Farrell Quotes

We've searched our database for all the quotes and captions related to Farrell. Here they are! All 100 of them:

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When women hold off from marrying men, we call it independence. When men hold off from marrying women, we call it fear of commitment.
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Warren Farrell
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What are you supposed to do with all the love you have for somebody if that person is no longer there? What happens to all that leftover love? Do you suppress it? Do you ignore it? Are you supposed to give it to someone else?
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Maggie O'Farrell (After You'd Gone)
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We are all, Esme decides, just vessels through which identities pass: we are lent features, gestures, habits, then we hand them on. Nothing is our own. We begin in the world as anagrams of our antecedents.
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Maggie O'Farrell (The Vanishing Act of Esme Lennox)
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We are, all of us, wandering about in a state of oblivion, borrowing our time, seizing our days, escaping our fates, slipping through loopholes, unaware of when the axe may fall.
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Maggie O'Farrell (I Am, I Am, I Am: Seventeen Brushes With Death)
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Men’s greatest weakness is their facade of strength, and women’s greatest strength is their facade of weakness.
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Warren Farrell (The Myth of Male Power)
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Anyone, Eliza is thinking, who describes dying as β€˜slipping away’ or β€˜peaceful’ has never witnessed it happen. Death is violent, death is a struggle. The body clings to life, as ivy to a wall, and will not easily let go, will not surrender its grip without a fight.
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Maggie O'Farrell (Hamnet)
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Every life has its kernel, its hub, its epicentre, from which everything flows out, to which everything returns.
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Maggie O'Farrell (Hamnet)
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What is the word, Judith asks her mother, for someone who was a twin but is no longer a twin?
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Maggie O'Farrell (Hamnet)
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Partings are strange. It seems so simple: one minute ago, four, five, he was here, at her side; now, he is gone. She was with him; she is alone. She feels exposed, chill, peeled like an onion.
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Maggie O'Farrell (Hamnet)
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What is given may be taken away, at any time. Cruelty and devastation wait for you around corners, inside coffers, behind doors: they can leap out at you at any time, like a thief or brigand. The trick is never to let down your guard. Never think you are safe. Never take for granted that your children's hearts beat, that they sup milk, that they draw breath, that they walk and speak and smile and argue and play. Never for a moment forget they may be gone, snatched from you, in the blink of an eye, borne away from you like thistledown.
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Maggie O'Farrell (Hamnet)
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She has spent most of the day reading and is feeling rather out of touch with reality, as if her own life has become insubstantial in the face of the fiction she's been absorbed in.
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Maggie O'Farrell (After You'd Gone)
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He has, Anges sees, done what any father would wish to do, to exchange his child’s suffering for his own, to take his place, to offer himself up in his child’s stead so that the boy might live.
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Maggie O'Farrell (Hamnet)
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That the things in life which don't go to plan are usually more important, more formative, in the long run, than the things that do
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Maggie O'Farrell (I Am, I Am, I Am: Seventeen Brushes With Death)
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time runs only one way.
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Maggie O'Farrell (Hamnet)
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The leaves crisping at their edges. Here is a season Hamnet has not known or touched. Here is a world moving on without him.
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Maggie O'Farrell (Hamnet)
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I find,' he says, his voice still muffled, 'that I am constantly wondering where he is. Where he has gone. It is like a wheel ceaselessly turning at the back of my mind. Whatever I am doing, wherever I am, I am thinking: Where is he, where is he? He can't have just vanished. He must be somewhere. All I have to do is find him. I look for him everywhere, in every street, in every crowd, in every audience. That's what I am doing, when I look out at them all: I try to find him, or a version of him.
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Maggie O'Farrell (Hamnet)
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We look on past ages with condescension, as a mere preparation for us....but what if we are a mere after-glow of them?
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J.G. Farrell (The Siege of Krishnapur (Empire Trilogy, #2))
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She grows up feeling wrong, out of place, too dark, too tall, too unruly, too opinionated, too silent, too strange. She grows up with the awareness that she is merely tolerated, an irritant, useless, that she does not deserve love, that she will need to change herself substantially, crush herself down if she is to be married.
