Chris Benoit > Chris's Quotes

“Bee, darling, you’re a child of the earth, the United States, Washington State, and Seattle. Those East Coast rich kids are a different breed, on a fast track to nowhere. Your friends in Seattle are downright Canadian in their niceness. None of you has a cell phone. The girls wear hoodies and big cotton underpants and walk around with tangled hair and smiling, adorned backpacks. Do you know how absolutely exotic it is that you haven’t been corrupted by fashion and pop culture? A month ago I mentioned Ben Stiller, and do you remember how you responded? “Who’s that?” I loved you all over again”
― Maria Semple, Where'd You Go, Bernadette

“I felt in London the way you do when you take one step too many at the bottom of a flight of stairs: brought up short by the unexpected plateau and its dull, unyielding thud.”
― Lisa Halliday, Asymmetry

“But then even someone who imagines for a living is forever bound by the ultimate constraint: she can hold her mirror up to whatever subject she chooses, at whatever angle she likes—she can even hold it such that she herself remains outside its frame, the better to de-narcissize the view—but there’s no getting around the fact that she’s always the one holding the mirror. And just because you can’t see yourself in a reflection doesn’t mean no one can.”
― Lisa Halliday, Asymmetry

“I was determined not to contemplate the future or even the past but only what was happening to me *right now*, which unfortunately can be a little like trying to fall asleep and failing to do so because you cannot stop thinking about how you are trying to fall asleep.”
― Lisa Halliday, Asymmetry

“and it was an easy promise to make because she had at that time no thoughts of leaving Saeed, but it was also a difficult one because in making it she felt she was abandoning the old man, and even if he did have his siblings and his cousins, and might now go live with them or have them come live with him, they could not protect him as Saeed and Nadia could, and so by making the promise he demanded she make she was in a sense killing him, but that is the way of things, for when we migrate, we murder from our lives those we leave behind.”
― Mohsin Hamid, Exit West

“and they fished and fished for hours, taking turns, but neither of them knew how to fish, or maybe they were just unlucky, and though they felt nibbles, they caught nothing, and it was as though they were merely feeding their bread to the insatiable brine”
― Mohsin Hamid, Exit West

“But Saeed’s father was thinking also of the future, even though he did not say this to Saeed, for he feared that if he said this to his son that his son might not go, and he knew above all else that his son must go, and what he did not say was that he had come to that point in a parent’s life when, if a flood arrives, one knows one must let go of one’s child, contrary to all the instincts one had when one was younger, because holding on can no longer offer the child protection, it can only pull the child down, and threaten them with drowning, for the child is now stronger than the parent, and the circumstances are such that the utmost of strength is required, and the arc of a child’s life only appears for a while to match the arc of a parent’s, in reality one sits atop the other, a hill atop a hill, a curve atop a curve, and Saeed’s father’s arc now needed to curve lower, while his son’s still curved higher, for with an old man hampering them these two young people were simply less likely to survive.”
― Mohsin Hamid, Exit West

“the tobacco smell reminded him as it always did of his departed father, who would listen with him on his record player to audio recordings of science fiction adventures, and would pack and puff on his pipe, as sea creatures attacked a great submarine, the sounds of the wind and waves in the recording mixing with the sounds of the rain on their window, and the elderly man who was then a boy had thought, when I grow up I too will smoke, and here he was, a smoker for the better part of a century, about to light a cigarette”
― Mohsin Hamid, Exit West

“Saeed admired his foreman, the foreman having that sort of quiet charisma that young men often gravitate towards, part of which lay in the native man's not seeming the least interested in being admired.”
― Mohsin Hamid, Exit West

“Every time a couple moves they begin, if their attention is still drawn to one another, to see each other differently, for personalities are not a single immutable color, like white or blue, but rather illuminated screens, and the shades we reflect depend much on what is around us. So it was with Saeed and Nadia, who found themselves changed in each other's eyes in this new place.”
― Mohsin Hamid

