Stein Night Quotes

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You are all a lost generation," Gertrude Stein said to Hemingway. We weren't lost. We knew where we were, all right, but we wouldn't go home. Ours was the generation that stayed up all night.
James Thurber (Selected Letters)
She died that night. Her last breath took her soul, I saw it in my dream. I saw her soul leave her body as she exhaled, and then she had no more needs, no more reason; she was released from her body, and being released, she continued her journey elsewhere, high in the firmament where soul material gathers and plays out all the dreams and joys of which we temporal beings can barely conceive, all the things that are beyond our comprehension, but even so, are not beyond our attainment if we choose to attain them, and believe that we truly can.
Garth Stein (The Art of Racing in the Rain)
I want to kiss you. I want to so badly I can barely think of anything else. When you enter a room it’s my only thought, and it torments me night and day.
Charlotte Stein (Run to You)
A novel is what you dream in your night sleep. A novel is not waking thoughts although it is written and thought with waking thoughts. But really a novel goes as dreams go in sleeping at night and some dreams are like anything and some dreams are like something and some dreams change and some dreams are quiet and some dreams are not. And some dreams are just what any one would do only a little different always just a little different and that is what a novel is.
Gertrude Stein (How Writing Is Written : Volume II of the Previously Uncollected Writings of Gertrude Stein)
On the way back something very strange happened. I didn't realize I was going to say it, but I said out loud, "I wish I was dead"... the love and the beauty and the ecstasy of the whole experience I'd just gone through were really so alien. I didn't even know the man... it had been a one-night jag... he was married and had children... and I just felt lost. It hardly seemed worth living any more because once again I was alone.
Jean Stein (Edie: American Girl)
Last night when you called I told you I was happy, which was true, but thinking ahead I could be unhappy, too, if that’s what you wanted. I could be any of a lot of things: a wrist, a ghost, a harbor, a rope. I could be the one who doesn’t know the language. I could be the reason they take you first. I could be the last person to see you alive.
Leigh Stein
Eve and Denny were in love with the place. They spent almost the entire first night there rolling around naked in every room except Zoë’s.
Garth Stein (The Art of Racing in the Rain)
You could fill a catalog with all you long for - for him to come back, for a do-over, for a different ending in which not only were you strong and said good-bye but he lived and made a success of his life and decades later you could look back together on your twenties and laugh at all your follies, for his voice on the other end of the phone call, for one more of those Albuquerque nights when it was easy to fall asleep knowing he was just in the next room.
Leigh Stein (Land of Enchantment)
Our great philosophers, our greatest poets, shrivel down to a single successful sentence, he said, I thought, that’s the truth, often we remember only a so-called philosophical hue, he said, I thought. We study a monumental work, for example Kant’s work, and in time it shrivels down to Kant’s little East Prussian head and to a thoroughly amorphous world of night and fog, which winds up in the same state of helplessness as all the others, he said, I thought. He wanted it to be a monumental world and only a single ridiculous detail is left, he said, I thought, that’s how it always is. Even Shakespeare shrivels down to something ridiculous for us in a clearheaded moment, he said, I thought. For a long time now the gods appear to us only in the heads on our beer steins, he said, I thought. Only a stupid person is amazed, he said, I thought. The so-called intellectual consumes himself in what he considers pathbreaking work and in the end has only succeeded in making himself ridiculous, whether he’s called Schopenhauer or Nietzsche, it doesn’t matter, even if he was Kleist or Voltaire we still see a pitiful being who has misused his head and finally driven himself into nonsense. Who’s been rolled over and passed over by history. We’ve locked up the great thinkers in our bookcases, from which they keep staring at us, sentenced to eternal ridicule, he said, I thought. Day and night I hear the chatter of the great thinkers we’ve locked up in our bookcases, these ridiculous intellectual giants as shrunken heads behind glass, he said, I thought. All these people have sinned against nature, he said, they’ve committed first-degree murders of the intellect, that’s why they’ve been punished and stuck in our bookcases for eternity. For they’re choking to death in our bookcases, that’s the truth. Our libraries are so to speak prisons where we’ve locked up our intellectual giants, naturally Kant has been put in solitary confinement, like Nietzsche, like Schopenhauer, like Pascal, like Voltaire, like Montaigne, all the real giants have been put in solitary confinement, all the others in mass confinement, but everyone for ever and ever, my friend, for all time and unto eternity, my friend, that’s the truth.
Thomas Bernhard (The Loser)
One of the fastest ways to be genuinely happier is to develop a gratitude habit. Each night before going to sleep, list five things you’re grateful for that day. If you’re feeling really low and things are going terribly, sometimes it can be hard to think of five things, but do it anyway. At first it may even be that you’re most grateful for things that didn’t happen to make things worse; that’s all right, too. Just keep at it until you have at least five things.
