Natalie

“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

“I have never got a grip on when the past begins or where it ends, but if cities map the past with statues made from bronze forever frozen in one dignified position, as much as I try to make the past keep still and mind its manners, it moves and murmurs with me through every day.”
― Deborah Levy, Swimming Home

“I confess that I am often lost in all the dimensions of time, that the past sometimes feels nearer than the present and I often fear the future has already happened.”
― Deborah Levy, Hot Milk

“But in the end it wasn't up to me. The bigs things never are. Birth, I mean, and death. And love. And what love bequeaths to us before we're born.”
― Jeffrey Eugenides, Middlesex