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Maggie O'Farrell (Hamnet)
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It is in the interests of both sexes to hear the other sex's experience of powerlessness.
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Warren Farrell
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Sadness keeps attempting to tie weights to her wrists and ankles, therefore she has to keep moving, she has to outpace it.
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Maggie O'Farrell (The Marriage Portrait)
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And there, by the fire, held in the arms of his mother, in the room in which he learnt to crawl, to eat, to walk, to speak, Hamnet takes his last breath. He draws it in, he lets it out. Then there is silence, stillness. Nothing more.
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Maggie O'Farrell (Hamnet)
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learn from the past live in the present plan for the future
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Audrey Farrell
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Why isn't life better designed so it warns you when terrible things are about to happen?
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Maggie O'Farrell (After You'd Gone)
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Why do people insist on defending their ideas and opinions with such ferocity, as if defending honour itself? What could be easier to change than an idea?
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J.G. Farrell (The Siege of Krishnapur (Empire Trilogy, #2))
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What redemption there is in being loved: we are always our best selves when loved by another. Nothing can replace this.
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Maggie O'Farrell (This Must Be the Place)
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I don't believe in fate. I don't believe in cushioning your insecurities with a system of belief that tells you 'Don't worry. This may be your life but you're not in control. There is something or someone looking out for you -- it's already organised.' It's all chance and choice, which is far more frightening.
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Maggie O'Farrell (After You'd Gone)
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That you had more hidden away inside you than anyone else she’d ever met.
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Maggie O'Farrell (Hamnet)
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Why is it that twenty-four hours in the company of your family is capable of reducing you to a teenager?
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Maggie O'Farrell (Instructions for a Heatwave)
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She has always had a secret liking for this part of the embroidery, the β€˜wrong’ side, congested with knots, striations of silk and twists of thread. How much more interesting it is, with its frank display of the labour needed to attain the perfection of the finished piece.
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Maggie O'Farrell (The Marriage Portrait)
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Two and a half thousand left-handed people are killed every year using things made for right-handed people.
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Maggie O'Farrell (The Vanishing Act of Esme Lennox)
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When a man is able to connect with his feelings, he is able to care more.
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Warren Farrell
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If you let conditions stop you from working, they'll always stop you.
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James T. Farrell
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It is a terrible thing to want something you cannot have. It takes you over. I couldn't think straight because of it. There was no one else, I realized, whom I could possibly tell.
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Maggie O'Farrell (The Vanishing Act of Esme Lennox)
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Listen. The trees in this story are stirring, trembling, readjusting themselves. A breeze is coming in gusts off the sea, and it is almost as if the trees know, in their restlessness, in their head-tossing impatience, that something is about to happen.
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Maggie O'Farrell (The Hand That First Held Mine)
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You cannot outwit fate by placing little sidebets on the outcome of life. It's either you wade in and play in order to win or you don't play at all." - Matthew Farrell
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Judith McNaught (Paradise/Tender Triumph)
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I really look forward to that insane hour that we spend together. I really do.
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Colin Farrell
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You young people are always so obsessed with truth. The truth is often overrated.
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Maggie O'Farrell (The Hand That First Held Mine)
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She, like all mothers, constantly casts out her thoughts, like fishing lines, towards her children, reminding herself of where they are, what they are doing, how they fare. From habit, while she sits there near the fireplace, some part of her mind is tabulating them and their whereabouts: Judith, upstairs. Susanna, next door. And Hamnet? Her unconscious mind casts, again and again, puzzled by the lack of bite, by the answer she keeps giving it: he is dead, he is gone. And Hamnet? The mind will ask again. At school, at play, out at the river? And Hamnet? And Hamnet? Where is he? Here, she tries to tell herself. Cold and lifeless, on this board, right in front of you. Look, here, see. And Hamnet? Where is
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Maggie O'Farrell (Hamnet)
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I am dead: Thou livest; . . . draw thy breath in pain, To tell my story Hamlet, Act V, scene ii
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Maggie O'Farrell (Hamnet)
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She walks slowly. She wants to feel the prick, the push of every bit of gravel under her shoe. She wants to feel every scratch, every discomfort of this....her leaving walk.
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Maggie O'Farrell (The Vanishing Act of Esme Lennox)
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Life is sad enough without people writing sad books.
