Cone Of Silence Quotes

If a cone had dropped on velvet needles, if a star had lain a silver track across the sky, if the dead had turned in their graves - I swear, I would have heard it, that's how silent it all was.

They lay in silence, strapped to their couches and ready for launch. Beck looked at Watney’s empty couch and saw Vogel doing the same. Martinez ran a self-check on the nose cone OMS thrusters. They were no longer safe for use. He noted the malfunction in his log.

Where are you?” she shouted. “Don’t you see us?” taunted the woman’s voice. “I thought Hecate chose you for your skill.” Another bout of queasiness churned through Hazel’s gut. On her shoulder, Gale barked and passed gas, which didn’t help. Dark spots floated in Hazel’s eyes. She tried to blink them away, but they only turned darker. The spots consolidated into a twenty-foot-tall shadowy figure looming next to the Doors. The giant Clytius was shrouded in the black smoke, just as she’d seen in her vision at the crossroads, but now Hazel could dimly make out his form—dragon-like legs with ash-colored scales; a massive humanoid upper body encased in Stygian armor; long, braided hair that seemed to be made from smoke. His complexion was as dark as Death’s (Hazel should know, since she had met Death personally). His eyes glinted cold as diamonds. He carried no weapon, but that didn’t make him any less terrifying. Leo whistled. “You know, Clytius…for such a big dude, you’ve got a beautiful voice.” “Idiot,” hissed the woman. Halfway between Hazel and the giant, the air shimmered. The sorceress appeared. She wore an elegant sleeveless dress of woven gold, her dark hair piled into a cone, encircled with diamonds and emeralds. Around her neck hung a pendant like a miniature maze, on a cord set with rubies that made Hazel think of crystallized blood drops. The woman was beautiful in a timeless, regal way—like a statue you might admire but could never love. Her eyes sparkled with malice. “Pasiphaë,” Hazel said. The woman inclined her head. “My dear Hazel Levesque.” Leo coughed. “You two know each other? Like Underworld chums, or—” “Silence, fool.” Pasiphaë’s voice was soft, but full of venom. “I have no use for demigod boys—always so full of themselves, so brash and destructive.” “Hey, lady,” Leo protested. “I don’t destroy things much. I’m a son of Hephaestus.” “A tinkerer,” snapped Pasiphaë. “Even worse. I knew Daedalus. His inventions brought me nothing but trouble.” Leo blinked. “Daedalus…like, the Daedalus? Well, then, you should know all about us tinkerers. We’re more into fixing, building, occasionally sticking wads of oilcloth in the mouths of rude ladies—” “Leo.” Hazel put her arm across his chest. She had a feeling the sorceress was about to turn him into something unpleasant if he didn’t shut up. “Let me take this, okay?

lucy went along with her mother because ginny wanted her to, because lucy felt it was what girls did with their mothers - watch in silence as, under the cones of dryers, mothers fell out of listening range and into the distance.

You ought to make something for Easter. You know. Eggs and stuff. Chocolate hens, rabbits, things like that. Like the shops in Agen." I remember them from my childhood; the Paris chocolateries with their baskets of foil-wrapped eggs, shelves of rabbits and hens, bells, marzipan fruits and marrons glacés, amourettes and filigree nests filled with petits fours and caramels, and a thousand and one epiphanies of spun-sugar magic carpet rides more suited to an Arabian harem than the solemnities of the Passion. "I remember my mother telling me about the Easter chocolates." There was never enough money to buy those exquisite things, but I always had my own cornet-surprise, a paper cone containing my Easter gifts, coins, paper flowers, hard-boiled eggs painted in bright enamel colors, a box of colored papier-mâché- painted with chickens, bunnies, smiling children among the buttercups, the same every year and stored carefully for the next time- encasing a tiny packet of chocolate raisins wrapped in cellophane, each one to be savored, long and lingeringly, in the lost hours of those strange nights between cities, with the neon glow of hotel signs blink-blinking between the shutters and my mother's breathing, slow and somehow eternal, in the umbrous silence.

He woke that night with the ground trembling beneath him and he sat up and looked for the horse. The horse stood with its head raised against the desert nightsky looking toward the west. A train was going downcountry, the pale yellow cone of the headlight boring slowly and sedately down the desert and the distant clatter of the wheeltrucks outlandish and mechanical in that dark waste of silence. Finally the small square windowlight of the caboose trailing after. It passed and left only the faint pale track of boilersmoke hanging over the desert and then came the long lonesome whistle echoing across the country where it called for the crossing at Las Varas.

