“As he read, I fell in love the way you fall asleep: slowly, and then all at once.”
This iconic line from John Green’s bestselling novel, The Fault in Our Stars, captures the tender, consuming, and heartbreaking romance that blossoms against the harsh backdrop of terminal illness.
Sixteen-year-old Hazel Grace Lancaster, tethered to an oxygen tank, meets the enigmatic and irrepressibly witty Augustus Waters at a cancer support group.
Their connection sparks a journey through shared literary obsessions, philosophical musings, and a love story that defiantly seeks “a forever within the numbered days.”
Here, we present 46 The Fault in Our Stars quotes with page numbers referencing the Penguin Books Paperback (April 8, 2014, ISBN-13: 978-0142424179).
Every quote is accompanied by insightful literary analysis that explores important lines, highlighting the novel’s enduring themes of love, loss, mortality, meaning, and identity.
The novel opens with an epigraph from the fictional book “An Imperial Affliction,” setting a tone that blends philosophical depth with a hint of metafictional playfulness, foreshadowing the characters’ engagement with literature as a means of understanding their precarious lives.
“As the tide washed in, the Dutch Tulip Man faced the Ocean:
“Conjoiner rejoinder poisoner concealer revelator. Look at it, rising up and rising down, taking everything with it.”
“What’s that?” Anna asked.
“Water,” the Dutchman said. “Well, and time.”
—PETER VAN HOUTEN, An Imperial Affliction”(Speaker: Peter Van Houten (fictional author, from An Imperial Affliction), Chapter Epigraph, Page 0)
This cryptic epigraph introduces themes of mortality, the passage of time, and the search for meaning within cyclical, destructive forces. It foreshadows the novel’s exploration of how individuals confront inevitable change and loss.
Hazel Grace Lancaster’s narrative voice, established from the opening chapter, reveals her sharp intellect, dark humor, and unflinching realism as she confronts the daily realities and existential absurdities of living with terminal cancer.
Hazel’s Lens: Cancer’s Stark Truth
From the outset, Hazel Grace Lancaster navigates her world with a pragmatic, often wryly humorous, perspective shaped by her terminal thyroid cancer. She resists platitudes and confronts the “side effects of dying” with a clear-eyed honesty.
These early quotes establish her distinctive voice—intellectually sharp, emotionally guarded, yet deeply observant—as she encounters the cancer support group and prepares the reader for a story that refuses to sentimentalize illness.
“Whenever you read a cancer booklet or website or whatever, they always list depression among the side effects of cancer. But, in fact, depression is not a side effect of cancer. Depression is a side effect of dying.”
(Speaker: Hazel Grace Lancaster, Chapter 1, Page 3)
Hazel’s harsh, unsentimental correction immediately establishes her character as someone who confronts hard truths head-on, rejecting euphemisms and clinical detachment. She reclaims her experience from medical jargon, grounding “depression” not as a mere symptom of disease, but as a profound, existential response to mortality. This distinction highlights her intellectual honesty and sets the tone for the novel’s unflinching exploration of illness and its human impact. She wants us to see her situation for what it truly is.
“There was quite a lot of competitiveness about it, with everybody wanting to beat not only cancer itself, but also the other people in the room. Like, I realize that this is irrational, but when they tell you that you have, say, a 20 percent chance of living five years, the math kicks in and you figure that’s one in five . . . so you look around and think, as any healthy person would: I gotta outlast four of these bastards.”
(Speaker: Hazel Grace Lancaster, Chapter 1, Page 5)
With dark humor, Hazel reveals the grim, unspoken calculus of survival within the cancer support group. This “irrational” competitiveness underscores the desperate human instinct to live, even if it means mentally pitting oneself against fellow sufferers. It’s a raw, honest glimpse into the psychological burden of a terminal diagnosis.
“Look, let me just say it: He was hot. A nonhot boy stares at you relentlessly and it is, at best, awkward and, at worst, a form of assault. But a hot boy . . . well.”
(Speaker: Hazel Grace Lancaster, Chapter 1, Page 9)
Hazel’s candid, humorous observation about Augustus provides a refreshing moment of typical teenage perception amidst illness. It signals her capacity for attraction and witty social commentary, hinting at life beyond her diagnosis.
Augustus Waters makes a dramatic entrance, his charisma and unconventional pronouncements immediately setting him apart. His blend of confidence, existential fear, and a performative engagement with his past illness captivates Hazel.
