Briefly Gorgeous Ocean Vuong Quotes

They say nothing lasts forever but they're just scared it will last longer than they can love it.

I miss you more than I remember you.

Sometimes being offered tenderness feels like the very proof that you've been ruined.

Because the sunset, like survival, exists only on the verge of its own disappearing. To be gorgeous, you must first be seen, but to be seen allows you to be hunted.

You once told me that the human eye is god's loneliest creation. How so much of the world passes through the pupil and still it holds nothing. The eye, alone in its socket, doesn't even know there's another one, just like it, an inch away, just as hungry, as empty.

Too much joy, I swear, is lost in our desperation to keep it.

What were you before you met me?" "I think I was drowning" "And what are you now?" "Water

In Vietnamese, the word for missing someone and remembering them is the same: nhớ. Sometimes, when you ask me over the phone, Có nhớ mẹ không? I flinch, thinking you meant, Do you remember me? I miss you more than I remember you.

When does a war end? When can I say your name and have it mean only your name and not what you left behind?

I am writing because they told me to never start a sentence with because. But I wasn't trying to make a sentence—I was trying to break free. Because freedom, I am told, is nothing but the distance between the hunter and its prey.

Is that what art is? To be touched thinking what we feel is ours when, in the end, it was someone else, in longing, who finds us?

I am writing you from inside a body that used to be yours. Which is to say, I am writing as a son.

Did you know people get rich off of sadness? I want to meet the millionaire of American sadness. I want to look him in the eye, shake his hand, and say, 'it's been an honor to serve my country.

I am thinking of beauty again, how some things are hunted because we have deemed them beautiful. If, relative to the history of our planet, an individual life is so short, a blink, as they say, then to be gorgeous, even from the day you're born to the day you die, is to be gorgeous only briefly.

Ma. You once told me that memory is a choice. But if you were god, you'd know it's a flood.

Let no one mistake us for the fruit of violence - but that violence, having passed through the fruit, failed to spoil it.

Remember: The rules, like streets, can only take you to known places.

In a world myriad as ours, the gaze is a singular act: to look at something is to fill your whole life with it, if only briefly.

To be a monster is to be a hybrid signal, a lighthouse: both shelter and warning at once.

All this time I told myself we were born from war—but I was wrong, Ma. We were born from beauty. Let no one mistake us for the fruit of violence—but that violence, having passed through the fruit, failed to spoil it.

A page, turning, is a wing lifted with no twin, and therefore no flight. And yet we are moved.

The truth is we can survive our lives, but not our skin. But you know this already.

They say nothing lasts forever and I’m writing you in the voice of an endangered species.

All freedom is relative—you know too well—and sometimes it’s no freedom at all, but simply the cage widening far away from you, the bars abstracted with distance but still there, as when they “free” wild animals into nature preserves only to contain them yet again by larger borders. But I took it anyway, that widening. Because sometimes not seeing the bars is enough

They will want you to succeed, but never more than them. They will write their names on your leash and call you necessary, call you urgent.

I'm sorry I keep saying How are you? when I really mean Are you happy?

The cruelest walls are made of glass.

We try to preserve life, even when we know it has no chance of enduring its body. We feed it, keep it comfortable, bathe it, medicate it, caress it, even sing to it. We tend to these basic functions not because we are brave or selfless but because, like breath, it is the most fundamental act of our species: to sustain the body until time leaves it behind.

Because freedom, I am told, is nothing but the distance between the hunter and its prey.

What I really wanted to say was that a monster is not such a terrible thing to be. From the Latin root monstrum, a divine messenger of catastrophe, then adapted by the Old French to mean an animal of myriad origins: centaur, griffin, satyr. To be a monster is to be a hybrid signal, a lighthouse: both shelter and warning at once.

Sometimes you are erased before you are given the choice of stating who you are.

