Mapping The Bones Quotes

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Sometimes when you pick up your child you can feel the map of your own bones beneath your hands, or smell the scent of your skin in the nape of his neck. This is the most extraordinary thing about motherhood - finding a piece of yourself separate and apart that all the same you could not live without.
Jodi Picoult (Perfect Match)
You know what, sometimes it seems to me we're living in a world that we fabricate for ourselves. We decide what's good and what isn't, we draw maps of meanings for ourselves... And then we spend our whole lives struggling with what we have invented for ourselves. The problem is that each of us has our own version of it, so people find it hard to understand each other.
Olga Tokarczuk (Drive Your Plow Over the Bones of the Dead)
There are maps in me but I am lost, and there are skies in me but they are dead.
Laini Taylor (Dreams of Gods & Monsters (Daughter of Smoke & Bone, #3))
Explore me,' you said and I collected my ropes, flasks and maps, expecting to be back home soon. I dropped into the mass of you and I cannot find the way out. Sometimes I think I’m free, coughed up like Jonah from the whale, but then I turn a corner and recognise myself again. Myself in your skin, myself lodged in your bones, myself floating in the cavities that decorate every surgeon’s wall. That is how I know you. You are what I know.
Jeanette Winterson (Written on the Body)
This must be what love is: a pain so radiant it cuts through all others.
Sara Eliza Johnson (Bone Map: Poems (National Poetry Series))
Any good marriage is secret territory, a necessary white space on society's map. What others don't know about it is what makes it yours.
Stephen King (Bag of Bones)
it sucks to get old...but there's always beer
James Rollins (Map of Bones (Sigma Force, #2))
It’s the edges of the maps that fascinate ...
David Mitchell (The Bone Clocks)
You almost hold up your piece of paper and say, ‘The girl I like just gave me a treasure map to herself.’ But you don’t. You just don’t.
Laini Taylor (Night of Cake & Puppets (Daughter of Smoke & Bone, #1.5))
Look at those legs,” Noah says. “Look at that bone structure. Look at those eyes, you could get fucking lost in them.” “You need Google Maps to find your way out of my eyes,” Gideon says, executing an elaborate turn before catwalking back.
Emma Mills (Foolish Hearts)
Remember, There’s a map beneath your skin and all your veins are rivers, there’s directions and instructions written in secret on your bones, there’s a star you can’t see that shines in a North you’ll never know. And a secret current, beneath the waves, that carries you to the end of you.
pleasefindthis (I Wrote This for You and Only You (I Wrote This For You #3))
The map showed human places I'd never heard of - places that had once been great civilizations, until humans forgot the world wasn't theirs to claim.
Anne Bishop (Etched in Bone (The Others, #5))
Phoney: Here's your problem Fone Bone! We're off the map! Get a bigger map!
Jeff Smith
And all the names of the tribes, the nomads of faith who walked in the monotone of the desert and saw brightness and faith and colour. The way a stone or found metal box or bone can become loved and turn eternal in a prayer. Such glory of this country she enters now and becomes a part of. We die containing a richness of lovers and tribes, tastes we have swallowed, bodies we have plunged into and swum up as if rivers of wisdom, characters we have climbed into as if trees, fears we have hidden in as if caves. I wish for all of this to be marked on my body when I am dead. I believe in such cartography—to be marked by nature, not just to label ourselves on a map like the names of rich men and women on buildings. We are communal histories, communal books. We are not owned or monogamous in our taste or experience. All I desired was to walk upon such an earth that had no maps.
Michael Ondaatje (The English Patient)
Maps held no secrets, no intricacies he could not parse. He could know a place far better than he could know a person.
Emily Lloyd-Jones (The Bone Houses)
Certain lines can't be uncrossed, Certain maps will get you lost, Once you're past the border, then you'll have to play the game. Roll the dice but count the cards, Break the glass but keep the shards. The world is out of order. It's been broken since you came. The broken doors are hidden in the blood and in the bone. My darling child, be careful now, and don't go out alone.
Mira Grant
For the very first time Andrew realized that life, real life, had no connection with the way people spent their days, whose lips they kissed, what medals were pinned on them, or the shoes they mended. Life, real life went on soundlessly...ultimately there was no difference between Queen Victoria and the most wretched beggar in London: both were complex machines made up of bone, organ, and tissue, whose fuel was the breath of God.
Félix J. Palma (The Map of Time)
Festina lente. Make haste slowly.
James Rollins (Map of Bones (Sigma Force, #2))
She handed him her gun. “Down,” she ordered. “Shoot anybody that comes into view.” “What about you?” “No, don’t shoot me.” “I mean where are you going?
James Rollins (Map of Bones (Sigma Force, #2))
If you burn away my bones, my love for him would remain, tattooed in the air.
Lia Riley (Sideswiped (Off the Map, #2))
It also revealed the naked expanse of her back, the bones of her spine like a map for someone’s fingers.
Malinda Lo (Last Night at the Telegraph Club)
Wars could be won or lost with a map; travellers could lose their way; entire villages could vanish.
Emily Lloyd-Jones (The Bone Houses)
Part of him wondered if he liked maps because they were a reassurance. A promise that he would never again be without a path.
Emily Lloyd-Jones (The Bone Houses)
Mental maps. Maps with edges. And for Auden, for so many of us, it's the edges of the maps that fascinate...
David Mitchell (The Bone Clocks)
Too early…too late. A last message to live in the present. To accept the past and not rush the future.
James Rollins (Map of Bones (Sigma Force, #2))
After all these years, still a spot within her fluttered at his touch, and his voice, throaty and hushed in her ear, tickled along her spine. Naked, they walked to the bedroom. Beneath the covers, they fumbled with each other’s bodies, arms and legs, backbones and hip bones, until they found the familiar, tender lines like the creases in an old map that has been folded and refolded over the years.
