Campfire Quotes

You see, women are like fires, like flames. Some women are like candles, bright and friendly. Some are like single sparks, or embers, like fireflies for chasing on summer nights. Some are like campfires, all light and heat for a night and willing to be left after. Some women are like hearthfires, not much to look at but underneath they are all warm red coal that burns a long, long while.

The incident with Dawn hadn't been one of my finer moments. I honestly hadn't expected to break any bones when I shoved her into a tree. Still, the incident had given me a dangerous reputation. The story had gained legendary status, and I liked to imagine that it was still being told around campfires late at night. Judging by the look on the girl's face, it was.

Sometimes the embers are better than the campfire.

I turned and found Dionysus standing there, still in his black suit. Walk with me,” he said. Where to?” I asked suspiciously. Just to the campfire,” he said. “I was beginning to feel better, so I thought I would talk with you a bit. You always manage to annoy me.” Uh, thanks.

Are you going to tell me what that was about?” Adam asked as we went back upstairs. “Sometime,” I told him. “When we're telling ghost stories around a campfire, and I want to scare you.

In the heat of her hands I thought, This is the campfire that mocks the sun. This place will warm me, feed me and care for me. I will hold on to this pulse against other rhythms. The world will come and go in the tide of a day but here is her hand with my future in its palm.

You don’t have to say everything to be a light. Sometimes a fire built on a hill will bring interested people to your campfire.

Even in a time of elephantine vanity and greed, one never has to look far to see the campfires of gentle people.

Cath was pretty sure that Levi actually was the brightest thing in the room, in any room. Bright and warm and crackling – he was a human campfire.

In an ideal world the scientist should find a method to prevent the most severe forms of autism but allow the milder forms to survive. After all, the really social people did not invent the first stone spear. It was probably invented by an Aspie who chipped away at rocks while the other people socialized around the campfire. Without autism traits we might still be living in caves.

The fire, the fire. It rages within, a campfire and then an inferno, and my body is its fuel. I feel it racing through me, eating away at the weight. There is nothing that can kill me now; I am powerful and invincible and eternal.

Sometimes, the embers are better then the campfire. It's strange, but it's true.

Laia and Helene: They’re so different. I like that Laia says things I don’t expect, that she speaks almost formally, as if she’s telling a story. I like that she defied my mother to go to the Moon Festival, whereas Helene always obeys the Commandant. Laia is the wild dance of a Tribal campfire, while Helene is the cold blue of an alchemist’s flame. But why am I even comparing them? I’ve know Laia a few days and Helene all my life. Helene’s no passing attraction. She’s family. More than that. She’s part of me.

It strikes me that the power or capability of a man in getting rich is in inverse proportion to his reflective powers and in direct proportion to his impudence.

There are some dogs which, when you meet them, remind you that, despite thousands of years of man-made evolution, every dog is still only two meals away from being a wolf. These dogs advance deliberately, purposefully, the wilderness made flesh, their teeth yellow, their breath a-stink, while in the distance their owners witter, "He's an old soppy really, just poke him if he's a nuisance," and in the green of their eyes the red campfires of the Pleistocene gleam and flicker.

My favorite part of kissing Simon when he's cold is the way he goes warm in my hands. Like I'm the living campfire. Like I'm the one who lives. I warm him in my arms, and then he warms me in his. He gives it all back to me.

If you prefer smoke over fire then get up now and leave. For I do not intend to perfume your mind's clothing with more sooty knowledge. No, I have something else in mind. Today I hold a flame in my left hand and a sword in my right. There will be no damage control today. For God is in a mood to plunder your riches and fling you nakedly into such breathtaking poverty that all that will be left of you will be a tendency to shine. So don't just sit around this flame choking on your mind. For this is no campfire song to mindlessly mantra yourself to sleep with. Jump now into the space between thoughts and exit this dream before I burn the damn place down.

People easily understand that ‘primitives’ cement their social order by believing in ghosts and spirits, and gathering each full moon to dance together around the campfire. What we fail to appreciate is that our modern institutions function on exactly the same basis.

when your down on your luck and you've lost all your dreams theres nothing like a campfire and a can of beans

Everything good in there, T? Niko quipped. You need backup or anything? Bag of marshmallows to roast over that little campfire you just started?

Weapons are allowed. Dirty tricks are expected. But try not to kill anybody!” Tantalus smiled at us like we were all naughty children. “Any killing will result in harsh punishment. No s’mores at the campfire for a week! Now ready your chariots!

Long before all these divisions were opened between home and the road, betweens a woman's place and a man's world, humans followed the crops, the seasons, traveling with their families, our companions, animals, our tents. We built campfires and moved from place to place. This way of traveling is still in our cellular memory. Living things have evolved as travelers, Even migrating birds know that nature doesn't demand a choice between nesting and flight.

Laia is the wild dance of a Tribal campfire, while Helene is the cold blue of an alchemist’s flame.

A disturbing thought hits me,"but then our only neighbor would be Haymich!" "Ah, that'll be nice,"says Peeta, tightening his arms around me."You and me and Haymich. Very cozy. Picnics, birthdays. long winters around the campfire retelling old Hunger Games tales." "I told you he hates me!" I say, but I can't help laughing at the image of Haymich becoming my new pal. "Only sometimes. When he's sober, I've never heard him say one negative thing about you," says Peeta. He's never sober!" I protest. That's right. Who am I thinking of? Oh, I know. It's Cinna who likes you. But that's mainly because you didn't try to run when he set you in fire," says Peeta. "On the other hand, Haymich ... well, if I were you, I'd avoid Haymich completely. He Hates you." " I thought that you said I was his favorite," I say. "He hates me more," says Peeta, "I don't think people in general are his sort of thing.

