β
There is more than one kind of freedom," said Aunt Lydia. "Freedom to and freedom from. In the days of anarchy, it was freedom to. Now you are being given freedom from. Don't underrate it.
β
β
Margaret Atwood (The Handmaidβs Tale (The Handmaid's Tale, #1))
β
I've never wanted a quiet life.
β
β
Lydia Cacho
β
Over the river and through the wood
To grandfather's house we go
β
β
Lydia Maria Child
β
He pushed her in. And then he pulled her out. All her life, Lydia would remember one thing. All his life, Nath would remember another.
β
β
Celeste Ng (Everything I Never Told You)
β
It would disappear forever from her memory of Lydia, the way memories of a lost loved one always smooth and simplify themselves, shedding complexities like scales.
β
β
Celeste Ng (Everything I Never Told You)
β
Ordinary, said Aunt Lydia, is what you are used to. This may not seem ordinary to you now, but after a time it will. It will become ordinary.
β
β
Margaret Atwood (The Handmaidβs Tale (The Handmaid's Tale, #1))
β
I'd rather be insane with you than sane without you.
- Jake to Lydia
β
β
Lisa Kleypas (Where's My Hero? (The Gamblers of Craven's, #2.5; Brotherhood - MacAllister's, #4.5; Splendid, #3.5))
β
There seemed to be three choices: to give up trying to love anyone, to stop being selfish, or to learn to love a person while continuing to be selfish.
β
β
Lydia Davis
β
How had it begun? Like everything: with mothers and fathers. Because of Lydiaβs mother and father, because of her motherβs and fatherβs mothers and fathers.
β
β
Celeste Ng (Everything I Never Told You)
β
Heart weeps.
Head tries to help heart.
Head tells heart how it is, again:
You will lose the ones you love. They will all go. But even the earth will go, someday.
Heart feels better, then.
But the words of head do not remain long in the ears of heart.
Heart is so new to this.
I want them back, says heart.
Head is all heart has.
Help, head. Help heart.
β
β
Lydia Davis (Varieties of Disturbance)
β
We first crush people to the earth, and then claim the right of trampling on them forever, because they are prostrate.
β
β
Lydia Maria Child
β
If you think of something, do it.
Plenty of people often think, βIβd like to do this, or that.
β
β
Lydia Davis
β
You with us, Calla?' Lydia asked. 'Trip's over. This is where you get off.'
Connor coughed. 'I could help you with that.
β
β
Andrea Cremer (Wolfsbane (Nightshade, #2; Nightshade World, #5))
β
Blessed indeed is the man who hears many gentle voices call him father.
β
β
Lydia Maria Child
β
Lydia: Strange how you always remember the pain someone gave you, but seldom the hurt you caused them.
β
β
Sherrilyn Kenyon (The Guardian (Dark-Hunter, #20; Dream-Hunter, #5; Were-Hunter, #6; Hellchaser, #5))
β
Lydia is dubious at first, but if you canβt trust a librarian, who can you trust?
β
β
Jeanine Cummins (American Dirt)
β
Lydia, five years old, standing on tiptoe to watch vinegar and baking soda foam in the sink. Lydia tugging a heavy book from the shelf, saying, "Show me again, show me another." Lydia, touching the stethoscope, ever so gently, to her motherβs heart. Tears blur Marilynβs sight. It had not been science that Lydia had loved
β
β
Celeste Ng (Everything I Never Told You)
β
There is nowhere to go but on. Still, part of her longs to go back for one instantβnot to change anything, not even to speak to Lydia, not to tell her anything at all. Just to open the door and see her daughter there, asleep, one more time, and know all was well.
β
β
Celeste Ng (Everything I Never Told You)
β
Lydia was the kind of friend whom people referred to as a 'party favor' -- always fun to be around but she doesn't have any patience for suffering unless it's her own.
β
β
Chelsea Handler (My Horizontal Life: A Collection of One-Night Stands)
β
Like a tropical storm, I, too, may one day become βbetter organized.
β
β
Lydia Davis (The Collected Stories of Lydia Davis)
β
I can talk for a long time only when it's about something boring.
β
β
Lydia Davis (The Collected Stories of Lydia Davis)
β
Billions of humans, all of us scurrying around the planet, falling in and out of love with each other for no reason explicable by logic or numbers or common sense. How unaccountably strange we are.
β
β
Josie Silver (The Two Lives of Lydia Bird)
β
Her violence frightened me. She always claimed that I was the jealous one, and I was often jealous, but when I saw things working against me I simply became disgusted and withdrew. Lydia was different. She reacted. She was the Head Cheerleader at the Game of Violence.
