A Little Life Quotes

“He was home, and home was Jude.”
― Hanya Yanagihara, A Little Life

“I’m lonely,” he says aloud, and the silence of the apartment absorbs the words like blood soaking into cotton.

He is so lonely that he sometimes feels it physically, a sodden clump of dirty laundry pressing against his chest. He cannot unlearn the feeling.”
― Hanya Yanagihara, A Little Life

“Sometimes he wonders whether this very idea of loneliness is something he would feel at all had he not been awakened to the fact that he should be feeling lonely, that there is something strange and unnacceptable about the life he has.”
― Hanya Yanagihara, A Little Life

“As he soars, he thinks, suddenly, of Dr. Kashen. Or not of Dr. Kashen, necessarily, but the question he had asked him when he was applying to be his advisee: What's your favorite axiom? (The nerd pickup line, CM had once called it.)

"The axiom of equality," he'd said, and Kashen had nodded, approvingly. "That's a good one," he'd said.

The axiom of equality states that x always equals x: it assumes that if you have a conceptual thing named x, that it must always be equivalent to itself, that it has a uniqueness about it, that it is in possession of something so irreducible that we must assume it is absolutely, unchangeably equivalent to itself for all time, that its very elementalness can never be altered. But it is impossible to prove. Always, absolutes, nevers: these are the words, as much as numbers, that make up the world of mathematics. Not everyone liked the axiom of equality––Dr. Li had once called it coy and twee, a fan dance of an axiom––but he had always appreciated how elusive it was, how the beauty of the equation itself would always be frustrated by the attempts to prove it. I was the kind of axiom that could drive you mad, that could consume you, that could easily become an entire life.

But now he knows for certain how true the axiom is, because he himself––his very life––has proven it. The person I was will always be the person I am, he realizes. The context may have changed: he may be in this apartment, and he may have a job that he enjoys and that pays him well, and he may have parents and friends he loves. He may be respected; in court, he may even be feared. But fundamentally, he is the same person, a person who inspires disgust, a person meant to be hated. And in that microsecond that he finds himself suspended in the air, between ecstasy of being aloft and the anticipation of his landing, which he knows will be terrible, he knows that x will always equal x, no matter what he does, or how many years he moves away from the monastery, from Brother Luke, no matter how much he earns or how hard he tries to forget. It is the last thing he thinks as his shoulder cracks down upon the concrete, and the world, for an instant, jerks blessedly away from beneath him: x = x, he thinks. x = x, x = x.”
― Hanya Yanagihara, A Little Life

“Always, there are people asking him if he misses what it had never occurred to him to want, never occurred to him he might have:”
― Hanya Yanagihara, A Little Life

“And now he is once again finding life more and more difficult, each day a little less possible than the last. In his every day stands a tree, black and dying, with a single branch jutting to its right, a scarecrow's sole prosthetic, and it is from this branch that he hangs. Above him a rain is always misting, which makes the branch slippery. But he clings to it, as tired as he is, because beneath him is a hole bored into the earth so deep that he cannot see where it ends. He is petrified to let go because he will fall into the hole, but eventually he knows he will, he knows he must: he is so tired. His grasp weakens a bit, just a little bit, with every week.
So it is with guilt and regret, but also with a sense of inevitability, that he cheats on his promise to Harold.”
― Hanya Yanagihara, A Little Life

“As he gets older, he is given, increasingly, to thinking of his life as a series of retrospectives, assessing each season as it passes as if it’s a vintage of wine, dividing years he’s just lived into historical eras: The Ambitious Years. The Insecure Years. The Glory Years. The Delusional Years. The Hopeful Years.”
― Hanya Yanagihara, A Little Life

“Ethics and morals do, in reality, have a place in law—although not in jurisprudence. It is morals that help us make the laws, but morals do not help us apply them.”
― Hanya Yanagihara, A Little Life

“I have become lost to the world,” he sings, quietly, “in which I otherwise wasted so much time.”
― Hanya Yanagihara, A Little Life

