“It's funny, don't you think, how time seems to do a lot of things? It flies, it tells, and worst of all, it runs out.”
“Do we spend most of our days trying to remember or to forget? Do we spend most of our time running towards or away from our lives?”
“But neither of us knows, because a fight's worth nothing if you know from the start that you're going to win it.”
“And then there's the sickness I feel from looking at legs I can't touch, or at lips that don't smile at me. Or hips that don't reach for me. And hearts that don't beat for me.”
“It makes me wonder, Do we spend most of our days trying to remember or forget things? Do we spend most of our time running towards or away from our lives? I don't know.”
“The city buildings in the distance are holding up the sky, it seems.”
“A fighter can be a winner, but that doesn't make a winner a fighter.”
“I'm gonna hunt my life down and grab it.”
“It’s funny, don’t you think, how time seems to do a lot of things? It flies, it tells, and worst of all, it runs out.”
“... because a fight's worth nothing if you know from the start that you're going to win it. It's the ones in between that test you. They're the ones that bring questions with them.”
“See, Cameron. The only things I care about in this life are me, you, Mum, Dad, Steve and Sarah. And maybe Miffy. The rest of the world means nothing to me. The rest of the world can rot.'
Am I like that too?'
You? No way.' There's a slight gap in his words. 'And that's your problem. You care about everything.'
He's right.
I do.”
“I just know that right now, we want to be proud. For once. We want to take the struggle and rise above it. We want to frame it, live it, survive it. We want to put it in our mouths and taste it and never forget it, because it makes us strong.”
“We are wolves, which are wild dogs, and this is our place in the city. We are small and our house is small on our small urban street. We can see the city and the train line and it's beautiful in its own dangerous way. Dangerous because it's shared and taken and fought for.
That's the best way I can put it, and thinking about it, when I walk past the tiny houses on our street, I wonder about the stories inside them. I wonder hard, because houses must have walls and rooftops for a reason. My only query is the windows. Why do they have windows? Is it to let a glimpse of the world in? Or for us to see out?”
“I say, 'Don't lose your heart, Rube.'
And very clearly, without moving, my brother answers me.
He says, 'I'm not tryin' to lose it, Cam. I'm tryin' to find it.”
“As we walk back, it feels like the city is engulfing us. Adrenalin still pours through our veins. Sparks flow through to our fingers. We've still been running in the mornings, but the city's different then. It's filled with hope and with bristles of winter sunshine. In the evening, it's like it dies, waiting to be born again the next morning.”
“Smile with instinct, then lick your wounds in the darkest of dark corners. Trace the scars back to your own fingers and remember them.”
“Time will tell, I suppose, or at least, these pages will.”
“But neither of us knows, because a fight's worth nothing if you know from the beginning that you're going to win. It's the ones in between that test you. They're the ones that bring questions with them.”
“The only people we want to blame are ourselves, because it will be ourselves that we rely upon.”
“It's the sound of my breathing that gets me, pouring down into my lungs and then tripping back up my throat.”
“How'd it feel?" Rube asked himself. "I don't know exactly, but it made me want to howl.”
“They're brainless girls, otherwise they wouldn't be seen dead here. They're pretty, with ugly, appealing smiles and conversations we can't hear. They breathe smoke and blow it out, and words drop from their mouths and get crushed to the floor. Or they get discarded, just to glow with warmth for a moment, for someone else to tread on later.”
“He's been to the brink and come back. I guess when you lose your pride, even for just a moment, you realise how much it means to you.”
“When I’m there, Rube’s eyes fire into mine. Make sure you get up, they tell me, and I nod, then jump up. The jacket’s off. My skin’s warm. My wolfish hair sticks up as always, nice and thick. I’m ready now. I’m ready to keep standing up, no matter what, I’m ready to believe that I welcome the pain and that I want it so much that I will look for it. I will seek it out. I’ll run to it and throw myself into it. I’ll stand in front of it in blind terror and let it beat me down and down till my courage hangs off me in rags. Then it will dismantle me and stand me up naked, beat me some more and my slaughter-blood will fly from my mouth and the pain will drink it, feel it, steal it and conceal it in the pockets of its guts and it will taste me. It will just keep standing me up, and I won’t let it know. I won’t tell it that I feel it. I won’t give it the satisfaction. No, the pain will have to kill me.”
