Background Music Quotes

We've searched our database for all the quotes and captions related to Background Music. Here they are! All 100 of them:

You know, one of the tragedies of real life is that there is no background music.
Annie Proulx
But why should you be interested in me?" Good question. I can’t explain it myself right this moment. But maybe – just maybe – if we start getting together and talking, after a while something like Francis Lai’s soundtrack music will start playing in the background, and a whole slew of concrete reasons why I’m interested in you will line up out of nowhere. With luck, it might even snow for us.
Haruki Murakami (After Dark)
It was at that exact moment that I saw Peter walking down the hall toward me. He looked so good. He deserved his own background music.
Jenny Han (To All the Boys I've Loved Before (To All the Boys I've Loved Before, #1))
Every generation wants to be the last. Every generation hates the next trend in music they can't understand. We hate to give up those reins of our culture. To find our own music playing in elevators. The ballad for our revolution, turned into background music for a television commercial. To find our generation's clothes and hair suddenly retro.
Chuck Palahniuk (Lullaby)
One of the tragedies of real life is that there is no background music.
Annie Proulx (The Shipping News)
That's when I see him. Peter Kavinsky, walking down the hallway. Like magic. Beautiful, dark-haired Peter. He deserves background music, he looks so good.
Jenny Han (To All the Boys I've Loved Before (To All the Boys I've Loved Before, #1))
Wow,” Kylie muttered, and grinned. “Yeah, wow.” Della leaned in closer. “I think Perry just grew a pair.” Kylie bit down on her lip to keep from laughing. “If this was a movie, there would be some music playing in the background.” “I could sing,” Della chuckled. “And ruin it,” Kylie teased back. “I’ve heard you singing in the shower.” Both grinning, they looked back at the kissing couple.
C.C. Hunter (Awake at Dawn (Shadow Falls, #2))
If only our lives had background music.
Abhaidev (The Gods Are Not Dead)
One difference between poetry and lyrics is that lyrics sort of fade into the background. They fade on the page and live on the stage when set to music.
Stephen Sondheim
The look that passes between Jeffrey and Kimber right then feels like it requires a swell of cheesy music in the background. Aw, I think. Baby brother's in love. I also find this kind of gross.
Cynthia Hand (Unearthly (Unearthly, #1))
Odd that I couldn’t catch any of your dream,” Bones went on. “Normally your dreams are like background music to me.
Jeaniene Frost (Destined for an Early Grave (Night Huntress, #4))
Other memories stick, no matter how much you wish they wouldn’t. They’re like a song you hate but can’t ever get completely out of your head, and this song becomes the background noise of your entire life, snippets of lyrics and lines of music floating up and then receding, a crazy kind of tide that never stops.
Sara Zarr (Sweethearts)
I vaguely remember my schooldays. They were what was going on in the background while I was trying to listen to the Beatles.
Douglas Adams (The Salmon of Doubt)
The trouble with life is that, unlike movies, it doesn't have background music. We never know how we're supposed to feel.
Lewis Gardner
Music shouldn't be just a tune, it should be a touch.
Amit Kalantri (Wealth of Words)
He deserves background music, he looks so good.
Jenny Han (To All the Boys I've Loved Before (To All the Boys I've Loved Before, #1))
What I heard was but the melody of children at play, nothing but that, and so limpid was the air that within this vapor of blended voices, majestic and minute, remote and magically near, frank and divinely enigmatic—one could hear now and then, as if released, an almost articulate spurt of vivid laughter, or the crack of a bat, or the clatter of a toy wagon, but it was all really too far for the eye to distinguish any movement in the lightly etched streets. I stood listening to that musical vibration from my lofty slope, to those flashes of separate cries with a kind of demure murmur for background, and then I knew that the hopelessly poignant thing was not Lolita’s absence from my side, but the absence of her voice from that concord.
Vladimir Nabokov (Lolita)
The Ache That Would Not Leave Behind the hum and routine of daily living, there lay a persistent and wild longing for something she could not easily put into words. It felt like impulsive adventures and watching the sun rise over unfamiliar mountains, or coffee in a street café, set to the background music of a foreign language. It was the smell of the ocean, with dizzying seagulls whirling in a cobalt sky; exotic foods and strange faces, in a city where no one knew her name. She wanted secrets whispered at midnight, and road trips without a map, but most of all, she ached for someone who desired to explore the mysteries that lay sleeping within her. The truly heartbreaking part was that she could feel the remaining days of her life falling away, like leaves from an autumn tree, but still this mysterious person who held the key to unlock her secrets did not arrive; they were missing, and she knew not where to find them.
John Mark Green
It’s like I’ve always had a painted musical sound track playing background to my life. I can almost hear colors and smell images when music is played.
Sharon M. Draper (Out of My Mind (The Out of My Mind Series))
I think the music reflects the state that the society is in. It doesn't suggest the state. I think the poets and musicians and artists are of the age - not only do they lead the age on, but they also reflect that age. [...] Like The Beatles. We came out of Liverpool and we reflected our background and we reflected our thoughts in what we sang, and that's all people are doing.
John Lennon (The Beatles Anthology)
I love when I reach Marcus on the phone and as he says hello, I can hear the music he's listening to in the background. That music is the sound of him without me. How he surrounds himself when I'm not there, which is almost all the time.
Megan McCafferty (Charmed Thirds (Jessica Darling, #3))
Kids don't think about their folks nearly as much as everybody imagines. Parents are just there, like background music at the mall.
Ron Koertge (Where the Kissing Never Stops)
To me those hours spent at that round wooden table in our garden with the large umbrella imperfectly shading my papers, the chinking of our iced lemonades, the sound of the not-too-distant surf gently lapping the giant rocks below, and in the background, from some neighboring house, the muffled crackle of the hit parade medley on perpetual replay—all these are forever impressed on those mornings when all I prayed for was for time to stop. Let summer never end, let him never go away, let the music on perpetual replay play forever, I’m asking for very little, and I swear I’ll ask for nothing more.
André Aciman (Call Me by Your Name)
I watch him go, and Hudson pretends to play some very sad music on an air violin in the background. “And the villain fades away into obscurity, never to be seen or heard from again…
Tracy Wolff (Crush (Crave, #2))
Phoebe doesn't quite believe in fate the way I do. She says you have to chase your destiny, and she always expects life to be like a romantic comedy: all you have to do is dress the part of the heroine, and pretty soon you'll be kissing some hottie while fountains spew and music swells in the background.
Lauren Morrill (Meant to Be)
Music is the fastest motivator in the world.
Amit Kalantri (Wealth of Words)
The Little Drummer Boy" was playing in the background for what seemed like the third time in a row. I fought off an urge to beat that Little Drummer Boy seneless with his own drumsticks.
Dana Reinhardt (How to Build a House)
You've got to step up, Emme. They need to hear your voice, hear you. You're better than being stuck in the background.
Elizabeth Eulberg (Take a Bow)
Silence is the background music that you can play anywhere and make any ambience your own.
Shunya
Dani was late for work, and the churn of coffee beans acted as background music to her fantasies about murdering everyone around her.
