Icy Song Quotes

I...I sang," she whispered, "if that matters," and Karou felt her heart pulled to pieces. This Misbegotten warrior, fiercest of them all, had crouched in an icy stream bed to sing a chimera soul into her canteen, because she hadn't known what else to do. The singing wouldn't have mattered, but she wasn't going to tell Liraz that. If Ziri's soul was in that canteen, Karou would happily learn whatever song Liraz had sung and make it part of her resurrection ritual forever, just so that the angel would never feel that she'd been foolish.

They loved me, taught me,
and encouraged me.
A safe place to be on Sunday morning,  and a nice place to meet God.

Blow on, ye death fraught whirlwinds! blow, Around the rocks, and rifted caves; Ye demons of the gulf below! I hear you, in the troubled waves. High on this cliff, which darkness shrouds In night's impenetrable clouds, My solitary watch I keep, And listen, while the turbid deep Groans to the raging tempests, as they roll Their desolating force, to thunder at the pole. Eternal world of waters, hail! Within thy caves my Lover lies; And day and night alike shall fail Ere slumber lock my streaming eyes. Along this wild untrodden coast, Heap'd by the gelid' hand of frost; Thro' this unbounded waste of seas, Where never sigh'd the vernal breeze; Mine was the choice, in this terrific form, To brave the icy surge, to shiver in the storm. Yes! I am chang'd - My heart, my soul, Retain no more their former glow. Hence, ere the black'ning tempests roll, I watch the bark, in murmurs low, (While darker low'rs the thick'ning' gloom) To lure the sailor to his doom; Soft from some pile of frozen snow I pour the syren-song of woe; Like the sad mariner's expiring cry, As, faint and worn with toil, he lays him down to die. Then, while the dark and angry deep Hangs his huge billows high in air ; And the wild wind with awful sweep, Howls in each fitful swell - beware! Firm on the rent and crashing mast, I lend new fury to the blast; I mark each hardy cheek grow pale, And the proud sons of courage fail; Till the torn vessel drinks the surging waves, Yawns the disparted main, and opes its shelving graves. When Vengeance bears along the wave The spell, which heav'n and earth appals; Alone, by night, in darksome cave, On me the gifted wizard calls. Above the ocean's boiling flood Thro' vapour glares the moon in blood: Low sounds along the waters die, And shrieks of anguish fill the' sky; Convulsive powers the solid rocks divide, While, o'er the heaving surge, the embodied spirits glide. Thrice welcome to my weary sight, Avenging ministers of Wrath! Ye heard, amid the realms of night, The spell that wakes the sleep of death. Where Hecla's flames the snows dissolve, Or storms, the polar skies involve; Where, o'er the tempest-beaten wreck, The raging winds and billows break; On the sad earth, and in the stormy sea, All, all shall shudd'ring own your potent agency. To aid your toils, to scatter death, Swift, as the sheeted lightning's force, When the keen north-wind's freezing breath Spreads desolation in its course, My soul within this icy sea, Fulfils her fearful destiny. Thro' Time's long ages I shall wait To lead the victims to their fate; With callous heart, to hidden rocks decoy, And lure, in seraph-strains, unpitying, to destroy.

I run to the high mountains I pour my heart out to the skies I sing of the summer song While the sky above dance in the yellow light. The cool breeze fools the sun above Takes a run, wins the mighty fight. Your light then comes to me with warmth, A view my heart wants. Love to me is the song you write. The tricks you play with the endless sky And with the icy wind you find a disguise. You burn me like sun that burns up In the blue abyss. With the ink of my emotions You write a song of Fire and Ice.

We stumbled on in the darkness, over big stones and through large puddles, along the one road leading from the camp. The accompanying guards kept shouting at us and driving us with the butts of their rifles. Anyone with very sore feet supported himself on his neighbor's arm. Hardly a word was spoken; the icy wind did not encourage talk. Hiding his mouth behind his upturned collar, the man marching next to me whispered suddenly: "If our wives could see us now! I do hope they are better off in their camps and don't know what is happening to us." That brought thoughts of my own wife to mind. And as we stumbled on for miles, slipping on icy spots, supporting each other time and again, dragging one another up and onward, nothing was said, but we both knew: each of us was thinking of his wife. Occasionally I looked at the sky, where the stars were fading and the pink light of the morning was beginning to spread behind a dark bank of clouds. But my mind clung to my wife's image, imagining it with an uncanny acuteness. I heard her answering me, saw her smile, her frank and encouraging look. Real or not, her look was then more luminous than the sun which was beginning to rise. A thought transfixed me: for the first time in my life I saw the truth as it is set into song by so many poets, proclaimed as the final wisdom by so many thinkers. The truth – that love is the ultimate and the highest goal to which man can aspire. Then I grasped the meaning of the greatest secret that human poetry and human thought and belief have to impart: The salvation of man is through love and in love. I understood how a man who has nothing left in this world still may know bliss, be it only for a brief moment, in the contemplation of his beloved. In a position of utter desolation, when man cannot express himself in positive action, when his only achievement may consist in enduring his sufferings in the right way—an honorable way—in such a position man can, through loving contemplation of the image he carries of his beloved, achieve fulfillment. For the first time in my life I was able to understand the meaning of the words, "The angels are lost in perpetual contemplation of an infinite glory.

