Top 500 Olivie Blake Quotes (2026 Update)
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51. “I am more addicted to the thought of your name on my tongue than I am to any other form of vice. The thought of having you is more dangerous than any cocktail of drugs, the idea of belonging to you endlessly destructive.”

— Olivie Blake

52. “Being scared was a bit like anise, like absinthe. A strange and arousing flavor. Being admired was golden, maple sweet. Being despised was a woodsy, sulfuric aroma, smoke in the nostrils; something to choke on when done properly. Being envied was tart, with a citrusy tang, like green apple.”

— Olivie Blake

53. “The thought of having you is more dangerous than any cocktail of drugs, the idea of belonging to you endlessly destructive.”

— Olivie Blake

54. “One thing at a time. Murder first and then scholarly pursuits.”

— Olivie Blake

55. “If this is what it is to burn, he thought, then I will be worth more as scattered ash than any of my unscathed pieces.”

— Olivie Blake

56. “You are not accustomed to being desired, are you?” Callum prompted. Before Tristan could manage his surely uncomfortable reply, Callum clarified, “As a friend, I mean. As a person.” A pause. “As anything.”

— Olivie Blake

57. “A flaw of humanity: the compulsion to be unique, which is at war with the desire to belong to a single identifiable sameness.”

— Olivie Blake

58. “She is my hope and for that she is dangerous, unequivocally, but she is also alive, unreservedly.”

— Olivie Blake

59. “He thinks: The Babylonians were wrong; time is made of her.”

— Olivie Blake

60. “Because even when you know everything about how a piece is made, you’re still only seeing the surface.”

— Olivie Blake

61. “Sometimes my eyes open and I know, somewhere in my bones, that I have formed myself to the shape of waking up beside you.”

— Olivie Blake

62. “Every time you love, pieces of you break off and get replaced by something you steal from someone else. It seems like it’s the right shape but it’s slightly different every time, so that eventually, very very quietly and over days and days and days, you are transformed into something unrecognizable, and it happens so slowly you don’t even notice, like shedding scales and making new ones.”

— Olivie Blake

63. “To give into something all at once was to lose yourself completely, and therefore to resist was to exchange one fleeting moment of pleasure for a more exquisite, abounding pain.”

— Olivie Blake

64. “When you learn a new word, you suddenly see it everywhere. The mind comforts itself by believing this to be coincidence but it isn’t – it’s ignorance falling away.”

— Olivie Blake

65. “Funny how that worked; the innocent fragility of being human. There were so many ways to break and so few of them heroic or noble.”

— Olivie Blake

66. “I’m not trying to predict you. I’m trying to understand you.”

— Olivie Blake

67. “You can’t simply look at time as a function of comings and goings. Time is always in motion, even if you personally opt to desist. Whether you come or go or leave or stay, time continues. People are left. People are found. To think that resigning yourself to permanence is itself a state of permanence is already made in error.”

— Olivie Blake

68. “There was a single moment responsible for every sequence thereafter.”

— Olivie Blake

69. “Don’t let me wake up alone.”

— Olivie Blake

70. “Depending who viewed it, Persephone had either been stolen or she had run from Demeter. Either way, she made herself queen.”

— Olivie Blake

71. “Presumably at a certain level of privilege, trivial things like people’s lives and well-being were insignificant details, trifling costs to be considered briefly and then, in the interest of productivity, cast aside for the greater good.”

— Olivie Blake

72. “Either it was everything to know the whole story, to look back and see the shape of it while standing along its periphery; or it was nothing, because things in their entirety were less fragile and therefore less beautiful than the pieces within the frame.”

— Olivie Blake

73. “Without the volatility of her extremes, what was she?”

— Olivie Blake

74. “Whatever you are made of, Charlotte Regan, I am made of it, too.”

— Olivie Blake

75. “It frustrated him immensely that he would never be able to prove that time didn’t stop when she met his eye.”

— Olivie Blake

76. “Hate and love were so very similar. Both were intestinal, visceral. Both left scars, vestiges of pain. Hate could not be born from a place of indifference. Hate was only born from opposite sides of the same coin.”

— Olivie Blake

77. “Do you think they know what it means to love?” his projection-self mused aloud to him. “That it isn’t the simple joy of fondness, I mean. In fact it’s violent, destructive. It means to cut the heart out of your chest and give it to someone else.”

— Olivie Blake

78. “It isn’t constancy that keeps us alive, it’s the progression we use to move us.”

