Andrea Gibson Quotes

“The trauma said, ‘Don’t write these poems.Nobody wants to hear you cry about the grief inside your bones.”

“The trauma said, ‘Don’t write these poems.Nobody wants to hear you cry about the grief inside your bones.”

“Let me also say I wanna make you sandwhiches,And soup,And peanut butter cookies,Though, the truth is peanutbutter is actually really bad for you 'cause they grow peanuts in old cotton fields to clean the toxins out of the soil,But hey, you like peanutbutter and I like you!”

“His smile was the nightmare in my back pocket.(Speaking about Ronald Reagan)”

“Farber says (in my recollection, anyway) the European (or classical) art, including film, is culturally assumed to be a monumental slab. It's about that slab, and how it's been shaped, or what's been carved on it. In "termite art" though, your slab has been wormholed countless times, and its meaning is really taking place in the resulting interstices. The actual art of the piece, in other words, and your enjoyment of it, is taking place in the cracks, and the shape of the slab is coincidental and ultimately meaningless.”

“I would kiss you in the middle of the ocean during a lightning storm cuz I'd rather be left for dead than wondering what thunder sounds like.”

“I wrote too many poems in a language I did not yet know how to speakBut I know now it doesn't matter how well I say grace if I am sitting at a table where I am offering no bread to eatSo this is my wheat fieldyou can have every acre, Lovethis is my garden songthis is my fist fightwith that bitter frosttonight I begged another stage light to become that back alley street lamp that we danced beneaththe night your warm mouth fell on my timid cheekas i sang maybe i need youoff keybut in tunemaybe i need you the way that big moon needs that open seamaybe i didn't even know i was here til i saw you holding megive me one room to come home togive me the palm of your handevery strand of my hair is a kite stringand I have been blue in the face with your skycrying a flood over Iowa so you mother will wake to Venice Lover, I smashed my glass slipper to build a stained glass window for every wall inside my chestnow my heart is a pressed flower and a tattered bibleit is the one verse you can trustso I'm putting all of my words in the collection plateI am setting the table with bread and gracemy knees are bentlike the corner of a pageI am saving your place”

“I wrote too many poems in a language I did not yet know how to speak.”

“No," said Blackwell, "she won't, because that would be a violation of the very personal terms I will have established in our conversation. That's the key word here, Laney, 'personal.' 'Up close, and.' We will not meet, we will not carve out this deep and meaningful and bloody unforgettable episode of mutual face-time as representatives of our respective faceless corporations. Not at all. It's one-on-one time for your Kathy and I, and it may well prove to be as intimate, and I may hope enlightening, as any she ever had. Because I will bring a new certainty into her life, and we all need certainties. They help build character. And I will leave your Kathy with the deepest possible conviction that if she crosses me, she will die-but only after she's been made to desire that, absolutely." And Black-well's smile, then, giving Laney the full benefit of his dental prosthesis, was hideous. "Now how was it exactly you were supposed to contact her, to give her your decision?”

“The plane touches down on very rough ground: its wheelbarrow wheels bounce and one set of wings rises alarmingly while the other dips. Now the Masai and the plane are converging. It's a magnificent shot: the Masai run, run, run, run; because of the optics it is dreamlike. The little plane bounces, shudders, slews and finally makes lasting contact with the ground. At exactly the right moment, as the plane comes to a halt, the Masai warriors, in a highly agitated state, reach the plane, and the camera closes on the pilot, whose face as he removes his leather flying helmet and goggles, appears just above the bobbing red ochre composition of plaited hair and fat-shone bodies. It is Mel Gibson, with a grave expression, which can't quite suppress his unruly Aussieness.”

“Remind me that the most fertile lands were built by the fires of volcanoes.”