Barrow Downs Quotes

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I have stolen princesses back from sleeping barrow kings. I burned down the town of Trebon. I have spent the night with Felurian and left with both my sanity and my life. I was expelled from the University at a younger age than most people are allowed in. I tread paths by moonlight that others fear to speak of during day. I have talked to gods, loved women, and written songs that make the minstrels weep. You may have heard of me.
Patrick Rothfuss (The Name of the Wind (The Kingkiller Chronicle, #1))
My name is Kvothe, pronounced nearly the same as "quothe." Names are important as they tell you a great deal about a person. I've had more names than anyone has a right to. The Adem call me Maedre. Which, depending on how it's spoken, can mean The Flame, The Thunder, or The Broken Tree. "The Flame" is obvious if you've ever seen me. I have red hair, bright. If I had been born a couple of hundred years ago I would probably have been burned as a demon. I keep it short but it's unruly. When left to its own devices, it sticks up and makes me look as if I have been set afire. "The Thunder" I attribute to a strong baritone and a great deal of stage training at an early age. I've never thought of "The Broken Tree" as very significant. Although in retrospect, I suppose it could be considered at least partially prophetic. My first mentor called me E'lir because I was clever and I knew it. My first real lover called me Dulator because she liked the sound of it. I have been called Shadicar, Lightfinger, and Six-String. I have been called Kvothe the Bloodless, Kvothe the Arcane, and Kvothe Kingkiller. I have earned those names. Bought and paid for them. But I was brought up as Kvothe. My father once told me it meant "to know." I have, of course, been called many other things. Most of them uncouth, although very few were unearned. I have stolen princesses back from sleeping barrow kings. I burned down the town of Trebon. I have spent the night with Felurian and left with both my sanity and my life. I was expelled from the University at a younger age than most people are allowed in. I tread paths by moonlight that others fear to speak of during day. I have talked to Gods, loved women, and written songs that make the minstrels weep. You may have heard of me.
Patrick Rothfuss (The Name of the Wind (The Kingkiller Chronicle, #1))
I have been called Kvothe the Bloodless, Kvothe the Arcane, and Kvothe Kingkiller. I have earned those names. Bought and paid for them. But I was brought up as Kvothe. My father once told me it meant "to know." I have, of course, been called many other things. Most of them uncouth, although very few were unearned. I have stolen princesses back from sleeping barrow kings. I burned down the town of Trebon. I have spent the night with Felurian and left with both my sanity and my life. I was expelled from the University at a younger age than most people are allowed in. I tread paths by moonlight that others fear to speak of during day. I have talked to Gods, loved women, and written songs that make the minstrels weep. You may have heard of me.
Patrick Rothfuss (The Name of the Wind (The Kingkiller Chronicle, #1))
I can feel him slipping down not just the hall but a dark and twisted path. It makes me afraid for the boy who taught me how to dance
Victoria Aveyard (Red Queen (Red Queen, #1))
As he continued to load the barrow, he moved slower and slower, like a machine winding down. Eventually he stopped completely and stood for a long minute, still as stone. Only then did his composure break. And even with no one there to see, he hid his face in his hands and wept quietly, his body wracked with wave on wave of heavy, silent sobs.
Patrick Rothfuss (The Name of the Wind (The Kingkiller Chronicle, #1))
Her evil cannot reach us here. Let us burn the ancient tree-mace trees and close off the ancient ways. Tear down the tower, the crown of our barrow, and let us hide ourselves from evil. Let no one leave the mound, and if evil grows, we shall flee farther. No! Let evil hear the pounding of our feet! Let evil hear our drumming and our chanting songs of war. Let evil fear us! Let evil flee! In any world, may dark things know our names and fear. May their vile skins creep and shiver at every mention of the faeren. Let the night flee before the dawn and darkness crowd into the shadows. We march to war!" - Nudd, the Chestnut King
N.D. Wilson (The Chestnut King (100 Cupboards, #3))
Cal's eyes flicker, out to the trees. But he's not looking at the leaves. His gaze is in the past, to something more painful. "She killed my true mother as well. And she'll kill all of us if we let her." The words come out hard and harsh, a rusty blade to saw flesh. They taste wonderful in my mouth. "Not if I kill her first." For all his talents, Cal is not a violent person. He can kill you in a thousand different ways, lead an army, burn down a village, but he will not enjoy it. So his next words take me by surprise. "When the time comes," he says, staring at me, "we'll flip a coin." His bright flame has grown dark indeed.
