Damp Sad Quotes

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The way sadness works is one of the strange riddles of the world. If you are stricken with a great sadness, you may feel as if you have been set aflame, not only because of the enormous pain, but also because your sadness may spread over your life, like smoke from an enormous fire. You might find it difficult to see anything but your own sadness, the way smoke can cover a landscape so that all anyone can see is black. You may find that if someone pours water all over you, you are damp and distracted, but not cured of your sadness, the way a fire department can douse a fire but never recover what has been burnt down.
Lemony Snicket (The Bad Beginning (A Series of Unfortunate Events, #1))
I will love you if I never see you again, and I will love you if I see you every Tuesday. I will love you as the starfish loves a coral reef and as kudzu loves trees, even if the oceans turn to sawdust and the trees fall in the forest without anyone around to hear them. I will love you as the pesto loves the fettuccini and ats the horseradish loves the miyagi, and the pepperoni loves the pizza. I will love you as the manatee loves the head of lettuce and as the dark spot loves the leopard, as the leech loves the ankle of a wader and as a corpse loves the beak of the vulture. I will love you as the doctor loves his sickest patient and a lake loves its thirstiest swimmer. I will love you as the beard loves the chin, and the crumbs love the beard, and the damp napkin loves the crumbs, and the precious document loves the dampness of the napkin, and the squinting eye of the reader loves the smudged document, and the tears of sadness love the squinting eye as it misreads what is written. I will love you as the iceberg loves the ship, and the passengers love the lifeboat, and the lifeboat loves the teeth of the sperm whale, and the sperm whale loves the flavor of naval uniforms. I will love you as a drawer loves a secret compartment, and as a secret compartment loves a secret, and as a secret loves to make a person gasp... I will love you until all such compartments are discovered and opened, and all the secrets have gone gasping into the world. I will love you until all the codes and hearts have been broken and until every anagram and egg has been unscrambled. I will love you until every fire is extinguished and rebuilt from the handsomest and most susceptible of woods. I will love you until the bird hates a nest and the worm hates an apple. I will love you as we find ourselves farther and farther from one another, where once we were so close... I will love you until your face is fogged by distant memory. I will love you no matter where you go and who you see, I will love you if you don't marry me. I will love you if you marry someone else--and i will love you if you never marry at all, and spend your years wishing you had married me after all. That is how I will love you even as the world goes on its wicked way.
Lemony Snicket (The Beatrice Letters)
I will love you with no regard to the actions of our enemies or the jealousies of actors. I will love you with no regard to the outrage of certain parents or the boredom of certain friends. I will love you no matter what is served in the world’s cafeterias or what game is played at each and every recess. I will love you no matter how many fire drills we are all forced to endure, and no matter what is drawn upon the blackboard in blurry, boring chalk. I will love you no matter how many mistakes I make when trying to reduce fractions, and no matter how difficult it is to memorize the periodic table. I will love you no matter what your locker combination was, or how you decided to spend your time during study hall. I will love you no matter how your soccer team performed in the tournament or how many stains I received on my cheerleading uniform. I will love you if I never see you again, and I will love you if I see you every Tuesday. I will love you if you cut your hair and I will love you if you cut the hair of others. I will love you if you abandon your baticeering, and I will love you if you if you retire from the theater to take up some other, less dangerous occupation. I will love you if you drop your raincoat on the floor instead of hanging it up and I will love you if you betray your father. I will love you even if you announce that the poetry of Edgar Guest is the best in the world and even if you announce that the work of Zilpha Keatley Snyder is unbearably tedious. I will love you if you abandon the theremin and take up the harmonica and I will love you if you donate your marmosets to the zoo and your tree frogs to M. I will love you as a starfish loves a coral reef and as a kudzu loves trees, even if the oceans turn to sawdust and the trees fall in the forest without anyone around to hear them. I will love you as the pesto loves the fettuccini and as the horseradish loves the miyagi, as the tempura loves the ikura and the pepperoni loves the pizza. I will love you as the manatee loves the head of lettuce and as the dark spot loves the leopard, as the leech loves the ankle of a wader and as a corpse loves the beak of the vulture. I will love you as the doctor loves his sickest patient and a lake loves its thirstiest swimmer. I will love you as the beard loves the chin, and the crumbs love the beard, and the damp napkin loves the crumbs, and the precious document loves the dampness in the napkin, and the squinting eye of the reader loves the smudged print of the document, and the tears of sadness love the squinting eye as it misreads what is written. I will love you as the iceberg loves the ship, and the passengers love the lifeboat, and the lifeboat loves the teeth of the sperm whale, and the sperm whale loves the flavor of naval uniforms. i will love you as a child loves to overhear the conversations of its parents, and the parents love the sound of their own arguing voices, and as the pen loves to write down the words these voices utter in a notebook for safekeeping. I will love you as a shingle loves falling off a house on a windy day and striking a grumpy person across the chin, and as an oven loves malfunctioning in the middle of roasting a turkey. I will love you as an airplane loves to fall from a clear blue sky and as an escalator loves to entangle expensive scarves in its mechanisms. I will love you as a wet paper towel loves to be crumpled into a ball and thrown at a bathroom ceiling and as an eraser loves to leave dust in the hairdos of people who talk too much. I will love you as a cufflink loves to drop from its shirt and explore the party for itself and as a pair of white gloves loves to slip delicately into the punchbowl. I will love you as the taxi loves the muddy splash of a puddle and as a library loves the patient tick of a clock.
Lemony Snicket
And I watch my words from a long way off. They are more yours than mine. They climb on my old suffering like ivy. It climbs the same way on damp walls. You are to blame for this cruel sport. They are fleeing from my dark lair. You fill everything, you fill everything. Before you they peopled the solitude that you occupy, and they are more used to my sadness than you are. Now I want them to say what I want to say to you to make you hear as I want you to hear me.
Pablo Neruda (Twenty Love Poems and a Song of Despair)
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.
Sylvia Plath (The Bell Jar)
It dawned on them that unlike Aunt Josephine, who had lived up in that house, sad and alone, the three children had one another for comfort and support over the course of their miserable lives. And while this did not make them feel entirely safe, or entirely happy, it made them feel appreciative. They leaned up against one another appreciatively, and small smiles appeared on their damp and anxious faces. They had each other. I'm not sure that "The Beaudelaires had each other" is the moral of this story, but to the three siblings it was enough. To have each other in the midst of their unfortunate lives felt like having a sailboat in the middle of a hurricane, and to the Beaudelaire orphans this felt very fortunate indeed.
Lemony Snicket (The Wide Window (A Series of Unfortunate Events, #3))
The way sadness works is one of the strangest riddles of the world. If you are stricken with a great sadness, you may feel as if you have been set aflame, not only because of the enormous pain, but also because your sadness may spread over your life, like smoke from an enormous fire. You might find it difficult to see anything but your own sadness, the way smoke can cover a landscape so that all anyone can see is black. You may find that happy things are tainted with sadness, the way smoke leaves its ashen colors and scents on everything it touches. And you may find that if someone pours water all over you, you are damp and distracted, but not cured of your sadness, the way a fire department can douse a fire but never recover what has been burnt down.
Lemony Snicket (The Grim Grotto (A Series of Unfortunate Events, #11))
Then, for more than ten days, they did not see the sun again. The ground became soft and damp, like volcanic ash, and the vegetation was thicker and thicker, and the cries of the birds and the uproar of the monkeys became more and more remote, and the world became eternally sad. The men on the expedition felt overwhelmed by their most ancient memories in that paradise of dampness and silence, going back to before original sin, as their boots sank into pools of steaming oil and their machetes destroyed bloody lilies and golden salamanders.