I sit, with all my theories, metaphors, and equations, Shakespeare and Milton, Barthes, Du Fu, and Homer, masters of death who can’t, at last, teach me how to touch my dead.

I remember learning that saints were only people whose pain was notable, noted.

It is no accident, Ma, that the comma resembles a fetus— that curve of continuation. We were all once inside our mothers, saying with our entire curved and silenced selves, more, more, more. I want to insist that are being alive is beautiful enough to be worthy of replication. And so what? So what if all I ever made of my life was more of it?

To be or not to be. That is the question. A question, yes, but not a choice.

Who will be lost in the story we tell ourselves? Who will be lost in ourselves? A story, after all, is a kind of swallowing. To open a mouth, in speech, is to leave only the bones, which remain untold.

I believe the wound is also the place where the skin reencounters itself, asking of each end, where have you been?

No, sir, destruction is not necessary for art.” I said that, not because I was certain, but because I thought my saying it would help me believe it.

The thing is, I don't want my sadness to be othered from me just as I don't want my happiness to be othered. They're both mine. I made them, dammit.

He loves me, he loves me not, we are taught to say, as we tear the flower from its flowerness. To arrive at love, then, is to arrive through obliteration. Eviscerate me, we mean to say, and I'll tell you the truth.

Isn’t that the saddest thing in the world, Ma? A comma forced to be a period?

Because something in him know she'd be there. That she was waiting. Because that's what mothers do. They wait. They stand still until their children belong to someone else.

To love something, then, is to name it after something so worthless it might be left untouched—and alive.

When can I say your name and have it mean only your name and not what you left behind?

The one good thing about national anthems is that we’re already on our feet, and therefore ready to run. The truth is one nation, under drugs, under drones.

But why can't the language for creativity be the language of regeneration? You killed that poem, we say. You're a killer. You came into that novel guns blazing. I am hammering this paragraph, I am banging them out, we say. I owned that workshop. I shut it down. I crushed them. We smashed the competition. I'm wrestling with the muse. The state, where people live, is a battleground state. The audience a target audience. "Good for you, man" a man once said to me at a party, "you're making a killing with poetry. You're knockin' em dead.

What a terrible life, I think now, to have to move so fast just to stay in one place.

The children, the veal, they stand very still because tenderness depends on how little the world touches you. To stay tender, the weight of your life cannot lean on your bones.

We were exchanging truths, I realized, which is to say, we were cutting one another.

To destroy a people, then, is to set them back in time.

Our hands empty except for our hands.

Sometimes, when I’m careless, I think survival is easy: you just keep moving forward with what you have, or what’s left of what you were given, until something changes—or you realize, at last, that you can change without disappearing, that all you had to do was wait until the storm passes you over and you find that—yes—your name is still attached to a living thing.

Migration can be triggered by the angle of sunlight, indicating a change in the season, temperature, plant life, and food supply. Female monarchs lay eggs along the route. Every history has more than one thread, each thread a story of division. The journey takes four thousand eight hundred and thirty miles, more than the length of this country. The monarchs that fly south will not make it back north. Each departure, then, is final. Only their children return; only the future revisits the past.

Remember: The rules, like streets, can only take you to known places. Underneath the grid is a field-it was always there-where to be lost is never wrong, but simply more. As a rule, be more.

I wanted to cry but did not yet know how to in English. So I did nothing.

Ma, to speak in our mother tongue is to speak only partially in Vietnamese, but entirely in war.

What is a country but a life sentence?

To look at something is to fill your whole life with it, if only briefly.

Some people say history moves in a spiral, not the line we have come to expect. We travel through time in a circular trajectory, our distance increasing from an epicenter only to return again, one circle removed.

Do you remember the happiest day of your life? What about the saddest? Do you ever wonder if sadness and happiness can be combined, to make a deep purple feeling, not good, not bad, but remarkable simply because you didn't have to live on one side or the other?

I run thinking I will outpace it all, my will to change being stronger than my fear of living.

