“What’s the point of having a voice if you’re gonna be silent in those moments you shouldn’t be?”
This burning question from Angie Thomas’s award-winning 2017 novel, The Hate U Give, encapsulates the courageous and transformative journey of its protagonist, Starr Carter, after she witnesses the fatal police shooting of her unarmed best friend, Khalil.
We’ve examined 41 of the most impactful The Hate U Give quotes with page numbers (the Clarion Books Hardcover edition, February 28, 2017, ISBN-13: 978-0062498533).
Each quote is paired with insightful analysis, featuring deeper exploration of pivotal lines to illuminate Starr’s evolution from a silenced witness to an empowered activist.
They also explore the novel’s urgent themes of voice, justice, identity, and the systemic impact of “THUG LIFE” (The Hate U Give Little Infants F***s Everybody), as Starr navigates her two worlds and finds the strength to speak her truth.
Angie Thomas’s The Hate U Give ignites with the tragic event that shatters Starr Carter’s carefully constructed worlds: the fatal police shooting of her childhood best friend, Khalil.
These initial quotes from Part 1 plunge us into Starr’s immediate shock, her profound grief, and the overwhelming fear that first compels her silence, even as the seeds of systemic injustice and the urgent need for her voice begin to take root in her consciousness.
Part 1: When It Happens – Khalil’s Death: The Catalyst for Change and Starr’s Initial Silence
The inciting incident of Khalil’s death throws Starr’s life into turmoil, forcing her to confront the harsh realities of racial injustice and police brutality. This section’s quotes capture her initial trauma, the weight of her silence, the beginnings of her identity crisis as she navigates her two worlds, and the early lessons from her family that will eventually fuel her courage.
The raw emotion and confusion of these early moments lay the foundation for Starr’s arduous journey toward finding her voice.
“I shouldn’t have come to this party.”
(Speaker: Starr Carter, Chapter 1, Page 3)
Starr’s opening thought immediately establishes her discomfort and sense of not belonging, foreshadowing her larger struggle with identity and navigating spaces where she feels like an outsider, a feeling acutely amplified after Khalil’s death.
“Funny how it works with white kids though. It’s dope to be black until it’s hard to be black.”
(Speaker: Starr Carter, Chapter 1, Page 11)
This poignant observation reveals Starr’s acute awareness of how black culture is often superficially admired by her white peers. In contrast, the difficult realities of being black in a systemically unjust society are ignored. It highlights the conditional acceptance she feels at Williamson.
“Pac said Thug Life stood for ‘The Hate U Give Little Infants F**** Everybody.’ … Meaning what society give us as youth, it bites them in the ass when we wild out. Get it?”
(Speaker: Khalil Harris (explaining Tupac, relayed by Starr), Chapter 1, Page 17)
Khalil’s explanation of Tupac Shakur’s “THUG LIFE” acronym is a foundational concept in the novel, profoundly influencing Starr’s understanding of systemic oppression and its devastating consequences. He articulates how the negative conditions, prejudice, and lack of opportunity (“the hate”) forced upon marginalized youth (“little infants”) inevitably breed anger, desperation, and destructive behaviors (“wild out”) that ultimately harm society as a whole (“fucks everybody”).
This reinterpretation shifts focus from individual blame to a critique of a “system designed against us,” as Maverick later reinforces. For Starr, internalizing this perspective becomes crucial in contextualizing Khalil’s life and choices, eventually fueling her activism by revealing the root causes of the violence and despair in her community. It’s a critical lens through which she begins to see the world differently.
“When I was twelve, my parents had two talks with me. One was the usual birds and bees… The other talk was about what to do if a cop stopped me… ‘Starr-Starr, you do whatever they tell you to do,’ he said. ‘Keep your hands visible. Don’t make any sudden moves. Only speak when they speak to you.’ I knew it must’ve been serious. Daddy has the biggest mouth of anybody I know, and if he said to be quiet, I needed to be quiet. I hope somebody had the talk with Khalil.”
(Speaker: Starr Carter (recalling Maverick’s words), Chapter 2, Pages 20-21)
This chilling passage contrasts the universal “birds and bees” talk with the race-specific “talk” Black parents often give their children about surviving police encounters. Maverick’s urgent instructions highlight the fear and precautionary measures that are a grim reality for many. Starr’s final, heartbreaking thought, “I hope somebody had the talk with Khalil,” underscores the tragic truth that even following these rules doesn’t guarantee safety, foreshadowing the injustice at the novel’s core.
