β
I stood still, vision blurring, and in that moment, I heard my heart break. It was a small, clean sound, like the snapping of a flower's stem.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I'll be looking for you, Will, every moment, every single moment. And when we do find each other again, we'll cling together so tight that nothing and no one'll ever tear us apart. Every atom of me and every atom of you... We'll live in birds and flowers and dragonflies and pine trees and in clouds and in those little specks of light you see floating in sunbeams... And when they use our atoms to make new lives, they wont' just be able to take one, they'll have to take two, one of you and one of me, we'll be joined so tight...
β
β
Philip Pullman (His Dark Materials Trilogy: The Golden Compass / The Subtle Knife / The Amber Spyglass)
β
I talk to you as I talk to my own soul," he said, turning me to face him. He reached up and cupped my cheek, fingers light on my temple. "And Sassenach," he whispered, "Your face is my heart.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I will find you," he whispered in my ear. "I promise. If I must endure two hundred years of purgatory, two hundred years without you - then that is my punishment, which I have earned for my crimes. For I have lied, and killed, and stolen; betrayed and broken trust. But there is the one thing that shall lie in the balance. When I shall stand before God, I shall have one thing to say, to weigh against the rest."
His voice dropped, nearly to a whisper, and his arms tightened around me.
Lord, ye gave me a rare woman, and God! I loved her well.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Blood of my Blood," he whispered, "and bone of my bone. You carry me within ye, Claire, and ye canna leave me now, no matter what happens, You are mine, always, if ye will it or no, if ye want me or nay. Mine, and I wilna let ye go.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
D'ye think I don't know?" he asked softly. "It's me that has the easy part now. For if ye feel for me as I do for you-then I'm asking you to tear out your heart and live without it.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
If it was a sin for you to choose me . . . then I would go to the Devil himself and bless him for tempting ye to it.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
You are mine, always, if ye will it or no, if ye want me or nay. Mine, and I willna let ye go
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Oh, Claire, ye do break my heart wi' loving you.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Then let amourous kisses dwell
On our lips, begin and tell
A Thousand and a Hundred score
A Hundred and a Thousand more
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
...sitting and waiting is one of the most miserable occupations known to man - not that it usually is known to men; women do it much more often.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Lord, ye gave me a rare woman, and God! I loved her well.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I love you and I love you and I love you, on battlefields, in shadows, in fading ink, on cold ice splashed with the blood of seals. In the rings of trees. In the wreckage of a planet crumbling to space. In bubbling water. In bee stings and dragonfly wings, in stars. In the deapths of lonely woods where I wandered in my youth, staring up - and even then you watched me. You slid back through my life, and I have known you since before I knew you.
β
β
Amal El-Mohtar (This Is How You Lose the Time War)
β
We are bound, you and I, and nothing on this earth shall part me from you.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Go to sleep, baby, Mama will sing. Of blue butterflies, and dragonfly wings. Moonlight and sunbeams, raiment so fine. Silver and gold, for baby of mine. Go to sleep, baby. Sister will tell, of wolves and of lambs, and demons who fell.
β
β
Kim Harrison (Black Magic Sanction (The Hollows, #8))
β
Damn right I begrudge! I grudge every memory of yours that doesna hold me, and every tear ye've shed for another, and every second you've spent in another man's bed!
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
You dinna need to understand me, Sassenach," he said quietly. "So long as you love me.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Lying on the floor, with the carved panels of the ceiling flickering dimly above, I found myself thinking that I had always heretofore assumed that the tendency of eighΒteenth-century ladies to swoon was due to tight stays; now I rather thought it might be due to the idiocy of eighteenth-century men.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Oh, Will," she said, "What can we do? Whatever can we do? I want to live with you forever. I want to kiss you and lie down with you and wake up with you every day of my life till I die, years and years and years away. I don't want a memory, just a memory..."
"No," he said. "Memory's a poor thing to have. It's your own real hair and mouth and arms and eyes and hands I want. I didn't know I could ever love anything so much. Oh, Lyra, I wish this night would never end! If only we could stay here like this, and the world could stop turning, and everyone else could fall into a sleep..."
"Everyone except us! And you and I could live here forever and just love each other."
"I will love you forever; whatever happens. Till I die and after I die, and when I find my way out of the land of the dead, I'll drift about forever, all my atoms, till I find you again..."
