Love Junction Quotes

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Junction nineteen! Una, she came off at Junction nineteen! You've added an hour to your journey before you even started. Come on, let's get you a drink. How's your love life, anyway?" Oh GOD. Why can't married people understand that this is no longer a polite question to ask? We wouldn't rush up to THEM and roar, "How's your marriage going? Still having sex?" Everyone knows that dating in your thirties is not the happy-go-lucky free-for-it-all it was when you were twenty-two and that the honest answer is more likely to be, "Actually, last night my married lover appeared wearing suspenders and a darling little Angora crop-top, told me he was gay/a sex addict/a narcotic addict/a commitment phobic and beat me up with a dildo," than, "Super, thanks.
Helen Fielding (Bridget Jones's Diary (Bridget Jones, #1))
It's quite commonplace for a young man to fall in love and equally commonplace for him to be rejected, but come what may, I'll always be fond of you.
Margaret Way (Bauhinia Junction)
I will Basquiat the canvas of your body like a Broadway Junction wall…and Gordon Parks you for those dark midnights when your scent fades.
Brandi L. Bates
The path to the three-way junction is one I’d take ten times over, no matter where it leads because loving Arianna Johnson is worth the risk. Being loved by her is priceless. The time was worth the torment.
Meagan Brandy (Say You Swear)
Loneliness is here. It molds our souls, but also our bodies. Right inferior temporal gyri, posterior cingulates, temporoparietal junctions, retrosplenial cortices, dorsal raphe. Lonely people’s brains are shaped differently. And I just want mine to . . . not be. I want a healthy, plump, symmetrical cerebrum. I want it to work diligently, impeccably, like the extraordinary machine it’s supposed to be. I want it to do as it’s told.
Ali Hazelwood (Love on the Brain)
PUBLIC SERVICE ANNOUNCEMENT! Due to the cumulative effect of collective sharing and loving intentionality, the Shame Train has derailed at the junction of Self-Belief and Divine Uniqueness. The engine couldn’t run on self-hatred any longer. All formerly shamed passengers please disembark the train. You are free. A new train—fueled by healthy self-regard and sacred purpose—will be along momentarily to pick you up. No tickets required on this self-love train—just a growing faith in your sacred magnificence. All aboard!
Jeff Brown (Ascending with Both Feet on the Ground: Words to Awaken your Heart)
Life is a long road with lots of junctions and every time you chose to go one way, you may just have easily have gone the other. We don't make choices so much as choices are made like a new fashion we slip into without realising.
Chloe Thurlow (Katie in Love)
Time is such a crazy thing, a junction of every second turning into minutes then hours, and finally into a lifetime. More precious than gold, money, or talent. In the end, it all comes down to how long we still have left to live. And it’s never enough. 
Ivy Oakes (What if Stars Don't Die)
Citizens, the nineteenth century is great, but the twentieth century will be happy. Then, there will be nothing more like the history of old, we shall no longer, as to-day, have to fear a conquest, an invasion, a usurpation, a rivalry of nations, arms in hand, an interruption of civilization depending on a marriage of kings, on a birth in hereditary tyrannies, a partition of peoples by a congress, a dismemberment because of the failure of a dynasty, a combat of two religions meeting face to face, like two bucks in the dark, on the bridge of the infinite; we shall no longer have to fear famine, farming out, prostitution arising from distress, misery from the failure of work and the scaffold and the sword, and battles and the ruffianism of chance in the forest of events. One might almost say: There will be no more events. We shall be happy. The human race will accomplish its law, as the terrestrial globe accomplishes its law; harmony will be re-established between the soul and the star; the soul will gravitate around the truth, as the planet around the light. Friends, the present hour in which I am addressing you, is a gloomy hour; but these are terrible purchases of the future. A revolution is a toll. Oh! the human race will be delivered, raised up, consoled! We affirm it on this barrier. Whence should proceed that cry of love, if not from the heights of sacrifice? Oh my brothers, this is the point of junction, of those who think and of those who suffer; this barricade is not made of paving-stones, nor of joists, nor of bits of iron; it is made of two heaps, a heap of ideas, and a heap of woes. Here misery meets the ideal. The day embraces the night, and says to it: 'I am about to die, and thou shalt be born again with me.' From the embrace of all desolations faith leaps forth. Sufferings bring hither their agony and ideas their immortality. This agony and this immortality are about to join and constitute our death. Brothers, he who dies here dies in the radiance of the future, and we are entering a tomb all flooded with the dawn.