“I’ve seen it happen over and over again: a black person gets killed just for being black, and all hell breaks loose. The cops call it justified. Everybody else calls it a tragedy… Now I am that person, and I’m too afraid to speak.”
(Speaker: Starr Carter, Chapter 3, Page 34)
Starr’s raw reflection encapsulates the devastating cycle of racial injustice and the immense psychological burden placed upon witnesses. She articulates her prior understanding of these events from a painful distance—the familiar script of a Black life devalued, official justifications, and fleeting communal outrage.
The line “Now I am that person” marks her traumatic entry into this shared, agonizing narrative. Her admission, “I’m too afraid to speak,” poignantly establishes her initial paralysis in the face of systemic power and personal terror. This fear becomes the central conflict Starr must overcome in her journey to find her voice and demand justice for Khalil.
“Something to live for, something to die for.”
(Speaker: Starr Carter (referencing Black Panther principles from Maverick), Chapter 4, Page 37)
Starr recalls this principle taught by her father, rooted in Black Panther ideology, emphasizing the importance of having core beliefs so profound that one is willing to dedicate their life to them. This becomes a guiding concept as she considers the risks of speaking up for Khalil.
“Don’t let them put words in your mouth. God gave you a brain. You don’t need theirs.”
(Speaker: Maverick “Big Mav” Carter to Starr, Chapter 5, Page 58)
Maverick’s advice empowers Starr to trust her perception and articulation of events, warning against allowing authority figures to distort her truth. This emphasizes critical thinking and self-reliance when facing injustice.
“The truth casts a shadow over the kitchen—people like us in situations like this become hashtags, but they rarely get justice. I think we all wait for that one time though, that one time when it ends right.”
(Speaker: Starr Carter, Chapter 5, Page 59)
Starr’s observation reflects the grim reality where victims of injustice are often reduced to fleeting social media trends (“hashtags”) while true justice remains elusive. Her words capture a blend of deep-seated cynicism and a fragile, persistent hope for a different outcome.
“Good-byes hurt the most when the other person’s already gone.”
(Speaker: Starr Carter, Chapter 5, Page 66)
This reflection highlights Starr’s deep grief and the sudden, irreversible nature of Khalil’s death. The inability to say a proper goodbye amplifies the pain of loss, leaving a haunting sense of unfinished connection.
“Williamson Starr doesn’t use slang—if a rapper would say it, she doesn’t say it, even if her white friends do. Slang makes them cool. Slang makes her “hood.” Williamson Starr holds her tongue when people piss her off so nobody thinks she’s the “angry black girl.” Williamson Starr is approachable. No stank-eyes, side-eyes, none of that. Williamson Starr is nonconfrontational. Basically, Williamson Starr doesn’t give anyone a reason to call her ghetto. I can’t stand myself for doing it, but I do it anyway.”
(Speaker: Starr Carter, Chapter 5, Page 71)
Starr meticulously outlines the rules of her “Williamson Starr” persona, revealing the intense daily performance of code-switching. She consciously suppresses aspects of her Garden Heights identity to avoid negative stereotypes, capturing the internal conflict and the exhausting burden of this dual consciousness. Her admission, “I can’t stand myself for doing it, but I do it anyway,” poignantly shows her struggle with authenticity.
“I hope none of them ask about my spring break. They went to Taipei, the Bahamas, Harry Potter World. I stayed in the hood and saw a cop kill my friend.”
(Speaker: Starr Carter, Chapter 5, Page 77)
This heartbreaking internal contrast underscores the immense chasm between Starr’s two worlds. The trivial spring break experiences of her Williamson peers are set against the life-altering trauma she endured, highlighting her profound sense of alienation.
“Once you’ve seen how broken someone is it’s like seeing them naked—you can’t look at them the same anymore.”
(Speaker: Starr Carter, Chapter 5, Page 83)
Starr’s reflection emphasizes the powerful effect of witnessing deep vulnerability or trauma. Such exposure creates an irrevocable shift in perception, stripping away pretenses and revealing a raw truth that changes relationships forever.
As the investigation into Khalil’s death unfolds and community outrage builds, Starr grapples with the immense pressure of being the sole witness.
