Quotes Joyce Carol Oates - page 3

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For the first time driving that day I could feel the motion of the Earth. The Earth rushing through the emptiness of space. Spinning on its axis but they say you don\'t feel it, you can\'t experience it. But to feel it is to be scared and happy at once and to know that nothing matters but that you do what you want to do and what you do you are. And I knew I was moving into the future. There is not PAST anybody can get to, to alter things or ever to know what those things were but there is definitely a future, we are already in it.
For the first time driving that day I could feel the motion of the Earth. The Earth rushing through the emptiness of space. Spinning on its axis but they say you don't feel it, you can't experience it. But to feel it is to be scared and happy at once and to know that nothing matters but that you do what you want to do and what you do you are. And I knew I was moving into the future. There is not PAST anybody can get to, to alter things or ever to know what those things were but there is definitely a future, we are already in it.
But he doesn't love her. I invented that. It is a plot if you imagine people in love--the lazy looping criss crosses of love, blows, stares, tears. No. It doesn't happen. No love. People meet, touch, stare into one another's faces, shake their heads clear, move on, forget. It doesn't happen.
One of life's minor satisfactions is forgetting.
Death is just the last scene of the last act.
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Adriana loved even the rank animal smell of the man's body, her sweat-slicked breasts and belly flattened beneath him, and her arms and legs clutching him as a drowning woman might clutch another person to save her life. Don't don't don't don't leave me. DON'T LEAVE ME. As in animal copulation the frenzy is to be locked together not out of sentiment or choice but physical compulsion. As if bolts of electric current ran through both their bodies and would only release them from each other when it ceased.
I suggest to my students that they write under a pseudonym for a week. That allows young men to write as women, and women as men. It allows them a lot of freedom they don't have ordinarily.
For memory is a moral action, a choice. You can choose to remember. You can choose not.
Art is about freedom of expression, and should not be molded to fit any propaganda or lofty ideal.
'We Were the Mulvaneys' is perhaps the novel closest to my heart. I think of it as a valentine to a passing way of American life, and to my own particular child - and girlhood in upstate New York. Everyone in the novel is enormously close to me, including Marianne's cat, Muffin, who was in fact my own cat.
Our enemy is by tradition our savior, in preventing us from superficiality.
Our enemy is by tradition our savior, in preventing us from superficiality.
Blood transforms the warm bath water and, in it, I see weakly that this was a mistake. The razor's cut is not deep, nevertheless the blood rushes out happily in the warm water as if kin to it, the same tender substance. Rising a new person transformed with an icy sense of error I go to the sink and turn on cold water which is not friendly to blood. The cut is deeper than imagined.
An actress wants to be seen. An actress wants to be loved. By multitudes of people, not just one lone man.