Edinburgh Love Quotes

You ought to know, you were my best friend. You were. I know you loved me. I loved you. No one should have gone through what we went through, but we did. And it kills me to think of it. But I didn't love you like you loved me. I don't hate you for that. It just makes me sorry, that there isn't someone else who could love you better. I know when you think about how I went, you'll get it. I was always uneasy about being alive. The idea of being dead makes me feel clear. When I think of it. It makes me think peace, peace, peace. It makes me happy. I am looking forward to it, to the absence of everything. And so I want you to be happy for me, that this is better for me. That I found what I needed. I know you won't be. But it's the last thing I want. You happy.

The main question to a novel is -- did it amuse? were you surprised at dinner coming so soon? did you mistake eleven for ten? were you too late to dress? and did you sit up beyond the usual hour? If a novel produces these effects, it is good; if it does not -- story, language, love, scandal itself cannot save it. It is only meant to please; and it must do that or it does nothing.

Hate is love on fire, set out to burn like a flare on the side of the road. It says, stop here. Something terrible has happened. Envy is like, the skin you're in burns. And the salve is someone else's skin.

In no particular order: baked goods, Colin Farrell's eyebrows, and the thighs of rugby players everywhere. And to the city of Edinburgh, where a love story was born.

The world won’t leave things be. It’s always injecting endings into beginnings. Leaves tweezer themselves from these weeping willows. Leaves fall into the lake and dissolve into slime. Where’s the sense in that? Mum and Dad fell in love, had Julia, had me. They fall out of love, Julia moves off to Edinburgh, Mum to Cheltenham, and Dad to Oxford with Cynthia. The world never stops unmaking what the world never stops making. But who says the world has to make sense?

Plenty of people were writing novels; in fact, if one did a survey in the street, half of Edinburgh was writing a novel, and this meant that there really weren't enough characters to go round. Unless, of course, one wrote about people who were themselves writing novels. And what would the novels that these fictional characters were writing be about? Well, they would be novels about people writing novels.

Three weeks was apparently time enough to fall in love, but not long enough to fall out of love. Meg had this unfortunate truth drummed into her head each morning when she woke, hoping this would be the day that she forgot about Alex, this would be the day she could get on with her life and put Edinburgh behind her. She grimaced. Three weeks, three years, it didn’t make a difference. She would remember. Everything.

Just over one month from publication. The launch was really exciting and everyone had a lovely time. Thank you very much Blackwell's of Edinburgh for hosting the event.

IT WAS AMAZINGLY EASY TO DIE IN EDINBURGH. People did it every day.

Philip, who had been given the title Duke of Edinburgh, then cut the wedding cake with his sword and thus began an enduring royal union. Fifty years later, in 1997, the Queen said this of her husband: “He has quite simply been my strength and stay all these years, and I owe him a debt greater than he would ever claim.

The thing about the dead is you can never bring them back. Doesn’t matter how much you love them. Never mind how much money they had or what good they did in this world. Doesn’t matter how much you pray or which god you turn to. It’s set in stone. One shot is all any of us ever get, and I’ve seen enough regrets from beyond to know how true that is.

I had the luxury of knowing what I wanted to do. So I just sat on the bed and came up with a plan for myself: "I have to go to the Edinburgh Fringe. But I don't have the confidence to do a production there because I've never gone before, and I don't even know how to get there or what to do once I get there. So I will just act as if I do have the confidence to go to the Edinburgh Fringe. I'll just borrow confidence from a future version of myself. Once I've been to the Edinburgh Fringe and performed a show there, then I will have the confidence to go to the Edinburgh Fringe. I will go to the bank manager of confidence (in some part of my brain) and I will borrow that confidence from the future, and then I can wear it like a cloak, and I will talk to everyone with this confidence." It was out there as a concept, but it worked.

Once I had a wild fling on an otherwise boring weekend holiday in Edinburgh, with a guy I met who turned out to be a psychiatrist. He agreed with me, after hours and hours of our naked cavorting in a hotel, that I was a sex addict; although he did stress he wouldn’t change me for the world. It turned him on that I was so sexual, and we turned a dull weekend in a grey city into something wonderful for the two of us. So, what was the problem?

