Kaitlin > Kaitlin's Quotes

“You do not know me, but I am a juvenile delinquent. I do not trust authority figures, I probably will not graduate from high school, and statistics say my present rowdiness and vandalism will likely lead to more serious crimes. I am a dangerous fellow, and I am causing mayhem in this store. [...] There. I have now shamelessly destroyed the symmetry of this shelf, undoing hours of labor by underpaid store employees. If you could see me, you would be frightened.”
― Katherine Applegate, The Diversion

“Don't let the bastards grind you down.”
― Margaret Atwood, The Handmaid’s Tale

“Stephenie Meyer: Her vampires are sparkly, which I think we can all agree is wrong.”
― Christopher Moore

“Did we have sex?" he asked directly.
For about two minutes, this might actually be fun. "Eric," I said, "we had sex in every position I could imagine, and some I couldn’t. We had sex in every room in my house, and we had sex outdoors. You told me it was the best you’d ever had." (At the time he couldn’t recall all the sex he’d ever had. But he’d paid me a compliment.) "Too bad you can’t remember it," I concluded with a modest smile.
Eric looked like I’d hit him in the forehead with a mallet. For all of thirty seconds his reaction was completely gratifying.”
― Charlaine Harris, Dead as a Doornail

“Emotions, in my experience, aren't covered by single words. I don't believe in "sadness," "joy," or "regret." Maybe the best proof that the language is patriarchal is that it oversimplifies feeling. I'd like to have at my disposal complicated hybrid emotions, Germanic train-car constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." I'd like to show how "intimations of mortality brought on by aging family members" connects with "the hatred of mirrors that begins in middle age." I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever. ”
― Jeffrey Eugenides, Middlesex

“How do I know you'll keep your word?" asked Coraline.
"I swear it," said the other mother. "I swear it on my own mother's grave."
"Does she have a grave?" asked Coraline.
"Oh yes," said the other mother. "I put her in there myself. And when I found her trying to crawl out, I put her back.”
― Neil Gaiman, Coraline

“I can only note that the past is beautiful because one never realises an emotion at the time. It expands later, and thus we don't have complete emotions about the present, only about the past.”
― Virginia Woolf

“Well, I knew that goat would be a little gold mine," I say.
Yes, of course I was referring to that, not the lasting joy you gave your sister you love so much you took her place in the reaping," says Peeta drily.”
― Suzanne Collins, The Hunger Games

“Nothing thicker than a knife's blade separates happiness from melancholy.”
― Virginia Woolf, Orlando

“Gale is mine. I am his. Anything else is unthinkable.”
― Suzanne Collins, Catching Fire

“Because,' she said, 'when you're scared but you still do it anyway, that's brave.”
― Neil Gaiman, Coraline

“When you look at what C.S. Lewis is saying, his message is so anti-life, so cruel, so unjust. The view that the Narnia books have for the material world is one of almost undisguised contempt. At one point, the old professor says, ‘It’s all in Plato’ — meaning that the physical world we see around us is the crude, shabby, imperfect, second-rate copy of something much better. I want to emphasize the simple physical truth of things, the absolute primacy of the material life, rather than the spiritual or the afterlife.

[The New York Times interview, 2000]”
― Philip Pullman

“All extremes of feeling are allied with madness.”
― Virginia Woolf, Orlando

“People are too complicated to have simple labels.”
― Philip Pullman, The Amber Spyglass

“Here’s to books, the cheapest vacation you can buy.”
― Charlaine Harris

“It is a small world. You do not have to live in it particularly long to learn that for yourself. There is a theory that, in the whole world, there are only five hundred real people (the cast, as it were; all the rest of the people in the world, the theory suggests, are extras) and what is more, they all know each other. And it's true, or true as far as it goes. In reality the world is made of thousands upon thousands of groups of about five hundred people, all of whom will spend their lives bumping into each other, trying to avoid each other, and discovering each other in the same unlikely teashop in Vancouver. There is an unavoidability to this process. It's not even coincidence. It's just the way the world works, with no regard for individuals or for propriety.”
― Neil Gaiman, Anansi Boys

“There was a girl, and her uncle sold her. Put like that it seems so simple.

No man, proclaimed Donne, is an island, and he was wrong. If we were not islands, we would be lost, drowned in each other's tragedies. We are insulated (a word that means, literally, remember, made into an island) from the tragedy of others, by our island nature and by the repetitive shape and form of the stories. The shape does not change: there was a human being who was born, lived and then by some means or other, died. There. You may fill in the details from your own experience. As unoriginal as any other tale, as unique as any other life. Lives are snowflakes- forming patterns we have seen before, as like one another as peas in a pod (and have you ever looked at peas in a pod? I mean, really looked at them? There's not a chance you'll mistake one for another, after a minute's close inspection) but still unique.

Without individuals we see only numbers, a thousand dead, a hundred thousand dead, "casualties may rise to a million." With individual stories, the statistics become people- but even that is a lie, for the people continue to suffer in numbers that themselves are numbing and meaningless. Look, see the child's swollen, swollen belly and the flies that crawl at the corners of his eyes, this skeletal limbs: will it make it easier for you to know his name, his age, his dreams, his fears? To see him from the inside? And if it does, are we not doing a disservice to his sister, who lies in the searing dust beside him, a distorted distended caricature of a human child? And there, if we feel for them, are they now more important to us than a thousand other children touched by the same famine, a thousand other young lives who will soon be food for the flies' own myriad squirming children?