Victor Hugo (Les Misérables)
you’re so afraid of everyone pitying you that you’d rather nurture their contempt than accept their forgiveness" - Stacey Michaels
Nicola Sinclair (Redemption (Peters Junction Series, #3))
deceivers shall always be at the junction of double mindedness
Ernest Agyemang Yeboah
I wanted someone to hold me close so I slide across and snuggled in tight and said, 'Hold me.' He did, and it was tender and truly sweet, but without a trace of that wild carnal edge you would have to cross if you want to get so close together you can't tell each other apart. I pushed it. I said, 'I want to get closer. I want you to love who I am.' Love doesn't do much for the powers of explanation, but since Love has never asked for one itself, that seems fair enough.
Jim Dodge (Stone Junction)
Paul Chehade is dedicated to serves the unfortunate, regardless of a person's religion, race, ethnicity, or gender, as a demonstration of God's unconditional love for all people, helping communities worldwide. Ethical junction making choices easy.
Paul Chehade
And so Emma Morley walked home in the evening light, trailing her disappointment behind her. The day was cooling off now, and she shivered as she felt something in the air, an unexpected shudder of anxiety that ran the length of her spine, and was so intense as to make her stop walking for a moment. Fear of the future, she thought. She found herself at the imposing junction of George Street and Hanover Street as all around her people hurried home from work or out to meet friends or lovers, all with a sense of purpose and direction. And here she was, twenty-two and clueless and sloping back to a dingy flat, defeated once again. ‘What are you doing to do with your life?’ In one way or another it seemed that people had been asking her this forever, teachers. her parents, friends at three in the morning, but the question had never seemed this pressing and still she was no nearer an answer. The future rose up ahead of her, a succession of empty days, each more daunting and unknowable than the one before her. How would she ever fill them all? She began walking again, south towards The Mound. ‘Live each day as if it’s your last’, that was the conventional advice, but really, who had the energy for that? What if rained or you felt a bit glandy? It just wasn’t practical. Better by far to simply try and be good and be courageous and bold and to make a difference. Not change the world exactly, but the bit around you. Go out there with your passion and your electric typewriter and work hard at…something. Change lives through art maybe. Cherish your friends, stay true to your principles, live passionately and fully and well. Experience new things. Love and be loved, if you ever get the chance.
David Nicholls (One Day)
Where would the shout of love begin, if not from the summit of sacrifice? Oh my brothers, this is the junction between those who think and those who suffer; this barricade is made neither of paving stones, nor of timbers, nor of iron; it is made of two mounds, a mound of ideas and a mound of sorrows. Here misery encounters the ideal. Here day embraces night, and says: I will die with you and you will be born again with me. From the heavy embrace of all desolations springs faith. Sufferings bring their agony here, and ideas their immortality. This agony and immortality will mingle and make up our death. Brothers, whoever dies here dies in the radiance of the future, and we are entering a grave illuminated by the dawn.
Victor Hugo (Les Misérables)
When you're a kid, the world can be bounded in a nutshell. In geographical terms, a child's universe is a space that comprises home, school and—possibly—the neighbourhood where your cousins or your grandparents live. In my case, the universe sat comfortably within a small area of Flores that ran from the junction of Boyacá and Avellaneda (my house), to the Plaza Flores (my school). My only forays beyond the area were when we went on holiday (to Córdoba or Bariloche or to the beach) or occasional, increasingly rare visits to my grandparents' farm in Dorrego, in the province of Buenos Aires. We get our fist glimpse of the big wide world from those we love unconditionally. If we see our elders suffer because they cannot get a job, or see them demoted, or working for a pittance, our compassion translates these observations and we conclude that the world outside is cruel and brutal. (This is politics.) If we hear our parents bad-mouthing certain politicians and agreeing with their opponents, our compassion translates these observations and we conclude that the former are bad guys and the latter are good guys. (This is politics.) If we observe palpable fear in our parents at the very sight of soldiers and policemen, our compassion translates our observations and we conclude that, though all children have bogeymen, ours wear uniforms. (This is politics.)