The whole campfire idea freaked Piper out. It made her think of that huge purple bonfire in the dreams, and her father tied to a stake. What she got instead was almost as terrifying: a sing-along.

Technology is the campfire around which we tell our stories.

In the heat of her hands I thought, This is the campfire that mocks the sun.

The wine god sighed. 'Oh Hades if I know. But remember, boy, that a kind act can sometimes be as powerful as a sword. As a mortal, I was never a great fighter or athlete or poet. I only made wine. The people in my village laughed at me. They said I would never amount to anything. Look at me now. Sometimes small things can become very large indeed.' He left me alone to think about that. And as I watched Clarisse and Chris singing a stupid campfire song together, holding hands in the darkness, where they thought nobody could see them, I had to smile.

We are all taxonomists, and we constantly sort our lives. We keep the toothpaste separate from the yogurt. We keep files. And we organize stuff.

I'm lying here in a tent, pretending to be asleep but actually fearing for my life as I watch a bunny murderer have a conversation with our campfire.

A picnic. Picture a forest, a country road, a meadow. Cars drive off the country road into the meadow, a group of young people get out carrying bottles, baskets of food, transistor radios, and cameras. They light fires, pitch tents, turn on the music. In the morning they leave. The animals, birds, and insects that watched in horror through the long night creep out from their hiding places. And what do they see? Old spark plugs and old filters strewn around... Rags, burnt-out bulbs, and a monkey wrench left behind... And of course, the usual mess—apple cores, candy wrappers, charred remains of the campfire, cans, bottles, somebody’s handkerchief, somebody’s penknife, torn newspapers, coins, faded flowers picked in another meadow.

He remembered how nice the kids at Camp Half-Blood had been to him after the war with Kronos. Great job, Nico! Thanks for bringing the armies of the Underworld to save us! Everybody smiled. They all invited him to sit at their table. After about a week, his welcome wore thin. Campers would jump when he walked up behind them. He would emerge from the shadows at the campfire, startle somebody and see the discomfort in their eyes: Are you still here? Why are you here? It didn’t help that immediately after the war with Kronos, Annabeth and Percy had started dating … Nico set down his fartura. Suddenly it didn’t taste so good.

I feel like a campfire, like I could burn for days.

There's an endless autumn in me, scenting my thoughts like campfire smoke.

Heart lesson #3: post-heartbreak survival. The heart is resilient, I mean literally. When a body is burned, the heart is the last organ to oxidize. While the rest of the body can catch flame like a polyester sheet on campfire, it takes hours to burn the heart to ash. My dear sister, a near-perfect organ! Solid, inflammable.

He was under no illusion that he was going to be taken to the campfire to roll around with Laurent. If anything, he was going to be taken to the campfire to watch Laurent do some inventive sidestepping.

People? People are chaotic quiddities living in one cave each. They pass the hours in amorous grudge and playback and thought experiment. At the campfire they put the usual fraction on exhibit, and listen to their own silent gibber about how they're feeling and how they're going down. We've been there. Death helps. Death gives us something to do. Because it's a fulltime job looking the other way.

My favourite part of kissing Simon when he’s cold is the way he goes warm in my hands. Like I’m the living campfire. Like I’m the one who lives. I warm him in my arms, and then he warms me in his. He gives it all back to me. I’d give him all that I am. I’d give him all that I was. I’d open up a vein. I’d tie our hearts together, chamber by chamber.

Her eyes were glittering like the eyes of a child when you give a nice surprise, and she laughed with a sudden throaty, tingling way. It is the way a woman laughs for happiness. They never laugh that way just when they are being polite or at a joke. A woman only laughs that way a few times in her life. A woman only laughs that way when something has touched her way down in the very quick of her being and the happiness just wells out as natural as breath and the first jonquils and mountain brooks. When a woman laughs that way it always does something to you. It does not matter what kind of a face she has got either. You hear that laugh and feel that you have grasped a clean and beautiful truth. You feel that way because that laugh is a revelation. It is a great impersonal sincerity. It is a spray of dewy blossom from the great central stalk of All Being, and the woman’s name and address hasn’t got a damn thing to do with it. Therefore, the laugh cannot be faked. If a woman could learn to fake it she would make Nell Gwyn and Pompadour look like a couple of Campfire Girls wearing bifocals and ground-gripper shoes with bands on their teeth. She could get all society by the ears. For all any man really wants is to hear a woman laugh like that.

Please, Nico. Look at me.’ The voice had changed. It was warm, like honey, like a late-summer sunset, like the first rush of heat from a campfire. It was Cupid. No. It was love. Nico turned slowly, and there stood Will Solace, his golden hair lit oh-so- perfectly in the dreamlike daylight of Salona.

By the blasé flatness of Tegan’s expression as he approached, he might as well have just come back from taking a piss. “Everything good in there, T?” Niko quipped. “You need back up or anything? Bag of marshmallows to roast over that little campfire you just started?” “It’s handled.” “No shit

John Davis smells like Play-Doh. When we were in elementary school, it wasn’t a big deal. I mean, we were kids. Play-Doh was pretty high on the awesome scale. But there comes a time when a guy should stop smelling like crafting supplies and develop a more manly scent, like campfire or gym floor.

