Cemetery Love Quotes

The moment you stop to think about whether you love someone, you've already stopped loving that person forever.

The nurse knew that those who really love, love in silence, with deeds and not with words.

Man...heats up like a lightbulb: red hot in the twinkling of an eye and cold again in a flash. The female, on the other hand...heats up like an iron. Slowly, over a low heat, like tasty stew. But then, once she has heated up, there's no stopping her.

It’s a story of love, of hatred, and of the dreams that live in the shadow of the wind.

One loves truly only once in a lifetime, Julian, even if one isn’t aware of it.

Never trust girls who let themselves be touched right away. But even less those who need a priest for approval.

Remember me, even if it's only in a corner and secretly. Don't let me go.

...until that moment I had not understood that this was a story about lonely people, about absence and loss, and that that was why I had taken refuge in it until it became confused with my own life, like someone who has escaped into the pages of a novel because those whom he needs to love seem nothing more than ghosts inhabiting the mind of a stranger.

Someone once said that the moment you stop to think about whether you love someone, you've already stopped loving that person forever.

Alguien dijo que una vez que en el momento en que te paras a pensar si quieres a alguien, ya has dejado de quererle para siempre.

You end up becoming someone you see in the eyes of those you love.

To Julian, he asked, "Is Yadriel your friend?" The word burned. "¡Mi querido!" he snapped viciously.

Jacinta never told Penelope that she loved her. The nurse knew that those who really love, love in silence, with deeds and not with words.

The cemetery is an open space among the ruins, covered in winter with violets and daisies. It might make one in love with death, to think that one should be buried in so sweet a place.

A good father. A man with a head, a heart, and a soul. A man capable of listening, of leading and respecting a child, and not of drowning his own defects in him. Someone whom a child will not only love because he's his father, but will also admire for the person he is. Someone he would want to grow up to resemble.

Sometimes, in difficult circumstances, one can confuse compassion with love.

If you ever scare me like that again," he said breathlessly, "I'll kill you myself, Julian Diaz.

Nobody had noticed, nobody had paid attention, but, as usual, the essential part of the matter had been settled before the story had begun, and by then it was too late.

But belonging meant denying who he was. Living as something he wasn't had nearly torn him part from the inside out. But he also loved his family, and his community. It was bad enough being an outsider; what would happen if they just couldn't--or wouldn't--accept him for who he was?

My singing voice is too sexy," Julian said with a solemn shake of his head. "You'd fall in love with me, like, immediately.

Well, this is a story about books." About books?" About accursed books, about a man who wrote them, about a character who broke out of the pages of anovel so that he could burn it, about a betrayal and a lost friendship. It's a story of love, of hatred, and of the dreams that live in the shadow of the wind." You talk like the jacket blurb of a Victorian novel, Daniel." That's probably because I work in a bookshop and I've seen too many. But this is a true story.

This was a bad idea. Too much, too close, but when Julian leaned forward Yadriel didn't want to pull away.

We can stick anything into the fog and make it look like a ghost but tonight let us not become tragedies. We are not funeral homes with propane tanks in our windows, lookin’ like cemeteries. Cemeteries are just the Earth’s way of not letting go. Let go. Tonight let’s turn our silly wrists so far backwards the razor blades in our pencil tips can’t get a good angle on all that beauty inside. Step into this with your airplane parts. Move forward and repeat after me with your heart: “I no longer need you to fuck me as hard as I hated myself.” Make love to me like you know I am better than the worst thing I ever did. Go slow. I’m new to this. But I have seen nearly every city from a rooftop without jumping. I have realized that the moon did not have to be full for us to love it, that we are not tragedies stranded here beneath it, that if my heart really broke every time I fell from love I’d be able to offer you confetti by now. But hearts don’t break, y’all, they bruise and get better. We were never tragedies. We were emergencies. You call 9 – 1 – 1. Tell them I’m having a fantastic time.

Yadriel's soul ached. He leaned closer, his hands reaching out, fingers wanting to knot into Julian's jacket and pull him closer. But they grasped at air. There was nothing to hold on to.

He was kind of an asshole. Julian was abrasive, sometimes rude, and didn't seem to have much tact. But, for some reason, Yadriel's heart still fluttered in his chest.

You end up becoming what you see in the eyes of those you love.

Yadriel'd once asked his mom why they didn't just take all of someone's pain when they were sad. She had explained it was important to let people feel grief and mourn the loss of a loved one.

BETRAYAL No failure in Life, whether of love or money, is ever really that simple; it usually involves a type of a shadowy betrayal, buried in a secret, mass grave of shared hopes and dreams. That universal mass grave exists in a private cemetery that most... both those suffering from the loss, but especially those committing the betrayal, refuse to acknowledge its existence. When you realize you've been deeply betrayed, fear really hits you. That's what you feel first. And then it's anger and frustration. Then disspointment and disilussionment. Part of the problem is how little we understand about the ultimate effects and consequences of betrayal on our hearts and spirits; and on trust and respect for our fellow brothers and sisters. In writing, there are only really a few good stories to tell, and in the end, and betrayal and the failure of love is one of the most powerful stories to tell. Tragedy in life normally comes with betrayal and compromise- by trading in our integrity and failing to treat life and others in our life, with respect and dignity. That's really where the truest and the most tragic failures comes from... they come making the choice to betray another soul, and in turn, giving up a peice of your own.

Perhaps she loved me, in her own way, as I loved her, in mine. But we didn't know one another. Perhaps because I never allowed her to know me, or I never took any steps towards getting to know her. We spent our lives like two strangers who see each other every single day and greet one another out of politeness.

A sun crammed into the body of a boy, Yadriel didn't want to see him without his light.