Marcelo Figueras (Kamchatka)
{Excerpt from a message from one of the Cherokee chiefs - Onitositaii, commonly known as Old Tassle} ... 'If, therefore, a bare march, or reconnoitering a country is sufficient reason to ground a claim to it, we shall insist upon transposing the demand, and your relinquishing your settlements on the western waters and removing one hundred miles back towards the east, whither some of our warriors advanced against you in the course of last year's campaign. Let us examine the facts of your present eruption into our country, and we shall discover your pretentions on that ground. What did you do? You marched into our territories with a superior force; our vigilance gave us no timely notice of your manouvres [sic]; your numbers far exceeded us, and we fled to the stronghold of our extensive woods, there to secure our women and children. Thus, you marched into our towns; they were left to your mercy; you killed a few scattered and defenseless individuals, spread fire and desolation wherever you pleased, and returned again to your own habitations. If you meant this, indeed, as a conquest you omitted the most essential point; you should have fortified the junction of the Holstein and Tennessee rivers, and have thereby conquered all the waters above you. But, as all are fair advantages during the existence of a state of war, it is now too late for us to suffer for your mishap of generalship! Again, were we to inquire by what law or authority you set up a claim, I answer, none! Your laws extend not into our country, nor ever did. You talk of the law of nature and the law of nations, and they are both against you. Indeed, much has been advanced on the want of what you term civilization among the Indians; and many proposals have been made to us to adopt your laws, your religion, your manners, and your customs. But, we confess that we do not yet see the propriety, or practicability of such a reformation, and should be better pleased with beholding the good effect of these doctrines in your own practices than with hearing you talk about them, or reading your papers to us upon such subjects. You say: Why do not the Indians till the ground and live as we do? May we not, with equal propriety, ask, Why the white people do not hunt and live as we do? You profess to think it no injustice to warn us not to kill our deer and other game for the mere love of waste; but it is very criminal in our young men if they chance to kill a cow or a hog for their sustenance when they happen to be in your lands. We wish, however, to be at peace with you, and to do as we would be done by. We do not quarrel with you for killing an occasional buffalo, bear or deer on our lands when you need one to eat; but you go much farther; your people hunt to gain a livelihood by it; they kill all our game; our young men resent the injury, and it is followed by bloodshed and war. This is not a mere affected injury; it is a grievance which we equitably complain of and it demands a permanent redress. The Great God of Nature has placed us in different situations. It is true that he has endowed you with many superior advantages; but he has not created us to be your slaves. We are a separate people! He has given each their lands, under distinct considerations and circumstances: he has stocked yours with cows, ours with buffaloe; yours with hogs, ours with bear; yours with sheep, ours with deer. He has indeed given you an advantage in this, that your cattle are tame and domestic while ours are wild and demand not only a larger space for range, but art to hunt and kill them; they are, nevertheless, as much our property as other animals are yours, and ought not to be taken away without consent, or for something equivalent.' Those were the words of the Indians. But they were no binding on these whites, who were living beyond words, claims ...
John Ehle (Trail of Tears: The Rise and Fall of the Cherokee Nation)
Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres.
A.D. Ellis (Fight For It (The Blueridge Junction Boys, #1))
No one told me you can love someone and still be miserable. How is that possible ? And yet, the thought of walking away from Loren Hale collapses my lungs. We've been friends, allies for so long that I don't know who I am whithout him. Our lives intersect at every possible junction, and separating sounds like a fatal, irreparable cut. But something is so wrong.
Krista Ritchie (Addicted to You (Addicted, #1))
she wants to to be loved for a few hours at least. I look away, people need peace. it’s raining hard outside; lives are breaking in the storm.
Scott C. Holstad (Junction City)
The Primary Act. As they entered the cinema, Dr Nathan confided to Captain Webster, ‘Talbert has accepted in absolute terms the logic of the sexual union. For him all junctions, whether of our own soft biologies or the hard geometries of these walls and ceilings, are equivalent to one another. What Talbert is searching for is the primary act of intercourse, the first apposition of the dimensions of time and space. In the multiplied body of the film actress - one of the few valid landscapes of our age - he finds what seems to be a neutral ground. For the most part the phenomenology of the world is a nightmarish excrescence. Our bodies, for example, are for him monstrous extensions of puffy tissue he can barely tolerate. The inventory of the young woman is in reality a death kit.’ Webster watched the images of the young woman on the screen, sections of her body intercut with pieces of modern architecture. All these buildings. What did Talbert want to do - sodomize the Festival Hall? Pressure Points. Koester ran towards the road as the helicopter roared overhead, its fans churning up a storm of pine needles and cigarette cartons. He shouted at Catherine Austin, who was squatting on the nylon blanket, steering her body stocking around her waist. Two hundred yards beyond the pines was the perimeter fence. She followed Koester along the verge, the pressure of his hands and loins still marking her body. These zones formed an inventory as sterile as the items in Talbert’s kit. With a smile she watched Koester trip clumsily over a discarded tyre. This unattractive and obsessed young man - why had she made love to him? Perhaps, like Koester, she was merely a vector in Talbert’s dreams. Central Casting. Dr Nathan edged unsteadily along the catwalk, waiting until Webster had reached the next section. He looked down at the huge geometric structure that occupied the central lot of the studio, now serving as the labyrinth in an elegant film version of The Minotaur . In a sequel to Faustus and The Shrew , the film actress and her husband would play Ariadne and Theseus. In a remarkable way the structure resembled her body, an exact formalization of each curve and cleavage. Indeed, the technicians had already christened it ‘Elizabeth’. He steadied himself on the wooden rail as the helicopter appeared above the pines and sped towards them. So the Daedalus in this neural drama had at last arrived. An Unpleasant Orifice. Shielding his eyes, Webster pushed through the camera crew. He stared up at the young woman standing on the roof of the maze, helplessly trying to hide her naked body behind her slim hands. Eyeing her pleasantly, Webster debated whether to climb on to the structure, but the chances of breaking a leg and falling into some unpleasant orifice seemed too great. He stood back as a bearded young man with a tight mouth and eyes ran forwards. Meanwhile Talbert strolled in the centre of the maze, oblivious of the crowd below, calmly waiting to see if the young woman could break the code of this immense body. All too clearly there had been a serious piece of miscasting. ‘Alternate’ Death. The helicopter was burning briskly. As the fuel tank exploded, Dr Nathan stumbled across the cables. The aircraft had fallen on to the edge of the maze, crushing one of the cameras. A cascade of foam poured over the heads of the retreating technicians, boiling on the hot concrete around the helicopter. The body of the young woman lay beside the controls like a figure in a tableau sculpture, the foam forming a white fleece around her naked shoulders.
J.G. Ballard (The Atrocity Exhibition)
A family isn’t simply a passive inheritance. It’s defined by the bonds its members choose, and not just the bonds assigned by genetics. Each time a family member joins their life to a biological stranger in marriage, adoption or through having children, a new clan joins itself to our family tree at the junction point of the union. New ancestors are fused with ours. New descendants are sired by the mingling of separate genetic codes. Without this chosen love our gene pool would stagnate. Without this new family, an assigned inheritance couldn’t continue. Genes might specify the way we’re put together, but without our human will to love beyond those specifications, a family can’t be all the things it might be.
Stephen McGann (Flesh and Blood: A History of My Family in Seven Maladies)
Instead of sashaying down the aisle to wedding bliss, I detoured over to Malfunction Junction.
Elaine Ambrose (Midlife Cabernet: Life, Love & Laughter after Fifty)
But, regardless of gender, the writer must write about “love…love which is our fate, [a] twisted thing, tortuous, delicate, eager, insatiable, the best, and worst thing, the junction point between everything and nothing, the oxymoronic knot of all existence, love which makes cattle meat of us
Hélène Cixous
To be sure, there were all these maddening permutations of what could be that were not to be ignored—possibilities that were still too many to consider to one’s satisfaction. Yet, there was also a stunning beauty to all of this that was so profound that one could not help but love every facet of every conceivability, whether realized or beyond reach. There was so much to capture even in stillness that was akin to grasping at grains of sand so fine as to elude the grip—it was all so intricate, so overwhelming and so rapid, and nothing ever ceased in its glorious transformation that it could be sufficiently arrested and processed and thoroughly acknowledged. But still, there was an exhilaration in being engrossed in the details that evaded capture and in being oneself ensconced in constant flux so as to surrender without recourse to what was to come. A train whistle blows and a new door is to open: the tracks have many junction points and no shortage of stopovers and destinations. Yet, there is no instance that ever becomes the destination, no circumstance the definitive possibility, and one, for that very fact, could scarcely help but be filled with a heartening love for all of creation, if, indeed, it could be called ‘creation’ and such a word held reasonable accuracy. The Moment, after all, was Always and thus there was no ‘before,’ no instance preceding the instance. There was no infinite regression of causality, no ‘hello’ or ‘goodbye’ and certainly no ‘take care of yourself’ that need wrench one’s heart. There was simply the EverToward: the shifting of Now and the reformulation of Then, wherein the form and essence engendered instantaneously a sculpting of arbitrary and historic juxtapositions—which, themselves, were composed of retroactively-shaped illusions. In spite of this, there still emerges a yearning for those prehistoric elements now faded, those characters for whom one has felt an affection and who nourished one’s growth and one’s formulations of what exists—if ‘exist’ indeed suffices as a descriptor. There is twinge of loss for what was, even if it has never been or has otherwise taken on new and ersatz constructions in mind. Notwithstanding this, one cannot help but perseverate upon the hypothetical stories of a speculative childhood that presumably nurtured imagination, the scoldings that established assumptive boundary, the conjectural sacrifices that ostensibly granted sustenance. So much of one’s respiration had been populated of this air and of this interplay of actors and elements. And yet, one’s breath cycles ceaselessly through many phases on a given day. In the morning, it is yet purging itself of that mythspell of yesterday; by afternoon, it consumes the horsefeathers of new dynamics, halted again by that which passes by too fast and which can never be frozen; as evening descends, it grows slow and pensive, sometimes coughing up senescent horsefeathers and fatigued by the persistent irregularities introduced by the day itself.