Meeting Augustus: Defiance in Bloom
Augustus Waters, or Gus, strides into the “Literal Heart of Jesus” support group with a confidence and charm that immediately disrupts Hazel’s carefully constructed cynicism. His pronouncements are often a blend of performative bravado, genuine wit, and an undercurrent of deep existential concern.
These quotes capture Gus’s unforgettable introduction, his unique philosophical stances (such as the cigarette metaphor), and the initial sparks of connection as he and Hazel begin to navigate their shared, yet distinct, experiences with cancer and mortality.
“My name is Augustus Waters,” he said. “I’m seventeen. I had a little touch of osteosarcoma a year and a half ago, but I’m just here today at Isaac’s request.”
(Speaker: Augustus Waters, Chapter 1, Page 11)
Augustus introduces himself with a disarming directness, acknowledging his past illness (“a little touch of osteosarcoma”) with a characteristic downplaying that hints at his confidence and perhaps a desire to control the narrative of his cancer experience.
“Oh, I’m grand.” Augustus Waters smiled with a corner of his mouth. “I’m on a roller coaster that only goes up, my friend.”
(Speaker: Augustus Waters, Chapter 1, Page 11)
Augustus’s signature phrase embodies his initial persona of relentless optimism and a somewhat performative defiance against his illness. This “roller coaster that only goes up” becomes a recurring motif, later tragically subverted by his relapse.
“I fear oblivion,” he said without a moment’s pause. “I fear it like the proverbial blind man who’s afraid of the dark.”
(Speaker: Augustus Waters, Chapter 1, Page 12)
Augustus’s immediate and unvarnished admission of his greatest fear—oblivion—reveals a depth and vulnerability beneath his confident exterior. His desire to be remembered, to leave a mark, becomes a central driving force in his character and his relationship with Hazel.
“There will come a time when all of us are dead. All of us. There will come a time when there are no human beings remaining to remember that anyone ever existed or that our species ever did anything… And if the inevitability of human oblivion worries you, I encourage you to ignore it. God knows that’s what everyone else does.”
(Speaker: Hazel Grace Lancaster, Chapter 1, Page 12-13)
Hazel’s unsettling internal monologue, delivered early in the novel, establishes her unflinching intellectual honesty regarding mortality and the universe’s vast indifference. Her catalog of universal death (“All of us… no human beings remaining… everything… will be forgotten”) directly confronts the fear of oblivion that Augustus later articulates.
Yet, her concluding advice—”I encourage you to ignore it. God knows that’s what everyone else does”—reveals a complex coping mechanism. It’s not a denial of the truth she so clearly sees, but a pragmatic, almost cynical, acknowledgment of how most people (and perhaps how she must try to) navigate such overwhelming existential truths to continue functioning.
This early passage powerfully sets up Hazel’s philosophical depth and the central thematic tension between facing oblivion and finding meaning in a finite existence.
“Because you’re beautiful. I enjoy looking at beautiful people, and I decided a while ago not to deny myself the simpler pleasures of existence.”
(Speaker: Augustus Waters, Chapter 1, Page 16)
Augustus’s bold compliment to Hazel is characteristic of his directness and his carpe diem philosophy, cutting through typical teenage awkwardness and signaling his immediate attraction and intention to live fully despite his past illness.
“It’s a metaphor, see: You put the killing thing right between your teeth, but you don’t give it the power to do its killing.”
(Speaker: Augustus Waters, Chapter 1, Page 20)
Augustus’s explanation for carrying unlit cigarettes is a defining moment, revealing his complex relationship with mortality and control. The cigarette becomes a potent symbol of defiance: he can hold death (“the killing thing”) close, acknowledge its presence, but ultimately assert his will by choosing not to “give it the power to do its killing.”
This act of controlled rebellion encapsulates his desire to exert power over his fate and his illness, a philosophy that deeply intrigues Hazel and forms a key part of his charismatic identity. It’s his performance of control in a life largely dictated by uncontrollable forces.
A shared love for “An Imperial Affliction,” Hazel’s favorite book, becomes the catalyst for a deeper connection. Their discussions about the novel, its elusive author, and its ambiguous ending fuel their intellectual intimacy, setting and set them on a path toward an extraordinary adventure.