Talia Hibbert (Take a Hint, Dani Brown (The Brown Sisters, #2))
Every generation wants to be the last. Every generation hates the next trend in music they can't understand. We hate to give up those reins of our culture. To find our own music playing in elevators. The ballad for our revolution, turned into background music for a television commercial. To find our generation's clothes and hair suddenly retro.
Chuck Palahniuk (Lullaby)
the music was always in the background, like music at a church service; it was something to depend upon.
Joyce Carol Oates (High Lonesome: Selected Stories, 1966-2006)
I was busy falling in love at first sight. So I had to stare. That's what you do when you're falling in love at first sight. You go into soft focus, and romantic music starts playing in the background.
Sylvia Brownrigg
Yes, I’m a hermit. Mostly I brood,” Mad Rogan said. “Also I’m very good at wallowing in self-pity. I spend my days steeped in melancholy, looking out the window. Occasionally a single tear quietly rolls down my cheek.” Arabella and Lina snickered in unison. “Do you also brush a white orchid against your lips?” Arabella put in. “While sad music plays in the background?” Lina grinned. “Perhaps,” Mad Rogan said.
Ilona Andrews (Burn for Me (Hidden Legacy, #1))
I was sure the old man knew nothing about the beatitudes, ecstasies, dazzling reverberations of sexual encounters. Cut out the poetry was his message. Clinical sex, deprived of all the warmth of love—the orchestration of all the senses, touch, hearing, sight, palate; all the euphoric accompaniments, back-ground music, moods, atmosphere, variations—forced him to resort to literary aphrodisiacs.
Anaïs Nin (Delta of Venus)
People listen to music for different reasons. Some people, -its background music— but other people need it to survive. Other people need music to get things out and maybe that’s just where I’m coming from, you know, when things weren’t easy for me, growing up. You know, music, I felt, saved my life. Pete Townshend, wherever you are, Pete, you saved my life. You know, whether he knows it or not. I wouldn’t be here. And I had absolutely nothing else besides music. And so that’s still, you know, that’s in me, and so if we’re gonna play, if we’re gonna get up and play, or write a song, you know, write about something that means something. You know, why write about, you know, 'Oh, pretty day', or, 'Pretty girl' or 'Pretty people', there’s nothing… people have different reasons for listening and playing. I need to —for me-, it’s much more.. religious!
Eddie Vedder
And the way I loved her was like nothing else. This, I decided, was the love all other loves were measured against. They say girls look to marry their fathers, but I decided after having Maxie that we all, every one of us, were looking to marry our mothers. Sitting on the sofa with her wrapped in a soft blanket in my arms, I’d think, ‘This baby has it so good.’ It just seemed that the love I’d been searching and hoping for all my life was what Maxie already had right now: two big arms and a lap, a warm blanket, the background music of a heartbeat and a pair of lungs, food at a moment’s notice, sleep at every urge, and a person totally obsessed with her, whose every moment—waking or otherwise—was totally devoted to her comfort and care. Was that so much to ask for?
Katherine Center
Each person fears death in his or her own way. For some people, death anxiety is the background music of life, and any activity evokes the thought that a particular moment will never come again. Even an old movie feels poignant to those who cannot stop thinking that all the actors are now only dust.
Irvin D. Yalom (Staring at the Sun: Overcoming the Terror of Death)
In the background Bowie sings of lawmen and cavemen, sailors fighting in dance halls, and I wish he were here now, in this kitchen with me, and I would hold his hand and together we would talk of life—on Mars, or otherwise.
David Arnold (The Strange Fascinations of Noah Hypnotik)
Surely words are just the background music when passion pounces on a soul.
Andrew Sean Greer (The Impossible Lives of Greta Wells)
Being a polymath makes me a better investor and a better CEO. Because I have multiple interests and multiple skill sets that span across various industries and topic areas, I’m often able to approach investments from a place knowing, from a place of experience and with a sense of authority. Whether it’s IP, Patents, Transportation, Music, Education or Wellness…. I’ve got some background in it so I’m able lead Mayflower-Plymouth with investing in any or all of these effectively.
Hendrith Vanlon Smith Jr.
My eyes pop out when I catch a glimpse of how much leg she's showing. She's wearing her shortest mini skirt, the one that drives me crazy. Her legs look about a mile long as she crosses them and bobs her foot in time with the cafe's background music. She's really trying to kill me, isn't she?
Janine Caldwell (Double Fault (The Vortex Series, #2))
Just imagine, life to be a dance with different kind of rhythms depending on what music is playing in the background. Sometimes we may dance alone and that’s OK, as some songs are simply meant to be danced like that. Practice! Don’t stop! It’s your dance! 
Nico J. Genes
Sometimes they ask if you want to hook up your iPod for background music. Do not do this. It's a trap. They'll put it on shuffle, and no matter how much Beastie Boys or Velvet Underground you have on there, the following four tracks will play in a row; "We'd Like to Thank You Herbert Hoover" from Annie, "Hold On" by Wilson Phillips, "That's What Friends Are For, Various Artists, and "We'd Like to Thank You Herbert Hoover" from Annie.
Tina Fey (Bossypants)
IT’S SO WEIRD HOW A PERSON can be a normal part of your everyday life, and then just disappear. And when they do, you realize that some of those everyday things go with them. Like the smell of food cooking. Or the sound of Rick James, Frankie Beverly, or the Isley Brothers playing as background music in our house. The kettle, whistling. Water running in the kitchen sink. She was always at the kitchen sink, my mom, doing a two-step or something. Her voice, and her voices.
Jason Reynolds (The Boy in the Black Suit)
And in the background of Early's story was her voice. Her soul. Her sadness and longing. Because when it's raining, it's always Billie Holiday. p. 81
Clare Vanderpool (Navigating Early)
Ani DiFranco’s songs, as it turns out, are best described as guitar picking played as background music while Ani, an angry, dreadlocked feminist lesbian, spouts diatribes against men. The music created that perfect mood of politically charged man-hating that I always go for on a first date. Ladies, if you’re looking to start a date off right, you can’t go wrong with Ani.
Josh Sundquist (We Should Hang Out Sometime: Embarrassingly, a True story)
They were looking for a builder to construct the home they thought they wanted, but he was the architect, coming with a new plan that would give them everything they needed, but within quite a new framework. They were looking for a singer to sing the song they had been humming for a long time, but he was the composer, bringing them a new song to which the old songs they knew would form, at best, the background music. He was the king, all right, but he had come to redefine kingship itself around his own work, his own mission, his own fate.
N.T. Wright (Simply Jesus: A New Vision of Who He Was, What He Did, and Why He Matters)
I want you to imagine for a minute,” she begins. “I know it’s going to be hard for both of you, but just imagine—that literally nothing was made for you. Your parents were denied a house because of their skin color, your grandparents were sprayed with fire hoses and ripped apart by dogs in the streets, your great-grandparents were housemaids and mammies and barely paid entertainers, and your great-great-grandparents were slaves. Every movie in your life is majority Black, all the characters in your favorite books have been cast darker in the movie adaptation for no reason, and every mistake you make is because of your skin color and because of “your background” and because of the music you listen to. You are the only white kids at a school of five hundred Blacks, and every Black person at that school asks you to weigh in on what it’s like to be white, or what white people think about this or that. It’s not fun.
