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Ya Quotes

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Ya Quotes

“Joseph, you’re out of clean towels.” Lucia poked her head into the living room, the rest of her hidden behind the wall. Her red hair dripped water onto my wooden floors. “She’s in the buff.” Jenna guffawed. Gabriella rolled her eyes, beaming. I rose. “Go back to the bathroom. I’ll bring you a towel,” I ordered Lucia. She disappeared down the hall. “You have naked angels running around your house,” Jenna continued through her laughter. Gabby laughed louder.”

“I tapped around on my new Miracle Phone—a gift from Joseph—as I listened to the discussion about our next move. I wasn’t trying to be rude, but I’d recently become addicted to this one game on my Miracle Phone. Really, I was listening. I could multitask like no other. Trust me, there’s an app for that.”

“At the sound of her name, Lucia’s blue eyes honed in on me. She cocked her head to the side as if puzzled. “Why me?” she wondered. “Lucia, you exploded with power after Ehno was killed.” I shot Ehno an apologetic look. “I felt your sorrow before I even knew something was wrong. It hit me like a freight train of boulders. You made the sky rain fireballs with red lightning. Need I say more?”

“He speaks in that strange sports talk, telling me about the start of the new season and asks if I follow baseball. No. I really don’t. He assures me if I stay in town long enough I will become a baseball fan. It’s a requirement of living in St. Louis. Everyone is a Cardinal’s fan. “Loyal,” he tells me. St. Louis is a loyal town.”

“My life is hard. No one would rob me of that. The clothes I am wearing came out of a knotted up black plastic trash bag from a resale shop downtown. And not the downtown where shiny cars wink at you in the sunlight. If a car winks at you in this area it’s being driven by a person you would be best to avoid. My side of downtown is crumbling and skirted by chain link fences. --Rocky Evans”

“Kevin looks at me and I know he isn’t seeing the little girl I use to be, all pigtails and gangly limbs. He isn’t seeing my mother’s daughter or even my mother anymore. As his eyes linger over me, stopping here and there in the most uncomfortable places, I know he isn’t really even seeing me as I am. The bloodshot eyes staring out of the alcohol-flushed face are seeing a girl, nearly of age, who owes him a tremendous debt of gratitude.--Rocky Evans”

“You may suppose that perhaps this Walter T. Wallace found his destiny in food and passed down to his progeny a legacy like that of the great Colonel Sanders. The folks here in Wallace County would love to be able to tell you this is so. But no, like their granddaddy, the Wallace men were thievin’ crooks, always with a scheme ready to separate the weak from their hard-earned money.”

“I had looked at him and the surrounding noise faded away and time seemed to come to a standstill. And in that moment of crystal clear clarity, I had known with unwavering certainty that whatever beckoned in the future, he was going to figure in it. Our destinies were irrevocably intertwined. It was not rational, it was electrifying.”

“Granna carried a card in his pocket that said ‘Travish Zarafshan is deaf and mute and doesn’t know sign language,’ and every time the military police stopped him in the street to check his ID, he showed them that. He got a real kick out of doing that too, but Nana didn’t at all find it amusing.”

“The two of them left standing in the innermost circles of their hoop cages, arms around each other even as their hips remain two feet apart. They separate and stand straight, taking each other in for the first time. It’s just them in their drawers, chemises, and stays, and Beth feels a change in the air. Gwen holds out a hand and together they step out of their hoops and shuffle close to the bed.”

“Сердце замерло, и словно кто-то привернул громкий фоновый звук. А в ушах все еще звенело от этого пугающего раската. Из-под этого звона, приглушенно, словно из-под воды, послышался вскрик. Все происходило словно в замедленном движении. Я поглядела вправо. Чуть ниже, в направлении этого крика, и успела увидеть, как сильный удар развернул Шафина, как Шафин валится на траву. Заряд угодил в него.”

“Life, Jersey Girl, sometimes pauses. It stops. Sometimes we don’t even realize how everything around us is moving so quickly while we’re standing in the middle of it, allowing it to pass us by. Most of us, if not all, just lose the why. Some of us never figure it out to begin with. We lose sight of the purpose that wakes us up every morning and pushes our day forward. We lose a sense of hope and the feeling of life in general. We view life as more of a test, one that’s trying to beat us down every day.”

