Apocalypse Bird Quotes

We each have a story. They did this to us. There was no outside aggressor. They wanted an Apocalypse. They wanted the end. And they made it happen. It was orchestrated - who got in, who didn't. There was a master list. We weren't on it. We were left here to die. They want to erase us, the past, but we can't let them.

The sun tells the best joke of a day full of them, setting so spectacularly that you can almost smell the tropical paradise lazing somewhere over this rim of endless, gray socialist towers. Miles of square windows explode orange, red, and purple, like a million TV sets broadcasting the apocalypse. Clouds unspool. The sky drains of birds.

He went to make coffee. Because when you have just heard about the possible transformation of the human race into feral monsters you need to be doing something with your hands and creating something hot and comforting for another person.

From above, the entire plan of Kuhawk looks like a bird’s nest; the globe looks like a gem at the center. It’s quiet. Except for the times when music happens. Like now— One room in the two-story building glows, violin music emanating from it. Maroc is playing for his master: The Roar of Death Sonata, 1st Movement, one of the legendary Eleven Pieces composed after the Apocalypse.

After all, when ‘the Lord saw how great the wickedness of the human race had become’ He resolved to ‘wipe from the face of the earth the human race I have created – and with them the animals, the birds and the creatures that move along the ground – for I regret that I have made them’ (Genesis 6:7). The Bible thinks it is perfectly all right to destroy all animals as punishment for the crimes of Homo sapiens, as if the existence of giraffes, pelicans and ladybirds has lost all purpose if humans misbehave. The Bible could not imagine a scenario in which God repents having created Homo sapiens, wipes this sinful ape off the face of the earth, and then spends eternity enjoying the antics of ostriches, kangaroos and panda bears.

The famous field altar came from the Jewish firm of Moritz Mahler in Vienna, which manufactured all kinds of accessories for mass as well as religious objects like rosaries and images of saints. The altar was made up of three parts, lberally provided with sham gilt like the whole glory of the Holy Church. It was not possible without considerable ingenuity to detect what the pictures painted on these three parts actually represented. What was certain was that it was an altar which could have been used equally well by heathens in Zambesi or by the Shamans of the Buriats and Mongols. Painted in screaming colors it appeared from a distance like a coloured chart intended for colour-blind railway workers. One figure stood out prominently - a naked man with a halo and a body which was turning green, like the parson's nose of a goose which has begun to rot and is already stinking. No one was doing anything to this saint. On the contrary, he had on both sides of him two winged creatures which were supposed to represent angels. But anyone looking at them had the impression that this holy naked man was shrieking with horror at the company around him, for the angels looked like fairy-tale monsters and were a cross between a winged wild cat and the beast of the apocalypse. Opposite this was a picture which was meant to represent the Holy Trinity. By and large the painter had been unable to ruin the dove. He had painted a kind of bird which could equally well have been a pigeon or a White Wyandotte. God the Father looked like a bandit from the Wild West served up to the public in an American film thriller. The Son of God on the other hand was a gay young man with a handsome stomach draped in something like bathing drawers. Altogether he looked a sporting type. The cross which he had in his hand he held as elegantly as if it had been a tennis racquet. Seen from afar however all these details ran into each other and gave the impression of a train going into a station.

He looked at the sky once more. Men had gone out there, he thought in wonder, and couldn't think why. Singly and in small groups they had gone into strange lands, across wide seas, had climbed mountains where no human foot had ever trod. And he couldn't think why they had done these things. What impulse had driven them from their own kind to perish alone, or among strangers.

The sun comes under the clouds and I’m looking for Phaethon in the gaps. The hooves keep coming. I hear them in my sleep. Driving horses like an apocalypse but missing Death, War, Pestilence, Famine. They’re busy in another part of the world we’re pretending we can’t hear screaming. A

Birds cough out their lungs, fly with regret to places where their feet no longer freeze in ice. Birds start falling. Bees lie dying.

She breathes deep and looks at Rick for the first time with hope ... It's as if this is the first time the question has ever mattered to Malorie. Suddenly there is room in her life for such luxuries as names.