Brittney Morris (Slay)
There was an electric buzzing sound that was constantly on, acting as background music like a million cicadas in the forest. A constant white noise.
Missy Lyons (Alien Promise)
Life is just like a movie, except it does not have background music, but you cannot see it in media.
Abrar Ahmed chowdhury
Aphex Twin’s Selected Ambient Works Volume II is an album that readily serves as background music to its own telling.
Marc Weidenbaum (Aphex Twin's Selected Ambient Works Volume II (33 1/3))
To most people, Hans Hubermann was barely visible. An un-special person. Certainly, his painting skills were excellent. His musical ability was better than average. Somehow, though, and I’m sure you’ve met people like this, he was able to appear as merely part of the background, even if he was standing at the front of a line. He was always just there. Not noticeable.
Markus Zusak (The Book Thief)
In truth, Jude suspected that Danny had no particular musical preferences, no strong likes or dislikes, and that the radio was just background sound, the auditory equivalent of wallpaper.
Joe Hill (Heart-Shaped Box)
It is an unimaginatively standardized background, a sluggishness, of speech and manners, a rigid ruling of the spirit by the desire to appear respectable. It is contentment...the contentment of the quiet dead, who are scornful of the living for their restless walking. It is negation canonized as the one positive virtue. It is the prohibition of happiness. It is slavery self-sought and self-defended. It is dullness made God. A savorless people, gulping tasteless food, and sitting afterward, coatless and thoughtless, in rocking chairs prickly with inane decorations, listening to mechanical music, saying mechanical things about the excellence of Ford automobiles, and viewing themselves as the greatest race in the world.
Sinclair Lewis (Main Street)
In the movies, some foreboding music might play in the background or the light might dim. But there was none of that. Evil has an ordinary face. It laughs, it cries, it deflects, it rationalizes, it makes great pasta.
James Comey (A Higher Loyalty: Truth, Lies, and Leadership)
An actual shiver blew through him thinking of Hannah on the deck, fifteen-story waves building in the background. “If you hear me screaming in the middle of the night, you’re to blame for my nightmares.” “I can just be in charge of the music on the boat.” “No.” “You got me feeling all romantic about the ocean. It’s your fault.
Tessa Bailey (Hook, Line, and Sinker (Bellinger Sisters, #2))
One never thinks, “Oh, I’d better look for some food.” Food is everywhere, and one picks it up almost absent-mindedly, as one takes a breath of air. In fact, one does not think of feeding as a distinct activity at all. Rather, it’s like a delicious music that plays in the background of all activities throughout the day. In fact, feeding became feeding for me only at the zoo, where twice daily great masses of tasteless fodder were pitched into our cages.
Daniel Quinn (Ishmael: An Adventure of the Mind and Spirit)
Weir heard something different in the sounds. Once, during a period of calm, he sat on the firestep waiting for Stephen to return from an inspection and listened to the music of the tins. The empty ones were sonorous, the fuller ones provided an ascending scale. Those filled to the brim produced only a fat percussive beat unless they overbalanced, when the cascade would give a loud variation. Within earshot there were scores of tins in different states of fullness and with varying resonance. Then he heard the wire moving in the wind. It set up a moaning background noise that would occasionally gust into prominence, then lapse again to mere accompaniment. He had to work hard to discern, or perhaps imagine, a melody in this tin music, but it was better in his ears than the awful sound of shellfire.
Sebastian Faulks (Birdsong)
These thoughts have no meaning. They are idiot mantras that exist in a prearranged cycle: I'm no good, I'm the Angel of Death, I'm stupid, I can't do anything. Thinking the first thought triggers the whole circuit. It's like the flu: first a sore throat, then, inevitably, a stuffy nose and a cough. Once, these thoughts must have had a meaning. They must have meant what they said. But repetition has blunted them. They have become background music, a Muzak medley of self-hatred themes.
Susanna Kaysen (Girl, Interrupted)
The good Lord, in his infinite wisdom, did not make us all the same. Goodness gracious, if he had, this would be a boring world, don't you think? You are different from each other in height, weight, background, intelligence, talent, and many other ways. For that reason, each one of you deserves individual treatment that is best for you. I will decide what that treatment will be.
Daniel Coyle (The Talent Code: Unlocking the Secret of Skill in Sports, Art, Music, Math, and Just About Everything Else)
 It’s weird being alone in the museum. It’s dark and eerily quiet: Only the after-hours lights are on—just enough to illuminate the hallways and stop you from tripping over your own feet—and the background music that normally plays all the time is shut off. I quickly organize the flashlights and check their batteries, and when I don’t hear Porter walking around, I stare at the phone sitting at the information desk. How many chances come along like this? I pick up the receiver, press the little red button next to the word ALL, and speak into the phone in a low voice. “Paging Porter Roth to the information desk,” I say formally, my voice crackling through the entire lobby and echoing down the corridors. Then I press the button again and add, “While you’re at it, check your shoes to make sure they’re a match, you bastard. By the way, I still haven’t quite forgiven you for humiliating me. It’s going to take a lot more than a kiss and a cookie to make me forget both that and the time you provoked me in the Hotbox.” I’m only teasing, which I hope he knows. I feel a little drunk on all my megaphone power, so I page one more thing: “PS—You look totally hot in those tight-fitting security guard pants tonight, and I plan to get very handsy with you at the movies, so we better sit in the back row.” I hang up the phone and cover my mouth, silently laughing at myself. Two seconds later, Porter’s footfalls pound down Jay’s corridor—Boom! Boom! Boom! Boom! He sounds like a T. rex running from Godzilla. He races into the lobby and slides in front of the information desk, grabbing onto the edge to stop himself, wild curls flying everywhere. His grin is enormous. “Whadidya say ’bout where you want to be puttin’ your hands on me?” he asks breathlessly. “I think you have me confused with someone else,” I tease. His head sags against the desk. I push his hair away from one of his eyes. He looks up at me and asks, “You really still haven’t forgiven me?” “Maybe if you put your hands onme, I might.” “Don’t go getting my hopes up like that.” “Oh, your hopes should be up. Way up.” “Dear God, woman,” he murmurs. “And here I was, thinking you were a classy dame.” “Pfft. You don’t know me at all.” “I aim to find out. What are we still doing here? Let’s blow this place and get to the theater, fast.
Jenn Bennett (Alex, Approximately)
When you travel you become invisible if you want. I do want. I like to be the observer. What makes these people who they are Could I feel at home here No one expects you to have the stack of papers back by Tuesday or to check messages or to fertilize the geraniums or to sit full of dread in the waiting room at the protologist’s office. When travelling you have the delectable possibility of not understanding a word of what is said to you. Language becomes simply a musical background for watching bicycles zoom along a canal calling for nothing from you. Even better if you speak the language you catch nuances and make more contact with people. Travel releases spontaneity. You become a godlike creature full of choice free to visit the stately pleasure domes make love in the morning sketch a bell tower read a history of Byzantium stare for one hour at the face of Leonardo da Vinci’s Madonna dei fusi. You open as in childhood and – for a time – receive this world. There’s the visceral aspect too – the huntress who is free. Free to go Free to return home bringing memories to lay on the hearth.
