Brooklyn Nine Nine Quotes

Not to me," I said. Kafka wrote his first story in one night. Stendhal wrote The Charterhouse of Parma in forty-nine days. Melville wrote Moby- Dick in sixteen months. Flaubert spent five years on Madame Bovary. Musil worked for eighteen years on The Man Without Qualities and died before he could finish. Do we care about any of that now?

I was eleven, the idea of two identical digits in my age still new and spectacular and heartbreaking. The girls must have felt this. They must have known. Where had ten, nine, eight, and seven gone?

She was nobody here. It was not just that she had no friends and family; it was rather that she was a ghost in this room, in the streets on the way to work, on the shop floor. Nothing meant anything. The rooms in the house on Friary Street belonged to her, she thought; when she moved in them she was really there. In the town, if she walked to the shop or to the Vocational School, the air, the light, the ground, it was all solid and part of her, even if she met no one familiar. Nothing here was part of her. It was false, empty, she thought. She closed her eyes and tried to think, as she had done so many times in her life, of something she was looking forward to, but there was nothing. Not the slightest thing. Not even Sunday. Nothing maybe except sleep, and she was not even certain she was looking forward to sleep. In any case, she could not sleep yet, since it was not yet nine o’clock. There was nothing she could do. It was as though she had been locked away.

She adapted herself to the split-second rhythm of the New Yorker going to and from work. Getting to the office was a nervous ordeal. If she arrived one minute before nine, she was a free person. If she arrived one minute after, she worried because that made her the logical scapegoat of the boss if he happened to be in a bad mood that day.

She closed her eyes and tried to think, as she had done so many times in her life, of something she was looking forward to, but there was nothing. Not the slightest thing. Not even Sunday. Nothing maybe except sleep, and she was not even certain she was looking forward to sleep. In any case, she could not sleep yet, since it was not yet nine o’clock. There was nothing she could do. It was as though she had been locked away. In

Baseball, more than any other sport, has a magical way of connecting fathers and sons, mothers and daughters, grandparents and grandchildren and ancestors back down the line. - From The Brooklyn Nine

So she learned ways of conserving bits of seconds. Long before the train ground to a stop at her station, she pushed her way to the door to be one of the first expelled when it slid open. Out of the train, she ran like a deer, circling the crowd to be the first up the stairs leading to the street. Walking to the office, she kept close to the buildings so she could turn corners sharply. She crossed streets kittycorner to save stepping off and on an extra pair of curbs. At the building, she shoved her way into the elevator even though the operator yelled "Car's full!" And all this maneuvering to arrive one minute before, instead of after nine!

Women have always been the most important part of monster movies. As I walked home one night, I realized why. Making my way down dark city streets to my apartment in Brooklyn, I was alert and on edge. I was looking for suspicious figures, men that could be rapists, muggers or killers. I felt like Laurie Strode in Halloween. Horror is a pressure valve for society's fears and worries: monsters seeking to control our bodies, villains trying to assail us in the darkness, disease and terror resulting from the consequences of active sexuality, death. These themes are the staple of horror films. There are people who witness these problems only in scary movies. But for much of the population, what is on the screen is merely an exaggerated version of their everyday lives. These are forces women grapple with daily. Watching Nancy Thompson escape Freddy Krueger's perverted attacks reminds me of how I daily fend off creeps asking me to smile for them on the subway. Women are the most important part of horror because, by and large, women are the ones the horror happens to. Women have to endure it, fight it, survive it — in the movies and in real life. They are at risk of attack from real-life monsters. In America, a woman is assaulted every nine seconds. Horror films help explore these fears and imagine what it would be like to conquer them. Women need to see themselves fighting monsters. That’s part of how we figure out our stories. But we also need to see ourselves behind-the-scenes, creating and writing and directing. We need to tell our stories, too.

But to play in an international tournament of the caliber announced, he had to spend much more time at careful, precise study, analysis, and memorization. He stopped answering his phone, because he didn’t want to be interrupted or tempted to socialize—even for a chess party—and at one point, to be alone with the chessboard, he just threw some clothes in a suitcase, didn’t tell anyone where he was going, and checked into the Brooklyn YMCA. During his stay there, he sometimes studied more than sixteen hours per day. Malcolm Gladwell, in his book Outliers, describes how people in all fields reach success. He quotes neurologist Daniel Levitin: “In study after study, of composers, basketball players, fiction writers, ice skaters, concert pianists, chessplayers, criminals and what have you, the number comes up again and again [the magic number for true expertise: ten thousand hours of practice].” Gladwell then refers to Bobby: “To become a chess grandmaster also seems to take about ten years. (Only the legendary Bobby Fischer got to that elite level in less than that amount of time: it took him nine years.) Practice isn’t the thing you do once you’re good. It’s the thing you do that makes you good.

