Peter Høeg (born 17 May 1957) is a Danish writer of fiction.
I'm not crying about anything or anyone in particular. The life I live I created for myself, and I wouldn't want it any different. I cry because in the universe there is something as beautiful as Kremer playing the Brains violin concerto.
She was transparent, like a watercolor. As if she were about to dissolve in sound, in tones not yet created.
I like him. I have a weakness for losers. Invalids, foreigners, the fat boy of the class, the ones nobody ever wants to dance with. My heart beats for them. Maybe because I've always known that in some way I will forever be one of them.
I have sat in the dark and looked at them both, the child and the woman. And the feeling has become too much. It is not sorrow or joy; it is the weight and the pressure of having been brought into their lives, and of knowing that if one were ever to be separated from them, it would mean your obliteration.
When you're young, you think that sex is the culmination of intimacy. Later you discover that it's barely the beginning.
Maybe it's wrong when we remember breakthroughs to our own being as something that occurs in discrete, extraordinary moments. Maybe falling in love, the piercing knowledge that we ourselves will someday die, and the love of snow are in reality not some sudden events; maybe they were always present. Maybe they never completely vanish, either.
Confronted with people who have power, and who enjoy using it, I turn into a different person, a baser and meaner one.
The knives in my apartment are only sharp enough to open envelopes with. Cutting a slice of coarse bread is on the borderline of their ability. I don't need anything sharper. Otherwise, on bad days, it might easily occur to me that I could always go stand in the bathroom in front of the mirror and slit my throat. On such occasions it's nice to have the added security of needing to go downstairs and borrow a decent knife from a neighbor.
We think there are limits to the dimensions of fear. Until we encounter the unknown. Then we can all feel boundless amounts of terror.
Those who were on the inside, the majority that is, for them it had been hard to get his point, mostly they were just pleased that they were on the inside, that they were the fittest. For those on the outside, the fear and abandonment amounts to almost everything; everybody knows that. Understanding is something one does best when one is on the borderline.
Do you know what the mathematical expression is for longing?. . . The negative numbers. The formalization of the feeling that you are missing something.
When we say 'time', I believe we mean at least two things. We mean changes. And we mean something unchangeable. We mean something that moves. but against an unmoving background. And vice versa. Animals can sense changes. But consciousness of time involves the double sense of constancy and change. Which can only be attributed to those who give expression to it. And that can only be done through language, and only man has language. The perception of time and language are inextricably bound up with one another.
Perhaps it's true that love is eternal. But it's appearance changes all the time.
I've had the privilege of learning foreign languages. Instead of merely speaking a watered-down form of my mother tongue, like most people, I'm also helpless in two or three other languages.
He boils milk with fresh ginger, a quarter of a vanilla bean, and tea that is so dark and fine-leaved that it looks like black dust. He strains it and puts cane sugar in both our cups. There's something euphorically invigorating and yet filling about it. It tastes the way I imagine the Far East must taste.
Falling in love has been greatly overrated. Falling in love consists of 45 percent fear of not being accepted, 45 percent manic hope that this time the fear will be put to shame and a modest 10 percent frail awareness of the possibility of love. I don't fall in love any more. Just like I don't get the mumps.
There's a look of mischief in his eyes. 'Smilla. Why is it that such an elegant and petite girl like you has such a rough voice. ' I'm sorry,' I say, 'if I give you the impression that it is only my mouth that's rough. I do my best to be rough all over.
I'm no expert on types of cars. As far as i'm concerned, you could send all the cars in the world through a compactor and shoot them out into the stratosphere and put them in orbit around Mars. Except, of course, the taxis that have to be at my disposal when I need them.
I don't fall in love anymore. Just like I don't get the mumps.
. . That's where we humans make a mistake. We don't see the utterly amazing when it comes to us disguised as the ordinary.