Gabriel García Márquez (One Hundred Years of Solitude)
So that you will hear me my words sometimes grow thin as the tracks of the gulls on the beaches. Necklace, drunken bell for your hands smooth as grapes. And I watch my words from a long way off. They are more yours than mine. They climb on my old suffering like ivy. It climbs the same way on damp walls. You are to blame for this cruel sport. They are fleeing from my dark lair. You fill everything, you fill everything. Before you they peopled the solitude that you occupy, and they are more used to my sadness than you are. Now I want them to say what I want to say to you to make you hear as I want you to hear me. The wind of anguish still hauls on them as usual. Sometimes hurricanes of dreams still knock them over. You listen to other voices in my painful voice. Lament of old mouths, blood of old supplications. Love me, companion. Don't forsake me. Follow me. Follow me, companion, on this wave of anguish. But my words become stained with your love. You occupy everything, you occupy everything. I am making them into an endless necklace for your white hands, smooth as grapes.
Pablo Neruda (Twenty Love Poems and a Song of Despair)
For some reason, I kept seeing it—it trembled and silkily glowed on my damp retina—a radiant child of twelve, sitting on a threshold, "pinging" pebbles at an empty can.
Vladimir Nabokov (Lolita)
There were days so clear and skies so brilliant blue, with white clouds scudding across them like ships under full sail, and she felt she could lift right off the ground. One moment she was ambling down a path, and the next thing she knew, the wind would take hold of her, like a hand pushing against her back. Her feet would start running without her even willing it, even knowing it. And she would run faster and faster across the prairie, until her heart jumped like a rabbit and her breath came in deep gasps and her feet barely skimmed the ground. It felt good to spend herself this way. The air tasted fresh and delicious; it smelled like damp earth, grass, and flowers. And her body felt strong, supple, and hungry for more of everything life could serve up. She ran and felt like one of the animals, as though her feet were growing up out of the earth. And she knew what they knew, that sometimes you ran just because you could, because of the way the rush of air felt on your face and how your legs reached out, eating up longer and longer patches of ground. She ran until the blood pounded in her ears, so loud that she couldn't hear the voices that said, You're not good enough, You're not old enough, You're not beautiful or smart or loveable, and you will always be alone. She ran because there were ghosts chasing her, shadows that pursued her, heartaches she was leaving behind. She was running for her life, and those phantoms couldn't catch her, not here, not anywhere. She would outrun fear and sadness and worry and shame and all those losses that had lined up against her like a column of soldiers with their guns shouldered and ready to fire. If she had to, she would outrun death itself. She would keep on running until she dropped, exhausted. Then she would roll over onto her back and breathe in the endless sky above her, sun glinting off her face. To be an animal, to have a body like this that could taste, see hear, and fly through space, to lie down and smell the earth and feel the heat of the sun on your face was enough for her. She did not need anything else but this: just to be alive, cool air caressing her skin, dreaming of Ivy and what might be ahead.
Pamela Todd (The Blind Faith Hotel)
Mr. Rochester continued to be blind the first two years of our union; perhaps it was that circumstance that drew us so very near -- that knit us so very close; for I was then his vision, as I am still his right hand. Literally, I was (what he often called me) the apple of his eye. He saw nature -- he saw books through me; and never did I weary of gazing for his behalf, and of putting into words the effect of the field, tree, town, river, cloud, sunbeam -- of the landscape before us; of the weather around us -- and impressing by sound on his ear what light could no longer stamp on his eye. Never did I weary of reading to him; never did I weary conducting him where he wished to go; of doing for him what he wished to be done. And there was a pleasure in my services, most full, most exquisite, even though sad -- because he claimed these services without painful shame or damping humiliation. He loved me so truly, that he knew no reluctance in profiting by my attendance; he felt I loved him so fondly, that to yield that attendance was to indulge my sweetest wishes.
Charlotte Brontë (Jane Eyre)
I will love you with no regard to the actions of our enemies or the jealousies of actors. I will love you with no regard to the outrage of certain parents or the boredom of certain friends. I will love you no matter what is served in the world’s cafeterias or what game is played at each and every recess. I will love you no matter how many fire drills we are all forced to endure, and no matter what is drawn upon the blackboard in a blurring, boring chalk. I will love you no matter how many mistakes I make when trying to reduce fractions, and no matter how difficult it is to memorize the periodic table. I will love you no matter what your locker combination was, or how you decided to spend your time during study hall. I will love you no matter how your soccer team performed in the tournament or how many stains I received on my cheerleading uniform. I will love you if I never see you again, and I will love you if I see you every Tuesday. I will love you if you cut your hair and I will love you if you cut the hair of others. I will love you if you abandon your baticeering, and I will love you if you retire from the theater to take up some other, less dangerous occupation. I will love you if you drop your raincoat on the floor instead of hanging it up and I will love you if you betray your father. I will love you even if you announce that the poetry of Edgar Guest is the best in the world and even if you announce that the work of Zilpha Keatley Snyder is unbearably tedious. I will love you if you abandon the theremin and take up the harmonica and I will love you if you donate your marmosets to the zoo and your tree frogs to M. I will love you as the starfish loves a coral reef and as kudzu loves trees, even if the oceans turn to sawdust and the trees fall in the forest without anyone around to hear them. I will love you as the pesto loves the fetuccini and as the horseradish loves the miyagi, as the tempura loves the ikura and the pepperoni loves the pizza. I will love you as the manatee loves the head of lettuce and as the dark spot loves the leopard, as the leech loves the ankle of a wader and as a corpse loves the beak of the vulture. I will love you as the doctor loves his sickest patient and a lake loves its thirstiest swimmer. I will love you as the beard loves the chin, and the crumbs love the beard, and the damp napkin loves the crumbs, and the precious document loves the dampness in the napkin, and the squinting eye of the reader loves the smudged print of the document, and the tears of sadness love the squinting eye as it misreads what is written. I will love you as the iceberg loves the ship, and the passengers love the lifeboat, and the lifeboat loves the teeth of the sperm whale, and the sperm whale loves the flavor of naval uniforms. I will love you as a child loves to overhear the conversations of its parents, and the parents love the sound of their own arguing voices, and as the pen loves to write down the words these voices utter in a notebook for safekeeping. I will love you as a shingle loves falling off a house on a windy day and striking a grumpy person across the chin, and as an oven loves malfunctioning in the middle of roasting a turkey. I will love you as an airplane loves to fall from a clear blue sky and as an escalator loves to entangle expensive scarves in its mechanisms. I will love you as a wet paper towel loves to be crumpled into a ball and thrown at a bathroom ceiling and an eraser loves to leave dust in the hairdos of the people who talk too much. I will love you as a taxi loves the muddy splash of a puddle and as a library loves the patient tick of a clock. I will love you as a thief loves a gallery and as a crow loves a murder, as a cloud loves bats and as a range loves braes. I will love you as misfortune loves orphans, as fire loves innocence and as justice loves to sit and watch while everything goes wrong.
Lemony Snicket (The Beatrice Letters)
On that night I was left with only the truth that nothing of our personality survives after death, that in the end all that was Misha Vainberg would evaporate along with the styles and delusions of his epoch, leaving behind not one flutter of his sad heavy brilliance, not one damp spot around which his successors could congregate to appreciate his life and times.
