β
But the game involves only male names. Because, if it's a girl, Laila has already named her
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Boys, Laila came to see, treated friendship the way they treated the sun: its existence undisputed; its radiance best enjoyed, not beheld directly.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Laila has moved on. Because in the end she knows thatβs all she can do. That and hope.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Tariq tucked the gun into the waist of his denims. Then he said a thing both lovely and terrible. "For you," he said. "I'd kill with it for you, Laila.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
I'm sorry," Laila says, marveling at how every Afghan story is marked by death and loss and unimaginable grief. And yet, she sees, people find a way to survive, to go on.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
βI know you're still young but I want you to understand and learn this now. Marriage can wait, education cannot. You're a very very bright girl. Truly you are. You can be anything you want Laila. I know this about you. And I also know that when this war is over Afghanistan is going to need you as much as its men maybe even more. Because a society has no chance of success if its women are uneducated Laila. No chance.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
She would never leave her mark on Mammy's heart the way her brothers had, because Mammy's heart was like a pallid beach where Laila's footprints would forever wash away beneath the waves of sorrow that swelled and crashed, swelled and crashed.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Then I think of all the tricks, all the minutes all the hours and days and weeks and months and years waiting for me. All of it without them. And I can't breathe then, like someone's stepping on my heart, Laila. So weak I just want to collapse somewhere.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
He shrugs. "Doesn't help to waste my time thinking about would've-beens."
Laila whispers, "He says to the girl with a mind full of them.
β
β
Kasie West (Pivot Point (Pivot Point, #1))
β
Laila remembered Mammy telling Babi once that she had married a man who had no convictions. Mammy didn't understand. She didn't understand that if she looked into a mirror, she would find the one unfailing conviction of his life looking right back at her.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
In the coming days and weeks, Laila would scramble frantically to commit it all to memory, what happened next. Like an art lover running out of a burning museum, she would grab whatever she could--a look, a whisper, a moan--to salvage from perishing to preserve. But time is the most unforgiving of fires, and she couldn't, in the end, save it all.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Laila came to believe that of all the hardships a person has to face, none was more punishing than the simple act of waiting.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Laila watches Mariam glue strands of yarn onto her doll's head. In a few years, this little girl will be a woman who will make small demands on life, who will never burden others, who will never let on that she too had sorrows, disappointments, dreams that have been ridiculed. A woman who will be like a rock in a riverbed, enduring without complaint, her grace not sullied but shaped by the turbulence that washes over her. Already Laila sees something behind this young girl's eyes, something deep in her core, that neither Rasheed nor the Taliban will be able to break. something as hard and unyielding as a block of limestone. Something that, in the end, will be her undoing and Laila's salvation.
The little girl looks up. Puts the doll down. Smiles.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Tristan, my love,β said Laila with dangerous calm. βIf you get in the way of a womanβs battle, youβll get in the way of her sword.
β
β
Roshani Chokshi (The Gilded Wolves (The Gilded Wolves, #1))
β
Oh and P.S.? I am in dire need of more coffee. Industrial strength."
"But we're going to sleep soon," I say.
"I know." Laila shudders. "Addiction is a bitch.
β
β
Susane Colasanti (When It Happens)
β
Kisses were not supposed to be like this. Kisses were to be witnessed by stars, not held in the presence of stale death. But as the bones rose around them, Laila saw fractals of white. They looked like pale constellations, and she thought that, perhaps, for a kiss like this, even hell would put forth stars.
β
β
Roshani Chokshi (The Gilded Wolves (The Gilded Wolves, #1))
β
Marriage can wait. Education cannot...Because a society has no chance of success if its women are uneducated, Laila. No chance.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Youβre not going to cry, are you?
- I am not going to cry! Not over you. Not in a thousand years.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Her beauty was the talk of the valley.It skipped two generations of women in our family, but it sure didn't bypass you, Laila.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
A name is precious; it carries inside it a language, a history, a set of traditions, a particular way of looking at the world. Losing it meant losing my ties to all those things too.
