“You draw a line in the sand and say you won’t cross it, you won’t believe or do a particular thing. But once you’ve grown accustomed to the unbelievable, or you’ve done what you’ve sworn you’d never do, you redraw the line a little farther back. You let the waves wash the first away like it never existed.”
― Sarah Lyons Fleming, quote from Mordacious
“He’s funny and attractive. That doesn’t mean I want to sleep with him.” “That always means you want to sleep with someone.” “Thanks a lot,” I say. “Was that a thinly-veiled slut accusation?” “That’s funny, it wasn’t supposed to be thinly-veiled.”
― Sarah Lyons Fleming, quote from Mordacious
“What a dick,” she says. “You know what the worst part is?” “That there are forty people left in the world and he’s one of them?”
― Sarah Lyons Fleming, quote from Mordacious
“As a child, I prayed she’d live, that she’d make it through the night. Eventually, I prayed she’d choke to death in her sleep. Not very kind, I know, but it would have meant escape. I was a prisoner of war in my mother’s battle with herself, and the only liberator was death.”
― Sarah Lyons Fleming, quote from Mordacious
“My mother will never make amends, will never be held accountable. She’s died just as selfishly as she lived. I contemplate kicking the bed. I go as far as lifting my foot but then imagine the rabbit hole of anger I’ll fall into if I give in to my wild urge. I won’t let my mother get to me.”
― Sarah Lyons Fleming, quote from Mordacious
“Everyone’s nice,” I say, and think of Paul. “Well, maybe not everyone, but I like everybody else. How about that?” I prod her with my elbow. “I like people.” “You know what’s happening? You’re having corrective emotional experiences. That’s where—” I groan. “No, we are not having a Psychoanalyze Sylvie session on the roof. We’re making fun of Paul and possibly shopping, not discussing correctional emotions or whatever.”
― Sarah Lyons Fleming, quote from Mordacious
“Dark humor is in our genes. I can die having laughed every chance I got, or I can die having been miserable. Either way, I’ll be dead. Besides, I didn’t mean it as much of a joke.”
― Sarah Lyons Fleming, quote from Mordacious
“I know this disbelief I feel, the disbelief on the others’ faces, is a survival mechanism. You draw a line in the sand and say you won’t cross it, you won’t believe or do a particular thing. But once you’ve grown accustomed to the unbelievable, or you’ve done what you’ve sworn you’d never do, you redraw the line a little farther back. You let the waves wash the first away like it never existed.”
― Sarah Lyons Fleming, quote from Mordacious
“If I stay within the tree line at the edge of the field, my buddies across the way won’t notice, as they’re now chasing a bird. The bird lands to peck at the grass and, when they get close again, it flaps another ten feet and lands. I think it’s fucking with them.”
― Sarah Lyons Fleming, quote from Mordacious
Sarah Lyons Fleming
Born place: in Brooklyn, NY, The United States
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“Igual que en la ética el mal es consecuencia del bien, en realidad de la alegría nace la tristeza.”
― Edgar Allan Poe, quote from Berenice
“I knew it was easier to drill things in than to take them out.'
'It's like a screw!' Craig-Vyvyan shouted.... 'If you pull off it's head, you never get it out.”
― Mark Helprin, quote from Freddy and Fredericka
“The Bostonians is special because it never was ‘titivated’ for the New York edition, for its humour and its physicality, for its direct engagement with social and political issues and the way it dramatized them, and finally for the extent to which its setting and action involved the author and his sense of himself. But the passage above suggests one other source of its unique quality. It has been called a comedy and a satire – which it is. But it is also a tragedy, and a moving one at that. If its freshness, humour, physicality and political relevance all combine to make it a peculiarly accessible and enjoyable novel, it is also an upsetting and disturbing one, not simply in its treatment of Olive, but also of what she tries to stand for. (Miss Birdseye is an important figure in this respect: built up and knocked down as she is almost by fits and starts.) The book’s jaundiced view of what Verena calls ‘the Heart of humanity’ (chapter 28) – reform, progress and the liberal collectivism which seems so essential an ingredient in modern democracy – makes it contentious to this day. An aura of scepticism about the entire political process hangs about it: salutary some may say; destructive according to others. And so, more than any other novel of James’s, it reminds us of the literature of our own time. The Bostonians is one of the most brilliant novels in the English language, as F. R. Leavis remarked;27 but it is also one of the bleakest. In no other novel did James reveal more of himself, his society and his era, and of the human condition, caught as it is between the blind necessity of progress and the urge to retain the old. It is a remarkably experimental modern novel, written by a man of conservative values. It is judgemental about people with whom its author identified, and lenient towards attitudes hostile to large areas of James’s own intellectual and personal inheritance. The strength of the contradictions embodied in the novel are a guarantee of the pleasure it has to give.”
― Henry James, quote from The Bostonians
“That’s what’s so wonderful about you, you’re so self-sufficient that I feel that you’ve created your own self.”
― Simone de Beauvoir, quote from The Blood of Others
“who dwells in the past robs the present,”
― Kate Manning, quote from My Notorious Life
Casanova in Bolzano
Breathless
The Neon Court
The Book of Question...
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