Carrying Life Quotes

People are afraid of themselves, of their own reality; their feelings most of all. People talk about how great love is, but that’s bullshit. Love hurts. Feelings are disturbing. People are taught that pain is evil and dangerous. How can they deal with love if they’re afraid to feel? Pain is meant to wake us up. People try to hide their pain. But they’re wrong. Pain is something to carry, like a radio. You feel your strength in the experience of pain. It’s all in how you carry it. That’s what matters. Pain is a feeling. Your feelings are a part of you. Your own reality. If you feel ashamed of them, and hide them, you’re letting society destroy your reality. You should stand up for your right to feel your pain.

Don't you long for something different to happen, something so exciting and new it carries you along with it like a great tide, something that lets your life blaze and burn so the whole world can see it?

As they carried along and met more people Furlong did and did not know, he found himself asking was there any point in being alive without helping one another? Was it possible to carry on along through all the years, the decades, through an entire life, without once being brave enough to go against what was there and yet call yourself a Christian, and face yourself in the mirror?

But time will slowly heal you, as it is doing for me. There are good days and there are difficult days. Your grief will never fully fade; it will always be with you--a shadow you carry in your soul--but it will become fainter as your life becomes brighter. You will learn to live outside of it again, as impossible as that may sound. Others who share your pain will also help you heal. Because you are not alone. Not in your fear or your grief or your hopes or your dreams. You are not alone.

It was as if June had given her a box—as if every parent gives their children a box—full of the things they carried. June had given her children this box packed to the brim with her own experiences, her own treasures and heartbreaks. Her own guilts and pleasures, triumphs and losses, values and biases, duties and sorrows. And Nina had been carrying around this box her whole life, feeling the full weight of it. But it was not, Nina saw just then, her job to carry the full box. Her job was to sort through the box. To decide what to keep, and to put the rest down. She had to choose what, of the things she inherited from the people who came before her, she wanted to bring forward. And what, of the past, she wanted to leave behind.

Your actions are your own. Your choices are your own. Each of us carries a burden of guilt for decisions made or not made. You can let that rule your whole life or you can put it behind you and move on. Only a madman lets jealousy determine the course of his existence. Only a weak man blames others for his own errors.

What people think of you is only what they think of themselves. They look at you and see the maladies, the faults they've been carrying within themselves for the longest time. And they identified each flaw they found exactly because of this familiarity and acquaintance with their very own symptoms. How else did they recognize them in you?

We came to the corner, waited for the light, and crossed. I had no idea where we were going. I said, “I didn’t realize you were so depressed.” “I was depressed, but that was a side issue. This was more like closing up shop, or, say, having a big garage sale, where you look at everything you’ve bought in your life, and you remember how much it meant to you, and now you just tag it for a quarter and watch ’em all carry it off, and you don’t care. That’s more like how it was.

Relish it. Inhale it. Live it. Grab every moment of it. You’re so talented. And I don’t want you to ever get to the point where you think, ‘I don’t really feel like doing the show tonight.’ Do it. Give yourself a chance to be adored one more time because you will be. And you’ll carry this exquisite experience with you for the rest of your life.

I used to think healing meant ridding the body and the heart of anything that hurt. It meant putting your pain behind you, leaving it in the past. But I'm learning that's not how it works. Healing is figuring out how to coexist with the pain that will always live inside of you, without pretending it isn't there or allowing it to hijack your day. It is learning to confront ghosts and to carry what lingers. It is learning to embrace the people I love now instead of protecting against a future in which I am gutted by their loss. Katherine's experience and her insight sit with me. She went through something she thought she could never survive and yet here she is, surviving. "You have to shift from the gloom and doom and focus instead on what you love," she told me before bed. "That's all you can do in the face of these things. Love the people around you. Love the life you have. I can't think of a more powerful response to life's sorrows than loving.

And when the work is going well, why on earth would we want to know? Most of the myriad of steps that go into making a piece (or a year’s worth of pieces) go on below the level of conscious thought, engaging unarticulated beliefs and assumptions about what artmaking is...We rarely think about how or why we do such things — we just do them. Changing the pattern of outcome in your work means first identifying things about your approach that are as automatic as wedging the clay, as subtle as releasing the arrow from the bow. ...We use predictable work habits to get us into the studio and into our materials; we use recurrent bits of form as starting points for making specific pieces. ....The discovery of useful forms is precious. Once found, they should never be abandoned for trivial reasons...any device that carries the first brushstroke to the next blank canvas has tangible, practical value. ....The private details of artmaking are utterly uninteresting to audiences (and frequently to teachers), perhaps because they’re almost never visible — or even knowable — from examining the finished work. ....The hardest part of artmaking is living your life in such a way that your work gets done, over and over — and that means, among other things, finding a host of practices that are just plain useful. A piece of art is the surface expression of a life lived within productive patterns. Over time, the life of a productive artist becomes filled with useful conventions and practical methods, so that a string of finished pieces continues to appear at the surface. And in truly happy moments those artistic gestures move beyond simple procedure, and acquire an inherent aesthetic all their own. They are your artistic hearth and home, the working-places-to-be that link form and feeling. They become — like the dark colors and asymmetrical lilt of the Mazurka — inseparable from the life of their maker. They are canons. They allow confidence and concentration. They allow not knowing. They allow the automatic and unarticulated to remain so.