Gary Shteyngart (Absurdistan)
...and the cries of the birds and the uproar of the monkeys became more and more remote, and the world became eternally sad. The men on the expedition felt overwhelmed by their most ancient memories in that paradise of dampness and silence, going back to before original sin, as their boots sank into pools of steaming oil and their machetes destroyed bloody lilies and golden salamanders.
Gabriel García Márquez (One Hundred Years of Solitude)
This dirty, damp patch of grass—was this really the setting of those years of my childhood, so radiant and winged in my memory? This waste, dreary square with the factory yonder—can this be that quiet corner of earth we called “Home” and which alone amid the waters of destruction out there meant hope to us and salvation from perishing in the flood? Or was it not rather a vision of some far other place than this grey street with its hideous houses that rose up there, over the shell holes, like some wild, sad dream in the grudging intervals between death and death? In my memory was it not far more shining and lovely, more spacious, and abounding with ten thousand things? Is that no longer true, then? Did my blood lie and my memory deceive me?
Erich Maria Remarque (The Road Back)
I can cope with, and even somehow enjoy, the sinking melancholy of Venice, just for a few days. Somewhere in me I am able to recognize that this is not my melancholy; this is the city's own indigenous melancholy, and I am healthy enough these days to be able to feel the difference between me and it. This is a sign, I cannot help but think, of healing, of the coagulation of my self. There were a few years there, lost in borderless despair, when I used to experience all the world's sadness as my own. Everything sad leaked through me and left damp traces behind.
Elizabeth Gilbert (Eat, Pray, Love)
Yet the stories themselves brought the smell of the alleyways, the damp air of the old houses and the smell of sadness from the city’s friendless people into the book, so that as you opened it you felt a strange air, the hot exhalations of the deceased, the smell of the lives they had left behind.
Bakhtiyar Ali (I Stared at the Night of the City)
The sky hangs like lead over the low shrubbery of the Luisenplatz, the trees are bare, a loose window is clashing in the wind, and amid the frowsy alder bushes in the garden of the square squats the November twilight, dank and cheerless. I peer over into it; and suddenly it is as if I saw it all today for the first time, so unfamiliar that I hardly know it again. This dirty, damp patch of grass—was this really the setting of those years of my childhood, so radiant and winged in my memory? This waste, dreary square with the factory yonder—can this be that quiet corner of earth we called “Home” and which alone amid the waters of destruction out there meant hope to us and salvation from perishing in the flood? Or was it not rather a vision of some far other place than this grey street with its hideous houses that rose up there, over the shell holes, like some wild, sad dream in the grudging intervals between death and death? In my memory was it not far more shining and lovely, more spacious, and abounding with ten thousand things? Is that no longer true, then? Did my blood lie and my memory deceive me? I
Erich Maria Remarque (The Road Back)
Sometimes, in the evenings, a damp, gritty wind blew in the windows from Park Avenue, just as the rush hour traffic was thinning and the city was emptying for the night; it was rainy, trees leafing out, spring deepening into summer; and the forlorn cry of horns on the street, the dank smell of the wet pavement had an electricity about it, a sense of crowds and static, lonely secretaries and fat guys with bags of carry-out, everywhere the ungainly sadness of creatures pushing and struggling to live. For weeks, I’d been frozen, sealed-off; now, in the shower, I would turn up the water as hard as it would go and howl, silently. Everything was raw and painful and confusing and wrong and yet it was as if I’d been dragged from freezing water through a break in the ice, into sun and blazing cold.
Donna Tartt (The Goldfinch)
Do you have any idea why you might be feeling better?” “No, not really,” I said curtly. Better wasn’t even the word for how I felt. There wasn’t a word for it. It was more that things too small to mention—laughter in the hall at school, a live gecko scurrying in a tank in the science lab—made me feel happy one moment and the next like crying. Sometimes, in the evenings, a damp, gritty wind blew in the windows from Park Avenue, just as the rush hour traffic was thinning and the city was emptying for the night; it was rainy, trees leafing out, spring deepening into summer; and the forlorn cry of horns on the street, the dank smell of the wet pavement had an electricity about it, a sense of crowds and static, lonely secretaries and fat guys with bags of carry-out, everywhere the ungainly sadness of creatures pushing and struggling to live. For weeks, I’d been frozen, sealed-off; now, in the shower, I would turn up the water as hard as it would go and howl, silently. Everything was raw and painful and confusing and wrong and yet it was as if I’d been dragged from freezing water through a break in the ice, into sun and blazing cold.
Donna Tartt (The Goldfinch)
Lord, but he was a big, beautiful beast of a man. There was just so much of him. Tall, broad, powerfully muscled. And utterly bare, save for that thin bit of toweling and his thick, dark hair. He had a great deal of hair. Not only plastered in damp curls on his head, but defining the hard line of his jaw. And lightly furring his chest. He had nipples. Two of them. Eyes, Penny. He has two of those, too. Focus on the eyes. Sadly, that strategy didn't help.His eyes were chips of onyx. Chips of onyx dipped in ink, then encased in obsidian, then daubed with pitch, then thrown into a fathomless pit. At midnight.
Tessa Dare (The Wallflower Wager (Girl Meets Duke, #3))
Жираф Сегодня, я вижу, особенно грустен твой взгляд, И руки особенно тонки, колени обняв. Послушай: далёко, далёко на озере Чад Изысканный бродит жираф. Ему грациозная стройность и нега дана, И шкуру его украшает волшебный узор, С которым равняться осмелиться только Луна, Дробясь и качаясь на влаге широких озёр. Вдали он подобен цветным парусам корабля, И бег его плавен, как радостный птичий полёт. Я знаю, что много чудесного видит земля, Когда на закате он прячется в мраморный грот. Я знаю весёлые сказки таинственных стран Про чёрную деву, про страсть молодого вождя, Но ты слишком долго вдыхала тяжёлый туман, Ты верить не хочешь во что-нибудь, кроме дождя. И как я тебе расскажу про тропический сад, Про стройный пальмы, про запах немыслимых трав... Ты плачешь? Послушай... далёко, на озере Чад Изысканный бродит жираф. The Giraffe O, the look in your eyes this morning is more than usually sad, With your little arms wrapped round your knees and body bent in half. Let me tell you a story: far, far away, on the distant shores of Lake Chad, There roams a most majestic giraffe Blessed with a handsome build and graceful carriage And a coat painted hypnotic, magical patterns, With which none but the moon above dare compare When her light falls down to be scattered and rocked on the waters, Passing like a blazing sail far out at sea As she runs by, nimble and carefree as a bird in flight. I hear tell the earth has seen many wonderful things When the giraffe hides herself away and the sun sets into night. I know fabulous tales of far off, alien lands, Of a dark maiden, of a young captain’s burning desire, all this I know, But you’ve breathed in the damp marsh air for so long You don’t want to believe in anything but the rain out your window. I still haven’t told you about her tropic garden, with the slenderest palm trees, The sweetest wildflowers, meadows of unbelievable grass . . . Are you crying? Let me tell you a story: far away, on the distant shores of Lake Chad, There roams a most majestic giraffe.