Victoria Aveyard
[I] threw open the door to find Rob sit­ting on the low stool in front of my book­case, sur­round­ed by card­board box­es. He was seal­ing the last one up with tape and string. There were eight box­es - eight box­es of my books bound up and ready for the base­ment! "He looked up and said, 'Hel­lo, dar­ling. Don't mind the mess, the care­tak­er said he'd help me car­ry these down to the base­ment.' He nod­ded to­wards my book­shelves and said, 'Don't they look won­der­ful?' "Well, there were no words! I was too ap­palled to speak. Sid­ney, ev­ery sin­gle shelf - where my books had stood - was filled with ath­let­ic tro­phies: sil­ver cups, gold cups, blue rosettes, red rib­bons. There were awards for ev­ery game that could pos­si­bly be played with a wood­en ob­ject: crick­et bats, squash rac­quets, ten­nis rac­quets, oars, golf clubs, ping-​pong bats, bows and ar­rows, snook­er cues, lacrosse sticks, hock­ey sticks and po­lo mal­lets. There were stat­ues for ev­ery­thing a man could jump over, ei­ther by him­self or on a horse. Next came the framed cer­tificates - for shoot­ing the most birds on such and such a date, for First Place in run­ning races, for Last Man Stand­ing in some filthy tug of war against Scot­land. "All I could do was scream, 'How dare you! What have you DONE?! Put my books back!' "Well, that's how it start­ed. Even­tu­al­ly, I said some­thing to the ef­fect that I could nev­er mar­ry a man whose idea of bliss was to strike out at lit­tle balls and lit­tle birds. Rob coun­tered with re­marks about damned blue­stock­ings and shrews. And it all de­gen­er­at­ed from there - the on­ly thought we prob­ably had in com­mon was, What the hell have we talked about for the last four months? What, in­deed? He huffed and puffed and snort­ed and left. And I un­packed my books.
Annie Barrows (The Guernsey Literary and Potato Peel Pie Society)
Crawley, I do trust that you have rung that bell, for if I stand in this disagreeable wind you know I shall take cold, and my colds always descend upon my chest. How thoughtless it was in you to have handed me down from the chaise until the door had been opened! Ah, here is that deplorable henchman! Yes, Barrow, it is I indeed. Take my hat – no, Crawley had best take my hat, perhaps. And yet, if he does so, who is to assist me out of my greatcoat? How difficult all these arrangements are! Ah, a happy thought! You have laid my hat down, Crawley! I do not know where I should be without you. Now my coat, and pray be careful! Where is a mirror? Crawley, you cannot have been so foolish as to have packed all my hand-mirrors! No I thought not: hold it a little higher, I beg of you, and give me my comb! Yes, that will serve, Barrow, you may announce me to your mistress!
Georgette Heyer (The Reluctant Widow)
Squire Trelawney, Dr. Livesey, and the rest of these gentlemen having asked me to write down the whole particulars about Treasure Island, from the beginning to the end, keeping nothing back but the bearings of the island, and that only because there is still treasure not yet lifted, I take up my pen in the year of grace 17—, and go back to the time when my father kept the Admiral Benbow inn and the brown old seaman with the sabre cut first took up his lodging under our roof. I remember him as if it were yesterday, as he came plodding to the inn door, his sea-chest following behind him in a hand-barrow—a tall, strong, heavy, nut-brown man, his tarry pigtail falling over the shoulder of his soiled blue coat, his hands ragged and scarred, with black, broken nails, and the sabre cut across one cheek, a dirty, livid white. I remember him looking round the cover and whistling to himself as he did so, and then breaking out in that old sea-song that he sang so often afterwards:
Robert Louis Stevenson (Treasure Island)
With some dogs you share a boil in the bag breakfast and maybe a blanket on a cold desert floor. Some you wouldn't leave in charge of your Grandma unless you wanted to find out just how fast the old girl could run. But, if you're very, very lucky there will be the one dog you would lay down your life for - and for me that dog is Buster.
Will Barrow
In those first years the roads were peopled with refugees shrouded up in their clothing. Wearing masks and goggles, sitting in their rags by the side of the road like ruined aviators. Their barrows heaped with shoddy. Towing wagons or carts. Their eyes bright in their skulls. Creedless shells of men tottering down the causeways like migrants in a feverland. The frailty of everything revealed at last. Old and troubling issues resolved into nothingness and night. The last instance of a thing takes the class with it. Turns out the light and is gone. Look around you. Ever is a long time. But the boy knew what he knew. That ever is no time at all.
Cormac McCarthy (The Road)
The man who came with the barrow told us the mail had set him down the morning before at the Royal George, that he had inquired what inns there were along the coast, and hearing ours well spoken of, I suppose, and described as lonely, had chosen it from the others for his place of residence. And that was all we could learn of our guest.
Robert Louis Stevenson (Treasure Island)
I am blood. I am death, I am vengeance,” she said, her voice flat, empty. Then she wiped the seax clean and slipped it into her belt, finally placing timber and stone on to the barrow, sealing Thorkel inside. She stooped, lifted her sack and picked up her spear, then strode out through the gateway. With a hiss of wings Vesli flew around her, hovered over her. “Vesli come with you, help mistress get Breca back,” the tennúr said. “No,” Orka said. “Death is my only companion. Stay and help Spert.” Vesli looked at the two seaxes that had slain Thorkel, thrust inside Orka’s belt. “What are you going to do with them, mistress?” the tennúr asked. Orka looked out, over the sloping hills and down to Fellur village, a smear far below. “I’m going to find the owner of these blades, and give them back to him,” Orka snarled.