No, I don’t believe in that kind of Hell. Not at the center of the world, not with devils carrying pitchforks. But Hell is right here on earth, John, and people can step into it without knowing, and they can’t get out

Just let go of it, Cole. God doesn’t want you carrying around that guilt. He doesn’t want you alone and miserable. He made you for better things. We’ve only got one life. One chance. Don’t waste it.

deeply he didn’t know how to dig it out. “Just let go of it, Cole. God doesn’t want you carrying around that guilt. He doesn’t want you alone and miserable. He made you for better things. We’ve only got one life. One chance. Don’t waste it.

As much as I’ve tried to forget it, it has been there at the center of me, this toxic thing. I feel like nothing has happened in my life since, nothing that matters anyway. And I wonder how Will has been able to carry on living his life, without even a backward glance.

And then our life unfolds. Picture by picture. Frame by frame. It tells a story. Me and him. Every year since I was nine. Every holiday. Every birthday. Every celebration. The good days and the bad ones. It tells our story and it’s sequential, starting from the beginning, from that very day when he told me our friendship was inevitable, to just a few weeks ago, when I fell asleep and he carried me up the stairs to my bed before going home. It’s there. All of it is there. It’s a love letter, though I didn’t know it when I made it. Anyone can see it’s a love letter. It’s so obvious. It’s so trite. It’s so awkward. It’s nothing. It can’t be anything. He can’t know. I don’t want him to know. I can’t let him know.

Don’t be a hostage to duty or obligation. I didn’t carry you and birth you and raise you to waste your precious life on anything except unbridled joy. Choose joy.

In May of 1788, Nathaniel Thwing convicted Joanna of slander after her lover’s father complained that when his son offered to take the child and have it brought up in his house, she had answered, “No, you shall not have it to carry there, for they, meaning your complainant & his wife will murder it, for they have murdered two or three already.” To say that paternity cases were often settled out of court does not mean that they were settled easily or pleasantly. It is merely to argue that the threat of a lawsuit was sometimes as effective as an actual prosecution.

Is it enough to live in a universe whose laws spontaneously create life? Or do you prefer ... God?” She paused, looking embarrassed. “Sorry, after all we’ve been through tonight, I know that’s a strange question.” “Well,” Langdon said with a laugh, “I think my answer would benefit from a decent night’s sleep. But no, it’s not strange. People ask me all the time if I believe in God.” “And how do you reply?” “I reply with the truth,” he said. “I tell them that, for me, the question of God lies in understanding the difference between codes and patterns.” Ambra glanced over. “I’m not sure I follow you.” “Codes and patterns are very different from each other,” Langdon said. “And a lot of people confuse the two. In my field, it’s crucial to understand their fundamental difference.” “That being?” Langdon stopped walking and turned to her. “A pattern is any distinctly organized sequence. Patterns occur everywhere in nature—the spiraling seeds of a sunflower, the hexagonal cells of a honeycomb, the circular ripples on a pond when a fish jumps, et cetera.” “Okay. And codes?” “Codes are special,” Langdon said, his tone rising. “Codes, by definition, must carry information. They must do more than simply form a pattern—codes must transmit data and convey meaning. Examples of codes include written language, musical notation, mathematical equations, computer language, and even simple symbols like the crucifix. All of these examples can transmit meaning or information in a way that spiraling sunflowers cannot.” Ambra grasped the concept, but not how it related to God. “The other difference between codes and patterns,” Langdon continued, “is that codes do not occur naturally in the world. Musical notation does not sprout from trees, and symbols do not draw themselves in the sand. Codes are the deliberate inventions of intelligent consciousnesses.” Ambra nodded. “So codes always have an intention or awareness behind them.” “Exactly. Codes don’t appear organically; they must be created.” Ambra studied him a long moment. “What about DNA?” A professorial smile appeared on Langdon’s lips. “Bingo,” he said. “The genetic code. That’s the paradox.” Ambra felt a rush of excitement. The genetic code obviously carried data — specific instructions on how to build organisms. By Langdon’s logic, that could mean only one thing. “You think DNA was created by an intelligence!” Langdon held up a hand in mock self-defense. “Easy, tiger!” he said, laughing. “You’re treading on dangerous ground. Let me just say this. Ever since I was a child, I’ve had the gut sense that there’s a consciousness behind the universe. When I witness the precision of mathematics, the reliability of physics, and the symmetries of the cosmos, I don’t feel like I’m observing cold science; I feel as if I’m seeing a living footprint ... the shadow of some greater force that is just beyond our grasp.