Written On The Body Jeanette Winterson Quotes

You’ll get over it…” It’s the clichés that cause the trouble. To lose someone you love is to alter your life for ever. You don’t get over it because ‘it” is the person you loved. The pain stops, there are new people, but the gap never closes. How could it? The particularness of someone who mattered enough to grieve over is not made anodyne by death. This hole in my heart is in the shape of you and no-one else can fit it. Why would I want them to?

What you risk reveals what you value.

Time that withers you will wither me. We will fall like ripe fruit and roll down the grass together. Dear friend, let me lie beside you watching the clouds until the earth covers us and we are gone.

Love is the one thing stronger than desire and the only proper reason to resist temptation.

To borrow against the trust someone has placed in you costs nothing at first. You get away with it, you take a little more and a little more until there is no more to draw on. Oddly, your hands should be full with all that taking but when you open them there’s nothing there.

There is no discovery without risk and what you risk reveals what you value.

Love demands expression. It will not stay still, stay silent, be good, be modest, be seen and not heard, no. It will break out in tongues of praise, the high note that smashes the glass and spills the liquid.

You said, 'I love you.' Why is it that the most unoriginal thing we can say to one another is still the thing we long to hear? 'I love you' is always a quotation. You did not say it first and neither did I, yet when you say it and when I say it we speak like savages who have found three words and worship them.

Many waters cannot quench love, neither can floods drown it. What then kills love? Only this: Neglect. Not to see you when you stand before me. Not to think of you in the little things. Not to make the road wide for you, the table spread for you. To choose you out of habit not desire, to pass the flower seller without a thought. To leave the dishes unwashed, the bed unmade, to ignore you in the mornings, make use of you at night. To crave another while pecking your cheek. To say your name without hearing it, to assume it is mine to call.

When she bleeds the smells I know change colour. There is iron in her soul on those days. She smells like a gun.

Trust me, I'm telling you stories. ... I can change the story. I am the story.

Who taught you to write in blood on my back? Who taught you to use your hands as branding irons? You have scored your name into my shoulders, referenced me with your mark. The pads of your fingers have become printing blocks, you tap a message on to my skin, tap meaning into my body.

Destiny is a worrying concept. I don't want to be fated, I want to choose.

When I say 'I will be true to you' I am drawing a quiet space beyond the reach of other desires.

Now that I have lost you I cannot allow you to develop, you must be a photograph not a poem.

You never give away your heart; you lend it from time to time. If it were not so how could we take it back without asking?

A curse on this game. How can you stick at a game when the rules keep on changing? I shall call myself Alice and play croquet with the flamingos. In Wonderland everyone cheats and love is Wonderland, isn't it?

You are a pool of clear water where the light plays

Unhappiness is selfish, grief is selfish. For whom are the tears?

I would eat my way into perdition to taste you.

Sometimes I think of you and I feel giddy. Memory makes me lightheaded, drunk on champagne. All the things we did. And if anyone has said this was the price I would have agreed to pay it. That surprises me; that with the hurt and the mess comes a shift of recognition. It was worth it. Love is worth it.

You said, 'I love you.' Why is it that the most unoriginal thing we can say to one another is still the thing we long to hear?

Her butler opened it for her. His name was Boredom. She said, 'Boredom, fetch me a plaything.' He said 'Very good ma'am,' and putting on his white gloves so that fingerprints would not show he tapped at my heart and I thought he said his name was Love.

In the heat of her hands I thought, This is the campfire that mocks the sun. This place will warm me, feed me and care for me. I will hold on to this pulse against other rhythms. The world will come and go in the tide of a day but here is her hand with my future in its palm.

She arches her body like a cat on a stretch. She nuzzles her cunt into my face like a filly at the gate. She smells of the sea. She smells of rockpools when I was a child. She keeps a starfish in there. I crouch down to taste the salt, to run my fingers around the rim. She opens and shuts like a sea anemone. She's refilled each day with fresh tides of longing.

Poor me. There's nothing so sweet as wallowing in it is there? Wallowing is sex for depressives.

Written on the body is a secret code only visible in certain lights: the accumulations of a lifetime gather there. In places the palimpsest is so heavily worked that the letters feel like Braille. I like to keep my body rolled up away from prying eyes, never unfold too much, or tell the whole story. I didn't know that Louise would have reading hands. She has translated me into her own book.

