β
Here we are, trapped in the amber of the moment. There is no why.
β
β
Kurt Vonnegut Jr.
β
I stood still, vision blurring, and in that moment, I heard my heart break. It was a small, clean sound, like the snapping of a flower's stem.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I stopped believing there was a power of good and a power of evil that were outside us. And I came to believe that good and evil are names for what people do, not for what they are.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
- Why me?
- That is a very Earthling question to ask, Mr. Pilgrim. Why you? Why us for that matter? Why anything? Because this moment simply is. Have you ever seen bugs trapped in amber?
- Yes.
- Well, here we are, Mr. Pilgrim, trapped in the amber of this moment. There is no why.
β
β
Kurt Vonnegut Jr. (Slaughterhouse-Five)
β
Take it moment by moment, and you will find that we are all, as Iβve said before, bugs in amber.
β
β
Kurt Vonnegut Jr.
β
O beautiful for spacious skies
for amber waves of grain
β
β
Katharine Lee Bates
β
People disappear when they die. Their voice, their laughter, the warmth of their breath. Their flesh. Eventually their bones. All living memory of them ceases. This is both dreadful and natural. Yet for some there is an exception to this annihilation. For in the books they write they continue to exist. We can rediscover them. Their humor, their tone of voice, their moods. Through the written word they can anger you or make you happy. They can comfort you. They can perplex you. They can alter you. All this, even though they are dead. Like flies in amber, like corpses frozen in the ice, that which according to the laws of nature should pass away is, by the miracle of ink on paper, preserved. It is a kind of magic.
β
β
Diane Setterfield (The Thirteenth Tale)
β
The winds were warm about us, the whole earth seemed the wealthier for our love.
β
β
Harriet Prescott Spofford (The Amber Gods and Other Stories)
β
Once there were brook trout in the streams in the mountains. You could see them standing in the amber current where the white edges of their fins wimpled softly in the flow. They smelled of moss in your hand. Polished and muscular and torsional. On their backs were vermiculate patterns that were maps of the world in its becoming. Maps and mazes. Of a thing which could not be put back. Not be made right again. In the deep glens where they lived all things were older than man and they hummed of mystery.
β
β
Cormac McCarthy (The Road)
β
Iorek Byrnison: Can is not the same as must.
Lyra Silvertongue: But if you must and you can, then there's no excuse.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
People are too complicated to have simple labels.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
I'll be looking for you, Will, every moment, every single moment. And when we do find each other again, we'll cling together so tight that nothing and no one'll ever tear us apart. Every atom of me and every atom of you... We'll live in birds and flowers and dragonflies and pine trees and in clouds and in those little specks of light you see floating in sunbeams... And when they use our atoms to make new lives, they wont' just be able to take one, they'll have to take two, one of you and one of me, we'll be joined so tight...
β
β
Philip Pullman (His Dark Materials Trilogy: The Golden Compass / The Subtle Knife / The Amber Spyglass)
β
Then let amourous kisses dwell
On our lips, begin and tell
A Thousand and a Hundred score
A Hundred and a Thousand more
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
All the history of human life has been a struggle between wisdom and stupidity.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Suddenly this defeat.
This rain.
The blues gone gray
And the browns gone gray
And yellow
A terrible amber.
In the cold streets
Your warm body.
In whatever room
Your warm body.
Among all the people
Your absence
The people who are always
Not you.
I have been easy with trees
Too long.
Too familiar with mountains.
Joy has been a habit.
Now
Suddenly
This rain.
β
β
Jack Gilbert
β
All time is all time. It does not change. It does not lend itself to warnings or explanations. It simply is. Take it moment by moment, and you will find that we are all, as I've said before, bugs in amber.
β
β
Kurt Vonnegut Jr. (Slaughterhouse-Five)
β
I talk to you as I talk to my own soul," he said, turning me to face him. He reached up and cupped my cheek, fingers light on my temple. "And Sassenach," he whispered, "Your face is my heart.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I will find you," he whispered in my ear. "I promise. If I must endure two hundred years of purgatory, two hundred years without you - then that is my punishment, which I have earned for my crimes. For I have lied, and killed, and stolen; betrayed and broken trust. But there is the one thing that shall lie in the balance. When I shall stand before God, I shall have one thing to say, to weigh against the rest."
His voice dropped, nearly to a whisper, and his arms tightened around me.
