Curtains And Blinds Quotes

We've searched our database for all the quotes and captions related to Curtains And Blinds. Here they are! All 71 of them:

I read, and, in reading, lifted the Curtains of the Impossible that blind the mind, and looked out into the unknown.
William Hope Hodgson
My continuing passion is to part a curtain, that invisible veil of indifference that falls between us and that blinds us to each other's presence, each other's wonder, each other's human plight.
Eudora Welty
The tears and the pain all but blinding her, she forced open her eyes one more time, to a curtain of dark hair; to a waterfall of black ink spilling across the last page of her life. No. I’m not nothing. I was loved.
Renée Ahdieh (The Wrath and the Dawn (The Wrath and the Dawn, #1))
Whoever lived in that apartment had a security gate, blinds that were closed and curtains drawn. It's probably darker in there than it is in Hollister.
Cara Lynn Shultz (Spellcaster (Spellbound, #2))
Occasionally, events in one's life become clearer through the prism of experience, a phrase which simply means that things tend to be clearer as time goes on. For instance, when a person is just born, they usually have no idea what curtains are and spend a great deal of their first months wondering why on earth Mommy and Daddy have hung large pieces of cloth over each window in the nursery. But as the person grows older, the idea of curtains becomes clearer through the prism of experience. The person will learn the word "curtains" and notice that they are actually quite handy for keeping a room dark when it is time to sleep, and for decorating an otherwise boring window area. Eventually, they will entirely accept the idea of curtains of their own, or venetian blinds, and it is all due to the prism of experience.
Lemony Snicket (The Austere Academy (A Series of Unfortunate Events, #5))
Shadow children, thin and small, Now the day is left behind, You are dancing on the wall, On the curtains, on the blind.
Katherine Mansfield (The Poems of Katherine Mansfield)
The sun was up, the room already too warm. Light filtered in through the net curtains, hanging suspended in the air, sediment in a pond. My head felt like a sack of pulp. Still in my nightgown, damp from some fright I'd pushed aside like foliage, I pulled myself up and out of my tangled bed, then forced myself through the usual dawn rituals - the ceremonies we perform to make ourselves look sane and acceptable to other people. The hair must be smoothed down after whatever apparitions have made it stand on end during the night, the expression of staring disbelief washed from the eyes. The teeth brushed, such as they are. God knows what bones I'd been gnawing in my sleep.
Margaret Atwood (The Blind Assassin)
But the woman came to her them. The woman with hair of red like roses, hair of white like snowfall. She was young and old. She was blind and could see everything. She spoke softly, in whispers, but her voice carried across the mountain ranges like sleeping giants, the cities lit like fairies and the oceans-undulating mermaids. She laughed at her own sorrow and wept pearls at weddings. Her fingers were branches and her eyes were little blue planets. She said, You cannot hide forever, though you may try. I've seen you in the kitchen, in the garden. I've seen the things you have sewn -curtains of dawn, twilight blankets and dresses for the sisters like a garden of stars. I have heard the stories you tell. You are the one who transforms, who creates. You will go out into the world and show others. They will feel less alone because of you, they will feel understood, unburdened by you, awakened by you, freed of guilt and shame and sorrow. But to share with them you must wear shoes, you must go out you must not hide, you must dance and it will be harder, you must face jealousy and sometimes rage and desire and love which can hurt most of all because of what can then be taken away.
Francesca Lia Block (The Rose and the Beast: Fairy Tales Retold)
Sooner or later, the borderline curtain would again cover the mother I love and blind her to my and Dad’s feelings. But right now, in this moment, we were happy.
Brenda Vicars (Polarity in Motion)
I tore the curtain down and roared, “I see inequity.” But countless veils, shifting and sheer, deftly blinded me. So I, pumped with pride, still failed to see the way I see. Veils, unseen and unnamed, Will unremoved remain.
Brenda Vicars (Polarity in Motion)
Back at home they drew the curtains and read, with disapproval, with relish, with avidity and glee - even the ones who'd never thought of opening a novel before. There's nothing like a shovelful of dirt to encourage literacy.
Margaret Atwood (The Blind Assassin)
Busie olde foole, unruly Sunne; Why dost thou thus, Through windowes, and through curtaines call on us? Must to they motions lovers seasons run? Sawcy pedantique wretch, goe chide Late schoole boyes, and sowre prentices, Goe tell Court-huntsmen, that the King will ride, Call countrey ands to harvest offices; Love, all alike, no season knows, nor clyme, Nor houres, dayes, months, which are the rags of time. Thy beames, so reverend, and strong Why shouldst thou thinke? I could eclipse and cloud them with a winke, But that I would not lose her sight so long: If her eyes have not blinded thine Looke, and tomorrow late, tell mee, Whether both the India's of spice and Myne Be where thou leftst them, or lie here with mee. Aske for those Kings whom thou saw'st yesterday, And thou shalt heare, All here in one bed lay. She'is all States, and all Princes, I, Nothing else is; Princes doe but play us; compar'd to this, All honor's mimique; All wealth alchimie, Thou sunne art halfe as happy'as wee, In that the world's contracted thus; Thine ages askes ease, and since thy duties bee To warme the world, that's done in warming us. Shine here to us, and thou art every where; This bed thy center is, these walls, thy spheare.
John Donne
Gallop apace, you fiery-footed steeds, Towards Phoebus' lodging: such a wagoner As Phaethon would whip you to the west, And bring in cloudy night immediately. Spread thy close curtain, love-performing night, That runaway's eyes may wink and Romeo Leap to these arms, untalk'd of and unseen. Lovers can see to do their amorous rites By their own beauties; or, if love be blind, It best agrees with night. Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match, Play'd for a pair of stainless maidenhoods: Hood my unmann'd blood, bating in my cheeks, With thy black mantle; till strange love, grown bold, Think true love acted simple modesty. Come, night; come, Romeo; come, thou day in night; For thou wilt lie upon the wings of night Whiter than new snow on a raven's back. Come, gentle night, come, loving, black-brow'd night, Give me my Romeo; and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun. O, I have bought the mansion of a love, But not possess'd it, and, though I am sold, Not yet enjoy'd: so tedious is this day As is the night before some festival To an impatient child that hath new robes And may not wear them. O, here comes my nurse, And she brings news; and every tongue that speaks But Romeo's name speaks heavenly eloquence.
