Top 400 Olivie Blake Quotes (2024 Update)
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351. “Aldo was not a ‘right now’ sort of person.”

— Olivie Blake

352. “People were always thinking about what to do next. Other people were always planning their futures, moving ahead, and only Regan seemed to notice how the whole thing was just moving in circles.”

— Olivie Blake

353. “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

354. “So be it. This is what it means to live.”

— Olivie Blake

355. “I bet you’ve never gone along with someone else’s idea in your life.”

— Olivie Blake

356. “You have a problem,” Parisa observed, arching a brow. “Nonsense. I have a hobby,” said Callum. “It’s everyone else who has a problem.”

— Olivie Blake

357. “Why didn’t you let me choose you?” he asked hoarsely. “I would have gone to you, Masha, if you’d asked. You would’ve only had to ask, and I would have chosen you over everything.”

— Olivie Blake

358. “It was at moments like this, high enough to inhale the promise of risk, that the whittled lines of city streets brought out his lingering melancholy; that l’appel du vide, the call of the void.”

— Olivie Blake

359. “How fragile the craving, he thought, and how delicate it was. How easy it would be to snap it between his fingers, to crush it between his palms. How effortlessly the wanting turned into the franticness of taking, and how very, very easy it was to take.”

— Olivie Blake

360. “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

361. “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

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

— Olivie Blake

363. “She didn’t feel whole with Aldo inside her. Instead, she felt splintered; like she became, in his hands, an infinite number of pieces, an entire infinity herself. Like she and eternity and omnipotence were the same, or like omniscience could be equated to the sound of his ragged breath in her ear. She wanted him to mess her up, deplete her, to deliver her to something lesser, something baser. Something less inclined to rational thought, and instead diminished only to sensations.”

— Olivie Blake

364. “You need to be loved, you need someone to believe you’re perfect, you hate being reminded you have flaws.”

— Olivie Blake

365. “I cry when it rains, I pick fights sometimes, I don’t know why. I look at the sky and feel this inexplicable sense of dread. I’m afraid that everything will end; are you ever afraid like that?”

— Olivie Blake

366. “Parisa immersed herself in the scrolls from the Islamic golden age, nipping at a half-formed hunch and uncovering that the Arabic astronomer Ibn al-Haytham had observed about optical illusions the same thing Parisa had observed about the human experience in general – namely, that time was an illusion of itself. Nearly every theory of time was rooted in fallacy, and manipulation of it as a concept was actually accomplished through the mechanism of thought or emotion.”

— Olivie Blake

367. “Aldo disliked the sensation of being asleep. It felt something very close to being dead, which was an uncomplicated and therefore troubling state of being.”

— Olivie Blake

368. “Now Callum’s mistake was obvious: he had thought to prove himself strong, but nobody wanted strength. Not like his. Strength was for machines and monsters; the others could not relate to faultlessness or perfection. Humans wanted humanity, and that meant he would have to show evidence of weakness.”

— Olivie Blake

369. “I know what people want to hear. You make them want to hear what you know.”

— Olivie Blake

370. “Unfortunately, setting fire to Nico de Varona’s undergarments was considered unacceptable behavior.”

— Olivie Blake

371. “Science requires a control group. A known lie,” he clarified, “to compare against possible lies.” “And why would you need a control group?” Seemed obvious to him. “Because I want to know when you’re lying to me.”

— Olivie Blake

372. “I hate boring little anxieties, like Rhodes’s. People who never exceed their shape because they’re too busy wondering why people don’t like them, or who they’re meant to be, or why they aren’t loved, or –.”

— Olivie Blake

373. “He says my number one quality is my attention span and I should never let anyone tell me otherwise.”

— Olivie Blake

374. “People were such delicate little playthings.”

— Olivie Blake

375. “Cravings were wishes that could be satisfied, but compulsions were needs that must be met.”

— Olivie Blake

376. “What you’re seeing is a single intake of breath – one moment. It is the beauty of the world in its most objective state, because the artist isn’t expressing any meaning. He isn’t trying to define you or teach you or tell you what place to occupy.”