Nikolay Gumilyov
Our world no longer hears God because it is constantly speaking, at a devastating speed and volume, in order to say nothing. Modern civilization does not know how to be quiet. It holds forth in an unending monologue. Postmodern society rejects the past and looks at the present as a cheap consumer object; it pictures the future in terms of an almost obsessive progress. Its dream, which has become a sad reality, will have been to lock silence away in a damp, dark dungeon. Thus there is a dictatorship of speech, a dictatorship of verbal emphasis. In this theater of shadows, nothing is left but a purulent wound of mechanical words, without perspective, without truth, and without foundation. Quite often “truth” is nothing more than the pure and misleading creation of the media, corroborated by fabricated images and testimonies. When that happens, the word of God fades away, inaccessible and inaudible. Postmodernity is an ongoing offense and aggression against the divine silence. From morning to evening, from evening to morning, silence no longer has any place at all; the noise tries to prevent God himself from speaking. In this hell of noise, man disintegrates and is lost; he is broken up into countless worries, fantasies, and fears. In order to get out of these depressing tunnels, he desperately awaits noise so that it will bring him a few consolations. Noise is a deceptive, addictive, and false tranquilizer. The tragedy of our world is never better summed up than in the fury of senseless noise that stubbornly hates silence. This age detests the things that silence brings us to: encounter, wonder, and kneeling before God. 75. Even in the schools, silence has disappeared. And yet how can anyone study in the midst of noise? How can you read in noise? How can you train your intellect in noise? How can you structure your thought and the contours of your interior being in noise? How can you be open to the mystery of God, to spiritual values, and to our human greatness in continual turmoil? Contemplative silence is a fragile little flame in the middle of a raging ocean. The fire of silence is weak because it is bothersome to a busy world.
Robert Sarah (The Power of Silence: Against the Dictatorship of Noise)
So, therefore, that mortal man who hath more of joy than sorrow in him, that mortal man cannot be true--not true, or undeveloped. With books the same. The truest of all men was the Man of Sorrows, and the truest of all books is Solomon's, and Ecclesiastes is the fine hammered steel of woe. "All is vanity." ALL. This wilful world hath not got hold of unchristian Solomon's wisdom yet. But he who dodges hospitals and jails, and walks fast crossing graveyards, and would rather talk of operas than hell; call Cowper, Young, Pascal, Rousseau, poor devils all of sick men; and throughout a care-free lifetime swears by Rabelais as passing wise, and therefore jolly; not that man is fitted to sit down on tomb-stones, and break the green damp mould with unfathomably wondrous Solomon.
Herman Melville (Moby Dick)
You’re as beautiful as you were the night we made our son,” she whispered, bending to kiss him tenderly. His fingers traced her dark eyebrows, her cheeks, her mouth. “I wish we could have another baby,” he said heavily. “So do I. But I’m too old,” she said sadly. She lay her cheek against his broad, damp chest and stroked the silver-tipped hair that covered it. “We’ll have to hope for grandchildren, if he ever forgives us.” He held her tightly, as if by holding her he could keep her safe. What he felt for her was ferociously protective. She misunderstood the tightening of his arms. She smiled and sighed. “We can’t, again. Cecily will think we’ve deserted her.” His hand smoothed her long hair. “She probably knows exactly what we’re doing,” he said on a chuckle. “She loves you.” “She likes you. Maybe we could adopt her.” “Better if our son marries her.” She grinned. “We can hope.” She sat up and stretched, liking the way he watched her still-firm breasts. “The last time I felt like this was thirty-six years ago,” she confided. “The same is true for me,” he replied. She searched his eyes, already facing her departure. She would have to go back to the reservation, home. He could still read her better than she knew. He drew her hand to his mouth. “It’s too late, but I want to marry you. This week. As soon as possible.” She was surprised. She didn’t know what to say. “I love you,” he said. “I never stopped. Forgive me and say yes.” She considered the enormity of what she would be agreeing to do. Be his hostess. Meet his friends. Go to fund-raising events. Wear fancy clothes. Act sophisticated. “Your life is so different from mine,” she began. “Don’t you start,” he murmured. “I’ve seen what it did to Cecily when Tate used that same argument with her about all the differences. It won’t work with me. We love each other too much to worry about trivial things. Say yes. We’ll work out all the details later.” “There will be parties, benefits…” He pulled her down into his arms and kissed her tenderly. “I don’t know much about etiquette,” she tried again. He rolled her over, pinning her gently. One long leg inserted itself between both of hers as he kissed her. “Oh, what the hell,” she murmured, and wrapped her legs around his, groaning as the joints protested. “Arthritis?” he asked. “Osteoarthritis.” “Me, too.” He shifted, groaning a little himself as he eased down. “We’ll work on new positions one day. But it’s…too late…now. Leta…!” he gasped. She didn’t have enough breath to answer him. He didn’t seem to notice that she hadn’t. Bad joints notwithstanding, they managed to do quite a few things that weren’t recommended for people their ages. And some that weren’t in the book at all.
Diana Palmer (Paper Rose (Hutton & Co. #2))
makes me more than sad, it makes my heart burn within me, to see that folk can make a jest of striving men; of chaps who comed to ask for a bit o’ fire for th’ old granny, as shivers i’ th’ cold; for a bit o’ bedding, and some warm clothing to the poor wife who lies in labour on th’ damp flags; and for victuals for the childer, whose little voices are getting too faint and weak to cry aloud wi’ hunger. For, brothers, is not them the things we ask for when we ask for more wage? We donnot want dainties, we want bellyfuls; we donnot want gimcrack coats and waistcoats, we want warm clothes; and so that we get ‘em, we’d not quarrel wi’ what they’re made on. We donnot want their grand houses, we want a roof to cover us from the rain, and the snow, and the storm; ay, and not alone to cover us, but the helpless ones that cling to us in the keen wind, and ask us with their eyes why we brought ’em into th’ world to suffer?” He
Elizabeth Gaskell (The Complete Works of Elizabeth Gaskell)
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.
Sylvia Plath (The Bell Jar)
V. So That You Will Hear Me" So that you will hear me my words sometimes grow thin as the tracks of the gulls on the beaches. Necklace, drunken bell for your hands smooth as grapes. And I watch my words from a long way off. They are more yours than mine. They climb on my old suffering like ivy. It climbs the same way on damp walls. You are to blame for this cruel sport. They are fleeing from my dark lair. You fill everything, you fill everything. Before you they peopled the solitude that you occupy, and they are more used to my sadness than you are. Now I want them to say what I want to say to you to make you hear as I want you to hear me. The wind of anguish still hauls on them as usual. Sometimes hurricanes of dreams still knock them over. You listen to other voices in my painful voice. Lament of old mouths, blood of old supplications. Love me, companion. Don't forsake me. Follow me. Follow me, companion, on this wave of anguish. But my words become stained with your love. You occupy everything, you occupy everything. I am making them into an endless necklace for you white hands, smooth as grapes.
Pablo Neruda (Twenty Love Poems and a Song of Despair)
Taking her left hand, he began to slide the moonstone onto her finger, and hesitated. "How did I propose the first time?" He had been nervous, steeling himself for a possible refusal; he could hardly remember a word he'd said. Amusement tugged at her lips. "You laid out the advantages on both sides, and explained the ways in which our future goals were compatible." Rhys absorbed that with chagrin. "No one has ever accused me of being a romantic," he said ruefully. "If you were, how would you propose?" He thought for a moment. "I would begin by teaching you a Welsh word. Hiraeth. There's no equivalent in English." "Hiraeth," she repeated, trying to pronounce it with a tapped R, as he had. "Aye. It's a longing for something that was lost, or never existed. You feel it for a person or a place, or a time in your life... it's a sadness of the soul. Hiraeth calls to a Welshman even when he's closest to happiness, reminding him that he's incomplete." Her brow knit with concern. "Do you feel that way?" "Since the day I was born." He looked down into her small, lovely face. "But not when I'm with you. That's why I want to marry you." Helen smiled. She reached up to curl her hand around the back of his neck, her caress as light as silk gauze being pulled across his skin. Standing on her toes, she drew his head down and kissed him. Her lips were smoother than petals, all clinging silk and tender dampness. He had the sensation of surrendering, some terrible soft sweetness evading him and rearranging his insides. Breaking the kiss, Helen lowered back to her heels. "Your proposals are improving," she told him, and extended her hand as he fumbled to slide the ring onto her finger.