I used to think Romeo and Juliet was the greatest love story ever written. But now that I’m middle-aged, I know better. Oh, Romeo certainly thinks he loves his Juliet. Driven by hormones, he unquestionably lusts for her. But if he loves her, it’s a shallow love. You want proof?” Cagney didn’t wait for Dr. Victor to say yay or nay. “Soon after meeting her for the first time, he realizes he forgot to ask her for her name. Can true love be founded upon such shallow acquaintance? I don’t think so. And at the end, when he thinks she’s dead, he finds no comfort in living out the remainder of his life within the paradigm of his love, at least keeping alive the memory of what they had briefly shared, even if it was no more than illusion, or more accurately, hormonal. “Those of us watching events unfold from the darkness know she merely lies in slumber. But does he seek the reason for her life-like appearance? No. Instead he accuses Death of amorousness, convinced that the ‘lean abhorred monster’ endeavors to keep Juliet in her present state, her cheeks flushed, so that she might cater to his own dissolute desires. But does Romeo hold her in his arms one last time and feel the warmth of her blood still coursing through her veins? Does he pinch her to see if she might awaken? Hold a mirror to her nose to see if her breath fogs it? Once, twice, three times a ‘no.’” Cagney sighed, listened to the leather creak as he shifted his weight in his chair. “No,” he repeated. “His alleged love is so superficial and selfish that he seeks to escape the pain of loss by taking his own life. That’s not love, but obsessive infatuation. Had they wed—Juliet bearing many children, bonding, growing together, the masks of the star-struck teens they once were long ago cast away, basking in the comforting campfire of a love born of a lifetime together, not devoured by the raging forest fire of youth that consumes everything and leaves behind nothing—and she died of natural causes, would Romeo have been so moved to take his own life, or would he have grieved properly, for her loss and not just his own?

Fire’s the sun, unwindin’ itself out o’ the wood.

There are lots of different kinds of love. Love like a steady, warming campfire that keeps you alive in the cold. Love like a raging blaze that burns down everything in its path until nothing but ash remains.

The cowboy has now gone to worlds invisible; the wind has blown away the white ashes of his campfires; but the empty sardine box lies rusting over the face of the Western earth.

The greatest courage a person can have is to love another, for there are only two outcomes. Either the love lasts, and our lives are compromised, or it doesn’t, and our lives are emptied. Either way, we suffer more than we celebrate. I’ve enjoyed suffering with you. We are a tale for campfires. That is all. That is everything.

I want a campfire box.

How heavy is that day in the mountains when you built a campfire and saw a shooting star? What is the mass of yesterday? How fast is love?

This fifth and final sun will die, Like every sun before— But for a moment we laughed in its light, Like wind-blown petals Sparkling near an exile’s campfire Before the flames take them.

We're never alone. As soon as we step outside the campfire glow, our Muse lights on our shoulder like a butterfly. The act of courage calls for infallibly that deeper part of ourselves that supports and sustains us.

Even from behind, I knew the seated man was Garth. I'd seen him in chair, saddle, and by a campfire. I'd known him running with his hounds, grooming his horses, leaning back to look at the stars from the branches of a pine tree, hunched with concentration whittling a doll, carrying Alice through a storm, and even sparring with a dragon. A woman will know a man from all sides after that.

The obsidian flake and the silicon chip are struck by the light of the same campfire that has passed from hand to hand since the human mind began.

The human spirit, like a campfire, must be lit again each day.

All her stories seemed to involve rowboats and ukuleles, full moons and campfires and grog. I was desperately jealous.

The life of an animal lies outside of conjecture. It is far beyond the scientific papers and the campfire stories. It is as true as breath. It is important as the words of children.

Can you hear the dreams crackling like a campfire? Can you hear the dreams sweeping through the pine trees and tipis? Can you hear the dreams laughing in the sawdust? Can you hear the dreams shaking just a little bit as the day grows long? Can you hear the dreams putting on a good jacket that smells of fry bread and sweet smoke? Can you hear the dreams stay up late and talk so many stories?

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

You bathe in these spirit-beams, turning round and round, as if warming at a camp-fire. Presently you lose consciousness of your own separate existence: you blend with the landscape, and become part and parcel of nature.

It was a bold, wild life for a faerie - most never even left their forests - but she was a bold, wild lass, and so were her daughter and granddaughter after her, and their place in the world was everywhere and nowhere, like gypsies on wing. No home had they but their caravans and campfires, and no family but the one they'd cobbled together of crows, creatures and kindred souls they'd met on their endless journey round and round the world.

Whatever form it takes, camping is earthy, soul enriching and character building, and there can be few such satisfying moments as having your tent pitched and the smoke rising from your campfire as the golden sun sets on the horizon--even if it's just for a fleeting moment before the rain spoils everything.

We tell stories of the dead as a way of making a sense of the living. More than just simple urban legends and campfire tales, ghost stories reveal the contours of our anxieties, the nature of our collective fears and desires, the things we can’t talk about in any other way. The past we’re most afraid to speak aloud of in the bright light of day is the same past that tends to linger in the ghost stories we whisper in the dark.

I love to listen to the snap of a human neck. It reminds me of the crackling of a warm campfire.

she was like that smell of a campfire burning in the distance warming you from far away.

Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown.

All this, and discontent too! Otherwise, why am I sitting here dreaming of England? Why am I gazing at this campfire like a lost should seeking a hope when all that I love is at my wingtips? Because I am curious. Because I am incorrigibly, now, a wanderer.

