Looking For New Horizons Quotes

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You saved the world," annabeth said. "We saved the world." "And Rachel is the new Oracle, which means she won't be dating anybody." "You don't sound disappointed," I noticed. Annabeth shrugged. "Oh, I don't care." "Uh-huh." She raised an eyebrow. "You got something to say to me, Seaweed Brain?" "You'd probably kick my butt." "You know I'd kick your butt." I brushed the cake off my hands. "When I was at the River Styx, turning invulnerable . . . Nico said I had to concentrate on one thing that kept me anchored to the world, that made me want to stay mortal." Annabeth kept her eyes on the horizon. "Yeah?" "Then up on Olympus," I said, "when they wanted to make me a god and stuff, I kept thinking—" "Oh, you so wanted to." "Well, maybe a little. But I didn't, because I thought—I didn't want things to stay the same for eternity, because things could always get better. And I was thinking . . ." My throat felt really dry. "Anyone in particular?" Annabeth asked, her voice soft. I looked over and saw that she was trying not to smile. "You're laughing at me," I complained. "I am not!" "You are so not making this easy." Then she laughed for real, and she put her hands around my neck. "I am never, ever going to make things easy for you, Seaweed Brain. Get used to it." When she kissed me, I had the feeling my brain was melting right through my body. I could've stayed that way forever, except a voice behind us growled, "Well, it's about time!" Suddenly the pavilion was filled with torchlight and campers. Clarisse led the way as the eavesdroppers charged and hoisted us both onto their shoulders. "Oh, come on!" I complained. "Is there no privacy?" "The lovebirds need to cool off!" Clarisse said with glee. "The canoe lake!" Connor Stoll shouted. and they dumped us in the water.
Rick Riordan (The Last Olympian (Percy Jackson and the Olympians, #5))
Perhaps this was how the sparrows did it too; perhaps they were looking so hard at the peaks and tips of the new rooftops coated with dew, and the vast new horizon, that they only forgot that they did not know how to fly until they were already in midair.
Lauren Oliver (Liesl & Po)
This looks like the red room of pain,” she says.  My mouth drops open. My little prude has been expanding her reading horizons. I choke on my laugh, and a couple of people turn to look at us. I narrow my eyes.  “You read Fifty?” I ask quietly. She blushes. Amazing! — the woman is capable of blushing.  “Everyone was reading it,” she says, defensively. Then she looks up at me with big eyes.  “You?”  “I wanted to see what all the hype was about.” She does that blink, blink, blink thing with her eyelashes.  “Did you pick up any new techniques?” she says, without looking at me. I squeeze her hand. “Would you like to try me out and see?” She turns her face away, pressing her lips together — horribly embarrassed. 
Tarryn Fisher (Thief (Love Me with Lies, #3))
it seems a shame to have to sneak to get to the truth.To make the truth such a dirty old nasty thing.You gotta sneak to get to the truth, the truth is condemned.The truth is in the gas chamber.The truth has been in your stockyards.Your slaughterhouses.The truth has been in your reservations, building your railroads, emtying your garbage.The truth is in your ghettos.In your jails.In your young love,not in your courts or congress where the old set judgement on the young.What the hell do the old know about the young?They put a picture of old George on the dollar and tell you that he's your father, worship him.Look at the madness that goes on, you can't prove anything that happened yesterday.Now is the only thing that's real.Everyday, every reality is a new reality.Every new reality is a new horizon,a brand new experience of living.I got a note last night from a friend of mine.He writes in this note that he's afraid of what he might have to do in order to save his reality, as i save mine.You can't prove anything.There's nothing to prove.Every man judges himself.He knows what he is. You know what you are, as i know what i am,we all know what we are.Nobody can stand in judgement, they can play like they're standing in judgement.They can play like they stand in judgement and take you off and control the masses, with your human body.They can lock you up in penitentiaries and cages and put you in crosses like they did in the past,but it doesn't amount to anything. What they're doing is, they're only persecuting a reflection of themselves. They're persecuting what they can't stand to look at in themselves,the truth.
Charles Manson
Reading has always brought me pure joy. I read to encounter new worlds and new ways of looking at the world. I read to enlarge my horizons, to gain wisdom, to experience beauty, to understand myself better, and for the pure wonderment of it all. I read and marvel over how writers use language in ways I never thought of. I read for company, and for escape. Because I am incurably interested in the lives of other people, both friends and strangers, I read to meet myriad folks and enter their lives- for me, a way of vanquishing the “otherness” we all experience.
Nancy Pearl
Damien has died and gone straight to boy heaven,' Shaunee said as soon as we were out of earshot 'Hey it's about time those kid stop acting like ignorant rednecks and behaved like they had some sense,' I said. 'She doesn't mean that, even though we agree with you,' Erin said 'She means Mr Jack the cute-gay-new-kid Twist. 'Now why in the world would you think he's gay?' Stevie Ray asked. 'Stevie Rae, I swear you have got to broaden your horizons, girl,' Shaunee said. 'Okay, I'm lost too. Why do you think Jack's gay?' I asked. Shaunee and Erin shared a long-suffering look, then Erin explained. Jack Twist is yummy Jake Gyllenhaal's totally gay cowboy character from Brokeback Mountain.' 'And please just please! Anyone who chooses that name and who looks all geeky like that is totally, completely playing for Damian's team.' 'Huh' I said. 'Well, I'll be 'Stevie Rae said 'you know i never did see that movie. It didn't come to the Cinema 8 in Henrietta.' 'You don't say?' Shaunee said. 'Please. I'm so shocked,' Erin said. 'Do guys kiss in it?' 'Deliciously' Shaunee and Erin said together. I tried, but failed miserably not laugh at the look on Stevie Rae’s Face.
P.C. Cast
I was ten when I heard the music that ended the first phase of my life and cast me hurtling towards a new horizon. Drenched to the skin, I stood on Dunoon’s pier peering seawards through diagonal rain, looking for the ferry that would take me home. There, on the everwet west coast of Scotland, I heard it: like sonic scalpels, the sounds of electric guitars sliced through the dreich weather. My body hairs pricked up like antennae. To my young ears these amplified guitars sounded angelic, for surely no man-made instrument could produce that tone. The singer couldn't be human. His voice was too clean, too pure, too resonant, as though a robot larynx were piping words through vocal chords of polished silver. The overall effect was intoxicating - a storm of drums, earthquake bass, razor-sharp guitar riffs, and soaring vocals of astonishing clarity. I knew that I was hearing the future.
Mark Rice (Metallic Dreams)
A Rock, A River, A Tree Hosts to species long since departed, Mark the mastodon. The dinosaur, who left dry tokens Of their sojourn here On our planet floor, Any broad alarm of their of their hastening doom Is lost in the gloom of dust and ages. But today, the Rock cries out to us, clearly, forcefully, Come, you may stand upon my Back and face your distant destiny, But seek no haven in my shadow. I will give you no hiding place down here. You, created only a little lower than The angels, have crouched too long in The bruising darkness, Have lain too long Face down in ignorance. Your mouths spelling words Armed for slaughter. The rock cries out today, you may stand on me, But do not hide your face. Across the wall of the world, A river sings a beautiful song, Come rest here by my side. Each of you a bordered country, Delicate and strangely made proud, Yet thrusting perpetually under siege. Your armed struggles for profit Have left collars of waste upon My shore, currents of debris upon my breast. Yet, today I call you to my riverside, If you will study war no more. Come, clad in peace and I will sing the songs The Creator gave to me when I And the tree and stone were one. Before cynicism was a bloody sear across your brow And when you yet knew you still knew nothing. The river sings and sings on. There is a true yearning to respond to The singing river and the wise rock. So say the Asian, the Hispanic, the Jew, The African and Native American, the Sioux, The Catholic, the Muslim, the French, the Greek, The Irish, the Rabbi, the Priest, the Sheikh, The Gay, the Straight, the Preacher, The privileged, the homeless, the teacher. They hear. They all hear The speaking of the tree. Today, the first and last of every tree Speaks to humankind. Come to me, here beside the river. Plant yourself beside me, here beside the river. Each of you, descendant of some passed on Traveller, has been paid for. You, who gave me my first name, You Pawnee, Apache and Seneca, You Cherokee Nation, who rested with me, Then forced on bloody feet, Left me to the employment of other seekers-- Desperate for gain, starving for gold. You, the Turk, the Swede, the German, the Scot... You the Ashanti, the Yoruba, the Kru, Bought, sold, stolen, arriving on a nightmare Praying for a dream. Here, root yourselves beside me. I am the tree planted by the river, Which will not be moved. I, the rock, I the river, I the tree I am yours--your passages have been paid. Lift up your faces, you have a piercing need For this bright morning dawning for you. History, despite its wrenching pain, Cannot be unlived, and if faced with courage, Need not be lived again. Lift up your eyes upon The day breaking for you. Give birth again To the dream. Women, children, men, Take it into the palms of your hands. Mold it into the shape of your most Private need. Sculpt it into The image of your most public self. Lift up your hearts. Each new hour holds new chances For new beginnings. Do not be wedded forever To fear, yoked eternally To brutishness. The horizon leans forward, Offering you space to place new steps of change. Here, on the pulse of this fine day You may have the courage To look up and out upon me, The rock, the river, the tree, your country. No less to Midas than the mendicant. No less to you now than the mastodon then. Here on the pulse of this new day You may have the grace to look up and out And into your sister's eyes, Into your brother's face, your country And say simply Very simply With hope Good morning.
Maya Angelou
The broken are not always gathered together,of course, and not all mysteries of the flesh are solved. We speak of "senseless tragedies" but really: Is there any other kind? Mothers and wives disappear without a trace. Childeren are killed. Madamen ravage the world, leaving wounds immeasurably deep, and endlessy mourned. loved ones whose presence once filled us move into the distance; our eyes follow them as long as possible as they recede from view. Maybe we chase them clumsily, across railroad tracks and trafficked streets; Over roads new printed with their foot steps,the dust still whirling in the wake of them; through impossibly big cities people with strangers whose faces and bodies carry fragments of their faces and bodies, whose laughter, steadiness, pluck, stuberness remind us of the beloved we seek. Maybe we stay put, left behind, and look for them in our dreams. But we never stop looking, not even after those we love become part of the unreachable horizon. we can never stop carrying the heavy weight of love on this pilgimage; we can only transfigure what we carry. We can only shatter it and send it whirling into the world so that it can take shape in some new way.
Stephanie Kallos (Broken for You)
What, then, is marriage for? It is for helping each other to become our future glory-selves, the new creations that God will eventually make us. The common horizon husband and wife look toward is the Throne, and the holy, spotless, and blameless nature we will have. I can think of no more powerful common horizon than that, and that is why putting a Christian friendship at the heart of a marriage relationship can lift it to a level that no other vision for marriage approaches.
Timothy J. Keller (The Meaning of Marriage: Facing the Complexities of Commitment with the Wisdom of God)
We have reason. It is the entire meaning and purpose of Shangri-La. It came to me in a vision long, long ago. I foresaw a time when man exalting in the technique of murder, would rage so hotly over the world, that every book, every treasure would be doomed to destruction. This vision was so vivid and so moving that I determined to gather together all things of beauty and culture that I could and preserve them here against the doom toward which the world is rushing. Look at the world today. Is there anything more pitiful? What madness there is! What blindness! A scurrying mass of bewildered humanity crashing headlong against each other. The time must come, my friend, when brutality and the lust for power must perish by its own sword. For when that day comes, the world must begin to look for a new life. And it is our hope that they may find it here.
James Hilton (Lost Horizon)
You could expect many things of God at night when the campfire burned before the tents. You could look through and beyond the veils of scarlet and see shadows of the world as God first made it and hear the voices of the beasts He put there. It was a world as old as Time, but as new as Creation's hour had left it. In a sense it was formless. When the low stars shone over it and the moon clothed it in silver fog, it was the way the firmament must have been when the waters had gone and the night of the Fifth Day had fallen on creatures still bewildered by the wonder of their being. It was an empty world because no man had yet joined sticks to make a house or scratched the earth to make a road or embedded the transient symbols of his artifice in the clean horizon. But it was not a sterile world. It held the genesis of life and lay deep and anticipant under the sky.
Beryl Markham (West with the Night)
The most wonderful part of building something together with a team is that you’re walking side by side with other people. You’re all looking at your feet and scanning the horizon at the same time. Some people will see things you can’t, and you’ll see things that are invisible to everyone else. So don’t think doing the work just means locking yourself in a room—a huge part of it is walking with your team. The work is reaching your destination together. Or finding a new destination and bringing your team with you.
Tony Fadell (Build: An Unorthodox Guide to Making Things Worth Making)
I closed my eyes and saw the future, a red, fleshy blob pupating in dark fluid like something in a mad scientist's incubator. I saw strange organs throbbing beneath its translucent shell. Saw the future bust from its chrysalis in scattering blazes of diamond light, winged and glistening, already flitting out the window, darting off toward the horizon before I could get a good look at it.
Julia Elliott (The New and Improved Romie Futch)
People have always looked to the horizon and feared that which they did not understand. Initially, this horizon was the edge of the forest. Then, when forests became better explored and their dangers were realized as not actually being that serious, human attention turned toward the darkness of the sea. Then the sea became better explored, and the new horizon became the vastness of space. And now, with space getting ever better explored, a new horizon appears. . . in the form of the horrors humanity is about to unleash on itself.
Matt Kaplan
The source calls to you. Find a quiet place and listen for the voice of creation. Look upon the horizon and see the future of your new life, where you are again a natural soul living in joy and peace.
Bryant McGill (Simple Reminders: Inspiration for Living Your Best Life)
For our species, the idea of art as ornament is a relatively new one. Our ape brains got too big, too big for our heads, too big for our mothers to birth them. So we started keeping all our extra knowing in language, in art, in stories and books and songs. Art was a way of storing our brains in each other’s. It wasn’t until fairly recently in human history, when rich landowners wanted something pretty to look at in winter, that the idea of art-as-mere-ornament came around. A painting of a blooming rose to hang on the mantel when the flowers outside the window had gone to ice. And still in the twenty-first century, it’s hard for folks to move past that. This idea that beauty is the horizon toward which all great art must march. I’ve never been interested in that. “As heaven spins, I fall into bedlam.
Kaveh Akbar (Martyr!)
