Patricia Highsmith Quotes

We've searched our database for all the quotes and captions related to Patricia Highsmith. Here they are! All 100 of them:

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My imagination functions much better when I don't have to speak to people.
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Patricia Highsmith
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I feel I stand in a desert with my hands outstretched, and you are raining down upon me.
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Patricia Highsmith (The Price of Salt)
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Anticipation! It occurred to him that his anticipation was more pleasant to him than the experiencing.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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Do people always fall in love with things they can't have?' 'Always,' Carol said, smiling, too.
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Patricia Highsmith (The Price of Salt)
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Obsessions are the only things that matter.
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Patricia Highsmith
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My New Year’s Eve Toast: to all the devils, lusts, passions, greeds, envies, loves, hates, strange desires, enemies ghostly and real, the army of memories, with which I do battle β€” may they never give me peace.
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Patricia Highsmith
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It would be Carol, in a thousand cities, a thousand houses, in foreign lands where they would go together, in heaven and in hell.
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Patricia Highsmith (The Price of Salt)
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I know what they'd like, they'd like a blank they could fill in. A person already filled in disturbs them terribly.
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Patricia Highsmith (The Price of Salt)
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Perhaps it was freedom itself that choked her.
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Patricia Highsmith (The Price of Salt)
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What was it to love someone, what was love exactly, and why did it end or not end? Those were the real questions, and who could answer them?
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Patricia Highsmith (The Price of Salt)
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And she did not have to ask if this was right, no one had to tell her, because this could not have been more right or perfect.
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Patricia Highsmith (The Price of Salt)
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It always gets late with you. - Is that a compliment?
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Patricia Highsmith (The Price of Salt)
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I think people often try to find through sex things that are much easier to find in other ways.
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Patricia Highsmith (The Price of Salt)
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He liked the fact that Venice had no cars. It made the city human. The streets were like veins, he thought, and the people were the blood, circulating everywhere.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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Happiness was like a green vine spreading through her, stretching fine tendrils, bearing flowers through her flesh.
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Patricia Highsmith (The Price of Salt)
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How was it possible to be afraid and in love... The two things did not go together. How was it possible to be afraid, when the two of them grew stronger together every day? And every night. Every night was different, and every morning. Together they possessed a miracle.
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Patricia Highsmith (The Price of Salt)
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My angel," Carold said. "Flung out of space.
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Patricia Highsmith (The Price of Salt)
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Was it love or wasn't it that she felt for Carol? And how absurd it was that she didn't even know. She had heard about girls falling in love, and she knew what kind of people they were and what they looked like. Neither she nor Carol looked like that. Yet the way she felt about Carol passed all the tests for love and fitted all the descriptions.
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Patricia Highsmith (The Price of Salt)
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She thought of people she had seen holding hands in movies, and why shouldn't she and Carol?
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Patricia Highsmith (The Price of Salt)
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I know you have it in you, Guy," Anne said suddenly at the end of a silence, "the capacity to be terribly happy.
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Patricia Highsmith (Strangers on a Train)
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What a strange girl you are.” β€œWhy?” β€œFlung out of space,” Carol said.
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Patricia Highsmith
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Then Carol slipped her arm under her neck, and all the length of their bodies touched fitting as if something had prearranged it. Happiness was like a green vine spreading through her, stretching fine tendrils, bearing flowers through her flesh. She had a vision of a pale white flower, shimmering as if seen in darkness, or through water. Why did people talk of heaven, she wondered
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Patricia Highsmith (The Price of Salt)
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January. It was all things. And it was one thing, like a solid door. Its cold sealed the city in a gray capsule. January was moments, and January was a year. January rained the moments down, and froze them in her memory: [...]Every human action seemed to yield a magic. January was a two-faced month, jangling like jester's bells, crackling like snow crust, pure as any beginning, grim as an old man, mysteriously familiar yet unknown, like a word one can almost but not quite define.
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Patricia Highsmith (The Price of Salt)
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Her life was a series of zigzags. At nineteen, she was anxious.
