Top 500 Erin Morgenstern Quotes (2025 Update)
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451. “Los nombres no son de tanta importancia como las personas han de suponer, una etiqueta asignada para identificarte.”

— Erin Morgenstern

452. “She wears her fear lightly, like a veil, aware that there are dangers but letting the crackling awareness hover around her. It does not sink in, it buzzes in excitement like a swarm of invisible bees.”

— Erin Morgenstern

453. “You are words on paper,” Simon whispers, to himself or to Zachary or to the words above them clinging to their respective papers. “Be careful what stories you tell yourself.”

— Erin Morgenstern

454. “Tal vez simplemente hacemos cosas similares de maneras diferentes.”

— Erin Morgenstern

455. “Am I familiar?’ Dorian says and Zachary wants to say Yes, yes you are the most familiar and I don’t understand how but that is too much truth right now so instead he says, ‘If you were a man lost in time where would you be?”

— Erin Morgenstern

456. “You think you don’t have a house to go home to but you do now, understand?”

— Erin Morgenstern

457. “Once there was a woman who sculpted stories.”

— Erin Morgenstern

458. “Hours or days or weeks. Some will leave and return, keeping the place as an escape, a retreat, a sanctuary. Living lives both above and below.”

— Erin Morgenstern

459. “It’s important to you, isn’t it?” Eleanor asks. “Yes, it is.” “Important things hurt sometimes.”

— Erin Morgenstern

460. “The girl spends one night, and then another. By the end of the second night she can see the ghosts again. By the third she has no desire to leave, for who would leave their home once they had found it? She is there, still.”

— Erin Morgenstern

461. “The mug is filled with warm coconut milk with turmeric and black pepper and honey.”

— Erin Morgenstern

462. “But most of the memories are stories.”

— Erin Morgenstern

463. “All stories do, no matter what form they take. Something was, and then something changed. Change is what a story is, after all.”

— Erin Morgenstern

464. “The night of the anniversary party,” she says. “The night you kissed me. I thought it that night. I didn’t want to play anymore, I only wanted to be with you. I thought I would ask you to run away with me and I meant it. The very moment I convinced myself that we could manage it, I was in so much pain I could barely stand. Friedrick didn’t know what to make of me, he sat me in a quiet corner and held my hand and did not pry when I couldn’t explain because that’s how kind he is.”

— Erin Morgenstern

465. “They say that every hundred years – some versions say every five hundred, or every thousand – the sun disappears from the daytime sky at the same time the moon vanishes from the night. They say their absence is coordinated so that they may meet in a secret location, unseen by the stars, to discuss the state of the world and compare what each has seen over the past hundred or five hundred or thousand years.”

— Erin Morgenstern

466. “Passing off manipulations as tricks and illusion. Charging admission.”

— Erin Morgenstern

467. “I’m not sure I want to be in a relationship right now anyway. Things change.”

— Erin Morgenstern

468. “I hope wherever this all leads it’s worth it. Whenever that happens.”

— Erin Morgenstern

469. “They go deeper than any resident, any acolyte. They light their own candles. They see what no one else sees. They see what has come before. They may not ask questions. They may simply observe.”

— Erin Morgenstern

470. “In this significant moment, if the boy turns the painted knob and opens the impossible door, everything will change. But he does not. Instead, he puts his hands in his pockets. Part of him decides he is being childish and that he is too old to expect real life to be like books. Another part of him decides that if he does not try he cannot be disappointed and he can go on believing that the door could open even if it is just pretend.”

— Erin Morgenstern

471. “And so time goes as it should and events that were once fated to happen are left instead to chance, and Chance never falls in love with anything for long. But the world is strange and endings are not truly endings no matter how the stars might wish it so. Occasionally Fate can pull itself together again. And Time is always waiting.”

— Erin Morgenstern

472. “He drinks his wine while he weighs his options and his future and his past and his story. How far he’s come. The unknowable distance left to go.”

— Erin Morgenstern

473. “Los mejores placeres son siempre los inesperados.”

— Erin Morgenstern

474. “You can talk, can’t you?” he asks. “No,” says the cat. It bows its head and turns, walking off into the shadows, leaving Zachary staring dumbly after it.”

— Erin Morgenstern

475. “Passionate love stories that were manipulated into the vacancies between raindrops and vanished with the end of the storm.”

— Erin Morgenstern

476. “Disoriented and woozy, his mind a second behind his body, like pulling himself through crystal-clear mud. As though he’s still drunk but doing it wrong.”