As Mollie said to Dailey in the 1890s: "I am told that there are five other Mollie Fanchers, who together, make the whole of the one Mollie Fancher, known to the world; who they are and what they are I cannot tell or explain, I can only conjecture." Dailey described five distinct Mollies, each with a different name, each of whom he met (as did Aunt Susan and a family friend, George Sargent). According to Susan Crosby, the first additional personality appeared some three years after the after the nine-year trance, or around 1878. The dominant Mollie, the one who functioned most of the time and was known to everyone as Mollie Fancher, was designated Sunbeam (the names were devised by Sargent, as he met each of the personalities). The four other personalities came out only at night, after eleven, when Mollie would have her usual spasm and trance. The first to appear was always Idol, who shared Sunbeam's memories of childhood and adolescence but had no memory of the horsecar accident. Idol was very jealous of Sunbeam's accomplishments, and would sometimes unravel her embroidery or hide her work. Idol and Sunbeam wrote with different handwriting, and at times penned letters to each other. The next personality Sargent named Rosebud: "It was the sweetest little child's face," he described, "the voice and accent that of a little child." Rosebud said she was seven years old, and had Mollie's memories of early childhood: her first teacher's name, the streets on which she had lived, children's songs. She wrote with a child's handwriting, upper- and lowercase letters mixed. When Dailey questioned Rosebud about her mother, she answered that she was sick and had gone away, and that she did not know when she would be coming back. As to where she lived, she answered "Fulton Street," where the Fanchers had lived before moving to Gates Avenue. Pearl, the fourth personality, was evidently in her late teens. Sargent described her as very spiritual, sweet in expression, cultured and agreeable: "She remembers Professor West [principal of Brooklyn Heights Seminary], and her school days and friends up to about the sixteenth year in the life of Mollie Fancher. She pronounces her words with an accent peculiar to young ladies of about 1865." Ruby, the last Mollie, was vivacious, humorous, bright, witty. "She does everything with a dash," said Sargent. "What mystifies me about 'Ruby,' and distinguishes her from the others, is that she does not, in her conversations with me, go much into the life of Mollie Fancher. She has the air of knowing a good deal more than she tells.

I think you're too concerned with not having your heart broken again to recognize that you're going to push away an incredible woman if you don't get your act together.

And you would rather your friends care for our child when you're not around than me? The child's father?

It nearly killed me to realize that I married a man who chose me because I checked the right boxes for the kind of life he wanted. And when I stopped checking an important box - baby-making requirement - I was as disposable as yesterday's news.

Please don't compare me to a man who couldn't appreciate you for all you have to offer, Sable. The anguish in his voice - in his eyes - was real. I told you shouldn't short-change your dreams. I would make sure you had the resources you need to return to your work. Hell, I just told you to come to Malibu once you've ready-" "I'm so grateful for that. You were the one who made me see that I couldn't go back to Baton Rogue just because I craved me the love of family during a challenging time. You helped me see the consequences of compromising too much of myself, and I can't thank you enough for making me see that.

That summer, the month he turned twenty-nine, my brother had proposed to his girlfriend, the one he’d met four years earlier, just before coming to stay with me in Brooklyn. Nearly everyone from high school and most of my friends from college were married, or soon to be, and as for ex-boyfriends: W married in 2005; R met his soon-to-be wife in 2006 (today both couples have two children). Even the close friends I’d made in New York were “joining the vast majority,” as Neith had put it. All of us wanted to believe this wouldn’t change anything. But it did, invariably, in ways small and large. It’s a rare friendship that transcends the circumstances that forged it, and being single together in the city, no matter how powerful a bond when it’s happening, can prove pretty weak glue. Alliances had been redrawn, resources shifted and reconsolidated; new envies replaced the old. Whereas before we were all broke together, now they had husbands splitting the rent and bills, and I couldn’t shake my awareness of this difference. A treacherous, unspoken sense of inequality set in, which only six months into my new magazine job had radically reversed: I’d become the one who could afford nice restaurants while they had to channel their disposable incomes toward a shared household, and I felt their unspoken judgment just as before they’d felt mine. One newly married friend lashed out at me for never inviting her to parties. I tried to explain: Didn’t she see I was going because someone else had invited me? And that if I didn’t go, I’d be home alone, whereas she had someone to keep her company? When a dear friend said, “You know, I may be married now, but I’m still just like you! I can still do whatever I want!” I blanched. She’d been on her own so recently herself. Didn’t she remember that being single is more than just following your whims—that it also means having nobody to help you make difficult decisions, or comfort you at the end of a bad week?