Marriages Falling Apart Quotes

It took courage to let things fall apart so beautifully.

It takes two to make a marriage work and two to make it fall apart.

Like the muscles knew from the beginning that it would end with this, this inevitable falling apart... It's sad, but a relief as well to know that two things so closely bound together can separate with so little violence, leaving smooth surfaces instead of bloody shreds.

Yesterday my daughter said to me, 'My marriage is falling apart.' And now all she can do is watch it falling.

Often we fail to consider the fact that our social, spiritual, and intellectual interests are miles apart. Our value systems and goals are contradictory, but we are in love.

The window gave onto a view of dove-gray roofs and balconies, each one containing the same cracked flowerpot and sleeping feline. It was as if the entire city of Paris had agreed to abide by a single understated taste. Each neighbor was doing his or her own to keep up standards, which was difficult because the French ideal wasn't clearly delineated like the neatness and greenness of American lawns, but more of a picturesque disrepair. It took courage to let things fall apart so beautifully.

This principle - that your spouse should be capable of becoming your best friend - is a game changer when you address the question of compatibility in a prospective spouse. If you think of marriage largely in terms of erotic love, then compatibility means sexual chemistry and appeal. If you think of marriage largely as a way to move into the kind of social status in life you desire, then compatibility means being part of the desired social class, and perhaps common tastes and aspirations for lifestyle. The problem with these factors is that they are not durable. Physical attractiveness will wane, no matter how hard you work to delay its departure. And socio-economic status unfortunately can change almost overnight. When people think they have found compatibility based on these things, they often make the painful discovery that they have built their relationship on unstable ground. A woman 'lets herself go' or a man loses his job, and the compatibility foundation falls apart.

I could have told him that nothing was safe and that no matter how careful you were and how hard you tried, there were still accidents, hidden traps, and snares. You could get killed on an airplane or crossing the street. Your marriage could fall apart when you weren't looking; your husband could lose his job; our baby could get sick or die.

I can sense your love, why leave me in darkness? Beguile me for your amusement, stealing my soul without kisses. You are the sun and I, the moon. Your beauty is reflected in my eyes. When we are apart, I am extinguished in the blackness of these skies.

I don’t know why we fight. It takes much too effort to stay mad at you. To dodge your skin in the hallway and leave the kitchen without bringing you a treat. It takes much too effort to stare at the sink so my eyes don’t smile at you in the mirror. It takes much too effort to look away as we undress and lie apart in the now bigger bed. It takes much too effort to stiffen my body because sleepy limbs forget fights and pride is always lost in dreams. It takes much too effort to awaken every hour to make sure we are islands with a gulf of white sheets separating us. I dread the light peeking through the parted curtains and empathise with your groans — I didn’t get any sleep either. I really don’t know why we fight. It takes much too effort to stay mad at one another when it’s so easy for us to love.

I kept thinking of an old Robert Mitchum cowboy movie where he goes back to see the farmhouse where he was born and finds the house falling apart and an old man living in it by himself. "Lonely place," Robert Mitchum says. The old man says, "Nothing wrong with a lonely place as long as it's private. That's why I never married. Marriage is lonely, but it ain't private." That was always my most intense fear about getting married: When everything sucked and I was by myself, I thought, Well, at least I don't have another miserable person to worry about. I figured if you gave up your private place and it still turns out to be lonely, you're just screwed.

Death in everyday life could also be defined as experiencing all the things that we don’t want. Our marriage isn’t working; our job isn’t coming together. Having a relationship with death in everyday life means that we begin to be able to wait, to relax with insecurity, with panic, with embarrassment, with things not working out.

but true love goes far deeper than that. It is an unexplainable connection of the heart, one that endures triumph and tragedy, pain and suffering, obstacles and loss. It is something that is either present or missing - there is no "almost", "in between", "most of the time." It is the unexplainable reason that some marriages entered into after one-week courtships can last a lifetime. Its absence is why "perfect" marriages fall apart. It can't be quantified or explained in science, religion, or philosophy. It can't be advised on by friends or marriage counselors who can't take their own advice. There are no rules, no how-to books, no guaranteed methods of success. It is not defined by vows or rings or promises of tomorrow. It is simply a miracle of God, that too few are blessed to experience.

