Popular Loner Quotes

It is so easy at times for a lonely individual to begin fantasizing about what the people outside are saying about him and, in result, irrationally and fearfully, and sometimes angrily, fancy himself a villain.

Starting this day, she was no longer going to be quiet, a wallflower no more.

I wanted so badly to be seen, yet my pride prevented me from obviously asking to be seen. I did not want to be seen by demand, but rather by their choosing.

There is no doubt that Einstein's pipe was his closest associate, while others--including wife and family--were never permitted the illusion that they would ever be at the center of his life.

Woz became more of a loner when the boys his age began going out with girls and partying, endeavors that he found far more complex than designing circuits. “Where before I was popular and riding bikes and everything,

Everyone cares about fitting in, that’s the truth of it. Even the most self-assured person you know. The pretty. The popular. The loners. The ones who forge their own path. The ones who swear they don’t give a fuck what anyone thinks.

Company' just means that someone is around you. Many of us have company but not true community. Everyone needs community, whether you're the popular kid or the loner.

A universally loved rebel, an immensely popular loner, the imaginary writer is everyone's favorite, if only because you don't have to read anything to appreciate their work, although I must say I prefer their earlier stuff.

The immense popularity of Charlie Chaplin and Mickey Mouse shows that, although weak themselves, without expressly desiring it they can come to be defenders of the weak. Both have renounced the security of social prestige. They are poor, humble, and solitary in a world where there is no place for them. But from time to time, they put the powerful in their place. For the middle-class man, in a modern society, there is only the choice to accept the ideology of success (with the discipline that results) or to renounce the world. Charlie Chaplin and Mickey Mouse are amusing because they are sardonic loners who give social failure an ironic dignity.

Human beings cobble together their own mythologies over time. I was unloved, I was too loved, I was popular, a loner, misunderstood, persecuted, stupid, a winner. We use the past to explain ourselves.

There exists a culture shared even by those who are dissatisfied with mass culture, and it is among the most dangerous precisely because it is dazzling—deceptive. It is a culture that belongs to those who are "dissatisfied with the world as it is." This manifests in the following ways: They still carry a certain belief and hope in humanity. If they suffer, they might dream that their suffering will one day “be heard by everyone.” Through their works, they may fantasize about becoming popular. They might romanticize the psychiatric term "trauma." They might aim to "fix and recover" things or people. They might set their minds on leaving a "meaningful impact" and become activists. They might frequently “discuss” on philosophy forums. They might be aiming at “dark vibes.” They might cling to mottos like “forever alone.” They might refer to themselves as "just a random book lover.” They might have interests in “just some random weird stuff.” They might still be screaming into the void. They might try to “prove their depth” publicly. They might refer to themselves as "lost souls" to the point of weariness, even internalizing this very term—coined by the system to reduce by classifying them—implying a form of domesticated rebellion. And so on. These supposed outsiders are actually on the inside, worshipping at the altar of visibility, validation, and vague worldly hope. Their beliefs—“art-as-cure,” “literature-as-refuge,” “activism-as-purpose”—are not radical to the point of exile but packaged and predictable. They don't reject the system; they only ask to be understood within its boundaries. They weep, but with an eye to applause. They write, but always with a publisher in mind. They compose, but just to make money. They mourn, but only to be noticed. They claim detachment, but still speak as if begging to be liked and heard. They imagine themselves as “wild,” but only within the categories that subcultures and language allow. After all, there are two ends to the ruins: on one end, these kinds of “loners” who are still tied to conventional wisdom; and on the other, the utterly unknown, mystic, cosmic, and free spirits who have transcended everything human.