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Tomorrow, and Tomorrow, and Tomorrow

Book by Gabrielle Zevin · 35 quotes · Love, Life, Grief

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Tomorrow, and Tomorrow, and Tomorrow Quotes

“A great textile, like the William Morris Strawberry Thief, is a piece of art, but it takes a lot of time to make a piece of art. It isn't simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again." "I don't think I know Strawberry Thief," Sadie said. "One moment," Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn't known the name, she recognized the print when she saw it. "This was William Morris's garden. These were his strawberries. Those were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It's the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.”

“A great textile, like the William Morris Strawberry Thief, is a pice of art, but it takes a lot of time to make a piece of art. It isn't simply design either. You have to understand the fabrics and what they can bear. You have to understand the dyeing process and how to achieve certain colors and what will make the color last through the ages. If you make a mistake, you might have to begin again." "I don't think I know Strawberry Thief," Sadie said. "One moment," Mrs. Watanabe said. Mrs. Watanabe went into her bedroom, and she returned with a little footstool that was upholstered in a reproduction of Strawberry Thief. The pattern depicted birds and strawberries in a garden, and although Sadie hadn't known the name, she recognized the print when she saw it. "This was William Morris's garden. These were his strawberries. Those were birds he knew. No designer had ever used red or yellow in an indigo discharge dyeing technique before. He must have had to start over many times to get the colors right. This fabric is not just a fabric. It's the story of failure and of perseverance, of the discipline of a craftsman, of the life of an artist.”

“He was skilled----at the end of the level, he could make Mario land at the top of the flagpole, something Sadie had never mastered. Although Sadie liked to be the player, there was a pleasure to watching someone who was a dexterous player---it was like watching a dance. He never looked over at her. He cleared the first boss battle, and the words BUT OUR PRINCESS IS IN ANOTHER CASTLE appeared on the screen.”

“Without commentary, you take the scissors from him, and you cut off the rest of his hair, and then you take out his electric shaver, and you shave his hair down as close as you can. "Who's the NPC now?" you say to him. "I'm the one with the controller. I'm the one with the task." "You find your crazy roommate in the bathroom. He's cut off half of his hair in a fit of nonsensical despair. What do you do?" Sam says, imitating the form of interactive fiction. He runs his fingers through his hair. "Don't tell Sadie about any of this." "Brother, I think she'll notice." You take his head in your hands and you kiss him on the crown.”

“The coyote was not a coyote. Or, maybe it was a coyote. Sam still didn't know what the difference was. In any case, it was a young, not much older than a puppy. It had the shaggy look of a coyote, but the muscular build of a pit bull. Its back leg was bleeding, and Sam worried he might have grazed it with the car. The coyote/dog looked scared. "If I pick you up," Sam said gently, "will you bite me?" The coyote/dog looked at him blankly, terrified. It was shivering. Sam took off his plaid shirt, and he scooped the little dog into his arms, and he put it into the back seat of his car. They drove to an emergency veterinary clinic. The dog had broken its leg. She needed stitches and would have to be in a cast for a couple of weeks, but she was strong, and she would recover. When Sam asked the vet whether the dog might be a coyote, she rolled her eyes. She was just a dog, a mutt yes, but likely some combination of German shepherd, Shiba Inu, and greyhound. You could tell by the elbows, she said. Coyote elbows were higher than dog elbows. She brought up a graphic on her computer: a coyote, next to a wolf, next to a domesticated dog. See, she said, isn't it obvious?”

“Sam blew out 10 candles and in the distance Mary Lou Retton received a perfect 10 on her floor routine. And he almost felt like he, by blowing out the 10 candles at the precise moment that he had, had been what caused her to get the perfect 10. He fanaticized that the universe was a Rube Goldberg machine. If he had blown out only 9 candles, maybe the Romanian girl would have won instead.”

“Sadie felt that everything Sam did was an aesthetic choice. Not long after they'd move to California, he had had his name legally changed from Samson Mazur to Sam Mazer. The explanation he gave her: the name Masur had never meant much to him, and Mazer sounded more like the name of a Master Builder of Worlds. In the last year, he had begun to asking them to refer to him just by Mazer, like he was Madonna or Prince. "You can still call me Sam in private," Sam had said to Sadie, "but in public, I'd prefer to go by Mazer. That's my name now.”

