Sue White > Sue's Quotes

“Was there no safety? No learning by heart of the ways of the world? No guide, no shelter, but all was miracle, and leaping from the pinnacle of a tower into the air? Could it be, even for elderly people, that this was life?--startling, unexpected, unknown?”
― Virginia Woolf, To the Lighthouse

“With her foot on the threshold she waited a moment longer in a scene which was vanishing even as she looked, and then, as she moved and took Minta's arm and left the room, it changed, it shaped itself differently; it had become, she knew, giving one last look at it over her shoulder, already the past.”
― Virginia Woolf, To the Lighthouse

“They came to her, naturally, since she was a woman, all day long with this and that; one wanting this, another that; the children were growing up; she often felt she was nothing but a sponge sopped full of human emotions.”
― Virginia Woolf, To the Lighthouse

“...the problem of space remained, she thought, taking up her brush again. It glared at her. The whole mass of the picture was poised upon that weight. Beautiful and bright it should be on the surface, feathery and evanescent, one colour melting into another like the colours on a butterfly's wing; but beneath the fabric must be clamped together with bolts of iron.”
― Virginia Woolf, To the Lighthouse

“Life is difficult; facts uncompromising; and the passage to that fabled land where our brightest hopes are extinguished, our frail barks founder in darkness, one that needs, above all, courage, truth, and the power to endure.”
― Virginia Woolf, To the Lighthouse

“But what after all is one night? A short space, especially when the darkness dims so soon, and so soon a bird sings, a cock crows, or a faint green quickens, like a turning leaf, in the hollow of the wave.”
― Virginia Woolf, To the Lighthouse

“...children never forget. For this reason, it was so important what one said, and what one did, and it was a relief when they went to bed. For now she need not think about anybody. She could be herself, by herself. And that was what now she often felt the need of-- to think; well, not even to think. To be silent; to be alone. All the being and the doing, expansive, glittering, vocal, evaporated; and one shrunk, with a sense of solemnity, to being oneself, a wedge-shaped core of darkness, something invisible to others.”
― Virginia Woolf, To the Lighthouse

“Oh, but she never wanted James to grow a day older or Cam either. These two she would have liked to keep for ever just as the way they were, demons of wickedness, angels of delight, never to see them grow up into long-legged monsters.”
― Virginia Woolf, To the Lighthouse

“With stars in her eyes and veils in her hair, with cyclamen and wild violets—what nonsense was he thinking? She was fifty at least: she had eight children. Stepping through fields of flowers and taking to her breast buds that had broken and lambs that had fallen: with the stars in her eyes and the wind in her hair—He took her bag.”
― Virginia Woolf, To the Lighthouse

“It was a splendid mind. For if thought is like the keyboard of a
piano, divided into so many notes, or like the alphabet is ranged in
twenty-six letters all in order, then his splendid mind had one by one,
firmly and accurately, until it had reached, say, the letter Q. He reached
Q. Very few people in the whole of England ever reach Q. Here, stopping
for one moment by the stone urn which held the geraniums, he saw, but now
far, far away, like children picking up shells, divinely innocent and
occupied with little trifles at their feet and somehow entirely
defenceless against a doom which he perceived, his wife and son, together,
in the window. They needed his protection; he gave it them. But after Q?
What comes next? After Q there are a number of letters the last of which
is scarcely visible to mortal eyes, but glimmers red in the distance. Z is
only reached once by one man in a generation. Still, if he could reach R
it would be something. Here at least was Q. He dug his heels in at Q. Q he
was sure of. Q he could demonstrate. If Q then is Q--R--. Here he knocked
his pipe out, with two or three resonant taps on the handle of the urn,
and proceeded. "Then R ..." He braced himself. He clenched himself.”
― Virginia Woolf, To the Lighthouse

“The words (she was looking at the window) sounded as if they were floating like flowers on water out there, cut off from them all, as if no one had said them, but they had come into existence of themselves. "And all the lives we ever lived and all the lives to be are full of trees and changing leaves." She did not know what they meant, but, like music, the words seemed to be spoken by her own voice, outside her self, saying quite easily and naturally what had been in her mind the whole evening while she said different things.”
― Virginia Woolf, To the Lighthouse

“She did not know. She did not mind...She had a sense of being past everything, through everything, out of everything...-and one could be in it, or one could be out of it, and she was out of it.”
― Virginia Woolf, To the Lighthouse