β
β
Laila Lalami (The Moor's Account)
β
But Laila has decided that she will not be crippled by resentment. Mariam wouldnβt want it that way. βWhatβs the sense?β she would say with a smile both innocent and wise. βWhat good is it, Laila jo?β And so Laila has resigned herself to moving on. For her own sake, for Tariqβs, for her childrenβs. And for Mariam, who still visits Laila in her dreams, who is never more than a breath or two below her consciousness. Laila has moved on. Because in the end she knows thatβs all she can do. That and hope.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Tapi mencari suami memang seperti melihat toko perabot untuk setelan meja makan yang pas buat ruangan dan keuangan. Kita datang dengan sejumlah syarat geometri dan bujet. Sedangkan kekasih muncul seperti sebuah lukisan yang tiba-tiba membuat kita jatuh hati. Kita ingin mendapatkannya, dan mengubah seluruh desain kamar agar turut padanya. Laila selalu jatuh cinta pada lukisan, bukan meja makan.
β
β
Ayu Utami (Saman)
β
Though there had been moments of beauty in it Mariam knew that life for most part had been unkind to her. But as she walked the final twenty paces, she could not help but wish for more of it. She wished she could see Laila again, wished to hear the clangor of her laugh, to sit with her once more for a pot of chai and leftover halwa under a starlit sky. She mourned that she would never see Aziza grow up, would not see the beautiful young woman that she would one day become, would not get to paint her hands with henna and toss noqul candy at her wedding. She would never play with Aziza's children. She would have liked that very much , to be old and play with Aziza's children.
Mariam wished for so much in those final moments. Yet as she closed her eyes, it was not regret any longer but a sensation of abundant peace that washed over her. She thought of her entry into this world, the harami child of a lowly villager, an unintended thing, a pitiable, regrettable accident. A weed. And yet she was leaving the world as a woman who had loved and been loved back. She was leaving it as a friend, a companion, a guardian. A mother. A person of consequence at last. No. It was not so bad , Mariam thought, that she should die this way. Not so bad. This was a legitimate end to a life of illegitimate beginnings.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Because a society has no chance of success if its women are uneducated, Laila. No chance.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
But maybe Iβm supposed to include a little something about each of them. Like, Duke, this is Laila; she thinks youβre hot. Laila, this is Duke; he and his mirror share a close relationship.
β
β
Kasie West (Pivot Point (Pivot Point, #1))
β
He needed time to adjust to real life, where heroes and villains could not be told apart by their looks or their accents, where there were no last minute reversals of fortune.
β
β
Laila Lalami (Secret Son)
β
...Mariam is in Laila's own heart, where she shines with the bursting radiance of a thousand suns.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
No lies are more seductive than the ones we use to console ourselves.
β
β
Laila Lalami (The Moor's Account)
β
Something that can pull men apart-"
"Money?" asked Enrique.
"Love!" said Hypnos.
"Magnets," said Zofia.
Laila, Enrique, and Hypnos turned to stare at her.
"Powerful magnets," Zofia amended.
β
β
Roshani Chokshi (The Silvered Serpents (The Gilded Wolves, #2))
β
Nine-year-old Laila rose from bed, as she did most mornings, hungry for the sight of her friend Tariq. This morning, however, she knew there would be no Tariq sighting.
- How long will you be gone? - Sheβd asked when Tariq had told her that his parents were
taking him south, to the city of Ghazni, to visit his paternal uncle.
- Thirteen days
- Thirteen days?
- Itβs not so long. Youβre making a face, Laila.
- I am not.
- Youβre not going to cry, are you?
- I am not going to cry! Not over you. Not in a thousand years.
Sheβd kicked at his shin, not his artificial but his real one, and heβd playfully whacked
the back of her head.
