Quotes from Slice of Cherry

Dia Reeves ·  505 pages

Rating: (2.9K votes)


“But what if the monsters come?"
"Fancy." Kit looked away from the drama to stare at her sister, surprised. "We are the monsters.”
― Dia Reeves, quote from Slice of Cherry


“Real monsters eat you from the inside out.”
― Dia Reeves, quote from Slice of Cherry


“People?" As though she'd never heard of such a thing. "They're like dolls. Plastic and shiny and fake.”
― Dia Reeves, quote from Slice of Cherry


“You're like a doll I had when I was a kid. She was all stiched together and her head kept falling off, but I loved that doll. That's what you look like. Like somebody just loved you to death.”
― Dia Reeves, quote from Slice of Cherry


“But what was the point of love if it didn't keep people from leaving you?”
― Dia Reeves, quote from Slice of Cherry



“The worst thing you can do is rest all your hopes on a wish. A granted wish doesn't equal a perfect life.”
― Dia Reeves, quote from Slice of Cherry


“Humans are predators, not prey. Always remember that.”
― Dia Reeves, quote from Slice of Cherry


“I'm the Bonesaw Killer's daughter," she whispered, almost to herself. "Why would you ever think I was good?”
― Dia Reeves, quote from Slice of Cherry


“You're like rottweilers - they protect you from burglars, but nothing protects you from them.”
― Dia Reeves, quote from Slice of Cherry


“Fancy clipped a scrap of newsprint to her canvas and wrote, I don't have friends.
Ilan's hand covered hers briefly as he plucked the charcoal from her hand and wrote beneath her words, you have me.
― Dia Reeves, quote from Slice of Cherry



“If I had the power to resurrect, I'd use it on you." Now he was the one whispering. "There's an important part of you that's dead: the part that cares.”
― Dia Reeves, quote from Slice of Cherry


“She decided not to look him in the eyes ever again. It was too much like being shoved over the edge of a ravine.”
― Dia Reeves, quote from Slice of Cherry


“No, thanks. If I start wearing heels, boys will whistle at me when I walk by.”
― Dia Reeves, quote from Slice of Cherry


“Trying to understand Daddy is like trying to nail jelly to a tree.”
― Dia Reeves, quote from Slice of Cherry


“I’d give just about anything if I could make you care,” he said. “Especially about me.”
― Dia Reeves, quote from Slice of Cherry



“I caught her red-handed with her hands down his pants."
"You did not," Fancy told Madda sternly, with as much dignity as she was able. "It was just one hand.”
― Dia Reeves, quote from Slice of Cherry


“I do know you, Fancy. All about you. The problem is, you don’t know about me.”
― Dia Reeves, quote from Slice of Cherry


“Poison ivy and deer crap and rocks. Oh, my!”
― Dia Reeves, quote from Slice of Cherry


“When Fancy still didn't answer, he took her hand, and with his red paintbrush, he wrote 'please' into her palm.”
― Dia Reeves, quote from Slice of Cherry


“Maybe thats why they hate us.For reminding them that innocence is just an illusion, we're dark and maggoty all the way down tp the bone.Everyone of us.”
― Dia Reeves, quote from Slice of Cherry



“Wanna see the rest of my happy place?”
― Dia Reeves, quote from Slice of Cherry


“So...you don't like dismembering?"
"No."
"Evisceration?"
"Not so much." He laughed like he thought she was joking. "I'm a dull sorta guy."
"Yeah, kinda.”
― Dia Reeves, quote from Slice of Cherry


“I remember you from the woods. Where's your sister?"
"She's busy. Sinning.”
― Dia Reeves, quote from Slice of Cherry


About the author

Dia Reeves
Born place: Dallas, The United States
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“The power of music, narrative and drama is of the greatest practical and theoretical importance. One may see this even in the case of idiots, with IQs below 20 and the extremest motor incompetence and bewilderment. Their uncouth movements may disappear in a moment with music and dancing—suddenly, with music, they know how to move. We see how the retarded, unable to perform fairly simple tasks involving perhaps four or five movements or procedures in sequence, can do these perfectly if they work to music—the sequence of movements they cannot hold as schemes being perfectly holdable as music, i.e. embedded in music. The same may be seen, very dramatically, in patients with severe frontal lobe damage and apraxia—an inability to do things, to retain the simplest motor sequences and programmes, even to walk, despite perfectly preserved intelligence in all other ways. This procedural defect, or motor idiocy, as one might call it, which completely defeats any ordinary system of rehabilitative instruction, vanishes at once if music is the instructor. All this, no doubt, is the rationale, or one of the rationales, of work songs.”
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