Self Imposed Exile Quotes

We've searched our database for all the quotes and captions related to Self Imposed Exile. Here they are! All 25 of them:

He had been born in Mussolini’s Italy. He had survived decades in the time-warp reality of the Lotus Casino. He’d emerged in modern times disoriented and culture-shocked, arrived at Camp Half-Blood, and promptly lost his sister Bianca to a dangerous quest. He had wandered the Labyrinth in self-imposed exile, being tortured and brainwashed by a malevolent ghost. He’d overcome everyone’s distrust and emerged from the Battle of Manhattan as a hero. He’d been captured by giants during the rise of Gaea. He’d wandered Tartarus alone and somehow managed to come out alive. And through it all, he’d struggled with his upbringing as a conservative Catholic Italian male from the 1930s and finally learned to accept himself as a young gay man. Anyone who could survive all that had more resilience than Stygian iron.
Rick Riordan (The Tower of Nero (The Trials of Apollo, #5))
It's not good to live so much inside oneself. It's a self-imposed exile, really. It makes you different.
Nancy Horan (Loving Frank)
I'm in self-imposed exile, cradled between split branches, in my favorite tree in the woods behind school. I've been coming here every day at lunch, hiding out until the bell rings, whittling words into the branches with my pen, allowing my heart to break in private.
Jandy Nelson (The Sky Is Everywhere)
Inferiority is not banal or incidental even when it happens to women. It is not a petty affliction like bad skin or circles under the eyes. It is not a superficial flaw in an otherwise perfect picture. It is not a minor irritation, nor is it a trivial inconvenience, an occasional aggravation, or a regrettable but (frankly) harmless lapse in manners. It is not a “point of view” that some people with soft skins find “ offensive. ” It is the deep and destructive devaluing of a person in life, a shredding of dignity and self-respect, an imposed exile from human worth and human recognition, the forced alienation of a person from even the possibility of wholeness or internal integrity. Inferiority puts rightful self-love beyond reach, a dream fragmented by insult into a perpetually recurring nightmare; inferiority creates a person broken and humiliated inside. The fragments— scattered pieces and sharp slivers of someone who can never be made whole—are then taken to be the standard of what is normal in her kind: women are like that. The insult that hurt her—inferiority as an assault, ongoing since birth—is seen as a consequence, not a cause, of her so-called nature, an inferior nature. In English, a graceful language, she is even called a piece. It is likely to be her personal experience that she is insufficiently loved. Her subjectivity itself is second-class, her experiences and perceptions inferior in the world as she is inferior in the world. Her experience is recast into a psychologically pejorative judgment: she is never loved enough because she is needy, neurotic, the insufficiency of love she feels being in and of itself evidence of a deep-seated and natural dependency. Her personal experiences or perceptions are never credited as having a hard core of reality to them. She is, however, never loved enough. In truth; in point of fact; objectively: she is never loved enough. As Konrad Lorenz wrote: “ I doubt if it is possible to feel real affection for anybody who is in every respect one’s inferior. ” 1 There are so many dirty names for her that one rarely learns them all, even in one’s native language.
Andrea Dworkin (Intercourse)
...the intellectual is a person who nurtures, preserves and propagates independent judgment, a person loyal exclusively to truth, a courageous and wrathful individual for whom no force of this world is too great or too frightening not to be subjected to scrutiny and called to account. ... A true intellectual, a genuine one, is always an outsider, …he is a person who lives in self-imposed exile on the margins of society.
Daša Drndić (Belladonna)
This is my family, and the noise around me is soothing in a way it hasn't been in quite a long time. That's mostly my doing, I know, given my self-imposed exile in the Land of Sorrow. But hearing the overlapping voices and laughter, seeing the bright eyes and smiles, does more for me than I thought it could.
T.J. Klune (Into This River I Drown)
Baldwin and Kanafani were contemporaries thousands of miles apart, who never met but lived parallel lives. They wrote with the same passion, the same irreverence and defiance; with overlapping wounds and bottomless love for their people. Baldwin was forced into self-imposed exile and Kanafani was assassinated by Israel. To be committed is to be in danger.
Susan Abulhawa (Against the Loveless World)
As a self-exiled exile, I would know the pain of Diaspora and the pleasure of imposing it
The Harvard Lampoon
This would become a lifelong pattern, sitting in my comfort zone high above the world in some sort of self-imposed exile.
