John Shaft Quotes

A person can learn a lot from a dog, even a loopy one like ours. Marley taught me about living each day with unbridled exuberance and joy, about seizing the moment and following your heart. He taught me to appreciate the simple things-a walk in the woods, a fresh snowfall, a nap in a shaft of winter sunlight. And as he grew old and achy, he taught me about optimism in the face of adversity. Mostly, he taught me about friendship and selflessness and, above all else, unwavering loyalty.

Halt's heavy-shafted, long arrow was almost buried in its side, driven there by the full power of the Ranger's mighty longbow. He'd stuck the charging monster right behind the left shoulder, driving the head of the arrow into and through the pig's massive heart. A perfect shot. Halt reined in Abelard in a shower of snow and hurled himself to the ground, throwing his arms around the shaking boy. Will, overcome with relief, buried his face into the rough cloth of the Rang'ers cloak. He didn't want anyone to see the tears of relief that wer streaming down his face. Gently, Halt took the knife from WIll's hand. "What on earth where you hoping to do with this?" he asked.

...I remember the oily smoke of a cigarette suspended in a shaft of sunlight - with you, everything was beautiful...

..snow gently settles like dust in a shaft - for one moment there is no one else - only the wind like the hiss of an ice skate ...

Xhex couldn't stop herself from torturing them both. She sent him a mental scene, drilling the image right into his head : the two of them in a private bathroom, him up on the sink and leaning back, her with one foot planted on the counter, his sex deep in hers, the two of them panting. While he stared accross the crowded room, John's mouth parted, and the flush on his cheeks had nothing to do with embarrassment and everything to do with the orgasm that was no doubt pounding up his shaft. God, she wanted him. His buddy, the readhead, snapped her out of the madness. Blaylock came back to the table with three beers hanging from their necks, and as he took a look at John's hard, sexep-up face, he stopped short and glanced over at her in surprise. Shit. Xhex waved off the bouncers who were coming up to her and walked out of the VIP section so fast, she nearly bowling-pinned a waitress. Her office was the only place that was safe, and she headed there at a dead run.

When (an advocate) is not thoroughly acquainted with the real strength and weakness of his cause, he knows not where to choose the most impressive argument. When the mark is shrouded in obscurity, the only substitute for accuracy in the aim is in the multitude of the shafts.

I feel a blinding shaft of terror, which I tell myself to ignore, as my brain will often try to send me messages that are untrue and I do not have to listen to them. This is lesson one at St. John’s: your brain is an idiot.

You can't change human nature. Men are always going to kick fuck out of each other then go off and shaft some bird. That's life.

A mouse can fall down a mine shaft a third of a mile deep without injury. A rat falling the same distance would break his bones; a man would simply splash ... Elephants have their legs thickened to an extent that seems disproportionate to us, but this is necessary if their unwieldy bulk is to be moved at all ... A 60-ft. man would weigh 1000 times as much as a normal man, but his thigh bone would have its area increased by only 100 times ... Consequently such an unfortunate monster would break his legs the moment he tried to move. [Expressing, in picturesque terms, the strength of an organism relative to its bulk.]

Oh, My God..." Even as he saw the face and heard that voice say "Crow..." he was throwing himself backward out of the shaft. Then the top of the elevator car blew out and the air was filler with shrapnel, everybody hit the deck, and crow grabbed his crossbow, yelling, "Get back! It's him, the vampire!" But it was too late. The vampire rose with the grip of a single beautiful hand, almost levitating toward them, his power and eyes and smile and terrible beauty so alien but so familiar, so pale but so solid, so horrible but so magnetic. And he came closer and closer. "Get back," ordered crow, and the Team started to obey. "Too late," the vampire said, halting them with the voice. "You've let me get too close." Crow raised his crossbow all the way then saied: "Hold it there." The thing laughed and said, "Are you joking?" "Stop!" said Crow. And the vampire smiled and showed his big teeth and said: "Stop me...

In Hastor I have paid a good price to see one of these creatures and now I found myself in a position where I should very gladly pay a good deal more not to see one, but from the noise he was making in the shaft beneath me it appeared to me that he was determined that I should have a free show and he a free meal.