Frances Mayes (A Year in the World: Journeys of a Passionate Traveller)
I stood listening to that musical vibration from my lofty slope, to those flashes of separate cries with a kind of demure murmur for background, and then I knew that the hopelessly poignant thing was not Lolita’s absence from my side, but the absence of her voice from that concord.
Vladimir Nabokov (Lolita)
and dozens of tips for theme decorating, table settings, background music, and more. Whatever the occasion, we have the plan. Choose from a Formal Dinner when you want to impress, or an Academy Awards Supper when you’re into fun and fantasy. Or how about a Romantic Dinner for Two with that special someone? Many of the menus can be prepared before the party. And although all the recipes featured in each menu are included, you can save time and effort by purchasing some precooked and ready-to-serve items. The main thing is to get as much done ahead of time as possible, so
Karen Lancaster (The Dinner Party Cookbook)
He also entered a bookstore called “Books ‘n’ Stuff,” that stocked more videos and greeting cards than books. Furthermore, its supermarket lighting and background music discouraged browsing. Qwilleran had his own ideas about the correct ambiance for a bookstore: dim, quiet, and slightly dusty.
Lilian Jackson Braun (The Cat Who Lived High (Cat Who..., #11))
Everyone is aware of the fact that visual and auditive perspective are identical; the only difference being that they are created and perceived by two physically different organs, the eye and the ear. How often the playing of a great master makes us think of a picture with a deep background and varying planes; the figures in the foreground almost leap out of the frame whereas in the background the mountains and clouds are lost in a blue haze.
Heinrich Neuhaus (The Art of Piano Playing)
Here is what happens when your mother worries: You become secretly worried. Anxiety plays in your background like bad grocery store music. You pace and count stuff and wake at night, your heart beating too fast. You pretend to be brave, and do stuff to prove you’re not a scared person like she is.
Deb Caletti (A Heart in a Body in the World)
In the background, classical music plays from a paint-splattered radio, the New York station with the ancient announcer more frequently heard in doctors’ waiting rooms and other places where signs prohibit the use of cell phones – the last bastions of Beethoven or Chopin or, on racier days, Shostakovich.
Kate Walbert (The Sunken Cathedral)
There was something special about a carnival at night. Bright lights pierced the darkness; the tinkling music of the merry-go-round provided the perfect background for the shrill calls of the carnival workers; the giggles of the people aiming fake rifles at fake ducks were full of contagious fun; the distant shrieks coming from the roller coaster and the top of the Ferris wheel filled the air; and a warm breeze carried the tantalizing aromas of cotton candy and hot buttered popcorn.
Marilyn Kaye (Lucky Thirteen (Replica, #11))
There was a girl, and her uncle sold her, wrote Mr. Ibis in his perfect copperplate handwriting. That is the tale; the rest is detail. There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat. There are accounts which, if we open our hearts to them, will cut us too deeply. Look—here is a good man, good by his own lights and the lights of his friends: he is faithful and true to his wife, he adores and lavishes attention on his little children, he cares about his country, he does his job punctiliously, as best he can. So, efficiently and good-naturedly, he exterminates Jews: he appreciates the music that plays in the background to pacify them; he advises the Jews not to forget their identification numbers as they go into the showers—many people, he tells them, forget their numbers, and take the wrong clothes, when they come out of the showers. This calms the Jews: there will be life, they assure themselves, after the showers. And they are wrong. Our man supervises the detail taking the bodies to the ovens; and if there is anything he feels bad about, it is that he still allows the gassing of vermin to affect him. Were he a truly good man, he knows, he would feel nothing but joy, as the earth is cleansed of its pests. Leave him; he cuts too deep. He is too close to us and it hurts.
Neil Gaiman (American Gods (American Gods, #1))
I believe Triumvirate Holdings wants to control all the ancient Oracles. And I Believe the most ancient Oracle of all, the Grove of Dodona, is right here at Camp Half-Blood" I WAS A DREAMATIC GOD. I thought my last statement was a great line, I expected gasps, perhaps some organ music in the background. Maybe the lights would go out just before I could say more. Moments later I would be found dead with a knife in my back. That would be exciting! Wait. I'm a mortal. Murder would kill me. Never mind
Rick Riordan (The Hidden Oracle (The Trials of Apollo, #1))
With the music of our singing in the background, I looked at the church candles and thought about the surreal connection between images and memory. The peaceful and joyous candles flickering there during the Christmas ceremony projected warmth, comfort, and familiarity – even though thy emitted the same kind of fiery energy as the flames caused by the war.
Zack Love (The Syrian Virgin (The Syrian Virgin, #1))
We have entered a world of shorthand, precis, digest, summary, news flash, comic strip. We are bombarded with visual images, cutting from one to another, stabbing at the mind and put out with the rubbish sacks at the end of the week. The novel that took a man or woman years to create - in research, in planning of the plot and counter-plot, in construction - each word chosen, each phrase weighed against another, themes recurring, climaxes achieved - is now reduced to a four part serial, produced with pride in the accuracy of its sets and costumes, brilliantly acted, the music of the background authentic to the period. The words, but not the minds. The science, but not the significance. THE BOOK HAS BEEN MADE A THING TO WATCH, NOT TO LIVE. WE must FIGHT to save the WRITTEN WORD as we fight to save the whale. We must keep in our minds, a place apart, a sanctuary, where a lamp lights only the table at which we sit, where the curtains are drawn against the present time. Let us begin.
Pamela Brown
... because I can read you like a book and because the thing about a beloved book, if it's a good one, is that it shifts like music; you think you know it, you've read it so many times, of course you know it, of course the pleasure of it is in how well you know it, but then you hear, in the background, the thing you never heard in it before, and with the turn of a page you see a combination of words you know you've never seen before, you thought you knew this book but it dazzles you with the different book it is, yet again, and not just that but the different person you have become, the different person you are now, reading it again, and you, my love, are an excellent book for me, and then us both together, which takes some talent with rhythm, but luckily we are quite talented at reading each other.
Ali Smith (The Whole Story and Other Stories)
For example, try to keep your living space clean and organized. Make your living space aesthetically and artistically beautiful. Have beautiful pictures at the wall, have lots of plants. Light incense and/or aromatherapy oils. If you are spiritually inclined, create spiritual altars in different places in your home with pictures of the Masters. Play beautiful inspiring music in the background, or meditation tapes.
Joshua D. Stone (The Golden Book of Melchizedek: How to Become an Integrated Christ/Buddha in This Lifetime Volume 1)
All that is left in the world is an enormous machine, made of white steel. It has innumerable flexible arms, made of steel. Long, thin arms. At the end of each arm is an eye, the eyelashes stiff with mascara. When I look more closely I see that only some of the arms have these eyes–others have lights. The arms that carry the eyes and the arms that carry the lights are all extraordinarily flexible and very beautiful. But they grey sky, which is the background, terrifies me. . . . And the arms wave to an accompaniment of music and of song. Like this: 'Hotcha–hotcha–hotcha. . . .' And I know the music; I can sing the song. . . .