"I'll be looking for you, Will, every moment, every single moment. And when we do find each other again, we'll cling together so tight that nothing and no one'll ever tear us apart. Every atom of me and every atom of you...We'll live in birds and flowers and dragonflies and pin trees and in clouds and in those little specks of light you see floating in sunbeams...And when they use our atoms to make new lives, they won't just be able to take one, they'll have to take two, one of you and one of me, we'll be joined so tight..."
They lay side by side, hand in hand, looking at the sky.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
I do know it, my own. Let me tell ye in your sleep how much I love you. For there's no so much I can be saying to ye while ye wake, but the same poor words, again and again. While ye sleep in my arms, I can say things to ye that would be daft and silly waking, and your dreams will know the truth of them. Go back to sleep, mo duinne.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Reflected
in the dragonfly's eye --
mountains.
β
β
Kobayashi Issa
β
For if you feel for me as i do for you - then I am asking you to tear out your heart and live without it.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
She was young and lovely and surprised and dead. She was also blue. Blue as opals, pale blue. Blue as cornflowers, or dragonfly wings, or a spring - not summer - sky.
β
β
Laini Taylor (Strange the Dreamer (Strange the Dreamer, #1))
β
You'll lie wi' me now," he said quietly. "And I shall use ye as I must. And if you'll have your revenge for it, then take it and welcome, for my soul is yours, in all the black corners of it.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Who would deduce the dragonfly from the larva, the iris from the bud, the lawyer from the infant? ...We are all shape-shifters and magical reinventors. Life is really a plural noun, a caravan of selves.
β
β
Diane Ackerman
β
I want to hold you like a kitten in my shirt, and still I want to spread your thighs and plow ye like a rotting bull. I dinna understand myself.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Time is for dragonflies and angels. The former live too little and the latter live too long.
β
β
James Thurber (The 13 Clocks)
β
Do you really think we'll ever--"
"I do," he said with certainty, not letting me finish. He leaned over and kissed my forehead. "I know it, Sassenach, and so do you. You were meant to be a mother, and I surely dinna intend to let anyone else father your children.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
He was becoming unstuck, he was sure of that - his bones were no longer wrapped in flesh but in clouds of dust, in hummingbirds, dragonflies, and luminous moths - but so perfect was his equilibrium that he felt no fear. He was vast, he was many, he was dynamic, he was eternal.
β
β
Tom Robbins (Jitterbug Perfume)
β
You're mine, damn ye, Claire Fraser! Mine, and I wilna share ye, with a man or a memory, or anything whatever, so long as both shall live.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Torn between the impulse to stroke his head, and the urge to cave it in with a rock, I did neither.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I'll tell ye, Sassenach; if ever I feel the need to change my manner of employment, I dinna think I'll take up attacking women - it's a bloody hard way to make a living.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Sassenach." He had called me that from the first; the Gaelic word for outlander, a stranger. An Englishman. First in jest, then in affection.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
You cannot stop the birds of sorrow from flying over your head, but you can stop them nesting in your hair.
β
β
Eva Ibbotson (The Dragonfly Pool)
β
But I talk to you as I talk to my own soul," he said, turning me to face him. He reached up and cupped my cheek, fingers light on my temple.
"And, Sassenach," he whispered, "your face is my heart.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Their love as a dragonfly, skimming over echo park, stoppin to visit the lotus. Eating dreams and drinking blue sky.
β
β
Janet Fitch (Paint it Black)
β
For I had come back, and I dreamed once more in the cool air of the Highlands. And the voice of my dream still echoed through ears and heart, repeated with the sound of Brianna's sleeping breath. "You are mine," it had said. "Mine. And I will not let you go.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I will love you forever; whatever happens. Till I die and after I die, and when I find my way out of the land of the dead, Iβll drift about forever, all my atoms, till I find you againβ¦ Iβll be looking for you, every moment, every single moment. And when we do find each other again, weβll cling together so tight that nothing and no oneβll ever tear us apart. Every atom of me and every atom of youβ¦ Weβll live in birds and flowers and dragonflies and pine trees and in clouds and in those little specks of light you see floating in sunbeamsβ¦ And when they use our atoms to make new lives, they wonβt just be able to take one, theyβll have to take two, one of you and one of me, weβll be joined so tightβ¦
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
It might have been brief, but so much of a kiss - a first kiss especially - is the moment before your lips touch, and before your eyes close, when you're filled with the sight of each other, and with the compulsion, the pull, and it's like...it's like...finding a book inside another book. A small treasure of a book hidden inside a big common one - like...spells printed on dragonfly wings, discovered tucked inside a cookery book, right between the recipes for cabbages and corn. That's what a kiss is like, he thought, no matter how brief: It's a tiny, magical story, and a miraculous interruption of the mundane.