Like Nycteris, she thought, and cringed. There was an old fairy tale called The History of Photogen and Nycteris that she still carried a copy of. The main character in it was a young woman who had been raised by a cruel witch, inside a cave beneath a castle. The girl had grown up knowing only darkness, which at the time hadn’t seemed much of an issue to child-Devon. But the general idea was that Nycteris’s world was narrow: she thought the lamp in her cave was a sun, and that the universe was just a tiny series of rooms. She knew nothing of society and had very few books. A relatable situation, for a book eater woman. One day, Nycteris escaped her cave by following a stray firefly. She ended up in the castle garden. But her reactions in the story were strange and unexpected. Upon espying the moon for the first time, Nycteris decided that it must be a giant lamp, akin to the one in her cave. She saw the sky, and likewise decided it must be another kind of roof. And when she looked at the horizon, she saw not a limitless world, but merely another room, albeit with distant walls. The concept of outside didn’t exist for one such as Nycteris, nor could it ever. Her upbringing had given her such a fixed perspective that, even when encountering something new, she could only process it along the lines already drawn for her. The story’s complexity had baffled Devon as a child, but she understood it well enough now. The truth was, Nycteris never really escaped. Oh, she got a prince and a castle and the cruel witch died at the end. But Nycteris could not ever leave the cave, because the cave was a place in her mind; it was the entire way she thought about reality. Princesses like that couldn’t be rescued.
Sunyi Dean (The Book Eaters (International Edition))
And while your new life may look little like the one you left behind, your goal is not to try to create a better version of what you once had, but to expand what’s now possible to include fresh new horizons, friends, and interests—and the exploration of forgotten, yet promising possibilities.
Katherine Woodward Thomas (Conscious Uncoupling: 5 Steps to Living Happily Even After)
there was nothing to believe but that one colored in the room is fine, two is twenty, and three means close up shop and everybody go home; all living the New York dream in the Cause Houses, within sight of the Statue of Liberty, a gigantic copper reminder that this city was a grinding factory that diced the poor man’s dreams worse than any cotton gin or sugarcane field from the old country. And now heroin was here to make their children slaves again, to a useless white powder. She looked them over, the friends of her life, staring at her. They saw what she saw, she realized. She read it in their faces. They would never win. The game was fixed. The villains would succeed. The heroes would die. The sight of Beanie’s mother howling at her son’s coffin would haunt them all in the next few days. Next week, or next month some time, some other mother would take her place, howling her grief. And another after that. They saw the future, too, she could tell. It would continue forever. It was all so very grim. But then, she thought, every once in a while there’s a glimmer of hope. Just a blip on the horizon, a whack on the nose of the giant that set him back on his heels or to the canvas,
James McBride (Deacon King Kong)
It’s been a long time since I’ve passed through here, and wherever I look, all the changes constantly reassert the absence of anything Palestinian: the names of cities and villages on road signs, billboards written in Hebrew, new buildings, even vast fields abutting the horizon on my left and right.
Adania Shibli (Minor Detail)
It was a great help to a person who had to toil all the week to be able to look forward to some such relaxation as this on Saturday nights. The family was too poor and too hardworked to make many acquaintances; in Packingtown, as a rule, people know only their near neighbors and shopmates, and so the place is like a myriad of little country villages. But now there was a member of the family who was permitted to travel and widen her horizon; and so each week there would be new personalities to talk about,—how so-and-so was dressed, and where she worked, and what she got, and whom she was in love with; and how this man had jilted his girl, and how she had quarreled with the other girl, and what had passed between them; and how another man beat his wife, and spent all her earnings upon drink, and pawned her very clothes. Some people would have scorned this talk as gossip; but then one has to talk about what one knows. It
Upton Sinclair (The Jungle)
Hey.’ Annabeth slid next to me on the bench. ‘Happy birthday.’ She was holding a huge misshapen cupcake with blue icing. I stared at her. ‘What?’ ‘It’s August eighteenth,’ she said. ‘Your birthday, right?’ I was stunned. It hadn’t even occurred to me, but she was right. I had turned sixteen this morning – the same morning I’d made the choice to give Luke the knife. The prophecy had come true right on schedule, and I hadn’t even thought about the fact that it was my birthday. ‘Make a wish,’ she said. ‘Did you bake this yourself?’ I asked. ‘Tyson helped.’ ‘That explains why it looks like a chocolate brick,’ I said. ‘With extra-blue cement.’ Annabeth laughed. I thought for a second then blew out the candle. We cut it in half and shared, eating with our fingers. Annabeth sat next to me and we watched the ocean. Crickets and monsters were making noise in the woods, but otherwise it was quiet. ‘You saved the world,’ she said. ‘We saved the world.’ ‘And Rachel is the new Oracle, which means she won’t be dating anybody.’ ‘You don’t sound disappointed,’ I noticed. Annabeth shrugged. ‘Oh, I don’t care.’ ‘Uh-huh.’ She raised an eyebrow. ‘You got something to say to me, Seaweed Brain?’ ‘You’d probably kick my butt.’ ‘You know I’d kick your butt.’ I brushed the cake off my hands. ‘When I was at the River Styx, turning invulnerable … Nico said I had to concentrate on one thing that kept me anchored to the world, that made me want to stay mortal.’ Annabeth kept her eyes on the horizon. ‘Yeah?’ ‘Then up on Olympus,’ I said, ‘when they wanted to make me a god and stuff, I kept thinking –’ ‘Oh, you so wanted to.’ ‘Well, maybe a little. But I didn’t, because I thought – I didn’t want things to stay the same for eternity, because things could always get better. And I was thinking …’ My throat felt really dry. ‘Anyone in particular?’ Annabeth asked, her voice soft. I looked over and saw that she was trying not to smile. ‘You’re laughing at me,’ I complained. ‘I am not!’ ‘You are so not making this easy.’ Then she laughed for real, and she put her hands around my neck. ‘I am never, ever going to make things easy for you, Seaweed Brain. Get used to it.’ When she kissed me, I had the feeling my brain was melting right through my body.
Rick Riordan (The Last Olympian (Percy Jackson and the Olympians, #5))
The sky was masked by a column of smoke. New clouds pushed out from the main stack, one over another, higher and higher into the blue. At its upper reach, the cloud began to spread across the sky until it covered the whole of the horizon. Zhou looked up to see it pass overhead. The land grew dark as the cloud covered the sun.
G.R. Matthews (The Blue Mountain (The Forbidden List, #2))
Arin set the package on the divan where she sat. “A new dress means an event on the horizon.” “Yes, a dinner party. Lord Irex is hosting.” He frowned. “And you’re going?” She shrugged. “Do you need an escort?” Kestrel intended to say no, but became distracted by the determined set to Arin’s mouth. He looked almost…protective. She was surprised that he should look that way. She was confused, and perhaps this made her say, “To be honest, I would be glad for your company.” His eyes held hers. Then his gaze fell to the book by Kestrel’s side. Before she could stop him, he took it with a nimble hand and read the title. It was a Valorian history of its empire and wars. Arin’s face changed. He returned the book and left.
Marie Rutkoski (The Winner's Curse (The Winner's Trilogy, #1))
Seen from an aeroplane high in the air, even the most gigantic skyscraper is only a tall stone black, a mere sculptural form, not a real building in which people can live. But as the plane descends from the great heights there will be one moment when the buildings change character completely. Suddenly, they take on human scale, become houses for human beings like ourselves, not the tiny dolls observed from the heights. This strange tranformation takes place at the instant when the contours of the buildings begin to rise above the horizon so that we get a side view of them instead of looking down on them. The buildings pass into a new stage of existence, become architecture in place of neat toys -- for architecture means shapes formed around man, formed to be lived in, not merely to be seen from outside.
Steen Eiler Rasmussen (Experiencing Architecture)
Haven't I told you scores of times, that you're always beginners, and the greatest satisfaction was not in being at the top, but in getting there, in the enjoyment you get out of scaling the heights? That's something you don't understand, and can't understand until you've gone through it yourself. You're still at the state of unlimited illusions, when a good, strong pair of legs makes the hardest road look short, and you've such a mighty appetite for glory that the tiniest crumb of success tastes delightfully sweet. You're prepared for a feast, you're going to satisfy your ambition at last, you feel it's within reach and you don't care if you give the skin off your back to get it! And then, the heights are scaled, the summits reached, and you've got to stay there. That's when the torture begins; you've drunk your excitement to the dregs and found it all too short and even rather bitter, and you wonder whether it was really worth the struggle. From that point there is no more unknown to explore, no new sensations to experience. Pride has had its brief portion of celebrity; you know that your best has been given and you're surprised it hasn't brought a keener sense of satisfaction. From that moment the horizon starts to empty of all hopes that once attracted you towards it. There's nothing to look forward to but death. But in spite of that you cling on, you don't want to feel you're played out, you persist in trying to produce something, like old men persist in trying to make love, with painful, humiliating results. ... If only we could have the courage to hang ourselves in front of our last masterpiece!
Émile Zola (The Masterpiece)
Just as a good chief executive officer keeps looking for ways to change because he or she knows that nothing will be the same in five years, so you, too, as the chief executive officer of your own life, must always be looking for better ways to make changes. You must be flexible enough to get around the new obstacles that are looming on the horizon, and you must be willing to change course if you have to.
Art E. Berg (The Impossible Just Takes a Little Longer: Living with Purpose and Passion)
I looked up at the ivory towers above us all. Nowhere else equals the feral design of this city. Tall skyscrapers that act as gorges hollowing out between flat cement dancing into narrow alleyways like bottomless pits. Building walls rusted the color of blood. Sometimes when you look down the horizon from afar the city looks wider than it is, like a thin field of magical lights gleaming with the hopes of children and idealists; a light on at midnight in one of the penthouses or the changing hues of the Empire State Building. Most of the time though, the city is covered with a layer of honking cars and greed, sirens and the war cry of solicitors, all full of brambles and impenetrable conscience; garbage, steaming manholes, and heat waves twirling smog and pollution through your lungs like mirages as you walk breathlessly through a boiling desert.
Bruce Crown (How Dim the Promised Land)
To achieve these goals [of making good landscapes}, there is but one necessity: when preparing and approving plans for new places, or spending money on old places, we must look beyond the confines of each and every project. Gazing at these wider horizons, we shall see that development projects are initiated by specialists who have been imprisioned within "closely drawn technical limits" and "narrowly drawn territorial boundaries" (Weddle 1967; vii).
Tom Turner (Landscape Planning And Environmental Impact Design (Natural and Built Environment Series))
Do those of you in like Chicago or NYC ever notice how commuters on the train tend to get all quiet and intense when South Side or South Bronx starts to flow past? If you look closely at the faces, you see it’s not depression, not even discomfort; it’s a kind of rigid fascination with the beauty of ruins in which people live but look or love nothing like you, a horizonful of numbly complex vistas in slab-gray and spraypaint-red. Hieroglyphs on walls, people on stoops, hoops w/o nets. White people have always loved to gaze at the ‘real black world,’ preferably at a distance and while moving briskly through, toward business. A view from this remove yields easy abstractions about rap in its role as just the latest ‘black’ music. Like: the less real power a people have, the more they’ll assert hegemony in areas that don’t much matter in any grand scheme. A way to rule in hell: their own vocabulary, syntax, gestures, music, dance; own food; religious rhetoric; social and party customs; that…well-known athletic superiority—the foot-speed, vertical leap—we like them in fields, cotton- or ball-. It’s a Hell we like to look at because it has so clearly been made someone else’s very own….And the exported popular arts! The singing and dancing!…each innovation, new Scene, and genius born of a ‘suffering’ we somehow long to imagine, even as we co-opt, overpay, homogenize, make the best of that suffering song go to stud for our own pale performers.
David Foster Wallace (Signifying Rappers: Rap and Race in the Urban Present)
As we dwell here within the age of Aquarius everything may look the same but it is not so. Everything is so different right now. There is a new energy emerging from the universe. New vibrations, new aspirations, new horizons, new beginnings. We are living in the time of the apocalypse, where all will be revealed. If you are one that pays attention to life and are on your path you will see all. If you are more interested in the materialistic, you will miss all the glory of your true nature.
Kenneth G. Ortiz
What, then, is marriage for? It is for helping each other to become our future glory-selves, the new creations that God will eventually make us. The common horizon husband and wife look toward is the Throne, and the holy, spotless and blameless nature we will have. I can think of no more powerful common horizon than that, and that is why putting a Christian friendship at the heart of a marriage relationship can lift it to a level that no other vision of marriage approaches … We think of a prospective spouse as primarily a lover (or a provider), and if he or she can be a friend on top of that, well isn’t that nice! We should be going at it the other way around. Screen first for friendship. Look for someone who understands you better than you do yourself, who makes you a better person just by being around them. And then explore whether that friendship could become a romance and a marriage. So many people go about their dating starting from the wrong end, and they end up in marriages that aren’t really about anything and aren’t going anywhere.4
Vaughan Roberts (True Friendship)
I am of the opinion that an entirely new light would illuminate many psychological and psycho-physiological questions if we recognised that distinct perception is merely cut, for the purposes of practical existence, out of a wider canvas. In psychology and elsewhere, we like to go from the part to the whole, and our customary system of explanation consists in reconstructing ideally our mental life with simple elements, then in supposing that the combination of these elements has really produced our mental life. If things happened this way, our perception would as a matter of fact be inextensible; it would consist of the assembling of certain specific materials, in a given quantity, and we should never find anything more in it than what had been put there in the first place. But the facts, taken as they are, without any mental reservation about providing a mechanical explanation of the mind, suggest an entirely different interpretation. They show us, in normal psychological life, a constant effort of the mind to limit its horizon, to turn away from what it has a material interest in not seeing. Before philosophizing one must live; and life demands that we put on blinders, that we look neither to the right, nor to the left nor behind us, but straight ahead in the direction we have to go. Our knowledge, far from being made up of a gradual association of simple elements, is the effect of a sudden dissociation: from the immensely vast field of our virtual knowledge, we have selected, in order to make it into actual knowledge, everything which concerns our action upon things; we have neglected the rest.
Henri Bergson (The Creative Mind: An Introduction to Metaphysics)
Books are Windows of Enchantment - through them we can see - the moving spectacle of life: the farce, the tragedy. Every book a window that reveals the author's mind. Books, books, books ... Oh how we long to know what is behind - the covers of those volumes stacked in neat inviting rows. Comedy, philosophy, fact, fiction, verse and prose. Magic windows, fling them open! Through them you will view - new horizons, other worlds all beckoning to you ... There are treasures to be found for all who care to look. Comfort, wisdom, knowledge ... in the pages of a book.
Patience Strong
The Bible is not an intellectual sinecure, and its acceptance should not be like setting up a talismanic lock that seals both the mind and the conscience against the intrusion of new thoughts. Revelation is not vicarious thinking. Its purpose is not to substitute for but to extend our understanding. The prophets tried to extend the horizon of our conscience and to impart to us a sense of the divine partnership in our dealings with good and evil and in our wrestling with life’s enigmas. They tried to teach us how to think in the categories of God: His holiness, justice and compassion. The appropriation of these categories, far from exempting us from the obligation to gain new insights in our own time, is a challenge to look for ways of translating Biblical commandments into programs required by our own conditions. The full meaning of the Biblical words was not disclosed once and for all. Every hour another aspect is unveiled. The word was given once; the effort to understand it must go on for ever. It is not enough to accept or even to carry out the commandments. To study, to examine, to explore the Torah is a form of worship, a supreme duty. For the Torah is an invitation to perceptivity, a call for continuous understanding.
