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“I love you. I would die to protect you. I would make you hate me to keep you safe because damn it, Avery—some things are too precious to gamble.”
― Jennifer Lynn Barnes, The Final Gambit

“How do I tell her that all I want to do is roll around on my bed?”
― Jolene Perry, Night Sky

“What are we, if we don't have games?â€�


“Something else.”
― Stylo Fantome, Separation

“When you first told me you loved me, I felt like I’d scaled fucking mountains. He’s a lucky son of a bitch. Make him work harder; he is right, you deserve better”
― Ella Maise, To Hate Adam Connor

“I lean closer and whisper. "I'm already there, so I guess I'll wait for you”
― Jolene Perry, Night Sky

“certain kinds of analyses -- like those of Karatani here -- are analogous to creative works themselves, insofar as they propose a schema which it is the reader's task to construct and to project out onto the night sky of the mind's eye; and this is in fact, I believe, the way in which a good deal of contemporary theory is read by artists, who do no in fact use such books primarily for their perceptive contributions to the analysis of this or that familiar work of art, the way and older criticism was appealed to by readers of belles lettres. These younger "postmodern" readers, as I understand it, look at the theoretical abstractions of post-contemporary books in order to imagine the concrete referents to which those abstractions might possibly apply -- whether those are artistic languages or experiences of daily life. Here, the analysis produces the absent text of what remains to be invented, rather than modestly following along behind the achieved masterpiece with a running commentary. It is -- to use the expression again -- science-fictional (as benefits a culture like ours, just catching up with science fiction, not merely in content, but in its form): the new abstractions model the forms of reality that does not net exist, but which it would be interesting to experience.”
― Frederic Jameson