Ethelinde

“I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader's mind. [...] Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them. Thus X will never compose the immortal music that would clash with the second-rate symphonies he has accustomed us to. Y will never commit murder. Under no circumstances can Z ever betray us. We have it all arranged in our minds, and the less often we see a particular person, the more satisfying it is to check how obediently he conforms to our notion of him every time we hear of him. Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We could prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.”
― Vladimir Nabokov, Lolita

“When a reader falls in love with a book, it leaves its essence inside him, like radioactive fallout in an arable field, and after that there are certain crops that will no longer grow in him, while other, stranger, more fantastic growths may occasionally be produced."

[Books vs. Goons, L.A. Times, April 24, 2005]”
― Salman Rushdie

“Children of her type contrive the purest philosophies. Ada had worked out her own little system. Hardly a week had elapsed since Van’s arrival when he was found worthy of being initiated in her web of wisdom. An individual’s life consisted of certain classified things: "real things" which were unfrequent and priceless, simply "things" which formed the routine stuff of life; and "ghost things," also called "fogs," such as fever, toothache, dreadful disappointments, and death. Three or more things occurring at the same time formed a "tower," or, if they came in immediate succession, they made a "bridge." "Real towers" and "real bridges" were the joys of life, and when the towers came in a series, one experienced supreme rapture; it almost never happened, though. In some circumstances, in a certain light, a neutral "thing" might look or even actually become "real" or else, conversely, it might coagulate into a fetid "fog." When the joy and the joyless happened to be intermixed, simultaneously or along the ramp of duration, one was confronted with "ruined towers" and "broken bridges.”
― Vladimir Nabokov, Ada, or Ardor: A Family Chronicle

“Emotions, in my experience, aren't covered by single words. I don't believe in "sadness," "joy," or "regret." Maybe the best proof that the language is patriarchal is that it oversimplifies feeling. I'd like to have at my disposal complicated hybrid emotions, Germanic train-car constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." I'd like to show how "intimations of mortality brought on by aging family members" connects with "the hatred of mirrors that begins in middle age." I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever. ”
― Jeffrey Eugenides, Middlesex