Women have an infallible instinct for knowing when a man has fallen madly in love with them, especially when the male in question is both a complete dunce and a minor.

You only love truly once in your lifetime, even if you aren't always aware of it.

It's possible, and I stress possible, that such a moment may never come: you may not fall in love, you may not be able to or you may not wish to give your whole life to anyone, and, like me, you may turn forty-five one day and realize that you're no longer young and you have never found a choir of cupids with lyres or a bed of white roses leading to the altar. The only revenge left for you then will be to steal from life the pleasure of firm and passionate flesh - a pleasure that evaporates faster than good intentions and is the nearest thing to heaven you will find in this stinking world where everything decays, beginning with beauty and ending with memory.

A song of despair The memory of you emerges from the night around me. The river mingles its stubborn lament with the sea. Deserted like the dwarves at dawn. It is the hour of departure, oh deserted one! Cold flower heads are raining over my heart. Oh pit of debris, fierce cave of the shipwrecked. In you the wars and the flights accumulated. From you the wings of the song birds rose. You swallowed everything, like distance. Like the sea, like time. In you everything sank! It was the happy hour of assault and the kiss. The hour of the spell that blazed like a lighthouse. Pilot's dread, fury of blind driver, turbulent drunkenness of love, in you everything sank! In the childhood of mist my soul, winged and wounded. Lost discoverer, in you everything sank! You girdled sorrow, you clung to desire, sadness stunned you, in you everything sank! I made the wall of shadow draw back, beyond desire and act, I walked on. Oh flesh, my own flesh, woman whom I loved and lost, I summon you in the moist hour, I raise my song to you. Like a jar you housed infinite tenderness. and the infinite oblivion shattered you like a jar. There was the black solitude of the islands, and there, woman of love, your arms took me in. There was thirst and hunger, and you were the fruit. There were grief and ruins, and you were the miracle. Ah woman, I do not know how you could contain me in the earth of your soul, in the cross of your arms! How terrible and brief my desire was to you! How difficult and drunken, how tensed and avid. Cemetery of kisses, there is still fire in your tombs, still the fruited boughs burn, pecked at by birds. Oh the bitten mouth, oh the kissed limbs, oh the hungering teeth, oh the entwined bodies. Oh the mad coupling of hope and force in which we merged and despaired. And the tenderness, light as water and as flour. And the word scarcely begun on the lips. This was my destiny and in it was my voyage of my longing, and in it my longing fell, in you everything sank! Oh pit of debris, everything fell into you, what sorrow did you not express, in what sorrow are you not drowned! From billow to billow you still called and sang. Standing like a sailor in the prow of a vessel. You still flowered in songs, you still brike the currents. Oh pit of debris, open and bitter well. Pale blind diver, luckless slinger, lost discoverer, in you everything sank! It is the hour of departure, the hard cold hour which the night fastens to all the timetables. The rustling belt of the sea girdles the shore. Cold stars heave up, black birds migrate. Deserted like the wharves at dawn. Only tremulous shadow twists in my hands. Oh farther than everything. Oh farther than everything. It is the hour of departure. Oh abandoned one!

You always want someone to hate in order to feel justified in your own misery. Hatred is the true primordial passion. It is love that’s abnormal. That is why Christ was killed: he spoke against nature. You don’t love someone for your whole life - that impossible hope is the source of adultery, matricide, betrayal of friends … But you can hate someone for your whole life - provided he’s always there to keep your hatred alive. Hatred warms the heart.

I loved churches the way I loved cemeteries and books. All three were markers of humanity, of time, of life.

You're a witch, she reminded herself. You should love cemeteries. They're probably your natural habitat.

I guess I'm the perfect match, then, for a girl who likes to visit a cemetery." He drew out every syllable so that it sounded like a love song. I closed my eyes, savoring those words. "A perfect match," I murmured. "My other half.

I'd been making desicions for days. I picked out the dress Bailey would wear forever- a black slinky one- innapropriate- that she loved. I chose a sweater to go over it, earrings, bracelet, necklace, her most beloved strappy sandals. I collected her makeup to give to the funeral director with a recent photo- I thought it would be me that would dress her; I didn't think a strange man should see her naked touch her body shave her legs apply her lipstick but that's what happened all the same. I helped Gram pick out the casket, the plot at the cemetery. I changed a few lines in the obituary that Big composed. I wrote on a piece of paper what I thought should go on the headstone. I did all this without uttering a word. Not one word, for days, until I saw Bailey before the funeral and lost my mind. I hadn't realized that when people say so-and-so snapped that's what actually happens- I started shaking her- I thought I could wake her up and get her the hell out of that box. When she didn't wake, I screamed: Talk to me. Big swooped me up in his arms, carried me out of the room, the church, into the slamming rain, and down to the creek where we sobbed together under the black coat he held over our heads to protect us from the weather.

The truth was that he loved Mori so hopelessly he could have found a way to excuse cemeteries of dead wives.

Cemeteries are full of unfulfilled dreams... countless echoes of 'could have' and 'should have'… countless books unwritten… countless songs unsung... I want to live my life in such a way that when my body is laid to rest, it will be a well needed rest from a life well lived, a song well sung, a book well written, opportunities well explored, and a love well expressed.

Any place, then, can become a cemetery. All it takes is your body. It's not fair, I think, and I get this petulant wish for ugly flowers and mourners, my mother's old familiar grief. Somebody I love to tend my future grave. Probably this is the wrong thing to be wishing for.

There's something like a line of gold thread running through a man's words when he talks to his daughter, and gradually over the years it gets to be long enough for you to pick up in your hands and weave into a cloth that feels like love itself.

Even though I buried our love in a coffin, it isn’t dead. No, our love is very much alive. Or at least it was yesterday, when I went to visit the cemetery.

