John Green citátov
Dátum narodenia: 24. august 1977
John Michael Green je americký spisovateľ, vlogger a tvorca online vyučbových videí.
V roku 2005 získal Michael L. Printz Award za svoju prvotinu Kam zmizla Aljaška. Jeho román Na vine sú hviezdy z januára 2012 sa dostal na zoznam bestsellerov New York Times.
V roku 2014 bol zaradený do zoznamu 100 najvplyvnejších ľudí na svete podľa časopisu Time. Je držiteľom viacerých významných literárnych cien, bol tiež dvakrát finalistom literárnych cien denníka Los Angeles Times. Spolu s bratom Hankom tvorí jednu z najobľúbenejších online videorelácií .
Medzi jeho najväčšie diela patria Kam zmizla Aljaška, Na vine sú hviezdy a Papierové mestá .
"Poučka o podstate predvídateľnosti Katherín."
"Nech sneží." Ďalšie neboli vydané v slovenčine.
Dve z jeho kníh, Na vine sú hviezdy a Papierové mestá, boli sfilmované. Sfilmovanie tretej - Kam zmizla Aljaška, sa plánuje na rok 2017. V súčasnosti žije s manželkou a dvoma deťmi v Indianapolise.
Citáty John Green
„A potom tam ležal v horúčke ľútosti a opakoval si teraz zapamätanú poznámku v hlave a chcel plakať, ale namiesto toho cítil len tú bolesť za svojim solar plexom. Plač pridáva na niečom: plačom si ty, plus slzy. Ale ten pocit, ktorý Colin pociťoval, bol nejakým hrozným opakom plaču. Bol si to ty, mínus niečo.“
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„When I was little, my dad used to tell me, "Will, you can pick your friends, and you can pick your nose, but you can't pick your friend's nose."“
— John Green, kniha Will Grayson, Will Grayson
Will Grayson, p. 1 (opening words)
Will Grayson, Will Grayson (2010)
„I’m a good person but a shitty writer. You’re a shitty person but a good writer. We’d make a good team. I don’t want to ask you any favors, but if you have time – and from what I saw, you have plenty – I was wondering if you could write a eulogy for Hazel. I’ve got notes and everything, but if you could just make it into a coherent whole or whatever? Or even just tell me what I should say differently. Here’s the thing about Hazel: Almost everyone is obsessed with leaving a mark upon the world. Bequeathing a legacy. Outlasting death. We all want to be remembered. I do, too. That’s what bothers me most, is being another unremembered casualty in the ancient and inglorious war against disease. I want to leave a mark. But Van Houten: The marks humans leave are too often scars. You build a hideous minimall or start a coup or try to become a rock star and you think, “They’ll remember me now,” but (a) they don’t remember you, and (b) all you leave behind are more scars. Your coup becomes a dictatorship. Your minimall becomes a lesion. (Okay, maybe I’m not such a shitty writer. But I can’t pull my ideas together, Van Houten. My thoughts are stars I can’t fathom into constellations.) We are like a bunch of dogs squirting on fire hydrants. We poison the groundwater with our toxic piss, marking everything MINE in a ridiculous attempt to survive our deaths. I can’t stop pissing on fire hydrants. I know it’s silly and useless – epically useless in my current state – but I am an animal like any other. Hazel is different. She walks lightly, old man. She walks lightly upon the earth. Hazel knows the truth: We’re as likely to hurt the universe as we are to help it, and we’re not likely to do either. People will say it’s sad that she leaves a lesser scar, that fewer remember her, that she was loved deeply but not widely. But it’s not sad, Van Houten. It’s triumphant. It’s heroic. Isn’t that the real heroism? Like the doctors say: First, do no harm. The real heroes anyway aren’t the people doing things; the real heroes are the people NOTICING things, paying attention. The guy who invented the smallpox vaccine didn’t actually invent anything. He just noticed that people with cowpox didn’t get smallpox. After my PET scan lit up, I snuck into the ICU and saw her while she was unconscious. I just walked in behind a nurse with a badge and I got to sit next to her for like ten minutes before I got caught. I really thought she was going to die, too. It was brutal: the incessant mechanized haranguing of intensive care. She had this dark cancer water dripping out of her chest. Eyes closed. Intubated. But her hand was still her hand, still warm and the nails painted this almost black dark almost blue color, and I just held her hand and tried to imagine the world without us and for about one second I was a good enough person to hope she died so she would never know that I was going, too. But then I wanted more time so we could fall in love. I got my wish, I suppose. I left my scar. A nurse guy came in and told me I had to leave, that visitors weren’t allowed, and I asked if she was doing okay, and the guy said, “She’s still taking on water.”“
— John Green, kniha The Fault in Our Stars
A desert blessing, an ocean curse. What else? She is so beautiful. You don’t get tired of looking at her. You never worry if she is smarter than you: You know she is. She is funny without ever being mean. I love her. I am so lucky to love her, Van Houten. You don’t get to choose if you get hurt in this world, old man, but you do have some say in who hurts you. I like my choices. I hope she likes hers."
Augustus "Gus" Waters, p. 310-313
The Fault in Our Stars (2012)
„The moment Colin sat down, Hollis asked Hassan, "Would you like to say grace?"
"Sure thing." Hassan cleared his throat. "Bismallah." Then he picked up his fork.
"That's it?" Hollis wondered.
"That's it. We are a terse people. Terse, and also hungry."“
— John Green, kniha An Abundance of Katherines
Hollis Wells and Hassan Harbish, p. 62
An Abundance of Katherines (2006)
— John Green, kniha Kam zmizla Aljaška
Chip "the Colonel" Martin, p. 71
Looking for Alaska (2005)
„[M]aybe the strings break, or maybe our ships sink, or maybe we're grass—our roots so interdependent that no one is dead as long as someone is still alive. We don't suffer from a shortage of metaphors, is what I mean. But you have to be careful which metaphor you choose, because it matters. If you choose the strings, then you're imagining a world in which you can become irreparably broken. If you choose the grass, you're saying that we are all infinitely interconnected, that we can use these root systems not only to understand one another but to become one another. The metaphors have implications.“
— John Green, kniha Paper Towns
Quentin "Q" Jacobsen, p. 301
Paper Towns (2008)
„Standing before this building, I learn something about fear. I learn that it is not the idle fantasies of someone who maybe wants something important to happen to him, even if the important thing is horrible. It is not the disgust of seeing a dead stranger, and not the breathlessness of hearing a shotgun pumped outside of Becca Arrington's house. This cannot be addressed by breathing exercises. This fear bears no analogy to any fear I knew before. This is the basest of all possible emotions, the feeling that was with us before we existed, before this building existed, before the earth existed. This is the fear that made fish crawl out onto dry land and evolve lungs, the fear that teaches us to run, the fear that makes us bury our dead.“
— John Green, kniha Paper Towns
Quentin "Q" Jacobsen, pp. 140-141
Paper Towns (2008)