Love’s Spark: Books and Bonds
The discovery of shared literary passions, particularly Hazel’s intense connection to Peter Van Houten’s “An Imperial Affliction,” ignites a profound intellectual and emotional bond between her and Augustus. Books become their common ground, a space where they can explore complex ideas about life, death, and meaning.
These quotes trace how their discussions about literature, especially their desire to uncover the fate of “An Imperial Affliction’s” characters, fuel their burgeoning romance and lead to the ambitious plan to visit Van Houten in Amsterdam.
“I told Augustus the broad outline of my miracle: diagnosed with Stage IV thyroid cancer when I was thirteen. (I didn’t tell him that the diagnosis came three months after I got my first period. Like: Congratulations! You’re a woman. Now die.)”
(Speaker: Hazel Grace Lancaster, Chapter 2, Page 24)
Hazel’s typically blunt and darkly humorous internal aside, as she recounts her diagnosis to Augustus, reveals her coping mechanism. The juxtaposition of a coming-of-age milestone with a death sentence highlights the cruel absurdity of her situation and her refusal to sentimentalize her illness, a trait Augustus comes to appreciate.
“Sometimes, you read a book and it fills you with this weird evangelical zeal, and you become convinced that the shattered world will never be put back together unless and until all living humans read the book.”
(Speaker: Hazel Grace Lancaster, Chapter 2, Page 33)
Hazel’s passionate description of the profound impact a truly resonant book can have (“evangelical zeal”) perfectly encapsulates the deep connection readers can forge with literature that seems to understand their core experiences.
This fervent belief in the power of stories, particularly her devotion to “An Imperial Affliction”, becomes a crucial bridge to Augustus. It explains her desperate need to know what happens after the novel’s abrupt ending, a desire that Augustus immediately understands and seeks to fulfill, highlighting his empathy and shared appreciation for meaningful narratives. This shared passion transforms their relationship from a casual acquaintance into a deeper, more intellectually intimate bond.
“Books so special and rare and yours that advertising your affection feels like a betrayal.”
(Speaker: Hazel Grace Lancaster, Chapter 2, Page 33)
This sentiment, part of Hazel’s explanation of her love for “An Imperial Affliction”, conveys the deeply personal and almost sacred relationship we can have with a beloved book. It explains her initial reluctance to share it, even with Augustus, highlighting the vulnerability involved in exposing something so integral to our inner world.
“Without pain, how could we know joy?’ (This is an old argument in the field of thinking about suffering and its stupidity and lack of sophistication could be plumbed for centuries but suffice it to say that the existence of broccoli does not, in any way, affect the taste of chocolate.)”
(Speaker: Hazel Grace Lancaster, Chapter 2, Page 35)
Hazel’s sharp, witty dismissal of the platitude (found on a pillow at Augustus’s house) showcases her intellectual rigor and her rejection of easy, unexamined answers to the problem of suffering. Her broccoli/chocolate analogy humorously deconstructs the flawed logic, reinforcing her preference for honest, clear-eyed engagement with life’s difficulties rather than comforting clichés.
“‘May I see you again?’ he asked. There was an endearing nervousness in his voice. I smiled. ‘Sure.’ ‘Tomorrow?’ he asked. ‘Patience, grasshopper,’ I counseled. ‘You don’t want to seem overeager. ‘Right, that’s why I said tomorrow,’ he said. ‘I want to see you again tonight. But I’m willing to wait all night and much of tomorrow.’ I rolled my eyes. ‘I’m serious,’ he said. ‘You don’t even know me,’ I said. I grabbed the book from the center console. ‘How about I call you when I finish this?’ ‘But you don’t even have my phone number,’ he said. ‘I strongly suspect you wrote it in this book.’ He broke out into that goofy smile. ‘And you say we don’t know each other.’”
(Speaker: Augustus Waters and Hazel Grace Lancaster, Context: Their first extended conversation, Chapter 2, Page 36-37)
This playful exchange concludes their first significant interaction, highlighting their quick wit and burgeoning connection. Augustus’s confident charm and Hazel’s feigned resistance reveal their mutual attraction and the rapid development of an unspoken understanding.
“All salvation is temporary… I bought them a minute. Maybe that’s the minute that buys them an hour, which is the hour that buys them a year. No one’s gonna buy them forever, Hazel Grace, but my life bought them a minute. And that’s not nothing.”