Lord, ye gave me a rare woman, and God! I loved her well.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Blood of my Blood," he whispered, "and bone of my bone. You carry me within ye, Claire, and ye canna leave me now, no matter what happens, You are mine, always, if ye will it or no, if ye want me or nay. Mine, and I wilna let ye go.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I like libraries. It makes me feel comfortable and secure to have walls of words, beautiful and wise, all around me. I always feel better when I can see that there is something to hold back the shadows.
β
β
Roger Zelazny (Nine Princes in Amber (The Chronicles of Amber, #1))
β
When you choose one way out of many, all the ways you don't take are snuffed out like candles, as if they'd never existed.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
I have stolen ideas from every book I have ever read.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Well, here we are, Mr. Pilgrim, trapped in the amber of this moment. There is no why.
β
β
Kurt Vonnegut Jr. (Slaughterhouse-Five)
β
D'ye think I don't know?" he asked softly. "It's me that has the easy part now. For if ye feel for me as I do for you-then I'm asking you to tear out your heart and live without it.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Everyone thinks that courage is about facing death without flinching. But almost anyone can do that. Almost anyone can hold their breath and not scream for as long as it takes to die.
True courage is about facing life without flinching. I don't mean the times when the right path is hard, but glorious at the end. I'm talking about enduring the boredom, the messiness, and the inconvenience of doing what is right.
β
β
Robin Hobb (The Mad Ship (Liveship Traders, #2))
β
Memory is all we are. Moments and feelings, captured in amber, strung on filaments of reason. Take a manβs memories and you take all of him. Chip away a memory at a time and you destroy him as surely as if you hammered nail after nail through his skull.
β
β
Mark Lawrence (King of Thorns (The Broken Empire, #2))
β
Fill with mingled cream and amber,
I will drain that glass again.
Such hilarious visions clamber
Through the chamber of my brain β
Quaintest thoughts β queerest fancies
Come to life and fade away;
What care I how time advances?
I am drinking ale today.
β
β
Edgar Allan Poe
β
If it was a sin for you to choose me . . . then I would go to the Devil himself and bless him for tempting ye to it.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Damn right I begrudge! I grudge every memory of yours that doesna hold me, and every tear ye've shed for another, and every second you've spent in another man's bed!
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
You are mine, always, if ye will it or no, if ye want me or nay. Mine, and I willna let ye go
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Oh, Claire, ye do break my heart wi' loving you.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
So she sat on the porch and watched the moon rise. Soon its amber fluid was drenching the earth, and quenching the thirst of the day.
β
β
Zora Neale Hurston (Their Eyes Were Watching God)
β
And I came to believe that good and evil are names for what people do, not for what they are. All we can say is that this is a good deed, because it helps someone or that's an evil one because it hurts them. People are too complicated to have simple labels.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Nobody steals books but your friends.
β
β
Roger Zelazny (The Guns of Avalon (The Chronicles of Amber, #2))
β
I don't know who I am right now. But I know who I'm not. And I like that.
β
β
Amber Smith (The Way I Used to Be (The Way I Used to Be, #1))
β
To paraphrase Oedipus, Hamlet, Lear, and all those guys, "I wish I had known this some time ago.
β
β
Roger Zelazny (Sign of the Unicorn (The Chronicles of Amber, #3))
β
You are the foundation that helps me stand. You are my walls and my roof. My shelter. You are my home.β
His lashes swept up, the amber of his eyes churning wildly. βAs you are mine, Poppy.
β
β
Jennifer L. Armentrout (The βCrown of Gilded Bones (Blood and Ash, #3))
β
It's one slice of shit-cake after another with me, isn't it? Why did you marry me?"
"God gave you to me."
"Did you keep the receipt?"
- Amber and Meoraq
β
β
R. Lee Smith (The Last Hour of Gann)
β
...sitting and waiting is one of the most miserable occupations known to man - not that it usually is known to men; women do it much more often.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I do know it, my own. Let me tell ye in your sleep how much I love you. For there's no so much I can be saying to ye while ye wake, but the same poor words, again and again. While ye sleep in my arms, I can say things to ye that would be daft and silly waking, and your dreams will know the truth of them. Go back to sleep, mo duinne.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
For if you feel for me as i do for you - then I am asking you to tear out your heart and live without it.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
If I say your voice is an amber waterfall in which I yearn to burn each day, if you eat my mouth like a mystical rose with powers of healing and damnation, If I confess that your body is the only civilization I long to experience⦠would it mean that we are close to knowing something about love?
