Quotes from The Restorer

Amanda Stevens ·  376 pages

Rating: (12.4K votes)


“There are a lot of things in this world to be afraid of, but a dead body isn't one of them.”
― Amanda Stevens, quote from The Restorer


“There was something so primal and hungry about the way he stared down at her..the way their bodies unconsciously strained toward one another as if nothing - not even time, not distance, not even death- could ever keep them apart.”
― Amanda Stevens, quote from The Restorer


“It's hotter than a two-peckered alley cat up in here. Humidity must be close to a hundred.”
― Amanda Stevens, quote from The Restorer


“Let me enjoy my fan-wanking.
Your what?
Let me arrange the story to meet my own personal needs.”
― Amanda Stevens, quote from The Restorer


“For those of us who can, there are certain precautions we must take in order to protect ourselves and those around us. The first and most important is this-never acknowledge the dead. Don't look at them, don't speak to them don't let them sense your fear. Even when they touch you"..."The second thing you must remember is this," Papa said. "Never stray too far from hallowed ground."..."Rule Number Three," he said. "Keep your distance from those who are haunted. If they seek you out, turn away from them, for they constitute a terrible threat and cannot be trusted." ..."Rule Number Four," he said sternly. "Never, ever tempt fate.”
― Amanda Stevens, quote from The Restorer



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About the author

Amanda Stevens
Born place: Bradford, Arkansas, The United States
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Popular quotes

“أتطلب مني الصبر والتجلد وفي عينيك معنى اليأس والقنوط؟ أيعطي الفقير الجائع خبزه إلى الجائع الفقير
هل يتعزى كسير القلب بالقلب الكسير”
― Kahlil Gibran, quote from The Broken Wings


“We should have given up years ago. It's so clear now. We should have "explored other options." We should have adopted. We gave up years of our lives and we very nearly destroyed our marriage. Our happy ending could have and should have arrived so much sooner. And even though I adore the fact that Francesca has Ben's eyes, I also see now that her biological connection to us is irrelevant.”
― Liane Moriarty, quote from What Alice Forgot


“silence. Finally, he said, “So you and”
― Leila Meacham, quote from Roses


“This new concept of the "finest, highest achievement of art" had no sooner entered my mind than it located the imperfect enjoyment I had had at the theater, and added to it a little of what it lacked; this made such a heady mixture that I exclaimed, "What a great artiste she is!" It may be thought I was not altogether sincere. Think, however, of so many writers who, in a moment of dissatisfaction with a piece they have just written, may read a eulogy of the genius of Chateaubriand, or who may think of some other great artist whom they have dreamed of equaling, who hum to themselves a phrase of Beethoven for instance, comparing the sadness of it to the mood they have tried to capture in their prose, and are then so carried away by the perception of genius that they let it affect the way they read their own piece, no longer seeing it as they first saw it, but going so far as to hazard an act of faith in the value of it, by telling themselves "It's not bad you know!" without realizing that the sum total which determines their ultimate satisfaction includes the memory of Chateaubriand's brilliant pages, which they have assimilated to their own, but which, of course, they did not write. Think of all the men who go on believing in the love of a mistress in whom nothing is more flagrant than her infidelities; of all those torn between the hope of something beyond this life (such as the bereft widower who remembers a beloved wife, or the artist who indulges in dreams of posthumous fame, each of them looking forward to an afterlife which he knows is inconceivable) and the desire for a reassuring oblivion, when their better judgement reminds them of the faults they might otherwise have to expiate after death; or think of the travelers who are uplifted by the general beauty of a journey they have just completed, although during it their main impression, day after day, was that it was a chore--think of them before deciding whether, given the promiscuity of the ideas that lurk within us, a single one of those that affords us our greatest happiness has not begun life by parasitically attaching itself to a foreign idea with which it happened to come into contact, and by drawing from it much of the power of pleasing which it once lacked.”
― Marcel Proust, quote from In the Shadow of Young Girls in Flower


“There is a lot of folklore about equestrian statues, especially the ones with riders on them. There is said to be a code in the number and placement of the horse's hooves: If one of the horse's hooves is in the air, the rider was wounded in battle; two legs in the air means that the rider was killed in battle; three legs in the air indicates that the rider got lost on the way to the battle; and four legs in the air means that the sculptor was very, very clever. Five legs in the air means that there's probably at least one other horse standing behind the horse you're looking at; and the rider lying on the ground with his horse lying on top of him with all four legs in the air means that the rider was either a very incompetent horseman or owned a very bad-tempered horse.”
― Terry Pratchett, quote from I Shall Wear Midnight


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