“You are my drug of choice, and I plan to overdose.”
― Angie Stanton, quote from Snapshot
“Because I need you more right now than I need to breathe.”
― Angie Stanton, quote from Snapshot
“When a person is so irresponsible and self-centered that they can’t look out for the basic needs of their own family and they actually cause irreparable harm to their own children, that’s totally unacceptable. And when they treat other people like they exist only to serve them, that’s not only rude and offensive, it’s completely wrong. No one on this earth should be allowed to step on other people just to build themselves up.”
― Angie Stanton, quote from Snapshot
“We need something fun to remember when we look back at our youth.”
― Angie Stanton, quote from Snapshot
Angie Stanton
Born place: The United States
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“I did not glow with the thrill of battle. Cringe, yes. Glow, no.”
― Jennifer Estep, quote from Kiss of Frost
“I was crying when I fed her because I was sad about being fat and unattractive, and Cynthia—who is supposed to be a friend—had been flirting with my husband all evening.”
― 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
“It was love without reason, love for something futureless, love that appeared to exist only to be itself, imperious and all demanding, the kind that would cause him to make a fool of himself in an instant.”
― Flannery O'Connor, quote from The Violent Bear It Away
“Oh, Ellie, you look beautiful. Like a Fey-tale princess.”
― C.L. Wilson, quote from Lady of Light and Shadows
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Story of the Eye
The Tenth Circle
DaytripperBookQuoters 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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