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1 " As we drove off into the moonless night, raindrops danced through our headlights like the fireflies of my childhood. I silently cursed the frailty of happiness and doubted whether it ever existed for me. I could remember happier times, though, and those memories fluttered about my mind like fireflies, beckoning with their elusive splendor. But chasing memories held no more promise than catching fireflies. The pursued feelings either vanished or lost their magic upon examination, hardly the green-glowing beauty seen at a distance. So I looked ahead of me and dreamed on into the darkness, hoping to one day find someone who would love me. "
2 " I wanted a settled life and a shocking one. Think of Van Gogh, cypress trees and church spires under a sky of writhing snakes. I was my father's daughter. I wanted to be loved by someone like my tough judicious mother and I wanted to run screaming through the headlights with a bottle in my hand. That was the family curse. We tended to nurse flocks of undisciplined wishes that collided and canceled each other out. The curse implied that if we didn't learn to train our desires in one direction or another we were likely to end up with nothing. Look at my father and mother today.I married in my early twenties. When that went to pieces I loved a woman. At both of those times and at other times, too, I believed I had focused my impulses and embarked on a long victory over my own confusion. Now, in my late thirties, I knew less than ever about what I wanted. In place of youth's belief in change I had begun to feel a nervous embarrassment that ticked inside me like a clock. I'd never meant to get this far in such an unfastened condition. (p.142) "
― Michael Cunningham , A Home at the End of the World
3 " Being ill when you are a child or growing up is such an enchanted interlude! The outside world, the world of free time in the yard or the garden or on the street, is only a distant murmmur in the sickroom. Inside, a whole world of characters and stories proliferate out of the books you read. The fever that weakens your perception as it sharpens your imagination turns the sickroom into something new, both familiar and strange; monsters come grinning out of the patterns on the curtains and the carpet, and chairs, tables, bookcases and wardrobes burst out of their normal shapes and become mountains and buildings and ships you can almost touch although they're far away. Through the long hours of the night you have the Church clock for company and the rumble of the occasional passing car that throws it's headlights across the walls and ceilings. These are hours without sleep, which is not to say they're sleepless, because on the contrary, they're not about lack of anything, they are rich and full. Desires, memories, fears, passions form labryinths in which we lose and find then lose ourselves again. They are hours where anything is possible, good or bad. "
― Bernhard Schlink , The Reader
4 " The car rolled slowly along the deserted corniche, headlights cleaving its way through Beirut by night. In gentle swerves to avoid potholes, the Mercedes waltzed along a straight road in a dance of death. Sick palm trees and parched grass divided the tarred road of civilization. The sea alone was testimony to God’s beautiful creation. But in its belly, corpses, limbs, garbage, and ordnance mingled with a sea life on the verge of extinction. "
― Dana K. Haffar , Beirut in Shades of Grey
5 " As much as I would like to know my path, a part of me is telling me that it is better not too know too many details about the end destination or the obstacles on the journey. If I can only see as much as my headlights will show me, I can travel safely through any kind of weather, knowing that there's life through every sunrise and sunset and when the light is not shining as I'm used to, I can always assure myself that the night sky will show me many fulfilled dreams and hopes portrayed through shining stars, and every now and then reveal me a part of the moon which reflects that everlasting light, whether fully or not, making me aware that the shadow will always have its' mysterious beauty as well in the process of underlying a part of the truth. So let's continue like this, with our eyes set out far away in the galaxy, but with our feet firm in the ground from which we have been raised. Only so will we be able to ground ourselves deeply and reach immeasurable heights, like a tree deeply rooted in mother Earth that stretches its' branches up to the heavens. "
― Virgil Kalyana Mittata Iordache
6 " His intuition was luminous from the instant you met him. So was his intelligence. A lot of actors act intelligent, but Philip was the real thing: a shining, artistic polymath with an intelligence that came at you like a pair of headlights and enveloped you from the moment he grabbed your hand, put a huge arm round your neck and shoved a cheek against yours; or if the mood took him, hugged you to him like a big, pudgy schoolboy, then stood and beamed at you while he took stock of the effect. (About Philip Seymour Hoffman) "
― John le Carré
7 " The choice is ours to make whether the stars in the night sky shine upon us as headlights of an approaching paradise or as tail-lights of receding fortunes "
― Agona Apell , The Success Genome Unravelled: Turning Men from Rot to Rock
8 " My skin has the crinkled appearance of wax paper that someone has tried to flatten and reuse. My eyes fail me often—in the darkness, when headlights flash, when rain falls. It is unnerving, this new unreliability in my vision. Perhaps that’s why I find myself looking backward. The past has a clarity I can no longer see in the present. "