It is sad when man’s unhappiness veils from him the smiling face of nature. The promise of the early morning was maintained. The sky was of a translucent blue, broken with islands and continents of clouds, dazzling white like cotton-wool. A soft, warm breeze blew from the west, the birds sang merrily in every garden bush, and Cullerne was a town of gardens, where men could sit each under his own vine and fig-tree. The bees issued forth from their hives, and hummed with cheery droning chorus in the ivy-berries that covered the wall-tops with deep purple. The old vanes on the corner pinnacles of Saint Sepulchre’s tower shone as if they had been regilt. Great flocks of plovers flew wheeling over Cullerne marsh, and flashed with a blinking silver gleam as they changed their course suddenly. Even through the open window of the organist’s room fell a shaft of golden sunlight that lit up the peonies of the faded, threadbare carpet. But inside beat two poor human hearts, one unhappy and one hopeless, and saw nothing of the gold vanes, or the purple ivy-berries, or the plovers, or the sunlight, and heard nothing of the birds or the bees.

The rush is there and my body tingles. Sounds funny but it's true. It's better than shafting a bird. Better than speeding. Mark's head is a mess but the bleeding has stopped. My knuckles are bruised and Rod's eyes have gone a bit mental looking. We join the crush trying to get into the ground and we can hear the constant chant of CHELSEA. This is what life's all about. Tottenham away. Love it.

THE MEETING" "Scant rain had fallen and the summer sun Had scorched with waves of heat the ripening corn, That August nightfall, as I crossed the down Work-weary, half in dream. Beside a fence Skirting a penning’s edge, an old man waited Motionless in the mist, with downcast head And clothing weather-worn. I asked his name And why he lingered at so lonely a place. “I was a shepherd here. Two hundred seasons I roamed these windswept downlands with my flock. No fences barred our progress and we’d travel Wherever the bite grew deep. In summer drought I’d climb from flower-banked combe to barrow’d hill-top To find a missing straggler or set snares By wood or turmon-patch. In gales of March I’d crouch nightlong tending my suckling lambs. “I was a ploughman, too. Year upon year I trudged half-doubled, hands clenched to my shafts, Guiding my turning furrow. Overhead, Cloud-patterns built and faded, many a song Of lark and pewit melodied my toil. I durst not pause to heed them, rising at dawn To groom and dress my team: by daylight’s end My boots hung heavy, clodded with chalk and flint. “And then I was a carter. With my skill I built the reeded dew-pond, sliced out hay From the dense-matted rick. At harvest time, My wain piled high with sheaves, I urged the horses Back to the master’s barn with shouts and curses Before the scurrying storm. Through sunlit days On this same slope where you now stand, my friend, I stood till dusk scything the poppied fields. “My cob-built home has crumbled. Hereabouts Few folk remember me: and though you stare Till time’s conclusion you’ll not glimpse me striding The broad, bare down with flock or toiling team. Yet in this landscape still my spirit lingers: Down the long bottom where the tractors rumble, On the steep hanging where wild grasses murmur, In the sparse covert where the dog-fox patters.” My comrade turned aside. From the damp sward Drifted a scent of melilot and thyme; From far across the down a barn owl shouted, Circling the silence of that summer evening: But in an instant, as I stepped towards him Striving to view his face, his contour altered. Before me, in the vaporous gloaming, stood Nothing of flesh, only a post of wood.

Elsewhere, in schools where teachers had come under the influence of the Moravian reformer Jan Amos Comenius (1592–1670), shafts of sunlight were theoretically able to penetrate. The Klosterschule in Ohrdruf (previously a monastic school) to which Bach moved from Eisenach after his parents’ death and attended for four and a half years, is alleged to have been just such a place, famous in the district for having adopted Comenius’s curricular reforms. His method stressed the importance of cultivating a favourable environment for learning, of encouraging pleasure as well as moral instruction through study, and of helping pupils to learn progressively from concrete examples, stage by stage – from a knowledge of things (including songs and pictures) rather than through words alone.

Westray sat down near the door, and was so engrossed in the study of the building and in the strange play of the shafts of sunlight across the massive stonework, that half an hour passed before he rose to walk up the church. A solid stone screen separates the choir from the nave, making, as it were, two churches out of one; but as Westray opened the doors between them, he heard four voices calling to him, and, looking up, saw above his head the four tower arches. "The arch never sleeps," cried one. "They have bound on us a burden too heavy to be borne," answered another. "We never sleep," said the third; and the fourth returned to the old refrain, "The arch never sleeps, never sleeps." As he considered them in the daylight, he wondered still more at their breadth and slenderness, and was still more surprised that his Chief had made so light of the settlement and of the ominous crack in the south wall.

