Quotessence
Home / Quotes / Quote by Megan Hart

Quote by Megan Hart

Work

Tear You Apart

In this suspenseful novel, a character's relentless pursuit of another leads to a harrowing descent into madness and danger. The story explores themes of jealousy, obsession, and the fragility of human relationships, keeping readers on the edge of their seats with its unpredictable twists and turns. more

Author

Megan Hart
Megan Hart

Megan Hart is an American author known for her adult fiction. Her works are renowned for their emotional depth and intricate plots, appealing to a wide readership. more

You May Also Like

“There are so many things to say; so many things that can't really be said. So much has happened; so little has changed. We have so many words prepared; so many words are too hard to actually say. A few days have passed; this pain has been here for years. We don't know where to go from here; our future has always been in our minds. Moments of peace with those who constantly argue; fights with those that usually bring peace. There are so many things to say; so many things that can't really be said.”

LifePoemPoetic
Author:Alysha Speer
Create image

“My country, 'tis of thee, Sweet land of liberty, Of thee I sing; Land where my fathers died, Land of the pilgrims' pride, From every mountainside Let freedom ring! My native country, thee, Land of the noble free, Thy name I love; I love thy rocks and rills, Thy woods and templed hills; My heart with rapture thrills, Like that above. Let music swell the breeze, And ring from all the trees Sweet freedom's song; Let mortal tongues awake; Let all that breathe partake; Let rocks their silence break, The sound prolong. Our father's God to Thee, Author of liberty, To Thee we sing. Long may our land be bright, With freedom's holy light, Protect us by Thy might, Great God our King.”

InspirationalSongPoemPatriotic
Author:Samuel Francis Smith
Create image

“Me gustas cuando callas porque estás como ausente, y me oyes desde lejos, y mi voz no te toca. Parece que los ojos se te hubieran volado y parece que un beso te cerrara la boca. . Como todas las cosas están llenas de mi alma emerges de las cosas, llena del alma mía. Mariposa de sueño, te pareces a mi alma, y te pareces a la palabra melancolía. . Me gustas cuando callas y estás como distante. Y estás como quejándote, mariposa en arrullo. Y me oyes desde lejos, y mi voz no te alcanza: Déjame que me calle con el silencio tuyo. . Déjame que te hable también con tu silencio claro como una lámpara, simple como un anillo. Eres como la noche, callada y constelada. Tu silencio es de estrella, tan lejano y sencillo. . Me gustas cuando callas porque estás como ausente. Distante y dolorosa como si hubieras muerto. Una palabra entonces, una sonrisa bastan. Y estoy alegre, alegre de que no sea cierto.”

LoveLifePoem
Book:Twenty Love Poems and a Song of Despair
Create image

“غزل چون سنگ ها صداي مرا گوش مي كني سنگي و ناشنيده فراموش مي كني رگبار نوبهاري و خواب دريچه را از ضربه هاي وسوسه مغشوش مي كني دست مرا كه ساقه سبز نوازش است با برگ هاي مرده همآغوش مي كني گمراه تر ز روح شرابي و ديده را در شعله مي نشاني و مدهوش مي كني اي ماهي طلائي مرداب خون من خوش باد مستيت كه مرا نوش مي كني تو دره بنفش غروبي كه روز را بر سينه مي فشاري و خاموش مي كني در سايه ها فروغ تو بنشست و رنگ باخت او را به سايه از چه سيه پوش مي كني ؟”

Poem
Author:Forough Farrokhzad
Create image

“A Faint Music by Robert Hass Maybe you need to write a poem about grace. When everything broken is broken, and everything dead is dead, and the hero has looked into the mirror with complete contempt, and the heroine has studied her face and its defects remorselessly, and the pain they thought might, as a token of their earnestness, release them from themselves has lost its novelty and not released them, and they have begun to think, kindly and distantly, watching the others go about their days— likes and dislikes, reasons, habits, fears— that self-love is the one weedy stalk of every human blossoming, and understood, therefore, why they had been, all their lives, in such a fury to defend it, and that no one— except some almost inconceivable saint in his pool of poverty and silence—can escape this violent, automatic life’s companion ever, maybe then, ordinary light, faint music under things, a hovering like grace appears. As in the story a friend told once about the time he tried to kill himself. His girl had left him. Bees in the heart, then scorpions, maggots, and then ash. He climbed onto the jumping girder of the bridge, the bay side, a blue, lucid afternoon. And in the salt air he thought about the word “seafood,” that there was something faintly ridiculous about it. No one said “landfood.” He thought it was degrading to the rainbow perch he’d reeled in gleaming from the cliffs, the black rockbass, scales like polished carbon, in beds of kelp along the coast—and he realized that the reason for the word was crabs, or mussels, clams. Otherwise the restaurants could just put “fish” up on their signs, and when he woke—he’d slept for hours, curled up on the girder like a child—the sun was going down and he felt a little better, and afraid. He put on the jacket he’d used for a pillow, climbed over the railing carefully, and drove home to an empty house. There was a pair of her lemon yellow panties hanging on a doorknob. He studied them. Much-washed. A faint russet in the crotch that made him sick with rage and grief. He knew more or less where she was. A flat somewhere on Russian Hill. They’d have just finished making love. She’d have tears in her eyes and touch his jawbone gratefully. “God,” she’d say, “you are so good for me.” Winking lights, a foggy view downhill toward the harbor and the bay. “You’re sad,” he’d say. “Yes.” “Thinking about Nick?” “Yes,” she’d say and cry. “I tried so hard,” sobbing now, “I really tried so hard.” And then he’d hold her for a while— Guatemalan weavings from his fieldwork on the wall— and then they’d fuck again, and she would cry some more, and go to sleep. And he, he would play that scene once only, once and a half, and tell himself that he was going to carry it for a very long time and that there was nothing he could do but carry it. He went out onto the porch, and listened to the forest in the summer dark, madrone bark cracking and curling as the cold came up. It’s not the story though, not the friend leaning toward you, saying “And then I realized—,” which is the part of stories one never quite believes. I had the idea that the world’s so full of pain it must sometimes make a kind of singing. And that the sequence helps, as much as order helps— First an ego, and then pain, and then the singing”

GracePoemSinging
Book:Sun under Wood
Create image