In the end, it seems to me that forgiveness may be the only realistic antidote we are offered in love, to combat the inescapable disappointments of intimacy." “Women’s sense of integrity seems to be entwined with an ethic of care, so that to see themselves as women as to see themselves in a relationship of connection…I believe that many modern women, my mother included, carry within them a whole secret New England cemetery, wherein that have quietly buried in many neat rows– the personal dreams they have given up for their families…(Women) have a sort of talent for changing form, enabling them to dissolve and then flow around the needs of their partners, or the needs of their children, or the needs of mere quotidian reality. They adjust, adapt, glide, accept.” “The cold ugly fact is that marriage does not benefit women as much as it benefits men. From studies, married men perform dazzingly better in life, live longer, accumulate more, excel at careers, report to be happier, less likely to die from a violent death, suffer less from alcoholism, drug abuse, and depression than single man…The reverse is not true. In fact, every fact is reverse, single women fare much better than married women. On average, married women take a 7% pay cut. All of this adds up to what Sociologists called the “Marriage Benefit Imbalance”…It is important to pause here and inspect why so women long for it (marriage) so deeply.

On the back part of the step, toward the right, I saw a small iridescent sphere of almost unbearable brilliance. At first I thought it was revolving; then I realised that this movement was an illusion created by the dizzying world it bounded. The Aleph's diameter was probably little more than an inch, but all space was there, actual and undiminished. Each thing (a mirror's face, let us say) was infinite things, since I distinctly saw it from every angle of the universe. I saw the teeming sea; I saw daybreak and nightfall; I saw the multitudes of America; I saw a silvery cobweb in the center of a black pyramid; I saw a splintered labyrinth (it was London); I saw, close up, unending eyes watching themselves in me as in a mirror; I saw all the mirrors on earth and none of them reflected me; I saw in a backyard of Soler Street the same tiles that thirty years before I'd seen in the entrance of a house in Fray Bentos; I saw bunches of grapes, snow, tobacco, lodes of metal, steam; I saw convex equatorial deserts and each one of their grains of sand; I saw a woman in Inverness whom I shall never forget; I saw her tangled hair, her tall figure, I saw the cancer in her breast; I saw a ring of baked mud in a sidewalk, where before there had been a tree; I saw a summer house in Adrogué and a copy of the first English translation of Pliny -- Philemon Holland's -- and all at the same time saw each letter on each page (as a boy, I used to marvel that the letters in a closed book did not get scrambled and lost overnight); I saw a sunset in Querétaro that seemed to reflect the colour of a rose in Bengal; I saw my empty bedroom; I saw in a closet in Alkmaar a terrestrial globe between two mirrors that multiplied it endlessly; I saw horses with flowing manes on a shore of the Caspian Sea at dawn; I saw the delicate bone structure of a hand; I saw the survivors of a battle sending out picture postcards; I saw in a showcase in Mirzapur a pack of Spanish playing cards; I saw the slanting shadows of ferns on a greenhouse floor; I saw tigers, pistons, bison, tides, and armies; I saw all the ants on the planet; I saw a Persian astrolabe; I saw in the drawer of a writing table (and the handwriting made me tremble) unbelievable, obscene, detailed letters, which Beatriz had written to Carlos Argentino; I saw a monument I worshipped in the Chacarita cemetery; I saw the rotted dust and bones that had once deliciously been Beatriz Viterbo; I saw the circulation of my own dark blood; I saw the coupling of love and the modification of death; I saw the Aleph from every point and angle, and in the Aleph I saw the earth and in the earth the Aleph and in the Aleph the earth; I saw my own face and my own bowels; I saw your face; and I felt dizzy and wept, for my eyes had seen that secret and conjectured object whose name is common to all men but which no man has looked upon -- the unimaginable universe. I felt infinite wonder, infinite pity.

Do you know the best thing about broken hearts?' the librarian asked. I shook my head. 'They can only break once. The rest is just scratches.

May we never fear death but remember we live on in the love we nurture in our time on earth.

little sun little moon little dog and a little to eat and a little to love and a little to live for in a little room filled with little mice who gnaw and dance and run while I sleep waiting for a little death in the middle of a little morning in a little city in a little state my little mother dead my little father dead in a little cemetery somewhere. I have only a little time to tell you this: watch out for little death when he comes running but like all the billions of little deaths it will finally mean nothing and everything: all your little tears burning like the dove, wasted.

as long as we are being remembered, we remain alive

Jacinta nunca le dijo a Penélope que la quería. El aya sabía que quien quiere de verdad quiere en silencio, con hechos y nunca con palabras.

In cemeteries of memories, our love will lie in caskets.

Oh man I love that stuff!" "You hopped up on energy drinks sounds like a literal nightmare.

There's nothing here. Nothing at all.' Marina gave me a look that I could not fathom. 'You're wrong,' she said. 'The memories of hundreds of people lie here. Their lives, their feelings, their expectations, their absence, the dreams that never came true for them, the disappointments, the deceptions and the unrequited loves that poisoned their existence... All that is here, trapped for ever.

Show your compassion to people in their life time; no amount of your tears can serve as compensation when their coffins are lowered!

Only with kisses and red poppies can I love you, with rain-soaked wreaths, contemplating ashen horses and yellow dogs. Only with waves at my back can I love you, between dull explosions of brimstone and reflective waters, swimming against cemeteries that circulate in certain rivers, drowned pasture flooding the sad, chalky tombstones, swimming across submerged hearts and faded lists of unburied children.