Lisa Kleypas (Marrying Winterborne (The Ravenels, #2))
It makes me more than sad, it makes my heart burn within me, to see that folk can make a jest of earnest men; of chaps who comed to ask for a bit o' fire for th' old granny, as shivers in th' cold; for a bit o' bedding, and some warm clothing to the poor wife as lies in labour on th' damp flags; and for victuals for the childer, whose little voices are getting too faint and weak to cry aloud wi' hunger. For, brothers, is not them the things we ask for when we ask for more wage? We donnot want dainties, we want bellyfuls; we donnot want gimcrack coats and waistcoats, we want warm clothes, and so that we get 'em we'd not quarrel wi' what they're made on. We donnot want their grand houses, we want a roof to cover us from the rain, and the snow, and the storm; ay, and not alone to cover us, but the helpless ones that cling to us in the keen wind, and ask us with their eyes why we brought 'em into th' world to suffer?" He lowered his deep voice almost to a whisper. "I've seen a father who had killed his child rather than let it clem before his eyes; and he were a tender-hearted man." He began again in his usual tone. "We come to th' masters wi' full hearts, to ask for them things I named afore. We know that they've gotten money, as we've earned for 'em; we know trade is mending, and that they've large orders, for which they'll be well paid; we ask for our share o' th' payment; for, say we, if th' masters get our share of payment it will only go to keep servants and horses, to more dress and pomp. Well and good, if yo choose to be fools we'll not hinder you, so long as you're just; but our share we must and will have; we'll not be cheated. We want it for daily bread, for life itself; and not for our own lives neither (for there's many a one here, I know by mysel, as would be glad and thankful to lie down and die out o' this weary world), but for the lives of them little ones, who don't yet know what life is, and are afeard of death. Well, we come before th' masters to state what we want, and what we must have, afore we'll set shoulder to their work; and they say, 'No.' One would think that would be enough of hard-heartedness, but it isn't. They go and make jesting pictures of us! I could laugh at mysel, as well as poor John Slater there; but then I must be easy in my mind to laugh. Now I only know that I would give the last drop o' my blood to avenge us on yon chap, who had so little feeling in him as to make game on earnest, suffering men!
Elizabeth Gaskell (Mary Barton)
I have been frequently asked how I felt when I found myself in a free State. I have never been able to answer the question with any satisfaction to myself. It was a moment of the highest excitement I ever experienced. I suppose I felt as one may imagine the unarmed mariner to feel when he is rescued by a friendly man-of-war from the pursuit of a pirate. In writing to a dear friend, immediately after my arrival at New York, I said I felt like one who had escaped a den of hungry lions. This state of mind, however, very soon subsided; and I was again seized with a feeling of great insecurity and loneliness. I was yet liable to be taken back, and subjected to all the tortures of slavery. This in itself was enough to damp the ardor of my enthusiasm. But the loneliness overcame me. There I was in the midst of thousands, and yet a perfect stranger; without home and without friends, in the midst of thousands of my own brethren--children of a common Father, and yet I dared not to unfold to any one of them my sad condition. I was afraid to speak to any one for fear of speaking to the wrong one, and thereby falling into the hands of money-loving kidnappers, whose business it was to lie in wait for the panting fugitive, as the ferocious beasts of the forest lie in wait for their prey. The motto which I adopted when I started from slavery was this--"Trust no man!" I saw in every white man an enemy, and in almost every colored man cause for distrust. It was a most painful situation; and, to understand it, one must needs experience it, or imagine himself in similar circumstances. Let him be a fugitive slave in a strange land--a land given up to be the hunting-ground for slaveholders--whose inhabitants are legalized kidnappers--where he is every moment subjected to the terrible liability of being seized upon by his fellowmen, as the hideous crocodile seizes upon his prey!--I say, let him place himself in my situation--without home or friends--without money or credit--wanting shelter, and no one to give it-- wanting bread, and no money to buy it,--and at the same time let him feel that he is pursued by merciless men-hunters, and in total darkness as to what to do, where to go, or where to stay,--perfectly helpless both as to the means of defence and means of escape,--in the midst of plenty, yet suffering the terrible gnawings of hunger,--in the midst of houses, yet having no home,--among fellow-men, yet feeling as if in the midst of wild beasts, whose greediness to swallow up the trembling and half-famished fugitive is only equalled by that with which the monsters of the deep swallow up the helpless fish upon which they subsist,--I say, let him be placed in this most trying situation,--the situation in which I was placed, --then, and not till then, will he fully appreciate the hardships of, and know how to sympathize with, the toil-worn and whip-scarred fugitive slave.
Frederick Douglass (Narrative of the Life of Frederick Douglass)
On April 1, 1865, in Virginia, Pickett was defending an intersection known as Five Forks, six miles south of the Appomattox River and a good bit closer to the Southside Railroad, the last remaining supply line to Richmond. While thirty thousand Union troops led by Little Phil Sheridan approached from the southeast, Pickett’s twelve thousand, spread two miles wide behind fences and in ditches, braced to meet them. Pickett’s supreme commander, Robert E. Lee, was headquartered ten miles away, near Petersburg. Should Pickett fall to Sheridan, Lee would be forced from Petersburg, the Federals would capture Richmond, and the Confederate cause would be lost. Someone mentioned shad. The spring spawning run was in full penetration of the continent. The fish were in the rivers. Tom Rosser, another Confederate general, had caught some, and on the morning of April 1st ordered them baked for his midday dinner, near Hatcher’s Run, several miles from Five Forks. He invited Pickett and Major General Fitzhugh Lee, nephew of Robert E. Lee, to join him. Pickett readily accepted, and rode off from his battle station with Lee. The historian Shelby Foote continues the narrative (“The Civil War,” vol. 3, p. 870): “Neither told any subordinate where he was going or why, perhaps to keep from dividing the succulent fish too many ways; with the result that when the attack exploded—damped from their hearing, as it was, by a heavy stand of pines along Hatcher’s Run—no one knew where to find them. Pickett only made it back to his division after half its members had been shot or captured, a sad last act for a man who gave his name to the most famous charge in a war whose end was hastened by his threehour absence at a shad bake.
John McPhee (The Founding Fish)
A word about Hope House: there are places in the world where so many desperate people have lived and so many bad things have happened that the places themselves have become desperately bad. They're damp and weird and smell like foot fungus. The windows are never clean, and the linoleum curls up at the edges because it can't stand the floor. Every corner is sprayed with cobwebs and quivering shadows. When you walk into those bad places, you can feel a headache brewing between your eyebrows, a churning in your gut, a cold prickle at the back of your neck. You feel sad and angry and helpless, all at the same time. These bad places seem to hate you but, they also seem to want to keep you there very very much.