Philip revealed his carefully cloaked emotions when he wrote to his mother-in-law, "Cherish Lilibet? I wonder if that word is enough to express what is in me." He declared that his new wife was "the only 'thing' in this world which is absolutely real to me, and my ambition is to weld the two of us into a new combined existence that will not only be able to withstand the shocks directed at us but will also have a positive existence for the good

The last year had been a series of wrong turns, bad choices, abandoned projects. There was the all-girl band in which she had played bass, variously called Throat, Slaughterhouse Six and Bad Biscuit, which had been unable to decide on a name, let alone a musical direction. There was the alternative club night that no-one had gone to, the abandoned first novel, the abandoned second novel, several miserable summer jobs selling cashmere and tartan to tourists. At her very, very lowest ebb she had taken a course in Circus Skills until it transpired that she had none. Trapeze was not the solution. The much-advertised Second Summer of Love had been one of melancholy and lost momentum. Even her beloved Edinburgh had started to bore and depress her. Living in a her University town felt like staying on at a party that everyone else had left, and so in October she had given up the flat in Rankellior Street and moved back to her parents for a long, fraught, wet winter of recriminations and slammed doors and afternoon TV in a house that now seemed impossibly small.

To the enormous majority of persons who risk themselves in literature, not even the smallest measure of success can fall. They had better take to some other profession as quickly as may be, they are only making a sure thing of disappointment, only crowding the narrow gates of fortune and fame. Yet there are others to whom success, though easily within their reach, does not seem a thing to be grasped at. Of two such, the pathetic story may be read, in the Memoir of A Scotch Probationer, Mr. Thomas Davidson, who died young, an unplaced Minister of the United Presbyterian Church, in 1869. He died young, unaccepted by the world, unheard of, uncomplaining, soon after writing his latest song on the first grey hairs of the lady whom he loved. And she, Miss Alison Dunlop, died also, a year ago, leaving a little work newly published, Anent Old Edinburgh, in which is briefly told the story of her life. There can hardly be a true tale more brave and honourable, for those two were eminently qualified to shine, with a clear and modest radiance, in letters. Both had a touch of poetry, Mr. Davidson left a few genuine poems, both had humour, knowledge, patience, industry, and literary conscientiousness. No success came to them, they did not even seek it, though it was easily within the reach of their powers. Yet none can call them failures, leaving, as they did, the fragrance of honourable and uncomplaining lives, and such brief records of these as to delight, and console and encourage us all. They bequeath to us the spectacle of a real triumph far beyond the petty gains of money or of applause, the spectacle of lives made happy by literature, unvexed by notoriety, unfretted by envy. What we call success could never have yielded them so much, for the ways of authorship are dusty and stony, and the stones are only too handy for throwing at the few that, deservedly or undeservedly, make a name, and therewith about one-tenth of the wealth which is ungrudged to physicians, or barristers, or stock-brokers, or dentists, or electricians. If literature and occupation with letters were not its own reward, truly they who seem to succeed might envy those who fail. It is not wealth that they win, as fortunate men in other professions count wealth; it is not rank nor fashion that come to their call nor come to call on them. Their success is to be let dwell with their own fancies, or with the imaginations of others far greater than themselves; their success is this living in fantasy, a little remote from the hubbub and the contests of the world. At the best they will be vexed by curious eyes and idle tongues, at the best they will die not rich in this world’s goods, yet not unconsoled by the friendships which they win among men and women whose faces they will never see. They may well be content, and thrice content, with their lot, yet it is not a lot which should provoke envy, nor be coveted by ambition.

