“You spend your whole life stuck in the labyrinth, thinking about how you’ll escape one day, and how awesome it will be, and imagining that future keeps you going, but you never do it. You just use the future to escape the present.”
― John Green, Looking for Alaska

“She said, “It’s not life or death, the labyrinth.”
“Um, okay. So what is it?”
“Suffering,” she said. “Doing wrong and having wrong things happen to you. That’s the problem. Bolivar was talking about the pain, not about the living or dying. How do you get out of the labyrinth of suffering?… Nothing’s wrong. But there’s always suffering, Pudge. Homework or malaria or having a boyfriend who lives far away when there’s a good-looking boy lying next to you. Suffering is universal. It’s the one thing Buddhists, Christians, and Muslims are all worried about.”
― John Green, Looking for Alaska

“Through dangers untold and hardships unnumbered I have fought my way here to the castle beyond the Goblin City to take back the child you have stolen, for my will is as strong as yours and my kingdom as great. You have no power over me!”
― Jim Henson

“Before I got here, I thought for a long time that the way out of the labyrinth was to pretend that it did not exist, to build a small, self-sufficient world in a back corner of, the endless maze and to pretend that I was not lost, but home. But that only led to a lonely life accompanied only by the last words of the looking for a Great Perhaps, for real friends, and a more-than minor life.

And then i screwed up and the Colonel screwed up and Takumi screwed up and she slipped through our fingers. And there’s no sugar-coating it: She deserved better friends.

When she fucked up, all those years ago, just a little girl terrified. into paralysis, she collapsed into the enigma of herself. And I could have done that, but I saw where it led for her. So I still believe in the Great Perhaps, and I can believe in it spite of having lost her.

Beacause I will forget her, yes. That which came together will fall apart imperceptibly slowly, and I will forget, but she will forgive my forgetting, just as I forgive her for forgetting me and the Colonel and everyone but herself and her mom in those last moments she spent as a person. I know that she forgives me for being dumb and sacred and doing the dumb and scared thing. I know she forgives me, just as her mother forgives her. And here’s how I know:

I thought at first she was just dead. Just darkness. Just a body being eaten by bugs. I thought about her a lot like that, as something’s meal. What was her-green eyes, half a smirk, the soft curves of her legs-would soon be nothing, just the bones I never saw. I thought about the slow process of becoming bone and then fossil and then coal that will, in millions of years, be mined by humans of the future, and how they would their homes with her, and then she would be smoke billowing out of a smokestack, coating the atmosphere.

I still think that, sometimes. I still think that, sometimes, think that maybe “the afterlife” is just something we made up to ease the pain of loss, to make our time in the labyrinth bearable. Maybe she was just a matter, and matter gets recycled.

But ultimately I do not believe that she was only matter. The rest of her must be recycled, too. I believe now that we are greater than the sum of our parts. If you take Alaska’s genetic code and you add her life experiences and the relationships she had with people, and then you take the size and shape of her body, you do not get her. There is something else entirety. There is a part of her knowable parts. And that parts has to go somewhere, because it cannot be destroyed. Although no one will ever accuse me of being much of a science student, One thing I learned from science classes is that energy is never created and never destroyed.

And if Alaska took her own life, that is the hope I wish I could have given her. Forgetting her mother, failing her mother and her friends and herself -those are awful things, but she did not need to fold into herself and self-destruct. Those awful things are survivable because we are as indestructible as we believe ourselves to be.

When adults say “Teenagers think they are invincible” with that sly, stupid smile on their faces, they don’t know how right they are. We need never be hopeless, because we can never be irreparably broken. We think that we are invincible because we are.

We cannot be born, and we cannot die. Like all energy, we can only change shapes and sizes manifestations. They forget that when they get old. They get scared of losing and failing. But that part of us greater than the sum of our parts cannot begin and cannot end, and so it cannot fail.

So I know she forgives me, just as I forgive her. Thomas Eidson’s last words were: “It’s very beautiful over there.” I don’t know where there is, but I believe it’s somewhere, and I hope it’s beautiful.”
― John Green , Looking for Alaska

“My peak? Would I even have one? I hardly had had anything you could call a life. A few ripples. some rises and falls. But that’s it. Almost nothing. Nothing born of nothing. I’d loved and been loved, but I had nothing to show. It was a singularly plain, featureless landscape. I felt like I was in a video game. A surrogate Pacman, crunching blindly through a labyrinth of dotted lines. The only certainty was my death.”
― Haruki Murakami, Dance Dance Dance

“I’ll paint you moments of gold, I’ll spin you Valentine evenings…”
― David Bowie

