Coffin Quotes

To love at all is to be vulnerable. Love anything and your heart will be wrung and possibly broken. If you want to make sure of keeping it intact you must give it to no one, not even an animal. Wrap it carefully round with hobbies and little luxuries; avoid all entanglements. Lock it up safe in the casket or coffin of your selfishness. But in that casket, safe, dark, motionless, airless, it will change. It will not be broken; it will become unbreakable, impenetrable, irredeemable. To love is to be vulnerable.

I am my heart’s undertaker. Daily I go and retrieve its tattered remains, place them delicately into its little coffin, and bury it in the depths of my memory, only to have to do it all again tomorrow.

If you show someone something you've written, you give them a sharpened stake, lie down in your coffin, and say, ‘When you’re ready’.

To whatever end,” he whispered. Silver lined her eyes. “To whatever end.” A reminder—and a vow, more sacred than the wedding oaths they’d sworn on that ship. To walk this path together, back from the darkness of the iron coffin. To face what waited in Terrasen, ancient promises to the gods be damned.

Time heals. No, it doesn't. At best, time is the great leveler, sweeping us all into coffins. We find ways to distract ourselves from the pain. Time is neither scalpel nor bandage. It is indifferent. Scar tissue is not a good thing. It is merely the wound's other face.

Like a church bell, a coffin, and a vat of melted chocolate, a supply closet is rarely a comfortable place to hide.

A cynic is a man who, when he smells flowers, looks around for a coffin.

Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people's hats off - then, I account it high time to get to sea as soon as I can.

We all have two lives: The true, the one we dreamed of in childhood And go on dreaming of as adults in a substratum of mist; the false, the one we love when we live with others, the practical, the useful, the one we end up by being put in a coffin.

Love has no middle term; either it destroys, or it saves. All human destiny is this dilemma. This dilemma, destruction or salvation, no fate proposes more inexorably than love. Love is life, if it is not death. Cradle; coffin, too. The same sentiment says yes and no in the human heart. Of all the things God has made, the human heart is the one that sheds most light, and alas! most night.

Time can play all sorts of tricks on you. In the blink of an eye, babies appear in carriages, coffins disappear into the ground, wars are won and lost, and children transform, like butterflies, into adults.

Tyler lies back and asks, "If Marilyn Monroe were alive right now, what would she be doing?" I say, goodnight. The headliner hangs down in shreds from the ceiling and Tyler says, "Clawing at the lid of her coffin.

We love the night and its quiet; and there is no night that we love so well as that on which the moon is coffined in clouds.

Black is a girl's best friend.

Funeral Blues Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come. Let aeroplanes circle moaning overhead Scribbling on the sky the message He is Dead, Put crêpe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves. He was my North, my South, my East and West, My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last for ever: I was wrong. The stars are not wanted now; put out every one, Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the wood; For nothing now can ever come to any good.

But I've never even been to Olympus! Zeus is crazy!" Chiron and Grover glanced nervously at the sky. The clouds didn't seem to be parting around us, as Grover had promised. They were rolling straight over our valley, sealing us in like a coffin lid. Er, Percy ...?" Grover said. "We don't use the c-word to describe the Lord of the Sky.

Childhood feels so permanent, like it's the entire world, and then one day it's over and you're shoveling wet dirt onto your father's coffin, stunned at the impermanence of everything.

If Marilyn Monroe was alive right now, what would she be doing?' Clawing at the roof of her coffin.

You can sleep in a coffin,but the past aint through with you!

She wanted to be buried in a coffin filled with used paperbacks.

Because I don’t care what anyone says or how often or winningly they say it: no one will ever, ever be able to persuade me that life is some awesome, rewarding treat. Because, here’s the truth: life is a catastrophe. The basic fact of existence – of walking around trying to feed ourselves and find friends and whatever else we do – is a catastrophe. Forget all this ridiculous ‘Our Town’ nonsense everyone talks: the miracle of a newborn babe, the joy of one simple blossom, Life You Are Too Wonderful To Grasp, &c. For me – and I’ll keep repeating it doggedly till I die, till I fall over on my ungrateful nihilistic face and am too weak to say it: better never born, than born into this cesspool. Sinkhole of hospital beds, coffins, and broken hearts. No release, no appeal, no “do-overs” to employ a favored phrase of Xandra’s, no way forward but age and loss, and no way out but death.

There is no safe investment. To love at all is to be vulnerable. Love anything, and your heart will certainly be wrung and possibly be broken. If you want to make sure of keeping it intact, you must give your heart to no one, not even to an animal. Wrap it carefully round with hobbies and little luxuries; avoid all entanglements; lock it up safe in the casket or coffin of your selfishness. But in that casket – safe, dark, motionless, airless – it will change. It will not be broken; it will become unbreakable, impenetrable, irredeemable. The alternative to tragedy, or at least to the risk of tragedy, is damnation. The only place outside Heaven where you can be perfectly safe from all the dangers and perturbations of love is Hell.

