Best 182 quotes of Lorrie Moore on MyQuotes

I wished for eternal and intriguing muteness. I would be the Mysterious Dumb Girl, the Enigmatic Elf. The human voice no longer interested me.

I wondered about the half-life of regret.

I would never understand photography, the sneaky, murderous taxidermy of it.

Later I would come to believe that erotic ties were all a spell, a temporary psychosis, even a kind of violence, or at least they coexisted with these states.

Love drains you, takes with it much of your blood sugar and water weight. You are like a house slowly losing its electricity, the fans slowing, the lights dimming and flickering; the clocks stop and go and stop.

Love is a fever," she said. "And when you come out of it you'll discover whether you've been lucky - or not.

Love is art, not truth. It’s like painting scenery.

Love is the answer, said the songs, and that's OK. It was OK, I supposed, as an answer. But no more than that. It was not a solution; it wasn't really even an answer, just a reply.

Make a list of all the lovers you've ever had. Warren Lasher Ed "Rubberhead" Catapano Charles Deats or Keats Alfonse Tuck it in your pocket. Leave it lying around, conspicuously. Somehow you lose it. Make "mislaid" jokes to yourself. Make another list.

My new apartment might be a place where there are lots of children. They might gather on my porch to play, and when I step out for groceries, they will ask me, "Hi, do you have any kids?" and then, "Why not, don't you like kids?" "I like kids," I will explain. "I like kids very much." And when I almost run over them with my car, in my driveway, I will feel many different things.

No matter that you anticipate a thing; you get so used to it as part of the future that its actuality, its arrival, its force and presence, startles you, takes you by surprise, as would a ghost suddenly appearing in the room wearing familiar perfume and boots.

No matter what terror the earth could produce - winds, seas - a person could produce the same, lived with the same, lived with all that mixed-up nature swirling inside, every bit. There was nothing as complex in the world - no flower or stone - as a single hello from a human being.

One should never turn one's back on a vivid imagination.

People love gossip because it's slightly removed from actuality. It's a very literary thing... You can hear a great story, and it turns out that it's largely not true. Fiction writing is like gossip. It's not malicious gossip, but it's gossip.

People will do anything, anything, for a really nice laugh.

Perhaps one would be wise when young even to avoid thinking of oneself as a writer - for there's something a little stopped and satisfied, too healthy, in that. Better to think of writing, of what one does as an activity, rather than an identity - to write, I write; we write; to keep the calling a verb rather than a noun; to keep working at the thing, at all hours, in all places, so that your life does not become a pose, a pornography of wishing.

Perhaps she drives men away. Perhaps, without even being able to help herself, she just puts men into her ill-tempered car and drives them off: to quarries, dumps, small anonymous bodies of water.

Perhaps we had at last reached that stage of intimacy that destroys intimacy.

Pleasantness was the machismo of the Midwest. There was something athletic about it. You flexed your face into a smile and let it hover there like the dare of a cat.

Plots are for dead people.

Rather than a teaching tool, I think a novel is more of a witnessing entity. A witnessing entity? What is that? I just want the reader to step in and experience it as a story.

She hadn't been given the proper tools to make a real life with, she decided, that was it. She'd been given a can of gravy and a hairbrush and told, "There you go." -- Willing

She had, without realizing it at the time, learned to follow Nick's gaze, learned to learn his lust...his desires remained memorized within her. She looked at the attractive women he would look at...She had become him: she longed for these women. But she was also herself, and so she despised them. She lusted after them, but she also wanted to beat them up. A rapist. She had become a rapist, driving to work in a car.

She was afraid, and the afraid, she realized, sought opportunities for bravery in love.

She was not good on the phone. She needed the face, the pattern of eyes, nose, trembling mouth... People talking were meant to look at a face, the disastrous cupcake of it, the hide-and-seek of the heart dashing across. With a phone, you said words, but you never watched them go in. You saw them off at the airport but never knew whether there was anyone there to greet them when they got off the plane.

She was unequal to anyone's wistfulness. She had made too little of her life. Its loneliness shamed her like a crime.

shopping for clothes is like masturbation - everyone does it, but it isn't very interesting and therefore should be done alone, in an embarrassed fashion, and never be the topic of party conversation.

Sometimes I ask myself if writing novels is even respectable.