β
β
Laini Taylor (Strange the Dreamer (Strange the Dreamer, #1))
β
Her delight in the smallest things was like that of a child. There were days when she ran in the garden, like a child of ten, after a butterfly or a dragon-fly. This courtesan who had cost more money in bouquets than would have kept a whole family in comfort, would sometimes sit on the grass for an hour, examining the simple flower whose name she bore.
β
β
Alexandre Dumas fils (La Dame aux CamΓ©lias)
β
Any piece of good music is in essence a love song.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Babies are soft. Anyone looking at them can see the tender, fragile skin and know it for the rose-leaf softness that invites a finger's touch. But when you live with them and love them, you feel the softness going inward, the round-cheeked flesh wobbly as custard, the boneless splay of the tiny hands. Their joints are melted rubber, and even when you kiss them hard, in the passion of loving their existence, your lips sink down and seem never to find bone. Holding them against you, they melt and mold, as though they might at any moment flow back into your body.
But from the very start, there is that small streak of steel within each child. That thing that says "I am," and forms the core of personality.
In the second year, the bone hardens and the child stands upright, skull wide and solid, a helmet protecting the softness within. And "I am" grows, too. Looking at them, you can almost see it, sturdy as heartwood, glowing through the translucent flesh.
The bones of the face emerge at six, and the soul within is fixed at seven. The process of encapsulation goes on, to reach its peak in the glossy shell of adolescence, when all softness then is hidden under the nacreous layers of the multiple new personalities that teenagers try on to guard themselves.
In the next years, the hardening spreads from the center, as one finds and fixes the facets of the soul, until "I am" is set, delicate and detailed as an insect in amber.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Scots have long memories, and they're not the most forgiving of people.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
And as Prince Ramil has insulted you by choosing another wife than the one you proposed for him, you'll want to cast him out too," she suggested slyly.
"Oh, undoubtedly," murmed Ramil. "Do cast me out.
β
β
Julia Golding (Dragonfly (Dragonfly Trilogy, #1))
β
Sassenach, I've been stabbed, bitten, slapped, and whipped since supper - which I didna get to finish. I dinna like to scare children an I dinna like to flog men, and I've had to do both. I've two hundred English camped three miles away, and no idea what to do about them. I'm tired, I'm hungry, and I'm sore. If you've anything like womanly sympathy about ye, I could use a bit!
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Perhaps everything lies in knowing what words to speak, what actions to perform, and in what order and rhythm; or else someone's gaze, answer, gesture is enough; it is enough for someone to do something for the sheer pleasure of doing it, and for his pleasure to become the pleasure of others: at that moment, all spaces change, all heights, distances; the city is transfigured, becomes crystalline, transparent as a dragonfly.
β
β
Italo Calvino (Invisible Cities)
β
I'll leave it to you, Sassenach," he said dryly, "to imagine what it feels like to arrive unexpectedly in the midst of a brothel, in possession of a verra large sausage.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Ramil met Tashi's eyes with a mischievous look. "Now Wife we have a long voyage ahead of us with no interruptions, no affairs of state to sidetrack us." He brushed his fingers againist the lacings of her neck. "Isn't it time you returned that shirt to its owner?
β
β
Julia Golding (Dragonfly (Dragonfly Trilogy, #1))
β
It's only that ye looked so beautiful, wi' the fire on your face, and your hair waving in the wind. I wanted to remember it.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Magic is seeing wonder in nature's every little thing, seeing how wonderful the fireflies are and how magical are the dragonflies.
β
β
Ama H. Vanniarachchy
β
Jamie," I said, "how, exactly, do you decide whether you're drunk?"
Aroused by my voice, he swayed alarmingly to one side, but caught himself on the edge of the mantelpiece. His eyes drifted around the room, then fixed on my face. For an instant, they blazed clear and pellucid with intelligence.