When tragedy established itself in England it did so in terms of plots and spectacle that had much more to do with medieval apocalypse than with the mythos and opsis of Aristotle. Later, tragedy itself succumbs to the pressure of 'demythologizing'; the End itself, in modern literary plotting loses its downbeat, tonic-and-dominant finality, and we think of it, as the theologians think of Apocalypse, as immanent rather than imminent. Thus, as we shall see, we think in terms of crisis rather than temporal ends; and make much of subtle disconfirmation and elaborate peripeteia. And we concern ourselves with the conflict between the deterministic pattern any plot suggests, and the freedom of persons within that plot to choose and so to alter the structure, the relation of beginning, middle, and end. Naïvely predictive apocalypses implied a strict concordance between beginning, middle, and end. Thus the opening of the seals had to correspond to recorded historical events. Such a concordance remains a deeply desired object, but it is hard to achieve when the beginning is lost in the dark backward and abysm of time, and the end is known to be unpredictable. This changes our views of the patterns of time, and in so far as our plots honour the increased complexity of these ways of making sense, it complicates them also. If we ask for comfort from our plots it will be a more difficult comfort than that which the archangel offered Adam: How soon hath thy prediction, Seer blest, Measur'd this transient World, the race of Time, Till time stands fix'd. But it will be a related comfort. In our world the material for an eschatology is more elusive, harder to handle. It may not be true, as the modern poet argues, that we must build it out of 'our loneliness and regret'; the past has left us stronger materials than these for our artifice of eternity. But the artifice of eternity exists only for the dying generations; and since they choose, alter the shape of time, and die, the eternal artifice must change. The golden bird will not always sing the same song, though a primeval pattern underlies its notes. In my next talk I shall be trying to explain some of the ways in which that song changes, and talking about the relationship between apocalypse and the changing fictions of men born and dead in the middest. It is a large subject, because the instrument of change is the human imagination. It changes not only the consoling plot, but the structure of time and the world. One of the most striking things about it was said by Stevens in one of his adages; and it is with this suggestive saying that I shall mark the transition from the first to the second part of my own pattern. 'The imagination,' said this student of changing fictions, 'the imagination is always at the end of an era.' Next time we shall try to see what this means in relation to our problem of making sense of the ways we make sense of the world.

Through the breach, they heard the waters pour, as mountain torrents down a flume. "The ship! The hearse!--the second hearse!" cried Ahab from the boat; "its wood could only be American!" Diving beneath the settling ship, the whale ran quivering along its keel; but turning under water, swiftly shot to the surface again, far off the other bow, but within a few yards of Ahab's boat, where, for a time, he lay quiescent. "I turn my body from the sun. What ho, Tashtego! let me hear thy hammer. Oh! ye three unsurrendered spires of mine; thou uncracked keel; and only god-bullied hull; thou firm deck, and haughty helm, and Pole-pointed prow,--death-glorious ship! must ye then perish, and without me? Am I cut off from the last fond pride of meanest shipwrecked captains? Oh, lonely death on lonely life! Oh, now I feel my topmost greatness lies in my topmost grief. Ho, ho! from all your furthest bounds, pour ye now in, ye bold billows of my whole foregone life, and top this one piled comber of my death! Towards thee I roll, thou all-destroying but unconquering whale; to the last I grapple with thee; from hell's heart I stab at thee; for hate's sake I spit my last breath at thee. Sink all coffins and all hearses to one common pool! and since neither can be mine, let me then tow to pieces, while still chasing thee, though tied to thee, thou damned whale! THUS, I give up the spear!" The harpoon was darted; the stricken whale flew forward; with igniting velocity the line ran through the grooves;--ran foul. Ahab stooped to clear it; he did clear it; but the flying turn caught him round the neck, and voicelessly as Turkish mutes bowstring their victim, he was shot out of the boat, ere the crew knew he was gone. Next instant, the heavy eye-splice in the rope's final end flew out of the stark-empty tub, knocked down an oarsman, and smiting the sea, disappeared in its depths. For an instant, the tranced boat's crew stood still; then turned. "The ship? Great God, where is the ship?" Soon they through dim, bewildering mediums saw her sidelong fading phantom, as in the gaseous Fata Morgana; only the uppermost masts out of water; while fixed by infatuation, or fidelity, or fate, to their once lofty perches, the pagan harpooneers still maintained their sinking lookouts on the sea. And now, concentric circles seized the lone boat itself, and all its crew, and each floating oar, and every lance-pole, and spinning, animate and inanimate, all round and round in one vortex, carried the smallest chip of the Pequod out of sight. But as the last whelmings intermixingly poured themselves over the sunken head of the Indian at the mainmast, leaving a few inches of the erect spar yet visible, together with long streaming yards of the flag, which calmly undulated, with ironical coincidings, over the destroying billows they almost touched;--at that instant, a red arm and a hammer hovered backwardly uplifted in the open air, in the act of nailing the flag faster and yet faster to the subsiding spar. A sky-hawk that tauntingly had followed the main-truck downwards from its natural home among the stars, pecking at the flag, and incommoding Tashtego there; this bird now chanced to intercept its broad fluttering wing between the hammer and the wood; and simultaneously feeling that etherial thrill, the submerged savage beneath, in his death-gasp, kept his hammer frozen there; and so the bird of heaven, with archangelic shrieks, and his imperial beak thrust upwards, and his whole captive form folded in the flag of Ahab, went down with his ship, which, like Satan, would not sink to hell till she had dragged a living part of heaven along with her, and helmeted herself with it. Now small fowls flew screaming over the yet yawning gulf; a sullen white surf beat against its steep sides; then all collapsed, and the great shroud of the sea rolled on as it rolled five thousand years ago.

