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1 " The artistic life is a long and lovely suicide precisely because it involves the negation of self; as Highsmith imagined herself as her characters, so Ripley takes on the personae of others and in doing so metamorphoses himself into a 'living' work of art. A return to the 'real life' after a period of creativity resulted in a fall in spirits, an agony Highsmith felt acutely. She voiced this pain in the novel via Bernard's quotation of an excerpt from Derwatt's notebook: 'There is no depression for the artist except that caused by a return to the self'. "
― Andrew Wilson , Beautiful Shadow: A Life of Patricia Highsmith
2 " When shrouded meanings and grim intentions are nicely polished up and pokerfaced personae are generously palming off their fantasy constructs, caution is the watchword, since rimpling water on the well of truth swiftly obscures our vision and perception. (" Trompe le pied." ) "
3 " Destiny stands by sarcastic with our dramatis personae folded in her hand. "
― George Eliot , Middlemarch
4 " My grandmother lived a remarkable life. She watched her nation fall to pieces; and even when she became collateral damage, she believed in the power of the human spirit. She gave when she had nothing; she fought when she could barely stand; she clung to tomorrow when she couldn’t find footing on the rock ledge of yesterday. She was a chameleon, slipping into the personae of a privileged young girl, a frightened teen, a dreamy novelist, a proud prisoner, an army wife, a mother hen. She became whomever she needed to be to survive, but she never let anyone else define her. By anyone’s account, her existence had been full, rich, important—even if she chose not to shout about her past, but rather to keep it hidden. It had been nobody’s business but her own; it was still nobody’s business. "
― Jodi Picoult , The Storyteller
5 " I write about scoundrels; my specialty is generally scoundrels. If somebody's done a bad thing, I just talk about it. I don't prettify it or anything. My characters, a lot of them are disgusting — what they've done in the past. Somebody described them once as " last-ditch attempts at justification." And sometimes that's what my characters or my personae are doing: they're saying, " Yes, I did this and that thing, and perhaps it was evil. It was bad — maybe it wasn't even evil — but this is why I did it. You don't know the circumstances surrounding it." And this is the telling; they're almost retelling what happened from their point of view .... I use " bad words" whenever I feel the need, you know, I just put 'em in there — if it's true to my character. I always like to think that I'm doing things that are true to my charcter. And I hope that, when I'm dealing with violence, for example, that it's not gratuitous, that it's coming out of character that requires that .... I usually start with character, rather than a concept or an idea. If I do want to deal with an idea, I must create a character, in order to work from there, from that angle. "
6 " In our tribunal, we look only at personal criminal responsibility in a very tightly defined, narrow way and we demand proof beyond a resonable doubt about the involvement of the individual. We do no have a mandate to establish the moral responsibility of those who saw things happen and did nothing, including people who might have had the capacity to stop the process and did nothing. But we have to be careful in thinking that just because we focus on individual criminal guilt we therefore absolve the community. The old distinctions are too simplistic when we move up the chain of command and witness the merging of the collectivity into the personae of these charismatic political and military leaders.'-Louise Arbour, Chief Prosecutor for International Criminal Tribunal for the Former Yugoslavia "
― , Long Shadows: Truth, Lies and History
7 " It appears that some part of Slothrop ran into the AWOL Džabajev one night in the heart of downtown Niederschaumdorf. (Some believe that fragments of Slothrop have grown into consistent personae of their own. If so, there's no telling which of the Zone's present-day population are offshoots of his original scattering. There's supposed to be a last photograph of him on the only record album ever put out by The Fool, an English rock group—seven musicians posed, in the arrogant style of the early Stones, near an old rocket-bomb site, out in the East End, or South of the River. It is spring, and French thyme blossoms in amazing white lacework across the cape of green that now hides and softens the true shape of the old rubble. There is no way to tell which of the faces is Slothrop's: the only printed credit that might apply to him is " Harmonica, kazoo—a friend." But knowing his Tarot, we would expect to look among the Humility, among the gray and preterite souls, to look for him adrift in the hostile light of the sky, the darkness of the sea. . . .) "
