Addie Larue Quotes

Books, she has found, are a way to live a thousand lives--or to find strength in a very long one.

What is a person, if not the marks they leave behind?

...it is sad, of course, to forget. But it is a lonely thing, to be forgotten. To remember when no one else does.

Three words, large enough to tip the world. I remember you.

A dreamer,” scorns her mother. “A dreamer,” mourns her father. “A dreamer,” warns Estele. Still, it does not seem such a bad word.

There is a defiance in being a dreamer

Because time is cruel to all, and crueler still to artists. Because visions weakens, and voices wither, and talent fades.... Because happiness is brief, and history is lasting, and in the end... everyone wants to be remembered

Blink, and the years fall away like leaves.

Nothing is all good or all bad,” she says. “Life is so much messier than that.

What she needs are stories. Stories are a way to preserve one's self. To be remembered. And to forget. Stories come in so many forms: in charcoal, and in song, in paintings, poems, films. And books. Books, she has found, are a way to live a thousand lives—or to find strength in a very long one.

Stories are a way to preserve one's self. To be remembered. And to forget.

Blink and you’re twenty-eight, and everyone else is now a mile down the road, and you’re still trying to find it, and the irony is hardly lost on you that in wanting to live, to learn, to find yourself, you’ve gotten lost.

Don't you remember, she told him then, when you were nothing but shadow and smoke? Darling, he'd said in his soft, rich way, I was the night itself.

Being forgotten, she thinks, is a bit like going mad. You begin to wonder what is real, if you are real. After all, how can a thing be real if it cannot be remembered?

His heart has a draft. It lets in light. It lets in storms. It lets in everything.

Do you know how to live three hundred years?” she says. And when he asks how, she smiles. “The same way you live one. A second at a time.

But a life without art, without wonder, without beautiful things—she would go mad. She has gone mad.

It is just a storm, he tells himself, but he is tired of looking for shelter. It is just a storm, but there is always another waiting in its wake.

That time always ends a second before you’re ready. That life is the minutes you want minus one.

But this is how you walk to the end of the world. This is how you live forever. Here is one day, and here is the next, and the next, and you take what you can, savor every stolen second, cling to every moment, until it’s gone.

You know,” she’d said, “they say people are like snowflakes, each one unique, but I think they’re more like skies. Some are cloudy, some are stormy, some are clear, but no two are ever quite the same.

Do not mistake this kindness. I simply want to be the one who breaks you.

And there in the dark, he asks if it was really worth it. Were the instants of joy worth the stretches of sorrow? Were the moments of beauty worth the year of pain? And she turns her head, and looks at him, and says 'Always.

Déjà vu. Déjà su. Déjà vécu.

I am stronger than your god and older than your devil. I am the darkness between stars, and the roots beneath the earth. I am promise, and potential, and when it comes to playing games, i divine the rules, I set the pieces, and I choose when to play.

The old gods may be great, but they are neither kind nor merciful. They are fickle, unsteady as moonlight on water, or shadows in a storm. If you insist on calling them, take heed: be careful what you ask for, be willing to pay the price. And no matter how desperate or dire, never pray to the gods that answer after dark.

Humans are so ill-equipped for peace.

Adeline has decided she would rather be a tree, like Estele. If she must grow roots, she would rather be left to flourish wild instead of pruned, would rather stand alone, allowed to grow beneath the open sky.

The first mark she left upon the world, long before she knew the truth, that ideas are so much wilder than memories, that they long and look for ways of taking root

Never pray to the gods that answer after dark.

Live long enough, and you learn how to read a person. To ease them open like a book, some passages underlined and others hidden between the lines.

But if you only walk in other people's steps, you cannot make your own way. You cannot leave a mark.

Because happiness is brief, and history is lasting, and in the end,” he says, “everyone wants to be remembered.

I remember seeing that picture and realizing that photographs weren’t real. There’s no context, just the illusion that you’re showing a snapshot of a life, but life isn’t snapshots, it’s fluid. So photos are like fictions. I loved that about them. Everyone thinks photography is truth, but it’s just a very convincing lie.

Dine with me,” Luc says as winter gives way to spring. “Dance with me,” he says as a new year begins. “Be with me,” he says, at last, as one decade slips into the next

Take your echoes and pretend they are a voice.

