"You still love me - even if there's one expression of it that you will always feel and want, but will not give me no longer. I'm still what I was, and you'll always see it, and you'll always grant me the same response, even if there's a greater one that you grant another man. No matter what you feel for him, it will not change what you feel for me, and it won't treason to either, because it comes from the same root, it's the same payment in answer to the same values."
— Ayn Rand (Atlas Shrugged)

"I swear, by my life and my love of it, that I will never live for the sake of another man, nor ask another man to live for mine."
— Ayn Rand (Atlas Shrugged)

"Until and unless you discover that money is the root of all good, you ask for your own destruction. When money ceases to be the tool by which men deal with one another, then men become the tools of men. Blood, whips and guns--or dollars. Take your choice--there is no other--and your time is running out."
— Ayn Rand (Atlas Shrugged)

"She sat listening to the music. It was a symphony of triumph. The notes flowed up, they spoke of rising and they were the rising itself, they were the essence and the form of upward motion, they seemed to embody every human act and thought that had ascent as its motive. It was a sunburst of sound, breaking out of hiding and spreading open. It had the freedom of release and the tension of purpose. It swept space clean, and left nothing but the joy of an unobstructed effort. Only a faint echo within the sounds spoke of that from which the music had escaped, but spoke in laughing astonishment at the discovery that there was no ugliness or pain, and there never had to be. It was the song of an immense deliverance."
— Ayn Rand (Atlas Shrugged)

"He, too, stood looking at her for a moment--and it seemed to her that it was not a look of greeting after an absence, but the look of someone who had thought of her every day of that year. She could not be certain, it was only an instant, so brief that just as she caught it, he was turning..."
— Ayn Rand (Atlas Shrugged)

"I'll give you a hint. Contradictions do not exist. Whenever you think that you are facing a contradiction, check your premises. You will find that one of them is wrong."
— Ayn Rand (Atlas Shrugged)

"So you think that money is the root of all evil? [...] Have you ever asked what is the root of money? Money is a tool of exchange, which can't exist unless there are goods produced and men able to produce them. Money is the material shape of the principle that men who wish to deal with one another must deal by trade and give value for value. Money is not the tool of the moochers, who claim your product by tears, or of the looters, who take it from you by force. Money is made possible only by the men who produce. Is this what you consider evil?"
— Ayn Rand (Atlas Shrugged)

"John Galt is Prometheus who changed his mind. After centuries of being torn by vultures in payment for having brought to men the fire of the gods, he broke his chains—and he withdrew his fire—until the day when men withdraw their vultures."
— Ayn Rand (Atlas Shrugged)

"You'll get everything society can give a man. You'll keep all the money. You'll take any fame or honor anyone might want to grant. You'll accept such gratitude as the tenants might feel. And I - I'll take what nobody can give a man, except himself. I will have built Cortlandt.
- Howard Roark"
— Ayn Rand (The Fountainhead)

"I often think that he's the only one of us who's achieved immortality. I don't mean in the sense of fame and I don't mean he won't die someday. But he's living it. I think he is what the conception really means. You know how people long to be eternal. But they die with everyday that passes. . . They change, they deny, they contradict- and they call it growth. At the end there is nothing left, nothing unreveresed or unbetrayed; as if there had never been an entity, only a succession of adjectives fading in and out of an unformed mass. How do they expect a permanence which they never held for a single moment? But Howard- one can imagine him living forever."
— Ayn Rand (The Fountainhead)

"He stood naked at the edge of a cliff. THe lake lay far below him. A frozen explosion of granite burst in flight to the sky over motionless water. The water seemed immovable, the stone- flowing. The stone had the stillness of one last movement when thrust meets thrust and the currents are held in a pause more dynamic than motion. THe stone glowed wet with sunrays. The lake below was only a thin steel ring that cut the rocks in half. The rocks went on into the depth, unchanged. They began and ended in the sky so that the world seemed suspended in space, an island floating on on nothing, anchored to the feet of the man on the cliff.
His body leaned back against the sky. It was a body of long straight lines and angles each curve broken into planes. He stood rigid his hands hanging at his sides, palms out. He felt his shoulder blades drawn tight together. The curve of his neck, and the weight of the blood in his hands. He felt the wind behind him in the hollow of his spine. The wind waved his hair against the sky. His hair was neither blonde nor red, but the exact color or ripe orange rind... He stepped to the edge, raised his arms, and dived down into the sky below."
— Ayn Rand (The Fountainhead)