Hearing wulfen howl is... well, it's horrible. The sound is glassy, hovering at the upper ranges of hearing, and it's full of paws on snow and running with the icy wind hitting the back of your throat like stares. Underneath the glassy edge is the song of flesh ripped apart, the sweetness of hot blood, and the savagery of crunching bones with sharp teeth. The worst part is how it climbs into your brain, pressing itself like a hard sharpness into the soft folds, and drags open the doors socialization slams shut to keep the howling ravening thing down inside down and tame. The thing on four clawed legs that lives in all of us.

Yet even so, Jon Snow was not sorry he had come. There were wonders here as well. He had seen sunlight flashing on icy thin waterfalls as they plunged over the lips of sheer stone cliffs, and a mountain meadow full of autumn wildflowers, blue coldsnaps and bright scarlet frostfires and stands of piper's grass in russet and gold. He had peered down ravines so deep and black they seemed certain to end in some hell, and he had ridden his garron over a wind-eaten bridge of natural stone with nothing but sky to either side. Eagles nested in the heights and came down to hunt the valleys, circling effortlessly on great blue-grey wings that seemed almost part of the sky.

As our ship tumbled, free-falling through the eye of a saltwater cyclone, the nine giant maidens spiraled around us, weaving in and out of the tempest so they appeared to drown over and over again. Their faces contorted in anger and glee. Their long hair lashed us with icy spray. Each time they emerged, they wailed and shrieked, but it wasn’t just random noise. Their screams had a tonal quality, like a chorus of whale songs played through heavy feedback. I even caught snippets of lyrics: boiling mead...wave daughters...death for you! It reminded me of the first time Halfborn Gunderson played Norwegian black metal for me. After a few bars, it dawned on me...Oh, wait. That’s supposed to be music!

As far off as an icy glare is from summer laughter – as 'Once upon a time' is from 'Happy ever after' As far off as the brutal truth is from prose gone purple, as far away as death from birth unless life is a circle –

O wind, songs have ye in her name? Plucked her did ye from midnight blasted millyard winds and made her renown ring in stone and brick and ice? Hard implacable bridges of iron cross her milk of brows? God bent from his steel arc welded her a hammer of honey and of balm? The rutted mud of hardrock Time . . . was it wetted, springified, greened, blossomied for me to grow in nameless bloodied lutey naming of her? Wood on cold trees would her coffin bare? Keys of stone rippled by icy streaks would ope my needy warm interiors and make her eat the soft sin of me? No iron bend or melt to make my rocky travail ease--I was all alone, my fate was banged behind an iron door, I'd come like butter looking for Hot Metals to love, I'd raise my feeble orgone bones and let them be rove and split the half and goop the big sad eyes to see it and say nothing. The laurel wreath is made of iron, and thorns of nails; acid spit, impossible mountains, and incomprehensible satires of blank humanity--congeal, cark, sink and seal my blood--

Pourquoi promenez-vous ces spectres de lumière Devant le rideau noir de nos nuits sans sommeil, Puisqu'il faut qu'ici-bas tout songe ait son réveil, Et puisque le désir se sent cloué sur terre, Comme un aigle blessé qui meurt dans la poussière, L'aile ouverte, et les yeux fixés sur le soleil ?

When Sally stopped crying, she found herself alone, the cold draft of the window at her neck, and on both sides, the rows of doors went on and on, diminishing to nothing, the end. 'What fun it is to ride and sing a sleighing song tonight, oh.' What glories. Mathilde came. And though she appeared to be the... same sweet girl Sally had been afraid of, she was not. Sally saw the flint in her. Mathilde can save Lotto from his own laziness, Sally thought. But here they were, a year later, and he was still ordinary. The chorus caught in her throat. A stranger hurrying as fast as he could over the icy sidewalks looked in. He saw a circle of singing people bathed in the clean, white light from a tree, and his heart did a soumersault. And the image stayed with him, it merged with him even as he came home to his own children, who were already asleep in their beds, to his wife crossly putting together the tricycle without the screwdriver he'd run out to borrow. It remained long after his children ripped open their gifts and abandoned their toys and puddles of paper and grew too old for them and left their house and parents and childhoods, so that he and his wife gaped at each other in bewilderment as to how it had happened so terribly swiftly. All those years, the singers in the soft light in the basement apartment crystalized in his mind, became the very idea of what happiness should look like.

It is about two sisters who live in a snowy place and one of them goes icy in her soul. It is based on a fairy tale. Now, the fairy tale is dark and stabby like this alley, but in the movie version there is a talking snowman and there are songs we love to sing. We are singing the one now where icy girl is alone on a snowy hill lamenting that she is icy in her heart. She wants to change but she cannot. Because her heart has turned to ice.

