Top 500 Casey McQuiston Quotes (2026 Update)
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151. “You had the absolute audacity to love me back.”

— Casey McQuiston

152. “I cannot believe that even mortal peril will not prevent you from being the way you are.”

— Casey McQuiston

153. “Prince Henry is a biscuit,′ Nora says, ’let him sop you up.”

— Casey McQuiston

154. “When you rang me at truly shocking hours of the night, I loved you. When you kissed me in disgusting public toilets and pouted in hotel bars and made me happy in ways in which it had never even occurred to me that a mangled-up, locked-up person like me could be happy, I loved you.”

— Casey McQuiston

155. “Jesus Christ, it’s like they can see into your soul. Cornbread knows my sins, Henry. Cornbread knows what I have done, and he is here to make me atone.”

— Casey McQuiston

156. “That was the moment he decided he wasn’t going to allow himself nerves ever again. Not as Alex Claremont-Diaz, First Son of the United States, and not as Alex Claremont-Diaz, rising political star.”

— Casey McQuiston

157. “Awesome, fuckin’ love doing things out of spite.”

— Casey McQuiston

158. “It’s weird the thing with Henry could make him understand this huge part of himself, but it does. When he sinks into thoughts of Henry’s hands, square knuckles and elegant fingers, he wonders how he never realized it before. When he sees Henry next at a gala in Berlin, and he feels that gravitational pull, chases it down in the back of a limo, and binds Henry’s wrists to a hotel bedpost with his own necktie, he knows himself better.”

— Casey McQuiston

159. “The andante- the third movement- is his favorite, he explains, because he read once that it was written to evoke the image of a castle in ruins, which he found darkly funny at the time.”

— Casey McQuiston

160. “No se cultiva un amor imperecedero por ‘La guerra de las galaxias’ si no se sabe que un “imperio” no es algo bueno.”

— Casey McQuiston

161. “It’s the first time Alex has seen Henry in person since the weekend in London and the hundreds of texts and weird in-jokes and late-night phone calls that came after, and it almost feels like meeting a new person. He knows more about Henry, understands him better, and he can appreciate the rarity of a genuine smile on the same famously beautiful face.”

— Casey McQuiston

162. “A veces saltas y esperas que no sea un precipicio.”

— Casey McQuiston

163. “He keeps waking up in DC, and Henry keeps waking up in London, and the whole world keeps waking up to talk about the two of them in love with other people.”

— Casey McQuiston

164. “The class is Ethical Issues in International Relations. He really has got to stop taking classes so painfully relevant to his life.”

— Casey McQuiston

165. “He likes taking Henry apart, but there’s something incredibly intimate about sitting on the bed they wrecked te night before.”

— Casey McQuiston

166. “Henry permite que Alex le haga el amor con precision y paciencia, y pronuncia tantas veces el nombre de Dios entre gemidos que la habitacion entera adquiere un aire de estancia consagrada.”

— Casey McQuiston

167. “Henry’s whole face grimaces in frustration, his eyes casting skyward like they’re searching for help from an uncaring universe. “Christ, you are as thick as it gets,” he says, and he grabs Alex’s face in both hands and kisses him.”

— Casey McQuiston

168. “Dear Freddie Mercury, when you wrote “Love of My Life,” did you mean for it to reach across space and time in a platonic way or a real-deal, break-your-heart, throw-you-up-against-a-wall type of way?”

— Casey McQuiston

169. “It’s unpredictable and it’s intoxicating and it’s fun, because Alex has never met a challenge he didn’t love, and he – well, Henry is a challenge, head to toe, beginning to end.”

— Casey McQuiston

170. “My whole life has been about fighting. I fought.”

— Casey McQuiston

171. “But I’ve kissed your mouth, that corner, that place it goes, so many times now. I’ve memorised it. Topography on the map of you, a world I’m still charting. I know it. I added it to the key. Here: inches to miles. I can multiply it out, read your latitude and longitude. Recite your coordinates like la rosaria.”

— Casey McQuiston

172. “Hey, Coffee Girl.” “Hey, Subway Girl.”

— Casey McQuiston

173. “He’s not, he thinks, upset people know. He’s always been pretty unapologetic when it came to things like who he dates and what he’s into, although those were never anything like this. Still, the cocky shithead part of him is slightly pleased to finally have a claim on Henry. Yep, the prince? Most eligible bachelor in the world? British accent, face like a Greek god, legs for days? Mine.”

— Casey McQuiston

174. “She can’t believe a tall butch subway angel saw her crying into her coffee tits.”

— Casey McQuiston

175. “Alex has been learning for a while Henry isn’t what he thought, but it’s something else to feel it this close up, the quiet burn in him, the pent-up person under the perfect veneer who tries and pushes and wants.”

— Casey McQuiston

176. “Okay, but, uh, what if they escape? I’ve seen Jurassic Park. Did you know birds are directly descended from raptors? That’s a scientific fact. Raptors in my bedroom, Henry. And you want me to go to sleep like they’re not gonna bust out of their enclosures and take over the island the minute I close my eyes? Okay. Maybe your white ass.”