β
β
Aberjhani (Visions of a Skylark Dressed in Black)
β
Lord, ye gave me a rare woman, and God! I loved her well.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Even if it means oblivion, friends, I'll welcome it, because it won't be nothing. We'll be alive again in a thousand blades of grass, and a million leaves; we'll be falling in the raindrops and blowing in the fresh breeze; we'll be glittering in the dew under the stars and the moon out there in the physical world, which is our true home and always was.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Don't wake me for the end of the world unless it has very good special effects.
β
β
Roger Zelazny (Prince of Chaos (The Chronicles of Amber, #10))
β
Firepaw held the menacing amber gaze for few moments. Warrior and apprentice, for a heartbeat their eyes were locked as enemies.
β
β
Erin Hunter (Into the Wild (Warriors, #1))
β
...But it gradually seemed to me that I'd made myself believe something that wasn't true. I'd made myself believe that I was fine and happy and fulfilled on my own without the love of anyone else. Being in love was like China: you knew it was there, and no doubt it was very interesting, and some people went there, but I never would. I'd spend all my life without ever going to China, but it wouldn't matter, because there was all the rest of the world to visit... And I thought: am I really going to spend the rest of my life without feeling that again? I thought: I want to go to China. It's full of treasures and strangeness and mysteries and joy.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Fondness was the best word she could think of to describe what they felt for each other. Fondness was warm but not tepid, the color of amber, more affectionate than friendship but less complicated than love.
β
β
Coco Mellors (Cleopatra and Frankenstein)
β
We shouldn't live as if [other worlds] mattered more than this life in this world, because where we are is always the most important place.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Maybe sometimes we don't do the right thing because the wrong thing looks more dangerous, and we don't want to look scared, so we go and do the wrong thing just because it's dangerous. We're more concerned with not looking scared than with judging right.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
We are bound, you and I, and nothing on this earth shall part me from you.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I will love you for ever, whatever happens. Till I die and after I die, and when I find my way out of the land of the dead Iβll drift about forever, all my atoms, till I find you againβ¦
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
She wondered whether there would ever come an hour in her life when she didn't think of him -- didn't speak to him in her head, didn't relive every moment they'd been together, didn't long for his voice and his hands and his love. She had never dreamed of what it would feel like to love someone so much; of all the things that had astonished her in her adventures, that was what astonished her the most. She thought the tenderness it left in her heart was like a bruise that would never go away, but she would cherish it forever.
β
β
Philip Pullman (His Dark Materials Trilogy: The Golden Compass / The Subtle Knife / The Amber Spyglass)
β
I told him I was going to betray you, and betray Lyra, and he believed me because I was corrupt and full of wickedness; he looked so deep I felt sure he'd see the truth. But I lied too well. I was lying with every nerve and fiber and everything I'd ever done...I wanted him to find no good in me, and he didn't. There is none.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
You dinna need to understand me, Sassenach," he said quietly. "So long as you love me.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Lying on the floor, with the carved panels of the ceiling flickering dimly above, I found myself thinking that I had always heretofore assumed that the tendency of eighΒteenth-century ladies to swoon was due to tight stays; now I rather thought it might be due to the idiocy of eighteenth-century men.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
He's not the hero and he's not the enemy and he's not a god. He's just a boy. And I'm just a girl, a girl who needs to pick up her own pieces and put them back together herself.
β
β
Amber Smith (The Way I Used to Be (The Way I Used to Be, #1))
β
For I had come back, and I dreamed once more in the cool air of the Highlands. And the voice of my dream still echoed through ears and heart, repeated with the sound of Brianna's sleeping breath. "You are mine," it had said. "Mine. And I will not let you go.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Tell them stories.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Oh, Will," she said, "What can we do? Whatever can we do? I want to live with you forever. I want to kiss you and lie down with you and wake up with you every day of my life till I die, years and years and years away. I don't want a memory, just a memory..."
"No," he said. "Memory's a poor thing to have. It's your own real hair and mouth and arms and eyes and hands I want. I didn't know I could ever love anything so much. Oh, Lyra, I wish this night would never end! If only we could stay here like this, and the world could stop turning, and everyone else could fall into a sleep..."
"Everyone except us! And you and I could live here forever and just love each other."
"I will love you forever; whatever happens. Till I die and after I die, and when I find my way out of the land of the dead, I'll drift about forever, all my atoms, till I find you again..."
"I'll be looking for you, Will, every moment, every single moment. And when we do find each other again, we'll cling together so tight that nothing and no one'll ever tear us apart. Every atom of me and every atom of you...We'll live in birds and flowers and dragonflies and pin trees and in clouds and in those little specks of light you see floating in sunbeams...And when they use our atoms to make new lives, they won't just be able to take one, they'll have to take two, one of you and one of me, we'll be joined so tight..."
