Fog Winter Quotes

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Although it was only six o'clock, the night was already dark. The fog, made thicker by its proximity to the Seine, blurred every detail with its ragged veils, punctured at various distances by the reddish glow of lanterns and bars of light escaping from illuminated windows. The road was soaked with rain and glittered under the street-lamps, like a lake reflecting strings of lights. A bitter wind, heavy with icy particles, whipped at my face, its howling forming the high notes of a symphony whose bass was played by swollen waves crashing into the piers of the bridges below. The evening lacked none of winter's rough poetry.
Théophile Gautier (Hashish, wine, opium (Signature series))
Groundhog found fog. New snows and blue toes. Fine and dandy for Valentine candy. Snow spittin'; if you're not mitten-smitten, you'll be frostbitten! By jing-y feels spring-y.
Old Farmer's Almanac
Winter hurled more wind and rain at the city than it ever had before. Clouds dashed about in all directions emptying their thunder, hail and rain. The horizon was choked in fog.
Ismail Kadare (Chronicle in Stone)
I like winter and I like the dark and I like cats and I like the rain and I like walking up mountains and sitting at the top in the fog . That's all I need to know about my life right now. It's pretty simple
Annabel Pitcher (Ketchup Clouds)
Caught in the doldrums of August we may have regretted the departing summer, having sighed over the vanished strawberries and all that they signified. Now, however, we look forward almost eagerly to winter's approach. We forget the fogs, the slush, the sore throats an the price of coal, we think only of long evenings by lamplight, of the books which we are really going to read this time, of the bright shop windows and the keen edge of the early frosts.
Denis Mackail (Greenery Street)
Unreal City, Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many. Sighs, short and infrequent, were exhaled, And each man fixed his eyes before his feet. Flowed up the hill and down King William Street, To where St Mary Woolnoth kept the hours With a dead sound on the final stock of nine. There I saw one I knew, and stopped him crying: 'Stetson! You, who were with me in the ships at Mylae! That corpse you planted last year in your garden, Has it begun to sprout? Will it bloom this year? Or has the sudden frost disturbed its bed? Oh keep the Dog far hence, that's friend to men, Or with his nails he'll dig it up again! You! hypocrite lecteur!-mon semblable,-mon frere!
T.S. Eliot (Selected Poems)
November again. It’s more winter than autumn. That’s not mist. It’s fog. The sycamore seeds hit the glass in the wind like – no, not like anything else, like sycamore seeds hitting window glass. There’ve been a couple of windy nights. The leaves are stuck to the ground with the wet. The ones on the paving are yellow and rotting, wanwood, leafmeal. One is so stuck that when it eventually peels away, its leafshape left behind, shadow of a leaf, will last on the pavement till next spring. The furniture in the garden is rusting. They’ve forgotten to put it away for the winter. The trees are revealing their structures. There’s the catch of fire in the air. All the souls are out marauding. But there are roses, there are still roses. In the damp and the cold, on a bush that looks done, there’s a wide-open rose, still. Look at the colour of it.
Ali Smith (Autumn (Seasonal, #1))
Unreal City, Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many.
T.S. Eliot
The Pomegranate The only legend I have ever loved is the story of a daughter lost in hell. And found and rescued there. Love and blackmail are the gist of it. Ceres and Persephone the names. And the best thing about the legend is I can enter it anywhere. And have. As a child in exile in a city of fogs and strange consonants, I read it first and at first I was an exiled child in the crackling dusk of the underworld, the stars blighted. Later I walked out in a summer twilight searching for my daughter at bed-time. When she came running I was ready to make any bargain to keep her. I carried her back past whitebeams and wasps and honey-scented buddleias. But I was Ceres then and I knew winter was in store for every leaf on every tree on that road. Was inescapable for each one we passed. And for me. It is winter and the stars are hidden. I climb the stairs and stand where I can see my child asleep beside her teen magazines, her can of Coke, her plate of uncut fruit. The pomegranate! How did I forget it? She could have come home and been safe and ended the story and all our heart-broken searching but she reached out a hand and plucked a pomegranate. She put out her hand and pulled down the French sound for apple and the noise of stone and the proof that even in the place of death, at the heart of legend, in the midst of rocks full of unshed tears ready to be diamonds by the time the story was told, a child can be hungry. I could warn her. There is still a chance. The rain is cold. The road is flint-coloured. The suburb has cars and cable television. The veiled stars are above ground. It is another world. But what else can a mother give her daughter but such beautiful rifts in time? If I defer the grief I will diminish the gift. The legend will be hers as well as mine. She will enter it. As I have. She will wake up. She will hold the papery flushed skin in her hand. And to her lips. I will say nothing.
Eavan Boland
Writing is a strange and solitary activity. There are dispiriting times when you start working on the first few pages of a novel. Every day, you have the feeling you are on the wrong track. This creates a strong urge to go back and follow a different path. It is important not to give in to this urge, but to keep going. It is a little like driving a car at night, in winter, on ice, with zero visibility. You have no choice, you cannot go into reverse, you must keep going forward while telling yourself that all will be well when the road becomes more stable and the fog lifts.
Patrick Modiano
Once on a dark winter's day, when the yellow fog hung so thick and heavy in the streets of London that the lamps were lighted and the shop windows blazed with gas as they do at night, an odd-looking little girl sat in a cab with her father and was driven rather slowly through the big thoroughfares.
Frances Hodgson Burnett (A Little Princess)
in the heart’s rain in the eye’s fog in the winter’s smoky snow in whirling snow in storms wind which wants to tear my coat off legends stories the blood red dawn of the mind the warm spring between your thighs the only haven
Nils-Aslak Valkeapää
Gripped with bitter cold, ice-locked, Petersburg burned in delirium. One knew: out there, invisible behind the curtain of fog, the red and yellow columns, spires, and hoary gates and fences crept on tiptoe, creaking and shuffling. A fevered, impossible, icy sun hung in the fog - to the left, to the right, above, below - a dove over a house on fire. From the delirium-born, misty world, dragon men dived up into the earthly world, belched fog - heard in the misty world as words, but here becoming nothing - round white puffs of smoke. The dragon men dived up and disappeared again into the fog. And trolleys rushed screeching out of the earthly world into the unknown. ("The Dragon")
Yevgeny Zamyatin (The Dragon: Fifteen Stories (English and Russian Edition))
I rather enjoy that sense of bewilderment a novel gives you when you start reading it, but if the first effect is fog, I'm afraid the moment the fog lifts my pleasure in reading will be lost, too.
Italo Calvino (If on a Winter’s Night a Traveler)
It was a day completely devoid of weather. During some weeks in winter in the central part of Scandinavia the sky doesn’t seem to bother even attempting to impress us, it greets us with the color of newspaper in a puddle, and dawn leaves behind it a fog as if someone has been setting fire to ghosts.
Fredrik Backman (Anxious People)
His presence fogged my mind, warmed my blood, kept the darkness at bay – maybe because he was the darkness itself.
Emma Winters (Equal Parts)
Sometimes in the winter, when the fog rolled in and silenced the waves, it felt as if death had its fingers around my neck. Fingers like frostbitten twigs that made me ache inside.
Tara Kelly (The Foxglove Killings)
When I returned, not to Berlin, but to Hamburg in the midst of the fog of the beginning of winter, to the road that runs right above it’s river and docks, a castle which never existed and a fountain which is really a sewer, a gust of wind far sweeter and more fragrant than any red rose carried the smell of shit and floating soil like a tongue into my nostril.
Kathy Acker (Eurydice in the Underworld)
. . . They had skies of pure azure and walls of fog moving in and out of the canyons with invisible feet, hills in winter of emerald green and in summer mountain upon mountain of pure gold. They had even more, for there was ever the unfathomable silence of the forest, the blazing immensity of the Pacific, days drenched with sun and nights spangled with stars. . .
Henry Miller (Big Sur and the Oranges of Hieronymus Bosch)
Autumns reward western Kansas for the evils that the remaining seasons impose: winter's rough Colorado winds and hip-high, sheep-slaughtering snows; the slushes and the strange land fogs of spring; and summer, when even crows seek the puny shade, and the tawny infinitude of wheatstalks bristle, blaze. At last, after September, another weather arrives, an Indian summer that occasionally endures until Christmas.
Truman Capote (In Cold Blood)
Unreal City, Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many.
T.S. Eliot (The Waste Land)
The ghost-walking, the short-tempered distraction, the hurried fog. (All of this I’m just assuming, because I have no idea how I come across, my consciousness is that underground, like a toad in winter.)
Maria Semple (Today Will Be Different)
NOVEMBER Now chill & grey November Come slowly o'er the plain, Drearily the winter wind Sings songs of future pain. Wrapped closely in deep grey, She scarcely will let pass A little ray of sun To cheer the sodden grass. She scatters with her hand The leaves dried up and brown, The few that yet remain From gay October's crown. Her eyes and dark and sad, Sad for the dying year, And often in the mist There falls a silent tear. Beneath a cheerless sky The trees are standing bare, The fog has risen thick And she is no more there.
Beatrice Crane
We are far from liking London well enough till we like its defects: the dense darkness of much of its winter, the soot on the chimney-pots and everywhere else, the early lamplight, the brown blur of the houses, the splashing of hansoms in Oxford Street or the Strand on December afternoons. There is still something that recalls to me the enchantment of children—the anticipation of Christmas, the delight of a holiday walk—in the way the shop-fronts shine into the fog. It makes each of them seem a little world of light and warmth, and I can still waste time in looking at them with dirty Bloomsbury on one side and dirtier Soho on the other.