Jean Rhys (Good Morning, Midnight)
He felt lost long before his mother left his life, he wanted to tell her, but it would ruin their dinner, their night. He thought of Frankie and Molly doing their homework with music and talking and laughter in the background. The doorbell ringing, kids stopping by, Kate on the phone, pots boiling over, everything a chaos of love. Then he thought of himself at their ages, alone in a silent house, listening for a creak on the stairs.
Mary Beth Keane (Ask Again, Yes)
To most people, Hans Hubermann was barely visible. An un-special person. Certainly, his painting skills were excellent. His musical ability was better than average. Somehow, though, and I’m sure you’ve met people like this, he was able to appear as merely part of the background, even if he was standing at the front of a line. He was always just there. Not noticeable. Not important or particularly valuable. The frustration of that appearance, as you can imagine, was its complete misleadence, let’s say. There most definitely was value in him, and it did not go unnoticed by Liesel Meminger. (The human child—so much cannier at times than the stupefyingly ponderous adult.) She saw it immediately. His manner. The quiet air around him. When he turned the light on in the small, callous washroom that night, Liesel observed the strangeness of her foster father’s eyes. They were made of kindness, and silver. Like soft silver, melting. Liesel, upon seeing those eyes, understood that Hans Hubermann was worth a lot.
Markus Zusak (The Book Thief)
One day, soon after her disappearance, an attack of abominable nausea forced me to pull up on the ghost of an old mountain road that now accompanied, now traversed a brand new highway, with its population of asters bathing in the detached warmth of a pale-blue afternoon in late summer. After coughing myself inside out I rested a while on a boulder and then thinking the sweet air might do me good, walked a little way toward a low stone parapet on the precipice side of the highway. Small grasshoppers spurted out of the withered roadside weeds. A very light cloud was opening its arms and moving toward a slightly more substantial one belonging to another, more sluggish, heavenlogged system. As I approached the friendly abyss, I grew aware of a melodious unity of sounds rising like vapor from a small mining town that lay at my feet, in a fold of the valley. One could make out the geometry of the streets between blocks of red and gray roofs, and green puffs of trees, and a serpentine stream, and the rich, ore-like glitter of the city dump, and beyond the town, roads crisscrossing the crazy quilt of dark and pale fields, and behind it all, great timbered mountains. But even brighter than those quietly rejoicing colors - for there are colors and shades that seem to enjoy themselves in good company - both brighter and dreamier to the ear than they were to the eye, was that vapory vibration of accumulated sounds that never ceased for a moment, as it rose to the lip of granite where I stood wiping my foul mouth. And soon I realized that all these sounds were of one nature, that no other sounds but these came from the streets of the transparent town, with the women at home and the men away. Reader! What I heard was but the melody of children at play, nothing but that, and so limpid was the air that within this vapor of blended voices, majestic and minute, remote and magically near, frank and divinely enigmatic - one could hear now and then, as if released, an almost articulate spurt of vivid laughter, or the crack of a bat, or the clatter of a toy wagon, but it was all really too far for the eye to distinguish any movement in the lightly etched streets. I stood listening to that musical vibration from my lofty slope, to those flashes of separate cries with a kind of demure murmur for background, and then I knew that the hopelessly poignant thing was not Lolita's absence from my side, but the absence of her voice from that concord.
Vladimir Nabokov (Lolita)
Music is heard in the background. As the movemnt becomes sharper; the many dancers acting but as one. She is one with her secret. As the time draws near, the woman's body begins to push. With the rhythm of the music and the beat of the dancer's feet; her secret almost revealed.
Lisa C. Miller (Godly Inspirations For The Troubled Soul)
Consider yourself and the cello. As you play the music moves out to the listener, and also enters the core of your own being, for somehow you are tuned to the cello. Well, I am persuaded that this is because you are a chord. I am a chord. Our DNA dictates our physicality-made up of billions of little notes-on a basic level. Add to that our geography, background et cetera, and you have your original score. Life is the layering of chords, but the underlying one that we are will never change. This brings us to string theory and love. Our personal chord resonates with the personal ones of others, and sometimes we encounter another person who is completely harmonious with us. It is a dominant, overwhelming attraction on the DNA level. However, such a person can appear to be our opposite-and that's where this 'opposites attract' notion comes from-because they have tuned their chord in a different way. In reality, we are attracted to the person we have chosen not to become, an alternative adjustment to a chord that is nearly the same as our own. The clashing portions of the chords sounding together advance the richness of it. So when you make love you aren't expressing emotions or showing affection, you are merging melodies. You are players in the same symphony.
Sarah Emily Miano (Encyclopaedia Of Snow)
Elnora lifted the violin and began to play. She wore a school dress of green gingham, with the sleeves rolled to the elbows. She seemed a part of the setting all around her. Her head shone like a small dark sun, her face never had seemed so rose-flushed and fair. From the instant she drew the bow, her lips parted and her eyes fastened on something far away in the swamp, and never did she give more of that immpression of feeling for her notes and repeating something audible only to her. Ammon was to near to get the best effect. he arose and stepped back several yards, leaning against a large tree, looking and listening with all his soul. As he changed position he saw that Mrs. Comstock had followed them, and was standing on the trail, where she could not have helped hearing everything Elnora had said. So to Ammon before her and the mother watching on the trail, Elnora played the Song of the Limberlost. It seemed as if the swamp hushed all its other voices and spoke only through her dancing bow. The mother out on the trail had heard it all once before from the girl, many times from her father. To the man it was a revelation. He stood so stunned he forgot Mrs. Comstock. He tried to realize what a great city audience would say to that music, from such a player, with a like background, he could not imagine.
Gene Stratton-Porter (A Girl of the Limberlost (Limberlost, #2))
Stepping towards her, he warned himself this was wrong. Being drunk and being this near to her was playing with his mind; he could not help it she got to him. With the music in the background the moon illuminating the field, he was like a moth to a flame. Her hair was laying in soft curls, the wind moving it over her face; he brushed it back to look into her eyes better. In the darkness, he could not tell but he felt her eyes had to be glowing with those unusual gold highlights. “She is jealous of you, a girl that is naturally beautiful without trying.” Maggie frowned slightly shaking her head dismissing his suggestion; Jon lifted her chin and lowered his face to kiss her.
