Alejandro Gamen > Alejandro's Quotes

“En nuestra lucha por ser libres destruimos la cárcel, pero al salir nos creamos chalecos de fuerza a medida.”
― Alejandro Gamen, El Nombre de la Sombra

“There was only one catch and that was Catch-22, which specified that a concern for one's safety in the face of dangers that were real and immediate was the process of a rational mind. Orr was crazy and could be grounded. All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions. Orr would be crazy to fly more missions and sane if he didn't, but if he was sane he had to fly them. If he flew them he was crazy and didn't have to; but if he didn't want to he was sane and had to. Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whistle.

"That's some catch, that Catch-22," he observed.

"It's the best there is," Doc Daneeka agreed.”
― Joseph Heller, Catch-22

“Can a magician kill a man by magic?” Lord Wellington asked Strange.
Strange frowned. He seemed to dislike the question. “I suppose a magician might,” he admitted, “but a gentleman never could.”
― Susanna Clarke, Jonathan Strange & Mr Norrell

“A piece of writing is like a piece of magic. You create something out of nothing.”
― Susanna Clarke

“And how shall I think of you?' He considered a moment and then laughed. 'Think of me with my nose in a book!”
― Susanna Clarke, Jonathan Strange & Mr Norrell

“I mean that two of any thing is a most uncomfortable number. One may do as he pleases. Six may get along well enough. But two must always struggle for mastery. Two must always watch each other. The eyes of all the world will be on two, uncertain which of them to follow.”
― Susanna Clarke, Jonathan Strange & Mr Norrell

“My ambition is to not embarrass myself--which, if you know me, is a pretty serious ambition.”
― David Lipsky, Although of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace

“David Foster Wallace: What writers have is a license and also the freedom to sit—to sit, clench their fists, and make themselves be excruciatingly aware of the stuff that we’re mostly aware of only on a certain level. And that if the writer does his job right, what he basically does is remind the reader of how smart the reader is. Is to wake the reader up to stuff that the reader’s been aware of all the time. And it’s not a question of the writer having more capacity than the average person. It’s that the writer is willing I think to cut off, cut himself off from certain stuff, and develop…and just, and think really hard. Which not everybody has the luxury to do.”
― David Lipsky, Although of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace

“David Foster Wallace: I think one of the insidious lessons about TV is the meta-lesson that you’re dumb. This is all you can do. This is easy, and you’re the sort of person who really just wants to sit in a chair and have it easy. When in fact there are parts of us, in a way, that are a lot more ambitious than that. And what we need, I think—and I’m not saying I’m the person to do it. But I think what we need is seriously engaged art, that can teach again that we’re smart. And that there’s stuff that TV and movies—although they’re great at certain things—cannot give us.”
― David Lipsky, Although of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace

“And I think that the ultimate way you and I get lucky is if you have some success early in life, you get to find out early it doesn't mean anything. Which means you get to start early the work of figuring out what does mean something -- David Foster Wallace”
― David Lipsky, Although of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace

“I have this disease late at night sometimes, involving alcohol and the telephone.”
― Kurt Vonnegut Jr., Slaughterhouse-Five

“Everything was beautiful and nothing hurt.”
― Kurt Vonnegut, Slaughterhouse-Five

“Like so many Americans, she was trying to construct a life that made sense from things she found in gift shops.”
― Kurt Vonnegut, Slaughterhouse-Five

“And I asked myself about the present: how wide it was, how deep it was, how much was mine to keep.”
― Kurt Vonnegut, Slaughterhouse-Five

“She was a dull person, but a sensational invitation to make babies.”
― Kurt Vonnegut, Slaughterhouse-Five

“If I am going to spend eternity visiting this moment and that, I'm grateful that so many of those moments are nice.”
― Kurt Vonnegut, Slaughterhouse-Five

“Emotions, in my experience, aren't covered by single words. I don't believe in "sadness," "joy," or "regret." Maybe the best proof that the language is patriarchal is that it oversimplifies feeling. I'd like to have at my disposal complicated hybrid emotions, Germanic train-car constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." I'd like to show how "intimations of mortality brought on by aging family members" connects with "the hatred of mirrors that begins in middle age." I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever. ”
― Jeffrey Eugenides, Middlesex

“Just because I do not accept the teachings of the devotaries does not mean I've discarded a belief in right and wrong."
"But the Almighty determines what is right!"
"Must someone, some unseen thing, declare what is right for it to be right? I believe that my own morality -- which answers only to my heart -- is more sure and true than the morality of those who do right only because they fear retribution.”
― Brandon Sanderson, The Way of Kings

“To lack feeling is to be dead, but to act on every feeling is to be a child.”
― Brandon Sanderson, The Way of Kings

“Overcome your guilt. Care, but not too much. Take responsibility, but don't blame yourself. Protect, save, help- but know when to give up. They're precarious ledges to walk. How do I do it?”
― Brandon Sanderson, The Way of Kings

“Ah, the outdoors,' Shallan said. 'I visited that mythical place once.”
― Brandon Sanderson, The Way of Kings

