Ines > Ines's Quotes

“You do what you can. What you'd done may do more than you can imagine for generations to come. You plant a seed and a tree grows from it; will there be fruit, shade, habitat for birds, more seeds, a forest, wood to build a cradle or a house? You don't know. A tree can live much longer than you. So will an idea, and sometimes the changes that result from accepting that new idea about what is true, or right, just might remake the world. You do what you can do; you do your best; what what you do does is not up to you.”
― Rebecca Solnit, Call Them by Their True Names: American Crises

“He simply felt that if he could carry away the vision of the spot of earth she walked on, and the way the sky and sea enclosed it, the rest of the world might seem less empty.”
― Edith Wharton, The Age of Innocence

“It’s strange how you give the people you love so much power over you, I had written in my journal. But Shawn had more power over me than I could possibly have imagined. He had defined me to myself, and there’s no greater power than that.”
― Tara Westover, Educated

“CHORONZON: I am a dire wolf, prey-stalking, lethal prowler.

MORPHEUS: I am a hunter, horse-mounted, wolf-stabbing.

CHORONZON: I am a horsefly, horse-stinging, hunter-throwing.

MORPHEUS: I am a spider, fly-consuming, eight legged.

CHORONZON: I am a snake, spider-devouring, posion-toothed.

MORPHEUS: I am an ox, snake-crushing, heavy-footed.

CHORONZON: I am an anthrax, butcher bacterium, warm-life destroying.

MORPHEUS: I am a world, space-floating, life-nurturing.

CHORONZON: I am a nova, all-exploding... planet-cremating.

MORPHEUS: I am the Universe -- all things encompassing, all life embracing.

CHORONZON: I am Anti-Life, the Beast of Judgment. I am the dark at the end of everything. The end of universes, gods, worlds... of everything. Sss. And what will you be then, Dreamlord?

MORPHEUS: I am hope.”
― Neil Gaiman, The Sandman, Vol. 1: Preludes & Nocturnes

“Empathy is a narrative we tell ourselves to make other people real to us, to feel for and with them, and thereby to extend and enlarge and open ourselves. To be without empathy is to have shut down or killed off some part of yourself and your humanity, to have protected yourself from some kind of vulnerability.”
― Rebecca Solnit, The Mother of All Questions

“Do you remember that story I told you? my mother said. I asked her which one, and she told me about the women who hanged themselves with their own hair when the mountains were mowed over. Once, we lived inside the ground. The sun swung like a bucket of our blood. When I asked why they hanged themselves, she said the only way to own your body is to die inside it. I said that wasn't true anymore.

She stood up and tugged her own ear, checking to see if we were dream-speaking. Steaming her hands over the bowl of water, she said, You're not listening. The steam opened her fists like flowers. The story about women, she said, was a story about choice. How we had one. How we chose to be dead in our own bodies than alive without our language.

I chose you, my mother said...”
― K-Ming Chang, Bestiary

“The Professor never really seemed to care whether we figured out the right answer to a problem. He preferred our wild, desperate guesses to silence, and he was even more delighted when those guesses led to new problems that took us beyond the original one. He had a special feeling for what he called the "correct miscalculation," for he believed that mistakes were often as revealing as the right answers.”
― Yoko Ogawa, The Housekeeper and the Professor

“People shut their eyes to a distant tragedy saying there’s nothing they could do, yet they didn’t stand up for one happening nearby either because they’re too terrified. Most people could feel but didn’t act. They said they sympathized, but easily forgot. The way I see it, that was not real. I didn’t want to live like that.”
― Won-pyung Sohn, Almond

“But books were different. They had lots of blanks. Blanks between words and even between lines. I could squeeze myself in there and sit, or walk, or scribble down my thoughts. It didn’t matter if I had no idea what the words meant. Turning the pages was half the battle.”
― Won-pyung Sohn, Almond

“Children don’t know the meaning of yesterday, of the day before yesterday, or even of tomorrow, everything is this, now: the street is this, the doorway is this, the stairs are this, this is Mamma, this is Papa, this is the day, this the night.”
― Elena Ferrante, My Brilliant Friend

“Thus she returned to the theme of ‘before,’ but in a different way than she had at first. She said that we didn’t know anything, either as children or now, that we were therefore not in a position to understand anything, that everything in the neighborhood, every stone or piece of wood, everything, anything you could name, was already there before us, but we had grown up without realizing it, without ever even thinking about it. Not just us. Her father pretended that there had been nothing before. Her mother did the same, my mother, my father, even Rino… <…> They didn’t know anything, they wouldn’t talk about anything. Not Fascism, not the king. No injustice, no oppression, no exploitation … And they thought that what had happened before was past and, in order to live quietly, they placed a stone on top of it, and so, without knowing it, they continued it, they were immersed in the things of before, and we kept them inside us, too.”
― Elena Ferrante, My Brilliant Friend