Caroline Walken
What do you do?” Leon leaned forward. “You left the Army and disappeared. How come?” “Leon,” Mother warned. “Is it because of the war?” Lina asked. “People on Herald say you have PTSD and you became a hermit like a monk because of it.” “Either a hermit or a monk, not both,” I corrected out of habit. “Herald also said he was disfigured.” Arabella made big eyes. “Yes, I’m a hermit. Mostly I brood,” Mad Rogan said. “Also I’m very good at wallowing in self-pity. I spend my days steeped in melancholy, looking out the window. Occasionally a single tear quietly rolls down my cheek.” Arabella and Lina snickered in unison. “Do you also brush a white orchid against your lips?” Arabella put in. “While sad music plays in the background?” Lina grinned. “Perhaps,” Mad Rogan said. “Do you have a girlfriend?” Grandma Frida asked. I put my hand over my face. “No,” Mad Rogan said. “A boyfriend?” Grandma Frida asked. “No.” “What about . . .” “No,” Mom and I said in unison. “But you don’t even know what I wanted to ask!” “No,” we said again together. “Party poopers.
Ilona Andrews (Burn for Me (Hidden Legacy, #1))
The subject matter is perhaps best characterized as “the subjective quality of experience.” When we perceive, think, and act, there is a whir of causation and information processing, but this processing does not usually go on in the dark. There is also an internal aspect; there is something it feels like to be a cognitive agent. This internal aspect is conscious experience. Conscious experiences range from vivid color sensations to experiences of the faintest background aromas; from hard-edged pains to the elusive experience of thoughts on the tip of one’s tongue; from mundane sounds and smells to the encompassing grandeur of musical experience; from the triviality of a nagging itch to the weight of a deep existential angst; from the specificity of the taste of peppermint to the generality of one’s experience of selfhood. All these have a distinct experienced quality. All are prominent parts of the inner life of the mind. We can say that a being is conscious if there is something it is like to be that being, to use a phrase made famous by Thomas Nagel.1
David J. Chalmers (The Conscious Mind: In Search of a Fundamental Theory (Philosophy of Mind))
The argument that “people now have more freedom than ever” is based on the fact that we are allowed to do almost anything we please as long as it has no practical consequences. See ISAIF, §72. Where our actions have practical consequences that may be of concern to the system (and few important practical consequences are not of concern to the system), our behavior, generally speaking, is closely regulated. Examples: We can believe in any religion we like, have sex with any consenting adult partner, take a plane to China or Timbuktu, have the shape of our nose changed, choose any from a huge variety of books, movies, musical recordings, etc., etc., etc. But these choices normally have no important practical consequences. Moreover, they do not require any serious effort on our part. We don’t change the shape of our own nose, we pay a surgeon to do it for us. We don’t go to China or Timbuktu under our own power, we pay someone to fly us there. On the other hand, within our own home city we can’t go from point A to point B without our movement being controlled by traffic regulations, we can’t buy a firearm without undergoing a background check, we can’t change jobs without having our background scrutinized by prospective employers, most people’s jobs require them to work according to rules, procedures, and schedules prescribed by their employers, we can’t start a business without getting licenses and permits, observing numerous regulations, and so forth.
Theodore J. Kaczynski (Technological Slavery)
There are accounts which, if we open our hearts to them, will cut us too deeply. Look—here is a good man, good by his own lights and the lights of his friends: he is faithful and true to his wife, he adores and lavishes attention on his little children, he cares about his country, he does his job punctiliously, as best he can. So, efficiently and good-naturedly, he exterminates Jews: he appreciates the music that plays in the background to pacify them; he advises the Jews not to forget their identification numbers as they go into the showers—many people, he tells them, forget their numbers, and take the wrong clothes, when they come out of the showers. This calms the Jews: there will be life, they assure themselves, after the showers. And they are wrong. Our man supervises the detail taking the bodies to the ovens; and if there is anything he feels bad about, it is that he still allows the gassing of vermin to affect him. Were he a truly good man, he knows, he would feel nothing but joy, as the earth is cleansed of its pests. Leave him; he cuts too deep. He is too close to us and it hurts.
Neil Gaiman (American Gods)
What is the value of sensitives? Look around: we live in a ugly and stupid world which could have been prevented if sensitives had been present, and had the power to influence things. That block-shaped, pressed concrete, ugly shopping mall? The princess would opine that no one could have any peace of mind with such hideous backgrounds, and demand something like a traditional building, with ornate spires and comfortable human spaces instead. Grating, two-note music ranting about copulation and projected sexual desire? No princess would want this crass gibberish around her, nor would she recognize music which neglected the finer parts of composition, melody, harmony, rhythm, and narrative. She would hire Schubert instead. Schools that treat students like livestock, jobs that are jails, marriages that are suicide pacts, and boring tract housing? Similarly, a princess would have no use for those, and perceive that these would be abusive to her so must be to others as well. As children, we made fun of the sensitivity of the princess. A pea, under twenty mattresses, really? The point — in the visual-metaphorical language of fable, religion, literature, and conspiracy theory — tells us that sensitivity is in fact needed, and it needs power to save the rest of us from what we do not yet perceive. In this story, the princess is simply a finer instrument. After twenty years, we might notice that we woke up tired in the mornings, and eventually investigate and find the pea, but she knew right away, intuitively and by the nature of her character. This is part of what makes an aristocrat.
Brett Stevens
Anyways, the guys try to be cool. They just lie there and groove, but after a while they start hearing - you won't believe this - they hear chamber music. They hear violins and cellos. They hear this terrific mama-san soprano. Then after a while they hear gook opera and and a glee club and the Haiphong Boys Choir and a barbershop quartet and and all kinds of wierd chanting and Buddha-Buddha stuff. All the whole time, in the background, there's stil that cocktail party going on. All these different voices. Not human voices, though. Because it's the mountains. Follow me? The rock, it's TALKING. And the fog, too, and the grass and the goddamn mongooses. Everything talks. The trees talk politics, the monnkeys talk religion. The whole country. Vietnam. The place talks. It talks. Understand? Nam - it truly TALKS.
Tim O'Brien
There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat. There are accounts which, if we open our hearts to them, will cut us too deeply. Look—here is a good man, good by his own lights and the lights of his friends: he is faithful and true to his wife, he adores and lavishes attention on his little children, he cares about his country, he does his job punctiliously, as best he can. So, efficiently and good-naturedly, he exterminates Jews: he appreciates the music that plays in the background to pacify them; he advises the Jews not to forget their identification numbers as they go into the showers—many people, he tells them, forget their numbers, and take the wrong clothes, when they come out of the showers. This calms the Jews: there will be life, they assure themselves, after the showers. And they are wrong. Our man supervises the detail taking the bodies to the ovens; and if there is anything he feels bad about, it is that he still allows the gassing of vermin to affect him. Were he a truly good man, he knows, he would feel nothing but joy, as the earth is cleansed of its pests. Leave him; he cuts too deep. He is too close to us and it hurts.
