Attic Fan Quotes

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Bright flashes of memory sparked through Kaz’s mind. A cup of hot chocolate in his mittened hands, Jordie warning him to let it cool before he took a sip. Ink drying on the page as he’d signed the deed to the Crow Club. The first time he’d seen Inej at the Menagerie, in purple silk, her eyes lined with kohl. The bone-handled knife he’d given her. The sobs that had come from behind the door of her room at the Slat the night she’d made her first kill. The sobs he’d ignored. Kaz remembered her perched on the sill of his attic window, sometime during that first year after he’d brought her into the Dregs. She’d been feeding the crows that congregated on the roof. “You shouldn’t make friends with crows,” he’d told her. “Why not?” she asked. He’d looked up from his desk to answer, but whatever he’d been about to say had vanished on his tongue. The sun was out for once, and Inej had turned her face to it. Her eyes were shut, her oil-black lashes fanned over her cheeks. The harbor wind had lifted her dark hair, and for a moment Kaz was a boy again, sure that there was magic in this world. “Why not?” she’d repeated, eyes still closed. He said the first thing that popped into his head. “They don’t have any manners.” “Neither do you, Kaz.” She’d laughed, and if he could have bottled the sound and gotten drunk on it every night, he would have. It terrified him.
Leigh Bardugo (Six of Crows (Six of Crows, #1))
If we were a rock ‘n’ roll band, We’d travel all over the land. We’d play and we’d sing and wear spangly things, If we were a rock ‘n’ roll band. If we were a rock ‘n’ roll band, And we were up there on the stand, The people would hear us and love us and cheer us, Hurray for that rock ‘n’ roll band. If we were a rock ‘n’ roll band Then we’d have a million fans. We’d goggle and laugh and sign autographs, If we were a rock ‘n’ roll band. If we were a rock ‘n’ roll band, The people would all kiss our hands. We’d be millionaires and have extra long hair, If we were a rock ‘n’ roll band. But we ain’t no rock ‘n’ roll band, We’re just seven kids in the sand With homemade guitars and pails and jars And drums of potato chip cans. Just seven kids in the sand, Talkin’ and wavin’ our hands, And dreamin’ and thinkin’ oh wouldn’t it be grand, If we were a rock ‘n’ roll band.
Shel Silverstein (A Light in the Attic)
He takes the view that mornings happen to other people. I think I once saw him at breakfast, although possibly it was just someone who looked a bit like him who was lying with their head in the plate of baked beans. He likes good sushi, and quite likes people, too, although not raw; he is kind to fans who are not total jerks, and enjoys talking to people who know how to talk. He doesn't look as though he's forty; that may have happened to someone else, too. Or perhaps there's special picture locked in his attic.
Terry Pratchett (Prince of Stories: The Many Worlds of Neil Gaiman)
Next to my own skin, her pearls. My mistress bids me wear them, warm them, until evening when I'll brush her hair. At six, I place them round her cool, white throat. All day I think of her, resting in the Yellow Room, contemplating silk or taffeta, which gown tonight? She fans herself whilst I work willingly, my slow heat entering each pearl. Slack on my neck, her rope. She's beautiful. I dream about her in my attic bed; picture her dancing with tall men, puzzled by my faint, persistent scent beneath her French perfume, her milky stones. I dust her shoulders with a rabbit's foot, watch the soft blush seep through her skin like an indolent sigh. In her looking-glass my red lips part as though I want to speak. Full moon. Her carriage brings her home. I see her every movement in my head.... Undressing, taking off her jewels, her slim hand reaching for the case, slipping naked into bed, the way she always does.... And I lie here awake, knowing the pearls are cooling even now in the room where my mistress sleeps. All night I feel their absence and I burn.
Carol Ann Duffy
The past folds accordion-like into the present. Different media have different event horizons—for the written word, three millennia; for recorded sound, a century and a half—and within their time frames the old becomes as accessible as the new. Yellowed newspapers come back to life. Under headings of 50 Years Ago and 100 Years Ago, veteran publications recycle their archives: recipes, card-play techniques, science, gossip, once out of print and now ready for use. Record companies rummage through their attics to release, or re-release, every scrap of music, rarities, B-sides, and bootlegs. For a certain time, collectors, scholars, or fans possessed their books and their records. There was a line between what they had and what they did not. For some, the music they owned (or the books, or the videos) became part of who they were. That line fades away. Most of Sophocles' plays are lost, but those that survive are available at the touch of a button. Most of Bach's music was unknown to Beethoven; we have it all—partitas, cantatas, and ringtones. It comes to us instantly, or at light speed. It is a symptom of omniscience. It is what the critic Alex Ross calls the Infinite Playlist, and he sees how mixed is the blessing: "anxiety in place of fulfillment, and addictive cycle of craving and malaise. No sooner has one experience begun than the thought of what else is out there intrudes." The embarrassment of riches. Another reminder that information is not knowledge, and knowledge is not wisdom.
James Gleick (The Information: A History, a Theory, a Flood)
The screens sway inward as the attic fan rattles overhead, pulling at wet air that has no desire to be moved.
Lisa Wingate (Before We Were Yours)
What follows is my best effort to shed as much light as possible on events that have not simply been forgotten or left in the dark, but relegated to the attic, or the ash can, or the metaphorical darkness of fear and shame, and to reignite Plath's fire in the parlor where her fans squint to read by flickering gaslight; above them, the man searches the attic for the jewels he hid too well.What follows is my best effort to shed as much light as possible on events that have not simply been forgotten or left in the dark, but relegated to the attic, or the ash can, or the metaphorical darkness of fear and shame, and to reignite Plath's fire in the parlor where her fans squint to read by flickering gaslight; above them, the man searches the attic for the jewels he hid too well.
Emily Van Duyne (Loving Sylvia Plath: A Reclamation)
The wiring is old. It would be better to add dust to the exhaust fan in one of the bathrooms. Once the motor blows, the dust catches fire. It starts in the attic and works down, following the wiring.
Jillian West (When She Needs Them Most (A Very Pregnant Omega Finds Her Pack #1))