Easton Chang Quotes

We've searched our database for all the quotes and captions related to Easton Chang. Here they are! All 44 of them:

And though the coldness I have always felt leaves me, the numbness doesn't and probably never will. this relationship will probably lead to nothing... this didn't change anything. I imagine her smelling clean, like tea...
Bret Easton Ellis (American Psycho)
Where there was nature and earth, life and water, I saw a desert landscape that was unending, resembling some sort of crater, so devoid of reason and light and spirit that the mind could not grasp it on any sort of conscious level and if you came close the mind would reel backward, unable to take it in. It was a vision so clear and real and vital to me that in its purity it was almost abstract. This was what I could understand, this was how I lived my life, what I constructed my movement around, how I dealt with the tangible. This was the geography around which my reality revolved: it did not occur to me, ever, that people were good or that a man was capable of change or that the world could be a better place through one’s own taking pleasure in a feeling or a look or a gesture, of receiving another person’s love or kindness. Nothing was affirmative, the term “generosity of spirit” applied to nothing, was a cliche, was some kind of bad joke. Sex is mathematics. Individuality no longer an issue. What does intelligence signify? Define reason. Desire- meaningless. Intellect is not a cure. Justice is dead. Fear, recrimination, innocence, sympathy, guilt, waste, failure, grief, were things, emotions, that no one really felt anymore. Reflection is useless, the world is senseless. Evil is its only permanence. God is not alive. Love cannot be trusted. Surface, surface, surface, was all that anyone found meaning in…this was civilization as I saw it, colossal and jagged…
Bret Easton Ellis (American Psycho)
I am madly, ridiculously, passionately in love with you. I don’t care about your past. Your race does nothing to change my feelings. I love you, you stubborn little fool. Is that clear enough for you?
Y.S. Lee (The Traitor in the Tunnel (The Agency, #3))
The seals stupidly dive off rocks into swirling black water, barking mindlessly. The zookeepers feed them dead fish. A crowd gathers around the tank, mostly adults, a few accompanied by children. On the seals' tank a plaque warns: COINS CAN KILL——IF SWALLOWED, COINS CAN LODGE IN AN ANIMAL'S STOMACH AND CAUSE ULCERS, INFECTIONS AND DEATH. DO NOT THROW COINS IN THE POOL. So what do I do? Toss a handful of change into the tank when none of the zookeepers are watching. It's not the seals I hate——it's the audience's enjoyment of them that bothers me.
Bret Easton Ellis (American Psycho)
Things changing, failing apart, fading, another year, a few more moves, a hard person who doesn't give a fuck, a boredom so monumental it humbles, arrangements so fleeting made by people you don't even know that it requires you to lose any sense of reality you might have once acquired, expectations so unreasonable you become superstitious about ever matching them.
Bret Easton Ellis (Water from the Sun and Discovering Japan)
As part of the healing process, change your perception of yourself from “victim” to that of “advocate” and “survivor.
Don Easton (Angel in the Full Moon (A Jack Taggart Mystery #3))
On the plane leaving Tokyo I’m sitting alone in back twisting the knobs on Etch-A-Sketch and Roger is next to me singing “Over the Rainbow” straight into my ear, things changing, falling apart, fading, another year, a few more moves, a hard person who doesn’t give a fuck, a boredom so monumental it humbles, arrangements so fleeting made by people you don’t even know that it requires you to lose any sense of reality you might have once acquired, expectations so unreasonable you become superstitious about ever matching them. Roger offers me a joint and I take a drag and stare out the window and I relax for a moment when the lights of Tokyo, which I never realized is an island, vanish from view but this feeling only lasts a moment because Roger is telling me that other lights in other cities, in other countries, on other planets, are coming into view soon.