This is one of the reasons we watch movies, attend recovery groups, read memoirs, and sit around campfires telling stories long after the fire has dwindled down to a few glowing embers. It’s written in the Psalms that “deep calls to deep,” which is what happens when you get a glimpse of what someone else has gone through or is currently in the throes of and you find yourself inextricably, mysteriously linked with that person because you have been reminded again of our common humanity and its singular source, the subsurface unity of all things that is ever before us in countless manifestations but requires eyes wide open to see it burst into view.

I was obviously born to draw better than most people, just as the widow Berman and Paul Slazinger were obviously born to tell stories better than most people can. Other people are obviously born to sing and dance or explain the stars in the sky or do magic tricks or be great leaders or athletes, and so on. I think that could go back to the time when people had to live in small groups of relatives -- maybe fifty or a hundred people at the most. And evolution or God or whatever arranged things genetically to keep the little families going, to cheer them up, so that they could all have somebody to tell stories around the campfire at night, and somebody else to paint pictures on the walls of the caves, and somebody else who wasn't afraid of anything and so on. That's what I think. And of course a scheme like that doesn't make sense anymore, because simply moderate giftedness has been made worthless by the printing press and radio and television and satellites and all that. A moderately gifted person who would have been a community treasure a thousand years ago has to give up, has to go into some other line of work, since modern communications put him or her into daily competition with nothing but the world's champions. The entire planet can get along nicely now with maybe a dozen champion performers in each area of human giftedness. A moderately gifted person has to keep his or her gifts all bottled up until, in a manner of speaking, he or she gets drunk at a wedding and tapdances on the coffee table like Fred Astair or Ginger Rogers. We have a name for him or her. We call him or her an 'exhibitionist.' How do we reward such an exhibitionist? We say to him or her the next morning, 'Wow! Were you ever _drunk_ last night!

Beyond the wall of the unreal city … there is another world waiting for you. It is the old true world of the deserts, the mountains, the forests, the islands, the shores, the open plains. Go there. Be there. Walk gently and quietly deep within it. And then — May your trails be dim, lonesome, stony, narrow, winding and only slightly uphill. May the wind bring rain for the slickrock potholes fourteen miles on the other side of yonder blue ridge. May God's dog serenade your campfire, may the rattlesnake and the screech owl amuse your reverie, may the Great Sun dazzle your eyes by day and the Great Bear watch over you by night.

If you whisper a secret to a candle flame, then all fire everywhere will know that secret. The words will crackle in every campfire and churn like an ocean deep in the bell of the Earth. Fire will translate your words to smoke and ash, telling no one but the sky.

The Friend of Your Youth is the only friend you will ever have, for he does not really see you. He sees in his mind a face that does not exist anymore, speaks a name – Spike, Bud, Snip, Red, Rusty, Jack, Dave – which belongs to that now nonexistent face but which by some inane doddering confusion of the universe is for the moment attached to a not happily met and boring stranger. But he humors the drooling doddering confusion of the universe and continues to address politely that dull stranger by the name which properly belongs to the boy face and to the time when the boy voice called thinly across the late afternoon water or murmured by a campfire at night or in the middle of a crowded street said, “Gee, listen to this–’On Wenlock Edge the wood’s in trouble; His forest fleece the Wrekin heaves–’” The Friend of Your Youth is your friend because he does not see you anymore. And perhaps he never saw you. What he saw was simply part of the furniture of the wonderful opening world. Friendship was something he suddenly discovered and had to give away as a recognition of and payment for the breathlessly opening world which momently divulged itself like a moonflower. It didn’t matter a damn to whom he gave it, for the fact of giving was what mattered, and if you happened to be handy you were automatically endowed with all the appropriate attributes of a friend and forever after your reality is irrelevant. The Friend of Your Youth is the only friend you will ever have, for he hasn’t the slightest concern with calculating his interest or your virtue. He doesn’t give a damn, for the moment, about Getting Ahead or Needs Must Admiring the Best, the two official criteria in adult friendships, and when the boring stranger appears, he puts out his hand and smiles (not really seeing your face) and speaks your name (which doesn’t really belong to your face), saying, “Well, Jack, damned glad you came, come on in, boy!

Love is not a forest fire that burns intensely, hotly and out of control for a brief moment until, its expendable fuel spent, it sputters, seeking in vain for something else to consume, to sustain itself before, finally, it dies: cold, black ash the only evidence of its passing. Love is, instead, a campfire: it provides ample heat and comfort to the twosome who sit before it, and although its flames may at times wane, a well-tended campfire’s embers can be nurtured and fanned until the flames once again dance brightly and cheerfully, providing comfort to the couple who cherish the gentle warmth it ministers.

Life is depressing and hopeless enough, without imbibing further depression and hopelessness through story. I don’t care how realistic people like to think that is. It’s not what inspires me, or makes me love and cherish a book or a television show or a movie. When I am imbibing fiction, I want to be inspired. I want bold tales, told boldly. I want genuine Good People who, while not perfect, are capable of rising beyond their ordinary beginnings. To make a positive difference in their world. Even when all hope or purpose might seem lost. Because this is what I think fiction—as originally told around the campfires, through verbal legend—ought to do, more than anything else: Illuminate the way, shine a spiritual beacon, tell us that there is a bright point in the darkness, a light to guide the way, when all other paths are cast in shadow.

I'm pretty sure that when babies are born in Oregon, they leave the hospital with birth certificates - and teeny-tiny sleeping bags. Everyone in the state camps. The hippies and the rednecks. The hunters and the tree huggers. Rich people. Poor people. Even rock musicians. Especially rock musicians. Our band had perfected the art of punk-rock camping, throwing a bunch of crap into the van with, like, an hour's notice and just driving out into the mountains, where we'd drink beer, burn food, jam on our instruments around the campfire, and sack out under the open sky. Sometimes, on tour, back in the early hardscrabble days, we'd even camp as an alternative to crashing in another crowded, roach-infested rock 'n' roll house. I don't know if it's because no matter where you live, the wilderness is never that far off, but it just seemed like everyone in Oregon camped.

