“Sleep well, and stay where I put you.”
― Melissa Marr, quote from Graveminder
“Some mortals--like you--are already half in love with death. It is who you are, and I'll not make it harder on you by telling you things you don't need to know. Ask me again when you die. Then I'll tell you everything, anything, nothing.”
― Melissa Marr, quote from Graveminder
“Do you remember those days? Back porch, sunshine, mason jars" - she paused at remembered sweetness - "we were so foolish then...thinking there was a big ol' world out there to conquer.”
― Melissa Marr, quote from Graveminder
“He pulled something out of his pocket and tried to stick it in her arm. A needle. He'd offered her hope, but then he was trying to hurt her. Poison. She pushed him away. "That wasn't nice.”
― Melissa Marr, quote from Graveminder
“His face was pale, and he dropped to the floor so that he was half kneeling, half sitting before her. "Please. I can...help you."
"No." She wiped her mouth with the back of her hand. Her mind felt clearer now. Everything made more sense when she wasn't so hungry. "I don't think I want the help you have."
He cradled his bloody arm and tried to stand. "This isn't right. You aren't right. You aren't suppose to be here."
"But I am.”
― Melissa Marr, quote from Graveminder
“The girl's arms jutted out at awkward angles, not quite hands on the hips belligerent but not relaxed either, as if they weren't all the way under the girl's control. "I came to find you."
"I didn't know. If I'd known..."
"It doesn't matter now." The girl's attention was unwavering. "This is where you are."
"It is at that."
The girl looked sad. Her soil-dark eyes were clouded over by tears she hadn't been able to shed. "I came here to find you."
"I couldn't have known." Maylene reached out and plucked a leaf from the girl's hair.
"Doesn't matter." She lifted a dirty hand, fingernails flashing chipped red polish, but she didn't seem to know what to do with her outstretched fingers. Little girl fears warred with teenage bravado. Bravado won. "I'm here now."
"All right, then." Maylene walked down the path toward one of the gates. She pulled the key from her handbag, twisted it in the lock, and pushed open the gate.”
― Melissa Marr, quote from Graveminder
“It's okay. You're going to save me, Miss Maylene." The girl gave her a genuine look of happiness. "I know it. I knew if I found you everything would be okay.”
― Melissa Marr, quote from Graveminder
“We can end this before anyone gets hurt." William held his hands out to sides as if to show her he was unarmed. "You don't want to hurt people, do you? You will if you don't come away with me. You know that."
"I'm not bad," Daisha whispered.
"I believe you." He held out a hand to her. He curled his fingers toward him in a beckoning gesture. "You can do the right thing here. Just come with me. We'll go meet some people who can help us."
"Her. The new Graveminder."
"No, not her. You and I can fix this all on our own.”
― Melissa Marr, quote from Graveminder
“The girl's arms jutted out at awkward angles, not quite hands on the hips belligerent but not relaxed either, as if they weren't all the way under the girl's control. "I came to find you."
"I didn't know. If I'd known..."
"It doesn't matter now." The girl's attention was unwavering. "This is where you are.”
― Melissa Marr, quote from Graveminder
“Some people worked well with daily discipline, but she’d always been more of a need-a-deadline or consumed-by-vision artist.”
― Melissa Marr, quote from Graveminder
“Absently, she wondered if finding one’s place in the world always felt like this, as if an audible click could be heard”
― Melissa Marr, quote from Graveminder
Melissa Marr
Born place: in The United States
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“Just because I love Mister Jewls, it doesn't mean I can't also love you. Love is different from most things." She picked up a piece of chalk. "If I gave my piece of chalk to someone, then I wouldn't have it anymore. But when I give my love to someone, I end up with more love than I started with. The more love you give away, the more you have left.”
― Louis Sachar, quote from Wayside School Is Falling Down
“I’ll give you this, Spartan. You sure can kiss. Feel free to lay one on me anytime you want to."
“Well, I do aim to please,” he drawled. “You should see what I can do with my hands. And other parts of my body.”