Thirteen days. Almost two weeks. And, just five days in, Laila had learned a fundamental truth about time: Like the accordion on which Tariqβs father sometimes played old Pashto songs, time stretched and contracted depending on Tariqβs absence or presence.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Inside Laila too a battle was being waged : guilt on one side, partnered with shame, and, on the other, the conviction that what she and Tariq had done was not sinful; that it had been natural, good, beautiful, even inevitable, spurred by the knowledge that they might never see each other again.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
To overcome my fear, I shackled myself with hope, its links heavier than any metal known to man.
β
β
Laila Lalami (The Moor's Account)
β
Duke says, βPause,β and the movie goes quiet. βWhat did Laila say?
β
β
Kasie West (Pivot Point (Pivot Point, #1))
β
Mammy's heart was like a pallid beach where Laila's footprints would forever wash away beneath the waves of sorrow that swelled and crashed
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Perhaps memory is not merely the preservation of a moment in the mind, but the process of repeatedly returning to it, carefully breaking it up in parts and assembling them again until we can make sense of what we remember.
β
β
Laila Lalami (The Other Americans)
β
Though the room was nearly dark, whatever light clung to its corners now raced to illuminate Laila. It seemed the world couldn't help but want to be near her...every bean of light, pair of eyes, atom of air. Maybe that's why sometimes he couldn't breathe around her.
β
β
Roshani Chokshi (The Gilded Wolves (The Gilded Wolves, #1))
β
Unfounded gossip can turn into sanctioned history if falls into the hands of the right storyteller.
β
β
Laila Lalami (The Moor's Account)
β
Perhaps it is enough to remember at story's end the miracle that it was simply to have lived.
β
β
Ram V. (The Many Deaths of Laila Starr)
β
Impossible is not a fact, it's an opinion.
β
β
Laila Ali (REACH!: FINDING STRENGTH, SPIRIT, AND PERSONAL POWER)
β
My mother had to leave many traditions behind and the more time passed, the more they mattered to her.
β
β
Laila Lalami (The Other Americans)
β
Focus on bearing, and beauty will follow. Your looks will not remain with you for life. But your bearing will go with you to the grave.
β
β
Laila Ibrahim (Yellow Crocus)
β
Every story needs a villain, she said grimly.
β
β
Laila Lalami (The Moor's Account)
β
Thirteen days. Almost two weeks. And, just five days in, Laila had learned a fundamental truth about time: Like the accordion on which Tariq's father sometimes played old Pashto songs, time stretched and contracted depending on Tariq's absence or presence.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
His anger took many shapes: sometimes soft and familiar, like a round stone he had caressed for so long that is was perfectly smooth and polished; sometimes it was thin and sharp like a blade that could slice through anything; sometimes it had the form of a star, radiating his hatred in all directions, leaving him numb and empty inside.
β
β
Laila Lalami (Secret Son)
β
I wondered why God created so many varieties of faiths in the world if He intended all of us to worship Him in the same fashion.
β
β
Laila Lalami (The Moor's Account)
β
In the middle of the night, when Laila woke up thirsty, she found their hands still clamped together, in the white-knuckle, anxious way of children clutching balloon strings.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
When he [Enrique] turned his head, he saw Zofia and Raslan on the left side of his bed, while Laila and Severin stood near the foot.
"Bravery is physically exhausting," he managed.
"You're awake!"cried Laila, hugging him.
"You're alive."
"And your hair remains exceptional," said Ruslan kindly.
β
β
Roshani Chokshi (The Silvered Serpents (The Gilded Wolves, #2))
β
Just by saying something was so, they believed that it was. I know know that these conquerors, like many before them, and no doubt like others after, gave speeches not to voice the truth, but to create it.
β
β
Laila Lalami (The Moor's Account)
β
That summer, Titanic fever gripped Kabul. People smuggled pirated copies of the film from Pakistan- sometimes in their underwear. After curfew, everyone locked their doors, turned out the lights, turned down the volume, and reaped tears for Jack and Rose and the passengers of the doomed ship. If there was electrical power, Mariam, Laila, and the children watched it too. A dozen times or more, they unearthed the TV from behind the tool-shed, late at night, with the lights out and quilts pinned over the windows.