John Gwynne (The Shadow of the Gods (The Bloodsworn Saga, #1))
Turing attended Wittgenstein's lectures on the philosophy of mathematics in Cambridge in 1939 and disagreed strongly with a line of argument that Wittgenstein was pursuing which wanted to allow contradictions to exist in mathematical systems. Wittgenstein argues that he can see why people don't like contradictions outside of mathematics but cannot see what harm they do inside mathematics. Turing is exasperated and points out that such contradictions inside mathematics will lead to disasters outside mathematics: bridges will fall down. Only if there are no applications will the consequences of contradictions be innocuous. Turing eventually gave up attending these lectures. His despair is understandable. The inclusion of just one contradiction (like 0 = 1) in an axiomatic system allows any statement about the objects in the system to be proved true (and also proved false). When Bertrand Russel pointed this out in a lecture he was once challenged by a heckler demanding that he show how the questioner could be proved to be the Pope if 2 + 2 = 5. Russel replied immediately that 'if twice 2 is 5, then 4 is 5, subtract 3; then 1 = 2. But you and the Pope are 2; therefore you and the Pope are 1'! A contradictory statement is the ultimate Trojan horse.
John D. Barrow (The Book of Nothing: Vacuums, Voids, and the Latest Ideas about the Origins of the Universe)
After that, the strawberry wood became my favorite place to go. In the summer I picked the fruit, and ran up and down the alleys of trees, and in autumn, collected acorns, and lay on my back watching the sky through the open branches. In the spring, I picked violets, and wild garlic by the riverbank. In winter I built tunnels under the barrows of brambles, and all year round I watched the well, and listened to its breathing, and sometimes dropped a coin or a stone into the water, and whispered into the darkness.
Joanne Harris (The Strawberry Thief (Chocolat, #4))
The way I saw it, that was the real mistake the Barrow gang had made. It seemed to me that they'd have been a lot less likely to get gunned down if Bonnie had just had the sense to be Clyde.
Saundra Mitchell
The graves in the Pet Sematary mimed the most ancient religious symbol of all: diminishing circles indicating a spiral leading down, not to a point, but to infinity; order from chaos or chaos from order, depending on which way your mind worked. It was a symbol the Egyptians had chiseled on the tombs of the Pharaohs, a symbol the Phoenicians had drawn on the barrows of their fallen kings; it was found on cave walls in ancient Mycenae; the guild-kings of Stonehenge had created it as a clock to time the universe; it appeared in the Judeo-Christian Bible as the whirlwind from which God had spoken to Job.
Stephen King (Pet Sematary)
THE MEETING" "Scant rain had fallen and the summer sun Had scorched with waves of heat the ripening corn, That August nightfall, as I crossed the down Work-weary, half in dream. Beside a fence Skirting a penning’s edge, an old man waited Motionless in the mist, with downcast head And clothing weather-worn. I asked his name And why he lingered at so lonely a place. “I was a shepherd here. Two hundred seasons I roamed these windswept downlands with my flock. No fences barred our progress and we’d travel Wherever the bite grew deep. In summer drought I’d climb from flower-banked combe to barrow’d hill-top To find a missing straggler or set snares By wood or turmon-patch. In gales of March I’d crouch nightlong tending my suckling lambs. “I was a ploughman, too. Year upon year I trudged half-doubled, hands clenched to my shafts, Guiding my turning furrow. Overhead, Cloud-patterns built and faded, many a song Of lark and pewit melodied my toil. I durst not pause to heed them, rising at dawn To groom and dress my team: by daylight’s end My boots hung heavy, clodded with chalk and flint. “And then I was a carter. With my skill I built the reeded dew-pond, sliced out hay From the dense-matted rick. At harvest time, My wain piled high with sheaves, I urged the horses Back to the master’s barn with shouts and curses Before the scurrying storm. Through sunlit days On this same slope where you now stand, my friend, I stood till dusk scything the poppied fields. “My cob-built home has crumbled. Hereabouts Few folk remember me: and though you stare Till time’s conclusion you’ll not glimpse me striding The broad, bare down with flock or toiling team. Yet in this landscape still my spirit lingers: Down the long bottom where the tractors rumble, On the steep hanging where wild grasses murmur, In the sparse covert where the dog-fox patters.” My comrade turned aside. From the damp sward Drifted a scent of melilot and thyme; From far across the down a barn owl shouted, Circling the silence of that summer evening: But in an instant, as I stepped towards him Striving to view his face, his contour altered. Before me, in the vaporous gloaming, stood Nothing of flesh, only a post of wood.
John Rawson (From The English Countryside: Tales Of Tragedy: Narrated In Dramatic Traditional Verse)
When Things Close In It feels as though I make my own way through massive rock like a vein of ore alone, encased. I am so deep inside it I can't see the path or any distance: everything is close and everything closing in on me has turned to stone. Since I still don't know enough about pain, this terrible darkness makes me small, If it's you, though— press down hard on me, break in that I may know the weight of your hand and you, the fullness of my cry.