β
β
Charles Bukowski (Women)
β
My father, I never knew, except for this one time when he threw a ball and told me to go fetch it.
"Dad," I said. "Am I a dog?"
"Lydia," he said. "I apologize.
β
β
Jaclyn Moriarty (The Year of Secret Assignments (Ashbury/Brookfield, #2))
β
We are a society dying, said Aunt Lydia, of too much choice.
β
β
Margaret Atwood (The Handmaidβs Tale (The Handmaid's Tale, #1))
β
Trauma waits for stillness. Lydia feels like a cracked egg, and she doesnβt know if sheβs the shell or the yolk or the white. She is scrambled.
β
β
Jeanine Cummins (American Dirt)
β
I remember the rules, rules that were never spelled out but every woman knew: Don't open your door to a stranger, even if he says he is the police. Make him slide his ID under the door. Don't stop on the road to help a motorist pretending to be in trouble. Keep the locks on and keep going. If anyone whistles, don't turn to look. Don't go into a laundromat, by yourself, at night.
I think about laundromats. What I wore to them: shorts, jeans, jogging pants. What I put into them: my own clothes, my own soap, my own money, money I had earned myself. I think about having such control.
Now we walk along the same street, in red pairs, and not man shouts obscenities at us, speaks to us, touches us. No one whistles.
There is more than one kind of freedom, said Aunt Lydia. Freedom to and freedom from.
β
β
Margaret Atwood (The Handmaidβs Tale (The Handmaid's Tale, #1))
β
So the question really is, Why doesn't that pain make you say, I won't do it again? When the pain is so bad that you have to say that, but you don't.
β
β
Lydia Davis (The Collected Stories of Lydia Davis)
β
Under all this dirt the floor is really very clean.
β
β
Lydia Davis (Can't and Won't)
β
I'd like to think I'm Elizabeth, but deep down I think I'm the one whose name no one can remember. Not Lydia the slut or Mary the nerd or Jane the beauty or Elizabeth the opinionated. I'm the second-youngest. The forgotten one. - Francesca Spinelli
β
β
Melina Marchetta (Saving Francesca)
β
The word "fine" is the greatest abbreviation and obviously wrong.
β
β
Lydia Davis (Samuel Johnson Is Indignant)
β
What's the meaning of life?"
"I have been programmed by Hexus to reply 'meatballs,'" it says.
β
β
Lydia Kang (Control (Control, #1))
β
Iβve learned not to question my own actions and thoughts too deeply though, sometimes you just have to go with whatever gets you through the day.
β
β
Josie Silver (The Two Lives of Lydia Bird)
β
The human brain is wired to cope with grief. It knows even as we fall into unfathomably dark places, there will be light again, and if we just keep moving forward in one brave straight line, however slowly, weβll find our way back again.
β
β
Josie Silver (The Two Lives of Lydia Bird)
β
Grab the love. Hold on tight. Treasure it. Put that love you have for your husband first, arrange everything else around it, and all else will work out. Love must be cradled and nurtured and enjoyed and danced with. Never, ever, forget the love. It's why we want to live.
Aunt Lydia's character, Julia's Chocolates
β
β
Cathy Lamb
β
Do not make me fuck you against this door, Lydia.β
Everything inside me squeezed tight. βGod, that sounds good. Letβs do that.β
βShit.
β
β
Kylie Scott (Dirty (Dive Bar, #1))
β
Nothing stops when weβre gone,β Lydia said. βThe seasons donβt stop. This river doesnβt stop. Vultures will keep flying in circles. The lives of the people we love wonβt stop. Time keeps unspooling. Stories keep getting written.
β
β
Jeff Zentner (The Serpent King)
β
Dad,
Please accept this money to fix the broken window. Iβm sure itβs already fixed, considering Lydiaβs house pride and her phobia about unconditioned air, but
Dear Al,
I canβt begin to explain my actions at Lydiaβs β I mean yours and Lydiaβs house. When I get to Charleston, I never imagined that you would have
Dear Dad and Lydia,
I apologize to both of you for my irrational behavior. I know itβs all my fault, but if you would have listened to ONE THING I had to say, I might not have
Dear Dadβs new family,
I hope youβll all be very happy being blond together. May people speak only in inside voices for the rest of your lives.
P.S. Lydia, you wedding dress makes your arms look fat.
β
β
Ann Brashares (The Sisterhood of the Traveling Pants (Sisterhood, #1))
β
I've learned to do without a lot of things. If you have a lot of things, said Aunt Lydia, you get too attached to this material world and you forget about spiritual values.
β
β
Margaret Atwood (The Handmaidβs Tale (The Handmaid's Tale, #1))
β
I am simply not interested, at this point, in creating narrative scenes between characters.