"och, easy, Sassenach, If ye can stand up, you're not drunk." He let go of the mantelpiece, took a step toward me, and crumpled slowly onto the hearth, eyes blank, and a wide, sweet smile on his dreaming face.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Between hell now, and hell later, Sassenach," he said, his speech measured and precise, "I will take later, every time.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I need to capture my sprite with trembling hands. Except I could crush her. Wonder how many small things of beauty - flowers, seashells, dragonflies - have met such a demise. Wonder how much fragile love has collapsed beneath the weight of confession.
β
β
Ellen Hopkins (Fallout (Crank, #3))
β
Anyone can buy a car or a night on the town. Most of us shell our days like peanuts. One in a thousand can look at the world with amazement. I don't mean gawking at the Chrysler Building. I'm talking about the wing of a dragonfly. The tale of the shoeshine. Walking through an unsullied hour with an unsullied heart.
β
β
Amor Towles (Rules of Civility)
β
What if the point of life has nothing to do with the creation of an ever-expanding region of control? What if the point is not to keep at bay all those people, beings, objects and emotions that we so needlessly fear? What if the point instead is to let go of that control? What if the point of life, the primary reason for existence, is to lie naked with your lover in a shady grove of trees? What if the point is to taste each other's sweat and feel the delicate pressure of finger on chest, thigh on thigh, lip on cheek? What if the point is to stop, then, in your slow movements together, and listen to the birdsong, to watch the dragonflies hover, to look at your lover's face, then up at the undersides of leaves moving together in the breeze? What if the point is to invite these others into your movement, to bring trees, wind, grass, dragonflies into your family and in so doing abandon any attempt to control them? What if the point all along has been to get along, to relate, to experience things on their own terms? What if the point is to feel joy when joyous, love when loving, anger when angry, thoughtful when full of thought? What if the point from the beginning has been to simply be?
β
β
Derrick Jensen (A Language Older Than Words)
β
She was a fly, but the others were dragonflies, butterflies, beautiful insects, dancing, fluttering, skimming, while she alone dragged herself up out of the saucer.
β
β
Virginia Woolf (A Haunted House And Other Short Stories)
β
Hodie mihi cras tibi, said the inscription. Sic transit gloria mundi. My turn today, yours tomorrow. And thus passes away the glory of the world.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
There aren't any answers, only choices
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
We wrap up our violent and mysterious world in a pretense of understanding. We paper over the voids of our comprehension with science and religion, and make believe that order has been imposed. And, for the most of it, the fiction works. We skim across the surfaces, heedless of the depths below. Dragonflies flitting over a lake, miles deep, pursuing erratic paths to pointless ends. Until that moment when something from the cold unknown reaches up to take us.
The biggest lies we save for ourselves. We play a game in which we are gods, in which we make choices, and the current follows in our wake. We pretend a separation from the wild. Pretend that a manβs control runs deep, that civilization is more than a veneer, that reason will be our companion in dark places.
β
β
Mark Lawrence (Prince of Thorns (The Broken Empire, #1))
β
Jaime, you must be half-dead"
He laughed tiredly, holding me close with one large warm hand on the small of my back.
"A lot more than half, Sassenach. I'm knackered, and my cock's the only thing too stupid to know it. I canna lie wi' ye without wanting you, but wanting's all I'm like to do.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Jamie shook his head at me admiringly. βAnd here I thought I married you because ye had a fair face and a fine fat arse. To think youβve a brain as well!β He neatly dodged the blow I aimed at his ear, and grinned at me.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
You cannot save the world, but you might save the man in front of you, if you work fast enough.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Thatβs how pixies know weβre in love,β he said as he folded his dragonfly-like wings and wiggled out of his red jacket, wincing as something pulled. βIf the girl has glow, she wonβt say no.
β
β
Kim Harrison (The Undead Pool (The Hollows, #12))
β
I often have long conversations all by myself, and I am so clever that sometimes I don't understand a single word of what I am saying."
"Then you should certainly lecture on Philosophy," said the Dragon-fly
β
β
Oscar Wilde (The Complete Fairy Tales)
β
Unless you are here: this garden refuses to exist.
Pink dragonflies fall from the air
and become scorpions scratching blood out of rocks.