“Supplying correct information and providing adequate tools to restructure the eroded parts in the minds of the people should be a primary condition for a well-oiled society. Fine-tuning the factuality and accuracy of issues is a paramount civic duty of each responsible individual. (“Labyrinth of the mind”)”
― Erik Pevernagie

“A labyrinth is a symbolic journey . . . but it is a map we can really walk on, blurring the difference between map and world.”
― Rebecca Solnit, Wanderlust: A History of Walking

“…It makes me cry, I want to talk about something I am not sure I can talk about, I want to talk about the inside from the inside, I do not want to leave it
I am so happy in the silky damp dark of the labyrinth and there is no thread”
― Hélène Cixous, The Book of Promethea

“Give me the child. Through dangers untold and hardships unnumbered, I have fought my way here to the castle beyond the Goblin City to take back the child you have stolen. For my will is as strong as yours, and my kingdom is as great.
You have no power over me”
― A.C.H. Smith

“A labyrinth, when it is big enough, is just the world.”
― Catherynne M. Valente, The Girl Who Fell Beneath Fairyland and Led the Revels There

“He found something that he wanted, had always wanted and always would want — not to be admired, as he had feared; not to be loved, as he had made himself believe; but to be necessary to people, to be indispensable…’very few things matter and nothing matters very much”
― F. Scott Fitzgerald, This Side of Paradise

“Sarah: That’s not fair!

Jareth: You say that so often, I wonder what your basis for comparison is?”
― Terry Jones

“With a sigh, he grabbed hold of his chair and lifted himself out of it, then wrote on the blackboard: How will we ever get out of this labyrinth of suffering? – A.Y.
‘I’m going to leave that up for the rest of the semester,’ he said.
‘Because everybody who has ever lost their way in life has felt the nagging insistence of that question. At some point we all look up and realize we are lost in a maze, and I don’t want us to forget Alaska, and I don’t want to forget that even when the material we study seems boring, we’re trying to understand how people have answered that question and the questions each of you posed in your papers–how different traditions have come to terms with what Chip, in his final, called ‘people’s rotten lots in life.”
― John Green, Looking for Alaska

“This is one of the two great labyrinths into which human minds are drawn: the question of free will versus predestination.”
― Neal Stephenson, Quicksilver

“The difficulty in dealing with a maze or labyrinth lies not so much in navigating the convolutions to find the exit but in not entering the damn thing in the first place.

Or, at least not yet again.

As a creature of free will, do not be tempted into futility.”
― Vera Nazarian, The Perpetual Calendar of Inspiration

“A man craves ultimate truths. Every mortal mind, I think, is that way. But what is ultimate truth? It’s the end of the road, where there is no more mystery, no more hope. And no more questions to ask, since all the answers have been given. But there is no such place.
The Universe is a labyrinth made of labyrinths. Each leads to another. And wherever we cannot go ourselves, we reach with mathematics. Out of mathematics we build wagons to carry us into the nonhuman realms of the world.”
― Stanisław Lem, Fiasco

“You mentioned . . . one of the two great labyrinths into which the mind is drawn. What . . . is the other?”
“The other is the composition of the continuum, or: what is space?”
― Neal Stephenson, Quicksilver

“It’s only forever, not long at all”
― David Bowie, Labyrinth Musical Score

“life is a kind of Labyrinth, with all its twists and turns, its straight paths and its occasional dead ends.”
― Jim Henson

“Threads snap. You would lose your way in the labyrinth.”
― Oscar Wilde, The Picture of Dorian Gray

“Sanity is the thread through the labyrinth of the Minotaur. Once cut, or unravelled, all that lies in wait are gloomy tunnels unfathomable by any map, and what hides there is a beast in human form, wearing our own face.”
― Jeanette Winterson, Frankissstein: A Love Story

“The “mind” is like a labyrinth,

and each one fights against “his own”.

Make sure you don’t get lost by your own choices.”
― nebulaspage.org

“In the labyrinth
Of your words
I’m trying to spot
The truth
Of your emotions”
― Jazalyn

“The “mind” is like a labyrinth,

and each one fights against “his own”.