Abraham Joshua Heschel (God in Search of Man: A Philosophy of Judaism)
What Kant took to be the necessary schemata of reality,' says a modern Freudian, 'are really only the necessary schemata of repression.' And an experimental psychologist adds that 'a sense of time can only exist where there is submission to reality.' To see everything as out of mere succession is to behave like a man drugged or insane. Literature and history, as we know them, are not like that; they must submit, be repressed. It is characteristic of the stage we are now at, I think, that the question of how far this submission ought to go--or, to put it the other way, how far one may cultivate fictional patterns or paradigms--is one which is debated, under various forms, by existentialist philosophers, by novelists and anti-novelists, by all who condemn the myths of historiography. It is a debate of fundamental interest, I think, and I shall discuss it in my fifth talk. Certainly, it seems, there must, even when we have achieved a modern degree of clerical scepticism, be some submission to the fictive patterns. For one thing, a systematic submission of this kind is almost another way of describing what we call 'form.' 'An inter-connexion of parts all mutually implied'; a duration (rather than a space) organizing the moment in terms of the end, giving meaning to the interval between tick and tock because we humanly do not want it to be an indeterminate interval between the tick of birth and the tock of death. That is a way of speaking in temporal terms of literary form. One thinks again of the Bible: of a beginning and an end (denied by the physicist Aristotle to the world) but humanly acceptable (and allowed by him to plots). Revelation, which epitomizes the Bible, puts our fate into a book, and calls it the book of life, which is the holy city. Revelation answers the command, 'write the things which thou hast seen, and the things which are, and the things which shall be hereafter'--'what is past and passing and to come'--and the command to make these things interdependent. Our novels do likewise. Biology and cultural adaptation require it; the End is a fact of life and a fact of the imagination, working out from the middle, the human crisis. As the theologians say, we 'live from the End,' even if the world should be endless. We need ends and kairoi and the pleroma, even now when the history of the world has so terribly and so untidily expanded its endless successiveness. We re-create the horizons we have abolished, the structures that have collapsed; and we do so in terms of the old patterns, adapting them to our new worlds. Ends, for example, become a matter of images, figures for what does not exist except humanly. Our stories must recognize mere successiveness but not be merely successive; Ulysses, for example, may be said to unite the irreducible chronos of Dublin with the irreducible kairoi of Homer. In the middest, we look for a fullness of time, for beginning, middle, and end in concord. For concord or consonance really is the root of the matter, even in a world which thinks it can only be a fiction. The theologians revive typology, and are followed by the literary critics. We seek to repeat the performance of the New Testament, a book which rewrites and requites another book and achieves harmony with it rather than questioning its truth. One of the seminal remarks of modern literary thought was Eliot's observation that in the timeless order of literature this process is continued. Thus we secularize the principle which recurs from the New Testament through Alexandrian allegory and Renaissance Neo-Platonism to our own time. We achieve our secular concords of past and present and future, modifying the past and allowing for the future without falsifying our own moment of crisis. We need, and provide, fictions of concord.
Frank Kermode (The Sense of an Ending: Studies in the Theory of Fiction)
Today, do the exact opposite of what you normally do. And look forward to seeing what happens as a result. Change means changing your ways—only by so doing can you have new experiences that may surprise you. Make a break with your habits, test yourself, expand your horizons! If you usually hold the phone in your right hand, use your left. Do your shopping in a different supermarket and buy different brands, take the bus instead of the car, be particularly friendly to people who usually irritate you. If you eat out, order food you don’t usually eat. Experience the world around you as something completely new, as though you were a different person and not yourself. Enjoy!
Charlotte Lucas (Your Perfect Year)
The light stayed wan, but reached further, every new minute, until the whole sky was gold, but pale, not enough to see by, too weak to cast the faintest shadow. Then warmer streaks bloomed, and lit the horizon, and finally the sun rose, unstoppable, for a second as red and angry as a sunset, then settling to a hot yellow blaze, half-clearing the horizon, and throwing immediate shadows, at first perfectly horizontal, then merely miles long. The sky washed from pale gold to pale blue, down through all the layers, so the world above looked newly deep as well as infinitely high and infinitely wide. The night dew had settled the dust, and until it dried the air was crystal. The view was pure and clear in every direction.
Lee Child (Make Me (Jack Reacher, #20))
Now give me some advice about how to take full advantage of this city. I’m always looking to improve my odds.” “Just what I’d expect from a horny actuary.” “I’m serious.” Carlos reflected for a moment on the problem at hand. He actually had never needed or tried to take full advantage of the city in order to meet women, but he thought about all of his friends who regularly did. His face lit up as he thought of some helpful advice: “Get into the arts.” “The arts?” “Yeah.” “But I’m not artistic.” “It doesn’t matter. Many women are into the arts. Theater. Painting. Dance. They love that stuff.” “You want me to get into dance? Earthquakes have better rhythm than me…And can you really picture me in those tights?” “Take an art history class. Learn photography. Get involved in a play or an independent film production. Get artsy, Sammy. I’m telling you, the senoritas dig that stuff.” “Really?” “Yeah. You need to sign up for a bunch of artistic activities. But you can’t let on that it’s all just a pretext to meet women. You have to take a real interest in the subject or they’ll quickly sniff out your game.” “I don’t know…It’s all so foreign to me…I don’t know the first thing about being artistic.” “Heeb, this is the time to expand your horizons. And you’re in the perfect city to do it. New York is all about reinventing yourself. Get out of your comfort zones. Become more of a Renaissance man. That’s much more interesting to women.
Zack Love (Sex in the Title: A Comedy about Dating, Sex, and Romance in NYC (Back When Phones Weren't So Smart))
Sassy had worked in El Paso, Texas as a waitress in a small café, a toll-booth cashier in Houston, Texas, posed nude for magazine photos in Reno, Nevada and even was a ski instructor in Granby, Colorado for a few years. Sassy was always looking. She was looking for something that she couldn’t find. Sassy wanted to go where the road led. She walked past other people’s dreams and security and followed the twisting snake through deserts and mountains, big cities and cow towns. Sassy was on a quest and she didn’t even know it. She would take her small earnings and saddle-up, following fate or hope or desire into new horizons with new promises--a skinny green-eyed girl carrying a backpack full of her life, down the roads of America.
Doug Hiser
She thought constantly about Paris and avidly read all the society pages in the papers. Their accounts of receptions, celebrations, the clothes worn, and all the accompanying delights enjoyed, whetted her appetite still further. Above all, however, she was fascinated by what these reports merely hinted at. The cleverly phrased allusions half-lifted a veil beyond which could be glimpsed devastatingly attractive horizons promising a whole new world of wicked pleasure. From where she lived, she looked on Paris as representing the height of all magnificent luxury as well as licentiousness...she conjured up the images of all the famous men who made the headlines and shone like brilliant comets in the darkness of her sombre sky. She pictured the madly exciting lives they must lead, moving from one den of vice to the next, indulging in never-ending and extraordinarily voluptuous orgies, and practising such complex and sophisticated sex as to defy the imagination. It seemed to her that hidden behind the façades of the houses lining the canyon-like boulevards of the city, some amazing erotic secret must lie. "The uneventful life she lived had preserved her like a winter apple in an attic. Yet she was consumed from within by unspoken and obsessive desires. She wondered if she would die without ever having tasted the wicked delights which life had to offer, without ever, not even once, having plunged into the ocean of voluptuous pleasure which, to her, was Paris.
Guy de Maupassant (A Parisian Affair and Other Stories)
One of his favourite gags, which he repeats in the prologue to a number of plays, is some version of ‘Demophilus wrote this, Plautus barbarised it’, referring to his Latin (‘barbaric’) translation of a comedy by the Greek playwright Demophilus. This apparently throwaway line was, in fact, a clever challenge to the audience. For those of Greek origin, it no doubt gave the opportunity for a quiet snigger at the expense of the new, barbaric rulers of the world. For the others, it demanded the conceptual leap of imagining what they might look like from the outside. To enjoy the laugh, they had to understand, even if only as a joke, that to Greek eyes, Romans might appear to be barbarians. The widening horizons of empire, in other words, disturbed the simple hierarchy of ‘us over them’, the ‘civilised over the barbarous’, which had underpinned classical Greek culture.
Mary Beard (SPQR: A History of Ancient Rome)
As the dawn approached, I gave up trying to sleep. I threw a cardigan over my pajamas, padded out to the kitchen, and made some coffee. I sat at the kitchen table and watched the sky grow lighter by the minute. It had been a long time since I’d seen the dawn. At one end of the sky a line of blue appeared, and like blue ink on a piece of paper, it spread slowly across the horizon. If you gathered together all the shades of blue in the world and picked the bluest, the epitome of blue, this was the color you would choose. I rested my elbows on the table and looked at that scene, my mind blank. When the sun showed itself over the horizon, that blue was swallowed up by ordinary sunlight A single cloud floated above the cemetery, a pure white cloud, its edges distinct A cloud so sharply etched you could write on it A new day had begun. But what this day would bring, I had no idea.
Haruki Murakami (South of the Border, West of the Sun)
I gave it up and walked down to the Sphynx. After years of waiting, it was before me at last. The great face was so sad, so earnest, so longing, so patient. There was a dignity not of earth in its mien, and in its countenance a benignity such as never any thing human wore. It was stone, but it seemed sentient. If ever image of stone thought, it was thinking. It was looking toward the verge of the landscape, yet looking at nothing—nothing but distance and vacancy. It was looking over and beyond every thing of the present, and far into the past. It was gazing out over the ocean of Time—over lines of century-waves which, further and further receding, closed nearer and nearer together, and blended at last into one unbroken tide, away toward the horizon of remote antiquity. It was thinking of the wars of departed ages; of the empires it had seen created and destroyed; of the nations whose birth it had witnessed, whose progress it had watched, whose annihilation it had noted; of the joy and sorrow, the life and death, the grandeur and decay, of five thousand slow revolving years. It was the type of an attribute of man—of a faculty of his heart and brain. It was MEMORY—RETROSPECTION—wrought into visible, tangible form. All who know what pathos there is in memories of days that are accomplished and faces that have vanished—albeit only a trifling score of years gone by—will have some appreciation of the pathos that dwells in these grave eyes that look so steadfastly back upon the things they knew before History was born—before Tradition had being—things that were, and forms that moved, in a vague era which even Poetry and Romance scarce know of—and passed one by one away and left the stony dreamer solitary in the midst of a strange new age, and uncomprehended scenes.
Mark Twain (The Innocents Abroad)
MAMEEN Be infinitessimal under that sky, a creature even the sailing hawk misses, a wraith among the rocks where the mist parts slowly. Recall the way mere mortals are overwhelmed by circumstance, how great reputations dissolve with infirmity and how you, in particular, live a hairsbreadth from losing everyone you hold dear. Then, look back down the path as if seeing your past and then south over the hazy blue coast as if present to a wide future. Remember the way you are all possibilities you can see and how you live best as an appreciator of horizons, whether you reach them or not. Admit that once you have got up from your chair and opened the door, once you have walked out into the clean air toward that edge and taken the path up high beyond the ordinary, you have become the privileged and the pilgrim, the one who will tell the story and the one, coming back from the mountain, who helped to make it.
David Whyte (River Flow: New & Selected Poems 1984-2007)
We may think of volcanic islands like Ascension as unusual because their recent origin and remoteness mean their ecosystems are made up of a motley crew of mariner migrants. But much of the world is like that. Nature is constantly in flux, and few ecosystems go back very far. Only ten thousand years ago, much of Europe and North America were covered in thick ice. All soil had been scraped away and with it most forms of life. Everything we see today in these former glaciated zones has either returned or arrived for the first time since the ice retreated. Looked at from this perspective, the spread of alien species today is merely a continuation of a natural process of the colonization begun when the ice retreated. A broad time horizon shows there is no such thing as a native species. All lodgings are temporary and all ecosystems in a constant flux, the victims of circumstance and geological accident. As the pioneer British ecologist Charles Elton argued, “Were it not for the ice age, we [in Britain] should probably have wonderful mixed forests with wild magnolias and laurels and epiphytic orchids, such as . . . in China.
Fred Pearce (The New Wild: Why Invasive Species Will Be Nature's Salvation)
What were we talking about?” said Caspian. “Have I been making rather an ass of myself?” “Sire,” said Reepicheep, “this is a place with a curse on it. Let us get back on board at once. And if I might have the honor of naming this island, I should call it Deathwater.” “That strikes me as a very good name, Reep,” said Caspian, “though now that I come to think of it, I don’t know why. But the weather seems to be settling and I dare say Drinian would like to be off. What a lot we shall have to tell him.” But in fact they had not much to tell for the memory of the last hour had all become confused. “Their Majesties all seemed a bit bewitched when they came aboard,” said Drinian to Rhince some hours later when the Dawn Treader was once more under sail and Deathwater Island already below the horizon. “Something happened to them in that place. The only thing I could get clear was that they think they’ve found the body of one of these lords we’re looking for.” “You don’t say so, Captain,” answered Rhince. “Well, that’s three. Only four more. At this rate we might be home soon after the New Year. And a good thing too. My baccy’s running a bit low. Good night, Sir.
C.S. Lewis (The Voyage of the Dawn Treader (Chronicles of Narnia, #3))
As I march on with pack and lowered head, by the side of the road I see an image of bright, silken trees reflected in the pools of rain. In these occasional mirrors they are displayed clearer than in reality. They get another light and in another way. Embedded there in the brown earth lies a span of sky, trees, depths and clearness. Suddenly I shiver. For the first time in many years I feel again that something is still beautiful, that this in all its simplicity is beautiful and pure, this image in the water pool before me—and in this thrill my heart leaps up. For a moment all that other falls away, and now, for the first time, I feel it; I see it; I comprehend it fully: Peace. The weight that nothing eased before, now lifts at last. Something strange, something new flies up, a dove, a white dove. —Trembling horizon, tremulous expectancy, first glimpse, presentiment, hope, exaltation, imminence: Peace. Sudden panic, and I look around. There behind me on the stretchers my comrades are now lying and still they call. It is peace, yet they must die. But I, I am trembling with joy and am not ashamed. —And that is odd. Because none can ever wholly feel what another suffers—is that the reason why wars perpetually recur?