“The axiom of the empty set is the axiom of zero. It states that there must be a concept of nothingness, that there must be the concept of zero: zero value, zero items. . . . We can say that life is the axiom of the empty set. It begins in zero and ends in zero. We know that both states exist, but we will not be conscious of either experience: they are states that are necessary parts of life, even as they cannot be experienced as life. We assume the concept of nothingness, but we cannot prove it. But it must exist.”
― Hanya Yanagihara, A Little Life

“he realizes that this is the way it is, the way it must be: you don’t visit the lost, you visit the people who search for the lost.”
― Hanya Yanagihara, A Little Life

“We don’t get the families we deserve,”
― Hanya Yanagihara, A Little Life

“he was worried because to be alive was to worry. Life was scary; it was unknowable. Even Malcolm’s money wouldn’t immunize him completely. Life would happen to him, and he would have to try to answer it, just like the rest of them. They all—Malcolm with his houses, Willem with his girlfriends, JB with his paints, he with his razors—sought comfort, something that was theirs alone, something to hold off the terrifying largeness, the impossibility, of the world, of the relentlessness of its minutes, its hours, its days.”
― Hanya Yanagihara, A Little Life

“There were times when the pressure to achieve happiness felt almost oppressive, as if happiness were something that everyone should and could attain, that any sort of compromise in its pursuit was somehow your fault.”
― Hanya Yanagihara, A Little Life

“the only trick of friendship, I think, is to find people who are better than you are—not smarter, not cooler, but kinder, and more generous, and more forgiving—and then to appreciate them for what they can teach you, and to try to listen to them when they tell you something about yourself, no matter how bad—or good—it might be, and to trust them, which is the hardest thing of all. But the best, as well.”
― Hanya Yanagihara, A Little Life

“He steps back, still looking. In the painting, Willem’s torso is directed toward the viewer, but his face is turned to the right so that he is almost in profile, and he is leaning toward something or someone and smiling. And because he knows Willem’s smiles, he knows Willem has been captured looking at something he loves, he knows Willem in that instant was happy. Willem’s face and neck dominate the canvas, and although the background is suggested rather than shown, he knows that Willem is at their table; he knows it from the way JB has drawn the light and shadows on Willem’s face. He has the sense that if he says Willem’s name, the face in the painting will turn toward him and answer; he has the sense that if he stretches his hand out and strokes the canvas, he will feel beneath his fingertips Willem’s hair, his fringe of eyelashes.

But he doesn’t do this, of course, just looks up at last and sees JB smiling at him, sadly. “The title’s card’s been mounted already,” JB says, and he goes slowly to the wall behind the painting and sees its title—Willem Listening to Jude Tell a Story, Greene Street—and he feels his breath abandon him; it feels as if his heart is made of something oozing and cold, like ground meat, and it is being squeezed inside a fist so that chunks of it are falling, plopping to the ground near his feet.”
― Hanya Yanagihara, A Little Life

“Fairness is for happy people, for people who have been lucky enough to have lived a life defined more by certainties than by ambiguities.”
― Hanya Yanagihara, A Little Life

“And yet he sometimes wondered if he could ever love anyone as much as he loved Jude. It was the fact of him, of course, but also the utter comfort of life with him, of having someone who had known him for so long and who could be relied upon to always take him as exactly who he was on that particular day. His work, his very life, was one of disguises and charades. Everything about him and his context was constantly changing: his hair, his body, where he would sleep that night. He often felt he was made of something liquid, something that was being continually poured from bright-colored bottle to bright-colored bottle, with a little being lost or left behind with each transfer. But his friendship with Jude made him feel that there was something real and immutable about who he was, that despite his life of guises, there was something elemental about him, something that Jude saw even when he could not, as if Jude's very witness of him made him real.”
― Hanya Yanagihara, A Little Life

“he feels he isn’t so much living as he is merely existing,”
― Hanya Yanagihara, A Little Life

