Me Myself And Irene Quotes

Could you not give me some sign, or tell me something about you that never changes, or some other way to know you, or thing to know you by?" — "No, Curdie: that would be to keep you from knowing me. You must know me in quite another way from that. It would not be the least use to you or me either if I were to make you know me in that way. It would be but to know the sign of me — not to know me myself.

It goes a bit like this,” Irene said, as they walked towards the stairs. “The first step is, I’ll kill myself before I let him do that to me again. The second step is to say, Wait, it’d be much more practical to kill him rather than kill myself. And there you have it. A sensible plan based on logical choices.

I know I found his lips and let him caress me without realizing that I, too, was crying and didn't know why. That dawn, and all the ones that followed in the two weeks I spent with Julian, we made love to one another on the floor, never saying a word. Later, sitting in a cafe or strolling through the streets, I would look into his eyes and know, without any need to question him, that he still loved Penelope. I remember that during those days I learned to hate that seventeen-year-old girl (for Penelope was always seventeen to me) whom I had never met and who now haunted my dreams. I invented excuses for cabling Cabestany to prolong my stay. I no longer cared whether I lost my job or the grey existence I had left behind in Barcelona. I have often asked myself whether my life was so empty when I arrived in Paris that I fell into Julian's arms - like Irene Marceau's girls, who, despite themselves, craved for affection.

In the long run, there is no running from your pain. You can try to numb yourself with slow, self-sabotaging methods—excessive eating, drinking, and drugs—or you can end it through suicide. But in the end, these methods don’t heal anything. While I’m reminded here in Spirit that I’m much more than my wounds, being here doesn’t heal the wounds I ran away from. I can gain understanding about how and why the wounds were created, but when I choose another physical body in another physical life, the same wounds will be front and center. Spirited life rejuvenates me, gives me greater perspective and strengthens my power to love myself with the wounds; but I have wounds that can only be worked out in physical form. I’ll strive to remember and bring this fresh perspective back into a new physical life, but I’ll still be subject to the veil of forgetfulness. We choose the physical circumstances that will remind us of what needs to be healed. Everything is orchestrated to provide us with what we need. During my life review, I saw that I’d had countless opportunities to heal the wounds, but because I’d been so afraid of change, I hadn’t even entertained them as possibilities. If I’d acted on the opportunities, I could have taken Physical Bill to his full potential. Instead, I’m now focused on creating another physical life and having to do it over again. Irene: Isn’t reincarnation

What does it all mean, grandmother?' she sobbed, and burst into fresh tears. 'It means, my love, that I did not mean to show myself. Curdie is not yet able to believe some things. Seeing is not believing—it is only seeing. You remember I told you that if Lootie were to see me, she would rub her eyes, forget the half she saw, and call the other half nonsense.' 'Yes; but I should have thought Curdie—' 'You are right. Curdie is much farther on than Lootie, and you will see what will come of it. But in the meantime you must be content, I say, to be misunderstood for a while. We are all very anxious to be understood, and it is very hard not to be. But there is one thing much more necessary.' 'What is that, grandmother?' 'To understand other people.

CHAPTER 9 THE FARM NEAR HARPERS FERRY WEST VIRGINIA U.S.A. ONCE again, Mitch Rapp found himself standing in front of the cell holding Louis-Philippe Gould. And once again, Stan Hurley was watching. “Want me to hold on to your gun?” It was a noticeable change in his friend’s attitude. A few days ago, he’d have paid money to walk in there and execute the Frenchman. Now they needed him. Hurley perhaps more than anyone. “Turn off the cameras, Stan.” “Irene was pretty specific about that. She says they stay on.” “Don’t make me repeat myself, old man.” Hurley swore under his breath and took a seat in front of a computer terminal at the end of the corridor. He wasn’t exactly from the digital era, and it took him a few moments with the mouse to find the right application. Finally, he turned back to Rapp. “I’ve still got the image, but it’s not recording. You need to leave him alive, Mitch. But if you can’t, do it close range and sloppy. That way we can tell Irene he went for your gun.” Rapp reached for the door, trying to shut off his emotions as it swung open. This wasn’t about him or his past. It was about his job and