I have a head for heights it's true, but no stomach for the depths. Strange then to have plumbed so many.

I felt like a seed in a pomegranate. Some say that the pomegranate was the real apple of Eve, fruit of the womb, I would eat my way into perdition to taste you.

Odd to think that the piece of you I know best is already dead. The cells on the surface of your skin are thin and flat without the blood vessels or nerve endings. Dead cells, thickest on the palms of your hands and the soles of your feet.

This hole in my heart is in the shape of you. No one else can fit it. Why would I want them to?

Explore me,' you said and I collected my ropes, flasks and maps, expecting to be back home soon. I dropped into the mass of you and I cannot find the way out. Sometimes I think I’m free, coughed up like Jonah from the whale, but then I turn a corner and recognise myself again. Myself in your skin, myself lodged in your bones, myself floating in the cavities that decorate every surgeon’s wall. That is how I know you. You are what I know.

Fragile creatures of a small blue planet, surrounded by light years of silent space.

It doesn't have to be like that but mostly it is.

You said, ‘I’m going to leave him because my love for you makes any other life a lie.’ I’ve hidden those words in the lining of my coat. I take them out like a jewel thief when no-one’s watching. They haven’t faded. Nothing about you has faded. You are still the colour of my blood. You are my blood. When I look in the mirror it’s not my own face I see. Your body is twice. Once you once me. Can I be sure which is which?

August. We were arguing. You want love to be like this every day don't you? 92 degrees even in the shade.

In a vacuum all photons travel at the same speed. They slow down when travelling through air or water or glass. Photons of different energies are slowed down at different rates. If Tolstoy had known this, would he have recognised the terrible untruth at the beginning of Anna Karenina? 'All happy families are alike; every unhappy family is unhappy in its own particular way.' In fact it's the other way around. Happiness is a specific. Misery is a generalisation. People usually know exactly why they are happy. They very rarely know why they are miserable.

What are you that makes me feel thus? Who are you for whom time has no meaning?

In the heat of her hands I thought, This is the campfire that mocks the sun.

I've turned myself inside out to try and avoid what happened today. You affect me in ways I can't quantify or contain. All I can measure is the effect, and the effect is that I am out of control.

I love you." "You've loved other people but you still left them." "It's not that simple." "I don't want to be another scalp on your pole.

She was a committed romantic and an anarcha-feminist. This was hard for her because it meant she couldn't blow up beautiful buildings.

In the presence of love, hearth and quest become one.

Don't you think it's strange that life, described as so rich and full, a camel-trail of adventure, should shrink to this coin-sized world? A head on one side, a story on the other. Someone you loved and what happened. That's all there is when you dig in your pockets. The most significant thing is someone else's face. What else is embossed on your hands but her?

This is where the story starts, in this threadbare room. The walls are exploding. The windows have turned into telescopes. Moon and stars are magnified in this room. The sun hangs over the mantelpiece. I stretch out my hand and reach the corners of the world. The world is bundled up in this room. Beyond the door, where the river is, where the roads are, we shall be. We can take the world with us when we go and sling the sun under your arm. Hurry now, it's getting late. I don't know if this is a happy ending but here we are let loose in open fields.

Many waters cannot quench love, neither can floods drown it. What then kills love? Only this: Neglect.

. . . .how easy it is to destroy the past and how difficult to forget it.

It's the cliches that cause the trouble. A precise emotion seeks a precise expression. If what I feel is not precise than how should I call it love?

Don't mix your heart with your liver.

Misery is a no U-turns, no stopping road. Travel down it pushed by those behind, tripped by those in front. Travel down it at furious speed though the days are mummified in lead. It happens so fast once you get started, there’s no anchor from the real world to slow you down, nothing to hold on to. Misery pulls away the brackets of life leaving you to free fall. Whatever your private hell, you’ll find millions like it in Misery. This is the town where everyone’s nightmares come true.

You have a dress with a décolletage to emphasise your breasts. I suppose the cleavage is the proper focus but what I wanted to do was to fasten my index finger and thumb at the bolts of your collar bone, push out, spreading the web of my hand until it caught against your throat. You asked me if I wanted to strangle you. No, I wanted to fit you, not just in the obvious ways but in so many indentations.