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James T. Farrell (Studs Lonigan)
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When cops are on the job they love lawyers like lions love hyenas, only minus the mutual respect.
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Reed Farrel Coleman (The James Deans (Moe Prager, #3))
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She is not yet where she needs to be, in the forest, alone, with the trees over her head. She is not alone.
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Maggie O'Farrell (Hamnet)
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The people who applaud the loudest, Lucrezia notes, are the ones who talked through the performance.
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Maggie O'Farrell (The Marriage Portrait)
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We begin in the world as anagrams of our antecedents.
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Maggie O'Farrell (The Vanishing Act of Esme Lennox)
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And we forget because we must.
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Maggie O'Farrell (The Hand That First Held Mine)
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Foreign experiences increase both cognitive flexibility and depth and integrativeness of thought,
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Maggie O'Farrell (I Am, I Am, I Am: Seventeen Brushes with Death)
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I am desperate for change, endlessly seeking novelty, where i can find it.
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Maggie O'Farrell (I Am, I Am, I Am: Seventeen Brushes with Death)
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I can go for days without thinking about it; at other times it feels like a defining moment. It means nothing. It means everything.
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Maggie O'Farrell (I Am, I Am, I Am: Seventeen Brushes With Death)
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The equivalent of a woman being treated as a sex object is a man being treated as a success object.
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Warren Farrell
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I am a men's liberationist (or "masculist") when men's liberation is defined as equal opportunity and equal responsibility for both sexes. I am a feminist when feminism favors equal opportunities and responsibilities for both sexes. I oppose both movements when either says our sex is THE oppressed sex, therefore, "we deserve rights." That's not gender liberation but gender entitlement. Ultimately, I am in favor of neither a women's movement nor a men's movement but a gender transition movement.
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Warren Farrell (The Myth of Male Power)
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The sound that comes out of him is choked and smothered, like that of an animal forced to bear a great weight. It is a noise of disbelief, of anguish. Anges will never forget it. At the end of her life, when her husband has been dead for years, she will still be able to summon its exact pitch and timbre.
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Maggie O'Farrell (Hamnet)
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I swam in dangerous waters, both metaphorically and literally. It was not so much that I didn't value my existence but more that I had an insatiable desire to push myself to embrace all that it could offer.
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Maggie O'Farrell (I Am, I Am, I Am: Seventeen Brushes with Death)
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He feels again the sensation he has had all his life: that she is the other side to him, that they fit together, him and her, like two halves of a walnut. That without her he is incomplete, lost. He will carry an open wound, down his side, for the rest of his life, where she had been ripped from him. How can he live without her? He cannot. It is like asking the heart to live without the lungs, like tearing the moon out of the sky and asking the stars to do its work, like expecting the barley to grow without the rain.
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Maggie O'Farrell (Hamnet)
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The people who teach us something retain a particularly vivid place in our memories.
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Maggie O'Farrell (I Am, I Am, I Am: Seventeen Brushes with Death)
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You shall not look at me, she wants to say, you shall not see into me. I will not be yours. How dare you assess me and find me lacking?
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Maggie O'Farrell (The Marriage Portrait)
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That's because they're of the past. All photos of the past look melancholy and wistful precisely because they capture something that's gone.
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Maggie O'Farrell
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She sits there and feels the loneliness and the lack of him
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Maggie O'Farrell (Instructions for a Heatwave)
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America is so vast that almost everything said about it is likely to be true, and the opposite is probably equally true.
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James T. Farrell
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We must pursue what’s in front of us, not what we can’t have or what we have lost. We must grasp what we can reach and hold on, fast.
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Maggie O'Farrell (This Must Be the Place)
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He says again that he will not hurt her, she must not be scared, he will not hurt her, he will not, he promises, the words whispered in his new rasping voice. And then he hurts her anyway. The pain is startling, and curious in its specificity
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Maggie O'Farrell (The Marriage Portrait)
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I want to be respected. I want to be powerful. And yes, I want to be special. I want to leave a mark on this world so no one forgets who I was.
