Bay Hiss Quotes

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You can't go." "Give me a reason why I shouldn't." "Because I'll miss you, damn it!" she hissed, splaying her arms. "Because what's the point in anything if you just disappear forever?" "The point in what, Celaena?" How could he be so calm when she was so frantic? "The point in Skull's Bay, and the point in getting me that music, and the point in... the point in telling Arobynn that you'd forgive him if he never hurt me again." "You said you didn't care what I thought. Or what I did. Or if I died, if I'm not mistaken." "I lied! And you know I lied you stupid bastard!
Sarah J. Maas (The Assassin and the Underworld (Throne of Glass, #0.4))
The perturbations, anxieties, depravations, deaths, exceptions in the physical or moral order, spirit of negation, brutishness, hallucinations fostered by the will, torments, destruction, confusion, tears, insatiabilities, servitudes, delving imaginations, novels, the unexpected, the forbidden, the chemical singularities of the mysterious vulture which lies in wait for the carrion of some dead illusion, precocious & abortive experiences, the darkness of the mailed bug, the terrible monomania of pride, the inoculation of deep stupor, funeral orations, desires, betrayals, tyrannies, impieties, irritations, acrimonies, aggressive insults, madness, temper, reasoned terrors, strange inquietudes which the reader would prefer not to experience , cants, nervous disorders, bleeding ordeals that drive logic at bay, exaggerations, the absence of sincerity, bores, platitudes, the somber, the lugubrious, childbirths worse than murders, passions, romancers at the Courts of Assize, tragedies,-odes, melodramas, extremes forever presented, reason hissed at with impunity, odor of hens steeped in water, nausea, frogs, devilfish, sharks, simoon of the deserts, that which is somnambulistic, squint-eyed, nocturnal, somniferous, noctambulistic, viscous, equivocal, consumptive, spasmodic, aphrodisiac, anemic, one-eyed, hermaphroditic, bastard, albino, pederast, phenomena of the aquarium, & the bearded woman, hours surfeited with gloomy discouragement, fantasies, acrimonies, monsters, demoralizing syllogisms, ordure, that which does not think like a child, desolation, the intellectual manchineel trees, perfumed cankers, stalks of the camellias, the guilt of a writer rolling down the slope of nothingness & scorning himself with joyous cries, that grind one in their imperceptible gearing, the serious spittles on inviolate maxims, vermin & their insinuating titillations, stupid prefaces like those of Cromwell, Mademoiselle de Maupin & Dumas fils, decaying, helplessness, blasphemies, suffocation, stifling, mania,--before these unclean charnel houses, which I blush to name, it is at last time to react against whatever disgusts us & bows us down.
Comte de Lautréamont (Chants de Maldoror (French Edition))
Faster and faster, those three bulls closed in. Lysandra remained at the mouth of the bay. Holding the line. Aedion’s heart stopped. “She’s dead,” one of the sentries hissed. “Oh, gods, she’s dead—” “Shut your rutting mouth,” Aedion snarled, scanning the bay, slipping into that cold, calculating place that allowed him to make decisions in battle, to weigh the costs and risks.
Sarah J. Maas (Empire of Storms (Throne of Glass, #5))
A WARM WIND ON the mountain and the sky darkening, the clouds looping black underbellies until a huge ulcer folded out of the mass and a crack like the earth’s core rending rattled panes from Winkle Hollow to Bay’s Mountain. And the wind rising and gone colder until the trees bent as if borne forward on some violent acceleration of the earth’s turning and then that too ceased and with a clatter and hiss out of the still air a plague of ice.