The rainbows that dangle upon this mist: shatter.
Like the smile of a child separated
from his motherβs milk for the very first time.
--from poem Blood and Blossoms
β
β
Aberjhani (I Made My Boy Out of Poetry)
β
Oh, womanly sympathy, love AND food?" I said, laughing. "Don't want a lot, do you?
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
this was a moment of magic revealing to us all, for a few moments, a hidden world of grace and wonder beyond the one of which our eyes told us, a world that no words could delineate, as insubstanttial as a cloud, as iridescent as a dragon-fly and as innocent as the heart of a rose.
β
β
Elspeth Huxley (The Flame Trees of Thika: Memories of an African Childhood)
β
There is no good talking to him," said a Dragon-fly, who was sitting on the top of a large brown bulrush; "no good at all, for he has gone away."
"Well, that is his loss, not mine," answered the Rocket. "I am not going to stop talking to him merely because he pays no attention. I like hearing myself talk. It is one of my greatest pleasures. I often have long conversations all by myself, and I am so clever that sometimes I don't understand a single word of what I am saying."
"Then you should definitely lecture on Philosophy," said the Dragon-fly.
β
β
Oscar Wilde (The Happy Prince)
β
Just because we've never done it doesn't mean we can't do it.
β
β
Eva Ibbotson (The Dragonfly Pool)
β
I can stand a lot! But just because I can, does that mean I must? Do I have to bear everyoneβs weakness? Can I not have my own?
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Old Jiko is supercareful with her time. She does everything really really slowly, even when she's just sitting on the veranda, looking out at the dragonflies spinning lazily around the garden pond. She says that she does everything really really slowly in order to spread time out so that she'll have more of it and live longer, and then she laughs so that you know she is telling you a joke.
β
β
Ruth Ozeki (A Tale for the Time Being)
β
Jamie⦠I only want to be where you are. Nothing else.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
When you hold a child to your breast to nurse, the curve of the little head echoes exactly the curve of the breast it suckles, as though this new person truly mirrors the flesh from which it sprang.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
:Go to hell, Jamie," I said at last, wiping my eyes. "Go directly to hell. Do not pass Go. Do not collect two hundred dollars. There. Do you feel better now?
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
I am a sassenach, after all,β I said, seeing it. He touched my face briefly with a rueful smile. βAye, mo duinne. But youβre my sassenach.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
When you took me from the witch trial at Cranesmuir--you said then that you would have died with me, you would have gone to the stake with me, had it come to that!"
He grasped my hands, fixing me with a steady blue gaze.
"Aye, I would," he said. "But I wasna carrying your child."
The wind had frozen me; it was the cold that made me shake, I told myself. The cold that took my breath away.
"You can't tell," I said, at last. "It's much too soon to be sure."
He snorted briefly, and a tiny flicker of amusement lit his eyes.
"And me a farmer, too! Sassenach, ye havena been a day late in your courses, in all the time since ye first took me to your bed. Ye havena bled now in forty-six days."
"You bastard!" I said, outraged. "You counted! In the middle of a bloody war, you counted!"
"Didn't you?"
"No!" I hadn't; I had been much too afraid to acknowledge the possibility of the thing I had hoped and prayed for so long, come now so horribly too late.
"Besides," I went on, trying still to deny the possibility, "that doesn't mean anything. Starvation could cause that; it often does."
He lifted one brow, and cupped a broad hand gently beneath my breast.
"Aye, you're thin enough; but scrawny as ye are, your breasts are full--and the nipples of them gone the color of Champagne grapes. You forget," he said, "I've seen ye so before. I have no doubt--and neither have you."
I tried to fight down the waves of nausea--so easily attributable to fright and starvation--but I felt the small heaviness, suddenly burning in my womb. I bit my lip hard, but the sickness washed over me.
Jamie let go of my hands, and stood before me, hands at his sides, stark in silhouette against the fading sky.
"Claire," he said quietly. "Tomorrow I will die. This child...is all that will be left of me--ever. I ask ye, Claire--I beg you--see it safe.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
...still I dinna expect anything to happen to me. But if it should...If it does, then I want there to be a place for you; I want someone for you to go to if I am...not there to care for you. If it canna be me, then I would have it be a man who loves you.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
Tell him I hate him to his guts and the marrow of his bones!