― Kristin Hannah , The Nightingale
9 " Oh, why fill the heart with yesterday and tomorrow when this moment is all the heart needs? Let the heart be present, let the mind be here, let the eyes see, let the ears hear, let the soul witness, let the words flow ... down this gentle river, you know the way. Why must the eyes know exactly where and why must the mind know exactly how and why must the heart know exactly what and why must the soul know exactly when? It doesn't matter. In the same way that the headlights do not need to show from here all the way to your home before you get there, the headlights just need to show the next few feet. And if the car continues to move, with the headlights showing just the next few feet, you can make it home from anywhere.So in the same way, let the heart, let the eyes, let the mind, let the ears, let the soul, let the touch of this moment feel what is here ... without focusing on what will be there. Allow the essence of this, and this, and this, and this to enrich your life. Be with this now. Witness the tree as you pass by and watch the birds fly to it, drawn to it in the same way that bugs are drawn to lights. Let your heart be drawn to this moment, let your soul be guided by what is here, now. "
― Israel S. Dudley
10 " Large Squares, 1965 -Last BeetleThe body is much the same as the previous model, aside from increase in window size all round. Door handles and lock mechanisms also changed as well as seat and dashboard designs. Chrome beading became thinner, mounting holes for these also smaller. Chrome was later replaced by black anodizing or plastic to try and modernize the Bug. Tail light clusters changed from the oval shape to the ‘headstone’ and then the ‘elephant’s foot’ jumbo units the bug saw its last days with. In 1965 new larger windows all round. 1966 saw the last 6v bug, and also the first 1300cc motor. Those horrible little air vents behind the rear side windows came out in 1971 that caused lots of rusty bugs. Sloping headlights looked much nicer but went out in 1967. "
― Christina Engela , Bugspray
11 " As engine vibrated under him, he tried to tell himself it was all going to work out. It had to. Now that he’d found The One, there was no way in hell he was letting her get away. If that meant he had to move heaven and earth to find a good life for her and her pack mates here in the city, he’d do it. If being with Jayna meant he had to empty out his bank account and sell everything he owned, he was okay with that too.He had friends in other places he could turn to, Family too. His parents owned a huge house and a lot of land outside of Denver. If he showed up with Jayna, her pack, and no job, his family would welcome them with open arms. Okay, maybe his mom would be a little shocked when she found out his girlfriend came with an extended family, but she’d overlook it if there was a possibility of a grandchild in the near future.Becker was still daydreaming about kids with Jayna someday when headlights suddenly appeared in his rear- view mirror. He glanced over, swearing when he saw two vehicles speeding up behind him and closing fast. "
― Paige Tyler , In the Company of Wolves (SWAT: Special Wolf Alpha Team, #3)
12 " Somewhere nere Ogallala, about six hours into that majestic, maddening prairie, I realize that half an hour has passed since I've seen a vehicle in either direction.Oh, I think, as I finally see a pair of headlights draw nigh in the eastbound lane, so this must be where the West begins. "
― Lily Burana , Strip City: A Stripper's Farewell Journey Across America
13 " I'm thinking that it will be autumn soon," she said, lifting her gaze to his. " Autumn is my absolute favorite season. Spring is overrated. It's soggy and the trees are still bare from winter. Winter drags on and on, and summer is nice, but it's all the same. Autumn is different. I mean, is there any perfume in the world that can compare with the smell of burning leaves?" she asked with an engaging smile. Matt thought she smelled a hell of a lot better than burning leaves, but he let her continue. " Autumn —is thexincgitsinagrechanging. It's like dusk." " Dusk?" " Dusk is my favorite time of day, for the same reason. When I was young, I used to walk down our driveway at dusk in the summer and stand at the fence, watching all the cars going by with their headlights on. Everyone had a place to go, something to do. The night was just beginning ..." She trailed off in embarrassment. " That must sound incredibly silly." " It sounds incredibly lonely. "
14 " At the unexpected sight of Spence, Colbie startled hard. How was it that he was the one who needed glasses and yet she’d not seen him standing against the window? “No, I don’t kill a lot of people,” she said cautiously because she was wearing only a towelin front of a strange man. “But I’m happy to make an exception.”He laughed, a rough rumble that was more than a little contagious but she controlled herself because, hello, she was once again dripping wet before the man who seemed to make her knees forget to hold her up.“I didn’t mean to scare you,” he said and pushed off the wall to come close.She froze, but he held up his hands like, I come in peace, and crouched at her feet to scoop up the clothes she hadn’t realized she’d dropped.Leggings, a long forgiving tee, and the peach silk bra-and-panty set that hadn’t gotten so much as a blink from the TSA guy.But it got one out of Spence. He also swallowed hard as she snatched them back from him.“Hold on,” he said and caught her arm, pulling it toward him to look at her bleeding elbow.