“And against whom is this censorship directed? By way of answer, think back to the big subcultural debates of 2011 – debates about how gritty fantasy isn’t really fantasy; how epic fantasy written from the female gaze isn’t really fantasy; how women should stop complaining about sexism in comics because clearly, they just hate comics; how trying to incorporate non-Eurocentric settings into fantasy is just political correctness gone wrong and a betrayal of the genre’s origins; how anyone who finds the portrayal of women and relationships in YA novels problematic really just wants to hate on the choices of female authors and readers; how aspiring authors and bloggers shouldn’t post negative reviews online, because it could hurt their careers; how there’s no homophobia in publishing houses, so the lack of gay YA protagonists can only be because the manuscripts that feature them are bad; how there’s nothing problematic about lots of pretty dead girls on YA covers; how there’s nothing wrong with SF getting called ‘dystopia’ when it’s marketed to teenage girls, because girls don’t read SF. Most these issues relate to fear of change in the genre, and to deeper social problems like sexism and racism; but they are also about criticism, and the freedom of readers, bloggers and authors alike to critique SFF and YA novels without a backlash that declares them heretical for doing so. It’s not enough any more to tiptoe around the issues that matter, refusing to name the works we think are problematic for fear of being ostracized. We need to get over this crushing obsession with niceness – that all fans must act nicely, that all authors must be nice to each other, that everyone must be nice about everything even when it goes against our principles – because it’s not helping us grow, or be taken seriously, or do anything other than throw a series of floral bedspreads over each new room-hogging elephant. We, all of us, need to get critical. Blog post: Criticism in SFF and YA”

“As a fantasist, I well understand the power of escapism, particularly as relates to romance. But when so many stories aimed at the same audience all trumpet the same message – And Lo! There shall be Two Hot Boys, one of them your Heart’s Intended, the other a vain Pretender who is also hot and with whom you shall have guilty makeouts before settling down with your One True Love – I am inclined to stop viewing the situation as benign and start wondering why, for instance, the heroines in these stories are only ever given a powerful, magical destiny of great importance to the entire world so long as fulfilling it requires male protection, guidance and companionship, and which comes to an end just as soon as they settle their inevitable differences with said swain and start kissing. I mean to invoke is something of the danger of mob rule, only applied to narrative and culture. Viz: that the comparative harmlessness of individuals does not prevent them from causing harm en masse. Take any one story with the structure mentioned above, and by itself, there’s no problem. But past a certain point, the numbers begin to tell – and that poses a tricky question. In the case of actual mobs, you’ll frequently find a ringleader, or at least a core set of agitators: belligerent louts who stir up feeling well beyond their ability to contain it. In the case of novels, however, things aren’t so clear cut. Authors tell the stories they want to tell, and even if a number of them choose to write a certain kind of narrative either in isolation or inspired by their fellows, holding any one of them accountable for the total outcome would be like trying to blame an avalanche on a single snowflake. Certainly, we may point at those with the greatest (arguable) influence or expostulate about creative domino effects, but as with the drop that breaks the levee, it is impossible to try and isolate the point at which a cluster of stories became a culture of stories – or, for that matter, to hold one particular narrative accountable for the whole.”

“That’s when I notice Cheryl and Mickey cuddled up on the couch. She’s leaning on his shoulder, his arm around her, her leg across his lap. Cheryl throws glances at Kerry that say, “Look at me!” while Kerry shoots a “You go, girl!” smirk right back. I think of CK, how he and I often sat like that. Not because we were seconds from making out or wanted to look like a couple, but just out of a deep, platonic connection. My heart hits a higher notch on the ache-o-meter, my teeth sear into my bottom lip, and then something inside me snaps as cleanly as a crayon.”

“The frame of the mirror was a deep mahogany and carved with an intricate design of what appeared in the dim light to be leaves and vines. The mirror’s surface was clouded with dust and age, so much that Quinn could not even see his own reflection. On impulse, he rubbed a small circle with the back of his wrist but beneath the dust the glass was still milky and unclear. ~ "The Mirror”

“As he carefully made his way back to the stairs and awkwardly turned off the light, he did not notice that the dark shadow he had assumed was his reflection remained in the mirror. He didn’t see the hands press against the surface and make large, liquid-like bulges beneath the glass. Nor did he hear the whispers that so suddenly and violently filled the dark, cluttered space as he had closed and locked the heavy attic door. ~ "The Mirror”

“In the past few years, more and more passionate debates about the nature of SFF and YA have bubbled to the surface. Conversations about race, imperialism, gender, sexuality, romance, bias, originality, feminism and cultural appropriation are getting louder and louder and, consequently, harder to ignore. Similarly, this current tension about negative reviews is just another fissure in the same bedrock: the consequence of built-up pressure beneath. Literary authors feud with each other, and famously; yet genre authors do not, because we fear being cast as turncoats. For decades, literary writers have also worked publicly as literary reviewers; yet SFF and YA authors fear to do the same, lest it be seen as backstabbing when they dislike a book. (Small wonder, then, that so few SFF and YA titles are reviewed by mainstream journals.) Just as a culture of sexual repression leads to feelings of guilt and outbursts of sexual moralising by those most afflicted, so have we, by denying and decrying all criticism that doesn’t suit our purposes, turned those selfsame critical impulses towards censorship. Blog post: Criticism in SFF and YA”