I hope at 50 I'll be dancing like Gianluca Vacchi Party, whiskey, Bellini, Martini, Bloody Maries Bad & Boujee, Tutti Fruity booty, type that really moves me Kundalini rising, energy fill me completely I hope at 50 I'll be writing books like JK Rowling Pen and paper take me places, countries far and foreign Find a cafe up in Edinburgh, write in Scotland Let the stories in my head come out, bloom and blossom I hope at 50
I'll be wealthy like Carlos Slim Buying yachts and mansions and my mother shiny things Encrusted diamond dial on a new Patek Philippe Chill in Maldives but do charity in Ardabil I hope at 50
I'll be funny like Stephen Colbert Cracking witty jokes, making everyone laugh in tears Laughter it goes round and round like a carousel Chronic comic sonic sounds of haha everywhere I hope at 50
I'll be stoic like Robert De Niro Zeno school of thought put an end to my evil ego I hope at 50
I'll be fit as The Rock, Dwayne Johnson Hard rock abs to be paired with an even harder mindset I hope at 50,
I'll be wise like Denzel Washington
Wisdom, knowledge and the faith of God under my skin I hope at 50,
I'll find real love like George Clooney
Amal Alamuddin clone is the type that really moves me

God help us you full of talk of a city called Edinburgh and me in silence so very deep we were so very much in love. And the burns and sikes and streams though shallow were deep music to us. You trout-tickler, you flower-picker, climber in willow trees, me laughing below as best I could laugh, though you never thought it ugly. Indeed the word you used was the word beautiful, pinning cowslips behind my ears, you patting and running fingers through our beckwashed hair. Lying by the marigold beds bare toes entwined, then dancing under branches before the elms ever died. But our mutual hearts never did. Bar it is 7 and your raining rage must cease under my morning moon. In my dawn shawl looking dawndown upon you in your foot-striding fellhighhighupuptopheavyrainbeatingrainrain. We have always walked together so long. In the long grass we walked and walked forever so long so very language long and I could say so once you had the slate in my lap. My tongue blank - FOREVER, word we wrote on a slate, remember when you taught me? - only my hands and eyes moving now - two daughters we could have had - but I am looking kindly and lovingly on you 'Please do it' - cool your raging fire lovelorn heart - for me. And love me - forever.

People are so soon gone; let us catch them. That man there, by the cabinet; he lives, you say, surrounded by china pots. Break one and you shatter a thousand pounds. And he loved a girl in Rome and she left him. Hence the pots, old junk found in lodging-houses or dug from the desert sands. And since beauty must be broken daily to remain beautiful, and he is static, his life stagnates in a china sea. It is strange though; for once, as a young man, he sat on damp ground and drank rum with soldiers. One must be quick and add facts deftly, like toys to a tree, fixing them with a twist of the fingers. He stoops, how he stoops, even over an azalea. He stoops over the old woman even, because she wears diamonds in her ears, and, bundling about her estate in a pony carriage, directs who is to be helped, what tree felled, and who turned out tomorrow. (I have lived my life, I must tell you, all these years, and I am now past thirty, perilously, like a mountain goat, leaping from crag to crag; I do not settle long anywhere; I do not attach myself to one person in particular; but you will find that if I raise my arm, some figure at once breaks off and will come.) And that man is a judge; and that man is a millionaire, and that man, with the eyeglass, shot his governess “through the heart with an arrow when he was ten years old. Afterwards he rode through deserts with despatches, took part in revolutions and now collects materials for a history of his mother’s family, long settled in Norfolk. That little man with a blue chin has a right hand that is withered. But why? We do not know. That woman, you whisper discreetly, with the pearl pagodas hanging from her ears, was the pure flame who lit the life of one of our statesmen; now since his death she sees ghosts, tells fortunes, and has adopted a coffee-coloured youth whom she calls the Messiah.* That man with the drooping moustache, like a cavalry officer, lived a life of the utmost debauchery (it is all in some memoir) until one day he met a stranger in a train who converted him between Edinburgh and Carlisle by reading the Bible. Thus, in a few seconds, deftly, adroitly, we decipher the hieroglyphs written on other people’s faces. Here, in this room, are the abraded and battered shells cast on the shore.

EDINBURGH Sombre echoes that mark the dawning that is greying on the hills; the steep streets still wet from rain the small buildings look emptier with each day passing on; thoughts are done passing rounds - counting circles inside my head. pale faces of familiar strangers crossing me on the way back to a place that used to feel like home - falling back in time.