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Patricia Highsmith (The Price of Salt)
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Do you like her' ''Of course!' What a question! Like asking her if she believe in God.
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Patricia Highsmith (The Price of Salt)
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The justice I have received, I shall give back.
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Patricia Highsmith (The Glass Cell)
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But there was not a moment when she did not see Carol in her mind, and all she saw, she seemed to see through Carol. That evening, the dark flat streets of New York, the tomorrow of work, the milk bottle dropped and broken in her sink, became unimportant. She flung herself on her bed and drew a line with a pencil on a piece of paper. And another line, carefully, and another. A world was born around her, like a bright forest with a million shimmering leaves.
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Patricia Highsmith (Carol)
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But when they kissed goodnight in bed, Therese felt their sudden release, that leap of response in both of them, as if their bodies were of some materials which put together inevitably created desire.
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Patricia Highsmith (The Price of Salt)
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What could be duller than past history!' Therese said, smiling. 'Maybe futures that won't have any history.
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Patricia Highsmith (The Price of Salt)
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The night was a time for bestial affinities, for drawing closer to oneself.
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Patricia Highsmith (Strangers on a Train)
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I think friendships are the result of certain needs that can be completely hidden from both people, sometimes hidden forever.
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Patricia Highsmith (The Price of Salt)
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At any rate, Therese thought, she was happier than she ever had been before. And why worry about defining everything?
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Patricia Highsmith (The Price of Salt)
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This is what I like, sitting at a table and watching people go by. It does something to your outlook on life. The Anglo-Saxons make a great mistake not staring at people from a sidewalk table.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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How easy it was to lie when one had to lie!
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Patricia Highsmith (Strangers on a Train)
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If you wanted to be cheerful, or melancholic, or wistful , or thoughtful, or courteous, you simply had to act those things with every gesture.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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Honestly, I don't understand why people get so worked up about a little murder!
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Patricia Highsmith (Ripley Under Ground (Ripley, #2))
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Tom laughed at the phrase "sexual deviation." Where was the sex? Where was the deviation? He looked at Freddie and said low and bitterly: "Freddie Miles, you're a victim of your own dirty mind.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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What chance combination of shadow and sound and his own thoughts had created it?
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Patricia Highsmith (Strangers on a Train)
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Was life, were human relations like this always, Therese wondered. Never solid ground underfoot. Always like gravel, a little yielding, noisy so the whole world could hear, so one always listened, too, for the loud, harsh step of the intruder's foot.
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Patricia Highsmith (The Price of Salt)
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One situation – maybe one alone – could drive me to murder: family life, togetherness.
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Patricia Highsmith
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What a strange girl you are." "Why?" "Flung out of space," Carol said.
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Patricia Highsmith (The Price of Salt)
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They were not friends. They didn't know each other. It struck Tom like a horrible truth, true for all time, true for the people he had known in the past and for those he would know in the future: each had stood and would stand before him, and he would know time and time again that he would never know them, and the worst was that there would always be the illusion, for a time, that he did know them, and that he and they were completely in harmony and alike. For an instant the wordless shock of his realization seemed more than he could bear.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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They roared into the Lincoln Tunnel. A wild, inexplicable excitement mounted in Therese as she stared through the windshield. She wished the tunnel might cave in and kill them both, that their bodies might be dragged out together. She felt Carol glancing at her from time to time.
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Patricia Highsmith (The Price of Salt)
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Carol looked at her. "How do you become a poet?" "By feeling things - too much, I suppose," Therese answered conscientiously.
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Patricia Highsmith (Carol)
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You ask if I miss you. I think of your voice, your hands, and your eyes when you look straight into mine. I remember your courage that I hadn't suspected, and it gives me courage.
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Patricia Highsmith (The Price of Salt)
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Honesty, for me, is usually the worst policy imaginable.