When we talk about the big bang or the fabric of space, what we are doing is not a continuation of the free and fantastic stories that humans have told nightly around campfires for hundreds of thousands of years. It is the continuation of something else: of the gaze of those same men in the first light of day looking at tracks left by antelope in the dust of the savannah - scrutinising and deducting from the details of reality in order to pursue something that we can't see directly but can follow the traces of. In the awareness that we can always be wrong, and therefore ready at any moment to change direction if a new track appears; but knowing also that if we are good enough we will get it right and will find what we are seeking. That is the nature of science.

Because honor still matters. Honor is what echoes." His father's words. But they are as empty on his lips as they feel in my ears. This was has taken everything from him. I see in his eyes how broken he is. how terribly hard he is trying to be his father's son. If he could, he would choose to be back by the campfire we made in the highlands of the Institute. He would return to the days of glory when life was simple, when friends seemed true. But wishing for the past doesn't clean the blood from either of our hands.

there grew up around the campfires stories of a great silver stallion seen galloping over wind-packed snow way up on the Ramshead Range; of a ghost horse that drank at the Crackenback River; of a horse that all men thought was dead appearing in a blizzard at Dead Horse hut and vanishing again; of the wild stallion cry that could only be Thowra’s. But no man knew where the son of Bel Bel roamed

But before she could speak another word, he crushed his mouth against hers. It was so unexpected that she hadn't the chance to even think of pushing him away. His body pressed her firmly against the rough cave wall. His hands slid down to her waist to pull her closer to him. And just like that, with his proximity, with his kiss, he managed to fill her every sense. He was smoke from the campfire, he was leaves and moss and the night itself. There was nothing gentle in the rebel's kiss, nothing sweet or kind. It was like nothing she'd ever experience before, and so very dangerous—every bit as deadly as the kiss of an arrow. Finally, he pulled back just a little, his dark eyes glazed as if half drunk. "Princess..." He cupped her face between his hands, his breath ragged. Her lips felt bruised. "I suppose that's how Paelsians show their anger and frustration?

The raft finally got here,” he said. Calypso snorted. Her eyes might have been red, but it was hard to tell in the moonlight. “You just noticed?” “But if it only shows up for guys you like—” “Don’t push your luck, Leo Valdez,” she said. “I still hate you.” “Okay.” “And you are not coming back here,” she insisted. “So don’t give me any empty promises.” “How about a full promise?” he said. “Because I’m definitely—” She grabbed his face and pulled him into a kiss, which effectively shut him up. For all his joking and flirting, Leo had never kissed a girl before. Well, sisterly pecks on the cheek from Piper, but that didn’t count. This was a real, full-contact kiss. If Leo had had gears and wires in his brain, they would’ve short-circuited. Calypso pushed him away. “That didn’t happen.” “Okay.” His voice sounded an octave higher than usual. “Get out of here.” “Okay.” She turned, wiping her eyes furiously, and stormed up the beach, the breeze tousling her hair. Leo wanted to call to her, but the sail caught the full force of the wind, and the raft cleared the beach. He struggled to align the guidance console. By the time Leo looked back, the island of Ogygia was a dark line in the distance, their campfire pulsing like a tiny orange heart. His lips still tingled from the kiss. That didn’t happen, he told himself. I can’t be in love with an immortal girl. She definitely can’t be in love with me. Not possible. As his raft skimmed over the water, taking him back to the mortal world, he understood a line from the Prophecy better—an oath to keep with a final breath. He understood how dangerous oaths could be. But Leo didn’t care. “I’m coming back for you, Calypso,” he said to the night wind. “I swear it on the River Styx.

So, if I can’t look back, and I can’t look forward, I’m forced to live here, right now. Today I can sit around a campfire and talk to my friends. Today I can watch the sunset, even if the outline is getting hazy. Today I have made a new friend and I’m enjoying her company and her vibrant conversation.” He makes a single, slow nod in my direction. “The Roman poet Horace said: ‘Don’t hope or fear, but seize today, you must! And in tomorrow put complete mistrust.’ All any of us have is today.

Cooking and eating food outdoors makes it taste infinitely better than the same meal prepared and consumed indoors.

I wanted to absorb every moment of this night. I knew it was special. I wanted to keep it locked away inside me forever just the way it was. When I closed my eyes to sleep, I thought of how he'd glowed like a jewel in the light of the campfire. The way the flames carved him against the darkness. The very shape of his head. The smudges of chocolate and marshmallows on his fingers and lips. How the hair on his legs looked like filaments of gold. When I was certain my heart hat painted the canvas in my memory...I fell asleep.

I heard thee laugh, And in this merriment I defined the measure of my pain; I knew that I was alone, Alone with love, Poor shivering love, And he, little sprite, Came to watch with me, And at midnight We were like two creatures by a dead camp-fire.