Peggy Kopman-Owens (Never Change (The Apricot Tree House Mystery Series, #7))
Below the surface, the force driving noir stories is the urge to escape: from the past, from the law, from the ordinary, from poverty, from constricting relationships, from the limitations of the self. Noir found its fullest expression in America because the American psyche harbors a passion for independence . . . With this desire for autonomy comes a corresponding fear of loneliness and exile. The more we crave success, the more we dread failure; the more we crave freedom, the more we dread confinement. This is the shadow that spawns all of noir’s shadows: the anxiety imposed by living in a country that elevates opportunity above security; one that instills the compulsion to “make it big," but offers little sympathy to those who fall short. Film noir is about people who break the rules, pursuing their own interests outside the boundaries of decent society, and about how they are destroyed by society - or by themselves. Noir springs from a fundamental conflict between the values of individual freedom and communal safety: a fundamental doubt that the two can coexist. . . . Noir stories are powered by the need to escape, but they are structured around the impossibility of escape: their fierce, thwarted energy turns inward. The ultimate noir landscape, immeasurable as the ocean and confining as a jail cell, is the mind - the darkest city of all.
Imogen Sara Smith (In Lonely Places: Film Noir Beyond the City)
This might not be what Emele pictured, but if I’m supposed to prod him from his self-imposed exile, I’m going to select a winning strategy rather than a conventional one. After musing over it for a few hours, Elle had decided that the best way to befriend His Illegitimate Highness Prince Severin, based on his personality and her observations, was to be as inconspicuous as possible and steadily invade his life. If she made him uncomfortable along the way, so be it. In fact, that would be preferred!
K.M. Shea (Beauty and the Beast (Timeless Fairy Tales, #1))
Nico di Angelo wasn’t physically imposing like Sherman Yang. He didn’t have Reyna Ramírez-Arellano’s air of authority, or Hazel Levesque’s commanding presence when she charged into battle on horseback. But Nico wasn’t someone I would ever want as an enemy. He was deceptively quiet. He appeared anemic and frail. He kept himself on the periphery. But Will was right about how much Nico had been through. He had been born in Mussolini’s Italy. He had survived decades in the time-warp reality of the Lotus Casino. He’d emerged in modern times disoriented and culture-shocked, arrived at Camp Half-Blood, and promptly lost his sister Bianca to a dangerous quest. He had wandered the Labyrinth in self-imposed exile, being tortured and brainwashed by a malevolent ghost. He’d overcome everyone’s distrust and emerged from the Battle of Manhattan as a hero. He’d been captured by giants during the rise of Gaea. He’d wandered Tartarus alone and somehow managed to come out alive. And through it all, he’d struggled with his upbringing as a conservative Catholic Italian male from the 1930s and finally learned to accept himself as a young gay man. Anyone who could survive all that had more resilience than Stygian iron.
Rick Riordan (The Tower of Nero (The Trials of Apollo, #5))
It was a sign of the times that a Russian could joke, however wryly, about his country’s treatment of its greatest scientist. Floyd was again reminded of Sakharov’s eloquent speech to the Academy, when he was belatedly made Hero of the Soviet Union. Prison and banishment, he had told his listeners, were splendid aids to creativity; not a few masterpieces had been born within the walls of cells, beyond the reach of the world’s distractions. For that matter, the greatest single achievement of the human intellect, the Principia itself, was a product of Newton’s self-imposed exile from plague-ridden London. The comparison was not immodest; from those years in Gorky had come not only new insights into the structure of matter and the origin of the Universe, but the plasma-controlling concepts that had led to practical thermonuclear power. The drive itself, though the best-known and most publicized outcome of that work, was merely one by-product of that astonishing intellectual outburst. The tragedy was that such advances had been triggered by injustice; one day, perhaps, humanity would find more civilized ways of managing its affairs.
Arthur C. Clarke (2010: Odyssey Two (Space Odyssey, #2))
It was a strange thing to hear from a man in self-imposed exile from his homeland. On the other hand, it sounded just right from a man who had been nothing but an outsider at home. His exile had begun long before he left Sri Lanka for good.
Samanth Subramanian (This Divided Island: Stories from the Sri Lankan War)
It was too hard, too messy, too complicated. I sort of lived in a self-imposed exile for a good many years. I went away to college, lived my own life, chased my dreams, tried to face some demons. I guess I thought I could do all those things on my won. I thought that because I was gay, my family, well, they'd hate me or they wouldn't understand me or they'd send me away. So I just sent myself away. It was easier for me to pretend that I didn't belong to a family. I tried to pretend I didn't belong to anyone.
Benjamin Alire Sáenz (The Inexplicable Logic of My Life)
I stepped aside from all this to heal, and because I thought I could no longer be a part of it. Now, I’ve returned and I look around me and think, I’ve missed my life. While I was off and alone, it went on here, without me, and I’m forever doomed to be a stranger in my own home.” “Regrets are useless,” the Fool replied. “All you can do is start from where you are. And who knows? Perhaps what you bring back from your self-imposed exile may prove to be just what is needed.” “And time flies by us, even as we speak.” “Quite so.
