“Sometimes it's the ones closest to us who can destroy us the most. Sometimes it's friends...family. It's not always a romantic relationship that can leave us with a broken heart.
-Gage”
― Shanora Williams, quote from Who He Is
“I look at people in a different
perspective. I saw you differently. Shy
with a smart-ass mouth. Reserved, but you
know exactly how to cut loose. Girls like you
I have to watch out for. Girls like you are the
deadliest ones.”
― Shanora Williams, quote from Who He Is
“I could never hurt you because hurting you is…hurting me.
-Gage”
― Shanora Williams, quote from Who He Is
“Don’t leave me, Eliza. You can’t… I need you too much. I love you too much.
-Gage”
― Shanora Williams, quote from Who He Is
“He's created a freaking ice cream sundae with extra-hot fudge just by uttering my name.”
― Shanora Williams, quote from Who He Is
“Please, don't leave me. Don't make me empty again. Don't let me break.
-Gage”
― Shanora Williams, quote from Who He Is
“I think about you day and night, Eliza. I wake up and wish every morning you were lying in my bed beside me. Every time I’m really smiling, it’s because I’m with you or I’m thinking about you.
-Gage”
― Shanora Williams, quote from Who He Is
Shanora Williams
Born place: in Matthews, NC, The United States
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“Hindsight, I thought, was like a punishment, remorseless in its clarity and painfully unable to change what had gone before.”
― Susanna Kearsley, quote from The Splendour Falls
“Con los países pobres ocurre lo mismo que ocurre con los pobres de cada país: los medios masivos de comunicación sólo se dignan echarles una ojeada cuando ofrecen alguna desgracia espectacular que puede tener éxito en el mercado. ¿Cuántas personas deben ser destripadas por guerra o terremoto, o ahogadas por inundación, para que algunos países sean noticia y aparezcan por una vez en el mapa del mundo? ¿Cuántos espantos debe acumular un muerto de hambre para que las cámaras lo enfoquen por una vez en la vida? El mundo tiende a convertirse en el escenario de un gigantesco reality show. Los pobres, los desaparecidos de siempre, sólo aparecen en la tele como objeto de burla de la cámara oculta o como actores de sus propias truculencias. El desconocido necesita ser reconocido, el invisible quiere hacerse visible, busca raíz el desarraigado. Lo que no existe en la televisión, ¿existe en la realidad? Sueña el paria con la gloria de la pantalla chica, donde cualquier espantapájaros se transfigura en galán irresistible. Con tal de entrar en el olimpo donde los teledioses moran, algún infeliz ha sido capaz de pegarse un tiro ante las cámaras de un programa de entretenimientos. Últimamente, la llamada telebasura está teniendo, en unos cuantos países de América latina, tanto o más éxito que las telenovelas: la niña violada llora ante el periodista que la interroga como si la violara otra vez; este monstruo es el nuevo hombre elefante, miren, señoras y señores, no se pierdan este fenómeno increíble: la mujer barbuda busca novio; un señor gordo dice estar embarazado. Hace treinta y poco años, en Brasil, ya los concursos del horror convocaban multitudes de candidatos y ganaban enormes teleaudiencias: ¿Quién es el enano más bajito del país? ¿Quién es el narigón de nariz más larga, que la ducha no le moja los pies? ¿Quién es el desgraciado más desgraciado de todos? En los concursos de desgraciados, desfilaba por los estudios la corte de los milagros: la niña sin orejas, comidas por las ratas; el débil mental que había pasado treinta años encadenado a la pata de una cama; la mujer que era hija, cuñada, suegra y esposa del marido borracho que la había dejado inválida. Y cada desgraciado tenía su hinchada, que desde la platea gritaba, a coro:
-¡Ya ganó! ¡Ya ganó!”
― Eduardo Galeano, quote from Upside Down: A Primer for the Looking-Glass World
“Life is full of so much that you refuse to let yourself experience. The blanketing comfort of love, the fulfillment of contagious laughter, the peace of finding true joy, the butterflies of uncontainable excitement…these are all things that make up life. They should never be taken for granted. You of all people should understand that, sweetheart.”
― L.B. Simmons, quote from The Resurrection of Aubrey Miller
“- Galima gauti saulės smūgį, bet mėnulio smūgio negausi.”
― quote from Torture the Artist
“listening to Joe and after the game warden had dispatched the suffering animal. “I could see them sending someone out here to shut up The Earl once and for all. They came, shot him, and hung him from the windmill, and they were on a plane back to O’Hare by the time you found him.” “It may be what happened,” Joe said, “but it’s speculation at best. Marcus Hand sent two of his investigators east, and they may come back with something before the trial is over. But they may not. What I have trouble with in that scenario is how this Chicago hit man would know to frame Missy.” Nate said, “They had an insider.” “And who would that be?” “The same guy who told Laurie Talich where she could find me.” “Bud?” “Bingo,” Nate said. “It took a while for me to figure it out and there are still some loose ends I’d like closed, but it makes sense. Missy knew vaguely where I was living because she talks to her daughter, and last year she tried to hire me to put the fear of God into Bud, remember? She might have let it slip to her ex-husband that if he didn’t stop pining over her, she’d drive to Hole in the Wall Canyon and pick me up. Somehow, Bud found out where I was. And by happenstance, he meets a woman in the bar who has come west for the single purpose of avenging her husband. Bud has contacts with the National Guard who just returned from Afghanistan, and he was able to help her get a rocket launcher. Then he drew her a map. He must have been pretty smug about how it all worked out. He thought he was able to take me out of the picture without getting his own hands dirty.” “Bud—what’s happened to him?” Joe asked, not sure he was convinced of Nate’s theory. “Why has he gone so crazy on us?” “A man can only take so”
― C.J. Box, quote from Cold Wind
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