Jeanelle Solwold > Jeanelle's Quotes

“As Aristocleia raised her cup to toast Xanthippus, her gown slipped from her shoulders, exquisite as Aphrodite’s, and flowed like the water that slid over her naked breasts when she allowed him to watch her bathe. It was wonderful to possess a gem of a woman. It made a man feel beautiful and godlike himself, briefly.”
― Yvonne Korshak, Pericles and Aspasia: A Story of Ancient Greece

“Don’t you want to know what happened?” Carol turned to look at her and put her hands on her hips. She said, “No, I don’t, because I don’t want you making a story out of it, because as soon as you make a story out of it, then it keeps happening every time you tell it, and if you make a good story out of it, then you’re gonna want to tell it, so don’t bother.”
― Jane Smiley, Moo

“Cyrano’s attitude toward the sweetmeat vendor thus foreshadows his attitude toward the body in general (it is not a zone of pleasure) and the fair sex in particular. More comfortable with the gallant word (such as, “despite my Gascon pride”) or gesture (“He kisses her hand”) than with the idea of accepting her “dainties,” he settles for a mere “trifle,” for which silliness he is lambasted by his friend Le Bret. Under the guise of gallantry, Cyrano has found a way to formalize a circumspection with regard to women, a hesitancy and perhaps a fear that we see at work also in his relation to Roxane. His relation to sex is purely rhetorical. Cyrano himself attributes his unease with women to fear of being laughed at. By his own admission, the distance he imposes between himself and women is a form of self-defense: “My heart always cowers behind the defence of my wit. I”
― Edmond Rostand, Cyrano de Bergerac

“One day when I was fourteen, I told Charlie that I hated Mother. “Don’t hate her, Jo,” he told me. “Feel sorry for her. She’s not near as smart as you. She wasn’t born with your compass, so she wanders around, bumping into all sorts of walls. That’s sad.” I understood what he meant, and it made me see Mother differently. But wasn’t there some sort of rule that said parents had to be smarter than their kids? It didn’t seem fair.”
― Ruta Sepetys, Out of the Easy

“Why do beautiful songs make you sad?' 'Because they aren't true.' 'Never?' 'Nothing is beautiful and true.”
― Jonathan Safran Foer, Extremely Loud & Incredibly Close

“Mistah Kurtz--he dead.”
― Joseph Conrad, Heart of Darkness

“Zeki olduğunu göstermenin neden aptallık olarak algılandığı sorgulanırsa, akıllara gelecek ilk karşılık atalarımızdan kalma eşyaların tozunu taşır gibidir; çünkü bu karşılığa göre, zeki değilmiş gibi görünmek temkinli davranmaktır. Günümüzde ilk bakışta artık anlaşılması mümkün olmayan ve derinlemesine kuşku içeren bu temkinli davranış, muhtemelen zayıf insan için akıllı görünmemenin gerçekten de daha akıllıca olduğu dönemlerdeki koşullardan kaynaklanır; zira zayıf kişinin zekası, güçlü insanın hayatını tehlikeye atabilir! Aptallıksa teskin edicidir, güvensizliği yatıştırır; günümüzün deyimiyle “silahsızlandırır.” Bu tarz eski kurnazlığın ve ustalıklı aptallığın izlerine bağımlı ilişkilerde hala rastlanabilir, zira birinin bir başkasına bağımlı olduğu bu tür ilişkiler içinde güçler öyle orantısız paylaştırılır ki zayıf kişi kurtuluşunu olduğundan daha aptalca davranmakta arar: Bu izler kendini, örneğin, köylünün sözümona kurnazlığında, hizmetçinin mürekkep yalamış efendilerini idare etmesinde, askerin üstüyle, öğrencinin öğretmeniyle ve çocuğun ebeveyniyle ilişkisinde gösterir. Zayıf kişinin bir şeyi becerememesi, o şeyi yapmak istememesinden daha az sinirlendirir gücü elinde bulunduran kişiyi. Aptallık güçlü insanı çaresizliğe sürükler, diğer bir deyişle tam olarak bir zayıflık hali ne ise, ona!
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Fakat aptallık aynı zamanda kızgınlık yaratabilir ve her durumda yatıştırıcı olmaz. Kısaca söylemek gerekirse, aptallık genellikle sabırsızlığa yol açar, bazı istisnai durumlarda zalimliği de körükler ve bu zalimliğin hastalıklı ve tiksinti uyandıran aşırılıkları, ki bunlar kabaca sadizm olarak nitelendirilir, aptal insanları çoğunlukla mağdur rolünde gösterir. Şurası açık ki bu durum, aptal insanların zalim insanların kucağına nispeten daha kolay düşmeleri yüzünden ortaya çıkar, fakat bunun aynı zamanda her açıdan hissedilen bir direnç yoksunluğuyla da bağlantısı varmış gibi görünür, ki bu direnç yoksunluğu, kan kokusunun avlanma şehvetini uyandırmasına benzer şekilde, hayal gücünü vahşileştirir: Bu, aptal insanı neredeyse sırf limit duygusu tamamen yitirildiği için zalimliğin aşırıya kaçtığı ıssız bir yere doğru çeker. Acı çektirende görülen bir acı çekme türüdür bu, acı çektirenin vahşetinde saklı bir zayıflıktır ve rencide olmuş duygudaşlığın öfkesine tanıdığımız öncelik her ne kadar bunu fark etmemize nadiren müsade etse de, zalimlik de aşk gibi birbiriyle uyumlu iki insanın varlığına ihtiyaç duyar.”
― Robert Musil, Über die Dummheit

