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Trauma Quotes

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Trauma Quotes

“The Dark Cloud Is the green-eyed monster of jealous idiots who want your wisdom but don’t want your trauma Is the ignorance of people who have not gone through any drama Is the incalculable resilience of survivors of war and genocide that don’t seek to destroy the lives of others Is the difficulty associated with trusting anyone when you have lost your brothers and mothers”

“I started out trusting everyone and assuming they would always do the right thing when they were supposed to, despite the situation. I grew up on the golden rule. The 10 Commandments and all these morals and values about right and wrong and being truthful and loyal. Then, I was betrayed. I was hurt, talked about, lied on, shunned, condemned, shamed, embarrassed, humiliated, and left broken by so many people including those who were close to me and those I would have given my last to- those I did give my last to; all while they were taking, stealing and robbing from me financially, emotionally, physically and psychologically. So now, obviously my approach to people would be different. My perception has changed. Now, when I see people, I don’t automatically trust them. I don’t trust them at all.”

“This is where all the work we have done with ourselves to sense the connection between our bodily sensations and implicit memories comes to help our person. Our conviction that this is the doorway to the deeper places provides a foundation, through resonance, for him to slow down and attend to his body.”

“But he played music so loudly he could not hear his pain. He stunted his growth beneath a bass that decorated his aura and lyrics that hardened the glass parts of him. He was indeed an autumn leaf dipped in concrete. He wanted sound, any sound but his own thoughts. Ears that needed songs louder than the mind were ears afraid of what they might hear inside.”

“Please remember the heroes of the Bosnian War Like Izet Nanić, Safet Hadžić, and Mehdin Hodžić Who bravely ventured into situations that were unknown Risking their safety in the middle of a war zone Sing this powerful song for everyone to hear Sing so that the stories of Bosnians are clear and loud Pound your fists on the table and declare That justice must be firm, strong, and proud!”

“Rufus didn’t pay any attention to the voice back then. At that time, he attributed the voice to his lack of confidence, causing him to doubt the durability of his friendship with Melissa. But as the years passed, the voice became louder in his head, and it seemed to be someone else’s. It didn’t sound like Rufus did when he spoke. And it didn’t think like he thought. The most crucial difference between Rufus and the voice was that it didn’t tell the truth because the truth was that only good things had happened to him since he’d met Melissa.”

“It is far stronger to acknowledge an issue, accept it and attempt to restore it than it is to bear the pain, dismiss what it calls for and carry on. Moving on in this way is not being strong or positive; it is denial. Being positive is not plastering a smile over a hard experience; being positive is recognising this experience for its negative nature and acting upon it to make it transformative.”

“In Far from the Tree, Andrew Solomon writes, "It takes an act of will to grow from loss: the disruption provides the opportunity for growth, not the growth itself." Catastrophes do not trigger transformation; they only establish the conditions that increase the likelihood that we will pursue them. Only through our willful, persevering actions can we gradually remake our identities.”

“In one of the notebooks he carried with him, Nietzsche wrote, "We have art lest we perish from the truth." For those leading afterlives, the unadorned facts of what's happened to them can be brutish to bear on their own terms. Contextualizing that hardship through our intellects and imaginations is a critical salve, an act of transforming our perception that can guide and color how we experience our lives. We can knead our experiences into a larger arc, providing the cohesion that helps us form new narrative identities. Or we can look deeper into our afterlives until we ferret out a way of construing them that rouses our spirits or points them toward salvation. In her essay collection The White Album, Joan Didion delivered a pronouncement that was a natural descendants to Nietzsche's line, an admission of how desperately we rely on the subjective fictions we construct: "We tell ourselves stories in order to live." Those stories--whether they take the form of redemption narratives, personal parables, or the pearlescent beliefs we kneel before each day like shrines offering eternal grace--can elevate our lives and serve as the vessels of private deliverance.”

“The identities people foster in their afterlives are rarely arrived at incidentally--they do not wander haphazardly into their passions, careers, perspectives, and beliefs. The individuals they become are forged in voids, sowed on fallow land, pursued against the finest of margins, and people seize on them because their survival in some sense depends on it.”

“I refuse to be your battery You don't get to drain me anymore You don't get to charge me anytime for anything anymore You don't get to judge me- to think I'm used up and be indecisive daily whether you'd like to get a new one You don't get to connect to me or keep testing me You haven't saved up enough integrity to afford this high quality battery The only thing I will allow is for you to replace me- Good luck.”

“After the war, I was in a bad place. I still am, I suppose, but for more than a year after the war...' She couldn't look Gwyn in the eye. 'I did a lot of things I regret. Hurt people I regret harming. And I hurt myself. I drank day and night and I...' She didn't want to say the word to Gwyn- fucked- so she said, 'I took strangers to my bed. To punish myself, to drown myself.' She shrugged a shoulder. 'It's a long story, and not one worth telling, but through it all, I picked taverns and pleasure halls to frequent because of the music. I've always loved music.' She braced herself for the damning judgement. But only sorrow filled Gwyn's face. 'You've probably guessed that my residency in the House, my training, my work in the library is my sister's attempt to help me.' Her sister whom she had still not apologised to, whom she still didn't have the courage to face. 'And I... I think I might be glad Feyre did this for me. The drinking, the males- I don't miss any of it. But the music... that I miss.' Nesta waved a hand, as if she could banish the vulnerability she'd offered up. But she went on, 'And since I'm not particularly welcome in the city, I was hoping you meant it when you said I could come to one of your services. Just so I can hear some music again.' Gwyn's eyes shone, like the sunlight on a warm sea. Nesta's heart thundered, waiting for her reply. But Gwyn said, 'Your story is worth telling, you know.' Nesta began to object, but Gwyn insisted, 'It is. But yes- if you want music, then come to the services. We will be glad to have you. I will be glad to have you.' Until Gwyn learned how horrible she'd been. 'No,' Gwyn said, apparently reading the thought on her face. She grabbed Nesta's hand. 'You... I understand.' Nesta heard Gwyn's own heart begin thundering. 'I understand,' Gwyn repeated, 'what it is to... fail the people who mean the most. To live in fear of people finding out. I dread you and Emerie learning my history. I know that once you do, you'll never look at me the same again.' Gwyn squeezed Nesta's hand. Her story would come later. Nesta let her see it in her face, that when Gwyn was ready, nothing she could reveal would make her walk away. 'Come to the service this evening,' Gwyn said. 'Listen to the music.' She squeezed her hand again. 'You'll always be welcome to join me, Nesta.' Nesta hadn't realised how badly she'd needed to hear it. She squeezed Gwyn's hand back.”

“The soft glow of the fairy lights in her room, the way her arm warmers covered the bandages on her wrists. She had made them herself, tiny stitches woven into the fabric like a secret, a small act of care for a body she was learning to hate.”

“Her breath caught in her throat. She knew what he was doing. She had seen it in books, in movies, in the hushed conversations of girls who had learned their lessons too late.”

“La Vera em va dir: —Com és que sents que tot ho has de transformar en una història? Així que li vaig dir per què: Perquè si explico la història, en controlo la versió. Perquè si explico la història, us puc fer riure, i m'estimo més que us en rigueu de mi que no pas que sentiu pena. Perquè si explico la història, no fa tant de mal. Perquè si explico la història, puc tirar endavant.”