Anita Barrows (A Year with Rilke: Daily Readings from the Best of Rainer Maria Rilke)
Every inch of space was used. As the road narrowed, signs receded upwards and changed to the vertical. Businesses simply soared from ground level and hung out vaster, more fascinatingly illuminated shingles than competitors. We were still in a traffic tangle, but now the road curved. Shops crowded the pavements and became homelier. Vegetables, spices, grocery produce in boxes or hanging from shop lintels, meats adangle - as always, my ultimate ghastliness - and here and there among the crowds the alarming spectacle of an armed Sikh, shotgun aslant, casually sitting at a bank entrance. And markets everywhere. To the right, cramped streets sloped down to the harbor. To the left, as we meandered along the tramlines through sudden dense markets of hawkers' barrows, the streets turned abruptly into flights of steps careering upwards into a bluish mist of domestic smoke, clouds of washing on poles, and climbing. Hong Kong had the knack of building where others wouldn't dare.
Jonathan Gash (Jade Woman (Lovejoy, #12))
big grin spread over Bean’s face. “How much?” “Not much.” Ivy said. “Just a handful.” They looked at each other and began to laugh. When Bean woke up, it was dark. She sat up and peered out the window. Wow, she thought. I did it. Outside, a streetlight shone down on a car and the empty sidewalk. Everyone was asleep. Even though she hadn’t really expected to wake up in the middle of the night, Bean had placed a pair of scissors on the table beside her bed. She took hold of them, pointy end down,
Annie Barrows (Ivy and Bean and the Ghost That Had to Go)
A spring sun was shining on the rue St. Honore, as I ran down the church steps. On one corner stood a barrow full of yellow jonquils, pale violets from the Riviera, dark Russian violets, and white Roman hyacinths in a golden cloud of mimosa. The street was full of Sunday pleasure-seekers. I swung my cane and laughed with the rest. Someone overtook and passed me. He never turned, but there was the same deadly malignity in his white profile that there had been in his eyes. I watched him as long as I could see him. His lithe back expressed the same menace; every step that carried him away from me seemed to bear him on some errand connected with my destruction. I was creeping along, my feet almost refusing to move. There began to dawn in me a sense of responsibility for something long forgotten. It began to seem as if I deserved that which he threatened: it reached a long way back - a long, long way back. It had lain dormant all these. years: it was there though, and presently it would rise and confront me. But I would try to escape; and I stumbled as best I could into the rue de Rivioli, across the Place de la Concorde and on to the Quai. I looked with sick eyes upon the sun, shining through the white foam of the fountain, pouring over the backs of the dusky bronze river-gods, on the far-away Arc, a structure of amethyst mist, on the countless vistas of grey stems and bare branches faintly green. Then I saw him again coming down one of the chestnut alleys of the Cours la Reine. ("In The Court of the Dragon")
Robert W. Chambers (The King in Yellow and Other Horror Stories)
and goggles, sitting in their rags by the side of the road like ruined aviators. Their barrows heaped with shoddy. Towing wagons or carts. Their eyes bright in their skulls. Creedless shells of men tottering down the causeways like migrants in a feverland. The frailty of everything revealed at last. Old and troubling issues resolved into nothingness and night. The last instance of a thing takes the class with it. Turns out the light and is gone. Look around you. Ever is a long time. But the boy knew what he knew. That ever is no time at all.
Cormac McCarthy (The Road)
In those first years the roads were peopled with refugees shrouded up in their clothing. Wearing masks and goggles, sitting in their rags by the side of the road like ruined aviators. Their barrows heaped with shoddy. Towering wagons or carts. Their eyes bright in their skulls. Creedless shells of men tottering down the causeways like migrants in a feverland. The frailty of everything revealed at last. Old and troubling issues resolved into nothingness and night. The last instance of a thing takes the class with it. Turns out the light and is gone. Look around you. Ever is a long time. But the boy knew what he knew. That ever is no time at all.
Cormac McCarthy (The Road)
Bugge had leaned forward then. “Who’s the man?” he asked. “The one who hasn’t come, though the hour has?” “It is the man who will lead you. Listen to me now, you complacent fathers and householders, and don’t make up your twopenny minds that what I’m saying is necessarily a fable. Do you recall the stories of Sigmund, who drew out Odin’s sword easily from the Branstock Oak when no other man in the Volsung’s hall could budge it with his best efforts?” “Certainly,” Bugge had nodded. “And I also recall what became of that sword when the one-eyed god inexplicably turned on him. Odin shattered it in battle, and Sigmund, left unarmed, was killed by Lyngi’s spearmen.” The magician had nodded. “That’s true. Now listen, Odin has allowed—ordered, rather—Sigmund himself to return to the flesh, to lead you in pushing back Muspelheim’s hordes.” The men around the table had been skeptical, but afraid to let Gardvord see it. “How will we meet him?” piped up one of them. “You must sail up the Elbe, through various tributaries and overland crossings, and finally down the Danube. When you have reached the city that is built around Balder’s barrow, you’ll know it, because,” he paused impressively, “Sigmund will actually rise from the water to greet you. I suspect the barrow is near the city of Tulln, but I can’t be sure. You’ll know the spot, in any case, by Sigmund’s watery resurrection
Tim Powers (The Drawing of the Dark)
they were tired of that so they ripped open the package and sat down side by side on Ivy’s couch to look at The Royal Book of the Ballet. “I heard that sometimes their toes bleed when they’re dancing,” said Bean. “The blood leaks right through the satin part.” “That’s gross,” said Ivy, turning the pages. Suddenly she stopped. “Whoa, Nellie,” murmured Bean, staring. “Is she kicking his head off?” asked Ivy in a whisper. “That’s what it looks like,” said Bean. “What’s this one called, anyway?” Ivy flipped back a few pages. “Giselle,” she said, reading quickly. “It’s about a girl named Giselle who, um, dances with this duke guy, but he’s going to marry a princess, not Giselle, so she takes his sword and stabs herself.” Ivy and Bean found the picture of that.