Ashim Shanker
Ah, Love Lane,” Jerry said, pointing down towards the river as they crossed a road. “Did you know it comes to a junction with Cock Hill? I’d buy someone a pint for that.
K.J. Charles (Gilded Cage (Lilywhite Boys, #2))
Have you ever reached to a point where you asked God if the assignment is really from Him. In your account you have just 100 dollars and He is asking you to execute a 400 million dollar project. Have you reached to the point that you consider going further will make no sense? Have you reached the point where you asked God are you sure you are still with me? I just found myself in that Junction now. Turning back realise I have gone too far for Him to forsake me. Moving forward I heard the voice saying still and know that I am your God. Giving up.....Couldn't find it in my dictionary. Moral of the lesson. God cannot give you an assignment that is equal to your pocket. If it suits your pocket it is definitely not from God. Remember God will not take glory where nothing happen.
Patience Johnson (Why Does an Orderly God Allow Disorder)
you’re so afraid of everyone pitying you that you’d rather nurture their contempt than accept their forgiveness" - Stacey Michaels
Nicola Sinclair (Redemption (Peters Junction Series, #3))
He’s terribly indecisive, can’t make his mind up on anything. Not on what movie to go to. Not on which gas station to stop at. Certainly not on which tie to wear. If you think he’s finally made his mind up, close your eyes, count to three, and you’ll hear him say, ‘But on the other hand…’” —Mary Jane, White River Junction, VT
Merry Bloch Jones (I Love Him, But . . .)
Speaking of half-cocked.” Chester laid his cigar in the ashtray. He wiggled his eyebrows at Manny. “How’d your skinny dipping date with lovely Miss Lilly go this morning? Did you pickle your hide or hide your pickle?
Ann Charles (Love Dances in the Desert: Three Jackrabbit Junction Sexy Mysteries)
...sometimes, when you love something, the letting-go can't happen with a single sweep of the broom" -Chuck
Holly Schindler (The Junction of Sunshine and Lucky)
The artists in my museum have never had any kind of formal training. They've never been taught how to paint like some of the famous artists you see in other museums. But that's why I love them. Their art feels more honest to me because it's not coming out of their heads, it's coming out of their hearts" -T. Walker
Holly Schindler (The Junction of Sunshine and Lucky)
BY MOST MEASURES, James and Grace Lee Boggs made an unlikely pair. Born in 1915 in Providence, Rhode Island, to Chinese immigrants, Grace Chin Lee was raised in New York City and earned a Ph.D. in philosophy from Bryn Mawr College at the age of twenty-five. With dim prospects in academia as a Chinese American woman, she moved to Chicago, where she came of age politically by living in the black community and entering left-wing politics. James “Jimmy” Boggs was born in Marion Junction, Alabama, in 1919 and migrated to Detroit in search of employment in the auto industry following his high school graduation in 1937. In 1940, the year that Grace earned a Ph.D., Jimmy landed a job in a Chrysler auto plant, beginning a twenty-eight-year career as an autoworker and member of the United Auto Workers (UAW). Out of these divergent personal backgrounds and social experiences, Grace and Jimmy fashioned a unique brand of black radical politics by the early 1960s.
Stephen Ward (In Love and Struggle: The Revolutionary Lives of James and Grace Lee Boggs (Justice, Power, and Politics))
She orders everyone to their feet & to their drink & to the junction where they can hold their love loves in a place of honor & delight. ... Celebrate the life that was before the death & what it gave you, & what you have even now.
Kris Radish (Annie Freeman's Fabulous Traveling Funeral: A Novel)
As Mr. Atterbury’s wife, Iris, I cast Bea Benaderet, the wonderful comedy actress who would later become the voice of Betty Rubble on The Flintstones and star in the television series Petticoat Junction.
Jess Oppenheimer (I Love Lucy: The Untold Story)