Quotes from these crucial middle sections of the novel reveal her internal battle—navigating the contrasts between her Garden Heights community and her Williamson Prep school, the weight of others’ expectations and misjudgments, and the burgeoning, terrifying realization that her voice is a weapon that demands to be used in the fight for justice, despite the personal risks.
Part 2 & 3: Finding Voice Amidst Fear – Starr Navigates Two Worlds & the Weight of Witnessing Injustice
In the weeks following Khalil’s death, Starr is thrust into a maelstrom of grief, fear, and mounting pressure. She must navigate the police investigation, the burgeoning community activism led by Ms. Ofrah, and the increasingly fraught dynamics within her two worlds—Garden Heights, where Khalil is mourned and outrage grows, and Williamson Prep, where ignorance and racial microaggressions create painful divides.
These quotes from Parts 2 and 3 trace Starr’s internal struggle as she grapples with the weight of being the sole witness, the complexities of her dual identity, and the terrifying yet urgent call to find and use her voice for justice.
“Funerals aren’t for dead people. They’re for the living.”
(Speaker: Starr Carter, Chapter 8, Page 122)
Starr’s observation reflects a mature understanding that funeral rituals serve the emotional needs of the bereaved, providing a space for grief, remembrance, and communal support, rather than benefiting the deceased.
“That’s the problem. We let people say stuff like that, and they report it, and it becomes the truth. Strangers dictate our narrative.”
(Speaker: Maverick Carter, Chapter 10, Page 169)
Maverick critiques the power of media and external voices to misrepresent Black communities. He emphasizes that when “strangers dictate our narrative,” harmful stereotypes can become accepted as “truth,” underscoring the need for the community to tell its own stories.
“Sometimes you can do everything right and things will still go wrong. The key is to never stop doing right.”
(Speaker: Lisa Carter to Starr, Chapter 9, Page 154)
Lisa Carter imparts this crucial wisdom to Starr, acknowledging that justice isn’t always guaranteed even with righteous actions. This powerful lesson is not one of despair but of profound resilience and unwavering moral commitment.
Lisa teaches Starr that true character lies not in controlling outcomes, often subject to systemic biases, but in the steadfast dedication to “never stop doing right.” This philosophy becomes a cornerstone of Starr’s strength, guiding her to persevere in her fight for Khalil despite immense obstacles. It prioritizes principled action over guaranteed success, a vital message for Starr’s journey.
“That’s the hate they’re giving us, baby, a system designed against us. That’s Thug Life.”
(Speaker: Maverick “Big Mav” Carter, Chapter 10, Page 170)
Maverick’s reinterpretation of Tupac Shakur’s “THUG LIFE” acronym is a pivotal moment of political education for Starr and a central thesis of the novel. He explains that the “hate” given by society—systemic racism, lack of opportunity, poverty, police brutality—creates a destructive cycle that “f**** everybody” by breeding despair and violence within marginalized communities, which then perpetuates negative stereotypes.
Maverick’s insight transforms “thug” from a pejorative label into an indictment of a “system designed against us.” This critical understanding helps Starr contextualize Khalil’s choices and the anger in her community, fueling her desire to break the cycle by speaking truth to systemic hate.
“Daddy once told me there’s a rage passed down to every black man from his ancestors, etched in his DNA. It’s nothing to trigger that rage. It’s nothing to be ashamed of either. But there’s nothing more dangerous than when that rage is activated.”
(Speaker: Starr Carter (relaying Maverick’s words), Chapter 11, Page 196)
Starr recalls her father’s words about a deep-seated, inherited rage within Black men, born from centuries of oppression. Maverick frames this rage not as inherently negative, but as a legitimate, potent force that can be “activated” by ongoing racism. This provides Starr a complex lens to view community anger.
“My son loved working in the neighborhood,” One-Fifteen’s father claims… Funny. Slave masters thought they were making a difference in black people’s lives too… I wish people like them would stop thinking that people like me need saving.”
(Speaker: One-Fifteen’s father & Starr Carter (internal thought), Chapter 14, Page 245)
Starr’s sharp internal critique of the officer’s father’s attempt to portray his son as a benevolent presence in Garden Heights is devastatingly insightful. By drawing a parallel to the self-justifying narratives of “slave masters,” Starr exposes the paternalistic and often racist undertones of such “white savior” narratives. Her wish for them to “stop thinking that people like me need saving” is a powerful assertion of her community’s agency.
“‘Are you serious right now?’ Hailey asks. ‘What’s wrong with saying his life matters too?’ ‘His life always matters more!’ My voice is gruff… ‘That’s the problem!’”
