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“You want to know what I really learned? I learned that people don’t consider time alone as part of their life. Being alone is just a stretch of isolation they want to escape from. I saw a lot of wine-drinking, a lot of compulsive drug use, a lot of sleeping with the television on. It was less festive than I anticipated. My view had always been that I was my most alive when I was totally alone, because that was the only time I could live without fear of how my actions were being scrutinized and interpreted. What I came to realize is that people need their actions to be scrutinized and interpreted in order to feel like what they’re doing matters. Singular, solitary moments are like television pilots that never get aired. They don’t count. This, I think, explains the fundamental urge to get married and have kids[…]. We’re self-conditioned to require an audience, even if we’re not doing anything valuable or interesting. I’m sure this started in the 1970s. I know it did. I think Americans started raising offspring with this implicit notion that they had to tell their children, “You’re amazing, you can do anything you want, you’re a special person.” [...] But—when you really think about it—that emotional support only applies to the experience of living in public. We don’t have ways to quantify ideas like “amazing” or “successful” or “lovable” without the feedback of an audience. Nobody sits by himself in an empty room and thinks, “I’m amazing.” It’s impossible to imagine how that would work. But being “amazing” is supposed to be what life is about. As a result, the windows of time people spend by themselves become these meaningless experiences that don’t really count. It’s filler.”

“You want to know what I was thinking?...I was thinking that I wished you'd been with me the last couple of days. I mean, I enjoyed getting to know everyone better. We ate lunch together, and the dinner last night was a lot of fun, but it just felt like something was wrong, like I was missing something. It wasn't until I saw you walking up the beach that I realized it was you.”

“You want to know what makes me tick, I'll tell you what makes me tick. I was a boy growing up in Brooklyn; I read a two-penny magazine called 'The Hawk's Nest.' Nobody entered that nest that didn't leave a little richer and a little wiser. And that 11-year-old boy said, 'Isn't that a wonderful thing.' And that's all there is to it.”

“You want to know what's wrong?" He took her chin, forcing her to look at him. She could feel the angry pounding of his heart through the soft leather of his jerkin. "I'll tell you what's wrong. I want you so bad, I can't think straight. My body is on fire. I can't look at you without wanting to pull you into my arms. I can't touch you without thinking of running my hands all over you." Her eyes widened. The raw desire in his gaze shocked her. Never had she thought herself capable of driving a man to such extreme passion. "But that is only half the problem." His eyes had narrowed to slits, the lines around his mouth etched white. The dark stubble of his beard cast an ominous shadow along his hard, square jaw. Whatever the problem, it didn't bode well for her. She tried to pull away, for the first time truly frightened, but he wouldn't let her go. His arms were like steel. "You want to know what's really wrong, Elizabeth?" His face was only inches from hers. "I saw you kiss him." He spoke each word with damning precision.”

“You want to know what this [war on drugs] was really all about? The Nixon campaign in 1968, and the Nixon White House after that, had two enemies: the antiwar left and black people. You understand what I’m saying? We knew we couldn’t make it illegal to be either against the war or black, but by getting the public to associate the hippies with marijuana and blacks with heroin, and then criminalizing both heavily, we could disrupt those communities. We could arrest their leaders, raid their homes, break up their meetings, and vilify them night after night on the evening news. Did we know we were lying about the drugs? Of course we did.”

“You want to know why I am the perfect champion? Because you can take the strength of John Cena; the intelligence of Triple H; the desire of Cena; the athleticism of Triple H; the determination of Cena; the ruthlessness of Triple H... and if you combine these attributes into one person, you get Randy Orton. The only difference is that I have one thing that neither Cena nor Triple H has: the WWE Championship.”

“You want to know why I'm crying?" My voice was cracked, my eyes burning. "It's that you think I'm some kind of horrible person just because I wear pants and have a nose ring, and yet you see that girl outside and praise her. That's why I'm crying, Daddy. I'm evolving and changing, just like that girl out there, but you can't see it. You treat me like I'm a prodigal who's turned her back on you. You treat me worse than you treat my pedophile brother." Pops looked stunned. "Well...," he stammered. I wondered whether he was about to agree with me, to confirm that in his mind my sins of disobedience really were as bad as what Josh had been doing.”

“You want to lash out at the parts of your self that seem to hold you back. At moments like that, it's important to be able to sit down and speak gently within yourself, as if saying a prayer or reading a poem. Whichever part of you is unhappy, reassure it: accept your many selves, and allow them to speak both to you and to each other.”

“You want to make a difference in your world? Live a holy life: Be faithful to your spouse. Be the one at the office who refuses to cheat. Be the neighbor who acts neighbors. Be the employee who does the work and doesn't complain. Pay your bills. Do your part and enjoy life. Don't speak one message and live another. People are watching the way we act more than they are listening to what we say.”

“You want to make a little money, and sometimes you want to play some really great parts. Sometimes they don't always coincide, or co-exist. Sometimes you've got to do good parts for no money and... You know, I sometimes can't do movies just for the money. I really can't. I mean, I've tried. Believe me, I'd love to just take the money and run. That might just be part of the equation, but there has to be something there. You have to be somewhat creatively satisfied.”