Erich Maria Remarque (The Road Back)
Suddenly a shadow fell athwart the wooden stanchions of the door. It was no more than a darkening of the pallid paws of the day which were now embracing the shed, but all the cows instinctively stiffened, and Adam’s eyes, as he stood up to face the new-comer, were again piteously full of twisted fear. “Adam,” uttered the woman who stood in the doorway, “how many pails of milk will there be this morning?” “I dunnamany,” responded Adam, cringingly; “’tes hard to tell. If so be as our Pointless has got over her indigestion, maybe “twill be four. If so be as she hain’t, maybe three.” Judith Starkadder made an impatient movement. Her large hands had a quality which made them seem to sketch vast horizons with their slightest gesture. She looked a woman without boundaries as she stood wrapped in a crimson shawl to protect her bitter, magnificent shoulders from the splintery cold of the early air. She seemed fitted for any stage, however enormous. “Well, get as many buckets as you can,” she said, lifelessly, half-turning away. “Mrs Starkadder questioned me about the milk yesterday. She has been comparing our output with that from other farms in the district, and she says we are five-sixteenths of a bucket below what our rate should be, considering how many cows we have.
Stella Gibbons (Cold Comfort Farm)
When I look at this age with the eye of a distant future, I find nothing so remarkable in the man of the present day as his peculiar virtue and sickness called "the historical sense." It is a tendency to something quite new and foreign in history: if this embryo were given several centuries and more, there might finally evolve out of it a marvellous plant, with a smell equally marvellous, on account of which our old earth might be more pleasant to live in than it has been hitherto. We moderns are just beginning to form the chain of a very powerful, future sentiment, link by link, we hardly know what we are doing. It almost seems to us as if it were not the question of a new sentiment, but of the decline of all old sentiments: the historical sense is still something so poor and cold, and many are attacked by it as by a frost, and are made poorer and colder by it. To others it appears as the indication of stealthily approaching age, and our planet is regarded by them as a melancholy invalid, who, in order to forget his present condition, writes the history of his youth. In fact, this is one aspect of the new sentiment He who knows how to regard the history of man in its entirety as his own history, feels in the immense generalisation all the grief of the invalid who thinks of health, of the old man who thinks of the dream of his youth, of the lover who is robbed of his beloved, of the martyr whose ideal is destroyed, of the hero on the evening of the indecisive battle which has brought him wounds and the loss of a friend. But to bear this immense sum of grief of all kinds, to be able to bear it, and yet still be the hero who at the commencement of a second day of battle greets the dawn and his happiness, as one who has an horizon of centuries before and behind him, as the heir of all nobility, of all past intellect, and the obligatory heir (as the noblest) of all the old nobles; while at the same time the first of a new nobility, the equal of which has never been seen nor even dreamt of: to take all this upon his soul, the oldest, the newest, the losses, hopes, conquests, and victories of mankind: to have all this at last in one soul, and to comprise it in one feeling: this would necessarily furnish a happiness which man has not hitherto known, a God's happiness, full of power and love, full of tears and laughter, a happiness which, like the sun in the evening, continually gives of its inexhaustible riches and empties into the sea, and like the sun, too, feels itself richest when even the poorest fisherman rows with golden oars! This divine feeling might then be called humanity!
Friedrich Nietzsche (The Gay Science: With a Prelude in Rhymes and an Appendix of Songs)
He lay under the great bearskin and stared out of the window at the stars of spring, no longer frosty and metallic, but as if they had been new washed and had swollen with the moisture. It was a lovely evening, without rain or cloud. The sky between the stars was of the deepest and fullest velvet. Framed in the thick western window, Alderbaran and Betelgeuse were racing Sirius over the horizon, the hunting dog-star looking back to his master Orion, who had not yet heaved himself above the rim. In at the window came also the unfolding scent of benighted flowers, for the currants, the wild cherries, the plums and the hawthorn were already in bloom, and no less than five nightingales within earshot were holding a contest of beauty among the bowery, the looming trees...He watched out at the stars in a kind of trance. Soon it would be the summer again, when he could sleep on the battlements and watch these stars hovering as close as moths above his face and, in the Milky Way at least, with something of the mothy pollen. They would be at the same time so distant that unutterable thoughts of space and eternity would baffle themselves in his sighing breast, and he would imagine to himself how he was falling upward higher and higher among them, never reaching, never ending, leaving and losing everything in the tranquil speed of space.
TH White
She goes to the window, curious to look out, and her senses awaken. It was only a moment ago (for sleep knows no time) that the flat horizon was a loamy gray swell merging into the fog behind the icy glass. But now rocky, powerful mountains are massing out of the ground (where have they come from?), a vast, strange overwhelming sight. This is her first glimpse of the unimaginable majesty of the Alps, and she sways with surprise. Just now a first ray of sun through the pass to the east is shattering into a million reflections on the ice field covering the highest peak. The white purity of this unfiltered light is so dazzling and sharp that she has to close her eyes for a moment, but now she's wide awake. One push and the window bangs down, to bring this marvel closer, and fresh air - ice-cold, glass-sharp, and with a bracing dash of snow - streams through her lips, parted in astonishment, and into her lungs, the deepest, purest breath of her life. She spreads her arms to take in this first reckless gulp, and immediately, her chest expanding, feels a luxurious warmth rise through her veins - marvelous, marvelous. Inflamed with cold, she takes in the scene to the left and the right; her eyes (thawed out now) follow each of the granite slops up to the icy epaulet at the top, discovering, with growing excitement, new magnificence everywhere - here a white waterfall tumbling headlong into a valley, there neat little stone houses tucked into crevices like birds' nests, farther off an eagle circling proudly over the very highest heights, and above it all a wonderfully pure, sumptuous blue whose lush, exhilarating power she would never have thought possible. Again and again she returns to these Alps sprung overnight from her sleep, an incredible sight to someone leaving her narrow world for the first time. These immense granite mountains must have been here for thousands of years; they'll probably still be here millions and millions of years from now, every one of them immovably where it's always been, and if not for the accident of this journey, she herself would have died, rotted away, and turned to dust with no inkling of their glory, She's been living as though all this didn't exist, never saw it, hardly cared to; like a fool she dozed off in this tiny room, hardly longer than her arm, hardly wide enough for her feet, just a night away, a day away from this infinitude, these manifold immensities! Indifferent and without desires before, now she's beginning to realize what she's been missing. This contact with the overpowering is her first encounter with travel's disconcerting ability to strip the hard shell of habit from the heart, leaving only the bare, fertile kernel.
Stefan Zweig (The Post-Office Girl)
They had shared much of their pasts, most of their fears, and all of their tenuous and fragile hopes, but Deborah had noticed over the years that whenever she mentioned her art, or something on which she was working, a subtle change would come over Carla. Her face would harden almost imperceptibly; her manner would edge toward coolness. Because it was a subtle emotion in a world of erratic oscillations of feeling, of violence, and of lies told by every sense of perception, Deborah had not noticed it in their sick times. But one day the world had cleared enough so that she realised that at any mention of her art, her friend drew back. In their new eagerness for experience and reality, the strange aloofness stood out clearly. [...] She had a dream. In the dream it was winter and night. The sky was thick blue-black and the stars were frozen in it, so that they glimmered. Over the clean white and windswept hills the shadows of snowdrifts drew long. She was walking on the crust of snow, watching the star-glimmer and the snow-glimmer and the cold tear-glimmer in her own eyes. A deep voice said to her, "You know, don't you, that the stars are sound as well as light?" She listened and heard a lullaby made by the voices of the stars, sounding so beautiful together that she began to cry with it. The voice said, "Look out there." She looked toward the horizon. "See, it is a sweep, a curve." Then the voice said, "This night is a curve of darkness and the space beyond it is a curve of human history, with every single life an arch from birth to death. The apex of all of these single curves determines the curve of history and, at last, of man." "I cannot show you yours," the voice said, "but I can show you Carla's. Dig here, deep in the snow. It is buried and frozen - Dig deep." Deborah pushed the snow aside with her hands. It was very cold, but she worked with a great intensity as if there were salvation in it. At last her hand struck something and she tore it up from burial. It was a piece of bone, thick and very strong and curved in a long, high, steady curve. "Is this Carla's life?" she asked. "Her creativity?" "It is bone-deep with her, though buried and frozen." The voice paused a moment and then said, "It's a fine one - a fine solid one!" [...] "Please don't be angry," she said, and then told Carla the dream. [...] She wiped her eyes. "It was only a dream, your dream..." "It's true anyway," Deborah said. "The one place I could never go..." Carla said musing, "...the one hunger I could never admit." When Deborah finished, Furii said, "You always took your art for granted, didn't you? I used to read in the ward reports all the time how you managed to do your drawing in spite of every sort of inconvenience and restriction.
Joanne Greenberg (I Never Promised You a Rose Garden)
He spent the morning at the beach. He had no idea which one, just some open stretch of coastline reaching out to the sea. An unbroken mantle of soft grey clouds was sitting low over the water. Only on the horizon was there a glimmer of light, a faint blue band of promise. The beach was deserted, not another soul on the vast, wide expanse of sand that stretched out in front of him. Having come from the city, it never ceased to amaze Jejeune that you could be that alone in the world. He walked along the beach, feeling the satisfying softness as the sand gave way beneath his slow deliberate strides. He ventured as close to the tide line as he dared, the white noise of the waves breaking on the shingles. A set of paw prints ran along the sand, with an unbroken line in between. A small dog, dragging a stick in its mouth. Always the detective, even if, these days, he wasn’t a very good one. Jejeune’s path became blocked by a narrow tidal creek carrying its silty cargo out to the sea. On each side of it were shallow lagoons and rock pools. When the tide washed in they would teem with new life, but at the moment they looked barren and empty. Jejeune looked inland, back to where the dark smudge of Corsican pines marked the edge of the coast road. He traced the creek’s sinuous course back to where it emerged from a tidal salt flat, and watched the water for a long time as it eddied and churned, meeting the incoming tide in an erotic swirl of water, the fresh intermingling with the salty in a turbulent, roiling dance, until it was no longer possible to tell one from the other. He looked out at the sea, at the motion, the color, the light. A Black-headed Gull swooped in and settled on a piece of driftwood a few feet away. Picture complete, thought Jejeune. For him, a landscape by itself, no matter how beautiful, seemed an empty thing. It needed a flicker of life, a tiny quiver of existence, to validate it, to confirm that other living things found a home here, too. Side by side, they looked out over the sea, the man and the bird, two beating hearts in this otherwise empty landscape, with no connection beyond their desire to be here, at this time. Was it the birds that attracted him to places like this, he wondered, or the solitude, the absence of demands, of expectations? But if Jejeune was unsure of his own motives, he knew this bird would have a purpose in being here. Nature always had her reasons. He chanced a sidelong glance at the bird, now settled to his presence. It had already completed its summer molt, crisp clean feathers having replaced the ones abraded by the harsh demands of eking out a living on this wild, windswept coastline. The gull stayed for a long moment, allowing Jejeune to rest his eyes softly, unthreateningly, upon it. And then, as if deciding it had allowed him enough time to appreciate its beauty, the bird spread its wings and effortlessly lifted off, wheeling on the invisible air currents, drifting away over the sea toward the horizon. p. 282-3
Steve Burrows (A Siege of Bitterns (Birder Murder Mystery, #1))
If man had wings, he would have polluted the sky. Houston we have a problem. The era when scientific progress seemed unstoppable has stopped today, showing the weaknesses of governments and peoples to the whole world in the face of any virus. Fifty years ago the question that afflicted some "powerful" states, concerned the ability to reach the mysterious space, an undertaking that, given the age, seemed increasingly difficult. Today, however, the biggest mission the world is facing is to survive, trying to make people holed up in their homes. But where is the meaning of all this? How did we go from the time when everything was possible and the economy seemed unstoppable, to that in which there are no ways to produce simple masks in a short time? Why did we spend almost a century trying to reach the Moon, Mars and the whole Universe, rather than taking care of our fellow men and our planet that collapsed towards extinction minute by minute? It is certainly no coincidence that while the world is facing a Covid-19 pandemic, NASA is committed to managing the upcoming "Mars 2020" mission with launch scheduled for 17 July 2020. The main objective of this new mission it to look for traces of possible Martian microbes and collect soil samples. You would agree with me in affirming that the sense of the space mission, nowadays, could look more like a demonstration of man's superiority over nature and towards the unknown, than a journey to get to know and understand the infinite mysteries of space and its planets? There is something within our world that pushes us to never appreciate what we have, to want more and more, to the point where we begin to sacrifice the most important and indispensable things, in order to reach questionable new horizons. In this way, governments prefer to invest in weapons rather than in health, in multinationals, rather than supporting education, in space missions rather than taking care of our environment, making the world unprepared for an emergency like a pandemic. And here we are, while fifty years ago we were with our eyes glued to a screen and our breath suspended in order to become witnesses of the Apollo 13 mission, today we stare at our televisions while we see the hundreds of thousands in the mouth of death that our world has to spare them. And so, while we have to deal with our indifference and our mistakes, Mother Nature, who for centuries and centuries has been disfigured of all beauty, today comes back to life, showing herself more alive than ever. Nature is regaining its footing and repopulating lands and seas, cities are less polluted and finally you can breathe clean air. Once again, our planet shows us how powerful it is and how it can put man in his place in a few moments. So, for the umpteenth time we are forced to face the fate that we built with indifference and arrogance, forgetting about our eternal vulnerability. Yes Houston, we still have a problem. It's called "human ignorance" disguised as a philosophy of futility.
Corina Abdulahm-Negura
In my introduction to Warriors, the first of our crossgenre anthologies, I talked about growing up in Bayonne, New Jersey, in the 1950s, a city without a single bookstore. I bought all my reading material at newsstands and the corner “candy shops,” from wire spinner racks. The paperbacks on those spinner racks were not segregated by genre. Everything was jammed in together, a copy of this, two copies of that. You might find The Brothers Karamazov sandwiched between a nurse novel and the latest Mike Hammer yarn from Mickey Spillane. Dorothy Parker and Dorothy Sayers shared rack space with Ralph Ellison and J. D. Salinger. Max Brand rubbed up against Barbara Cartland. A. E. van Vogt, P. G. Wodehouse, and H. P. Lovecraft were crammed in with F. Scott Fitzgerald. Mysteries, Westerns, gothics, ghost stories, classics of English literature, the latest contemporary “literary” novels, and, of course, SF and fantasy and horror—you could find it all on that spinner rack, and ten thousand others like it. I liked it that way. I still do. But in the decades since (too many decades, I fear), publishing has changed, chain bookstores have multiplied, the genre barriers have hardened. I think that’s a pity. Books should broaden us, take us to places we have never been and show us things we’ve never seen, expand our horizons and our way of looking at the world. Limiting your reading to a single genre defeats that. It limits us, makes us smaller. It seemed to me, then as now, that there were good stories and bad stories, and that was the only distinction that truly mattered.
