Terry Wrong

“In the first year of Martha`s life I discovered that I no longer loved my husband. A hard year, the baby barely slept and wouldn`t let me sleep. Physical tiredness is a magnifying glass. I was too tired to study, to think, to laugh, to cry, to love that man who was too intelligent, too stubbornly involved in his wager with life, too absent. Love required energy, I hand none left. When he began with caresses and kisses, I became anxious, I felt that I was a stimulus abused for his solitary pleasures.”
― Elena Ferrante

“He was so intense, so serious, armored in the formality of his rank and yet vulnerable in his honesty, the purity of his will. Her heart yearned to him. He thought he had learned pain, but he would learn it again and again, all his life, and forget none of it.”
― Ursula K. Le Guin, Tehanu

“I am scared, numbed from the marital wars - that deadly, deadening combat which is the opposite, the antithesis of the sharp painful struggles of lovers. Lovers fight with knives and whips, husbands and wives poisoned marshmallows, sleeping pills, and wet blankets.”
― Susan Sontag, Reborn: Journals and Notebooks, 1947-1963

“Film is thus immoral by its very nature, transforming the actor into a fetish and fostering perversion in the viewer, who allows himself to be seduced like a moth to the flame. The difference lies in that the cinema audience’s appointment is with the cold flicker of the flame rather than the searing fire itself. The moth burns up, but the viewer can, without fear, surrender to his escalating desire and seek out the experience over and over again, as is, alas, far too often the case. —Dr. G. Árnason, excerpt from “Cinema and Mental Disorders,” The Nation 23 (1916)”
― Sjón, Moonstone: The Boy Who Never Was