Caitlin > Caitlin's Quotes

“I pictured the first time we saw the girl, breezing past us in that Lincoln, blond hair whirling around her, her glasses tipped down, her smile, the stroke of her fingers. The teasing.

Simon tumbled the meteorite around in the sweat of his hand. I wondered what it would be like to look down at the earth, to fall, to burn brilliantly in the air like the image of the girl who passed by, kicking back dust like cosmic ash, and could she see that, now; was she up there above us?

I wondered.

We closed our eyes.”
― Andrew Smith

“If there'd been an astronaut on the moon right then, I'm sure I could have seen him. Perhaps he could have looked down and seen me too... the only one who could.”
― Lucy Christopher, Stolen

“I’m wearying to escape into that glorious world, and to be always there: not seeing it dimly through tears, and yearning for it through the walls of an aching heart: but really with it, and in it.”
― Emily Brontë, Wuthering Heights

“A person who has not done one half his day's work by ten o'clock, runs a chance of leaving the other half undone.”
― Emily Bronte, Wuthering Heights

“Time brought resignation and a melancholy sweeter than common joy.”
― Emily Brontë, Wuthering Heights

“People said things they didn't mean all the time. Everybody else in the world seemed able to factor it in. But not Lena. Why did she believe the things people said? Why did she cling to them so literally? Why did she think she knew people when she clearly didn't? Why did she imagine that the world didn't change, when it did? Maybe she didn't change. She believed what people said and she stayed the same." (Lena, 211)”
― Ann Brashares, Sisterhood Everlasting

“It was a blessing and also a curse of handwritten letters that unlike email you couldn’t obsessively reread what you’d written after you’d sent it. You couldn’t attempt to un-send it. Once you’d sent it it was gone. It was an object that no longer belonged to you but belonged to your recipient to do with what he would. You tended to remember the feeling of what you’d said more than the words. You gave to object away and left yourself with the memory. That was what it was to give.”
― Ann Brashares, Sisterhood Everlasting

“Maybe happiness didn't have to be about the big, sweeping circumstances, about having everything in your life in place. Maybe it was about stringing together a bunch of small pleasures. Wearing slippers and watching the Miss Universe contest. Eating a brownie with vanilla ice cream. Getting to level seven in Dragon Master and knowing there were twenty more levels to go.

Maybe happiness was just a matter of the little upticks- the traffic signal that said "Walk" the second you go there- and downticks- the itch tag at the back of your collar- that happened to every person in the course of the day. Maybe everybody had the same allotted measure of happiness within each day.

maybe it didn't matter if you were a world-famous heartthrob or a painful geek. Maybe it didn't matter if your friend was possibly dying.

Maybe you just got through it. Maybe that was all you could ask for.”
― Ann Brashares, The Sisterhood of the Traveling Pants

“It’s more that I’m afraid of time. And not having enough of it. Time to figure out who I’m supposed to be… to find my place in the world before I have to leave it. I’m afraid of what I’ll miss.”
― Ann Brashares, The Sisterhood of the Traveling Pants

“I said, I want to tell you something.
She said, you can tell me tomorrow.
I had never told her how much I loved her.
She was my sister.
We slept in the same bed.
There was never a right time to say it.
It was always unnecessary.
The books in my father's shed were sighing.
The sheets were rising and falling around me with Anna's breathing.
I thought about waking her.
But it was unnecessary.
There would be other nights.
And how can you say I love you to someone you love?
I rolled onto my side and fell asleep next to her.
Here is the point of everything I have been trying to tell you ... It's always necessary.”
― Jonathan Safran Foer, Extremely Loud & Incredibly Close

“Owen," Henry said excitedly, "I think Coach wants you to hit for Meccini."

Owen closed The Voyage of the Beagle, on which he had recently embarked. "Really?"

"Runners on first and second," Rick said. "I bet he wants you to bunt."

"What's the bunt sign?"

