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![葬送のフリーレン 6 [Sōsō no Frieren 6] by Kanehito Yamada](https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1637351442l/58562212._SY75_.jpg "葬送のフリーレン 6 [Sōsō no Frieren 6] by Kanehito Yamada")
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"State Change: Hermosa historia, muchas veces lo que consideramos que es lo que nos define no es lo que realmente lo es." — Dec 17, 2025 04:29PM
"State Change: Hermosa historia, muchas veces lo que consideramos que es lo que nos define no es lo que realmente lo es." — Dec 17, 2025 04:29PM
“¿Cuál es el objetivo final del apego? Al pasar la vida, cuando ya dijiste adios varias veces a la familia, entonces, en medio de la nada, descubres otra forma de vínculo. Y es mucho más fuerte, más resistente que cualquier otra cosa. Tiene que ver con nuestra verdadera esencia, porque lo que en verdad somos es la búsqueda de ese vínculo.”
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“I think you guys are going to have to come up with a lot of wonderful new lies, or people just aren't going to want to go on living.”
― Slaughterhouse-Five
― Slaughterhouse-Five
“¿Por qué todos se van? En cierto momento todos nos vamos. Abandonamos todo por algo nuevo. Cambiamos de religión, creencias políticas o ideológicas, de modo que no es una característica de una u otra persona, ni una circunstancia histórica. Es la condición humana, abandonar las cosas por algo más.”
―
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“Well, I know," she said. "You'll pretend you were men instead of babies, and you'll be played in the movies by Frank Sinatra and John Wayne or some of those other glamorous, war-loving, dirty old men. And war will look just wonderful, so we'll have a lot more of them. And they'll be fought by babies like the babies upstairs."
So then I understood. It was war that made her so angry. She didn't want her babies or anybody else's babies killed in wars. And she thought wars were partly encouraged by books and movies.
So I held up my right hand and I made her a promise: "Mary," I said, "I don't think this book of mine will ever be finished. I must have written five thousand pages by now, and thrown them all away. If I ever do finish it, though, I give you my word of honor: there won't be a part for Frank Sinatra or John Wayne.
"I tell you what," I said, "I'll call it 'The Children's Crusade.'"
She was my friend after that.”
― Slaughterhouse-Five
So then I understood. It was war that made her so angry. She didn't want her babies or anybody else's babies killed in wars. And she thought wars were partly encouraged by books and movies.
So I held up my right hand and I made her a promise: "Mary," I said, "I don't think this book of mine will ever be finished. I must have written five thousand pages by now, and thrown them all away. If I ever do finish it, though, I give you my word of honor: there won't be a part for Frank Sinatra or John Wayne.
"I tell you what," I said, "I'll call it 'The Children's Crusade.'"
She was my friend after that.”
― Slaughterhouse-Five
“The guide invited the crowd to imagine that they were looking across a desert at a mountain range on a day that was twinkling bright and clear. They could look at a peak or a bird or cloud, at a stone right in front of them, or even down into a canyon behind them. But among them was this poor Earthling, and his head was encased in a steel sphere which he could never take off. There was only one eyehole through which he could look, and welded to that eyehole were six feet of pipe.
"This was only the beginning of Billy's miseries in the metaphor. He was also strapped to a steel lattice which was bolted to a flatcar on rails, and there was no way he could turn his head or touch the pipe. The far end of the pipe rested on a bi-pod which was also bolted to the flatcar. All Billy could see was the little dot at the end of the pipe. He didn't know he was on a flatcar, didn't even know there was anything peculiar about his situation.
"The flatcar sometimes crept, sometimes went extremely fast, often stopped--went uphill, downhill, around curves, along straightaways. Whatever poor Billy saw through the pipe, he had no choice but to say to himself, 'That's life.”
― Slaughterhouse-Five
"This was only the beginning of Billy's miseries in the metaphor. He was also strapped to a steel lattice which was bolted to a flatcar on rails, and there was no way he could turn his head or touch the pipe. The far end of the pipe rested on a bi-pod which was also bolted to the flatcar. All Billy could see was the little dot at the end of the pipe. He didn't know he was on a flatcar, didn't even know there was anything peculiar about his situation.
"The flatcar sometimes crept, sometimes went extremely fast, often stopped--went uphill, downhill, around curves, along straightaways. Whatever poor Billy saw through the pipe, he had no choice but to say to himself, 'That's life.”
― Slaughterhouse-Five
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