I scrambled onto the bed, lunging for him, feeling what was his arm, then his stomach, then his shoulders. His skin was freezing as I gripped his shoulders and shouted his name. No response, and I slid a hand up his neck, to his mouth- to make sure he was still breathing, that this wasn't his power floating away from him- Icy breath hit my palm. And bracing myself, I rose up on my knees, aiming blindly and slapping him. My palm stung- but he didn't move. I hit him again, pulling on that bond between us, shouting his name down it like it was a tunnel, banging on that wall of ebony adamant within his mind, roaring at it. A crack in the dark. And then his hands were on me, flipping me, pinning me with expert skill to the mattress, a taloned hand at my throat. I went still. 'Rhysand.' I breathed. Rhys, I said, through the bond, putting a hand against that inner shield. The dark shuddered. I threw my own power out- black to black, soothing his darkness, the rough edges, willing it to calm, to soften. My darkness sang his own a lullaby, a song my wet nurse had hummed when my mother had shoved me into her arms to go back to attending parties. 'It was a dream,' I said. His hand was so cold. 'It was a dream.' Again, the dark paused. I sent my own veils of night brushing up against it, running star-flecked hands down it. And for a heartbeat, the inky blackness cleared enough that I saw his face above me: drawn, lips pale, violet eyes wide- scanning. 'Feyre,' I said. 'I'm Feyre.' His breathing was jagged, uneven. I gripped the wrist that held my throat- held, but didn't hurt. 'You were dreaming.' I willed that darkness inside myself to echo it, to sing those raging fears to sleep, to brush up against that ebony wall within his mind, gentle and soft... Then, like snow shaken from a tree, his darkness fell away, taking mine with it. Moonlight poured in- and the sounds of the city.

La pensée de la mort Vivre au milieu de ce dédale de ruelles, de besoins, de voix suscite en moi un bonheur mélancolique : que de jouissance, d'impatience, de désir, que de vie assoiffée et d'ivresse de vivre se révèle ici à chaque instant ! Et pourtant tous ces êtres bruyants, vivants, assoiffés de vie plongeront bientôt dans un tel silence ! Comme chacun est suivi par son ombre, le sombre compagnon qu'il emmène avec lui ! Il en est toujours comme à l'ultime moment avant le départ d'un navire d'émigrants : on a plus de choses à se dire que jamais, l'heure presse, l'océan et son mutisme désolé attend, impatient, derrière tout ce bruit–si avide, si sûr de tenir sa proie. Et tous, tous pensent que le temps écoulé jusqu'alors n'est rien ou peu de chose, que le proche avenir est tout : d'où cette hâte, ces cris, cet étourdissement de soi-même, cette duperie de soi-même ! Chacun veut être le premier dans cet avenir,–et pourtant c'est la mort et le silence de mort qui est l'unique certitude et le lot commun à tous dans cet avenir ! Qu'il est étrange que cette unique certitude et ce lot commun n'aient presque aucun pouvoir sur les hommes et qu'ils soient à mille lieues de se sentir comme une confrérie de la mort ! Cela me rend heureux de voir que les hommes ne veulent absolument pas penser la pensée de la mort ! J'aimerais contribuer en quelque manière à leur rendre la pensée de la vie encore cent fois plus digne d'être pensée.

More extraordinary than all this to David, however, was the fact that these people regarded HIM, not themselves, as being strange. As if it were not the most natural thing in the world to live with one's father in one's home on the mountain-top, and spend one's days trailing through the forest paths, or lying with a book beside some babbling little stream! As if it were not equally natural to take one's violin with one at times, and learn to catch upon the quivering strings the whisper of the winds through the trees! Even in winter, when the clouds themselves came down from the sky and covered the earth with their soft whiteness,—even then the forest was beautiful; and the song of the brook under its icy coat carried a charm and mystery that were quite wanting in the chattering freedom of summer. Surely there was nothing strange in all this, and yet these people seemed to think there was!

And at the center of the room, a girl. A woman. She sits at the klavier with eyes closed, playing their song. Their story. Elisabeth. Her image flickers, wavers, a reflection seen on the edges of a candle flame. The shadows wriggle and writhe with curiosity, and with tremendous effort, the monster holds them back. Please, he whispers. Please, let me have this one thing. As he plays, the darkness recedes. From his skin, from his hair, the weight of the rams' horns on his head lightening. Color returns to the world and to his eyes, a mismatched blue and green as the monster remembers what it is to be a man. Elisabeth. He sits down on the bench beside her, begging her- beseeching her- to open her eyes and see him. Be with him. But she keeps her eyes closed, hands trembling on the keyboard. Elisabeth. She stirs. He sucks in a sharp breath and lifts his hand to stroke her cheek with fingers that are still mangled, broken, strange. His touch passes through her like a knife through smoke, yet she shivers as if she can feel the brush of his fingers in the dark places of her soul, her body, her heart. She is as insubstantial as mist, but he cannot resist the urge, the itch, to kiss. He closes his eyes and leans in close, imagining the silk of her skin against his lips. They are met. A gasp. His eyes fly open but hers are still closed. Her hand lifts to her mouth, as though the tingle of their unexpected caress still lingered there. "Mein Herr," she sighs. "Oh, mein Herr." I'm here, he says. Look at me. Be with me. See me. Call me by name. Yet when she opens her eyes, she stares through him, not at him. The darkness hisses and crawls, the shushing sound of branches in an icy wind. She drops her head into her hands, her shoulders hunched, and the sound of her crying is more bitter than even the coldest winter night. No! he cries. He wants to comfort and caress her, but he cannot hold her, cannot touch her. He is a ghost in her mind, voiceless, silent, and incorporeal.