They lay side by side, hand in hand, looking at the sky.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
I saw my earlier selves as different people, acquaintances I had outgrown. I wondered how I could ever have been some of them.
β
β
Roger Zelazny (The Courts of Chaos (The Chronicles of Amber, #5))
β
It takes long practice, yes. You have to work. Did you think you could snap your fingers, and have it as a gift? What is worth having is worth working for.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
There's no such thing as civilization. The word just means the art of living in cities.
β
β
Roger Zelazny (The Great Book of Amber (The Chronicles of Amber, #1-10))
β
I want your body. I want your mouth. I want your red hair in my hands. I want your laugh and your funny faces. I want your friendship and your inspirational thoughts. I want Shakespeare and Amber Rose novels ... And I want you to come with me when I go.
β
β
Amy Harmon (Making Faces)
β
IΚΉve seen you too. Ozera. Crispin, right?ΚΊ
ΚΊChristian,ΚΊ corrected Lissa.
ΚΊRight.ΚΊ
....
ΚΊSo what brings you and Christopher here?ΚΊ asked Blake. He finished a glass of something amber colored and set it down beside the new drink.
ΚΊChristian,ΚΊ said Christian.
....
Blake gave her puppy-dog eyes. ΚΊBut you just got here! I was hoping we could get to know each other.ΚΊ It went without saying what he meant by that. ΚΊOh. And Kreskin too.
β
β
Richelle Mead (Last Sacrifice (Vampire Academy, #6))
β
And I asked myself about the present: how wide it was, how deep it was, how much was mine to keep."
"All time is all time. It does not change. It does not lend itself to warnings or explanations. It simply is. Take it moment by moment, and you will find that we are all, as I've said before, bugs in amber.
β
β
Kurt Vonnegut Jr. (Slaughterhouse-Five)
β
I hate that just because you happen to be good at something,people automatically think that's what makes you happy,but it's not really like that, you know? It's not that simple.
β
β
Amber Smith (The Way I Used to Be (The Way I Used to Be, #1))
β
The first pair Opal and Amber are,
Agate sings in B flat, the wolf avatar,
A duet-solutio! - with Aquamarine.
Mighty Emerald next, with the lovely Citrine.
Number Eight is digestio, her stand is Jade fine.
E major's the key of the Black Tourmaline,
Sapphire sings in F major, and bright is her sheen.
Then almost at once comes Diamond alone,
Whose sign of the lion as Leo is known.
Projectio! Time flows on, both present and past.
Ruby red is the first and is also the last.
β
β
Kerstin Gier (Ruby Red (Precious Stone Trilogy, #1))
β
Power
Living in the earth-deposits of our history
Today a backhoe divulged out of a crumbling flank of earth
one bottle amber perfect a hundred-year-old
cure for fever or melancholy a tonic
for living on this earth in the winters of this climate.
Today I was reading about Marie Curie:
she must have known she suffered from radiation sickness
her body bombarded for years by the element
she had purified
It seems she denied to the end
the source of the cataracts on her eyes
the cracked and suppurating skin of her finger-ends
till she could no longer hold a test-tube or a pencil
She died a famous woman denying
her wounds
denying
her wounds came from the same source as her power.
β
β
Adrienne Rich (The Dream of a Common Language)
β
We have to build the Republic of Heaven where we are, because for us, there is no elsewhere.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Babies are soft. Anyone looking at them can see the tender, fragile skin and know it for the rose-leaf softness that invites a finger's touch. But when you live with them and love them, you feel the softness going inward, the round-cheeked flesh wobbly as custard, the boneless splay of the tiny hands. Their joints are melted rubber, and even when you kiss them hard, in the passion of loving their existence, your lips sink down and seem never to find bone. Holding them against you, they melt and mold, as though they might at any moment flow back into your body.
But from the very start, there is that small streak of steel within each child. That thing that says "I am," and forms the core of personality.
In the second year, the bone hardens and the child stands upright, skull wide and solid, a helmet protecting the softness within. And "I am" grows, too. Looking at them, you can almost see it, sturdy as heartwood, glowing through the translucent flesh.
The bones of the face emerge at six, and the soul within is fixed at seven. The process of encapsulation goes on, to reach its peak in the glossy shell of adolescence, when all softness then is hidden under the nacreous layers of the multiple new personalities that teenagers try on to guard themselves.
In the next years, the hardening spreads from the center, as one finds and fixes the facets of the soul, until "I am" is set, delicate and detailed as an insect in amber.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
All you have to do is act like youβre normal and okay, and people start treating you that way.