Cara Stein (How to be Happy (No Fairy Dust or Moonbeams Required))
I close my eyes and listen vaguely in a half sleep as he does the things he does before he sleeps each night. Brushing and squirting and splashing. So many things. People and their rituals. They cling to things so hard sometimes.
Garth Stein (The Art of Racing in the Rain)
She died that night. Her last breath took her soul; I saw it in my dream. I saw her soul leave her body as she breathed out and then she had no more needs. She was released from her body and, being released, she continued her journey elsewhere. High in the heavens where soul material gathers and plays out all our dreams and joys.
Garth Stein (The Art of Racing in the Rain)
As I write this, I’m sitting in a café in Paris overlooking the Luxembourg Garden, just off of Rue Saint-Jacques. Rue Saint-Jacques is likely the oldest road in Paris, and it has a rich literary history. Victor Hugo lived a few blocks from where I’m sitting. Gertrude Stein drank coffee and F. Scott Fitzgerald socialized within a stone’s throw. Hemingway wandered up and down the sidewalks, his books percolating in his mind, wine no doubt percolating in his blood. I came to France to take a break from everything. No social media, no email, no social commitments, no set plans . . . except one project. The month had been set aside to review all of the lessons I’d learned from nearly 200 world-class performers I’d interviewed on The Tim Ferriss Show, which recently passed 100,000,000 downloads. The guests included chess prodigies, movie stars, four-star generals, pro athletes, and hedge fund managers. It was a motley crew. More than a handful of them had since become collaborators in business and creative projects, spanning from investments to indie film. As a result, I’d absorbed a lot of their wisdom outside of our recordings, whether over workouts, wine-infused jam sessions, text message exchanges, dinners, or late-night phone calls. In every case, I’d gotten to know them well beyond the superficial headlines in the media. My life had already improved in every area as a result of the lessons I could remember. But that was the tip of the iceberg. The majority of the gems were still lodged in thousands of pages of transcripts and hand-scribbled notes. More than anything, I longed for the chance to distill everything into a playbook. So, I’d set aside an entire month for review (and, if I’m being honest, pain au chocolat), to put together the ultimate CliffsNotes for myself. It would be the notebook to end all notebooks. Something that could help me in minutes but be read for a lifetime.
Timothy Ferriss (Tools of Titans: The Tactics, Routines, and Habits of Billionaires, Icons, and World-Class Performers)
Bavaria, September 1889 You must not go into the forest at night,” the innkeeper warned, his voice trembling with fear. “Something dangerous walks there in the darkness.” He carried on in this vein for some time as I applied myself to a stein of Weissbier
Deanna Raybourn (A Sinister Revenge (Veronica Speedwell, #8))
If I ever find myself before a firing squad, I will face my executioners without a blindfold, and I will think of Eve. Of what she said. It is not the end. She died that night. Her last breath took her soul, I saw it in my dream. I saw her soul leave her body as she exhaled, and then she had no more needs, no more reason; she was released from her body, and, being released, she continued her journey elsewhere, high in the firmament where soul material gathers and plays out all the dreams and joys of which we temporal beings can barely conceive, all the things that are beyond our comprehension, but even so, are not beyond our attainment if we choose to attain them, and believe that we truly can.
Garth Stein (The Art of Racing in the Rain)
She died that night. Her last breath took her soul, I saw it in my dream. I saw her soul leave her body as she exhaled, and then she had no more needs, no more reason; she was released from her body, and, being released, she continued her journey elsewhere, high in the firmament where soul material gathers and plays out all the dreams and joys of which we temporal beings can barely conceive, all the things what are beyond our comprehension, but even so, are not beyond our attainment if we choose to attain them, and believe that we truly can.
Garth Stein (The Art of Racing in the Rain)
So in both the West and the emerging world the state is in trouble. The mystery is why so many people assume that radical change is unlikely. The status quo in fact is the least likely option. As an American economist, Herbert Stein, once drily observed, “If something cannot go on for ever, it will stop.” Government will have to change shape dramatically over the coming decades. In the emerging world the era of growing by night is over. In the West the era of more is coming to an end. It is time for the Fourth Revolution.
