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Dark Days
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Lost Connections
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Poor Things
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David Levithan
“In my kind of falling, there’s no landing. There’s only hitting the ground. Hard. Dead, or wanting to be dead. So the whole time you’re falling, it’s the worst feeling in the world. Because you feel you have no control over it. Because you know how it ends.”
David Levithan, Will Grayson, Will Grayson
tags: death

Patrick Ness
“There is not always a good guy. Nor is there always a bad one. Most people are somewhere in between.”
Patrick Ness, A Monster Calls

Kassandra Montag
“I keep thinking grief feels like climbing a staircase while looking down,” she said. “You won’t forget where you’ve been, but you’ve got to keep rising. It all gets farther away, but it’s all still there. And you’ve only got one way to go and you don’t really want to go on rising, but you’ve got to. And that tightness in your chest doesn’t go away, but you somehow go on breathing that thinner, higher air. It’s like you grow a third lung. Like you’ve somehow gotten bigger when you thought you were only broken.”
Kassandra Montag, After the Flood

Ian McEwan
“We go on our hands and knees and crawl our way towards the truth”
Ian McEwan, Atonement
tags: truth

Neil Gaiman
“There was a girl, and her uncle sold her. Put like that it seems so simple.

No man, proclaimed Donne, is an island, and he was wrong. If we were not islands, we would be lost, drowned in each other's tragedies. We are insulated (a word that means, literally, remember, made into an island) from the tragedy of others, by our island nature and by the repetitive shape and form of the stories. The shape does not change: there was a human being who was born, lived and then by some means or other, died. There. You may fill in the details from your own experience. As unoriginal as any other tale, as unique as any other life. Lives are snowflakes- forming patterns we have seen before, as like one another as peas in a pod (and have you ever looked at peas in a pod? I mean, really looked at them? There's not a chance you'll mistake one for another, after a minute's close inspection) but still unique.

Without individuals we see only numbers, a thousand dead, a hundred thousand dead, "casualties may rise to a million." With individual stories, the statistics become people- but even that is a lie, for the people continue to suffer in numbers that themselves are numbing and meaningless. Look, see the child's swollen, swollen belly and the flies that crawl at the corners of his eyes, this skeletal limbs: will it make it easier for you to know his name, his age, his dreams, his fears? To see him from the inside? And if it does, are we not doing a disservice to his sister, who lies in the searing dust beside him, a distorted distended caricature of a human child? And there, if we feel for them, are they now more important to us than a thousand other children touched by the same famine, a thousand other young lives who will soon be food for the flies' own myriad squirming children?

We draw our lines around these moments of pain, remain upon our islands, and they cannot hurt us. They are covered with a smooth, safe, nacreous layer to let them slip, pearllike, from our souls without real pain.

Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives.

A life that is, like any other, unlike any other.

And the simple truth is this: There was a girl, and her uncle sold her.”
Neil Gaiman, American Gods

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