β
β
Lydia Davis
β
I was suddenly angry. I wanted to shake not just Lydia but the whole world of people who do not understand the difference between control of emotion and lack of it, and who make a totally illogical connection between inability to read othersβ emotions and inability to experience their own.
β
β
Graeme Simsion (The Rosie Effect (Don Tillman, #2))
β
I looked like a woman in glasses, but I had dreams of leading a very different kind of life, the life of a woman who would not wear glasses, the kind of woman I saw from a distance now and then in a bar.
β
β
Lydia Davis (The Collected Stories of Lydia Davis)
β
If a tree falls in the forest when no one is around to hear it, does it still make a sound?
If I scream in the silence, will anyone be around to hear it?
β
β
Lydia Kelly (Screaming in the Silence)
β
Art is not in some far-off place.
β
β
Lydia Davis (The Collected Stories of Lydia Davis)
β
If you try to find a replacement, you'll be sadly disappointed, I can't be replaced. I'm the only man in all the world who possesses the right combination of qualities for you.You can turn your Ballister stare upon me all you like, but you can't petrify me. You can knock me about to your heart's content without worrying about doing any damage. You can perpetrate any sort of outrage your wicked mind conceives and be sure I'll join in, with a will. You're a troublemaker, Lydia. A Ballister devil. Nothing less than a Mallory hellion would ever suit you."
- Vere Mallory -
β
β
Loretta Chase (The Last Hellion (Scoundrels, #4))
β
Love is the spice of life!" Aunt Lydia picked up her glass and took a long drink before setting it down again. "Did it end in heartache, dear?" "Well, yes...but it was the good kind of heart ache, Aunt Lydia. The kind where you'll always think fondly of each other, even though you know your love could never be." My aunt squealed with delight. "Ooh, I just love stories that end that way! Those happy, sappy endings in romance novels aren't realistic at all. But if you can gaze up at the stars at night and think fondly of your lost love, then it's worth falling in love and losing him." "You're absolutely right.
β
β
Lynn Austin (Wonderland Creek)
β
I think I've had a shit, Shaya." The poor woman sounded distressed and mortified. "Have I, Grace? Don't lie to me."
"No, you haven't."
"I have, you're lying. Is she lying, Lydia?"
"No," Lydia quickly said, "you haven't, I promise.
β
β
Suzanne Wright (Wicked Cravings (The Phoenix Pack, #2))
β
But it is curious how you can see that an idea is absolutely true and correct and yet not believe it deeply enough to act on it.
β
β
Lydia Davis (Almost No Memory)
β
So Elizabeth, dare we take the dance floor again in hopes of repeating that splendid performance given by Lydia?
β
β
Elizabeth Eulberg (Prom & Prejudice)
β
So Lydia is worried about all these things, and yet, she has a new understanding about the futility of worry. The worst will either happen or not happen, and thereβs no worry that will make a difference in either direction. Donβt think.
β
β
Jeanine Cummins (American Dirt)
β
Resonably neat and clean?" Adrienne said incredulously. "that man is flawless from head to toe! He makes David and the Greek gods and Pan seem all out of proportion. He is raw sex in a bottle, uncorked. And somebody should cork it! He's -accck! Bah!" Adrienne spluttered and stuttered as she belatedly realised her words. Lydia was laughing so hard tears misted her eyes.
β
β
Karen Marie Moning
β
Nearly every morning, a certain woman in our community comes running out of her house with her face white and her overcoat flapping wildly. She cries out, "Emergency, emergency," and one of us runs to her and holds her until her fears are calmed. We know she is making it up; nothing is has really happened to her. But we understand, because there is hardly one of us who has no been moved at some time to do just what she has done, and every time, it has taken all our strength, and even the strength of our friends and families, too, to keep us quiet.
β
β
Lydia Davis (The Collected Stories of Lydia Davis)
β
The Outing
An outburst of anger near the road, a refusal to speak on the path, a silence in the pine woods, a silence across the old railroad bridge, an attempt to be friendly in the water, a refusal to end the argument on the flat stones, a cry of anger on the steep bank of dirt, a weeping among the bushes.
β
β
Lydia Davis (The Collected Stories of Lydia Davis)
β
It is not learning we need at all. Individuals need learning but the culture needs something else, the pulse of light on the sea, the warm urge of huddling together to keep out the cold. We need empathy, we need the eyes that still can weep.
β
β
Lydia Millet (Oh Pure and Radiant Heart)
β
He begged to know to which of his fair cousins the excellency of its cookery was owing.
