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T Quotes

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All T Quotes

“There’s no greater perjury than self-deception. Lying to ourselves puts to death our definitive truth. Confronting the lies we’ve told ourselves, no matter how small, is a difficult endeavor but nothing is more liberating. To be honest with ourselves is the fastest path to self-acceptance. Being authentic about who we are, actually enriches the relationships around us. The truth sets us free and that’s no lie. ~Jason Versey”

“There’s no happy ending ... Nevertheless, we might well say that is exactly Harriet Beecher Stowe’s point. In 1852 slavery had not been abolished. Slaves were still on the plantations and many of them were in the hands of people like Legree. Her book was written to shame the collective conscience of America into action against an atrocity which was still continuing. So a happy ending would have been, frankly, a lie and a betrayal. ... Most of the charges are basically true. Stowe did stereotype. She did sentimentalize. She offered a role model which later offended African American pride. On the other hand, what she did worked. She wasn’t trying to provide a role model for African Americans. She was trying to make white Americans ashamed of themselves. ... Perhaps the short answer to her critics is to ask, “Do you want glory, approval, all those good things? Or do you want to achieve your goal?”

“There's no harm in reviewing the past from time to time; knowing where you've been is part of knowing where you are, and all that happy horse shit. But the American media have an absolute fixation on this. They rob us of the present by insisting on the past. If they were able, I'm sure they would pay equal attention to the future. Trouble is, they don't have any film on it.”

“There's no judgment. It's clear she's been punished enough. And it was basically the same all over, after all, Out There. And the fact that it was so good to hear her, so good that even Tiny Ewell and Kate Gompert and the rest of the worst of them all sat still and listened without blinking, looking not just at the speaker's face but into it, helps force Gately to remember all over again what a tragic adventure this is, that none of them signed up for.”

“There's no love waiting for you. There's something massive, and powerful, you can feel it . . . but I still don't know how to accurately describe how you feel it, because it's more than just knowledge. It would be physical, too, if you had a body, except you don't. Or maybe it's a different kind of body, or maybe you just haven't yet shaken off the memory of the one you had, so it feels like you're still subject to the same expectations of gravity and pain. Even though there's no love, you are wanted there. The main thing you're aware of is this pervading sense of greed. You're like one gold coin in a vault full of them, spilling over with them. You're there to be hoarded. I don't know why, I couldn't tell you why. Maybe it only wants you because it can have you. Or maybe it'll have some other use for you eventually, and for now you're in some kind of holding pen. But . . . the sense of claustrophobia, and betrayal . . . they're just devastating. You can feel that all around you, too . . . like a scream that got so loud you can't even hear it anymore, it just rips through you like an electric current . . . And the only reason you know it's not Hell, or that maybe Heaven and Hell are the same thing, is because you can hear the singing, for lack of a better word, because it's not songs, or structured. But it's beautiful. Sure—it's Heaven, right? It seems to come from all around you, but it's far away at the same time. Maybe it won't be so bad, you're thinking, if I get to listen to this. But pretty soon, you realize it's not for you. And a little while after that, you start to notice the strain in it. Like that tone in a hostage's voice when he's reading a statement about how well his captors are treating him, except he's reading it with a gun at his head. And then you realize the worst thing of all: What you're hearing are the ones that have learned to beg . . .”

“There’s no magical healing in this. I won’t wake up tomorrow fixed and joyful. I’ll still hurt and grieve. But moments like this, with Colton? They make it all bearable. He doesn't fix me, doesn't heal me. He just makes life worthwhile. He helps me remember to breathe, shows me how to smile again. He kisses me, and I can forget pain, forget the urges I still have to cut for the pain that erases the emotions.”

“There's no magical, one-size-fits-all solution for getting unstuck (trust me, I've tried pretty much everything). But building self-awareness skills to recognize when and why you're getting stuck makes a huge difference. Once you've got that down, you'll be able to better identify what feeling is holding you back from taking care of The Thing (and how to start moving forward).”

“There's no messing with perfection. (Okay, a little messing, just for fun.) A few crystals of coarse sea salt, a drizzle of local olive oil, and a sprig or two of purple basil. Sliced and layered in a white ceramic dish, the tomatoes often match the hues of the local sunsets--- reds and golds, yellows and pinks. If there were such a thing in our house as "too pretty to eat," this would be it. Thankfully, there's not. If I'm not exactly cooking, I have done some impromptu matchmaking: baby tomatoes with smoked mozzarella, red onions, fennel, and balsamic vinegar. A giant yellow tomato with a local sheep's milk cheese and green basil. Last night I got a little fancy and layered slices of beefsteak tomato with pale green artichoke puree and slivers of Parmesan. I constructed the whole thing to look like the Leaning Tower of Pisa. I love to think of the utterly pretentious name this would be given in a trendy Parisian bistro: Millefeuille de tomate provençale, tapenade d'artichaut et coppa de parmesan d'Italie (AOC) sur son lit de salade, sauce aigre douce aux abricots. And of course, since this is a snooty Parisian bistro and half their clientele are Russian businessmen, the English translation would be printed just below: Tomato napoleon of artichoke tapenade and aged Parmigiano-Reggiano cheese on a bed of mixed greens with sweet-and-sour apricot vinaigrette. The sauce abricot was a happy accident. While making the dressing for the green salad, I mistook a bottle of peach/apricot syrup for the olive oil. Since I didn't realize my mistake until it was at the bottom of the bowl, I decided to try my luck. Mixed with Dijon mustard and some olive oil, it was very nice--- much sweeter than a French vinaigrette, more like an American-style honey Dijon. I decided to add it to my pretentious Parisian bistro dish because, believe it or not, Parisian bistros love imitating American food. Anyone who has been in Paris in the past five years will note the rise of le Tchizzberger. (That's bistro for "cheeseburger.") I'm moderate in my use of social media, but I can't stop taking pictures of the tomatoes. Close up, I've taken to snapping endless photos of the voluptuously rounded globes. I rejoice in the mingling of olive oil and purply-red flesh. Basil leaves rest like the strategically placed tassels of high-end strippers. Crystals of sea salt catch the afternoon sun like rhinestones under the glaring lights of the Folies Bergère. I may have invented a whole new type of food photography: tomato porn.”