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Quote by Max Barry

“He'd basically fallen in love with her on the spot. Well, no, that wasn't accurate; that implied a binary state, a shifting from not-love to love, remaining static thereafter, and what he'd done with Brontë was fall and fall, increasingly faster the closer they drew, like planets drawn to each other's gravitational force. Doomed, he guessed, the same way.”

Quote by Max Barry

Book:Lexicon

Work

Lexicon

In this fictional narrative, a group of individuals develops a new language with the aim of preserving and shaping human culture. The story delves into the complexities of language, communication, and the power of words. more

Author

Max Barry

Max Barry, born on March 18, 1973, is an Australian author known for his unique perspective and humorous style. His works primarily focus on science fiction, fantasy, and realism. more

“Cathy, don't look so defeated. She was only trying to put us down again. Maybe nothing did work out right for her, but that doesn't mean we are doomed. Let's go forth tomorrow with no great expectations of finding perfection. Then, expecting only a small share of happiness, we won't be disappointed.”

Happiness Expectations Perfection Work Out Defeated Doomed Doom Small Put Downs Facial Expressions Put Down Disapointment Towmorrow Putting People Down Small Share

Book:Flowers in the Attic

Source: Flowers in the Attic

“We are always immeasurably bigger than the little person we’ve too often doomed ourselves to be.”

Self Self Esteem Bigger Doomed Underestimate Person Doom Inferiority Sabotage Self Concept Inferior Reduce Minimize

Author:Craig D. Lounsbrough

“He sank back into his black-and-white world, his immobile world of inanimate drawings that had been granted the secret of motion, his death-world with its hidden gift of life. But that life was a deeply ambiguous life, a conjurer's trick, a crafty illusion based on an accidental property of the retina, which retained an image for a fraction of a second after the image was no longer present. On this frail fact was erected the entire structure of the cinema, that colossal confidence game. The animated cartoon was a far more honest expression of the cinematic illusion than the so-called realistic film, because the cartoon reveled in its own illusory nature, exulted in the impossible--indeed it claimed the impossible as its own, exalted it as its own highest end, found in impossibility, in the negation of the actual, its profoundest reason for being. The animated cartoon was nothing but the poetry of the impossible--therein lay its exhilaration and its secret melancholy. For this willful violation of the actual, while it was an intoxicating release from the constriction of things, was at the same time nothing but a delusion, an attempt to outwit mortality. As such it was doomed to failure. And yet it was desperately important to smash through the constriction of the actual, to unhinge the universe and let the impossible stream in, because otherwise--well, otherwise the world was nothing but an editorial cartoon.”