Laura Ruby (The Wall and the Wing (Wall and the Wing, #1))
You could’ve offered the girl a warm place to sleep,” Jack said. “It’s pretty clear Hope didn’t get that old cabin straight for her.” “Don’t feel up to company,” he said. Then Doc lifted his gaze to Jack’s face. “Seems you’re more interested than me, anyway.” “Didn’t really look like she’d trust anyone around here at the moment,” Jack said. “Cute little thing, though, huh?” “Can’t say I noticed,” he said. He took a sip and then said, “Didn’t look like she had the muscle for the job, anyway.” Jack laughed. “Thought you didn’t notice?” But he had noticed. She was maybe five-three. Hundred and ten pounds. Soft, curling blond hair that, when damp, curled even more. Eyes that could go from kind of sad to feisty in an instant. He enjoyed that little spark when she had snapped at him that she didn’t feel particularly humorous. And when she took on Doc, there was a light that suggested she could handle all kinds of things just fine. But the best part was that mouth—that little pink heart-shaped mouth. Or maybe it was the fanny. “Yeah,” Jack said. “You could’ve cut a guy a break and been a little friendlier. Improve the scenery around here.
Robyn Carr (Virgin River (Virgin River, #1))
I want to tell you something,” he said. “I asked your sister all about your husband. Mark.” “You did?” “Yep. I understand he was a great man. A brilliant man—and kind. He did a lot of good in the world, and he was good to you. I have a lot of respect for him.” “She didn’t tell me this.” “I’ve been trying to figure out how to say this to you. I might muck it up, but you have to listen. A couple of weeks ago I let you cry alone, because I was pissed. I caught you talking to his picture and I got threatened. Threatened by a dead man, which makes me a true candy-ass.” He touched her hair. “I won’t ever do that again, Mel. I understand why you love him, why you’ll always—” “Jack—” “No, I’m going to do this, and you’re going to listen. I know you didn’t want your life to change the way it did, and you couldn’t control it. Just like you can’t control what you feel. You don’t have to pretend you don’t think about him, or miss him. And if you have those moments when you’re sad, when you wish you could have him back in your life, you can be honest with me. You don’t have to pretend it’s PMS.” He smiled. “We both know you don’t have PMS anymore.” “Jack, what are you talking about?” “I just want one thing. If I can be a sport about the fact that he’ll always be an important part of your life, can you try to not be sorry that we’re together, having this baby? Because I have to tell you, I’ve never been more ready for anything. I’ll do my best not to be jealous. I realize I’m not your first choice, but your next choice. That’s good enough for me, and I’m sorry someone died. I’m sorry for your loss, Mel.” “Why are you saying this? It’s such nonsense.” “It’s what I heard,” he said. “I heard you saying you were sorry you were pregnant, that it just happened, and you promised not to forget him.” Mel gave him a look of disbelief. “I thought you were hurt by what you heard me say—but you were hurt because of what you didn’t hear!” “Huh?” “Jack, I’m not sorry I’m pregnant. I’m thrilled! I got myself all worked up because I realized that I was more in love with you than I thought possible. Maybe more in love than I’ve ever been in my life. I had a short insane moment of feeling that I’d betrayed his memory somehow. As though I’d been unfaithful or something. It’s true—I didn’t mean for it to happen, but it did. I know I resisted, but you just got to me. I promised Mark I wouldn’t forget him. And I won’t because you’re right, he was a good man. And I respect him, too.” “Huh?” he said again. “Look,” she said, playing with his thick, damp hair. “I was upset and a little confused. I loved Mark very much. I didn’t think I’d get to feel that again, much less for someone new. Imagine how it threw me when I realized I felt something even stronger. Something even more powerful. Jack, I was telling Mark I had moved on. I was saying goodbye—it was difficult. I’m not going to be a widow anymore, darling. I’m going to be a wife. This thing I have with you—it’s amazing.” “Seriously?” “I was in this high, emotional state,” she said with a shrug. “I was tired and pregnant. Jack, I love you so much. Can’t you tell?” “Well…yeah,” he said, sitting up in the bed a little.
Robyn Carr (Virgin River (Virgin River, #1))
I fall in behind him as he makes his way to the door, noticing several ceramic gnomes in the flower beds as we pass. I can’t help thinking how sad they look, worn by sun, wind, and rain, their paint faded to chalky-hued pastels. The sharp black eyes that once graced each face have worn away to cataracts, and the once-bright clothes have weathered, looking no better than the garments one might find on a neglected scarecrow. If my mother were here she’d probably wipe their faces with a damp handkerchief and bless them for good luck.
Spencer Kope (Shadows of the Dead (Special Tracking Unit #3))
We were so sad, so damp from our sadness, walking back to our house.
Deborah Shapiro_
Slowly England's sun was setting o'er the hilltops far away, Filling all the land with beauty at the close of one sad day; And its last rays kissed the forehead of a man and maiden fair― He with steps so slow and weary; she with sunny, floating hair; He with bowed head, sad and thoughtful, she, with lips all cold and white, Struggling to keep back the murmur, 'Curfew must not ring tonight!' 'Sexton,' Bessie's white lips faltered, pointing to the prison old, With its walls tall and gloomy, moss-grown walls dark, damp and cold ― 'I've a lover in the prison, doomed this very night to die At the ringing of the curfew, and no earthly help is nigh. Cromwell will not come till sunset;' and her lips grew strangely white, As she spoke in husky whispers, 'Curfew must not ring tonight!
Rose Hartwick Thorpe
I’ve just been transferred to Kanglung,” I say. They look at me to see if I am joking, and then they look at each other. There is a long, terrible silence and we all look at the floor. Karma Dorji wipes his runny nose on his sleeve and looks up. “Oh, miss,” he says sadly. “Please don’t go.” “Just a minute,” I say, and go into the bathroom. I latch the door and turn on the tap full force. When the water is running noisily, I lean my hot forehead against the damp, flaking concrete, and cry.
Jamie Zeppa (Beyond the Sky and the Earth: A Journey into Bhutan)
The night is about to lull everything and everyone to sleep. I stretch myself at the window and open it so that the books can breathe fresh damp air. I suspect that books need to breathe like people, and I think they tolerate damp better than people say. There is no doubt that they stare rather sadly at the trees out in the garden, as if they have a vague recollection of relationship with them, and sighs are borne from the pages to the damp trunks and branches. I begin to sigh too, for I feel that people are like trees that move, trees that have lost their roots and are always in search of the soil. I have a hazy idea that humans have come from trees that broke off from their roots in a wild whirlwind eons ago - that is my thory of evolution.
Gyrðir Elíasson
I was a lonely nightwalker and a steady stander-at-corners. I liked to walk through the wet town after midnight, when the streets were deserted and the window lights out, alone and alive on the glistening tramlines in dead and empty High Street under the moon, gigantically sad in the damp streets by ghostly Ebenezer Chapel. And I never felt more a part of the remote and overpressing world, or more full of love and arrogance and pity and humility, not for myself alone, but for the living earth I suffered on and for the unfeeling systems in the upper air, Mars and Venus and Brazell and Skully, men in China and St Thomas, scorning girls and ready girls, soldiers and bullies and policemen and sharp, suspicious buyers of secondhand books, bad, ragged women who’d pretend against the museum wall for a cup of tea, and perfect, unapproachable women out of the fashion magazines, seven feet high, sailing slowly in their flat, glazed creations through steel and glass and velvet.
Dylan Thomas (Portrait Of The Artist As A Young Dog)
And I watch my words from a long way off. They are more yours than mine. They climb on my old suffering like ivy. It climbs the same way on damp walls. You are to blame for this cruel sport. They are fleeing from my dark lair. You fill everything, you fill everything. Before you they peopled the solitude that you occupy, and they are more used to my sadness than you are. ...But my words become stained with your love. You occupy everything, you occupy everything.