It's in these moments, next to you, that I envy words for doing what we can never do-- how they can tell all of themselves simply by standing still, simply by being. Imagine I could lie down beside you and my whole body, every cell, radiates a clear, singular meaning, not so much a writer as a word pressed down beside you.

It's not fair that the word laughter is trapped inside slaughter.

I guess what I mean is that sometimes I don't know what or who we are. Days I feel like a human being, while other days I feel more like a sound. I touch the world not as myself but as an echo of who I was. Can you hear me yet? Can you read me?

We sang, nearly shouting the lyrics, the wind clipping at our voices. They say a song can be a bridge, Ma. But I say it's also the ground we stand on. And maybe we sing to keep ourselves from falling. Maybe we sing to keep ourselves.

Maybe in the next life we’ll meet each other for the first time—believing in everything but the harm we’re capable of.

To be gorgeous, you must first be seen, but to be seen allows you to be hunted.

If you find yourself trapped inside a dimming world, remember it was always this dark inside the body. Where the heart, like any law, stops only for the living.

Maybe in the next life we'll meet each other for the first time- believing in everything but the harm we're capable of. Maybe we'll be the opposite of buffaloes. We'll grow wings and spill over the cliff as a generation of monarchs, heading home. Green Apple. Like snow covering the particulars of the city, they will say we never happened, that our survival was a myth. But they're wrong. You and I, we were real. We laughed knowing joy would tear the stitches from our lips. Remember: The rules, like streets, can only take you to known places. Underneath the grid is a field- it was always there- where to be lost is never to be wrong, but simply more. As a rule, be more. As a rule, I miss you. As a rule,"little" is always smaller than "small". Don't ask me why. I'm sorry I don't call enough. Green Apple. I'm sorry I keep saying How are you? when I really mean Are you happy?

There is so much I want to tell you, Ma. I was once foolish enough to believe knowledge would clarify, but some things are so gauzed behind layers of syntax and semantics, behind days and hours, names forgotten, salvaged and shed, that simply knowing the wound exists does nothing to reveal it. I don't know what I'm saying. I guess what I mean is that sometimes I don't know what or who we are. Days I feel like a human being, while other days I feel more like a sound. I touch the world not as myself but as an echo of who I was. Can you hear me yet? Can you read me?

I did not know then what I know now: to be an American boy, and then an American boy with a gun, is to move from one end of a cage to another.

It was beauty, I learned, that we risked ourselves for.

Cleopatra saw the same sunset. Ain't that crazy? Like everybody who was ever alive only seen one sun.

I was once foolish enough to believe knowledge would clarify, but some things so gauzed behind layers of syntax and semantics, behind days and hours, names forgotten, salvaged and shed, that simply knowing the wound exists does nothing to reveal it.

You're a mother, Ma. You're also a monster. But so am I - which is why I can't turn away from you. Which is why I have taken god's loneliest creature and put you inside it. Look.

Two languages cancel each other out, suggests Barthes, beckoning a third. Sometimes our words are few and far between, or simply ghosted. in which case the hand, although limited by the borders of skin and cartilage, can be the third language that animates where the tongue falters.

There’s a word Trevor once told me about, one he learned from Buford, who served in the navy in Hawaii during the Korean War: kipuka. The piece of land that’s spared after a lava flow runs down the slope of a hill—an island formed from what survives the smallest apocalypse. Before the lava descended, scorching the moss along the hill, that piece of land was insignificant, just another scrap in an endless mass of green. Only by enduring does it earn its name. Lying on the mat with you, I cannot help but want us to be our own kipuka, our own aftermath, visible. But I know better.

They say if you want something bad enough you’ll end up making a god out of it. But what if all I ever wanted was my life, Ma?

He was only nine but had already mastered the dialect of damaged American fathers.

tenderness depends on how little the world touches you.

