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Quote by Mitch Albom

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Tuesdays With Morrie: An old man, a young man, and life's greatest lesson

This memoir explores the deepening bond between Morrie Schwartz, a beloved college professor, and Mitch Albom, his former student, as they meet weekly to discuss life, love, and mortality. The story delves into the wisdom and insights Morrie imparts, offering a moving reflection on the human experience and the importance of living fully. more

Author

Mitch Albom
Mitch Albom

Mitch Albom, born on May 23, 1958, is a renowned American author known for his profound exploration of themes such as life, faith, and love. His works, including 'Tuesdays with Morrie' and 'For One More Day', are celebrated for their emotional depth and rich character development. more

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“So it hadn’t been wrong or dishonest of her to say no this morning, when he asked if she hated him, any more than it had been wrong or dishonest to serve him the elaborate breakfast and to show the elaborate interest in his work, and to kiss him goodbye. The kiss, for that matter, had been exactly right—a perfectly fair, friendly kiss, a kiss for a boy you’d just met at a party, a boy who’d danced with you and made you laugh and walked you home afterwards, talking about himself all the way. The only real mistake, the only wrong and dishonest thing, was ever to have seen him as anything more than that. Oh, for a month or two, just for fun, it might be all right to play a game like that with a boy; but all these years! And all because, in a sentimentally lonely time long ago, she had found it easy and agreeable to believe whatever this one particular boy felt like saying, and to repay him for that pleasure by telling easy, agreeable lies of her own, until each was saying what the other most wanted to hear—until he was saying “I love you” and she was saying “Really, I mean it; you’re the most interesting person I’ve ever met.” What a subtle, treacherous thing it was to let yourself go that way! Because once you’d started it was terribly difficult to stop; soon you were saying “I’m sorry, of course you’re right,” and “Whatever you think is best,” and “You’re the most wonderful and valuable thing in the world,” and the next thing you knew all honesty, all truth, was as far away and glimmering, as hopelessly unattainable as the world of the golden people. Then you discovered you were working at life the way the Laurel Players worked at The Petrified Forest, or the way Steve Kovick worked at his drums—earnest and sloppy and full of pretension and all wrong; you found you were saying yes when you meant no, and “We’ve got to be together on this thing” when you meant the very opposite; then you were breathing gasoline as if it were flowers and abandoning yourself to a delirium of love under the weight of a clumsy, grunting, red-faced man you didn’t even like—Shep Campbell!—and then you were face to face, in total darkness, with the knowledge that you didn’t know who you were. (p.416-7)”

Marriage
Book:Revolutionary Road
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“Why is it a girl has to be so silly to catch a husband?” “Ah specs it’s kase gempmums doan know whut dey wants. Dey jes’ knows whut dey thinks dey wants. An’ givin’ dem whut dey thinks dey wants saves a pile of mizry an’ bein’ a ole maid. An’ dey thinks dey wants mousy lil gals wid bird’s tastes an’ no sense at all. It doan make a gempmum feel lak mahyin’ a lady ef he suspicions she got mo’ sense dan he has.”

MenWomenMarriageHusbandLady
Book:Gone with the wind
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