“For most of his life, Sam had found it difficult to say I Love You. It was superior, he believed, to show love those one loved. But now, it seemed like one of the easiest things in the world Sam could do. Why wouldn't you tell someone you loved them? Once you loved someone, you repeated it until they were tired of hearing it. You said it until it ceased to have meaning. Why not? Of course, you goddamn did.”

“Sadie walked under the gates, one by one by one. At first, she felt nothing, but as she kept moving ahead, she began to feel an opening and a new spaciousness in her chest. She realized what a gate was: it was an indication that you had left one space and were entering another. She walked through another gate. It occurred to Sadie: She had thought after Ichigo that she would never fail again. She had thought she arrived. But life was always arriving. There was always another gate to pass through. (Until, of course, there wasn't.) She walked through another gate. What was a gate, anyway? A doorway, she thought. A portal. The possibility of a different world. The possibility that you might walk through the door and reinvent yourself as something better than you had been before. By the time she reached the end of the torii gate pathway, she felt resolved. Both Sides had failed, but it didn't have to be the end. The game was one in a long line of spaces between gates.”

“He told them he regretted that he had missed an early opportunity to invest in Nintendo in the 1970's. "They were just a playing-card company," Watanabe-san said, with a self-deprecating laugh. "Hanafuda. For aunties and little children, you know?" Nintendo's most successful product before they made Donkey Kong was, indeed, a deck of hanafuda playing cards. "What's hanafuda?" Sam asked. "Plastic cards. Quite small and thick, with flowers and scenes of nature," Watanabe-san said. "Oh!" Sam said. "I know these! I used to play them with my grandmother, but we didn't call them hanafuda. I think the game we played was called Stop-Go?" "Yes," Watanabe-san said. "In Japan, the game most people play with hanafuda is called Koi Koi, which means..." "Come come," Marx filled in.”

“The only thing that kept me from wanting to die was the fact that I could leave my body and be in a body that worked perfectly for a while---better than perfectly, actually---with a set of problems that were not my own." "You couldn't land at the top of a pole, but Mario could." "Exactly. I could save the princess, even when I could barely get out of bed. So, I do want to be rich and famous. I am, as you know, a bottomless pit of ambition and need. But I also want to make something sweet. Something kids like us would have wanted to play to forget their troubles for a while.”

“Sam looked at her outstretched hand, which he knew as well as any hand except his own---the precise pattern of the lines that made up the grid of her palm, the slim fingers with the purplish veins at the knuckles, the particular creamy olive hue of her skin, her delicate wrist, pinkish, with a penumbral callus that must have come from Dov, the white gold bracelet she wore that he knew had been a gift from Freda on her twelfth birthday. How could she honestly think he wouldn't know about the handcuffs? He had spent hours sitting next to her, playing games and then making them, staring at her hands as her fingers flew across a keyboard or jabbed at a controller. Tell me I don't know you, Sam thought. Tell me I don't know you when I could draw both sides of this hand, your hand, from memory.”

“If it helps you, I would like to be a partner to you, Daedalus said. I know I am an imperfect substitute for whoever you have lost, but we are both alone and I think we could help each other. Sorrows can be shared as easily as games of Go. She reached for Emily’s hand and she got down on one knee. I would like to propose to you, leave the Fog Lands, come to Verdant Valley. Do you mean marriage? It doesn’t have to have a name Daedalus said it can have a name if you want it to have a name. What would it mean then? It means a very long game of Go played without stops. In the past, Emily had many reasons for not wishing to marry. Among them her belief that marriage was conventional and a trap for women. She had rejected 2 engagements in her previous life. But at this juncture she could see the facility of embarking on a different course.”

“Your mother is in the bedside chair. She is wearing a dress printed with strawberries and birds. Using a long needle, she is stringing brightly colored origami cranes into garlands. You know what she's doing: It's a Japanese custom called senbazuru. If you make one thousand paper cranes, you can restore someone to good health. Though you cannot see him, you become aware of the fact that your father is sitting on the floor. He is folding cranes so that your mother can string them. This is marriage.”