Mark > Mark's Quotes

“Where are we?' the mouse child asked his father. His voice was tiny in the stillness of the night. 'I don't know' the father replied. 'What are we Papa?'. 'I don't know. We must wait and see'.”
― Russell Hoban, The Mouse and His Child

“What is all this talk of elephants and seals?' asked Frog. 'It's nonsense', said the father, 'and yet it's not the child's fault. Our motor is in me. He fills the empty space inside himself with foolish dreams that cannot possibly come true'.”
― Russell Hoban, The Mouse and His Child

“We rode along in silence, thinking our private thoughts. Charlie and I had an unspoken agreement not to throw ourselves into speedy travel just after a meal. There were many hardships to our type of life and we took these small comforts as they came; I found they added up to something decent enough to carry on”
― Patrick deWitt, The Sisters Brothers

“If I had done this, if I had said that, in the end you are always more tormented by what you didn't do than what you did, actions already performed can always be rationalized in time, the neglected deed might have changed the world.”
― Damon Galgut, In a Strange Room

“Gloria Anzaldúa, who revolutionised the Chicana writing of her generation, called the border ‘una herida abierta – an open wound – where the Third World grates against the First and bleeds. And before a scab forms, it haemorrhages again, the lifeblood of two countries merging to form a third country – a border culture.”
― Ed Vulliamy, Amexica: War Along the Borderline

“could tell that one of the Russian proverbs he loved was on the way. ‘The only place with free cheese is a mousetrap”
― A.D. Miller

“And as we walk back down the street, me gingerly clutching what at this point constitutes my entire collection, my father says, ‘One day, when you’re all grown up and I’m not here any more, you’ll remember the sunny day we went to the market together and bought a boat.’ My throat feels tight because, as soon as he says it, I am already there. Standing on another street, without my father, trying to get back. And yet I’m here, with him. So I try to soak up every aspect of the moment, to help me get back when I need to. I feel the weight of the chunky parcel under my arm, and the warmth of the sun, and my father’s hand in mine. I smell the flowers with their sharp undertang of cheap hot dog, and taste the slick of toffee on my teeth, and hear the chattering hagglers. I feel the joy of an adventurous Saturday with my father and no school, and I feel the sadness of looking back when it is all gone. When he is gone.”
― Victoria Coren, For Richer, For Poorer: A Love Affair with Poker

“A boat beneath a sunny sky, Lingering onward dreamily In an evening of July – Children three that nestle near, Eager eye and willing ear, Pleased a simple tale to hear – Long has paled that sunny sky: Echoes fade and memories die: Autumn frosts have slain July. As a child, I don’t understand exactly what it is about. I can’t read the significance of Alice reaching the final square and becoming a queen. But I feel the sadness in the poem, and, in this later now, I know why. It’s because everything is in the present tense, even though it cannot all be; either some of it has passed, or some of it hasn’t happened yet. The sky is sunny, but it has paled. The boat is lingering, but it is gone. It’s July, but it’s autumn. This is a riddle, a paradox. Lewis Carroll must be either looking back into the past, feeling the sunshine and the drifting boat as if he were still there . . . or looking forward from the present, imagining a time when the sky and the boat and the summer will have vanished. Which is it? Doesn’t matter. Wherever he stands, he feels both at once. The current, the retrospective, the projected, all are written in the present tense because they are all, always, mixed up together. Because, even as something is happening, it is gone. Ubi sunt qui ante nos fuerunt? Where is the boat? Where is the summer? Where are the children?”
― Victoria Coren, For Richer, For Poorer: A Love Affair with Poker

“What do you do when you're wound up?' she asked. 'Do you play that drum?'. 'No,' said the child. 'We used to dance.' 'But now we walk,' said the father. 'And behind us an enemy walks faster.' 'That's life,' said Euterpe.”
― Russell Hoban, The Mouse and His Child

“She sings on and on, while the house is discreetly dusted all around her and, in the concealed and subterranean kitchen, a naked duck, limp and faintly steaming, spreads its pimpled legs on a draining board.”
― Michel Faber, The Crimson Petal and the White

“The left tended to think people’s private lives should be their own, even if they made choices traditional Christian society regarded as immoral; but that people’s working lives, from how much they earned to where they worked, were fit for State interference. The right had a reverse view, that the State should uphold traditional moral codes with the full rigour of the law, but keep out of the economy as much as possible.”
― Andrew Marr, A History of Modern Britain

“When they finally went home, they left behind an unstable, unhappy part of the world, with borders like wounds scored across it.”
― Andrew Marr, A History of Modern Britain

“The words from The Microlight Pilot’s Handbook hammered in my temples. ‘It is better to be on the ground wishing to God you were in the air, than in the air wishing to God you were on the ground.”
― Antony Woodward