“Love isn't simple, Katie, and neither is life. Things that are worth having are sometimes complicated, and they evoke complicated emotions. You know, one of the reasons people often turn to alcohol or drugs is that they can't deal with complications.”
― Catherine McKenzie, quote from Spin
“It’s just how love gets described in the movies. Like in Sleepless in Seattle . . .” This is the movie they showed us last night. “Tom Hanks’s character is musing about why he fell in love with his dead wife, and he says that it was because she could peel an apple in one long strip, or something like that. And I was reading something similar in a book recently, only that was about peeling an orange . . . anyway . . . I’ve just never felt like the way someone peels fruit would be a reason to spend the rest of your life with them.”
― Catherine McKenzie, quote from Spin
“Her office is oddly decorated with all things dog. There's a dog calendar, a dog clock, a couple of framed photographs of dogs, a dog leash sitting on the corner of her desk. The only thing missing is the actual dog itself. Or maybe the leash is for me?”
― Catherine McKenzie, quote from Spin
“Ah, the Serenity Prayer. “God grant me the serenity To accept the things I cannot change; Courage to change the things I can . . .” For some reason, reciting it never leaves me feeling very serene.”
― Catherine McKenzie, quote from Spin
“So, I know what messy is, and it isn’t love. No, love is supposed to be simple. It’s supposed to be about brushing raindrops off eyelashes, and looks across a crowded room. It’s supposed to be about watching a shooting star, or the way a leaf falls off a tree and floats to the ground. It’s supposed to be about apple peels.”
― Catherine McKenzie, quote from Spin
Catherine McKenzie
Born place: Montreal, Canada
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“MAYBE IT WOULD be a good idea to rearrange the flat a bit,’ said Mum. ‘I’ve been thinking. You and Kendall might like your own den, more of a play space. So how about us turning the bedroom into your room. It’s purple too, your favourite colour.’ ‘Lilac isn’t purple.’ ‘It’s light purple, Miss Picky. Anyway, I was thinking of getting a little portable telly for you two. You’d like that, wouldn’t you? Then the living room could be more – well, my room.’ ‘And you want to put a socking great bed in it for you and Jake,’ I said coldly. ‘No I don’t! Well. I was thinking about one of them sofa beds. Then if Jake should want to stay over . . .’ ‘Why can’t he stay in his own place?’ ‘He hasn’t exactly got his own place,’ said Mum. ‘He’s staying with a friend at the moment.’ ‘Why can’t he get his own place, then?’ I said. ‘Because he hasn’t got any money. He’s a student.’ ‘They give them rooms in the university, don’t they?’ ‘Only the first year. For God’s sake, Lola Rose, give it a rest. He’s coming to live with us and that’s that. I don’t see why you’ve got such a problem with it. We’re in love, can’t you see?’ ‘He doesn’t love you. He’s just shacking up with us because he hasn’t got anywhere else. And you spend a fortune on him. Our fortune.’ Mum slapped me straight across the face. Kendall was watching. He cried. I didn’t cry. I stared Mum out. ‘You only slapped me because you know it’s true.’ ‘I slapped you because you’re a spoilt little cow,’ Mum snapped. ‘What’s the matter with you, Lola Rose? You can’t be jealous, can you?”
― Jacqueline Wilson, quote from Lola Rose
“It felt like one of those perfect moments where everything comes together. But like I said, I don't believe in accidents. Even if this strange, musical moment, the final result of a long chain of unlikely events, never came to anything else, it was meant to be.
Something new had been born.”
― Mark Peter Hughes, quote from Lemonade Mouth
“The satyr, as the Dionysiac chorist, dwells in a reality sanctioned by myth and ritual. That tragedy should begin with him, that the Dionysiac wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus. Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization. Richard Wagner has said of the latter that it is absorbed by music as lamplight by daylight. In the same manner, I believe, the cultured Greek felt himself absorbed into the satyr chorus, and in the next development of Greek tragedy state and society, in fact everything that separates man from man, gave way before an overwhelming sense of unity that led back into the heart of nature. This metaphysical solace (which, I wish to say at once, all true tragedy sends us away) that, despite every phenomenal change, life is at bottom indestructibly joyful and powerful, was expressed most concretely in the chorus of satyrs, nature beings who dwell behind all civilization and preserve their identity through every change of generations and historical movement.
With this chorus the profound Greek, so uniquely susceptible to the subtlest and deepest suffering, who had penetrated the destructive agencies of both nature and history, solaced himself. Though he had been in danger of craving a Buddhistic denial of the will, he was saved through art, and through art life reclaimed him.”
― Friedrich Nietzsche, quote from The Birth of Tragedy
“We are noble, good, beautiful, and happy!”
― Friedrich Nietzsche, quote from On the Genealogy of Morals
“reason, for it involved a great deal of personal risk, and that was”
― Michael G. Manning, quote from The God-Stone War
That Perfect Someone
Believing God
Split
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Stolen Nights
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