Briefly forgetting her manners, Mary grabbed her fork and leapt from her chair onto the table. Lydia, who was seated nearest her, grabbed her ankle before she could dive at Mr. Collins and, presumably, stab him about the head and neck for such an insult.
β
β
Seth Grahame-Smith (Pride and Prejudice and Zombies (Pride and Prejudice and Zombies, #1))
β
There are three things that robots cannot do," wrote Maxon. Then beneath that on the page he wrote three dots, indented. Beside the first dot he wrote "Show preference without reason (LOVE)" and then "Doubt rational decisions (REGRET)" and finally "Trust data from a previously unreliable source (FORGIVE).
β
β
Lydia Netzer (Shine Shine Shine)
β
I found the old me, still in here, and the new me sitting right alongside her. We made friends.
β
β
Josie Silver (The Two Lives of Lydia Bird)
β
Read the best writers from all different periods; keep your reading of contemporaries in proportion - you do not want a steady diet of contemporary literature. You already belong to your time.
β
β
Lydia Davis (Essays One)
β
Think about something else," Kaitlyn said. "Did you ever find a cow alarm clock around here?"
"No. A what?"
"An alarm clock shaped like a cow. It was Lewis's. It used to go off every morning, this sound like a cowbell and then a voice shouting 'Wake up! Don't sleep your life away!' And then it would moo."
Lydia giggled faintly. "I wish I'd seen that. It sounds-like Lewis."
"Actually, it sounded like a cow." Kaitlyn could hear Lydia snorting softly in the darkness for a while, then silence. She pulled the covers over her head and went to sleep.
β
β
L.J. Smith (Dark Visions (Dark Visions, #1-3))
β
When Heraclitus said that everything passes steadily along, he was not inciting us to make the best of the moment, an idea unseemly to his placid mind, but to pay attention to the pace of things. Each has its own rhythm: the nap of a dog, the procession of the equinoxes, the dances of Lydia, the majestically slow beat of the drums at Dodona, the swift runners at Olympia.
β
β
Guy Davenport (The Geography of the Imagination: Forty Essays)
β
We feel an affinity with a certain thinker because we agree with him; or because he shows us what we were already thinking; or because he shows us in a more articulate form what we were already thinking; or because he shows us what we were on the point of thinking; or what we would sooner or later have thought; or what we would have thought much later if we hadnβt read it now; or what we would have been likely to think but never would have thought if we hadnβt read it now; or what we would have liked to think but never would have thought if we hadnβt read it now.
β
β
Lydia Davis (Almost No Memory)
β
What now?" Lydia asked. "I assume we have a plan B?"
He shook his head. "We're way past plan B," he told her. "And we've gone past plan C as well. We're up to plan D now."
"And what's plan D?"
He jerked his head down the alley to the corner. "Anyone comes round that corner, we shoot them."
She pursed her lips critically. "Doesn't sound too ingenious," she said.
He shrugged. "I'm not good at ingenious. I'm good at dangerous.
β
β
John Flanagan (Slaves of Socorro (Brotherband Chronicles, #4))
β
You are a transitional generation, said Aunt Lydia. It is the hardest for you. We know the sacrifices you are being expected to make. It is hard when men revile you. For the ones who come after you, it will be easier. They will accept their duties with willing hearts.
She did not say: Because they will have no memories, of any other way.
She said: Because they won't want things they can't have.
β
β
Margaret Atwood (The Handmaidβs Tale (The Handmaid's Tale, #1))
β
And is death not the ultimate orgasm, a return to that otherworldly ether, whose very origins were indeed a Big Bang, the ultimate explosion, the supreme chaos, whose resonance is the vibration we constantly seek to reproduce in everything we do.
β
β
Lydia Lunch (Paradoxia: A Predator's Diary)
β
To be surrounded by books, by thoughts, by places and people and things that she had not yet metβit was a haven unlike any other.
β
β
Lydia Kang (Opium and Absinthe)
β
Trust no one, I scold myself. Even if they smell good.
β
β
Lydia Kang (Control (Control, #1))
β
She was thinking how it was the unfinished business. This was why she could not sleep. She could not say the day was over. She had no sense that any day was ever over. Everything was still going on. The business not only not finished but maybe not done well enough.
β
β
Lydia Davis (Break It Down)
β
The fact that he does not tell me the truth all the time makes me not sure of his truth at certain times, and then I work to figure out for myself if what he is telling me is the truth or not, and sometimes I can figure out that it's not the truth and sometimes I don't know and never know, and sometimes just because he says it to me over and over again I am convinced it is the truth because I don't believe he would repeat a lie so often. Maybe the truth does not matter, but I want to know it if only so that I can come to some conclusions about such questions as: whether he is angry at me or not; if he is, then how angry; whether he still loves her or not; if he does, then how much; whether he loves me or not; how much; how capable he is of deceiving me in the act and after the act in the telling.
