Love Triangle Quotes

Quotes tagged as "love-triangle" Showing 1-30 of 123
Suzanne Collins
“What about Gale?"
"He's not a bad kisser either," I say shortly.
"And it was okay with both of us? You kissing the other?" He asks.
"No. It wasn't okay with either of you. But I wasn't asking your permission," I tell him.
Peeta laughs again, coldly, dismissively. "Well, you're a piece of work, aren't you?”
Suzanne Collins, Mockingjay

Stephenie Meyer
“Well, I'm so sorry that I can't be the right kind of monster for you, Bella.”
Stephenie Meyer, New Moon

Vera Nazarian
“Love is made up of three unconditional properties in equal measure:

1. Acceptance
2. Understanding
3. Appreciation

Remove any one of the three and the triangle falls apart.

Which, by the way, is something highly inadvisable. Think about it — do you really want to live in a world of only two dimensions?

So, for the love of a triangle, please keep love whole.”
Vera Nazarian, The Perpetual Calendar of Inspiration

Cassandra Clare
“But that's not what you said when she walked into the room," said Simon quietly. "You said, 'Why didn't you ever tell me I had a brother?'"
"I know." Clary yanked a blade of grass out of the dirt, worrying it between her fingers. "I guess I can't help thinking that if I'd known the truth, I wouldn't have met Jace the way I did. I wouldn't have fallen in love with him."
Simon was silent for a moment. "I don't think I've ever heard you say that before."
"That I love him?" She laughed, but it sounded dreary even to her ears. "Seems useless to pretend like I don't, at this point. Maybe it doesn't matter. I probably won't ever see him again, anyway."
"He'll come back."
"He'll come back," Simon said again. "For you.”
Cassandra Clare, City of Glass

Catherynne M. Valente
“I know you loved both he and I, the way a mother can love two sons. And no one should be judged for loving more than they ought, only for loving not enough.”
Catherynne M. Valente, Deathless

Ally Carter
“Don't let two men fall in love with you, girls. It's not the sort of thing that ends well."
-Uncle Charles”
Ally Carter, Uncommon Criminals

Gabrielle Zevin
“As many have discovered, it is entirely possible (although not particularly desirable) to love two people with all your heart. It is entirely possible to long for two lives, to feel that one life can't come close to containing it all.”
Gabrielle Zevin, Elsewhere

John Green
“I didn't know what to say to her - I was caught in a love triangle with one dead side.”
John Green

Cassandra Clare
“He wanted to run to her, wrap her in his arms. Protect her. But it was Jem’s place to do those things, not his. Not his.” -Will Herondale”
Cassandra Clare, Clockwork Princess

“I just don't want to cozy up to the guy whose girl I have every intention of stealing.”
Aprilynne Pike

John Green
“I was caught in a love triangle with one dead side.”
John Green, Looking for Alaska

Terri Herman-Poncé
“We do not remember days, Shemei, we remember moments, and the richness of life lies in memories we have forgotten.”
Terri Herman-Poncé, In This Life

Ford Madox Ford
“Upon my soul!' Tietjens said to himself, 'that girl down there is the only intelligent living soul I've met for years.' A little pronounced in manner sometimes; faulty in reasoning naturally, but quite intelligent, with a touch of wrong accent now and then. But if she was wanted anywhere, there she'd be! Of good stock, of course: on both sides! But positively, she and Sylvia were the only two human beings he had met for years whom he could respect: the one for sheer efficiency in killing; the other for having the constructive desire and knowing how to set about it. Kill or cure! The two functions of man. If you wanted something killed you'd go to Sylvia Tietjens in sure faith that she would kill it: emotion, hope, ideal; kill it quick and sure. If you wanted something kept alive you'd go to Valentine: she's find something to do for it. . . . The two types of mind: remorseless enemy, sure screen, dagger ... sheath!
Perhaps the future of the world then was to women? Why not? He hand't in years met a man that he hadn't to talk down to - as you talk down to a child, as he had talked down to General Campion or to Mr. Waterhouse ... as he always talked down to Macmaster. All good fellows in their way ...”
Ford Madox Ford, Parade's End

Jenny Trout
“I couldn't take much more of this. Being the object two men competed for wasn't as glamorous as it sounded in the movies. The two men who both wanted one hundred percent of my time weren't dashing, international playboys. They were undead and surprisingly immature, considering the youngest was just over a hundred years old.”
Jennifer Armintrout, Ashes to Ashes

Sally Rooney
“I lay there in the bath not thinking, not doing anything. After a few seconds, I heard her open the front door, and then her voice saying: she's had a really rough day, so just be nice to her. And Nick said: I know, I will. I loved them both so much in this moment that I wanted to appear in front of them like a benevolent ghost and sprinkle blessings into their lives. Thank you, I wanted to say. Thank you both. You are my family now.”
Sally Rooney, Conversations with Friends

Stephanie Garber
“It’s wonderful to finally meet you,’ Scarlett managed.

He smiled, wide and sincere. ‘I’m tempted to say you’re even prettier than I imagined, but I would hate you to think me unoriginal.’

‘Too late,’ Julian coughed.

A wrinkle formed between Nicolas’s thick brows as he noticed Scarlett’s companion. ‘And you are?’

‘Julian.’ He offered his hand.

But Nicolas refused to let go of Scarlett’s. ‘I wasn’t aware Scarlett had a brother.’

‘I’m not her brother.’ Julian kept his tone friendly, but Scarlett felt a surge of bruising purple panic as devilry sparked in Julian’s eyes. ‘I’m not related to her at all. I’m an actor she played with during Caraval.’