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
β
But I talk to you as I talk to my own soul," he said, turning me to face him. He reached up and cupped my cheek, fingers light on my temple.
"And, Sassenach," he whispered, "your face is my heart.
β
β
Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
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He sighed profoundly, and flung himself - there was a passion in his movements which deserves the word - on the earth at the foot of the oak tree. He loved, beneath all this summer transiency, to feel the earth's spine beneath him; for such he took the hard root of the oak tree to be; or, for image followed image, it was the back of a great horse that he was riding; or the deck of a tumbling ship - it was anything indeed, so long as it was hard, for he felt the need of something which he could attach his floating heart to; the heart that tugged at his side; the heart that seemed filled with spiced and amorous gales every evening about this time when he walked out. To the oak tree he tied it and as he lay there, gradually the flutter in and about him stilled itself; the little leaves hung, the deer stopped; the pale summer clouds stayed; his limbs grew heavy on the ground; and he lay so still that by degrees the deer stopped nearer and the rooks wheeled round him and the swallows dipped and circled and the dragonflies shot past, as if all the fertility and amorous activity of a summer's evening were woven web-like about his body.
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Virginia Woolf (Orlando)
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Through eons of living in a land so poor there was little to eat but oats, they had as usual converted necessity into a virtue, and insisted that they liked the stuff.
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Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
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Healing comes from the healed; not from the physician.
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Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
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I will love you for ever, whatever happens. Till I die and after I die, and when I find my way out of the land of the dead I'll drift about for ever, all my atoms, till I find you again...
I'll be looking for you, Will, every moment, every single moment. And when we do find each other again we'll cling together so tight that nothing and no one'll ever tear us apart. Every atom of me and every atom of you... We'll live in birds and flowers and dragonflies and pine trees and in clouds and in those little specks of light you see floating in sunbeams... And when they use our atoms to make new lives, they won't just be able to take one, they'll have to take two, one of you and one of me, we'll be joined so tight...
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Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
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I loved Frank...I loved him alot. But by that time, Jamie was my heart and the breath of my body. I couldn't leave him. I couldn't.
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Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
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Jaime," I said softly, "are you happy about it? About the baby?" Outlawed in Scotland, barred from his own home, and with only vague prospects in France, he could pardonably have been less than enthused about acquiring an additional obligation.
He was silent for a moment, only hugging me harder, then sighed briefly before answering.
"Aye, Sassenach," His hand stayed downward, gently rubbing my belly. "I'm happy. And proud as a stallion. But I am most awfully afraid too."
"About the birth? I'll be all right." I could hardly blame him for apprehension; his own mother had died in childbirth, and birth and its complications were the leading cause of death for women in these times. Still, I knew a thing or two myself, and I had no intention whatever of exposing myself to what passed for medical care here.
"Aye, that--and everything," he said softly. "I want to protect ye like a cloak and shield you and the child wi' my body." His voice was soft and husky, with a slight catch in it. "I would do anything for ye...and yet...there's nothing I can do. It doesna matter how strong I am, or how willing; I canna go with you where ye must go...nor even help ye at all. And to think of the things that might happen, and me helpless to stop them...aye, I'm afraid, Sassenach.
"And yet"--he turned me toward him, hand closing gently over one breast--"yet when I think of you wi' my child at your breast...then I feel as though I've gone hollow as a soap bubble, and perhaps I shall burst with joy.
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Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
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Sophia and Grandmother sat down by the shore to discuss the matter further. It was a pretty day, and the sea was running a long, windless swell. It was on days just like this--dog days--that boats went sailing off all by themselves. Large, alien objects made their way in from sea, certain things sank and others rose, milk soured, and dragonflies danced in desperation. Lizards were not afraid. When the moon came up, red spiders mated on uninhabited skerries, where the rock became an unbroken carpet of tiny, ecstatic spiders.
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Tove Jansson (The Summer Book)
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So, that was Nature's way. The mosquito felt pain and panic but the dragonfly knew nothing of cruelty. Humans would call it evil, the big dragonfly destroying the mosquito and ignoring the little insects suffering. Yet humans hated mosquitoes too, calling them vicious and bloodthirsty. All these words, words like 'evil' and 'vicious', they meant nothing to Nature. Yes, evil was a human invention.