Bret Easton Ellis (The Informers)
On my way over to Park Avenue to find a cab I pass an ugly, homeless bum-- a member of the genetic underclass-- and when he softly pleads for change, for "anything," I noticed the Barnes & Noble book bag that sits next to him on the steps of the church he's begging on and I can't help but smirk, out loud, "Oh right, like YOU read...,
Bret Easton Ellis (American Psycho)
where there was nature and earth, life and water, I saw a desert landscape that was unending, resembling some sort of crater, so devoid of reason and light and spirit that the mind could not grasp it on any sort of conscious level and if you came close the mind would reel backward, unable to take it in. It was a vision so clear and real and vital to me that in its purity it was almost abstract. This was what I could understand, this was how I lived my life, what I contructed my movement around, how I dealt with the tangible. This was the geography around which my reality resolved: it did not occur to me, ever, that people were good or that a man was capable of change or that the world could be a better place through one’s taking pleasure in a feel or a look or a gesture, of receiving another person’s love or kindness. Nothing was affirmative, the term “generosity of spirit” applied to nothing, was a cliche, was some kind of bad joke.
Bret Easton Ellis (American Psycho)
No, really Patrick. What do you want me to call you?" King, I'm thinking. King, Evelyn. I want you to call me King. But I don't say this. "Evelyn. I don't want you to call me anything. I don't think we should see each other anymore." "But your friends are my friends. My friends are your friends. I don't think it would work," she says, and then, staring at a spot above my mouth, "You have a tiny fleck on the top of your lip. Use your napkin." Exasperated, I brush the fleck away. "Listen, I, know that your friends are my friends and vice versa. I've thought about that." After a pause I say, breathing in, "You can have them." Finally she looks at me, confused, and murmurs, "You're really serious, aren't you?" "Yes", I say, "I am." "But... what about us? What about the past?" she asks blankly. "The past isn't real. It's just a dream," I say. "Don't mention the past." She narrows her eyes with suspicion. "Do you have something against me, Patrick?" And then the hardness in her face changes instantaneously to expectation, maybe hope. "Evelyn," I sigh. "I'm sorry. You're just... not terribly important... to me.
Bret Easton Ellis (American Psycho)
Only when we’re all willing to own our emotions, and let our lovers and friends own theirs, does anyone have the power to change and grow.
Dossie Easton (The Ethical Slut: A Practical Guide to Polyamory, Open Relationships, and Other Freedoms in Sex and Love)
because movies were a religion in that moment, they could change you, alter your perception, you could rise toward the screen and share a moment of transcendence, all the disappointments and fears would be wiped away for a few hours in that church: movies acted like a drug for me. But they were also about control: you were a voyeur sitting in the dark staring at secret things, because that’s what movies were—scenes you shouldn’t be seeing and that no one on the screen knew you were watching.
Bret Easton Ellis (The Shards)
The litany of what I did want? To be challenged. To not live in the safety of my own little snow globe and be reassured by familiarity and surrounded by what made me comfortable and coddled me. To stand in other people’s shoes and see how they saw the world—especially if they were outsiders and monsters and freaks who would lead me as far away as possible from whatever my comfort zone supposedly was—because I sensed I was that outsider, that monster, that freak. I craved being shaken. I loved ambiguity. I wanted to change my mind, about one thing and another, virtually anything. I wanted to get upset and even be damaged by art. I wanted to get wiped out by the cruelty of someone’s vision of the world, whether it was Shakespeare or Scorsese, Joan Didion or Dennis Cooper. And all of this had a profound effect. It gave me empathy. It helped me realize that another world existed beyond my own, with other viewpoints and backgrounds and proclivities, and I have no doubt that this aided me in becoming an adult. It moved me away from the narcissism of childhood and into the world’s mysteries—the unexplained, the taboo, the other—and drew me closer to a place of understanding and acceptance.
Bret Easton Ellis (White)
it did not occur to me, ever, that people were good or that a man was capable of change or that the world could be a better place through one’s taking pleasure in a feeling or a look or a gesture, of receiving another person’s love or kindness. Nothing was affirmative, the term “generosity of spirit” applied to nothing, was a cliché, was some kind of bad joke.
