Breaking Bad Jesse Quotes

Just because you shot Jesse James...don't make you Jesse James. (Breaking Bad: Season 5, Episode 3-"Hazard Pay")

There are a lot of ways for a novelist to create suspense, but also really only two: one a trick, one an art. The trick is to keep a secret. Or many secrets, even. In Lee Child’s books, Jack Reacher always has a big mystery to crack, but there are a series of smaller mysteries in the meantime, too, a new one appearing as soon as the last is resolved. J. K. Rowling is another master of this technique — Who gave Harry that Firebolt? How is Rita Skeeter getting her info? The art, meanwhile, the thing that makes “Pride and Prejudice” so superbly suspenseful, more suspenseful than the slickest spy novel, is to write stories in which characters must make decisions. “Breaking Bad” kept a few secrets from its audience, but for the most part it was fantastically adept at forcing Walter and Jesse into choice, into action. The same is true of “Freedom,” or “My Brilliant Friend,” or “Anna Karenina,” all novels that are hard to stop reading even when it seems as if it should be easy.

Tell me—or anyone else—something thatis personal to you, Coach had said. Seiji couldn’t talk to just anyone, but Nicholas had said they were friends. “I was… Jesse’s mirror,” said Seiji slowly. “I reflected his—glow, his glories and his victories. I used to think it was an honor. We were similar, I told myself, in all the ways that really mattered.” Jesse was left-handed like Nicholas, so facing him sometimes felt like looking into a mirror. Like seeing yourself through the glass, a better, golden self in a different world. A self who fenced just as well but didn’t have to work as hard for it. A Seiji who did everything in life with the same skill as he fenced. “You’re not a mirror,” said Nicholas. “You’re real.” “It’s a metaphor, Nicholas.” Nicholas shrugged. “You’re still not a mirror. Mirrors break. You never do.” Seiji thought of his moment of defeat against Jesse. The moment that Aiden had seen, and taunted Seiji with, making Seiji lose again. Seiji had trained his whole life to be strong, but somehow, he was still weak. Jesse had taken his sword, and Seiji hadn’t been able to stop him. The bitterness of that defeat sent Seiji to Kings Row. Always keep moving toward your target, his dad’s voice said, but somehow Seiji had ended up getting his target wrong. He’d moved toward loss and pain he still didn’t entirely understand. “I lost,” confessed Seiji. “Badly.” “Doesn’t make you a loser,” said Nicholas, having another lapse where he didn’t understand what words—let alone metaphors—meant. “You didn’t burst into tears and give up fencing. And you didn’t follow Jesse to Exton like a little lamb, the way he was expecting. You came to Kings Row, and you came to fence. You came to fight.” This view of the matter was so shocking that Seiji said something he’d thought he would never say to Nicholas Cox. “I suppose…,” said Seiji, “… you’re right.” Nicholas’s gaze remained fixed on the floor. “Being rivals shouldn’t be about being someone’s mirror. Both of you get to be real. Neither of you has to break.” “Sometimes you’re insightful, Nicholas,” said Seiji. Nicholas looked pleased before Seiji added: “I think it’s mainly by accident.” At that point, Nicholas rolled his eyes and stepped into his side of the room, yanking the curtain closed between them.

Marshall’s whole life, I thought he was the sun. He was my world, my prodigal son. He shone so bright that you were left in the shadow, and I thought—” His voice breaks and tears stream down his withered face. “I see now that he blinded me. He made me think you were the bad one, that—” Oliver is crying now, too. “Baba.” He stops speaking then, because what can one say at this moment? “I am so sorry, son. That day

But when you see yourself as an individual first, you are freed to think for yourself, and you become internally self-sufficient. You start to break free from the bonds of racial conformity, and you start to see the good and bad in everyone, irrespective of their color. You start to be less angry, and as you let go of anger you are empowered to love God, your family, and your country.

A book can only end one of two ways: truthfully or artfully. If it ends artfully, then it never feels quite right. It feels forced, manipulated. If it ends truthfully, then the story ends badly, in death. It's the reason most theories and religions and economic systems break down before you get too far into them--and the reason Buddhism and the Beach Boys make sense to teenagers, because they're too young to know what life really is: a frantic struggle that always ends the same way. The only thing that varies is the beginning and the middle. Life itself always ends badly.