Eowyn Ivey (The Snow Child)
The battles I’ve conquered, The scars I’ve struggled to hide The faces of all those have done me wrong, The breakdowns I overcame with grace and pride; They’ve been maps; colorful maps drawn From skin to bones. As a gentle reminder of all the roads not taken And all those miles I’ve walked alone. A blissful paths to the woman I always aimed to be; A woman with a peaceful mind and a gentle soul…
Samiha Totanji
They do not comprehend where they are going," Kaz said, whispering his words to the wind. I knew he didn't mean a particular place. There were no map coordinates to mark the location. He meant that point in time and space where bullet meets bone, where grown men cry rivers of tears; the point you can never return from, even if you live to be ninety.
James R. Benn
In what do you believe? In September's slight motion of particulars, in the weight of birds, in lust, propulsion, maps that lie.
Stacie Cassarino (Zero at the Bone)
Ars longa, vita brevis,” she whispered, a quote from Hippocrates. One of her favorites. Life is short, art eternal.
James Rollins (Map of Bones (Sigma Force, #2))
The faint tracer of scars on his face was barely visible, like the ghost of a map. •chapter 2, page 34
Leigh Bardugo (Siege and Storm (The Shadow and Bone Trilogy, #2))
I’m not mad because you’re resting. I’m mad because I’m so bone tired and I want to rest. But, unlike you, I’m going to pretend that I don’t need to.
Brené Brown (Atlas of the Heart: Mapping Meaningful Connection and the Language of Human Experience)
I break the hand, slice the heart—I mean I break the bread, slice the apple—and eat them.
Sara Eliza Johnson (Bone Map: Poems)
He looked at me in a way that felt like being touched, like a blind man seeing with his fingers, mapping my bones and skin in his mind. I felt weirdly exposed. Seen. “It’s not what you think,” he said. “What do I think?” “I’m not that good. I can’t read minds.” Then read my body, I thought, but he only smiled. “Tell me something.” He leaned closer, his voice raspy at the edges, charred. “If you hate human connection so much, why come with us?” Because I don’t hate it. I hate how much I need it. Because you’re the ones I was waiting for.
Leah Raeder (Black Iris)
Her face is seamed with a million wrinkles like the map of a state where the geography hasn’t settled down—rivers and canyons along her brown leather cheeks, ridges below the knob of her chin, the sinuous raised drumlin of bone at the base of her forehead, the caves of her eyes.
Stephen King (The Stand)
THE BARROW In this high field strewn with stones I walk by a green mound, Its edges sheared by the plough. Crumbs of animal bone Lie smashed and scattered round Under the clover leaves And slivers of flint seem to grow Like white leaves among green. In the wind, the chestnut heaves Where a man's grave has been. Whatever the barrow held Once, has been taken away: A hollow of nettles and dock Lies at the centre, filled With rain from a sky so grey It reflects nothing at all. I poke in the crumbled rock For something they left behind But after that funeral There is nothing at all to find. On the map in front of me The gothic letters pick out Dozens of tombs like this, Breached, plundered, left empty, No fragments littered about Of a dead and buried race In the margins of histories. No fragments: these splintered bones Construct no human face, These stones are simply stones. In museums their urns lie Behind glass, and their shaped flints Are labelled like butterflies. All that they did was die, And all that has happened since Means nothing to this place. Above long clouds, the skies Turn to a brilliant red And show in the water's face One living, and not these dead." — Anthony Thwaite, from The Owl In The Tree
Anthony Thwaite
Though you may be a wanderer, living out your days in exile, home is with you always, in blood-song and bone map, and in the echo of your mother’s voice as you tell her favorite tale to your children or the children who gather around you in the land of your exile. Home is your most constant companion.
Ari Berk (Death Watch (The Undertaken, #1))
In Treasure Island, Savannah is the place where Captain John Flint, the murderous pirate with the blue face, has died of rum before the story begins. It is on his death bed in Savannah that Flint bellows his last command - "Fetch aft the rum, Darby!" - and hands Billy Bones a map of Treasure Island. "He gave it me at Savnnah," says Bones, "when he lay a-dying." The book has a drawing of Flint's map in it with an X marking the location of the buried treasure.
John Berendt (Midnight in the Garden of Good and Evil)
I’d seen the Shadow Fold on many maps, a black slash that had severed Ravka from its only coastline and left it landlocked. Sometimes it was shown as a stain, sometimes as a bleak and shapeless cloud. And then there were the maps that just showed the Shadow Fold as a long, narrow lake and labeled it by its other name, “the Unsea,” a name intended to put soldiers and merchants at their ease and encourage crossings. I snorted. That might fool some fat merchant, but it was little comfort to me. I
Leigh Bardugo (Shadow and Bone (The Shadow and Bone Trilogy, #1))
I felt my spirits lift. I would leave the map of my life here, in Jaipur. I would leave behind a hundred thousand henna strikes. I would no longer call myself a henna artist but tell anyone who asked : I healed, I soothed. I made whole. I would leave behind the useless apologies for my disobedience. I would leave behind my yearning to rewrite my past. My skills, my eagerness to learn and my desire for a life I could call my own - these were things I would take with me. They were part of me the way my blood, my breath, my bones were
Alka Joshi (The Henna Artist (The Jaipur Trilogy, #1))
You are a living mystery school… Your blood and bones contain ancient wisdom… Your heart is a treasure map to Authentic Self.
Jacob Nordby
bone-pickers, rag-gatherers, pure-finders, dredgermen, mud-larks, sewer-hunters, dustmen, night-soil men, bunters, toshers, shoremen.
Steven Johnson (The Ghost Map: The Story of London's Most Terrifying Epidemic--and How It Changed Science, Cities, and the Modern World)
The maps were old friends, speaking to him in lines and etchings as clearly as people spoke with words.
Emily Lloyd-Jones (The Bone Houses)
I think of death, not as a smokestack, but as an opening door.
Jane Yolen (Mapping the Bones)
but any good marriage is secret territory, a necessary white space on society’s map. What others don’t know about it is what makes it yours.
Stephen King (Bag of Bones)
Brenda Meserve had done her best, but any good marriage is secret territory, a necessary white space on society’s map. What others don’t know about it is what makes it yours.