George R.R. Martin (Rogues)
When the dress for Irex’s dinner party arrived wrapped in muslin and tied with twine, it was Arin who brought the package to Kestrel. She hadn’t seen him since the first green storm. She didn’t like to think about that day. It was her grief, she decided, that she didn’t want to remember. She was learning to live around it. She had returned to her music, and let that outings and lessons flow around the fact of Enai’s death, smoothing its jagged edges. She spent little time at the villa. She sent no invitations to Arin for Bite and Sting. If she went into society, she chose other escorts. When Arin stepped into her sitting room that was really a writing room, Kestrel set her book next to her on the divan and turned its spine so that he wouldn’t see the title. “Hmm,” Arin said, turning the packaged dress over in his hands. “What could this be?” “I am sure you know.” He pressed it between his fingers. “A very soft kind of weapon, I think.” “Why are you delivering my dress?” “I saw Lirah with it. I asked if I could bring it to you.” “And she let you, of course.” He lifted his brows at her tone. “She was busy. I thought she would be glad for one less thing to do.” “That was kind of you then,” Kestrel said, though she heard her voice indicate otherwise and was annoyed with herself. Slowly, he said, “What do you mean?” “I mean nothing.” “You asked me to be honest with you. Do you think I have been?” She remembered his harsh words during the storm. “Yes.” “Can I not ask the same thing of you?” The answer was no, no slave could ask anything of her. The answer was no, if he wanted her secret thoughts he could try to win them at Bite and Sting. But Kestrel swallowed a sudden flare of nervousness and admitted to herself that she valued his honesty--and her own, when she was around him. There was nothing wrong with speaking the truth. “I think that you are not fair to Lirah.” His brows drew together. “I don’t understand.” “It’s not fair for you to encourage Lirah when your heart is elsewhere.” He inhaled sharply. Kestrel thought that he might tell her it was no business of hers, for it was not, but then she saw that he wasn’t offended, only taken aback. He pulled up a chair in that possessive, natural way of his and sank into it, dropping the dress onto his knees. He studied her. She willed herself not to look away. “I hadn’t thought of Lirah like that.” Arin shook his head. “I’m not thinking clearly at all. I need to be more careful.” Kestrel supposed that she should feel reassured. Arin set the package on the divan where she sat. “A new dress means an event on the horizon.” “Yes, a dinner party. Lord Irex is hosting.” He frowned. “And you’re going?” She shrugged. “Do you need an escort?” Kestrel intended to say no, but became distracted by the determined set to Arin’s mouth. He looked almost…protective. She was surprised that he should look that way. She was confused, and perhaps this made her say, “To be honest, I would be glad for your company.” His eyes held hers. Then his gaze fell to the book by Kestrel’s side. Before she could stop him, he took it with a nimble hand and read the title. It was a Valorian history of its empire and wars. Arin’s face changed. He returned the book and left.
Marie Rutkoski (The Winner's Curse (The Winner's Trilogy, #1))
Never to Heaven May my eyes always stay level to the horizon may they never gaze as high as heaven to ask why May I never go where angels fear to tread so as to have to ask for answers in the sky The whys in this lifetime i've found are inconsequential compared to the magic of the nowness- the solution to most questions there are no reasons. and if there are- i'm wrong but at least i won't have spent my life waiting looking for God in the clouds of the dawn or listening out for otherworldly contact 30 billion light years on No. i'll let the others do the pondering while i'll be sitting on the lawn reading something unsubstantial with the television on I'll be up early to rise though of course- but only to make you a pot of coffee That's what i was thinking this morning Joe that it's times like this as the marine layer lifts off the sea from the view of our favourite restaurant that i pray that i may always keep my eyes level to your eyeline never downcast at the tablecloth Yes Joe it's times like this as the marine layer lifts off the sea on the dock with the candle lit that i think to myself there are things you still don't know about me like sometimes i'm afraid my sadness is too big and that one day you might have to help me handle it but until then may i always keep my eyes level to this skyline assessing the glittering new development off of the coast of Long Beach never to heaven or revenant Because i have faith in man as strange as that seems in times like these and it's not just because of the warmth i've found in your brown eyes but because i believe in the goodness in me that it's firm enough to plant a flag in or a rosebud or to build a new life.
Lana Del Rey
How Could You Not - for Jane Kenyon It is a day after many days of storms. Having been washed and washed, the air glitters; small heaped cumuli blow across the sky; a shower visible against the firs douses the crocuses. We knew it would happen one day this week. Now, when I learn you have died, I go to the open door and look across at New Hampshire and see that there, too, the sun is bright and clouds are making their shadowy ways along the horizon; and I think: How could it not have been today? In another room, Keri Te Kanawa is singing the Laudate Dominum of Mozart, very faintly, as if in the past, to those who once sat in the steel seat of the old mowing machine, cheerful descendent of the scythe of the grim reaper, and drew the cutter bars little reciprocating triangles through the grass to make the stalks lie down in sunshine. Could you have walked in the dark early this morning and found yourself grown completely tired of the successes and failures of medicine, of your year of pain and despair remitted briefly now and then by hope that had that leaden taste? Did you glimpse in first light the world as you loved it and see that, now, it was not wrong to die and that, on dying, you would leave your beloved in a day like paradise? Near sunrise did you loosen your hold a little? How could you not already have felt blessed for good, having these last days spoken your whole heart to him, who spoke his whole heart to you, so that in the silence he would not feel a single word was missing? How could you not have slipped into a spell, in full daylight, as he lay next to you, with his arms around you, as they have been, it must have seemed, all your life? How could your cheek not press a moment to his cheek, which presses itself to yours from now on? How could you not rise and go, with all that light at the window, those arms around you, and the sound, coming or going, hard to say, of a single-engine plane in the distance that no one else hears?
Galway Kinnell
Then, not as memory, but as an experience of the present, she felt herself reliving the moment when she had stood at the window of her room in New York, looking at a fogbound city, at the unattainable shape of Atlantis sinking out of reach—and she knew that she was now seeing the answer to that moment. She felt, not the words she had then addressed to the city, but that untranslated sensation from which the words had come: You, whom I have always loved and never found, you whom I expected to see at the end of the rails beyond the horizon— Aloud, she said, "I want you to know this. I started my life with a single absolute: that the world was mine to shape in the image of my highest values and never to be given up to a lesser standard, no matter how long or hard the struggle"—you whose presence I had always felt in the streets of the city, the wordless voice within her was saying, and whose world I had wanted to build—"Now I know that I was fighting for this valley"—it is my love for you that had kept me moving—"It was this valley that I saw as possible and would exchange for nothing less and would not give up to a mindless evil"—my love and my hope to reach you and my wish to be worthy of you on the day when I would stand before you face to face—"I am going back to fight for this valley—to release it from its underground, to regain for it its full and rightful realm, to let the earth belong to you in fact, as it does in spirit—and to meet you again on the day when I'm able to deliver to you the whole of the world— or, if I fail, to remain in exile from this valley to the end of my life"—but what is left of my life will still be yours, and I will go on in your name, even though it is a name I'm never to pronounce, I will go on serving you, even though I'm never to win, I will go on, to be worthy of you on the day when I would have met you, even though I won't—"I will fight for it, even if I have to fight against you, even if you damn me as a traitor . . . even if I am never to see you again.
Ayn Rand (Atlas Shrugged)
Creativity is alive And thriving in my body. The energy you bring out in me Is within me infinitely. My power is overflowing. My lips are soft and welcoming To the exhale, The new Braille, The silence that persists After our moans die away, I look at myself and say, "Root down so you can burn. Beautiful girl, it's your turn To create magic within yourself. This time, without his help. Find your roots and find your fire, Be mindful of what you desire, Persist in what you know is true, Stay focused on the endless route Toward your own potential. Allow the existential Void to swallow you whole. Take on your old role: The lone seeker. Become quieter. Become meeker. Become the beauty that you seek. Embody strength if you feel weak. Find love within the walls Of this sacred temple. Let yourself shake and tremble, But keep your eyes ever fixed On the horizon Where it's rising, No revising, Fears capsizing As you sail, sail, sail Toward the wail Of your siren spirit Beckoning you to bloom The flower in your womb, The seed of creativity, Your triumphant legacy." These words, I will carry Within me as I bury Grains of wisdom In the whispers of the wind. And when I arrive To the altar of our origin, I'll be dressed in white and black, And I'll cradle that exact Feeling left on our sheets. And you'll be on your knees, Ready to receive The wholeness of my broken mind, Pried open by The sparkle gleaming in your eyes. And your hands will be full Of supple fruit and you'll Smile at me, and I will see That you have fed your hunger. You'll ooze with courage and wonder. And then, we will know That we've already lost each other A thousand times before. And I have found you As clear water after mud settles. And you have found me As a bee deep in a flower's petals. We have danced before, Pulled art out of each other's spines. We have died and birthed and died. We've already kissed a million times. This wasn't our first five act play, And it will not be the last. So when I thirst for your hands, I will sit and chant. We will meet again. We will meet again.
Vironika Tugaleva
Space is cold and stiff, but Time is alive. Space divides, but Time brings everything to everything else. It does not course outside of you and you do not swim upon it like a drifting log. Time flows through you: you yourself are in flow. You are the river. Are you grieving? Trust Time: soon you will be laughing. Are you laughing? You cannot hold fast your laughing, for soon you will be weeping. You are blown from mood to mood, from one state to another, from waking to sleeping and from sleeping again to waking. You cannot go on wandering for long. You come to a halt, you are tired, you are hungry, you must sit down, you eat, you stand again, you begin anew to wander. You suffer: from the distance unattainable, you glimpse the Deed which you long. But the stream is constantly moving you and one morning the hour of action has arrived. You are a child, and never (so you think) will you escape the helplessness of childhood, which locks you into four windowless walls. But look: your wall itself movable and yielding, and your whole being becomes re-fashioned into a youth. From within yourself there rise hidden springs that leap up to yourself. Posibilities open up before you like flowers, and one day the world has grown all around you. Softly, Time transports you from one curve to another. New vistas and horizons unfold at your side as you pass by. You begin to love the change: you've discovered an extraordinary adventure is afoot. You sense a direction, you feel a new impulse, you can smell the sea. And you see that what changes in you changes also in everything around you. Every point you hurriedly pass by is itself in movement. Every point is being whirled in some direction: its own long history is following its course: but each point knows the ending of its history no more than you know that of yours. You glance up to heaven, Sublime is the rotation of its suns, but these are each heavily laden with their planetary systems as with grapes, and they dash away from one another into already-prepared distances and unfathomable spaces. You smash atoms and they swarm about in more confusion that if you had stamped your foot on an anthill. You seek a mainstay and a temperament law in the temperate mid-region of our earth, but here, too, there is nothing but constant event changing history, and no one can forecast for you even next week's clouds.
Hans Urs von Balthasar
Was this luck, or was it more than that? Proving skill is difficult in venture investing because, as we have seen, it hinges on subjective judgment calls rather than objective or quantifiable metrics. If a distressed-debt hedge fund hires analysts and lawyers to scrutinize a bankrupt firm, it can learn precisely which bond is backed by which piece of collateral, and it can foresee how the bankruptcy judge is likely to rule; its profits are not lucky. Likewise, if an algorithmic hedge fund hires astrophysicists to look for patterns in markets, it may discover statistical signals that are reliably profitable. But when Perkins backed Tandem and Genentech, or when Valentine backed Atari, they could not muster the same certainty. They were investing in human founders with human combinations of brilliance and weakness. They were dealing with products and manufacturing processes that were untested and complex; they faced competitors whose behaviors could not be forecast; they were investing over long horizons. In consequence, quantifiable risks were multiplied by unquantifiable uncertainties; there were known unknowns and unknown unknowns; the bracing unpredictability of life could not be masked by neat financial models. Of course, in this environment, luck played its part. Kleiner Perkins lost money on six of the fourteen investments in its first fund. Its methods were not as fail-safe as Tandem’s computers. But Perkins and Valentine were not merely lucky. Just as Arthur Rock embraced methods and attitudes that put him ahead of ARD and the Small Business Investment Companies in the 1960s, so the leading figures of the 1970s had an edge over their competitors. Perkins and Valentine had been managers at leading Valley companies; they knew how to be hands-on; and their contributions to the success of their portfolio companies were obvious. It was Perkins who brought in the early consultants to eliminate the white-hot risks at Tandem, and Perkins who pressed Swanson to contract Genentech’s research out to existing laboratories. Similarly, it was Valentine who drove Atari to focus on Home Pong and to ally itself with Sears, and Valentine who arranged for Warner Communications to buy the company. Early risk elimination plus stage-by-stage financing worked wonders for all three companies. Skeptical observers have sometimes asked whether venture capitalists create innovation or whether they merely show up for it. In the case of Don Valentine and Tom Perkins, there was not much passive showing up. By force of character and intellect, they stamped their will on their portfolio companies.
Sebastian Mallaby (The Power Law: Venture Capital and the Making of the New Future)
Gray froze as Miss Turner emerged from the hold. For weeks, she’d plagued him-by day, he suffered glimpses of her beauty; by night, he was haunted by memories of her touch. And just when he thought he’d finally wrangled his desire into submission, today she’d ruined everything. She’d gone and changed her dress. Gone was that serge shroud, that forbidding thundercloud of a garment that had loomed in his peripheral vision for weeks. Today, she wore a cap-sleeved frock of sprigged muslin. She stepped onto the deck, smiling face tilted to the wind. A flower opening to greet the sun. She bobbed on her toes, as though resisting the urge to make a girlish twirl. The pale, sheer fabric of her dress billowed and swelled in the breeze, pulling the undulating contour of calf, thigh, hip into relief. Gray thought she just might be the loveliest creature he’d ever seen. Therefore, he knew he ought to look away. He did, for a moment. He made an honest attempt to scan the horizon for clouds. He checked the hour on his pocket watch, wound the small knob one, two, three, four times. He wiped a bit of salt spray from its glass face. He thought of England. And France, and Cuba, and Spain. He remembered his brother, his sister, and his singularly ugly Aunt Rosamond, on whom he hadn’t clapped eyes in decades. And all this Herculean effort resulting in nothing but a fine sheen of sweat on his brow and precisely thirty seconds’ delay in the inevitable. He looked at her again. Desire swept through his body with starling intensity. And beneath that hot surge of lust, a deeper emotion swelled. It wasn’t something Gray wished to examine. He preferred to let it sink back into the murky depths of his being. An unnamed creature of the deep, let for a more intrepid adventurer to catalog. Instead, he examined Miss Turner’s new frock. The fabric was of fine quality, the sprig pattern evenly stamped, without variations in shape or hue. The dressmaker had taken great pains to match the pattern at the seams. The sleeves of the frock fit perfectly square with her shoulders, in a moment of calm, the skirt’s single flounce lapped the laces of her boots. Unlike that gray serge abomination, this dress was expensive, and it had been fashioned for her alone. But it no longer fit. As she turned, Gray noted how the neckline gaped slightly, and the column of her skirt that ought to have skimmed the swell of her hip instead caught on nothing but air. He frowned. And in that instant, she turned to face him. Their gazes caught and held. Her own smile faded to a quizzical expression. And because Gray didn’t know how to answer the unspoken question in her eyes, and because he hated the fact that he’d banished the giddy delight from her face, he gave her a curt nod and a churlish, “Good morning.” And then he walked away.