I felt the sense of time and self drop away from me. No now, no to-morrow, no yesterday, no I! Only eternity, one vast whole—sun-shot, star-sprent, love-filled, changeless. And in it all, one spot of consciousness more acute than other spots; and that was the something that had eaten hugely, and that now felt the inward-flung glory of it all; the swooning, half-voluptuous sense of awe and wonder, the rippling, shimmering, universal joy. And then suddenly and without shock—like the shifting of the wood smoke—the mood veered, and there was nothing but I. Space and eternity were I—vast projections of myself, tingling with my consciousness to the remotest fringe of the outward swinging atom-drift; through immeasurable night, pierced capriciously with shafts of paradoxic day; through and beyond the awful circle of yearless duration, my ego lived and knew itself and thrilled with the glory of being. The slowly revolving Milky Way was only a glory within me; the great woman-star jeweling the summit of a cliff, was only an ecstasy within me; the murmuring of the river out in the dark was only the singing of my heart; and the deep, deep blue of the heavens was only the splendid color of my soul.

Hitler’s commitment to the V-2 advanced the pursuit of a moonshot by perhaps decades. Though Hitler had no expressed interest in reaching the moon, the uncomfortable fact is that the darkest shafts and foulest backwater of human savagery helped bring this loftiest of human dreams to reality.

Luis Barragan: simple, geometric, rectangular forms, walls with bright colours, shafts of light. Tadao Ando: natural light and contexts ,zen-like experiences. Friedensreich Hundertwasser: human, in harmony with nature. Rafael Moneo: simple geometric massing, masonry. Glenn Murcutt minimalist,vernacular. Kengo Kuma traditional aesthetics, natural materials.

Anaesthetic Aesthetic by Stewart Stafford Crumbs infesting my bedsheets, Sleeping sand in all the cracks, As a hijack tick on a giant horse, Awakened by deadening thudding. Body falling down the elevator shaft, Can you stop that instantly, friend? I cannot focus on all my work here, You should have water to cannonball. And another stiff just fell down that, Cool, go ahead if you have to leap, You won't see me cleaning that mess, Shattered carcasses, basement floor. © Stewart Stafford, 2022. All rights reserved.

And now a few words about the excrement shaft; it was basically a six-story indoor outhouse, with a hole in each floor. A squatter. So you had to look up, and if you saw someone’s ass above you… well, too much information. More importantly, the shit shaft could be a means of escape. Always look for an escape.

barrels into the shaft as far

Revelation, Charlie explained, predicted that locusts would come, and locusts were, of course, beetles—the Beatles. John said that the locusts would have “scales like iron breastplates”—according to Charlie, these were the Beatles’ guitars. And there was more: Revelation also told of angels coming to earth, with the first four being the Beatles. The fifth, “given the key to the shaft of the bottomless pit,” was Charlie.

By the time he spotted the City of Naru from afar, moonlight sent long, wiry shadows across the hillside leading up to the towering stone walls. He told himself he could do it. No matter how hard it was to continue carrying her, he was determined to bring her home alive.  Lights flickered from countless braziers mounted hundreds of feet high on the upper part of the city. Naru stood ominous under the garish light of the four moon sisters and as the evening gong sounded from atop a watchtower, Talis knew he had made it.  He stumbled toward the main gates, barely able to stand. A group of soldiers making their rounds noticed and ran over to help.  “Young Master Talis, what’s wrong?” said Baratis, the captain of the guard. His eyes blazed in fear at the sight of Mara. “Is she alive?” “I can’t talk now… open the gates… she’s hurt!”  “Carem and Jorem! Help them,” Baratis shouted. “You! Ride and fetch a healer. Have them run straightaway to House Lei. Now go!” Two soldiers lifted Mara from Talis' arms and carried her while another raced inside the city. Massive steel shafts stared down at them from inside the stone walls as they jogged past. If they weren’t quick about it, she would die. Ahead, Talis could see a soldier speed off on horseback. He prayed that the healer would arrive in time. He ran ahead, urging them to run faster.    Past the gate was the Arena of the Sej Elders, formed of gigantic white granite blocks, rising over everything in the lower part of the city. Stone towers lined the wide avenue leading up to the arena. They had to move faster. The soldiers’ boots clapped against the cobblestone streets as they marched past the arena, finally winding up and around until they reached the gates of the upper city. Up the snaking rise, they charged past merchant shops and eyes that gawked at the soldiers carrying Mara. They continued on to the highest part of the city, beneath the Temple of the Goddess Nestria, the Goddess of the Sky. To Mara’s house, the House of Viceroy Lei and Lady Malvia, daughter of the king and second in line to the throne.  They were going to be furious; Talis knew he was in serious trouble for taking Mara out on the hunt. But he couldn’t think of that, all that mattered was Mara’s life. As the soldiers carried her into the white marble mansion, Talis worried her wounds were too grave to cure. Today was the worst day and he was all to blame. Why did he have to chase after the boar? Two servants ran up and gasped when they noticed Mara and they quickly helped her inside.  Lady Malvia rushed to them, her silver robe swirling.