Old Marley was as dead as a doornail. Mind! I don't mean to say that, of my own knowledge, what there is particularly dead about a doornail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of ironmongery in the trade. But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country's done for. You will therefore permit me to repeat, emphatically, that Marley was as dead as a doornail.

People in general would rather die than forgive. It's that hard. If God said in plain language. "I'm giving you a choice, forgive or die," a lot of people would go ahead and order their coffin.

Vampires, real vampires, didn't nibble on the necks of nubile young virgins. They tore people to pieces and sucked the blood out of the chunks.

(P)eople’s good intentions can wind up putting us in boxes as confining as coffins.

Everyone thinks of them in terms of poisoned apples and glass coffins, and forgets that they represent girls who walked into dark forests and remade them into their own reflections.

Whoever is not in his coffin and the dark grave, let him know he has enough.

What's up with this sudden obsession with Jakes physique? He shoots me a look that asks: Is he measuring me for a coffin?

Silence had pounded a nail in the coffin of my marriage. But communication was key.

Lief. That's not nice, considering all your sister has done for you," admonished Perl. "Oh right. How could I forget that she made me bait for a snake, left me on house arrest in Ixia, and smuggled me into the Keep in a coffin.

Shoes, men, coffins; never accept the first one you see.

Your coffin reached the monstrous hole. And a part of me went down into the muddy earth with you and lay down next to you and died with you.

If I used to ask myself, over a coffin: “What good did it do the occupant to be born?”, I now put the same question about anyone alive.

Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him; The evil that men do lives after them, The good is oft interred with their bones, So let it be with Caesar ... The noble Brutus Hath told you Caesar was ambitious: If it were so, it was a grievous fault, And grievously hath Caesar answered it ... Here, under leave of Brutus and the rest, (For Brutus is an honourable man; So are they all; all honourable men) Come I to speak in Caesar's funeral ... He was my friend, faithful and just to me: But Brutus says he was ambitious; And Brutus is an honourable man…. He hath brought many captives home to Rome, Whose ransoms did the general coffers fill: Did this in Caesar seem ambitious? When that the poor have cried, Caesar hath wept: Ambition should be made of sterner stuff: Yet Brutus says he was ambitious; And Brutus is an honourable man. You all did see that on the Lupercal I thrice presented him a kingly crown, Which he did thrice refuse: was this ambition? Yet Brutus says he was ambitious; And, sure, he is an honourable man. I speak not to disprove what Brutus spoke, But here I am to speak what I do know. You all did love him once, not without cause: What cause withholds you then to mourn for him? O judgement! thou art fled to brutish beasts, And men have lost their reason…. Bear with me; My heart is in the coffin there with Caesar, And I must pause till it come back to me

Death does that: it makes everyone feel sentimental. When we stand in front of a coffin, we all see only what is good or what we want to see.

Whenever I can’t sleep, I like to lie in the darkness and pretend I’ve been assassinated. I’ve found this is the best way to get comfortable. I imagine I’m in the coffin at my funeral, and people from my past are walking by my corpse and making comments about my demise.

I love the recklessness of faith. First you leap, and then you grow wings.

If only these walls could talk…the world would know just how hard it is to tell the truth in a story in which everyone’s a liar.

THERE were two “Reigns of Terror,” if we would but remember it and consider it; the one wrought murder in hot passion, the other in heartless cold blood; the one lasted mere months, the other had lasted a thousand years; the one inflicted death upon ten thousand persons, the other upon a hundred millions; but our shudders are all for the “horrors” of the minor Terror, the momentary Terror, so to speak; whereas, what is the horror of swift death by the axe, compared with lifelong death from hunger, cold, insult, cruelty, and heart-break? What is swift death by lightning compared with death by slow fire at the stake? A city cemetery could contain the coffins filled by that brief Terror which we have all been so diligently taught to shiver at and mourn over; but all France could hardly contain the coffins filled by that older and real Terror—that unspeakably bitter and awful Terror which none of us has been taught to see in its vastness or pity as it deserves.

Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people's hats off--then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship.

People, in general, would rather die than forgive. It's that hard. If God said in plain language, "I'm giving you a choice, forgive or die," a lot of people would go ahead and order their coffin.

Why would you sing the national anthem for people who’d been killed by soldiers? Why cover the coffin with the Taegukgi? As though it wasn’t the nation itself that had murdered them.

When our lips touched the day closed into a coffin. In the museum of the heart...