The two months that Bernard was my roommate, we became very close. I taught him photography which he took to heart. Years later, he became a professional photographer. My protégé came to visit me a month after my return to London. I introduced him to my compassionate Uncle James who kindly took the boy into his home until he introduced Bernard to a Scottish photographer friend in Edinburgh. My charge became the photographer’s apprentice. Through hard work and determination Bernard rose in rank and become the photographer’s assistant. I’m glad Bernard turned out unmarred after what he had been through. I visited him in Edinburgh a few years later when I was on a skiing trip in Scotland. By then he had found himself a mature lover. I was happy that Bernard had found someone who loved and cherished him as he is. That was the last time I saw my charge. We corresponded for some years but soon lost track when I became involved with Jorge (the Oxford graduate). My dearest Andy this is another episode which I will disclose at another time. For now be well, be safe and take excellent care of yourself. I am yours truly always. Love, Young. Xoxoxo

June 2012               Dearest Andy, You haven’t changed much over the years. I’m glad we can continue to relate to each other after such a long absence. Times of change had not vanquished my love for you either. You are always in my heart and I’ll continue to cherish your love wherever I am. You haven’t heard the last of Bernard – at one time, he arrived to visit me at Uncle James. I had no idea he was in London when he showed up one afternoon. I had been out running a couple of errands. As I was unlocking the front door, I felt a tap on my shoulder and Bernard was behind me, looking as handsome as when we parted in Belfast. He had grown taller and more mature during our absence. In Ireland he had worked some odd jobs to earn enough money for a one-way plane ticket to London. The only person he knew in London was me. He knew I would not turn him away if he called. Uncle James was in Hong Kong and I was the only one staying in the house; I took the boy in, making him promise that he would have to leave when I moved in 3 weeks to my new lodgings in Ladbroke Grove. He did as promised and was a splendid house guest. When Uncle James returned a week before my move, he was charmed by the adolescent. Bernard made a good impression on Uncle James. The boy had run away from Belfast and planned a fresh start in London. During the course of the 3 weeks, he successfully secured himself as a newspaper delivery boy in the mornings and also worked part-time in a Deli near the house. To top it off, five evenings a week he was a bus boy in an Italian restaurant. Both Uncle James and I were impressed by his industrious tenacity. James decided to help him obtain an apprenticeship with a professional photographer in Edinburgh, Scotland.

On Friday, 3 December1993, at a charity luncheon in aid of the Headway National Head Injuries Association, the Princess announced her withdrawal from public life. In a sometimes quavering, yet defiant, voice she appealed for ‘time and space’ after more than a decade in the spotlight. During her five-minute speech she made a particular point of the unrelenting media exposure: ‘When I started my public life 12 years ago, I understood that the media might be interested in what I did. I realized then that their attention would inevitably focus on both our private and public lives. But I was not aware of how overwhelming that attention would become; nor the extent to which it would affect both my public duties and my personal life, in a manner that has been hard to bear.’ As she later said: ‘The pressure was intolerable then, and my job, my work was being affected. I wanted to give 110 per cent to my work, and I could only give 50…I owed it to the public to say “Thank you, I’m disappearing for a bit, but I’ll come back.”’ Indicating that she would continue to support a small number of charities while she set about rebuilding her private life, the Princess emphasized: ‘My first priority will continue to be our children, William and Harry, who deserve as much love, care and attention as I am able to give, as well as an appreciation of the tradition into which they were born.’ While she singled out the Queen and the Duke of Edinburgh for their ‘kindness and support’, Diana never once mentioned her estranged husband. In private, she was unequivocal about where the blame lay for her departure from the stage. ‘My husband’s side have made my life hell for the last year,’ she told a friend. When she reached the relative sanctuary of Kensington Palace that afternoon, Diana was relieved, saddened but quietly elated. Her retirement would give her a much-needed chance to reflect and refocus. If the separation had brought her the hope of a new life, her withdrawal from royal duties would give her the opportunity to translate that hope into a vibrant new career, one that would employ to the full her undoubted gifts of compassion and caring on a wider, international stage. A few months later, at a reception at the Serpentine Gallery, of which she was patron, the Princess was in fine form. She was relaxed, witty and happy among friends. The events of 1993 seemed a dim and dismal memory. As she chatted to the movie star Jeremy Irons he told her: ‘I’ve taken a year off acting.’ Diana smiled and replied: ‘So have I.