Henry James (English Hours)
What does Dante say of revenge?' He turned back. 'That it is a sin. A sin of anger, and those who commit it are surrounded by a rank fog, forever tearing each other apart or gnawing at their own limbs. They are trapped in the marsh.
Imogen Robertson (The Paris Winter)
February Soup by Stewart Stafford The February fog, Turns all into blobs, Orange street lights, To Valentine's Night. When the wind strays, Fog's mantle is grey, Laying misty bouquets, On barren, muddied days. The daffodils of March, Can cheer up Plutarch, Adorned in Kelly green, No sign of foggy screens. © Stewart Stafford, 2023. All rights reserved.
Stewart Stafford
I hate this night. I hate that it makes me a person so truly removed from the real me; this man who sits in silence in his parlor – purposely quarantined from his family – is not who I want to be. But on Halloween night, this awful impostor wafts over me like morning fog, and I know there’s no resisting him. Like one anticipates the common cold brought on by a harsh winter, I know this broken and terrified man will soon be visiting when the evening of October 31st falls upon us. And on this yearly autumn night, he will sit and drink. And remember.
J. Tonzelli (The End of Summer: Thirteen Tales of Halloween)
The shack stood silent against the early stir of blackbird wings, as an earnest winter fog formed along the ground, bunching up against the walls like large wisps of cotton.
Delia Owens (Where the Crawdads Sing)
He inhabited a gray winter fog on a distant elk mountain where hunters are lost indefinitely and their own bones mark the boundaries.
Leslie Marmon Silko (Ceremony)
Lovely and unremarkable, the clutter of mugs and books, the almost-empty Fig Newtons box, thick dishes in a big tin tray, the knife still standing in the butter, change like the color of river water in the delicate shift to day. Thin fog veils the hedges, where a neighbor dog makes rounds. 'Go to bed. It doesn't matter about the washing-up. Take this book along.' Whatever it was we said that night is gone, framed like a photograph nobody took. Stretched out on a camp cot with the book, I think that we will talk all night again, there, or another where, but I am wrong.
Marilyn Hacker (Winter Numbers: Poems)
My breath came out in a fog and rose into the milky sky. Snow fell on my eyelashes, and all of Brooklyn turned white, a world in a globe. Every snowflake that I caught was a miracle unlike any other.
Alice Hoffman (The Museum of Extraordinary Things)
A Blackberry Winter by Stewart Stafford Pond ice beneath the hawthorn tree, Reeds grasping from the frigid sculpture, Freezing fog clinging to land and foliage, Nature hindered but still in amelioration. Horses in crunching frosted footsteps march, To break the water trough's thick glaze, And drink thirstily in raw, jagged gulps, Until the thaw smoothes itself upon milder days. A swan slips and skates on the icicled river, Hoarfrost-encrusted rocks a guard of honour, The Anatidae ascension, maladroit but effective, Sure to pluck better days from its plumed reign. © Stewart Stafford, 2022. All rights reserved.
Stewart Stafford
1 The summer our marriage failed we picked sage to sweeten our hot dark car. We sat in the yard with heavy glasses of iced tea, talking about which seeds to sow when the soil was cool. Praising our large, smooth spinach leaves, free this year of Fusarium wilt, downy mildew, blue mold. And then we spoke of flowers, and there was a joke, you said, about old florists who were forced to make other arrangements. Delphiniums flared along the back fence. All summer it hurt to look at you. 2 I heard a woman on the bus say, “He and I were going in different directions.” As if it had something to do with a latitude or a pole. Trying to write down how love empties itself from a house, how a view changes, how the sign for infinity turns into a noose for a couple. Trying to say that weather weighed down all the streets we traveled on, that if gravel sinks, it keeps sinking. How can I blame you who kneeled day after day in wet soil, pulling slugs from the seedlings? You who built a ten-foot arch for the beans, who hated a bird feeder left unfilled. You who gave carrots to a gang of girls on bicycles. 3 On our last trip we drove through rain to a town lit with vacancies. We’d come to watch whales. At the dock we met five other couples—all of us fluorescent, waterproof, ready for the pitch and frequency of the motor that would lure these great mammals near. The boat chugged forward—trailing a long, creamy wake. The captain spoke from a loudspeaker: In winter gray whales love Laguna Guerrero; it’s warm and calm, no killer whales gulp down their calves. Today we’ll see them on their way to Alaska. If we get close enough, observe their eyes—they’re bigger than baseballs, but can only look down. Whales can communicate at a distance of 300 miles—but it’s my guess they’re all saying, Can you hear me? His laughter crackled. When he told us Pink Floyd is slang for a whale’s two-foot penis, I stopped listening. The boat rocked, and for two hours our eyes were lost in the waves—but no whales surfaced, blowing or breaching or expelling water through baleen plates. Again and again you patiently wiped the spray from your glasses. We smiled to each other, good troopers used to disappointment. On the way back you pointed at cormorants riding the waves— you knew them by name: the Brants, the Pelagic, the double-breasted. I only said, I’m sure whales were swimming under us by the dozens. 4 Trying to write that I loved the work of an argument, the exhaustion of forgiving, the next morning, washing our handprints off the wineglasses. How I loved sitting with our friends under the plum trees, in the white wire chairs, at the glass table. How you stood by the grill, delicately broiling the fish. How the dill grew tall by the window. Trying to explain how camellias spoil and bloom at the same time, how their perfume makes lovers ache. Trying to describe the ways sex darkens and dies, how two bodies can lie together, entwined, out of habit. Finding themselves later, tired, by a fire, on an old couch that no longer reassures. The night we eloped we drove to the rainforest and found ourselves in fog so thick our lights were useless. There’s no choice, you said, we must have faith in our blindness. How I believed you. Trying to imagine the road beneath us, we inched forward, honking, gently, again and again.
Dina Ben-Lev
It is January and I am arriving at an English country house in Yorkshire. Fog and rain shroud the park. The interior is a dim labyrinth of splendid but desolate rooms, full of winter shadows and echoing footsteps.
Susanna Clarke (Jonathan Strange & Mr Norrell)
Last night I dreamed of the "happy hunting ground." I passed through a place of bones that looked human, but weren't--the skulls were wrong. Then I came to a place where the days were the best of every season, the sweetest air and water in spring, then the dry heat where deer make dust in the road, the fog of fall with good leaves. And you could shoot without a gun, never kill, but the rabbits would do a little dance, all as if it were a game, and they were playing it too. Then winter came with heavy powder-snow, and big deer, horses, goats and buffaloes--all white--snorted, tossed their heads, and I lay down with my Army blanket, made my bed in the snow, then dreamed within the dream. I dreamed I was at Fleety's, and she told me the bones were poor people killed by bandits, and she took me back to the place, and under a huge rock where no light should have shown, a cave almost, was a dogwood tree. It glowed the kind of red those trees get at sundown, the buds were purple in that weird light, and a madman came out with an axe and chopped at the skulls, trying to make them human-looking. Then I went back to the other side of both dreams. --from a letter to his mother, Helen Pancake, where he describes a dream that seems to encapsulate the play between violence and gentleness in his life.
Breece D'J Pancake
It was ideal apple-eating weather; the whitest sunlight descended from the purest sky, and an easterly wind rustled, without ripping loose, the last of the leaves on the Chinese elms. Autumns reward western Kansas for the evils that the remaining seasons impose: winter's rough Colorado winds and hip-high, sheep-slaughtering snows; the slushes and the strange land fogs of spring; and summer, when even crows seek the puny shade, and the tawny infinitude of wheatstalks bristle, blaze
Truman Capote (In Cold Blood)
still other winters average their rain months into a long, cold season of relentless sog and little color. At such times, looking out through the spattered glass, I feel, deep in some spongy, unignorable organ, that we will have floods, and damage, and losses; we will have gray till the cows come home, and there will be no more cows--they'll all just rot, drown, or simply wash away. We will have rain until the very hills dissolve. And when the dirty cotton swaddling of fog finally falls away, we will all be desperate for vital signs.
Robert Michael Pyle
— If love wants you; if you’ve been melted down to stars, you will love with lungs and gills, with warm blood and cold. With feathers and scales. Under the hot gloom of the forest canopy you’ll want to breathe with the spiral calls of birds, while your lashing tail still gropes for the waes. You’ll try to haul your weight from simple sea to gravity of land. Caught by the tide, in the snail-slip of your own path, for moments suffocating in both water and air. If love wants you, suddently your past is obsolete science. Old maps, disproved theories, a diorama. The moment our bodies are set to spring open. The immanence that reassembles matter passes through us then disperses into time and place: the spasm of fur stroked upright; shocked electrons. The mother who hears her child crying upstairs and suddenly feels her dress wet with milk. Among black branches, oyster-coloured fog tongues every corner of loneliness we never knew before we were loved there, the places left fallow when we’re born, waiting for experience to find its way into us. The night crossing, on deck in the dark car. On the beach wehre night reshaped your face. In the lava fields, carbon turned to carpet, moss like velvet spread over splintered forms. The instant spray freezes in air above the falls, a gasp of ice. We rise, hearing our names called home through salmon-blue dusk, the royal moon an escutcheon on the shield of sky. The current that passes through us, radio waves, electric lick. The billions of photons that pass through film emulsion every second, the single submicroscopic crystal struck that becomes the phograph. We look and suddenly the world looks back. A jagged tube of ions pins us to the sky. — But if, like starlings, we continue to navigate by the rear-view mirror of the moon; if we continue to reach both for salt and for the sweet white nibs of grass growing closest to earth; if, in the autumn bog red with sedge we’re also driving through the canyon at night, all around us the hidden glow of limestone erased by darkness; if still we sish we’d waited for morning, we will know ourselves nowhere. Not in the mirrors of waves or in the corrading stream, not in the wavering glass of an apartment building, not in the looming light of night lobbies or on the rainy deck. Not in the autumn kitchen or in the motel where we watched meteors from our bed while your slow film, the shutter open, turned stars to rain. We will become indigestible. Afraid of choking on fur and armour, animals will refuse the divided longings in our foreing blue flesh. — In your hands, all you’ve lost, all you’ve touched. In the angle of your head, every vow and broken vow. In your skin, every time you were disregarded, every time you were received. Sundered, drowsed. A seeded field, mossy cleft, tidal pool, milky stem. The branch that’s released when the bird lifts or lands. In a summer kitchen. On a white winter morning, sunlight across the bed.
