor, because she is not yet deprived of her transcendence; and the fact that she accomplishes nothing, that she is nothing, will make her impulses only the more passionate. Empty and unlimited, she seeks from within her nothingness to attain All.”
― Simone de Beauvoir, The Second Sex

“I am an excitable person who only understands life lyrically, musically, in whom feelings are much stronger as reason. I am so thirsty for the marvelous that only the marvelous has power over me. Anything I can not transform into something marvelous, I let go. Reality doesn't impress me. I only believe in intoxication, in ecstasy, and when ordinary life shackles me, I escape, one way or another. No more walls.”
― Anais Nin

“We do not grow absolutely, chronologically. We grow sometimes in one dimension, and not in another; unevenly. We grow partially. We are relative. We are mature in one realm, childish in another. The past, present, and future mingle and pull us backward, forward, or fix us in the present. We are made up of layers, cells, constellations.”
― Anais Nin

“I must be a mermaid, Rango. I have no fear of depths and a great fear of shallow living.”
― Anais Nin

“Throw your dreams into space like a kite, and you do not know what it will bring back, a new life, a new friend, a new love, a new country.”
― Anais Nin

“Anxiety is love's greatest killer. It makes others feel as you might when a drowning man holds on to you. You want to save him, but you know he will strangle you with his panic.”
― Anais Nin

“The others ... how you have to search for the animal in them. They have diluted it, disguised it, perfumed it, so it will smell like something else—like what? angels?”
― Anaïs Nin

“There's nothing good about being ordinary. People don't respect you for it. People run after people who are different, who have confidence in their own taste, who don't run with the herd. There is nothing gained by giving in to the pressures of group vulgarity.”
― Erica Jong, Fear of Flying

“but was this funny? was this funny? was this funny? why was this funny? why was Sugar Kane funny? why were men dressed as women funny? why were men made up as women funny? why were men staggering in high heels funny? why was Sugar Kane funny, was Sugar Kane the supreme female impersonator? was this funny? why was this funny? why is female funny? why were people going to laugh at Sugar Kane & fall in love with Sugar Kane? why, another time? why would Sugar Kane Kovalchick girl ukulelist be such a box office success in America? why dazzling-blond girl ukulelist alcoholic Sugar Kane Kovalchick a success? why Some Like It Hot a masterpiece? why Monroe's masterpiece? why Monroe's most commercial movie? why did they love her? why when her life was in shreds like clawed silk? why when her life was in pieces like smashed glass? why when her insides had bled out? why when her insides had been scooped out? why when she carried poison in her womb? why when her head was ringing with pain? her mouth stinging with red ants? why when everybody on the set of the film hated her? resented her? feared her? why when she was drowning before their eyes? I wanna be loved by you boop boopie do! why was Sugar Kane Kovalchick of Sweet Sue's Society Syncopaters so seductive? I wanna be kissed by nobody else but you I wanna! I wanna! I wanna be loved by you alone but why? why was Marilyn so funny? why did the world adore Marilyn? who despised herself? was that why? why did the world love Marilyn? why when Marilyn had killed her baby? why when Marilyn had killed her babies? why did the world want to fuck Marilyn? why did the world want to fuck fuck fuck Marilyn? why did the world want to jam itself to the bloody hilt like a great tumescent sword in Marilyn? was it a riddle? was it a warning? was it just another joke? I wanna be loved by you boop boopie do nobody else but you nobody else but you nobody else”
― Joyce Carol Oates, Blonde

“Ohhhhh."

A lush-bodied girl in the prime of her physical beauty. In an ivory georgette-crepe sundress with a halter top that gathers her breasts up in soft undulating folds of the fabric. She's standing with bare legs apart on a New York subway grating. Her blond head is thrown rapturously back as an updraft lifts her full, flaring skirt, exposing white cotton panties. White cotton! The ivory-crepe sundress is floating and filmy as magic. The dress is magic. Without the dress the girl would be female meat, raw and exposed.

She's not thinking such a thought! Not her.

She's an American girl healthy and clean as a Band-Aid. She's never had a soiled or a sulky thought. She's never had a melancholy thought. She's never had a savage thought. She's never had a desperate thought. She's never had an un-American thought. In the papery-thin sundress she's a nurse with tender hands. A nurse with luscious mouth. Sturdy thighs, bountiful breasts, tiny folds of baby fat at her armpits. She's laughing and squealing like a four year-old as another updraft lifts her skirt. Dimpled knees, a dancer's strong legs. This husky healthy girl. The shoulders, arms, breasts belong to a fully mature woman but the face is a girl's face. Shivering in New York City mid-summer as subway steam lifts her skirt like a lover's quickened breath.

"Oh! Ohhhhh."