the greater fulness of joyous life can only be described as Love,

I wanted to be a teacher; my namesake was a teacher, and ever since knowing that, a tiny part of me has known, I was meant to stand in front of a group of children. I love my job, my fast students, my bright swimmers. Love watching someone figure something out and then use it, watch the idea go from me to them and see how it belongs to them afterward. Not mine at all. And afterward, you can only wonder at how it happens. It doesn't happen all the time. But when it does, it feels like this is what magic wants to be, when it grows up.

The driving force behind us in the first three or four years was, I think, the belief that, apart from the joy of acting in itself and the inescapable love of the theatre, we might be building another pillar of the theatre of Scotland.

Over time, alcohol seeps into your soul. It changes you—what you care about, what you are capable of. It rots you from the inside. It can alienate you from love itself.

Even in death, a mother’s love cannot die. There are bonds that bind us tighter than time and matter and this is one of them. It’s elemental, fundamental, woven into the fabric not only of the universe, but of existence itself.

Love looks not with the eyes, but with the mind, and therefore is winged Cupid painted blind.

Lerner held that Brigadoon was one of Minnelli’s least vivacious efforts, despite the potential offered by CinemaScope. Only the wedding scene and the chase that follows reveal Minnelli’s unique touch. Before shooting began, Freed rushed to inform Lerner that “Vincente is bubbling over with enthusiasm about Brigadoon.” But, evidently, his heart was not in this film. Early on, Minnelli made a mistake and confessed to Kelly that he really hadn’t liked the Broadway show. As a film, Brigadoon was curiously flat and rambling, lacking in warmth or charm, and the direction lacks Minnelli’s usual vitality and smooth flow. Admittedly, Lerner’s fairy-tale story was too much of a wistful fancy. Two American hunters go astray in the Scottish hills, landing in a remote village that seems to be lost in time. One of the fellows falls in love with a bonnie lass from the past, which naturally leads to some complications. Minnelli thought that it would be better to set the story in 1774, after the revolts against English rule had ended. For research about the look of the cottages, he consulted with the Scottish Tourist Board in Edinburgh. But the resulting set of the old highland village looks artificial, despite the décor, the Scottish costumes, the heather blossoms, and the scenic backdrops. Inexplicably, some of the good songs that made the stage show stand out, such as “Come to Me, Bend to Me,” “My Mother’s Wedding Day,” and “There But for You Go I,” were omitted from the film. Other songs, such as “The Heather on the Hill” and “Almost Like Being in Love,” had some charm, though not enough to sustain the musical as a whole. Moreover, the energy of the stage dances was lost in the transfer to the screen, which was odd, considering that Kelly and Charisse were the dancers. For some reason, their individual numbers were too mechanical. What should have been wistful and lyrical became an exercise in trickery and by-now-predictable style. With the exception of “The Chase,” wherein the wild Scots pursue a fugitive from their village, the ensemble dances were dull. Onstage, Agnes de Mille’s choreography gave the dance a special energetic touch, whereas Kelly’s choreography in the film was mediocre at best and uninspired at worst. It didn’t help that Kelly and Charisse made an odd, unappealing couple. While he looks thin and metallic, she seems too solemn and often just frozen. The rest of the cast was not much better. Van Johnson, as Kelly’s friend, pouts too much. As Scottish villagers, Barry Jones, Hugh Laing, and Jimmy Thompson act peculiarly, to say the least.

I’m sure that Pat likes you,” said Big Lou. “And perhaps she would like you even more if she knew how you felt about her. Have you ever told her that?” “Of course not,” said Matthew. Big Lou should have known better than to ask that question. This was Edinburgh, after all. One did not go about the place declaring oneself like some lovesick Californian.

