Best 10 quotes of Sofia Samatar on MyQuotes

All bleed who fight with the sword. All confront, with greater or lesser difficulty, the worship of their own flesh. The swordmaiden faces particular obstacles in this matter: she will have seen, in the temples and elsewhere, many images of unscarred women.

But preserve your mistrust of the page, for a book is a fortress, a place of weeping, the key to a desert, a river that has no bridge, a garden of spears.

[h]ope, like a desert aloe. Hope, stubborn and bitter to the taste. That hides water. That bears the drought. An ugly plant with the power to heal.

I have breathed on shadows, as one breathes into a soap bubble, to give it breadth and life. I did it because I had to, because human beings cannot live without history, and I have no history or tradition that is not located in a pale, aggressive body lying in the dirt, or hanging from a tree. How cruel it is to live in a community of two. I used to crouch on the floor, with my bedroom door open a crack so that I could peer out, and watch the lamplight on his motionless shoulders as he read, just to feel that another person was alive. I stole his papers in order to feel that I was not alone. I went through his cabinet. (I found nothing there but pencils, lamp oil, and thread.) I read all his books and tried, in my clumsy way, to debate them with him. What is the difference between a genius and a monster?

Sever all ties. The words in his mouth like ash. It was not the coldness of the words that horrified him, their utter opposition to anything human, but rather his own affinity for them, the way he was drawn to this vision of solitude with a feeling almost of nostalgia. He had the kind of loneliness that battles everything, that makes a person strange forever.

People talked about loneliness as if it were something alive and it could get you. But loneliness is something dead, it's deadness. Lonely people are slowly dying people.

There is nothing, he tells me, more odious than a German. However, their women are seductive, and they make the world's most beautiful music. My employer sings me a German song. He sounds like a buffalo in distress. Afterward he makes me read to him from the Bible.

These were the rains that drove people close to the walls, under the balconies, or sent them dashing madly through the squares, and drenched the fluttering ribbons and bright trappings of the horses so that their flanks were streaked with delicate watercolors. The storms washed the streets so that little streams of brown water went roaring along the gutters toward the sea, and thundered on the roofs of the cafés where people were crowded together laughing in the steam and half darkness. I loved those rains; they were of the sort that is welcomed by everyone, preceded by hot, oppressive hours of stillness; they came the way storms come in the islands but did not last as long, and often the sun came out when they had passed. I was happy whenever the rain caught me walking about in the streets, for then I would rush into the nearest café, along with all the others who were escaping from the weather, all of us crushing laughing through the doors. The rain allowed me to go anywhere, to form quick, casual friendships, forced to share one of the overcrowded tables, among the beaming waiters who pushed good-naturedly through the throngs carrying cups of steaming apple cider.

The silence. End of all poetry, all romances. Earlier, frightened, you began to have some intimation of it: so many pages had been turned, the book was so heavy in one hand, so light in the other, thinning toward the end. Still, you consoled yourself. You were not quite at the end of the story, at that terrible flyleaf, blank like a shuttered window: there were still a few pages under your thumb, still to be sought and treasured. Oh, was it possible to read more slowly? - No. The end approached, inexorable, at the same measured pace. The last page, the last of the shining words! And there - the end of the books. The hard cover which, when you turn it, gives you only this leather stamped with old roses and shields. Then the silence comes, like the absence of sound at the end of the world. You look up. It's a room in an old house. Or perhaps it's a seat in a garden, or even a square; perhaps you've been reading outside and you suddenly see the carriages going by. Life comes back, the shadows of leaves. Someone comes to ask what you will have for dinner, or two small boys run past you, wildly shouting; or else it's merely a breeze blowing a curtain, the white unfurling into a room, brushing the papers on a desk. It is the sound of the world. But to you, the reader, it is only a silence, untenanted and desolate.

To lose a sibling is to lose the one different from you. There’s no one now against whom to say: But I am like this. I am this.