“The first cut is always the deepest, but not every cut leaves a scar,”
“The dream came true,” Grandma said. “And it had nothing to do with us. After years and years of being inspired by other dreamers, that person made their own dream come true and probably inspired countless others to do the same. We wouldn’t want to want to live in a world where no one believed in themselves enough to make their own dreams come true.”
“We all do our part,” Alex teased. “But if it's any consolation, Red's problems are a lot like weeds. No matter how many times you pull them, they just keep coming back.”
“You gave goldilocks her first sword? That's like giving Shakespeare his first pen.”
“You can look at a hundred pictures and a dozen maps, but unless you’ve been to the city and felt its pulse, you really”
“People in glass houses shouldn’t throw stones,”
“busts, carvings, engravings, and symbols of King Ludwig’s”
“Family Farms,” she declared. A hush fell over the room. Little Bo Peep was a very”
“Whenever Conner asked them for something he acted like a hyper Chihuahua.”
“The Masked Man – it was Dad!”
“Do I have to dress up?”
“To know someone's deepest desires is to risk knowing them more than they want to be known.”
“If you spend your whole life worrying about getting hurt, then you aren't really living. You don't want to shield yourself so much from the bad stuff that nothing good gets to you either.”
“These days people act like love is an island, they all want to swim to it but no one wants to get wet.”
“We have to take some things for granted every now and then, otherwise we would live life afraid of losing everything.”
“All it takes is one bad apple to disgrace the whole tree.”
“The taller you stand, the less weight you fell. Don't ever let anything break your spirit.”
“The first cut is always the deepest, but not every cut leaves a scar,” she said. “If you spend your whole life worrying about getting hurt, then you aren’t really living. You don’t want to shield yourself so much from the bad stuff that nothing good gets to you, either.”
“You're beautiful, but you're empty...One couldn't die for you. Of course, an ordinary passerby would think my rose looked just like you. But my rose, all on her own, is more important than all of you together, since she's the one I've watered. Since she's the one I put under glass, since she's the one I sheltered behind the screen. Since she's the one for whom I killed the caterpillars (except the two or three butterflies). Since she's the one I listened to when she complained, or when she boasted, or even sometimes when she said nothing at all. Since she's my rose.”
“One way of overcoming the fear of the new is to make it look like the old.”
“It had that kind of open-ended fear to it - like that feeling you get when you're driving and you see a cop. And you're not speeding. You don't have drugs. But you're just thinking, I hope he doesn't notice I'm driving.”
“Desperate? So what? I'm desperate, too!" Fenoglio snapped at her. "My story is foundering in misfortune, and these hands here," he said holding them out to her, "don't want to write anymore! I'm afraid of words Meggie! 'Once they were like honey, now they're poison, pure poison! But what is a writer who doesn't love words anymore? What have I come to? This story is devouring me, crushing me, and I'm it's creator!”
“... je t'emmènerais dans une contrée resplendissante et prospère, au foyer d'une famille aristocratique des lettrés, fastueux domaine où abondent les fleurs et les saules, terroir de la douceur, de richesse et d'honneurs, pour t'installer dans la joie et en toute sécurité.
Cao Xueqin, "Le Rêve dans le pavillon rouge", trad, fr. par Li Tche-Houa, J. Alézaïs, révision par A. D'Hormon, Paris, Gallimard, "Bibliothèque de la Pléiade", 1981, vol. 1, p. 8.”
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