“But while fear was part of what kept them together for those first few months in Marin, more powerful than fear was the desire that each see the other find firmer footing before they let go, and thus in the end their relationship did in some senses come to resemble that of siblings, in that friendship was its strongest element, and unlike many passions, theirs managed to cool slowly, without curdling into its reverse, anger, except intermittently. Of this, in later years, both were glad, and both would also wonder if this meant that they had made a mistake, that if they had but waited and watched their relationship would have flowered again, and so their memories took on a potential, which is of course how our greatest nostalgias are born.”
― Mohsin Hamid, Exit West

“The old woman had become a rich woman on paper, the house now worth a fortune, and her children were always pestering her to sell it, saying she didn't need all that space. But she told them to be patient, it would be theirs when she died, which wouldn?t be long now, and she said this kindly, to sharpen the bite of it, and to remind them how much they were motivated by money”
― Mohsin Hamid, Exit West

“and he said if anyone should leave the home they had built it was him. But as he said this he felt he was acting, or if not acting then so confused as to be incapable of gauging his own sincerity.”
― Mohsin Hamid, Exit West

“Neither much enjoyed catching unexpected glimpses of their former lover's new existence online, and so they distanced themselves from each other on social networks, and while they wished to look out for each other, and to keep tabs on each other, staying in touch took a toll on them, serving as an unsettling reminder of a life not lived, and also they grew less worried each for the other, less worried that the other would need them to be happy, and eventually a month went by without any contact, and then a year, and then a lifetime.”
― Mohsin Hamid, Exit West

“and each time she returned she told the maid to come with her, and the maid said no, for she had a sense of the fragility of things, and she felt she was a small plant in a small patch of soil held between the rocks of a dry and windy place”
― Mohsin Hamid, Exit West

“I got married a few years later—we all did. As we reached our thirtieth birthdays, my friends and I were like kernels of popcorn exploding in a pot: First one, then another, and pretty soon we were all bursting into matrimony. There were several years of peace, but then the pregnancies started popping. I found this unsettling.”
― Ariel Levy, The Rules Do Not Apply

“But he was drawn to the men—a smoldering of dim feeling behind their eyes, a heaviness to their hands when they gave him a pat or a swat. He curried their favor, refilling their glasses, lingering at their tables when his father wasn’t watching. They took notice of him gradually, with a mute animal awareness. Later, when men who’d fought the Great War returned, Dexter recognized, in their fractured gazes and somnolent movements, something of what he’d first admired in Mr. Q.’s men. By then he knew what it meant: intimacy with violence.”
― Jennifer Egan, Manhattan Beach

“Cooper would never tell Arthur Berringer anything he didn’t know, whereas Dexter saw and knew things the old man couldn’t afford to, without personal compromise. He was nearer the earth, its salts and minerals, than any Berringer had been in several generations.”
― Jennifer Egan, Manhattan Beach

“since the Depression, we bankers have had the leisure and . . . solitude, you might say, to think about the future. The Civil War left us with a federal government. The Great War made us a creditor nation. As bankers, we must anticipate what changes this war will thrust upon us.”
[…] The old man leaned forward and took a long breath. “I see the rise of this country to a height no country has occupied, ever,” he said quietly. “Not the Romans. Not the Carolingians. Not Genghis Khan or the Tatars or Napoleon’s France. Hah! You’re all looking at me like I’ve one foot in the funny farm. How is that possible? you ask. Because our dominance won’t arise from subjugating peoples. We’ll emerge from this war victorious and unscathed, and become bankers to the world. We’ll export our dreams, our language, our culture, our way of life. And it will prove irresistible.”
― Jennifer Egan, Manhattan Beach

“People architect new lives all the time. I know this because I never see them again once they find these new lives. They have children or they move to new cities or even just to new neighborhoods or you hate their spouse or their spouse hates you or they start working the night shift or they start training for a marathon or they stop going to bars or they start going to therapy or they realize they don’t like you anymore or they die. It happens constantly. It’s just me. I haven’t built anything new. I’m the one getting left behind.”
― Jami Attenberg, All Grown Up