William Shakespeare (Romeo and Juliet)
Life is a great big beautiful three-ring circus. There are those on the floor making their lives among the heads of lions and hoops of fire, and those in the stands, complacent and wowed, their mouths stuffed with popcorn. I know less now than ever about life, but I do know its size. Life is enormous. Much grander than what we’ve taken for ourselves, so far. When the show is over and the tent is packed, the elephants, lions and dancing poodles are caged and mounted on trucks to caravan to the next town. The clown’s makeup has worn, and his bright, red smile has been washed down a sink. All that is left is another performance, another tent and set of lights. We rest in the knowledge: the show must go on. Somewhere, behind our stage curtain, a still, small voice asks why we haven’t yet taken up juggling. My seminars were like this. Only, instead of flipping shiny, black bowling balls or roaring chainsaws through the air, I juggled concepts. The world is intrinsically tied together. All things march through time at different intervals but move ahead in one fashion or another. Though we may never understand it, we are all part of something much larger than ourselves—something anchoring us to the spot we have mentally chosen. We sniff out the rules, through spiritual quests and the sciences. And with every new discovery, we grow more confused. Our inability to connect what seems illogical to unite and to defy logic in our understanding keeps us from enlightenment. The artists and insane tiptoe around such insights, but lack the compassion to hand-feed these concepts to a blind world. The interconnectedness of all things is not simply a pet phrase. It is a big “T” truth that the wise spend their lives attempting to grasp.
Christopher Hawke (Unnatural Truth)
BUSY old fool, unruly Sun, Why dost thou thus, Through windows, and through curtains, call on us? Must to thy motions lovers' seasons run? Saucy pedantic wretch, go chide Late school-boys and sour prentices, Go tell court-huntsmen that the king will ride, Call country ants to harvest offices ; Love, all alike, no season knows nor clime, Nor hours, days, months, which are the rags of time. Thy beams so reverend, and strong Why shouldst thou think ? I could eclipse and cloud them with a wink, But that I would not lose her sight so long. If her eyes have not blinded thine, Look, and to-morrow late tell me, Whether both th' Indias of spice and mine Be where thou left'st them, or lie here with me. Ask for those kings whom thou saw'st yesterday, And thou shalt hear, "All here in one bed lay." She's all states, and all princes I ; Nothing else is ; Princes do but play us ; compared to this, All honour's mimic, all wealth alchemy. Thou, Sun, art half as happy as we, In that the world's contracted thus ; Thine age asks ease, and since thy duties be To warm the world, that's done in warming us. Shine here to us, and thou art everywhere ; This bed thy center is, these walls thy sphere.
John Donne
Perhaps we ought to feel with more imagination. As today the sky 70 degrees above zero with lines falling The way September moves a lace curtain to be near a pear, The oddest device can't be usual. And that is where The pejorative sense of fear moves axles. In the stars There is no longer any peace, emptied like a cup of coffee Between the blinding rain that interviews. You were my quintuplets when I decided to leave you Opening a picture book the pictures were all of grass Slowly the book was on fire, you the reader Sitting with specs full of smoke exclaimed How it was a rhyme for "brick" or "redder." The next chapter told all about a brook. You were beginning to see the relation when a tidal wave Arrived with sinking ships that spelled out "Aladdin." I thought about the Arab boy in his cave But the thoughts came faster than advice. If you knew that snow was a still toboggan in space The print could rhyme with "fallen star.
John Ashbery (Rivers and Mountains)
To consider the world in its length and breadth, its various history, the many races of man, their starts, their fortunes, their mutual alienation, their conflicts; and then their ways, habits, governments, forms of worship; their enterprises, their aimless courses, their random achievements, and acquirements, the impotent conclusion of long-standing facts, the tokens so faint and broken of a superintending design, the blind evolution of what turn out to be great powers or truths, the progress of things, as if from unreasoning elements, not toward final causes, the greatness and littleness of man, his far-reaching aims, his short duration, the curtain hung over his futurity, the disappointments of life, the defeat of good, the success of evil, physical pain, mental anguish, the prevalence of sin, the pervading idolatries, the corruptions, the dreary hopeless irreligion, that condition of the whole race, so fearfully yet exactly described in the Apostle's words, "having no hope and without God in the world," - all this is a vision to dizzy and appall; and inflicts upon the mind the sense of a profound mystery, which is absolutely beyond human solution.
John Henry Newman
today’s forecast is rain of course but you won’t open the curtains to check there are six mugs half drunk by your bed and a broken vein from your heart to your hip. ‘you are a part of the universe’ your mother says with another cup in her hands- ‘isn’t that worth getting out of bed for?’ the rain begins then and hell the forecast could be an alien invasion and you still wouldn’t peel the blinds back to see.
Beth McColl
managed to cross her room on unsteady legs to her window.  Once there and concealed by her curtains, she peeked out beyond the pane into the blinding light.  She squinted against it and her eyes watered, but she was able to make out an image.  Her breath caught
Jennifer Martucci (Arianna Rose (Arianna Rose, #1))
Long past sunset an old blind woman sat on a camp-stool with her back to the stone wall of the Union of London and Smith’s Bank, clasping a brown mongrel tight in her arms and singing out loud, not for coppers, no, from the depths of her gay wild heart—her sinful, tanned heart—for the child who fetches her is the fruit of sin, and should have been in bed, curtained, asleep, instead of hearing in the lamplight her mother’s wild song, where she sits against the Bank, singing not for coppers, with her dog against her breast.
Virginia Woolf (Jacob's Room)
For a long, breathless moment we wait, time spinning into an eternity, while the excitement in my chest bursts. As the red curtain rises, my mother releases my hand and steps forward...Because of the stage lights, my mother's silhouette is all I see as the velvet curtain makes its silent ascent into the darkness. The blinding spotlight looks like a sun rising on the horizon, and though I can't see the people in the audience, the scent of perfume and expensive cigar smoke assures me of their presence, as does the excessively polite, well-bred clapping.
Teri Brown (Born of Illusion (Born of Illusion, #1))
Nobody in Faha could remember when it started. Rain there on the western seaboard was a condition of living. It came straight-down and sideways, frontwards, backwards and any other wards God could think of. It came in sweeps, in waves, sometimes in veils. It came dressed as drizzle, as mizzle, as mist, as showers, frequent and widespread, as a wet fog, as a damp day, a drop, a dripping, and an out-and-out downpour. It came the fine day, the bright day, and the day promised dry. It came at any time of the day and night, and in all seasons, regardless of calendar and forecast, until in Faha your clothes were rain and your skin was rain and your house was rain with a fireplace. It came off the grey vastness of an Atlantic that threw itself against the land like a lover once spurned and resolved not to be so again. It came accompanied by seagulls and smells of salt and seaweed. It came with cold air and curtained light. It came like a judgment, or, in benign version, like a blessing God had forgotten he had left on. It came for a handkerchief of blue sky, came on westerlies, sometimes—why not?—on easterlies, came in clouds that broke their backs on the mountains in Kerry and fell into Clare, making mud the ground and blind the air. It came disguised as hail, as sleet, but never as snow. It came softly sometimes, tenderly sometimes, its spears turned to kisses, in rain that pretended it was not rain, that had come down to be closer to the fields whose green it loved and fostered, until it drowned them.