“Sit,” he said and gently pushed her down to a weight bench. He vanished into the bathroom and came back out with a first aid kit.It took him less than two minutes to clean and bandage the scrape. Then, easily balanced at her side on the balls of his feet, he did the same for both her knees, which she hadn’t noticed were also scraped up.“You must’ve hit the brick coping as you fell in the fountain,” he said and let his thumb slide over the skin just above one bandaged knee.She shivered, and not from the cold either. “Not going to kiss it better?” she heard herself ask before biting her tongue for running away with her good sense.She’d raised her younger twin brothers. Scrappy, roughhouse wild animals, the both of them, so there’d been plenty of injuries she’d kissed over the years.But no one had ever kissed hers. Not surprising, since most of her injuries tended to be on the inside, where they didn’t show. Still, she was horrified she’d said anything at all. “I didn’t mean—”She broke off, frozen like a deer in the headlights as Spence slowly lowered his head, brushing his lips over the Band-Aid on her elbow, then her knees. When he lifted his head, he pushed his glasses higher on his nose, those whiskey eyes warm and amused behind his lenses. “Better?”Shockingly better. Since she didn’t quite trust her voice at the moment, she gave a jerky nod and took her clothes back into the bathroom. She shut the door and then leaned against it, letting out a slow, deliberate breath. Holy cow, she was out of her league. He was somehow both cute and hot, and those glasses . "
― Jill Shalvis , Chasing Christmas Eve (Heartbreaker Bay, #4)
15 " Dread is the first and the strongest types of fear. It is that tension, that waiting that comes when you know there is something to fear but you have not yet identified what it is. The fear that comes when you first realize that your spouse should have been home an hour ago; when you realize that a window you are sure you closed is now open, the curtains billowing, and you're alone in the house.Terror only comes when you see the thing you're afraid of. The intruder is coming at you with a knife. The headlights coming toward you are clearly in your lane. The Klansmen have emerged from the bushes and one of them is holding a rope. This is when all the muscles of your body, except perhaps the sphincters, tauten and you stand rigid; or you scream; or you run. There is a frenzy to this moment, a climactic power-but it is the power of release, not the power of tension. And bad as it is, it is better than dread in this respect: Now, at lest, you know the face of the thing you fear. You know its borders, its dimensions. You know what to expect.Horror is the weakest of all. After the fearful thing has happened, you see its remainder, its relics. The grisly, hacked-up corpse. Your emotions range from nausea to pity for the victim. And even your pity is tinged with revulsion and disgust; ultimately you reject the scene and deny its humanity; with repetition, horror loses its ability to move you and, to some degree, dehumanizes the victim and therefore dehumanizes you. As the sonderkommandos in the death camps learned, after you move enough naked murdered corpses, it stops making you want to weep or puke. You just do it. They've stopped being people to you. "
― Orson Scott Card
16 " A litany of headlights blinding her, she stands unsteady on the dotted traffic line, takes timid steps toward rolled up windows behind which any horror could crouch.... "
― Beatriz Fitzgerald Fernandez , Shining from a Different Firmament
17 " Life is made of moments. and choices. Not all of them matter, or have any lasting impact. Skipping class in favor of a taste of freedom, picking a prom dress because of the way it transforms you into a princess in the mirror. Even the nights you steal away from an open window, tiptoe silent to the end of the driveway, where darkened headlights and the pull of something unknown beckon. These are all small choices, really. Insignificant as soon as they’re made. Innocent.But then.Then there’s a different kind of moment. One when things are irrevocably changed by a choice we make. A moment we will play endlessly in our minds on lonely nights and empty days. One we’ll search repeatedly for some indication that what we chose was right, some small sign that tells us the truth isn’t nearly as awful as it feels. Or as awful as anyone would think if they knew.So we explain it to ourselves, justify it enough to sleep. And then we bury it deep, so deep we can almost pretend it never happened. But as much as we wish it were different, the truth is, our worlds are sometimes balanced on choices we make and the secrets we keep. "
― Jessi Kirby , Golden
18 " It had been dark at the beach for hours, he hadn't been smoking much and it wasn't headlights – but before she turned away, he could swear he saw light falling on her face, the orange light just after sunset that catches a face turned to the west, watching the ocean for someone to come in on the last wave of the day, in to shore and safety. "
― Thomas Pynchon , Inherent Vice
19 " Writing a novel is like driving a car at night. You can only see as far as the headlights but you can make the whole trip that way. "
― E.L. Doctorow
20 " I devised a test.I turned off the TV and instantly the snoring stopped. She began to move. When I felt her eyes about to open, I turned the TV back on and back to sleep she went. Then I'd turn it off and on - sometimes for millisecond - and she never failed me. Each time it was off, she's move and mutter - each time it was on, she'd sleep.By the time the headlights from Amy's Nova turned into our driveway, my suspicion had been confirmed. My mother has a more intimate, connected relationship with this television than she has ever had with me. "
― Peter Hedges , What's Eating Gilbert Grape
