White is for Witching
Quotes from the Book
Solitary people, these book lovers. I think it's swell that there are people you don't have to worry about when you don't see them for a long time, you don't have to wonder what they do, how they're getting along with themselves. You just know that they're all right, and probably doing something they like.
179
I’m never sad when a friend goes far away, because whichever city or country that friend goes to, they turn the place friendly. They turn a suspicious-looking name on the map into a place where a welcome can be found. Maybe the friend will talk about you sometimes, to other friends that live around him, and then that’s almost as good as being there yourself. You’re in several places at once! In fact, my daughter, I would even go so far as to say that the further away your friends, and the more spread out they are the better your chances of going safely through the world…
69
Her heart was heavy because it was open, and so things filled it, and so things rushed out of it, but still the heart kept beating, tough and frighteningly powerful and meaning to shrug off the rest of her and continue on its own.
54
I wish there was someone I could have written to after that, someone I could have written to explain how awful it was to have someone touch you, then look at you properly and change his mind.
45
… there’s a difference between having no one because you’ve chosen it and having no one because everyone has been taken away.
44
What you're doing is building a horrible kind of logic. People read what you write and they say, 'Yes, he is talking about things that really happen,' and they keep reading, and it makes sense to them. You're explaining things that can't be defended, and the explanations themselves are mad, just bizarre — but you offer them with such confidence. It was because she kept the chain on the door; it was because he needed to let off steam after a hard day's scraping and bowing at work; it was because she was irritating and stupid; it was because she lied to him, made a fool of him; it was because she had to die, she just had to, it makes dramatic sense; it was because 'nothing is more poetic than the death of a beautiful woman'; it was because of this, it was because of that. It's obscene to make such things reasonable.
40
It occurred to me that I was unhappy. And it didn’t feel so very terrible. No urgency, nothing. I could slip out of my life on a slow wave like this—it didn’t matter. I don’t have to be happy. All I have to do is hold on to something and wait.
37
And she walked away, and she walked away, and that was that, and that was that.
23
And without further argument he unsheathed the sword and cleaved Miss Foxe's head from her neck. He knew what was supposed to happen. He knew that this awkward, whispering creature before him should now transform into a princess - dazzlingly beautiful, free, and made wise by her hardship. That is not what happened.
23
Last summer I spent almost an hour blowing dandelions off their stems towards him, so that he had a chance to wish for everything he wanted.
22
She encouraged herself to see her very small presence in the world as a good thing, a power, something that a hero might possess.
21
There were days when he touched the tip of her nose and it was enough, a miracle of plenty.
21
So she quit working to make sense of things— we don’t realise it, but it’s hard work we do almost every waking moment, building out thoughts and memories and actions around time, things that happened yesterday, and things that are happening right now, and what’s coming tomorrow, layering all of that simultaneously and holding it in balance.
13
The girl was lighter without her heart. She danced barefoot on the hot roads, and her feet were not cut by the glass or stones that studded her way. She spoke to the dead whenever they visited her. She tried to be kind, but they realised that they no longer had anything in common with her, and she realised it, too. So they went their separate ways.
11
I would like to have nothing to do with you for hours on end and then come back and find you, come back with things I’ve thought and found all on my own— on my own, not through you.
10
She doesn’t complain about anything I do; she is physically unable to. That’s because I fixed her early. I told her in heartfelt tones that one of the reasons I love her is because she never complains. So now of course she doesn’t dare complain.
10
He kissed me like ice cream, like a jazz waltz, the rough, gentle way the sea washed sand off my skin on the hottest day of the year.
9
They tried their best with each other, but it just wasn’t any good.
9
Love. I'm not capable of it, can't even approach it from the side, let alone head-on. Nor am I alone in this—everyone is like this, the liars. Singing songs and painting pictures and telling each other stories about love and its mysteries and marvelous properties, myths to keep morale up—maybe one day it'll materialize. But I can say it ten times a day, a hundred times, 'I love you,' to anyone and anything, to a woman, to a pair of pruning shears. I've said it without meaning it at all, taken love's name in vain and gone dismally unpunished. Love will never be real, or if it is, it has no power. No power. There's only covetousness, and if what we covet can't be won with gentle words—and often it can't—then there is force.
7
His voice in my ear. It did interesting things to me. It curved my back and parted my lips. I felt lazy and feline, and he wasn’t even in the room.
7
I like to hear the marching of typewriter keys, the shudder of the space bar, the metallic ding at the end of a line. Those sounds are encouraging, sounds made by someone who is interested in you and in what you're saying, someone who understands exactly what you're getting at. "Hmm," the typewriter says. And "Mmmm. I-see-I-see-I-see." And sometimes it chuckles....
7
She told him that she had looked after him because of the white hairs on his forehead that grew into the shape of a star. Sometimes you see that someone is marked and you're helpless after that - you love.
7
She doesn't want to see anyone. She's happy like that, I think. Always relieved at the end of a visit.
6
And that was what all the expressions felt like— masks. I didn’t believe them. They were too thorough, too nuanced; they were never at odds with his subject matter.
6
Sometimes I do what I say I’m going to do, but more often I don’t. It’s a failing. The least of my failings, and the only one I feel up to admitting at the moment.
6
I have loved a fool who counted kisses, she thought.
6
I think it's swell that there are people you don't have to worry about when you don't see them for a long time, you don't have to wonder what they do, how they're getting along with themselves. You just know that they're all right, and probably doing something they like.
5
I love sleeping. Waking is more and more hateful the older I get. I say this as if I've lived too long. I'm twenty-two.
4
Because things grow. Wherever there is air and light and open space, things grow.
4
[i]We were fighting so very hard and achieving so very little aside from staying alive. BUT THAT’S EVERYTHING, my father wrote to me, when I told him that in a letter.[/i]
4
About Helen Oyeyemi
More by Helen Oyeyemi
About the book
It’s a bright afternoon in 1938 and Mary Foxe is in a confrontational mood. St John Fox, celebrated novelist, hasn’t seen her in six years. He’s unprepared for her afternoon visit, not least because she doesn’t exist. He’s infatuated with her. But he also made her up. “You’re a villain,” she tells him. ‘A serial killer . . . can you grasp that?” Will Mr Fox meet his muse’s challenge, to stop murdering his heroines and explore something of love? What will his wife Daphne think of this sudden change in her husband? Can there be a happy ending – this time?
Book details
- First published
- 2011
- Author
- Helen Oyeyemi
- Genre
- Fiction
- Goodreads rating
- 3.57 (12k ratings)
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