Tessa Dare (Surrender of a Siren (The Wanton Dairymaid Trilogy, #2))
Look at that ship. That clipper cost me a queen’s ransom, even with the Kestrel thrown in the bargain. But it was the fastest ship to be had.” He took her hands in his. “Forget money. Forget society. Forget expectations. We’ve no talent for following rules, remember? We have to follow our hearts. You taught me that.” He gathered her to him, drawing her hands to his chest. “God, sweet, don’t you know? You’ve had my heart in your pocket since the day we met. Following my heart means following you. I’ll follow you to the ends of the earth if I have to.” He shot an amused glance at the captain. “Though I’d expect your good captain would prefer I didn’t. In fact, I think he’d gladly marry us today, just to be rid of me.” “Today? But we couldn’t.” His eyebrows lifted. “Oh, but we could.” He pulled her to the other side of the ship, slightly away from the gaping crowd. Wrapping his arms around her, he leaned close to whisper in her ear, “Happy birthday, love.” Sophia melted in his embrace. It was her birthday, wasn’t it? The day she’d been anticipating for months, and here she’d forgotten it completely. Until Gray had appeared on the horizon, she hadn’t been looking forward to anything. But now she did. She looked forward to marriage, and children, and love and grand adventure. Real life and true passion. All of it with this man. “Oh, Gray.” “Please say yes,” he whispered. “Sophia.” The name was a caress against her ear. “I love you.” He kissed her cheek and pulled away. “I’ve been remiss in not telling you. You can’t know how I’ve regretted it. But I love you, Sophia Jane Hathaway. I love you as no man ever loved a woman. I love you so much, I fear I’ll burst with it. In fact, I think I shall burst if I go another minute without kissing you, so if you’ve any mind to say yes, I’d thank you to-“ Sophia flung her arms around his neck and kissed him. Hard at first, to quiet the fool man; then gently, to savor him. oh, how she loved the taste of him, like freshly baked bread and rum. Warm and wholesome and comforting, with just a hint of spice and danger. “Yes,” she sighed against his lips. She pulled back and looked into his eyes. “Yes, I will marry you.” His arms tightened about her waist. “Today?” “Today. But you must let me change my gown first.” Smiling, she stroked his smooth cheek. “You even shaved.” “Every day since we left Tortola.” He gave her a rueful smile. “I’ve a few new scars to show for it.” “Good.” She kissed him. “I’m glad. And I don’t care if society casts us out for the pirates we are, just as long as I’m with you.” “Oh, I don’t know that we’ll be cast out, exactly. We’re definitely not pirates. After your stirring testimony”-he chucked her under the chin-“Fitzhugh decided to make the best of an untenable situation. Or an unhangable pirate, as it were. If he couldn’t advance on his career by convicting me, he figured he’d advance it by commending me. Awarded me the Kestrel as salvage and recommended me to the governor for a special citation of valor. There’s talk of knighthood.” He grinned. “Can you believe it? Me, a hero.” “Of course I believe it.” She laced her fingers at the back of his neck. “I’ve always known it, although I should curse that judge and his ‘citation of valor.’ As if you needed a fresh supply of arrogance. Just remember, whatever they deem you-gentleman or scoundrel, hero or pirate-you are mine.” “So I am.” He kissed her soundly, passionately. “And which would you prefer tonight?” At the seductive grown in his voice, shivers of arousal swept down to her toes. “Your gentleman? Your scoundrel? Your hero or your pirate?” She laughed. “I imagine I’ll enjoy all four on occasion. But tonight, I believe I shall find tremendous joy in simply calling you my husband.” He rested his forehead against hers. “My love.” “That, too.
Tessa Dare (Surrender of a Siren (The Wanton Dairymaid Trilogy, #2))
It is more than probable that there are factors of evolution still unknown. We can but seek for them. Nothing is more certain than that life and the evolution of life are natural phenomena. We must approach them, and as far as I can see must attempt to analyze them, by the same methods that are employed in the study of other natural phenomena. The student of nature can do no more than strive towards the truth. When he does not find the whole truth there is but one gospel for his salvation--still to strive towards the truth. He knows that each forward step on the highway of discovery will bring to view a new horizon of regions still unknown. It will be an ill day for science when it can find no more fields to conquer. And so, if you ask whether I look to a day when we shall know the whole truth in regard to organic mechanism and organic evolution, I answer: No! But let us go forward.
Face it - the two of you built your private prison from routine. Your life is lived by rote. So... You shake things up a little. You charm each other anew. You enter into adventurous sexual pacts. You enact grand campaigns of wish fulfillment. You compromise and you demand. You're looking for one last taste of something you felt in the halcyon days of your early courtship. You'll do anything for another hit... To relieve that delicious sensation of not knowing what comes next. So you forge onward, striding towards a horizon riddled with new and enticing options. Thousands of them... Diversion enough to fuel the flames of your union for the duration... And once these have been exhausted, you go to Vegas.
Loren Niva (Suitcase Pimp)
This quality of looking-forward into futurity seems the unavoidable condition of a being, whose motions are gradual, and whose life is progressive: as his powers are limited, he must use means for the attainment of his ends, and intend first what he performs last; as by continual advances from his first stage of existence, he is perpetually varying the horizon of his prospects, he must always discover new motives of action, new excitements of fear, and allurements of desire. The end therefore which at present calls forth our efforts, will be found, when it is once gained, to be only one of the means to some remoter end. The natural flights of the human mind are not from pleasure to pleasure, but from hope to hope.
Samuel Johnson (Complete Works of Samuel Johnson)
If your needs are not attainable through safe instruments, the solution is not to increase the rate of return by upping the level of risk. Instead, goals may be revised, savings increased, or income boosted through added years of work. . . . Somebody has to care about the consequences if uncertainty is to be understood as risk. . . . As we’ve seen, the chances of loss do decline over time, but this hardly means that the odds are zero, or negligible, just because the horizon is long. . . . In fact, even though the odds of loss do fall over long periods, the size of potential losses gets larger, not smaller, over time. . . . The message to emerge from all this hype has been inescapable: In the long run, the stock market can only go up. Its ascent is inexorable and predictable. Long-term stock returns are seen as near certain while risks appear minimal, and only temporary. And the messaging has been effective: The familiar market propositions come across as bedrock fact. For the most part, the public views them as scientific truth, although this is hardly the case. It may surprise you, but all this confidence is rather new. Prevailing attitudes and behavior before the early 1980s were different. Fewer people owned stocks then, and the general popular attitude to buying stocks was wariness, not ebullience or complacency. . . . Unfortunately, the American public’s embrace of stocks is not at all related to the spread of sound knowledge. It’s useful to consider how the transition actually evolved—because the real story resists a triumphalist interpretation. . . . Excessive optimism helps explain the popularity of the stocks-for-the-long-run doctrine. The pseudo-factual statement that stocks always succeed in the long run provides an overconfident investor with more grist for the optimistic mill. . . . Speaking with the editors of Forbes.com in 2002, Kahneman explained: “When you are making a decision whether or not to go for something,” he said, “my guess is that knowing the odds won’t hurt you, if you’re brave. But when you are executing, not to be asking yourself at every moment in time whether you will succeed or not is certainly a good thing. . . . In many cases, what looks like risk-taking is not courage at all, it’s just unrealistic optimism. Courage is willingness to take the risk once you know the odds. Optimistic overconfidence means you are taking the risk because you don’t know the odds. It’s a big difference.” Optimism can be a great motivator. It helps especially when it comes to implementing plans. Although optimism is healthy, however, it’s not always appropriate. You would not want rose-colored glasses in a financial advisor, for instance. . . . Over the long haul, the more you are exposed to danger, the more likely it is to catch up with you. The odds don’t exactly add, but they do accumulate. . . . Yet, overriding this instinctive understanding, the prevailing investment dogma has argued just the reverse. The creed that stocks grow steadily safer over time has managed to trump our common-sense assumption by appealing to a different set of homespun precepts. Chief among these is a flawed surmise that, with the passage of time, downward fluctuations are balanced out by compensatory upward swings. Many people believe that each step backward will be offset by more than one step forward. The assumption is that you can own all the upside and none of the downside just by sticking around. . . . If you find yourself rejecting safe investments because they are not profitable enough, you are asking the wrong questions. If you spurn insurance simply because the premiums put a crimp in your returns, you may be destined for disappointment—and possibly loss.
Zvi Bodie
A church which pitches its tents without constantly looking out for new horizons, which does not continually strike camp, is being untrue to its calling. . . . [We must] play down our longing for certainty, accept what is risky, and live by improvisation and experiment. Hans Küng, The Church as the People of God
Alan Hirsch (The Forgotten Ways)
Better to keep going up for ever, never to rest, never to relax, never to have to descend. The thought of what might happen to you at the hands of those you’d already offended, exploited and wronged on the way up - those that still lived - was just another incentive for the serious player never even to think about easing off the pace, let alone starting to fall back. The dedicated competitor would keep presenting himself with new challenges to take on and conquer, he would seek out new levels to ascend to, he would always look for new horizons to head towards.
They watched in silence as the sliver turned into a semicircle, and the semicircle became a glowing pink globe, balanced on the horizon. She was in awe of the beauty. Of the very idea that this happened every morning behind the scenes while she slept. Beau shifted, his hand leaving her stomach, and she missed it. But it returned a moment later, holding something small and square. He opened the box, and her eyes widened. She sucked in a breath. A solitaire diamond winked back, reflecting the pink rays of dawn. She turned and met his eyes, those beautiful brown eyes, focused solely on her. “I love you, Eden Martelli,” he said in that low, smoky voice. “I love your beautiful smile and the way your laugh brightens the whole room. I love your warm heart and your quiet strength. I love how tender you are with Micah.” She placed her palm over her aching heart, catching her breath as he continued. “I want nothing more than to spend the rest of my life with you. I want to cherish you every day. I want to laugh together and celebrate every new beginning together. I want to be Micah’s daddy—and maybe give him a brother or sister or two . . .” His lips kicked up at the corners. They went flat again as a somber look washed over his eyes. “You’re the love of my life, Eden. Will you marry me?” “Oh, Beau . . .” He took her breath away. He made her believe in new beginnings and happily-ever-afters. “I don’t want to rush you. We can be engaged for as long as you want, but you’re it for me. You’re the one. There’ll never be another.” “Yes,” she breathed. “I want all of that, and I want it with you.
Denise Hunter (Falling Like Snowflakes (Summer Harbor, #1))
It had been a long time since I’d seen the dawn. At one end of the sky a line of blue appeared, and like blue ink on a piece of paper it spread slowly across the horizon. If you gathered together all the shades of blue in the world and picked the bluest, the epitome of blue, this was the colour you would choose. I rested my elbows on the table and looked at that scene, my mind blank. When the sun showed itself over the horizon, that blue was swallowed up by ordinary sunlight… A new day had begun. But what this day would bring, I had no idea.
Haruki Murakami
THE WOOKIEE SIGHED, a low rumble, and gazed at the medal in his palm. On the humans it looked substantial and solid, fit to be worn around the neck. In his hand the scale was altered, and if he brought his fingers together he could conceal it entirely. A pretty thing, hastily engraved in a stylized flower meant perhaps to recall the emblem of the Republic. At its heart a rising sun, halfway above the horizon, both symbolized the dawn of a new hope in the wake of this victory over the Galactic Empire and recalled the Death Star’s destruction.
Greg Rucka (Smuggler's Run: A Han Solo Adventure)
Reinvention is my philosophy, if you want to call it that,” he says, looking out the window. “Imagination is the key to creating a life that is ever new.” Stanley turns his eyes to me. “We are each of us a changeling person,” he says. “We are not going to be the same decade after decade. Wisdom results from confronting not only one’s desires and capacities but also one’s limitations.” “The Layers,” one of Stanley’s best-loved poems, is his crystallization of this wisdom. I have walked through many lives, some of them my own, and I am not who I was, though some principle of being abides from which I struggle not to stray. When I look behind, as I am compelled to look before I can gather strength to proceed on my journey, I see the milestones dwindling toward the horizon and the slow fires trailing from the abandoned camp-sites, over which scavenger angels wheel on heavy wings. Oh, I have made myself a tribe out of my true affections, and my tribe is scattered! How shall the heart be reconciled to its feast of losses? In a rising wind the manic dust of my friends, those who fell along the way, bitterly stings my face. Yet I turn, I turn, exulting somewhat, with my will intact to go wherever I need to go, and every stone on the road is precious to me. In my darkest night, when the moon was covered and I roamed through wreckage, a nimbus-clouded voice directed me: “Live in the layers, not on the litter.” Though I lack the art to decipher it, no doubt the next chapter in my book of transformations is already written. I am not done with my changes.
Mark Matousek (When You're Falling, Dive: Lessons in the Art of Living)
Life expectancy rose only modestly between the Neolithic era of 8500 to 3500 BC and the Victorian era of 1850 to 1900.13 An American born in the late nineteenth century had an average life expectancy of around forty-five years, with a large share never making it past their first birthdays.14 Then something remarkable happened. In countries on the frontier of economic development, human health began to improve rapidly, education levels shot up, and standards of living began to grow and grow. Within a century, life expectancies had increased by two-thirds, average years of schooling had gone from single to double digits, and the productivity of workers and the pay they took home had doubled and doubled and then doubled again. With the United States leading the way, the rich world crossed a Great Divide—a divide separating centuries of slow growth, poor health, and anemic technical progress from one of hitherto undreamed-of material comfort and seemingly limitless economic potential. For the first time, rich countries experienced economic development that was both broad and deep, reaching all major segments of society and producing not just greater material comfort but also fundamental transformations in the health and life horizons of those it touched. As the French economist Thomas Piketty points out in his magisterial study of inequality, “It was not until the twentieth century that economic growth became a tangible, unmistakable reality for everyone.”15 The mixed economy was at the heart of this success—in the United States no less than in other Western nations. Capitalism played an essential role. But capitalism was not the new entrant on the economic stage. Effective governance was. Public health measures made cities engines of innovation rather than incubators of illness.16 The meteoric expansion of public education increased not only individual opportunity but also the economic potential of entire societies. Investments in science, higher education, and defense spearheaded breakthroughs in medicine, transportation, infrastructure, and technology. Overarching rules and institutions tamed and transformed unstable financial markets and turned boom-bust cycles into more manageable ups and downs. Protections against excessive insecurity and abject destitution encouraged the forward-looking investments and social integration that sustained growth required. At every level of society, the gains in health, education, income, and capacity were breathtaking. The mixed economy was a spectacularly positive-sum bargain: It redistributed power and resources, but as its impacts broadened and diffused, virtually everyone was made massively better off.