We draw our lines around these moments of pain, remain upon our islands, and they cannot hurt us. They are covered with a smooth, safe, nacreous layer to let them slip, pearllike, from our souls without real pain.

Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives.

A life that is, like any other, unlike any other.

And the simple truth is this: There was a girl, and her uncle sold her.”
― Neil Gaiman, American Gods

“You're no help," he told the lime. This was unfair. It was only a lime; there was nothing special about it at all. It was doing the best it could.”
― Neil Gaiman, Anansi Boys

“I live my own life and nurse my own wounds. It's not the best way to live. But it's the way I am.”
― Jeffrey Eugenides, Middlesex

“It must be very fragile, if a handful of berries can bring it down.”
― Suzanne Collins, Catching Fire

“How often since then has she wondered what might have happened if she'd tried to remain with him; if she’d returned Richard's kiss on the corner of Bleeker and McDougal, gone off somewhere (where?) with him, never bought the packet of incense or the alpaca coat with rose-shaped buttons. Couldn’t they have discovered something larger and stranger than what they've got. It is impossible not to imagine that other future, that rejected future, as taking place in Italy or France, among big sunny rooms and gardens; as being full of infidelities and great battles; as a vast and enduring romance laid over friendship so searing and profound it would accompany them to the grave and possibly even beyond. She could, she thinks, have entered another world. She could have had a life as potent and dangerous as literature itself.

Or then again maybe not, Clarissa tells herself. That's who I was. This is who I am--a decent woman with a good apartment, with a stable and affectionate marriage, giving a party. Venture too far for love, she tells herself, and you renounce citizenship in the country you've made for yourself. You end up just sailing from port to port.

Still, there is this sense of missed opportunity. Maybe there is nothing, ever, that can equal the recollection of having been young together. Maybe it's as simple as that. Richard was the person Clarissa loved at her most optimistic moment. Richard had stood beside her at the pond's edge at dusk, wearing cut-off jeans and rubber sandals. Richard had called her Mrs. Dalloway, and they had kissed. His mouth had opened to hers; (exciting and utterly familiar, she'd never forget it) had worked its way shyly inside until she met its own. They'd kissed and walked around the pond together.

It had seemed like the beginning of happiness, and Clarissa is still sometimes shocked, more than thirty years later to realize that it was happiness; that the entire experience lay in a kiss and a walk. The anticipation of dinner and a book. The dinner is by now forgotten; Lessing has been long overshadowed by other writers. What lives undimmed in Clarissa's mind more than three decades later is a kiss at dusk on a patch of dead grass, and a walk around a pond as mosquitoes droned in the darkening air. There is still that singular perfection, and it's perfect in part because it seemed, at the time, so clearly to promise more. Now she knows: That was the moment, right then. There has been no other.”
― Michael Cunningham, The Hours

“I know [Umbridge] by reputation and I'm sure she's no Death Eater—'
'She's foul enough to be one…'
'Yes, but the world isn't split into good people and Death Eaters', said Sirius with a wry smile. 'I know she’s a nasty piece of work though'.”
― J.K. Rowling, Harry Potter and the Order of the Phoenix

“I attempted briefly to consecrate myself in the public library, believing every crack in my soul could be chinked with a book.”
― Barbara Kingsolver, The Poisonwood Bible

“People don't remember me. Really. It's not a paranoid thing; I just have this habit of slipping through memories. It doesn't bother me all that much, except I guess that's a lie; it does. For some reason, I test very high on forgettability.”
― William Goldman, The Princess Bride

“An offering for the sake of offering, perhaps. Anyhow, it was her gift. Nothing else had she of the slightest importance; could not think, write, even play the piano. She muddled Armenians and Turks; loved success; hated discomfort; must be liked; talked oceans of nonsense: and to this day, ask her what the Equator was, and she did not know.

All the same, that one day should follow another; Wednesday, Thursday, Friday, Saturday; that one should wake up in the morning; see the sky; walk in the park; meet Hugh Whitbread; then suddenly in came Peter; then these roses; it was enough. After that, how unbelievable death was!-that it must end; and no one in the whole world would know how she had loved it all; how, every instant . . .”
― Virginia Woolf, Mrs. Dalloway

“The history of men's opposition to women's emancipation is more interesting perhaps than the story of that emancipation itself.”
― Virginia Woolf, A Room of One’s Own

“What is the meaning of life? That was all- a simple question; one that tended to close in on one with years, the great revelation had never come. The great revelation perhaps never did come. Instead, there were little daily miracles, illuminations, matches struck unexpectedly in the dark; here was one.”
― Virginia Woolf, To the Lighthouse

“There is just this for consolation: an hour here or there, when our lives seem, against all odds and expectations, to burst open and give us everything we've ever imagined , though everyone but children (and perhaps even they) knows these hours will inevitably be followed by others, far darker and more difficult. Still, we cherish the city, the morning, we hope, more than anything, for more. Heaven only knows why we love it so.”
― Michael Cunningham, The Hours

“The worst part of holding the memories is not the pain. It's the loneliness of it. Memories need to be shared.”
― Lois Lowry, The Giver

“Dear Leonard. To look life in the face. Always to look life in the face and to know it for what it is. At last to know it. To love it for what it is, and then, to put it away. Leonard. Always the years between us. Always the years. Always the love. Always the hours.”
― Michael Cunningham, The Hours