Niall Williams (This is Happiness)
I find that there are a lot of objects and subjects within the world today. There's so much going on, that it seems like reality itself is trying hide something. Not only do we have to deal with illusions that the media, literature, states, governments, religions, and all of the plentiful theatrics of life entrances us with, but we have to deal with reality's false face. People continuously live life, go to work, play, stress, dance, eat, sleep, and step back into yesterday, not understanding that there are invisible curtains blinding the truth from the surface. Become empty, just for a moment, and ask yourself simple paradoxical questions. Do you know where you are? Do you understand where you are? Do you understand who you are? Do you understand why you are? Gain a sense of glory, by being defeated by your own question, and liberate yourself from the mask that reality has given you since adolescence. However, that is the problem. So many have worn this invisible mask for so long, that they are unable to take it off, and are bound by the illusion that reality wants them to see. Liberation is a goal that you may no longer obtain, but don't worry, for ignorance and deception are your only true friends now. They can carry you to God, but they cannot wake you up.
Lionel Suggs
My first life fled without a fight and left nothing behind, so I doubt it was a loss worth mourning. A man I don’t remember mixed genes with a woman I can’t recall, and I was called to the stage. I stumbled through the curtain, squinting into the blinding light of the birth canal, and after a brief and banal performance, I died. This is the arc of the average life—unexamined, unremarked, unremarkable—and it should have ended there. In simpler times, life was a one-act play, and when it was over we took our bows and caught our roses and enjoyed any applause we earned, then the spotlight faded and we shuffled backstage to nibble crackers in the greenroom of eternity.
Isaac Marion (The Burning World (Warm Bodies, #2))
Poor Topsy!" said Eva, "don't you know that Jesus loves all alike? He is just as willing to love you, as me. He loves you just as I do,—only more, because he is better. He will help you to be good; and you can go to Heaven at last, and be an angel forever, just as much as if you were white. Only think of it, Topsy!—you can be one of those spirits bright, Uncle Tom sings about." "O, dear Miss Eva, dear Miss Eva!" said the child; "I will try, I will try; I never did care nothin' about it before." St. Clare, at this instant, dropped the curtain. "It puts me in mind of mother," he said to Miss Ophelia. "It is true what she told me; if we want to give sight to the blind, we must be willing to do as Christ did,—call them to us, and put our hands on them.
Harriet Beecher Stowe (Uncle Tom's Cabin)
She could not bear to lie in bed and wait, so she pestered the nurse until she could sit on a veranda, screened by a thick curtain of golden shower from the street, because she could assure herself she was not blind by looking through her glowing eyelids at the light from the sky. She sat there all day, and felt the waves of heat and perfume break across her in shock after shock of shuddering nostalgia. But nostalgia for what?
Doris Lessing (Martha Quest)
One of the things I find strangest and hardest is that we were having such conversations. We should have been talking about discos and electronic mail and exams and bands. How could this have been happening to us? How could we have been huddled in the dark bush, cold and hungry and terrified, talking about who we should kill? We had no preparation for this, no background, no knowledge. We didn’t know if we were doing the right thing, ever. We didn’t know anything. We were just ordinary teenagers, so ordinary we were boring. Overnight they’d pulled the roof off our lives. And after they’d pulled off the roof they’d come in and torn down the curtains, ripped up the furniture, burnt the house and thrown us into the night, where we’d been forced to run and hide and live like wild animals. We had no foundations, and we had no secure walls around our lives any more. We were living in a strange long nightmare, where we had to make our own rules, invent new values, stumble around blindly, hoping we weren’t making too many mistakes. We clung to what we knew and what we thought was right, but all the time those things too were being stripped from us. I didn’t know if we’d be left with nothing, or if we’d left with a new set of rules and attitudes and behaviours, so that we weren’t able to recognise ourselves any more. We could end up as new, distorted, deformed creatures, with only a few physical resemblances to the people we once were.
John Marsden (The Dead of Night (Tomorrow, #2))
I began to walk about the room, peering round each article of furniture, tucking up the valances of the bed, and opening its curtains wide. I pulled up the blinds and examined the fastenings of the several windows before closing the shutters, leant forward and looked up the blackness of the wide chimney, and tapped the dark oak paneling for any secret opening. There were two big mirrors in the room, each with a pair of sconces bearing candles, and on the mantelshelf, too, were more candles in china candlesticks.
E.F. Benson (The Greatest Ghost and Horror Stories Ever Written: volume 6 (30 short stories))
Wintry morning, looking with dull eyes and sallow face upon the neighbourhood of Leicester Square, finds its inhabitants unwilling to get out of bed. Many of them are not early risers at the brightest of times, being birds of night who roost when the sun is high and are wide awake and keen for prey when the stars shine out. Behind dingy blind and curtain, in upper story and garret, skulking more or less under false names, false hair, false titles, false jewellery, and false histories, a colony of brigands lie in their first sleep. Gentlemen
Charles Dickens (Bleak House)
But trivial as are the topics they are not utterly without a connecting thread of motive. As the reader's eye strays, with hearty relief, from these pages, it probably alights on something, a bed-post or a lamp-post, a window blind or a wall. It is a thousand to one that the reader is looking at something that he has never seen: that is, never realised. He could not write an essay on such a post or wall: he does not know what the post or wall mean. He could not even write the synopsis of an essay; as "The Bed-Post; Its Significance—Security Essential to Idea of Sleep—Night Felt as Infinite—Need of Monumental Architecture," and so on. He could not sketch in outline his theoretic attitude towards window-blinds, even in the form of a summary. "The Window-Blind—Its Analogy to the Curtain and Veil—Is Modesty Natural?—Worship of and Avoidance of the Sun, etc., etc." None of us think enough of these things on which the eye rests. But don't let us let the eye rest. Why should the eye be so lazy? Let us exercise the eye until it learns to see startling facts that run across the landscape as plain as a painted fence. Let us be ocular athletes. Let us learn to write essays on a stray cat or a coloured cloud. I have attempted some such thing in what follows; but anyone else may do it better, if anyone else will only try.
G.K. Chesterton (Tremendous Trifles)
It's as if there's a landscape - we'll call it childhood - which exists in our mind. It's completely familiar. Unspeakably familiar. Until in the middle of the night, when the sky is blackest, lightning cracks through the firmament. And in that crush of sound, amid the madness and the blinding flash, you see your world: home, trees, rooftops, your own hand, in an entirely new way. Illumined by fire. Flashed for half a second and then gone. And it's that image, that savage, rip-through-the-curtain vision, that lingers. Not the reality you see every day. Not the world you walk around in. No, it's that spookhouse glimpse, the scorching peek through the blackness, that stays in the brain.