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John Marsden (Tomorrow, When the War Began (Tomorrow, #1))
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The girls chirped and chatted like uncaged warblers. They were delirious with joy... Intoxications of lifeβs morning! Enchanted years! The wing of a dragonfly trembles! Oh, reader, whoever you may be, do you have such memories? Have you walked in the underbrush, pushing aside branches for the charming head behind you? Have you slid laughing, down some slope wet with rain, with the woman you loved?
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Victor Hugo (Les MisΓ©rables)
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As Kingfishers Catch Fire
As kingfishers catch fire, dragonflies draw flame;
As tumbled over rim in roundy wells
Stones ring; like each tucked string tells, each hung bell's
Bow swung finds tongue to fling out broad its name;
Each mortal thing does one thing and the same:
Deals out that being indoors each one dwells;
Selves -- goes itself; _myself_ it speaks and spells,
Crying _What I do is me: for that I came_.
I say more: the just man justices;
Keeps grace: that keeps all his goings graces;
Acts in God's eye what in God's eye he is --
Christ. For Christ plays in ten thousand places,
Lovely in limbs, and lovely in eyes not his
To the Father through the features of men's faces.
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Gerard Manley Hopkins
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No. Ye loved him. I canna hold it against either of you that ye mourn him. And it gives me some comfort to know ..." He hesitated, and I reached up to smooth the rumpled hair off his face.
"To know what?"
"That should the need come, you might mourn for me that way," he said softly.
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Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
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There is a saying: in the kingdom of the blind, the one eyed man is king. I promptly invented its analogy, based it on experience. When no one knows what to do anyone with a sensible suggestion is going to be listened to.
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Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
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The next day, I am almost afraid. Love? It was more like dragonflies in the sun, 100 degrees at noon, the ends of their abdomens stuck together.
I close my eyes when I remember. I hardly knew myself, like something twisting and twisting out of a chrysalis, enormous, without language, all head, all shut eyes, and the humming like madness, the way they writhe away, and do not leave, back, back, away, back. Did I know you?
No kiss, no tendernessβmore like killing, death-grip holding to life, genitals like violent hands clasped tight barely moving, more like being closed in a great jaw and eaten, and the screaming.
I groan to remember it, and when we started to die, then I refuse to remember, the way a drunkard forgets.
After, you held my hands extremely hard as my body moved in shudders like the ferry when its axle is loosed past engagement, you kept me sealed exactly against you, our hairlines wet as the arc of a gateway after a cloudburst, you secured me in your arms till I slept - clasped, fragrant, buoyant, that was the morning after love.
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Sharon Olds
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I've thought that perhaps that's why women are so often sad, once the child's born," she said meditatively, as though thinking aloud. "Ye think of them while ye talk, and you have a knowledge of them as they are inside ye, the way you think they are. And then they're born, and they're different - not the way ye thought of them inside, at all. And ye love them, o' course, and get to know them they way they are...but still, there's the thought of the child ye once talked to in your heart, and that child is gone. So I think it's the grievin' for the child unborn that ye feel, even as ye hold the born one in your arms.
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Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
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Question four: What book would you give to every child?
Answer: I wouldn't give them a book. Books are part of the problem: this strange belief that a tree has nothing to say until it is murdered, its flesh pulped, and then (human) people stain this flesh with words. I would take children outside and put them face to face with chipmunks, dragonflies, tadpoles, hummingbirds, stones, rivers, trees, crawdads.
That said, if you're going to force me to give them a book, it would be The Wind In The Willows, which I hope would remind them to go outside.
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Derrick Jensen
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Don't move, Sassenach," Jamie's voice came softly, next to me. "Just for a moment, mo duinne--be still."
I obligingly froze, until he touched me on the shoulder.
"That's all right, Sassenach," he said, with a smile in his voice. "It's only that ye looked so beautiful, wi' the fire on your face, and your hair waving in the wind. I wanted to remember it.
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Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
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We wrap up our violent and mysterious world in a pretence of understanding. We paper over the voids in our comprehension with science or religion, and make believe that order has been imposed. And, for the most of it, the fiction works. We skim across surfaces, heedless of the depths below. Dragonflies flitting over a lake, miles deep, pursuing erratic paths to pointless ends. Until that moment when something from the cold unknown reaches up to take us.