Anne Michaels
Thought I saw you on the beach this morning...Thought I saw you standing on the white strand, your back to the wind. The rain had stopped and there was a brisk clarity in the air. You watched me over your left shoulder, head tucked in coyly. Seabirds flying low in the sky, and the grey-green waves at your foot. A whole panorama thrown up behind you. I was on the coast road coming back from the shops. I stopped walking once I caught sight of you. You were wearing a reefer jacket with the collar turned up against the weather. It might have been navy, but it looked black in the distance. As did your trousers. As did your shoes. All of you was black except your face and hair. You wore no hat...Never once saw you in Winter clothes, yet there you were as clear as day for a whole moment. Only your eyes were visible above the upturned collar. Your hair was in your eyes. You watched me through those pale strands. And I watched you. Intently. The man from down the road drove by in his faded red car. He was going the other way, so he didn't offer a lift. He just waved. I waved back. And then I turned to you again, and we looked at each other a little longer. Very calm. Heart barely shifted. Too far away to see your features. No matter. There was salt on your face. Sea salt. It was in your hair. It was on your mouth. It was all over you, as though you gazed at me through ice. And it was all over me. It tingled on my skin. After a time I moved off, and you broke into two. You realigned yourself into driftwood and stone. I came inside and lit a fire. Sat in front of it and watched it burn. The window fogged up as my clothes and hair dried out. That was hours ago. The fire is nearly gone. But I can still taste the salt on my lips. It is a dry and stinging substance and it is everywhere now. It has touched everything that is left. Coated every surface with its sparkling silt. I will always be thirsty.
Claire Kilroy (All Summer)
For five hundred won, you could gaze at North Korea. I slid a coin in the slot. It was so cold our eyelids stuck to the metal frames. To the right, the ocean. To the left, a wall of mountains. Ahead of us, fog. Not much a of a view, but what could you expect with this weather?
Elisa Shua Dusapin (Winter in Sokcho)
Autumns reward western Kansas for the evils that the remaining seasons impose: winter's rough Colorado winds and hp-high, sheep-slaughtering snows; the slushes and the strange land fogs of spring; and summer, when even crows seek the puny shade, and the tawny infinitude of wheat stalks bristle, blaze.
Truman Capote (In Cold Blood)
Last I was here, Winter was a desolate, iced landscape with drift blasting across the terrain, fogging the air white, tumbles of stone and ice and statues barely visible. Today it’s clear, if not sunny. Sun doesn’t exist in Winter; there lurks only an intermittently glimpsed frost-bitten orb of wan blue.
Karen Marie Moning (Kingdom of Shadow and Light (Fever, #11))
The Congregating of Stars They often meet in mountain lakes, No matter how remote, no matter how deep Down and far they must stream to arrive, Navigating between the steep, vertical piles Of broken limestone and chert, through shattered Trees and dry bushes bent low by winter, Across ravines cut by roaring avalanches Of boulders and ripping ice. Silently, the stars have assembled On the surface of this lost lake tonight, Arranged themselves to match the patterns They maintain in the highest spheres Of the surrounding sky. And they continue on, passing through The smooth, black countenance of the lake, Through that mirror of themselves, down through The icy waters to touch the perfect bottom Stillness of the invisible life and death existing In the nether of those depths. Sky-bound- yet touching every needle In the torn and sturdy forest, every stone, Sharp, cracked along the ragged shore- the stars Appear the same as in ancient human ages On the currents of the old seas and the darkened Trails of desert dunes, Orion’s belt the same As it shone in Galileo’s eyes, Polaris certain above The sails of every mariner’s voyage. An echoing Light from the Magi’s star, that beacon, might even Be shining on this lake tonight, unrecognized. The stars are congregating, perhaps in celebration, passing through their own names and legends, through fogs, airs, and thunders, the vapors of winter frost and summer pollens. They are ancestors of transfiguration, intimate with all the eyes of the night. What can they know?
Pattiann Rogers (Quickening Fields (Penguin Poets))
Yes! The rosy fingers of dawn had finally slipped through the fog and gently pulled it apart, separating the tendrils, weakening it. Wendy watched in fascination. She almost never saw the sunrise except in winter and that was through her window, under the gray sprawl of London Town. Nothing like this. As the sea lightened and the sky began to clear, the two elements resolved themselves into colors unlike anything she was used to: brilliant emerald and deep aquamarine, pellucid azure and shining lapis. It was so storybook perfect she wouldn't have been surprised at all if the sun came out with a great smiley face drawn on it.
Liz Braswell (Straight On Till Morning)
We get the place on the right swell, surfing it is one thing, getting good shots is something else. You get fog up there. You get rain. You get clouds. The light is shit. Harmon knows that too. That’s why he asked for you. Radical conditions, a narrow window. You better have somebody who can get the shot. His problem is, he thinks you’re still the one.
Kem Nunn (The Dogs of Winter)
For many years Henry Kitteridge was a pharmacist in the next town over, driving every morning on snowy roads, or rainy roads, or summertime roads, when the while raspberries shot their new growth in brambles along the last section of town before he turned off to where the wider road led to the pharmacy. Retired now, he still wakes early and remembers how mornings used to be his favorite, as though the world were his secret, tires rumbling softly beneath him and the light emerging through the early fog, the brief sight of the bay off to his right, then the pines, tall and slender, and almost always he road with the window partly open because he loved the smell of the pines and the heavy salt air, and in the winter he loved the smell of the cold.
Elizabeth Strout (Olive Kitteridge (Olive Kitteridge, #1))
so many white roses whose names won’t survive either, resistance groups and newspapers now as forgotten as soldiers waiting for the enemy veiled in snow, unknowingly digging their own graves in the forests, an entire infantry on alert among the pines and spruce, France, Belgium, elsewhere young German soldiers seeming to sleep, half-opened lips on the snow which likewise moulds itself to their boots and helmets, every one of them forever forgotten, dying for what or whom in these ice fields, oblivion or Hitler, even those still breathing on stretchers, statues of ice, petrified flesh outfitted in frost, this is the story of winter glory, cold and misery, men and horses finished off in the frigid fog, the young in uniform, hands raised and crying, I give up, enough, enough
Marie-Claire Blais (Rebecca, Born in the Maelstrom)
An Elegy, Years After Sarah” So her ceiling a map of stars. First time we made love late afternoon late winter, and after she slept how her room fogged up with dusk and paper stars she’d stuck up there in childhood came out in strange constellations and I missed the earth till her room was night her breath deepening the stars cooling down: I said come closer and her eyes — half-open, flashing back whatever light there was — went out.
Steven Heighton (The Ecstasy of Skeptics: Poems)
Stations are all alike; it doesn’t matter if the lights cannot illuminate beyond their blurred halo, all of this is a setting you know by heart, with the odor of train that lingers even after all the trains have left, the special odor of stations after the last train has left. The lights of the station and the sentences you are reading seem to have the job of dissolving more than of indicating the things that surface from a veil of darkness and fog.
Italo Calvino (If on a Winter's Night a Traveller)
The wet dawn inks are doing their blue dissolve. On their blotter of fog the trees Seem a botanical drawing. Memories growing, ring on ring, A series of weddings. Knowing neither abortions nor bitchery, Truer than women, They seed so effortlessly! Tasting the winds, that are footless, Waist-deep in history. Full of wings, otherworldliness. In this, they are Ledas. O mother of leaves and sweetness Who are these pietas? The shadows of ringdoves chanting, but chasing nothing.
Sylvia Plath (Winter Trees)
When, in May, tensions reached a high point, London warned Berlin that if it attacked Czechoslovakia and the French were embroiled as well, "His Majesty's Government could not guarantee that they would not be forced by circumstances to become involved also". Ar the same time, English officials were telling their counterparts in Paris that they were "not disinterested" in Czechoslovakia's fate. I learned in the course of my own career that British diplomats are trained to write in with precision; so when a double negative is employed, the intent, usually, is not to clarify an issue but to surround it with fog.
Madeleine K. Albright (Prague Winter: A Personal Story of Remembrance and War, 1937-1948)
Because the other way wasn’t working. The waking up just to get the day over with until it was time for bed. The grinding it out was a disgrace, an affront to the honor and long shot of being alive at all. The ghost-walking, the short-tempered distraction, the hurried fog. (All of this I’m just assuming, because I have no idea how I come across, my consciousness is that underground, like a toad in winter.) The leaving the world a worse place just by being in it. The blindness to the destruction in my wake. The Mr. Magoo. If I’m forced to be honest, here’s an account of how I left the world last week: worse, worse, better, worse, same, worse, same. Not an inventory to make one swell with pride. I don’t necessarily need to make the world a better place, mind you. Today, I will live by the Hippocratic oath: first do no harm. How hard can it be? Dropping off Timby, having my poetry lesson (my favorite part of life!), taking a yoga class, eating lunch with Sydney Madsen, whom I can’t stand but at least I can check her off the list (more on that later), picking up Timby, and giving back to Joe, the underwriter of all this mad abundance. You’re trying to figure out, why the agita surrounding one normal day of white-people problems? Because there’s me and there’s the beast in me.