Stephen King (Bag of Bones)
You know what, sometimes it seems to me we’re living in a world that we fabricate for ourselves. We decide what’s good and what isn’t, we draw maps of meanings for ourselves . . . And then we spend our whole lives struggling with what we have invented for ourselves. The problem is that each of us has our own version of it, so people find it hard to understand each other.
Olga Tokarczuk (Drive Your Plow Over the Bones of the Dead)
Now I am a woman of bone and skin, the patches of pigmentation like a map of a rocky archipelago; I am obdurate and uncooperative, drifting on a sea of memory between islands of lucidity.
Claire Fuller (Bitter Orange)
Could it be that humans had an infinite capacity to make themselves at home in the direst of situations? Or did one just adjust expectations downward, so as to be able to get through each day?
Jane Yolen (Mapping the Bones)
Poppy used to share the room with her older sister, and piles of he sister's outgrown clothes still remained spread out in drifts, along with a collection of used makeup and notebooks covered in stickers and scrawled with lyrics. A jumbled of her sister's old Barbies were on top of a bookshelf, waiting for Poppy to try and fix their melted arms and chopped hair. The bookshelves were overflowing with fantasy paperbacks and overdue library books, some of them on Greek myths, some on mermaids, and a few on local hauntings. The walls were covered in posters-Doctor Who, a cat in a bowler hat, and a giant map of Narnia.
Holly Black (Doll Bones)
Pillows made of stones, Bed of old kings’ bones, Quilt of moss and earth, Deep beneath the turf, Sleeps the faerie child, Dreaming of the wild, Hidden and unknown. —From “Now the Faeries Sleep,” a nursery rhyme originating in Kent, c. 1700.
Heather Fawcett (Emily Wilde's Map of the Otherlands (Emily Wilde, #2))
My right foot hits the ground first, but my left one's gone AWOL, and I'm cartwheeling, my body mapped by local explosions of pain -- ankle, knee, elbow -- shit, my left ski's gone, whipped off, vamoosed -- ground-woods-sky, ground-woods-sky ground-woods-sky, a faceful of gravelly snow; dice in a tumbler; apples in a tumble dryer, a grunt, a groan, a plea, a shiiiiiiiiit ... [ ... ] Gravity, velocity, and the ground; stopping is going to cost a fortune and the only acceptable currency is pain.
David Mitchell (The Bone Clocks)
Last Night’s Moon," “When will we next walk together under last night’s moon?” - Tu Fu March aspens, mist forest. Green rain pins down the sea, early evening cyanotype. Silver saltlines, weedy toques of low tide, pillow lava’s black spill indelible in the sand. Unbroken broken sea. — Rain sharpens marsh-hair birth-green of the spring firs. In the bog where the dead never disappear, where river birch drown, the surface strewn with reflection. This is the acid-soaked moss that eats bones, keeps flesh; the fermented ground where time stops and doesn’t; dissolves the skull, preserves the brain, wrinkled pearl in black mud. — In the autumn that made love necessary, we stood in rubber boots on the sphagnum raft and learned love is soil–stronger than peat or sea– melting what it holds. The past is not our own. Mole’s ribbon of earth, termite house, soaked sponge. It rises, keloids of rain on wood; spreads, milkweed galaxy, broken pod scattering the debris of attention. Where you are while your body is here, remembering in the cold spring afternoon. The past is a long bone. — Time is like the painter’s lie, no line around apple or along thigh, though the apple aches to its sweet edge, strains to its skin, the seam of density. Invisible line closest to touch. Lines of wet grass on my arm, your tongue’s wet line across my back. All the history in the bone-embedded hills of your body. Everything your mouth remembers. Your hands manipullate in the darkness, silver bromide of desire darkening skin with light. — Disoriented at great depths, confused by the noise of shipping routes, whales hover, small eyes squinting as they consult the magnetic map of the ocean floor. They strain, a thousand miles through cold channels; clicking thrums of distant loneliness bounce off seamounts and abyssal plains. They look up from perpetual dusk to rods of sunlight, a solar forest at the surface. Transfixed in the dark summer kitchen: feet bare on humid linoleum, cilia listening. Feral as the infrared aura of the snake’s prey, the bees’ pointillism, the infrasonic hum of the desert heard by the birds. The nighthawk spans the ceiling; swoops. Hot kitchen air vibrates. I look up to the pattern of stars under its wings.
Anne Michaels
Pretty soon there'll be a new kind of murderer, who will kill without any reason at all, just to prove that it doesn't matter, and his accomplishment will be worth no more and no less than Beethoven's last quartets and Boito's Requiem-- churches will fall, Mongolian hordes will piss on the map of the West, idiot kings will burp at bones, nobody'll care and then the earth itself'll disintegrate into atomic dust (as it was in the beginning) and the void still the void won't care, the void'll just go on with that maddening little smile of its that I see everywhere, I look at a tree, a rock, a house, a street, I see that little smile-- That 'secret God-grin' but what a God is this who didn't invent justice?--So they'll light candles and make speeches and the angels rage. Ah but 'I don't know, I don't care, and it doesn't matter' will be the final human prayer.
Jack Kerouac (Desolation Angels)
1. YOU MUST REMEMBER THIS Youth is a cliff. You leap, and repair the broken bones later. When you're older, you draw the map, retrace your steps and find the cliff's edge again to wonder: Would anyone ever jump if they knew how far down it went? I jumped, once. I’m broken in unseen places.
Douglas Clegg
Sometimes when you pick up your child, you can feel the map of your own bones beneath your hands or smell the scent of your skin in the nape of his neck. This is the most extraordinary thing about motherhood. Finding a piece of yourself separate and apart that all the same you could not live without.
Jodi Picoult
We’re lucky we don’t have to share. Lots of people have to—you told me so yourself.” “Share?” Gittel had looked appalled. Chaim remembered the face she’d made at the time, adding, “Papa, we have so little, how could we possibly share?” He’d looked at her, shook his head. “Many people have far less, and that you must never forget.