Bret Easton Ellis (American Psycho (Vintage Contemporaries))
Remember, as you look at yourself, to look kindly, and also remember that you are not balancing a checkbook: anything you see that you don’t like, or that you want to change, is not a debit that you subtract from your virtues. When you learn to reflect on your strengths, it becomes easier to look at your weaknesses with acceptance and compassion. Keep your virtues at their full value and cherish them.
Dossie Easton (The Ethical Slut: A Practical Guide to Polyamory, Open Relationships, and Other Freedoms in Sex and Love)
This was the geography around which my reality revolved: it did not occur to me, ever, that people were good or that a man was capable of change or that the world could be a better place through one’s taking pleasure in a feeling or a look or a gesture, of receiving another person’s love or kindness. Nothing was affirmative, the term “generosity of spirit” applied to nothing, was a cliche, was some kind of bad joke. Sex is mathematics. Individuality no longer an issue. What does intelligence signify? Define reason. Desire—meaningless. Intellect is not a cure. Justice is dead. Fear, recrimination, innocence, sympathy, guilt, waste, failure, grief, were things, emotions, that no one really felt anymore. Reflection is useless, the world is senseless. Evil is its only permanence. God is not alive. Love cannot be trusted. Surface, surface, surface was all that anyone found meaning in … this was civilization as I saw it, colossal and jagged …
Bret Easton Ellis (American Psycho)
...where there was nature and earth, life and water, I saw a desert landscape that was unending, resembling some sort of crater, so devoid of reason and light and spirit that the mind could not grasp it on any sort of conscious level and if you came close the mind would reel backward, unable to take it in. It was a vision so clear and real and vital to me that in its purity it was almost abstract. This was what I could understand, this was how I lived my life, what I constructed my movement around, how I dealt with the tangible. This was the geography around which my reality revolved: it did not occur to me, ever, that people were good or that a man was capable of change or that the world could be a better place through one's taking pleasure in a feeling or a look or a gesture, of receiving another person's love or kindness. Nothing was affirmative, the term "generosity of spirit" applied to nothing, was a cliche, was some kind of bad joke. Sex is mathematics. Individuality no longer an issue. What does intelligence signify? Define reason. Desire - meaningless. Intellect is not a cure. Justice is dead. Fear, recrimination, innocence, sympathy, guilt, waste, failure, grief, were things, emotions, that no one really felt anymore. Reflection is useless, the world is senseless. Evil is its only permanence. God is not alive. Love cannot be trusted. Surface, surface, surface was all that anyone found meaning in... this was civilization as I saw it, colossal and jagged...
Bret Easton Ellis (American Psycho)
The day really became effortless once you faked it and it actually became more real because of your changed demeanor; the act became the reality and it affected everything in what seemed like a positive way. In fact, it was preferable to reality.
Bret Easton Ellis (The Shards)
But we can’t ignore our social needs either. We have to stop people from abusing the welfare system. We have to provide food and shelter for the homeless and oppose racial discrimination and promote civil rights while also promoting equal rights for women but change the abortion laws to protect the right to life yet still somehow maintain women’s freedom of choice. We also have to control the influx of illegal immigrants. We have to encourage a return to traditional moral values and curb graphic sex and violence on TV, in movies, in popular music, everywhere. Most importantly we have to promote general social concern and less materialism in young people.
Bret Easton Ellis (American Psycho (Vintage Contemporaries))
And though the coldness I have always felt leaves me, the numbness doesn't and probably never will. This relationship will probably lead to nothing...this didn't change anything.
Bret Easton Ellis (American Psycho)
everything in life came down to memories. The good. The bad. The real. The imagined. Put them all together, and that was the person you were. Would you ever want to change that?