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Morgan Rhodes (A Book of Spirits and Thieves (Spirits and Thieves, #1))
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You need a plan,” she hearsβ€”or seems to hearβ€”her old nurse, Sofia, say, from a place near her elbow. β€œTo lose your temper is to lose the battle.
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Maggie O'Farrell (The Marriage Portrait)
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To lose your temper is to lose the battle.
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Maggie O'Farrell (The Marriage Portrait)
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Gretta sits herself down at the table. Robert has arranged everything she needs: a plate, a knife, a bowl with a spoon, a pat of butter, a jar of jam. It is in such small acts of kindness that people know they are loved.
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Maggie O'Farrell (Instructions for a Heatwave)
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She wanted to say, no. She wanted to say, I have a son, there is a child, this cannot happen. Because you know that no one will ever love them like you do. You know that no one will look after them like you do. You know that it's an impossibility, it's unthinkable that you could be taken away, that you will have to leave them behind.
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Maggie O'Farrell
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And Agnes finds she can bear anything except her child’s pain. She can bear separation, sickness, blows, birth, deprivation, hunger, unfairness, seclusion, but not this: her child, looking down at her dead twin. Her child, sobbing for her lost brother. Her child, racked with grief.
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Maggie O'Farrell (Hamnet)
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If she was liquid, she would drink her; if she was a gas, she would breathe her; if she was a pill, she would down her'; if she was a dress, she would wear her; a plate, she would lick her clean.
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Maggie O'Farrell (This Must Be the Place)
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In any fairy-tale, getting what you wish for comes at a cost. There is always a codicil, an addendum to the granting of a wish. There is always a price to pay.
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Maggie O'Farrell (I Am, I Am, I Am: Seventeen Brushes with Death)
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All his life he had wished and waited, and there had been no change, except for the worse.
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James T. Farrell (Studs Lonigan)
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She has always cried such enormous tears, like heavy pearls, quite at odds with the slightness of her frame.
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Maggie O'Farrell (Hamnet)
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She liked the way his smile took a long time to arrive and just as long to leave.
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Maggie O'Farrell (Instructions for a Heatwave)
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Every day in about half the advertisements, a man sees the constant reminder of the woman he was not worthy of.
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Warren Farrell (Why Men Are the Way They Are)
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And if your son is unemployed? Three out of four women say they would not date an unemployed man. In contrast, for two-thirds of men, dating an unemployed woman is a nonissue.
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Warren Farrell (The Boy Crisis: Why Our Boys Are Struggling and What We Can Do About It)
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Children living with their dad felt positively about their mom; children living with their mom were more likely to think negatively of their dad.
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Warren Farrell (The Boy Crisis: Why Our Boys Are Struggling and What We Can Do About It)
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This person is now lost to her for ever. She is someone adrift in her life, who doesn’t recognise it. She is unmoored, at a loss. She is someone who weeps if she cannot find a shoe or overboils the soup or trips over a pot. Small things undo her. Nothing is certain any more.
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Maggie O'Farrell (Hamnet)
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She hates the way the people part to let them past and then, behind them, regroup, erasing their passage, as if it were nothing, as if it never were. She wishes to scratch the ground, perhaps with a hoe, to score the streets beneath her, so that there will forever be a mark, for it always to be known that this way Hamnet came. He was here.
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Maggie O'Farrell (Hamnet)
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If you're not part of the freaks, you're part of the boredom.
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Perry Farrell
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Successful couples learn the secret of fighting for their relationship rather than against one another.
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Bill Farrel (Men Are Like Waffles--Women Are Like Spaghetti)
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It was always the meaningless tasks that endure: the washing, the cooing, the clearing, the cleaning. Never anything majestic or significant, just the tiny rituals that hold together the seams of human life.
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Maggie O'Farrell (The Vanishing Act of Esme Lennox)
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She is here now, outside the walls of the villa, where the night has painted its own version of the valley, in bold indigo strokes; where the wind animates this mysterious shaded landscape, setting the trees in motion, flinging night birds up to the blue-black air, driving angry blots across the unreadable face of the firmament.
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Maggie O'Farrell (The Marriage Portrait)
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In these ways, your son's economic health can dictate his ability to be loved, which makes his economic health inseparable from his mental health, and therefore his physical health. And few things affect his economic health more than his education.
