Endless Waltz Quotes

-'I don't see what good it's going to do for you to waltz back in there and--' -'Can I tango back in there, instead? So much sexier than the waltz.

So, kid, you’ve got to live, and not just that stoic existence you’ve been stomping trough all this time. You’ve got to be kind, you’ve got to fall in love, fall out of love, no matter how much it hurts because my god, it’s worth it. Don’t let the world turn you to stone; you’ve got to feel. And sometimes, your heart will threaten to march right out of your chest because you’re so fucking full of it all- of the people, the places, the endless days, the eternal nights- and kid, that’s fine. Be brave. Courage isn’t measured by the number of people you’ve turned away or by the counts of the nights you’ve spent alone because you refuse to give someone the chance to love you. Being alone is not poetic; you’ve got to let them in. Let them peel back your skin and waltz into your bloodstream and love them, love them, love them. And finally, kid, your life has already begun. Stop waiting. Chaos is already underway.

You take my hand and I'm suddenly in a bad movie, it goes on and on and why am I fascinated We waltz in slow motion through an air stale with aphorisms we meet behind endless potted palms you climb through the wrong windows Other people are leaving but I always stay till the end I paid my money, I want to see what happens. In chance bathtubs I have to peel you off me in the form of smoke and melted celluloid Have to face it I'm finally an addict, the smell of popcorn and worn plush lingers for weeks

She melted the butter in the pan. She warmed the egg yolks by immersing them in a bowl of hot water and mixing them with vinegar, then pouring in the shining golden butter little by little. She moved the whisk ceaselessly, making the contents of the bowl whirl round and round. Having observed Chizu's troubles up close, and learned how to avoid them, she succeeded in producing the fine egg-colored foam relatively quickly. Her whole hand, from the wrist down, was dancing on a waltz. The tigers in the book, whose desires had kept them spinning round and round until they transformed into butter, had ended up in the stomachs of Little Babaji's family. Even after their deaths, Kajii's victims continued to be exposed to and consumed by the curious gaze of the general public. Rika had stopped believing that any blame lay with the victims themselves. Being sucked into the vortex of Kajii's ominous power, like she herself had been, was something that could happen to anybody. Thinking this, she went on single-mindedly whisking the butter. Through her adventures with the quatre-quarts on Valentine's Day, she'd learned that waiting on the far side of all of this seemingly endless whisking was not stasis or evaporation, but emulsification. If she couldn't tear her eyes away from Kajii, if she couldn't stop herself from spinning round and round, then maybe all that was left to do was to grip on to Kajii with all her might, so as to ensure she wasn't shaken off. 'Done!' Rika said to herself and lifted up the whisk. The sauce of warm, bright yellow that came dripping off the whisk was smooth as cashmere.

I heard a thunk that sounded like Lend’s head against the door. “This is stupid. Let my dad take care of it. He’s been contacting everyone he knows who is still with IPCA, and—” I walked over and put my own head against the door, pretending there wasn’t anything between us. “And it doesn’t matter. IPCA isn’t the same. There are new people in charge, and they aren’t messing around. I can help her. Raquel would do the same for me. She has done the same for me.” “I don’t see what good it’s going to do for you to waltz back in there and—” “Can I tango back in there, instead? So much sexier than the waltz.” “Evie, I’m serious! You just broke out of IPCA! You’re going to get tased and tagged again.” “I really doubt it. Faerie backup, remember?” I went to the window and looked down into the yard, where Reth stood in the midst of the dead brown grass, looking like a god of spring and sunshine who had seriously lost his way. He was staring straight up at me, although how he knew I’d look straight down that instant I had no idea. Creeper. I shivered a little, still not breaking eye contact with Reth. I was in over my head, I knew that, and I knew I’d owe him even more after this. I had no doubt I’d pay in a way I really didn’t want to, and soon. The door shook as Lend kicked it. “Pretty much the only idea I like less than you walking back into IPCA is you walking back into IPCA with only Jack and Reth for protection.” “They owe me.” “True,” Jack said, standing up and swaying slightly as he shook his head to clear it. “Plus, I’m pretty sure Reth’s threat to remove my hands if I don’t help Evie is still under effect. And I’m always up for making hell at IPCA. It’s a favorite pastime of mine.” Lend kicked the door again, harder. “Along with abandoning people in the Faerie Paths?” “One time! I do that one time and no one’s going to let me live it down? Just off the top of my head I can name five worse things I’ve done in the last year.” I put my hand on his shoulder. “Probably not the best way to get back in our good graces.

