Blake Rutledge > Blake's Quotes

“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

“What is the nature of the search? you ask. The search is what anyone would undertake if he were not sunk in the everydayness of his own life. To become aware of the search is to be onto something. Not to be onto something is to be in despair.”
― Walker Percy, The Moviegoer

“I saw a group of women standing by a station wagon. There were seven of them, pushing cartons and shopping bags over the open tailgate into the rear of the car. Celery stalks and boxes of Gleem stuck out of the bags. I took the camera from my lap, raised it to my eye, leaned out the window a bit, and trained it on the ladies as if I were shooting. One of them saw me and immediately nudged her companion but without taking her eyes off the camera. They waved. One by one the others reacted. They all smiled and waved. They seemed supremely happy. Maybe they sensed that they were waving at themselves, waving in the hope that someday if evidence is demanded of their passage through time, demanded by their own doubts, a moment might be recalled when they stood in a dazzling plaza in the sun and were registered on the transparent plastic ribbon; and thirty years away, on that day when proof is needed, it could be hoped that their film is being projected on a screen somewhere, and there they stand, verified, in chemical reincarnation, waving at their own old age, smiling their reassurance to the decades, a race of eternal pilgrims in a marketplace in the dusty sunlight, seven arms extended in a fabulous salute to the forgetfulness of being. What better proof (if proof is ever needed) that they have truly been alive? Their happiness, I think, was made of this, the anticipation of incontestable evidence, and had nothing to do with the present moment, which would pass with all the others into whatever is the opposite of eternity. I pretended to keep shooting, gathering their wasted light, letting their smiles enter the lens and wander the camera-body seeking the magic spool, the gelatin which captures the image, the film which threads through the waiting gate. Sullivan came out of the supermarket and I lowered the camera. I could not help feeling that what I was discovering here was power of a sort.”
― Don DeLillo, Américana

“The best stories proceed from a mysterious truth-seeking impulse that narrative has when revised extensively; they are complex and baffling and ambiguous; they tend to make us slower to act, rather than quicker. They make us more humble, cause us to empathize with people we don’t know, because they help us imagine these people, and when we imagine them—if the storytelling is good enough—we imagine them as being, essentially, like us. If the story is poor, or has an agenda, if it comes out of a paucity of imagination or is rushed, we imagine those other people as essentially unlike us: unknowable, inscrutable, incontrovertible.”
― George Saunders, The Braindead Megaphone

“...she took her hand and raised her brush. For a moment it stayed trembling in a painful but exciting ecstacy in the air. Where to begin?--that was the question at what point to make the first mark? One line placed on the canvas committed her to innumerable risks, to frequent and irrevocable decisions. All that in idea seemed simple became in practice immediately complex; as the waves shape themselves symmetrically from the cliff top, but to the swimmer among them are divided by steep gulfs, and foaming crests. Still the risk must run; the mark made.”
― 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

“Because, once alone, it is impossible to believe that one could ever have been otherwise. Loneliness is an absolute discovery. When one looks from inside at a lighted window, or looks from above at the lake, one sees the image of oneself in a lighted room, the image of oneself among the trees and sky -- the deception is obvious, but flattering all the same. When one looks from the darkness into the light, however, one sees all the difference between here and there, this and that. Perhaps all unsheltered people are angry in their hearts, and would like to break the roof, spine, and ribs, and smash the windows and flood the floor and spindle the curtains and bloat the couch.”
― Marilynne Robinson, Housekeeping

“Ever dumb thing I ever done in my life there was a decision I made before that got me into it. It was never the dumb thing. It was always some choice I'd made before it.”
― Cormac McCarthy, All the Pretty Horses

“So when she seemed distracted or absent-minded, it was in fact, I think, that she was aware of too many things, having no principle for selecting the more from the less important, and that her awareness could never be diminished, since it was among the things she had thought of as familiar that this disaster had taken shape.”
― Marilynne Robinson, Housekeeping

“I tended to find lines of poetry beautiful only when I encountered them quoted in prose, in the essays my professors had assigned in college, where the line breaks were replaced with slashes, so that what was communicated was less a particular poem than the echo of poetic possibility. Insofar as I was interested in the arts, I was interested in the disconnect between my experience of actual artworks and the claims made on their behalf; the closest I'd come to having a profound experience of art was probably the experience of this distance, a profound experience of the absence of profundity.”
― Ben Lerner, Leaving the Atocha Station

“The camera implies meaning where no meaning exists. I had not celebrated that brother and sister. I had mocked them. I had exploited their sorrow. I had tried to make them part of a hopeful message on the state of the Union. To be black is to be the actor. To be white is to be the critic.”
― don delillo, Américana