Maria Semple (Today Will Be Different)
It could snow We don’t take care. The end of November came without coldness, with haunting and limp rains, pretty much leaves still laying anywhere on the sidewalks. It comes a morning with another grey, compact, closed, air changes its texture. Under the pharmacy green cross the thermometer sticks, in red, two degrees. The number, a bit blurred thins down in the space. We didn’t expect it, but it grows, far inside us, the little sentence. It comes to the lips like a forgotten song: “It could snow …” We should not dare to mention it in loud voice, it is still so much autumn, all could finish in a stupid freezing sudden shower, in a fog of boredom. But the idea of a possible snow came back, it’s what matters. No downhill in a sledge-trash-bag, no snowman, no children shouting,no pictures of landscape metamorphosis. Largely best then all that, because the essential snow is inside the unformulated. Before. Something we didn’t know we knew. Before snow, before love, the same lack, the same dimmed grey which days’ triteness creates pretending to suffocate. We shall cross somebody: - This time it’s almost winter! - Yes we start to be crestfallen! Workers hang pieces of tinsel. We didn’t say too much. Especially do not frighten away the slight shade of the idea. The red thermometer went down, one degree. It could snow.
Philippe Delerm (Ma grand-mère avait les mêmes: les dessous affriolants des petites phrases)
But now 'tis the modern ole Coast Division S.P. and begins at those dead end blocks and at 4:30 the frantic Market Street and Sansome Street commuters as I say come hysterically running for ther 112 to get home on time for the 5:30 televisions Howdy Doody of their gun toting Neal Cassady'd Hopalong childrens. 1.9 miles to 23rd Street, another 1.2 Newcomb, another 1.0 to Paul Avenue and etcetera these being the little piss stops on that 5 miles short run thru 4 tunnels to mighty Bayshore, Bayshore at milepost 5.2 shows you as I say that gigantic valley wall sloping in with sometimes in extinct winter dusks the huge fogs milking furling meerolling in without a sound but as if you could hear the radar hum, the oldfashioned dullmasks mouth of Potato Patch Jack London old scrollwaves crawling in across the gray bleak North Pacific with a wild fleck, a fish, the wall of a cabin, the old arranged wallworks of a sunken ship, the fish swimming in the pelvic bones of old lovers lay tangled ath the bottom of the sea like slugs no longer discernible bone by bone but melted into one squid of time that fog, that terrible and bleak Seattlish fog that potatopatch wise comes bringing messages from Alaska and from the Aleutian mongol, and from the seal, and from the wave, and from the smiling porpoise, that fog at Bayshore you can see waving in and filling in rills and rolling down and making milk on hillsides and you think, "It's hypocricy of men makes these hills grim.
Jack Kerouac (Lonesome Traveler)
Many of the gifts were for me. There were jewels and gowns and furs and paintings--- done on ice canvases that made everything bleed together far more than watercolors---and a strange, empty box with a base of some sort of pale velvet that the faerie claimed would sprout white roses with diamonds in them if left outside at midday, and blue roses with rubies if left outside at midnight. There were other nonsensical presents along these lines, including a saddle of shapeless grey leather that would allow me to ride the mountain fog, though no explanation was given as to why I should wish to do this. The only presents I truly appreciated came in the form of ice cream, which the Hidden Ones are obsessed with and cover with sea salt and nectar from their winter flowers.
Heather Fawcett (Emily Wilde's Encyclopaedia of Faeries (Emily Wilde, #1))
Everything, it said, was against the travellers, every obstacle imposed alike by man and by nature. A miraculous agreement of the times of departure and arrival, which was impossible, was absolutely necessary to his success. He might, perhaps, reckon on the arrival of trains at the designated hours, in Europe, where the distances were relatively moderate; but when he calculated upon crossing India in three days, and the United States in seven, could he rely beyond misgiving upon accomplishing his task? There were accidents to machinery, the liability of trains to run off the line, collisions, bad weather, the blocking up by snow—were not all these against Phileas Fogg? Would he not find himself, when travelling by steamer in winter, at the mercy of the winds and fogs?
Jules Verne (Around the World in 80 Days)
She pushed me towards the open window. I could see the terrace below me gray and indistinct in the white wall of fog. “Look down there,” she said. “It’s easy, isn’t it? Why don’t you jump? It wouldn’t hurt, not to break your neck. It’s a quick, kind way. It’s not like drowning. Why don’t you try it? Why don’t you go?” The fog filled the open window, damp and clammy, it stung my eyes, it clung to my nostrils. I held onto the windowsill with my hands. “Don’t be afraid,” said Mrs. Danvers. “I won’t push you. I won’t stand by you. You can jump of your own accord. What’s the use of your staying here at Manderley? You’re not happy. Mr. de Winter doesn’t love you. There’s not much for you to live for, is there? Why don’t you jump now and have done with it? Then you won’t be unhappy anymore.
Daphne du Maurier (Rebecca)
The high gray-flannel fog of winter closed off the Salinas Valley from the sky and from all the rest of the world. On every side it sat like a lid on the mountains and made of the great valley a closed pot. On the broad, level land floor the gang plows bit deep and left the black earth shining like metal where the shares had cut. On the foothill ranches across the Salinas River, the yellow stubble fields seemed to be bathed in pale cold sunshine, but there was no sunshine in the valley now in December. The thick willow scrub along the river flamed with sharp and positive yellow leaves. It was a time of quiet and of waiting. The air was cold and tender. A light wind blew up from the southwest so that the farmers were mildly hopeful of a good rain before long; but fog and rain did not go together.
John Steinbeck
Hating the Rain She hates the ever-falling winter rain, the gray and endless humidity that bites to the bone and stings even after the hot bath and stiff struggle into bed and under the quilts, but the winter ferns, and the way they wave in a slight breeze as though happy like grandmother’s lace curtains can’t be abandoned or lived without. She hates the endless dripping like a clock ticking away life and the heavy fog that swallows light as though life itself were vanishing, but the tree frogs with their songs and their clinging to matching green like family holding together stitch her thoughts back to July picnics. She hates her complaining voice that discourages her children’s calls and encourages their urgings that she move, maybe to Florida citrus sun, but gray day softness steeps her patience and quiets her fear of loss into something like gratitude clinging like green to summer moss and this she knows: she loves the rain.
Marian Blue (How Many Words for Rain)
Because I was reading today in the science section of the paper that passionate love lasts only a year, maybe two, if you're lucky. Because I want to be extra lucky. Because the article apologized specifically to poets - sorry, you hopeless saps - as though we automatically believe in love more than anyone else (more than kindergarten teachers, long-haired carpenters) & have been pushing this Non-Truth on everyone. Because who knows what will happen, but I want to, baby, want to believe it's always possible to love bigger & madder, even after two, three, four years, four decades. I want a love as dirty as a snowball fight in the sludge, under grimy yellow lights. I want this winter inside my lungs. Inside my brain & dream. I want to eat the unplowed street & fog that's been erasing evergreens. I want to eat the fog only to discover it's some giant's lost silver blanket. I want to find the giant & return to him his treasure. I want the journey to be long. & strange, like a map drawn in snow by our shadows shivering. I want to shiver against you, into you.
Chen Chen
What does it help me now to think back on the reeling despair that seized me and declare it a mistake! Should I have set out in high spirits with a spring in my step? I did not. Should I have had more faith in the earth's friendly forces and felt certain and invulnerable at the wounding sight of flame-hued horizons? I could not do it, I was terribly vulnerable. Should I have justified myself, raising my eyes to the mountains? Oh, I tried, and always in vain... And so one day I wanted to break away, not knowing exactly from which fate, seeming to grasp only that I had been struck by calamity, as anyone can be, and now must stand apart, silent. How do the others live, I asked myself, how do they bear this land and the day to come, how do they bear it? But should the dusk of rapture fall once more, this shadowless day ebb, the deer stand on the sloping winter meadow already cloaked in fog; should I be granted one more such innocent hour, I will lower my eyes and repent, and never again lead myself into temptation, but admit: we are at home in but a narrow precinct, can cover but a tiny distance - and beyond, at an immeasurable distance, the ships land on the death's shores.