Jerry Stahl (Permanent Midnight)
Dwight Langley, the painter, is the pure exponent of the evil the play is attacking; he is, in effect, the spokesman for Platonism, who explicitly preaches that beauty is unreachable in this world and perfection unattainable. Since he insists that ideals are impossible on earth, he cannot, logically enough, believe in the reality of any ideal, even when it actually confronts him. Thus, although he knows every facet of Kay Gonda’s face, he (alone among the characters) does not recognize her when she appears in his life. This philosophically induced blindness, which motivates his betrayal of her, is a particularly brilliant concretization of the play’s theme, and makes a dramatic Act I curtain.
Ayn Rand (Ideal)
The lady is ninety-two years old, petite, well poised, and proud. She is fully dressed each morning by eight o’clock, with her hair fashionably coiffed and her makeup perfectly applied, in spite of the fact that she is legally blind. Today she has moved to a nursing home. Her husband of seventy years recently passed away, making this move necessary. After many hours of waiting patiently in the lobby of the nursing home, she smiles sweetly when told her room was ready. As she maneuvers her walker to the elevator, the staff person provides a visual description of her tiny room, including the eyelet curtains that have been hung on her window. “I love it,” she states with the enthusiasm of an eight-year-old having just been presented with a new puppy. “Mrs. Jones, you haven’t seen the room… just wait,” the staff person says. Then Mrs. Jones speaks these words: “That does not have anything to do with it,” she gently replies. “Happiness is something you decide on ahead of time. Whether I like the room or not does not depend on how the furniture is arranged. It is how I arrange my mind that matters. I have already decided to love it. It is a decision I make every morning when I wake up. I have a choice. I can spend the day in bed recounting the difficulty I have with the parts of my body that no longer work, or I can get out of bed and be thankful for the ones that do work. Each day is a gift, and as long as my eyes open, I will focus on the new day and all of the happy memories I have stored away… just for this time in my life.
Joyce Meyer (How to Age Without Getting Old: The Steps You Can Take Today to Stay Young for the Rest of Your Life)
Do I have to give you hair torture to get it out of you?” What is that? From the light in her eyes and the jaunty uptick of her mouth, I had a sense it would be pleasurable. “Do what you must.” In a dash, she pinned my wrists above my head. Her head dipped and her thick hair engulfed me, sweeping across my face and filling my mouth. “Nooo!” I half-heartedly pressed against her hold. “Give it up, Dane.” I could hear the laughter in her voice. “Never!” I thrashed my head from side to side, trying to breathe through the black curtain blinding and drowning me. “You’re killing me!” “Jeez, you take this even worse than Matty.” I groaned. “With a sister like you, I feel sorry for him.” There was a sharp rap on the door. “Are you okay in there?” China asked. Lucia glanced at me, and we both cracked up.
Jennifer Lane (Blocked)
Behind the last door is oblivion. Standing before it, one can go forwards or backwards; but beside it are not the places of exquisite pleasure: the faces of pure ones confined to pavilions, reclining on green cushions and beautiful carpets amid thornless lote-trees and banana trees, one over another; for these have gone with the smoke of the opium. What remains, four years afterwards, are the haunted rooms of the departed: of a young, vigorous man with red hair and an old man left in his blood in a bothy; of a henchman dragged from his horse with an arrow in him, and another, darker of skin, dead of fighting in a Greek courtyard. Of a man returning from perilous seas to drown, seeking his son, near his homeland; of a girl dying blind behind yellow silk curtains, and another burning at night in an African pavilion. And a child, a son … an only son … playing with shells at the feet of the father who shortly would kill it. One does not, of set purpose, linger long on such a threshold. Sooner or later, the chains must give way; the accusing, querulous voices cease; and the insistent, imperious summons, saying over and over, ‘Aucassins, damoisiax, sire! Ja sui jou li vostre amie, Et vos ne me haés mie!
Dorothy Dunnett (Checkmate (The Lymond Chronicles, #6))
I am suprised to a mad extent that people who claim to be intelligent and truth seeking go to church, hear their religious leaders say something, and without vetting it to a reasonable extent swallow it hook and all. Now the church has moved from speaking truth to power but has now aced her game by canvassing for politicians who have no business with God or his people. "by the use of simple propaganda even the most spiritual among us can be sold for the price of an orange," and the church is already falling into this snare. Without sentiments my prayers has been that God should raise us leaders who will futher his enterprise, leaders who will put God and the masses first. So it does not matter if it is Buhari or Jonathan, after all God used Cyrus who was a full blooded gentile(Isaiah 45 verses 1-8) to futher His cause. I strongly urge Nigerians to continue in their prayers for this Jerusalem. Left to some of our religious leaders they will even go the extent of helping God to decide who gets the votes. Let's not allow ourselves to be blinded by the curtains of religion and politics. And instead of using social media to spread bad blood and create feuds, let's encourage and spread the message of peace. Come the D day, we will go out there, vote (at least we have that right), and leave the rest to God. I am a Patriot
Paul Bamikole
She fell asleep rapidly, swimming through a haze of pleasant images... walking through the forest in Hampshire... dangling her feet in a cool pond on a hot day... pausing in the kissing gate, while the smell of sun-warmed meadowsweet rose thickly to her nostrils. She closed her eyes and tilted her chin upward, relishing the sultry rays, while a butterfly's wings brushed lightly against her cheek. Entranced by the delicate tickle, she held very still. The silken strokes moved over the tip of her nose, the sensitive periphery of her upper lip, the tender corners of her mouth. Searching blindly, she lifted her face to the brushes of warmth and was rewarded by a gentle pressure that opened her lips and drew a moan from the upper part of her lungs. Lord Sydney was standing with her in the kissing gate, his arms trapping her against the painted ribs of latticework. His mouth searched hers so gently, his body firm against hers, and she writhed in a mute plea for him to hold her more tightly. Seeming to know exactly what she wanted, he pushed his knee into her skirts, right against the place that felt swollen and yearning. Gasping, she curled her fingers in his glossy hair, and he whispered for her to relax, that he would take care of her, satisfy her- "Oh." Blinking hard, she stirred from the sensuous dream as she realized that she was not alone. The bed curtains had been drawn aside, and Nick Gentry's long body was entangled with hers. One large hand was cupped beneath her hips, while his leg wedged more intimately between hers. His breath surged against her ear, filling the shell with moist heat, and then his lips wandered back to hers in a searing path. He absorbed her protest as he kissed her, his tongue searching her mouth, his body levering over hers.