Jane Yolen (Mapping the Bones)
Looking back into childhood is like turning a telescope the wrong way around. Everything appears in miniature, but with a clarity it probably does not deserve; moreover it has become concentrated and stylized, taking shape in symbolism. Thus it is that I sometimes see my infant self as having been set down before a blank slate on which to construct a map or schema of the external world, and as hesitantly beginning to sketch it, with many false starts and much rubbing-out, the anatomy of my universe. Happiness and sorrow, love and friendship, hostility, a sense of guilt and more abstract concepts still, must all find a place somewhere, much as an architect lays out the plan of a house he is designing - hall, dining-room and bedrooms - but must not forget the bathroom. In a child’s map, too, some of the rooms are connected by a serving-hatch, while others are sealed off behind baize doors. How can the fragments possibly be combined to make sense? Yet this map or finished diagram, constructed in the course of ten or twelve years’ puzzling, refuses to be ignored, and for some time to come will make itself felt as bones through flesh, to emerge as the complex organism which adults think of as their philosophy of life. Presumably it has its origins in both heredity and enviorment. So with heredity I shall begin.
Frances Partridge (Love in Bloomsbury: Memories)
Anguish is an almost unbearable and traumatic swirl of shock, incredulity, grief, and powerlessness. Shock and incredulity can take our breath away, and grief and powerlessness often come for our hearts and our minds. But anguish, the combination of these experiences, not only takes away our ability to breathe, feel, and think—it comes for our bones.
Brené Brown (Atlas of the Heart: Mapping Meaningful Connection and the Language of Human Experience)
Perhaps you can burrow down into the turf and make from the moss a quilt, as the rhyme goes, but I cannot."* *Pillows made of stones, Bed of old kings' bones, Quilt of moss and earth, Deep beneath the turf, Sleeps the faerie child, Dreaming of the wild, Hidden and unknown. --- From "Now the Faeries Sleep," a nursery rhyme originating in Kent, c. 1700.
Heather Fawcett (Emily Wilde's Map of the Otherlands (Emily Wilde, #2))
As Mama once told me, “We called him Boy for the first two months of his life, but when his third-month birthday came around and we saw that sweet smile—especially when you were close to him, reaching out for him—we realized that he had chosen life. So we named him Chaim after your zaide, your grandfather, but also because ‘chaim’ in Hebrew means ‘life.’” I cannot imagine what my life would have been like without my twin.
Jane Yolen (Mapping the Bones)
Bristol-Meyers Squibb has reported success with monatomic ruthenium to correct cancer cells. Same with platinum and iridium, according to Platinum Metals Review. These atoms actually make the DNA strand correct itself, rebuilding without drugs or radiation. Iridium has been shown to stimulate the pineal gland and appears to fire up ‘junk DNA,’ leading to the possibility of increased longevity and reopening aging pathways in the brain.
James Rollins (Map of Bones (Sigma Force, #2))
They laughed good-humoredly, mocking the sense of placelessness that comes when a child’s development is not sheltered under the great umbrella of the bell curve. In the big world and even in this little red schoolhouse, Nathaniel was not an average kid but an outlier, at the map’s edge where ships fall off the flat Earth and dragons roam. Suddenly I wished for a child with Down syndrome so he would not be peerless, in a class by himself.
Jeanne McDermott (Babyface: A Story of Heart and Bones)
People were dying around us, of starvation, tuberculosis, cholera, typhus, typhoid, deportation, influenza, heartbreak. Their lungs were filling up because of the cold. They were being shot for walking too quickly, staring too hard, not answering questions fast enough or answering too fast, or just because they wore the yellow star. To die was easy. To live was harder. Papa said to us, “We have chosen the more difficult path, that of life. Now we must walk it.” We walked.
Jane Yolen (Mapping the Bones)
Morning comes. I go to my class. There sit the little ones with folded arms. In their eyes is still all the shy astonishment of the childish years. They look up at me so trustingly, so believingly - and suddenly I get a spasm over the heart. Here I stand before you, one of the hundreds of thousands of bankrupt men in whom the war destroyed every belief and almost every strength. Here I stand before you, and see how much more alive, how much more rooted in life you are than I. Here I stand and must now be your teacher and guide. What should I teach you? Should I tell you that in twenty years you will be dried-up and crippled, maimed in your freest impulses, all pressed mercilessly into the selfsame mold? Should I tell you that all the learning, all culture, all science is nothing but hideous mockery, so long as mankind makes war in the name of God and humanity with gas, iron, explosive and fire? What should I teach you then, you little creatures who alone have remained unspotted by the terrible years? What am I able to teach you then? Should I tell you how to pull the string of a hand grenade, how best to throw it at a human being? Should I show you how to stab a man with a bayonet, how to fell him with a club, how to slaughter him with a spade? Should I demonstrate how best to aim a rifle at such an incomprehensible miracle as a breathing breast, a living heart? Should I explain to you what tetanus is, what a broken spine is, and what a shattered skull? Should I describe to you what brains look like when they scatter about? What crushed bones are like - and intestines when they pour out? Should I mimic how a man with a stomach wound will groan, how one with a lung wound gurgles and one with a head wound whistles? More I do not know. More I have not learned. Should I take you the brown-and-green map there, move my finger across it and tell you that here love was murdered? Should I explain to you that the books you hold in your hands are but nets with which men design to snare your simple souls, to entangle you in the undergrowth of find phrases, and in the barbed wire of falsified ideas? I stand here before you, a polluted, a guilty man and can only implore you ever to remain as you are, never to suffer the bright light of your childhood to be misused as a blow flame of hate. About your brows still blows the breath of innocence. How then should I presume to teach you? Behind me, still pursuing, are the bloody years. - How then can I venture among you? Must I not first become a man again myself?
