Quotes from "Paper Towns"

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⚪ Konu sahibi son olarak 4024 gün önce görüldü
“Getting you a date to prom is so hard that the hypothetical idea itself is actually used to cut diamonds," I added. Radar tapped a locker twice with his fist to show his approval, and then came back with another. "Ben, getting you a date to prom is so hard that the American government believes the problem cannot be solved with diplomacy, but will instead require force.” ​
 
“I kept waiting for that loneliness and nervousness to make me want to go back. But it never did.”​
 
“Listen, kid. This is what happens: Somebody-girl usually-got a free spirit, doesn't get on too good with her parents. These kids, they're like tied-down helium balloons. They strain against the string and strain against it, and then something happens, and that string gets cut, and they just fly away. And maybe you never see the balloon again. It lands in Canada or somethin', gets work at a restaurant, and before the balloon even notices, it's been pouring coffee in that same dinner to the same sad bastards for thirty years. Or maybe three or four years from now or three or four days from now, the prevailing winds take the balloon back home, because it needs money, or it sobered up, or it misses its kid brother. But listen, kid, that string gets cut all the time."
"Yeah, bu-"

"I'm not finished, kid. The thing about these balloons is that there are so goddamned many of them. The sky is choked full of them, rubbing up against one another as they float to here or from there, and every one of those damned balloons ends up on my desk, one way or another, and after awhile a man can get discouraged. Everywhere the balloons, and each of them with a mother and father, or God forbid both, and after a while, you can't even see'em individually. You look up at all the balloons in the sky and you can see all of the balloons, but you cannot see any one balloon.”​
 
“It always seemed ridiculous to me that people would want to be around someone because they're pretty. It's like picking your breakfast cereals based on color instead of taste.”​
 
“But there are a thousand ways to look at it: maybe the strings break, or maybe our ship s sink, or maybe we're grass--our roots so interdependent that no one is dead as long as someone is still alive. We don't suffer from a shortage of metaphors, is what I mean. But you have to be careful which metaphor you choose, because it matters.” ​
 
“Radar revs the engine as to say hustle, and we are running through the parking lot, Ben's robe flowing in the wind so that he looks vaguely like a dark wizard, except that his pale skinny legs are visible, and his arms hug plastic bags. I can see the back of Lacey's legs beneath her dress, her calves tight in midstride. I don't know how I look, but I know how I feel: Young. Goofy. Infinite."​
 
“A Margo for each of us--and each more mirror than window.”​
 
“The way I figure it, everyone gets a miracle.”​
 
"The fundamental mistake I had always made - and that she had, in fairness, always led me to make - was this: Margo was not a miracle. She was not an adventure. She was not a fine and precious thing. She was a girl.”​
​
 
“I spy with my little eye a great story.”​
 
“When I've thought about him dying - which admittedly isn't that much - I always thought of it like you said, that all strings inside him broke. But there are a thousand ways to look at it: maybe the strings break, or maybe our ships think, or maybe we're grass - our roots are so interdependent that no one is dead as long as soneone is still alive. We don't suffer from a shortage of metaphors, is what I mean. But you have to be careful which metaphor you choose, because it matters. If you choose the strings, then you're imagining a world in which you can become irreparably broken. If you choose grass, you're saying that we are all infinitely interconnected, that we can use these root systems not only to understand one another but to become one another. The metaphors have implications...
I like the strings, I always have. Because that's how it feels. But the strings make pain seem more fatal than it is...We are not as frail as the strings would make us believe. And I like the grass, too. The grass got me to you, helped me imagine you as an actual person. But we're not different sprouts from the same plant. I can't be you. You can't be me. You can imagine another well- but not quite perfectly, you know?
"Maybe, it's more like you said before, all of us being cracked open. Like each of us starts out as a watertight vessel. And these things happen-these people leave us, or don't love us, or don't get us, or we don't get them, and we lose and fail and hurt one another. And the vessel starts to crack open in places. And I mean, yeah, once the vessel cracks open, the end becomes inevitable...But there is all this time between when the cracks start to open up and when we finally fall apart. And it's only in that time that we can see each other, because we see out of ourselves through our cracks and into others through theirs. When did we see each other face-to-face? Not until you saw into my cracks and I saw into yours. Before that we were just looking at ideas of each other, like looking at your window shade but never looking inside. But once the vessel cracks, the like can get in. The like can get out.” ​
 
“I can almost imagine a happiness without her, the ability to let her go, to feel our roots are connected even if I never see that leaf of grass again.' ”​
 
“How can you seperate those things though? The people are the place is the people.” ​
 
“Her hair is ridiculous," I said.

"I know. That was the only thing I said about her that was true. When you say nasty things about people, you should never say the true ones, because you can't really fully and honestly take those back, you know? I mean, there are highlights. And there are streaks. And then there are skunk stripes.” ​
 
“Was it animal pee or human pee? Someone asked.
How would I know? What, am I an expert in the study of pee?”​
 
“I know it's impossible for you to see your peers this way, but when you're older, you start to see them--the bad kids and the good kids and all kids--as people. They're just people, who deserve to be cared for.”​
 
“In the end, I had to call myself a faggot, which really annoyed me, because 1. I don't think that word should ever be used by anyone, let alone me, and 2. As it happens, I am not gay, and furthermore, 3. Chuck Parson made it out like calling yourself a faggot was the ultimate humiliation, even though there's nothing at all embarrassing about being gay.”​
 
“He just waited until I stopped talking and said, 'Jesus, kid, you're almost a detective. All you need now is a gun, a gut, and three ex-wives. So what's your theory?” ​
 
“If I had a nervous breakdown every time something awful happened in the world, I'd be crazier than a shithouse rat.”​
 
“All along — not only since she left, but for a decade before — I had been imagining her without listening, without knowing that she made as a poor a window as I did. And so I could not imagine her as a person who could feel fear, who could feel isolated in a roomful of people, who could be shy about her record collection because it was too personal to share. Someone who might have read travel books to escape having to live in the town that so many people escape to. Someone who — because no one thought she was a person — had no one to really talk to.” ​
 
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