Because you were foolish enough to love one place, now you are homeless, an orphan in a succession of shelters. You did not prepare yourself sufficiently. Before your eyes, two people were becoming old; I could have told you two deaths were coming. There has never been a parent kept alive by a child’s love. Now, of course, it’s too late – you were trapped in the romance of fidelity. You kept going back, clinging to two people you hardly recognized after what they’d endured. If once you could have saved yourself, now that time’s past: you were obstinate, pathetically blind to change. Now you have nothing: for you, home is a cemetery. I’ve seen you press your face against the granite markers – you are the lichen, trying to grow there. But you will not grow, you will not let yourself obliterate anything.

My delightful, my love, my life, I don’t understand anything: how can you not be with me? I’m so infinitely used to you that I now feel myself lost and empty: without you, my soul. You turn my life into something light, amazing, rainbowed—you put a glint of happiness on everything—always different: sometimes you can be smoky-pink, downy, sometimes dark, winged—and I don’t know when I love your eyes more—when they are open or shut. It’s eleven p.m. now: I’m trying with all the force of my soul to see you through space; my thoughts plead for a heavenly visa to Berlin via air . . . My sweet excitement . . . Today I can’t write about anything except my longing for you. I’m gloomy and fearful: silly thoughts are swarming—that you’ll stumble as you jump out of a carriage in the underground, or that someone will bump into you in the street . . . I don’t know how I’ll survive the week. My tenderness, my happiness, what words can I write for you? How strange that although my life’s work is moving a pen over paper, I don’t know how to tell you how I love, how I desire you. Such agitation—and such divine peace: melting clouds immersed in sunshine—mounds of happiness. And I am floating with you, in you, aflame and melting—and a whole life with you is like the movement of clouds, their airy, quiet falls, their lightness and smoothness, and the heavenly variety of outline and tint—my inexplicable love. I cannot express these cirrus-cumulus sensations. When you and I were at the cemetery last time, I felt it so piercingly and clearly: you know it all, you know what will happen after death—you know it absolutely simply and calmly—as a bird knows that, fluttering from a branch, it will fly and not fall down . . . And that’s why I am so happy with you, my lovely, my little one. And here’s more: you and I are so special; the miracles we know, no one knows, and no one loves the way we love. What are you doing now? For some reason I think you’re in the study: you’ve got up, walked to the door, you are pulling the door wings together and pausing for a moment—waiting to see if they’ll move apart again. I’m tired, I’m terribly tired, good night, my joy. Tomorrow I’ll write you about all kinds of everyday things. My love.

I mourned,” Roma said just as softly. “I mourned for months, years outside the gates of the cemetery. Yet I don’t regret choosing you. No matter how cruel you think yourself, your heart beats for your people. That’s why you shot him. That’s why you took the chance. Not because you are merciless. Because you have hope.” Juliette looked up. If Roma turned, even the slightest, they would be nose to nose. “I regret that I was ever put in the position to choose,” Roma continued. His words were faint, whispered into the world while the streets roared with sirens, the building beside them teemed with chaos, and policemen along every street corner screamed for order. But Juliette heard him perfectly. “I hate that the blood feud forced my hand, but I can’t—I did what I had to do and you may think me monstrous for it. The feud keeps taking and hurting and killing and still I couldn’t stop loving you even when I thought I hated you.

Miłość jest jak wędlina: jest salami i jest mortadela.

He exhales hard. "Get in the truck." "Why?" "I'm taking you back to the cemetery and feeding you to the coyotes.

where oh where, in what cemetery of the heavens do the tender words of lovers rest when they love no more? (Searching for author)

We're all whores, sooner or later.

I loved the little church surrounded by a cemetery that didn’t make you think about death but about the eternal rest spoken of in prayers.

Marriage and family are only what we make of them. Without that they’re just a nest of hypocrisy. Garbage and empty words. But if there is real love, of the sort one doesn’t go around telling everyone about, the sort that is felt and lived…

The beauty of the twentieth century is the charm of the hospital, the grace of the cemetery, of consumption and emaciation. I admit that I have submitted to it all; worse, I have loved with all my heart.

Americans make more trash than anyone else on the planet, throwing away about 7.1 pounds per person per day, 365 days a year. Across a lifetime that rate means, on average, we are each on track to generate 102 tons of trash. Each of our bodies may occupy only one cemetery plot when we’re done with this world, but a single person’s 102-ton trash legacy will require the equivalent of 1,100 graves. Much of that refuse will outlast any grave marker, pharaoh’s pyramid or modern skyscraper: One of the few relics of our civilization guaranteed to be recognizable twenty thousand years from now is the potato chip bag.

All is indeed a Blessing IF you can just see beyond the veils; for it is ‘all’ an illusion and a test, and one of the greatest Divine Mysteries of this life cycle.” This IS my constant prayer, my mantra, my affirmation, reverberation, reiteration and my ever-living reality.

There were dozens of stones of all sizes in the small meadow. Tall stones, bigger than either of the boys, and small ones, just the right size for sitting on. There were some broken stones. The Runt knew what sort of place this was, but it did not scare him. It was a loved place.

When I saw my friend kissing the woman he loved it occurred to me that this moment, this instant stolen from time and from God, was worth all the days of misery that had brought us to this place and the many others that were doubtless waiting for us on our return to life. And that everything that was decent and clean and pure in this world and everything for which it was worth living and breathing was in those lips, in those hands and in the look of that fortunate couple who, I know, would be together for the rest of their lives.

What could you possibly hope to find in a cemetary?" The women said. "The dead tell no secrets and the living seldom come to visit them.

He loved her with all his soul, but in his own way, which was the correct way.

We sealed my father's grave on a day of stark contrasts, of black against white, and it was the last time I'd ever find myself in a place of such extremes. Because in the months after the dirt fell on the coffin, my life began to shift to shades of gray, almost like the universe had taken a big stick and stirred up the whole scene at that cemetery, mixing up everything and repainting my world.