Erich Maria Remarque (The Road Back)
Julius explained that the palace rooms where they stood were called Wunderkammers, or wonder rooms. Souvenirs of nature, of travels across continents and seas; jewels and skulls. A show of wealth, intellect, power. The first room had rose-colored glass walls, with rubies and garnets and bloodred drapes of damask. Bowls of blush quartz; semiprecious stone roses running the spectrum of red down to pink, a hard, glittering garden. The vaulted ceiling, a feature of all the ten rooms Julius and Cymbeline visited, was a trompe l'oeil of a rosy sky at down, golden light edging the morning clouds. The next room was of sapphire and sea and sky; lapis lazuli, turquoise and gold and silver. A silver mermaid lounged on the edge of a lapis lazuli bowl fashioned in the shape of an ocean. Venus stood aloft on the waves draped in pearls. There were gold fish and diamond fish and faceted sterling silver starfish. Silvered mirrors edged in silvered mirror. There were opals and aquamarines and tanzanite and amethyst. Seaweed bloomed in shades of blue-green marble. The ceiling was a dome of endless, pale blue. A jungle room of mica and marble followed, with its rain forest of cats made from tiger's-eye, yellow topaz birds, tortoiseshell giraffes with stubby horns of spun gold. Carved clouds of smoky quartz hovered over a herd of obsidian and ivory zebras. Javelinas of spotted pony hide charged tiny, life-sized dik-diks with velvet hides, and dazzling diamond antlers mingled with miniature stuffed sable minks. Agate columns painted a medley of dark greens were strung with faceted ropes of green gold. A room of ivory: bone, teeth, skulls, and velvet. A room crowded with columns all sheathed in mirrors, reflecting world maps and globes and atlases inlaid with silver, platinum, and white gold; the rubies and diamonds that were sometimes set to mark the location of a city or a town of conquest resembled blood and tears. A room dominated by a fireplace large enough to hold several people, upholstered in velvets and silks the colors of flame. Snakes of gold with orange sapphire and yellow topaz eyes coiled around the room's columns. Statues of smiling black men in turbans offering trays of every gem imaginable-emerald, sapphire, ruby, topaz, diamond-stood at the entrance to a room upholstered in pistachio velvet, accented with malachite, called the Green Vault. Peridot wood nymphs attended to a Diana carved from a single pure crystal of quartz studded with tiny tourmalines. Jade tables, and jade lanterns. The royal jewels, blinding in their sparkling excess: crowns, tiaras, coronets, diadems, heavy ceremonial necklaces, rings, and bracelets that could span a forearm, surrounding the world's largest and most perfect green diamond. Above it all was a night sky of painted stars, with inlaid cut crystal set in a serious of constellations.
Whitney Otto (Eight Girls Taking Pictures (Thorndike Press Large Print Basic Series))
Writers don’t write in a void. We work in a physical space, a room, ideally in a house like Laxness’s Gljúfrasteinn, but also we write within an imaginative space. Amid boxes, crates, shelves and cabinets full of … junk, treasure, both cultural – nursery rhymes, mythologies, histories, what Tolkien called “the compost heap” – and also personal stuff: childhood TV, home-grown cosmologies, stories we hear first from our parents, or later from our children, and, crucially, maps. Mental maps. Maps with edges. And for Auden, for so many of us, it’s the edges of the maps that fascinate …
David Mitchell (The Bone Clocks)
Words, so much more readily remembered, gradually replace our past with their own. Our birth pangs become pages. Our battles, our triumphs, our trophies, our stubbed toes, will survive only in their descriptions; because it is the gravestone we visit, when we visit, not the grave. It is against the stone we stand our plastic flowers. Who wishes to bid good morrow to a box of rot and bones? We say a name, and only a faint simulacrum of its object forms itself (if any at all does)- forms itself in that grayless gray area of consciousness where we put imaginary maps and once heard music; where we hunt for lost articles and diagram desire.
William H. Gass
Though I could see for many miles, apart from distant plantations of Sitka spruce and an occasional scrubby hawthorn or oak clinging to a steep valley, across that whole, huge view, there were no trees. The land had been flayed. The fur had been peeled off, and every contoured muscle and nub of bone was exposed. Some people claim to love this landscape. I find it dismal, dismaying. I spun round, trying to find a place that would draw me, feeling as a cat would feel here, exposed, sat upon by wind and sky, craving a sheltered spot. I began to walk towards the only features on the map that might punctuate the scene: a cluster of reservoirs and plantations.
George Monbiot (Feral: Searching for Enchantment on the Frontiers of Rewilding)
His booted feet pounded out an insane, frantic rhythm underneath him as he raced into the cavern across from Baba Yaga’s den at a dead sprint. Pieces of dragon dung flew off him and hit the ground behind him in miniature chunks. He didn’t dare look behind him to see if the dragon had risen from the ground yet, but the deafening hiss that assaulted his ears meant she’d woken up. Icy claws of fear squeezed his heart with every breath as he ran, relying on the night vision goggles, the glimpse he’d gotten of the map, and his own instincts to figure out where to go. Jack raced around one corner too sharply and slipped on a piece of dung, crashing hard on his right side. He gasped as it knocked the wind out of him and gritted his teeth, his mind screaming at him to get up and run, run, run. He pushed onto his knees, nursing what felt like bruised ribs and a sprained wrist, and then paled as an unmistakable sensation traveled up the arm he’d used to push himself up. Impact tremors. Boom. Boom. Boom, boom, boom. Baba Yaga was coming. Baba Yaga was hunting him. Jack forced himself up onto his feet again, stumbling backwards and fumbling for the tracker. He got it switched on to see an ominous blob approaching from the right. He’d gotten a good lead on her—maybe a few hundred yards—but he had no way of knowing if he’d eventually run into a dead end. He couldn’t hide down here forever. He needed to get topside to join the others so they could take her down. Jack blocked out the rising crescendo of Baba Yaga’s hissing and pictured the map again. A mile up to the right had a man-made exit that spilled back up to the forest. The only problem was that it was a long passage. If Baba Yaga followed, there was a good chance she could catch up and roast him like a marshmallow. He could try to lose her in the twists and turns of the cave system, but there was a good chance he’d get lost, and Baba Yaga’s superior senses meant it would only be a matter of time before she found him. It came back to the most basic survival tactics: run or hide. Jack switched off the tracker and stuck it in his pocket, his voice ragged and shaking, but solid. “You aren’t about to die in this forest, Jackson. Move your ass.” He barreled forward into the passageway to the right in the wake of Baba Yaga’s ominous, bubbling warning, barely suppressing a groan as a spike of pain lanced through his chest from his bruised ribs. The adrenaline would only hold for so long. He could make it about halfway there before it ran out. Cold sweat plastered the mask to his face and ran down into his eyes. The tunnel stretched onward forever before him. No sunlight in sight. Had he been wrong? Jack ripped off the hood and cold air slapped his face, making his eyes water. He held his hands out to make sure he wouldn’t bounce off one of the cavern walls and squinted up ahead as he turned the corner into the straightaway. There, faintly, he could see the pale glow of the exit. Gasping for air, he collapsed against one wall and tried to catch his breath before the final marathon. He had to have put some amount of distance between himself and the dragon by now. “Who knows?” Jack panted. “Maybe she got annoyed and turned around.” An earth-shattering roar rocked the very walls of the cavern. Jack paled. Boom, boom, boom, boom! Boom, boom, boom, boomboomboomboom— Mother of God. The dragon had broken into a run. Jack shoved himself away from the wall, lowered his head, and ran as fast as his legs would carry him.