And from the coffin of your madness there is no escape.

Childhood is long and narrow like a coffin, and you can’t get out of it on your own.

I am as silent as death. Do this: Go to your bedroom. Your nice, safe, warm bedroom that is not a glass coffin behind a morgue door. Lie down on your bed not made of ice. Stick your fingers in your ears. Do you hear that? The pulse of life from your heart, the slow in-and-out from your lungs? Even when you are silent, even when you block out all noise, your body is still a cacophony of life. Mine is not. It is the silence that drives me mad. The silence that drives the nightmares to me. Because what if I am dead?

I've lived my life like a serial killer; finish with one part, strangle it and move on to the next. Life in neat little boxes is life in neat little coffins, the dead bodies of the past laid out side by side. I am discovering, now, in the late afternoon of the day, that the dead still speak.

Down a path worn into the woods, past a stream and a hollowed-out log full of pill bugs and termites, was a glass coffin. It rested right on the ground, and in it slept a boy with horns on his head and ears as pointed as knives.

I believe you did not have a happy life. I believe you were cheated. I believe your best friends were loneliness and misery. I believe your busiest enemies were anger and depression. I believe joy was a game you could never play without stumbling. I believe comfort, though you craved it, was forever a stranger. I believe music had to be melancholy or not at all. I believe no trinket, no precious metal, shone so bright as your bitterness. I believe you lay down at last in your coffin none the wiser and unassuaged. Oh, cold and dreamless under the wild, amoral, reckless, peaceful flowers of the hillsides.

The persons on whom I have bestowed my dearest love lie deep in their graves; but, although the happiness and delight of my life lie buried there too, I have not made a coffin of my heart, and sealed it up for ever on my best affections. Deep affliction has only made them stronger; it ought, I think, for it should refine our nature.

When I was in the coffin, I pushed myself closer. I let myself slip away.... Just to stay sane. Just to get through it. And when I felt myself slipping too far, I hold on to the thing I'm always sure of-- Blue eyes. Bronze curls. The fact that Simon Snow is the most powerful mage alive. That nothing can hurt him, not even me. That Simon Snow is alive. And I'm hopelessly in love with him.

That's what my mother doesn't understand about my lipstick and dark clothes. I don't wear tattoos to freak her out; I wear them because I have to. It's me.

It's like being home again, when they bring in the hopelessly mangled person from the mine explosion, or the woman in her third day of labor, or the famished child struggling against pneumonia and my mother and Prim, they wear that same look on their faces. Now is the times to run away tho the woods, to hide in the trees until the patient is long gone and in another part of the Seam the hammers make the coffin. But I'm held here both by the hovercraft walls and the same force that holds the loved ones of the dying. How often I've seen them, ringed around our kitchen table and I thought, Why don't they leave? Why do they stay to watch? And now I know. It's because you have no choice.

Professor Langdon,' called a young man with curly hair in the back row, 'if Masonry is not a secret society, not a corporation, and not a religion, then what is it?' 'Well, if you were to ask a Mason, he would offer the following definition: Masonry is a system of morality, veiled in allegory and illustrated by symbols.' 'Sounds to me like a euphemism for "freaky cult." ' 'Freaky, you say?' 'Hell yes!' the kid said, standing up. 'I heard what they do inside those secret buildings! Weird candlelight rituals with coffins, and nooses, and drinking wine out of skulls. Now that's freaky!' Langdon scanned the class. 'Does that sound freaky to anyone else?' 'Yes!' they all chimed in. Langdon feigned a sad sigh. 'Too bad. If that's too freaky for you, then I know you'll never want to join my cult.' Silence settled over the room. The student from the Women's Center looked uneasy. 'You're in a cult?' Langdon nodded and lowered his voice to a conspiratorial whisper. 'Don't tell anyone, but on the pagan day of the sun god Ra, I kneel at the foot of an ancient instrument of torture and consume ritualistic symbols of blood and flesh.' The class looked horrified. Langdon shrugged. 'And if any of you care to join me, come to the Harvard chapel on Sunday, kneel beneath the crucifix, and take Holy Communion.' The classroom remained silent. Langdon winked. 'Open your minds, my friends. We all fear what we do not understand.

C. S. Lewis captured this so beautifully in one of my favorite quotes of all time: To love at all is to be vulnerable. Love anything and your heart will certainly be wrung and possibly be broken. If you want to make sure of keeping it intact, you must give it to no one, not even an animal. Wrap it carefully round with hobbies and little luxuries; avoid all entanglements. Lock it up safe in the casket or coffin of your selfishness. But in that casket, safe, dark, motionless, airless, it will change. It will not be broken; it will become unbreakable, impenetrable, irredeemable. To love is to be vulnerable.