β
β
Lydia Davis (Break It Down)
β
Verbal blows cut to the soul and ate at the heart for eternity.
β
β
Sherrilyn Kenyon (The Guardian (Dark-Hunter, #20; Dream-Hunter, #5; Were-Hunter, #6; Hellchaser, #5))
β
Lydia came back to bed. We didn't kiss each other. We weren't going to have sex. I felt weary. I listened to the crickets. I don't know how much time went by. I was almost asleep, not quite, when Lydia suddenly sat straight up in bed. And she screamed. It was a loud scream. "What is it?" I asked. "Be quiet." I waited. Lydia sat there without moving, for what seemed to be about ten minutes. Then she fell back on her pillow. "I saw God," she said, "I just saw God." "Listen, you bitch, you are going to drive me crazy!
β
β
Charles Bukowski (Women)
β
It had not been science that Lydia had loved. And then, as if the tears are telescopes, she begins to see more clearly: the shredded posters and pictures, the rubble of books, the shelf prostrate at her feet. Everything that she had wanted for Lydia, which Lydia had never wanted but had embraced anyway. A dull chill creeps over her. Perhapsβand this thought chokes herβthat had dragged Lydia underwater at last.
β
β
Celeste Ng (Everything I Never Told You)
β
MOST OF LIFEβS defining moments happen unexpectedly; sometimes they slide past you completely unnoticed until afterward, if at all. The last time your child is small enough to carry on your hip. An eye roll exchanged with a stranger who becomes your life-long best friend. The summer job you apply for on impulse and stay at for the next twenty years. Those kinds of things.
β
β
Josie Silver (The Two Lives of Lydia Bird)
β
They feared Me
because
I feared Nothing.
β
β
Lydia Lunch
β
But at other times, I sit here reading in the afternoon, a myrtle in my buttonhole, and there are such beautiful passages in the book that I think I have become beautiful myself.
β
β
Lydia Davis (Varieties of Disturbance)
β
He knew he tended toward gloom. It made him consider blood poisoning and heart attacks when someone else might see a touch of indigestion. Those carefully considered worst-case scenarios made him a good doctor, but they also made him feel like a dark little raincloud.
When Lydia Charingford was around, though, he felt like a smiling dark little raincloud.
β
β
Courtney Milan (A Kiss for Midwinter (Brothers Sinister, #1.5))
β
No one who loves the woods stays on the path,
β
β
Millie Florence (Lydia Green Of Mulberry Glen)
β
Not all monsters do monsterous things
β
β
Lydia Martin
β
The rooms of his apartment were full with the dog home again, convalescing. He was satisfied to know, even when she was out of sight, that somewhere in the apartment she was sleeping or eating or sitting watchfully. It was family, he guessed, more or less. Did most people want a house of living things at night, to know that in the dark around them other warm bodies slept?
Such a house could even be the whole world.
β
β
Lydia Millet (How the Dead Dream)
β
Whenever he remembered this moment, it lasted forever: a flash of complete separateness as Lydia disappeared beneath the surface. Crouched on the dock, he had a glimpse of the future: without her, he would be completely alone. In the instant after, he knew it would change nothing. He could feel the ground still tipping beneath him. Even without Lydia, the world would not level. He and his parents and their lives would spin into the space where she had been. They would be sucked into the vacuum she left behind.
More than this: the second he touched her, he knew that he had misunderstood everything. When his palms hit her shoulders, when the water closed over her head, Lydia had felt relief so great she had sighed in a deep choking lungful. She had staggered so readily, fell so eagerly, that she and Nath both knew: that she felt it, too, this pull she now exerted, and didn't want it. That the weight of everything tilting toward her was too much.
β
β
Celeste Ng (Everything I Never Told You)
β
At a certain point in her life, she realises it is not so much that she wants to have a child as that she does not want not to have a child, or not to have had a child.
β
β
Lydia Davis (Samuel Johnson Is Indignant)
β
Belief in oneself is one of the most important bricks in building any successful venture
β
β
Lydia Maria Child
β
All you care about is the control and power you have over me and I hate myself for giving that to you!
β
β
Lydia Kelly (Screaming in the Silence)
β
This was why she could not sleep. She could not say the day was over. She had no sense that any day was ever over.