I love you' is always a quotation. You did not say it first and neither did I.

I have flown the distance of your body from side to side of your ivory coast. I know the forests where I can rest and feed. I have mapped you with my naked eye and stored you out of sight. The millions of cells that make up your tissues are plotted on my retina. Night flying I know exactly where I am. Your body is my landing strip.

It's the clichés that cause the trouble.

Wallowing is sex for depressives.

Their throats were bare for God.

You said, ‘Why do I frighten you?’ Frighten me? Yes you do frighten me. You act as though we will be together for ever. You act as though there is infinite pleasure and time without end. How can I know that? My experience has been that time always ends. In theory you are right, the quantum physicists are right, the romantics and the religious are right.

The physical memory blunders through the doors the mind has tried to seal. ... Wisdom says forget, the body howls.

My experience has been that times always ends. In theory, you are right, the quantum physicists are right, the religious and romantics are right. Time without end. In practice we both wear a watch.

How long before the shouting starts? How long before the tears and the accusations and the pain? That specific stone n the stomach pain when you lose something you haven't got round to valuing? Why is the measure of love loss?

I want you to come to me without a past. Those lines you’ve learned, forget them. Forget that you’ve been here before in other bedrooms in other places. Come to me new. Never say you love me until that day when you have proved it.

Why is it that human beings are allowed to grow up without the necessary apparatus to make sound ethical decisions?

A precise emotion seeks a precise expression.

Wrong to seal illogic with a kiss but I do it myself all the time.

Louise, I would gladly fire the past for you, go and not look back. I have been reckless before, never counting the cost, oblivious to the cost. Now, I've done the sums ahead. I know what it will mean to redeem myself from the accumulations of a lifetime. I know and I don't care. You set before me a space uncluttered by association. It might be a void or it might be a release. Certainly I want to take the risk. I want to take the risk because the life I have stored up is going mouldy.

I can tell by now that you are wondering whether I can be trusted as a narrator. Why didn’t I dump Inge and head for a Singles Bar? The answer is her breasts.

Energy cannot be lost, only transformed; where do the words go?

She was a Roman Cardinal, chaste, but for the perfect choirboy.

I had to leave. She would have died for my sake. Wasn’t it better for me to live a half life for her sake?

To lose someone you love is to alter your life for ever. You don't get over it because 'it' is the person you loved. The pain stops, there are new people, but the gap never closes. How could it? The particularness of someone who mattered enough to grieve over is not made anodyne by death. I've thought a lot about death recently, the finality of it, the argument ending in mid-air. One of us hadn't finished, why did the other one go? And why without warning? Even death after long illness is without warning. The moment you had prepared for so carefully took you by storm.

The hard-bound space hides the vulnerable self.

Bigger questions, questions with more than one answer, questions without an answer are the hardest to cope with in silence. Once asked they do not evaporate and leave the mind to its serener musings. Once asked they gain dimension and texture, trip you on the stairs, wake you at night-time. A black hole sucks up its surroundings and even light never escapes. Better then to ask no questions? Better then to be a contented pig than an unhappy Socrates? Since factory farming is tougher on pigs than it is on philosophers I'll take a chance.

Two hundred miles from the surface of the earth there is no gravity. The laws of motion are suspended. You could turn somersaults slowly slowly, weight into weightlessness, nowhere to fall. As you lay on your back paddling in space you might notice your feet had fled your head. You are stretching slowly slowly, getting longer, your joints are slipping away from their usual places. There is no connection between your shoulder and your arm. You will break up bone by bone, fractured from who you are, drifting away now, the centre cannot hold.