At the Kabul River, vendors moved into the parched riverbed. Soon, from the river's sunbaked hollows, it was possible to buy Titanic carpets, and Titanic cloth, from bolts arranged in wheelbarrows. There was Titanic deodorant, Titanic toothpaste, Titanic perfume, Titanic pakora, even Titanic burqas. A particularly persistent beggar began calling himself "Titanic Beggar."
"Titanic City" was born.
It's the song, they said.
No, the sea. The luxury. The ship.
It's the sex, they whispered.
Leo, said Aziza sheepishly. It's all about Leo.
"Everybody wants Jack," Laila said to Mariam. "That's what it is. Everybody wants Jack to rescue them from disaster. But there is no Jack. Jack is not coming back. Jack is dead.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
If life's an exercise in making memories...no one really goes away as long as they are remembered.
β
β
Ram V. (The Many Deaths of Laila Starr)
β
At the door, she made him promise to go without goodbyes. She closed the door on him. Laila leaned her back against it, shaking against his pounding fists, one arm gripping her belly and a hand across her mouth, as he spoke throughout the door and promised that he would come back for her. She stood there until he tired, until he gave u , and then she listened to his uneven footsteps until they faded, until all was quiet, save for the gunfire cracking in the hills and her own heart thudding in her belly, her eyes, her bones.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Laila imagines she sees little Mariam there in the hut as a woman who will be like a rock in a riverbed, enduring without complaint, her grace not sullied but SHAPED by by the turbulence that washes over her.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
You know what else the average girl whoβs acting out does?β Duke asks quietly. I glance once at Laila, but itβs obvious she canβt hear us. βWhat?β βShe starts spending all her time with a boy whoβs no good for her.
β
β
Kasie West (Pivot Point (Pivot Point, #1))
β
I am Laila, of the night. I have walked through godlight and through darkness. I have fought demons and I have slain angels. I am Laila, of the shadows. I have hidden and run, and I have stood up and striven. I am Laila, of tears and blood, of sins and of piety. I am Laila, outcast from Hell, banished from Heaven. I am alone, in darkness. I am Laila, of light and of fire. I am fallen. I rise again.
β
β
Daniel Arenson (Flaming Dove)
β
Nothing new has ever happened to a son of Adam, she said. Everything has already been lived and everything has already been told. If only we listened to the stories.
β
β
Laila Lalami (The Moor's Account)
β
Itβs what happens when things die. They go away, but you donβt realize all the parts of you that they were holding up until after.
β
β
Ram V. (The Many Deaths of Laila Starr)
β
Laila remembered how Mammy had dropped to the ground, how sheβd screamed, torn at her hair. But Laila couldnβt even manage that. She could hardly move. She could hardly move a muscle.
She sat on the chair instead, hands limp in her lap, eyes staring at nothing, and let her mind fly on. She let it fly on until it found the place, the good and safe place, where the barley fields were green, where the water ran clear and the cottonwood seeds danced by the thousands in the air; where Babi was reading a book beneath an acacia and Tariq was napping with his hands laced across his chest, and where she could dip her feet in the stream and dream good dreams beneath the watchful gaze of gods of ancient, sun-bleached rock.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Laila shook her head and threw Zofia a clean rag. She stared at it, befuddled. βWhy do I need a rag?β βBecause thereβs gunpowder on your face.β βAnd?β ββ¦ and that is mildly alarming, my dear. Clean up.
β
β
Roshani Chokshi (The Gilded Wolves (The Gilded Wolves, #1))
β
Nothing new has ever happened to aq son of Adam, she said. Everything has already been lived and everything has already been told. If only we listened to the stories.
β
β
Laila Lalami (The Moor's Account)
β
The present could never be untethered from the past, you couldn't understand one without the other.