— Erin Morgenstern

477. “This is the rabbit hole. Do you want to know the secret to surviving once you’ve gone down the rabbit hole?” Zachary nods and Mirabel leans forward. Her eyes are ringed with gold. “Be a rabbit,” she whispers.”

— Erin Morgenstern

478. “Maybe once you go to wonderland you’re supposed to stay there because nothing will ever be the same in the real world, in the other world, afterward. Afterworld.”

— Erin Morgenstern

479. “It will take a great deal more than that charming smile of yours to seduce me.”

— Erin Morgenstern

480. “They take an unspoken vow to no longer tell their own stories in reverence to the ones that came before and to the ones that shall follow.”

— Erin Morgenstern

481. “Usted es un mago por sus propios meritos.”

— Erin Morgenstern

482. “Bailey feels oddly at ease. As though he is closer to the ground, but taller at the same time. His concerns about his future no longer weigh so heavily on him as he exits the tent, turning right down the curving path that winds between the striped tents.”

— Erin Morgenstern

483. “She sat next to me and told me that we were the people that the narrative would have followed out from the party if we were in a movie or a novel or something. We were where the story was, the story you could follow like a string, not all the overlapping party stories in the house, tangled up with too many dramas soaked in cheap alcohol and stuffed into not enough rooms.”

— Erin Morgenstern

484. “Did you have a nightmare?’ Eleanor asks from across the room. She is adjusting her maps. ‘I used to have nightmares and I would write them down and fold them up into stars and throw them away to be rid of them. Sometimes it worked.”

— Erin Morgenstern

485. “I’m not trying to get back to the place,” Dorian says. “I’m trying to get back to a person.” Admitting it aloud feels like an affirmation. “People change, too, you know.” “I do know,” Dorian says, nodding. He doesn’t want to think about it. He had always wanted to be in the place but he didn’t understand until he was finally there that the place was merely a way to get to the person and now he has lost them both.”

— Erin Morgenstern

486. “He tries to decide if he’s changed since this all started because isn’t that the point and he feels different than he did but he can’t weigh feeling different versus having changed from inside himself with no heartbeat, standing on a shore with no shoes.”

— Erin Morgenstern

487. “We are words on paper,” he says softly, turning the book over in his hands. “We are coming to the end.”

— Erin Morgenstern

488. “Maybe his story began and ended that day in that alleyway. Maybe his story is about missed opportunities that cannot be recaptured.”

— Erin Morgenstern

489. “In the heavens the stars sparkled with relief but the moon was full of sorrow.”

— Erin Morgenstern

490. “Alone in their town house, Tara wanders absently. She abandons half-read novels on chairs and tables. The invitations from Mme. Padva to join her for tea or accompany her to the ballet are politely declined. She turns all of the mirrors in the house to face the walls. Those she cannot manage to turn she covers with sheets so they sit like ghosts in empty rooms. She has trouble sleeping.”

— Erin Morgenstern

491. “La gente non fa caso a niente, a meno che tu non gliene dia una ragione. Anche se i capelli contribuiscono a renderci apparentemente estranei a un circo in bianco e nero.”

— Erin Morgenstern

492. “His dark hair is badly cut, as though the barber was distracted during the process, but some attempt has been made to flatten it.”

— Erin Morgenstern

493. “He wondered... how many people breathed this air that smells of smoke and honey and if any of them felt the way he feels now; unsure and afraid and unable to know which decision is the right one, if there is a right decision at all.”

— Erin Morgenstern

494. “Some are used with hinge-loosening frequency and others remain undiscovered and unopened and more have simply been forgotten, but all of them lead to the same location.”

— Erin Morgenstern

495. “So far so good, but I never like to commit to an opinion until the end of the book because you never know what might happen.”

— Erin Morgenstern

496. “I have felt what you are feeling myriad times. It does not get any easier, it simply becomes... familiar.”

— Erin Morgenstern

497. “Supongo que intentan que no nos sintamos atrapados. No percibimos los barrotes hasta que nos damos de bruces contra ellos.”

— Erin Morgenstern

498. “He stands for some time in the spot where he found Celia hours before, scrutinizing the familiar bookshelves and the wall of stained glass. He cannot guess what she might have been doing. And he does not notice the eyes staring at him from the shadows.”

— Erin Morgenstern

499. “The librarians always seem more enthusiastic during J-term, when they can spend more time with books and less with frazzled students and irate faculty.”

— Erin Morgenstern

500. “I would wager that he is more interested in the contents than the gown itself.”

— Erin Morgenstern