Miranda > Recent Status Updates

one of the clients' name is miranda and it caught me so off guard. i already felt targeted by this book but this really got me

"Then how," Dex said, "how does this idea of maybe being meaningless sit well with you?" Mosscap considered. "Because I know that no matter what, I'm wonderful," it said.

"You keep asking why your work is not enough, and I don't know how to answer that, because it is enough to exist in the world and marvel at it. You don't need to justify that, or earn it. You are allowed to just live."

"Days I feel like a human being, while other days I feel more like a sound. I touch the world not as myself but as an echo of who I was. Can you hear me yet? Can you read me?"

"Maybe this is why, I realize now, it mattered to you what they called Tiger Woods on TV, how you needed color to be a fixed and inviolable fact."

"Who will be lost in the story we tell ourselves? Who will be lost in ourselves? A story, after all, is a kind of swallowing. To open a mouth, in speech, is to leave only the bones, which remain untold. It is a beautiful country because you are still breathing."

"Shifts in the narrative would occur-- the past never a fixed and dormant landscape but one that is re-seen. Whether we want to or not, we are traveling in a spiral, we are creating something new from what is gone."

"To be a monster is to be a hybrid signal, a lighthouse: both shelter and warning at once."

"Every history has more than one thread, each thread a story of division."

"It was the clearest terror and pleasure I had ever known."

"Hunger radiated the same everywhere, throbbing and loud, even without words. I didn't mind it."

"'Why are you so afraid? Because something is different from what you know?'
'I'm disappointed, bhai. I didn't think you'd be one of these closed-minded people. Leave that for your mother.'"

"'When you're hiding something,' he said, 'don't cover it up with something weak, something that can be blown away easily. You need to protect your secrets better.'"

"You lost that sister a long time go; she's gone, just like Ahunna. The only difference is that her body is still walking around."

"What is story if not the safe harbor for our most disturbing imaginings? I learned early that the notion of what will come to pass haunts better. But, too, it is about the storyteller--who you choose to trust and why. From where comes your decision to believe the breath that leaves the mouth that tells."

"There are others like me, and because I know that speech is a code, we use it very carefully. I want to tell Gretel that I have known the inside of mouths and the curves of lower backs and the muscles of shoulders. I have known the skin that never meets the sun. I want to tell Gretel that I am not alone, and more than that I want to tell Gretel, neither is she."

"She is silent, and the pause is making me waver. Does speaking a feeling make it a fact? She told me once that language is opaque, a very elegant concealing. But I am starting to think it is a prism, and if I can maneuver it just right, the light will amplify and liberate the truth."

"Because I taught him how to weave a story, and because I know him better than he is ready to know himself, I see how the story will end. That he used a tense that designates the future means it will haunt better, more effectively. I once told him that strong stories link risk and desire. In some ways, he is my fault."

"The tale comes easy and I realize that in crafting this narrative, I am a manager of fear. It is not a secret that my character is tender, but in this moment I feel brave, as though my flesh is glass."

"A story, Gretel says, to pas the time. And so I begin a tale. It must be epic in size in order to last the days. It must in some ways not end, so that we can stretch it to fit our particular needs. Gretel says this is how the best stories are told, with enough space to make them say several things at once."

"And the abstraction qualified as me tumbles and shuttles outside the dimension of time toward the shapeless entity that is you, and together we work to illuminate the void in which we dwell. And on the surface of an elsewhere, a child points to a brightness in the sky and asks how it began."

"I do not tell you that you have changed me infinitely, exponentially, that in this single evening you were every sketched figure I'd ever imagined would save me."

"His invention is for her, and all those who need a way to tell their stories. It is for every sister who once had a story that went unbelieved. When people ask him what he's invented, he tells them this: a device that will make the world listen."

"Soon her brother will ask her: Can you tell which is human-made and which is artificial? And she will think: What are words without a heart beating behind them?"

"You know, the programmer says, long ago a computer was not a machine but a person. Usually a woman. A woman who crunched numbers for long hours in huge rooms."

"There are two kinds of labyrinths: those you are born into and must escape, and those you choose to enter in search of what lies inside."

"For both she and the queens knew the history of women, that too many have been killed because a man told a very elegant fiction and found enough people to believe it."

"Labyrinths incite fear because they are not by design linear. People are afraid of experiences that are not linear, experiences that deviate, diverge, digress. This is because people crave a single course. People want to move up and forward. People want a route that is straight."

"No one says anything in this region of the universe, but in the dark parts of the infinite unknown, the twin machines that hold the human record approach Earth's sister world. And on the surface of that sphere, one sibling whispers to another: every end is really a beginning."