This matter of the “love” of pets is of immense import because many, many people are capable of “loving” only pets and incapable of genuinely loving other human beings. Large numbers of American soldiers had idyllic marriages to German, Italian or Japanese “war brides” with whom they could not verbally communicate. But when their brides learned English, the marriages began to fall apart. The servicemen could then no longer project upon their wives their own thoughts, feelings, desires and goals and feel the same sense of closeness one feels with a pet. Instead, as their wives learned English, the men began to realize that these women had ideas, opinions and aims different from their own. As this happened, love began to grow for some; for most, perhaps, it ceased. The liberated woman is right to beware of the man who affectionately calls her his “pet.

Sara," I ask finally, "what do you want from me?" "I want to look at you and remember what it used to be like," she says thickly. "I want to go back, Brian. I want you to take me back." But she is not the woman I used to know, the woman who traveled a countryside counting prairie dog holes, who read aloud the classifieds of lonely cowboys seeking women and told me, in the darkest crease of the night, that she would love me until the moon lost its footing in the sky. To be fair, I am not the same man. The one who listened. The one who believed her.

But what was so great about marriage? I had been married and married. It had its good points, but it also had its bad. The virtues of marriage were mostly negative virtues. Being unmarried in a man's world was such a hassle that anything had to be better. Marriage was better. But not much. Damned clever, I thought, how men had made life so intolerable for single women that most would gladly embrace even bad marriages instead. Almost anything had to be an improvement on hustling for your own keep at some low-paid job and fighting off unattractive men in your spare time while desperately trying to ferret out the attractive ones. Though I've no doubt that being single is just as lonely for a man, it doesn't have the added extra wallop of being downright dangerous, and it doesn't automatically imply poverty and the unquestioned status of a social pariah. Would most women get married if they knew what it meant? I think of young women following their husbands wherever their husbands follow their jobs. I think of them suddenly finding themselves miles away from friends and family, I think of them living in places where they can't work, where they can't speak the language. I think of them making babies out of their loneliness and boredom and not knowing why. I think of their men always harried and exhausted from being on the make. I think of them seeing each other less after marriage than before. I think of them falling into bed too exhausted to screw. I think of them farther apart in the first year of marriage than they ever imagined two people could be when they were courting. And then I think of the fantasies starting. He is eyeing the fourteen-year-old postnymphets in bikinis. She covets the TV repairman. The baby gets sick and she makes it with the pediatrician. He is fucking his masochistic little secretary who reads Cosmopolitan and things herself a swinger. Not: when did it all go wrong? But: when was it ever right? ....... I know some good marriages. Second marriages mostly. Marriages where both people have outgrown the bullshit of me-Tarzan, you-Jane and are just trying to get through their days by helping each other, being good to each other, doing the chores as they come up and not worrying too much about who does what. Some men reach that delightfully relaxed state of affairs about age forty or after a couple of divorces. Maybe marriages are best in middle age. When all the nonsense falls away and you realize you have to love one another because you're going to die anyway.

Christmas is the marriage of chaos and design. The real sound of life, for once, can burst out because a formal place has been set for it. At the moment when things have gotten sufficiently loose, the secret selves that these familiar persons hold inside them shake the room...An undercurrent of clowning and jostling is part of the process by which we succeed finally in making our necessary noise: despite the difficulty of getting the words right, of getting the singers on the same page, of keeping the ritual from falling apart into the anarchy of separate impulses. From such clatter--extended and punctuated by whatever instrument is handy, a triangle a tambourine, a Chinese gone--beauty is born.