"Mr. Rearden," said Francisco, his voice solemnly calm, "if you saw Atlas, the giant who holds the world on his shoulders, if you saw that he stood, blood running down his chest, his knees buckling, his arms trembling but still trying to hold the world aloft with the last of his strength, and the greater his effort the heavier the world bore down upon his shoulders-what would you tell him to do?"
"I . . . don't know. What . . . could he do? What would you tell him?"
"To shrug."
— Ayn Rand (Atlas Shrugged)

"Man cannot survive except through his mind. He comes on earth unarmed. His brain is his only weapon. Animals obtain food by force. man had no claws, no fangs, no horns, no great strength of muscle. He must plant his food or hunt it. To plant, he needs a process of thought. To hunt, he needs weapons,and to make weapons - a process of thought. From this simplest necessity to the highest religious abstraction, from the wheel to the skyscraper, everything we are and we have comes from a single attribute of man -the function of his reasoning mind."
— Ayn Rand (The Fountainhead)

"Pride is the recognition of the fact that you are your own highest value and, like all of man's values, it has to be earned."
— Ayn Rand

"There’s nothing as significant as a human face. Nor as eloquent. We can never really know another person, except by our first glance at him. Because, in that glance, we know everything. Even thought we’re not always wise enough to unravel the knowledge."
— Ayn Rand (The Fountainhead)

"Learn to value yourself, which means: to fight for your happiness. I need no warrant for being, and no word of sanction upon my being. I am the warrant and the sanction."
— Ayn Rand

"But you see," said Roark quietly, "I have, let’s say, sixty years to live. Most of that time will be spent working. I’ve chosen the work I want to do. If I find no joy in it, then I’m only condemning myself to sixty years of torture. And I can find the joy only if I do my work in the best way possible to me. But the best is a matter of standards—and I set my own standards. I inherit nothing. I stand at the end of no tradition. I may, perhaps, stand at the beginning of one."
— Ayn Rand (The Fountainhead)

"Let me give you a tip on a clue to men's characters: the man who damns money has obtained it dishonorably; the man who respects it has earned it."
— Ayn Rand (Atlas Shrugged)

"Love is blind, they say; sex is impervious to reason and mocks the power of all philosophers. But, in fact, a person's sexual choice is the result and sum of their fundamental convictions. Tell me what a person finds sexually attractive and I will tell you their entire philosophy of life. Show me the person they sleep with and I will tell you their valuation of themselves. No matter what corruption they're taught about the virtue of selflessness, sex is the most profoundly selfish of all acts, an act which they cannot perform for any motive but their own enjoyment - just try to think of performing it in a spirit of selfless charity! - an act which is not possible in self-abasement, only in self-exultation, only on the confidence of being desired and being worthy of desire. It is an act that forces them to stand naked in spirit, as well as in body, and accept their real ego as their standard of value. They will always be attracted to the person who reflects their deepest vision of themselves, the person whose surrender permits them to experience - or to fake - a sense of self-esteem .. Love is our response to our highest values - and can be nothing else."
— Ayn Rand

"I started my life with a single absolute: that the world was mine to shape in the image of my highest values and never to be given up to a lesser standard, no matter how long or hard the struggle."
— Ayn Rand (Atlas Shrugged)

"To say "I love you" one must know first how to say the "I"."
— Ayn Rand (The Fountainhead)

"Why do they always teach us that it's easy and evil to do what we want and that we need discipline to restrain ourselves? It's the hardest thing in the world--to do what we want. And it takes the greatest kind of courage. I mean, what we really want."
— Ayn Rand