Kyoko M. (Of Blood & Ashes (Of Cinder & Bone, #2))
Now the tourists are scarier than the locals. They don't even look worried, consulting their maps and adjusting their lederhosen without fear of discovery. Who's gonna stop them? You can't even spray-paint your name on the subways anymore. Subway cars used to be an exciting showcase for dedicated artists, a place where they could create masterworks two and three hundred feet long that would rocket across the boroughs, write their names in the sky, every wild style "piece" more outlandish and distinctive than the one that came before. Now, every subway car, like every American city, looks the same—another soulless space, filled with slack-jawed, sleepwalking bodies, unconnected to anything, running from nothing, to nowhere.
Anthony Bourdain (The Nasty Bits: Collected Varietal Cuts, Usable Trim, Scraps, and Bones)
Yes, I think a lot happened here. This fountain in the wall. Pico and Lorenzo and Poliziano and the young Michelangelo. They held in each hand the new world and the old world. The library hunted down the last four books of Cicero. They imported a giraffe, a rhinoceros, a dodo. Toscanelli drew maps of the world based on correspondence with merchants. They sat in this room with a bust of Plato and argued all night. And then came Savonarola's cry out of the streets: 'Repentance! The deluge is coming!' And everything was swept away – free will, the desire to be elegant, fame, the right to worship Plato as well as Christ. Now came the bonfires – the burning of wigs, books, animal hides, maps. More than four hundred years later they opened up the graves. Pico's bones were preserved. Poliziano's had crumbled into dust.
Michael Ondaatje (The English Patient)
Anguish is an emotion and an experience that is singular and must be understood and named, especially for those of us who have experienced it, will experience it, or may bear witness to it. This is how we define anguish: An almost unbearable and traumatic swirl of shock, incredulity, grief, and powerlessness. The shock and incredulity can take our breath away, and grief and powerlessness often come for our hearts and our minds. But anguish, the combination of these experiences, not only takes away our ability to breathe, to feel, and to think - it comes for our bones. Anguish often causes us to physically crumple in on ourselves, literally bringing us to our knees or forcing us all the way to the ground. The element of powerlessness is what makes anguish traumatic. We are unable to change, reverse, or negotiate what has happened. Anguish always finds its way back to us. After going through such things; your bones are slightly different than they were before. 
Brené Brown (Atlas of the Heart: Mapping Meaningful Connection and the Language of Human Experience)
What it like to sail?" she asked. His gaze shifted, and he stared into the distance. "It's freedom. Like riding a powerful horse with a gait like silk. You speed over the waves, carried on the wind, held up over an unknowable depth of water beneath you, with the entire sky above. And that sky is a different color depending on where on earth you are. There are a thousand shades of blue. You can look up and know where you are, just by the color. And the stars at night - there's indescribable beauty in the stars, like a woman's eyes, flashing, shining... And yet, they are tools, enabling navigation, a map to follow..." She stared at his profile as he spoke, at the scars that marred his brow and cheeks, the crooked line of his broken nose, the elegant, aristocratic line of his jaw, half-hidden under the shadow of stubble, and the soft, sensual curve of his mouth. She saw the sea in his eyes, smelled the wind, tasted the salt, and she felt her chest tighten with a longing to sail, to experience speed and adventure. Breathless, she felt the presence of the man in the portrait, the rogue, the bold captain. Her heart twisted as she imagined him in prison, beaten, chained, tormented to madness. He was still a prisoner, trapped inside the cage of his injured flesh, his damaged bones, his memories of unspeakable horrors. What would it take to set him free?
Lecia Cornwall (Beauty and the Highland Beast (Highland Fairy Tales #1))
He found himself thinking of something Barry Grieg had once said to him about a rhythm guitar player from L.A., a guy named Jory Baker who was always on time, never missed a practice session, or fucked up an audition. Not the kind of guitar player that caught your eye, no showboat like Angus Young or Eddie Van Halen, but competent. Once, Barry had said, Jory Baker had been the driving wheel of a group called Sparx, a group everybody seemed to think that year's Most Likely to Succeed. They had a sound something like early Creedence: hard solid guitar rock and roll. Jory Baker had done most of the writing and all of the vocals. Then a car accident, broken bones, lots of dope in the hospital. He had come out, as the John Prine song says, with a steel plate in his head and a monkey on his back. He progressed from Demerol to heroin. Got busted a couple of times. After a while he was just another street-druggie with fumble fingers, spare-changing down at the Greyhound station and hanging out on the strip. Then, somehow, over a period of eighteen months, he had gotten clean, and stayed clean. A lot of him was gone. He was no longer the driving wheel of any group, Most Likely to Succeed or otherwise, but he was always on time, never missed a practice session, or fucked up an audition. He didn't talk much, but the needle highway on his left arm had disappeared. And Barry Grieg had said: 'He's come out the other side.' That was all. No one can tell what goes on in between the person you were and the person you become. No one can chart that blue and lonely section of hell. There are no maps of the change. You just . . . come out the other side. Or you don't.