Cormac McCarthy (The Orchard Keeper)
I might be a shameless flirt, but at least I don't have a horrible temper. You should come tend to my wounds from our squabble in the snow. I'm bruised all over thanks to you. Something clicked against the nightstand, and a pen rolled across the polished mahogany. Hissing, I snatched it up and scribbed: Go lick your wounds and leave me be. The paper vanished. It was gone for a while- far longer than it should have taken to write the few words that appeared on the paper when it returned. I'd much rather you licked my wounds for me. My heart pounded, faster and faster, and a strange sort of rush went through my veins as I read the sentence again and again. A challenge. I clamped my lips shut to keep from smiling as I wrote, Lick you where exactly? The paper vanished before I'd even completed the final mark. His reply was a long time coming. Then, Wherever you want to lick me, Feyre. I'd like to start with "Everywhere," but I can choose, if necessary. I wrote back, Let's hope my licking is better than yours. I remember how horrible you were at it Under the Mountain. Lie. He'd licked away my tears when I'd been a moment away from shattering. He'd done it to keep me distracted- keep me angry. Because anger was better than feeling nothing; because anger and hatred were the long-lasting fuel in the endless dark of my despair. The same way that music had kept me from breaking. Lucien had come to patch me up a few times, but no one risked quite so much in keeping me not only alive, but as mentally intact as I could be considering the circumstances. Just as he'd been doing these past few weeks- taunting and teasing me to keep the hollowness at bay. Just as he was doing now. I was under duress, his next note read. If you want, I'd be more than happy to prove you wrong. I've been told I'm very, very good at licking. I clenched my knees together and wrote back, Good night. A heartbeat later, his note said, Try not to moan too loudly when you dream about me. I need my beauty rest. I got up, chucked the letter in the burbling fire, and gave it a vulgar gesture. I could have sworn laughter rumbled down the hall.
Sarah J. Maas (A Court of Mist and Fury (A Court of Thorns and Roses, #2))
You can’t go.” “Give me a reason why I shouldn’t.” “Because what was the point in anything if you just disappear forever?” she hissed, splaying her arms. “The point in what, Celaena?” How could he be so calm when she was so frantic? “The point in Skull’s Bay, and the point in getting me that music, and the point in … the point in telling Arobynn that you’d forgive him if he never hurt me again.” “You said you didn’t care what I thought. Or what I did. Or if I died, if I’m not mistaken.” “I lied! And you know I lied, you stupid bastard!
Sarah J. Maas (The Assassin's Blade (Throne of Glass, #0.1-0.5))
Still gasping for breath from the exertion of the chase, the colonel lifted his rifle and aimed at the closest mountain lion. The crack of the colonel’s rifle rang through the night air, echoing off the surrounding mountains. A piece of bark flew up next to the lion as the cat leapt to a different branch of the tree. Swearing in anger that he had missed the shot, the colonel took several steps closer, levered his rifle, and fired again. Once more, the lion leaped away just in time, slinking from branch to branch as her brother hissed and snarled to keep the frenzied, stupid tree-climbing dogs at bay. Serafina ran toward her brother and sister as fast as she could, her claws out and ready to fight. The colonel fired again, and then again, twigs breaking, bark exploding, the lions hissing and snarling, the sound of the repeated shots echoing across the mist-filled valley. Discouraged by the colonel’s poor accuracy, the other hunters began to position themselves to shoot the mountain lions themselves and get it over with. “My shot!” he screamed again as he moved closer. Serafina ran straight toward them, her powerful chest expanding with raging power. She was almost there. But on the colonel’s next shot, she heard the bullet thwack into her sister’s body. Serafina watched helplessly as her sister fell from the branch of the tree and tumbled through midair, her limbs flailing as she plummeted toward the rocks below.