β
β
Amber Smith (The Way I Used to Be (The Way I Used to Be, #1))
β
Oh, I forgot to tell you," Cookie said. "Amber wants your dad to get a teriyaki machine so she can sing for all the lonely barflies."
"I'm a good singer, mom."
Only a twelve-year-old could make the word mom sound blasphemous.
I leaned into Cookie, "Does she know its not called--?"
"No," she whispered.
"Are you gonna tell her?"
"No. It's much funnier this way.
β
β
Darynda Jones (First Grave on the Right (Charley Davidson, #1))
β
I left the jutra to chop wood. I began my walk through the snow, five kilometers to the tree line. That's when I saw it. A tiny silver of gold appeared between shades of gray on the horizon.
I stared at the amber band of sunlight, smiling.
The sun had returned.
I closed my eyes. I felt Andrius moving close. "I'll see you," he said.
"Yes, I will see you," I whispered "I will."
I reached into my pocket and squeezed the stone.
β
β
Ruta Sepetys (Between Shades of Gray)
β
because he's Will
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
You'll lie wi' me now," he said quietly. "And I shall use ye as I must. And if you'll have your revenge for it, then take it and welcome, for my soul is yours, in all the black corners of it.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Tell them stories. They need the truth you must tell them true stories, and everything will be well, just tell them stories.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Do you understand what Iβm offering you?"
"Do you understand that itβs not 1815?"
"Itβs not unusual for Masters to have Consorts."
"Yes, and your current Consortβs in my kitchen right now. If you need . . . relieving, talk to her."
"As much as it pains me to say it, Amber isnβt you."
"I donβt even know what that means. Should IβWhat? Be flattered that while you donβt like me, youβre willing to sacrifice just to get into my pants?
β
β
Chloe Neill (Some Girls Bite (Chicagoland Vampires, #1))
β
Sassenach, I've been stabbed, bitten, slapped, and whipped since supper - which I didna get to finish. I dinna like to scare children an I dinna like to flog men, and I've had to do both. I've two hundred English camped three miles away, and no idea what to do about them. I'm tired, I'm hungry, and I'm sore. If you've anything like womanly sympathy about ye, I could use a bit!
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I want to hold you like a kitten in my shirt, and still I want to spread your thighs and plow ye like a rotting bull. I dinna understand myself.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
People should decide on the books' meanings for themselves. They'll find a story that attacks such things as cruelty, oppression, intolerance, unkindness, narrow-mindedness, and celebrates love, kindness, open-mindedness, tolerance, curiosity, human intelligence.
β
β
Philip Pullman (His Dark Materials Trilogy: The Golden Compass / The Subtle Knife / The Amber Spyglass)
β
Do you really think we'll ever--"
"I do," he said with certainty, not letting me finish. He leaned over and kissed my forehead. "I know it, Sassenach, and so do you. You were meant to be a mother, and I surely dinna intend to let anyone else father your children.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Jamie," I said, "how, exactly, do you decide whether you're drunk?"
Aroused by my voice, he swayed alarmingly to one side, but caught himself on the edge of the mantelpiece. His eyes drifted around the room, then fixed on my face. For an instant, they blazed clear and pellucid with intelligence.
"och, easy, Sassenach, If ye can stand up, you're not drunk." He let go of the mantelpiece, took a step toward me, and crumpled slowly onto the hearth, eyes blank, and a wide, sweet smile on his dreaming face.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
AUTUMNAL
Pale amber sunlight falls across
The reddening October trees,
That hardly sway before a breeze
As soft as summer: summer's loss
Seems little, dear! on days like these.
Let misty autumn be our part!
The twilight of the year is sweet:
Where shadow and the darkness meet
Our love, a twilight of the heart
Eludes a little time's deceit.
Are we not better and at home
In dreamful Autumn, we who deem
No harvest joy is worth a dream?
A little while and night shall come,
A little while, then, let us dream.
Beyond the pearled horizons lie
Winter and night: awaiting these
We garner this poor hour of ease,
Until love turn from us and die
Beneath the drear November trees.
β
β
Ernest Dowson (The Poems and Prose of Ernest Dowson)
β
He surged upward and paused at her entrance.
βLook at me, Alexa.β
Half drugged, she opened her eyes and gazed at the man she loved with every part of her being, waiting for him to claim her, waiting to take anything he could give.
βItβs always been you.β He paused as if to be sure she heard and understood the words. Intensity gleamed within amber depths. He gripped her fingers, as if trying to speak beyond words.