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Warren Farrell (The Boy Crisis: Why Our Boys Are Struggling and What We Can Do About It)
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I have never found it difficult to abandon a group , to go against the alpha male or female. I have never much cared for gangs, for social tribes , for fitting in. I have known since I was very young that the in-crowd isin't my crowd;they are not my people.
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Maggie O'Farrell (I Am, I Am, I Am: Seventeen Brushes with Death)
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Anyone, Eliza is thinking, who describes dying as β€œslipping away” or β€œpeaceful” has never witnessed it happen. Death is violent, death is a struggle. The body clings to life, as ivy to a wall, and will not easily let go, will not surrender its grip without a fight
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Maggie O'Farrell (Hamnet)
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He can feel Death in the room, hovering in the shadows, over there beside the door, head averted, but watching all the same, always watching. It is waiting, biding its time. It will slide forward on skinless feet, with breath of damp ashes, to take her, to clasp her in its cold embrace, and he, Hamnet, will not be able to wrest her free.
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Maggie O'Farrell (Hamnet)
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She grows up, too, with the memory of what it meant to be properly loved, for what you are, not what you ought to be. There is just enough of this recollection alive, she hopes, to enable her to recognise it if she meets it again. And if she does, she won’t hesitate. She will seize it with both hands, as a means of escape, a means of survival. She won’t listen to the protestations of others, their objections, their reasoning. This will be her chance, her way through the narrow hole at the heart of the stone, and nothing will stand in her way.
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Maggie O'Farrell (Hamnet)
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She discovers that it is possible to cry all day and all night. That there are many different ways to cry: the sudden outpouring of tears, the deep, racking sobs, the soundless and endless leaking of water from the eyes. That sore skin around the eyes may be treated with oil infused with a tincture of eyebright and chamomile. That it is possible to comfort your daughters with assurances about places in Heaven and eternal joy and how they may all be reunited after death and how he will be waiting for them, while not believing any of it. That people don’t always know what to say to a woman whose child has died. That some will cross the street to avoid her merely because of this. That people not considered to be good friends will come, without warning, to the fore, will leave bread and cakes on your sill, will say a kind and apt word to you after church, will ruffle Judith’s hair and pinch her wan cheek.
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Maggie O'Farrell (Hamnet)
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I have this compulsion for freedom,for a state of liberation. It is an urge so strong, so all-encompassing that it overwhelms everything else. I cannot stand my life as it is. I cannot stand to be here, in this town, in this school. I have to get away.I have to work and work so that I can leave and only then can I create a life that will be liveable for me.
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Maggie O'Farrell (I Am, I Am, I Am: Seventeen Brushes with Death)
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The gown rustles and slides around her, speaking a glossolalia all of its own, the silk moving against the rougher nap of the underskirts, the bone supports of the bodice straining and squealing against their coverings, the cuffs scuffing and chafing the skin of her wrists, the stiffened collar hooking and nibbling at her nape, the hip supports creaking like the rigging of a ship. It is a symphony, an orchestra of fabrics, and Lucrezia would like to cover her ears, but she cannot.
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Maggie O'Farrell (The Marriage Portrait)
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What I wish I had known, age twenty-one, as I cycled away from the results board towards the meadow by the river in Cambridge, where I would throw stones into the water and cry, is that nobody ever asks you what degree you got. It ceases to matter the moment you leave university. That the things in life which don’t go to plan are usually more important, more formative, in the long run, than the things that do.
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Maggie O'Farrell (I Am, I Am, I Am: Seventeen Brushes with Death)
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Most men have boxes in their waffle that have no words. There are thoughts, but they don’t always translate into words. Not all of the wordless boxes have thoughts, however. There are actually boxes in the average man’s waffle that contain neither words nor thoughts. To help relieve stress in his life, your husband will park in one of these boxes to relax.
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Bill Farrel (Men Are Like Waffles--Women Are Like Spaghetti)
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She is like no one you have ever met. She cares not what people may think of her. She follows entirely her own course.” He sits forward, placing his elbows on his knees, dropping his voice to a whisper. β€œShe can look at a person and see right into their very soul. There is not a drop of harshness in her. She will take a person for who they are, not what they are not or ought to be.” He glances at Eliza. β€œThose are rare qualities, are they not?