Jacob S. Hacker (American Amnesia: How the War on Government Led Us to Forget What Made America Prosper)
Making ourselves feel solid, permanent, separate, continuous and defined – by constantly scanning the phenomenal horizon for reference points which substantiate these criteria – is a convoluted process. The phenomena of our perception will only serve us temporarily in this capacity. So if we take this course, we sentence ourselves to the continuous activity of establishing and replacing reference points. When we engage in this process, we convert our perceptual circumstances into a prison. In fact, our perceptual circumstances not only become an incarceration, but a very subtle personal torture chamber. We need to be continually on the look-out for new reference points. We need to reassess old reference points. We need to imbue ourselves with a certain pervasive nervousness. We need to foster a sense of unease about the whole process of experiencing existence. It could become unrelenting hard work in our own personal forced labour camp. In our attempts to establish reference points we react to the phenomena of our perception in three ways. We are either attracted, we are averse or we are indifferent. Attraction, aversion and indifference are usually referred to, in the translations of Buddhist texts, as lust (desire or attachment); hatred (anger or aggression); and ignorance. Although these words have a distinct application to the three distorted tendencies (usually referred to as ‘the Three Poisons’), they have connotations in English that lend them the tone of ‘the Seven Deadly Sins’. If we encounter anything that seems to substantiate our fictions of solidity, permanence, separateness, continuity, and definition – we are attracted, we reach out for it. If we encounter anything that threatens these fictions – we are averse, we push it away. If we encounter anything that neither substantiates nor threatens these fictions – we are indifferent. What we cannot manipulate, we ignore. But what is left of our responses if these three fictions dissolve? The question of what our experience would be like without attraction, aversion, and indifference poses an interesting challenge to our rationale. In fact, we cannot approach this question at all, if we approach it through conventional reasoning. Fundamentally this question deals with the nature of experience itself. If attraction, aversion, and indifference dissolve, what remains is not any ‘kind of experience’; it is simply experience – experience as such. In terms of experience as such; we are completely present, open, and free in the experience of whatever arises as a perception. Dechen, Khandro; Chogyam, Ngakpa (2014-01-14). Spectrum of Ecstasy: Embracing the Five Wisdom Emotions of Vajrayana Buddhism (p. 45). Shambhala Publications. Kindle Edition.
Dechen, Khandro; Chogyam, Ngakpa
From the day when Pierre, after leaving the Rostovs' with Natasha's grateful look fresh in his mind, had gazed at the comet that seemed to be fixed in the sky and felt that something new was appearing on his own horizon—from that day the problem of the vanity and uselessness of all earthly things, that had incessantly tormented him, no longer presented itself. That terrible question "Why?" "Wherefore?" which had come to him amid every occupation, was now replaced, not by another question or by a reply to the former question, but by her image. When he listened to, or himself took part in, trivial conversations, when he read or heard of human baseness or folly, he was not horrified as formerly, and did not ask himself why men struggled so about these things when all is so transient and incomprehensible—but
Leo Tolstoy (War and Peace)
The law gave me an entirely new vocabulary, a language that non-lawyers derisively referred to as "legalese." Unlike the basic building blocks- the day-to-day words- that got me from the subway to the office and back, the words of my legal vocabulary, more often than not, triggered flavors that I had experienced after leaving Boiling Springs, flavors that I had chosen for myself, derived from foods that were never contained within the boxes and the cans of DeAnne's kitchen. Subpoenakiwifruit. InjunctionCamembert. Infringementlobster. Jurisdictionfreshgreenbeans. Appellantsourdoughbread. ArbitrationGuinness. Unconstitutionalasparagus. ExculpatoryNutella. I could go on and on, and I did. Every day I was paid an astonishing amount of money to shuffle these words around on paper and, better yet, to say them aloud. At my yearly reviews, the partners I worked for commented that they had never seen a young lawyer so visibly invigorated by her work. One of the many reasons I was on track to make partner, I thought. There were, of course, the rare and disconnecting exceptions. Some legal words reached back to the Dark Ages of my childhood and to the stunted diet that informed my earlier words. "Mitigating," for example, brought with it the unmistakable taste of elementary school cafeteria pizzas: rectangles of frozen dough topped with a ketchup-like sauce, the hard crumbled meat of some unidentifiable animal, and grated "cheese" that didn't melt when heated but instead retained the pattern of a badly crocheted coverlet. I had actually looked forward to the days when these rectangles were on the lunch menu, slapped onto my tray by the lunch ladies in hairnets and comfortable shoes. Those pizzas (even the word itself was pure exuberance with the two z's and the sound of satisfaction at the end... ah!) were evocative of some greater, more interesting locale, though how and where none of us at Boiling Springs Elementary circa 1975 were quite sure. We all knew what hamburgers and hot dogs were supposed to look and taste like, and we knew that the school cafeteria served us a second-rate version of these foods. Few of us students knew what a pizza was supposed to be. Kelly claimed that it was usually very big and round in shape, but both of these characteristics seemed highly improbable to me. By the time we were in middle school, a Pizza Inn had opened up along the feeder road to I-85. The Pizza Inn may or may not have been the first national chain of pizzerias to offer a weekly all-you-can-eat buffet. To the folks of the greater Boiling Springs-Shelby area, this was an idea that would expand their waistlines, if not their horizons. A Sizzler would later open next to the Pizza Inn (feeder road took on a new connotation), and it would offer the Holy Grail of all-you-can-eat buffets: steaks, baked potatoes, and, for the ladies, a salad bar complete with exotic fixings such as canned chickpeas and a tangle of slightly bruised alfalfa sprouts. Along with "mitigating," these were some of the other legal words that also transported me back in time: Egressredvelvetcake. PerpetuityFrenchsaladdressing. Compensatoryboiledpeanuts. ProbateReese'speanutbuttercup. FiduciaryCheerwine. AmortizationOreocookie.
Monique Truong (Bitter in the Mouth)
Organizations will also find themselves at a crossroads when their leaders start to believe their own myths—that the success the company enjoyed under their leadership was a result of their genius rather than the genius of their people, who were inspired by the Cause they were leading. These leaders too often fixate on advancing their own fame, fortunes, glory and legacies at the expense of the company and its Cause. Management becomes disconnected from the people and trust breaks down. And when performance necessarily starts to suffer as a result, these same leaders are quicker to blame others than to look at what set the company on the new path in the first place. In order to “fix” the problem, their faith in the people is replaced with faith in the process. The company becomes more rigid and decision-making powers are often taken away from the front lines. It can’t be a good thing when the captain of the ship, who is supposed to be on deck navigating toward the horizon, is now in the ship tinkering with the engine trying to make it go faster.
Simon Sinek (The Infinite Game)
What undreamed of new technology will soon be a ubiquitous part of everyone’s lives, we can only guess. With quantum computing, nanotechnology, advanced robotics and artificial intelligence emerging on the horizon, the future has never looked brighter – or bleaker, as the potential for self-destruction and ecological disaster is also accelerating at breakneck speeds. Never before in human history has there been so much cause for both hope and alarm. We are living in a world of increasing uncertainty, and each day brings new reason for both celebration and concern. The brighter the light grows, the darker the shadows become.
David Jay Brown (Mavericks of the Mind)
There stands upon the horizon a new figure of self yet to be unfolded that one must...honor. All of this will be the same, but it will look and feel different upon one’s return—it is important to know this now. One can stand upon a ridge high above the valley, upon a formation of jutting rocks and look over the precipice of what one has known. Even in its multitude of permutations, all looks familiar: the mountains, the fields, the skies—all of it connected to one’s eyes as though by invisible threads. The idea of breaking free from them is now rather troubling. Do those threads have the tensility to endure the stretch of a journey? Will these specters of recognition remain immutable and intact and hitched to the undulating satchel through one’s peregrinations to yet unseen territories, or do these delicate snares snap, relegating these identities only to the wake, sequestered in their purity even from one’s keenest reminiscence? Irrespective of the case, one should assume there to be a reconstitution of both identifier and identified over this inexorable trek—the unyielding essence of each layered, nevertheless, by the sediment of accumulating circumstance until there exists an uncertainty when they meet again. The landscape of then is a petrified visage—the organic layers of tree barks are supplanted by crystalized molds of mineral simulacrum, grass stalks of ages ago have dried and yellowed, autumn blossoms breathe new scents unaware of previous aromas whose places they now occupy, ambling figures have crumbled to bone whistles stacked in cylinders in muted sarcophagi with their predecessors. Faces meet landscapes—there is a vague recognition between the overlapping partners, an attempt at translation to identify elements once apprehended, but inevitably no solution is available in the moment that can bridge pristine artifacts with reconfigured forms.
Ashim Shanker (Inward and Toward (Migrations, #3))
we are born into this world on the tailcoats of a scream. born into gritted teeth and a shock of red across the pristine. born into a solemn hush. are you evil? you, who tore into this world on a steed of crimson… are you a monster? we are born as angels, toothless, a mouth a gurgling brook. and as we grow, so do our wings, until we are high enough to see that our church is no more than a small forest and the altar a tree. are you a monster, angel with fangs? all teeth, thick with teeth, you can’t even close your mouth anymore. it rains and it’s like drowning. corn husk skin and we’re born again. into a time of being tied down, to a person, to a bed. a time of clipped wings. of holy cries out to a void. your wildness a convenience store in the desert, pale pink, dusty, arid. your wildness staring longingly at the screaming horizon and flicking another cigarette butt into the dirt, a lone oscillating fan its only company. we’re born into this concrete world, where sanctuary is to be alone or to pretend to like it. this world of broken bottles instead of leaf crunch. roadside motels proclaiming vacancies. inside and out. that pluck your heartstrings. a new church, a fresh sin. the altar now a white railing against a muted matte pink wall. you lean against it, hips jutted to the side. some of the eighties still lingers. you see a man in a leather jacket kissing a girl’s neck purple. he looks up. teeth are everywhere. hundreds of glistening teeth. you turn away. your wings shush against an old telephone booth, door forced closed. you’re calling your mother to say you’re sorry for hurting her, but when she answers you hang up.
Taylor Rhodes (calloused: a field journal)
And, just when you’d got out of the flower, and were feeling really proud of yourself, you’d look at the new, big, wide endless world around you. And eventually you’d notice that it had petals around the horizon.
Terry Pratchett (Diggers)
St. Lawrence River May 1705 Temperature 48 degrees From the river they walked back to the town, and the boy was taken into the fire circle outside the powwow’s longhouse. Here he was placed on the powwow’s sacred albino furs. A dozen men, those who were now his relatives, sat in a circle around him. The powwow lit a sacred pipe and passed it, and for the first time in his life, the boy smoked. Don’t cough, Mercy prayed for him. Don’t choke. Afterward she found out they diluted the tobacco with dried sumac leaves to make sure he wouldn’t cough on his first pull. Although the women had adopted him, it was the men who filed by to bring gifts. The new Indian son received a tomahawk, knives, a fine bow, a pot of vermilion paint, a beautiful black-and-white-striped pouch made from a skunk and several necklaces. “Watch, watch!” whispered Snow Walker, riveted. “This is his father. Look what his father gives him!” The warrior transferred from his own body to his son’s a wampum belt--hundreds of tiny shell circles linked together like white lace. The belt was so large it had to hang from the neck instead of the waist. To give a man a belt was old-fashioned. Wampum had no value to the French and had not been used as money by the Indians for many years. But it still spoke of power and honor and even Mercy caught her breath to see it on a white boy’s body. But of course, he was not white any longer. “My son,” said the powwow, “now you are flesh of our flesh and bone of our bone.” At last his real name was called aloud, and the name was plain: Annisquam, which just meant “Hilltop.” Perhaps they had caught him at the summit of a mountain. Or considering the honor of the wampum belt, perhaps he kept his eyes on the horizon and was a future leader. Or like Ruth, he might have done some great deed that would be told in story that evening. When the gifts and embraces were over, Annisquam was taken into the powwow’s longhouse to sit alone. He would stay there for many hours and would not be brought out until well into the dancing and feasting in the evening. Not one of Mercy’s questions had been answered. Was he, in his heart, adopted? Had he, in his heart, accepted these new parents? Where, in his heart, had he placed his English parents? How did he excuse himself to his English God and his English dead? The dancing began. Along with ancient percussion instruments that crackled and rattled, rasped and banged, the St. Francis Indians had French bells, whose clear chimes rang, and even a bugle, whose notes trumpeted across the river and over the trees.
Caroline B. Cooney (The Ransom of Mercy Carter)
ON A WARM, drowsy afternoon in early September, Ed Murrow, Vincent Sheean, and Ben Robertson, a correspondent for the New York newspaper PM, stopped at the edge of a field several miles south of London. The three had spent the day driving down the Thames estuary in Murrow’s Talbot Sunbeam roadster, enjoying the sun and looking for dogfights between Spitfires and Messerschmitts. Their search had been fruitless, and they stopped to buy apples from a farmer. Stretching out on the field to eat them, they drowsily listened to the chirp of crickets and buzzing of bees. The war seemed very far away. Within minutes, however, it returned with a vengeance. Hearing the harsh throb of aircraft engines, the Americans looked up at a sky filled with wave after wave of swastika-emblazoned bombers that clearly were not heading for their targets of previous days—the coastal defenses and RAF bases of southern England. Following the curve of the Thames, they were aimed straight at London. In minutes the sky over the capital was suffused with a fiery red glow; black smoke billowed up into a vast cloud that blanketed much of the horizon. When shrapnel from antiaircraft guns rained down around the American reporters, they dived into a nearby ditch, where, stunned, they watched the seemingly endless procession of enemy aircraft flying north. “London is burning. London is burning,” Robertson kept repeating. Returning to the city, they found flames sweeping through the East End, consuming dockyards, oil tanks, factories, overcrowded tenements, and everything else in their path. Hundreds of people had been killed, thousands injured or driven from their homes. Under a blood-red moon, women pushed prams piled high with their salvaged belongings. That horrific evening marked the beginning of the Blitz: from September 7 on, London would endure fifty-seven straight nights of relentless bombing. Until then, no other city in history had ever been subjected to such an onslaught. Warsaw and Rotterdam had been heavily bombed by the Germans early in the war, but not for the length of time of the assault on London. Although
Lynne Olson (Citizens of London: The Americans Who Stood with Britain in Its Darkest, Finest Hour)
Wind This house has been far out at sea all night, The woods crashing through darkness, the booming hills, Winds stampeding the fields under the window Floundering black astride and blinding wet Till day rose; then under an orange sky The hills had new places, and wind wielded Blade-light, luminous black and emerald, Flexing like the lens of a mad eye. At noon I scaled along the house-side as far as The coal-house door. Once I looked up - Through the brunt wind that dented the balls of my eyes The tent of the hills drummed and strained its guyrope, The fields quivering, the skyline a grimace, At any second to bang and vanish with a flap; The wind flung a magpie away and a black- Back gull bent like an iron bar slowly. The house Rang like some fine green goblet in the note That any second would shatter it. Now deep In chairs, in front of the great fire, we grip Our hearts and cannot entertain book, thought, Or each other. We watch the fire blazing, And feel the roots of the house move, but sit on, Seeing the window tremble to come in, Hearing the stones cry out under the horizons.