It's nighttime in Manhattan, Lexington Avenue at 51st Street. Yet the white-white lights exude the heat of midday. The goddess of love has been standing like this, legs apart, in spike-heeled white sandals so steep and so tight they've permanently disfigured her smallest toes, for hours. She's been squealing and laughing, her mouth aches. There's a gathering pool of darkness at the back of her head like tarry water. Her scalp and her pubis burn from the morning's peroxide applications. The Girl with No Name. The glaring-white lights focus upon her, upon her alone, blond squealing, blond laughter, blond Venus, blond insomnia, blond smooth-shaven legs apart and blond hands fluttering in a futile effort to keep her skirt from lifting to reveal white cotton American-girl panties and the shadow, just the shadow, of the bleached crotch.

"Ohhhhhh."

Now she's hugging herself beneath her big bountiful breasts. Her eyelids fluttering. Between the legs, you can trust she's clean. She's not a dirty girl, nothing foreign or exotic. She's an American slash in the flesh. That emptiness. Guaranteed. She's been scooped out, drained clean, no scar tissue to interfere with your pleasure, and no odor. Especially no odor. The Girl with No Name, the girl with no memory. She has not lived long and she will not live long.”
― Joyce Carol Oates, Blonde

“We don't see people as they are. We see people as we are.”
― Anaïs Nin, Little Birds

“Every gesture was one of disorder and violence, as if a lioness had come into the room.”
― Anaïs Nin, Little Birds

“The Temperance (XIV) Card

“Highway 17 in Texas: we stop to watch buzzards
supping on a roadkill porcupine. The mountains are a
Persian rug of emerald and brown, wolfish clouds
gathering rain. The towns stack up like a tarot deck.
A row of Mexican women stand at clotheslines,
shake the static from dresses. The fortune you believe
is the one you'll get. Eres muy sexy, says the wrinkled man
at the gas station. Eres divina. The jade cottonwoods
speak of flooding; the yucca tattle on the south.
You might say this about exile, mountains eroded by
six hundred years of women's feet, the heavy press
from babies and water buckets. Forty miles south,
mothers find their daughters' bodies in boxes.
The dusk is a murder of magenta and indigo
against the black land, as monstrously beautiful
as a rape tree. As we drive, a brown woman names
the dying plants. She reads the cacti like an open palm.”
― Hala Alyan, Twenty-Ninth Year

“Parading around like she owns the place."

This would be charged of women and girls who exhibited themselves: their bodies. Particularly if their bodies were imperfect in obvious ways– too fat. Appearing in public when they should be ashamed of how they looked or in any case aware of how they looked. Of how unsparing eyes would latch onto them, assessing. Never was such a charge made of men or boys.

There appeared to be no masculine equivalent for "making a spectacle, parading around."

As, you'd discover, there was no masculine equivalent for "bitch, slut.”
― Joyce Carol Oates

“Toska - noun /ˈtō-skə/ - Russian word roughly translated as sadness, melancholia, lugubriousness.

"No single word in English renders all the shades of toska. At its deepest and most painful, it is a sensation of great spiritual anguish, often without any specific cause. At less morbid levels it is a dull ache of the soul, a longing with nothing to long for, a sick pining, a vague restlessness, mental throes, yearning. In particular cases it may be the desire for somebody of something specific, nostalgia, love-sickness. At the lowest level it grades into ennui, boredom.”
― Vladimir Nabokov

“Let all of life be an unfettered howl. Like the crowd greeting the gladiator. Don't stop to think, don't interrupt the scream, exhale, release life's rapture.”
― Vladimir Nabokov

“No neurotic harbors thoughts of suicide which are not murderous impulses against others redirected upon himself.”
― Sigmund Freud, Totem and Taboo

“A tar-baby is one of those people who drive you crazy through your life by never responding to anything you do no matter what kind of display you cook up for their delight. And the more you try to embrace your tar-baby, the more you get stuck in the tar and the worse everything is. Jim Morrison was one of my tar-babies, and I see now (that it's too late) that he could have been a dear sweet friend, even a lover, if I hadn't created from the very beginning the seeds of tar-babydom.”
― Eve Babitz, Slow Days, Fast Company: The World, the Flesh, and L.A.

“What passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human [...] is probably to be unavoidably sentimental and naïve and goo-prone and generally pathetic.”
― David Foster Wallace, Infinite Jest

“The deepest principle in human nature is the craving to be appreciated.”
― William James

“Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.”
― Brian Eno, A Year With Swollen Appendices

“Perhaps my grandfather was right, perhaps I was spoiled in the bud by the books I read. But it is ages since books have claimed me. For a long time now I have practically ceased to read. But the taint is still there. Now people are books to me. I read them from cover to cover and toss them aside. I devour them, one after the other. And the more I read, the more insatiable I become. There is no limit to it. There could be no end, and there was none, until inside me a bridge began to form which united me again with the current of life from which as a child I had been separated.”
― Henry Miller, Tropic of Capricorn

“So it turned out that power was the quality of knowing what you liked. An odd thing for power to be.”
― Eve Babitz, Eve's Hollywood