Flux Fruit Quotes

And the days move on and the names of the months change and the four seasons bury one another and it is spring again and yet again and the small streams that run over the rough sides of Gormenghast Mountain are big with rain while the days lengthen and summer sprawls across the countryside, sprawls in all the swathes of its green, with its gold and sticky head, with its slumber and the drone of doves and with its butterflies and its lizards and its sunflowers, over and over again, its doves, its butterflies, its lizards, its sunflowers, each one an echo-child while the fruit ripens and the grotesque boles of the ancient apple trees are dappled in the low rays of the sun and the air smells of such rotten sweetness as brings a hunger to the breast, and makes of the heart a sea-bed, and a tear, the fruit of salt and water, ripens, fed by a summer sorrow, ripens and falls … falls gradually along the cheekbones, wanders over the wastelands listlessly, the loveliest emblem of the heart’s condition. And the days move on and the names of the months change and the four seasons bury one another and the field-mice draw upon their granaries. The air is murky, and the sun is like a raw wound in the grimy flesh of a beggar, and the rags of the clouds are clotted. The sky has been stabbed and has been left to die above the world, filthy, vast and bloody. And then the great winds come and the sky is blown naked, and a wild bird screams across the glittering land. And the Countess stands at the window of her room with the white cats at her feet and stares at the frozen landscape spread below her, and a year later she is standing there again but the cats are abroad in the valleys and a raven sits upon her heavy shoulder. And every day the myriad happenings. A loosened stone falls from a high tower. A fly drops lifeless from a broken pane. A sparrow twitters in a cave of ivy. The days wear out the months and the months wear out the years, and a flux of moments, like an unquiet tide, eats at the black coast of futurity. And Titus Groan is wading through his boyhood.

Desire is… " Desire is the glow of bathing lunatics. Starlight is the liquid used to power a whispering machine. Humming is the music of a forest moving in unison with your eyes. * A slip of the tongue and the hummingbird’s empty throne make the acquaintance of the word frenzy, which in turn adopts the phrase: “I am closest to you when we are furthest apart,” and together they follow the anxious doorway that leads far out of the city, where travelers always meet, alone and abandoned with only their mysteries to guide them… and when the sun bleeds out of the dampness of the earth, like pale limbs entwined and exhausted, they all pause in their own fashion to reflect not upon themselves but on the white wolves in the garden shivering like mist, in the mirror hiding your face. * The nature of movement is an image lost between the objects of an eclipse fervently scratched into the face of a sleeping woman when she approaches the liquid state of a circle, wandering aimlessly in search of lucidity and those moments of inarticulate suspicion… when the riddle is only half solved and the alphabet is still adding letters according to the human motors that have not yet arrived, as a species, scintillating in the grass, burning time. Not far from your name there is always a question mark, followed by silent paws… * It is not without the mask of the Enchanter’s dance of unreason, that joy follows the torment of seductive shapes, and sudden appearances in the whisper of long corridors. Tribal veils rising out of fingerprints on invisible entrances in the middle of the landscape, assume the form of her shoulders and the intimacy of her bones making dust, taking flight. * The axis of revolt and the nobility of a springtime stripped of its flowers, expertly balanced with a murmur of the heart on the anvil of chance. Your voice arcing between the two points of day and night, where the oracle of water spinning rapidly above, that is your city of numerology, mixes with the flux of a long voyage more stone-like and absurdly graceful then either milkweed or deadly nightshade, when it acclimatizes the elements of transparency in the host of purity. * The dream birds of a lost language are growing underground in the bed of sorcery. It is all revealed in the arms of your obsession, Arachne, (crawling to kiss) pale Ariadne, (kneeling to feed) in a pool of light that exceeds the dimensions of the loveliest crime. She turns into your evidence, gaining speed and recognition, becoming a brightness never solved, and a clarity that makes crystals. * The early morning hours share their nakedness with those who bare fruit and corset fireflies in long slender bath-like caresses. “Your serum, Sir Moor’s Head, follows the grand figures of the sea, ignites them, throws them like vessels out of fire, raising the sand upwards into oddly repetitive enchantments. Drown me in flight, daughter of wonder…

The enjoyment of God will be as fresh and glorious after many ages, as it was at first. God is eternal, and eternity knows no change; there will then be the fullest possession without any decay in the object enjoyed. There can be nothing past, nothing future; time neither adds to it, nor detracts from it; that infinite fulness of perfection which flourisheth in him now, will flourish eternally, without any discoloring of it in the least, by those innumerable ages that shall run to eternity, much less any despoiling him of them: “He is the same in his endless duration” (Ps. ch. 27). As God is, so will the eternity of him be, without succession, without division; the fulness of joy will be always present; without past to be thought of with regret for being gone; without future to be expected with tormenting desires. When we enjoy God, we enjoy him in his eternity without any flux; an entire possession of all together, without the passing away of pleasures that may be wished to return, or expectation of future joys which might be desired to hasten. Time is fluid, but eternity is stable; and after many ages, the joys will be as savory and satisfying as if they had been but that moment first tasted by our hungry appetites. When the glory of the Lord shall rise upon you, it shall be so far from ever setting, that after millions of years are expired, as numerous as the sands on the sea-shore, the sun, in the light of whose countenance you shall live, shall be as bright as at the first appearance; he will be so far from ceasing to flow, that he will flow as strong, as full, as at the first communication of himself in glory to the creature. God, therefore, as sitting upon his throne of grace, and acting according to his covenant, is like a jasper-stone, which is of a green color, a color always delightful (Rev. iv. 3); because God is always vigorous and flourishing; a pure act of life, sparkling new and fresh rays of life and light to the creature, flourishing with a perpetual spring, and contenting the most capacious desire; forming your interest, pleasure, and satisfaction; with an infinite variety, without any change or succession; he will have variety to increase delights, and eternity to perpetuate them; this will be the fruit of the enjoyment of an infinite and eternal God: he is not a cistern, but a fountain, wherein water is always living, and never putrefies. 4. If God be eternal, here is a strong ground of

We are like Tantalus, who was condemned for eternity to stand in a pool of water beneath overhanging fruit which receded every time he reached for it. Our deep yearnings for a beyond to justify this earthly existence will forever remain unfulfilled, and beneath the flux of daily existence we will at our core feel like strangers in a strange universe. For this reason Camus concluded that human existence is absurd.

The knowledge, therefore, that is symbolized by the forbidden fruit is a partial and fragmentary knowledge, a knowledge which fails to grasp the absolute dependence of all things upon their Creator. It is a reduced knowledge which perceives the world not as a theophany but as a sequence of contingencies: not sub specie aeternitatis but under the aspect of temporality. And it is only in this fragmented world wherein all things are in a state of perpetual flux that evil and death enter upon the scene. They enter thus, on the one hand, as the inescapable concomitant of a fragmentary knowledge, a knowledge of things as divorced from God; and at the same time they enter as the dire consequences of'disobedience' -the misuse of man's God-given freedom-and so as 'the wages of sin'.