Ted Hughes (The Hawk in the Rain)
Well, I guess this is it.” “For this little bit time.” She looked up. “Hunter, you mustn’t--” He leaned toward her and crossed her lips with a finger. “You can read my trail, eh? You can walk in my footsteps and come to me. I will leave you signs.” With a nod, Loretta slid off the horse and stretched the reins out to him. Instead of taking them, he dismounted and walked around his horse to stand with her. She tipped her head back, trying her best to smile. His song had nothing to do with her. Why couldn’t he understand that? “Thank you for bringing me home. My heart will sing a song of friendship when I think of you, Hunter--for always into the horizon.” He gestured toward the stallion. “You will take him. He is strong and swift. He will carry you back to Comanche land, eh?” “Oh, no! I couldn’t. He’s yours!” “He walks a new way now. You are his good friend.” Tears sprang to her eyes. “I will never return to Comancheria, Hunter. Please, keep your horse.” “You keep. He is my gift to you, Blue Eyes.
Catherine Anderson (Comanche Moon (Comanche, #1))
Thank you for bringing me home. My heart will sing a song of friendship when I think of you, Hunter--for always into the horizon.” He gestured toward the stallion. “You will take him. He is strong and swift. He will carry you back to Comanche land, eh?” “Oh, no! I couldn’t. He’s yours!” “He walks a new way now. You are his good friend.” Tears sprang to her eyes. “I will never return to Comancheria, Hunter. Please, keep your horse.” “You keep. He is my gift to you, Blue Eyes.” Words eluded Loretta. Before she thought it through, she rose on her tiptoes and pressed her lips against his in what she intended to be a quick kiss of farewell. Hunter had heard of this strange tosi tivo custom called kissing. The thought of two people pressing their open mouths together had always disgusted him. Loretta was a different matter, however. Before she could pull away, he captured her face between his hands and tipped her head back to nibble lightly at her mouth. To learn the taste of her. And to remember. As inexpert as he was, when his mouth touched hers, a wave of heat zigzagged through him, pooling like fire low in his belly. Her lips were soft and full, as sweet as warm penende, honey. She gasped, and when she did, he dipped his tongue past her teeth to taste her moistness, which was even sweeter and made him think of other sweet places he would like to taste. Hunter at last understood why the tosi tivo liked kissing. She clutched his wrists and leaned away from him. He drew back and smiled, his palms still framing her face. Her large eyes shone as blue as the sky above them, startled and wary, just as they had so many times those first few days. She was like his mother’s beadwork, beautiful on the outside, a confusing tangle on the inside. Would he never understand her? “Good-bye, Hunter.” Reluctantly he released her and watched her lead the horse down the hill. At the base of the slope she turned and looked back. Their gazes met and held. Then she turned toward home and broke into a trot, the horse trailing behind her. Hunter shook his head. Only a White Eyes would walk when she had a perfectly good horse to ride.
Catherine Anderson (Comanche Moon (Comanche, #1))
The spittin’ image of--What was your dead friend’s name?” “It is not to be spoken. He is dead, no? To say his name would not show respect. What is this to do with spit?” “It’s just a saying. When someone or something looks just like something else, it’s called a spittin’ image. I don’t know why.” “You do not know, but you say the words? The words from your mouth say who you are, Blue Eyes. I make a lie; I am an easop, storyteller. I speak hate; my heart burns with hate. The People do not make talk if they do not know the words. If it is spoken, it must be. A man is what he speaks. This is not so with the tosi tivo?” Loretta shrugged and bit back a smile. “I seriously doubt I’ll become spit. It’s just something everyone says.” “You will learn the meaning of this spit image, no? And say it to me. When we meet again?” Loretta tightened her hand on the reins. “Yes, if we meet again.” He glanced over at her, his expression suddenly solemn. “We walk backward in our footsteps, eh? Maybe you will walk forward a new way when we reach your wooden walls. You could be a little bit happy as my woman, no?” Loretta fixed her eyes on the horizon ahead of them. They were only a day and a half’s ride from her home. A day and a half from real clothes, a chance to wash her hair, to eat her own kind of food. Yes, he had been kind to her. As reluctant as she was to admit it, she’d even come to like him a little. But not enough to belong to him. Never that. “To be happy, I must be at my wooden walls,” she said shakily. “That’s my home and where my people are.” There was only tonight and tomorrow night to get through, and then she’d be home. Suvate. It was almost finished.
Catherine Anderson (Comanche Moon (Comanche, #1))
Well, it's true that the anarchist vision in just about all its varieties has looked forward to dismantling state power―and personally I share that vision. But right now it runs directly counter to my goals: my immediate goals have been, and now very much are, to defend and even strengthen certain elements of state authority that are now under severe attack. And I don't think there's any contradiction there―none at all, really. For example, take the so-called "welfare state." What's called the "welfare state" is essentially a recognition that every child has a right to have food, and to have health care and so on―and as I've been saying, those programs were set up in the nation-state system after a century of very hard struggle, by the labor movement, and the socialist movement, and so on. Well, according to the new spirit of the age, in the case of a fourteen-year-old girl who got raped and has a child, her child has to learn "personal responsibility" by not accepting state welfare handouts, meaning, by not having enough to eat. Alright, I don't agree with that at any level. In fact, I think it's grotesque at any level. I think those children should be saved. And in today's world, that's going to have to involve working through the state system; it's not the only case. So despite the anarchist "vision," I think aspects of the state system, like the one that makes sure children eat, have to be defended―in fact, defended very vigorously. And given the accelerating effort that's being made these days to roll back the victories for justice and human rights which have been won through long and often extremely bitter struggles in the West, in my opinion the immediate goal of even committed anarchists should be to defend some state institutions, while helping to pry them open to more meaningful public participation, and ultimately to dismantle them in a much more free society. There are practical problems of tomorrow on which people's lives very much depend, and while defending these kinds of programs is by no means the ultimate end we should be pursuing, in my view we still have to face the problems that are right on the horizon, and which seriously affect human lives. I don't think those things can simply be forgotten because they might not fit within some radical slogan that reflects a deeper vision of a future society. The deeper visions should be maintained, they're important―but dismantling the state system is a goal that's a lot farther away, and you want to deal first with what's at hand and nearby, I think. And in any realistic perspective, the political system, with all its flaws, does have opportunities for participation by the general population which other existing institutions, such as corporations, don't have. In fact, that's exactly why the far right wants to weaken governmental structures―because if you can make sure that all the key decisions are in the hands of Microsoft and General Electric and Raytheon, then you don't have to worry anymore about the threat of popular involvement in policy-making.
Noam Chomsky (Understanding Power: The Indispensable Chomsky)
It was a glorious evening, the sun seeming to hesitate in the process of setting, as if it couldn't bear to end the day. It was teetering on the horizon, throwing ribbons of pink and mauve across the sky like life ropes, and the air was sweet with jasmine. They'd brought the white cane chairs down from the house, and Anthony, having spent the afternoon entertaining the girls, had finally opened the newspaper he'd brought with him, only to fall into a doze behind it. Edwina, the new puppy, was leaping about at Eleanor's feet, pouncing on a ball the girls had found for her, and Eleanor was rolling it gently along the cooling lawn, laughing fondly as the puppy tripped over her ears to fetch it back. She was teasing the little dog, lifting the ball just out of reach for the pleasure of seeing her balance on her hind legs, cycle her little paws in the air, and then snap at it with her teeth. They were sharp teeth. The puppy had already managed to tear holes in most of Eleanor's stockings. Darling little menace, she had a sixth sense for rooting out the things she shouldn't have, but it was impossible to be cross with her. She only had to look up with those big brown eyes and cock her head just so and Eleanor melted. She'd wanted a dog when she was a girl, but her mother had declared them "filthy beasts" and that was that.
Kate Morton (The Lake House)
Millions have believed this—that prayers are answered—and these millions have prayed to different gods. Were they all wrong or all right? Would a tentative prayer be listened to? Admitting that the Bibles, and Korans, and Vedas, are misleading and unreliable, may there not be an unseen, unknown Being, who knows my heart—who is watching me now? If so, this Being gave me my reason, which[38] doubts Him, and on Him is the responsibility. And would this being, if he exists, overlook a defect for which I am not to blame, and listen to a prayer from me, based on the mere chance that I might be mistaken? Can an unbeliever, in the full strength of his reasoning powers, come to such trouble that he can no longer stand alone, but must cry for help to an imagined power? Can such time come to a sane man—to me?" He looked at the dark line of vacant horizon. It was seven miles away; New York was nine hundred; the moon in the east over two hundred thousand, and the stars above, any number of billions. He was alone, with a sleeping child, a dead bear, and the Unknown. He walked softly to the boat and looked at the little one for a moment; then, raising his head, he whispered: "For you, Myra.
Morgan Robertson (Futility or the Wreck of the Titan)
The sun had set long since. Bright stars shone out here and there in the sky. A red glow as of a conflagration spread above the horizon from the rising full moon, and that vast red ball swayed strangely in the gray haze. It grew light. The evening was ending, but the night had not yet come. Pierre got up and left his new companions, crossing between the campfires to the other side of the road where he had been told the common soldier prisoners were stationed. He wanted to talk to them. On the road he was stopped by a French sentinel who ordered him back. Pierre turned back, not to his companions by the campfire, but to an unharnessed cart where there was nobody. Tucking his legs under him and dropping his head he sat down on the cold ground by the wheel of the cart and remained motionless a long while sunk in thought. Suddenly he burst out into a fit of his broad, good-natured laughter, so loud that men from various sides turned with surprise to see what this strange and evidently solitary laughter could mean. "Ha-ha-ha!" laughed Pierre. And he said aloud to himself: "The soldier did not let me pass. They took me and shut me up. They hold me captive. What, me? Me? My immortal soul? Ha-ha-ha! Ha-ha-ha!..." and he laughed till tears started to his eyes. A man got up and came to see what this queer big fellow was laughing at all by himself. Pierre stopped laughing, got up, went farther away from the inquisitive man, and looked around him. The huge, endless bivouac that had previously resounded with the crackling of campfires and the voices of many men had grown quiet, the red campfires were growing paler and dying down. High up in the light sky hung the full moon. Forests and fields beyond the camp, unseen before, were now visible in the distance. And farther still, beyond those forests and fields, the bright, oscillating, limitless distance lured one to itself. Pierre glanced up at the sky and the twinkling stars in its faraway depths. "And all that is me, all that is within me, and it is all I!" thought Pierre. "And they caught all that and put it into a shed boarded up with planks!" He smiled, and went and lay down to sleep beside his companions.
Leo Tolstoy (War and Peace)
Tonight, I decided to take a stroll down to my local liquor store. Maybe I’ll find a refreshment to wash down this full moon. Some nights you feel like you're on an alien planet or some kind of time machine entering a liquor store with its neon signs and retro touches; besides the new done up stores looking like a polished toilet. I prefer the beaten down, rough and strange liquor store. I’m a regular and the man at the counter always asked me about my latest book, he told me to stay away and write until old age. Anyways got my shit, walked out and the alarm beep went off, barely covering the tax. Took the long way home, to get away from that haunting typewriter. Sat down at some park bench, as I started to open my poison, a memory rushed into me. A empty bottle of Jack Daniel’s under the Christmas tree. I thought my dad would want another drink, so started to pour my bottle into the dirt and cry as the moon went over the horizon and crossed into the section where my heart was filled up with the hidden moons glow.
Brandon Villasenor
It was one of those chilly California brights with blue sky and cold sunshine and here and there a cloud like Mr Big was popping Himself a cap down beyond the horizon. I dug it all: the sail of a lone early yacht out in the Bay like a tossed-away paper cup; the whitecaps flipping around out by Angel Island like they were stoned out of their minds; the top down on the 300-SL so we could smell salt and feel the icy bite of the wind. But beyond the tunnel on US 101, coming down towards Marin City, I felt a sudden sharp chill as if a cloud has passed between me and the sun, but none had; and then I dug for the first time what I was actually doing. Victor felt it, too, for he turned to me and said, “Must maintain cool, dad.” “I’m with it.” San Quentin Prison, out on the end of its peninsula, looked like a sprawled ugly dragon sunning itself on a rock; we pulled up near the East Gate and there were not even any birds singing. Just a bunch of quiet cats in black, Quakers or Mennonites or something, protesting capital punishment by their silent presence as they’d done ever since Chessman had gotten his out there. I felt dark frightened things move around inside me when I saw them.
Maxim Jakubowski (The New Mammoth Book Of Pulp Fiction (Mammoth Books 319))
He looked up into the sky and round the blue horizon and finally down into Lenina’s face. ‘Isn’t it beautiful?’ His voice trembled a little. She smiled at him with and expression of the most sympathetic understanding. ‘Simply perfect for Obstacle Gold,’ she answered rapturously. ‘And now we must fly, Bernard.
Aldous Huxley (Brave New World)
He looked up into the sky and round the blue horizon and finally down into Lenina’s face. ‘Isn’t it beautiful?’ His voice trembled a little. She smiled at him with and expression of the most sympathetic understanding. ‘Simply perfect for Obstacle Golf,’ she answered rapturously. ‘And now we must fly, Bernard.
Aldous Huxley (Brave New World)
The long view of motherhood sees far beyond the third trimester, potty training, and even high school graduation. The long view of motherhood scans the horizon of eternity. We understand that our child may one day be our brother or sister in Christ. We mothers always need to have the long view of life in our minds as we go about our days. God is about his work of creating people who are created and recreated in the image of his Son. We are part of the new humanity, a people whose pattern of life is being transformed by God so that we no longer walk in ways that enslave us in death and futility. The world will one day be filled with the glory of the Lord the way the waters cover the sea! In all our mothering, we look toward that day.
Gloria Furman (Treasuring Christ When Your Hands Are Full: Gospel Meditations for Busy Moms)