Lisa Kleypas (Worth Any Price (Bow Street Runners, #3))
For most people moving is a tiring experience. When on the verge of moving out to a new home or into a new office, it's only natural to focus on your new place and forget about the one you’re leaving. Actually, the last thing you would even think about is embarking on a heavy duty move out clean. However, you can be certain that agents, landlords and all the potential renters or buyers of your old home will most definitely notice if it's being cleaned, therefore getting the place cleaned up is something that you need to consider. The process of cleaning will basically depend to things; how dirty your property and the size of the home. If you leave the property in good condition, you'll have a higher the chance of getting back your bond deposit or if you're selling, attracting a potential buyer. Below are the steps you need to consider before moving out. You should start with cleaning. Remove all screws and nails from the walls and the ceilings, fill up all holes and dust all ledges. Large holes should be patched and the entire wall checked the major marks. Remove all the cobwebs from the walls and ceilings, taking care to wash or vacuum the vents. They can get quite dusty. Clean all doors and door knobs, wipe down all the switches, electrical outlets, vacuum/wipe down the drapes, clean the blinds and remove all the light covers from light fixtures and clean them thoroughly as they may contain dead insects. Also, replace all the burnt out light bulbs and empty all cupboards when you clean them. Clean all windows, window sills and tracks. Vacuum all carpets or get them professionally cleaned which quite often is stipulated in the rental agreement. After you've finished the general cleaning, you can now embark on the more specific areas. When cleaning the bathroom, wash off the soap scum and remove mould (if any) from the bathroom tiles. This can be done by pre-spraying the tile grout with bleach and letting it sit for at least half an hour. Clean all the inside drawers and vanity units thoroughly. Clean the toilet/sink, vanity unit and replace anything that you've damaged. Wash all shower curtains and shower doors plus all other enclosures. Polish the mirrors and make sure the exhaust fan is free of dust. You can generally vacuum these quite easily. Finally, clean the bathroom floors by vacuuming and mopping. In the kitchen, clean all the cabinets and liners and wash the cupboards inside out. Clean the counter-tops and shine the facet and sink. If the fridge is staying give it a good clean. You can do this by removing all shelves and wash them individually. Thoroughly degrease the oven inside and out. It's best to use and oven cleaner from your supermarket, just take care to use gloves and a mask as they can be quite toxic. Clean the kitchen floor well by giving it a good vacuum and mop . Sometimes the kitchen floor may need to be degreased. Dust the bedrooms and living room, vacuum throughout then mop. If you have a garage give it a good sweep. Also cut the grass, pull out all weeds and remove all items that may be lying or hanging around. Remember to put your garbage bins out for collection even if collection is a week away as in our experience the bins will be full to the brim from all the rubbish during the moving process. If this all looks too hard then you can always hire a bond cleaner to tackle the job for you or if you're on a tight budget you can download an end of lease cleaning checklist or have one sent to you from your local agent. Just make sure you give yourself at least a day or to take on the job. Its best not to rush through the job, just make sure everything is cleaned thoroughly, so it passes the inspection in order for you to get your bond back in full.
Tanya Smith
Rebel [Verse 1] I don't give a fuck my brudda, I never have I'm straight from the gutter my brudda, we never had We living on a budget - holes in the rooftop Room full of buckets, it's getting bad Things could be worse I suppose, school trips, school kids Cursing my clothes, is it the same in every house When the curtains are closed? (daydreamin') I'm in a world of my own (I ain't leavin') It must be because I hate my reality That's why I'm on the verge of embracing insanity Put me in a padded room Throw away the key and let me escape the anarchy I can't take it, I turn my back on the world I can't face it, Ray-Ban gang fam Can't see my eyes cause I'm on my dark shades shit (Ray Charles) [Bridge] Black everything, you can ask David Cameron if we're living in the dark ages Black everything, you can ask David Black everything, you can ask David Black everything, you can ask David Cameron if we're living in the dark ages [Hook] (It's a living hell) I'm a rebel Always have been Where I'm come from it's a mad ting (It's a living hell) Standing in my Stan Smiths Stamping on the canvas for action (It's a living hell) All I acquired from the riot Is people are sick and tired of being quiet (It's a living hell) Dying to be heard That's why there's fire in my words [Verse 2] I don't give a fuck my brudda, I never will Straight from the gutter my brudda, rare real We been living life like "fuck it", living life like there's nothing To live for but the money, I'mma keep it 100 The hunger inside is what drives us That's why there's youngers inside who are lifers They say love is blind so you might just Fall in love with them crimes that'll blind us And I'd be lying if I said I wasn't out late Around H, scales out, another ounce weighed More pounds made, sounds great Salts under my tongue, my mouth's laced So many feds chasing me down, the ground shakes Helicopters, bikes and cars chasing So many officers behind, my heart's racing [Bridge] [Hook x2]
HER HUSBAND’S ALMOST HOME. He’ll catch her this time. There isn’t a scrap of curtain, not a blade of blind, in number 212—the rust-red townhome that once housed the newlywed Motts, until recently, until they un-wed. I never met either Mott, but occasionally I check in online: his LinkedIn profile, her Facebook page. Their wedding registry lives on at Macy’s. I could still buy them flatware. As I was saying: not even a window dressing. So number 212 gazes blankly across the street, ruddy and raw, and I gaze right back, watching the mistress of the manor lead her contractor into the guest bedroom. What is it about that house? It’s where love goes to die. She’s lovely, a genuine redhead, with grass-green eyes and an archipelago of tiny moles trailing across her back. Much prettier than her husband, a Dr. John Miller, psychotherapist—yes, he offers couples counseling—and one of 436,000 John Millers online. This particular specimen works near Gramercy Park and does not accept insurance. According to the deed of sale, he paid $3.6 million for his house. Business must be good. I know both more and less about the wife. Not much of a homemaker, clearly; the Millers moved in eight weeks ago, yet still those windows are bare, tsk-tsk. She practices yoga three times a week, tripping down the steps with her magic-carpet mat rolled beneath one arm, legs shrink-wrapped in Lululemon. And she must volunteer someplace—she leaves the house a little past eleven on Mondays and Fridays, around the time I get up, and returns between five and five thirty, just as I’m settling in for my nightly film. (This evening’s selection: The Man Who Knew Too Much, for the umpteenth time. I am the woman who viewed too much.) I’ve noticed she likes a drink in the afternoon, as do I. Does she also like a drink in the morning? As do I? But her age is a mystery, although she’s certainly younger than Dr. Miller, and younger than me (nimbler, too); her name I can only guess at. I think of her as Rita, because she looks like Hayworth in Gilda. “I’m not in the least interested”—love that line. I myself am very much interested. Not in her body—the pale ridge of her spine, her shoulder blades like stunted wings, the baby-blue bra clasping her breasts: whenever these loom within my lens, any of them, I look away—but in the life she leads. The lives. Two more than I’ve got.
