Top 400 Grady Hendrix Quotes (2024 Update)
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201. “Chrissy said there were only two forces in the world and they balance each other: life and death. Creation and destruction.”

— Grady Hendrix

202. “You can’t judge a book by its cover but the cover does give you a pretty good indication of what’s inside.”

— Grady Hendrix

203. “You keep rescuing me and I don’t know why,” Gretchen said. “But every day I tell myself my life must be worth something because you keep saving it. They can’t keep us apart. I don’t care what happens. You never stopped trying to save me.”

— Grady Hendrix

204. “She felt unsettled. She felt unfocused. She wished she could go home to Poppy. She felt so tired.”

— Grady Hendrix

205. “I’m not sure if puppets and dolls are the same, theologically speaking, but eBay is rife with them.”

— Grady Hendrix

206. “Reality is not a consensus!” Louise said. “We don’t all get a vote!”

— Grady Hendrix

207. “Fight,” she finally said. Just fight. Never stop.”

— Grady Hendrix

208. “Dying isn’t the important thing. It’s nothing more than the punctuation mark on the end of your life. It’s everything that came before that matters.”

— Grady Hendrix

209. “You said you wanted to live where people watched out for each other,” Patricia told her. “But what’s the good of watching if we’re not going to act?”

— Grady Hendrix

210. “Think of us what you will,” she thought, “we made mistakes, and probably scarred our children for life, and we froze sandwiches, and forgot car pool, and got divorced. But when the time came, we went the distance.”

— Grady Hendrix

211. “No,” she says. “You have to understand. Our deaths mean more. They’re bigger. More symbolic. They have resonance. Don’t you ever stop and ask yourself why?”

— Grady Hendrix

212. “No,” Marilyn says, and she takes my chin and turns my head to face her. “You’re the best of us, Lynnette. You never quit. You never stopped. You saved everyone.”

— Grady Hendrix

213. “Maybe I’m good at it because for me, all romance is a fantasy. I don’t have any real-life experience to get in the way.”

— Grady Hendrix

214. “The days dawned noonday hot, and gas tanks hissed when you took off their caps. The sunlight fell hard and sharp, and insects roared in the bushes, only taking a break in the dead hour between three and four in the morning. Windows came down and doors shut tight. Every house became a hermetically sealed space station...”

— Grady Hendrix

215. “If you’re going to murder your best friend with an axe, you should make sure you know what you’re doing.”

— Grady Hendrix

216. “I sit like that for a while, my tears dripping onto Fine’s leaves. I wonder if salt water is bad for him, but he’s not complaining. He’s a good listener. He’s my best friend. Fine is the only living thing besides myself who I’m responsible for. It took me a long time to get up the nerve to make that commitment, and then the first three plants I bought didn’t make it. Number four was Fine, which is short for Final Plant. I’m a final girl, he’s a final plant. We make a good team.”

— Grady Hendrix

217. “You’re both housewives,” he said. “What else do you do all day?”

— Grady Hendrix

218. “I’ve parceled my soul out, and I made them pay for it, and I got so much in return, but that’s the problem with selling something: eventually it’s all gone.”

— Grady Hendrix

219. “Money is different for men who are not born with it, and I knew that Augustus had not been born with money but had had to scrape for it, and so it inspired within him a kind of madness, and every day there were born more and more like him, men willing to lose their senses to secure a dollar.”

— Grady Hendrix

220. “Hiding from the fact that we couldn’t stop the war. Hiding from the fact that we weren’t going to change the world with our tiny talents. Everyone realizes that at some point, right? It’s part of growing up. You realize you’re not going to be the star of the show. You realize you’re going to be lucky to scrape by and pay the rent. That’s.”

— Grady Hendrix

221. “She was that horse in Animal Farm that worked and worked until they sent him to the glue factory. She did not quit.”

— Grady Hendrix

222. “Mark was cleaner but he looked like exactly the type of guy who’d go to a Waffle House at three in the morning after shooting a haunted puppet.”

— Grady Hendrix

223. “Poppy looked like she’d been so miserable for so long that she didn’t know what she wanted anymore.”

— Grady Hendrix

224. “And nothing real can last forever. That’s how you know you’re real.”

— Grady Hendrix

225. “It’s a children’s story.” “So’s the Bible,” Mark said. “But you got people making laws and killing each other over it every day.”

— Grady Hendrix

226. “It’s starting to feel like an episode of Scooby-Doo.”

— Grady Hendrix

227. “By the power of The Thorn Birds,” she cried, “by the sacred strength of My Sweet Audrina and Forever...”