Annemarie Schwarzenbach (All the Roads Are Open: The Afghan Journey (The Swiss List))
Elizabeth, we’re going to have to stop.” Elizabeth’s swirling senses began to return to reality, slowly at first, and then with a sickening plummet. Passion gave way to fear and then to anguished shame as she realized she was lying in a man’s arms, her shirt unfastened, her flesh exposed to his gaze and touch. Closing her eyes, she fought back the sting of tears and shoved his hand away, lurching into an upright position. “Let me rise, please,” she whispered, her voice strangled with self-revulsion. Her skin flinched as he began to fasten her shirt, but in order to do it he had to release his hold on her, and the moment he did, she scrambled to her feet. Turning her back to him, she fastened her shirt with shaking hands and snatched her jacket from the peg beside the fire. He moved so silently that she had no idea he’d stood until his hands settled on her stiff shoulders. “Don’t be frightened of what is between us. I’ll be able to provide for you-“ All of Elizabeth’s confusion and anguish exploded in a burst of tempestuous, sobbing fury that was directed at herself, but which she hurtled at him. Tearing free of his grasp, she whirled around. “Provide for me,” she cried. “Provide what? A-a hovel in Scotland where I’ll stay while you dress the part of an English gentleman so you can gamble away everything-“ “If things go on as I expect,” he interrupted her in a voice of taut calm, “I’ll be one of the richest men in England within a year-two at the most. If they don’t, you’ll still be well provided for.” Elizabeth snatched her bonnet and backed away from him in a fear that was partly of him and partly of her own weakness. “This is madness. Utter madness.” Turning, she headed for the door. “I know,” he said gently. She reached for the door handle and jerked the door open. Behind her, his voice stopped her in midstep. “If you change your mind after we leave in the morning, you can reach me at Hammund’s town house in Upper Brook Street until Wednesday. After that I’d intended to leave for India. I’ll be gone until winter.” “I-I hope you have a safe voyage,” she said, too overwrought to wonder about the sharp tug of loss she felt at the realization he was leaving. “If you change your mind in time,” he teased, “I’ll take you with me.” Elizabeth fled in sheer terror from the gentle confidence she’d heard in his smiling voice. As she galloped through the thick fog and wet underbrush she was no longer the sensible, confident young lady she’d been before; instead she was a terrified, bewildered girl with a mountain of responsibilities and an upbringing that convinced her the wild attraction she felt for Ian Thornton was sordid and unforgivable.
Judith McNaught (Almost Heaven (Sequels, #3))
These are the forgeries of jealousy; And never, since the middle summer’s spring, Met we on hill, in dale, forest, or mead, By pavèd fountain or by rushy brook, Or in the beachèd margent of the sea, To dance our ringlets to the whistling wind, But with thy brawls thou hast disturbed our sport. Therefore the winds, piping to us in vain, As in revenge have sucked up from the sea Contagious fogs, which, falling in the land, Hath every pelting river made so proud That they have overborne their continents. The ox hath therefore stretched his yoke in vain, The plowman lost his sweat, and the green corn Hath rotted ere his youth attained a beard. The fold stands empty in the drownèd field, And crows are fatted with the murrain flock. The nine-men’s-morris is filled up with mud, And the quaint mazes in the wanton green, For lack of tread, are undistinguishable. The human mortals want their winter here. No night is now with hymn or carol blessed. Therefore the moon, the governess of floods, Pale in her anger, washes all the air, That rheumatic diseases do abound. And thorough this distemperature we see The seasons alter: hoary-headed frosts Fall in the fresh lap of the crimson rose, And on old Hiems’ thin and icy crown An odorous chaplet of sweet summer buds Is, as in mockery, set. The spring, the summer, The childing autumn, angry winter, change Their wonted liveries, and the mazèd world By their increase now knows not which is which. And this same progeny of evils comes From our debate, from our dissension; We are their parents and original.
William Shakespeare (A Midsummer Night’s Dream)
I. The Burial of the Dead April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain. [...] (Come in under the shadow of this red rock), And I will show you something different from either Your shadow at morning striding behind you Or your shadow at evening rising to meet you, I will show you fear in a handful of dust. [...] Unreal City, Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many. [...] II. A Game of Chess [...] Under the firelight, under the brush, her hair Spread out in fiery points Glowed into words, then would be savagely still. III. The Fire Sermon [...] The river bears no empty bottles, sandwich papers, Silk handkerchiefs, cardboard boxes, cigarette ends Or other testimony of summer nights. The nymphs are departed. [...] At the violet hour, the evening hour that strives Homeward, and brings the sailor home from sea, The typist home at teatime, clears her breakfast, lights Her stove, and lays out food in tins. [...] I Tiresias, old man with dugs Perceived the scene, and foretold the rest-- I too awaited the expected guest. [...] IV. Death by Water [...] A current under sea Picked his bones in whispers. As he rose and fell He passed the stages of his age and youth Entering the whirlpool. [...] V. What the Thunder Said [...] A woman drew her long black hair out tight And fiddled whisper music on those strings And bats with baby faces in the violet light Whistled, and beat their wings And crawled head downward down a blackened wall And upside down in air were towers Tolling reminiscent bells, that kept the hours And voices singing out of empty cisterns and exhausted wells.
T.S. Eliot (The Waste Land)
We turned off the path then, following a line of red, cup-shaped wildflowers that I had not seen before. And then abruptly, we came to a door-- an actual door, because the Folk are maddeningly inconsistent, even when it comes to their inconsistencies--- tucked into a little hollow. It was only about two feet tall and painted to look like the mountainside, a scene of grey-brown scree with a few splashes of green, so realistic that it was like a reflection on still water. The only thing that gave it away was the doorknob, which looked like nothing that I can put into human terms; the best I can do is compare it to a billow of fog trapped in a shard of ice. "It has the look of a brownie house," Wendell said. "But perhaps I should make sure." He shoved the door open and vanished into the shadows within--- I cannot relate how he accomplished this; it seemed for a moment as if the door grew to fit him, but I was unable to get a handle on the mechanics as not one second later he was racing out again and the door had shrunk to its old proportions. Several porcelain cups and saucers followed in his wake, about the right size for a doll, and one made contact, smashing against his shoulder. Behind the hail of pottery came a little faerie who barely came up to my knee, wrapped so tightly in what looked like a bathrobe made of snow that I could see only its enormous black eyes. Upon its head it wore a white sleeping cap. It was brandishing a frying pan and shouting something--- I think--- but its voice was so small that I could only pick out the odd word. It was some dialect of Faie that I could not understand, but as the largest difference between High Faie and the faerie dialects lies in the profanities, the sentiment was clear. "Good Lord!" Rose said, leaping out of range of the onslaught. "I don't--- what on--- would you stop?" Wendell cried, shielding himself with his arm. "Yes, all right, I should have knocked, but is this really necessary?" The faerie kept on shrieking, and then it launched the frying pan at Wendell's head--- he ducked--- and slammed its door. Rose and I stared at each other. Ariadne looked blankly from Wendell to the door, clutching her scarf with both hands. "Bloody Winter Folk," Wendell said, brushing ceramic shards from his cloak. "Winter Folk?" I repeated. "Guardians of the seasons--- or anyway, that is how they see themselves," he said sourly. "Really I think they just want a romantic excuse to go about blasting people with frost and zephyrs and such. It seems I woke him earlier than he desired." I had never heard of such a categorization, but as I was somewhat numb with surprise, I filed the information away rather than questioning him further. I fear that working with one of the Folk is slowly turning my mind into an attic of half-forgotten scholarly treasures.
Heather Fawcett (Emily Wilde’s Map of the Otherlands (Emily Wilde, #2))
SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.
Jack Kerouac (Dr. Sax)
SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.
Jack Kerouac (Dr. Sax)
I am speaking of the evenings when the sun sets early, of the fathers under the streetlamps in the back streets returning home carrying plastic bags. Of the old Bosphorus ferries moored to deserted stations in the middle of winter, where sleepy sailors scrub the decks, pail in hand and one eye on the black-and-white television in the distance; of the old booksellers who lurch from one ϧnancial crisis to the next and then wait shivering all day for a customer to appear; of the barbers who complain that men don’t shave as much after an economic crisis; of the children who play ball between the cars on cobblestoned streets; of the covered women who stand at remote bus stops clutching plastic shopping bags and speak to no one as they wait for the bus that never arrives; of the empty boathouses of the old Bosphorus villas; of the teahouses packed to the rafters with unemployed men; of the patient pimps striding up and down the city’s greatest square on summer evenings in search of one last drunken tourist; of the broken seesaws in empty parks; of ship horns booming through the fog; of the wooden buildings whose every board creaked even when they were pashas’ mansions, all the more now that they have become municipal headquarters; of the women peeking through their curtains as they wait for husbands who never manage to come home in the evening; of the old men selling thin religious treatises, prayer beads, and pilgrimage oils in the courtyards of mosques; of the tens of thousands of identical apartment house entrances, their facades discolored by dirt, rust, soot, and dust; of the crowds rushing to catch ferries on winter evenings; of the city walls, ruins since the end of the Byzantine Empire; of the markets that empty in the evenings; of the dervish lodges, the tekkes, that have crumbled; of the seagulls perched on rusty barges caked with moss and mussels, unϩinching under the pelting rain; of the tiny ribbons of smoke rising from the single chimney of a hundred-yearold mansion on the coldest day of the year; of the crowds of men ϧshing from the sides of the Galata Bridge; of the cold reading rooms of libraries; of the street photographers; of the smell of exhaled breath in the movie theaters, once glittering aϱairs with gilded ceilings, now porn cinemas frequented by shamefaced men; of the avenues where you never see a woman alone after sunset; of the crowds gathering around the doors of the state-controlled brothels on one of those hot blustery days when the wind is coming from the south; of the young girls who queue at the doors of establishments selling cut-rate meat; of the holy messages spelled out in lights between the minarets of mosques on holidays that are missing letters where the bulbs have burned out; of the walls covered with frayed and blackened posters; of the tired old dolmuşes, ϧfties Chevrolets that would be museum pieces in any western city but serve here as shared taxis, huϫng and puϫng up the city’s narrow alleys and dirty thoroughfares; of the buses packed with passengers; of the mosques whose lead plates and rain gutters are forever being stolen; of the city cemeteries, which seem like gateways to a second world, and of their cypress trees; of the dim lights that you see of an evening on the boats crossing from Kadıköy to Karaköy; of the little children in the streets who try to sell the same packet of tissues to every passerby; of the clock towers no one ever notices; of the history books in which children read about the victories of the Ottoman Empire and of the beatings these same children receive at home; of the days when everyone has to stay home so the electoral roll can be compiled or the census can be taken; of the days when a sudden curfew is announced to facilitate the search for terrorists and everyone sits at home fearfully awaiting “the oϫcials”; CONTINUED IN SECOND PART OF THE QUOTE
Orhan Pamuk (Istanbul: Memories and the City)
Winter again. The summer people have gone. The early morning walks are solitary once more. Fog wraps the ocean and sky like a wet, gray glove. Sprinting through the frosty dune grass, my dog Buddy emerges soaked and grinning. He's become a man-child, his boundless puppy love and mindless exuberance caroming off the walls in a muscular body. He lives by one rule: To be alive is to be gloriously happy. Not a bad way to be, I often remind myself. Comfortable in the ebb and flow of each other's idiosyncracies and needs, he keeps me company while I work, I join him often in his play. His unflagging high spirits urge me to cram activity and joy into every waking moment as he does. By so doing, I tell myself, I will multiply my allotted time by dog years and dilate the remaining seasons accordingly. A good way to look at life, I figure.