Start dating someone who is funny, someone who has what in high school you called a "really great sense of humor" and what now your creative writing class calls "self-contempt giving rise to comic form." Write down all of his jokes, but don't tell him you are doing this. Make up anagrams of his old girlfriend's name and name all of your socially handicapped characters with them. Tell him his old girlfriend is in all of your stories and then watch how funny he can be, see what a really great sense of humor he can have.

(Such a life)engaged gross quantities of hope and despair and set them wildly side by side, like a Third World country of the heart.

Surely that was why faith had been invented: to raise teenagers without dying. Although of course it was also why death was invented: to escape teenagers altogether.

Surrealism could not be made up. It was the very electricity of the real.

That is what is wrong with cold people. Not that they have ice in their souls - we all have a bit of that - but that they insist every word and deed mirror that ice. They never learn the beauty or value of gesture. The emotional necessity. For them, it is all honesty before kindness, truth before art. Love is art, not truth. It's like painting scenery.

The affectionate farce I make of him ignores the ways I feel his lack of love for me. But we are managing.

the compulsion to read and write - and it seems to me it should be, even must be, a compulsion - is a bit of mental wiring the species has selected, over time, in order, as the life span increases, to keep us interested in ourselves.

The detachment of the artist is kind of creepy. It's kind of rude, and yet really it's where art comes from. It's not the same as courage. It's closer to bad manners than to courage. If you're going to be a writer, you basically have to say, 'this is just who I am'. There's a certain indefensibility about it. It's not about loving your community and taking care of it — you're not attached to the chamber of commerce. It's a little unsafe. You have to be willing to have only four friends, not 11.

[T]he normal and the everyday are often amazingly unstoppable, and what is unimaginable is the cessation of them. The world is resilient, and, no matter what interruptions occur, people so badly want to return to their lives and get on with them. A veneer of civilization descends quickly, like a shining rain. Dust is settled.

The people in this house, I felt, and I included myself, were like characters each from a different grim and gruesome fairy tale. None of us was in the same story. We were all grotesques, and self-riveted, but in separate narratives, and so our interactions seemed weird and richly meaningless, like the characters in a Tennessee Williams play, with their bursting unimportant, but spell-bindingly mad speeches.

The problem with a beautiful woman is that she makes everyone around her feel hopelessly masculine, which if you’re already male to begin with poses no particular problem. But if you’re anyone else, your whole sexual identity gets dragged into the principal’s office: “So what’s this I hear about you prancing around, masquerading as a woman?” You are answerless. You are sitting on your hands. You are praying for your breasts to grow, your hair to perk up.

There seemed nothing so true as a yellow tree.

There was the usual dreaminess, I suppose. Also a shyness that caused me - and others - to notice that I could express myself better by writing than by speaking. This is typical of many writers, I think. What is a drawback in childhood is an asset to a literary life. Not being fluent on one’s feet sends one to the page and a habit is born.

The thing to remember about love affairs," says Simone, "is that they are all like having raccoons in your chimney." ... We have raccoons sometimes in our chimney," explains Simone. And once we tried to smoke them out. We lit a fire, knowing they were there, but we hoped the smoke would cause them to scurry out the top and never come back. Instead, they caught on fire and came crashing down into our living room, all charred and in flames and running madly around until they dropped dead." Simone swallows some wine. "Love affairs are like that," she says. "They are all like that.

Things between us were dissolving like an ice cub in a glass: the smaller it got, the faster it disappeared.

This lunge at moral fastidiousness was something she'd noticed a lot in people around here. They were not good people. They were not kind. But they recycled their newspapers!

This was love, I supposed, and eventually I would come to know it. Someday it would choose me and I would come to know its spell, for long stretches and short, two times, maybe three, and then quite probably it would choose me never again.

This was my modest dream come true: unambitious flight. The kind that never even got high enough for a view.

Those are the love killers. They love you and then they kill you. They're from another planet. Supposedly.

To me, writing is much freer than dancing. With writing, you could do it whenever you wanted. You didnt have to do little exercises and stay in shape. You could have great moments of inspiration that advanced the story. In dance, unless youre going to choreograph things yourself, youre at the service of someone else.

To write a short story, you have to be able to stay up all night.

Twenty-year-olds have a kind of emotional idealism about relationships and about the world that enables them to say, 'No, you lied to me. Goodbye.' When they see wickedness, they walk away.