"It's no good pretending that any relationship has a future if your record collections disagree violently or if your favorite films wouldn't even speak to each other if they met at a party."
— Nick Hornby

"All the books we own, both read and unread, are the fullest expression of self we have at our disposal. ... But with each passing year, and with each whimsical purchase, our libraries become more and more able to articulate who we are, whether we read the books or not."
— Nick Hornby

"How do people, like, not curse? How is it possible? There are these gaps in speech where you just have to put a "fuck." I'll tell you who the most admirable people in the world are: newscasters. If that was me, I'd be like, "And the motherfuckers flew the fucking plane right into the Twin Towers." How could you not, if you're a human being? Maybe they're not so admirable. Maybe they're robot zombies."
— Nick Hornby (A Long Way Down)

"What came first – the music or the misery? Did I listen to music because I was miserable? Or was I miserable because I listened to music? Do all those records turn you into a melancholy person? People worry about kids playing with guns, and teenagers watching violent videos; we are scared that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands – literally thousands – of songs about broken hearts and rejection and pain and misery and loss. The unhappiest people I know, romantically speaking, are the ones who like pop music the most; and I don’t know whether pop music has caused this unhappiness, but I do know that they’ve been listening to the sad songs longer than they’ve been living the unhappy lives."
— Nick Hornby (High Fidelity: A Novel)

"Telling me I can do anything I want is like pulling the plug out of the bath and then telling the water it can go anywhere it wants. Try it, and see what happens. "
— Nick Hornby (A Long Way Down)

"We all spend so much time not saying what we want, because we know we can't have it. And because it sounds ungracious, or ungrateful, or disloyal, or childish, or banal. Or because we're so desperate to pretend that things are OK, really, that confessing to ourselves they're not looks like a bad move. Go on, say what you want. ... Whatever it is, say it to yourself. The truth will set you free. Either that or it'll get you a punch in the nose. Surviving in whatever life you're living means lying, and lying corrodes the soul, so take a break from the lies for just one minute."
— Nick Hornby (A Long Way Down)

"The trouble with my generation is that we all think we're fucking geniuses. Making something isn't good enough for us, and neither is selling something, or teaching something, or even just doing something; we have to be something."
— Nick Hornby (A Long Way Down)

" Maybe we all live life at too high a pitch, those of us who absorb emotional things all day, and as mere consequence we can never feel merely content: we have to be unhappy, or ecstatically, head-over-heels happy, and those states are difficult to achieve within a stable, solid relationship."
— Nick Hornby (High Fidelity: A Novel)

"Most people have a rope that ties them to someone, and that rope can be short or it can be long. (Be long. Belong. Get it?) You don't know how long, though. It's not your choice."
— Nick Hornby (A Long Way Down)

"Memories are what warm you up from the inside. But they're also what tear you apart."
— Haruki Murakami (Kafka on the Shore)

"Anyone who falls in love is searching for the missing pieces of themselves. So anyone who's in love gets sad when they think of their lover. It's like stepping back inside a room you have fond memories of, one you haven't seen in a long time."
— Haruki Murakami

"But who can say what's best? That's why you need to grab whatever chance you have of happiness where you find it, and not worry about other people too much. My experience tells me that we get no more than two or three such chances in a life time, and if we let them go, we regret it for the rest of our lives."
— Haruki Murakami (Norwegian Wood)

"Only the Dead stay seventeen forever."
— Haruki Murakami (Norwegian Wood)

"Sometimes when I look at you, I feel I'm gazing at a distant star.
It's dazzling, but the light is from tens of thousands of years ago.
Maybe the star doesn't even exist any more. Yet sometimes that light seems more real to me than anything."
— Haruki Murakami

"Time weighs down on you like an old, ambiguous dream. You keep on moving, trying to sleep through it. But even if you go to the ends of the earth, you won't be able to escape it. Still, you have to go there- to the edge of the world. There's something you can't do unless you get there."
— Haruki Murakami (Kafka on the Shore)

"But I didn't understand then. That I could hurt somebody so badly she would never recover. That a person can, just by living, damage another human being beyond repair."
— Haruki Murakami

"Midori: So I made up my mind I was going to find someone who would love me unconditionally three hundred and sixty-five days a year.