(Speaker: Hazel Grace Lancaster (recalling Augustus’s philosophy), Chapter 4, Page 59)
Hazel reflects on Augustus’s defense of a video game sacrifice, internalizing his philosophy that even small, temporary acts of good (“a minute”) have value in a world where permanent solutions (“forever”) are impossible. This becomes crucial for her understanding of finding meaning in finite moments.
“Sometimes people don’t understand the promises they’re making when they make them.”
(Speaker: Hazel Grace Lancaster, Chapter 4, Page 60)
Hazel’s insightful observation, made after Isaac’s girlfriend breaks up with him before his surgery, which will leave him blind, reflects a mature understanding of human fallibility and the weight of commitments. It foreshadows the complexities and potential pain inherent in her own developing relationship with Augustus.
“That’s the thing about pain… It demands to be felt.”
(Speaker: Augustus Waters (as recalled by Hazel), Chapter 4, Page 63)
This oft-cited line asserts that pain is an undeniable aspect of human experience, insisting on acknowledgment, a theme central to the novel’s honest portrayal of illness and loss.
“Augustus,” I said. “Really. You don’t have to do this.”
“Sure I do,” he said. “I found my Wish.”
“God, you’re the best,” I told him.
“I bet you say that to all the boys who finance your international travel,” he answered.”(Speaker: Augustus Waters and Hazel Grace Lancaster, Context: Augustus using his Wish for Amsterdam, Chapter 5, Page 90)
This exchange highlights Augustus’s generosity in using his “Wish” for Hazel and their characteristic witty banter that deepens their bond. His playful retort underscores their growing intimacy and shared humor even when dealing with serious matters such as his wish from a cancer foundation.
As their bond deepens, Hazel’s fear of causing Augustus pain—her “grenade” metaphor—clashes with their undeniable connection, leading to tentative promises and the iconic “Okay? Okay.” affirmation of their unique love.
Promises Forged: Love Amid Shadows
Despite Hazel’s fears and the ever-present shadow of their illnesses, her relationship with Augustus deepens into a profound love. They navigate their feelings with a mixture of teenage hopefulness and a maturity forged by their shared experiences with mortality.
These quotes highlight their growing intimacy, their unique ways of expressing commitment (like their “Okay? Okay.” exchange), and Hazel’s ongoing struggle to reconcile her love for Augustus with her fear of inevitably hurting him.
“That’s part of what I like about the book in some ways. It portrays death truthfully. You die in the middle of your life, in the middle of a sentence—”
(Speaker: Hazel Grace Lancaster, Chapter 5, Page 67)
Hazel’s appreciation for “An Imperial Affliction”‘s abrupt ending reflects her unsentimental view of mortality. She values its honest portrayal of death as an interruption, a perspective shaped by her precarious existence.
“I almost felt like he was there in my room with me, but in a way it was better, like I was not in my room and he was not in his, but instead we were together in some invisible and tenuous third space that could only be visited on the phone.”
(Speaker: Hazel Grace Lancaster, Chapter 5, Page 72)
Hazel describes the unique intimacy forged through late-night phone calls with Augustus. This “invisible and tenuous third space” transcends physical limitations, highlighting their deep intellectual and emotional connection.
“Maybe okay will be our always.”
(Speaker: Augustus Waters, Chapter 5, Page 73)
Augustus offers this poignant redefinition of “always” in response to Hazel’s reluctance to promise a conventional forever due to her illness. Their exchange of “Okay?” and “Okay.” becomes their unique, deeply meaningful vow, acknowledging the uncertainties of their future while affirming the present reality and enduring quality of their love.
It’s a promise of presence and acceptance within their limited time, transforming a simple word into a deep symbol of their specific, powerful bond.
“But I believe in true love, you know? I don’t believe that everybody gets to keep their eyes or not get sick or whatever, but everybody should have true love, and it should last at least as long as your life does.”
(Speaker: Isaac, Chapter 5, Page 75)
Isaac’s heartfelt, if somewhat naive, assertion about true love, made amidst his heartbreak, resonates with Hazel and Augustus’s burgeoning feelings. His belief that love is a universal right, regardless of life’s other cruelties, subtly affirms the preciousness of the connection Hazel and Gus are forming.
“I’m a grenade and at some point I’m going to blow up and I would like to minimize the casualties, okay?”