Annie Barrows (Ivy and Bean: Bound to be Bad)
You’ve read the story of Jesse James— Of how he lived and died; If you’re still in need Of something to read, Here’s the story of Bonnie and Clyde. Now Bonnie and Clyde are the Barrow gang. I’m sure you all have read How they rob and steal And those who squeal Are usually found dying or dead. There’s lots of untruths to these write-ups; They’re not so ruthless as that; Their nature is raw; They hate all the law— The stool pigeons, spotters, and rats. They call them cold-blooded killers; They say they are heartless and mean; But I say this with pride, That I once knew Clyde When he was honest and upright and clean. But the laws fooled around, Kept taking him down And locking him up in a cell, Till he said to me, “I’ll never be free, So I’ll meet a few of them in hell.
Ted Hinton (Ambush: The Real Story of Bonnie and Clyde)
Fortunately, getting hold of people’s garbage was a cinch. Indian detectives were much luckier than their counterparts in, say, America, who were forever rooting around in people’s dustbins down dark, seedy alleyways. In India, one could simply purchase an individual’s trash on the open market. All you had to do was befriend the right rag picker. Tens of thousands of untouchables of all ages still worked as unofficial dustmen and women across the country. Every morning, they came pushing their barrows, calling, “Kooray Wallah!” and took away all the household rubbish. In the colony’s open rubbish dump, surrounded by cows, goats, dogs and crows, they would sift through piles of stinking muck by hand, separating biodegradable waste from the plastic wrappers, aluminium foil, tin cans and glass bottles.
Tarquin Hall (The Case of the Missing Servant (Vish Puri, #1))
Will you need assistance with the boilers, as well?” “I can manage those on my own, but we’ll need two wheelbarrow loads of wood to fuel the fireboxes. There’s a barrow out by the woodshed. If you would start loading it while I move the boilers down to the pond, that would save considerable time.” “Aye, aye, Captain.” Nicole clicked her heels together and snapped a salute. Her employer seemed a bit nonplussed by her actions until she winked at him and allowed the smile she’d been fighting to bloom across her face. He laughed then and gave her a playful push in the direction of the shed. “Hop to, sailor, before I make you walk the plank for insubordination.” Nicole scurried away, giving her best imitation of a cowed crew member, bowing and scraping as she trotted over the packed dirt of the yard. Darius’s deep chuckles followed her, the rich sound warming a place inside her that she hadn’t even realized had been cold.
Karen Witemeyer (Full Steam Ahead)
Then I'm afraid I must endure your hate," said Gerald. "No; I have never been ashamed of my father: he was the dearest, kindest, most unselfish father that ever spoiled an unworthy son. But I have occasionally felt ashamed of that barrow, when it has exhibited and explained to a new acquaintance, and I have seen that the new acquaintance thought the whole thing – the mock mediaeval Abbey, the barrow and my dear simple-hearted dad one stupendous joke." "I should be more ashamed of Felicia, Countess of Heronville, than of that barrow, if I were you," exclaimed Daphne, flushed and indignant. "You little radical! Mistress Felicia was by no means an exemplary person, but she was was one of the loveliest women of Charles's court, where all the lovely women congregated by common consent, while all the ugly ones buried themselves in their husbands' country seats, and thought that some fiery comet must be swooping down upon the world because of wickedness in high places.
Mary Elizabeth Braddon (Asphodel)
THE RETURN OF THE GODS Like a white bird upon the wind, the sail of the boat of Manannan mac Lir (Pronounced Mananarn mak Leer), the Son of the Sea, flew across the sparkling waves filled with the breeze that blew Westward to the Islands of the Blessed. The Sun Goddess above him smiled down with warmth upon her friend. The fish in the ocean danced for him beneath the turquoise water; the porpoises leapt above the waves to greet him. Upon the wind was a smell of sweetness, the smell of apple blossom in the Spring of the morning of the world. And in the prow of the boat sat Lugh (Pronounced Loo) the long-armed; strumming on his harp, he sang the Song of Creation. And as they drew closer to the green hills of Ireland, the holy land of Ireland, the Shee came out of their earth-barrow homes and danced for joy beneath the Sun. For hidden in a crane-skin sack at the bottom of the boat was the Holy Cup of Blessedness. Long had been her journeying through lands strange and far. And all who drank of that Cup, dreamed the dreams of holy truth, and drank of the Wine of everlasting life. And deep within the woods, in a green-clad clearing, where the purple anemone and the white campion bloomed, where primroses still lingered on the shadowed Northern side, a great stag lifted up his antlered head and sniffed the morning. His antlers seven-forked spoke of mighty battles fought and won, red was his coat, the colour of fire, and he trotted out of his greenwood home, hearing on the wind the song of Lugh. And in her deep barrow home, the green clad Goddess of Erin, remembered the tongue that she had forgotten. She remembered the secrets of the weaving of spells, She remembered the tides of woman and the ebb and flow of wave and Moon. She remembered the people who had turned to other Gods and coming out of her barrow of sleep, her sweet voice echoed the verses of Lugh and the chorus of Manannan. And the great stag of the morning came across the fields to her and where had stood the Goddess now stood a white hind. And the love of the God was returned by the Goddess and the larks of Anghus mac Og hovering above the field echoed with ecstasy the Song of Creation. And in the villages and towns the people came out of their houses, hearing the sweet singing and seeking its source. And children danced in the streets with delight. And they went down to the shore, the Eastern shore, where rises the Sun of the Morning, and awaited the coming of Manannan and Lugh, the mast of their boat shining gold in the Sun. The sea had spoken, the Eastern dawn had given up her secret, the Gods were returning, the Old Ones awakening, joy was returning unto the sleeping land.  