βAnd it will always be you.
β
β
Jennifer Probst (The Marriage Bargain (Marriage to a Billionaire, #1))
β
I have to ask. Why do you like me?β
He shifted away from me then, his brows pulled together making him look even cuter, if that was possible. βI donβt understand the question.β His hands were squeezing mine tightly as he looked down at them. βYouβre my Lilly. Youβve always been my Lilly.
β
β
Amber L. Johnson (Puddle Jumping (Puddle Jumping, #1))
β
Use what you have, use what the world gives you. Use the first day of fall: bright flame before winter's deadness; harvest; orange, gold, amber; cool nights and the smell of fire. Our tree-lined streets are set ablaze, our kitchens filled with the smells of nostalgia: apples bubbling into sauce, roasting squash, cinnamon, nutmeg, cider, warmth itself. The leaves as they spark into wild color just before they die are the world's oldest performance art, and everything we see is celebrating one last violently hued hurrah before the black and white silence of winter.
β
β
Shauna Niequist (Bittersweet: Thoughts on Change, Grace, and Learning the Hard Way)
β
Amber, you could never embarrass me."
"Never?" she asked.
"Never."
"One time, I yelled across the store to Mom and asked her if she wanted the regular or the super-absorbent tampons. I added that, according to the box, the super-absorbent were for those heavy days. Then I asked her to rate her heaviness on a scale of one to ten."
"Okay, you could."
"Then while we were standing in line, I asked her why she was buying three boxes of Summer's Eve in the middle of winter."
I set her at arm's length. "Wow."
"I know, right? I had no idea a person could turn so red.
β
β
Darynda Jones (Fourth Grave Beneath My Feet (Charley Davidson, #4))
β
I will love you forever; whatever happens. Till I die and after I die, and when I find my way out of the land of the dead, Iβll drift about forever, all my atoms, till I find you againβ¦ Iβll be looking for you, every moment, every single moment. And when we do find each other again, weβll cling together so tight that nothing and no oneβll ever tear us apart. Every atom of me and every atom of youβ¦ Weβll live in birds and flowers and dragonflies and pine trees and in clouds and in those little specks of light you see floating in sunbeamsβ¦ And when they use our atoms to make new lives, they wonβt just be able to take one, theyβll have to take two, one of you and one of me, weβll be joined so tightβ¦
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Maybe we should develop a Crayola bomb as our next secret weapon. A happiness weapon. A beauty bomb. And every time a crisis developed, we would launch one. It would explode high in the air - explode softly - and send thousands, millions, of little parachutes into the air. Floating down to earth - boxes of Crayolas. And we wouldn't go cheap, either - not little boxes of eight. Boxes of sixty-four, with the sharpener built right in. With silver and gold and copper, magenta and peach and lime, amber and umber and all the rest. And people would smile and get a little funny look on their faces and cover the world with imagination.
β
β
Robert Fulghum
β
The Audi tires squealed as the vehicle tracked the same path. Jake hammered down the avenue, hunting for a getaway. Traffic thickened at the juncture ahead. A green light flickered into amber. He ramped up over the limit, punching over the white lines on a red signal.
Tires screeched and a horn beeped. The needle sat on one hundred kilometers per hour. He fishtailed at a laneway. The GPS showed a right angle, car slid into a slot in an overhang. Jake got out and crept toward the opening, hugged the brick wall. He pulled the SIG and flicked off the safety.
The Audi braked at the mouth. Door slammed. A shadow fell over the concrete. The swish of clothing indicated a possible weapon draw.
β
β
Simon W. Clark
β
What work do I have to do then?" said Will, but went on at once, "No, on second thought, don't tell me. I shall decide what I do. If you say my work is fighting, or healing, or exploring, or whatever you might say, I'll always be thinking about it. And if I do end up doing that, I'll be resentful because it'll feel as if I didn't have a choice, and if I don't do it, I'll feel guilty because I should. Whatever I do, I will choose it, no one else.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
He meant the Kingdom was over, the Kingdom of Heaven, it was all finished. We shouldn't live as if it mattered more than this life in this world, because where we are is always the most important place.... We have to be all those difficult things like cheerful and kind and curious and patient, and we've got to study and think and work hard, all of us, in all our different worlds, and then we'll build... The Republic of Heaven.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Everything changes. Everything is temporary, except for the sky. When you find yourself caught up in the horrors or heroes of a lifetime, look up. Don't look down. That which is beneath our feet is liquid, but the sky, the sky is solid, constant, ever ready and ever hopeful that the sun will rise in the morning and the moon will rise at night. They don't really set, you know. They're always rising, just rising for someone else.