— Olivie Blake

377. “That’s a cycle,” he said, “not a circle,” but he understood what she meant.”

— Olivie Blake

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

— Olivie Blake

379. “Just to make sure he could fix it the moment an unpleasant thought crossed her mind, which it didn’t, but just in case it did, he never left her.”

— Olivie Blake

380. “He’d practice with that lately, closing off his senses. Disassociating, disintegrating, twisting the dials that separated his body from the ceaseless nature of itself. It was a simple forfeiture this time, relinquishing his rights to observe anything at all. Falling to his proverbial knees and saying yes, all right then, I yield.”

— Olivie Blake

381. “Too many people had refused when she had wished that they would beg her to stay, and now, because of them, she had let him go so easily, unclenching all her fingers at once.”

— Olivie Blake

382. “They had not even disentangled and already, Dalton was looking for ways to make her the villain of his femme fatale narrative, which was hardly something she had the time or patience for.”

— Olivie Blake

383. “With Regan, everything came down to sacredness.”

— Olivie Blake

384. “His brain didn’t approach things in an easily observable way; he unintentionally skipped steps and was then forced to move backwards, usually by the sound of some throat-clearing distress at his back.”

— Olivie Blake

385. “Unluck,” Dalton repeated. “Hexes are of course the most direct form; intentional bad luck caused to the victim. The other two – ” “Jinxes are inconveniences, entanglements,” said Libby. “And curses are deliberate harm?”

— Olivie Blake

386. “Happiness, contentment, they are dull but persuasive lures. A rosy disposition only means you miss what’s lurking in the trees.”

— Olivie Blake

387. “That she will keep turning corners until she finds him.”

— Olivie Blake

388. “She knows better than to confuse apologies with affection. People are always sorry, so when he crawls towards her on the mattress she knows to wait for it, to sigh and say, It’s fine, only instead he surprises her, says: I love your brain.”

— Olivie Blake

389. “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

390. “Isis, smartly: “Well, I’m a demon. I’m always right, especially when it’s annoying.”

— Olivie Blake

391. “How strange it was, being so close to death; looking it in the face, grasping the finery of all its features.”

— Olivie Blake

392. “Maybe that’s the big secret, that even though she hates her feelings, she’d still rather have them than not.”

— Olivie Blake

393. “Capitalism has a terrible tendency to abandon its principles altogether.”

— Olivie Blake

394. “This time, she would close her eyes. She would inhale deeply. She would do what she had done before but this time she would not let herself fail, because she was no longer frightened. She was no longer aching. She was no longer desperate for the crutch of someone else’s faith.”

— Olivie Blake

395. “He knows her relationships are complicated. He knows whose calls she takes and which ones she ignores. He knows, as her doctor doesn’t know, that she isn’t taking her pills. He knows that she hears her mother’s voice in her head and sometimes she loses her own voice inside it; he knows she finds it again when he takes her face in his hands and says: Are you in there?”

— Olivie Blake

396. “She had a distinct ability to take up space, he thought. She made her surroundings part of her dominion, her atmosphere bending to the strike of her stride. Aldo, on the other hand, was typically subjected to the laws and customs of the room.”

— Olivie Blake

397. “They struggled to properly disentwine, or worse. They became strange, molded copies of the other.”

— Olivie Blake

398. “Death. It was incomplete without an audience.”

— Olivie Blake

399. “He didn’t ask for very much from Regan, which was ideal, because she didn’t typically give very much. If they tired of each other, they simply didn’t speak. They were good at occupying each other’s spaces. She often thought of him as an accessory that matched with everything; some sort of magical mood ring that adapted to whatever persona she had currently filled.”

— Olivie Blake

400. “Some people suffer bravely. Some clumsily.” He glanced up, catching Tristan’s look of uncertainty. “Some do so quietly, poetically. Parisa does it stubbornly and pointlessly, going on just to go on. Just to avoid defeat: to feel something more than nothing.”

— Olivie Blake