Shakira Hodgson > Shakira's Quotes

“I shiver, thinking how easy it is to be totally wrong about people-to see one tiny part of them and confuse it for the whole, to see the cause and think it's the effect or vice versa”
― Lauren Oliver, Before I Fall

“If you're going to be bad, be bad with a purpose or else you're not worth forgiving.”
― L.J. Smith

“What we have to remember is that we can still do anything. We can change our minds. We can start over.”
― Marina Keegan, The Opposite of Loneliness: Essays and Stories

“So what I'm trying to say is you should text me back.
Because there's a precedent. Because there's an urgency.
Because there's a bedtime.
Because when the world ends I might not have my phone charged and
If you don't respond soon,
I won't know if you'd wanna leave your shadow next to mine.”
― Marina Keegan, The Opposite of Loneliness: Essays and Stories

“What we have to remember is that we can still do anything. We can change our minds. We can start over. Get a post-bac or try writing for the first time. The notion that it’s too late to do anything is comical. It’s hilarious. We’re graduating from college. We’re so young. We can’t, we MUST not lose this sense of possibility because in the end, it’s all we have.”
― Marina Keegan, The Opposite of Loneliness: Essays and Stories

“The notion that it’s too late to do anything is comical. It’s hilarious.”
― Marina Keegan, The Opposite of Loneliness: Essays and Stories

“When a young person dies, much of the tragedy lies in her promise: what she would have done.”
― Marina Keegan, The Opposite of Loneliness: Essays and Stories

“When the moon gets bored, it kills whales. Blue whales and fin whales and humpback, sperm, and orca whales: centrifugal forces don’t discriminate.”
― Marina Keegan, The Opposite of Loneliness: Essays and Stories

“I feel like a waste of space. Like my whole life has been building up to the moment I failed. Like I don't have the energy to make up for what I've done, or to start again, or for anything. I feel like I want to be someone else.'
Miss Anthony moves to Margaret's old seat and puts her arm around me.
'You're not the tough little cookie everyone thinks you are, are you?”
― Dawn O'Porter, Paper Aeroplanes

“What's the point in worrying about the future? Who says there will even be a future? What happens if you die tomorrow and all you ever did was sit in maths classes and play the clarinet and moan about your family? What good is the future to you then?”
― Dawn O'Porter, Paper Aeroplanes

“This one is OK,' I say quietly.
‘OK, OK, OK. Everything is always just ‘OK’. It’s so boring. Who wants to be ‘OK’?
I sit for a moment and think about what she said. It doesn’t take me long to realise that I, quite genuinely, just want to be OK.”
― Dawn O'Porter, Paper Aeroplanes

“Warning: If you are reading this then this warning is for you. Every word you read of this useless fine print is another second off your life. Don't you have other things to do? Is your life so empty that you honestly can't think of a better way to spend these moments? Or are you so impressed with authority that you give respect and credence to all that claim it? Do you read everything you're supposed to read? Do you think every thing you're supposed to think? Buy what you're told to want? Get out of your apartment. Meet a member of the opposite sex. Stop the excessive shopping and masturbation. Quit your job. Start a fight. Prove you're alive. If you don't claim your humanity you will become a statistic. You have been warned.”
― Chuck Palahniuk, Fight Club

“If you don't know what you want," the doorman said, "you end up with a lot you don't.”
― Chuck Palahniuk, Fight Club

“What shapes us is not always our achievements but our omissions. Not lies; simply the truths we don’t tell.”
― C.J. Tudor, The Chalk Man

“There are some things in life you can alter–your weight, your appearance, even your name–but there are others that wishing and trying and working hard can never make any difference to. Those things are the ones that shape us. Not the things we can change, but the ones we can't.”
― C.J. tudor, The Chalk Man

“Isn't it funny. I'm enjoying my hatred so much more than I ever enjoyed love. Love is temperamental. Tiring. It makes demands. Love uses you, changes its mind. But hatred, now, that's something you can use. Sculpt. Wield. It's hard, or soft, however you need it. Love humiliates you, but Hatred cradles you.”
― Janet Fitch, White Oleander

“I don't let anyone touch me," I finally said.
Why not?"
Why not? Because I was tired of men. Hanging in doorways, standing too close, their smell of beer or fifteen-year-old whiskey. Men who didn't come to the emergency room with you, men who left on Christmas Eve. Men who slammed the security gates, who made you love them then changed their minds. Forests of boys, their ragged shrubs full of eyes following you, grabbing your breasts, waving their money, eyes already knocking you down, taking what they felt was theirs. (...) It was a play and I knew how it ended, I didn't want to audition for any of the roles. It was no game, no casual thrill. It was three-bullet Russian roulette.”
― Janet Fitch, White Oleander