John Micklethwait (The Fourth Revolution: The Global Race to Reinvent the State)
We have heard the stories: Duke Ellington would say, “I merely took the energy it takes to pout and wrote some blues.” 5 Tennessee Williams felt that “apparent failure” motivated him. He said it “sends me back to my typewriter that very night, before the reviews are out. I am more compelled to get back to work than if I had a success.” Many have heard that Thomas Edison told his assistant, incredulous at the inventor’s perseverance through jillions of aborted attempts to create an incandescent light bulb, “I have not failed, I’ve just found 10,000 ways that won’t work.” 6 “Only one look is enough. Hardly one copy would sell here. Hardly one. Hardly one. Many thanks . . .” read part of the rejection letter that Gertrude Stein received from a publisher in 1912.7 Sorting through dross, artists, entrepreneurs, and innovators have learned to transform askew strivings. The telegraph, the device that underlies the communications revolution, was invented by a painter, Samuel F. B. Morse, who turned the stretcher bars from what he felt was a failed picture into the first telegraph device. The 1930s RKO screen-test response “Can’t sing. Can’t act. Balding. Can dance a little” was in reference to Fred Astaire. We hear more stories from commencement speakers—from J. K. Rowling to Steve Jobs to Oprah Winfrey—who move past bromides to tell the audience of the uncommon means through which they came to live to the heights of their capacity. Yet the anecdotes of advantages gleaned from moments of potential failure are often considered cliché or insights applicable to some, not lived out by all.
Sarah Lewis (The Rise: Creativity, the Gift of Failure, and the Search for Mastery)
Here’s why I will be a good person. Because I listen. I cannot speak, so I listen very well. I never interrupt, I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another’s conversations constantly. It’s like having a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met at a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor’s yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story, you, hearing the words “soccer” and “neighbor” in the same sentence, might interrupt and mention that your childhood neighbor was Pelé, the famous soccer player, and I might be courteous and say, Didn’t he play for the Cosmos of New York? Did you grow up in New York? And you might reply that, no, you grew up in Brazil on the streets of Três Corações with Pelé, and I might say, I thought you were from Tennessee, and you might say not originally, and then go on to outline your genealogy at length. So my initial conversational gambit—that I had a funny story about being chased by my neighbor’s dog—would be totally lost, and only because you had to tell me all about Pelé. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories. I listened that night and I heard.
Garth Stein (The Art of Racing in the Rain)
He asked a colleague to teach him Fortran, and, by the end of the day, for a variety of functions, he had calculated his constant to five decimal places, 4.66920. That night he read about double precision in the manual, and the next day he got as far as 4.6692016090—enough precision to convince Stein. Feigenbaum wasn’t quite sure he had convinced himself, though. He had set out to look for regularity—that was what understanding mathematics meant—but he had also set out knowing that particular kinds of equations, just like particular physical systems, behave in special, characteristic ways. These equations were simple, after all. Feigenbaum understood the quadratic equation, he understood the sine equation—the mathematics was trivial. Yet something in the heart of these very different equations, repeating over and over again, created a single number. He had stumbled upon something: perhaps just a curiosity; perhaps a new law of nature.
James Gleick (Chaos: Making a New Science)
If I ever find myself before a firing squad, I will face my executioners without a blindfold, and I will think of Eve. Of what she said. It is not the end. She died that night. Her last breath took her soul, I saw it in my dream. I saw her soul leave her body as she exhaled, and then she had no more needs, no more reason; she was released from her body, and, being released, she continued her journey elsewhere, high in the firmament where soul material gathers and plays out all the dreams and joys of which we temporal beings can barely conceive, all the things that are beyond our comprehension, but even so, are not beyond our attainment if we choose to attain them, and believe that we truly can.
Garth Stein (The Art of Racing in the Rain)
Kann Gott einen Stein schaffen, den er nicht zu heben vermag? Wenn nein, dann ist er nicht allmächtig; wenn ja, dann ist er es auch nicht, denn nun gibt es einen Stein, den er nicht heben kann.
Pascal Mercier (Night Train to Lisbon)
She was lost. Torn between what to do. I saw it clearly in her eyes as she stared at me. I wanted to tell her to let go and be with me even if it was just one night but I couldn’t. One night wasn’t enough.
Sarah Stein (Midnight Oil: An Anthology)
Of course I could have done things differently. I could stop fucking thinking about you and obsessing over you and fucking wanting you for just long enough to do my fucking job—that’s what I could do differently." [...] "Have you any idea what every day here is like for me? I can’t eat, I can’t focus, I can’t sleep. I spend my nights frozen in one position, afraid to move in case I accidentally do all the things I really, really want to do. I want to do them so much that just having you look at me is a kind of torture. Just being near you, just getting a hint of that maddening marzipan scent that’s all over your hair—
Charlotte Stein (Almost Real)
You are a strange people. So loving, yet so lonely, inside. I would lie awake at night and gaze up at the dark blue sky, and ache to feel your loneliness—even though I was always there. I was always there, Mae.
Charlotte Stein (Tigerlily)
Jesus. Do you still dream? Like, at night?
Leslie Stein (Bright-eyed at Midnight)