Frank looks good.” Irene’s voice at my ear. “When did he get home?” “Yesterday.” “And?” I glanced at the sheriff, who still hovered beside me. I forced a smile to my face. “Everything’s fine. We’ll get things figured out soon. He was exhausted last night. We all went to bed early.” Blood rushed into my face. “Of course he slept in the barn, and . . .” Irene’s head tipped back as she laughed. Sheriff Jeffries’s mouth twisted into a scowl. From across the yard, Frank’s gaze locked on mine. He raised his eyebrows and nodded toward the buggy. “Good-bye, Irene.” I gave her a quick hug, wondering if I would see her again before Frank sent me home. Then I turned to the sheriff. Instead of a good-bye, he held his elbow crooked in my direction. “I’d be happy to escort you to the house.” Sheriff Jeffries’s eyes begged me to say yes. And I knew I ought to oblige. But I found myself wanting to be with my kids again. I didn’t know how much longer I’d have with them. I didn’t want to miss a moment. My mind whirled like the sheriff’s hat. “Thank you, I . . .” Frank had the older kids in the buggy now. He turned toward me with a look of expectancy. “I think I’d better help with the children.” His smile faded a bit, although he seemed to work to make it stay. He walked me to the buggy as if my words hadn’t disappointed him and helped me up to the seat. “Good to have you back, Frank.” Frank nodded. The sheriff touched the brim of his hat and backed away, his gaze undistracted from my face. But Frank’s hard-set jaw and narrowed eyes broke into my line of vision as he plopped Janie in my lap. “If you’re done socializing, we can get on home.” He stalked to the other side of the buggy and hopped up on the seat. I stared at his profile, that rugged face on which I’d seen such vulnerable emotions. But I’d also seen his look of disapproval in church. Now he appeared haughty, almost condescending. My eyes narrowed. What cause did he have to chastise me?

Atrocity! Irene was there, too near! I was not a few feet but a few inches away from her! I became completely terrified in a different way when the overexcited Tkoukrian (appallingly!) groaned inside me: “Oh! She’s the one I want! And you too, you want her! That’s your princess, whose picture I’ve seen in my head! She’s so much more beautiful and more thrilling than her pale reflection tarnished by your dull and worthless soul! Let’s go get her!” I desperately held him back. Kmôhoûn threatened to make me scream so loudly that I would wake up all the guards. I did not want to—I would not surrender! But something revolting happened. My body obeyed my sinister enemy more than me. And, despite my agony and my fury, it was obvious that the lousy machine also wanted to take me to Irene. And it was the machine that enslaved my soul, changed it as it pleased and made it a Tkoukrian soul! My princess! I did not see her like before, radiant with the beauty of dreams. I imagined her in lewd positions—I caught myself thinking: deliciously lewd! And many other frightening words came to mind.

The countryside and woods kept me occupied a while longer. Then I took a violent dislike to them and confined myself to my room. The prodigious slowness of time, the horrible punctuality of the meals, my reading of what I found in the library of the house, and a persistent memory above all, gave me an urgent desire to flee from that miserable region. But how could I?

I thought my life with Kelli could be balanced, mitigated,. That Irene had just been doing it all wrong these years. I' thought we could hang out like normal sisters, run errands, go for lattes with Jessica Hendy, and every now and then go off and have a little temper tantrum if Kelli go on my nerves--leave her in the car, assume she'd be fine. I'd assumed I could indulge myself if need be, that there could be some kind of fulfillment beyond my sister's care--that I didn't have to give myself over to it completely. But here's what I needed to understand--what Irene understood. Either you were all in with Kelli, or you were not. But if you were, Kelli had to become your joy. Kelli would be where you went for meaning. Kelli was what it was all about. And Irene was right about this too-- it was like faith. It was exactly like faith in that you had to stop futzing around and let it take you over. No more hemming and hawing. No more trying to have it both ways. And once you put your petty shit aside --your petty ego and your petty needs and your petty ambitions--that was when at last the world opened up. The world that was Kelli. It was a small world, a circumscribed world but it was your world and you did what you could to make it more beautiful. You focused on hygiene, nourishing meals, a pleasing home that always smelled good. That was your achievement and more important that was you. Once you accept that, you were--and this was strange to think, but the moment I thought it, I realized I put my finger on the savagely beating heart of my mother's philosophy--free. When I was a kid, my mother had a lavishly illustrated encyclopedia of saints she would sometimes flip through with me, and I remember how she always made a point of skipping over Saint Teresa of Avila . She didn't want to talk about the illustration that went with it. It was a photograph of the sculpture The Ecstasy of Saint Teresa, and it was pretty obvious to me even as a child why my mother disapproved. It was a sexy sculpture. The smirking angel prepares to pierce Teresa's heart with his holy spear, and boy oh boy is Saint Teresa ready. Her eyes are closed, her lips are parted, and somehow everything about her marble body, swathed in marble clothing looks to be in motion. Saint Teresa is writhing. She's writhing because that is what it is to be a Catholic Saint. This is your fulfillment. The giving over. The letting go. The disappearance. This is what it takes