Make sure you don’t get lost by your own choices.”
― nebulaspage.com

“The only way to avoid encountering someone is to follow him (according to a principle opposed to the principle of the labyrinth, where you follow someone so that you do not lose him). Implicit in the situation, however, is the dramatic moment when the one being followed, suddenly intuiting, suddenly becoming conscious that there is someone behind him, swings round and spots his pursuer. Then the rules are reversed, and the hunter becomes the hunted (for there is no escaping laterally). The only truly dramatic point is this unexpected turning-round of the other, who insists upon knowing and damns the consequences.
This reversal does in fact occur in the Venice scenario. The man comes towards her and asks her: ‘What do you want?’ She wants nothing. No mystery story, no love story. This answer is intolerable, and implies possible murder, possible death. Radical otherness always embodies the risk of death.
S.’s anxiety revolves entirely around this violent revelation: the possibility of getting herself unmasked – the very thing she is trying to avoid. ‘I cannot go on following him. He must be uneasy, he must be wondering if I am here, behind him – surely he is thinking about me now – so I shall have to keep track of him in some other way.’
S. could have met this man, seen him, spoken to him. But in that case she would never have produced this secret form of the existence of the Other. The Other is the one whose destiny one becomes, not by making his acquaintance in difference and dialogue but by entering into him as into something secret, something forever separate. Not by engaging in a conversation with him as interlocutor, but by entering into him as his shadow, as his double, as his image, by embracing the Other the better to wipe out his tracks, the better to strip him of his shadow. The Other is never the one with whom we communicate: he is the one whom we follow – and who follows us.
The other is never naturally the other: the other must be rendered other by being seduced, by being made alien to himself, even by being destroyed – if there is no alternative (but in fact there are subtler ways of achieving this end).”
― Jean Baudrillard, The Transparency of Evil: Essays in Extreme Phenomena

“The maze that ends in the trap is life.”
― Skender Nitaj

“I’m looking for the labyrinth. The form that Dedalus gave me to the most disturbing question: How much of us is thought, reason, intellect… and how much delirium, hallucination, madness… and how much is a monster. The failure of every plan. A path with no way out.”
― Manuele Fior, Red Ultramarine

“Hvernig kemst ég nokkru sinni úr þessu völundarhúsi!”
― John Green, Looking for Alaska

“The Primary Act. As they entered the cinema, Dr Nathan confided to Captain Webster, ‘Talbert has accepted in absolute terms the logic of the sexual union. For him all junctions, whether of our own soft biologies or the hard geometries of these walls and ceilings, are equivalent to one another. What Talbert is searching for is the primary act of intercourse, the first apposition of the dimensions of time and space. In the multiplied body of the film actress – one of the few valid landscapes of our age – he finds what seems to be a neutral ground. For the most part the phenomenology of the world is a nightmarish excrescence. Our bodies, for example, are for him monstrous extensions of puffy tissue he can barely tolerate. The inventory of the young woman is in reality a death kit.’ Webster watched the images of the young woman on the screen, sections of her body intercut with pieces of modern architecture. All these buildings. What did Talbert want to do – sodomize the Festival Hall?

Pressure Points. Koester ran towards the road as the helicopter roared overhead, its fans churning up a storm of pine needles and cigarette cartons. He shouted at Catherine Austin, who was squatting on the nylon blanket, steering her body stocking around her waist. Two hundred yards beyond the pines was the perimeter fence. She followed Koester along the verge, the pressure of his hands and loins still marking her body. These zones formed an inventory as sterile as the items in Talbert’s kit. With a smile she watched Koester trip clumsily over a discarded tyre. This unattractive and obsessed young man – why had she made love to him? Perhaps, like Koester, she was merely a vector in Talbert’s dreams.

Central Casting. Dr Nathan edged unsteadily along the catwalk, waiting until Webster had reached the next section. He looked down at the huge geometric structure that occupied the central lot of the studio, now serving as the labyrinth in an elegant film version of The Minotaur . In a sequel to Faustus and The Shrew , the film actress and her husband would play Ariadne and Theseus. In a remarkable way the structure resembled her body, an exact formalization of each curve and cleavage. Indeed, the technicians
had already christened it ‘Elizabeth’. He steadied himself on the wooden rail as the helicopter appeared above the pines and sped towards them. So the Daedalus in this neural drama had at last arrived.

An Unpleasant Orifice. Shielding his eyes, Webster pushed through the camera crew. He stared up at the young woman standing on the roof of the maze, helplessly trying to hide her naked body behind her slim hands. Eyeing her pleasantly, Webster debated whether to climb on to the structure, but the chances of breaking a leg and falling into some unpleasant orifice seemed too great. He stood back as a bearded young man with a tight mouth and eyes ran forwards. Meanwhile Talbert strolled in the centre of the maze, oblivious of the crowd below, calmly waiting to see if the young woman could break the code of this immense body. All too clearly there had been a serious piece of miscasting.

‘Alternate’ Death. The helicopter was burning briskly. As the fuel tank exploded, Dr Nathan stumbled across the cables. The aircraft had fallen on to the edge of the maze, crushing one of the cameras. A cascade of foam poured over the heads of the retreating technicians, boiling on the hot concrete around the helicopter. The body of the young woman lay beside the controls like a figure in a tableau sculpture, the foam forming a white fleece around her naked shoulders.”
― J.G. Ballard, The Atrocity Exhibition