Pablo Neruda (Twenty Love Poems and a Song of Despair)
The corridor was concrete-damp and shadow-dark. Even in the midst of the Texas summer heat, the halls of the prison could be chilled with trapped air that seemed years old, aching with stale sadness. It’s what Kit felt first – until the dank, wet cold lay heavily across his exposed neck and arms. It stank like men’s sweat from fear and unwashed garments. Kit was suddenly overwhelmed with a sense of pending doom and violent grief. He heard the weeping behind him – turned and saw nothing, then vapor, then Chief Santana himself. It was like a water reflection or someone seen through fog. The footsteps then came; not as hard-soled shoes, but with the soft shuffling of old bare feet against cement floors. The vapor and cold dissipated as suddenly as they had come. And Kit suspected the ghost had come because of him – something to do with him. But exactly what eluded him.
Marti Healy (Blinding the Moon)
You’ll be here in the morning?” This is what she’s always asked me on bad nights. Like she wanted to make sure I wouldn’t drop too far into my sadness. So far I wouldn’t come back. “Where else would I be?” is what I’ve always responded with as my hand slides over her damp hair. Because I will be.
Elsie Silver (Powerless (Chestnut Springs, #3))
The world seemed to change before my eyes. All the huts looked empty and sad, the dampness stung like acid. I think I knew then, in that brief instant, that my destiny had been set. Already the land around me had acknowledged my farewell.
Storm Constantine (Wraeththu (Wraeththu #1-3))
The way sadness works is one of the strange riddles of the world. If you are stricken with a great sadness, you may feel as if you have been set aflame, not only because of the enormous pain, but also because your sadness may spread over your life, like smoke from an enormous fire. You might find it difficult to see anything but your own sadness, the way smoke can cover a landscape so that all anyone can see is black. You may find that happy things are tainted with sadness, the way smoke leaves its ashen colors and scents on everything it touches. And you may find that if someone pours water all over you, you are damp and distracted, but not cured of your sadness, the way a fire department can douse a fire but never recover what has been burnt down.
Lemony Snicket (The Grim Grotto (A Series of Unfortunate Events, #11))
Every day he wakes up to a grey world. The smell of damp earth seeps through the cracks and corners of the log cabin, windows frosted with the condensation. There are ancient apple trees with sprawling, gnarled roots outside, streams trickling down the mountain all around the home, and a decomposing body buried deep in the woods where the coywolves won’t get to it. Welcome to the holler.
Bailey Fouraker (Wolves In The Holler)
The Jenkins family, who took her in after the Kindertransport, gave her their surname. She didn’t expect to see any of her family again. This was supposed to be a fresh start for her, here in England. Her mother, God bless her, was already dead. Her father was in trouble with the authorities.’ ‘For doing what?’ Though I had pretty much guessed the answer: he was Jewish. ‘It’s just so stupid,’ I said, drying the plate rather roughly. ‘How can you hate someone just because of how they live their life?’ Mrs. Henderson sighed. ‘People like to have something to hate – it makes life easier when things go wrong if there’s someone to blame. Think about what happened here today with that pilot, Olive.’ She meant how quickly the crowd turned on him. It was frightening how easily normal, pleasant people got whipped up into nastiness. The possibility that something similar had happened to Esther’s family disturbed me. ‘But it’s worse than that, isn’t it?’ I said, thinking ‘The German pilot was a fighter from the enemy side. Esther’s family were… well… just people.’ ‘Yes, my dear,’ Mrs. Henderson sighed again, blowing damp strands of hair off her face. ‘Normal, educated, cultured people. It was all very well, the Kindertransport, but what good’s a child without its parents? You saw what it did to Esther.’ ‘Well, I’m glad they’re all here,’ I said. ‘I’m glad you helped them.’ Mrs. Henderson looked sad. ‘But we can’t save everyone… our government needs to take some responsibility and do much, much more. We should be helping them flee Hitler, not turning them away. We’ve had to smuggle these good people in like criminals.
Emma Carroll (Letters from the Lighthouse)
,,,her long lashes damp with sadness, but prettier than ever.
Theresa Walsh
No, she was not in a hurry. And when the tall woman linked arms with her, she found herself touched and warmed by the contact, and, with the little dog bustling ahead through the leaves, they wandered slowly and silently along under the damp trees, aware of an impatient but genuine good will towards each other, just enough to sustain them against the onslaught of more painful memories that came to them unbidden and uncensored. Women share their sadness, thought Edith. Their joy they like to show off to one another. Victory, triumph over the odds, calls for an audience. And that air of bustle and exigence sometimes affected by the sexually loquacious - that is for the benefit of other women. No solidarity then.
Anita Brookner (Hotel du Lac)
No, she was not in a hurry. And when the tall woman linked arms with her, she found herself touched and warmed by the contact, and, with the little dog bustling ahead through the leaves, they wandered slowly and silently along under the damp trees, aware of an impatient but genuine good will towards each other, just enough to sustain them against the onslaught of more painful memories that came to them unbidden and uncensored. Women share their sadness, thought Edith. Their joy they like to show off to one another. Victory, triumph over the odds, calls for an audience. And that air of bustle and exigence sometimes affected by the sexually loquacious - that is for the benefit of other women. No solidarity then.
Anita Brookner (Hotel du Lac)
He folded back the hem of her housedress. Peeled the wet underpants from her skin and moved them down over her pale knees and her small feet and then dropped them on the floor. He could hear the voices of the children playing in the tree outside. He gently pushed her thighs apart and saw immediately that the baby had already begun to crown. Her skin was paler than his wife’s was, even in midwinter. He gave her his hand to get her through the next contraction, keeping his arm steady as she squeezed. He spread the fingers of the other over her taut belly. Mr. Persichetti wore a silver Saint Christopher’s medal around his neck and kept a Sacred Heart scapular in his pocket, but when Mary Keane asked him, catching her breath, “Who’s the patron saint of women in labor?” he shrugged. He told her he only knew Saint Dymphna was the patron of the insane. He’d had the story from an Irish priest assigned to Creedmoor. “A sad case himself,” Mr. Persichetti said, and gently pulled the damp hem of her dress back over her thighs. For a moment he found himself incapable of remembering Mr. Keane’s face, although they’d been neighbors for perhaps ten years. Nor could he remember another conversation he’d had with this woman stretched before him now on her living-room couch, her hair damp and her eyes a kind of gray, or green. He took her hand as if she were his child, or his own wife. “Apparently,” he said, “this Saint Dymphna was the daughter of an Irish chieftain, a pagan. But she had a beautiful Christian mother.” Gray eyes or green, he thought they were the one thing that might have made her pretty when she was young. “So the mother dies.” He paused only briefly. “When the girl’s about fourteen. And the chieftain goes crazy and tells his servants to go out and find another beautiful woman who resembled his dead wife so he can marry her.” He paused again to touch her
Alice McDermott (After This)
SPOILER ALERT - DO NOT READ UNLESS YOU'VE FINISHED THE BOOK. THIS IS NOT SO MUCH A QUOTE AS IT IS A MEMORY FOR MY PERSONAL ENJOYMENT LATER. Lee said, "Thank you, Adam. I know how hard it is. I'm going to ask you to do a much harder thing. Here is your son -- Caleb -- your only son. Look at him, Adam!" The pale eyes looked until they found Cal. Cal's mouth moved dryly and made no sound. Lee's voice cut in, "I don't know how long you will live, Adam. Maybe a long time. Maybe an hour. But your son will live. He will marry and his children will be the only remnant left of you," Lee wiped his eyes with his fingers. "He did a thing in anger, Adam, because he thought you had rejected him. The result of his anger is that his brother and your son is dead." Cal said, "Lee -- you can't." "I have to," said Lee. "If it kills him I have to. I have the choice," and he smiled sadly and quoted, "'If there's blame, it's my blame.'" Lee's shoulders straightened. He said sharply, "Your son is marked with guilt out of himself -- out of himself -- almost more than he can bear. Don't crush him with rejection. Don't crush him, Adam." Lee's breath whistled in his throat, "Adam, give him your blessing. Don't leave him alone with his guilt. Adam, can you hear me? Give him your blessing!" A terrible brightness shone in Adam's eyes and he closed them and kept them closed. A wrinkle formed between his brows. Lee said, "Help him, Adam -- help him. Give him the chance. Let him be free. That's all a man has over the beasts. Free him! Bless him!" The whole bed seemed to shake under the concentration. Adam's breath came quick with the effort and then, slowly, his right hand lifted -- lifted an inch and then fell back. Lee's face was haggard. He moved to the head of the bed and wiped the sick man's damp face with the edge of the sheet. He looked down at the closed eyes. Lee whispered, "Thank you, Adam -- thank you, my friend. Can you move your lips? Make your lips form his name." Adam looked up with sick weariness. His lips parted and failed and he tried again. Then his lungs filled. He expelled the air and his lips combed the rushing sigh. His whispered word seemed to hang in the air: "Tishmel!" His eyes closed and he slept.
