Kati Polodna

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A Clash of Kings
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Cain's Jawbone
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What Katy Did
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Sophie Cousens
“P.S. This book was written in a pre-COVID world. The 2020 of Minnie and Quinn’s world now exists only in some parallel universe. Whatever the year ahead might bring for us all, let’s keep reading. Books free us from isolation. Stories unite us. We’ve all had to play in one-player mode for a while—but we’re all still in this game together.”
Sophie Cousens, This Time Next Year

Sophie Cousens
“Be a good companion to yourself and you will never be lonely.”
Sophie Cousens, This Time Next Year

Matthew McConaughey
“I believe the truth is only offensive when we're lying.”
Matthew McConaughey, Greenlights

Matthew McConaughey
“When we mentally give a person, place, or point in time more credit than ourselves, we create a fictitious ceiling. A restriction over the expectations that we have over our own performance in that moment. We get tense. We focus on the outcome instead of the activity and we miss the doing of the deed. We either think the world depends on the result or it's too good to be true. But it doesn't and it isn't. And it's not our right to believe it does or is.
Don't create imaginary constraints. A leading role, a blue ribbon, a winning score, a great idea, the love of our life, euphoric bliss... Who are we to think we don't deserve these fortunes when they're in our grasp? Who are we to think we haven't earned them?
If we stay and process within ourselves, in the joy of the doing, we will never choke at the finish line. Why? Because we're not thinking of the finish line. We're not looking at the clock. We’re not watching ourselves on the Jumbotron performing. We are performing in real time where the approach is the destination.”
Matthew McConaughey, Greenlights

Asha Lemmie
“She would curl herself onto the couch and listen to him making paintings out of sound. And each piece was a different picture. In her mind’s eye, she could see a garden full of trees with white leaves and a fountain with blush-pink petals floating in the clear water—that was a concerto. The volta: scarlet and plum-colored ribbons winding around each other, battling for dominance. A requiem . . . a lone horse walking down a dimly lit cobbled road, looking for a rider that had died long ago. From these dead foreigners whose names she was slowly growing accustomed to, Nori was learning what it was to live a thousand lifetimes of joy and sorrow without ever leaving this house.”
Asha Lemmie, Fifty Words for Rain

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