Sarah Owen (Paganism: A Beginners Guide to Paganism)
But that is a lie! Here we have been breaking our backs for years at All-Union hard labor. Here in slow annual spirals we have been climbing up to an understanding of life—and from this height it can all be seen so clearly: It is not the result that counts! It is not the result—but the spirit! Not what—but how. Not what has been attained—but at what price. And so it is with us the prisoners—if it is the result which counts, then it is also true that one must survive at any price. And what that means is: One must become a stool pigeon, betray one’s comrades. And thereby get oneself set up comfortably. And perhaps even get time off sentence. In the light of the Infallible Teaching there is, evidently, nothing reprehensible in this. After all, if one does that, then the result will be in our favor, and the result is what counts. No one is going to argue. It is pleasant to win. But not at the price of losing one’s human countenance. If it is the result which counts—you must strain every nerve and sinew to avoid general work. You must bend down, be servile, act meanly—yet hang on to your position as a trusty. And by this means . . . survive. If it is the essence that counts, then the time has come to reconcile yourself to general work. To tatters. To torn skin on the hands. To a piece of bread which is smaller and worse. And perhaps . . . to death. But while you’re alive, you drag your way along proudly with an aching back. And that is when—when you have ceased to be afraid of threats and are not chasing after rewards—you become the most dangerous character in the owllike view of the bosses. Because . . . what hold do they have on you? You even begin to like carrying hand barrows with rubbish (yes, but not with stone!) and discussing with your work mate how the movies influence literature. You begin to like sitting down on the empty cement mixing trough and lighting up a smoke next to your bricklaying. And you are actually and simply proud if, when the foreman passes you, he squints at your courses, checks their alignment with the rest of the wall, and says: “Did you lay that? Good line.” You need that wall like you need a hole in the head, nor do you believe it is going to bring closer the happy future of the people, but, pitiful tattered slave that you are, you smile at this creation of your own hands. The Anarchist’s daughter, Galya Venediktova, worked as a nurse in the Medical Section, but when she saw that what went on there was not healing but only the business of getting fixed up in a good spot—out of stubbornness she left and went off to general work, taking up a spade and a sledge hammer. And she says that this saved her spiritually. For a good person even a crust is healthy food, and to an evil person even meat brings no benefit.
Aleksandr Solzhenitsyn (The Gulag Archipelago 1918–1956 (Abridged))
There is no more beautiful approach to Guernsey than the one by sea—either with the sun going down, or with gold-tipped, black storm clouds, or the Island just emerging through the mist. This is the way I first saw Guernsey, as a new bride.
Mary Ann Shaffer & Annie Barrows
But then this spring it sold, sign outside, and now new people will live there, new people will sleep in Polly’s bedroom and walk her steps down to the beach and it’s really over, Luca thinks. It’s done: no more Polly. This is the last place that felt like she was still alive, the house suspended in time, a living, breathing space seeming to say, I will stay for as long as it takes. I will be here until the truth is known.
Rebecca Barrow (Bad Things Happen Here)
Evil. The word had lost its power through overuse. Now it just meant incomprehensible to the uncomprehending. Barrow wanted to explain the complexities of it, this language of suffering that he had learned at countless crime scenes and in too many interview rooms. The serial killer and the serial burglar shared far more than either would like to admit: the need that has to be fed until next time, the need that results in the suffering of others, the easy justifications. They shouldn't have left it unlocked. They shouldn't have gone down that alley. They shouldn't have been dressed like that. Barrow had heard it all, and he'd always smelled the sour smell of a failed human.
Jonathan L. Howard (Johannes Cabal the Necromancer (Johannes Cabal, #1))
As he continued to load the barrow, he moved slower and slower, like a machine winding down. Eventually he stopped completely and stood for a long minute, still as stone. Only then did his composure break. And even with no one there to see, he hid his face in his hands and wept quietly, his body wracked with wave on wave oh heavy, silent sobs.
