[...] A lot of times, people die how they live. And so last words tell me a lot about who people were, and why they became the sort of people biographies get written about.
Before I got here, I thought for a long time that the way out of the labyrinth was to pretend that it did not exist, to build a small, self-sufficient world in the back corner of the endless maze and to pretend that I was not lost, but home.
But, in fact, depression is not a side effect of cancer. Depression is a side effect of dying. (Cancer is also a side effect of dying. Almost everything is, really.)
Dein ganzes Leben steckst du in dem Labyrinth fest und denkst daran, wie du ihm eines Tages entfliehst, und wie geil dann alles wird. Und die Vorstellung von dieser Zukunft hält dich am Laufen, aber am Ende tust du es nie. Du hast die Zukunft einfach nur benutzt, um aus der Gegenwart zu fliehen.
I know that books seem like the ultimate thing that's made by one person, but that's not true. Every reading of a book is a collaboration between the reader and the writer who are making the story up together.
I really think that reading is just as important as writing when you're trying to be a writer. Because it's the only apprenticeship we have. It's the only way of learning how to write a story.
Man liebt jemanden, der einen nicht lieben kann, weil unerwiderte Liebe viel besser zu überstehen ist, als Liebe, die zuerst erwidert wurde und dann nicht mehr.
Saying 'I notice you're a nerd' is like saying, 'Hey, I notice that you'd rather be intelligent than be stupid, that you'd rather be thoughtful than be vapid, that you believe that there are things that matter more than the arrest record of Lindsay Lohan. Why is that?' In fact, it seems to me that most contemporary insults are pretty lame. Even 'lame' is kind of lame. Saying 'You're lame' is like saying 'You walk with a limp.' Yeah, whatever, so does 50 Cent, and he's done all right for himself.