“Feelings that would not have disgraced a leader who, now that the snow has begun to fall and the mountain-top is covered in mist, knows that he must lay himself down and die before morning comes, stole upon him, paling the colour of his eyes, giving him, even in the two minutes of his turn on the terrace, the bleached look of withered old age. Yet he would not die lying down; he would find some crag of rock, and there, his eyes fixed on the storm, trying to the end to pierce the darkness, he would die standing. He would never reach R.”
― Virginia Woolf, To the Lighthouse

“The early days of any relationship are punctuated with a series of firsts - first sight, first words, first laugh, first kiss, first nudity, etc., with these shared landmarks becoming more widely spaced and innocuous as days turn to years, until eventually you're left with first visit to a National Trust property or some such.”
― David Nicholls, Us

“Yet there seemed to be no easy correlation between the awful grief I felt at her death and our closeness - or lack of it - in life, and it occurred to me that perhaps grief is as much regret for what we have never had as sorrow for what we have lost.”
― David Nicholls, Us

“Old age is having the name of a chiropractor in your wallet. It's cutting out coupons for the zeal of discounted small items and the practice of fine motor skills.”
― Dominic Smith, The Last Painting of Sara de Vos

“The past is more alive to her than the present, she realizes, and the thought is suffocating.”
― Dominic Smith, The Last Painting of Sara de Vos

“She has no interest in the composition from ten or twenty feet—that will come later. What she wants is topography, the impasto, the furrows where sable hairs were dragged into tiny painted crests to catch the light. Or the stray line of charcoal or chalk, glimpsed beneath a glaze that’s three hundred years old. She’s been known to take a safety pin and test the porosity of the paint and then bring the point to her tongue. Since old-world grounds contain gesso, glue, and something edible—honey, milk, cheese—the Golden Age has a distinctively sweet or curdled taste. She is always careful to avoid the leads and the cobalts. What”
― Dominic Smith, The Last Painting of Sara de Vos

“The forger was too exacting, too superficial. Only the real artist has the false beginning.”
― Dominic Smith, The Last Painting of Sara de Vos

“They covered their walls with beautiful paintings for the same reason they drank—to distract themselves from the abyss.”
― Dominic Smith, The Last Painting of Sara de Vos

“Every morning I stand here and watch the sun gild the trees and the grottoes. It’s like drawing a breath before the day begins in earnest.”
― Dominic Smith, The Last Painting of Sara de Vos

“You outlive your wife, then your colleagues and friends, then your accountant and the building doorman. ou no longer attend the opera, because the human bladder can only endure so much. Social engagements require strategy and hearing aid calibrations.”
― Dominic Smith, The Last Painting of Sara de Vos

“Her youthful habit of consuming a picture just inches from its aromatic surface died a long time ago. Sebastian, when they were first dating, had once called it an affectation and she could never bring herself to do it again. His offhanded comment should have been a sign of future cruelties and standards of perfection, but instead she’d quickly agreed with his assessment and was grateful for his candor. She”
― Dominic Smith, The Last Painting of Sara de Vos

“The sonic world of the foyer and vestibule comes at him distorted and from a distance, as if someone’s moving furniture underwater.”
― Dominic Smith, The Last Painting of Sara de Vos

“It took him years to realize it was the flirtation and admiration he craved, not the actual conquest.”
― Dominic Smith, The Last Painting of Sara de Vos

“But everything is how it should be. How's that for wisdom?”
― Dominic Smith, The Last Painting of Sara de Vos

“She looks out the window and notices the sections of Cleveland Street gone to rot, the filigreed metal balconies of the shambling terraces like rusted lacework, the grimy tiled pub facades, the windows of the Lebanese restaurants filmed with grease. This is old Sydney, her father’s town of grit and mildew. The”
― Dominic Smith, The Last Painting of Sara de Vos

“The past and the present coagulate into something that makes sense to him.”
― Dominic Smith, The Last Painting of Sara de Vos

“Poverty appeared first in their meals, then in their shoes, and finally in their thoughts and prayers. Still,”
― Dominic Smith, The Last Painting of Sara de Vos

“Before that first line of pale chalk, before the underdrawing fleshes out into shapes and proportions, there is a stab of grief for all the things she didn't get to paint. The finches wheeling in the rafters of the barn, Cornelis reading in the arbor, Tomas bent over in his roses in the flower garden, apple blossoms, walnuts beside oysters, Kathrijn in the full bloom of her short life, Barent sleeping in a field of lilacs, the Gypsies in the market, late-night revelers in the taverns…. Every work is a depiction and a lie. We rearrange the living, exaggerate the light, intimate dusk when it's really noonday sun.”
― Dominic Smith, The Last Painting of Sara de Vos