Neil Gaiman (American Gods (American Gods, #1))
Her mother, an unshapely, chubby-cheeked creature from the rural gentry of Styria, permanently lost her hair at the age of forty after being treated for influenza by her husband, and prematurely withdrew from society. She and her husband were able to live in the Gentzgasse thanks to her mother's fortune, which derived from the family estates in Styria and then devolved upon her. She provided for everything, since her husband earned nothing as a doctor. He was a socialite, what is known as a beau, who went to all the big Viennese balls during the carnival season and throughout his life was able to conceal his stupidity behind a pleasingly slim exterior. Throughout her life Auersberger's mother-in-law had a raw deal from her husband, but was content to accept her modest social station, not that of a member of the nobility, but one that was thoroughly petit bourgeois. Her son-in-law, as I suddenly recalled, sitting in the wing chair, made a point of hiding her wig from time to time--whenever the mood took him--both in the Gentzgasse and at the Maria Zaal in Styria, so that the poor woman was unable to leave the house. It used to amuse him, after he had hidden her wig, to drive his mother-in-law up the wall, as they say. Even when he was going on forty he used to hide her wigs--by that time she has provided herself with several--which was a symptom of his sickness and infantility. I often witnessed this game of hide-and-seek at Maria Zaal and in the Gentzgasse, and I honestly have to say that I was amused by it and did not feel in the least bit ashamed of myself. His mother-in-law would be forced to stay at home because her son-in-law had hidden her wigs, and this was especially likely to happen on public holidays. In the end he would throw the wig in her face. He needed his mother-in-law's humiliation, I reflected, sitting in the wing chair and observing him in the background of the music room, just as he needed the triumph that this diabolical behavior brought him.
Thomas Bernhard (Woodcutters (Phoenix Fiction))
I’m going to tell you something, there’s country poor, and there’s city poor. As much of my life as I’d spent in front of a TV thinking Oh, man, city’s where the money trees grow, I was seeing more to the picture now. I mean yes, that is where they all grow, but plenty of people are sitting in that shade with nothing falling on them. Chartrain was always discussing “hustle,” and it took me awhile to understand he grew up hungry for money like it was food. Because for him, they’re one and the same. Not to run the man down, but he wouldn’t know a cow from a steer, or which of them gave milk. No desperate men Chartrain ever knew went out and shot venison if they were hungry. They shot liquor store cashiers. Living in the big woods made of steel and cement, without cash, is a hungrier life than I knew how to think about. I made my peace with the place, but never went a day without feeling around for things that weren’t there, the way your tongue pushes into the holes where you’ve lost teeth. I don’t just mean cows, or apple trees, it runs deeper. Weather, for instance. Air, the way it smells from having live things breathing into it, grass and trees and I don’t know what, creatures of the soil. Sounds, I missed most of all. There was noise, but nothing behind it. I couldn’t get used to the blankness where there should have been bird gossip morning and evening, crickets at night, the buzz saw of cicadas in August. A rooster always sounding off somewhere, even dead in the middle of Jonesville. It’s like the movie background music. Notice it or don’t, but if the volume goes out, the movie has no heart. I’d oftentimes have to stop and ask myself what season it was. I never realized what was holding me to my place on the planet of earth: that soundtrack. That, and leaf colors and what’s blooming in the roadside ditches this week, wild sweet peas or purple ironweed or goldenrod. And stars. A sky as dark as sleep, not this hazy pinkish business, I’m saying blind man’s black. For a lot of us, that’s medicine. Required for the daily reboot.
Barbara Kingsolver (Demon Copperhead)
But what was lacking, what was different, I asked myself, listening to the talk? And to answer that question I had to think myself out of the room, back into the past, before the war indeed, and to set before my eyes the model of another luncheon party held in rooms not very far distant from these; but different. Everything was different. Meanwhile the talk went on among the guests, who were many and young, some of this sex, some of that; it went on swimmingly, it went on agreeably, freely, amusingly. And as it went on I set it against the background of that other talk, and as I matched the two together I had no doubt that one was the descendant, the legitimate heir of the other. Nothing was changed; nothing was different save only - here I listened with all my ears not entirely to what was being said, but to the murmur or current behind it. Yes - that was it - the change was there. Before the war at a luncheon party like this people would have said precisely the same things but they would have sounded different, because in those days they were accompanied by a sort of humming noise, not articulate, but musical, exciting, which changed the value of the words themselves. Could one set that humming noise to words? Perhaps with the help of the poets one could. ... The very reason why the poetry excites one to such abandonment, such rapture, is that it celebrates some feeling that one used to have (at luncheon parties before the war perhaps), so that one responds easily, familiarly, without having to check the feeling, or to compare it with any that one has now.
Virginia Woolf (A Room of One’s Own)
People with hearing loss are hard to live with. For one thing, they’re always telling you how to talk to them. Here are some tips. • Look at them when you speak—almost all hearing-impaired people read lips. Don’t lean into their ear when you talk—they need to see your lips. • Speak in a normal voice and articulate as clearly as possible. Shouting won’t help. Sylvia, the character in Nina Raine’s play Tribes who is going deaf, describes the efforts of the well-intentioned but badly informed: “People yelling in your ear however much you explain, so you literally have to grab their face and stick it in front of you.” • If the hearing-impaired person says “What?” or “Sorry?” don’t simply repeat what you’ve just said. Rephrase it. • If they don’t hear what you’ve said after you’ve repeated it two or three times, don’t say, “Never mind, it doesn’t matter.” To the person who can’t hear it, everything matters. • If you’re in a room with a bright window or bright lights, allow the hearing-impaired person to sit with their back to the light (for lipreading). • Most hearing-impaired people will have a very hard time distinguishing speech over a noisy air conditioner, a humming fish tank, a fan, or anything that whirs or murmurs or rumbles. Don’t try to talk to them when the TV is on, and turn off the background music when they come to visit. • Don’t talk to a hearing-impaired person unless you have their full attention. A hearing-impaired person can’t cook and hear at the same time, no matter how collegial it may seem to join her in the kitchen. • If you’re part of a small group, speak one at a time. At a dinner party or book group, where there may be eight or ten people present, try to have one general conversation, instead of several overlapping small ones. • If you’re at an event—a performance or a church service or a big meeting—give the hearing-impaired person a few moments after the event is over to readjust their hearing—either mentally or manually (changing the program on a hearing aid, for instance). • Never lean into a hearing-impaired person’s ear and whisper in the middle of a performance. They can’t hear you!
Katherine Bouton (Shouting Won't Help: Why I--and 50 Million Other Americans--Can't Hear You)
There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat. There are accounts which, if we open our hearts to them will cut us too deeply. Look – here is a good man, good by his own lights and the lights of his friends: he is faithful and true to his wife, he adores and lavishes attention on his little children, he cares about his country, he does his job punctiliously, as best he can. So, efficiently and good-naturedly, he exterminates Jews: he appreciates the music that plays in the background to pacify them; he advises the Jews not to forget their identification numbers as they go into the showers – many people, he tells them, forget their numbers, and take the wrong clothes, when they come out of the showers. This calms the Jews: there will be life, they assure themselves, after the showers. And they are wrong. Our man supervises the detail taking the bodies to the ovens; and if there is anything he feels bad about, it is that he still allows the gassing of vermin to affect him. Were he a truly good man, he knows, he would feel nothing but joy, as the earth is cleansed of its pests. Leave him; he cuts too deep. He is too close to us and it hurts.