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Patricia Highsmith
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He loved possessions, not masses of them, but a select few that he did not part with. They gave a man self-respect. Not ostentation but quality, and the love that cherished the quality. Possessions reminded him that he existed, and made him enjoy his existence. It was as simple as that. And wasn't that worth something? He existed. Not many people in the world knew how to, even if they had the money. It really didn't take money, masses of money, it took a certain security.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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She had seen just now what she had only sensed before, that the whole world was ready to be their enemy, and suddenly what she and Carol had together seemed no longer love or anything happy but a monster between them, with each of them caught in a fist.
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Patricia Highsmith (The Price of Salt)
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Nothing was true but the fatigue of life and the eternal disappointment.
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Patricia Highsmith (This Sweet Sickness)
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The dusky and faintly sweet smell of her perfume came to Therese again, a smell suggestive of dark green silk, that was hers alone, like the smell of a special flower.
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Patricia Highsmith (The Price of Salt)
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We will never fight again, our lovely, quick, template-ready arguments. Our delicate cross-stitch of bickers. The house becomes a physical encyclopedia of no-longer hers, which shocks and shocks and is the principal difference between our house and a house where illness has worked away. Ill people, in their last day on Earth, do not leave notes stuck to bottles of red wine saying β€˜OH NO YOU DON’T COCK-CHEEK’. She was not busy dying, and there is no detritus of care, she was simply busy living, and then she was gone. She won’t ever use (make-up, turmeric, hairbrush, thesaurus). She will never finish (Patricia Highsmith novel, peanut butter, lip balm). And I will never shop for green Virago Classics for her birthday. I will stop finding her hairs. I will stop hearing her breathing.
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Max Porter (Grief Is the Thing with Feathers)
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His stories were good because he imagined them intensely, so intensely that he came to believe them.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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I'm going to enjoy what I've got as long as it lasts.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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He remembered that right after that, he had stolen a loaf of bread from a delicatessen counter and had taken it home and devoured it, feeling that the world owed a loaf of bread to him, and more.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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But there were too many points at which the other self could invade the self he wanted to preserve, and there were too many forms of invasion: certain words, sounds, lights, actions his hands or feet performed, and if he did nothing at all, heard and saw nothing, the shouting of some triumphant inner voice that shocked him and cowed him.
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Patricia Highsmith (Strangers on a Train)
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A rush of panic comforted him with its familiarity.
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Patricia Highsmith (Strangers on a Train)
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I got a theory a person ought to do everything it’s possible to do before he dies, and maybe die trying to do something that’s really impossible.
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Patricia Highsmith (Strangers on a Train)
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She tried to keep her voice steady, but it was pretense, like pretending self-control when something you loved was dead in front of your eyes. They would have to separate here.
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Patricia Highsmith (The Price of Salt)
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Carol raised her hand slowly and brushed her hair back, once on either side, and Therese smiled because the gesture was Carol, and it was Carol she loved and would always love. Oh, in a different way now because she was a different person, and it was like meeting Carol all over again, but it was still Carol and no one else. It would be Carol, in a thousand cities, a thousand houses, in foreign lands where they would go together, in heaven and in hell. Therese waited. Then as she was about to go to her, Carol saw her, seemed to stare at her incredulously a moment while Therese watched the slow smile growing, before her arm lifted suddenly, her hand waved a quick, eager greeting that Therese had never seen before. Therese walked toward her.
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Patricia Highsmith (The Price of Salt)
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She was conscious of the moments passing like irrevocable time, irrevocable happiness, for in these last seconds she might turn and see the face she would never see again.
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Patricia Highsmith (Carol)
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I feel I am in love with you, and it should be spring. I want the sun throbbing on my head like chords of music. I think of a sun like Beethoven, a wind like Debussy, and birdcalls like Stravinsky. But the tempo is all mine.
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Patricia Highsmith (Carol)
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Happiness was like a green vine spreading through her, stretching fine tendrils, bearing flowers through her flesh. She had a vision of a pale-white flower, shimmering as if seen in darkness, or through water. Why did people talk of heaven, she wondered.