Listen to me. Life can feel very long sometimes, but in the end, it goes so fast. You better live a good life.

If she must grow roots, she would rather be left to flourish wild instead of pruned, would rather stand alone, allowed to grow beneath the open sky. Better that than firewood, cut down just to burn in someone else’s hearth.

March is such a fickle month. It is the seam between winter and spring—though seam suggests an even hem, and March is more like a rough line of stitches sewn by an unsteady hand, swinging wildly between January gusts and June greens. You don’t know what you’ll find, until you step outside.

Other people would call him sensitive, but it is more than that. The dial is broken, the volume turned all the way up. Moments of joy registered as brief, but ecstatic. Moments of pain stretched long and unbearably loud.

Take a drink every time you hear you’re not enough. Not the right fit. Not the right look. Not the right focus. Not the right drive. Not the right time. Not the right job. Not the right path. Not the right future. Not the right present. Not the right you. Not you. (Not me?) There’s just something missing. From us. What could I have done? Nothing. It’s just… (Who you are.) I didn’t think we were serious. (You’re just too… …sweet. …soft. …sensitive.) I just don’t see us ending up together. I met someone. I’m sorry It’s not you. Swallow it down. We’re not on the same page. We’re not in the same place. It’s not you. We can’t help who we fall in love with. (And who we don’t.) You’re such a good friend. You’re going to make the right girl happy. You deserve better. Let’s stay friends. I don’t want to lose you. It’s not you. I’m sorry.

The day passes like a sentence. The sun falls like a scythe.

Spells are for witches, and witches are too often burned.

They teach you growing up that you are only one thing at a time—angry, lonely, content—but he’s never found that to be true. He is a dozen things at once. He is lost and scared and grateful, he is sorry and happy and afraid.

The vexing thing about time,” he says, “is that it’s never enough. Perhaps a decade too short, perhaps a moment. But a life always ends too soon.

But it is a lonely thing, to be forgotten, To remember when know one else does.

Do you think a life has any value if one doesn’t leave some mark upon the world?

art is about ideas. And ideas are wilder than memories. They're like weeds, always finding their way up.

Small places make for small lives. And some people are fine with that. They like knowing where to put their feet. But if you only walk in other people’s steps, you cannot make your own way. You cannot leave a mark.

it’s amazing what you can learn when you have the time.

And perhaps it is just that happiness is frightening.

Even rocks wear away to nothing.

I remember you.” Three words, large enough to tip the world.

All she knows is that she is tired, and he is the place she wants to rest. And that, somehow, she was happy. But it is not love.

Easy to stay on the path when the road is straight and the steps are numbered.

History is a thing designed in retrospect.

She said no, and learned how much the word was worth.

If a person cannot leave a mark, do they exist?

A successful theft is an anonymous act. The absence of a mark.

Estelle used to call these the restless days, when the warmer-blooded gods began to stir, and the cold ones began to settle. When dreamers were most prone to bad ideas, and wanderers were likely to get lost.

She fell in love with the darkness many times, fell in love with a human once.

I remember you.

I do not want to belong to someone else. I do not want to belong to anyone but myself. I want to be free. Free to live, and to find my own way, to love, or to be alone, but at least it is my choice, and I am so tired of not having choices, so scared of the years rushing past beneath my feet. I do not want to die as I’ve lived, which is no life at all.

It was just so...permanent. Choosing a class became choosing a discipline, and choosing a discipline became choosing a career, and choosing a career became choosing a life, and how was anyone supposed to do that, when you only had one?

Funny, how some people take an age to warm, and others simply walk into every room as if it’s home.

To find a way, or make your own.

Here is a new kind of silence, rarer than the rest. The easy quiet of familiar spaces, of places that fill simply because you are not alone within them.

history is something you look back on, not something you really feel at the time. In the moment, you're just... living.

the greatest danger in change is letting the new replace the old.

Adeline was going to be a tree, and instead, people have come brandishing an ax.

She has gone so long without roots, she doesn't know how to grow them anymore. So used to losing things, she isn't sure how to hold them. How to make space in a world the size of herself.

Memories are stiff, but thoughts are freer things. They throw out roots, they spread and tangle, and come untethered from their source. They are clever, and stubborn, and perhaps--perhaps--they are in reach.