Robert Beatty (Serafina and the Seven Stars (Serafina, #4))
Darkness: I had a dream, which was not all a dream. The bright sun was extinguish'd, and the stars Did wander darkling in the eternal space, Rayless, and pathless, and the icy earth Swung blind and blackening in the moonless air; Morn came and went—and came, and brought no day, And men forgot their passions in the dread Of this their desolation; and all hearts Were chill'd into a selfish prayer for light: And they did live by watchfires—and the thrones, The palaces of crowned kings—the huts, The habitations of all things which dwell, Were burnt for beacons; cities were consum'd, And men were gather'd round their blazing homes To look once more into each other's face; Happy were those who dwelt within the eye Of the volcanos, and their mountain-torch: A fearful hope was all the world contain'd; Forests were set on fire—but hour by hour They fell and faded—and the crackling trunks Extinguish'd with a crash—and all was black. The brows of men by the despairing light Wore an unearthly aspect, as by fits The flashes fell upon them; some lay down And hid their eyes and wept; and some did rest Their chins upon their clenched hands, and smil'd; And others hurried to and fro, and fed Their funeral piles with fuel, and look'd up With mad disquietude on the dull sky, The pall of a past world; and then again With curses cast them down upon the dust, And gnash'd their teeth and howl'd: the wild birds shriek'd And, terrified, did flutter on the ground, And flap their useless wings; the wildest brutes Came tame and tremulous; and vipers crawl'd And twin'd themselves among the multitude, Hissing, but stingless—they were slain for food. And War, which for a moment was no more, Did glut himself again: a meal was bought With blood, and each sate sullenly apart Gorging himself in gloom: no love was left; All earth was but one thought—and that was death Immediate and inglorious; and the pang Of famine fed upon all entrails—men Died, and their bones were tombless as their flesh; The meagre by the meagre were devour'd, Even dogs assail'd their masters, all save one, And he was faithful to a corse, and kept The birds and beasts and famish'd men at bay, Till hunger clung them, or the dropping dead Lur'd their lank jaws; himself sought out no food, But with a piteous and perpetual moan, And a quick desolate cry, licking the hand Which answer'd not with a caress—he died. The crowd was famish'd by degrees; but two Of an enormous city did survive, And they were enemies: they met beside The dying embers of an altar-place Where had been heap'd a mass of holy things For an unholy usage; they rak'd up, And shivering scrap'd with their cold skeleton hands The feeble ashes, and their feeble breath Blew for a little life, and made a flame Which was a mockery; then they lifted up Their eyes as it grew lighter, and beheld Each other's aspects—saw, and shriek'd, and died— Even of their mutual hideousness they died, Unknowing who he was upon whose brow Famine had written Fiend. The world was void, The populous and the powerful was a lump, Seasonless, herbless, treeless, manless, lifeless— A lump of death—a chaos of hard clay. The rivers, lakes and ocean all stood still, And nothing stirr'd within their silent depths; Ships sailorless lay rotting on the sea, And their masts fell down piecemeal: as they dropp'd They slept on the abyss without a surge— The waves were dead; the tides were in their grave, The moon, their mistress, had expir'd before; The winds were wither'd in the stagnant air, And the clouds perish'd; Darkness had no need Of aid from them—She was the Universe.
Lord Byron
Bernstein poured his unfulfilled ambition into stupefying powerful performances of the Mahler symphonies, freighting them with the themes that he should or would have addressed in his own music if only he had the time or the energy or whatever it was that he ultimately lacked: “It is only after fifty, sixty, seventy years of world holocausts, of the simultaneous advance of democracy with our increasing inability to stop making war, of the simultaneous magnification of national pieties with the intensification of our active resistance to social equality—only after we have experienced all this through the smoking ovens of Auschwitz, the frantically bombed jungles of Vietnam, through Hungary, Suez, the Bay of Pigs, the farce-trial of Sinyavsky and Daniel, the refueling of the Nazi machine, the murder in Dallas, the arrogance of South Africa, the Hiss-Chambers travesty, the Trotskyite purges, Black Power, Red Guards, the Arab encirclement of Israel, the plague of McCarthyism, the Tweedledum armaments race—only after all this can we finally listen to Mahler's music and understand that it foretold all. And that in the foretelling it showered a rain of beauty on this world that has not been equaled since.” Bernstein's enthusiasm for Mahler was infectious, but his claims were exaggerated. In twentieth-century music, through all the darkness, guilt, misery, and oblivion, the rain of beauty never ended.