Robin Hobb (Fool's Errand (Tawny Man, #1))
He thought: Jessica, mother of Muad’Dib and grandmother of these royal twins, returns to our planet today. Why does she end her self-imposed exile at this time? Why does she leave the softness and security of Caladan for the dangers of Arrakis?
Frank Herbert (Children of Dune (Dune, #3))
Each member of this shadowy network resented the others, who were irritating reminders that nothing was more American, whatever that means, than fleeing the American, whatever that is, and that their soft version of self-imposed exile was just another of late empire's packaged tours.
Ben Lerner
Such was the Mafia control of Batista that he could have retaken power in Cuba at almost any moment of his self-imposed exile. And that power saved Sinatra and Alora Gooding, who decades later finally revealed to her daughter Julie the details of the deaths in Room 214, the luxury suite she was sharing with Frank Sinatra.
Mike Rothmiller (Frank Sinatra and the Mafia Murders)
England. When she entered her self-imposed exile in the colonies, she’d never expected to see it again. Now, she wondered if she was seeing it for the last time. An unexpected gift, perhaps. Or an unlooked-for cruelty.
Elizabeth Bear (New Amsterdam (New Amsterdam, #1))
The Other Side of the Wind is the story of Jake Hannaford, a hard-drinking, big-game-hunting, womanizing, adventure-seeking director who loves to shoot in remote locations around the world and revels in putting himself, his cast, and his crew in dangerous situations. Welles would joke that at least one crew member dies on the set of every Hannaford film. A product of the studio system, Hannaford fell out of favor and retreated to Europe for a few years of self-imposed exile and has finally returned to Los Angeles, seeking end money to complete his artsy, modernist attempt at a sex-infused and violence-laden comeback movie that reflects the style and values of New Hollywood circa 1970. As Welles mentioned in his introduction, the film examines the last day of Hannaford’s life as viewed through the medium of film in
Josh Karp (Orson Welles's Last Movie: The Making of The Other Side of the Wind)
When the star of Islam rises, the Jews rise with it to a golden age of intellectual creativity. When feudalism settles over Europe, they open shop as its bankers and scholars. And when the Modern Age struts in, we find them sitting on the architectural staff shaping it. If we now shift our sights from a general view of the history of civilizations to focus on that of the Jews only, we see an equally incredible succession of events. We see Jewish history begin with one man, Abraham, who introduces a new concept to the world—monotheism—which he hands to his descendants. Now Jewish history hits the roads of the world. After a nomadic existence in Canaan, enslavement in Egypt, and settlement of Palestine; after defeat by the Assyrians, captivity by the Babylonians, and freedom under the Persians; after an intellectual clash with the Greeks, strife under the Maccabeans, and dispersion by the Romans; after flourishing as mathematicians, poets, and scientists under Moslem rule; after surviving as scholars, businessmen, and ghetto tenants under feudal lords; after surviving as statesmen, avant-garde intellectuals, and concentration camp victims in the Modern Age, a small segment of these descendants of Abraham return—after a 2,000-year absence—to reestablish Israel, while the rest choose to remain in the world at large in a self-imposed exile. Such a succession of events would be improbable were it not historic fact. What can we make of these events? Are they mere accidents of history? Are they but blind, stumbling, meaningless facts, a series of causes and effects without a definite design? Or is this improbable succession of events part of what philosophers call “teleologic history”—that is, a succession of events having a predetermined purpose. If so, who drafted such a blueprint? God? Or the Jews themselves? Why would God choose the Jews as His messengers for a divine mission? Or, to use William Norman Ewer’s trenchant phrase, “How odd of God to choose the Jews.” The equally trenchant rejoinder by Leon Roth is, “It’s not so odd. The Jews chose God.” If God had a need for messengers to carry out a mission, He would have
Max I. Dimont (The Indestructible Jews)
I'm in lockdown , self imposed exile, just me myself and Denial! I 'm in lockdown, in good company. Denial, myself and ME! I'm in lockdown, Oh YES! Self imposed house arrest! No one can get me, everyone will leave me be! They'll compare me to Amy and Britney, but I just wanna figure out ME!
Denise Byers (Shattered)
I settled down in the more comfortable of the two chairs to bring myself up to date on how the mother country was getting along without me. Badly was my immediate impression, the main news amply justifying my self-imposed exile.
Ritchie Perry (The Fall Guy)
At times like this, he questioned his self-imposed exile. Living apart from the world was not easy. There was a price to be paid for choosing the less-traveled road. Little things, bigger ones.
Jeff Long (The Descent (Descent, #1))