Revelation 19:20 (NLT): The rest were killed with the sword that came from the mouth of the rider on the horse, and all the birds were filled with their flesh.

to Freyja.” and Odin is like “Can I at least have the octohorse?” and Loki is like “Only if I don’t have to do what you say anymore.” and Odin is like “FINE.” and Loki is like “HAHA, I PRANKED YOU THAT HORSE CAME OUT OF MY HORSE VAGINA.” And Odin is like “Ew, ick. I still want the horse though.” So the moral of the story is that only a sucker pays full price for masonry. Oh, speaking of which let me tell you about another really gross thing Loki had sex with . . . FENRIR IS A DILF So one day, Loki’s wandering around Jotunheim and he sees this chick Angrboða pronounced ANGER BOW THE and he is like “Well, I know she’s pretty ugly and her name is kinda like a reference book entry for THE ANGER BOW but you know what? I’m gonna tap that and have three kids with that and all three of those kids are going to be horrible beasts that bring on the apocalypse. I see no problems with this.” So for now, let’s just focus on the first kid: a giant wolf named Fenrir. Now Loki brings baby Fenrir to Asgard and the Aesir all instantly know that this wolf is gonna be the death of them mainly because it is a GIANT WOLF NAMED FENRIR. But instead of doing anything about it they decide to see if they can just raise it as their own presumably because they don’t want to hurt Loki’s feelings. So this god Tyr the god of single combat and being awesome gets put in charge of feeding Fenrir because he’s the only person with sufficient testicular mass to actually go near the wolf and Fenrir gets bigger and bigger and holy shit bigger until the gods start to be like “Uhh . . . we should really do something about this wolf.” So what they do is they make a big metal chain. This chain is so incredibly massive that they don’t feel right until they give it a name that name is Leyding. So they go up to Fenrir like “Hey, man I bet you totally can’t break out of this chain.” And Fenrir is like “Okay, bring it.” So they tie him up and he pretty much just breaks the chains like cobwebs and he gets famous because of that and the gods are like “Fuck, that backfired. Okay, let’s make a better chain.” so they make a chain that is TWO TIMES AS STRONG and they name it Dromi and they go back to Fenrir like “Bet you can’t break THIS chain.” And Fenrir is like “I don’t know if I want to let you tie me up again.” And the gods are like “Don’t you want to be double famous?” and Fenrir is like “Ugh, okay.” So he lets them tie him up again and he flexes a little, but the chain doesn’t break so then he kicks the chain, and it does break and the gods are all like “Okay we definitely need a better chain. Somebody call some dwarves.” So the dwarves are like “Okay the mistake you guys have been making is you have been trying to make a chain out of actual things that exist such as metal instead of abstract concepts such as the sound of a cat’s footfall.” So what the dwarves do is they take the sound of a cat’s footfall along with the roots of a mountain the sinews of a bear the beard of a woman— remember, these are dwarves— and the breath of a fish, and the spit of a bird so that’s why you can’t hear cats walking around and mountains don’t have roots and fish don’t breathe, and birds don’t spit but I think bears still probably have sinews and I have definitely met me some bearded ladies so I guess the dwarves were not that thorough. But anyway somehow they manage to distill all this shit into THE ULTIMATE

how many fossil passenger pigeons are there? How many records are there of fossil passenger pigeons?” “Not many?” I offered. “Two,” he said. “So here’s an incredibly abundant bird that we wiped out. But if you look in the fossil record, you wouldn’t even know that they were there.

Once the sounds of birds were reassuring. Once, it was a sign of danger if the birds had gone quiet. Now, the sounds of birds would be foreign, even wrong. Now, it was always quiet because there was always danger.

