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Quote by Ellen Hopkins

Work

Identical

The title Identical has been used for several books across different genres and periods. The most prominent work bearing this title is a legal thriller novel by Scott Turow, published in the late 2000s. Turow, who established his reputation with works such as Presumed Innocent, typically constructs narratives centered on the American legal system, moral ambiguity, and complex character psychology. The title itself suggests themes of twinship, duplication, or mistaken identity, which are common motifs in suspense and mystery literature. Other works with the same or similar titles may exist in various fields including young adult fiction, science, and general nonfiction, though these would constitute separate publications by different creators. Without additional specifying information such as author name or publication date, any further description of plot, characters, or critical assessment would risk conflating distinct works or introducing unverifiable claims. The title remains in circulation through library systems, booksellers, and secondary reference databases. more

Author

Ellen Hopkins
Ellen Hopkins

Ellen Hopkins is an American novelist known for her poetry-in-prose novels. Her works often tackle issues affecting teenagers, such as drug abuse, domestic violence, and self-harm. Hopkins' writing style is distinctive, appreciated for its direct and candid narrative. more

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“I was Juliet and Quinn was Romeo, and the lines weren't dead black-and-white words on a page but somehow alive, as natural and real as the argument we'd had about the spider and the fly. The rows of empty seats were gone, and we were in a candlelit ballrooom, wrapped in our own cocoon of words. But the playful banter of our words couldn't mask what we both knew--that after this, nothing would be the same . And then we got to the kissing part, which we'd only read through together and had never really rehearsed. But it didn't matter, because I was still Juliet and Quinn was still Romeo, his gray-green eyes fixed on mine. And when he bent to kiss me, it was Romeo's lips on Juliet's. Even so, Juliet was just as stunned as I would've been. When I said the last line, I was speaking for both of us. You kiss by the book.”

“Do not just sit back and expect things to happen. Do not be passive or wait for a miracle. Do not be complacent with less. Do not be pessimistic about the process. Do not doubt yourself. Use your skills and talents. Aim high and strive to do your best. Pursue excellence and focus on becoming a success.”

“I can't today," I said. "Maybe tomorrow?" "Can't tomorrow," said Quinn. "I have a family thing. I guess we're logistically star-crossed, Juliet." Sometimes Quinn calls me Juliet because of how we had to do that scene together, and whenever he does it's good for another bout of brain paralysis. So all I could manage back was "Oh." "But I'll talk to you later, okay?" he said. I didn't even try to say anything else but just nodded, wondering as I did what would happen next. The steps had largely emptied by then. But before I could do much wondering, Quinn's lips were on mine. And this time it definitely counted.”

“L. hat mir einmal, aber das ist lange her, gesagt, wenn Küsse eine Farbe hätten, müssten sie die Farbe von Himbeeren haben. Sie meinte auch, dass es Erdbeerküsse gebe und solche, die nach Himbeeren schmeckten. Ich konnte darauf nur erwidern, dass jeder Kuss auf ihren Lippen ein klein wenig anders schmecke, aber das sei bei den wilden Himbeeren, die man im Wald pflücke, ja auch so. Und ich fügte hinzu, dass im Mund jede Himbeere die Erinnerung an den Geschmack der davor auslösche, und genauso lasse jeder ihrer Küsse den vorhergehenden vergessen. Küsse aber, denke ich jetzt, lassen sich nicht einfrieren, das unterscheidet sie von Himbeeren.”

“I always thought of it like you said, that all the strings inside him broke. But there are a thousand ways to look at it: maybe the strings break, or maybe our ships sink, or maybe we’re grass—our roots so interdependent that no one is dead as long as someone is alive. We don’t suffer from a shortage of metaphors, is what I mean. But you have to be careful which metaphor you choose, because it matters. If you choose the strings, then you’re imagining a world in which you can become irreparably broken. If you choose the grass, you’re saying that we are all infinitely interconnected, that we can use these root systems not only to understand one another but to become one another. The metaphors have implications. Do you know what I mean?”