... I will say this. Marriage is work. It's hard work. Harder than anything else you'll ever do. Believe me, I know. And do you want to know why?' James nodded and Ben Latrobe leaned forward as if to impart a deep, mysterious secret. 'Because marriage isn't about the wedding or the wedding trip afterward. It isn't about cozy nights spent in each other's arms or the way she makes you feel when she smiles. Oh, those things all have a part in it, but a very minor one. No, James, marriage is about sticking it out when it isn't so nice. Marriage is being there to pick up the pieces when your perfect world falls apart. It's seeing the mess you've made of things and being willing to work through it until you have created something better than you had before. It's listening to her fears, her troubles, and concerns. It's eating meals that don't taste as good as those your mother fixed, enduring her temperamental outburts and tears, and not giving up when things get hard.' Latrobe paused for a moment and a frown lined his face where the smile had been only moments before. 'True love is standing by your mate when his health fails, along with his business.' ... 'It's knowing that the world goes on and you can depend on each other even when everything else around you lies in ruins at your feet...

If you have ever belonged to such a community, however, you may have discovered that the trouble starts when darkness falls on your life, which can happen in any number of unsurprising ways: you lose your job, your marriage falls apart, your child acts out in some attention getting way, you pray hard for something that does not happen, you begin to doubt some of the things you have been taught about what the Bible says. The first time you speak of these things in a full solar church, you can usually get a hearing. Continue to speak of them and you may be reminded that God will not let you be tested beyond your strength. All that is required of you is to have faith. If you still do not get the message, sooner or later it will be made explicit for you: the darkness is your own fault, because you do not have enough faith.

Eliot's understanding of poetic epistemology is a version of Bradley's theory, outlined in our second chapter, that knowing involves immediate, relational, and transcendent stages or levels. The poetic mind, like the ordinary mind, has at least two types of experience: The first consists largely of feeling (falling in love, smelling the cooking, hearing the noise of the typewriter), the second largely of thought (reading Spinoza). The first type of experience is sensuous, and it is also to a great extent monistic or immediate, for it does not require mediation through the mind; it exists before intellectual analysis, before the falling apart of experience into experiencer and experienced. The second type of experience, in contrast, is intellectual (to be known at all, it must be mediated through the mind) and sharply dualistic, in that it involves a breaking down of experience into subject and object. In the mind of the ordinary person, these two types of experience are and remain disparate. In the mind of the poet, these disparate experiences are somehow transcended and amalgamated into a new whole, a whole beyond and yet including subject and object, mind and matter. Eliot illustrates his explanation of poetic epistemology by saying that John Donne did not simply feel his feelings and think his thoughts; he felt his thoughts and thought his feelings. He was able to "feel his thought as immediately as the odour of a rose." Immediately" in this famous simile is a technical term in philosophy, used with precision; it means unmediated through mind, unshattered into subject and object. Falling in love and reading Spinoza typify Eliot's own experiences in the years in which he was writing The Waste Land. These were the exciting and exhausting years in which he met Vivien Haigh-Wood and consummated a disastrous marriage, the years in which he was deeply involved in reading F. H. Bradley, the years in which he was torn between the professions of philosophy and poetry and in which he was in close and frequent contact with such brilliant and stimulating figures as Bertrand Russell and Ezra Pound, the years of the break from his family and homeland, the years in which in every area of his life he seemed to be between broken worlds. The experiences of these years constitute the material of The Waste Land. The relevant biographical details need not be reviewed here, for they are presented in the introduction to The Waste Land Facsimile. For our purposes, it is only necessary to acknowledge what Eliot himself acknowledged: the material of art is always actual life. At the same time, it should also be noted that material in itself is not art. As Eliot argued in his review of Ulysses, "in creation you are responsible for what you can do with material which you must simply accept." For Eliot, the given material included relations with and observations of women, in particular, of his bright but seemingly incurably ill wife Vivien(ne).