The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness. Although the two are identical twins, man, as a rule, views the prenatal abyss with more calm than the one he is heading for (at some forty-five hundred heartbeats an hour). I know, however, of a young chronophobiac who experienced something like panic when looking for the first time at homemade movies that had been taken a few weeks before his birth. He saw a world that was practically unchanged-the same house, the same people- and then realized that he did not exist there at all and that nobody mourned his absence. He caught a glimpse of his mother waving from an upstairs window, and that unfamiliar gesture disturbed him, as if it were some mysterious farewell. But what particularly frightened him was the sight of a brand-new baby carriage standing there on the porch, with the smug, encroaching air of a coffin; even that was empty, as if, in the reverse course of events, his very bones had disintegrated.

The world is too dangerous for anything but truth and too small for anything but love.

Then how about one kiss?' he said with a sexy grin. 'Something to remember me by?' 'I’ll give you something to remember me by,' I said. The back of my head.' I pushed past him and escaped through the door to freedom.

But Evalin Ashryver held Aelin’s gaze, the softness turning hard and gleaming as fresh steel. It is the strength of this that matters, Aelin. Aelin’s fingers dug into her chest as she mouthed, The strength of this. Evalin nodded. Cairn’s hissed threats danced through the coffin, his knife scraping and scraping. Evalin’s face didn’t falter. You are my daughter. You were born of two mighty bloodlines. That strength flows through you. Lives in you. Evalin’s face blazed with the fierceness of the women who had come before them, all the way back to the Faerie Queen whose eyes they both bore. You do not yield.

Come away, come away, Death, And in sad cypress let me be laid; Fly away, fly away, breath, I am slain by a fair cruel maid. My shroud of white stuck all with yew, O prepare it! My part of death no one so true did share it. Not a flower, not a flower sweet, On my black coffin let there be strewn: Not a friend, not a friend greet My poor corpse, where my bones shall be thrown. A thousand thousand sighs to save, lay me O where Sad true lover never find my grave, to weep there!

There are pockets of wealth in this country. Mostly those pockets are in the politicians’ pants.

Raven: "You don't have a hot date, do you?" Alexander: "Yes. I do, as a matter of fact." Raven: "You do?" Alexander: "Yes, and it is almost ending.

She cried for herself, she cried because she was afraid that she herself might die in the night, because she was alone in the world, because her desperate and empty life was not an overture but an ending, and through it all she could see was the rough, brutal shape of a coffin.

What? she said once to herself, and then once aloud, What? She felt a total displacement, like a spinning globe brought to a sudden halt by the light touch of a finger. How did she end up here, like this? How could there have been so much - so many moments, so many people and things, so many razors and pillows, timepieces and subtle coffins - without her being aware? How did her life live itself without her?

A premature death does not only rob one of the countless instances where one would have experienced pleasure, it also saves one from the innumerable instances where one would have experienced pain.

I always felt sorry for humans, spending so much time in front of the mirror. Fixing their hair, makeup, and clothes, mostly to impress others. Did they really see themselves in the mirror? Was it what they wanted to see? Did it make them feel good or bad? And mostly I wondered if they based their self-image on their reflected one.

Envy is the art of counting the other fellow's blessings instead of your own.

Who needs a large vocabulary when you can just make up any word at any time? It makes life a whole lot more emeaglibop.

Call me Ishmael. Some years ago - never mind how long precisely - having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen, and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people's hats off - then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship.

My definition of dictionary can’t be found in the dictionary. Dictionary—A linguistic prison, confining words to well-defined cells, with little chance of parole.

Raven: "Don't you notice that?" Alexander: "Notice what?" Raven: "The girls?" Alexander: "What girls?" Raven: "Hello! You were worried about bringing me to a bar when all along I should have been concerned about bringing you." Alexander: "I don't know what you are talking about." Raven: "The girls are drooling all over you!" Alexander: "Well, there is only one girl I want to be with and she's right here.

Heresy is the eternal dawn, the morning star, the glittering herald of the day. Heresy is the last and best thought. It is the perpetual New World, the unknown sea, toward which the brave all sail. It is the eternal horizon of progress. Heresy extends the hospitalities of the brain to a new thought. Heresy is a cradle; orthodoxy, a coffin.

This club is for members only. But once you join, membership lasts for an eternity.