The biggest lies we save for ourselves. We play a game in which we are gods, in which we make choices, and the current follows in our wake. We pretend a separation from the wild. Pretend that a man's control runs deep, that civilization is more than a veneer, that reason will be our companion in dark places.
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Mark Lawrence (Prince of Thorns (The Broken Empire, #1))
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The first sorrow of autumn is the slow good-bye of the garden that stands so long in the eveningβa brown poppy head, the stalk of a lily, and still cannot go.
The second sorrow is the empty feet of a pheasant who hangs from a hook with his brothers. The woodland of gold is folded in feathers with its head in a bag.
And the third sorrow is the slow good-bye of the sun who has gathered the birds and who gathers the minutes of evening, the golden and holy ground of the picture.
The fourth sorrow is the pond gone black, ruined, and sunken the city of waterβthe beetle's palace, the catacombs of the dragonfly.
And the fifth sorrow is the slow good-bye of the woodland that quietly breaks up its camp. One day it's gone. It has only left litterβfirewood, tent poles.
And the sixth sorrow is the fox's sorrow, the joy of the huntsman, the joy of the hounds, the hooves that pound; till earth closes her ear to the fox's prayer.
And the seventh sorrow is the slow good-bye of the face with its wrinkles that looks through the window as the year packs up like a tatty fairground that came for the children.
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Ted Hughes
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Never,"he whispered to me, face only inches from mine. "Never," I said, and turned my head, closing my eyes to escape the intensity of his gaze. A gentle, inexorable pressure turned me back to face him, as the small, rhythmic movements went on. "No, my Sassenach," he said softly. "Open your eyes. Look at me. For that is your punishment, as it is mine. See what you have done to me, as I know what I have done to you. Look at me.
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Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
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We are bound, you and I, and nothing on this earth shall part me from you."One large hand rose to stroke my hair."D'ye mind the blood vow that I swore ye when we wed?"
"Yes, I think so. 'Blood of my blood, bone of my bone...'"
"I give ye my body, that we may be one," he finished. "Aye, and I have kept that vow, Sassenach, and so have you." He turned me slightly,and one hand cupped itself gently over the tiny swell of my stomach.
"Blood of my blood," he whispered, "and bone of my bone. You carry me with ye, Claire, and ye canna leave me now, no matter what happens. You are mine, always, if ye will it or no, if ye want me or nay. Mine, and I wilna let you go."
I put a hand over his, pressing it against me.
"No," I said softly, "nor can you leave me."
"No," he said, half-smiling. "For I have kept the last of the vow as well." He clasped both hands about me, and bowed his head on my shoulder, so I could feel the warm breath of his words upon my ear, whispered in the dark.
"For I give ye my spirit, 'til our life shall be done.
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Diana Gabaldon (Dragonfly in Amber (Outlander, #2))
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The relationship between the University and the Patrician, absolute ruler and nearly benevolent dictator of Ankh-Morpork, was a complex and subtle one.
The wizards held that, as servants of a higher truth, they were not subject to the mundane laws of the city.
The Patrician said that, indeed, this was the case, but they would bloody well pay their taxes like everyone else.
The wizards said that, as followers of the light of wisdom, they owed allegiance to no mortal man.
The Patrician said that this may well be true but they also owed a city tax of two hundred dollars per head per annum, payable quarterly.
The wizards said that the University stood on magical ground and was therefore exempt from taxation and anyway you couldn't put a tax on knowledge.
The Patrician said you could. It was two hundred dollars per capita; if per capita was a problem, decapita could be arranged.
The wizards said that the University had never paid taxes to the civil authority.
The Patrician said that he was not proposing to remain civil for long.
The wizards said, what about easy terms?
The Patrician said he was talking about easy terms. They wouldn't want to know about the hard terms.
The wizards said that there was a ruler back in , oh, it would be the Century of the Dragonfly, who had tried to tell the University what to do. The Patrician could come and have a look at him if he liked.
The Patrician said that he would. He truly would
In the end it was agreed that while the wizards of course paid no taxes, they would nevertheless make an entirely voluntary donation of, oh, let's say two hundred dollars per head, without prejudice, mutatis mutandis, no strings attached, to be used strictly for non-militaristic and environmentally-acceptable purposes.
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Terry Pratchett (Reaper Man (Discworld, #11; Death, #2))