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Quote by Kate DiCamillo

“But answer me this: how can a story end happily if there is no love?”

Quote by Kate DiCamillo

Book:The Miraculous Journey of Edward Tulane

Work

The Miraculous Journey of Edward Tulane

This novel follows the life of Edward Tulane, a porcelain rabbit who embarks on a journey of self-discovery and emotional growth after being discarded by his owner. The story explores themes of love, loss, and the search for identity through the eyes of a seemingly inanimate object. more

Author

Kate DiCamillo is an American author renowned for her children's literature. Her works are known for their warmth, humor, and profound emotional depth, making them highly popular with readers. Born on March 25, 1964, DiCamillo's writing career began in the field of children's literature and has since expanded into adult literature. more

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“Do you not hear the loud gallop of the Storm-riders and the thunderous battle horn from their Heralds, coming from the high seas? Night falls, and so will you.”

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“I feel you now, your spirit is present. Your raw flute aches deep within my soul. [Raw Flute]”

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“When it comes to the high seas, not all monsters lurk beneath the surface.”

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“Secrets were like cobwebs. They began with a single, seemingly innocuous strand, and built into a filth that marred what once was beautiful.”

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“Sister, it is easy to blame others when we are forced to see the worst parts of ourselves.”

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“Isn’t that what love is? Giving your heart to someone, knowing only they have the power to make it bleed? Because no one else on the earth matters as much as them. Even with the knowledge that heartache is assured, our hearts are willing sacrifices.”

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“But a thing about a wounded heart was that it never mended completely. The scars it bore were like chains that kept it from making foolish mistakes again.”

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“Unfortunately, I know that it’s entirely possible to hate what you love. It’s a tormenting feeling, like having two minds, or like your body is constantly being pulled apart by separate ropes.”

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“Connell’s initial assessment of the reading was not disproven. It was culture as class performance, literature fetishised for its ability to take educated people on false emotional journeys, so that they might afterwards feel superior to the uneducated people whose emotional journeys they liked to read about. Even if the writer himself was a good person, and even if his book really was insightful, all books were ultimately marketed as status symbols, and all writers participated to some degree in this marketing. Presumably this was how the industry made money. Literature, in the way it appeared at these public readings, had no potential as a form of resistance to anything.”

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Source: Normal People