Here's to new blood." -Jagger Maxwell

There must be quite a few things a hot bath won’t cure, but I don’t know many of them. Whenever I’m sad I’m going to die, or so nervous I can’t sleep, or in love with somebody I won’t be seeing for a week, I slump down just so far and then I say: 'I’ll go take a hot bath.' I meditate in the bath.The water needs to be very hot, so hot you can barely stand putting your foot in it. Then you lower yourself, inch by inch, till the water’s up to your neck. I remember the ceiling over every bathtub I’ve stretched out in. I remember the texture of the ceilings and the cracks and the colors and the damp spots and the light fixtures. I remember the tubs, too: the antique griffin-legged tubs, and the modern coffin-shaped tubs, and the fancy pink marble tubs overlooking indoor lily ponds, and I remember the shapes and sizes of the water taps and the different sorts of soap holders. I never feel so much myself as when I’m in a hot bath.

When I’m lonely I stand in the corner and play my saxophone and feel sorry for myself. I would ask you to accompany me on the piano, but if I did that I wouldn’t be lonely, would I? And what’s the point of a saxophone if not to celebrate despair?

If you really want me to be safe, maybe it's time." "I'd just feel safer if you'd start sleeping in a coffin." Just then my door creaked open. Billy's expression turned to surprise. "Get out!" I said, hopping off the bed. "Uh...we are making up lyrics to a song." But that didn't keep Billy out. Instead he was totally interested. "You're writing a song? That's so cool. I want to hear it." "It goes, 'Safer in a coffin, and if your brother doesn't leave, he'll be in one too.

It is the Soldier, not the minister Who has given us freedom of religion. It is the Soldier, not the reporter Who has given us freedom of the press. It is the Soldier, not the poet Who has given us freedom of speech. It is the Soldier, not the campus organizer Who has given us freedom to protest. It is the Soldier, not the lawyer Who has given us the right to a fair trial. It is the Soldier, not the politician Who has given us the right to vote. It is the Soldier who salutes the flag, Who serves beneath the flag, And whose coffin is draped by the flag, Who allows the protester to burn the flag.

Aunt Libby: "I think I'm getting married! I've been dying to tell you." Raven: "You are? Congrats! Dad didn't mention..." Aunt Libby: "Well, okay, it's not official or anything. In fact, we haven't officially gone out yet. I just met him last night.

The World "You know the saddest thing," she said. "The saddest thing is that we're you." I said nothing. "In your fantasies," she said, "my people are just like you. Only better. We don't die or age or suffer from pain or cold or thirst. We're snappier dressers. We possess the wisdom of the ages. And if we crave blood, well, it is no more than the way you people crave food or affection or sunlight - and besides, it gets us out of the house. Crypt. Coffin. Whatever." "And the truth is?" I ask her. "We're you," she said. "We're you with all your fuckups and all the things that make you human - all your fears and lonelinesses and confusions... none of that gets better. "But we're colder than you are. Deader. I miss daylight and food and knowing how it feels to touch someone and care. I remember life, and meeting people as people and not just as things to feed on or control, and I remember what it was to feel something, anything, happy or sad or anything..." And then she stopped. "Are you crying?" I asked. "We don't cry," she told me. Like I said, the woman was a liar." Fifteen Painted Cards From A Vampire Tarot

Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially when my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people's hats off- then, I account it high time to get to a bookstore as soon as I can. That is my substitute for the pistol and ball.

Some prisoners spent more than ten years buried in solitary cells the size of coffins, hearing nothing but clanging bars or footsteps in the corridors. . .[they] survived because they could talk to each other by tapping on the wall. In that way they told of dreams and memories, fallings in and out of love; they discussed, embraced, fought; they shared beliefs and beauties, doubts and guilts, and those questions that have no answers. When it is genuine, when it is born of the need to speak, no one can stop the human voice. When denied a mouth, it speaks with the hands or the eyes, or the pores, or anything at all. Because every single one of us has something to say to the others, something that deserves to be celebrated or forgiven by others.

Now that’s what I call magic—seein’ all that, dealin’ with all that, and still goin’ on. It’s sittin’ up all night with some poor old man who’s leavin’ the world, taking away such pain as you can, comfortin’ their terror, seein’ ‘em safely on their way…and then cleanin’ ‘em up, layin’ ‘em out, making ‘em neat for the funeral, and helpin’ the weeping widow strip the bed and wash the sheets—which is, let me tell you, no errand for the fainthearted—and stayin’ up the next night to watch over the coffin before the funeral, and then going home and sitting down for five minutes before some shouting angry man comes bangin’ on your door ‘cuz his wife’s havin’ difficulty givin’ birth to their first child and the midwife’s at her wits’ end and then getting up and fetching your bag and going out again…We all do that, in our own way, and she does it better’n me, if I was to put my hand on my heart. That is the root and heart and soul and center of witchcraft, that is. The soul and center!