Patrick Rothfuss (The Name of the Wind (The Kingkiller Chronicle, #1))
Bindu is used to describe the most insignificant geometrical object, a single point or a circle shrunk down to its centre where it has no finite extent. Literally, it signifies just a 'point', but it symbolises the essence of the Universe before it materialized into the solid world of appearances that we experience. It represents the uncreated Universe from which all things can be created. This creative potential was revealed by means of a simple analogy. For, by its motion, a single dot can generate lines, by whose motion can be generated planes, by whose motion can be generated all of three-dimensional space around us. The bindu was the Nothing from which everything could flow.
John D. Barrow (The Book of Nothing: Vacuums, Voids, and the Latest Ideas about the Origins of the Universe)
Science is predicated upon the belief that the Universe is algorithmically compressible and the modern search for a Theory of Everything is the ultimate expression of that belief, a belief that there is an abbreviated representation of the logic behind the Universe's properties that can be written down in finite form by human beings.
John D. Barrow (Theories of Everything: The Quest for Ultimate Explanation)
The brain is the most effective algorithmic compressor of information that we have so far encountered in Nature. It reduces complex sequences of sense data to simple abbreviated forms which permit the existence of thought and memory. The natural limits that nature imposes upon the sensitivity of our eyes and ears prevents us from being overloaded with information about the world. They ensure that the brain receives a manageable amoubt of information when we look at a picture. If we could see everything down to sub-atomic scales then the information-processing capacity of our brains would need to be prohibitively large. The processing speed would need to be far larger than it now is in order for bodily responses to occur quickly enough to evade dangerous natural processes. This we shall have more to say about in the final chapter of our story, when we come to discuss the mathematical aspects of our mental processing.
John D. Barrow (Theories of Everything: The Quest for Ultimate Explanation)
My name is Kvothe, pronounced nearly the same as “Quothe.” Names are important as they tell you a great deal about a person. I’ve had more names than anyone has a right to. The Adem call me Maedre. Which, depending on how it’s spoken, can mean “The Flame,” “The Thunder,” or “The Broken Tree.” “The Flame” is obvious if you’ve ever seen me. I have red hair, bright. If I had been born a couple hundred years ago I would probably have been burned as a demon. I keep it short but it’s unruly. When left to its own devices, it sticks up and makes me look as if I have been set afire. “The Thunder” I attribute to a strong baritone and a great deal of stage training at an early age. I’ve never thought of “The Broken Tree” as very significant. Although in retrospect I suppose it could be considered at least partially prophetic. My first mentor called me E’lir because I was clever and I knew it. My first real lover called me Dulator because she liked the sound of it. I have been called Shadicar, Lightfinger, and Six-String. I have been called Kvothe the Bloodless, Kvothe the Arcane, and Kvothe Kingkiller. I have earned those names. Bought and paid for them. But I was brought up as Kvothe. My father once told me it meant “to know.” I have, of course, been called many other things. Most of them uncouth, although very few were unearned. I have stolen princesses back from sleeping barrow kings. I burned down the town of Trebon. I have spent the night with Felurian and left with both my sanity and my life. I was expelled from the University at a younger age than most people are allowed in. I tread paths by moonlight that others fear to speak of during day. I have talked to Gods, loved women, and written songs that make the minstrels weep. You may have heard of me.
Patrick Rothfuss (The Name of the Wind (The Kingkiller Chronicle, #1))
She's receiving Dr. Sheldon Lord in audience just at the moment," Marshall said. "I don't see why you shouldn't go on to the Throne Room, though. He's giving her some psychological tests, but they ought to be finished in a minute or two." "Fine," Malone said. "How about court dress? Got anything here that might fit me?" Marshall nodded. "We've got a pretty complete line of court costume now," he said. "I should say it was the most complete in existence--except possibly for the TV historical companies. Down the hall, three doors farther on, you'll find the dressing room." * * * * * Malone thanked Dr. Marshall and went out slowly. He didn't really mind the court dress or the Elizabethan etiquette Her Majesty liked to preserve; as a matter of fact, he was rather fond of it. There had been some complaints about expense when the Throne Room and the costume arrangement were first set up, but the FBI and the Government had finally decided that it was better and easier to humor Her Majesty. Malone spent ten minutes dressing himself magnificently in hose and doublet, slash-sleeved, ermine-trimmed coat, lace collar, and plumed hat. By the time he presented himself at the door to the Throne Room he felt almost cheerful. It had been a long time since he had entered the world of Elizabethan knighthood over which Her Majesty held sway, and it always made him feel taller and more sure of himself. He bowed to a chunkily-built man of medium height in a stiffly brocaded jacket, carrying a small leather briefcase. The man had a whaler's beard of blond-red hair that looked slightly out of period, but the costume managed to overpower it. "Dr. Lord?" Malone said. The bearded man peered at him. "Ah, Sir Kenneth," he said. "Yes, yes. Just been giving Her Majesty a few tests. Normal weekly check, you know." "I know," Malone said. "Any change?" "Change?" Lord said. "In Her Majesty? Sir Kenneth, you might as well expect the very rocks to change. Her Majesty remains Her Majesty--and will, in all probability, throughout the foreseeable future." "The same as ever?" Malone asked hopefully. "Exactly," Lord said. "But--if you do want background on the case--I'm flying back to New York tonight. Look me up there, if you have a chance. I'm afraid there's little information I can give you, but it's always a pleasure to talk with you." "Thanks," Malone said dully. "Barrow Street," Lord said with a cheery wave of the briefcase. "Number 69.
