Best 44 quotes of Andrew Sean Greer on MyQuotes

Despite all their fears, we ask very little of the ones who never loved us. We do not ask for sympathy or pain or compassion. We simply want to know why.

Does love always form, like a pearl, around the hardened bits of life?

For me, the historical and genealogical library is the one I use. I'm working on, I'll say, it's a time travel novel. I haven't written very much of it. That's the dirty secret of the Cullman center: The writers don't write their fiction there, they just do their research.

Here is a writer possessing the greatest talent: that of fully inhabiting the lives of others. Spargo conjures up these two as no one has done before. Scott and Zelda become, in Spargo's remarkable novel, not people of history but of literature, and reminders of what we fight for, what we fail to win, and the beauty that abides between. A marvel of a book.

Here was a thing that would grow old; here was a thing that would turn beautiful and lose that beauty, that would inherit the grace but also the bad ear and flawed figure of her mother, that would smile too much and squint too often and spend the last decades of her life creaming away the wrinkles made in youth until she finally gave up and wore a collar of pears to hide a wattle; here was the ordinary sadness of the world.

How hollow to have no secrets left; you shake yourself and nothing rattles. You're boneless as an anemone.

How remarkable we are in our ability to hide things from ourselves - our conscious minds only a small portion of our actual minds, jellyfish floating on a vast dark sea of knowing and deciding.

I love going to writers' colonies in pastoral settings where there's nothing to do, but either walk around or read a book or work on your book.

It is a brave and stupid thing, a beautiful thing, to waste one's life for love.

It may be a childish torment, but we do not get to choose our demons.

It takes too much imagination to see the sorrows of people we take for happy. Their real battles take place, like those of the stars, in some realm of light imperceptible to the human eye. It is a feat of the mind to guess another's heart.

No one would have known, from how he held my hand, [that] over the years of heartache he had hatched a plot to change my life forever. He held his grip and would not let me go. I do not know what joins the parts of an atom, but it seems what binds one human to another is pain.

Perhaps love is a minor madness. And as with madness, it's unendurable alone. The one person who can relieve us is of course the sole person we cannot go to: the one we love. So instead we seek out allies, even among strangers and wives, fellow patients who, if they can't touch the edge of our particular sorrow, have felt something that cuts nearly as deep.

Some things are so impossible, so fantastic, that when they happen, you are not at all surprised. Their sheer impossibility has made you imagine them too many times in your head, and when you find yourself on that longed-for moonlit path, it seems unreal but still, somehow, familiar. You dreamed of it, of course; you know it like a memory.

Surely words are just the background music when passion pounces on a soul.

When I meet a woman whose energy falters at the first barrier,she seems to fade beside my mother.

When you were a little girl, Madam.....was this the woman you dreamed of becoming?

Bougainvillea bloomed on their porch like a discarded prom dress.

Change was not something you waited for, quietly, mutely, in a house by the ocean, nothing would ever change unless we forced it into shape.

Clark always says that you can be thin or you can be happy, and, Arthur, I have already tried thin.

For a fifty-year-old man, the boredom of lying convalescent in bed is rivaled only by sitting in church

Here, all this time, Less thought he was merely a bad writer. A bad lover, a bad friend, a bad son. Apparently the condition is worse; he is bad at being himself.

How can so many things become a bore by middle age — philosophy, radicalism, and other fast foods — but heartbreak keeps its sting?

How often in life do people make that awful sacrifice, that murder of possibilities?

I absolutely look at people’s bookshelves. And I have some judgment. I mean, they’re openly showing you themselves.

It is a bad musical, but, like a bad lay, a bad musical can still do its job perfectly well.

It is, after all, almost a miracle they are here. Not because they've survived the booze, the hashish, the migraines. Not that at all. It's that they've survived everything in life, humiliations and disappointments and heartaches and missed opportunities, bad dads and bad jobs and bad sex and bad drugs, all the trips and mistakes and face-plants of life, to have made it to fifty and to have made it here: to this frosted-cake landscape, these mountains of gold, the little table they can now see sitting on the dune, set with olives and pita and glasses and wine chilling on ice, with the sun waiting more impatiently than any camel for their arrival. So, yes. As with almost any sunset, but with this one in particular: shut the fuck up.

It is a traveler’s fallacy that one should shop for clothing while abroad. Those white linen tunics, so elegant in Greece, emerge from the suitcase as mere hippie rags; the beautiful striped shirts of Rome are confined to the closet; and the delicate hand batiks of Bali are first cruise wear, then curtains, then signs of impending madness.

It's just that, you know how it is in some relationships, how one of them is a little more in love. Well, it's like that with friendships. Sometimes one of them thinks they're really close, closer than they are. And the other doesn't feel that way.