But is it not already an insult to call chess anything so narrow as a game? Is it not also a science, an art, hovering between these categories like Muhammad's coffin between heaven and earth, a unique yoking of opposites, ancient and yet eternally new, mechanically constituted and yet an activity of the imagination alone, limited to a fixed geometric area but unlimited in its permutations, constantly evolving and yet sterile, a cogitation producing nothing, a mathematics calculating nothing, an art without an artwork, an architecture without substance and yet demonstrably more durable in its essence and actual form than all books and works, the only game that belongs to all peoples and all eras, while no one knows what god put it on earth to deaden boredom, sharpen the mind, and fortify the spirit?

It's funny the things people say when someone dies. He's in a better place. How do you know that? Life goes on. That's supposed to comfort me? I'm excruciatingly aware that life goes on. It hurts every damned second. How lovely to know it's going to continue like this. Thank you for reminding me. Time heals. No, it doesn't. At best, time is the great leveler, sweeping us all into coffins. We find ways to distract ourselves from the pain. Time is neither scalpel nor bandage. It is indifferent. Scar tissue isn't a good thing. It's merely the wound's other face.

Some years ago - never mind how long precisely - having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen, and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people's hats off - then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.

I am as silent as death. Do this: Go to your bedroom. Your nice, safe, warm bedroom that is not a glass coffin behind a morgue door. Lie down on your bed not made of ice. Stick your fingers in your ears. Do you hear that? The pulse of life from your heart, the slow in-and-out from your lungs? Even when you are silent, even when you block out all noise, your body is still a cacophony of life. Mine is not. It is the silence that drives me mad. The silence that drives the nightmares to me. Because what if I am dead? How can someone without a beating heart, without breathing lungs live like I do? I must be dead. And this is my greatest fear: After 301 years, when they pull my glass coffin from this morgue, and they let my body thaw like chicken meat on the kitchen counter, I will be just like I am now. I will spend all of eternity trapped in my dead body. There is nothing beyond this. I will be locked within myself forever. And I want to scream. I want to throw open my eyes wake up and not be alone with myself anymore, but I can't. I can't.

Tell the others,” Aelin breathed, trying to find the right words. “Tell the others that I am sorry. Tell Lysandra to remember her promise, and that I will never stop being grateful. Tell Aedion … Tell him it is not his fault, and that …” Her voice cracked. “I wish he’d been able to take the oath, but Terrasen will look to him now, and the lines must not break.” Elide nodded, tears sliding down her blood-splattered face. “And tell Rowan …” Aelin’s soul splintered as she saw the iron box the escorts now carried between them. An ancient, iron coffin. Big enough for one person. Crafted for her. “And tell Rowan,” Aelin said, fighting her own sob, “that I’m sorry I lied. But tell him it was all borrowed time anyway. Even before today, I knew it was all just borrowed time, but I still wish we’d had more of it.” She fought past her trembling mouth. “Tell him he has to fight. He must save Terrasen, and remember the vows he made to me. And tell him … tell him thank you—for walking that dark path with me back to the light.” They

They don't make morgues with windows. In fact, if the geography allows for it, they hardly ever make morgues above the ground. I guess it's partly because it must be eisier to refrigerate a bunch of coffin-sized chambers in a room insulated by the earth. But that can't be all there is to it. Under the earth means a lot more than relative altitude. It's where dead things fit. Graves are under the earth. So are Hell, Gehenna, Hades, and a dozen other reported afterlives. Maybe it says somthing about people. Maybe for us, under the earth is a subtle and profound statement. Maybe ground level provides us with a kind of symbolic boundary marker, an artificial construct that helps us remember that we are alive. Mabye it helps us push death's shadow back from our lives. I live in a basement apartment and like it. What does that say about me? Probably that I overanalyze things.

And this is how we danced: with our mothers’ white dresses spilling from our feet, late August turning our hands dark red. And this is how we loved: a fifth of vodka and an afternoon in the attic, your fingers sweeping though my hair—my hair a wildfire. We covered our ears and your father’s tantrum turned into heartbeats. When our lips touched the day closed into a coffin. In the museum of the heart there are two headless people building a burning house. There was always the shotgun above the fireplace. Always another hour to kill—only to beg some god to give it back. If not the attic, the car. If not the car, the dream. If not the boy, his clothes. If not alive, put down the phone. Because the year is a distance we’ve traveled in circles. Which is to say: this is how we danced: alone in sleeping bodies. Which is to say: This is how we loved: a knife on the tongue turning into a tongue.