Stephen King (The Stand)
He found himself thinking of something Barry Grieg had once said to him about a rhythm guitar player from L.A., a guy named Jory Baker who was always on time, never missed a practice session, or fucked up an audition. Not the kind of guitar player that caught your eye, no showboat like Angus Young or Eddie Van Halen, but competent. Once, Barry had said, Jory Baker had been the driving wheel of a group called Sparx, a group everybody seemed to think that year's Most Likely to Succeed. They had a sound something like early Creedence: hard solid guitar rock and roll. Jory Baker had done most of the writing and all of the vocals. Then a car accident, broken bones, lots of dope in the hospital. He had come out, as the John Prine song says, with a steel plate in his head and a monkey on his back. He progressed from Demerol to heroin. Got busted a couple of times. After a while he was just another street-druggie with fumble fingers, spare-changing down at the Greyhound station and hanging out on the strip. Then, somehow, over a period of eighteen months, he had gotten clean, and stayed clean. A lot of him was gone. He was no longer the driving wheel of any group, Most Likely to Succeed or otherwise, but he was always on time, never missed a practice session, or fucked up an audition. He didn't talk much, but the needle highway on his left arm had disappeared. And Barry Grieg had said: 'He's come out the other side.' That was all. No one can tell what goes on in between the person you were and the person you become. No one can chart that blue and lonely section of hell. There are no maps of the change. You just . . . come out the other side. Or you don't.
Stephen King (The Stand)
He found himself thinking of something Barry Grieg had once said to him about a rhythm guitar player from L.A., a guy named Jory Baker who was always on time, never missed a practice session, or fucked up an audition. Not the kind of guitar player that caught your eye, no showboat like Angus Young or Eddie Van Halen, but competent. Once, Barry had said, Jory Baker had been the driving wheel of a group called Sparx, a group everybody seemed to think that year's Most Likely to Succeed. They had a sound something like early Creedence: hard solid guitar rock and roll. Jory Baker had done most of the writing and all of the vocals. Then a car accident, broken bones, lots of dope in the hospital. He had come out, as the John Prine song says, with a steel plate in his head and a monkey on his back. He progressed from Demerol to heroin. Got busted a couple of times. After a while he was just another street-druggie with fumble fingers, spare-changing down at the Greyhound station and hanging out on the strip. Then, somehow, over a period of eighteen months, he had gotten clean, and stayed clean. A lot of him was gone. He was no longer the driving wheel of any group, Most Likely to Succeed or otherwise, but he was always on time, never missed a practice session, or fucked up an audition. He didn't talk much, but the needle highway on his left arm had disappeared. And Barry Grieg had said: 'He's come out the other side.' That was all. No one can tell what goes on in between the person you were and the person you become. No one can chart that blue and lonely section of hell. There are no maps of the change. You just . . . come out the other side. Or you don't.
Stephen King (The Stand)
We killed them all when we came here. The people came and burned their land The forests where they used to feed We burned the trees that gave them shade And burned to bush, to scrub, to heath We made it easier to hunt. We changed the land, and they were gone. Today our beasts and dreams are small As species fall to time and us But back before the black folk came Before the white folk’s fleet arrived Before we built our cities here Before the casual genocide, This was the land where nightmares loped And hopped and ran and crawled and slid. And then we did the things we did, And thus we died the things we died. We have not seen Diprotodon A wombat bigger than a room Or run from Dromornithidae Gigantic demon ducks of doom All motor legs and ripping beaks A flock of geese from hell’s dark maw We’ve lost carnivorous kangaroo A bouncy furrier T Rex And Thylacoleo Carnifex the rat-king-devil-lion-thing the dropbear fantasy made flesh. Quinkana, the land crocodile Five metres long and fast as fright Wonambi, the enormous snake Who waited by the water-holes and took the ones who came to drink who were not watchful, clever, bright. Our Thylacines were tiger-wolves until we drove them off the map Then Megalania: seven meters of venomous enormous lizard... and more, and more. The ones whose bones we’ve never seen. The megafauna haunt our dreams. This was their land before mankind Just fifty thousand years ago. Time is a beast that eats and eats gives nothing back but ash and bones And one day someone else will come to excavate a heap of stones And wonder, What were people like? Their teeth weren’t sharp. Their feet were slow. They walked Australia long ago before Time took them into tales We’re transients. The land remains. Until its outlines wash away. While night falls down like dropbears don’t to swallow up Australia Day.
Neil Gaiman
Yatima found verself gazing at a red-tinged cluster of pulsing organic parts, a translucent confusion of fluids and tissue. Sections divided, dissolved, reorganised. It looked like a flesher embryo – though not quite a realist portrait. The imaging technique kept changing, revealing different structures: Yatima saw hints of delicate limbs and organs caught in slices of transmitted dark; a stark silhouette of bones in an X-ray flash; the finely branched network of the nervous system bursting into view as a filigreed shadow, shrinking from myelin to lipids to a scatter of vesicled neurotransmitters against a radio-frequency MRI chirp. There were two bodies now. Twins? One was larger, though – sometimes much larger. The two kept changing places, twisting around each other, shrinking or growing in stroboscopic leaps while the wavelengths of the image stuttered across the spectrum. One flesher child was turning into a creature of glass, nerves and blood vessels vitrifying into optical fibres. A sudden, startling white-light image showed living, breathing Siamese twins, impossibly transected to expose raw pink and grey muscles working side by side with shape-memory alloys and piezoelectric actuators, flesher and gleisner anatomies interpenetrating. The scene spun and morphed into a lone robot child in a flesher's womb; spun again to show a luminous map of a citizen's mind embedded in the same woman's brain; zoomed out to place her, curled, in a cocoon of optical and electronic cables. Then a swarm of nanomachines burst through her skin, and everything scattered into a cloud of grey dust. Two flesher children walked side by side, hand in hand. Or father and son, gleisner and flesher, citizen and gleisner... Yatima gave up trying to pin them down, and let the impressions flow through ver. The figures strode calmly along a city's main street, while towers rose and crumbled around them, jungle and desert advanced and retreated. The artwork, unbidden, sent Yatima's viewpoint wheeling around the figures. Ve saw them exchanging glances, touches, kisses – and blows, awkwardly, their right arms fused at the wrists. Making peace and melting together. The smaller lifting the larger on to vis shoulders – then the passenger's height flowing down to the bearer like an hourglass's sand.