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Maggie O'Farrell (Hamnet)
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The single biggest barrier to getting men to look within is that what any other group would call powerlessness, men have been taught to call power. We don't call "male-killing" sexism; we call it "glory." We don't call the one million men who were killed or maimed in one battle in World War I (the Battle of the Somme) a holocaust, we call it "serving the country." We don't call those who selected only men to die "murderers." We call them "voters." Our slogan for women is "A Woman's Body, A Woman's Choice"; our slogan for men is "A Man's Gotta Do What a Man's Gotta Do.
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Warren Farrell (The Myth of Male Power)
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What is the word, Judith asks her mother, for someone who was a twin but is no longer a twin? Her mother, dipping a folded, doubled wick into heated tallow, pauses, but doesn't turn around. If you were a wife, Judith continues, and your husband dies, then you are a widow. And if its parents die, a child becomes an orphan. But what is the word for what I am? I don't know, her mother says. Judith watches the liquid slide off the ends of the wicks, into the bowl below. Maybe there isn't one, she suggests. Maybe not, says her mother.
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Maggie O'Farrell (Hamnet)
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An English teacher at school once said to her, 'Alice, one thing I hope you never find out is that a broken heart hurts physically.' Nothing she has ever experienced has prepared her for the pain of this. Most of the time her heart feels as though it's waterlogged and her ribcage, her arms, her back, her temples, her legs all ache in a dull, persistent way: but at times like this the incredulity and the appalling irreversibility of what has happened cripple her with a pain so bad she often doesn't speak for days.
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Maggie O'Farrell (After You'd Gone)
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During wartime, experimental drugs were often tried on men. If a drug failed, the man died. But if a drug succeeded, it was used to save both women and men, but without women dying to develop it. Men were similarly used as guinea pigs in the development of emergency procedures, microwave ovens (a man was inadvertently β€œcooked” during the testing process7), and other advances that served both sexes. Later it was labeled sexism that physicians studied men more than women. No one labeled it sexism because men were used as guinea pigs more than women.
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Warren Farrell (The Myth of Male Power)
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Some in Westminster have talked about her receiving a state funeral when she dies, which seems a bizarre sort of tribute to someone who believed the state should do as little as possible. It would be far more appropriate to allow competitive bids from private companies to run the funeral arrangements. 'And we now go over live to Westminster, where state leaders are lining up for Lady Thatcher's funeral sponsored by McDonald's. And there we see the coffin respectfully borne on the shoulders of six part-time burger-flippers dressed in the official Ronald McDonald costume, before the private cremation when the body will be flame-grilled with gherkins and a slice of cheese.' It's what she would have wanted.
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John O'Farrell
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The primary leaders of the so-called founding fathers of our nation were not Bible-believing Christians; they were deists. Deism was a philosophical belief that was widely accepted by the colonial intelligentsia at the time of the American Revolution. Its major tenets included belief in human reason as a reliable means of solving social and political problems and belief in a supreme deity who created the universe to operate solely by natural laws. The supreme God of the Deists removed himself entirely from the universe after creating it. They believed that he assumed no control over it, exerted no influence on natural phenomena, and gave no supernatural revelation to man. A necessary consequence of these beliefs was a rejection of many doctrines central to the Christian religion. Deists did not believe in the virgin birth, divinity, or resurrection of Jesus, the efficacy of prayer, the miracles of the Bible, or even the divine inspiration of the Bible. These beliefs were forcefully articulated by Thomas Paine in Age of Reason, a book that so outraged his contemporaries that he died rejected and despised by the nation that had once revered him as 'the father of the American Revolution.'... Other important founding fathers who espoused Deism were George Washington, Thomas Jefferson, Benjamin Franklin, Ethan Allen, James Madison, and James Monroe. [The Christian Nation Myth, 1999]
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Farrell Till