"Two tugs on the left earlobe," Henry told him. "But first he has to give the indicator, which is squeeze the belt. But if he goes to his cap with either hand or says your first name, that's the wipe-off, and then you have to wait and see whether--"

"Forget it," Owen said. "I'll just bunt.”
― Chad Harbach, The Art of Fielding

“Literature could turn you into an asshole: he’d learned that teaching grad-school seminars. It could teach you to treat real people the way you did characters, as instruments of your own intellectual pleasure, cadavers on which to practice your critical faculties.”
― Chad Harbach, The Art of Fielding

“The Human Condition being, basically, that we’re alive and have access to beauty, can even erratically create it, but will someday be dead and will not.”
― Chad Harbach, The Art of Fielding

“Each of us, deep down, believes that the whole world issues from his own precious body, like images projected from a tiny slide onto an earth-sized screen. And then, deeper down, each of us knows he’s wrong.”
― Chad Harbach, The Art of Fielding

“What would he say to her, if he was going to speak truly? He didn't know. Talking was like throwing a baseball. You couldn't plan it out beforehand. You just had to let go and see what happened. You had to throw out words without knowing whether anyone woud catch them -- you had to throw out words you knew no one would catch. You had to send your words out where they weren't yours anymore. It felt better to talk with a ball in your hand, it felt better to let the ball do the talking. But the world, the nonbaseball world, the world of love and sex and jobs and friends, was made of words.”
― Chad Harbach, The Art of Fielding

“It was strange the way he loved her: a sidelong and almost casual love, as if loving her were simply a matter of course, too natural to mention. Like their first meeting on the steps of the gym, when he’d hardly so much as glanced at her. With David and every guy before David, what passed for love had always been eye to eye, nose to nose; she felt watched, observed, like the prize inhabitant of a zoo, and she wound up pacing, preening, watching back, to fit the part. Whereas Mike was always beside her.”
― Chad Harbach, The Art of Fielding

“If he cannot be infinite - his lov emeeting its eventual exhaustion, his light its shadows - this is the nature of landscapes. The forest meets mountain, the sea the shore. Brain meets bone, meets skin, meets hair; meets air. Day would not be, without night. Every limit, a wise woman once wrote, is a beginning as well as an ending.”
― Lauren Groff, Arcadia

“I read once about a kind of fungus that grows in trees. The fungus begins to encroach on the systems that carry water and nutrients up from the roots to the branches. It disables them one by one―it crowds them out. Soon, the fungus―and only the fungus―is carrying the water, and the chemicals, and everything else the tree needs to survive. At the same time it is decaying the tree slowly from within, turning it minute by minute to rot.
That is what hatred is. It will feed you and at the same time turn you to rot.
It is hard and deep and angular, a system of blockades. It is everything and total.”
― Lauren Oliver, Pandemonium

“But...books are so much more. Some of them are webs; you can feel your way along their threads, but just barely, into strange and dark corners. Some of them are balloons bobbing up through the sky: totally self-contained, and unreachable, but beautiful to watch.
And some of them―the best ones―are doors.”
― Lauren Oliver, Pandemonium

“I run for I don't know how long. Hours, maybe, or days. Alex told me to run. So I run. You have to understand. I am no one special. I am just a single girl. I am five feet two inches tall and I am in-between in every way. But I have a secret. You can build walls all the way to the sky and I will find a way to fly above them. You can try to pin me down with a hundred thousand arms, but I will find a way to resist. And there are many of us out there, more than you think. People who refuse to stop believing. People who refuse to come to earth. People who love in a world without walls, people who love into hate, into refusal, against hope,and without fear. I love you. Remember. They cannot take it.”
― Lauren Oliver, Delirium

“Sometimes I feel like if you just watch things, just sit still and let the world exist in front of you - sometimes I swear that just for a second time freezes and the world pauses in its tilt. Just for a second. And if you somehow found a way to live in that second, then you would live forever.”
― Lauren Oliver, Pandemonium