Margery," I blurted out in a passion of frustration. "I don't know what to make of you!" Nor I you, Mary. Frankly, I cannot begin to comprehend the motives of a person who dedicates a large portion of her life to the contemplation of a God in whom she only marginally believes." I felt stunned, as if she had struck me in the diaphragm. She looked down at me, trying to measure the effect of her words. Mary, you believe in the power that the idea of God has on the human mind. You believe in the way human beings talk about the unknowable, reach for the unattainable, pattern their imperfect lives and offer their paltry best up to the beingless being that created the universe and powers its continuation. What you balk as it believing the evidence of your eyes, that God can reach out and touch a single human life in a concrete way." She smiled a sad, sad smile. "You mustn't be so cold, Mary. If you are, all you will see is a cold God, cold friends, cold love. God is not cold-never cold. God sears with heat, not ice, the heat of a thousand suns, heat that inflames but does not consume. You need warmth, Mary-you, Mary, need it. You fear it, you flirt with it, you imagine that you can stand in its rays and retain your cold intellectual attitude towards it. You imagine that you can love with your brain. Mary, oh my dear Mary, you sit in the hall and listen to me like some wild beast staring at a campfire, unable to leave, fearful of losing your freedom if you come any closer. It won't consume you; I won't capture you. Love does not do either. It only brings life. Please, Mary, don't let yourself be tied up by the bonds of cold academia." Her words, the power of her conviction, broke over me like a great wave, inundating me, robbing me of breath, and, as they receded in the room, they pulled hard at me to folllow. I struggled to keep my footing against the wash of Margery's vision, and only when it began to lose its strength, dissipated against the silence in the room, was I seized by a sudden terror at the nearness of my escape.

It is not that addresses at the opening of a battle make the soldiers brave. The old veterans scarcely hear them, and recruits forget them at the first boom of the cannon. Their usefulness lies in their effect on the course of the campaign, in neutralizing rumors and false reports, in maintaining a good spirit in the camp, and in furnishing matter for camp-fire talk. The printed order of the day should fulfill these different ends.

You could expect many things of God at night when the campfire burned before the tents. You could look through and beyond the veils of scarlet and see shadows of the world as God first made it and hear the voices of the beasts He put there. It was a world as old as Time, but as new as Creation's hour had left it. In a sense it was formless. When the low stars shone over it and the moon clothed it in silver fog, it was the way the firmament must have been when the waters had gone and the night of the Fifth Day had fallen on creatures still bewildered by the wonder of their being. It was an empty world because no man had yet joined sticks to make a house or scratched the earth to make a road or embedded the transient symbols of his artifice in the clean horizon. But it was not a sterile world. It held the genesis of life and lay deep and anticipant under the sky.

In terms of identity? I’m a commercial fantasy writer, looking to entertain my audience with fantastical tales that mix history with myth and magic. That’s something humans have been doing for a very long time, and I like being part of a long tradition of storytelling, whether that’s ancient tales shared around a campfire or modern podcasts. ... I’m currently editing a scene that involves winged lions and smoke-conjured armor, so I’m not certain I’m the best writer to ask about truth. But that being said, words and stories have great power and I think setting a scene that pulls from the real world but is set in a fictional one can cause readers to reassess and question things in a way they might not have otherwise. 

Where and what are Helm’s Deep and all the rest of it?” said Merry. “I don’t know anything about this country.” “Then you’d best learn something, if you wish to understand what is happening,” said Gandalf. “But not just now, and not from me: I have too many pressing things to think about.” “All right, I’ll tackle Strider at the camp-fire: he’s less testy. But why all this secrecy? I though we’d won the battle!

In the old days, people told their kids stories about the big, bad wolf, and men who were especially cruel and horrible were said to be like animals, maybe werewolves. But the things ordinary men do every day are a million times worse than anything a wolf would do. A wolf would never torture another animal to death, or lock it up. They kill out of instinct, in order to survive, because they have to - not because they just feel like it, not because they're evil. Not like us. Man is the scariest animal on the planet, but from the beginning of time, the wolf has gotten the bad rap. We've tried to pretend that evil is out there, lurking inside animals beyond the campfire, and not where it really is, in here.' He [Cody] tapped his chest.

...while epic fantasy is based on the fairy tale of the just war, that’s not one you’ll find in Grimm or Disney, and most will never recognize the shape of it. I think the fantasy genre pitches its tent in the medieval campground for the very reason that we even bother to write stories about things that never happened in the first place: because it says something subtle and true about our own world, something it is difficult to say straight out, with a straight face. Something you need tools to say, you need cheat codes for the human brain--a candy princess or a sugar-coated unicorn to wash down the sour taste of how bad things can really get. See, I think our culture has a slash running through the middle of it, too. Past/Future, Conservative/Liberal, Online/Offline. Virgin/Whore. And yes: Classical/Medieval. I think we’re torn between the Classical Narrative of Self and the Medieval Narrative of Self, between the choice of Achilles and Keep Calm and Carry On. The Classical internal monologue goes like this: do anything, anything, only don’t be forgotten. Yes, this one sacrificed his daughter on a slab at Aulis, that one married his mother and tore out his eyes, and oh that guy ate his kids in a pie. But you remember their names, don’t you? So it’s all good in the end. Give a Greek soul a choice between a short life full of glory and a name echoing down the halls of time and a long, gentle life full of children and a quiet sort of virtue, and he’ll always go down in flames. That’s what the Iliad is all about, and the Odyssey too. When you get to Hades, you gotta have a story to tell, because the rest of eternity is just forgetting and hoping some mortal shows up on a quest and lets you drink blood from a bowl so you can remember who you were for one hour. And every bit of cultural narrative in America says that we are all Odysseus, we are all Agamemnon, all Atreus, all Achilles. That we as a nation made that choice and chose glory and personal valor, and woe betide any inconvenient “other people” who get in our way. We tell the tales around the campfire of men who came from nothing to run dotcom empires, of a million dollars made overnight, of an actress marrying a prince from Monaco, of athletes and stars and artists and cowboys and gangsters and bootleggers and talk show hosts who hitched up their bootstraps and bent the world to their will. Whose names you all know. And we say: that can be each and every one of us and if it isn’t, it’s your fault. You didn’t have the excellence for it. You didn’t work hard enough. The story wasn’t about you, and the only good stories are the kind that have big, unignorable, undeniable heroes.