Don’t try to aim down the arrow shaft,” he told her. “You have to sense where the arrow will go.

Don’t try to aim down the arrow shaft,” he told her. “You have to sense where the arrow will go. You need to see the entire sighting picture—the bale of hay, the bow and the arrowhead. Learn where the arrow will fly.” She frowned. “How do I do that?” “There’s only one way. You practice. Over and over again, so that aligning the shot to the target becomes an instinctive action. After a while, after seeing enough arrows fly, you’ll instinctively know where to position the bow in the sighting picture. As the range increases, you’ll also need to gauge how much elevation you give the arrow—how far above the target you need to aim to hit the center.

Force and yielding meet together, An attack is half repulsed; Shafts of broken sunlight dissolving, Convolutions of torpid cloud.

Luis Barragan: simple, geometric, rectangular forms, walls with bright colours, shafts of light. Tadao Ando: natural light and contexts, zen-like experiences. Friedensreich Hundertwasser: human, in harmony with nature. Rafael Moneo: simple geometric massing, masonry. Glenn Murcutt: minimalist, vernacular. Kengo Kuma: traditional aesthetics, natural materials.

When you consider that most of these guys are angry, ineffectual losers who feel they've been given the shaft by life, and that most of them have experienced some kind of physical or emotional abuse, it isn't surprising that one of their main fantast occupations is police officer.

People in many parts of America know they have gotten the economic shaft and are angry. However, they cannot see that their own core values have been used against them, which is why they find scapegoats to blame instead of their Authoritative lawmakers who changed the rules of the economic game.124

That attitude is not hard to come to. You go through a heavy industrial area of a large city and there it all is, the technology. In front of it are high barbed-wire fences, locked gates, signs saying NO TRESPASSING, and beyond, through sooty air, you see ugly strange shapes of metal and brick whose purpose is unknown, and whose masters you will never see. What it's for you don't know, and why it's there, there's no one to tell, and so all you can feel is alienated, estranged, as though you didn't belong there. Who owns and understands this doesn't want you around. All this technology has somehow made you a stranger in your own land. Its very shape and appearance and mysteriousness say, ``Get out.'' You know there's an explanation for all this somewhere and what it's doing undoubtedly serves mankind in some indirect way but that isn't what you see. What you see is the NO TRESPASSING, KEEP OUT signs and not anything serving people but little people, like ants, serving these strange, incomprehensible shapes. And you think, even if I were a part of this, even if I were not a17 stranger, I would be just another ant serving the shapes. So the final feeling is hostile, and I think that's ultimately what's involved with this otherwise unexplainable attitude of John and Sylvia. Anything to do with valves and shafts and wrenches is a part of that dehumanized world, and they would rather not think about it. They don't want to get into it. If this is so, they are not alone. There is no question that they have been following their natural feelings in this and not trying to imitate anyone. But many others are also following their natural feelings and not trying to imitate anyone and the natural feelings of very many people are similar on this matter; so that when you look at them collectively, as journalists do, you get the illusion of a mass movement, an antitechnological mass movement, an entire political antitechnological left emerging, looming up from apparently nowhere, saying, ``Stop the technology. Have it somewhere else. Don't have it here.'' It is still restrained by a thin web of logic that points out that without the factories there are no jobs or standard of living. But there are human forces stronger than logic. There always have been, and if they become strong enough in their hatred of technology that web can break.