They are Orpheus, she is Eurydice, and every time they turn back, she is ruined.

I would have lost my mind.” “Oh, I did,” she says blithely. “But when you live long enough, even madness ends.

They've left his heart too open. Forgotten to close back up the armor of his chest. And now he feels... too much.

Want is for children. If this were want, I would be rid of you by now. I would have forgotten you centuries ago,” he says, a bitter loathing in his voice. “This is need. And need is painful but patient. Do you hear me, Adeline? I need you. As you need me. I love you, as you love me.

And then he whispers three words into her hair. “I love you,” he says, and Addie wonders if this is love, this gentle thing. If it is meant to be this soft, this kind. The difference between heat, and warmth. Passion, and contentment. “I love you too,” she says. She wants it to be true.

So she longs for the mornings, but she settles for the night, and if it cannot be love, well then at least it is not lonely.

It is sad to forget. But it's a lonely thing to be forgotten.

And she wonders what it was that drew her here the first time. Wonders if they are like magnets, she and Luc. If they have circled each other for so long that now they share an orbit.

Listen to me." Her voice is urgent now. "Life can feel very long sometimes, but in the end, it goes so fast." Her eyes are glassy with tears, but she is smiling. "You better live a good life, Henry Strauss.

Belief is a bit like gravity. Enough people believe a thing, and it becomes as solid and real as the ground beneath your feet.

And when she does look up, her gaze always goes to the edge of town. "A dreamer," scorns her mother. "A dreamer," mourns her father. "A dreamer," warns Estele. Still, it does not seem such a bad word. Until Adeline wakes up.

And yet, you are unmarried?” “No,” she says, “I confess, I do not want a master, and I’ve yet to find an equal.

There are days when she mourns the prospect of another year, another decade, another century. There are nights when she cannot sleep, moments when she lies awake and dreams of dying. But then she wakes, and sees the pink and orange dawn against the clouds, or hears the lament of a lone fiddle, the music and the melody, and remembers there is such beauty in the world. And she does not want to miss it—any of it.

You see only flaws and faults, weaknesses to be exploited. But humans are messy, Luc. That is the wonder of them. They live and love and make mistakes, and they feel so much.

Nothing is all good or all bad," she says. "Life is so much messier than that." And there in the dark, he asks if it was really worth it. Were the instants of joy worth the stretches of sorrow? Were the moments of beauty worth the years of pain? And she turns her head, and looks at him, and says, "Always.

So much of life becomes routine, but food is like music, like art, replete with the promise of something new.

It is the kind of day designed for wood fires, and mugs of tea, and well-loved books.

There is a rhythm to moving through the world alone. You discover what you can and cannot live without, the simple necessities and small joys that define a life. Not food, not shelter, not the basic things a body needs—those are, for her, a luxury—but the things that keep you sane. That bring you joy. That make life bearable.

Her shadow stretches out ahead - too long, its edges already blurring - and small white flowers tumble from her hair, littering the ground like stars. A constellation left in her wake, almost like the one across her cheeks. Seven freckles. One for every love she'd have, that's what Estele had said, when the girl was still young. One for every life she'd lead. One for every god watching over her. Now they mock her, those seven marks. Promises. Lies. She's had no loves, she's lived no lives, she's met no gods, and now she is out of time.

You didn’t come.” “You didn’t call.” She looks down at their tangled hands. “Tell me, Luc,” she says. “Was any of it real?” “What is real to you, Adeline? Since my love counts for nothing?” “You are not capable of love.” He scowls, his eyes flashing emerald. “Because I am not human? Because I do not wither and die?” “No,” she says, drawing back her hand. “You are not capable of love because you cannot understand what it is to care for someone else more than yourself. If you loved me, you would have let me go by now.” Luc flicks his fingers. “What nonsense,” he says. “It is because I love you that I won’t. Love is hungry. Love is selfish.

And when the girl looks at him, she doesn't see perfect. She sees someone who cares too much, who feels too much, who is lost, and hungry, and wasting inside his curse. She sees the truth, and he doesn't know how, or why, only knows that he doesn't want it to end. Because for the first time in months, in years, his whole life, perhaps, Henry doesn't feel cursed at all. For the first time, he feels seen.