β
β
Laila Lalami (The Other Americans)
β
It will seem impossible to take the first step. But on the second step, since you already did one, you know you can take another. Then another and another. Before long you will have walked into your new life.
β
β
Laila Ibrahim (Paper Wife)
β
You changed the subject."
"From what?"
"The empty-headed girls who think you're sexy."
"You know."
"Know what?"
"That I only have eyes for you."
Laila swooned inside. She tried to read his face but was met by a look that was indecipherable: the cheerful, cretinous grin at odds with the narrow, half desperate look in his eyes. A clever look, calculated to fall precisely at the midpoint between mockery and sincerity
β
β
Khaled Hosseini
β
Telling a story is like sowing a seedβyou always hope to see it become a beautiful tree, with firm roots and branches that soar up in the sky. But it is a peculiar sowing, for you will never know whether your seed sprouts or dies.
β
β
Laila Lalami (The Moor's Account)
β
Phoenix . . ."
"Hmm?"
"You are not actually thinking of hiding a large explosive near our faces, are you?" asked Enrique.
"No," said Zofia.
"Good-"
"It's a very tiny explosive. Hardly larger than six centimeters."
"No," said Hypnos and Enrique at the same time.
Laila took that as her cue to leave.
β
β
Roshani Chokshi (The Bronzed Beasts (The Gilded Wolves, #3))
β
The universe had an odd sense of fairness; it took away things one did not want to give up, and then gave things one did not ask for.
β
β
Laila Lalami (Secret Son)
β
From that blighted time came the saying: when bellies speak, reason is lost. There
β
β
Laila Lalami (The Moor's Account)
β
Whatever you dream of, there will be fulfillment.
β
β
Lailah Gifty Akita (Pearls of Wisdom: Great mind)
β
But I know a good man make life more sweet. Someone to hold you and love you, someone to share your dreams with, someone kind and thoughtful. A good manβs a treasure.
β
β
Laila Ibrahim (Yellow Crocus (Freedman/Johnson, #1))
β
La astrofΓsica le habΓa prohibido los besos, pero no se los habΓa negado a
Laila. Estaba tan celoso que le dolΓa el pecho. Β‘Celoso de una lesbiana!-Cahal
β
β
Lena Valenti (El libro de la alquimista (Saga Vanir #6))
β
Most people, by the time they get old, have grown tough little shells around their hearts. Babies, like little Laila, start off with tender, loving, trusting hearts, but gradually, gradually, they learn to protect themselves and, as the years go by, grow tougher and tougher layers. Look at this! The outside layers of the artichoke are so tough they arenβt even worth eating but they become more and more tender as you come closer to the heart. These tough outer layers stop you feeling so much, so people walk around with hard little hearts that no one can touch. Of course there are some people who donβt have a choice β they just never learn to protect themselves...now that can be both a blessing and a burden.
β
β
Sita Brahmachari (Artichoke Hearts)
β
In Arabic, the name Guadalajara evoked a valley of stones, a valley my ancestors had settled more than eight hundred years earlier. They had carried the disease of empire to Spain, the Spaniards had brought it to the new continent, and someday the people of the new continent would plant it elsewhere. That was the way of the world.
β
β
Laila Lalami (The Moor's Account)
β
Laila was a nightmare in goal, but Kevin and Neil had an advantage few teams who faced the Trojans had: they had a nightmare in their own goal who they had to practice against daily. They'd spent all year trying to outsmart the best goalkeeper in the south. They didn't have that much time to figure Laila out, but they didn't need it.
β
β
Nora Sakavic (The King's Men (All for the Game, #3))
β
He turned to the worktable beside him where a large, frosted glass terrarium took up half the space. He lifted the cover, revealing a single, deep-purple flower. The slender petals looked like snippets of evening sky, a rich velvetine purple hungry for the light of stars. Laila traced their edges softly. The petals were almost exactly the same shade of SΓ©verinβs eyes. The thought made her draw back her hand.