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Patricia Highsmith (The Price of Salt)
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Mr Greenleaf was such a decent fellow himself, he took it for granted that everybody else in the world was decent, too. Tom had almost forgotten such people existed.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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Something always turned up. That was Tom's philosophy.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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I think of a sun like Beethoven, a wind like Debussy, and birdcalls like Stravinsky. But the tempo is all mine.
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Patricia Highsmith (The Price of Salt)
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What else mattered except being with Carol, anywhere, anyhow?
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Patricia Highsmith (The Price of Salt)
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I'd had a little feeling of destiny. Because, you see, what I mean about affinities is true from friendships down to even the accidental glance at someone on the street-there's always a definite reason somewhere. I think even the poets would agree with me.
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Patricia Highsmith (The Price of Salt)
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People, feelings, everything! Double! Two people in each person. There's also a person exactly the opposite of you, like the unseen part of you, somewhere in the world, and he waits in ambush.
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Patricia Highsmith (Strangers on a Train)
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Who am I, anyway? Does one exist, or to what extent does one exist as an individual without friends, family, anybody to whom one can relate, to whom one’s existence is of the least importance?
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Patricia Highsmith (The Tremor of Forgery)
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Love was supposed to be a kind of blissful insanity.
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Patricia Highsmith (The Price of Salt)
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I have been sadder than any man could be: for nothing in the world was made for me.
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Patricia Highsmith
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Thanks for all the wonderful memories. They're like something in a museum already or something preserved in amber, a little unreal, as you must have felt yourself always to me
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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An inarticulate anxiety, a desire to know, know anything, for certain, had jammed itself in her throat so for a moment she felt she could hardly breathe. Do you think, do you think, it began. Do you think both of us will die violently someday, be suddenly shut off? But even that question wasn’t definite enough. Perhaps it was a statement after all: I don’t want to die yet without knowing you. Do you feel the same way, Carol? She could have uttered the last question, but she could not have said all that went before it.
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Patricia Highsmith (The Price of Salt)
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...It had all happened in that instant she had seen Carol standing in the middle of the floor, watching her. Then the realization that so much had happened after that meeting made her feel incredibly lucky suddenly. It was so easy for a man and woman to find each other, to find someone who would do, but for her to have found Carol-
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Patricia Highsmith (The Price of Salt)
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-ΒΏHay algo mΓ‘s aburrido que la historia del pasado? -dijo Therese sonriendo. -QuizΓ‘ un futuro sin historia.
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Patricia Highsmith (The Price of Salt)
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But even that question wasn’t definite enough. Perhaps it was a statement after all: I don’t want to die yet without knowing you.
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Patricia Highsmith (The Price of Salt)
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There were many times when logic was of no comfort.
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Patricia Highsmith (Deep Water)
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Even the pearl at her earlobe looked alive, like a drop of water that a touch might destroy.
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Patricia Highsmith (The Price of Salt)
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I think there’s a definite reason for every friendship just as there’s a reason why certain atoms unite and others don’tβ€”certain missing factors in one, or certain present factors in the other
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Patricia Highsmith (The Price of Salt)
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Our actions and responsibilities are our own; what later returns to either haunt or applaud us is neither possible to predict nor always completely understandable.
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Patricia Highsmith (Nothing That Meets the Eye: The Uncollected Stories of Patricia Highsmith)
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She hated cleaning up after making something.
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Patricia Highsmith (The Price of Salt)
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It was easy, after all, simply to open the door and escape. It was easy, she thought, because she was not really escaping at all.
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Patricia Highsmith (The Price of Salt)
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one blow in anger [would] kill, probably, a child from aged two to eight. Those over eight would take two blows to kill.
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Patricia Highsmith
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The flowers you gave meβ€”they died.
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Patricia Highsmith (Carol)
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Tom envied him with a heartbreaking surge of envy and self-pity.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
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Thinking no more about it, he stepped off into that cool space, that fast descent to her, with nothing in his mind but a memory of a curve of her shoulder, naked, as he had never seen it.