I became expert at making myself invisible. I could linger two hours over a coffee, four over a meal, and hardly be noticed by the waitress. Though the janitors in Commons rousted me every night at closing time, I doubt they ever realized they spoke to the same boy twice. Sunday afternoons, my cloak of invisibility around my shoulders, I would sit in the infirmary for sometimes six hours at a time, placidly reading copies of Yankee magazine ('Clamming on Cuttyhunk') or Reader's Digest (Ten Ways to Help That Aching Back!'), my presence unremarked by receptionist, physician, and fellow sufferer alike. But, like the Invisible Man in H. G. Wells, I discovered that my gift had its price, which took the form of, in my case as in his, a sort of mental darkness. It seemed that people failed to meet my eye, made as if to walk through me; my superstitions began to transform themselves into something like mania. I became convinced that it was only a matter of time before one of the rickety iron steps that led to my room gave and I would fall and break my neck or, worse, a leg; I'd freeze or starve before Leo would assist me. Because one day, when I'd climbed the stairs successfully and without fear, I'd had an old Brian Eno song running through my head ('In New Delhi, 'And Hong Kong,' They all know that it won't be long...'), I now had to sing it to myself each trip up or down the stairs. And each time I crossed the footbridge over the river, twice a day, I had to stop and scoop around in the coffee-colored snow at the road's edge until I found a decent-sized rock. I would then lean over the icy railing and drop it into the rapid current that bubbled over the speckled dinosaur eggs of granite which made up its bed - a gift to the river-god, maybe, for safe crossing, or perhaps some attempt to prove to it that I, though invisible, did exist. The water ran so shallow and clear in places that sometimes I heard the dropped stone click as it hit the bed. Both hands on the icy rail, staring down at the water as it dashed white against the boulders, boiled thinly over the polished stones, I wondered what it would be like to fall and break my head open on one of those bright rocks: a wicked crack, a sudden limpness, then veins of red marbling the glassy water. If I threw myself off, I thought, who would find me in all that white silence? Might the river beat me downstream over the rocks until it spat me out in the quiet waters, down behind the dye factory, where some lady would catch me in the beam of her headlights when she pulled out of the parking lot at five in the afternoon? Or would I, like the pieces of Leo's mandolin, lodge stubbornly in some quiet place behind a boulder and wait, my clothes washing about me, for spring?

Rider's head snapped up at the sound of gravel crunching under Willow's boots. The sight of the girl in boy's garb birthed an oath. Beneath her cotton shirt, her breasts bounced freely with each step. And within the tight mannish pants, her hips swung in an unconscious rhythm, clearly proclaiming her all woman. Hell, she might as well be naked! His body's reaction was immediate. Cursing his lack of control, he turned sideways, facing her horse, and pretended to adjust the saddle straps. Willow took Sugar's reins and waited for Rider to move aside. He didn't budge an inch. Instead, he tipped his hat back on his head, revealing undisguised disapproval. "Is that the way you always dress?" he bit out. Willow stiffened, immediately defensive. Criticizing herself was one thing; putting up with Sinclair's disdain was another! "If you were expecting a dress, you're crazy!" she snapped. "It would be suicide in this country." "Haven't you ever heard of riding skirts?" "Yes. I'm not as dumb as you seem to think. But fancy riding skirts cost money I don't have. 'Sides, pants are a hell of a lot more useful on the ranch than some damn riding skirt! Now, if you're done jawing about my clothes, I'd like to get a move on before dark." "Somebody ought to wash that barnyard mouth of yours,woman." Willow rested her hand on her gun. "You can try, if you dare." As if I'd draw on a woman, Rider cursed silently, stepping out of her way. As she hoisted herself into the saddle, he was perversely captivated by the way the faded demin stretched over her round bottom. He imagined her long slender legs wrapped around him and how her perfect heart-shaped buttocks would fill his hands and...Oh,hell, what was he doing standing here, gaping like some callow youth? Maybe the girl was right.Maybe he was crazy. One moment he was giving the little witch hell for wearing men's pants; the next he was ogling her in them. He started to turn away, then reached out and gave her booted ankle an angry jerk. "Now what?" Icy turquoise eyes met his, dark and searing. "Do you have any idea what you look like in that get-up? No self-respecting lady would dress like that. It's an open invitation to a man. And if you think that gun you're wearing is going to protect you, you're badly mistaken." Willow gritted her teeth in mounting ire. "So what's it to you, Sinclair? You ain't my pa and you ain't my brother. Hell,my clothes cover me just as good as yours cover you!" She slapped his hand from her ankle, jerked Sugar around, and spurred the mare into a brisk gallop. Before the fine red dust settled, Rider was on his horse, racing after her. Dammit, she's right.Why should I care how she dresses? Heaven knows it certainly has no bearing on my mission. No, agreed a little voice in his head, but it sure is distacting as hell! He'd always prided himself on his cool control; it had saved his backside more than once. But staying in any kind of control around Willow Vaughn was like trying to tame a whimsical March wind-impossible!