β
β
Roshani Chokshi (The Gilded Wolves (The Gilded Wolves, #1))
β
There are things far more valuable than private comfort or public admiration.
β
β
Laila Lalami (The Moor's Account)
β
I am tired of existing. I want to live
β
β
Laila Sabreen (You Truly Assumed)
β
Each heartbeat, every breath-- is a rejection of death.
β
β
Ram V. (The Many Deaths of Laila Starr)
β
Work hard, be kind, be humbleβand you will live a harmonious life.
β
β
Laila Ibrahim (Paper Wife)
β
Tariq snapped the magazine back into his handgun.
"Do you have it in you?" Laila said.
"To what?"
"To use this thing. To kill with it."
Tariq tucked the gun into the waist of his denims. Then he said a thing both lovely and terrible. "For you," he said.
"I'd kill with it for you, Laila.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Rumi said: Whoever is loved is beautiful, but this doesnβt mean that whoever is beautiful is loved.
"There are girls more beautiful than Laila,"they used to tell Majnun. "Let us bring some to you."
"I do not love Laila for her form," Majnun would reply. "Laila is like a cup in my hand. I drink wine from that cup. I am in love with that wine. You only have eyes for the goblet and do not know the wine. A golden goblet studded with precious stones, but containing only vinegar, what use is that to me? An old broken gourd with wine is better in my eyes than a hundred goblets of gold.
β
β
Jalal ad-Din Muhammad ar-Rumi (It Is What It Is: The Personal Discourses of Rumi)
β
As the days passed, I began to look upon my fate with new eyes. I often lamented the wicked turns my life had taken, but I rarely considered how much I had to be thankful for, how I had survived so long where so many others had perished, how I had seen wonders that no other Zamori had... I had been so intent on counting all the miseries and humiliations I had endured that I neglected to thank the Almighty for the blessings he had bestowed upon me.
β
β
Laila Lalami (The Moor's Account)
β
When we finally arrived, the chauffeur escorted my younger sister, Laila, and me up to my fatherβs suite. As usual, he was hiding behind the door waiting to scare us. We exchanged many hugs and kisses as we could possibly give in one day.
My father took a good look at us. Then he sat me down on his lap and said something that I will never forget. He looked me straight in the eyes and said,
βHana, everything that God made valuable in the world is covered and hard to get to.
Where do you find diamonds? Deep down in the ground, covered and protected.
Where do you find pearls? Deep down at the bottom of the ocean, covered up and protected in a beautiful shell.
Where do you find gold? Way down in the mine, covered over with layers and layers of rock. You've got to work hard to get to them.β
He looked at me with serious eyes. βYour body is sacred. Youβre far more precious than diamonds and pearls, and you should be covered too.
β
β
Hana Yasmeen Ali (More Than a Hero: Muhammad Ali's Life Lessons Presented Through His Daughter's Eyes)
β
In Tariq's grimace, Laila learned that boys differed from girls in this regard. They didn't make a show of friendship. They felt no urge, no need, for this sort of talk... Boys, Laila came to see, treated friendship the way they treated the sun: its existence undisputed; its radiance best enjoyed, not beheld directly.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
β
Only two weeks since he had left, and it was already happening. Time, blunting the edges of those sharp memories. Laila bore down mentally. What had he said? It seemed vital, suddenly, that she know.
Laila closed her eyes. Concentrated.
With the passing of time, she would slowly tire of this exercise. She would find it increasingly exhausting to conjure up, to dust off, to resuscitate once again what was long dead. There would come a day, in fact, years later, when Laila would no longer bewail his loss. Or not as relentlessly; not nearly. There would come a day when the details of his face would begin to slip from memory's grip, when overhearing a mother on the street call after her child by Tariq's name would no longer cut her adrift. She would not miss him as she did now, when the ache of his absence was her unremitting companionβlike the phantom pain of an amputee.