(Speaker: Hazel Grace Lancaster, Chapter 6, Page 99)
Hazel’s powerful and recurring metaphor for herself as a “grenade” encapsulates her deep-seated fear of hurting those she loves due to her terminal illness. She sees her inevitable death as an explosion that will cause collateral damage, particularly to Augustus.
This self-perception drives her initial attempts to keep him at a distance, reflecting her desire to protect him from the pain she believes her death will cause. It is a heartbreaking, painful articulation of the burden she carries, viewing her love as inherently dangerous to others.
The trip to Amsterdam, to meet the reclusive author Peter Van Houten, becomes an emotional journey—a concentrated experience of joy, love, and ultimately, devastating truths.
Amsterdam’s Light: Love Against Time
The journey to Amsterdam marks the zenith of their shared experiences—a fleeting period of joy, romantic discovery, and the pursuit of answers. Yet, this “little infinity” is shadowed by truths about their literary idol and Augustus’s health.
These quotes capture the bittersweet beauty of their time, from declarations of love to philosophical confrontations with fate.
“But it is the nature of stars to cross, and never was Shakespeare more wrong than when he has Cassius note, ‘The fault, dear Brutus, is not in our stars / But in ourselves.’”
(Speaker: Peter Van Houten (in a letter), Chapter 7, Page 111)
Van Houten’s letter offers a deterministic counterpoint to Shakespeare, suggesting some fates (like those of the “star-crossed” Hazel and Augustus) are indeed written in the “stars,” or determined by forces beyond individual control.
“What a slut time is. She screws everybody.”
(Speaker: Peter Van Houten (in a letter), Chapter 7, Page 112)
Van Houten’s crude, cynical personification of time reflects his bitterness. His crude statement underscores the novel’s theme of life’s fragility and the universal, indiscriminate nature of mortality.
“As he read, I fell in love the way you fall asleep: slowly, and then all at once.”
(Speaker: Hazel Grace Lancaster, Chapter 8, Page 125)
This iconic simile, narrated by Hazel as Augustus reads “An Imperial Affliction” aloud to her, beautifully encapsulates the subtle yet overwhelming process of falling deeply in love.
The comparison to falling asleep masterfully conveys two distinct phases: the gradual, almost imperceptible drift (“slowly”), where emotional connection builds incrementally through shared moments and intellectual intimacy, much like the gentle onset of drowsiness. Then, there’s the sudden, undeniable realization (“all at once”), the moment when the cumulative weight of those small affections tips into a profound, all-encompassing love, like the final surrender to sleep.
Green’s choice of this everyday experience makes Hazel’s extraordinary love feel universally relatable, while also highlighting its transformative power as an unstoppable, consuming force that arrives with both gentle inevitability and breathtaking suddenness, forever altering her emotional landscape. It shows Hazel acknowledging the depth of her feelings, a significant step beyond her initial guardedness.
“I’m in love with you, and I know that love is just a shout into the void, and that oblivion is inevitable, and that we’re all doomed and that there will come a day when all our labor has been returned to dust, and I know the sun will swallow the only earth we’ll ever have, and I am in love with you.”
(Speaker: Augustus Waters, Chapter 10, Page 153)
Augustus’s profound declaration of love to Hazel in Amsterdam is a breathtaking fusion of romantic intensity and deep existential awareness. He doesn’t shy from the “void” or “oblivion”; instead, he affirms his love as a defiant truth in the face of these certainties. His love isn’t a denial of reality but a courageous claim of meaning within it. This juxtaposition encapsulates the novel’s core tension and their deep connection.
“Oh, I wouldn’t mind, Hazel Grace. It would be a privilege to have my heart broken by you.”
(Speaker: Augustus Waters, Chapter 11, Page 176)
Augustus’s selfless words to Hazel, after she reiterates her fear of hurting him, demonstrate his deep love. He reframes potential loss not as a deterrent, but as a “privilege,” signifying that loving her is worth any suffering.
“The world is not a wish-granting factory.”
(Speaker: Augustus Waters (as recalled by Hazel), Chapter 12, Page 182)
This blunt statement is Augustus’s pragmatic counterpoint to romantic idealism. It acknowledges that life doesn’t cater to desires, a truth that resonates for characters grappling with mortality.
“Some infinities are bigger than other infinities.”
(Speaker: Hazel Grace Lancaster (quoting Peter Van Houten/her thoughts), Chapter 12, Page 189)
Hazel reflects on this concept from Van Houten to find meaning in her finite time with Augustus. It suggests the quality of an experience (their “little infinity”) can hold more significance than its duration.