I came to know, in those afternoons, that madness can sometimes lead to discovery, that the mind, fractured and short-wired, is not entirely wrong.

Let me begin again.

Who will be lost in the story we tell ourselves? Who will be lost in ourselves?

That was the day I learned how dangerous a color can be. That a boy could be knocked off that shade and made to reckon his trespass. Even if color is nothing but what the light reveals, that nothing has laws, and a boy on a pink bike must learn, above all else, the law of gravity.

Say surrender. Say alabaster. Switchblade. Honeysuckle. Goldenrod. Say autumn. Say autumn despite the green in your eyes. Beauty despite daylight. Say you’d kill for it. Unbreakable dawn mounting in your throat. My thrashing beneath you like a sparrow stunned with falling.

To ask 'What's good?' was to move, right away, to joy. It was pushing aside what was inevitable to reach the exceptional. Not great or well or wonderful, but simply good. Because good was more often enough, was a precious spark we sought and harvested of and for one another.

When I first started writing, I hated myself for being so uncertain, about images, clauses, ideas, even the pen or journal I used. Everything I wrote begin with maybe and perhaps and ended with I think or I believe. But my doubt is everywhere. Even when I know something to be true I fear the knowledge will dissolve, will not, despite my writing it, stay real.

You’re not a monster,” I said. But I lied. What I really wanted to say was that a monster is not such a terrible thing to be. From the Latin root monstrum, a divine messenger of catastrophe, then adapted by the Old French to mean an animal of myriad origins: centaur, griffin, satyr. To be a monster is to be a hybrid signal, a lighthouse: both shelter and warning at once.

A new immigrant, within two years, will come to know that the salon is, in the end, a place where dreams become the calcified knowledge of what it means to be awake in American bones — with or without citizenship — aching, toxic, and underpaid. I hate and love your battered hands for what they can never be.

Maybe we look into mirrors not merely to seek beauty, regardless how illusive, but to make sure, despite the facts, that we are still here. That the hunted body we move in has not yet been annihilated, craped out. To see yourself still yourself is a refuge men who have not been denied cannot know.

It’s the chemicals in our brains, they say. I got the wrong chemicals, Ma. Or rather, I don’t get enough of one or the other. They have a pill for it. They have an industry. They make millions. Did you know people get rich off of sadness? I want to meet the millionaire of American sadness. I want to look him in the eye, shake his hand, and say, “it’s been an honor to serve my country.” The thing is, I don’t want my sadness to be othered from me just as I don’t want my happiness to be othered. They’re both mine. I made them, dammit. What if the elation I feel is not another “bipolar episode” but something I fought hard for? Maybe I jump up and down and kiss you too hard on the neck when I learn, upon coming home, that it’s pizza night because sometimes pizza night is more than enough, is my most faithful and feeble beacon. What if I’m running outside because the moon tonight is children’s-book huge and ridiculous over the pines, the sight of it a strange sphere of medicine? It’s like when all you’ve been seeing before you is a cliff and then this bright bridge appears out of nowhere, and you run fast across it knowing, sooner or later, there’ll be another cliff on the other side. What if my sadness is actually my most brutal teacher? And the lesson is always this: you don’t have to be like the buffaloes. You can stop.

If we are lucky, the end of the sentence is where we might begin. If we are lucky, something is passed on, another alphabet written in the blood, sinew, and neuron; ancestors charging their kin with the silent propulsion to fly south, to turn toward the place in the narrative no one was meant to outlast.

I didn't know that would be the last time I'd see him, his neck scar lit blue by the diner's neon marquee. To see that little comma again, to put my mouth there, let my shadow widen the scar until, at last, there was no scar to be seen at all, just a vast and equal dark sealed by my lips. A comma superimposed by a period the mouth so naturally makes. Isn't that the saddest thing in the world, Ma? A comma forced to be a period?