JEANNE ENDORMIE. - III Jeanne dort; elle laisse, ô pauvre ange banni, Sa douce petite âme aller dans l'infini; Ainsi le passereau fuit dans la cerisaie; Elle regarde ailleurs que sur terre, elle essaie, Hélas, avant de boire à nos coupes de fiel, De renouer un peu dans l'ombre avec le ciel. Apaisement sacré ! ses cheveux, son haleine, Son teint, plus transparent qu'une aile de phalène, Ses gestes indistincts, son calme, c'est exquis. Le vieux grand-père, esclave heureux, pays conquis, La contemple. Cet être est ici-bas le moindre Et le plus grand; on voit sur cette bouche poindre Un rire vague et pur qui vient on ne sait d'où; Comme elle est belle ! Elle a des plis de graisse au cou; On la respire ainsi qu'un parfum d'asphodèle; Une poupée aux yeux étonnés est près d'elle, Et l'enfant par moments la presse sur son coeur. Figurez-vous cet ange obscur, tremblant, vainqueur, L'espérance étoilée autour de ce visage, Ce pied nu, ce sommeil d'une grâce en bas âge. Oh ! quel profond sourire, et compris de lui seul, Elle rapportera de l'ombre à son aïeul ! Car l'âme de l'enfant, pas encor dédorée, Semble être une lueur du lointain empyrée, Et l'attendrissement des vieillards, c'est de voir Que le matin veut bien se mêler à leur soir. Ne la réveillez pas. Cela dort, une rose. Jeanne au fond du sommeil médite et se compose Je ne sais quoi de plus céleste que le ciel. De lys en lys, de rêve en rêve, on fait son miel, Et l'âme de l'enfant travaille, humble et vermeille, Dans les songes ainsi que dans les fleurs l'abeille.

The sun rises low - if it rises at all - and hovers close to the horizon, barely skirting the hilltops before losing heart and sinking once more into the icy abyss of night.

Evelyn belted out the song, her voice sliding across the notes like a car on an icy road.

They were also the tracks on which we channelled a love of Kraftwerk and Giorgio Moroder. Ian Curtis had first introduced us to the icy Germans, and that was quickly followed by an even greater admiration for Moroder, particularly his work with Donna Summer on ‘I Feel Love’ and his production of the wonderful Sparks track ‘Number One Song in Heaven’. His solo record E=MC2 became a big inspiration and definitely led us into ‘Temptation’. All we had to do was work out how they bloody did it.

RÉPONSES INTERROGATIVES À UNE QUESTION DE MARTIN HEIDEGGER La poésie ne rythmera plus l'action. Elle sera en avant. RIMBAUD. Divers sens étroits pourraient être proposés, compte non tenu du sens qui se crée dans le mouvement même de toute poésie objective, toujours en chemin vers le point qui signe sa justification et clôt son existence, à l'écart, en avant de l'existence du mot Dieu : -La poésie entraînera à vue l'action, se plaçant en avant d'elle. L'en-avant suppose toutefois un alignement d'angle de la poésie sur l'action, comme un véhicule pilote aspire à courte distance par sa vitesse un second véhicule qui le suit. Il lui ouvre la voie, contient sa dispersion, le nourrit de sa lancée. -La poésie, sur-cerveau de l’action, telle la pensée qui commande au corps de l'univers, comme l'imagination visionnaire fournit l'image de ce qui sera à l'esprit forgeur qui la sollicite. De là, l'enavant. -La poésie sera « un chant de départ ». Poésie et action, vases obstinément communicants. La poésie, pointe de flèche supposant l'arc action, l'objet sujet étroitement dépendant, la flèche étant projetée au loin et ne retombant pas car l'arc qui la suit la ressaisira avant chute, les deux égaux bien qu'inégaux, dans un double et unique mouvement de rejonction. -L'action accompagnera la poésie par une admirable fatalité, la réfraction de la seconde dans le miroir brûlant et brouillé de la première produisant une contradiction et communiquant le signe plus (+) à la matière abrupte de l’action. -La poésie, du fait de la parole même, est toujours mise par la pensée en avant de l'agir dont elle emmène le contenu imparfait en une course perpétuelle vie-mort-vie. -L'action est aveugle, c'est la poésie qui voit. L'une est unie par un lien mère-fils à 1'autre, le fils en avant de la mère et la guidant par nécessité plus que par amour. -La libre détermination de la poésie semble lui conférer sa qualité conductrice. Elle serait un être action, en avant de Faction. -La poésie est la loi, l'action demeure le phénomène. L'éclair précède le tonnerre, illuminant de haut en bas son théâtre, lui donnant valeur instantanée. -La poésie est le mouvement pur ordonnant le mouvement général. Elle enseigne le pays en se décalant. -La poésie ne rythme plus l'action, elle se porte en avant pour lui indiquer le chemin mobile. C'est pourquoi la poésie touche la première. Elle songe l'action et, grâce à son matériau, construit la Maison, mais jamais une fois pour toutes. _ La poésie est le moi en avant de l'en soi, « le poète étant chargé de l'Humanité » (Rimbaud). - La poésie serait de « la pensée chantée ». Elle serait l'œuvre en avant de Faction, serait sa conséquence finale et détachée. -La poésie est une tête chercheuse. L'action est son corps. Accomplissant une révolution ils font, au terme de celle-ci, coïncider la fin et le commencement. Ainsi de suite selon le cercle. -Dans l'optique de Rimbaud et de la Commune, la poésie ne servira plus la bourgeoisie, ne la rythmera plus. Elle sera en avant, la bourgeoisie ici supposée action de conquête. La poésie sera alors sa propre maîtresse, étant maîtresse de sa révolution; le signal du départ donné, l'action en-vue-de se transformant sans cesse en action voyant.