In the end, I think that's what matters, that he's truly a good person and that he's real. That he's someone you can hold on to on a cold winter's night and who knows how to make you feel warm inside.

When he spoke those words, it seemed to Julian that the hatter had put off falling in love with his wife until he had already lost her. 'You only love truly once in a lifetime, Julian, even if you aren't always aware of it.

To pitch here is to live. People pitch their kids into good schools, pitch offers on houses they can’t afford, and when they’re caught in the arms of the wrong person, pitch unlikely explanations. Hospitals pitch birthing centers, daycares pitch love, high schools pitch success . . . car dealerships pitch luxury, counselors self-esteem, masseuses happy endings, cemeteries eternal rest . . . It’s endless, the pitching—endless, exhilarating, soul-sucking, and as unrelenting as death. As ordinary as morning sprinklers.

We need an enemy to give people hope. Someone said that patriotism is the last refuge of cowards: those without moral principles usually wrap a flag around themselves, and the bastards always talk about the purity of the race. National identity is the last bastion of the dispossessed. But the meaning of identity is now based on hatred, on hatred for those who are not the same. Hatred has to be cultivated as a civic passion. The enemy is the friend of the people. You always want someone to hate in order to feel justified in your own misery. Hatred is the primordial passion. It is love that’s abnormal.

well, this is a story about books.' 'About books?' 'About accursed books, about the man who wrote them, about a character who broke out of the pages of a novel so that he could burn it, about a betrayal and a lost friendship. It's a story of love, of hatred, and of the dreams that live in the shadow of the wind.

Love God more than you fear hell. Make major decisions in a cemetery. When no one is watching, live as if someone is. Succeed at home first. Don’t spend tomorrow’s money today. Pray twice as much as you fret. God has forgiven you; you’d be wise to do the same.

Recorrí pasillos y galerías en espiral pobladas por cientos, miles de tomos que parecían saber más acerca de mí que yo de ellos. Al poco, me asaltó la idea de que tras la cubierta de cada uno de aquellos libros se abría un universo infinito por explorar y de que, más allá de aquellos muros, el mundo dejaba pasar la vida en tardes de fútbol y seriales de radio, satisfecho con ver hasta allí donde alcanza su ombligo y poco más. Quizá fue aquel pensamiento, quizá el azar o su pariente de gala, el destino, pero en aquel mismo instante supe que ya había elegido el libro que iba a adoptar. O quizá debiera decir el libro que me iba a adoptar a mí. Se asomaba tímidamente en el extremo de una estantería, encuadernado en piel de color vino y susurrando su título en letras doradas que ardían a la luz que destilaba la cúpula desde lo alto. Me acerqué hasta él y acaricié las palabras con la yema de los dedos, leyendo en silencio. La Sombra del Viento JULIÁN CARAX.

In the beginning we start with roses. The king’s flower right? Only they wilt in less than a day, especially when exposed to the elements. But Carnations? Oh, what a beautiful flower. They come in every color. True, some are painted, but that doesn’t mean they are less beautiful, and they never wilt.

...it was my father who had taught me to love books for themselves, the smell of the vellum and paper, the rare authority of the pages. "Here, do you see this marvelous book, the skins of 182 sheep," he once pronounced as he slapped his hand down on the stamped leather cover boards. "The book is a flock, a jewel, a cemetery, a lantern, a garden, a piss pot; pigments ground of precious minerals, charred bone, lamp soot, rare plants and insects. Pigments formed at the corrosion of copper plates suspended above urine.

Mrs. Allan's face was not the face of the girlbride whom the minister had brought to Avonlea five years before. It had lost some of its bloom and youthful curves, and there were fine, patient lines about eyes and mouth. A tiny grave in that very cemetery accounted for some of them; and some new ones had come during the recent illness, now happily over, of her little son. But Mrs. Allan's dimples were as sweet and sudden as ever, her eyes as clear and bright and true; and what her face lacked of girlish beauty was now more than atoned for in added tenderness and strength.

Love was more than just a fleeting desire, or a brief glimpse into a fairy tale, or a flash of playful flirtation in her beautiful hazel eyes. It was more than infatuation with a person’s best qualities, or reluctant acceptance of their less appealing traits. Real love meant loving the whole person, in every form, in every state, in every way. It was what transformed the ordinary monotony of everyday life into extraordinary moments of warmth and compassion and joy.

We make love without a condom. AIDS is there though. We even know its true identity. It’s no longer referred to as the “gay cancer.” It’s there but we think we are safe from it. We know nothing of the grand decimation that will follow, depriving us of our best friends and old lovers, that will bring us together in cemeteries and cause us to scratch out names in our address books, enraging us with so many absences, such profound loss. It is there but we aren’t afraid yet. We believe that we are protected by our youth. We are seventeen years old. You don’t die when you are seventeen years old.

A collection of bad love songs, tattered from overuse, has to touch us like a cemetery or a village. So what if the houses have no style, if the graves are vanishing under tasteless ornaments and inscriptions? Before an imagination sympathetic and respectful enough to conceal momentarily its aesthetic disdain, that dust may release a flock of souls, their beaks holding the still verdant dreams that gave them an inkling of the next world and let them rejoice or weep in this world.

