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Quote by Karen Thompson Walker

“Certain thoughts Rebecca keeps to her self, like how can anyone say for sure that the other life was the dream, and not this one? But what instrument can she ascertain these moments right here - with her girl on her lap, looking up so sweetly, those cheeks, her first tooth - are not part of a strange and pleasant dream she is dreaming in old age?”

Book:The Dreamers

Work

The Dreamers

This book delves into the intricate world of dreams, examining how they shape our thoughts, emotions, and perceptions. It explores the profound influence dreams can have on our waking lives, offering a unique perspective on the human experience. more

Author

Karen Thompson Walker

Karen Thompson Walker is an American author known for her unique science fiction novels. Her works often explore profound themes of human existence, such as time, memory, and identity. Although her exact birth and death dates are unknown, she has achieved significant accomplishments in her writing career. more

“There was so much more going on than any one person could know, reality was so much bigger than the self, that it was alarming to contemplate. This explained the error: one felt the vastness and shrunk in on oneself like a snail’s horns, instinctively trying to protect one’s mind. And yet there was no real harm in it, this contact with the larger reality.”

Self Reality Complexity

Book:The Ministry for the Future

Source: The Ministry for the Future

“You dream because you know what is dream? Or because you don’t know, that why continue dreaming?”

Mind Reality Action Dreams Happy Sucess

Author:Ansh - The Mystic Rider

“«Signora, le posso parlare un attimo?» [...] C'era un problema con Gatsby. Lo diceva per il mio bene. Per il mio bene? Che strana espressione. Con tutto il rispetto che aveva nei miei riguardi [...] aveva una lamentela da fare. Contro chi, e perché a me? Contro Gatsby. Gli domandai se avesse per caso sporto una formale denuncia contro il signor Gatsby, e gli rammentai che in ogni caso sarebbe stato inutile, dato che la morte estingue il reato. Ma c'era poco da scherzare. «No, professoressa, non contro il signor Gatsby; contro il romanzo». Era immorale. Insegnava ai giovani le cose sbagliate; avvelenava la loro mente - dovevo essermene senz'altro accorta anch'io. Veramente no, gli dissi. Gli rammentai che Gatsby era un'opera di narrativa, non un manuale di istruzioni per la vita. Di sicuro mi rendevo conto, insistette, che c'era chi prendeva a modello quei romanzi e quei personaggi. Forse il signor Gatsby andava bene per gli americani, ma non per la nostra gioventù rivoluzionaria. [...] Per Nyazi fra la realtà di tutti i giorni e quella immaginata da Fitzgerald non c'era differenza. Il grande Gatsby era un'opera emblematica, parlava dell'America, e l'America per noi era come il veleno. Era così e basta. Dovevamo insegnare agli studenti iraniani a combattere l'immoralità americana. Era serissimo, e in assoluta buona fede.”

Reality Books Gatsby Iranian Revolution

Book:Reading Lolita in Tehran: A Memoir in Books

Source: Reading Lolita in Tehran: A Memoir in Books

“No sight so sad as that of a naughty child," he began, "especially a naughty little girl. Do you know where the wicked go after death?" "They go to hell," was my ready and orthodox answer. "And what is hell? Can you tell me that?" "A pit full of fire." "And should you like to fall into that pit, and to be burning there for ever?" "No, sir." "What must you do to avoid it?" I deliberated a moment: my answer, when it did come was objectionable: "I must keep in good health and not die.”