Lionel Fisher (Celebrating Time Alone: Stories Of Splendid Solitude)
In the morning, Bosch sat on the rear deck of his house and watched the sun come up over the Cahuenga Pass. It burned away the morning fog and bathed the wildflowers on the hillside that had burned the winter before. He watched and smoked and drank coffee until the sound of traffic on the Hollywood Freeway became one uninterrupted hiss from the pass below.
Michael Connelly (The Concrete Blonde (Harry Bosch, #3; Harry Bosch Universe, #3))
As many days old as is the moon on the first snow, there will be that many snowfalls by crop planting time. If ant hills are high in July, winter will be snowy. If the first week in August is unusually warm, the coming winter will be snowy and long. For every fog in August, there will be a snowfall the following winter. Squirrels gathering nuts in a flurry will cause snow to gather in a hurry. As high as the weeds grow, so will the bank of snow. A green Christmas = a white Easter. If the first snowfall lands on unfrozen ground, winter will be mild. If there is thunder in winter, it will snow seven days later.
Peter Geiger (2015 Farmers' Almanac)
SMOKE From a lit cigarette, a dream of the future rises The blue cloud is the dawn of hope once struggled for But now it becomes a fog of depression in my heart Condensed into a deep cloud of unfalling rain I push open the bright window To greet the refreshing rural breeze How I long to hold on to the fading smoke That is your shadow bidding me farewell
Shi Zhi (Winter Sun: Poems (Volume 1) (Chinese Literature Today Book Series))
Any spring can be remembered and no matter where you are, April is a beautiful month. Barbed wire can fence you in but it can’t stop your senses from reaching out and grabbing the pleasures of spring. The warmth that comes with the soothing gentleness of the rain splashing a captive man’s face as he watches it turn the last bit of winter snow and slush back to water is equalled only by the sight of annual wonderment of the earth swelling and releasing tiny sprouts and tender plants from their winter slumber and let them grow tall and green again, even in the time of war. Much of the beauty of the sweet smel l of the season is marred by the thought that your spring fever is merely the intensification of your fever to live…The warm sunshine strengthens your anticipation for a new life as you know the frozen wheels of the war machine will thaw, the fog bound skies will clear, and with the death of winter the warming ground will soon be firm and fit to carry on a better war. So, let the grass grow green and the vision of being free, grow with it.
James William Lauder (Hard Tears Soft Laughter)
You don't know what to do with the jam jar, the chicken stink, the sinister mountain fog that is everywhere, but the adults pretend to ignore when you are in the room. It seems the only thing you can do is listen for it. You hear it in the four measures of Vivaldi's "Winter" that you can still remember from Sarah and the Squirrel, and once you make the connection between the music and mountain fog you play the notes over and over again inside your head. You paw up the trash-strewn ravine. The sky is low and gray, the color of the cinder blocks the men in your town manufacture from ash and dust. The dirt-filled strawberry jam jar is in your denim coat pocket. Vivaldi is in your head. The music you hear is like the blaze-orange clothing the men wear on the mountainsides while deer hunting in autumn. The music is like a bulletproof vest, a coiled copperhead, a rabies shot. The music is both a warning and a talisman. The music tells you things: You're not imagining this. Better children than you die in the snow for no reason. The music says: What's hidden beneath this picture of strawberry jam? The music says: This isn't a Disney movie. Death doesn't just take the wicked villain. Look at that dirt in the jar. It will take you. It will take everyone, and everyone, and everyone. The music says: What you feel is real. Follow me. Run.
Jessica Chiccehitto Hindman (Sounds Like Titanic: A Memoir)
Harley Diekerhoff looked up from peeling potatoes to glance out the kitchen window. It was still snowing... even harder than it had been this morning. So much white, it dazzled. Hands still, breath catching, she watched the thick, white flakes blow past the ranch house at a dizzying pace, enthralled by the flurry of the lacy snowflakes. So beautiful. Magical A mysterious silent ballet in all white, the snow swirling, twirling just like it did in her favorite scene from the Nutcracker—the one with the Snow Queen and her breathtaking corps in their white tutus with their precision and speed—and then that dazzling snow at the end, the delicate flakes powdering the stage. Harley’s chest ached. She gripped the peeler more tightly, and focused on her breathing. She didn’t want to remember. She wasn’t going to remember. Wasn’t going to go there, not now, not today. Not when she had six hungry men to feed in a little over two hours. She picked up a potato, started peeling. She’d come to Montana to work. She’d taken the temporary job at Copper Mountain Ranch to get some distance from her family this Christmas, and working on the Paradise Valley cattle ranch would give her new memories. Like the snow piling up outside the window. She’d never lived in a place that snowed like this. Where she came from in Central California, they didn’t have snow, they had fog. Thick soupy Tule fog that blanketed the entire valley, socking in airports, making driving nearly impossible. And on the nights when the fog lifted and temperatures dropped beneath the cold clear sky, the citrus growers rushed to light smudge pots to protect their valuable, vulnerable orange crops. Her family didn’t grow oranges. Her family were Dutch dairy people. Harley had been raised on a big dairy farm in Visalia, and she’d marry a dairyman in college, and they’d had their own dairy, too. But that’s the part she needed to forget. That’s why she’d come to Montana, with its jagged mountains and rugged river valleys and long cold winters. She’d arrived here the Sunday following Thanksgiving and would work through mid-January, when Brock Sheenan’s housekeeper returned from a personal leave of absence. In January, Harley would either return to California or look for another job in Crawford County. Harley was tempted to stay, as the Bozeman employment agency assured her they’d have no problem finding her a permanent position if she wanted one.
Jane Porter (Christmas at Copper Mountain (Taming of the Sheenans Book 1))
The shouting came to a halt, replaced by a tense silence that hung in the air like a fog on a cold winter morning. The
Nicolajayne Taylor (The Curse of Mary)
In our ascent we were often among the clouds hovering about the mountain, and for a while would be enveloped in fog and mist, or even rain, until we mounted above them into clear sunlight again.
Helen Josephine Sanborn (A Winter in Central America and Mexico)
You wouldn’t believe Morocco between Casablanca and Fez. The valleys are just splendid with green grass and flowers. The verdant land is singing the praises of its Maker, and so shall we in fullness when Jesus brings in the big springtime of His new world. This old world is such a mess when you get to know it: so much hatred in it, so much revenge, so much greed, and an almost endless supply of human foolishness. It makes it a mystery that we mortals cling to it with such strong fingers when we are really holding on to winter’s fog, mist, damp, rot, and mud. Lord, give me a longer view. Help me to see springtime in Your return.
C. John Miller (The Heart of a Servant Leader: Letters from Jack Miller)
Sometimes, I lean out my split-pane window that seems to be high off the ground, and I can hear the whistling wind stream through the leaves of the growth of trees, sometimes this reminds me about being in the garden and golden fields when my eyes are closed. But, when my eyes were open, I realized that it is just the wind rushing through the various hills and valleys of ‘The Land of Many Steeples.’ I do not know what it is… but there is just something about letting your hair blow in the breeze, which feels so amazing. I feel that it is just one of the amazing moments in time, which I have experienced. Oh, just the same can be said, about me standing in the rain, freely and naturally on a warm spring day, while I am filling the ground squish under my toes. Yes, likewise can be said for the winters when I come home from the hellhole, and see the fireplace with its warm glow, from outside the frost chilled arched windows of the tort section of the house that is part of the dwelling. ‘It is amazing also because I know that I will soon be warm and comfortable, and out of this uniform that labels me as one of them.’ In the wintertime, the snowdrifts, the pointed part of the roof along with the weathervane are covered in a blanket of white, ‘The Land of Many Steeples’ sparkles, and soft with an almost spooky light blue cast in the moonlight. The trees down the lane drip with ice like a crystal cave, but- yet we all carve a pathway down the road that leads to the hell and then back to the emptiness. Snow days are rare, but that does not matter to me either way because I cannot truly share it with anyone it seems, as you all know. So, would you be my friend if I asked you? Would you spend some time with me? Can I depend on you; I would be there for you! So, on any day in any weather condition, unless the fog is rising from the valley, I can see in the distance ‘The Land of Many Steeples’, a far cry from this country land, where the dwelling of lost and lonely dreams is upon. Then there are some days there are thunderstorms outside my window, and it takes me back to the past, like when I was in that dark room. I do not think anyone gets over their past, the past that haunts me, and a past that the tower uses against me. Yes, you can change your name. Change your hair, and change your style, but the words of slander will remain. The only thing I can do is find someone that does not care about what the words mean or say, or just plainly pray for it to all go away.