“Lila was able to speak through writing; unlike me when I wrote, unlike Sarratore in his articles and poems, unlike even many writers I had read and was reading, she expressed herself in sentences that were well constructed, and without error, even though she had stopped going to school, but–further–she left no trace of effort, you weren't aware of the artifice of the written word. I read and I saw her, I heard her. The voice set in the writing overwhelmed me, enthralled me even more than when we talked face to face; it was completely cleansed of the dross of speech, of the confusion of the oral; it had the vivid orderliness that I imagined would belong to conversation if one were so fortunate as to be born from the head of Zeus and not from the Grecos, the Cerullos.”
― Elena Ferrante, My Brilliant Friend

“It was during that journey to Via Orazio that I began to be made unhappy by my own alienness. I had grown up with those boys, I considered their behavior normal, their violent language was mine. But for six years now I had also been following daily a path that they were completely ignorant of and in the end I had confronted it brilliantly. With them I couldn’t use any of what I learned every day, I had to suppress myself, in some way diminish myself. What I was in school I was there obliged to put aside or use treacherously, to intimidate them. I asked myself what I was doing in that car. They were my friends, of course, my boyfriend was there, we were going to Lila’s wedding celebration. But that very celebration confirmed that Lila, the only person I still felt was essential even though our lives had diverged, no longer belonged to us and, without her, every intermediary between me and those youths, that car racing through the streets, was gone. Why then wasn’t I with Alfonso, with whom I shared both origin and flight? Why, above all, hadn’t I stopped to say to Nino, Stay, come to the reception, tell me when the magazine with my article’s coming out, let’s talk, let’s dig ourselves a cave that can protect us from Pasquale’s driving, from his vulgarity, from the violent tones of Carmela and Enzo, and also—yes, also—of Antonio?”
― Elena Ferrante, My Brilliant Friend

“She wrote, in the last pages, of feeling all the evil of the neighborhood around her. Rather, she wrote obscurely, good and evil are mixed together and reinforce each other in turn. Marcello, if you thought about it, was really a good arrangement, but the good tasted of the bad and the bad tasted of the good, it was a mixture that took your breath away. A few evenings earlier, something had happened that had really scared her. Marcello had left, the television was off, the house was empty, Rino was out, her parents were going to bed. She was alone in the kitchen washing the dishes and was tired, really without energy, when there was an explosion. She had turned suddenly and realized that the big copper pot had exploded. Like that, by itself. It was hanging on the nail where it normally hung, but in the middle there was a large hole and the rim was lifted and twisted and the pot itself was all deformed, as if it could no longer maintain its appearance as a pot. Her mother had hurried in in her nightgown and blamed her for dropping it and ruining it. But a copper pot, even if you drop it, doesn't break and doesn't become misshapen like that. "It's this sort of thing," Lila concluded, "that frightens me. More than Marcello, more than anyone. And I feel that I have to find a solution, otherwise, everything, one thing after another, will break, everything, everything.”
― Elena Ferrante, My Brilliant Friend

“If nothing could save us, not money, not a male body, and not even studying, we might as well destroy everything immediately.”
― Elena Ferrante, The Story of a New Name

“The only woman's body I had studied, with ever-increasing apprehension, was the lame body of my mother, and I had felt pressed, threatened by that image, and still feared that it would suddenly impose itself on mine. That day, instead, I saw clearly the mothers of the old neighborhood. They were nervous, they were acquiescent. They were silent, with tight lips and stooping shoulders, or they yelled terrible insults at the children who harassed them. Extremely thin, with hollow eyes and cheeks, they lugged shopping bags and small children who clung to their skirts and wanted to be picked up. And, good God, they were ten, at most twenty years older than me. Yet they appeared to have lost those feminine qualities that were so important to us girls and that we accentuated with clothes, with makeup. They had been consumed by the bodies of husbands, fathers, brothers, whom they ultimately came to resemble, because of their labors or the arrival of old age, of illness. When did that transformation begin? With housework? With pregnancies? With beatings?”
― Elena Ferrante, The Story of a New Name

“That day, instead, I saw clearly the mothers of the old neighbourhood. They were nervous, they were acquiescent. They were silent, with tight lips and stooping shoulders, or they yelled terrible insults at the children who harassed them. Extremely thin, with hollow eyes and cheeks, or with broad behinds, swallen ankles, heavy chests, they lugged shopping bags and small children who clung to their skirts (...) they appeared to have lost those feminine qualities that were so important to us girls (...) They had been consumed by the bodies of husbands, fathers, brothers, whom they ultimately came to resemble, because of their labors or the arrival of old age, of illness. When did that transformation begin? With housework? With pregnancies? With beatings?”
― Elena Ferrante, The Story of a New Name

“I became disenchanted. My first impression, that of finding myself part of a fearless battle, passed. The trepidation at every exam and the joy of passing it with the highest marks had faded. Gone was the pleasure of re-educating my voice, my gestures, my way of dressing and walking, as if I were competing for the prize of best disguise, the mask worn so well that it was almost a face.”
― Elena Ferrante, The Story of a New Name

“I recognized in them what I had never had and, I now knew, would always lack. What was it? I wasn't able to say precisely: the training, perhaps, to feel that the questions of the world were deeply connected to me; the capacity to feel them as crucial and not purely as information to display at an exam; a mental conformation that didn't reduce everything to my own individual battle, to the effort to be successful.”
― Elena Ferrante, The Story of a New Name