Alex Ross (The Rest Is Noise: Listening to the Twentieth Century)
It was evening of the following day when they entered San Diego. The expriest turned off to find them a doctor but the kid wandered on through the raw mud streets and out past the houses of hide in their rows and across the gravel strand to the beach. Loose strands of ambercolored kelp lay in a rubbery wrack at the tideline. A dead seal. Beyond the inner bay part of a reef in a thin line like something foundered there on which the sea was teething. He squatted in the sand and watched the sun on the hammered face of the water. Out there island clouds emplaned upon a salmoncolored othersea. Seafowl in silhouette. Down-shore the dull surf boomed. There was a horse standing there staring out upon the darkening waters and a young colt that cavorted and trotted off and came back. He sat watching while the sun dipped hissing in the swells. The horse stood darkly against the sky. The surf boomed in the dark and the sea’s black hide heaved in the cobbled starlight and the long pale combers loped out of the night and broke along the beach. He rose and turned toward the lights of the town. The tidepools bright as smelterpots among the dark rocks where the phosphorescent seacrabs clambered back. Passing through the salt grass he looked back. The horse had not moved. A ship’s light winked in the swells. The colt stood against the horse with its head down and the horse was watching, out there past men’s knowing, where the stars are drowning and whales ferry their vast souls through the black and seamless sea.
Cormac McCarthy (Blood Meridian, or, the Evening Redness in the West)
Mama made the coach stop at a barber shop around the corner from their house. 'Go in there,' she told Francie, 'and get your father’s cup.' Francie didn't know what she meant. 'What cup?' she asked. 'Just ask for his cup.' Francie went in. There were two barbers but no customers. One of the barbers sat on one of the chairs in a row against the wall. His left ankle rested on his right knee and he cradled a mandolin. He was playing 'O, Sole Mio.' Francie knew the song. Mr. Morton had taught it to them saying the title was 'Sunshine.' The other barber was sitting in one of the barber chairs looking at himself in the long mirror. He got down from the chair as the girl came in. 'Yes?' he asked. 'I want my father’s cup.' 'The name?' 'John Nolan.' 'Ah, yes. Too bad.' He sighed as he took a mug from the row of them on a shelf. It was a thick white mug with 'John Nolan' written on it in gold and fancy block letters. There was a worn-down cake of white soap at the bottom of it and a tired-looking brush. He pried out the soap and put it and the brush in a bigger unlettered cup. He washed Johnny’s cup. While Francie waited, she looked around. She had never been inside a barber shop. It smelled of soap and clean towels and bay rum. There was a gas heater which hissed companionably. The barber had finished the song and started it over again. The thin tinkle of the mandolin made a sad sound in the warm shop. Francie sang Mr. Morton’s words to the song in her mind. Oh, what’s so fine, dear, As a day of sunshine. The storm is past at last. The sky is blue and clear. Everyone has a secret life, she mused.
Betty Smith
There exists a presence in the ocean, seldom glimpsed in waking hours, best envisioned in your dreams. While you drift in sleep, turtles ride the curve of the deep, seeking their inspiration from the sky. From tranquil tropic bays or nightmare maelstroms hissing foam, they come unseen to share our air. Each sharp exhalation affirms, “Life yet endures.” Each inhaled gasp vows, “Life will continue.” With each breath they declare to the stars and wild silence. By night and by light, sea turtles glide always, their parallel universe strangely alien, yet intertwining with ours.