According to the biographical notes, Monsieur Julian Carax was twenty-seven, born with the century in Barcelona, and currently living in Paris; he wrote in French and worked at night as a professional pianist in a hostess bar. The blurb, written in the pompous, moldy style of the age, proclaimed that this was a first work of dazzling courage, the mark of a protean and trailblazing talent, and a sign of hope for the future of all of European letters. In spite of such solemn claims, the synopsis that followed suggested that the story contained some vaguely sinister elements slowly marinated in saucy melodrama, which, to the eyes of Monsieur Roquefort, was always a plus: after the classics what he most enjoyed were tales of crime, boudoir intrigue, and questionable conduct. One of the pitfalls of childhood is that one doesn't have to understand something to feel it. By the time the mind is able to comprehend what has happened, the wounds of the heart are already too deep. She laughed nervously. She had around her a burning aura of loneliness. "You remind me a bit of Julian," she said suddenly. "The way you look and your gestures. He used to do what you are doing now. He would stare at you without saying a word, and you wouldn't know what he was thinking, and so, like an idiot, you'd tell him things it would have been better to keep to yourself." "Someone once said that the moment you stop to think about whether you love someone, you've already stopped loving that person forever." I gulped down the last of my coffee and looked at her for a few moments without saying anything. I thought about how much I wanted to lose myself in those evasive eyes. I thought about the loneliness that would take hold of me that night when I said good-bye to her, once I had run out of tricks or stories to make her stay with me any longer. I thought about how little I had to offer her and how much I wanted from her. "You women listen more to your heart and less to all the nonsense," the hatter concluded sadly. "That's why you live longer." But the years went by in peace. Time goes faster the more hollow it is. Lives with no meaning go straight past you, like trains that don't stop at your station.

...I spoke about how I had never kissed Clara Barcelo, or anyone, and of how my hands had trembled when I felt the touch of Nuria Monfort's lips on my skin, only a few hours before. I told her how until that moment I had not understood that this was a story about lonely people, about absence and loss, and that that was why I had taken refuge in it until it became confused with my own life, like someone who has escaped into the pages of a novel because those whom he needs to love seem nothing more than ghosts inhabiting the mind of a stranger.

Whether or not the United States has saved the world, it did save France a time or two. When the American Expeditionary Forces commanded by General John J. Pershing came to the aid of France during World War I, they marched into Paris on July 4, 1917, heading straight for Picpus Cemetery. Colonel Charles E. Stanton, whose uncle had been Abraham Lincoln’s secretary of war, addressed the French people while standing before Lafayette’s tomb. “America has joined forces with the Allied Powers,” he said, “and what we have of blood and treasure are yours. Therefore it is that with loving pride we drape the colors in tribute of respect to this citizen of your great republic. And here and now, in the presence of the illustrious dead, we pledge our hearts and our honor in carrying this war to a successful issue. Lafayette, we are here.” •

When her fingers curled to her palm, her husband chased her out before she could say goodbye to her children. She cackles at this memory, a solitary tooth flashing in her mouth like a lone tree in a cemetery. Sankar joins in. Rune puzzles over their strange laughter. The mind must get scarred from being rejected in this manner. These two have died to their loved ones and to society, and that wound is greater than the collapsing nose, the hideous face, or the loss of fingers. Leprosy deadens the nerves and is therefore painless; the real wound of leprosy, and the only pain they feel, is that of exile.

In Loving Memory Winifred Foster Jackson Dear Wife Dear Mother 1870--1948 “So,” said Tuck to himself. “Two years. She’s been gone two years.” He stood up and looked around, embarrassed, trying to clear the lump from his throat. But there was no one to see him. The cemetery was very quiet. In the branches of a willow behind him, a red-winged blackbird chirped. Tuck wiped his eyes hastily. Then he straightened his jacket again and drew up his hand in a brief salute. “Good girl,” he said aloud. And then he turned and left the cemetery, walking quickly. Later, as he and Mae rolled out of Treegap, Mae said softly, without looking at him, “She’s gone?” Tuck nodded. “She’s gone,” he answered. There was a long moment of silence between them, and then Mae said, “Poor Jesse.” “He knowed it, though,” said Tuck. “At least, he knowed she wasn’t coming. We all knowed that, long time ago.” “Just the same,” said Mae. She sighed. And then she sat up a little straighter. “Well, where to now, Tuck? No need to come back here no more.” “That’s so,” said Tuck. “Let’s just head on out this way. We’ll locate something.” “All right,” said Mae. And then she put a hand on his arm and pointed. “Look out for that toad.” Tuck had seen it, too. He reined in the horse and climbed down from the wagon. The toad was squatting in the middle of the road, quite unconcerned. In the other lane, a pickup truck rattled by, and against the breeze it made, the toad shut its eyes tightly. But it did not move. Tuck waited till the truck had passed, and then he picked up the toad and carried it to the weeds along the road’s edge. “Durn fool thing must think it’s going to live forever,” he said to Mae. And soon they were rolling on again, leaving Treegap behind, and as they went, the tinkling little melody of a music box drifted out behind them and was lost at last far down the road.

I didn’t think while I drew. The pencil flew across the page making marks, almost as if it had a mind of its own. Often times I didn’t know what it was going to be until it was completed. The cemetery was still with only a few birds calling off in the distance from time to time. When I finished I was not at all surprised by what had taken form on my paper. It was a portrait of my dad. He was sitting behind the tombstone, using it as a desk, his laptop open in front of him. He wore a peaceful smile. I smiled, too, as another tear fell.

Bosnia's war had its visual hallmarks. Parks that were turned into cemeteries, refugee families piled onto horse-drawn carts, stop-or-die checkpoints with mines across the road. The most hideous hallmark of all was the blackened patch of ground in the center of town. It always meant the same thing, a destroyed mosque. The goal of ethnic cleansing was not simply to get rid of Muslims; it was to destroy all traces that they had ever lived in Bosnia. The goal was to kill history. If you want to do that, then you must rip out history's heart, which in the case of Bosnia's Muslim community meant the destruction of its mosques. Once that was done, you could reinvent the past in whatever distorted form you wanted, like Frankenstein. p. 85

I know I found his lips and let him caress me without realizing that I, too, was crying and didn't know why. That dawn, and all the ones that followed in the two weeks I spent with Julian, we made love to one another on the floor, never saying a word. Later, sitting in a cafe or strolling through the streets, I would look into his eyes and know, without any need to question him, that he still loved Penelope. I remember that during those days I learned to hate that seventeen-year-old girl (for Penelope was always seventeen to me) whom I had never met and who now haunted my dreams. I invented excuses for cabling Cabestany to prolong my stay. I no longer cared whether I lost my job or the grey existence I had left behind in Barcelona. I have often asked myself whether my life was so empty when I arrived in Paris that I fell into Julian's arms - like Irene Marceau's girls, who, despite themselves, craved for affection.