Brian Freeman (The Night Bird (Frost Easton, #1))
The audience-- the book's actual cast-- quickly realized what had happened. The reason the movie dropped everything that made the novel real was because there was no way the parents who ran the studio would ever expose their children in the same black light the book did. The movie was begging for our sympathy whereas the book didn't give a shit. And attitudes about drugs and sex had shifted quickly from 1985 to 1987 (and a regime change at the studio didn't help) so the source material-- surprisingly conservative despite its surface immorality-- had to be reshaped.
Bret Easton Ellis (Imperial Bedrooms)
...it did not occur to me, ever, that people were good or that a man was capable of change or that the world could be a better place through one's taking pleasure in a feeling or a look or a gesture, of receiving another person's love or kindness... God is not alive. Love cannot be trusted.
Bret Easton Ellis (American Psycho)
This was the geography around which my reality revolved: it did not occur to me, ever, that people were good or that a man was capable of change or that the world could be a better place through one’s taking pleasure in a feeling or a look or a gesture, of receiving another person’s love or kindness.
Bret Easton Ellis (American Psycho (Vintage Contemporaries))
So… hypothetically speaking, you’d be okay with me being pregnant?” He stops to think about it. “Hypothetically speaking, I want to marry your ass and have babies with you. How’s that?” I’m smiling so wide I’m sure you can see it from outer-space. I respond the only way I can think of, by gripping his collar into my fists and crashing my lips to his for a long, heated kiss. “Hypothetically speaking, you’re crazy.” I pant. Xavier pouts. “Why?” “For starters, we’re nineteen and you’ll change your mind.” “Okay, but what if—” Xavier pecks the tip of my nose. —hypothetically speaking, I ask you in a year or two once you understand how much I could never change my fucking mind about you even if I wanted to?” My heart is beating so fast you’d think it’s trying to go into cardiac arrest. “Well, then, hypothetically, I’d say yes.” “Cool. So, hypothetically, can we go the fuck home now so I can strip you naked and—” he leans forward to whisper the rest in my ear.
Eliah Greenwood (Dear Love, I Hate You (Easton High, #1))
On my way into the Chinese cleaners I brush past a crying bum, an old man, forty or fifty, fat and grizzled, and just as I’m opening the door I notice, to top it off, that he’s also blind and I step on his foot, which is actually a stump, causing him to drop his cup, scattering change all over the sidewalk. Did I do this on purpose? What do you think? Or did I do this accidentally?
Bret Easton Ellis (American Psycho (Vintage Contemporaries))
All our wonderful sexual freedom is dependent on two very important conditions: freedom from sexism and freedom from rape. These changes must take place at both the individual and community levels. Prosecuting rape and child molestation is quite difficult, so our communities need to work for our own safety. We can seldom send offenders to jail, but we can uninvite them from our parties, and remove them from the other environments that we control, both online and in the physical world. (...) Much of this conflict is the consequence of our absurd cultural insistence that in sex, men should be the initiators and women the withholders. Thus, some people learn that they are supposed to be pushy and others that saying anything but no is, well, slutty. This pattern leads to “no” being heard as an invitation to push harder, with predictably disastrous results.
Dossie Easton (The Ethical Slut: A Guide to Infinite Sexual Possibilities)
I had this dream, see, where I saw the whole world melt. I was standing on La Cienega and from there I could see the whole world and it was melting and it was just so strong and realistic like. And so I thought, Well, if this dream comes true, how can I stop it, you know? How can I change things, you know? So I thought if I, like pierced my ear or something, like alter my physical image, dye my hair, the world wouldn't melt. So I dyed my hair and this pink lasts. I like it. It lasts. I don't feel like the world is gonna melt anymore.
Bret Easton Ellis
This was what i could understand, this was how I lived my life, what I constructed my movement around, how I dealt with the tangible. This was the geography around which my reality revolved: it did not occur to me, ever, that people were good or that a man was capable of change or that the world could be a better place through one's taking pleasure in a feeling or a look or a gesture, of receiving another person's love or kindness. Nothing was affirmative, the term 'generosity of spirit,' applied to nothing, was a cliche, was some kind of bad joke.