Except every once in a long while, when Laila was a grown woman, ironing a shirt or pushing her children on a swing set, something trivial, maybe the warmth of a carpet beneath her feet on a hot day or the curve of a stranger's forehead, would set off a memory of that afternoon together. And it would come rushing back. The spontaneity of it. Their astonishing imprudence...
It would flood her, steal her breath.
But then it would pass. The moment would pass. Leave her feeling deflated, feeling noting but a vague restlessness.
β
β
Khaled Hosseini (A Thousand Splendid Suns)
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The image you see here is a representation of the Thriae, a triplicate bee goddessβa recurring motif of trinity goddessesβwho had the gift of prophecy. The other is a representation of Bhramari, a Hindu goddess of bees. Am I pronouncing that correctly, Laila?
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Roshani Chokshi (The Gilded Wolves (The Gilded Wolves, #1))
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He's a boy, you see, and, as such, what does he care about reputation? But you? The reputation of a girl, especially one as pretty as you, is a delicate thing, Laila. Like a mynah bird in your hands. Slacken your grip and away it flies.
Fariba to her daughter Laila
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Khaled Hosseini (A Thousand Splendid Suns)
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Maybe there is no true story, only imagined stories, vague reflections of what we saw and what we heard, what we felt and what we thought.
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Laila Lalami (The Moor's Account)
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The only rules to follow were instincts and color palettes.
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Roshani Chokshi (The Gilded Wolves (The Gilded Wolves, #1))
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We do not know our fate. This may be a forever goodbye; it may only be for years. My love for you will never waver, however long or however far.
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Laila Ibrahim (Paper Wife)
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This is as true a story as has ever been told: the story of my love for Mattie, and, I suppose, her love for me in return.
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Laila Ibrahim (Yellow Crocus (Freedman/Johnson, #1))
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As far as I concerned, God loves everβbody so God forgives everβbody so everβbody gonna get to heaven.
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Laila Ibrahim (Yellow Crocus (Freedman/Johnson, #1))
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Perhaps,β he said, his voice low. He trailed his hand up her thigh. βAll goddesses are just beliefs draped on the scaffolding of ideas. I canβt touch whatβs not real.β SΓ©verin looked up at her. His pupils were blown out. βBut I can worship it all the same.
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Roshani Chokshi (The Silvered Serpents (The Gilded Wolves, #2))
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I settled deeper into the pillow and tried to relax. It was hard when I knew I was about to be flooded with memories of a life I hadnβt lived yet. Really, two lives I hadnβt lived yet. It would only seem like five minutes to Laila, but to me it would feel like a month. I concentrated on the energies around me, and everything went hazy.
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Kasie West (Pivot Point (Pivot Point, #1))
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I was preoccupied only with the price of things and neglected to consider their value.
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Laila Lalami (The Moor's Account)
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I was a thirty-eight-year-old man, so I had plenty of time to consider the world through the eyes of someone else: yet that someone had rarely been a woman.
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Laila Lalami (The Moor's Account)
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I never settled with anything. It was like a pendulum; swinging back and forth but never reached a comatose state. As a sequence of events around me unfolded, I struggled to understand who I was, whose child I was and whether I would ever find a way home.
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Aina M. Rosdi (Like The Starlings)
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when I had agreed to sell my life for a bit of gold. My father and my mother had both warned me about the danger of putting a price on everything, but I had not listened. Now, years later, I had convinced myself that, because I had been the first to find gold in La Florida, my life would be returned to me. But life should not be traded for goldβa simple lesson, which I had had to learn twice. It
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Laila Lalami (The Moor's Account)
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How strange, I remember thinking, how utterly strange were the ways of the Castiliansβjust by saying that something was so, they believed that it was. I know now that these conquerors, like many others before them, and no doubt like others after, gave speeches not to voice the truth, but to create it.
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Laila Lalami (The Moor's Account)
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I do it for the girls."
"What girls?"
He smirked. "They think it's sexy."
"It's not."
"No?"
"I assure you."
"Not sexy?"
"You look khila, like a half-wit."
"That hurts," he said.
"What girls anyway?"