The accompanying woodcut is from Pompeii; but the following extract, from John Bell's criticism on the antiques in the Picture Gallery of Florence, will show that the boyish divinity had been represented elsewhere also in ancient times in the same manner. Speaking of a statue of Cupid, he says it is "a fair, full, fleshy, round boy, in fine and sportive action, tossing back a heart." Thus the boy-god came to be regarded as the "god of the heart," in other words, as Cupid, or the god of love. To identify this infant divinity, with his father "the mighty hunter" he was equipped with "bow and arrows;" and in the hands of the poets, for the amusement of the profane vulgar, this sportive boy-god was celebrated as taking aim with his gold-tipped shafts at the hearts of mankind. His real character, however, as the above statement shows, and as we have seen reason already to conclude, was far higher and of a very different kind. He was the woman's seed. Venus and her son Cupid, then, were none other than the Madonna and the child.

protests. A wound like that was incredibly dangerous. If he didn’t get her to a healer soon, he knew Mara would die. If anything happened to her, he’d never forgive himself. After a long while, he was too tired to carry her, so he rested for a bit, his breath heaving and stiff arms and legs protesting. Even though it was almost dark, Talis could see that Mara’s face looked white as chalk. He had to keep going, no matter what, no matter how much his legs and back burned from carrying her. By the time he spotted the City of Naru from afar, moonlight sent long, wiry shadows across the hillside leading up to the towering stone walls. He told himself he could do it. No matter how hard it was to continue carrying her, he was determined to bring her home alive. Lights flickered from countless braziers mounted hundreds of feet high on the upper part of the city. Naru stood ominous under the garish light of the four moon sisters and as the evening gong sounded from atop a watchtower, Talis knew he had made it. He stumbled toward the main gates, barely able to stand. A group of soldiers making their rounds noticed and ran over to help. “Young Master Talis, what’s wrong?” said Baratis, the captain of the guard. His eyes blazed in fear at the sight of Mara. “Is she alive?” “I can’t talk now… open the gates… she’s hurt!” “Carem and Jorem! Help them,” Baratis shouted. “You! Ride and fetch a healer. Have them run straightaway to House Lei. Now go!” Two soldiers lifted Mara from Talis' arms and carried her while another raced atop a horse into the city. Massive steel shafts stared down at them from inside the stone walls as they jogged past. If they weren’t quick about it, she would die. Ahead, Talis could see a soldier speed off on horseback. He prayed that the healer would arrive in time. He ran ahead, urging them to run faster. Past the gate was the Arena of the Sej Elders, formed of gigantic white granite blocks, rising over everything in the lower part of the city. Stone towers lined the wide avenue leading up to the arena. They had to move faster. The soldiers’ boots clapped against the cobblestone streets as they marched past the arena, finally winding up and around until they reached the gates of the upper city. Up the snaking rise, they charged past merchant shops and eyes that gawked at the soldiers carrying Mara. They continued on to the highest part of the city, beneath the Temple of the Goddess Nestria, the Goddess of the Sky. To Mara’s house, the House of Viceroy Lei and Lady Malvia, daughter of the king and second in line to the throne. They were going to be furious; Talis knew he was in serious trouble for going with Mara out on the hunt. But he couldn’t think of that, all that mattered was Mara’s life. As the soldiers carried her into the white marble mansion, Talis worried her wounds were too grave to cure. Today was the worst day and he blamed himself. Why hadn’t he stopped Mara from going after the boar? He could have scared it off. She would have been angry at him, but at least she wouldn’t be injured. Two servants ran up and gasped when they noticed Mara. They quickly helped her inside, shouting for help.

This is what takes place when you pray, The Spirit of God comes upon you and bathes your soul, and a shaft of it reaches out and touches that soul over there, If you had an instrument that was fine enough to photograph spirit, you would discover this is done.

Plans for running two elevator cars—a local and an express—in the same shaft were being developed by Otis engineers in 1929.

The caption: 42 MEN KILLED CONSTRUCTING THE NEW EMPIRE STATE BUILDING…“THE BUILDING WAS COMPLETED ON TIME.” Starrett responded by going public with the figures: With an average of six hundred men employed in the demolition of the Waldorf-Astoria and with five thousand men employed on the construction of the building, five workers were killed. One worker was hit by a truck as he was sawing a plank; the second ran into a blast area; the third stepped off a scaffold; the fourth fell down an elevator shaft; and the fifth was struck by a hoist. In