Bret Easton Ellis (American Psycho)
There is no specific test for multiple sclerosis.  Its early symptoms - fatigue, loss of sensation, weakness and visual changes - are frequently misdiagnosed as psychoneurosis or an even more severe psychiatric disorder, such as hysteria, particularly in women. When doctors could find no organic cause for [Jacqueline Du Pré's] complaints, they prescribed a year's rest, and referred her to a psychiatrist... When she consulted a doctor in Australia about her tenacious fatigue and occasional double vision in her right eye, he dismissed her symptoms as "adolescent trauma" and suggested she take up a relaxing hobby.
Carol Easton (Jacqueline du Pré: A Life)
… where there was nature and earth, life and water, I saw a desert landscape that was unending, resembling some sort of crater, so devoid of reason and light and spirit that the mind could not grasp it on any sort of conscious level and if you came close the mind would reel backward, unable to take it in. It was a vision so clear and real and vital to me that in its purity it was almost abstract. This was what I could understand, this was how I lived my life, what I constructed my movement around, how I dealt with the tangible. This was the geography around which my reality revolved: it did not occur to me, ever, that people were good or that a man was capable of change or that the world could be a better place through one’s taking pleasure in a feeling or a look or a gesture, of receiving another person’s love or kindness. Nothing was affirmative, the term “generosity of spirit” applied to nothing, was a cliché, was some kind of bad joke. Sex is mathematics. Individuality no longer an issue. What does intelligence signify? Define reason. Desire—meaningless. Intellect is not a cure. Justice is dead. Fear, recrimination, innocence, sympathy, guilt, waste, failure, grief, were things, emotions, that no one really felt anymore. Reflection is useless, the world is senseless. Evil is its only permanence. God is not alive. Love cannot be trusted. Surface, surface, surface was all that anyone found meaning in … this was civilization as I saw it, colossal and jagged …
Bret Easton Ellis (American Psycho (Vintage Contemporaries))
Nudity is a gray area. We certainly don’t think kids are harmed by growing up in households where casual nudity is the norm. But children who have never been around nude adults may be upset if nudity is suddenly introduced into their living room. Kids can be very sensitive to issues like sexual display, and flashing is clearly a violation of boundaries. Certainly, if a child expresses discomfort with being around your or your friends’ nudity, his or her desires should be respected. And we hope it goes without saying that no child should ever be required to be nude in front of others—many children go through phases of extreme modesty as they struggle to cope with their changing bodies, and that, too, deserves scrupulous respect. What
Dossie Easton (The Ethical Slut : A Practical Guide to Polyamory, Open Relationships & Other Adventures)
Some ’70s feminists complained about Playboy, and porn in general, and as males we were confused: What was wrong about looking at and objectifying beautiful women (or men)? What was wrong about this gender-based instinct to stare and covet? Why shouldn’t this be made more easily available to horny boys? And what was wrong with the idea of the male gaze? Leaving aside everything we now know about toxic masculinity (whatever that is), no ideology will ever change these basic facts that are ingrained by a biological imperative. Why should we be turning away from our sexuality? My male friends often wondered, Who is empowered here? It’s certainly not me. I’m staring at this beautiful woman I desperately want and who I’ll probably never meet.
Bret Easton Ellis (White)
The theater was less crowded than I worried it would be but it was only nine-forty and it was bound to fill up. I thought as I sat and stared at the massive set of curtains draped in front of the 70-millimiter screen. Writing this now, I can’t believe that I was left to my own devices for twenty minutes, just idly sitting there, thinking about things, about Them and about Susan, waiting without something to distract me. Instead, I took in the theater–my favorite in Westwood and the largest, with over fourteen hundred seats; it was its own vast world I took refuge in and it was one of the few places I was aware I might actually be saved–because movies were a religion in that moment, they could change you, alter your perception, you could rise toward the screen and share a moment of transcendence, all the disappointments and fears would be wiped away for a few hours in that church: movies acted like a drug for me.