“I know what you are learning to endure. There is nothing to be done. Make sure nothing is wasted. Take notes. Remember it all, every insult, every tear. Tattoo it on the inside of your mind. In life, knowledge of poisons is essential. I've told you, nobody becomes an artist unless they have to.”
― Janet Fitch, White Oleander

“It's such a liability to love another person.”
― Janet Fitch, White Oleander

“I hated labels anyway. People didn't fit in slots--prostitute, housewife, saint--like sorting the mail. We were so mutable, fluid with fear and desire, ideals and angles, changeable as water.”
― Janet Fitch, White Oleander

“I understood why she did it. At that moment I knew why people tagged graffiti on the walls of neat little houses and scratched the paint on new cars and beat up well-tended children. It was only natural to want to destroy something you could never have.”
― Janet Fitch, White Oleander

“It sickens me to think of you
a prevalence of void
unholy
immovable
damned. gifts.
an overblown sense of his own importance.
I wish you were dead.

forget about you.
crow
florid with
fantasies
it's so awful
a perfect imitation
a liability to love
forget you
Ingrid Magnussen

quite alone
masturbating
rot
disappointment
grotesque

Your arms cradle
poisons
garbage
grenades

Loneliness
long-distance cries
forever
never
response.

take everything
feel me?
the human condition

Stop
plotting murder
penitence
Cultivate it

you
forbid
appeal
rage
important
I
cringe

fuck
you
insane
person
dissonant and querulous

my
gas tanks marked FULL”
― Janet Fitch, White Oleander

“It’s a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless Automat of characters.”
― Gillian Flynn, Gone Girl

“Men always say that as the defining compliment, don’t they? She’s a cool girl. Being the Cool Girl means I am a hot, brilliant, funny woman who adores football, poker, dirty jokes, and burping, who plays video games, drinks cheap beer, loves threesomes and anal sex, and jams hot dogs and hamburgers into her mouth like she’s hosting the world’s biggest culinary gang bang while somehow maintaining a size 2, because Cool Girls are above all hot. Hot and understanding. Cool Girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want. Go ahead, shit on me, I don’t mind, I’m the Cool Girl.

Men actually think this girl exists. Maybe they’re fooled because so many women are willing to pretend to be this girl. For a long time Cool Girl offended me. I used to see men – friends, coworkers, strangers – giddy over these awful pretender women, and I’d want to sit these men down and calmly say: You are not dating a woman, you are dating a woman who has watched too many movies written by socially awkward men who’d like to believe that this kind of woman exists and might kiss them. I’d want to grab the poor guy by his lapels or messenger bag and say: The bitch doesn’t really love chili dogs that much – no one loves chili dogs that much! And the Cool Girls are even more pathetic: They’re not even pretending to be the woman they want to be, they’re pretending to be the woman a man wants them to be. Oh, and if you’re not a Cool Girl, I beg you not to believe that your man doesn’t want the Cool Girl. It may be a slightly different version – maybe he’s a vegetarian, so Cool Girl loves seitan and is great with dogs; or maybe he’s a hipster artist, so Cool Girl is a tattooed, bespectacled nerd who loves comics. There are variations to the window dressing, but believe me, he wants Cool Girl, who is basically the girl who likes every fucking thing he likes and doesn’t ever complain. (How do you know you’re not Cool Girl? Because he says things like: “I like strong women.” If he says that to you, he will at some point fuck someone else. Because “I like strong women” is code for “I hate strong women.”)”
― Gillian Flynn, Gone Girl

“Give me a man with a little fight in him, a man who calls me on my bullshit. (But who also kind of likes my bullshit.)”
― Gillian Flynn, Gone Girl

“She’s easy to like. I’ve never understood why that’s considered a compliment - that just anyone could like you.”
― Gillian Flynn, Gone Girl

“He could cheat on me and he would never tell me, and he would think less and less of me for not figuring it out. He would see me across the breakfast table, innocently slurping cereal, and know that I am a fool, and how can anyone respect a fool?”
― Gillian Flynn, Gone Girl

“It had gotten to the point where it seemed like nothing matters, because I’m not a real person and neither is anyone else.”
― Gillian Flynn, Gone Girl

“I have a meanness inside me, real as an organ. Slit me at my belly and it might slide out, meaty and dark, drop on the floor so you could stomp on it.”
― Gillian Flynn, Dark Places