β
β
Lydia Davis (The Collected Stories of Lydia Davis)
β
I had had a feeling of freedom because of the sudden change in my life. By comparison to what had come before, I felt immensely free. But then, once I became used to that freedom, even small tasks became more difficult. I placed constraints on myself, and filled the hours of the day. Or perhaps it was even more complicated than that. Sometimes I did exactly what I wanted to do all dayβI lay on the sofa and read a book, or I typed up an old diaryβand then the most terrifying sort of despair would descend on me: the very freedom I was enjoying seemed to say that what I did in my day was arbitrary, and that therefore my whole life and how I spent it was arbitrary.
β
β
Lydia Davis (Can't and Won't)
β
The Dog Hair The dog is gone. We miss him. When the doorbell rings, no one barks. When we come home late, there is no one waiting for us. We still find his white hairs here and there around the house and on our clothes. We pick them up. We should throw them away. But they are all we have left of him. We donβt throw them away. We have a wild hopeβif only we collect enough of them, we will be able to put the dog back together again.
β
β
Lydia Davis (Can't and Won't)
β
Better to forget, better to let go of the bitterness. I say bitterness is only good in medicine, or if you fry bitter gourd with egg, then it's dlicious. I told Lan-Lan many times, we have only one life, it's important to kua kwee, to look spaciously. Not keep the eyes so narrowed down to the small dispairs.
Those people who say forgive and forget, I say they not right. Not so simple. I say, find right medicine. Bitterness must be just right for problem. Then swallow it, think of good things can do when no longer sick.
β
β
Lydia Kwa (This Place Called Absence)
β
Accepting the fact that she did indeed have Alzheimer's, that she could only bank on two unacceptably effective drugs available to treat it, and that she couldn't trade any of this in for some other, curable disease, what did she want? Assuming the in vitro procedure worked, she wanted to live to hold Anna's baby and know it was her grandchild. She wanted to see Lydia act in something she was proud of. She wanted to see Tom fall in love. She wanted one more sabbatical year with John. She wanted to read every book she could before she could no longer read.
She laughed a little, surprised at what she'd just revealed about herself. Nowhere in that list was anything about linguistics, teaching, or Harvard. She ate her last bite of cone. She wanted more sunny, seventy-degree days and ice-cream cones.
β
β
Lisa Genova (Still Alice)
β
Did you really think you could quit?" He moved closer, his steps slow, purposeful. "Just fax me a damned piece of paper and Iβd be forced to let you walk away from me?"
"You donβt have a choice." Lydia swallowed the lump in her throat and moved around the chair. Putting furniture between them seemed like a smart idea. "I quit, end of story."
"The hell it is," he growled as he stopped and crossed his arms over his chest. "Iβve given you space, Lydia, but itβs time we talk."
"Thereβs nothing to say."
He pointedly glanced at the chair and quirked a brow. "Afraid, little Lydia?"
Afraid of her own ability to keep her hands off him, yeah. "You donβt scare me, Dane. Youβd never hurt me."
"Then quit acting so skittish and come here.
β
β
Anne Rainey (Body Rush (Masters of Pleasure, #1))
β
What to go out with me tonight after work, Vaughan?β
β¦ βYou asking me out on a date, Lydia?β
βYes,β I said. βI am.β
βBabe, Iβd love to.β His hand rose to the back of my neck, stroking, drawing me closer. Hot damn, did he have the moves. The man turned my mind to mush.
βSomething you need to know,β he said. βBefore tonight.β
βWhatβs that?β
βI put out on the first date,β he told me with a perfectly straight face. βThat okay with you?β
βOh, Iβm counting on itβ β¦ βI meanβ¦it would have been so awkward if you expected me to respect you for your mind or something. Yikes, how embarrassing. Between you and me, Iβm really only interested in getting into your pants.β
The corner of his mouth twitched.
βIβm sure youβre a nice guy and all, but, priorities, you know?β
βI know.β The manβs smile would have made a nun think twice. I never stood a chance.
β
β
Kylie Scott (Dirty (Dive Bar, #1))
β
You donβt get over losing someone you love in six months or two years or twenty, but you do have to find a way to carry on living without feeling as if everything that comes afterward is second best. Some people walk up mountains, others throw themselves out of planes. Everyone has to find their own way back, and if theyβre lucky theyβll have people who love them to hold their hand.
β
β
Josie Silver (The Two Lives of Lydia Bird)
β
I decided to lock myself in. A forced segregation. Sabbatical. A retreat into myself. My selves. Play hide and go seek in the looking-glass. The mirror angled at the foot of my bed. Twisted reflections bouncing off into infinity. Obsessed with my image, the myriad of distored figurines who danced in front of me in rapid succession, every feature exaggerated, every slight imperfection a new delicacy.
