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Quote by Cahit Külebi

“Dost Bir gece habersiz bize gel Merdivenler gıcırdamasın Öyle yorgunum ki hiç sorma Sen halimden anlarsın Sabahlara kadar oturup konuşalım Kimse duymasın Mavi bir gökyüzümüz olsun kanatlarımız Dokunarak uçalım. insanlardan buz gibi soğudum, işte yalnız sen varsın Öyle halsizim ki hiç sorma Anlarsın.”

Quote by Cahit Külebi

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Cahit Külebi

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“Tant que mes jambes me permettent de fuir, tant que mes bras me permettent de combattre, tant que l'expérience que j'ai du monde me permet de savoir ce que je peux craindre ou désirer, nulle crainte : je puis agir. Mais lorsque le monde des hommes me contraint à observer ses lois, lorsque mon désir brise son front contre le monde des interdits, lorsque mes mains et mes jambes se trouvent emprisonnées dans les fers implacables des préjugés et des cultures, alors je frissonne, je gémis et je pleure. Espace, je t'ai perdu et je rentre en moi-même. Je m'enferme au faite de mon clocher où, la tête dans les nuages, je fabrique l'art, la science et la folie.”

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“In any love-story there are usually two stages or phases. There is the initial stage, where love is expressed by the giving of gifts, especially the gift of self. Then there comes a time when it is no longer enough to give gifts to the beloved, but one has to be ready to suffer for her or for him. Only then can it be seen whether the love is real. In the story of a vocation to consecrated virginity there are also usually two stages. There is the initial stage of the vocation, when, spurred on by grace and attracted by the ideal, one joyfully and enthusiastically says, "Yes, Lord, here I am!" Then comes the time of solitude of heart, of weariness, of crisis, when, in order to maintain that "Yes," one has to die”

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“Pasmo sempre quando acabo qualquer coisa. Pasmo e desolo-me. O meu instinto de perfeição deveria inibir-me de acabar; deveria inibir-me até de dar começo. Mas distraio-me e faço. O que consigo é um produto, em mim, não de uma aplicação de vontade, mas de uma cedência dela. Começo porque não tenho força para pensar; acabo porque não tenho alma para suspender. Este livro é a minha cobardia.”

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Book:The Book of Disquiet
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“the dandy can only play a part by setting himself up in opposition. He can only be sure of his own existence by finding it in the expression of others’ faces. Other people are his mirror. A mirror that quickly becomes clouded, it is true, since human capacity for attention is limited. It must be ceaselessly stimulated, spurred on by provocation. The dandy, therefore, is always compelled to astonish. Singularity is his vocation, excess his way to perfection. Perpetually incomplete, always on the fringe of things, he compels others to create him, while denying their values. He plays at life because he is unable to live it. He plays at it until he dies, except for the moments when he is alone and without a mirror. For the dandy, to be alone is not to exist. The romantics talked so grandly about solitude only because it was their real horror, the one thing they could not bear.”

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“He told me to call him Dazar Frihet. He said that our days are freedom. All of these days, the ones our feet carry us through, any one of them we can choose to be free, we just have to be willing to make it happen. He was such a sad young man, but he wasn’t sad for himself, he was the freest person I ever knew. No, he was sad for all the people he saw who were never free. All the people walking around thinking they were free, but were bonded to so many possessions and responsibilities, so much dispassion and anger, that freedom had become a mirage, like a mythical figure or a god, something they worshiped and followed, but never truly understood.”

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Book:THIS SIDE OF A WILDERNESS: A Novel
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