“Moments come and go; quick flickers in time. Yet those moments can have the profoundest impact on our lives. Either we seize them, and wield them to our needs, or we let them go. It’s the moments we let go that, I believe, remain with us strongest—because regret is something that never leaves us.”
“I love you, too, baby girl,” he whispers. “Here, there, forever.”
“Sometimes we have to hit rock bottom before we can make our way back up.”
“How do I save him, and let you go at the same time? How do I do that?”
“I’m not going anywhere. The good, the bad, and the ugly . . . remember?”
“I envy the river. It moves, flows, and keeps going. Unlike me.”
“I didn’t know what life was until death came to my door.”
“man. Maybe you’re broken, but so am I. Broken doesn’t mean we’re valued any less, it just means we’ve loved someone so much and so fiercely that losing them feels like we’ve lost part of ourselves. I”
“Let’s put our crazy away for three minutes and just dance,”
“I pray I’ll get to remember this on the other side, that whatever higher being there is will allow me to hold tightly to this memory.”
“This is only a dream; the two of us imagining what could have been in another time or another life.”
“Sometimes that’s all we really have to get us through the hard times. Something as empty and useless as words can be what keeps us treading water in the raging and unforgiving river that is life. And that is exactly what they’ve been for me.”
“Listen, I don't know you or what you've been through, but I know I'd give any-thing to still be alive right now, no matter what.”
“It’s the moments we let go that, I believe, remain with us strongest—because regret is something that never leaves us.”
“Broken doesn’t mean we’re valued any less, it just means we’ve loved someone so much and so fiercely that losing them feels like we’ve lost part of ourselves.”
“First off, guys don’t say BFF.”
“and together we take turns narrating the life we’ll never have together.”
“I want you. All of you. The good, the bad, and the ugly. I love you.”
“Johnny Cash, God’s Gonna Cut You Down,” he says. I can’t help it; I look up at Ike and smirk. “What? You’re not a Cash fan?” He gives me a sad look. “I am,” I whisper. “What?” he groans. “Beautiful and fantastic taste in music! Where were you when I was alive?”
“Words have been the fine threads that have tied me to this world, forbidding me to disappear”
“You could have her if you wanted, but instead you’re choosing to sit here and be pissed off and miserable. Maybe you don’t deserve her.”
“It isn’t intimate or sexual; it’s the comfort in finding someone who finally understands.”
“Grief. What a horrid thing it is, yet I hold tightly to it. The agony I feel is how I remember he was here, that he existed.”
“The brothers are so different, polar opposites in fact, that I find myself drawn to each one for different reasons. One is so strong and responsible; so much so, not even death can keep him from taking care of those he loves. The other, broken and lost, wishing time could rewind on one hand, but using any method necessary to forget time on the other.”
“Not a cruel cold, more like wounded, like a warning to stay away; a broken cold.”
“She’s a very drastic woman. Not even I could have predicted she’d do something like that.”
“Somehow we’ve become tethered to one another, even though we both know our time together is limited.”
“When her gaze meets mine, I see the sadness and the guilt in her eyes. I know she feels bad about wanting us both, but she feels worse because she knows I can do nothing about it, no matter what.”
“I did look obvious. Son of a bitch. “Not yet, Charlotte, but soon,” he says,”
“Branch Bacardi, star of The Da Vinci Load, To Drill a Mockingbird, The Postman Always Cums Twice, Chitty Chitty Gang Bang, The Twilight Bone, A Tale of Two Titties...”
“Pengabstrakan kerja dalam bentuk uang mengandaikan dialektika di antara perkerjaan/kerja yang secara sosial dibutuhkan untuk membuat barang dagangan/komoditi/jasa, dengan proses produksi kapitalisme yang justru meniadakan kerja manusia itu sendiri. Sehingga proses produksi kapitalisme dalam kelanjutannya hanya menempatkan manusia sebagai bagian dari proses akumulasi modal.”
“You weren’t worried about sleeping beside Aria when she still despised you so why should I?”
“You can’t compare Aria to Gianna. They are like two different species. And I trust Aria absolutely. She caught a fucking bullet for me.”
“Must be nice,” I muttered. “Gianna would probably applaud my shooter.”
“In that moment, lying there on the floor in agony, he realized that was why his feelings for Liv had so drastically changed. Earlier, she had actually gotten up and attacked one of the men, trying to protect him. Him. A complete bastard who never did anything for anyone.”
“Hollywood was always best viewed at night. It could only hold its mystique in darkness. In sunlight the curtain comes up and the intrigue is gone, replaced by a sense of hidden danger. It was a place of takers and users, of broken sidewalks and dreams. You build a city in the desert, water it with false hopes and false idols, and eventually this is what happens. The desert reclaims it, turns it arid, leaves it barren. Human tumbleweeds drift across its streets, predators hide in the rocks.”
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