Marcel Ray Duriez (Nevaeh Struggle with Affections)
This is life seen by life. I may not have meaning but it is the same lack of meaning that the pulsing vein has. I want to write to you like someone learning. I deepen the words as if I were painting, more than an object, its shadow. I don’t want to ask why, you can always ask why and always get no answer—could I manage to surrender to the expectant silence that follows a question without an answer? Though I sense that some place or time the great answer for me does exist. And then I shall know how to paint and write, after the strange but intimate answer. Listen to me, listen to the silence. What I say to you is never what I say to you but something else instead. It captures the thing that escapes me and yet I live from it and am above a shining darkness. One instant athematic theme unfurls without a plan but geometric like the successive shapes in a kaleidoscope. I slowly enter my gift to myself, splendor ripped open by the final song that seems to be the first. I enter the writing slowly as I once entered painting. It is a world tangled up in creepers, syllables, woodbine, colors and words—threshold of an ancestral cavern that is the womb of the world and from it I shall be born. And if I often paint caves that is because they are my plunge into the earth, dark but haloed with brightness, and I, blood of nature— extravagant and dangerous caves, talisman of the Earth, where stalactites, fossils and rocks come together, and where the animals mad by their own malign nature seek refuge. The caves are my hell. Forever dreaming cave with its fogs, memory or longing? eerie, eerie, esoteric greenish with the slime of time. All is weighted with sleep when I paint a cave or write to you about it—from outside it comes the clatter of dozens of wild horses stamping with dry hoofs the darkness, and from the friction of the hoofs the rejoicing is freed in sparks: here I am, I and the cave, in the very time that will rot us. I want to put into words but without description the existence of the cave that some time ago I painted—and I don’t know how. Only by repeating its sweet horror, cavern of terror and wonders, place of afflicted souls, winter and hell, unpredictable substratum of the evil that is inside an earth that is not fertile. I call the cave by its name and it begins to live with its miasma. I then fear myself who knows how to paint the horror, I, creature of echoing caverns that I am, and I suffocate because I am word and also its echo.
Clarice Lispector (Água Viva)
Zurich in winter is often smothered in fog and low clouds for months on end. Prevailing winds from the north ram the clouds coming in from the Atlantic against the wall of the Alps, and there they stick. Gray day after gray day, in a gray city by a gray lake, split by a gray river.
Kim Stanley Robinson (The Ministry for the Future)
Cathedral of Light by Stewart Stafford The wintry grey forest branches, Embrace freezing fog as build, Backlit by the pushy noon sun, Revealing a cathedral of light. An air frost of transient structure, Reprieve from a hangman's bloom, Naked limbs greeted the icy cover, The looming cape of ersatz foliage. Tongues of wind scatter the pop-up, Six sheep in a straight line saw it off, A still and sunny afternoon followed, Frozen matinee fades another day. © Stewart Stafford, 2023. All rights reserved.
Stewart Stafford
It was splendid to have four seasons. The first summer produced so many hours of both beaming sun and bellowing rain that it seemed to add up to more than twenty-four hours in a day. Everything was green as a fairytale. Autumn was sharp and red, the sloping fields half-hidden in the morning by white fog. In the evenings, unseen bonfires scented the air as crickets shrilled their goodbyes to the heat. In the winter, it snowed with such thorough confidence that it seemed white Christmases must be the norm (they weren’t). And just when Mór and Niall had grown bored of hiding from the cold in the farmhouse, spring ferns uncurled in the forest, crocuses peeped out from under the newly repaired porch, and a new year’s sky washed clear and fresh-faced above.
Maggie Stiefvater (Greywaren (Dreamer Trilogy, #3))
your paddy ridden field in baishak is my soul’s stamp – not the heart’s in the winter fog i exhale smoke - not a cigarette's in bed bereft of a woman i masturbate early in the morning in whose tummy will my child arrive one for which i will provide two morsels of rice? without a party flag i have been surviving without the love of a woman i have been surviving in order to listen to rabindranath’s songs at twelve thirty in the afternoon sun i have been surviving no i never wanted to be rabindranath never ever i have never wanted to love sumita never ever had never wanted her body have never wanted mita’s body had only wanted her love but nothing happened to me but of course the khan army in bangladesh the US mines from the coast of tonkin and the CRPF hiding behind the sand bags in kolkata have left the china nixon treaty has been signed white black America has sent
Falguni Roy
All over the world for a hundred years, almost, there have been people reading Dickens. In town and in country, at home and abroad, in winter with the candles lighted and the outside world forgotten; in summer beneath a shadowing tree or in a sheltered corner of the beach; in garret bedrooms, in frontier cabins, in the light of the camp fire and in the long vigil of the sickroom — people reading Dickens. And everywhere the mind enthralled, absorbed, uplifted; the anxieties of life, the grind of poverty, the loneliness of bereavement, and the longings of exile, forgotten, conjured away, as there arises from the magic page the inner vision of the lanes and fields of England, and on the ear the murmured sounds of London, the tide washing up the Thames, and the fog falling upon Lincoln's Inn.
Stephen Leacock (The Pursuit of Knowledge: A Discussion of Freedom and Compulsion in Education)
To the Grass of Autumn” You could never believe it would come to this one still morning when before you noticed the birds already were all but gone even though year upon year the rehearsal of it must have surprised your speechless parents and unknown antecedents long ago gathered to dust and though even the children have been taught how to say the word withereth no you were known to be cool and countless the bright vision on all the green hills rippling in unmeasured waves through the days in flower now you are as the fog that sifts among you gray in the chill daybreak the voles scratch the dry earth around your roots hoping to find something before winter and when the white air stirs you whisper to yourselves without expectation or the need to know September 18, 2001
W.S. Merwin (Present Company)
It was a midnight winter's dream. No sound was to be heard. Only fog, and the oldest sound of history exist, that time. In my careless hair, a poem has hidden the world a child. It would not, be a dreamer, an author or name. It is someone, who has lost her identity, forever. But in winter, a night tells a story of one tale, and children listen, listen and listen because I, have nothing, to say.
Petra Hermans (Voor een betere wereld)
Dressed for the minus-thirty-degree temperatures at high altitude (wool underwear, two pairs of wool socks, a wool sweater, a brown leather jacket lined with sheep’s wool, and heavy trousers), Roane crossed the cold, fog-ridden airfield and gathered with the other pilots and aircrews in the huge Nissen hut used for briefings.
Neal Bascomb (The Winter Fortress: The Epic Mission to Sabotage Hitler's Atomic Bomb)
Winter comes, you wait for summer; summer comes, you wait for winter! You wait to retire, you wait for the government to change, you wait for the storm to pass, the fog to clear and the sun to come out, and you wait and wait! Don't wait, my friend, aren't you tired of waiting? You've grown old waiting! Live without waiting, leave the winter, the fog, this and that, don't wait!
Mehmet Murat ildan
In summer, there is no snow on the mountain, except perhaps for the very top or in crags shielded from direct sunlight. In the fall, the mountain may display a coat of brilliant fire colors; in winter, a blanket of snow and ice. In any season, it may at times find itself enshrouded in clouds or fog, or pelted by freezing rain. The tourists who come to visit may be disappointed if they can't see the mountain clearly, but it's all the same to the mountain - seen or unseen, in sun or clouds, broiling or frigid, it just sits, being itself. At times visited by violent storms, buffeted by snow and rain and winds of unthinkable magnitude, through it all the mountain sits. Spring comes, the birds sing in the trees once again, leaves return to the trees which lost them, flowers bloom in the high meadows and on the slopes, streams overflow with waters of melting snow. Through it all, the mountain continues to sit, unmoved by the weather, by what happens on the surface, by the world of appearances.
Jon Kabat-Zinn (Wherever You Go, There You Are: Mindfulness Meditation in Everyday Life)
So laced and lush is this ecosystem that we walk our several miles through it today without making a footfall, only scuffs. Carol tells me that these Olympic rain forests and the rough coast to their west provide her the greatest calm of any place she has been. That she can walk in this rain forest and only be walking in this rain forest, moving in simple existence. Surprising, that, because neither of us thinks we are at all mystic. Perhaps, efficient dwellers we try to be, we simply admire the deft fit of life systems in the rain forest. The flow of growth out of growth, out of death . . . I do not quite ease off into beingness as she can. Memories and ideas leap to mind. I remember that Callenbach’s young foresters of Ecotopia would stop in the forest to hug a fir and murmur into its bark, brother tree. . . . This Hoh forest is not a gathering of brothers to humankind, but of elders. The dampness in the air, patches of fog snagged in the tree tops above, tells me another story out of memory, of having read of a visitor who rode through the California redwood forest in the first years of this century. He noted to his guide that the sun was dissipating the chilly fog from around them. No, said the guide looking to canyon walls of wood like these, no, “The trees is drinkin’ it. That’s what they live on mostly. When they git done breakfast you’ll git warm enough.” For a time, the river seduces me from the forest. This season, before the glacier melt begins to pour from the Olympic peaks, the water of the Hoh is a painfully lovely slate blue, a moving blade of delicate gloss. The boulder-stropped, the fog-polished Hoh. Question: why must rivers have names? Tentative answer: for the same reason gods do. These Peninsula rivers, their names a tumbled poem of several tongues—Quinault, Quillayute, Hoh, Bogashiel, Soleduck, Elwha, Dungeness, Gray Wolf—are as holy to me as anything I know. Forest again. For comparison’s sake I veer from the trail to take a look at the largest Sitka spruce along this valley bottom. The Park Service has honored it with a sign, giving the tree’s dimensions as sixteen feet four inches in diameter, one hundred eighty feet in height, but now the sign is propped against the prone body of the giant. Toppled, it lies like a huge extracted tunnel bore. Clambering onto its upper surface I find that the Sitka has burls, warts on the wood, bigger around than my body. For all that, I calculate that it is barely larger, if any, than the standard nineteenth-century target that Highpockets and his calendar crew are offhandedly devastating in my writing room. Evening, and west to Kalaloch through portals of sawed-through windfalls, to the campground next to the ocean. In fewer than fifty miles, mountain and ocean, arteried by this pulsing valley.