I am addicted to comfort,” I thought as I tumbled into the wood chips. I have become divorced from nature; I don’t know what the names of the trees and birds are. I don’t know what berries to eat or which stars will guide me home. I don’t know how to sleep outside in a wood or skin a rabbit. We have become like living cutlets, sanitized into cellular ineptitude. They say that supermarkets have three days’ worth of food. That if there was a power cut, in three days the food would spoil. That if cash machines stopped working, if cars couldn’t be filled with fuel, if homes were denied warmth, within three days we’d be roaming the streets like pampered savages, like urban zebras with nowhere to graze. The comfort has become a prison; we’ve allowed them to turn us into waddling pipkins. What is civilization but dependency? Now, I’m not suggesting we need to become supermen; that solution has been averred before and did not end well. Prisoners of comfort, we dread the Apocalypse. What will we do without our pre-packed meals and cozy jails and soporific glowing screens rocking us comatose? The Apocalypse may not arrive in a bright white instant; it may creep into the present like a fog. All about us we may see the shipwrecked harbingers foraging in the midsts of our excess. What have we become that we can tolerate adjacent destitution? That we can amble by ragged despair at every corner? We have allowed them to sever us from God, and until we take our brothers by the hand we will find no peace.

The snow had moistened the dry leaves of the stalks of corn so that their usual papery rustle was barely more than a bit of low static in the distance. The winter birds were quiet in the gray daylight. Even the crows, which had somehow become even more prevalent since the apocalypse (as you could imagine), were content to sit on branches, hunkered against the cold, and watch me with unblinking black eyes.

Zephaniah 1:1–3, 14–18 (HCSB): The word of the Lord that came to Zephaniah son of Cushi, son of Gedaliah, son of Amariah, son of Hezekiah, in the days of Josiah son of Amon, king of Judah. I will completely sweep away everything from the face of the earth—this is the Lord’s declaration. I will sweep away man and animal; I will sweep away the birds of the sky and the fish of the sea, and the ruins along with the wicked. I will cut off mankind from the face of the earth. This is the Lord’s declaration. . . . The great Day of the Lord is near, near and rapidly approaching. Listen, the Day of the Lord—then the warrior’s cry is bitter. That day is a day of wrath, a day of trouble and distress, a day of destruction and desolation, a day of darkness and gloom, a day of clouds and blackness, a day of trumpet blast and battle cry against the fortified cities, and against the high corner towers. I will bring distress on mankind, and they will walk like the blind because they have sinned against the Lord. Their blood will be poured out like dust and their flesh like dung. Their silver and their gold will not be able to rescue them on the day of the Lord’s wrath. The whole earth will be consumed by the fire of His jealousy. For He will make a complete, yes, a horrifying end of all the inhabitants of the earth.

My biggest fear about the apocalypse isn't being eaten by cannibals - it's the fact that in every other postapocalyptic movie you see someone with an acoustic guitar by the campfire. I can't stand acoustic guitar music. I'd rather listen to dubtrash.

If you took a kitten away from its mother, then dumped it back again and the mother bit its throat out because it didn't smell right, you'd know that was your fault. If you caught a bird and taught it to talk, and then it escaped and it starved to death because it didn't know how to feed itself, you'd be absolutely clear that was on you.

Fallen, fallen is Babylon the great!  She has become a dwelling place for demons, a haunt for every unclean spirit, a haunt for every unclean bird, a haunt for every unclean and detestable beast.  For all nations have drunk the wine of the passion of her sexual immorality, and the kings of the earth have committed immorality with her, and the merchants of the earth have grown rich from the power of her luxurious living.

It was not really flying, he realized; rather, it was as if the forest were painted on a piece of paper, as if someone were holding a lit match behind it and burning a hole, a hole that maintained the shape of a bird as it spread.

There’s a famous Alfred Hitchcock movie called The Birds. It sounds like a documentary, but trust me, it’s not. In the movie all the birds in this small California town go all avian apocalypse and start attacking people—plucking out eyes, blowing up gas stations, pecking everyone to death—just about the same time that this one woman shows up. Whether or not she’s the reason the birds attack isn’t entirely clear. It could just be a fluke. Or maybe there is something about this lady that makes the birds batty. I watched the movie with Bench, who conked out about halfway through after muttering for an hour straight that any movie without at least one CGI character was bound to be boring. I watched to the end, though. I wanted to see if the woman was going to make it out of the town alive or if the birds would get her.