— Olivie Blake

79. “Because humans were idiots who turned the elements of life into a weapon.”

— Olivie Blake

80. “A uniquely upsetting curse, really, how little he knew how to exist when she wasn’t there;.”

— Olivie Blake

81. “That was the distasteful thing about villains, really. Not the manner in which they went about their business, which was certainly gruesome and morally corrupt, but the fact that they desired things so intensely.”

— Olivie Blake

82. “And so where there had once been six were now, irreversibly, one.”

— Olivie Blake

83. “There are no perfect circles, Regan. Yes, there’s one, and it’s this one: They fall in love because they’re always in love. That’s circular, not a circle. He can believe whatever he wants; she knows it’s a perfect circle.”

— Olivie Blake

84. “Nobody asked for any of this. What they’re born into. We just get what we get and that’s a tragedy in itself. Everybody’s got one.”

— Olivie Blake

85. “Libby was a hero. Parisa was a villain. Their goals were overarching, appositional. Nico and Reina were so impartial and self-interested as to be wholly negligible. Tristian was a soldier, he would follow where he was most persuasively led. It was Callum who was an assassin.”

— Olivie Blake

86. “You wouldn’t make love with him, you’d make art. Maybe that would be worth it, but still, art is tragedy.”

— Olivie Blake

87. “She needed to believe she was meant for enormity; that the fulfillment of a destiny could make for the privilege of salvation, even if it didn’t feel that way right now.”

— Olivie Blake

88. “He kisses her, thinks, Go on, ruin me. Wreck me, please. She kisses him back and she does.”

— Olivie Blake

89. “It was more like there was a sliver of space between him and the outside world and she had unassumingly filled it, less like a piece fitting into the vacancy of another and more like liquid being poured into a cup.”

— Olivie Blake

90. “Ambition was such a dirty word, so tainted, but she had it. She was enslaved by it. There was so much ego to the concept of fate, but she needed to cling to it. She needed to believe she was meant for enormity; that the fulfillment of a destiny could make for the privilege of salvation, even if it didn’t feel that way right now.”

— Olivie Blake

91. “People who lined up to see the Mona Lisa typically couldn’t name the paintings hanging nearby, and there was nothing wrong with that.”

— Olivie Blake

92. “Art, a voice buzzed in her ear, was creation. It was dissecting a piece of herself and leaving it out for consumption, for speculation. For the possibility of misinterpretation and the inevitability of judgment. For the abandonment of fear the reward would have to be the possibility of ruin, and that was the inherent sacrifice.”

— Olivie Blake

93. “Time is a function of lies, a trick of the light, a mistranslation.”

— Olivie Blake

94. “Because I know he’ll sit for me. Because I know he won’t mock me, won’t suffocate me, won’t kill this this fragile little thing I’ve found, this fledgling breath I’ve taken. Because he will know what it means, because he asked me to, because he asked. Because he’s the thing I can’t unsee. Because I don’t know if I can get him right without looking, without proof, but also because I need to know, because I’ve already tried. Because either this is how everything changes, or this is how it ends.”

— Olivie Blake

95. “There is nothing so destructive as thought, and especially not one that can never be rescinded.”

— Olivie Blake

96. “Write me a tragedy, Lev Fedorov,” she whispered to him. “Write me a litany of sins. Write me a plague of devastation. Write me lonely, write me wanting, write me shattered and fearful and lost. Then write me finding myself in your arms, if only for a night, and then write it again. Write it over and over, Lev, until we both know the pages by heart. Isn’t that a story, too?” she asked him softly.”

— Olivie Blake

97. “Sashneka,” Marya said, “you are not incomplete because a piece of your heart is gone. You are you, an entire whole, all on your own. If you have loved and been loved, then you are richer for it; you don’t simply become a smaller version of yourself simply because what you once had is gone.”

— Olivie Blake

98. “She is in all of his spaces and all of his thoughts. He contemplates formulas and degrees of rationality and they all turn into her. He thinks about time, which has only recently begun, or at least now feels different. He thinks: the Babylonians were wrong; time is made of her.”

— Olivie Blake

99. “You and me, you-and-me, you and me, my heart will burn a hole through my chest until I know, and I am not done. I can’t be done yet, this cannot be the ending.”

— Olivie Blake

100. “Instead she thinks: I love him, and for a moment it doesn’t matter whether he loves her back. It is enough to have known that the inside of her chest is more than a place for storage.”

— Olivie Blake