Did you have one of those days today, like a nail in the foot? Did the pterodactyl corpse dropped by the ghost of your mother from the spectral Hindenburg forever circling the Earth come smashing through the lid of your glass coffin? Did the New York strip steak you attacked at dinner suddenly show a mouth filled with needle-sharp teeth, and did it snap off the end of your fork, the last solid-gold fork from the set Anastasia pressed into your hands as they took her away to be shot? Is the slab under your apartment building moaning that it cannot stand the weight on its back a moment longer, and is the building stretching and creaking? Did a good friend betray you today, or did that good friend merely keep silent and fail to come to your aid? Are you holding the razor at your throat this very instant? Take heart, comfort is at hand. This is the hour that stretches. Djan karet. We are the cavalry. We're here. Put away the pills. We'll get you through this bloody night. Next time, it'll be your turn to help us. "Eidolons" (1988)

It was the most beautiful thing I'd ever seen. How the artist captured the light, the details of my mother's dimples, the joy in my father's eyes, all through gentle strokes from his palette. The artist made me look alive when I felt lonely and grim inside. That's the way this man saw me. I decided then that that's what I wanted to do

Lo!" cried the demon. "I am here! What dost thou seek of me? Why dost thou disturb my repose? Smite me no more with that dread rod!" He looked at Cabal. "Where's your dread rod?" "I left it at home," replied Cabal. "Didn't think I really needed it." "You can't summon me without a dread rod!" said Lucifuge, appalled. "You're here, aren't you?" "Well, yes, but under false pretences. You haven't got a goatskin or two vervain crowns or two candles of virgin wax made by a virgin girl and duly blessed. Have you got the stone called Ematille?" "I don't even know what Ematille is." Neither did the demon. He dropped the subject and moved on. "Four nails from the coffin of a dead child?" "Don't be fatuous." "Half a bottle of brandy?" "I don't drink brandy." "It's not for you." "I have a hip flask," said Cabal, and threw it to him. The demon caught it and took a dram. "Cheers," said Lucifuge, and threw it back. They regarded each other for a long moment. "This really is a shambles," the demon added finally. "What did you summon me for, anyway?

The human life cycle no less than evolves around the box; from the open-topped box called a bassinet, to the pine box we call a coffin, the box is our past and, just as assuredly, our future. It should not surprise us then that the lowly box plays such a significant role in the first Christmas story. For Christmas began in a humble, hay-filled box of splintered wood. The Magi, wise men who had traveled far to see the infant king, laid treasure-filled boxes at the feet of that holy child. And in the end, when He had ransomed our sins with His blood, the Lord of Christmas was laid down in a box of stone. How fitting that each Christmas season brightly wrapped boxes skirt the pine boughs of Christmas trees around the world.

If we lived for ever, what you say would be true. But we have to die, we have to leave life presently. Injustice and greed would be the real thing if we lived for ever. As it is, we must hold to other things, because Death is coming. I love death - not morbidly, but because He explains. He shows me the emptiness of Money. Death and Money are the eternal foes. Not Death and Life. . . . Death destroys a man: the idea of Death saves him. Behind the coffins and the skeletons that stay the vulgar mind lies something so immense that all that is great in us responds to it. Men of the world may recoil from the charnel-house that they will one day enter, but Love knows better. Death is his foe, but his peer, and in their age-long struggle the thews of Love have been strengthened, and his vision cleared, until there is no one who can stand against him.

My dear child,' said the old gentleman, moved by the warmth of Oliver's sudden appeal, 'you need not be afraid of my deserting you, unless you give me cause.' I never, never will, sir,' interposed Oliver. I hope not,' rejoined the old gentleman; 'I do not think you ever will. I have been deceived before, in the objects whom I have endeavoured to benefit; but I feel strongly disposed to trust you, nevertheless, and more strongly interested in your behalf than I can well account for, even to myself. The persons on whom I have bestowed my dearest love lie deep in their graves; but, although the happiness and delight of my life lie buried there too, I have not made a coffin of my heart, and sealed it up for ever on my best affections. Deep affliction has only made them stronger; it ought, I think, for it should refine our nature.

In Plaster I shall never get out of this! There are two of me now: This new absolutely white person and the old yellow one, And the white person is certainly the superior one. She doesn't need food, she is one of the real saints. 
At the beginning I hated her, she had no personality -- She lay in bed with me like a dead body 
And I was scared, because she was shaped just the way I was 
 Only much whiter and unbreakable and with no complaints. I couldn't sleep for a week, she was so cold. I blamed her for everything, but she didn't answer. 
I couldn't understand her stupid behavior! 
When I hit her she held still, like a true pacifist. 
Then I realized what she wanted was for me to love her: She began to warm up, and I saw her advantages. 

Without me, she wouldn't exist, so of course she was grateful. 
I gave her a soul, I bloomed out of her as a rose 
Blooms out of a vase of not very valuable porcelain, And it was I who attracted everybody's attention, 
Not her whiteness and beauty, as I had at first supposed. 
I patronized her a little, and she lapped it up -- 
You could tell almost at once she had a slave mentality. 