Perhaps it will take twenty years. Perhaps it will take a hundred. But he is not capable of love, and she will prove it. She will ruin him. Ruin his idea of them. She will break his heart, and he will come to hate her once again. She will drive him mad, drive him away. And then, he will cast her off. And she will finally be free.

You want an ending," she says. "Then take my life when I am done with it. You can have my soul when I don't want it anymore." The shadow tips his head, suddenly intrigued. A smile - just like the smile in her drawings, askance, and full of secrets - crosses his mouth. And then he pulls her to him. A lover's embrace. he is smoke and skin, air and bone, and when his mouth presses against hers, the first thing she tastes is the turning of the seasons, the moment when dusk gives way to night. And then his kiss deepens. His teeth skim her bottom lip, and there is pain in the pleasure, followed by the copper taste of blood on her tongue.

It does,” he admits, before nodding at her attire. “And yet,” he says with an impish grin, “you strike me as someone not easily restrained. Aut viam invenium aut faciam, and so on.” She does not know Latin yet, and he does not offer a translation, but a decade from now, she will look up the words, and learn their meaning. To find a way, or make your own.

Time moves so fucking fast. Blink, and you’re halfway through school, paralyzed by the idea that whatever you choose to do, it means choosing not to do a hundred other things, so you change your major half a dozen times before finally ending up in theology, and for a while it seems like the right path, but that’s really just a reflex to the pride on your parents’ faces, because they assume they’ve got a budding rabbi, but the truth is, you have no desire to practice, you see the holy texts as stories, sweeping epics, and the more you study, the less you believe in any of it. Blink, and you’re twenty-four, and you travel through Europe, thinking—hoping—that the change will spark something in you, that a glimpse of the greater, grander world will bring your own into focus. And for a little while, it does. But there’s no job, no future, only an interlude, and when it’s over, your bank account is dry, and you’re not any closer to anything. Blink, and you’re twenty-six, and you’re called into the dean’s office because he can tell that your heart’s not in it anymore, and he advises you to find another path, and he assures you that you’ll find your calling, but that’s the whole problem, you’ve never felt called to any one thing. There is no violent push in one direction, but a softer nudge a hundred different ways, and now all of them feel out of reach. Blink and you’re twenty-eight, and everyone else is now a mile down the road, and you’re still trying to find it, and the irony is hardly lost on you that in wanting to live, to learn, to find yourself, you’ve gotten lost.

I am not some genie, bound to your whim." He pushes off the tree. "Nor am I some petty forest spirit, content with granting favors for mortal trinkets. I am stronger than your god and older than your devil. I am the darkness between stars, and the roots beneath the earth. I am promise, and potential, and when it comes to playing games, I divine the rules, I set the pieces, and I choose when to play. And tonight, I say no.

She will grow out of it, her parents say - but instead, Adeline feels herself growing in, holding tighter to the stubborn hope of something more. The world should be getting larger. Instead, she feels it shrinking, tightening like chains around her limbs as the flat lines of her own body begin to curve out against it, and suddenly the charcoal beneath her nails is unbecoming, as is the idea that she would choose her own company over Arnaud's or George'sm or any man who might have her. She is at odds with everything, she does not fit, an insult to her sex, a stubborn child in a woman's form, her head bowed and arms wrapped tight around her drawing pad as if it were a door.

Take a drink every time you hear a lie. You're a great cook. (They say as you burn toast.) You're so funny. (You've never told a joke.) You're so... ... handsome. ... ambitious. ... successful. ... strong. (Are you drinking yet?) You're so... ... charming. ... clever. ... sexy. (Drink.) So confident. So shy. So mysterious. So open. You are impossible, a paradox, a collection at odds. You are everything to everyone. The son they never had. The friend they've always wanted. A generous stranger. A successful son. A perfect gentleman. A perfect partner. A perfect... Perfect... (Drink.) They love your body. Your abs. Your laugh. The way you smell. The sound of your voice. They want you. (Not you.) They need you. (Not you.) They love you. (Not you.) You are whoever they want you to be. You are more than enough, because you are not real. You are perfect, because you don't exist. (Not you.) (Never You.) They look at you and see whatever they want... Because they don't see you at all.