Brokeback Mountain Love Quotes

I wish I knew how to quit you.

Late in the afternoon, thunder growling, that same old green pickup rolled in and he saw Jack get out of the truck, beat up Resistol tilted back. A hot jolt scalded Ennis and he was out on the landing pulling the door closed behind him. Jack took the stairs two and two. They seized each other by the shoulders, hugged mightily, squeezing the breath out of each other, saying, son of a bitch, son of a bitch, then, and easily as the right key turns the lock tumblers, their mouths came together, and hard, Jack’s big teeth bringing blood, his hat falling to the floor, stubble rasping, wet saliva welling, and the door opening and Alma looking out for a few seconds at Ennis’s straining shoulders and shutting the door again and still they clinched, pressing chest and groin and thigh and leg together, treading on each other’s toes until they pulled apart to breathe and Ennis, not big on endearments, said what he said to his horses and his daughters, little darlin.

... Ennis was back on his feet and somehow, as a coat hanger is straightened to open a locked car and then bent again to its original shape, they torqued things almost to where they had been, for what they'd said was no news. Nothing ended, nothing began, nothing resolved.

Again the ranch is on the market and they’ve shipped out the last of the horses, paid everybody off the day before, the owner saying, ‘Give them to the real estate shark, I’m out a here,” dropping the keys in Ennis’s hand. He might have to stay with his married daughter until he picks up another job, yet he is suffused with a sense of pleasure because Jack Twist was in his dream.

Wyos are touchers, hot-blooded and quick, and physically yearning. Maybe it’s because they spend so much time handling livestock, but people here are always handshaking, patting, smoothing, caressing, enfolding. This instinct extends to anger, the lightning backhand slap, the hip-shot to throw you off balance, the elbow, a jerk and wrench, the swat, and then the serious stuff that’s meant to kill and sometimes does.

After I watched Brokeback Mountain with my friend Katherine one time, she’d remarked that it “felt almost like a straight romance movie!” and I could remember wanting to shank her. The movie featured two humans falling in love – what else was it supposed to feel like?

You know,” she said, and from her tone he knew something was coming, “I used to wonder how come you never brought any trouts home. Always said you caught plenty. So one time I got your creel case open the night before you went on one a your little trips—price tag still on it after five years—and I tied a note on the end of the line. It said, ‘Hello, Ennis, bring some fish home, love, Alma.’ And then you come back and said you’d caught a bunch a browns and ate them up. Remember? I looked in the case when I got a chance and there was my note still tied there and that line hadn’t touched water in its life.” As though the word “water” had called out its domestic cousin, she twisted the faucet, sluiced the plates.

The regulation of my sexuality was continually enacted through these coded silencing methods. When I was fifteen, Brokeback Mountain was released in cinemas, and I knew I had to do whatever was necessary to see it. Once the trailer was released, I used every opportunity I had on the Internet to watch it. I gorged myself on it, memorised its every little detail, with one deeply tender moment in the trailer that I would turn to whenever I needed comfort. After four years of separation, the men arrange to meet up, and when they’re reunited, they greet each other with a hug so tight it’s as though they’re fusing into each other. I was desperate to feel an embrace like this, one so driven by love and desire that it would cause me to melt into my partner; I often lay in bed replaying this embrace in my head, imagining that the hug was so tight that it caused both men’s skin to peel off, so that they were two fleshy bodies merging into one complete whole, free from gender, race, or identity. To this day, every now and then when I feel particularly connected during sex, I imagine that this faceless merge might ensue. My teenage years were deeply lonely, and this image provided much comfort for me – as if love could diffuse the boundaries between people, so that we were each of us not separated by our own lonely bodies.