Neil Gaiman (American Gods (American Gods, #1))
As you sit there watching a performance of a Shakespeare, Johnson, or Marlowe play, the crowd will fade into the background. Instead, you will be struck by the diction. There are words and phrases that you will not find funny, but which will make the crowd roar with laughter. Your familiarity with the meanings of Shakespeare's words will rise and fall as you see and hear the actors' deliveries and notice the audience's reaction. That is the strange music of being so familiar with something that is not of your own time. What you are listening to in that auditorium is the genuine voice, something of which you have heard only distant echoes. Not every actor is perfect in his delivery; Shakespeare himself makes that quite clear in his Hamlet. But what you are hearing is the voice of the men for whom Shakespeare wrote his greatest speeches. Modern thespians will follow the rhythms or the meanings of these words, but even the most brilliant will not always be able to follow both rhythm and meaning at once. If they follow the pattern of the verse, they risk confusing the audience, who are less familiar with the sense of the words. If they pause to emphasize the meanings, they lose the rhythm of the verse. Here, on the Elizabethan stage, you have a harmony of performance and understanding that will never again quite be matched in respect of any of these great writers.
Ian Mortimer (The Time Traveller's Guide to Elizabethan England)
Shortly after the Gulf War in 1992 I happened to visit a July Fourth worship service at a certain megachurch. At center stage in this auditorium stood a large cross next to an equally large American flag. The congregation sang some praise choruses mixed with such patriotic hymns as “God Bless America.” The climax of the service centered on a video of a well-known Christian military general giving a patriotic speech about how God has blessed America and blessed its military troops, as evidenced by the speedy and almost “casualty-free” victory “he gave us” in the Gulf War (Iraqi deaths apparently weren’t counted as “casualties” worthy of notice). Triumphant military music played in the background as he spoke. The video closed with a scene of a silhouette of three crosses on a hill with an American flag waving in the background. Majestic, patriotic music now thundered. Suddenly, four fighter jets appeared on the horizon, flew over the crosses, and then split apart. As they roared over the camera, the words “God Bless America” appeared on the screen in front of the crosses. The congregation responded with roaring applause, catcalls, and a standing ovation. I saw several people wiping tears from their eyes. Indeed, as I remained frozen in my seat, I grew teary-eyed as well - but for entirely different reasons. I was struck with horrified grief. Thoughts raced through my mind: How could the cross and the sword have been so thoroughly fused without anyone seeming to notice? How could Jesus’ self-sacrificial death be linked with flying killing machines? How could Calvary be associated with bombs and missiles? How could Jesus’ people applaud tragic violence, regardless of why it happened and regardless of how they might benefit from its outcome? How could the kingdom of God be reduced to this sort of violent, nationalistic tribalism? Has the church progressed at all since the Crusades? Indeed, I wondered how this tribalistic, militaristic, religious celebration was any different from the one I had recently witnessed on television carried out by Taliban Muslims raising their guns as they joyfully praised Allah for the victories they believed “he had given them” in Afghanistan?
Gregory A. Boyd (The Myth of a Christian Nation: How the Quest for Political Power Is Destroying the Church)
How long have you known about him?” I asked Jesse, using my free hand to gesture toward his guest. “Forever. Nearly as long as I did about you.” “God, Jesse. Why didn’t you say anything?” “He was a shadow of you.” Jesse shrugged. “His background is diluted, his dragon blood les strong. Even with you in his proximity, I wasn’t certain any of his drakon traits would emerge. He hasn’t anywhere near your potential.” “Pardon me,” Armand said, freezingly polite, “but he is still right here with you in this room.” “Do you mean…I did it?” I asked. “I made him figure it out? What he is?” Jesse gave me an assessing look. “Like is drawn to like. We’re all three of us thick with magic now, even if it’s different kinds. It’s inevitable that we’ll feed off one another. The only way to prevent that would be to separate. And even then it might not be enough. Too much has already begun.” “I don’t want to separate from you,” I said. “No.” Jesse lifted our hands and gave mine a kiss. “Don’t worry about that.” Armand practically rolled his eyes. “If you two are quite done, might we talk some sense tonight? It’s late, I’m tired, and your ruddy chair, Holms, is about as comfortable as sitting on a tack. I want to…” But his voice only faded into silence. He closed his eyes and raised a hand to his face and squeezed the bridge of his nose. I noted again those shining nails. The elegance of his bones beneath his flawless skin. Skin that was marble-pale, I realized. Just like mine. “Yes?” I said, more gently than I’d intended. “Excuse me. I’m finding this all a bit…impossible to process. I’m beginning to believe that this is the most profoundly unpleasant dream I’ve ever been caught in.” “Allow me to assure you that you’re awake, Lord Armand,” I retorted, all gentleness gone. “To wit: You hear music no one else does. Distinctive music from gemstones and all sorts of metals. That day I played the piano at Tranquility, I was playing your father’s ruby song, one you must have heard exactly as I did. Exactly as your mother would have. You also have, perhaps, something like a voice inside you. Something specific and base, stronger than instinct, hopeless to ignore. Animals distrust you. You might even dream of smoke or flying.” He dropped his arm. “You got that from the diary.” “No, I got that from my own life. And damned lucky you are to have been brought into this world as a pampered little prince instead of spending your childhood being like this and still having to fend for yourself, as I did.” “Right. Lucky me.” Armand looked at Jesse, his eyes glittering. “And what are you? Another dragon? A gargoyle, perchance, or a werecat?” “Jesse is a star.” The hand went up to conceal his face again. “Of course he is. The. Most. Unpleasant. Dream. Ever.” I separated my hand from Jesse’s, angling for more bread. “I think you’re going to have to show him.” “Aye.” A single blue eye blinked open between Armand’s fingers. “Show me what?
Shana Abe (The Sweetest Dark (The Sweetest Dark, #1))
The next morning, of course, Betsy made a list. Lists were always her comfort. For years she had made lists of books she must read, good habits she must acquire, things she must do to make herself prettier—like brushing her hair a hundred strokes at night, and manicuring her fingernails, and doing calisthenics before an open window in the morning. (That one hadn’t lasted long.) It was fun making this list, sitting in bed with her breakfast tray on her lap…hot chocolate, crisp hard rolls, and a pat of butter. Hanni had brought it to her after closing the windows and pushing back the velvet draperies. Betsy felt like a heroine in one of her own stories; their maids always awakened them that way. 1. Learn the darn money. 2. Study German. (You’ve forgotten all you knew.) 3. Buy a map and learn the city—from end to end, as you told Papa you would. 4. Read the history of Bavaria. You must have it for background. 5. Go to the opera. (You didn’t stay in Madeira because Munich is such a center for music and art???) 6. Go to the art galleries. (Same reason.) 7. Write! Full of enthusiasm, she planned a schedule. First, each morning, she would have her bath, and then write until noon. After the midday dinner she would go out and learn the city. She would go to the galleries, museums, and churches. She would have coffee out—for atmosphere. “Then I’ll come home and study German and read Bavarian history. And after supper…” she tried not to remember the look of that dining room…“I’ll write my diary-letter, except when I go to the opera or concerts.
Maud Hart Lovelace (Betsy and the Great World / Betsy's Wedding (Betsy-Tacy #9-10))