The moon fled eastward like a frightened dove, while the stars changed their places in the heavens, like a disbanding army. 'Where are we?' asked Gil Gil. 'In France,' responded the Angel of Death. 'We have now traversed a large portion of the two bellicose nations which waged so sanguinary a war with each other at the beginning of the present century. We have seen the theater of the War of Succession. Conquered and conquerors both lie sleeping at this instant. My apprentice, Sleep, rules over the heroes who did not perish then, in battle, or afterward of sickness or of old age. I do not understand why it is that below on earth all men are not friends? The identity of your misfortunes and your weaknesses, the need you have of each other, the shortness of your life, the spectacle of the grandeur of other worlds, and the comparison between them and your littleness, all this should combine to unite you in brotherhood, like the passengers of a vessel threatened with shipwreck. There, there is neither love, nor hate, nor ambition, no one is debtor or creditor, no one is great or little, no one is handsome or ugly, no one is happy or unfortunate. The same danger surrounds all and my presence makes all equal. Well, then, what is the earth, seen from this height, but a ship which is foundering, a city delivered up to an epidemic or a conflagration?' 'What are those ignes fatui which I can see shining in certain places on the terrestrial globe, ever since the moon veiled her light?' asked the young man. 'They are cemeteries. We are now above Paris. Side by side with every city, every town, every village of the living there is always a city, a town, or a village of the dead, as the shadow is always beside the body. Geography, then, is of two kinds, although mortals only speak of the kind which is agreeable to them. A map of all the cemeteries which there are on the earth would be sufficient indication of the political geography of your world. You would miscalculate, however, in regard to the population; the dead cities are much more densely populated than the living; in the latter there are hardly three generations at one time, while, in the former, hundreds of generations are often crowded together. As for the lights you see shining, they are phosphorescent gleams from dead bodies, or rather they are the expiring gleams of thousands of vanished lives; they are the twilight glow of love, ambition, anger, genius, mercy; they are, in short, the last glow of a dying light, of the individuality which is disappearing, of the being yielding back his elements to mother earth. They are - and now it is that I have found the true word - the foam made by the river when it mingles its waters with those of the ocean.' The Angel of Death paused. ("The Friend of Death")

Once my father told me: When a Jew prays, he is asking God a question that has no end. Darkness fell. Rain fell. I never asked: What question? And now it's too late. Because I lost you, Tateh. One day, in the spring of 1938, on a rainy day that gave way to a break in the clouds, I lost you. You'd gone out to collect specimens for a theory you were hatching about rainfall, instinct, and butterflies. And then you were gone. We found you lying under a tree, your face splashed with mud. We knew you were free then, unbound by disappointing results. And we buried you in the cemetery where your father was buried, and his father, under the shade of the chestnut tree. Three years later, I lost Mameh. The last time I saw her she was wearing her yellow apron. She was stuffing things in a suitcase, the house was a wreck. She told me to go into the woods. She'd packed me food, and told me to wear my coat, even though it was July. "Go," she said. I was too old to listen, but like a child I listened. She told me she'd follow the next day. We chose a spot we both knew in the woods. The giant walnut tree you used to like, Tateh, because you said it had human qualities. I didn't bother to say goodbye. I chose to believe what was easier. I waited. But. She never came. Since then I've lived with the guilt of understanding too late that she thought she would have been a burden to me. I lost Fitzy. He was studying in Vilna, Tateh—someone who knew someone told me he'd last been seen on a train. I lost Sari and Hanna to the dogs. I lost Herschel to the rain. I lost Josef to a crack in time. I lost the sound of laughter. I lost a pair of shoes, I'd taken them off to sleep, the shoes Herschel gave me, and when I woke they were gone, I walked barefoot for days and then I broke down and stole someone else's. I lost the only woman I ever wanted to love. I lost years. I lost books. I lost the house where I was born. And I lost Isaac. So who is to say that somewhere along the way, without my knowing it, I didn't also lose my mind?

Amaranth" There are no starfish in the sky tonight, But there is one below your belly, And there are cold evenings in your eyes. If I could get to your house I would look under the bed of your childhood, The tongueless loafer without laces or eyes, The cave of your young foot With its odor of moon, its dampness Coming from underground, your shoe Which also bled and is now an island. You have to remember these are the memories Of a survivor, you have to remember. You could be looking for clay to haul away, Fill for the deep washouts of your love. All your old loves, they bled to death, too. Your hair is like a cemetery full of hands, Fingers in the moonlight. When you come down to the heart Bring your post-hole diggers and crowbar. Do not set a corner, a fence won’t last. Do not bury our first child there, Or set a post, Although I have tasted blood on the lips of a stranger, At night and in the rain.