"You're jealous."
"I'm indifferently curious."
"You can't be both." He took another drag and squinted through the smoke. "I'll bet they're talking about us now."
In Laila's head, Mammy's voice rang out. Like a mynah bird in your hands. Slacken your grip and away it flies. Guilt bore its teeth into her. Then Laila shut off Mammy's voice. Instead, she savored the way Tariq had said us. How thrilling, how conspiratorial, it sounded coming from him. And how reassuring to hear him say it like that - casually, naturally. Us. It acknowledged their connection, crystallized it.
"And what are they saying?"
"That we're canoeing down the River of Sin," he said.
"Eating a slice of Impiety Cake."
"Riding the Rickshaw of Wickedness?" Laila chimed in.
"Making Sacrilege Qurma."
They both laughed. Then Tariq remarked that her hair was getting longer. "It's nice," he said.
Laila hoped she wasn't blushing. "You changed the subject."
"From what?"
"The empty-headed girls who think you're sexy."
"You know."
"Know what?"
"That I only have eyes for you."
Laila swooned inside. She tried to read his face but was met by a look that was indecipherable: the cheerful, cretinous grin at odds with the narrow, half-desperate look in his eyes. A clever look, calculated to fall precisely at the midpoint between mockery and sincerity.
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Khaled Hosseini (A Thousand Splendid Suns)
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Laila And The Khalifa
The Khalifa said to Laila,
"Art thou really she
For whom Majnun lost his head
and went distracted?
Thou art not fairer than many
other fair ones."
She replied, "Be silent;
thou art not Majnun!"
If thou hadst Majnun's eyes,
The two worlds would be within thy view.
Thou art in thy senses, but Majnun is beside himself.
In love to be wide awake is treason.
The more a man is awake, the more he sleeps (to love);
His (critical) wakefulness is worse than slumbering.
Our wakefulness fetters our spirits,
Then our souls are a prey to divers whims,
Thoughts of loss and gain and fears of misery.
They retain not purity, nor dignity, nor lustre,
Nor aspiration to soar heavenwards.
That one is really sleeping who hankers after each whim
And holds parley with each fancy.
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Jalal ad-Din Muhammad ar-Rumi
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Though there had been moments of beauty in it, Mariam knew that life for the most part had been unkind to her. But as she walked the final twenty paces, she could not help but wish for more of it. She wished she could see Laila again, wished to hear the clamour of her laugh, to sit with her once more for a pot of chai and left over halwa under a starlit sky. She mourned that she would never see Aziza grow up, would not see the beautiful young woman that she would one day become, would not get to paint her hands with henna and toss noqul candy at her wedding. She would never play with Aziza's children. She would have liked that very much, to be old and play with Aziza's children.
Near the goalpost, the man behind her asked her to stop. Mariam did. Through the crisscrossing grid of the burqa, she saw his shadow arms lift his shadow Kalashnikov. Mariam wished for so much in those final moments. Yet as she closed her eyes, it was not regret any longer but a sensation of abundant peace that washed over her. She thought of her entry into this world, the harami child of a lowly villager, an unintended thing, a pitiable, regrettable accident. A weed. And yet she was leaving the world as a woman who had loved and been loved back. She was leaving it as a friend, a companion, a guardian. A mother. A person of consequence at last. No. It was not so bad,
Mariam thought, that she should die this way. Not so bad. This was a legitimate end to a life of illegitimate beginnings.
Mariam's final thoughts were a few words from the Koran, which she muttered under her breath.
He has created the heavens and the earth with the truth; He makes the night cover the day and makes the day overtake the night, and He has made the sun and the moon subservient; each one runs on to an assigned term; now surely He is the Mighty, the Great Forgiver.
"Kneel," the Talib said
O my Lord! Forgive and have mercy, for you are the best of the merciful ones.
"Kneel here, hamshira and look down."
One last time, Mariam did as she was told.
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Khaled Hosseini (A Thousand Splendid Suns)