“Our fearlessness shall be our secret weapon.”
(Speaker: Hazel Grace Lancaster, Chapter 12, Page 202)
In a moment of shared courage at the Anne Frank House, Hazel declares their “fearlessness” a strength. This highlights their conscious choice to embrace life and love fully, despite ever-present fear.
The Amsterdam interlude gives way to the harsh reality of Augustus’s declining health. Their courage is tested as they navigate the toll of his final days, culminating in his “pre-funeral” and Hazel’s profound eulogy.
Grief’s Weight: Courage in Farewell
Augustus’s cancer aggressively reasserts itself after Amsterdam. The narrative unflinchingly portrays his physical decline and the immense emotional weight on both him and Hazel.
These quotes reveal their attempts to find courage and meaning, the rawness of grief, and the love sustaining them. Augustus’s pre-funeral and Hazel’s eulogy testify to their bond.
“You have a choice in this world, I believe, about how to tell sad stories, and we made the funny choice.”
(Speaker: Hazel Grace Lancaster, Chapter 13, Page 209)
Hazel reflects on her and Augustus’s use of humor as a coping mechanism. This “funny choice” is a form of resilience, a way to reclaim agency and find light amidst profound sadness.
“Much of my life had been devoted to trying not to cry in front of people who loved me, so I knew what Augustus was doing. You clench your teeth. You look up. You tell yourself that if they see you cry, it will hurt them, and you will be nothing but a Sadness in their lives, and you must not become a mere sadness, so you will not cry…”
(Speaker: Hazel Grace Lancaster, Chapter 13, Page 213-214)
Hazel’s empathetic understanding of Augustus’s attempt to hide his pain reveals her stoicism. This shared defense, born from a desire to protect loved ones, highlights the emotional burdens of chronic illness.
“Only now that I loved a grenade did I understand the foolishness of trying to save others from my own impending fragmentation: I couldn’t unlove Augustus Waters. And I didn’t want to.”
(Speaker: Hazel Grace Lancaster, Chapter 13, Page 214)
Hazel’s “grenade” metaphor for herself gains new meaning as Augustus declines. She realizes the futility of shielding him, understanding that love, once ignited, embraces its inherent risks.
“I’ll fight it. I’ll fight it for you. Don’t you worry about me, Hazel Grace. I’m okay. I’ll find a way to hang around and annoy you for a long time.”
(Speaker: Augustus Waters, Chapter 13, Page 215)
Despite his deteriorating condition, Augustus attempts to reassure Hazel with characteristic bravado. His promise underscores how their love fuels his struggle, even as odds become insurmountable.
“Because there is no glory in illness. There is no meaning to it. There is no honor in dying of.”
(Speaker: Augustus Waters, Chapter 13, Page 217)
Augustus’s cynical statement strips away romanticized notions of dying from cancer. He rejects the idea that illness bestows nobility, reflecting his frustration with a loss of ability and the unheroic reality of his decline.
“I believe the universe wants to be noticed. I think the universe is improbably biased toward the consciousness, that it rewards intelligence in part because the universe enjoys its elegance being observed.”
(Speaker: Mr. Lancaster (Hazel’s Dad), Chapter 14, Page 223)
Hazel’s father offers a philosophical perspective valuing human consciousness, suggesting that appreciating the universe’s “elegance” is a meaningful endeavor even in the face of mortality.
“You gave me a forever within the numbered days, and I’m grateful.”
(Speaker: Hazel Grace Lancaster, Context: Eulogy for Augustus, Chapter 20, Page 260)
This line from Hazel’s eulogy for Augustus is a poignant expression of their love. It beautifully encapsulates her gratitude for their deep, timeless connection despite the “numbered days” imposed by illness. Hazel redefines “forever” not as infinite time, but as infinite quality of experience lived within a finite period. It’s an affirmation of the “little infinity” they created, a meaningful bond transcending physical death and countering oblivion.
“The only person I really wanted to talk to about Augustus Waters’s death with was Augustus Waters.”
(Speaker: Hazel Grace Lancaster, Chapter 21, Page 262)
Hazel’s raw admission captures the profound loneliness and specific void left by Augustus. It highlights the unique understanding they shared, a connection whose absence makes her grief more acute.