— Grady Hendrix

228. “There was no falling-out, no great tragedy, just a hundred thousand trivial moments they didn’t share, each one an inch of distance between them, and eventually those inches added up to miles.”

— Grady Hendrix

229. “A monstrous bird unfurled its wings inside Amy’s chest and her anger felt bigger than the world.”

— Grady Hendrix

230. “What good is free love if nobody showers?” Maryellen asked.”

— Grady Hendrix

231. “Sometimes she wanted to let go and find out exactly how far she’d fall if she just stopped fighting. She didn’t expect life to be fair, but did it have to be so relentless?”

— Grady Hendrix

232. “Being a teenager isn’t a number,” Maryellen said. “It’s the age when you stop liking them.” “You don’t like the girls?” Patricia asked. “No one likes their children,” Maryellen said. “We love them to death, but we don’t like them.”

— Grady Hendrix

233. “In the end, Amy thought, everything always comes down to those two choices: stay down or stand up.”

— Grady Hendrix

234. “Stay here with me in reality. Things are so much better now than they were. Everyone’s happy. We’re all okay.”

— Grady Hendrix

235. “But even in the twenty-first century it was hard to predict how a pair of Southern parents would react to the news that their thirty-four-year-old unmarried daughter was pregnant.”

— Grady Hendrix

236. “Friend “ is a word whose sharp corners have been worn smooth by overuse. “I’m friends with the guys in IT,” she might say, or “I’m being some friends after work.” But she remembers when the word “friend” could draw blood.”

— Grady Hendrix

237. “You know, Louise, statistically, and there’s a lot of variance in these numbers, but in general, from a strictly scientific point of view, everything turns out okay an improbable number of times.”

— Grady Hendrix

238. “You had a bag of money because that was how you had been paid, and people who got paid in cash were either hit men, drug dealers, bank robbers – or waiters, she supposed. But James Harris didn’t seem like a waiter.”

— Grady Hendrix

239. “Patricia realized she needed to get out of the house and meet new people the moment she leaned over at supper with Carter’s boss and tried to cut up his steak for him. A.”

— Grady Hendrix

240. “I love you,” Abby shouted into the storm. “I love you, Gretchen Lang. You are my reflection and my shadow and I will not let you go. We are bound together forever and ever! Until Halley’s Comet comes around again. I love you dearly and I love you queerly and no demon is bigger than this! I throw my pebble and its name is Gretchen Lang and in the name of our love, BEGONE!!!”

— Grady Hendrix

241. “In a way, the chair was her friend. It freed her from all the illusions. It showed her the truth. She was alone. No one was there to help her.”

— Grady Hendrix

242. “No split. No fifty-fifty. Everything went to Mark, and nothing went to Louise because Mark deserves it and Louise, well, she can take care of herself. They could not see him the way he really was, the way Louise had seen him all her life.”

— Grady Hendrix

243. “In Charleston, the day you become an adult is the day you learn to ignore your neighbor’s drunk driving and focus instead on whether he submitted a paint-color change proposal to the Board of Architectural Review. The day you become an adult is the day you learn that in Charleston, the worse something is, the less attention it receives.”

— Grady Hendrix

244. “Orsk was designed to move customers counterclockwise, keeping them in a state of retail hypnosis.”

— Grady Hendrix

245. “He was just a little boy in love with himself, making deals without ever asking the price, thinking he’d never have to pay. She saw him, not evil, not good, just another boy who thought he was the only person in the world who mattered.”

— Grady Hendrix

246. “He left no one behind, no children, no shared memories, no history, no one told stories about him. All he left to mark his passing was pain, and that would fade over time.”

— Grady Hendrix

247. “The police think all kind of things,” Mrs. Greene said. “Doesn’t necessarily make them true.”

— Grady Hendrix

248. “Just now, she’d conjured $80 out of thin air, turning the sound into money like magic. She had one weapon left. One they couldn’t take away.”

— Grady Hendrix

249. “You can only hope that by the time you come to your senses they haven’t done too much damage. In Julia’s case, by the time she woke up he’d sold her franchise rights, cleaned out her bank accounts, and left her with nothing.”

— Grady Hendrix

250. “Patricia Campbell and the Mystery of Finding Enough Time to Read the Newspaper When You Have Two Children and a Mother-in-Law Living with You and Everyone Needs Their Clothes Washed, and to Be Fed, and the House Needs to Be Cleaned and Someone Has to Give the Dog His Heartworm Pills and You Should Probably Wash Your Own Hair Every Few Days or Your Daughter Is Going to Ask Why You Look Like a Street Person.”

— Grady Hendrix