Top 400 Olivie Blake Quotes (2024 Update)
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151. “She made devastation look like riches, like jewels.”

— Olivie Blake

152. “The past is nothing. We are everything.”

— Olivie Blake

153. “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

154. “Genius is frequently a side effect of mania.”

— Olivie Blake

155. “I think you can be physically involved with someone before you need them,” he said slowly. “And I think you can need them before you love them.”

— Olivie Blake

156. “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

157. “If not for her, Nico might not have noticed most of the things he did, and probably vice versa. A uniquely upsetting curse, really, how little he knew how to exist when she wasn’t there.”

— Olivie Blake

158. “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

159. “Art is something we do to feel human, not because we are.”

— Olivie Blake

160. “Theoretically, men are a disaster. As a concept, I unequivocally reject them.”

— Olivie Blake

161. “You don’t use your magic to walk up the stairs but you defy gravity all the same, don’t you?”

— Olivie Blake

162. “More interesting than the game is always the players, you know.”

— Olivie Blake

163. “If there was one thing Regan would willingly say about herself, it was that she was an ornament, a novelty, a party trick. She was the center of attention when she wished to be, quick-witted and charming and impeccably dressed, but those types of girls grew dull when there were no eccentricities or blemishes. The world loved to take a beautiful woman and exclaim at the charm of her single imperfection.”

— Olivie Blake

164. “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

165. “All men can love a forbidden thing, generally speaking, and in most cases knowledge is precisely that; lost knowledge even more so.”

— Olivie Blake

166. “They had shared something that couldn’t be undone-something that had followed them around, joining them even in their absences form each other. History did that to people. Proximity. Love in some cases, hatred in others. The specific kind of intimacy that meant that every enemy was once a friend.”

— Olivie Blake

167. “It’s a fire. I used to burn out, now I just burn.”

— Olivie Blake

168. “The truest truths: Mortal lifetimes were short, inconsequential. Convictions were death sentences. Money couldn’t buy happiness, but nothing could buy happiness, so at least money could buy everything else. In terms of finding satisfaction, all a person was capable of controlling was himself.”

— Olivie Blake

169. “For Aldo, to love something was to study it; to devote every spare thought to understanding it.”

— Olivie Blake

170. “The thing about pills, Regan wanted to say to the doctor who had clearly never taken any, was that the ups and downs still happened; they were just different now, contained within brackets of limitation. Some inner lawlessness was still there, screeching for a higher high and clawing for a lower low, but ultimately the pills were loose restraints, a method of numbly shrinking.”

— Olivie Blake

171. “The idea that even he didn’t recognize happiness when he felt it was comforting, in some way. She was comforted by knowing he was equally as stupid and hopeless as she was.”

— Olivie Blake

172. “An ending is only an ending, she thought, when both parties agree they’ve reached the end.”

— Olivie Blake

173. “That was all art was, wasn’t it? The blatant exposition of the inside of her head.”

— Olivie Blake

174. “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

175. “She had hands that itched to be busy, to be occupied by something or another, but it seemed every time she sat down lately, her mind simply went blank.”

— Olivie Blake

176. “The brushstrokes were precisely the artist’s, not hers. It was thievery in every possible aspect of its creation. She had left nothing of herself in its reproduction, merely cloning the vacant starvation that had existed there before, and then she’d done the same another dozen times; proving to herself that, at very least, she could still see, she could still think, she could still interpret.”

— Olivie Blake

177. “There’s something about women, and in particular, women whose survival depends on conscienceless men. Men who have everything are careless with trinkets, and so those trinkets, like Mayra Kaleka, learn to care for themselves, and sometimes, if they are either very blessed or very cursed, they learn to care for others.”

— Olivie Blake

178. “Death was only another word for annihilation.”

— Olivie Blake

179. “He smiled at her like: Isn’t it great? Yes, she thought, pained. Yes, it is perilously wonderful to suffer so sweetly with you.”

— Olivie Blake

180. “You know why you don’t understand me?” Parisa answered Reina’s thoughts, stepping closer to lower her voice. “Because you think you’ve figured me out. You think you’ve met me before, other versions of women like me, but you have no idea what I am. You think my looks are what make me? My ambitions? You can’t begin to know the sum of my parts, and you can stare all you like, but you won’t see a damn thing until I show you.”

— Olivie Blake

181. “Deities themselves had changed over time, but the act of devotion had not.”

— Olivie Blake

182. “The promise of your talents is nothing compared to whatever you ultimately prove to be.”

— Olivie Blake

183. “When you no longer exist, you will have left nothing behind.”

— Olivie Blake

184. “I don’t think it counts as learning it if you don’t know what you learned.”

— Olivie Blake

185. “It’s art because it’s art, which is circular in its way,” she said, and then blinked, that same half-smile lingering at the edges of her mouth when she turned to face him. “A perfect circle, if you will,” she said, “because it is and it was and it will be, all at once.”

— Olivie Blake

186. “She knew, after all, which of his motions looked practiced and which of them did not. He wasn’t accustomed to someone being this close to him. This was visibly unrehearsed.”

— Olivie Blake

187. “Si no usaba esta vida, entonces la estaba desperdiciando.”

— Olivie Blake

188. “Can you strike a deal with the devil if it means getting what you want?”

— Olivie Blake

189. “He would come to share her joys until he could no longer separate them from his own, and then one day, maybe turning to her at a party or rushing to ask in a text message, he would say: What’s that thing I like? And she would know the answer. She would know everything. Eventually, all the answers to all that he was would be cradled in the palms of her hands.”

— Olivie Blake

190. “Libby Roads was an anxious, impending meltdown whose decisions were based entirely on what she had allowed the world to shape her into. She was more powerful than all of them, except for Nico. And of course she was. Because that was her curse.”

— Olivie Blake

191. “That was the peril of thought. Thoughts were so rarely dismissed once they’d been picked up and toyed with, and a mind successfully altered could rarely, if ever, revert.”

— Olivie Blake

192. “Regan always felt most secure in the hands of a man with no misconceptions of her flaws, because for better or worse, he would not be swayed by the possibility of their resurgence.”

— Olivie Blake

193. “She understands what people want from her, knows when to give it or not. Isn’t that the point? Isn’t that the success of a rebellion, knowing what people want, so to vehemently deny what others so desperately desire?”

— Olivie Blake

194. “All the monotony of being mortal is in the trying-to-live bits before you realize the whole thing is your life.”

— Olivie Blake

195. “A kiss that went on for half a moment, endlessly, and lasted infinitesimally, for years. It was trauma and mortality, legend and mythology.”

— Olivie Blake

196. “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

197. “She couldn’t prevent the urge to know his thoughts, She wanted to lace them between her fingers, to root them in her hands, to twine them around her limbs until he’d secured her within the invisible web of his carefully ordered madness.”

— Olivie Blake

198. “She was afraid, always, except when she was proving herself.”

— Olivie Blake

199. “Because the problem with knowledge, Miss Rhodes, is its inexhaustible craving. The more of it you have, the less you feel you know.”

— Olivie Blake

200. “Yes,” he said – he would have said it to anything, she could have suggested a mutiny and he’d have searched tirelessly for an axe, a pitchfork, Excalibur itself – and she smiled up at him, lifting her chin to permit him full view of her approval. The prospect of it, of anything, buzzed in his veins.”

— Olivie Blake