61
" I’m going to Bristol,” Matthew said desperately. “I’ll reschedule the meetings. I won’t do anything without your leave. But at least I can gather information— interview the local transport firm, have a look at their horses—”
“Swift,” the earl interrupted. Something in his quiet tone, a note of… kindness?… sympathy?… caused Matthew to stiffen defensively. “I understand the reason for your urgency—”
“No, you don’t.”
“I understand more than you might think. And in my experience, these problems can’t be solved by avoidance. You can never run far or fast enough.”
Matthew froze, staring at Westcliff. The earl could have been referring either to Daisy, or to Matthew’s tarnished past. In either case he was probably right.
Not that it changed anything.
“Sometimes running is the only choice,” Matthew replied gruffly, and left the room without looking back. "
― Lisa Kleypas , Scandal in Spring (Wallflowers, #4)
62
" Now I think of breaking up as moving. Imagine you have your own house, full of your own boxes. A person you meet has his own house, full of his own boxes. When you have a relationship with that person, you shack up in a third house, into which you can each put any number of your boxes. You shouldn't move them all in at once, or else you will seem too eager. And don't dawdle too much either, or you will seem skittish about commitment. You kind of aim to match each other's pace, so that the power balance feels fair and equal. Happy marriage--at least ideally--would be the situation in which both parties enthusiastically choose to keep all of their boxes in their shared house. Conversely, when someone starts to doubt the relationship, he might move a box or two back into his own house, just in case. While he's weighing his options, he may transport a few more boxes to the safety of his own home. When he's ready to take back his final few boxes, he breaks up with you. If you were too infatuated to see it coming, there you are, with all of your boxes in the shared house, and none in the security of your own home. "
― Tyler Oakley , Binge
64
" Allowing ourselves to become pure point of view, we hang in midair over the city. What we see now is a gigantic metropolis waking up. Commuter trains of many colors move in all directions, transporting people from place to place. Each of those under transport is a human being with a different face and mind, and at the same time each is a nameless part of the collective identity. Each is simultaneously a self-contained whole and a mere part. Handling this dualism of theirs skillfully and advantageously, they perform their morning rituals with deftness and precision: brushing teeth, shaving, tying neckties, applying lipstick. They check the morning news on TV, exchange words with their families, eat, defecate. "
― Haruki Murakami , After Dark