Do I have a code name? II'm pretty sure I get a code name. I'd like to choose it." His fingers fall from my elbow. A pity. "Yes," he says. "As a matter of fact, you do have a code name." "I knew it!" My twirl is the glee-filled kind. "What is it? Sidewinder or Lightning or maybe Pegasus?" "We were calling you Butterfly." Huh. "That's nice, I guess." A little soft, but okay. "Then, the tabloids gave you the moniker. The Lost Butterfly, so we had to change it." I perk up. "I suggested it," he baits. "What did you suggest?" I look up at Akio with stars in my eyes. The possibilities are endless---Sunshine, Moonflower, Cherry Blossom. My thoughts are a runaway train. Maybe he likes me. Maybe he's not as mean as he seems. Maybe I've terribly misjudged him and this is just a rocky start to a friendship that turns to love that will last the ages. Our affair will inspire folksy campfire ballads. It's the first time I see Akio smile. It's part evil, part satisfied, as if he's just won a bet with himself. "Radish.

If there is something, though, if there is...well, I believe in the things I love...the feel of a good horse under me, the blue along those mountains over yonder, the firm, confident feel of a good gunbutt in my hand, the way the red gold of your hair looks against your throat. The creak of a saddle in the hot sun and the long riding, the way you feel when you come to the top of a ridge and look down across miles and miles of land you have never seen, or maybe no man has ever seen. I believe in the pleasant sound of running water, the way the leaves turn red in the fall. I believe in the smell of autumn leaves burning, and the crackle of a burning log. Sort of sounds like it was chuckling over the memories of a time when it was a tree. I like the sound of rain on a roof, and the look of a fire in a fireplace, and the embers of a campfire and coffee in the morning. I believe in the solid, hearty, healthy feel of a of a fist landing, the feel of a girl in my arms, warm and close. Those are the things that matter.

What did he owe the man—half-man, but wholly male—who’d raped, branded, enslaved and humiliated him? Only, as vivid as those memories were, the irritating, painful, even frightening ones—there were others that came later, which stirred things within him. Bloodraven, biting back hereditary impatience to attempt the teaching of a difficult language. Bloodraven, sharing campfire cooking tips—sharing the secrets of mountain roots that made edible, if not always palatable, meals. Bloodraven, speaking haltingly of dreams that he’d always held close to his heart. Bloodraven, fighting a lifetime of instinct and wanting the opinions, the history, the company of a human. Guilt, protectiveness—a fondness so unpracticed that it might entirely be mistaken for something else.

I was still a boy when I left the Ozarks, only sixteen years old. Since that day, I’ve left my footprints in many lands: the frozen wastelands of the Arctic, the bush country of Old Mexico, and the steaming jungles of Yucatán. Throughout my life, I’ve been a lover of the great outdoors. I have built campfires in the Rocky Mountains of Colorado, and hunted wild turkey in the Smoky Mountains of Tennessee and the Blue Ridge Mountains of Virginia. I have climbed the Grand Tetons of Wyoming, and hunted bull elk in the primitive area of Idaho. I can truthfully say that, regardless of where I have roamed or wandered, I have always looked for the fairy ring. I have never found one, but I’ll keep looking and hoping. If the day ever comes that I walk up to that snow-white circle, I’ll step into the center of it, kneel down, and make one wish, for in my heart I believe in the legend of the rare fairy ring.

We got to the moment when I wake up from being "mostly dead" and say: "I'll beat you both apart! I'll take you both together!", Fezzik cups my mouth with his hand, and answers his own question to Inigo as to how long it might be before Miracle Max's pill begins to take effect by stating: "I guess not very long." As soon as he delivered that line, there issued forth from Andre' one of the most monumental farts any of us had ever heard. Now I suppose you wouldn't expect a man of Andre's proportions to pass gas quietly or unobtrusively, but this particular one was truly epic, a veritable symphony of gastric distress that roared for more than several seconds and shook the very foundations of the wood and plaster set were now grabbing on to out of sheer fear. It was long enough and loud enough that every member of the crew had time to stop what they were doing and take notice. All I can say is that it was a wind that could have held up in comparison to the one Slim Pickens emitted int eh campfire scene in Mel Brooks's Blazing Saddles, widely acknowledged as the champion of all cinematic farts. Except of course, this one wasn't in the script.

I told her about the best and the worst. The slow and sleepy places where weekdays rolled past like weekends and Mondays didn’t matter. Battered shacks perched on cliffs overlooking the endless, rumpled sea. Afternoons spent waiting on the docks, swinging my legs off a pier until boats rolled in with crates full of oysters and crayfish still gasping. Pulling fishhooks out of my feet because I never wore shoes, playing with other kids whose names I never knew. Those were the unforgettable summers. There were outback towns where you couldn’t see the roads for red dust, grids of streets with wandering dogs and children who ran wild and swam naked in creeks. I remembered climbing ancient trees that had a heartbeat if you pressed your ear to them. Boomboom-boomboom. Dreamy nights sleeping by the campfire and waking up covered in fine ash, as if I’d slept through a nuclear holocaust. We were wanderers, always with our faces to the sun.