John Steinbeck (East of Eden)
Povera Kendra!” Elisa says, and then switches into English. “Poor Kendra! She must be very sad today. It is very much a shame. She feels stupid, yes? Molto sciocca. Of course, she knows that she is not the first girl. Luigi, he has another stupid foreign girl two years ago. She cries a lot too when she finds out that he has a wife--” Paige stands up, shoving her chair back with a scrape along the floor. “I’m not staying here to listen to this,” she says. “I’ve got better things to do. Like going to pee.” “Yes,” I agree, standing up too. “I think I might go for a wee too. Good idea, Paige.” Elisa isn’t as disconcerted by our deliberate vulgarity as we hoped. She’s homed in on the weak link in our chain, and now she leans in to focus on Kelly, whose face is still damp. “And you, Kellee?” she asks sweetly. “What will you do--cry some more?” “Shut up,” I snap, as Kelly does indeed heave a sob at this. But I’m eclipsed by Paige, who loathes Elisa at least as much as I do, and clearly needs a truly satisfactory outlet for her fury at what’s happened to Kendra. “You,” she says to Elisa, rounding the table with the whirling-dervish fury of a tornado in wedge heels, “you stay away from us, you hear? All of us. I’ve totally had it with you sticking your nose in the air and thinking you’re better than us just because you’re practically anorexic! You’re only dating Luca--if you even are--because Violet turned him down! If you say a word to any of us that isn’t just hello or goodbye or pass the salt at dinner, so help me, I’ll haul off and smash your skinny ass through the nearest window, don’t think I won’t! Right in front of your mama, too!” I think I’m sort of in love with Paige at that moment. Of course, if you asked me, I would totally say that violence is wrong and people shouldn’t menace other people, and that I’d be very sorry to see Elisa go flying through a french window.
Lauren Henderson (Kissing in Italian (Flirting in Italian, #2))
The colt closed its eyes. I was still kneeling next to it and something felt wrong. “I think it stopped breathing.” Maurus knelt beside me. The colt’s chest was definitely not moving. I bent and pressed my ear to its chest. The wet hide was slick and warm. “His heart is beating,” I said, “but weak and fast.” Maurice rubbed the colt’s chest briskly, but it did not start breathing. He strongly massaged the spine along its neck and smacked its flank, but it did not respond. He grimaced with sadness. “So close, little son. So close! Why won’t you breathe?” Owiti seemed on the verge of tears. “Let me try,” I said. I had once seen my cousin breathe into a lamb’s nostrils after a rough birth to prompt its respiration. The lamb had not resuscitated. But I needed to try whatever I could to help the newborn colt. I lifted the colt’s heavy head into my lap and opened my mouth wide, wrapping my lips around its soft nostrils. Holding its mouth closed with a hand pressed above and below its jaws, I breathed into it. Its lungs inflated, and I paused. The air spilled out. I filled its lungs and let them deflate again. I kept up a rhythm breathing into the nostrils, its lungs swelling and spilling like bellows, but it would not breathe on its own. Tears sprang to my eyes. The colt was so beautiful—new life still damp with the dew from the dawn of creation. A loud cry erupted from my heart and I slugged its chest with the heel of my palm, commanding it with all my love and hope, “Ata khayav likhiot—You must live!” The colt snorted and bucked in a spasm, kicked its long legs and jerked up its head, eyes wide open. He began inhaling and exhaling. I looked at Maurus, delighted. He regarded me with open wonder, then pulled me up off my knees into a crushing hug. He lifted me over his head like a straw doll and twirled around once, then set me down and repeated his ecstatic dance with Owiti. When he had set Owiti back on the dirt floor, Maurus beamed at me. “Did I just witness a miracle? Tell me the truth. Can you command the spirit of life?” “Of course not,” I said, laughing. “I’m Martis, not Mithras! No man tells the spirit what to do.” Yet in that moment in the lamp-lit stable, I knew what the Tanakh calls Ruach ha’Kodesh, the Whole Breath. The one breath the newborn colt and I shared, the very same breath the Giver of Life shared with man, blowing into Adam’s nostrils. The mutual breath of all existence.
Mark Canter (The Bastard)
I put my arm around her.  You put your arm around her.  She leans against you. And a long spell of time passes.  "Did you know that I did this exact same thing a long time ago? Right in this same spot?"  "I know," you tell her.  "How do you know that?' Miss Saeki asks, and looks you in the eyes.  "I was there then."  "Blowing up bridges?"  "Yes, I was there, blowing up bridges."  "Metaphorically."  "Of course."  You hold her in your arms, draw her close, kiss her. You can feel the strength deserting her body.  "We're all dreaming, aren't we?" she says.  All of us are dreaming.  "Why did you have to die?"  "I couldn't help it," you reply.  Together you walk along the beach back to the library. You turn off the light in your room, draw the curtains, and without another word climb into bed and make love.   Pretty much the same sort of lovemaking as the night before. But with two differences.   After sex, she starts to cry. That's one. She buries her face in the pillow and silently weeps. You don't know what to do. You gently lay a hand on her bare shoulder. You know you should say something, but don't have any idea what. Words have all died in the hollow of time, piling up soundlessly at the dark bottom of a volcanic lake. And this time as she leaves you can hear the engine of her car. That's number two. She starts the engine, turns it off for a time, like she's thinking about something, then turns the key again and drives out of the parking lot. That blank, silent interval between leaves you sad, so terribly sad. Like fog from the sea, that blankness wends its way into your heart and remains there for a long, long time. Finally it's a part of you.  She leaves behind a damp pillow, wet with her tears. You touch the warmth with your hand and watch the sky outside gradually lighten. Far away a crow caws. The Earth slowly keeps on turning. But beyond any of those details of the real, there are dreams.   And everyone's living in them.
Haruki Murakami
the world became eternally sad. The men on the expedition felt overwhelmed by their most ancient memories in that paradise of dampness and silence, going back to before original sin,
Gabriel García Márquez (One Hundred Years of Solitude)