Bret Easton Ellis (The Shards)
The theater was less crowded than I worried it would be but it was only nine-forty and it was bound to fill up. I thought as I sat and stared at the massive set of curtains draped in front of the 70-millimiter screen. Writing this now, I can’t believe that I was left to my own devices for twenty minutes, just idly sitting there, thinking about things, about Thom and about Susan, waiting without something to distract me. Instead, I took in the theater–my favorite in Westwood and the largest, with over fourteen hundred seats; it was its own vast world I took refuge in and it was one of the few places I was aware I might actually be saved–because movies were a religion in that moment, they could change you, alter your perception, you could rise toward the screen and share a moment of transcendence, all the disappointments and fears would be wiped away for a few hours in that church: movies acted like a drug for me.
Bret Easton Ellis
where there was nature and earth, life and water, I saw a desert landscape that was unending, resembling some sort of crater, so devoid of reason and light and spirit that the mind could not grasp it on any sort of conscious level and if you came close the mind would reel backward, unable to take it in. It was a vision so clear and real and vital to me that in its purity it was almost abstract. This was what I could understand, this was how I lived my life, what I constructed my movement around, how I dealt with the tangible. This was the geography around which my reality revolved: it did not occur to me, ever, that people were good or that a man was capable of change or that the world could be a better place through one’s taking pleasure in a feeling or a look or a gesture, of receiving another person’s love or kindness. Nothing was affirmative, the term “generosity of spirit” applied to nothing, was a cliché, was some kind of bad joke.
Bret Easton Ellis (American Psycho (Vintage Contemporaries))
Well? Is there a problem with my request?” I took a long drink. “The problem is, Fielding, that it’s not going to happen.” “Ooh, how convincing. You’ve changed my mind with your superior argument,” Fielding mocked.
Eli Easton (Blame It on the Mistletoe (Blame It on the Mistletoe, #1))
If today were the last day of my life, would I want to do what I am about to do today? If the answer is no for too many days in a row, I know I need to change something.
Alex Easton (Master Your Morning: Wake Up Your Full Potential in Just 3 Weeks with a Morning Routine)
We are paving new roads across new territory. We have no culturally approved scripts for open sexual lifestyles; we need to write our own. To write your own script requires a lot of effort, and a lot of honesty, and is the kind of hard work that brings many rewards. You may find the right way for you and three years from now decide you want to live a different way—and that’s fine. You write the script, you get to make the choices, and you get to change your mind, too.
Dossie Easton (The Ethical Slut: A Practical Guide to Polyamory, Open Relationships, and Other Freedoms in Sex and Love)
You write the script, you get to make the choices, and you get to change your mind, too.
Dossie Easton (The Ethical Slut: A Practical Guide to Polyamory, Open Relationships, and Other Freedoms in Sex and Love)
When we define a problem as a disease, we often act as if a diagnosis were a solution: paste on a label and then end the discussion as if we’ve accomplished something. But then nothing ever changes.
Dossie Easton (The Ethical Slut: A Practical Guide to Polyamory, Open Relationships, and Other Freedoms in Sex and Love)
we all have one Jane Doe out there. That one girl who will change our lives. Some people die not knowing who she is. At least you found yours.
Brian Freeman (The Voice Inside (Frost Easton, #2))
You don’t like Easton.” “I didn’t like you either. Then I did, for a while. Opinions change. Constantly.” Something weird and unwelcome happened in my chest when she said that. Candy apple dipped with poison. Good news: She liked me. Bad news: I’d fucked it up.
L.J. Shen (Playing with Fire)
Nah, the goal is to change your name legally. Courthouse don’t open until eight though. We got a few hours before we can complete that shit, Mama.
Connie Easton (Man of the Year (The Brown Brothers Book 1))