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Patricia Highsmith (This Sweet Sickness)
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Beyond the table, there is an altar, with candles lit for Billie Holiday and Willa Carter and Hypatia and Patsy Cline. Next to it, an old podium that once held a Bible, on which we have repurposed an old chemistry handbook as the Book of Lilith. In its pages is our own liturgical calendar: Saint Clementine and All Wayfarers; Saints Lorena Hickok and Eleanor Roosevelt, observed in the summer with blueberries to symbolize the sapphire ring; the Vigil of Saint Juliette, complete with mints and dark chocolate; Feast of the Poets, during which Mary Oliver is recited over beds of lettuce, Kay Ryan over a dish of vinegar and oil, Audre Lorde over cucumbers, Elizabeth Bishop over some carrots; The Exaltation of Patricia Highsmith, celebrated with escargots boiling in butter and garlic and cliffhangers recited by an autumn fire; the Ascension of Frida Khalo with self-portraits and costumes; the Presentation of Shirley Jackson, a winter holiday started at dawn and ended at dusk with a gambling game played with lost milk teeth and stones. Some of them with their own books; the major and minor arcana of our little religion.
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Carmen Maria Machado (Her Body and Other Parties: Stories)
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A kiss, for instance, is not to be minimized, or its value judged by anyone else. I wonder do these men grade their pleasure in terms of whether their actions produce a child or not, and do they consider them more pleasant if they do. It is a question of pleasure after all, and what’s the use of debating the pleasure of an ice cream cone versus a football game β€” or a Beethoven quartet versus the Mona Lisa. I’ll leave that to the philosophers.
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Patricia Highsmith (The Price of Salt)
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In view of the fact that I surround myself with numbskulls now, I shall die among numbskulls, and on my deathbed shall be surrounded by numbskulls who will not understand what I am saying ... Whom am I sleeping with these days ? Franz Kafka.
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Patricia Highsmith
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January. It was all things. And it was one thing, like a solid door. Its cold sealed the city in a gray capsule. January was moments, and January was a year. January rained the moments down, and froze them in her memory:
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Patricia Highsmith (The Price of Salt)
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Their eyes met at the same instant moment, Therese glancing up from a box she was opening, and the woman just turning her head so she looked directly at Therese. She was tall and fair, her long figure graceful in the loose fur coat that she held open with a hand on her waist, her eyes were grey, colorless, yet dominant as light or fire, and, caught by them, Therese could not look away. She heard the customer in front of her repeat a question, and Therese stood there, mute. The woman was looking at Therese, too, with a preoccupied expression, as if half her mind were on whatever is was she meant to buy here, and though there were a number of salesgirls between them, There felt sure the woman would come to her, Then, Then Therese saw her walk slowly towards the counter, heard her heart stumble to catch up with the moment it had let pass, and felt her face grow hot as the woman came nearer and nearer.
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Patricia Highsmith (The Price of Salt)
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January was a two-faced month, jangling like jester’s bells, crackling like snow crust, pure as any beginning, grim as an old man, mysteriously familiar yet unknown, like a word one can almost but not quite define.
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Patricia Highsmith (The Price of Salt, or Carol)
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Carol raised her hand slowly and brushed her hair back, once on either side, and Therese smiled because the gesture was Carol, and it was Carol she loved and would always love. Oh, in a different way now, because she was a different person, and it was like meeting Carol all over again, but it was still Carol and no one else. It would be Carol, in a thousand cities, a thousand houses, in foreign lands where they would go together, in heaven and in hell.
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Patricia Highsmith (Carol)
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There was something demoniacal and insuperable about typographical errors, as if they were part of the natural evil that permeated man's existence, as if they had a life of their own and were determined to manifest themselves no matter what, as surely as weeds in the best-tended gardens.
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Patricia Highsmith (Deep Water)
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But Carol had not betrayed her. Carol loved her more than she loved her child. That was part of the reason why she had not promised. She was gambling now as she had gambled on getting everything from the detective that day on the road, and she lost then, too. And now she saw Carol's face changing, saw the little signs of astonishment and shock so subtle that perhaps only she in the world could have noticed them, and Therese could not think for a moment.