Watanabe: Wow, and did your search pay off?

M: That's the hard part. I guess I've been waiting so long I'm looking for perfection. That makes it tough."
— Haruki Murakami (Norwegian Wood)

"Being with her I feel a pain, like a frozen knife stuck in my chest. An awful pain, but the funny thing is I'm thankful for it. It's like that frozen pain and my very existence are one.
The pain is an anchor, mooring me here."
— Haruki Murakami (Kafka on the Shore)

""Letters are just pieces of paper," I said. "Burn them, and what stays in your heart will stay; keep them, and what vanishes will vanish.""
— Haruki Murakami (Norwegian Wood)

"Don't you think it would be wonderful to get rid of everything and everybody and just go some place where you don't know a soul?"
— Haruki Murakami

"The sun sliced through the windshield, sealing me in light. I closed my eyes and felt the warmth on my eyelids. Sunlight traveled a long distance to reach this planet; an infinitesimal portion of that sunlight was enough to warm my eyelids. I was moved. That something as insignificant as an eyelid had its place in the workings on the universe, that the cosmic order did not overlook this momentary fact."
— Haruki Murakami

"Of course it hurt that we could never love each other in a physical way. We would have been far more happy if we had. But that was like the tides, the change of seasons--something immutable, an immovable destiny we could never alter. No matter how cleverly we might shelter it, our delicate friendship wasn't going to last forever. We were bound to reach a dead end. That was painfully clear."
— Haruki Murakami (Sputnik Sweetheart)

"Body cells replace themselves every month. Even at this very moment. Most everything you think you know about me is nothing more than memories."
— Haruki Murakami

"How often since then has she wondered what might have happened if she'd tried to remain with him; if she’d returned Richards kiss on the corner of Bleeker and McDougal, gone off somewhere (where?) with him, never bought the packet of incense or the alpaca coat with rose-shaped buttons. Couldn’t they have discovered something larger and stranger than what they've got. It is impossible not to imagine that other future, that rejected future, as taking place in Italy or France, among big sunny rooms and gardens; as being full of infidelities and great battles; as a vast and enduring romance laid over friendship so searing and profound it would accompany them to the grave and possibly even beyond. She could, she thinks, have entered another world. She could have had a life as potent and dangerous as literature itself.

Or then again maybe not, Clarissa tells herself. That's who I was. This is who I am--a decent woman with a good apartment, with a stable and affectionate marriage, giving a party. Venture too far for love, she tells herself, and you renounce citizenship in the country you've made for yourself. You end up just sailing from port to port.

Still, there is this sense of missed opportunity. Maybe there is nothing, ever, that can equal the recollection of having been young together. Maybe its as simple as that. Richard was the person Clarissa loved at her most optimistic moment. Richard had stood beside her at the ponds edge at dusk, wearing cut-off jeans and rubber sandals. Richard had called her Mrs. Dalloway, and they had kissed. His mouth had opened to hers; (exciting and utterly familiar, she'd never forget it) had worked its way shyly inside until she met its own. They'd kissed and walked around the pond together.

It had seemed like the beginning of happiness, and Clarissa is still sometimes shocked, more than thirty years later to realize that it was happiness; that the entire experience lay in a kiss and a walk. The anticipation of dinner and a book. The dinner is by now forgotten; Lessing has been long overshadowed by other writers. What lives undimmed in Clarissa's mind more than three decades later is a kiss at dusk on a patch of dead grass, and a walk around a pond as mosquitoes droned in the darkening air. There is still that singular perfection, and its perfect in part because it seemed, at the time, so clearly to promise more. Now she knows: That was the moment, right then. There has been no other."
— Michael Cunningham (The Hours)