Maybe I’m a bad writer.” “No. You’re a very good writer. Kalipso was a chef d’oeuvre. So beautiful, Arthur. I admired it a lot.” Now Less is stumped. He probes his weaknesses. Too magniloquent? Too spoony? “Too old?” he ventures. “We’re all over fifty, Arthur. It’s not that you’re a bad writer.” Finley pauses for effect. “It’s that you’re a bad gay.

Men in their forties were so sexy: the calm assurance of what a man liked and didn’t, where he set limits and where he set none, experience and a sense of adventure. It made the sex so much better.

So tell me gentleman, tell me the time and place where it was easy to be a woman.

Strange to be almost fifty, no? I feel like I just understood how to be young." "Yes! It's like the last day in a foreign country. You finally figure out where to get coffee, and drinks, and a good steak. And then you have to leave. And you won't ever be back.

The brain is so wrong, all the time," she says, turning to the dark landscape again. "Wrong about what time it is, and who people are, and where home is: wrong wrong wrong. The lying brain.

There is an old Arabic story about a man who hears Death is coming for him, so he sneaks away to Samarra. And when he gets there, he finds Death in the market, and Death says, "You know, I just felt like going on vacation to Samarra. I was going to skip you today, but how lucky you showed up to find me!" And the man is taken after all. Arthur Less has traveled halfway around the world in a cat's cradle of junkets, changing flights and fleeing from a sandstorm into into the Atlas Mountains like someone erasing his trail or outfoxing a hunter—and yet Time has been waiting here all along. In a snowy alpine resort. With cuckoos. Of course Time would turn out to be Swiss. He tosses back the champagne. He thinks: Hard to feel bad for a middle-aged white man.

There on the dune, beside the table, one of the camel boys has his arm around the other, and they sit there like that as they watch the sun. The dunes are turning the same shades of adobe and aqua as the buildings of Marrakech. Two boys, arms around each other. To Less, it seems so foreign. It makes him sad. In his world, he never sees straight men doing this. Just as a gay couple cannot walk hand in hand down the streets of Marrakech, he thinks, two men, best friends, cannot walk hand in hand down the streets of Chicago. They cannot sit on a dune like these teenagers and watch a sunset in each other’s embrace. This Tom Sawyer love for Huck Finn.

They have come dressed as robots or space goddesses or aliens because a writer has changed their lives.

Twenty years of joy and support and friendship, that’s a success. Twenty years of anything with another person is a success. If a band stays together twenty years, it’s a miracle. If a comedy duo stays together twenty years, they’re a triumph. Is this night a failure because it will end in an hour? Is the sun a failure because it’s going to end in a billion years? No, it’s the fucking sun. Why does a marriage not count? It isn’t in us, it isn’t in human beings, to be tied to one person forever.

We have no heart at seventeen. We think we do; we think we have been cursed with a holy, bloated thing that twitches at the name we adore, but it is not a heart because though it will forfeit anything in the world-the mind, the body, the future, even the last lonely hour it has-it will not sacrifice itself.

What was it like to live with genius? Like living alone. Like living alone with a tiger. Everything had to be sacrificed for the work. Plans had to be canceled, meals had to be delayed; liquor had to be bought, as soon as possible, or else all poured into the sink. Money had to be rationed or spent lavishly, changing daily. The sleep schedule was the poet’s to make, and it was as often late nights as it was early mornings. The habit was the demon pet in the house; the habit, the habit, the habit; the morning coffee and books and poetry, the silence until noon. Could he be tempted by a morning stroll? He could, he always could; it was the only addiction where the sufferer longed for anything but the desired; but a morning walk meant work undone, and suffering, suffering, suffering. Keep the habit, help the habit; lay out the coffee and poetry; keep the silence; smile when he walked sulkily out of his office to the bathroom. Taking nothing personally. And did you sometimes leave an art book around with a thought that it would be the key to his mind? And did you sometimes put on music that might unlock the doubt and fear? Did you love it, the rain dance every day? Only when it rained.

Where did the genius come from? Where did it go? Like allowing another lover into the house to live with you, someone you’d never met but whom you knew he loved more than you. Poetry every day. A novel every few years. Something happened in that room, despite everything; something beautiful happened. It was the only place in the world where time made things better.

Where was he? Somewhere in there he lost the first phase of youth, like the first phase of a rocket; it had fallen, depleted, behind him. And here was the second. And last. He swore he would not give it to anyone; he would enjoy it. He would enjoy it alone. But: how to live alone and yet not be alone?

Why this endless need for a man as a mirror? To see the Arthur Less reflected there? He is grieving, for sure—the loss of his lover, his career, his novel, his youth—so why not cover the mirrors, rend the fabric over his heart, and just let himself mourn? Perhaps he should try alone.

You should kiss me like it’s goodbye.