β
β
Lydia Lunch
β
And tomorrow, next month, next year? It will take a long time. Years from now, they will still be arranging the pieces they know, puzzling over her features, redrawing her outlines in their minds. Sure that they've got her right this time, positive in this moment that they understand her completely, at last. They will think of her often: when Marilyn opens the curtains in Lydia's room, opens the closet, and begins to take the clothing from the shelves. When their father, one day, enters a party for the first time does not glance, quickly, at all the blond heads in the room. When Hannah begins to stand a little straighter, when she begins to speak a bit clearer, when one day she flicks her hair behind her ear in a familiar gesture and wonders, for a moment, where she got it. And Nath. When at school people ask if he has siblings: two sisters, but one died; when one day, he looks at the small bump that will always mar the bridge of Jack's nose and wants to trace it, gently, with his finger. When a long, long time later, he stares down at the silent blue marble of the earth and thinks of his sister, as he will at every important moment of his life. He doesn't know this yet, but he senses it deep down in his core. So much will happen, he thinks, that I would want to tell you.
β
β
Celeste Ng (Everything I Never Told You)
β
No easy way out. No escape. From yourself. You had to LEARN to DEAL with the cards you were dealt. Had to learn the hard way that the world doesn't OWE you a fucking thing. Not a reason, nor excuse. No apologies. Had to learn that some forms of insanity run in the family, pure genetics, polluted lifelines, full of disease. Profanity. Addiction. Co-addiction. Inability to deal with reality, what the fuck ever that's suppose to mean when you're born into an emotional ghetto of endless abuse. Where the only way out is in...deep, deep inside, so you poke holes in your skin, thinking that if you could just concentrate the pain it wouldn't remain an all-consuming surround which suffocates you from the first breath of day to your last dying day. Day in. Day out. Day in. Day out. I knew all about it.
β
β
Lydia Lunch (Paradoxia: A Predator's Diary)
β
A few of the guests, who had the misfortune of being too near the windows, were seized and feasted on at once. When Elizabeth stood, she saw Mrs. Long struggle to free herself as two female dreadfuls bit into her head, cracking her skull like a walnut, and sending a shower of dark blood spouting as high as the chandeliers.
As guests fled in every direction, Mr. Bennet's voice cut through the commotion. "Girls! Pentagram of Death!"
Elizabeth immediately joined her four sisters, Jane, Mary, Catherine, and Lydia in the center of the dance floor. Each girl produced a dagger from her ankle and stood at the tip of an imaginary five-pointed star. From the center of the room, they began stepping outward in unison - each thrusting a razor-sharp dagger with one hand, the other hand modestly tucked into the small of her back.
β
β
Seth Grahame-Smith (Pride and Prejudice and Zombies (Pride and Prejudice and Zombies, #1))
β
It is not easy to live with another person, at least it is not easy for me. It makes me realize how selfish I am. It has not been easy for me to love another person either, though I am getting better at it. I can be gentle for as long as a month at a time now, before I become selfish again. I used to try to study what it meant to love someone. I would write down quotations from the works of famous writers, writers who did not interest me otherwise, like Hippolyte Taine or Alfred de Musset. For instance, Taine said that to love is to make oneβs goal the happiness of another person. I would try to apply this to my own situation. But if loving a person meant putting him before myself, how could I do that? There seemed to be three choices: to give up trying to love anyone, to stop being selfish, or to learn how to love a person while continuing to be selfish. I did not think I could manage the first two, but I thought I could learn how to be just unselfish enough to love someone at least part of the time.
β
β
Lydia Davis (The End of the Story)
β
[Author's Note:] When I was sixteen, two of my cousins were brutally raped by four strangers and thrown off a bridge in St. Louis, Missouri. My brother was beaten and also forced off the bridge. I wrote about that horrible crime in my first book, my memoir, A Rip in Heaven. Because that crime and the subsequent writing of the book were both formative experience in my life, I became a person who is always, automatically, more interested in stories about victims than perpetrators. I'm interested in characters who suffer inconceivable hardship, in people who manage to triumph over extraordinary trauma. Characters like Lydia and Soledad. I'm less interested in the violent, macho stories of gangsters and law enforcement. Or in any case, I think the world has enough stories like those. Some fiction set in the world of the cartels and narcotraficantes is compelling and important - I read much of it during my early research. Those novels provide readers with an understanding of the origins of the some of the violence to our south. But the depiction of that violence can feed into some of the worst stereotypes about Mexico. So I saw an opening for a novel that would press a little more intimately into those stories, to imagine people on the flip side of that prevailing narrative. Regular people like me. How would I manage if I lived in a place that began to collapse around me? If my children were in danger, how far would I go to save them? I wanted to write about women, whose stories are often overlooked.