Ivan Doig (Winter Brothers: A Season at the Edge of America)
Rising through the winter fog, spring is already here. And if I could have one wish come true, I'd wish that I could live inside the heart of spring and fill the world with the flowers of love and peace.
Bhuwan Thapaliya
When I had arrived home and learned of this terrible series of events, I had immediately set out for the Hawk’s Keep. I had started that ride in a fog of denial, refusing to acknowledge that my brother was dead, refusing to believe that the burden of the roal seat had fallen to me so suddenly at the age of sixteen. The hours had turned my thoughts from disbelief to mad fury. I had scaled the walls of the Hawk’s Keep, intent on murder, and stumbled into the room of Danica Shardae. And there, I think I fell in love. As I beheld the avian princess sleeping so innocently, her cheek marked by a new cut--probably by one of my own people’s blades--my hatred died, leaving only a desperate desire for peace in its wake. When the mad suggestion was made last winter that taking the enemy queen as my mate could end the war, it had almost seemed like fate. It had not been easy to bridge the gaps between us, but together we had managed. Fate had given me many gifts. Danica Shardae was the one for which I would forever be most grateful.
Amelia Atwater-Rhodes (Snakecharm (The Kiesha'ra, #2))
ship built by English settlers in the New World. In 1607, at the mouth of the Kennebec River in Maine, the Plymouth Company erected a short-lived fishing settlement. A London shipwright named Digby organized some settlers to construct a small vessel with which to return them home to England, as they were homesick and disenchanted with the New England winters. The small craft was named, characteristically, the Virginia. She was evidently a two-master and weighed about thirty tons, and she transported furs, salted cod, and tobacco for twenty years between various ports along the Maine coast, Plymouth, Jamestown, and England. She is believed to have wrecked somewhere along the coast of Ireland.6 By the middle of the seventeenth century, shipbuilding was firmly established as an independent industry in New England. Maine, with its long coastline and abundant forests, eventually overtook even Massachusetts as the shipbuilding capital of North America. Its most western town, Kittery, hovered above the Piscataqua. For many years the towns of Kittery and Portsmouth, and upriver enclaves like Exeter, Newmarket, Durham, Dover, and South Berwick, rivaled Bath and Brunswick, Maine, as shipbuilding centers, with numerous shipyards, blacksmith shops, sawmills, and wharves. Portsmouth's deep harbor, proximity to upriver lumber, scarcity of fog, and seven feet of tide made it an ideal location for building large vessels. During colonial times, the master carpenters of England were so concerned about competition they eventually petitioned Parliament to discourage shipbuilding in Portsmouth.7 One of the early Piscataqua shipwrights was Robert Cutts, who used African American slaves to build fishing smacks at Crooked Lane in Kittery in the 1650s. Another was William Pepperell, who moved from the Isle of Shoals to Kittery in 1680, where he amassed a fortune in the shipbuilding, fishing, and lumber trades. John Bray built ships in front of
Peter Kurtz (Bluejackets in the Blubber Room: A Biography of the William Badger, 1828-1865)
The winter had been fairly normal as far as winters went in Juneau. There had been plenty of snow. There had been a few unusually cold days, and even a few mild ones. The airport had endured a normal number of days where it was forced to close because of fog. Flights had been rerouted, passengers upset, and plans delayed, but eventually everything returned to normal. Spring even came, perhaps a little earlier than usual.
J.S. Green (Lost in the Shadows)
I had a wonderful book tour of the New England Coast and will write about some of my adventures during the remaining time of this week. The grip of winter refused to let go as I was welcomed to New England, however some of the trees already showed signs of budding. The weather swung between absolutely beautiful crisp sunny days and grim, cloudy skies with low hanging wet fog. Many of the stores and restaurants were still closed, however everyone was looking forward to nicer days ahead. Mainers treated me as the wayward son of Maine that lost his way and wound up in Florida. Since this frequently happens I was usually forgiven and made to feel at home in our countries most northeastern state. I left copies of my books at many libraries and bookstores and although I didn’t intend to sell books I did bring home many orders. Needless to say it didn’t take long before all the samples I had were gone. In my time on the road I distributed over 250 copies of “Salty & Saucy Maine” and 150 copies of “Suppressed I Rise.” I even sold my 2 samples of “The Exciting Story of Cuba” and “Seawater One.” Every one of my business cards went and I freely distributed over 1,000 bookmarks. Lucy flew with Ursula and I to Bradley Airport near Hartford, CT. From there we drove to her son’s home in Duxbury, MA. The next day we visited stores in Hyannis and Plymouth introducing my books. I couldn’t believe how nice the people were since I was now more a salesman than a writer. The following day Ursula and I headed north and Lucy went to Nantucket Island where she has family. For all of us the time was well spent. I drove as far as Bar Harbor meeting people and making new friends. Today I filled a large order and ordered more books. I haven’t figured out if it’s work or fun but it certainly keeps me busy. I hope that I can find the time to finish my next book “Seawater Two.
Hank Bracker
Few records exist to establish a definitive date as to when the first ships were built in the Piscataqua region. Fishing vessels were probably constructed as early as 1623, when the first fishermen settled in the area. Many undoubtedly boasted a skilled shipwright who taught the fishermen how to build “great shallops”as well as lesser craft. In 1631 a man named Edward Godfrie directed the fisheries at Pannaway. His operation included six large shallops, five fishing boats, and thirteen skiffs, the shallops essentially open boats that included several pairs of oars, a mast, and lug sail, and which later sported enclosed decks.5 Records do survive of the very first ship built by English settlers in the New World. In 1607, at the mouth of the Kennebec River in Maine, the Plymouth Company erected a short-lived fishing settlement. A London shipwright named Digby organized some settlers to construct a small vessel with which to return them home to England, as they were homesick and disenchanted with the New England winters. The small craft was named, characteristically, the Virginia. She was evidently a two-master and weighed about thirty tons, and she transported furs, salted cod, and tobacco for twenty years between various ports along the Maine coast, Plymouth, Jamestown, and England. She is believed to have wrecked somewhere along the coast of Ireland.6 By the middle of the seventeenth century, shipbuilding was firmly established as an independent industry in New England. Maine, with its long coastline and abundant forests, eventually overtook even Massachusetts as the shipbuilding capital of North America. Its most western town, Kittery, hovered above the Piscataqua. For many years the towns of Kittery and Portsmouth, and upriver enclaves like Exeter, Newmarket, Durham, Dover, and South Berwick, rivaled Bath and Brunswick, Maine, as shipbuilding centers, with numerous shipyards, blacksmith shops, sawmills, and wharves. Portsmouth's deep harbor, proximity to upriver lumber, scarcity of fog, and seven feet of tide made it an ideal location for building large vessels. During colonial times, the master carpenters of England were so concerned about competition they eventually petitioned Parliament to discourage shipbuilding in Portsmouth.7 One of the early Piscataqua shipwrights was Robert Cutts, who used African American slaves to build fishing smacks at Crooked Lane in Kittery in the 1650s. Another was William Pepperell, who moved from the Isle of Shoals to Kittery in 1680, where he amassed a fortune in the shipbuilding, fishing, and lumber trades. John Bray built ships in front of the Pepperell mansion as early as 1660, and Samuel Winkley owned a yard that lasted for three generations.8 In 1690, the first warship in America was launched from a small island in the Piscataqua River, situated halfway between Kittery and Portsmouth. The island's name was Rising Castle, and it was the launching pad for a 637-ton frigate called the Falkland. The Falkland bore fifty-four guns, and she sailed until 1768 as a regular line-of-battle ship. The selection of Piscataqua as the site of English naval ship construction may have been instigated by the Earl of Bellomont, who wrote that the harbor would grow wealthy if it supplemented its export of ship masts with “the building of great ships for H.M. Navy.”9 The earl's words underscore the fact that, prior to the American Revolution, Piscataqua's largest source of maritime revenue came from the masts and spars it supplied to Her Majesty's ships. The white oak and white pine used for these building blocks grew to heights of two hundred feet and weighed upward of twenty tons. England depended on this lumber during the Dutch Wars of the
Peter Kurtz (Bluejackets in the Blubber Room: A Biography of the William Badger, 1828-1865)
One attraction in coming to the woods to live was that I should have leisure and opportunity to see the Spring come in. The ice in the pond at length begins to be honeycombed, and I can set my heel in it as I walk. Fogs and rains and warmer suns are gradually melting the snow; the days have grown sensibly longer; and I see how I shall get through the winter without adding to my wood-pile, for large fires are no longer necessary. I am on the alert for the first signs of spring, to hear the chance note of some arriving bird, or the striped squirrel’s chirp, for his stores must be now nearly exhausted, or see the woodchuck venture out of his winter quarters. On the 13th of March, after I had heard the bluebird, song sparrow, and red-wing, the ice was still nearly a foot thick.
Henry David Thoreau (Walden)