(Dialogue: Hailey Grant & Starr Carter, Chapter 14, Page 248)
Starr’s impassioned outburst confronts the common derailing tactic against the Black Lives Matter movement. Hailey’s “his life matters too” (referring to the officer) attempts a false equivalency, ignoring systemic reality. Starr’s retort, “His life always matters more! That’s the problem!” cuts to the heart of racial inequality and the frustration of having one’s humanity minimized.
“What’s the point of having a voice if you’re gonna be silent in those moments you shouldn’t be?”
(Speaker: Starr Carter, Chapter 14, Page 252)
This is a watershed moment for Starr, an internal realization that becomes her driving mantra for activism. After witnessing Khalil’s death and grappling with fear and the pressure to remain silent, she confronts the fundamental purpose of having a voice. She understands that her ability to speak, to bear witness, is not just a personal attribute but a moral responsibility, especially “in those moments you shouldn’t be” silent—when justice is at stake or truth is suppressed.
This iconic quote signifies Starr’s pivotal shift from a frightened witness to an individual recognizing her power and the ethical imperative to use it, forming the crux of her character arc and the novel’s central message about courage and responsibility.
“That’s the so-called gun,” Ms. Ofrah explains. “Officer Cruise claims he saw it in the car door, and he assumed Khalil was reaching for it. The handle was thick enough, black enough, for him to assume it was a gun.”
(Speaker: Ms. Ofrah, Chapter 9, Page 217)
Ms. Ofrah’s calm, factual explanation of how Khalil’s hairbrush was misconstrued as a weapon reveals the racial bias and fatal assumptions in his killing. Her words underscore how everyday objects can be dangerously reinterpreted through a lens of prejudice, turning a mundane item into a perceived threat that “justifies” lethal force.
“And at the end of the day, you don’t kill someone for opening a car door. If you do, you shouldn’t be a cop.”
(Speaker: Uncle Carlos, Chapter 14, Page 256)
Uncle Carlos, speaking as both Starr’s uncle and a police officer, delivers this unequivocal condemnation of Officer One-Fifteen’s actions. His statement cuts through procedural justifications to a fundamental moral truth: opening a car door is not a capital offense. This moment shows someone within law enforcement acknowledging the injustice, validating Starr’s perspective.
“He was more than any bad decision he made.”
(Speaker: Uncle Carlos about Khalil, Chapter 14, Page 256)
Uncle Carlos’s assertion about Khalil humanizes him beyond labels like “drug dealer.” It emphasizes that past mistakes should not negate an individual’s worth and the tragedy of their death, a crucial point in the fight for compassionate understanding.
“At an early age I learned that people make mistakes, and you have to decide if their mistakes are bigger than your love for them.”
(Speaker: Lisa Carter, Chapter 15, Page 264)
Lisa Carter shares this profound wisdom, reflecting on her complex relationship with Maverick. It’s a lesson in mature love and forgiveness, acknowledging human fallibility while emphasizing the conscious choice involved in maintaining relationships despite imperfections. This guides Starr in her own evolving relationships.
“If bravery is a medical condition, everybody’s misdiagnosed me.”
(Speaker: Starr Carter, Chapter 16, Page 284)
Starr’s wry thought highlights her internal struggle with being labeled “brave.” Despite her courage, she feels her fear acutely. This humanizes her, showing that bravery isn’t the absence of fear but acting despite it.
“When you fight, you put yourself out there, not caring who you hurt or if you’ll get hurt.”
(Speaker: Starr Carter, Chapter 16, Page 290)
Starr reflects on the nature of confrontation, realizing that taking a stand involves vulnerability and potential repercussions for oneself and others. It’s an acknowledgment of the messy reality of fighting for what’s right.
“I’ve taught myself to speak with two different voices and only say certain things around certain people. I’ve mastered it.”
(Speaker: Starr Carter, Chapter 17, Page 301)
Starr explicitly articulates her strategy of code-switching, a vital survival tactic for navigating Garden Heights and Williamson. Her claim to have “mastered it” is tinged with irony, as this mastery comes at the cost of feeling inauthentic and fragmented, central to her identity struggle.
“But I realize that being real ain’t got anything to do with where you live.”
