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1 " 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
2 " 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
3 " 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)
4 " 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
5 " 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
6 " 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
7 " She awoke knowing what she had been dreaming about. She was a deer in the headlights to his grinning face. In those first moments before she was fully awakened she hadn’t had time to hide her true feelings. He’d read them loud and clear. This was the moment that would start the seductive tango. There was one giant problem. Kayn could not dance her way out of a paper bag. "
― Kim Cormack , Enlightenment
8 " I believe the stars are the headlights of angels driving from heaven to save usto save us...Won't you look at the sky?They're driving from heaven into our eyes. And though final words are so hard to devise, I promise that I'll always remember your pretty eyes. "
9 " I've been talking to myself a lot lately. I don't know what that's about, but my mother was the same way. She hated to make small talk with other people, but get her into a conversation with herself and she was quite the raconteur. She would tell herself a joke and clap her hands together as she let out a laugh; she would murmur to the plants as she watered them, and offer encouragement to the food as she cooked it. Sometimes I would walk into a room and surprise her as she was regaling herself with some delightful story, and I remember how the sound would dry up in her mouth. She stood there, frozen in the headlights of my teenage scorn. "
― Dan Chaon , Stay Awake
10 " Occasionally a car swooshed by in the rain and its headlights would swing round momentarily and illuminate the room-the pool table, snowshoes on the wall and the rowing machine, the armchair in which Henry sat, motionless, a glass in his hand and the cigarette burning low between his fingers. For a moment his face, pale and watchful as a ghost's, would be caught in the headlights and then, very gradually, it would slide back into the dark. "
― Donna Tartt , The Secret History
11 " I replaced the headlights in my car with strobe lights, so it looks like I'm the only one moving. "