Top 400 Olivie Blake Quotes (2026 Update)
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51. “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

52. “Yes, how perilously wonderful to suffer so sweetly with you.”

— Olivie Blake

53. “The Libby Rhodes that Tristan knew was a collection of imperfections, a constellation of absentminded marks. Of things she tried to meticulously to hide, but never from him.”

— Olivie Blake

54. “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

55. “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

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

— Olivie Blake

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

— Olivie Blake

58. “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

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

— Olivie Blake

60. “I want you to say everything, anything. I want to have your thoughts, I want to bottle them, I want to put them in my drawer for safekeeping.”

— Olivie Blake

61. “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

62. “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

63. “You left your infant son in the woods of Nova Scotia and then proceeded to show up every few years just to make him chase you through the dream realms. I wouldn’t call that being ‘fine,’ unless we’re only counting you.”

— Olivie Blake

64. “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

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

— Olivie Blake

66. “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

67. “Don’t let me wake up alone.”

— Olivie Blake

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

— Olivie Blake

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

— Olivie Blake

70. “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

71. “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

72. “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

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

— Olivie Blake

78. “I know exactly what shape she takes up in the universe,′ he pleaded in explanation. ‘If anyone can recognize her, it’s me.”

— Olivie Blake

79. “We are the gods of our own universes, aren’t we? Destructive ones.”

— Olivie Blake

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

— Olivie Blake

81. “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

82. “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

83. “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

84. “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

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

— Olivie Blake

86. “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

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

— Olivie Blake

88. “Of course you get a say,′ Libby corrected him. ‘You can say, ‘Libby, I love you and I support you,’ or you can say something else.′ She swallowed before adding, ‘But believe me, Ezra, there are only two answers here. If you don’t say one, you’re saying the other.”

— Olivie Blake

89. “Everything was related. This was what nobody seemed to understand. That although some corn-fed family in Iowa might not feel the loss of the Philippines now, they would someday, they would have to, because ecosystems were connected, because life mattered, because nothing in this world could disappear without a trace.”

— Olivie Blake

90. “For every sensation Regan could conjure, there was an artist who had beautifully suffered the same.”

— Olivie Blake

91. “She already knows his brain is something foreign to her, something that contains little pockets of mysticism that she will never understand, no matter how intently she can dig her greedy tendrils.”

— Olivie Blake

92. “Don’t you ever detest the necessity of emotional attachment?” Parisa murmured, the tips of her fingers brushing Libby’s throat before toying, idly, with the tips of her hair. “Men in particular are draining, they bleed us dry. They demand we carry their burdens, fix their ills. A man is constantly in search of a good woman, but what do they offer us in return?”

— Olivie Blake

93. “She cannot be, even in resurrection, what she was in life.”

— Olivie Blake

94. “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

95. “Magic comes only at a price, Parisa. You know that. Some subjects require sacrifice. Blood. Pain. The only way to create such magic is to destroy it.”

— Olivie Blake

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

— Olivie Blake

97. “If you could open only one part of me for your consumption, for your delectation, for the whims of your carnivorous mind, which part would you wish to see?”

— Olivie Blake

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

— Olivie Blake

99. “His name is written on my skin, he scarred me, I’ve changed my entire shape for having fit within the enormity of his thoughts, and now the only words I know are lines and color.”

— Olivie Blake

100. “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