I didn't mind her waiting on me, and she adored it. 
In the morning she woke me early, reflecting the sun 
From her amazingly white torso, and I couldn't help but notice 
Her tidiness and her calmness and her patience: She humored my weakness like the best of nurses, 
Holding my bones in place so they would mend properly. In time our relationship grew more intense. 

She stopped fitting me so closely and seemed offish. 
I felt her criticizing me in spite of herself, 
As if my habits offended her in some way. She let in the drafts and became more and more absent-minded. 
And my skin itched and flaked away in soft pieces 
Simply because she looked after me so badly. Then I saw what the trouble was: she thought she was immortal. She wanted to leave me, she thought she was superior, 
And I'd been keeping her in the dark, and she was resentful -- Wasting her days waiting on a half-corpse! 
And secretly she began to hope I'd die. Then she could cover my mouth and eyes, cover me entirely, 
And wear my painted face the way a mummy-case Wears the face of a pharaoh, though it's made of mud and water. 

I wasn't in any position to get rid of her. She'd supported me for so long I was quite limp -- I had forgotten how to walk or sit, So I was careful not to upset her in any way 
Or brag ahead of time how I'd avenge myself. Living with her was like living with my own coffin: Yet I still depended on her, though I did it regretfully. I used to think we might make a go of it together -- 
After all, it was a kind of marriage, being so close. 
Now I see it must be one or the other of us. She may be a saint, and I may be ugly and hairy, 
But she'll soon find out that that doesn't matter a bit. I'm collecting my strength; one day I shall manage without her, 
And she'll perish with emptiness then, and begin to miss me. --written 26 Feburary 1961

I realized I had no friends. Besides, even if I had had, I shouldn't be any better off. If I had been able to commit suicide and then see their reaction, why, then the game would have been worth the candle. But the earth is dark, cher ami, the coffin thick, and the shroud opaque, The eyes of the soul - to be sure - if there is a soul and it has eyes! But you see, we're not sure, we can't be sure. Otherwise, there would be a solution; at least one could get oneself taken seriously. Men are never convinced of your reasons, of your sincerity, of the seriousness of your sufferings, except by your death. So long as you are alive, your case is doubtful; you have a right only to their skepticism. So if there were the least certainty that one could enjoy the show, it would be worth proving to them what they are unwilling to believe and thus amazing them. But you kill yourself and what does it matter whether or not they believe you? You are not there to see their amazement and their contrition (fleeting at best), to witness, according to every man's dream, your own funeral. In order to cease being a doubtful case, one has to cease being, that is all. Besides, isn't it better thus? We would suffer too much from their indifference.

For most of my life, I would have automatically said that I would opt for conscientious objector status, and in general, I still would. But the spirit of the question is would I ever, and there are instances where I might. If immediate intervention would have circumvented the genocide in Rwanda or stopped the Janjaweed in Darfur, would I choose pacifism? Of course not. Scott Simon, the reporter for National Public Radio and a committed lifelong Quaker, has written that it took looking into mass graves in former Yugoslavia to convince him that force is sometimes the only option to deter our species' murderous impulses. While we're on the subject of the horrors of war, and humanity's most poisonous and least charitable attributes, let me not forget to mention Barbara Bush (that would be former First Lady and presidential mother as opposed to W's liquor-swilling, Girl Gone Wild, human ashtray of a daughter. I'm sorry, that's not fair. I've no idea if she smokes.) When the administration censored images of the flag-draped coffins of the young men and women being killed in Iraq - purportedly to respect "the privacy of the families" and not to minimize and cover up the true nature and consequences of the war - the family matriarch expressed her support for what was ultimately her son's decision by saying on Good Morning America on March 18, 2003, "Why should we hear about body bags and deaths? I mean it's not relevant. So why should I waste my beautiful mind on something like that?" Mrs. Bush is not getting any younger. When she eventually ceases to walk among us we will undoubtedly see photographs of her flag-draped coffin. Whatever obituaries that run will admiringly mention those wizened, dynastic loins of hers and praise her staunch refusal to color her hair or glamorize her image. But will they remember this particular statement of hers, this "Let them eat cake" for the twenty-first century? Unlikely, since it received far too little play and definitely insufficient outrage when she said it. So let us promise herewith to never forget her callous disregard for other parents' children while her own son was sending them to make the ultimate sacrifice, while asking of the rest of us little more than to promise to go shopping. Commit the quote to memory and say it whenever her name comes up. Remind others how she lacked even the bare minimum of human integrity, the most basic requirement of decency that says if you support a war, you should be willing, if not to join those nineteen-year-olds yourself, then at least, at the very least, to acknowledge that said war was actually going on. Stupid fucking cow.