(Speaker: Maverick Carter, Chapter 18, Page 308)
Maverick challenges the notion that authenticity (“being real”) is solely tied to one’s environment. This insight helps Starr understand that true identity is about internal integrity, not just external conformity, aiding her in bridging her two worlds.
“Intentions always look better on paper than in reality.”
(Speaker: Starr Carter, Chapter 18, Page 321)
Starr’s wry observation captures the often-disappointing gap between good intentions and their actual outcomes. This reflects her growing disillusionment and a pragmatic understanding of how complex issues can derail noble motivations.
“Brave doesn’t mean you’re not scared. It means you go on even though you’re scared.”
(Speaker: Lisa Carter, Chapter 19, Page 331)
Lisa provides Starr with a powerful and empowering redefinition of bravery. It’s not the absence of fear but the conscious decision to act despite that fear. This understanding is crucial for Starr as she prepares to testify, allowing her to see her fear not as weakness but as a companion to her courage.
“This is exactly what They expect you to do,” Momma says. “They with a capital T. There’s Them and then there’s Us. They want Us to kill Ourselves.”
(Speaker: Lisa Carter, Chapter 20, Page 343)
Lisa articulates the insidious nature of systemic oppression, where “They” (dominant power structures) create conditions leading marginalized communities (“Us”) towards self-destruction through infighting or despair. This highlights her acute understanding of larger forces and the need for unity.
Starr’s two worlds inevitably collide as she steps fully into the light, her courageous decision to testify and speak out unleashing a torrent of public reaction and dangerous personal consequences.
These powerful quotes from the novel’s climax and resolution showcase Starr’s transformative embrace of her activist role, her community’s passionate fight for justice, and the enduring impact of Khalil’s life and death on her forged identity and her unwavering commitment to truth, even when it’s most difficult.
Part 4 & 5: Worlds Collide – The Decision and Aftermath – Starr Embraces Activism, Demands Justice, and Forges Her Identity
As the grand jury decision looms and Starr chooses to speak publicly, the carefully constructed walls between her life in Garden Heights and her persona at Williamson Prep begin to crumble. The consequences are immediate and far-reaching, forcing confrontations with friends, putting her family at risk, and igniting community action.
Yet, through these trials, Starr fully embraces her voice as a weapon for justice, solidifies her complex identity, and understands the enduring power of collective action. These quotes capture the intensity of this period, her unwavering resolve, and the novel’s ultimate message of hope and resistance.
“My two worlds just collided. Surprisingly, everything’s all right.”
(Speaker: Starr Carter, Chapter 21, Page 359)
This moment, when Starr’s Williamson friends and Garden Heights friends interact positively at Seven’s party, signifies a crucial step in integrating her identities. Her surprise that “everything’s all right” suggests a lessening of her fear and a growing confidence in being her authentic self across different environments.
“People say misery loves company, but I think it’s like that with anger too.”
(Speaker: Starr Carter, Chapter 23, Page 393)
During the protests, Starr recognizes the collective anger of her community. This shared emotion, like misery, can create a powerful, if volatile, sense of solidarity and common purpose among those who feel wronged and unheard. It becomes a fuel for their collective action.
“A hairbrush is not a gun.”
(Speaker: Protest Chant, Chapter 24, Page 407)
This simple chant becomes a powerful rallying cry during the protests, cutting through complexities to highlight the fundamental injustice of Khalil’s death. It encapsulates the community’s outrage and their demand for accountability by focusing on the tragic absurdity of mistaking a hairbrush for a lethal weapon.
“You can destroy wood and brick, but you can’t destroy a movement.”
(Speaker: Ms. Ofrah, Chapter 25, Page 409)
After Maverick’s store is firebombed, Ms. Ofrah’s defiant words offer a message of enduring hope. She asserts that while physical structures can be destroyed, the underlying fight for justice—the “movement”—is intangible and cannot be extinguished by violence. This reinforces that the struggle for change is larger than any individual setback.
“I can’t change where I come from or what I’ve been through, so why should I be ashamed of what makes me, me?”
(Speaker: Starr Carter, Chapter 26, Page 441)
This powerful declaration signifies Starr’s ultimate embrace of her full, complex identity, including her Garden Heights roots and her traumatic experiences. She consciously rejects the shame that society—and sometimes her internal conflicts—tried to impose on her.
This profound moment of self-acceptance is a crucial turning point in her journey to empowerment. It’s a realization that her background and struggles are not liabilities but integral parts of “what makes me, me,” and sources of undeniable strength, unique perspective, and the authentic voice she finally claims. This understanding frees her to fully own her story and her role as an advocate for her community and Khalil’s memory.
