Monika

“It’s strange how concepts can erode so easily, how words we once used lightly can alchemize abruptly into something toxic.”
― Valeria Luiselli, Tell Me How it Ends: An Essay in Forty Questions

“She was struck by the selfish thought that this was not fair to her. That she’d been in the middle of a different story, one that had nothing to do with this. She was a person who was finding her daughter, making things right with her daughter, and there was no room in that story for the idiocy of extreme religion, the violence of men she’d never met. Just as she’d been in the middle of a story about divorce when the towers fell in New York City, throwing everyone’s careful plans to shit. Just as she’d once been in a story about raising her own brother, growing up with her brother in the city on their own, making it in the world, when the virus and the indifference of greedy men had steamrolled through. She thought of Nora, whose art and love were interrupted by assassination and war. Stupid men and their stupid violence, tearing apart everything good that was ever built. Why couldn’t you ever just go after your life without tripping over some idiot’s dick?”
― Rebecca Makkai, The Great Believers

“If you had to choose when, in the timeline of the earth, you got to live—wouldn’t you choose the end? You haven’t missed anything, then. You die in 1920, you miss rock and roll. You die in 1600, you miss Mozart. Right? I mean, the horrors pile up, too, but no one wants to die before the end of the story.”
― Rebecca Makkai, The Great Believers

“I hate that we have to live in the middle of history. We make enough mess on our own.”
― Rebecca Makkai, The Great Believers