Hand in hand, my love, come away with me into the blackness— by the trunk of an old strong oak: I long to hold you all through the night and, knowing not of dawn, to not talk once— a pair of hands nightswept-earth…. Dawning starlight above splinters the sky to nerves— now's time for leaving: poised on the verge of shorelines burgeoning everything inside is raw and tingling…. Over the mountain in utter aloneness winds are blowing in a cold void…. Just a few promises I’d packed when I made my way east like a cloud torn from moorings always there've been those of us who sought their origins on the road — under an empty moon— and the origins of origins…. In electrical well-spring vision nuzzled in the bosom of hills on the roaming magnetic earth— far away though they are the cloud-river of stars configures over and over these visions of you…. Shaking off its dust— that glittering icy swirl abides…. On the roaming magnetic earth lying flat, my eyes shocked awake by the electric liquid light: chilling winds do not chill me I know no harm can hold me even a killing wound will only seep me back into the stars... be seeping out from me: in the float of her womb and cradled from the cold— that cradle-of-stars hanging the milky way…. Over the bay just-beginning—a cusp and crescent sliver—by the constellations paling fading…. Transient as I am from before and into after— like blue vapor, breath travels in a light from long ago… here though I knew she'd be to be here with her in scorn of all happenstance is more than a choice: a joy that's almost loss— lightning and paralysis…. The blue fire of delight flickers through sockets of her skull— so all the world knows not or pretends not to know: a person takes a lifetime to get to know but the thrill of remembrance when our eyes met was just one instant: it happens all the time….

Mist lies over the river like the icy breath of winter angels. Darkness gathers round... and it is beautiful. Thank you for this life, this death, whatever it is you are that makes us finally see.

D'une manière générale, la miniature persane - nous l'envisageons ici dans ses meilleures phases - ne cherche pas à représenter le monde extérieur tel qu'il s'offre communément aux sens, avec toutes ses dissonances et accidences. Ce qu'elle décrit indirectement ce sont les « essences immuables » (al-'ayân ath-thâbita) des choses qui font qu'un cheval ne représente pas seulement tel individu de son espèce mais le cheval par excellence, et de même par tout. C'est la qualité typique que l'art de la miniature cherche à capter. Si les « essences immuables », les archétypes des choses, ne peuvent pas être appréhender parce qu'elles sont supra-formelles, elles ne se reflètent pas moins dans l'imagination contemplative. D'où le caractère de songe - non de rêverie - propre aux plus belles miniatures : c'est un songe clair et transparent et comme illuminé de l'intérieur.

What happened, man?   Gerry and Ginsberg are cold, and dead, in the ground. Kesey’s stoned, and out of town. We’ve come to the end of the brotherhood song.   The children brandish knives upon each other’s throats, and their loaded 45’s sit snug in lunch boxes nestled safely between Oreo cookies and a ham sandwich.   Where are you now, oh ancient hipsters? Raggedy Beats beat down and broken wheel raggedy wheelchairs down ghostly geriatric wards. Where are you now, oh day-glow dreamers? Have you gotten off the bus and into your Mercedes? Did you get that second mortgage, and bear your fattened little babies? Where is that girl with flowers in her hair? Where is the man with revolution in his veins?   We ask ourselves “where did we go wrong?” But there is no we. There is you,  and then there is I. You do what you need to survive, And I do what I must to stay alive. We stand here Bleeding, slicing each other’s wrists With the icy ridges of hardened jagged hearts, Cassandra’s