“The first step is to care, Tukks’s voice seemed to whisper. Some talk about being emotionless in battle. Well, I suppose it’s important to keep your head. But I hate that feeling of killing while calm and cold. I’ve seen that those who care fight harder, longer, and better than those who don’t. It’s the difference between mercenaries and real soldiers.
It’s the difference between fighting to defend your homeland and fighting on foreign soil.
It’s good to care when you fight, so long as you don’t let it consume you. Don’t try to stop yourself from feeling. You’ll hate who you become.”
― Brandon Sanderson, The Way of Kings

“I once saw a spindly man carrying a stone larger than his head upon his back. He stumbled beneath the weight, shirtless under the sun, wearing only a loincloth. He tottered down a busy thoroughfare. People made way for him. Not because they sympathized with him, but because they feared the momentum of his steps. You dare not impede one such as this. The monarch is like this man, stumbling along, the weight of a kingdom on his shoulders. Many give way before him, but so few are willing to step in and help carry the stone. They do not wish to attach themselves to the work, lest they condemn themselves to a life full of extra burdens. I left my carriage that day and took up the stone, lifting it for the man. I believe my guards were embarrassed. One can ignore a poor shirtless wretch doing such labor, but none ignore a king sharing the load. Perhaps we should switch places more often. If a king is seen to assume the burden of the poorest of men, perhaps there will be those who will help him with his own load, so invisible, yet so daunting.”
― Brandon Sanderson, The Way of Kings

“Gulls wheel through spokes of sunlight over gracious roofs and dowdy thatch, snatching entrails at the marketplace and escaping over cloistered gardens, spike topped walls and treble-bolted doors. Gulls alight on whitewashed gables, creaking pagodas and dung-ripe stables; circle over towers and cavernous bells and over hidden squares where urns of urine sit by covered wells, watched by mule-drivers, mules and wolf-snouted dogs, ignored by hunch-backed makers of clogs; gather speed up the stoned-in Nakashima River and fly beneath the arches of its bridges, glimpsed form kitchen doors, watched by farmers walking high, stony ridges. Gulls fly through clouds of steam from laundries' vats; over kites unthreading corpses of cats; over scholars glimpsing truth in fragile patterns; over bath-house adulterers, heartbroken slatterns; fishwives dismembering lobsters and crabs; their husbands gutting mackerel on slabs; woodcutters' sons sharpening axes; candle-makers, rolling waxes; flint-eyed officials milking taxes; etiolated lacquerers; mottle-skinned dyers; imprecise soothsayers; unblinking liars; weavers of mats; cutters of rushes; ink-lipped calligraphers dipping brushes; booksellers ruined by unsold books; ladies-in-waiting; tasters; dressers; filching page-boys; runny-nosed cooks; sunless attic nooks where seamstresses prick calloused fingers; limping malingerers; swineherds; swindlers; lip-chewed debtors rich in excuses; heard-it-all creditors tightening nooses; prisoners haunted by happier lives and ageing rakes by other men's wives; skeletal tutors goaded to fits; firemen-turned-looters when occasion permits; tongue-tied witnesses; purchased judges; mothers-in-law nurturing briars and grudges; apothecaries grinding powders with mortars; palanquins carrying not-yet-wed daughters; silent nuns; nine-year-old whores; the once-were-beautiful gnawed by sores; statues of Jizo anointed with posies; syphilitics sneezing through rotted-off noses; potters; barbers; hawkers of oil; tanners; cutlers; carters of night-soil; gate-keepers; bee-keepers; blacksmiths and drapers; torturers; wet-nurses; perjurers; cut-purses; the newborn; the growing; the strong-willed and pliant; the ailing; the dying; the weak and defiant; over the roof of a painter withdrawn first from the world, then his family, and down into a masterpiece that has, in the end, withdrawn from its creator; and around again, where their flight began, over the balcony of the Room of Last Chrysanthemum, where a puddle from last night's rain is evaporating; a puddle in which Magistrate Shiroyama observes the blurred reflections of gulls wheeling through spokes of sunlight. This world, he thinks, contains just one masterpiece, and that is itself.”
― David Mitchell, The Thousand Autumns of Jacob de Zoet

“Self pity, Orito reminds herself yet again, is a noose dangling from a rafter.”
― David Mitchell, The Thousand Autumns of Jacob de Zoet

“Naming, thinks Jacob, even in ridicule, gives what is named substance.”
― David Mitchell, The Thousand Autumns of Jacob de Zoet

“Shiroyama’s heart stops. The earth’s pulse beats against his ear.
An inch away is a go clamshell stone, perfect and smooth …
… a black butterfly lands on the white stone, and unfolds its wings.”
― David Mitchell, The Thousand Autumns of Jacob de Zoet

“And it came to me that these trees had been hardly smaller when I was yet unborn, and had stood as they stood now when I was a child playing among the cypresses and peaceful tombs of our necropolis, and that they would stand yet, drinking in the last light of the dying sun, even as now, when I had been dead as long as those who rested there.”
― Gene Wolfe, The Book of the New Sun

“Time turns our lies into truth”
― Gene Wolfe, The Shadow of the Torturer

“But I believe there is no difference between those who are called courageous and those who are branded craven than that the second are fearful before the danger and the first after it. The coward is a coward, then, because he has brought his fear with him; persons we think cowardly will sometimes amaze us by their bravery, if they have had no forewarning of their danger.”
― Gene Wolfe, The Claw of the Conciliator