“I go to a children’s store in my neighborhood, pink, chirpy, cheerful, and buy the baby a book, The Giving Tree, a dire story about a selfish child sucking the life out of an enabling tree. (That tree has no agency, is what I’ve always thought.) But that is the book you buy a baby. I’m certain Indigo has five copies of it already. I’m too late to be the first at anything. I also buy a stuffed rabbit, its floppy ears draping softly in a sea of pastel tissue paper inside the gift bag. This, too, I know she has multiple versions of, more or less. There is nothing original I can offer this child. I am obligated to make an offering, however, a virgin to the gods, a stuffed animal to a new baby. If I lay this gift on the altar, will you promise me I’ll never get pregnant? I make sure to get gift receipts for both.”
― Jami Attenberg, All Grown Up

“WHEN I WAS SMALL—still in my Neil Reardon phase—my father would wash my hair and call me Mrs. Rosenbaum and pretend that his name was Gladys and that we were at a beauty parlor. “We’re just going to touch up your roots, Mrs. Rosenbaum,” he’d say, lathering my head with baby shampoo and speaking in the accent of his own Bronx childhood. “Have you heard about Doris Kaplan? She got a bad perm in Miami. Well you know how Doris is, Mrs. Rosenbaum. With her it’s always something.”
― Jami Attenberg, All Grown Up

“My mother had it all wrong: to bring that into your home, where it lies on a pile of blankets in the TV room, scaring everyone, polluting everything? Misguided. Unthinkable. But I understood, now, her dilemma. I wanted what she had wanted, what we all want: everything. We want a mate who feels like family and a lover who is exotic, surprising. We want to be youthful adventurers and middle-aged mothers. We want intimacy and autonomy, safety and stimulation, reassurance and novelty, coziness and thrills. But we can’t have it all.”
― Jami Attenberg, All Grown Up

“You have an affair because you are not getting what you want from your loved one. You want more: more love, more sex, more attention, more fun. You want someone to look at you with lust—after years of laundry—transforming you into something radiant. You want it, you need it, you owe it to yourself to get it. To live any other way is to be muffled and gray and marching meaninglessly toward death. You want what she gave you at the start (but what you had hoped would expand and intensify instead of shrinking until you find yourself so sad, so resentful, you can barely stand to be you).

You have an affair to get for yourself what you wish would come from the person you love the most. And then you have broken her heart and she can never give you any of it ever again.”
― Jami Attenberg, All Grown Up

“I HAD RECEIVED A beautiful email from the baby’s father when I was still in Mongolia. Nature is wasteful, he had said. That’s why there are so many pinecones on the forest floor—his mother had pointed them out to him once when he was a child, and explained that nature starts many more projects than she can ever finish.”
― Jami Attenberg

“Archie’s marriage felt like buying a pair of shoes, taking them home and finding they don’t fit. For the sake of appearances, he put up with them”
― Zadie Smith, White Teeth

“It was his fourth trip to the attic in so many days, ferrying out the odds and ends of a marriage to his new flat, and the Hoover was amongst the very last items he reclaimed – one of the most broken things, most ugly things, the things you demand out of sheer bloody-mindedness because you have lost the house. This is what divorce is: taking things you no longer want from people you no longer love”
― Zadie Smith, White Teeth

“Generally, women can’t do this, but men retain the ancient ability to leave a family and a past. They just unhook themselves, like removing a fake beard, and skulk discreetly back into society, changed men. Unrecognizable.”
― Zadie Smith, White Teeth

“Maybe there will always be men who say the right thing at the right time, who step forward like Thespis at just the right moment of history, and then there will be men like Archie Jones who are just there to make up the numbers. Or, worse still, who are given their big break only to come in on cue and die a death right there, centre stage, for all to see”
― Zadie Smith, White Teeth

“Ryan was convinced of the ageing fifties motto ‘Live fast, die young’, and, though his scooter didn’t do more than 22 m.p.h. downhill...”
― Zadie Smith, White Teeth