… I’ll celebrate the waltz of stars, in endless harmony I’ll dream with my angels, in far away lands And I will send love letters, to my future self ... (Excerpted from My kind of resilience, chapter Resilience)

One of the best ways to visualize this is to think of our genome as a grand piano.13 Each gene is a key. Each key produces a note. And from instrument to instrument, depending on the maker, the materials, and the circumstances of manufacturing, each will sound a bit different, even if played the exact same way. These are our genes. We have about 20,000 of them, give or take a few thousand.14 Each key can also be played pianissimo (soft) or forte (with force). The notes can be tenuto (held) or allegretto (played quickly). For master pianists, there are hundreds of ways to play each individual key and endless ways to play the keys together, in chords and combinations that create music we know as jazz, ragtime, rock, reggae, waltzes, whatever. The pianist that makes this happen is the epigenome.

Everything that mattered in Hank Reed’s life, outside of his family, revolved around horses. Starting with his days as a cadet, he had lived in a world that could measure everything—honor, kindliness, discipline, sporting spirit, diligence, and, most of all, courage—in equestrian terms. His brain was crammed with the nomenclature of horses: cantle, withers, curb chain, bran mash, fetlock, stock tie, near side, picket line. He knew the aids for a flying lead change, the correct attire for a foxhunt, the thunder of charging by platoon, and the serenity of riding alone on a quiet path, with only his mount’s breaths and cadenced footsteps for company. The rhythm of a horse’s strides was like music to him—the walk a ballad in four/four time, the trot a rousing two-beat march, the canter a smooth three-beat waltz. Reed knew the scent of fresh straw in the stable, the tickle of a horse’s whiskers as it nuzzled up a carrot. He knew that endless moment when a fall was inevitable and then the sudden breathless smack of landing hard on packed dirt. He knew what the end of a day on horseback felt like, salty with sweat, dirt under his fingernails, and a mind whitewashed from all worry. More than anything, Hank Reed understood what was unspoken among all of these horse soldiers. Sunburned, brusque, tough, accustomed to giving and taking orders, they knew that if you live, eat, sleep, and breathe horses for long enough, they become part of you, and your soul is forever altered.

It was the summer just before we both turned twenty. Before life began to chip away at us like a sculptor into marble, reducing us from endless unformed possibility into the women we would ultimately become.

They worked so hard that soon they had nothing else to do and they could be found at three o�clock in the morning with their arms crossed, counting the notes in the waltz of the clock. Those who wanted to sleep, not from fatigue but because of the nostalgia for dreams, tried all kinds of methods of exhausting themselves. They would gather together to converse endlessly, to tell over and over for hours on end the same jokes, to complicate to the limits of exasperation the story about the capon, which was an endless game in which the narrator asked if they wanted him to tell them the story about the capon, and when they answered yes, the narrator would say that he had not asked them to say yes, but whether they wanted him to tell them the story about the capon, and when they answered no, the narrator told them that he had not asked them to say no, but whether they wanted him to tell them the story about the capon, and when they remained silent the narrator told them that he had not asked them to remain silent but whether they wanted him to tell them the story about the capon, and no one could leave because the narrator would say that he had not asked them to leave but whether they wanted him to tell them the story about the capon, and so on and on in a vicious circle that lasted entire nights.

Beyond the cultural differences that must be bridged in any international effort, combined with factors of national politics, priorities, and values, we continue to grapple with the essential paradox of public health that began our discussion: when the system is working effectively, it is a silent venture and there are relatively few outbreaks of disease. These very successes lead most of us down a complacent path of false confidence, apathy, and assumptions that the endless dance is over. To complicate matters further, microbes themselves are hardly monolithic or permanently settled beings. For every attempt we make to destroy or weaken them, they respond with an equal and opposite force. The goal of both sides is to assume leadership of the evolutionary waltz ever in progress.

