There are so many fragile things, after all. People break so easily, and so do dreams and hearts.
—Neil Gaiman
Self 
There are so many fragile things, after all. People break so easily, and so do dreams and hearts.
—Neil Gaiman
“The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars…” (Taken with instagram)
We are never so defenseless against suffering as when we love, never so forlornly unhappy as when we have lost our love object or its love.
—Freud
…in the majority of cases we are struggling, in our conscious spontaneity, against the development of our emotional manifestations; we are trying to master our fear, to calm our anger, to restrain our weeping. Thus we have not only no consciousness of any finality of emotion, we are also rejecting emotion with all our strength and it invades us in spite of ourselves.
—Jean-Paul Sartre, “Sketch for a Theory of the Emotions”
Letter writing ♥
(Source: andrewgarybeardsall, via pintofcream)
All these things – my journals, the back of receipts, tissues, my arm – all covered with words, my words. Words I assign to my daily occurrences and musings that I, at one point, must have felt were so important or so shit they had to be made permanent.
Why do I write them down? Is it with the vain hope I record who and what I am on May 6th 2012 in order to feel in control of that which makes me feel powerless? Am I so afraid that everything must someday fall apart, and so I compile a collection of words with which to remember? Or is it more simply that no-one will listen now?
I search frantically for a pen; I have to prevent my thoughts from seeping out, evaporating skyward.
Love was undoubtedly one of the things capable of changing a person’s whole life, from one moment to the next. But there was the other side of the coin, the second thing that could make a human being take a totally different course from the one he or she had planned; and that was called despair. Yes, perhaps love really could transform someone, but despair did the job more quickly.
—“Eleven Minutes”, Paulo Coelho
“You make me afraid,” she said, turning her large, troubled eyes on her companion, “you make me afraid, of myself chiefly, but a little of you. You suggest so much to me that is new, strange, terrible. When you speak, I am troubled; all my old landmarks appear to vanish; I even hardly know right from wrong. I love you, my God, how I love you! but I want to go away from you and pray in the little quiet church, where I made my first Communion. I will come to the world’s end with you; but oh, Sebastian, do not ask me, let me go. You will forget me, I am a little girl to you, Sebastian. You cannot care very much for me.”
The man looked down at her, smiling masterfully, but very kindly. He took the mutinous hand, with its little sprig of heather, and held it between his own. He seemed to find her insistence adorable; mentally, he was contrasting her with all other women whom he had known, frowning at the memory of so many years in which she had no part. He was a man of more than forty, built large to an uniform English pattern; there was a touch of military erectness in his carriage which often deceived people as to his vocation. Actually, he had never been anything but artist, though he came of a family of soldiers, and had once been war correspondent of an illustrated paper. A certain distinction had always adhered to him, never more than now when he was no longer young, was growing bald, had streaks of gray in his moustache. His face, without being handsome, possessed a certain charm; it was worn and rather pale, the lines about the firm mouth were full of lassitude, the eyes rather tired. He had the air of having tasted widely, curiously, of life in his day, prosperous as he seemed now, that had left its mark upon him. His voice, which usually took an intonation that his friends found supercilious, grew very tender in addressing this little French girl, with her quaint air of childish dignity.
”Marie-Yvonne, foolish child, I will not hear one word more. You are a little heretic; and I am sorely tempted to seal your lips from uttering heresy. You tell me that you love me, and you ask me to let you go, in one breath. The impossible conjuncture! Marie-Yvonne,” he added, more seriously, “trust yourself to me, my child! You know, I will never give you up. You know that these months that I have been at Ploumariel, are worth all the rest of my life to me. It has been a difficult life, hitherto, little one: change it for me; make it worth while. You would let morbid fancies come between us. You have lived overmuch in that little church, with its worm-eaten benches, and its mildewed odour of dead people, and dead ideas. Take care, Marie-Yvonne: it has made you serious-eyed, before you have learnt to laugh; by and by, it will steal away your youth, before you have ever been young. I come to claim you, Marie-Yvonne, in the name of Life.” His words were half-jesting; his eyes were profoundly in earnest. He drew her to him gently; and when he bent down and kissed her forehead, and then her shy lips, she made no resistance: only, a little tremor ran through her.
Profound desire, true desire is the desire to be close to someone.
From that point onwards, things change, the man and the woman come into play, but what happens before–the attraction that brought them together–is impossible to explain. It is untouched desire in its purest state. When desire is still in this pure state, the man and the woman fall in love with life, they live each moment reverently, consciously, always ready to celebrate the next blessing. When people feel like this, they are not in a hurry, they do not precipitate events with unthinking actions. They know that the inevitable will happen, that what is real always finds a way of revealing itself. When the moment comes, they do not hesitate, they do not miss an opportunity, they do not let slip a single magic moment, because they respect the importance of each second.
—Eleven Minutes, by Paulo Coelho
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