The most common English word spoken in the nail salon was sorry. It was the one refrain for what it meant to work in the service of beauty. Again and again, I watched as manicurists, bowed over a hand or foot of a client, some young as seven, say, "I'm sorry. I'm sorry. I'm so, so sorry," when they had nothing wrong. I have seen workers, you included, apologize dozens of times throughout a forty-five-minute manicure, hoping to gain warm traction that would lead to the ultimate goal, a tip--only to say sorry anyway when none was given. In the nail salon, sorry is a tool one uses to pander until the word itself becomes currency. It no longer merely apologizes, but insists, reminds: I'm here, right here, beneath you. It is the lowering of oneself so that the client feels right, superior, and charitable. In the nail salon, one's definition of sorry is deranged into a new word entirely, one that's charged and reused as both power and defacement at once. Being sorry pays, being sorry even, or especially, when one has no fault, is worth every self-deprecating syllable the mouth allows. Because the mouth must eat.

As a girl, you watched, from a banana grove, your schoolhouse collapse after an American napalm raid. At five, you never stepped into a classroom again. Our mother tongue, then, is no mother at all—but an orphan. Our Vietnamese a time capsule, a mark of where your education ended, ashed. Ma, to speak in our mother tongue is to speak only partially in Vietnamese, but entirely in war.

You always tell me it's too late for you to read, with your poor liver, your exhausted bones, that after everything you've been through, you'd just like to rest now. That reading is a privilege you made possible for me with what you lost. I know you believe in reincarnation. I don't know if I do but I hope it's real. Because then maybe you'll come back here next time around. Maybe you'll be a girl and maybe your name will be Rose again, and you'll have a room full of books with parents who will read you bedtime stories in a country not touched by war.

The say addiction might be linked to bipolar disorder. It's the chemicals in our brains, they say. I got the wrong chemicals, Ma. Or rather, I don't get enough of one or the other. They have a pill for it. They have an industry. They make millions. Did you know people get rich off of sadness? I want to meet the millionaire of American sadness. I want to look him in the eye, shake his hand, and say, 'it's been an honor to serve my country.

That time when I was five or six and, playing a prank, leapt out at you from behind the hallway door, shouting, “Boom!” You screamed, face raked and twisted, then burst into sobs, clutched your chest as you leaned against the door, gasping. I stood bewildered, my toy army helmet tilted on my head. I was an American boy parroting what I saw on TV. I didn’t know that the war was still inside you, that there was a war to begin with, that once it enters you it never leaves—but merely echoes, a sound forming the face of your own son. Boom.

I am writing to go back to the time, at the rest stop in Virginia, when you stared, horror-struck at the taxidermy buck hung over the soda machine by the restrooms, its antlers shadowing your face. In the car, you kept shaking your head. " I don't understand why they would do that. Can't they see it's a corpse? A corpse should go away, not get stuck forever like that." I think now of that buck, how you stared into its black glass eyes and saw your reflection, your whole body, warped in that lifeless mirror. How it was not the grotesque mounting of a decapitated animal that shook you - but that the taxidermy embodied a death that won't finish, a death that keeps dying as we walk past it to relieve ourselves.

I am thinking of beauty again, how some things are hunted because we have deemed them beautiful. If, relative to the history of our planet, an individual life is so short, a blink of an eye, as they say, then to be gorgeous, even from the day you're born to the day you die, is to be gorgeous only briefly. Like right now, how the sun is coming on, low behind the elms, and I can't tell the difference between a sunset and a sunrise. The world, reddening, appears the same to me--and I lose track of east and west. The colors this morning have the frayed tint of something already leaving. I think of the time Trev and I sat on the toolshed roof, watching the sun sink. I wasn't so much surprised by its effect--how, in a few crushed minutes, it changes the way things are seen, including ourselves--but that it was ever mine to see. Because the sunset, like survival, exists only on the verge of its own disappearing. To be gorgeous, you must first be seen, but to be seen allows you to be hunted.