“To whomever swapped my tattoo cream for toothpaste........ well played.”
― R.D. Ronald

“When I hear that still, small Voice wooing me and asking me to drop everything and spend time with Him, I need to be willing to yield.”
― Ami Loper, Constant Companion: Your Practical Path to Real Interaction with God

“Nothing looked disturbed…yet everything felt that way. The guy was on the bed, calmness itself, as though he’d decided on a moment’s lie-down and just zizzed off.”
― Michael Wyndham Thomas, The Erkeley Shadows

“She's just one of the plethora of women you rotate through your bed." Lily looked scared out of her mind as the queen changed direction and stalked her. "I will not allow you to besmirch the Esca name with your filthy plot to steal the prince.”
― Therisa Peimer, Taming Flame

“On the end of my bed. He’s short, round and bald, with a tartan loin cloth, and what looks like a spout on the top of his head,’ Bryony said. ‘You flatter me,’ came the snide male voice. ‘But it’s a valve.”
― Sara Pascoe, Being a Witch, and Other Things I Didn't Ask For

“The salt of Elat stored on the deck began to dissolve and the purple colour in the water deepened as it spread out. As the concentration of salt increased around the first transport, the ferocity of the othium fires became more intense. In a few moments the heat and the salt caused the othium to reach critical level, and a huge explosion blew both transports into matchwood. The blasts grew in intensity as rock after rock exploded.”
― Robert Reid, White Light Red Fire

“There are only two things wrong with money: too much or too little.”
― Charles Bukowski, The Captain is Out to Lunch and the Sailors Have Taken Over the Ship

“Through an arrow loop in the wall she saw a familiar horse and rider tearing across the camp toward the healing rooms. Brigan pulled up at Nash's feet and dropped from the saddle. The two brothers threw their arms around each other and embraced hard.
Shortly thereafter he stepped into the healing rooms and leaned in the doorway, looking across at her quietly. Brocker's son with the gentle gray eyes.
She abandoned all pretense of decorum and ran at him.”
― Kristin Cashore, Fire

“You've got to get obsessed and stay obsessed.”
― John Irving, The Hotel New Hampshire

“مشاهده‌ی تاریخ، که در اکنون برمی‌بالد و رشد می‌کند، فقط تکاپویی برگشت‌ناپذیر را در آن می‌بیند: همان چیزی که رها بود.”
― Martin Heidegger, The Concept of Time

“[Her delicate beauty must avoid a strong light. There is something about her uncertain manner, as well as her white clothes, that suggests a moth.]”
― Tennessee Williams, A Streetcar Named Desire

“It turns out that the distance from head to hand, from wafting butterfly to entomological specimen, is achieved through regular, disciplined practice. What begins as something like a dream will in fact stay a dream forever unless you have the tools and the discipline to bring it out.”
― Ann Patchett, The Getaway Car: A Practical Memoir About Writing and Life