“We smell the impact of traffic and humans. Humans and traffic. Back and forth. We taste our moment, swallowing it, knowing it. We feel our nerves twitching inside our stomaches, lunging at our skin from beneath.”
“Around us I can sniff out a savagery in the noisy southern air. It knifes it's way into my nose, but I do not bleed blood. It's fear I bleed, and it gushes out over my lip. I wipe it away, in a hurry.”
“Our own place is mall perhaps, but when your old man is eaten by his own shadow, you realise that maybe in every house, something so savage and sad and brilliant is standing up, without the world even seeing it.
Maybe that's what these pages of words are about:
Bringing the world to the window.”
“Why do they have windows? Is it to let a glimpse of the world in? Or for us to see out? Our own place is small perhaps, but when your old man is eaten up by his own shadow, you realize maybe that in every house, something so savage and sad and brilliant is standing up, without the world even seeing it.
Maybe that's what these pages of words are about.
Bringing the world to the window.”
“The thing is, I don't even hate cops. To tell you the truth, I actually feel a little sorry for them.”
“Celery, apples, golden raisins, lemon zest, and a sour cream–mayo dressing flavored the chicken salad, while the crusty bread provided crunch and contrast. I alternated with bites of my strawberry-and-kiwi fruit salad, tossed with lime juice, vanilla, and just a hint of honey.”
“If you're not busy living, you're dying.”
“...because once you've got one scar on your face or your heart, its only a matter of time before someone gives you another - and another - until a day doesn't go by when you aren't being bashed senseless, nor a town that you haven't been run out of, and you get to be such a goddamn mess that finally it doesn't feel right unless you're getting the Christ beaten out of you - amd within a year of that first damming fall, those first down borne fists, your first run out, you wind up with flies buzzing around your eyes, back at the same place, the same town, deader than when you left, bobbiong around in the swill - a dirty deadbeat whore in a roadside ditch. But a little part of you deosn't die. A little part of you lives on. And you make an orphan of that corrupt and contemtible part, dumping it right smack in the laps of the ones who first robbed you of your sweetness, for it is the wicked fruit of their crimes, it is their blood, their sin, it belongs there, this child of blood, this spawn of sin...”
“Kärlek kan man inte samla i lador. Finns det en del av Jesus i vartenda massfabricerat krucifix?
Alla offer som vi inte själva mördar eller spärrar in är inbillade offer.
Och F. sa: Jag bär mitt hjärta som en krona. Så försvann de, de spetälskevita metoperna och trygliferna och alla de andra snirkliga namnen som står för renhet; bleka tempel och förfallna altaren försvann under den scharlakansröda glasyren.
Det ursprungligaste i en människas natur är ofta det som är det mest desperata. Således påtvingas världen nya system av människor som helt enkelt inte står ut med att leva med det som är. Det enda som betyder något för en skapare är att hans system är unikt.
Mitt hat till smärtan är nåt så extra kolossalt fantastisk, mycket viktigare än ditt hat till smärtan, men min kropp är så mycket mera central, jag är smärtans Moskva, du är bara en väderstation på landet.
Var med mig, religiösa amuletter av alla slag, ni smo hänger i silverkedjor, ni som sitter fastmålade på underkläder med en säkerhetsnål, ni som gömmer er i svart brösthår, ni som löper som spårvagnshjul i springan mellan gamla lyckliga kvinnors bröst, ni som av misstag pressas in i skinnet när någon älskar, ni som fingras som mynt och på vilka man letar efter silverstäplar, ni som har kommit bort bland kläderna för kelande femtonåringar, ni som stoppas i mun medan man tänker, ni mycket dyrbara som bara spinkiga små flickebarn för lov att bära, ni som hänger i skärpkammare tillsammans med uppknutna slipsar, ni som blir kyssta för att bringa tur, ni som rycks från halsen i vredesmod, ni som är pressade, ni som är graverade, ni som blir lagda på spårvägsspår för att få en ny och lustig form, ni som sitter fast i innerklädseln i taxitak...
Vi ljuger alla dröm efter dröm i varandras armar. Morgon efter morgon finner vintern mig ensam bland slitna löv med fruset snor och frusna tårar i ögonbrynnen.”
“The movie’s not over till everybody’s dead.”
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