Penelope > Penelope's Quotes

“There is a limit to the amount of misery and disarray you will put up with, for love, just as there is a limit to the amount of mess you can stand around a house. You can't know the limit beforehand, but you will know when you've reached it. I believe this.”
― Alice Munro

“Always remember that when a man goes out of the room, he leaves everything in it behind... When a woman goes out she carries everything that happened in the room along with her.”
― Alice Munro, Too Much Happiness: Stories

“A story is not like a road to follow … it's more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside is altered by being viewed from these windows. And you, the visitor, the reader, are altered as well by being in this enclosed space, whether it is ample and easy or full of crooked turns, or sparsely or opulently furnished. You can go back again and again, and the house, the story, always contains more than you saw the last time. It also has a sturdy sense of itself of being built out of its own necessity, not just to shelter or beguile you.”
― Alice Munro, Selected Stories

“In your life there are a few places, or maybe only the one place, where something happened, and then there are all the other places.”
― Alice Munro, Too Much Happiness

“Love removes the world for you, and just as surely when it's going well as when it's going badly.”
― Alice Munro, The Beggar Maid: Stories of Flo and Rose

“They were all in their early thirties. An age at which it is sometimes hard to admit that what you are living is your life.”
― Alice Munro, The Moons of Jupiter

“My head was a magpie's nest lined with such bright scraps of information.”
― Alice Munro, Too Much Happiness: Stories

“Braininess is not attractive unless combined with some signs of elegance; class.”
― Alice Munro, The Beggar Maid: Stories of Flo and Rose

“Being with you and not being with you is the only way I have to measure time.”
― Jorge Luis Borges

“The original is unfaithful to the translation.”
― Jorge Luis Borges

“Besides, rereading, not reading, is what counts.”
― Jorge Luis Borges

“I want to be able to be alone, to find it nourishing - not just a waiting.”
― Susan Sontag, Reborn: Journals and Notebooks, 1947-1963

“My emotional life: dialectic between craving for privacy and need to submerge myself in a passionate relationship to another.”
― Susan Sontag, Reborn: Journals and Notebooks, 1947-1963

“Male fantasies, male fantasies, is everything run by male fantasies? Up on a pedestal or down on your knees, it's all a male fantasy: that you're strong enough to take what they dish out, or else too weak to do anything about it. Even pretending you aren't catering to male fantasies is a male fantasy: pretending you're unseen, pretending you have a life of your own, that you can wash your feet and comb your hair unconscious of the ever-present watcher peering through the keyhole, peering through the keyhole in your own head, if nowhere else. You are a woman with a man inside watching a woman. You are your own voyeur.”
― Margaret Atwood, The Robber Bride

“I would like to be the air that inhabits you for a moment only. I would like to be that unnoticed and that necessary.”
― Margaret Atwood

“Sleep, those little slices of death — how I loathe them.”
― Edgar Allan Poe

“I wonder why I don't go to bed and go to sleep. But then it would be tomorrow, so I decide that no matter how tired, no matter how incoherent I am, I can skip on hour more of sleep and live.”
― Sylvia Plath, The Unabridged Journals of Sylvia Plath

“What would an ocean be without a monster lurking in the dark? It would be like sleep without dreams.”
― Werner Herzog

“Thus weary of the world, away she hies,
And yokes her silver doves; by whose swift aid
Their mistress mounted through the empty skies
In her light chariot quickly is convey'd;
Holding their course to Paphos, where their queen
Means to immure herself and not be seen.”
― William Shakespeare, Venus and Adonis

“On the flight to LaGuardia I remember thinking that the most beautiful things I had ever seen had all been seen from airplanes. The way the American west opens up. The way in which, on a polar flight across the Arctic, the islands in the sea give way imperceptibly to lakes on the land. The sea between Greece and Cyprus in the morning. The Alps on the way to Milan. I saw all those things with John. How could I go back to Paris without him, how could I go back to Milan, Honolulu, Bogotá? I couldn’t even go to Boston.”
― Joan Didion

“Are oysters aphrodisiacs?