β
β
Jeanine Cummins (American Dirt)
β
What was happening to them was that every bad time produced a bad feeling that in turn produced several more bad times and several more bad feelings, so that their life together became crowded with bad times and bad feelings, so crowded that almost nothing else could grow in that dark field. But then she had a feeling of peace one morning that lingered from the evening before spent sewing while he sat reading in the next room. And a day or two later, she had a feeling of contentment that lingered in the morning from the evening before when he kept her company in the kitchen while she washed the dinner dishes. If the good times increased, she thought, each good time might produce a good feeling that would in turn produce several more good times that would produce several more good feelings. What she meant was that the good times might multiply perhaps as rapidly as the square of the square, or perhaps more rapidly, like mice, or like mushrooms springing up overnight from the scattered spore of a parent mushroom which in turn had sprung up overnight with a crowd of others from the scattered spore of a parent, until her life with him with be so crowded with good times that the good times might crowd out the bad as the bad times had by now almost crowded out the good.
β
β
Lydia Davis (Varieties of Disturbance)
β
Deep in her soul, however, she was waiting for something to happen. Like a sailor in distress, she would gaze out over the solitude of her life with desperate eyes, seeking some white sail in the mists of the far-off horizon. She did not know what this chance event would be, what wind would drive it to her, what shore it would carry her to, whether it was a longboat or a three-decked vessel, loaded with anguish or filled with happiness up to the portholes. But each morning, when she awoke, she hoped it would arrive that day, and she would listen to every sound, spring to her feet, feel surprised that it had not come; then at sunset, always more sorrowful, she would wish the next day were already there.
β
β
Gustave Flaubert (Madame Bovary)
β
Dearly weird and motley beings, we're gathered here today for . . . yada, yada, yada. Seth say something profound and sweet to Lydia." Savitar
"My Lydia is like a star rising to guide me through the darkest night." Seth
"Look, kid, I can say the words for you, but I think she'd rather hear them from your lips. Ignore the assholes in the chairs. If one of them laughs, I'll gut him for you." Savitar
Lydia laid her hand against his cheek and kissed his lips. "Hey, hey, hey!" Savitar snapped. "You're jumping ahead, woman. It's your turn to make a vow to him."
"Love is paitent. Love is kind.
It does not envy. It does not boast. It does not proud.
It is not rude. It is not self seeking.
It is not easily angered> It keeps no records of wrongs.
Love does not delight in evil, but rejoices with the truth.
It always protects, it always trusts, always hopes, always perseveres." Lydia
"Yeah, okay,beings . . . now you ." Savitar
"Alright then, to the handful here, let me present Mr. and Mrs. Demigod jackal beings." Savitar
"You know this would be much easier if some of us had last names." Savitar to Seth and Lydia
"Would you stop ruining this for them?" Ma'at
"I'm not ruining it, Mennie, I'm making it memorable," Savitar
β
β
Sherrilyn Kenyon (Dark Bites (Dark-Hunter #22.5; Hellchaser, #0.5; Dream-Hunter, #0.5; Were-Hunter, #3.5))
β
The Herons! The Herons!
The mighty, fighting Herons!
No other Brotherband you'll see
Is even half as darin'
We sailed away from Hallasholm, we had to be real quick,
For Kloof had eaten Erak's ax and chewed his walking stick.
We sailed across the Stormwite and we struck a mighty storm.
We had to wear our woolly caps to keep us nice and warm.
We sailed around Cape Shelter and then south to Araluen.
We called upon the people there to find out what was doin'.
We chased an evil slaver to the market of Socorro.
"We can't rescue them tonight," said Hal. "We'll get them out tomorrow."
Lydia and the Ranger burned the market to the ground.
The rest of us, we freed the slaves then headed out of town.
The Herons! The Herons!
The mighty, fighting Herons!
No other Brotherband you'll see
Is even half as darin'
The slave master named Mahmel was a nasty kind of thug,
So Stiggy dropped a rock and crushed him like a bug.
We sailed back to Cresthaven and we set the captives free.
King Duncan said, "Well done, my lads, you're just the boys for me.
My Ranger Gilan has to go hunt down some assassins
So go along with him and give these wicked types a thrashin'."
A pirate galley barred our way. We quickly overtook 'em.
And Ingvar led the charge aboard to stab and chop and hook 'em.
We beat the Tualaghi and the Scorpions as well.
The Ranger stuck his saxe into the leader, the Shurmel.
When all the assassins threw a fit of wild hysterics,
Hal grabbed up the Shurmel's staff and brought it back for Erak.
The Herons! The Herons!
The mighty, fighting Herons!
No other Brotherband you'll see
Is even half as darin
β
β
John Flanagan