“I keep thinking about this river somewhere, with the water moving really fast. And these two people in the water, trying to hold onto each other, holding on as hard as they can, but in the end it's just too much. The current's too strong. They've got to let go, drift apart. That's how it is with us. It's a shame, Kath, because we've loved each other all our lives. But in the end, we can't stay together forever.”
― Kazuo Ishiguro, Never Let Me Go

“It never occurred to me that our lives, until then so closely interwoven, could unravel and separate over a thing like that. But the fact was, I suppose, there were powerful tides tugging us apart by then, and it only needed something like that to finish the task. If we'd understood that back then-who knows?-maybe we'd have kept a tighter hold of one another.”
― Kazuo Ishiguro, Never Let Me Go

“That was the only time, as I stood there, looking at that strange rubbish, feeling the wind coming across those empty fields, that I started to imagine just a little fantasy thing, because this was Norfolk after all, and it was only a couple of weeks since I’d lost him. I was thinking about the rubbish, the flapping plastic in the branches, the shore-line of odd stuff caught along the fencing, and I half-closed my eyes and imagined this was the spot where everything I'd ever lost since my childhood had washed up, and I was now standing here in front of it, and if I waited long enough, a tiny figure would appear on the horizon across the field, and gradually get larger until I'd see it was Tommy, and he'd wave, maybe even call. The fantasy never got beyond that --I didn't let it-- and though the tears rolled down my face, I wasn't sobbing or out of control. I just waited a bit, then turned back to the car, to drive off to wherever it was I was supposed to be.”
― Kazuo Ishiguro, Never Let Me Go

“A few minutes later, he said suddenly: 'Kath, can we stop? I'm sorry, I need to get out a minute.'
...I could make out in the mid-distance, near where the field began to fall away, Tommy's figure, raging, shouting, flinging his fists and kicking out. I caught a glimpse of his face in the moonlight, caked in mud and distorted with fury, then I reached for his failing arms and held on tight. He tried to shake me off, but I kept holding on, until he stopped shouting and I felt the fight go out of him. Then I realised he too had his arms around me. And so we stood together like that, at the top of the field, for what seemed like ages, not saying anything, just holding each other, while the wind kept blowing and blowing at us, tugging our clothes, and for a moment, it seemed like we were holding onto each other because that was the only way to stop us being swept away into the night.”
― Kazuo Ishiguro, Never Let Me Go

“A man takes his sadness down to the river and throws it in the river
                    but then he’s still left
with the river. A man takes his sadness and throws it away
                                                                        but then he’s still left with his hands.”
― Richard Siken, Crush

“We have not touched the stars,
nor are we forgiven, which brings us back
to the hero’s shoulders and the gentleness that comes,
not from the absence of violence, but despite
the abundance of it.”
― Richard Siken, Crush

“The way you slam your body into mine reminds me I’m alive, but monsters are always hungry, darling, and they’re only a few steps behind you, finding the flaw, the poor weld, the place where we weren’t stitched up quite right, the place they could almost slip right into through if the skin wasn’t trying to keep them out, to keep them here, on the other side of the theater where the curtain keeps rising. I crawled out the window and ran into the woods. I had to make up all the words myself. The way they taste, the way they sound in the air. I passed through the narrow gate, stumbled in, stumbled around for a while, and stumbled back out. I made this place for you. A place for to love me. If this isn’t a kingdom then I don’t know what is.”
― Richard Siken, Crush

“I had learned early to assume something dark and lethal hidden at the heart of anything I loved. When I couldn't find it, I responded, bewildered and wary, in the only way I knew how: by planting it there myself.”
― Tana French, In the Woods

“I am not good at noticing when I'm happy, except in retrospect. My gift, or fatal flaw, is for nostalgia. I have sometimes been accused of demanding perfection, of rejecting heart's desires as soon as I get close enough that the mysterious impressionistic gloss disperses into plain solid dots, but the truth is less simplistic than that. I know very well that perfection is made up of frayed, off-struck mundanities. I suppose you could say my real weakness is a kind of long-sightedness: usually it is only at a distance, and much too late, that I can see the pattern.”
― Tana French, In the Woods