β
β
Amber Kizer (Meridian (Fenestra, #1))
β
Bloodclan, Attack!"
Not a cat moved
Tigerstar's amber eyes widened and he screeched "Attack, I order you!"
Still none of the warriors moved, eccept for the small black cat who took a pace forward. He glanced twored Firestar. "I am Scourge, leader of Bloodclan," he meowed, his voice cold and quiet. "Tigerstar, my warriors are not yours to command. They will attack when I tell them, and not before."
The look Tigerstar gave him was incredulous and glittered with all the hatred he had ever shown to Firestar, as is he couldn't beleive that this scrap of a cat was defying him. Firestar seized his oppertunity. He paced forward untill he stood right infront of the two leaders. Behind him, he heard graystripe hiss, "Firestar,be
careful!"
But this was no time for being careful. The very future of the forest was at stake, balanced on the breadth of a hair between Tigerstar's bloodthirsty quest for power and the whims of the unknown bloodclan.
Now Firestar could see that the collar Scourge wore around his neck was studded with teath--The teath of dogs, and...CATS' teath too. Great Starclan! Did they kill their own kind and wear there teath as trophies?
β
β
Erin Hunter (The Darkest Hour (Warriors, #6))
β
When you took me from the witch trial at Cranesmuir--you said then that you would have died with me, you would have gone to the stake with me, had it come to that!"
He grasped my hands, fixing me with a steady blue gaze.
"Aye, I would," he said. "But I wasna carrying your child."
The wind had frozen me; it was the cold that made me shake, I told myself. The cold that took my breath away.
"You can't tell," I said, at last. "It's much too soon to be sure."
He snorted briefly, and a tiny flicker of amusement lit his eyes.
"And me a farmer, too! Sassenach, ye havena been a day late in your courses, in all the time since ye first took me to your bed. Ye havena bled now in forty-six days."
"You bastard!" I said, outraged. "You counted! In the middle of a bloody war, you counted!"
"Didn't you?"
"No!" I hadn't; I had been much too afraid to acknowledge the possibility of the thing I had hoped and prayed for so long, come now so horribly too late.
"Besides," I went on, trying still to deny the possibility, "that doesn't mean anything. Starvation could cause that; it often does."
He lifted one brow, and cupped a broad hand gently beneath my breast.
"Aye, you're thin enough; but scrawny as ye are, your breasts are full--and the nipples of them gone the color of Champagne grapes. You forget," he said, "I've seen ye so before. I have no doubt--and neither have you."
I tried to fight down the waves of nausea--so easily attributable to fright and starvation--but I felt the small heaviness, suddenly burning in my womb. I bit my lip hard, but the sickness washed over me.
Jamie let go of my hands, and stood before me, hands at his sides, stark in silhouette against the fading sky.
"Claire," he said quietly. "Tomorrow I will die. This child...is all that will be left of me--ever. I ask ye, Claire--I beg you--see it safe.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Ithaka
As you set out for Ithaka
hope the voyage is a long one,
full of adventure, full of discovery.
Laistrygonians and Cyclops,
angry Poseidonβdonβt be afraid of them:
youβll never find things like that on your way
as long as you keep your thoughts raised high,
as long as a rare excitement
stirs your spirit and your body.
Laistrygonians and Cyclops,
wild Poseidonβyou wonβt encounter them
unless you bring them along inside your soul,
unless your soul sets them up in front of you.
Hope the voyage is a long one.
May there be many a summer morning when,
with what pleasure, what joy,
you come into harbors seen for the first time;
may you stop at Phoenician trading stations
to buy fine things,
mother of pearl and coral, amber and ebony,
sensual perfume of every kindβ
as many sensual perfumes as you can;
and may you visit many Egyptian cities
to gather stores of knowledge from their scholars.
Keep Ithaka always in your mind.
Arriving there is what you are destined for.
But do not hurry the journey at all.
Better if it lasts for years,
so you are old by the time you reach the island,
wealthy with all you have gained on the way,
not expecting Ithaka to make you rich.
Ithaka gave you the marvelous journey.
Without her you would not have set out.
She has nothing left to give you now.
And if you find her poor, Ithaka wonβt have fooled you.
Wise as you will have become, so full of experience,
you will have understood by then what these Ithakas mean.