Go on from here, Ada, please. (She). Billions of boys. Take one fairly decent decade. A billion of Bills, good, gifted, tender and passionate, not only spiritually but physically well-meaning Billions, have bared the jillions of their no less tender and brilliant Jills during that decade, at stations and under conditions that have to be controlled and specified by the worker, lest the entire report be choked up by the weeds of statistics and waist-high generalizations. No point would there be, if we left out, for example, the little matter of prodigious individual awareness and young genius, which makes, in some cases, of this or that particular gasp an unprecedented and unrepeatable event in the continuum of life or at least a thematic anthemia of such events in a work of art, or a denouncer’s article. The details that shine through or shade through: the local leaf through the hyaline skin, the green sun in the brown humid eye, tout ceci, vsyo eto, in tit and toto, must be taken into account, now prepare to take over (no, Ada, go on, ya zaslushalsya: I’m all enchantment and ears), if we wish to convey the fact, the fact, the fact—that among those billions of brilliant couples in one cross section of what you will allow me to call spacetime (for the convenience of reasoning), one couple is a unique super-imperial couple, sverhimperator-skaya cheta, in consequence of which (to be inquired into, to be painted, to be denounced, to be put to music, or to the question and death, if the decade has a scorpion tail after all), the particularities of their love-making influence in a special unique way two long lives and a few readers, those pensive reeds, and their pens and mental paintbrushes. Natural history indeed! Unnatural history—because that precision of senses and sense must seem unpleasantly peculiar to peasants, and because the detail is all: The song of a Tuscan Firecrest or a Sitka Kinglet in a cemetery cypress; a minty whiff of Summer Savory or Yerba Buena on a coastal slope; the dancing flitter of a Holly Blue or an Echo Azure—combined with other birds, flowers and butterflies: that has to be heard, smelled and seen through the transparency of death and ardent beauty. And the most difficult: beauty itself as perceived through the there and then. The males of the firefly (now it’s really your turn, Van).

Well,” I said, trying to keep my tone light as I walked over to put my arms around his neck, though I had to stand on my toes to do so. “That wasn’t so bad, was it? You told me something about yourself that I didn’t know before-that you didn’t, er, care for your family, except for your mother. But that didn’t make me hate you…it made me love you a bit more, because now I know we have even more in common.” He stared down at him, a wary look in his eyes. “If you knew the truth,” he said, “you wouldn’t be saying that. You’d be running.” “Where would I go?” I asked, with a laugh I hoped didn’t sound as nervous to him as it did to me. “You bolted all the doors, remember? Now, since you shared something I didn’t know about you, may I share something you don’t know about me?” Those dark eyebrows rose as he pulled me close. “I can’t even begin to imagine what this could be.” “It’s just,” I said, “that I’m a little worried about rushing into this consort thing…especially the cohabitation part.” “Cohabitation?” he echoed. He was clearly unfamiliar with the word. “Cohabitation means living together,” I explained, feeling my cheeks heat up. “Like married people.” “You said last night that these days no one your age thinks of getting married,” he said, holding me even closer and suddenly looking much more eager to stick around for the conversation, even though I heard the marina horn blow again. “And that your father would never approve it. But if you’ve changed your mind, I’m sure I could convince Mr. Smith to perform the ceremony-“ “No,” I said hastily. Of course Mr. Smith was somehow authorized to marry people in the state of Florida. Why not? I decided not to think about that right now, or how John had come across this piece of information. “That isn’t what I meant. My mom would kill me if I got married before I graduated from high school.” Not, of course, that my mom was going to know about any of this. Which was probably just as well, since her head would explode at the idea of my moving in with a guy before I’d even applied to college, let alone at the fact that I most likely wasn’t going to college. Not that there was any school that would have accepted me with my grades, not to mention my disciplinary record. “What I meant was that maybe we should take it more slowly,” I explained. “The past couple years, while all my friends were going out with boys, I was home, trying to figure out how this necklace you gave me worked. I wasn’t exactly dating.” “Pierce,” he said. He wore a slightly quizzical expression on his face. “Is this the thing you think I didn’t know about you? Because for one thing, I do know it, and for another, I don’t understand why you think I’d have a problem with it.” I’d forgotten he’d been born in the eighteen hundreds, when the only time proper ladies and gentlemen ever spent together before they were married was at heavily chaperoned balls…and that for most of the past two centuries, he’d been hanging out in a cemetery. Did he even know that these days, a lot of people hooked up on first dates, or that the average age at which girls-and boys as well-lost their virginity in the United States was seventeen…my age? Apparently not. “What I’m trying to say,” I said, my cheeks burning brighter, “is that I’m not very experienced with men. So this morning when I woke up and found you in bed beside me, while it was really, super nice-don’t get me wrong, I enjoyed it very much-it kind of freaked me out. Because I don’t know if I’m ready for that kind of thing yet.” Or maybe the problem was that I wasn’t prepared for how ready I was…

All those beings who revealed truths to me and who were no longer there, seemed to me to have lived a life from which I alone profited and as though they had died for me. It was sad for me to think that in my book, my love which was once everything to me, would be so detached from a being that various readers would apply it textually to the love they experienced for other women. But why should I be horrified by this posthumous infidelity, that this man or that should offer unknown women as the object of my sentiment, when that infidelity, that division of love between several beings began with my life and long before I began writing? I had indeed suffered successively through Gilberte, through Mme de Guermantes, through Albertine. Successively also I had forgotten them and only my love, dedicated at different times to different beings, had lasted. I had anticipated the profanation of my memories by unknown readers. I was not far from being horrified with myself as, perhaps, some nationalist party might be in whose name hostilities had been provoked and who alone had benefited from a war in which many noble victims had suffered and died without even knowing the issue of the struggle which, for my grandmother, would have been such a complete reward. And the single consolation she never knew, that at last I had set to work, was, such being the fate of the dead, that though she could not rejoice in my progress she had at least been spared consciousness of my long inactivity, of the frustrated life which had been such a pain to her. And certainly there were many others besides my grandmother and Albertine from whom I had assimilated a word, a glance, but of whom as individual beings I remembered nothing; a book is a great cemetery in which, for the most part, the names upon the tombs are effaced.