Oregon October, when the fields of timothy and rye-grass stubble are being burned, the sky itself catches fire. Flocks of wrens rush up from the red alder thickets like sparks kicked from a campfire, the salmon jumps again, and the river rolls molten and slow . . . Down river, from Andy’s Landing, a burned-off cedar snag held the sun spitted like an apple, hissing and dripping juices against a grill of Indian Summer clouds. All the hillside, all the drying Himalaya vine that lined the big river, and the sugar-maple trees farther up, burned a dark brick and over-lit red. The river split for the jump of a red-gilled silver salmon, then circled to mark the spot where it fell. Spoonbills shoveled at the crimson mud in the shallows, and dowitchers jumped from cattail to cattail, frantically crying “Kleek! Kleek!” as though the thin reeds were as hot as the pokers they resembled. Canvasback and brant flew south in small, fiery, faraway flocks. And in the shabby ruin of broken cornfields rooster ringnecks clashed together in battle so bright, so gleaming polished-copper bright, that the fields seemed to ring with their fighting. This is Hank’s bell.

In her fantastic mood she stretched her soft, clasped hands upward toward the moon. 'Sweet moon,' she said in a kind of mock prayer, 'make your white light come down in music into my dancing-room here, and I will dance most deliciously for you to see". She flung her head backward and let her hands fall; her eyes were half closed, and her mouth was a kissing mouth. 'Ah! sweet moon,' she whispered, 'do this for me, and I will be your slave; I will be what you will.' Quite suddenly the air was filled with the sound of a grand invisible orchestra. Viola did not stop to wonder. To the music of a slow saraband she swayed and postured. In the music there was the regular beat of small drums and a perpetual drone. The air seemed to be filled with the perfume of some bitter spice. Viola could fancy almost that she saw a smoldering campfire and heard far off the roar of some desolate wild beast. She let her long hair fall, raising the heavy strands of it in either hand as she moved slowly to the laden music. Slowly her body swayed with drowsy grace, slowly her satin shoes slid over the silver sand. The music ceased with a clash of cymbals. Viola rubbed her eyes. She fastened her hair up carefully again. Suddenly she looked up, almost imperiously. "Music! more music!" she cried. Once more the music came. This time it was a dance of caprice, pelting along over the violin-strings, leaping, laughing, wanton. Again an illusion seemed to cross her eyes. An old king was watching her, a king with the sordid history of the exhaustion of pleasure written on his flaccid face. A hook-nosed courtier by his side settled the ruffles at his wrists and mumbled, 'Ravissant! Quel malheur que la vieillesse!' It was a strange illusion. Faster and faster she sped to the music, stepping, spinning, pirouetting; the dance was light as thistle-down, fierce as fire, smooth as a rapid stream. The moment that the music ceased Viola became horribly afraid. She turned and fled away from the moonlit space, through the trees, down the dark alleys of the maze, not heeding in the least which turn she took, and yet she found herself soon at the outside iron gate. ("The Moon Slave")

When we talk about the big bang or the fabric of space, what we are doing is not a continuation of the free and fantastic stories that humans have told nightly around campfires for hundreds of thousands of years. It is the continuation of something else: of the gaze of those same men in the first light of day looking at tracks left by antelope in the dust of the savannah—scrutinizing and deducting from the details of reality in order to pursue something that we can’t see directly but can follow the traces of. In the awareness that we can always be wrong, and therefore ready at any moment to change direction if a new track appears; but knowing also that if we are good enough we will get it right and will find what we are seeking. This is the nature of science. The confusion between these two diverse human activities—inventing stories and following traces in order to find something—is the origin of the incomprehension and distrust of science shown by a significant part of our contemporary culture. The separation is a subtle one: the antelope hunted at dawn is not far removed from the antelope deity in that night’s storytelling. The border is porous. Myths nourish science, and science nourishes myth. But the value of knowledge remains. If we find the antelope, we can eat.

Amazing. Chamberlain let his eyes close down to the slits, retreating within himself. He had learned that you could sleep on your feet on the long marches. You set your feet to going and after a while they went by themselves and you sort of turned your attention away and your feet went on walking painlessly, almost without feeling, and gradually you closed down your eyes so that all you could see were the heels of the man in front of you, one heel, other heel, one heel, other heel, and so you moved on dreamily in the heat and the dust, closing your eyes against the sweat, head down and gradually darkening, so you actually slept with the sight of the heels in front of you, one heel, other heel, and often when the man in front of you stopped you bumped into him. There were no heels today, but there was the horse he led by the reins. He did not know the name of this horse. He did not bother any more; the horses were all dead too soon. Yet you learn to love it. Isn’t that amazing? Long marches and no rest, up very early in the morning and asleep late in the rain, and there’s a marvelous excitement to it, a joy to wake in the morning and feel the army all around you and see the campfires in the morning and smell the coffee… … awake all night in front of Fredericksburg. We attacked in the afternoon, just at dusk, and the stone wall was aflame from one end to the other, too much smoke, couldn’t see, the attack failed, couldn’t withdraw, lay there all night in the dark, in the cold among the wounded and dying. Piled-up bodies in front of you to catch the bullets, using the dead for a shield; remember the sound? Of bullets in dead bodies? Like a shot into a rotten leg, a wet thick leg. All a man is: wet leg of blood. Remember the flap of a torn curtain in a blasted window, fragment-whispering in that awful breeze: never, forever, never, forever. You have a professor’s mind. But that is the way it sounded. Never. Forever. Love that too? Not love it. Not quite. And yet, I was never so alive.