Across the Fields   Soft and sensuous summer breeze That rustles the wheat fields Swaying to the rhythms of divinity Eternal song, susurration of the gods The lion that prowls the brush Quietly waiting in breathlessness For my body cool, a silk embrace A dying plaintive sibilant cry In the wilderness that is my mind Echoes of a winter wind An icy path across the chasm Our souls divided, thrown in tumult Then revived, enthralled, enchanted To the beat of rolling thunder A zephyr hurls the chill away The sun yields to the languid moon Darkness embraces us in rapture Our closeness protects against all foes Oneness melds the best together Into a precious alloy never to separate We are the promise of the gods

We were on top again. As always, again. We survived. The depths had been icy and dark, but now a bright sun spoke to our souls. I was no longer simply a member of the proud graduating class of 1940; I was a proud member of the wonderful, beautiful Negro race. Oh, Black known and unknown poets, how often have your auctioned pains sustained us? Who will compute the lonely nights made less lonely by your songs, or by the empty pots made less tragic by your tales? If we were a people much given to revealing secrets, we might raise monuments and sacrifice to the memories of our poets, but slavery cured us of that weakness. It may be enough, however, to have it said that we survive in exact relationship to the dedication of our poets (include preachers, musicians and blues singers).

In the cold of winter, the wind blows the snow off the ground and waves of white come sweeping across our tiny stretch of lawn and hit the house in sprinklings of icy snow. Invisible streams of air seep through the cracks of the old windows and the smell of our rice-scented home swims in the currents of cold. Outside, the sound of police sirens resonates in the rippling, urgent winter winds. In the warmth of spring, the wind transforms the empty parking lot by the corner Laundromat into a field of fallen petals as crab apple trees release their blooms and the hard pavement feels the soft brush of tender, ephemeral beauty. Wet rain falls into shattered concrete and the pools of black water lie still for the pink and white and red petals to swim in. The wind carries the voices of laughing children into our house as we watch the petals sway to and fro in the dark puddles across our street. In the heat of hot summer, the green grass grows while the yellow dandelions die, and in the wake of their demise the wind carries their spirits and their seeds across open lots, rotting houses, small yards, littered avenues, and everywhere there are little parachutes of pollen floating away. Late into the night, we listen to the voices of friends and neighbors talking outside on their porches, hear the clinking of cans, turn our heads toward their laughter and their tears, and the wind loses its appeal for a season because the pull of people grows strong across the fertile green.

prostrate to the father guru. I, the yogi Milarepa, From within the abiding nature will sing you a song. I’ll do a dance in the space free of true existence. Listen, assembly of mamos and dakinis. This reliance on confidence in cause and effect Is faith with which ordinary ones’ cannot compare. Staying alone in solitary places Is samadhi with which ordinary ones’ cannot compare. This resting evenly, free of perceiver and perceived, Is view with which ordinary ones’ cannot compare. This postmeditation that’s free of forgetting Is meditation with which ordinary ones’ cannot compare. This mindfulness without perceiver or perceived*3 Is conduct with which ordinary ones’ cannot compare. This union of compassion and emptiness Is fruition with which ordinary ones’ cannot compare. This clothing that’s free of any feeling of cold*4 Has softness and excellence with which ordinary ones’ cannot compare. This samadhi that’s without any hunger Is meat and beer with which ordinary ones’ cannot compare. This drinking from the river of enlightenment Is drinking with which ordinary ones’ cannot compare. Giving rise to contentment from within Is food and wealth with which ordinary ones’ cannot compare. Marpa Lotsawa, the translator, Is a siddha with whom ordinary ones cannot compare. The view of one’s mind as the face of the deity Is the yidam with which ordinary ones cannot compare. I, the yogi Milarepa, Am a meditator with which ordinary ones cannot compare. This body that’s without any sickness Is a doctor with which ordinary ones cannot compare. Now listen once more, assembly of dakinis: Where nothing is clear, it is clear for me.57 This very luminosity is clear. Where there is no heat, I feel warm. This very single cloth is warm. When there’s nothing comfortable, I feel good, This very illusory body feels good. Where there is no joy, I feel quite joyful, This very dream is so joyful. This yogi here feels better and better. Is Drakya Vajra high, or not? If Drakya Vajra isn’t high, Then how could vultures soar below? If the icy new year’s wind isn’t great, Then how could water in the mountain and valley freeze? If the garment of chandali isn’t warm, How could I feel warm with a single cotton cloth? If I don’t eat samadhi for my food, How could I survive being hungry with an empty belly? If the river of enlightenment isn’t drunk, Then how could I survive being thirsty without water? If the guru’s instructions are not profound, Then how is it obstructions and maras don’t come? If this yogi does not have realization, How could I wander in mountain retreats with no people? This is all due to the kindness of the wise guru. Put efforts in practicing just like this.