Randall Garrett (The Best of Randall Garrett: 43 Novels and Short Stories (Unexpurgated Edition) (Halcyon Classics))
Lady Barrow lolled languidly in her mouse-eaten library, a volume of mediaeval Tortures (with plates) propped up against her knee. In fancy, her husband was pinned down and imploring for mercy at Figure 3.
Ronald Firbank (3 More Novels: Vainglory, Inclinations, Caprice)
Eastward the Barrow-downs rose, ridge behind ridge into the morning, and vanished out of eyesight into a guess: it was no more than a guess of blue and a remote white glimmer blending with the hem of the sky, but it spoke to them, out of memory and old tales, of the high and distant mountains.
J.R.R. Tolkien
we might mention that this could explain why there is no evidence of extraterrestrial life in the Universe. If it is truly advanced, even by our standards, it will most likely be very small, down on the molecular scale. All sorts of advantages then accrue. There is lots of room there – huge populations can be sustained. Powerful, intrinsically quantum computation can be harnessed. Little raw material is required and space travel is easier. You can also avoid being detected by civilisations of clumsy bipeds living on bright planets that beam continuous radio noise into interplanetary space.
John D. Barrow (The Constants of Nature: The Numbers That Encode the Deepest Secrets of the Universe)
In our solar system life first evolved surprisingly soon after the formation of a hospitable terrestrial environment. There is something unusual about this. Suppose the typical time that it takes for life to evolve is called t(bio), then from the evidence of our solar system, which is about 4.6 billion years old, it seems that the time it takes for stars to settle down and create a stable source of heat and light, t(star), is not very different to t(bio) because we have found simple forms of terrestrial bacterial life that are several billion years old.
John D. Barrow (The Constants of Nature: The Numbers That Encode the Deepest Secrets of the Universe)
At a forced labor camp in Kolyma, a remote Siberian Gulag, Russian writer Varlam Shalamov hoarded details about what he was enduring with the avidity of a starving man devouring food. A great master of the short story, Shalamov is like Chekhov in hell. A fifteen-hundred-page collection of his stories includes many with deceptively unassuming titles: “A Letter,” “Cherry Brandy,” “The Wheel-barrow.” His muted voice resonates with the poverty of his expectations. The constraints on his imagination continually reshape his understanding of the depths of brutality and tenderness. One story, simply called “Marcel Proust,” tells of his having stumbled, inconceivably, onto a copy of Le Côté de Guermantes at the bottom of a package of clothing sent to a doctor at his camp. Shalamov seized the volume and began to work his way through it, ravenously. Days of reading went by. Distracted by a question put to him by a fellow prisoner, he put the book down on a bench where he had been sitting and reading. Turning back to resume, he found it was gone. Theft was a reality of prison life, but Shalamov had managed to hold onto the book as long as he could. During that time he had sought out quiet corners to read, avoiding his barracks for many days. “Proust,” he wrote, “was more valuable than sleep.
Józef Czapski (Lost Time: Lectures on Proust in a Soviet Prison Camp)
Of her portrayal in the 1967 movie, Bonnie and Clyde, Blanche said, 'That movie made me out like a screaming horse's ass!' ... 'I was too busy moving bodies [to act hysterical],' Blanche herself said. ... Her image in this memoir, as well as in Fugitives and in Cumie Barrow's manuscript, was fashioned at a time when Blanche could have easily been charged with the Joplin murders. That may account for the great difference in tone Between Blanche, the young convict in Missouri State Penitentiary, and Blanche, the elder ex-fugitive. Indeed, at least one of Blanche Barrows' champions, Wilbur Winkler, the Deni— son man who co-owned (along with Artie Barrow Winkler) the Cinderella Beauty Shoppe, used Fugitives to try to obtain a parole for Blanche from the Missouri Board of Probation and Parole. In letters to the Platte County prosecutor and the judge involved in Blanche's case, Winkler alluded to the book's description of Blanche in Joplin in an effort to win their support for her release: 'Blanch [sic] ran hysterical [tic] thru [sit] the gunfire down the street carrying [her] dog in her arms,' Winkler wrote. He even sent copies of the book to them—and to others.
John Neal Phillips (My Life with Bonnie and Clyde)
You’re funny ’cause no one expects laughs from a man with a metal eye, though.” She waved down at Stand-i’-the-Barrows. “If you’re going to wear the motley you’d better be ready for fun! But let’s not drag this out, I’ve got my monthly bleed on and could do with changing my cloth. If gore’s your thing I can toss you down the old one.
Joe Abercrombie (The Wisdom of Crowds (The Age of Madness, #3))
And then she saw him. The man standing behind the barrow. Not a wight. She glimpsed only a flash of pale skin, night-dark hair, unfathomable beauty, and an onyx torque around his strong column of a neck, and— Blackness. A wave of it, slamming down on her. Not oblivion but actual dark, as if he’d thrown a blanket over the two of them.
Sarah J. Maas (Heir of Fire (Throne of Glass, #3))