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The women we become after children, she typed, then stopped to adjust the angle of the paper....We change shape, she continued, we buy low-heeled shoes, we cut off our long hair, We begin to carry in our bags half-eaten rusks, a small tractor, a shred of beloved fabric, a plastic doll. We lose muscle tone, sleep, reason, persoective. Our hearts begin to live outside our bodies. They breathe, they eat, they crawl and-look!-they walk, they begin to speak to us. We learn that we must sometimes walk an inch at a time, to stop and examine every stick, every stone, every squashed tin along the way. We get used to not getting where we were going. We learn to darn, perhaps to cook, to patch knees of dungarees. We get used to living with a love that suffuses us, suffocates us, blinds us, controls us. We live, We contemplate our bodies, our stretched skin, those threads of silver around our brows, our strangely enlarged feet. We learn to look less in the mirror. We put our dry-clean-only clothes to the back of the wardrobe. Eventually we throw them away. We school ourselves to stop saying 'shit' and 'damn' and learn to say 'my goodness' and 'heavens above.' We give up smoking, we color our hair, we search the vistas of parks, swimming-pools, libraries, cafes for others of our kind. We know each other by our pushchairs, our sleepless gazes, the beakers we carry. We learn how to cool a fever, ease a cough, the four indicators of meningitis, that one must sometimes push a swing for two hours. We buy biscuit cutters, washable paints, aprons, plastic bowls. We no longer tolerate delayed buses, fighting in the street, smoking in restaurants, sex after midnight, inconsistency, laziness, being cold. We contemplate younger women as they pass us in the street, with their cigarettes, their makeup, their tight-seamed dresses, their tiny handbags, their smooth washed hair, and we turn away, we put down our heads, we keep on pushing the pram up the hill.
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Maggie O'Farrell (The Hand That First Held Mine)
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On the TV screen in Harry's is The Patty Winters Show, which is now on in the afternoon and is up against Geraldo Rivera, Phil Donahue and Oprah Winfrey. Today's topic is Does Economic Success Equal Happiness? The answer, in Harry's this afternoon, is a roar of resounding "Definitely," followed by much hooting, the guys all cheering together in a friendly way. On the screen now are scenes from President Bush's inauguration early this year, then a speech from former President Reagan, while Patty delivers a hard-to-hear commentary. Soon a tiresome debate forms over whether he's lying or not, even though we don't, can't, hear the words. The first and really only one to complain is Price, who, though I think he's bothered by something else, uses this opportunity to vent his frustration, looks inappropriately stunned, asks, "How can he lie like that? How can he pull that shit?" "Oh Christ," I moan. "What shit? Now where do we have reservations at? I mean I'm not really hungry but I would like to have reservations somewhere. How about 220?" An afterthought: "McDermott, how did that rate in the new Zagat's?" "No way," Farrell complains before Craig can answer. "The coke I scored there last time was cut with so much laxative I actually had to take a shit in M.K." "Yeah, yeah, life sucks and then you die." "Low point of the night," Farrell mutters. "Weren't you with Kyria the last time you were there?" Goodrich asks. "Wasn't that the low point?" "She caught me on call waiting. What could I do?" Farrell shrugs. "I apologize." "Caught him on call waiting." McDermott nudges me, dubious. "Shut up, McDermott," Farrell says, snapping Craig's suspenders. "Date a beggar." "You forgot something, Farrell," Preston mentions. "McDermott is a beggar." "How's Courtney?" Farrell asks Craig, leering. "Just say no." Someone laughs. Price looks away from the television screen, then at Craig, and he tries to hide his displeasure by asking me, waving at the TV, "I don't believe it. He looks so... normal. He seems so... out of it. So... un dangerous." "Bimbo, bimbo," someone says. "Bypass, bypass." "He is totally harmless, you geek. Was totally harmless. Just like you are totally harmless. But he did do all that shit and you have failed to get us into 150, so, you know, what can I say?" McDermott shrugs. "I just don't get how someone, anyone, can appear that way yet be involved in such total shit," Price says, ignoring Craig, averting his eyes from Farrell. He takes out a cigar and studies it sadly. To me it still looks like there's a smudge on Price's forehead. "Because Nancy was right behind him?" Farrell guesses, looking up from the Quotrek. "Because Nancy did it?" "How can you be so fucking, I don't know, cool about it?" Price, to whom something really eerie has obviously happened, sounds genuinely perplexed. Rumor has it that he was in rehab.
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Bret Easton Ellis (American Psycho)