A.J. Finn (The Woman in the Window)
Sorrow walked in my clothes before I did. Flocks of shadows followed me. One night I looked at the stars I thought were gods until they disappeared. Some say I smashed my father’s idols and walked away. Or walked towards a desert of barren promises. Or promises that are hummingbirds hovering for a moment then drifting away. Even now, walking towards that mountain, sometimes I will watch my shadow sitting beneath a plane tree, casting dice, ignoring my steps. Some of you made me a founder but it was only that shadow. Some of you made me your father, but it was yourselves you were describing. You plant a tree, you dig a well, and it brings life, that’s all. Everything else is the heart’s mirage. Except what begins inside you. Except Sarah. When she stepped inside my dream the curtains shivered, whole mountains entered the room. It always seemed a question of which love to honor. The land I loved fills with fire. Who should we listen to? It’s true, He offered the world and I offered only myself. But I thought His words were coffins. I was frantic for any scrap of shade. Now everything is shade. Your old newspapers are taken up by the wind like pairs of broken wings. Each window, each door is a wound. One track erases another track. One bomb. One rock, one rubber bullet. What can I tell you? Where have you left your own morning of promises? You remember Isaac, maybe Ishmael, but not the love that led me there. Not Sarah. Just to hear the sound of her eyelids opening, or her plants pushing the air aside as they reach for the sun, twilight filling her fingers like fruit. This afternoon a flock of doves settled on my porch. Their silence took the shape of all I ever wanted to say. Today, the miracle you want aches inside the trees. Why believe anything except what is unbelievable? I never thought of it as a trial, not any of it. Now the leaves turn into messages that are simply impossible to read. The roots turn into roads as they break through the surface. How can I even know what I mean? Beneath the hem of night the rain falls asleep on the grass. We have to turn into each other. One heart inside the other’s heart. One love. One word. Inside us, our shadows will walk into water, the water will walk into the sky. Blind. Faithful. Inside us the music turns into a flock of birds. Theirs is a song whose promise we must believe the way the moon believes the earth, the fire believes the wood, that is, for no reason, for no reason at all.
Richard Jackson
How could one explain to him something of that breathless tension when the knife began the first cut and the narrow red trace followed the light pressure, when the body, under clips and forceps, opened up like a multiple curtain, when organs which had never seen the light were laid bare, when one followed a track like a hunter in a jungle and suddenly faced the huge wild beast, death, in destroyed tissues, in lumps, in tumors, in scissures—and the fight began, the silent, mad fight during which one could use no other weapon than a thin blade and a needle and a steady hand—how could one explain what it meant when then all at once a dark shadow rushed through the blinding white of stark concentration, a majestic derision that seemed to render the knife dull, the needle brittle, and the hand heavy—and when this invisible, enigmatic pulsing—life—then ebbed away under one’s powerless hands, collapsed, drawn into this ghostly vortex which one could never reach or hold—and when a face that had a moment ago breathed and borne a name turned into a rigid, nameless mask—this senseless, rebellious helplessness: how could one explain it—and what was there to explain? Ravic
Erich Maria Remarque (Arch of Triumph)
That, my friend, I do not tell.' 'Nonsense. Why not?' Poirot's eyes twinkled. 'Because, mon cher, you are the same old Hastings. You have still the speaking countenance. I do not wish, you see, that you should sit staring at X with your mouth hanging open, your face saying plainly: "This -- this that I am looking at -- is a murderer." ' 'You might give me credit for a little dissimulation at need.' 'When you try to dissimulate, it is worse. No, no, mon ami, we must be very incognito you and I. Then, when we pounce, we pounce.' -
Agatha Christie (Curtain (Hercule Poirot, #44))
A process in the weather of the heart" A process in the weather of the heart Turns damp to dry; the golden shot Storms in the freezing tomb. A weather in the quarter of the veins Turns night to day; blood in their suns Lights up the living worm. A process in the eye forwarns The bones of blindness; and the womb Drives in a death as life leaks out. A darkness in the weather of the eye Is half its light; the fathomed sea Breaks on unangled land. The seed that makes a forest of the loin Forks half its fruit; and half drops down, Slow in a sleeping wind. A weather in the flesh and bone Is damp and dry; the quick and dead Move like two ghosts before the eye. A process in the weather of the world Turns ghost to ghost; each mothered child Sits in their double shade. A process blows the moon into the sun, Pulls down the shabby curtains of the skin; And the heart gives up its dead. Dylan Thomas, Collected Poems. (W W Norton & Co Inc June 1971)
Dylan Thomas (Collected Poems)
At Hobby Lobby She tosses a bolt of fabric into the air. Hill country, prairie, a horse trots there. I say three yards, and her eyes say more: What you need is guidance, a hand that can zip a scissor through cloth. What you need is a picture of what you've lost. To double the width against the window for the gathering, consider where you sit in the morning. Transparency's appealing, except it blinds us before day's begun. How I long to captain that table, to return in a beautiful accent a customer's request. My mother kneeled down against her client and cut threads from buttons with her teeth, inquiring with a finger in the band if it cut into the waist. Or pulled a hem down to a calf to cool a husband's collar. I can see this in my sleep and among notions. My bed was inches from the sewing machine, a dress on the chair forever weeping its luminescent frays. Sleep was the sound of insinuation, a zigzag to keep holes receptive. Or awakened by a backstitch balling under the foot. A needle cracking? Blood on a white suit? When my baby's asleep I write to no one and cannot expect a response. The fit's poor, always. No one wears it out the door. But fashions continue to fly out of magazines like girls out of windows. Sure, they are my sisters. Their machines, my own. The office from which I wave to them in their descent has uneven curtains, made with my own pink and fragile hands.
Rosa Alcalá
The problem of an ideal kitchen grows more complex as I ponder on it. There are many small things I am sure about: no shelf-papers; no sharp edges or protruding hooks or wires; no ruffled curtains; and no cheap-coloured stove, mauve or green or opalescent like a modern toilet seat. Instead of these things I would have smooth shelves of some material like ebony or structural glass, shelves open or protected by sliding transparent doors. I would have curved and rounded edges, even to the floor, for the sake of cleanliness, and because I hate the decayed colours of a bruise. Instead of curtains I would have Venetian blinds, of four different colours for the seasons of the year. They would be, somehow, on the outside of the glass. And the stove would be black, with copper and earthenware utensils to put on it. It would be a wood stove, or perhaps (of this I am doubtful, unless I am the charwoman and janitor as well as the cook) electrical with place for a charcoal grill.
M.F.K. Fisher (The Art of Eating: 50th Anniversary Edition)
About midnight, the storm in one half-hour fell to a dead calm. The fire, which had been burning dead, glowed up vividly. I felt the air change, and become keen. Raising blind and curtain, I looked out, and saw in the stars the keen sparkle of a sharp frost.
