Quotessence
Home / Quotes / Quote by Marjorie Celona

Quote by Marjorie Celona

“Y That perfect letter. The wishbone, fork in the road, empty wineglass. The question we ask over and over. Why? Me with my arms outstretched, feet in first position. The chromosome half of us don't have. Second to last in the alphabet: almost there. Coupled with an L, let's make an adverb. A modest X, legs closed. Y or N? Yes, of course. Upside-down peace sign. Little bird tracks in the sand. Y, a Greet letter, joined the Latin alphabet after the Romans conquered Greece in the first century -- a double agent: consonant and vowel. No one used adverbs before then, and no one was happy.”

Quote by Marjorie Celona

Book:Y

Work

Y

This book delves into complex characters and their journeys, examining the nature of self and the impact of change on individuals. more

Author

Marjorie Celona
Marjorie Celona

Marjorie Celona, born in 1981, is an accomplished American writer known for her profound character development and unique narrative style. Her works have gained popularity among readers for their insightful exploration of the lives of marginalized individuals and their struggles in society. more

You May Also Like

“There comes a time in a man's life, if he is unlucky and leads a full life, when he has a secret so dirty that he knows he never will get rid of it. (Shakespeare knew this and tried to say it, but he said it just as badly as anyone ever said it. 'All the perfumes of Arabia' makes you think of all the perfumes of Arabia and nothing more. It is the trouble with all metaphors where human behavior is concerned. People are not ships, chess men, flowers, race horses, oil paintings, bottles of champagne, excrement, musical instruments or anything else but people. Metaphors are all right to give you an idea.)”

“The statue of Justice, symbol of the law, as she holds aloft her balance scale, is blindfolded. Justice is blind to race, creed, color – and to personal eccentricity. If there were a comparable state of Clio, the Muse of history, she would have to be presented with the blindfold lying at her feet, because the balance of her scales must be weighed with a conscious awareness of the facts and interpretations she must weigh.”

“She understood now why so many members of her kind died so young. It was possible to squeeze an entire lifetime of living into a single day: to live more, to feel more, in the span of twenty-four hours than most did in eighty years. Shape-shifters lived in a world of color and brightness, of heightened senses. They felt everything more intensely, and so they lived their lives more intensely—anything to make their hearts pound harder. Life could be like a drug. But how does one wean oneself off life?”

“Sometimes I think that creativity is a matter of seeing, or stumbling over, unobvious similarities between things—like composing a fresh metaphor, but on a more complex scale. One night in Hiroshima it occurred to me that the moon behind a certain cloud formation looked very like a painkiller dissolving in a glass of water. I didn’t work toward that simile, it was simply there: I was mugged, as it were, by the similarity between these two very different things. Literary composition can be a similar process. The writer’s real world and the writer’s fictional world are compared, and these comparisons turned into text. But other times literary composition can be a plain old slog, and nothing to do with zones or inspiration. It’s world making and the peopling of those worlds, complete with time lines and heartache.”