Shadows stretched against the hillside, black and hungry. All the trees were bowed and twisted by the weight of the ice they carried. Some hardly looked like trees at all. Buried from root to crown in frozen snow, they huddled on the hill like giants, monstrous and misshapen creatures hunched against the icy wind.

If I were truly a direwolf, I would understand the song, he thought wistfully. In his wolf dreams, he could race up the sides of mountains, jagged icy mountains taller than any tower, and stand at the summit beneath the full moon with all the world

And once the kaleidoscopic whirr of the universe folded and felded and melted into the next song we gently opened our eyes and with a gentle gust we parted like parting lips like parting water drops like parting whispers in the wind's icy drift and her sweet dark hair and crisp white blouse and taut blue jeans floated away and drafted daintily down the stairs and I never saw her again.

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The cold not only bears down on human bodies, but also bends sound. The forest sits under an inversion, chilled air pooling under a warmer cap. The colder air is like molasses for sound waves, slowing them as they pass, causing them to lag sound travelling in higher, warmer air. The difference in speed turns the temperature gradient into a sound lens. Waves curve down. Sound energy , instead of dissipating in a three dimensional dome, is forced to spread in two dimensions, spilling across the ground, focusing its vigor on the surface. What would have been muffled, distant sounds leap closer, magnified by the jeweler’s icy loupe. The aggressive whine of the snowmobile mingles with the churr and chip of red squirrels and chickadees. Here are modern and ancient sunlight, manifest in the boreal soundscape. Squirrels nipping the buds of fir trees, chickadee poking for hidden seeds and insects, all powered by last summer’s photosynthesis; diesel and gasoline, sunlight squeezed and fermented for tens or hundreds of millions of years, now finally freed in an exultant engine roar. Nuclear fusion pounds its energy into my eardrums, courtesy of life’s irrepressible urge to turn sunlight into song.

The castle Jon returned to was far different from the one he'd left that morning. For as long as he had known it, Castle Black had been a place of silence and shadows, where a meagre company of men in black moved like ghosts amongst the ruins of a fortress that had once housed ten times their numbers. All that had changed. Lights now shone through windows where Jon Snow had never seen lights shine before. Strange voices echoed down the yards, and free folk were coming and going along icy paths that had only known the black boots of crows for years. Outside the old Flint Barracks, he came across a dozen men pelting one another with snow. Playing, Jon thought in astonishment, grown men playing like children, throwing snowballs the way Bran and Arya once did, and Robb and me before them.

Red Sister "We’re Giljohn’s children. The thought rolled across the smoothness of her mind as the Ancestor’s song grew louder. Sisters of the cage." Hessa had not feared dying. But Nona feared living without her. “The truth is a weapon and lies are a necessary shield.” "All the world and more has rushed eternity’s length to reach this beat of your heart, screaming down the years. And if you let it, the universe, without drawing breath, will press itself through this fractured second and race to the next, on into a new eternity. Everything that is, the echoes of everything that ever was, the roots of all that will ever be, must pass through this moment that you own. Your only task is to give it pause—to make it notice." "His older two were long grown, and little Sali would always be five." "It’s harder to forgive someone else your own sins than those uniquely theirs." “Those that burn short burn bright. The shortest lives can cast the longest shadows.” "The new picture didn’t erase the old—the bump was still a hole, but now it was a bump as well; the old lady was still a young one, but now she was old too. Clera was still her friend, and now an enemy also." “People always want to know things . . . until they hear them, and then it’s too late. Knowledge is a rug of a certain size, and the world is larger. It’s not what remains uncovered at the edges that should worry you, rather what is swept beneath.” Kettle sat with her head back against the bark, her face white as death, a tear running from the corner of her eye. “I can always reach her. A thousand miles wouldn’t matter.” She raised an arm, unsteady, and beneath it a shadow blacker than the night stretched out, reaching for infinity, as if the sun had fallen behind her. “It’s done. She knows I need her. She knows the direction.” “You swear it?” “I swear it.” “By the Ancestor?” “By the Ancestor.” The faintest echo of that grin. “And by the Hope, and the Missing Gods who echo in the tunnels, and by the gods too small for names who dance in buttercups and fall with the rain. Now go. For the love of all that’s holy, go. You wear me out, Nona. And I’ve got to concentrate on being alive. It would break her heart to get here and find me dead.” She drew a shallow breath. “They’re both in that direction. If you take it until you find some sort of trail there’s a good chance you’ll find Ara and the others on it. Try to travel with Ara and Zole. Tarkax may be able to protect you if the Noi-Guin track you from here.” Another shallow breath, snatched in over her pain. “Go! Now!” Nona came forward. She set her canteen in Kettle’s lap and kissed her icy forehead. Then she ran.

The right eye was open. The pupil burned blue. It saw. The broken sword fell from nerveless fingers. Will closed his eyes to pray. Long, elegant hands brushed his cheek, then tightened around his throat. They were gloved in the finest moleskin and sticky with blood, yet the touch was icy cold.