Charlotte Brontë (Villette)
slipped through it, and closed it behind her. The sudden drenching from the rain made the vertigo intensify, staggering her. She stopped, recovering her balance and clutching the bundle to her, then began walking carefully down the steps. The downpour soaked her nightgown through to her skin in an instant. It plastered her hair to her head and streamed down her face in rivulets which made it hard to see and to breathe. The cold began penetrating, and she was shivering by the time she reached the bottom of the steps. The ground had disappeared under an inches-deep sheet of muddy water which was a boiling mass of miniature waterspouts which lived for their instant as the large, heavy drops struck. The rain was a grey, blinding curtain on all sides, fading into the muddy water covering the ground without a clear line of delimitation, surrounding her with featureless grey. The loss of visual references, the water all around her, and the rain pouring down her face and blinding her made the lightheadedness and lack of contact with her surroundings more pronounced, and she stumbled
Aaron Fletcher (Outback)
The evening air smelled like secrets. The breeze that stirred his hair had been places Matt could only imagine. It had twined through trees and ushered clouds and whistled through caves. It had slid on its belly over desert sands and swirled snow on mountaintops. It had ruffled the feathers of baby eagles and extinguished the matches of sailors far out to sea. It had stolen balloons and floated bubbles. It was timeless. It had swept dust off the backs of dinosaurs, filled the lungs of pharaohs, and it would abrade the bones of the last human to fall on some distant, devastated plain. But tonight it was here, in this little town, fluttering curtains, rattling blinds, and caressing the face of a ten-year-old boy with a troubled mind.
Jan Strnad (The Summer We Lost Alice)
If it weren’t for Phoenician blinds, it’d be curtains for all of us.
Tom Robbins (Skinny Legs and All)
Much about Winifred that I’d once found mysterious and alluring I now found obvious, merely because I knew too much. Her high gloss was chipped enamel, her sheen was varnish. I’d looked behind the curtain, I’d seen the strings and pulleys, I’d seen the wires and corsets. I’d developed tastes of my own.
Margaret Atwood (The Blind Assassin)
The FSB compound at the west end of Grozny airport looked like a scene from the Second World War. The entire facade of the office complex had been devastated by the bomb blast, blinds and shredded curtains fluttering in jagged remains of windows. The concrete structure was scarred and pitted by shrapnel, one support beam having given way altogether to leave the floor above sagging precariously
Will Jordan (Betrayal (Ryan Drake #3))
My bones have been aching again, as they often do in humid weather. They ache like history: things long done with, that still reverberate as pain. When the ache is bad enough it keeps me from sleeping. Every night I yearn for sleep, I strive for it; yet it flutters on ahead of me like a sooty curtain.
Margaret Atwood (The Blind Assassin)
See—Mark tells the orange-faced flight attendant as they part a briefly-open-anyway curtain of water and enter the rain comparatively unseen, she shoeless and brown-skirted, his fashionable surgeon's shirt soaking quickly to a light green film over much health—dividing this fiction business into realistic and naturalistic and surrealistic and modern and postmodern and new-realistic and meta- is like dividing history into cosmic and tragic and prophetic and apocalyptic; is like dividing human beings into white and black and brown and yellow and orange. It atomizes, does not bind crowds, and, like everything timelessly dumb, leads to blind hatred, blind loyalty, blind supplication. Difference is no lover; it lives and dies dancing on the skins of things, tracing bare outlines as it feels for avenues of entry into exactly what it's made seamless.
David Foster Wallace (Girl with Curious Hair)
If it wasn't for all the blinds in the world it would be curtains for the rest of us.
Rick Haynes
One of the distinct hallmarks of the fanatic is his fervent desire to change you so that you will be like him. To convince you that you must immediately convert, abandon your world, and move into his. The fanatic does not want there to be any differences between people. He wants us all to be as one. He desires a world with no curtains drawn, no blinds shuttered, no doors locked, no shadow of a private life, for we must all be one body and one soul. We must all march together in threes on the path ascending to redemption, whether this redemption or the opposite one. The fanatic strives to upgrade and improve you, to open your eyes so that you, too, can see the light. Indeed, in that sense the fanatic is a wondrously altruistic and extremely unselfish creature: he is interested in you far more than he is in himself. Day and night he yearns to save your soul, to unshackle you, to take you out of darkness into the light, to redeem you once and for all from error and sin. Here he comes to hug you, sick with worry about your condition, bubbling with goodwill to change your prayer habits (or lack thereof), your voting or smoking habits, your eating habits, your preferences, your entire lifestyle, which is so harmful to you. All the fanatic wants is to take you in his arms and hug you, to raise you from the lowly spot you are stuck in and place you in the sublime place he has discovered, where he has since been basking and to which you must ascend immediately. For your very own good.
Amos Oz (שלום לקנאים)
Air" Naturally it is night. Under the overturned lute with its One string I am going my way Which has a strange sound. This way the dust, that way the dust. I listen to both sides But I keep right on. I remember the leaves sitting in judgment And then winter. I remember the rain with its bundle of roads. The rain taking all its roads. Nowhere. Young as I am, old as I am, I forget tomorrow, the blind man. I forget the life among the buried windows. The eyes in the curtains. The wall Growing through the immortelles. I forget silence The owner of the smile. This must be what I wanted to be doing, Walking at night between the two deserts, Singing.
W.S. Merwin (The Moving Target)
Bill knew the way to his bedroom so well he could reach it in darkness, blinds closed and curtains drawn so even moonlight couldn’t leak through.
Michael Staton (Deepening Homefront Shadows (Love Amid the Carnage Book 2))
It doesn’t matter what kind of curtains you have. They don’t have to be the traditional net or lace ones. Cotton, velvet, organza, polyester, silk… all work just as well. The main thing is to actually have curtains. Blinds can be discounted immediately. They are too noisy and do not have the required elegance. Blinds do not ‘twitch’; they clatter. (Curtain Twitching Rule #1)
Jo Danilo (The Curtain-Twitcher's Handbook)
That I softly overcome something... That's what it seems like. This lightness is coming from I don't know where. Curtains drape over their own waists languidly. But also the black stain, unmoving, two eyes staring and not being able to say a thing. God perches in a tree chirping and straight lines travel on unfinished, horizontal and cold. That's what it seems like... The moments keep dripping ripe and no sooner has one tumbled than another rises up, somewhat, its face pale and tiny. Suddenly the moments end too. Timelessness trickles through my walls, tortuous and blind. It slowly collects in a dark, quiet pool and I shout: I've lived!
Clarice Lispector (Near to the Wild Heart)
I had allergies as a child. A doctor advised my parents to create a special room for me to sleep in, free of as many allergens as possible. This ideal room would have a tile floor that could be mopped every day, and it would contain only a metal bed frame with a plastic-covered mattress. There would be no curtains or blinds on the windows and no lamps or tables. If these guidelines were followed, and I lived in this plain room where dust had little chance to gather and could be wiped away easily, I might be allergy-free and therefore more comfortable. My mother thanked the doctor and we left, presumably to shop for the metal bed. Instead, we went home and never spoke of it again.