— Casey McQuiston

177. “It’s weird because I always know things about people, gut feelings that usually lead me in more or less the right direction. I do think I got a gut feeling with you, I just didn’t have what I needed in my head to understand it. But I kind of kept chasing it anyway, like I was just going blindly in a certain direction and hoping for the best. I guess that makes you the North Star?”

— Casey McQuiston

178. “The rats are almost definitely unionizing.”

— Casey McQuiston

179. “It’s about to be gay DEFCON five in this administration. For God’s sake, put some clothes on.”

— Casey McQuiston

180. “The search tells him Pyramus and Thisbe were lovers in a Greek myth, children of rival families, forbidden to be together. Their only way to speak to each other was through a thin crack in the wall built between them.”

— Casey McQuiston

181. “Why is it so bad to want to feel special, or loved, or accpeted?”

— Casey McQuiston

182. “Mi vida entera ha sido una lucha. De modo que he luchado.”

— Casey McQuiston

183. “Everything was put in a specific place for a reason. Everything has a meaning, an intention.”

— Casey McQuiston

184. “I don’t know, man. I was in my junior year of high school, and I touched a boob. It wasn’t very profound. Nobody’s gonna write an Off-Broadway play about it.”

— Casey McQuiston

185. “Like – okay, I dated this girl who was an artist, right? And she’d do figure drawing where she’d draw the negative space around a person first, and then fill in the person. and that’s how I’m trying to look at it. Maybe I don’t know what fills it in yet, but I can look at the space around where I sit in the world, what creates that shape, and I can care about what it’s made of, if it’s good, if it hurts anyone, it makes people happy, if it makes me happy. And that can be enough for now.”

— Casey McQuiston

186. “Maybe they had the right idea, as far as secrecy goes. The loudest Christians I’ve ever met were the worst ones. I don’t believe doing something in front of everybody makes it more meaningful, anyway. If anything, it makes it stop belonging to you.”

— Casey McQuiston

187. “Hi,” he says, when he reaches Henry’s eye level. “Hello,” Henry says back. “I’m gonna take your pants off now,” Alex tells him. “Yes, good, carry on.”

— Casey McQuiston

188. “He stands naked at the edge of the pier, looking at Alex’s head and shoulders bobbing in the water. The lines of him are long and languid in the moonlight, just skin and skin and skin lit soft and blue, and he’s so beautiful that Alex thinks this moment, the soft shadows and pale thighs and crooked smile, should be the portrait of Henry that goes down in history. There are fireflies winking around his head, landing in his hair. A crown.”

— Casey McQuiston

189. “Ugh! Men!” she groans. “No emotional vocabulary. I can’t believe our ancestors survived centuries of wars and plagues and genocide just to wind up with your sorry ass.”

— Casey McQuiston

190. “How many times do I have to tell y’all not to discuss your murder plots in front of a sitting president?” their mother interrupts. “Plausible deniability. Come on.”

— Casey McQuiston

191. “What I want is... I want to fall in love. I want to have a big, dramatic, ridiculous love story, like a period piece, and my love interest is played by Saoirse Ronan and I get to wear a fancy corset. I want to write books about the way that feels. And I don’t know if I’ll ever have any of that here, but I know what I’ll lose if I leave.”

— Casey McQuiston

192. “August can feel her face glowing red to match the scarf, like a giant, stammering, bisexual chameleon. An evolutionary mistake.”

— Casey McQuiston

193. “Tu madre ha sido, sin la menor duda, el amor de mi vida. Jamas amare a nadie como la he amado a ella. Era una pasion devoradora. Un amor asi es muy raro de encontrar. A veces, uno se lanza, abrigando la esperanza de no encontrarse con un precipicio al otro lado.”

— Casey McQuiston

194. “You’re not the bloke from Seinfeld. You’re Jeff Goldblum.”

— Casey McQuiston

195. “With me it is quite stark: I miss you even more than I could have believed; and I was prepared to miss you a good deal.”

— Casey McQuiston

196. “Anderson Cooper’s face looms on the screen like a disgustingly handsome Hunger Games cannon, announcing they’re ready to call Florida.”

— Casey McQuiston

197. “I miss figuring out scams with my friends, having a beer, going to the movies. Dumb, small life things.”

— Casey McQuiston

198. “Oh my God. I’m so mad I missed that. Did you average the results at the end? Who won?” “Chloe, we’re gay. We can’t do math.” “Okay, well, next time I’ll come and make a spreadsheet.”

— Casey McQuiston

199. “You can try, she guesses. You can tear yourself apart and rebuild from stratch, bring yourself to every corner of the map, sew a new self from the scraps of a thousand other people and places. You can try to escape to fill a different shape. But at the end of the day, there’s a place at the foot of the bed where your shoes hit the floor, and it’s the same. It’s always the same.”

— Casey McQuiston

200. “And so, in her first month in the apartment on the corner of Flatbush and Parkside above the Popeyes, August learns that the Q is a time, a place, and a person.”

— Casey McQuiston