A Quote by Hanya Yanagihara

In the 1950s that tug-of-war between the expectations of behaving normally and the limitlessness of thinking freely produces some very strange characters.
I'm used to a feeling of doubleness, of thinking one thing and having to do another, a constant tug-of-war.
In the music industry, you meet some not very nice people, some very strange characters.
It was a brutal picture, a tug-of-war between two equal but opposing impulses. It had the ring of truth, however.
Normally, when you're working on something, there are other characters that you have alliances with, and you have unified goals with some characters.
Normally, when youre working on something, there are other characters that you have alliances with, and you have unified goals with some characters.
One of the beauties of 'The Girl with the Dragon Tattoo' is the very delicate and strange relationship between the two main characters.
It was a time of turmoil at colleges and universities. And I saw some very smart people and very privileged people behaving irresponsibly. And I couldn't help making a contrast between some of the worst of what I saw on the campus and the good sense and the decency of the people back in my own community.
I suffer from anxiety, moments of depression. I'm in my head so much, and I'm thinking so much, I'm playing a tug-of-war within my mind.
If I fulfill YOUR expectations, how am I going to transform you? I have to DESTROY your expectations. I have to destroy the very mind that creates those expectations. If you come to me, never come with expectations, otherwise you will be disappointed - because I have no obligation to fulfill your expectations in any way. In fact, if I see that there are some expectations, I do things DELIBERATELY to destroy those expectations. That is the price you have to pay to be with me.
It seems to me that if you were to take almost any half-century in history, you'd find a grand societal tug-of-war between the community and the individual.
When people write fan-fic sequels to one of your books, it gives you a very strange feeling. It is very flattering but strange, as if the characters have come to life again without you knowing.
I can see there's a connection between not following normal thinking and doing creative thinking. I wouldn't have had good scientific ideas if I had thought more normally.
I've always had that going on: "I can't," and then I do, so the voice says, "Well, that was an exception!" It's a tug-of-war between two voices: the one who knows she can and the one who's scared she can't.
I take all my characters very seriously - the main, secondary, and supporting characters. Even if they only appear once, they still need to have their own life. Some characters are absent literally but at the same time very, very present.
When new technology in the classroom starts happening, some people get very excited and think of it as a panacea. It attracts very high amounts of money; it raises expectations, and those expectations aren't met.
Ghosts of Marriages Past can haunt many aspects of a new relationship - your expectations of what a man should do, how you behave in conflict, your ideas of how commitment should look - they can even make your new man look untrustworthy when he's really behaving normally.
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