In the silence of a day stripped of sleep and sustenance, I craft "Walking Alone in a Jungle." Immersed in the theatricality of my mind, questions cascade like an endless stream, leaving me suspended between belief and doubt. At times, I defy divine power, embracing logic as my refuge. Yet, within the labyrinth of thought, I query the origin – cosmic expanse or mere creation? Contemplating life's capricious dance, I grapple with control. Do I dictate my orbit, or does an unseen hand choreograph existence's strange waltz? The mystery deepens as virtuous hearts endure misfortune. If a benevolent God exists, why does adversity visit the good-hearted? "Why must a virtuous soul suffer?" echoes the proverb. Does God truly test the best with the toughest trials, or is this notion a construct of the mind? Amidst constant questioning, I navigate self-reflection. Why does positivity, tied to pure intentions, spawn misunderstanding? As day wears on, thoughts flow into a new book, yet answers elude me. Are unanswered questions born of perpetual thought, or does clarity dwell in thought's absence? The 'why' persists, a relentless echo in contemplative caverns. Existence's fabric seems woven with illusion, prompting scrutiny of authenticity. Why doubt the simplicity of truth, where pain persists? After tireless questioning, understanding teases, slipping away like shadows. Is it thought's 'why' constructing an exitless maze, or does enlightenment reside where thought surrenders? I don't know. Sometimes, I think too much or not enough. Stuck in a perpetual cycle, I laugh bitterly. Perhaps, writing holds answers, or stubborn questioning persists. Why?

History is like an endless waltz, it never ends, it keeps going on and on.

I think people come to words much as lovers get together. They stumble onto each other, at the oddest of times, in the strangest of places. They will meet in an empty laundromat on a rainy Sunday afternoon, or they will catch each other’s eyes across a ballroom dance floor in the middle of a wedding waltz. They will meet without appointment and strike up a relationship without an agenda. There may be a long courtship or a whirlwind romance. There may be protracted avoidance, even what looks like a phobia, as in Karl’s case, or there may be an instant avidity, what amounts to love at first sight. Some carry on a kind of epistolary relationship with words, expressing their feelings through the formal prose of elegant notes, while others jump at words and bark them out at the world in the immediate poetry of certain street-corner vendors. Some slap their words up on posters on telephone poles, while others keep them in reserve, like a pistol concealed in a pocketbook. Some read haltingly, like the nervous lover, hat in hand, while others seem born to orate. We all woo language differently, and language grants us her favors in different ways. Sometimes the relationship takes off, although it is rare there is a ride without bumps. While utterly beautiful, endlessly varied, and thoroughly transfixing, language can also be frustrating, confusing, exasperating, and unforgiving.

Any fanciful ambition involves an overloaded opinion of my own capability, a wrong evaluation in an upward direction. If, for example, my dream is to become one of the great philosophers of the world, then my fanciful ambition might be to solve the problem of time. Why is it dangerous to nourish such ambitions? Because the precious mirage of ‘I’m going to do’ gets in the way of ‘I do’. The fanciful ambition is thus the project that prevents you from doing. An example would be the project of reading the works of the great thinkers in the most fundamental way. This is a fanciful ambition, because there can be no definitive reading of the great philosophers. This time it is no longer a matter of personal projection: I start with myself and see myself as a great hero. This time we are dealing with a mystification at the level of action. He who nourishes fanciful ambitions is a man of action sabotaged by his own project of doing. He sets out to do in his own space something that he cannot do. He wants to catch a whale with a flimsy fishing line. It is the very grandeur of his project that puts the brakes on its achievement. This lack of adjustment to one’s own possibilities is another source of failure. In my generation there was a guy called Ştefan Teodorescu who was always making up ample tables of contents. He never even got as far as writing the introduction. However the nourisher of fanciful ambitions is not an agonized failure; his life becomes a dolce far niente, a sort of continuous waltz among a host of projects endlessly taken up and abandoned again. There is a Chinese proverb: ‘Every road starts with the fi rst step’. The nourisher of fanciful ambitions never manages to make that fi rst step. Or if he does, he leaves the road before he has trodden firmly on it.