β
β
Constantinos P. Cavafy (C.P. Cavafy: Collected Poems)
β
We may be only one of millions of advanced civilizations. Unfortunately, space being spacious, the average distance between any two of these civilizations is reckoned to be at least two hundred light-years, which is a great deal more than merely saying it makes it sound. It means for a start that even if these beings know we are here and are somehow able to see us in their telescopes, they're watching light that left Earth two hundred years ago. So, they're not seeing you and me. They're watching the French Revolution and Thomas Jefferson and people in silk stockings and powdered wigs--people who don't know what an atom is, or a gene, and who make their electricity by rubbing a rod of amber with a piece of fur and think that's quite a trick. Any message we receive from them is likely to begin "Dear Sire," and congratulate us on the handsomness of our horses and our mastery of whale oil. Two hundred light-years is a distance so far beyond us as to be, well, just beyond us.
β
β
Bill Bryson (A Short History of Nearly Everything)
β
Jaime," I said softly, "are you happy about it? About the baby?" Outlawed in Scotland, barred from his own home, and with only vague prospects in France, he could pardonably have been less than enthused about acquiring an additional obligation.
He was silent for a moment, only hugging me harder, then sighed briefly before answering.
"Aye, Sassenach," His hand stayed downward, gently rubbing my belly. "I'm happy. And proud as a stallion. But I am most awfully afraid too."
"About the birth? I'll be all right." I could hardly blame him for apprehension; his own mother had died in childbirth, and birth and its complications were the leading cause of death for women in these times. Still, I knew a thing or two myself, and I had no intention whatever of exposing myself to what passed for medical care here.
"Aye, that--and everything," he said softly. "I want to protect ye like a cloak and shield you and the child wi' my body." His voice was soft and husky, with a slight catch in it. "I would do anything for ye...and yet...there's nothing I can do. It doesna matter how strong I am, or how willing; I canna go with you where ye must go...nor even help ye at all. And to think of the things that might happen, and me helpless to stop them...aye, I'm afraid, Sassenach.
"And yet"--he turned me toward him, hand closing gently over one breast--"yet when I think of you wi' my child at your breast...then I feel as though I've gone hollow as a soap bubble, and perhaps I shall burst with joy.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
L'union libre [Freedom of Love]"
My wife with the hair of a wood fire
With the thoughts of heat lightning
With the waist of an hourglass
With the waist of an otter in the teeth of a tiger
My wife with the lips of a cockade and of a bunch of stars of the last magnitude
With the teeth of tracks of white mice on the white earth
With the tongue of rubbed amber and glass
My wife with the tongue of a stabbed host
With the tongue of a doll that opens and closes its eyes
With the tongue of an unbelievable stone
My wife with the eyelashes of strokes of a child's writing
With brows of the edge of a swallow's nest
My wife with the brow of slates of a hothouse roof
And of steam on the panes
My wife with shoulders of champagne
And of a fountain with dolphin-heads beneath the ice
My wife with wrists of matches
My wife with fingers of luck and ace of hearts
With fingers of mown hay
My wife with armpits of marten and of beechnut
And of Midsummer Night
Of privet and of an angelfish nest
With arms of seafoam and of riverlocks
And of a mingling of the wheat and the mill
My wife with legs of flares
With the movements of clockwork and despair
My wife with calves of eldertree pith
My wife with feet of initials
With feet of rings of keys and Java sparrows drinking
My wife with a neck of unpearled barley
My wife with a throat of the valley of gold
Of a tryst in the very bed of the torrent
With breasts of night
My wife with breasts of a marine molehill
My wife with breasts of the ruby's crucible
With breasts of the rose's spectre beneath the dew
My wife with the belly of an unfolding of the fan of days
With the belly of a gigantic claw
My wife with the back of a bird fleeing vertically
With a back of quicksilver
With a back of light
With a nape of rolled stone and wet chalk
And of the drop of a glass where one has just been drinking
My wife with hips of a skiff
With hips of a chandelier and of arrow-feathers
And of shafts of white peacock plumes
Of an insensible pendulum
My wife with buttocks of sandstone and asbestos
My wife with buttocks of swans' backs
My wife with buttocks of spring
With the sex of an iris
My wife with the sex of a mining-placer and of a platypus
My wife with a sex of seaweed and ancient sweetmeat
My wife with a sex of mirror
My wife with eyes full of tears
With eyes of purple panoply and of a magnetic needle
My wife with savanna eyes
My wife with eyes of water to he drunk in prison
My wife with eyes of wood always under the axe
My wife with eyes of water-level of level of air earth and fire
β
β
AndrΓ© Breton (Poems of AndrΓ© Breton: A Bilingual Anthology)