Reading books can be intensely pleasurable. Reading is one of the great human delights. The American reading public, or a significant chunk of it anyway, can't take its readerly pleasure straight but has to cut it with a sizable splash of duty. Read what gives you delight - at least most of the time - and do so without shame. Masterpieces should be kept for High Holidays of the Spirit - for our own Christmases and Easters, not for any old Wednesday. Most people read quickly because they want not to read but to have read. Attention enables you to have the kind of Dionysian experience beautifully described by the old-fashioned term "rapt" - completely absorbed, engrossed, fascinated, perhaps even "carried away" - that underlies life's deepest pleasures, from the scholar's study to the carpenter's craft to the lover's obsession. This is why attentiveness is worth cultivating: such raptness is deeply satisfying. Bodies have a natural propensity to interfere with still and quiet attentiveness. Slow and patient reading properly belongs to our leisure hours. I've always been a lover of silence and this love is bound up with my passion for books. Stefan Zweig A book is a handful of silence that assuages torment and unrest. Stefan Zweig We readers must learn to build our own "cone of silence"; the world won't do it for us.

Elegy" Wind buffs the waterstained stone cupids and shakes Old rain from the pines’ low branches, small change Spilling over the graves the years have smashed With a hammer— forget this, forget that, leave no Stone unturned. The grass grows high, sweet-smelling, Many-footed, ever-running. No one tends it. No One comes....And where am I now?.... Is this a beginning, A middle, or an end?.... Before I knew you I stood middle, or an end?.... Before I knew you I stood In this place. Now I forsake the past as I knew it To feed you into it. But that is not right. You step Into it. I find you here, in the shifting grass, In the late light, as if you had always been here. Behind you two torn black cedars flame white Against the darkening fields.... If you turn to me, Quiet man? If you turn? If I speak softly? If I say, Take off, take off your glasses.... Let me see Your sightless eyes?.... I will be beautiful then.... Look, the heart moves as the moths do, scuttering Like a child’s thoughts above this broken stone And that. And I lie down. I lie down in the long grass, Something I am not given to doing, and I feel The weight of your hand on my belly, and the wind Parts the grasses, and the distance spills through— The glassy fields, the black black earth, the pale air Streaming headlong toward the abbey’s far stones And streaming back again.... The drowned scent of lilacs By the abbey, it is a drug. It drives one senseless. It drives one blind. You can cup the enormous lilac cones In your hands— ripened, weightless, and taut— And it is like holding someone’s heart in your hands, Or holding a cloud of moths. I lift them up, my hands. Grave man, bend toward me. Lay your face.... here.... Rest....! took the stalks of the dead wisteria From the glass jar propped against the open grave And put in the shell-shaped yellow wildflowers I picked along the road. I cannot name them. Bread and butter, perhaps. I am not good With names. But nameless you walked toward me And I knew you, a swelling in the heart, A silence in the heart, the wild wind-blown grass Burning— as the sun falls below the earth— Brighter than a bed of lilies struck by snow. — Brigit Pegeen Kelly, The Orchard: Poems (BOA Editions Ltd., 2004)

Whenever a stray thought about Aaron, Taylor, or their relationship with Molly wanders into view, I push it into the folder near the back wall so that I can quickly shove them away from Dacia’s prying eyes. I visualize that inner wall as an impenetrable fortress, surrounded by a force field, encased in a Cone of Silence, and covered by a Cloak of Invisibility.

For the next six years, a cone of silence surrounded the ranch. Dozens of unusual events were observed. Animals were mutilated. Mysterious aircraft appeared and disappeared. Gunshots were fired at unknown creatures. And “the entity” manifested itself in ways that challenged and bewildered the NIDS team, but none of these events were made public.

Our family’s collective nonpanic at my father’s condition might have been shocking and even disturbing to many. The Silver Eagle, true patriot, lies at death’s door and his wife and offspring will get to it when they get to it. There’s a history here, one carefully covered and silenced. There’s a facade, curated over years, smoothed out by endless practice pretending everything is all right. As children, my brother and I learned that it was best to just avoid our father. If avoidance wasn’t possible, one could hope that he was in one of his shining moods. His everything-is-dandy-let’s-go-get-an-ice-cream-cone-and-toss-the-ball-around moods. Though these moods were shiny and glistening at first glance, it took very little to tarnish them: a drip of melted ice cream on the upholstery in the backseat, an easy grounder missed, unexpected traffic from a funeral procession