“I called it a nine because I was saving my ten. And here it was, the great and terrible ten…”
(Speaker: Hazel Grace Lancaster, Context: Reflecting on rating her pain after Augustus’s death, Chapter 21, Page 263)
Hazel’s reflection on her pain scale reveals her resilience and the immense depth of her suffering. The “great and terrible ten” signifies an emotional agony she had anticipated but hoped to avoid, underscoring his loss’s profound impact.
In the aftermath, Hazel, with Isaac and Peter Van Houten, pieces together Gus’s final words, navigating a world irrevocably changed by their “little infinity.”
Legacy of Stars: Love’s Lasting Echoes
Though Augustus is gone, his impact on Hazel endures. His final letter, sought by Hazel and delivered via Peter Van Houten, provides closure and a testament to his love and thoughts on life, death, and legacy.
These concluding quotes explore grief, memory, and the “scars” humans leave, affirming the heroic nature of Hazel and Augustus’s love and the lasting power of their “little infinity.”
“But I will say this: When the scientists of the future show up at my house with robot eyes and they tell me to try them on, I will tell the scientists to screw off, because I do not want to see a world without him.”
(Speaker: Isaac, Context: Eulogy at Augustus’s pre-funeral, Chapter 20, Page 258)
Isaac’s fierce, loyal, and darkly humorous declaration expresses the profound depth of his friendship and grief. His refusal to imagine a future without Gus underscores their irreplaceable bond.
“Grief does not change you, Hazel. It reveals you.”
(Speaker: Peter Van Houten, Chapter 23, Page 286)
Peter Van Houten, in a rare moment of insight, offers Hazel this observation. It suggests profound loss doesn’t alter one’s core character but strips away superficialities to expose the true self.
“The marks humans leave are too often scars.”
(Speaker: Augustus Waters (from his letter), Chapter 25, Page 311)
In his final letter, Augustus reflects on human legacy, observing that the desire to “leave a mark” often results in harm (“scars”). This contrasts with his admiration for Hazel, who “walks lightly upon the earth.” It’s a mature understanding that true heroism might lie in minimizing harm rather than striving for grand, potentially damaging, forms of remembrance. This insight showcases his growth and acceptance.
“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.”
(Speaker: Augustus Waters (from his letter), Chapter 25, Page 313)
This is one of Augustus’s most powerful statements, delivered posthumously. He acknowledges pain’s inevitability but asserts power by choosing relationships in which one endures that hurt. “I like my choices,” affirms his love for Hazel, signifying that the joy she brought outweighed the pain of their circumstances. It’s a testament to choosing love despite knowing the risk of heartbreak.
“I do, Augustus.
I do.”(Speaker: Hazel Grace Lancaster (responding to Augustus’s letter), Chapter 25, Page 313)
Hazel’s simple, affirmative response, the novel’s final line, confirms she, too, liked her choices—to love Augustus and embrace their “little infinity.” It signifies acceptance, enduring love, and her quiet heroism.
Okay? Okay: A Final Word on Love and Legacy
These 46 quotes from John Green’s The Fault in Our Stars distill Hazel and Augustus’s extraordinary journey into a constellation of love, courage, and the poignant search for meaning within a finite existence.
Their story, marked by illness and existential anxieties, blossoms into a deep exploration of what it means to live and love fully when time is a precious, dwindling commodity.
Hazel’s sharp narration and Augustus’s grand pronouncements paint a world where pain is inevitable, but so too is the capacity for immense joy and connection. They confront oblivion not with easy answers, but with a fierce embrace of their “little infinity.”
The Fault in Our Stars reminds us that the marks we leave are measured not in years but in the depth of connections forged and the courage with which we face our shared human condition, finding a “forever within the numbered days.”
For more explorations of love, loss, and resilience in literature, browse our full Book Quotes Collection.
A Note on Page Numbers & Edition:
Like thoughts we can’t pin into constellations, page numbers for The Fault in Our Stars can shift with each new printing. Page numbers cited (e.g., Page 20) reference the Penguin Books Paperback – April 8, 2014 (ISBN-13: 978-0142424179). Always consult your specific copy to ensure precise location for academic essays or personal reference.
Jeremy Mortis, founder of Ageless Investing, applies a rigorous analytical approach (the AAM framework) to distill timeless wisdom and contextualized quotes from classic literature, saving you time while deepening understanding. Learn more about Jeremy’s unique background and methodology on his author bio page.