Lane Pybas

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The Hill
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Romina Paula
“You come to me, you appear to me in the night, the fact that you're not here appears to me, that I can't tell you this even though I pretend like I can, not being able to ever tell you is still something I can't understand. That you could have taken so long to decompose, too, that, too, I can't believe there's still so much left of you, down there, buried, hair and things like that, skin. I don't want to take anything, I never wanted to, and I would give (I don't know what, not everything because you wouldn't be there, but I'd give a lot) so much to be able to tell you, for real, to see you, to sing a song with you, shout it out hugging each other, have you over to my apartment, for you to get to know my house and my boyfriend, the one I have now, and have him get to know you and have you tell me which one's better, which one you like better, if it's Juli, if it's him, even though obviously you would like Manuel better, and in reality you wouldn't care about either of them, because the two of us is enough, there's nothing else, we never needed anything else, although we did.”
Romina Paula, Agosto

Romina Paula
“I had to live my life, and to do that I needed to go to Buenos Aires. I had to live my life, and to do that I needed to go to Buenos Aires.”
Romina Paula, Agosto

Patricia Lockwood
“When I was a child, I always hated being used in my father's sermons, shrunk to a symbol to illustrate some larger lesson, flattened out to give other people comfort or instruction or even a laugh. It did some violence to my third dimension; it made it difficult for me to breathe. 'That's not me,' I would think, listening to some fable where a stick figure of myself moved automatically toward a punishing moral. 'That has nothing to do with me at all.' If I had a soul, I thought, it was that resistance, which would never let another human being have the last word on me.”
Patricia Lockwood, Priestdaddy

Romina Paula
“People work, not me. I look out the window, look out the window, out the window. Outside it's winter, and it's sunny. The doors don't shut properly, they don't shut, they're old. A phone rings through the wall. How come it takes such daunting effort to do what one likes? It's daunting, daunting to begin. I find it daunting to get started, and that seems not to be a fixable thing. The road to success, the road to success. Who knows? I get tired of myself. As pleasant as I find it here, as pleasant as a I find it. Did anyone pick up? In any case, the phone stopped ringing. What works better in fiction? Past or present tense? Weekends make me cranky, I don't like them, that imperative to have a good time, do things, do something special, the notion of free time. I prefer to seek out those things while other people work. People relaxing tend to look ridiculous, like out of place, grotesque. I'm unmotivated, a little, I realize, bored, overly calm, almost comfortable. I don't like where I live anymore, I'm fed up, I'm fed up with where I live. I want, somehow, to live differently. I'd take care of it, I'd take care of that baby if he gave it to me, if he wanted to give it to me, if he wanted.”
Romina Paula, Agosto

Lidia Yuknavitch
“You can be a drunk. You can be a survivor of abuse. You can be an ex-con. You can be a homeless person. You can lose all your money or your job or a husband or a wife, or the worst thing imaginable, a child. You can lose your marbles. You can be standing inside your own failure, a small sad stone in your throat, and still you are beautiful, your story is worth hearing, because you--you rare and phenomenal misfit--are the only one in the world who can tell the story the way that only you can.”
Lidia Yuknavitch, The Misfit's Manifesto

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