Iris > Iris's Quotes

“Silence is the best answer to a fool.”
― Nnedi Okorafor-Mbachu, Zahrah the Windseeker

“When a monster stopped behaving like a monster, did it stop being a monster? Did it become something else?”
― Kristin Cashore, Graceling

“We accept the love we think we deserve.”
― Stephen Chbosky, The Perks of Being a Wallflower

“I'm done with those; regrets are an excuse for people who have failed.”
― Ned Vizzini, It's Kind of a Funny Story

“Each day means a new twenty-four hours. Each day means everything's possible again. You live in the moment, you die in the moment, you take it all one day at a time.”
― Marie Lu, Legend

“What happens when perfection isn't good enough?”
― Scott Westerfeld, Pretties

“From this I came to understand that identity is not a set of fixed attributed, the unchanging essence of the inner self, but a constantly shifting process of positioning. We tend to think of identity as taking us back to our roots, the part of us which remains essentially the same across time. In fact, identity is always a never-completed process of becoming - a process of shifting identifications, rather than a singular, complete, finished state of being.”
― Stuart Hall

“Against the urgency of people dying in the streets, what in God's name is the point of cultural studies?...At that point, I think anybody who is into cultural studies seriously as an intellectual practice, must feel, on their pulse, its ephemerality, its insubstantiality, how little it registers, how little we've been able to change anything or get anybody to do anything. If you don't feel that as one tension in the work that you are doing, theory has let you off the hook.”
― Stuart Hall

“We can’t stop living. Which means we have to live, which means we are alive, which means we are humans and we are human: some of us are unkind and some of us are confused and some of us sleep with the wrong people and some of us make bad decisions and some of us are murderers. And it sounds terrible but it is, in fact, freeing: the idea that queer does not equal good or pure or right. It is simply a state of being—one subject to politics, to its own social forces, to larger narratives, to moral complexities of every kind. So bring on the queer villains, the queer heroes, the queer sidekicks and secondary characters and protagonists and extras. They can be a complete cast unto themselves. Let them have agency, and then let them go.”
― Carmen Maria Machado, In the Dream House

“They will want you to succeed, but never more than them. They will write their names on your leash and call you necessary, call you urgent.”
― Ocean Vuong, On Earth We're Briefly Gorgeous

“There are two rooms used as libraries, for which my mother and grandfather keep two separate and opposing systems of organization in their heads—hers by subject, his by the way he feels about the author: Animosity, Betrayed, Curious, Delighted, etc.”
― Samantha Hunt, The Seas

“The color blue fills the entire mirror and, watching it, I think that is how a small northern town in America works. It enlists one beautiful thing like the ocean or the mountains or the snow to keep people stuck and stagnant and staring out to sea forever.”
― Samantha Hunt, The Seas

“It all comes back. Perhaps it is difficult to see the value in having one's self back in that kind of mood, but I do see it; I think we are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind's door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were. I have already lost touch with a couple of people I used to be; one of them, a seventeen-year-old, presents little threat, although it would be of some interest to me to know again what it feels like to sit on a river levee drinking vodka-and-orange-juice and listening to Les Paul and Mary Ford and their echoes sing "How High the Moon" on the car radio. (You see I still have the scenes, but I no longer perceive myself among those present, no longer could ever improvise the dialogue.) The other one, a twenty-three-year-old, bothers me more. She was always a good deal of trouble, and I suspect she will reappear when I least want to see her, skirts too long, shy to the point of aggravation, always the injured party, full of recriminations and little hurts and stories I do not want to hear again, at once saddening me and angering me with her vulnerability and ignorance, an apparition all the more insistent for being so long banished.
It is a good idea, then, to keep in touch, and I suppose that keeping in touch is what notebooks are all about. And we are all on our own when it comes to keeping those lines open to ourselves: your notebook will never help me, nor mine you.”
― Joan Didion, Slouching Towards Bethlehem

“Some problems we share as women, some we do not. You fear your children will grow up to join the patriarchy and testify against you; we fear our children will be dragged from a car and shot down in the street, and you will turn your backs on the reasons they are dying.”
― Audre Lorde

“This story is about stink, after all, a story about rot, about how life grows out of the most fetid-smelling places. I leaned into the wall of the coiled cabin, snail, the body curled in upon itself, spine coiled, a snake lying in wait.”
― Larissa Lai, Salt Fish Girl

“If nothing lasted and the world did not exist, all that meant was that reality was not fixed. The illusion she lived in was fluid and mutable, and could be easily altered by someone willing to rewrite the script of reality.”
― R.F. Kuang, The Dragon Republic