Carl Safina (Voyage of the Turtle: In Pursuit of the Earth's Last Dinosaur)
The intra-family rivalry ultimately grew so intense the two sides could not even agree on how to pronounce their name: Rose-eh-velt (Oyster Bay) or Rooze-eh-velt (Hyde Park). —
Marc Peyser (Hissing Cousins: The Untold Story of Eleanor Roosevelt and Alice Roosevelt Longworth)
Therian lover were completely different, outside of the obvious. “You won’t like what you hear. He’s not… civil. I think he knew how I felt before I did. Everything I feel, he feels ten times stronger. It can be a little… disturbing.” “Try me.” There was no mistaking the sincerity in Dex’s voice. Sloane pressed his hard body down against Dex’s, his voice low as he tried to keep his grip on his feral half. “He wants me to mark you so that every Therian will know you belong to us.” His finger circled one of the faint lines on Dex’s arm. Dex swallowed hard, his blue eyes moving to his arm in Sloane’s grip. They widened slightly as Sloane’s nails slowly elongated. Sloane hissed at the pain, but he held his feral side at bay. Dex moved his eyes back to Sloane, the lust in them taking Sloane’s breath away. “Do it.” “Dex,
Charlie Cochet (Rise & Fall (THIRDS, #4))
You can’t go.” “Give me a reason why I shouldn’t.” “Because what was the point in anything if you just disappear forever?” she hissed, splaying her arms. “The point in what, Celaena?” How could he be so calm when she was so frantic? “The point in Skull’s Bay, and the point in getting me that music, and the point in… the point in telling Arobynn that you’d forgive him if he never hurt me again.” “You said you didn’t care what I thought. Or what I did. Or if I died, If I’m not mistaken.” “I lied! And you know I lied, you stupid bastard!” He laughed quietly. “You want to know how I spent this summer?” She went still. He ran a hand through his brown hair. “I spent every single day fighting the urge to slit Arobynn’s throat. And he knew I wanted to kill him. The moment I woke up after he beat me, I realized I had to leave. Because I was going to kill him if I didn’t. But I couldn’t.” He studied her face. “Not until you came back. Not until I knew you were all right—until I saw that you were safe.” Breathing became very, very hard. “He knew that, too,” Sam went on. “So he decided to exploit it. He didn’t recommend me for missions. Instead, he made me help Lysandra and Clarisse. He made me escort them around the city on picnics and parties. It became a game between the two of us—how much of his horseshit I could take before I snapped. But we both knew he’d always have the winning hand. He’d always have you. Still. I spent every day this summer hoping you’d come back in one piece. More than that—I hoped you’d come back and take revenge for what he’d done to you.” But she hadn’t. She’d come back and let Arobynn shower her with gifts. “And now that you’re fine, Celaena, now that you’ve paid off your debt, I can’t stay in Rifthold. Not after all the things he’s done to us.” “Please don’t go.” “You’ll be fine without me. You always have been.” Maybe once, but not now. “How can I convince you to stay?” “You can’t.” She threw down the torch. “Do you want me to beg, is that it?” “No—never.” “Then tell me—” “What more can I say?” he exploded, his whisper rough and harsh. “I’ve already told you everything—I’ve already told you that if I stay here, if I have to live with Arobynn, I’ll snap his damned neck.” “But why? Why can’t you let it go?” He grabbed her shoulders and shook her. “Because I love you!” Her mouth fell open. “I love you,” he repeated, shaking her again. “I have for years. And he hurt you and made me watch because he’s always known how I felt, too. But if I asked you to pick, you’d choose Arobynn, and I. Can’t. Take. It.” The only sounds were their breathing, an uneven beat against the rushing of the sewer water. “You’re a damned idiot,” she breathed. “You’re a moron and an ass and a damned idiot.” He looked like she had hit him. But she went on, and grasped both sides of his face, “Because I’d pick you.” And then she kissed him.
Sarah J. Maas (The Assassin's Blade (Throne of Glass, #0.1-0.5))
her husband is a locomotive driver. Owen spends his days standing on the footplate of Bessie, his great hissing “dame,” her plethora of dials and levers before him, a little boy whose dream has come true. His Shoranur route allows him few chances to sit. “I’ll see the sun rise in the Bay of Bengal,” Owen says, “then see it set over the Arabian Sea. Am I not the luckiest man alive?
Abraham Verghese (The Covenant of Water)
Here the savage Stygian dog frightens the shades; tossing back and forth his triple heads, with huge bayings he guards the realm. Around his head, foul with corruption, serpents lap, his shaggy man bristles with vipers, and in his twisted tail a long snake hisses. His rage matches his shape. Soon as he feels the stir of feet he raises his head, rough with darting snakes, and with ears erect catches at the onsped sound, wont as he is to hear even the shades.
Seneca (Complete Works of Seneca the Younger)