You'll get over it...' It's the cliches that cause the trouble. To lose someone you love is to alter your life for ever. You don't get over it because 'it' is the person you loved. The pain stops, there are new people, but the gap never closes. How could it? The particularness of someone who mattered enough to greive over is not made anodyne by death. This hole in my heart is in the shape of you and no-one else can fit it. Why would I want them to? I've thought a lot about death recently, the finality of it, the argument ending in mid-air. One of us hadn't finished, why did the other one go? And why without warning? Even death after long illness is without warning. The moment you had prepared for so carefully took you by storm. The troops broke through the window and snatched the body and the body is gone. The day before the Wednesday last, this time a year ago, you were here and now you're not. Why not? Death reduces us to the baffled logic of a small child. If yesterday why not today? And where are you? Fragile creatures of a small blue planet, surrounded by light years of silent space. Do the dead find peace beyond the rattle of the world? What peace is there for us whose best love cannot return them even for a day? I raise my head to the door and think I will see you in the frame. I know it is your voice in the corridor but when I run outside the corridor is empty. There is nothing I can do that will make any difference. The last word was yours. The fluttering in the stomach goes away and the dull waking pain. Sometimes I think of you and I feel giddy. Memory makes me lightheaded, drunk on champagne. All the things we did. And if anyone had said this was the price I would have agreed to pay it. That surprises me; that with the hurt and the mess comes a shaft of recognition. It was worth it. Love is worth it.

I was not so sure but too tired and too relieved to go further that night. To reach one another again had been far enough.

A treasure had fallen into our hands and the treasure was each other.

Why do humans need answers? Partly I suppose because without one, almost any one, the question itself soon sounds silly.

My usual confessional is a straight Macallan but not before 5 o'clock. Perhaps that's why I try and have my crises in the evening.

I don't like to think of myself as an insincere person but if I say I love you and I don't mean it then what else am I? Will I cherish you, adore you, make way for you, make myself better for you, look at you and always see you, tell you the truth? And if love is not those things then what things?

Bigger questions, questions with more than one answer, questions without an answer are harder to cope with in silence. Once asked they gain dimension and texture, trip you on the stairs, wake you at night-time. A black hole sucks up its surroundings and even light never escapes. Better then to ask no questions?

When I say 'I will be true to you' I am drawing a quiet space beyond the reach of other desires. No-one can legislate love; it cannot be given orders or cajoled into service. Love belongs to itself, deaf to pleading and unmoved by violence. Love is not something you can negotiate. Love is the one thing stronger than desire and the only proper reason to resist temptation. ... When I say 'I will be true to you' I must mean it in spite of the formalities, instead of the formalities.

I am desperately looking the other way so that love won’t see me.

I know the calcium of your cheekbones. I know the weapon of your jaw. I have held your head in my hands but I have never held you. Not you in your spaces, spirit, electrons of life.

Written on the body is a secret code only visible in certain lights; the accumulations of a lifetime gather there. In places the palimpsest is so heavily worked that the letters feel like braille. I like to keep my body rolled up away from prying eyes. Never unfold too much, tell the whole story. I didn’t know that Louise would have reading hands. She has translated me into her own book.

Can this be true, this simple obvious message, or am I like those shipwrecked mariners who seize an empty bottle and eagerly read out what isn't there? And yet you are there, here, sprung like a genie to ten times your natural size, towering over me, holding me in your arms like mountain sides. Your red hair blazing and you are saying, "Make three wishes and they shall all come true. Make three hundred and I will honour every one.

I couldn’t know her well and yet I did know her well. Not facts and figures, I was endlessly curious about her life, rather a particular trust. That afternoon, it seemed to me I had always been here with Louise, we were familiar.

I am thinking of a certain September: Wood pigeon Red Admiral Yellow Harvest Orange Night. You said, ‘I love you.’ Why is it that the most unoriginal thing we can say to one another is still the thing we long to hear? ‘I love you’ is always a quotation. You did not say it first and neither did I, yet when you say it and when I say it we speak like savages who have found three words and worship them. I did worship them but now I am alone on a rock hewn out of my own body.

You're drunk." "That's right I am. I'm fifty-three and I'm as wild as a Welshman with a leek up his arse. Fifty-three. Old slag Gail. What right has she to poke her nose into your shining armour? That's what you're thinking isn't it honey?

What you risk reveals what you value. In the presence of love, hearth and quest become one.

Contentment is a feeling you say? Are you sure it's not an absence of feeling?

Don't you think it's strange that life, described as so rich and full, a camel-trail of adventure, should shrink to this coin sized world?

The saggy armchair of clichés.

