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1 " It seems that the Parisian Oulipo group has recently constructed a matrix of all possible murder-story situations and has found that there is still to be written a book in which the murderer is the reader.Moral: there exist obsessive ideas, they are never personal; books talk among themselves, and any true detection should prove that we are the guilty party. "
― Umberto Eco , Postscript to the Name of the Rose
2 " Every lover could be brought to trial as the murderer of his own love. When something hurts you, saddens you, I rush to avoid it, to alter it, to feel as you do, but you turn away with a gesture of impatience and say: " I don't understand "
3 " I read and reread and recommended and rarely rejected, became one of those readers who will read trashy stories as long as they're not too terrible--well, even perhaps the truly terrible ones--and will reread something she's already read, even if it's something like a detective novel, when you'd suspect that knowing who had really killed the countess would materially detract from the experience. (It doesn't, and besides, I often can't remember who the murderer was in the first place.) "
― Anna Quindlen , Imagined London: A Tour of the World's Greatest Fictional City
4 " The evil that is in the world always comes of ignorance, and good intentions may do as much harm as malevolence, if they lack understanding. On the whole, men are more good than bad; that, however, isn’t the real point. But they are more or less ignorant, and it is this that we call vice or virtue; the most incorrigible vice being that of an ignorance that fancies it knows everything and therefore claims for itself the right to kill. The soul of the murderer is blind; and there can be no true goodness nor true love without the utmost clear-sightedness. "
― Albert Camus
5 " Everyone who has any familiarity with psychology knows about the danger of disowning the murderer within. Far fewer people understand the tragedy of disowning the hero within. "
― Nathaniel Branden , Six Pillars of Self-Esteem
6 " Two Songs For The World's End I Bombs ripen on the leafless tree under which the children play. And there my darling all alone dances in the spying day. I gave her nerves to feel her pain, I put her mortal beauty on. I taught her love that hate might find, its black work the easier done. I sent her out alone to play; and I must watch, and I must hear, how underneath the leafless tree, the children dance and sing with Fear. II Lighted by the rage of time where the blind and dying weep, in my shadow take your sleep, though wakeful I. Sleep unhearing while I pray - Should the red tent of the sky fall to fold your time away, wake to weep before you die. Die believing all is true that love your maker said to you Still believe that had you lived you would have found love, world, sight, sound, sorrow, beauty - all true. Grieve for death your moment - grieve. The world, the lover you must take, is the murderer you will meet. But if you die before you wake never think death sweet. "
7 " Every day the choice is presented to us, in a thousand different ways, to live up to the spirit which is in us or to deny it. Whenever we talk about right and wrong we are turning the light of scrutiny upon our neighbors instead of upon ourselves. We judge in order not to be judged. We uphold the law, because it is easier than to defy it. We are all lawbreakers, all criminals, all murderers, at heart. It is not our business to get after the murderers, but to get after the murderer which exists in each and every one of us. And I mean by murder the supreme kind which consists in murdering the spirit. "
― Henry Miller , Stand Still Like the Hummingbird
8 " She had set out to break him, as if, unable to equal his value, she could surpass it by destroying it, as if the measure of his greatness would thus become the measure of hers, as if the vandal who smashed a statue were greater than the artist who had made it, as if the murderer who killed a child were greater than the mother who had given it birth. "
― Ayn Rand , Atlas Shrugged
9 " There was one story that anger certainly lit the fuse of. In the 1960's, in my home town of Jackson, the civil rights leader Medgar Evers was murdered on night in darkness and I wrote a story that same night about the murderer (identity unknown) called " Where Is The Voice Coming From?" But all that absorbed me, though it started as outrage, was the necessity I felt for entering into the mind and inside the skin of a character who could hardly have been more alien or repugnant to me. Trying for my utmost, I wrote in the first person. I was wholly vaunting the prerogative of the short-story writer. It is always vaunting, of course, to imagine yourself inside another person, but it is what a story writer does in every piece of work; it is his first step, and his last too, I suppose. I'm not sure this story was brought off; and I don't believe that my anger showed me anything about human character that my sympathy and rapport never had. "
10 " I scan the room for objects to hit her with. I want to hammer over the head with something, or stab her. I don’t know what stops me, but I guess that’s the difference between a good person and a murderer. The murderer doesn’t stop themselves, but that doesn’t mean good people, like me, don’t have the same thoughts sometimes. "
― , Paper Aeroplanes (Paper Aeroplanes, #1)