“My phone rang, and although it wasn't a sinister time of night, and although nothing had happened that I would later see as foreshadowing, I knew, I knew.”
― Hanya Yanagihara, A Little Life

“Fair" is never an answer, I would tell them. But it is always a consideration.”
― Hanya Yanagihara, A Little Life

“You’ll find your own way to discuss what happened to you. You’ll have to, if you ever want to be close to anyone. But your life—no matter what you think, you have nothing to be ashamed of, and none of it has been your fault. Will you remember that?”
― Hanya Yanagihara, A Little Life

“They are quiet for a long time. “Do you remember the time you told me you were afraid that you were a series of nasty surprises for me?” he asks him, and Jude nods, slightly. “You aren’t,” he tells him. “You aren’t. But being with you is like being in this fantastic landscape,” he continues, slowly. “You think it’s one thing, a forest, and then suddenly it changes, and it’s a meadow, or a jungle, or cliffs of ice. And they’re all beautiful, but they’re strange as well, and you don’t have a map, and you don’t understand how you got from one terrain to the next so abruptly, and you don’t know when the next transition will arrive, and you don’t have any of the equipment you need. And so you keep walking through, and trying to adjust as you go, but you don’t really know what you’re doing, and often you make mistakes, bad mistakes. That’s sometimes what it feels like.” They’re silent. “So basically,” Jude says at last, “basically, you’re saying I’m New Zealand.”
― Hanya Yanagihara, A Little Life

“He got to see his friends differently, not as just appendages to his life but as distinct characters inhabiting their own stories;”
― Hanya Yanagihara, A Little Life

“Wasn’t friendship its own miracle, the finding of another person who made the entire lonely world seem somehow less lonely? Wasn’t this house, this beauty, this comfort, this life a miracle?”
― Hanya Yanagihara, A Little Life

“He will be reminded of how trapped he is, trapped in a body he hates, with a past he hates, and how he will never be able to change either.”
― Hanya Yanagihara, A Little Life

“He holds Willem so close that he can feel muscles from his back to his fingertips come alive, so close that he can feel Willem's heart beating against his, can feel his rib cage against his, and his stomach deflating and inflating with air. 'Harder,' Willem tells him, and he does until his arms grow first fatigued and then numb, until his body is sagging with tiredness, until he feels that he really is falling: first through the mattress, and then the bed frame, and then the floor itself, until he is sinking in slow motion through all the floors of the building, which yield and swallow him like jelly. Down he goes through the fifth floor, where Richard's family is now storing stacks of Moroccan tiles, down through the fourth floor, which is empty, down through Richard and India's apartment, and Richard's studio, and then to the ground floor, and into the pool, and then down and down, farther and farther, past the subway tunnels, past bedrock and silt, through underground lakes and oceans of oil, through layers of fossil and shale, until he is drifting into the fire at the earth's core. And the entire time, Willem is wrapped around him, and as they enter the fire, they aren't burned but melted into one being, their legs and chests and arms and heads fusing into one.”
― Hanya Yanagihara, A Little Life

“That night, before bed, he goes first to Willem's side of the closet, which he has still not emptied. Here are Willem's shirts on their hangers, and his sweaters on their shelves, and his shoes lined up beneath. He takes down the shirt he needs, a burgundy plaid woven through with threads of yellow, which Willem used to wear around the house in the springtime, and shrugs it on over his head. But instead of putting his arms through its sleeves, he ties the sleeves in front of him, which makes the shirt look like a straitjacket, but which he can pretend—if he concentrates—are Willem's arms in an embrace around him. He climbs into bed. This ritual embarrasses and shames him, but he only does it when he really needs it, and tonight he really needs it.”
― Hanya Yanagihara, A Little Life

“What is life for? he asks himself. What is my life for?”
― Hanya Yanagihara, A Little Life

“When did pursuing your ambitions cross the line from brave into foolhardy? How did you know when to stop?”
― Hanya Yanagihara, A Little Life