“Somehow: Molly.
He heard her in the entryway. Mol, Molly, oh boy. When they were first married they used to fight. Say the most insane things. Afterward, sometimes there would be tears. Tears in bed? And then they would - Molly pressing her hot wet face against his hot wet face. They were sorry, they were saying with their bodies, they were accepting each other back, and that feeling, that feeling of being accepted back again and again, of someone's affection for you expanding to encompass whatever new flawed thing had just manifested in you, that was the deepest, dearest thing he'd ever -
She came in flustered and apologetic, a touch of anger in her face. He'd embarrassed her. He saw that. He'd embarrassed her by doing something that showed she hadn't sufficiently noticed him needing her. She'd been too busy nursing him to notice how scared he was. She was angry at him for pulling this stunt and ashamed of herself for feeling angry at him in his hour of need, and was trying to put the shame and anger behind her now so she could do what might be needed.
All of this was in her face. He knew her so well.
Also concern.
Overriding everything else in that lovely face was concern.
She came to him now, stumbling a bit on a swell in the floor of this stranger's house.”
― George Saunders, Tenth of December

“It was like either: (A) I was a terrible guy who was knowingly doing this rotten thing over and over, or (B) it wasn’t so rotten, really, just normal, and the way to confirm it was normal was to keep doing it, over and over.”
― George Saunders, Tenth of December

“Which maybe that’s what love was: liking someone how he was and doing things to help him get even better.”
― George Saunders, Tenth of December

“Beauty is terror. Whatever we call beautiful, we quiver before it.”
― Donna Tartt, The Secret History

“Beauty is rarely soft or consolatory. Quite the contrary. Genuine beauty is always quite alarming.”
― Donna Tartt, The Secret History

“Does such a thing as 'the fatal flaw,' that showy dark crack running down the middle of a life, exist outside literature? I used to think it didn't. Now I think it does. And I think that mine is this: a morbid longing for the picturesque at all costs.”
― Donna Tartt, The Secret History

“There is nothing wrong with the love of Beauty. But Beauty - unless she is wed to something more meaningful - is always superficial.”
― Donna Tartt, The Secret History

“If you want one thing too much it’s likely to be a disappointment. The healthy way is to learn to like the everyday things, like soft beds and buttermilk—and feisty gentlemen.”
― Larry McMurtry, Lonesome Dove

“I'm sure partial to the evening,' Augustus said. 'The evening and the morning. If we just didn't have to have the rest of the dern day I'd be a lot happier.”
― Larry McMurtry, Lonesome Dove

“It's a fine world, though rich in hardships at times.”
― Larry McMurtry, Lonesome Dove

“I think its a sickness to grieve too much for those who never cared a fig for you.”
― Larry McMurtry, Lonesome Dove

“The hardest thing on earth is choosing what matters”
― Larry McMurtry, Lonesome Dove

“I see you’re in a hurry to get someplace. It’s a great mistake to hurry.” “Why?” Joe asked, puzzled by almost everything the traveler said. “Because the grave’s our destination,” Mr. Sedgwick said. “Those who hurry usually get to it quicker than those who take their time.”
― Larry McMurtry, Lonesome Dove

“Virtually all his life he had been in the position of leading groups of men, yet the truth was he had never liked groups. Men he admired for their abilities in action almost always brought themselves down in his estimation if he had to sit around and listen to them talk—or watch them drink or play cards or run off after women. Listening to men talk usually made him feel more alone than if he were a mile away by himself under a tree. He had never really been able to take part in the talk. The endless talk of cards and women made him feel more set apart—and even a little vain. If that was the best they could think of, then they were lucky they had him to lead them. It seemed immodest, but it was a thought that often came to him.”
― Larry McMurtry, Lonesome Dove

“All America lies at the end of the wilderness road, and our past is not a dead past, but still lives in us. Our forefathers had civilization inside themselves, the wild outside. We live in the civilization they created, but within us the wilderness still lingers. What they dreamed, we live, and what they lived, we dream. —T. K. Whipple, Study Out the Land”
― Larry McMurtry, Lonesome Dove

“If you only come face-to-face with your own mistakes once or twice in your life it’s bound to be extra painful. I face mine every day—that way they ain’t usually much worse than a dry shave.”
― Larry McMurtry, Lonesome Dove

“Life in San Francisco is still just life. If you want one thing too much it’s likely to be a disappointment. The healthy way is to learn to like the everyday things, like soft beds and buttermilk—and”
― Larry McMurtry, Lonesome Dove

“Money was spiritual indemnity against some unspecifiable future loss. It existed in purest form in his mind, my money, a reinforcing source of meditation.”
― Don DeLillo, Players

“Embodied in objects was a partial sense of sharing. They didn't lift their eyes from their respective sets. But noises bound them, a cyclist kick-starting, the plane that came winding down the five miles from its transatlantic apex, rippling the pictures on their screens. Objects were memory inert. Desk, the bed, et cetera. Objects would survive the one who died first and remind the other of how easily halved a life can become. Death, perhaps, was not the point so much as separation. Chairs, tables, dressers, envelopes. Everything was a common experience, binding them despite their indirections, the slanted apparatus of their agreeing. That they did agree was not in doubt. Faithlessness and desire. It wasn't necessary to tell them apart. His body, hers. Sex, love, monotony, contempt. The spell that had to be entered was out there among the unmemorized faces and uniform cubes of being. This, their sweet and mercenary space, was self-enchantment, the near common dream they'd countenanced for years. Only absences were fully shared.”
― Don DeLillo, Players