I rolled my eyes. “Seriously? You’ve been cut open like a fish, there’s a psycho-killer Reaper after us, and you’re still hitting me up for sex?”
Logan shrugged, but the devilish light didn’t fade from his gaze. “Hey, you can’t blame a guy for trying.”
― Jennifer Estep, quote from Kiss of Frost
“He must remain objective. He can’t afford to become emotionally invested in his cases. He would never survive.”
― Shari Lapena, quote from The Couple Next Door
“Moral for psychologists. -- Not to go in for backstairs psychology. Never to observe in order to observe! That gives a false perspective, leads to squinting and something forced and exaggerated. Experience as the wish to experience does not succeed. One must not eye oneself while having an experience; else the eye becomes "an evil eye." A born psychologist guards instinctively against seeing in order to see; the same is true of the born painter. He never works "from nature"; he leaves it to his instinct, to his camera obscura, to sift through and express the "case," "nature," that which is "experienced." He is conscious only of what is general, of the conclusion, the result: he does not know arbitrary abstractions from an individual case.
What happens when one proceeds differently? For example, if, in the manner of the Parisian novelists, one goes in for backstairs psychology and deals in gossip, wholesale and retail? Then one lies in wait for reality, as it were, and every evening one brings home a handful of curiosities. But note what finally comes of all this: a heap of splotches, a mosaic at best, but in any case something added together, something restless, a mess of screaming colors. The worst in this respect is accomplished by the Goncourts; they do not put three sentences together without really hurting the eye, the psychologist's eye. Nature, estimated artistically, is no model. It exaggerates, it distorts, it leaves gaps. Nature is chance. To study "from nature" seems to me to be a bad sign: it betrays submission, weakness, fatalism; this lying in the dust before petit faits [little facts] is unworthy of a whole artist. To see what is--that is the mark of another kind of spirit, the anti-artistic, the factual. One must know who one is.
Toward a psychology of the artist. -- If there is to be art, if there is to be any aesthetic doing and seeing, one physiological condition is indispensable: frenzy. Frenzy must first have enhanced the excitability of the whole machine; else there is no art. All kinds of frenzy, however diversely conditioned, have the strength to accomplish this: above all, the frenzy of sexual excitement, this most ancient and original form of frenzy. Also the frenzy that follows all great cravings, all strong affects; the frenzy of feasts, contests, feats of daring, victory, all extreme movement; the frenzy of cruelty; the frenzy in destruction, the frenzy under certain meteorological influences, as for example the frenzy of spring; or under the influence of narcotics; and finally the frenzy of will, the frenzy of an overcharged and swollen will. What is essential in such frenzy is the feeling of increased strength and fullness. Out of this feeling one lends to things, one forces them to accept from us, one violates them--this process is called idealizing. Let us get rid of a prejudice here: idealizing does not consist, as is commonly held, in subtracting or discounting the petty and inconsequential. What is decisive is rather a tremendous drive to bring out the main features so that the others disappear in the process.
In this state one enriches everything out of one's own fullness: whatever one sees, whatever one wills, is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power--until they are reflections of his perfection. This having to transform into perfection is--art. Even everything that he is not yet, becomes for him an occasion of joy in himself; in art man enjoys himself as perfection.”
― Friedrich Nietzsche, quote from Twilight of the Idols/The Anti-Christ
“You can't just say NO," he said. "You got to do NO. You got to show it. You got to show you mean it by doing it. You got to show you're not going to do one thing by doing another. You got to make an end of it. One way or another.”
― Flannery O'Connor, quote from The Violent Bear It Away
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The Abstinence Teach...BookQuoters is a community of passionate readers who enjoy sharing the most meaningful, memorable and interesting quotes from great books. As the world communicates more and more via texts, memes and sound bytes, short but profound quotes from books have become more relevant and important. For some of us a quote becomes a mantra, a goal or a philosophy by which we live. For all of us, quotes are a great way to remember a book and to carry with us the author’s best ideas.
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