The Chief took my hand. His felt like leaves – cool and dry. And then he spoke in Bislama, the English-based pidgin that helps the people of the Vanuatu archipelago, with their eighty islands and their 118 languages, understand one another. ‘Bilip,’ he said. ‘Me wantem come.’ Philip. I want him to come. It sounded aggrieved, as if Philip, Duke of Edinburgh, King of the World and son of the local mountain god, was pushing it a bit and the Chief had had enough. Then he tapped the ground and pointed at me. What brought you here? ‘Long story,’ I said. They understood, because the words mean the same in Bislama. And they laughed at that, and settled down around us on logs and stones, in that windy, dusty meeting ground, rubbing their hands. Down Tanna way, they love a long story. It was 1982 when Prince Philip rode in a train to Manchester, passing right by my bedroom window, and waved at me.

We often see people who do things that look a bit crazy. We see somebody all the time not succeeding at things they could succeed at, or they are pulling out of relationships that looked promising, or they are putting up a wall when anyone tries to love them, or they’re sabotaging their chances, or whatever. And we think “Why does that person do it, it’s completely crazy, there’s no logic to it?” Here’s a very important point, there is always a point. Those behaviors once upon a time made great sense. I want to go further, not only did they make great sense, they were very often the difference between life and death, between managing to continue with life and giving up on life. We needed those patterns. Imagine someone growing up with a parent who is suicidal, they are threatening suicide, how on Earth does a child survive that experience? One of the ways they might learn to survive that experience is to shut down completely, right? They will never ever let anyone in because to let someone in is to risk their own annihilation. That when you’re 5 years old, to work that out, that is near genius, to work out that in order to survive you need to shut the drawbridge very tight. Fast forward 25, 35, 45, family situation resolved itself in whatever way, and you’ve moved on and you’re trying to have relationships or whatever, but in a horrible way that defense mechanism is still active, and now it’s trouble because now it means that when somebody comes along and says “Oh we could have a relationship”, “Umm, no not possible” because the drawbridge is still shut so a lot of the behavior that is suboptimal in adult life, once had a logic which we don’t understand, and we’re not sympathetic to it, we don’t even see it, but if we can learn to see that logic we can largely then come to unpick it. Or imagine somebody who, let’s say, we all know these people, who can’t stop joking around, somebody who is completely optimistic and sunny and even when something’s sad they’re at a funeral, they make a joke around the casket, and you go “Why are you not able to get in touch with your sadness?” Again imagine that former child has come through a journey where once upon a time it was absolutely essential that they be the clown and cheer up maybe a depressive mother or a father who was very angry and couldn’t find anything optimistic. That child needed to become a clown to get to the next stage of life, but now that precise behavior starts to be extremely negative. Another thing that children constantly do, is when children are brought up in suboptimal surroundings with parents who maybe are not that nice to them, it would be devastating to the child to have to see that the fault lies with their parent. Right? To imagine when you’re a four-year-old that your father or mother is really not a very nice person and maybe really quite disturbed and kind of awful, this is an unbearable thought. This was the pioneering work of the Scottish Psychoanalyst Ronald Faban. He was working with very deprived people in Edinburgh and Glasgow in the 1930s and he arrived at a fascinating conclusion. He talked to children from the most deprived most violent abusive families and he discovered that those children spoke very highly of their parents, they would say “My father is a great man”, this is the guy who was hitting the child, “My mother, she’s amazing”, mother you know left the kid unclean and unfed for days. In Faben’s view, it’s better to think that you are the problem than that you’ve been born into a problematic situation, so what happens when you’re in a suboptimal parental situation, is you start to hate yourself, and blame yourself and feel bad about yourself because it is preferable to the other bit of really bad news which is to think that you’ve been born into such an inadequate family, that you may not survive it.

Of course, the man had no idea of Grimalkin’s presence. But Grimalkin was so starved of human contact and affection that he was positively whisked into a deep, calm sense of relaxation in that blissful moment. He could even trick himself into thinking that he was the object of the elderly man’s affections, not little Towser. He thought of Cat-sìth and how he would have preferred to renegotiate the terms of his hauntings, not to look and learn from the future, but to simply sleep on lovely warm laps on rare, hot Edinburgh summer days throughout the ages. That would be far more pleasant...

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