He emphasized the words played with, and Scarlett could have choked him. Julian would choose now to finally be honest.

Not that Nicolas appeared disturbed. The young count’s broad smile remained even as he petted Timber with his free hand.

But Julian wasn’t finished.

‘I’m not surprised she’s never mentioned me. At the start of Caraval I don’t think she liked me much. But then we were given the same bedroom—’

‘Julian, enough,’ Scarlett cut in.”
Stephanie Garber, Finale

Amanda Hocking
“The sound of wings flapping pulled me from my moment of relieved euphoria, and I looked up to see a massive black raven standing at the end of the alley. It was roughly the size of a bobcat, larger than any raven I’d ever seen before, and its beady eyes were locked right on me.
Even though the purple light from Sigrún had all but gone out, the light somehow seemed to linger on the bird’s black feathers. It titled its head as it watched me, squawking once.
“What do you want?” I demanded, but the raven had no reply. It just flapped its wings and disappeared into the night sky.”
Amanda Hocking, Between the Blade and the Heart

Gwen Mitchell
“In the fairytales, when the knight in shining armor is killed defending his fair maiden, she brings him back to life with a magical kiss, and they live happily ever after.
But this wasn’t that sort of fairytale.”
Gwen Mitchell, Veil of Thorns

Jenim Dibie
“I still belonged to you long after you belonged to someone else.”
Jenim Dibie

Rachel Van Dyken
“Trace," I licked my lips and sighed, "To me. You're everything. I'd protect you until my dying day because I can't imagine living in a world where your smile didn't exist.”
Rachel Van Dyken, Evoke

Leonard Cassuto
“But at the same time, Dreiser points in An American Tragedy to the significance of those very social connections in the creation of Clyde’s criminal motivation. In asking how Clyde Griffiths the murderer was formed, Dreiser takes a panoramic view of economic development and social change in the United States during the decades leading up to the 1920s. In particular, he views Clyde as the product of a certain kind of family during a certain historical period. Though the story of Clyde draws on accounts of an actual 1906 murder, Dreiser deliberately avoids exactly dating the story, and the book thus comments not on a specific moment, but on an American era.

The Cambridge Companion to Theodore Dreiser (Cambridge Companions to Literature) (p. 198). Cambridge University Press. Kindle Edition.”
Leonard Cassuto, The Cambridge Companion to Theodore Dreiser

“Anna loves Ted, but she does not want him in a way that causes her to suffer; she does not want him desperately, despite herself. And it turns out that is how Ted has always wanted to be wanted: the way he has always wanted women. The way Anna wanted Marco, and he wanted Anna, and Rachel (or so it seems, in retrospect) wanted him.

In the absence of this painful wanting, Ted has trouble getting hard.”
Kristen Roupenian, You Know You Want This

“Jefferson's hatred of Hamilton was complicated by jealousy of Washington's affection for the younger man... The continuing intellectual debate over the Jeffersonian and Hamiltonian rival systems of government takes on a new and richer dimension if seen against the backdrop of the personal drama of this remarkable triangle.”

Iris Murdoch
“I am out of the saga, he thought. He had a heavy sense of being left in total isolation; everyone had withdrawn from him and the person who could most have helped him was pre-empted by another.”
Iris Murdoch, The Nice and the Good

Mark Slouka
“One thing I'm sure, you can't tell about love, or the lack of it, except from the outside, from the way two people look at each other, from the things they do. It's like the way you can tell about a house, about the people in it, whether they're happy, from the way it looks from the street: A small pot of marigolds, a couple of chairs in the shade, tells you pretty much everything you need to know.
I could tell what they had. I could tell by the way he'd wrapped her up in that big coat of his that day in the rain, like he was a magician who could make them both disappear, by the way she'd walk next to him, or look at him when he talked to other people, that look saying, "This man is mine and I like how he is -- how he moves, how he laughs -- and he knows it and it's the two of us from here on, for everything." It was easy, unforced -- walking down the hall, she'd touch his elbow with a finger and he'd turn like a ship; she'd sigh and he'd look up. Sometimes at lunch, or in the library, you'd catch them looking at each other, a kind of calm in their eyes like after a smile, or before it, and know they were talking.
She loved him -- what more is there to say? There were times I'd look at them and feel something in my chest and throat, an ache that made it harder to breathe, but I was OK with it. I can say that now. I was OK with it. I didn't know it then, but I loved them both. Who's to say which one of them more?
It was the pot of flowers, the chair in the shade. . . .”
Mark Slouka, Brewster

I've noticed you seem awfully preoccupied with the princess of late. Do you even realize the situation you're in? I wouldn't let myself get distracted if I were you."
"Distracted? What, are you kidding? I've been looking at no one but you this whole time!”
Yuto Tsukuda, 食戟のソーマ 35 [Shokugeki no Souma 35]

Claire Handscombe
“She saw him first. Twenty years first. Yes, yes: very junior high. But this whole thing feels very junior high. Maybe that's always how it feels when you are both grown, smart, articulate, mature women. Maybe you always feel like the other person cannot possibly love him, loves instead some fictionalised version of him.”
Claire Handscombe, Unscripted

I thought you'd come back I thought you'd stop me marrying him I didn't think you'd let me do it
Robert Galbraith, Troubled Blood

“An image of Charlotte hung permanently in Robin's head these days, like a shadowy portrait she'd never wanted hung . . . Last night, though, that image had become stark and fixed: a darkly romantic vision of a lost and dying love, breathing her final words in Strike's ear as she lay among the trees.”
Robert Galbraith, Troubled Blood

Stephenie Meyer
“Murder, the ultimate crime of passion.”
Stephenie Meyer, Eclipse

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