“Once upon a time there was a hazel-eyed boy with dimples. I called him Khalil. The world called him a thug.”
(Speaker: Starr Carter, Chapter 26, Page 443)
Starr begins her final, powerful act of public storytelling by reclaiming Khalil’s humanity from the dehumanizing label (“thug”) imposed by the media and systemic prejudice. Framing his story with “Once upon a time” elevates his life beyond a statistic and reasserts his individual worth and their personal connection (“I called him Khalil”). This poignant contrast underscores the novel’s critique of how biased narratives can erase a person’s truth.
“It’s also about Oscar. Aiyana. Trayvon. Rekia. Michael. Eric. Tamir. John. Ezell. Sandra. Freddie. Alton. Philando. It’s even about… Emmett.”
(Speaker: Starr Carter, Chapter 26, Page 443)
By invoking the names of real-life Black victims of racial injustice, Starr explicitly connects Khalil’s story to a larger, tragic history of systemic oppression. This litany transforms Khalil’s individual case into a representation of a pervasive national issue, broadening her activism and underscoring the urgent need for widespread social change. It’s a powerful act of bearing witness.
“People are realizing and shouting and marching and demanding. They’re not forgetting. I think that’s the most important part.”
(Speaker: Starr Carter, Chapter 26, Page 444)
Starr finds hope in the collective action and awareness sparked by events like Khalil’s death. She recognizes that the refusal to forget, the continued “shouting and marching and demanding,” is crucial for driving change. This highlights the importance of sustained activism and communal memory in the fight against injustice.
“Khalil, I’ll never forget. I’ll never give up. I’ll never be quiet. I promise.”
(Speaker: Starr Carter, Chapter 26, Page 444)
Starr’s final words in her narrative are a solemn vow to Khalil and herself, marking the culmination of her journey from silenced witness to empowered activist. This tripartite promise—to “never forget” the injustice, to “never give up” the fight for change, and to “never be quiet” in the face of oppression—solidifies her commitment to using her voice as a weapon.
It’s a declaration of enduring love, unwavering resolve, and the acceptance of her role in the ongoing struggle for justice. This promise transforms her trauma into a lifelong mission, ensuring Khalil’s life and death continue to have meaning through her actions.
“Your voices matter, your dreams matter, your lives matter. Be roses that grow in the concrete.”
(Context: Dedication/Acknowledgments – often attributed to Angie Thomas, or as a message to readers via Starr’s journey, Last Page of the Acknowledgments)
This powerful closing message, often cited from the book’s dedication and resonating as Angie Thomas’s direct address to her readers, encapsulates the novel’s core of empowerment. It affirms the intrinsic worth of every individual (“Your voices matter, your dreams matter, your lives matter”), particularly those from marginalized communities.
The metaphor of “roses that grow in the concrete” is a potent symbol of hope, beauty, and strength flourishing despite harsh, oppressive environments. It’s an inspiring call to action, urging readers to find their voices and strive for their dreams, no matter the obstacles, transforming adversity into a testament of their enduring spirit.
Conclusion: The Unsilenced Voice of Truth and Hope
These 41 quotes from Angie Thomas’s The Hate U Give chart Starr Carter’s courageous transformation from a grief-stricken witness into a powerful advocate for justice. Through Starr’s unflinching narration, the novel confronts the harsh realities of systemic racism while celebrating the strength found in family, community, and ultimately, one’s voice.
The journey depicted, rich in both heartbreak and hope, underscores the vital message that even in the face of profound injustice, speaking truth to power can be a transformative act of resistance.
The Hate U Give endures as a crucial contemporary work, reminding us that individual voices, when raised with courage, can challenge oppression and inspire change, much like roses breaking through concrete.
For more powerful voices and explorations of critical societal themes in literature, browse our full Literary Quotes Collection.
A Note on Page Numbers & Edition:
Like Starr Carter learning to navigate her two distinct worlds of Garden Heights and Williamson Prep, the exact placement of these powerful words can shift between different printings of The Hate U Give. Page numbers cited (e.g., Page 17) reference the Clarion Books Hardcover edition (February 28, 2017), ISBN-13: 978-0062498533. Always consult your copy to ensure the 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.
All of these are deep.
Thank you, Jordan!!!
Shi means a lot <3