11 " On the whole, men are more good than bad; that, however, isn't the real point. But they are more or less ignorant, and it is this that we call vice or virtue; the most incorrigible vice being that of an ignorance that fancies it knows everything and therefore claims for itself the right to kill. The soul of the murderer is blind; and there can be no true goodness nor true love without the utmost clear-sightedness. "
12 " The beet is the most intense of vegetables. The radish, admittedly, is more feverish, but the fire of the radish is a cold fire, the fire of discontent not of passion. Tomatoes are lusty enough, yet there runs through tomatoes an undercurrent of frivolity. Beets are deadly serious.Slavic peoples get their physical characteristics from potatoes, their smoldering inquietude from radishes, their seriousness from beets.The beet is the melancholy vegetable, the one most willing to suffer. You can't squeeze blood out of a turnip...The beet is the murderer returned to the scene of the crime. The beet is what happens when the cherry finishes with the carrot. The beet is the ancient ancestor of the autumn moon, bearded, buried, all but fossilized; the dark green sails of the grounded moon-boat stitched with veins of primordial plasma; the kite string that once connected the moon to the Earth now a muddy whisker drilling desperately for rubies.The beet was Rasputin's favorite vegetable. You could see it in his eyes. "
― Tom Robbins , Jitterbug Perfume
13 " When a man kills another man, the people say he is a murderer, but when the Emir kills him, the Emir is just. When a man robs a monastery, they say he is a thief, but when the Emir robs him of his life, the Emir is honourable. When a woman betrays her husband, they say she is an adulteress, but when the Emir makes her walk naked in the streets and stones her later, the Emir is noble. Shedding of blood is forbidden, but who made it lawful for the Emir? Stealing one's money is a crime, but taking away one's life is a noble act. Betrayal of a husband may be an ugly deed, but stoning of living souls is a beautiful sight. Shall we meet evil with evil and say this is the Law? Shall we fight corruption with greater corruption and say this is the Rule? Shall we conquer crimes with more crimes and say this is Justice? Had not the Emir killed an enemy in his past life? Had he not robbed his weak subjects of money and property? Had he not committed adultery? Was he infallible when he killed the murderer and hanged the thief in the tree? Who are those who hanged the thief in the tree? Are they angels descended from heaven, or men looting and usurping? Who cut off the murderer's head? Are they divine prophets, or soldiers shedding blood wherever they go? Who stoned that adulteress? Were they virtuous hermits who came from their monasteries, or humans who loved to commit atrocities with glee, under the protection of ignorant Law? What is Law? Who saw it coming with the sun from the depths of heaven? What human saw the heart of God and found its will or purpose? In what century did the angels walk among the people and preach to them, saying, " Forbid the weak from enjoying life, and kill the outlaws with the sharp edge of the sword, and step upon the sinners with iron feet? "
14 " Added to the moral solitude of the murderer comes the solitude of the artist, which can acknowledge no authority, save that of another artist. "
― Jean Genet , Querelle of Brest
15 " Everybody talks about foul dens and filthy slums in which crime can run riot; but it's just the other way. They are called foul, not because crimes are committed, but because crimes are discovered. It's in the neat, spotless, clean and tidy places that crime can run riot; no mud to make footprints; no dregs to contain poison; kind servants washing out all traces of the murder; and the murderer killing and cremating six wives and all for want of a little Christian dirt. "
― G.K. Chesterton , The Complete Father Brown
16 " Micro: When his mind detached from his body he saw the murderer stab him repeatedly. Later, he told the detective - who retired. He blamed stress. "
17 " I'd rather worship bloody bones than the murderer who makes them. "
― Rosamund Hodge , Crimson Bound
18 " A commitment to sexual equality with men is a commitment to becoming the rich instead of the poor, the rapist instead of the raped, the murderer instead of the murdered. "
― Andrea Dworkin
19 " For if it's all the rest of us who are killed by the suicide, it's himself whom the murderer kills; only he has to do is over, and over, and over. "
― Ursula K. Le Guin , The Word for World Is Forest (Hainish Cycle, #5)
20 " The bistro was his secret weapon in tracking down murderers. Not just in Three Pines, but in every town and village in Quebec. First he found a comfortable café or brasserie, or bistro, then he found the murderer. Because Armand Gamache knew something many of his colleagues never figured out. Murder was deeply human, the murdered and the murderer. To describe the murderer as a monstrosity, a grotesque, was to give him an unfair advantage. No. Murderers were human, and at the root of each murder was an emotion. Warped, no doubt. Twisted and ugly. But an emotion. And one so powerful it had driven a man to make a ghost.Gamache's job was to collect the evidence, but also to collect the emotions. And the only way he knew to do that was do get to know the people. To watch and listen. To pay attention, and the best way to do that was in a deceptively casual way in a deceptively casual setting.Like the bistro. "
― Louise Penny , A Fatal Grace (Chief Inspector Armand Gamache, #2)