Quotes from Superior Saturday

Garth Nix ·  336 pages

Rating: (12.1K votes)


“I am not going to change who I am. I am human and I know how to love, and be kind, and be compassionate to those who are weaker than me. Just because I have power doesn't mean I have to use it!”
― Garth Nix, quote from Superior Saturday


“There is never one absolutely right thing to do. All you can do is honor what you believe, accept the consequences of your own actions, and make the best out of what happens.”
― Garth Nix, quote from Superior Saturday


“I 'ad a toy when I was little,' said Suzy. She frowned for a moment, then added, 'Can't remember what it was. It moved and made me laugh...”
― Garth Nix, quote from Superior Saturday


“As it 'appens, I am Arthur's right-hand man," said Suzy. "Or left-hand girl, I can't remember where I stood last time. Anyhow, me and Arthur is like two fingers of a gauntlet. Or at least the thumb and the little finger. I mean, I'm his top General, and all. So if I say you're in, you're in.”
― Garth Nix, quote from Superior Saturday


“You mortals arose from the possibility she made and, though she always liked to think so, are consequently not of her direct design.”
― Garth Nix, quote from Superior Saturday



“Stop! By the Keys I hold, I order the Nothing to stop! House, you must hold against the Void!”
― Garth Nix, quote from Superior Saturday


About the author

Garth Nix
Born place: in Melbourne, Australia
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Popular quotes

“In Mexico City they somehow wandered into an exhibition of paintings by the beautiful Spanish exile Remedios Varo: in the central painting of a triptych, titled “Bordando el Manto Terrestre,” were a number of frail girls with heart-shaped faces, huge eyes, spun-gold hair, prisoners in the top room of a circular tower, embroidering a kind of tapestry which spilled out the slit windows and into a void, seeking hopelessly to fill the void: for all the other buildings and creatures, all the waves, ships and forests of the earth were contained in the tapestry, and the tapestry was the world. Oedipa, perverse, had stood in front of the painting and cried. No one had noticed; she wore dark green bubble shades. For a moment she’d wondered if the seal around her sockets were tight enough to allow the tears simply to go on and fill up the entire lens space and never dry. She could carry the sadness of the moment with her that way forever, see the world refracted through those tears, those specific tears, as if indices as yet unfound varied in important ways from cry to cry. She had looked down at her feet and known, then, because of a painting, that what she stood on had only been woven together a couple thousand miles away in her own tower, was only by accident known as Mexico, and so Pierce had take her away from nothing, there’d been no escape. What did she so desire escape from? Such a captive maiden, having plenty of time to think, soon realizes that her tower, its height and architecture, are like her ego only incidental: that what really keeps her where she is is magic, anonymous and malignant, visited on her from outside and for no reason at all. Having no apparatus except gut fear and female cunning to examine this formless magic, to understand how it works, how to measure its field strength, count its lines of force, she may fall back on superstition, or take up a useful hobby like embroidery, or go mad, or marry a disk jockey. If the tower is everywhere and the knight of deliverance no proof against its magic, what else?”
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