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Patricia Highsmith (The Price of Salt)
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She knew what bothered her at the store...It was that the store intensified things that had always bothered her, as long as she could remember. It was the pointless actions, the meaningless chores that seemed to keep her from doing what she wanted to do, might have done-and here it was the complicated procedures with moneybags, coat checkings, and time clocks that kept people from even serving the store as efficiently as they might-the sense that everyone was incommunicado with everyone else and living on an entirely wrong plane, so that the meaning, the message, the love, or whatever it was that each life contained, never could find its expression.
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Patricia Highsmith (The Price of Salt)
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Fantasy, an unflagging optimism is necessary for a writer at all stages of this rough game. A kind of madness is therefore necessary, when there is every logical reason for a state of depression and discouragement. Perhaps the fact that I can react with utter gloom to this is what keeps me from being psychotic and keeps me merely neurotic. I am doing quite a good day's work today. But I am also aware of the madness that actually sustains me, and I am not made more comfortable or happy by it.
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Patricia Highsmith
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But love and hate, he thought now, good and evil, lived side by side in the human heart, and not merely in differing proportions in one man and the next, but all good and all evil. One had merely to look for a little of either to find it all, one had merely to scratch the surface. All things had opposites close by, every decision a reason against it, every animal an animal that destroys it, the male the female, the positive the negative.
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Patricia Highsmith (Strangers on a Train)
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Therese was propped up on one elbow. The milk was so hot, she could barely let her lip touch it at first. The tiny sips spread inside her mouth and released a melange of organic flavors. The milk seemed to taste of bone and blood, of warm flesh, or hair, saltless as chalk yet alive as a growing embryo. It was hot through and through to the bottom of the cup, and Therese drank it down, as people in fairy tales drink the potion that will transform, or the unsuspecting warrior the cup that will kill, Then Carol came and took the cup, and Therese was drowsily aware that Carol asked her three questions, on that had to do with happiness, one about the store and one about the future. Therese heard herself answering. She heard her voice rise suddenly in a babble, like a spring that she had no control over, and she realized she was in tears. She was telling Carol all that she feared and disliked, of her loneliness, of Richard, and of gigantic disappointments.
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Patricia Highsmith (The Price of Salt)
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Forever, Tom thought. Maybe he’d never go back to the States. It was not so much Europe itself as the evenings he had spent alone, here and in Rome, that made him feel that way. Evenings by himself simply looking at maps, or lying around on sofas thumbing through guidebooks. Evenings looking at his clothes - his clothes and Dickie’s - and feeling Dickie’s rings between his palms, and running his fingers over the antelope suitcase he had bought at Gucci’s. He had polished the suitcase with a special English leather dressing, not that it needed polishing because he took such good care of it, but for its protection. He loved possessions, not masses of them, but a select few that he did not part with. They gave a man self-respect. Not ostentation but quality, and the love that cherished the quality. Possessions reminded him that he existed, and made him enjoy his existence. It was as simple as that. And wasn’t that worth something? He existed. Not many people in the world knew how to, even if they had the money. It really didn’t take money, masses of money, it took a certain security. He had been on the road to it, even with Marc Priminger. He had appreciated Marc’s possessions, and they were what had attracted him to the house, but they were not his own, and it had been impossible to make a beginning at acquiring anything of his own on forty dollars a week. It would have taken him the best years of his life, even if he had economised stringently, to buy the things he wanted. Dickie’s money had given him only an added momentum on the road he had been travelling. The money gave him the leisure to see Greece, to collect Etruscan pottery if he wanted (he had recently read an interesting book on that subject by an American living in Rome), to join art societies if he cared to and to donate to their work. It gave him the leisure, for instance, to read his Malraux tonight as late as he pleased, because he did not have to go to a job in the morning. He had just bought a two-volume edition of Malraux’s Psychologic de I’art which he was now reading, with great pleasure, in French with the aid of a dictionary.
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Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))