In the secret places of her thymus gland Louise is making too much of herself. Her faithful biology depends on regulation but the white T-cells have turned bandit. They don't obey the rules. They are swarming into the bloodstream, overturning the quiet order of spleen and intestine. In the lymph nodes they are swelling with pride. It used to be their job to keep her body safe from enemies on the outside. They were her immunity, her certainty against infection. Now they are the enemies on the inside. The security forces have rebelled. Louise is the victim of a coup. Will you let me crawl inside you, stand guard over you, trap them as they come at you? Why can't I dam their blind tide that filthies your blood? Why are there no lock gates on the portal vein? The inside of your body is innocent, nothing has taught it fear. Your artery canals trust their cargo, they don't check the shipments in the blood. You are full to overflowing but the keeper is asleep and there's murder going on inside. Who comes here? Let me hold up my lantern. It's only the blood; red cells carrying oxygen to the heart, thrombocytes making sure of proper clotting. The white cells, B and T types, just a few of them as always whistling as they go. The faithful body has made a mistake. This is no time to stamp the passports and look at the sky. Coming up behind are hundreds of them. Hundreds too many, armed to the teeth for a job that doesn't need doing. Not needed? With all that weaponry? Here they come, hurtling through the bloodstream trying to pick a fight. There's no-one to fight but you Louise. You're the foreign body now.

In their world good manners and good sense prevail. They don’t imagine that to choose sensibly is to set a time-bomb under yourself. They don’t imagine you are ripe for the cutting, waiting for your chance at life. They don’t think of the wreckage an exploding life will cause… Settle down, feet under the table. She’s a nice girl, he’s a nice boy. It’s the clichés that cause the trouble.

You said, ‘I love you.’ Why is it that the most unoriginal thing we can say to one another is still the thing we long to hear? ‘I love you’ is always a quotation. You did not say it first and neither did I, yet when you say it and when I say it we speak like savages who have found three words and worship them.

I wanted her bones, her blood, her tissues, the sinews that bound her together. I would have held her to me though time had stripped away the tones and textures of her skin. I could have held her for a thousand years until the skeleton itself rubbed away to dust. What are you that makes me feel thus? Who are you for whom time has no meaning? In the heat of her hands I thought, this is the campfire that mocks the sun. This place will warm me, feed me and care for me. I will hold on to this pulse against other rhythms. The world will come and go in the tide of a day but here is her hand with my future in its palm.

One of us hadn’t finished, why did the other one go? And why without warning? Even death after long illness is without warning. The moment you had prepared for so carefully took you by storm. The troops broke through the window and snatched the body and the body is gone. The day before the Wednesday last, this time a year ago, you were here and now you’re not. Why not? Death reduces us to the baffled logic of a small child. If yesterday why not today? And where are you?

When I say 'I will be true to you' I must mean it in spite of the formalities, instead of the formalities. If I commit adultery of the heart then I have lost you a little. The bright vision of your face will blur. I may not notice this once or twice, I may pride myself on having enjoyed those fleshy excursions in the most cerebral way, Yet I will have blunted that sharp flint that sparks between us, our desire for one another above all else.

Why is it the most unoriginal thing we can say to one another is still the thing we long to hear? 'I love you' is always a quotation. You did not say it first and neither did I, yet when you say it and when I say we speak like savages who have found three words and worship them. It's the cliches that cause the trouble. A precise emotion seeks a precise expression. If what I feel is not precise then should I call it love? It is so terrifying, love, that all I can do is shove it under a dump bin of pink cuddly toys and send myself a greetings card saying 'Congratulations on your engagement.' But I am not engaged I am deeply distracted. I am desperately looking the other way so that love won't see me. I want the diluted version, the happy language, the insignificant gestures. The saggy armchair of cliches. It's all right, millions of bottoms have sat here before me. The springs are well worn, the fabric smelly and familiar. I don't have to be frightened, look, my grandma and grandad did it, he in a stiff collar and club tie, she in white muslin straining a little at the life underneath. They did it, my parents did it, now I will do it won't I, arms outstretched, not to hold you, just to keep my balance, sleepwalking to that armchair. How happy we will be. How happy everyone will be. And they all lived happily ever after.

Before sinkage, as they call it at the mortuary, a body must be washed, disinfected, drained, plugged and made-up. These chores were regularly done at home not so many years ago but they weren't chores then, they were acts of love. What would you do? Pass the body into the hands of strangers? The body that has lain beside you in sickness and in health. The body your arms still long for dead or not. You were intimate with every muscle, privy to the eyelids moving in sleep. This is the body where your name is written, passing into the hands of strangers.