For men, the smell of baked cinnamon buns had such a powerful impact on libido that it trumped the scents of a slew of various perfumes combined. Men were also strongly aroused by the scent of pumpkin pie, lavender, doughnuts, cheese pizza, buttered popcorn, vanilla and strawberries. The foods and smells that got women going more than anything else were licorice, banana nut bread, cucumbers, and candy.”
― Anahad O'Connor, Never Shower in a Thunderstorm

“Literature, real literature, must not be gulped down like some potion which may be good for the heart or good for the brain — the brain, that stomach of the soul. Literature must be taken and broken to bits, pulled apart, squashed — then its lovely reek will be smelt in the hollow of the palm, it will be munched and rolled upon the tongue with relish; then, and only then, its rare flavor will be appreciated at its true worth and the broken and crushed parts will again come together in your mind and disclose the beauty of a unity to which you have contributed something of your own blood.”
― Vladimir Nabokov, Lectures on Russian Literature

“The potion drunk by lovers is prepared by no one but themselves. The potion is the sum of one's whole existence. Every word spoken in the past accumulated forms and color in the self. What flows through the veins besides blood is the distillation of every act committed, the sediment of all the visions, wishes, dreams, and experiences. All the past emotions converge to tint the skin and flavor the lips, to regulate the pulse and produce crystals in the eyes.
The fascination exerted by one human being over another is not what he emits of his personality at the present instant of encounter but a summation of his entire being which gives off this powerful drug capturing the fancy and attachment.
No moment of charm without long roots in the past, no moment of charm is born on bare soil, a careless accident of beauty, but is the sum of great sorrows, growths, and efforts.

But love, the great narcotic, was the hothouse in which all the selves burst into their fullest bloom . . .”
― Anaïs Nin

“For us, eating and being eaten belong to the terrible secret of love. We love only the person we can eat. The person we hate we ‘can’t swallow.’ That one makes us vomit. Even our friends are inedible. If we were asked to dig into our friend’s flesh we would be disgusted. The person we love we dream only of eating. That is, we slide down that razor’s edge of ambivalence.
The story of torment itself is a very beautiful one. Because loving is wanting and being able to eat up and yet to stop at the boundary. And there, at the tiniest beat between springing and stopping, in rushes fear. The spring is already in mid-air. The heart stops. The heart takes off again. Everything in love is oriented towards this absorption.

At the same time real love is a don’t-touch, yet still an almost-touching. Tact itself: a phantom touching.

Eat me up, my love, or else I’m going to eat you up.

Fear of eating, fear of the edible, fear on the part of the one of them who feels loved, desired, who wants to be loved, desired, who desires to be desired, who knows there is no greater proof of love than the other’s appetite, who is dying to be eaten up, who says or doesn’t say, but who signifies: I beg you, eat me up. Want me down to the marrow. And yet manage it so as to keep me alive. But I often turn about or compromise, because I know that you won’t eat me up, in the end, and I urge you: bite me.

Sign my death with your teeth”
― Hélène Cixous, Stigmata: Escaping Texts

“And why don't you write? Write! Writing is for you, you are for you; your body is yours, take it. I know why you haven't written. (And why I didn't write before the age of twenty-seven.) Because writing is at once too high, too great for you, it's reserved for the great-that is for "great men"; and it's "silly."

Besides, you've written a little, but in secret. And it wasn't good, because it was in secret, and because you punished yourself for writing, because you didn't go all the way, or because you wrote, irresistibly, as when we would masturbate in secret, not to go further, but to attenuate the tension a bit, just enough to take the edge off. And then as soon as we come, we go and make ourselves feel guilty-so as to be forgiven; or to forget, to bury it until the next time.”
― Hélène Cixous, The Laugh of the Medusa

“We should write as we dream; we should even try and write, we should all do it for ourselves, it’s very healthy, because it’s the only place where we never lie. At night we don’t lie. Now if we think that our whole lives are built on lying-they are strange buildings-we should try and write as our dreams teach us; shamelessly, fearlessly, and by facing what is inside very human being-sheer violence, disgust, terror, shit, invention, poetry. In our dreams we are criminals; we kill, and we kill with a lot of enjoyment. But we are also the happiest people on earth; we make love as we never make love in life.”
― Helene Cixous

“It is easy to love and sing one’s love. That is something I am extremely good at doing. Indeed, that is my art. But to be loved, that is true greatness. Being loved, letting oneself be loved, entering the magic and dreadful circle of generosity, receiving gifts, finding the right thank-you’s, that is love’s real work.”
― Hélène Cixous, The Book of Promethea