Barbara

“He leaned up a little and watched her face. Her face would now be, forever, more mysterious and impenetrable than the face of any stranger. Strangers' faces hold no secrets because the imagination does not invest them with any. But the face of a lover is an unknown precisely because it is invested with so much of oneself. It is a mystery, containing, like all mysteries, the possibility of torment.”
― James Baldwin, Another Country

“History isn't the lies of the victors, as I once glibly assured Old Joe Hunt; I know that now. It's more the memories of the survivors, most of whom are neither victorious or defeated.”
― Julian Barnes, The Sense of an Ending

“But it was not the room’s disorder which was frightening; it was the fact that when one began searching for the key to this disorder, one realized that it was not to be found in any of the usual places. For this was not a matter of habit or circumstance or temperament; it was a matter of punishment and grief.”
― James Baldwin, Giovanni’s Room

“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