Greg Cope White (The Pink Marine: One Boy's Journey Through Boot Camp To Manhood)
Blinds and Curtains used in home and office, then change tha environment different.
Priya (Industrial Psychology)
He took down the curtains that hung in front of the blinds and washed them in the old washing machine. In his mind they were blue-gray curtains, but it turned out that they were off-white. He washed them a second time, and they were an even brighter off-white.
Elizabeth Strout (Anything Is Possible)
The line from the Obamas was “When they go low, we go high.” It’s a dignified and impressive mantra, if only because for the most part, whether you liked them or not, it’s hard to deny that they followed it. But the now cliché remark should not be taken conclusively, for it makes one dangerous omission. It forgets that from time to time in life, we might have to take someone out behind the woodshed. How we have lost this. How squeamish we have become. We now blindly demonize what is often one of the most effective forms of action. How vulnerable this ignorance has made us to the few real conspiracies, successful or not, that exist in the world. In this rare occasion, though, we got a glimpse, a peek behind the curtain, as the title of Gawker’s last post put it, of how things work. Now we know. Peter showed us. And yet our instinct is to turn away, to put our fingers in our ears. It’s why not once in nearly a decade of concentrated effort and scheming directed at a single enemy—at an entity who was obsessively covered and followed by the media—by an opponent who publicly stated his undying hatred of that enemy, did a single spectator, victim, or even many of the participants suspect any of what you read in the pages of this book. There is no question that what Thiel did over those years was brilliant, cunning, and ruthless. It is equally true that Gawker mostly beat itself. Denton and company allowed this to happen. Even the most cynical and aggressive media site on the planet had missed what was happening right in front of them; they did nothing to save themselves. “The idea of a conspiracy,” Thiel would say to me, “is linked with intentionality, with planning, working towards longer-term goals. In a world where you don’t have conspiracies maybe also those things disappear.
Ryan Holiday (Conspiracy: Peter Thiel, Hulk Hogan, Gawker, and the Anatomy of Intrigue)
She is a natural performer. And when she moves her hips in a seductive rhythm, she sets the hastening pace of all men’s’ hearts. She shivers her sunburned body like a prehistoric reptile – crawling into the most obscure and hidden corners of men’s sub consciousness. Nobody in the room winks with his eyes as he doesn’t want to miss the brief moment, in which the tiny boundary between what is simply enjoyable and the seriousness of the oldest human drive will be crossed. She is a tiny dancer, a dragonfly : And yet – dragonflies are predators: She is a “no man’s land”. She does not ride for those, who are present. This ride is a borrowed time from her sober tomorrow. Her skin is like a sheer curtain - one could see her veins - sad highways to the Promised Land. You could almost feel her bending in your hands, indocile and tense as guitar’s first string – the one that gives the tenderest shades of the melody, but the most hysterical ones as well. She`s an ace tightrope-walker who could easily walk on your nerves with blinded eyes and dig new craters in your shattered heart.
yoga positions.   She's got all the curtains and blinds in her living room lifted, which exposes her half-dressed body as it twists itself into sexual positions. Of course they're sexual positions. You chicks may call it 'yoga' but it's really nothing more than sex practice. When else would you need to be that flexible except in someone's bed?
Xavier Neal (Just Out of Reach (Just Series #1))
Boarding House The blind man draws his curtains for the night and goes to bed, leaving a burning light above the bathroom mirror. Through the wall, he hears the deaf man walking down the hall in his squeaky shoes to see if there’s a light under the blind man’s door, and all is right.
Ted Kooser (Flying At Night: Poems 1965-1985)
This is the thing about fairy tales: You have to live through them, before you get to happily ever after. That ever after has to be earned, and not everyone makes it that far. There are stories where you must wear out your iron shoes to right a wrong, where children are baked into pies, where jealousy cuts off hands and cuts out hearts. We forget, because stories end with those ritual words--happily ever after--all the darkness, all the pain, all the effort that comes before. People say they want a fairy tale life, but what they really want is the part that happens off the page, after the oven has been escaped, after the clock strikes midnight. They want the part that doesn't come with glass slippers still stained with a stepsister's blood, or a lover blinded by an angry mother's thorns. If you live through a fairy tale, you don't make it through unscathed or unchanged. Hands of silver may be beautiful, but they don't replace the hands of flesh and bone that were severed. The hazel tree may speak with your mother's voice, but her bones are still buried beneath its roots. The dead are not always returned, and roses do not always bloom from graves. Not every princess climbs out of her coffin. Happily ever after is the dropping of the curtain, a signal for applause. It is not a guarantee, and it always has a price.
Kat Howard (Roses and Rot)
The house had probably cost a couple of million quid, with its two stories plus loft conversion, red brick, and detailing on the porch roof that hinted at Arts and Crafts without actually making it over the finishing line. It was at least mercifully free of pebble-dash and fake half-timbering. They’d retained the original sash windows but installed the venetian blinds that have replaced net curtains as the genteel response to sharing your neighborhood with other human beings.
Ben Aaronovitch (Lies Sleeping (Rivers of London, #7))
To convince ourselves of the amazing variety of noises, it is enough to think of the rumble of thunder, the whistle of the wind, the roar of a waterfall, the gurgling of a brook, the rustling of leaves, the clatter of a trotting horse as it draws into the distance, the lurching jolts of a cart on pavings, and of the generous, solemn, white breathing of a nocturnal city; of all the noises made by wild and domestic animals, and of all those that can be made by the mouth of man without resorting to speaking or singing. Let us cross a great modern capital with our ears more alert than our eyes, and we will get enjoyment from distinguishing the eddying of water, air and gas in metal pipes, the grumbling of noises that breathe and pulse with indisputable animality, the palpitation of valves, the coming and going of pistons, the howl of mechanical saws, the jolting of a tram on its rails, the cracking of whips, the flapping of curtains and flags. We enjoy creating mental orchestrations of the crashing down of metal shop blinds, slamming doors, the hubbub and shuffling of crowds, the variety of din, from stations, railways, iron foundries, spinning wheels, printing works, electric power stations and underground railways.
Luigi Russolo (The Art of Noise (futurist manifesto, 1913))
Curtains are fabric pieces that hang from a rod or track and are used for decoration and privacy. They come curtains in Auckland in a variety of styles, sizes, and materials, and can be tailored to fit windows of different shapes and sizes. Curtains can be opened and closed to control the amount of light entering a room, and are often used in conjunction with blinds or shades to provide additional privacy and light control.
Gargi Home Furnishing