Greg Egan (Diaspora)
How about when you feel as if you are at a treacherous crossing, facing an area of life that hasn’t even been on the map until recently. Suddenly there it is, right in front of you. And so the time and space in between while you first get over the shock of it, and you have to figure out WHAT must be done feels excruciating. It’s a nightmare you can’t awaken from. You might remember this time as a kind of personal D-day, as in damage, devastation, destruction, damnation, desolation – maybe a difficult divorce, or even diagnosis of some formidable disease. These are the days of our lives that whole, beautiful chapters of life go up in flames. And all you can do is watch them burn. Until you feel as though you are left only with the ashes of it all. It is at this moment you long for the rescue and relief that only time can provide. It is in this place, you must remember that in just 365 days – you're at least partially healed self will be vastly changed, likely for the better. Perhaps not too unlike a caterpillar’s unimaginable metamorphosis. Better. Stronger. Wiser. Tougher. Kinder. More fragile, more firm, all at the same time as more free. You will have gotten through the worst of it – somehow. And then it will all be different. Life will be different. You will be different. It might or might not ever make sense, but it will be more bearable than it seems when you are first thrown, with no warning, into the kilns of life with the heat stoked up – or when you get wrapped up, inexplicably, through no choice of your own, in a dark, painfully constricting space. Go ahead, remind yourself as someone did earlier, who was trying miserably to console you. It will eventually make you a better, stronger person. How’d they say it? More beautiful on the inside… It really will, though. That’s the kicker. Even if, in the hours of your agony, you would have preferred to be less beautiful, wise, strong, or experienced than apparently life, fate, your merciless ex, or a ruthless, biological, or natural enemy that has attacked silently, and invisibly - has in mind for you. As will that which your God feels you are capable of enduring, while you, in your pitiful anguish, are yet dubious of your own ability to even endure, not alone overcome. I assure you now, you will have joy and beauty, where there was once only ashes. In time. Perhaps even more than before. It’s so hard to imagine and believe it when it’s still fresh, and so, so painful. When it hurts too much to even stand, or think, or feel anything. When you are in the grip of fear, and you remember the old familiar foe, or finally understand, firsthand, in your bones, what that actually means.
Connie Kerbs (Paths of Fear: An Anthology of Overcoming Through Courage, Inspiration, and the Miracle of Love (Pebbled Lane Books Book 1))
Sung was a land which was famous far and wide, simply because it was so often and so richly insulted. However, there was one visitor, more excitable than most, who developed a positive passion for criticizing the place. Unfortunately, the pursuit of this hobby soon lead him to take leave of the truth. This unkind traveler once claimed that the king of Sung, the notable Skan Askander, was a derelict glutton with a monster for a son and a slug for a daughter. This was unkind to the daughter. While she was no great beauty, she was definitely not a slug. After all, slugs do not have arms and legs - and besides, slugs do not grow to that size. There was a grain of truth in the traveler's statement, in as much as the son was a regrettable young man. However, soon afterwards, the son was accidentally drowned when he made the mistake of falling into a swamp with his hands and feet tied together and a knife sticking out of his back. This tragedy did not encourage the traveler to extend his sympathies to the family. Instead, he invented fresh accusations. This wayfarer, an ignorant tourist if ever there was one, claimed that the king had leprosy. This was false. The king merely had a well-developed case of boils. The man with the evil mouth was guilty of a further malignant slander when he stated that King Skan Askander was a cannibal. This was untrue. While it must be admitted that the king once ate one of his wives, he did not do it intentionally; the whole disgraceful episode was the fault of the chef, who was a drunkard, and who was subsequently severely reprimanded. .The question of the governance, and indeed, the very existence of the 'kingdom of Sung' is one that is worth pursuing in detail, before dealing with the traveler's other allegations. It is true that there was a king, his being Skan Askander, and that some of his ancestors had been absolute rulers of considerable power. It is also true that the king's chief swineherd, who doubled as royal cartographer, drew bold, confident maps proclaiming that borders of the realm. Furthermore, the king could pass laws, sign death warrants, issue currency, declare war or amuse himself by inventing new taxes. And what he could do, he did. "We are a king who knows how to be king," said the king. And certainly, anyone wishing to dispute his right to use of the imperial 'we' would have had to contend with the fact that there was enough of him, in girth, bulk, and substance, to provide the makings of four or five ordinary people, flesh, bones and all. He was an imposing figure, "very imposing", one of his brides is alleged to have said, shortly before the accident in which she suffocated. "We live in a palace," said the king. "Not in a tent like Khmar, the chief milkmaid of Tameran, or in a draughty pile of stones like Comedo of Estar." . . .From Prince Comedo came the following tart rejoinder: "Unlike yours, my floors are not made of milk-white marble. However, unlike yours, my floors are not knee-deep in pigsh*t." . . .Receiving that Note, Skan Askander placed it by his commode, where it would be handy for future royal use. Much later, and to his great surprise, he received a communication from the Lord Emperor Khmar, the undisputed master of most of the continent of Tameran. The fact that Sung had come to the attention of Khmar was, to say the least, ominous. Khmar had this to say: "Your words have been reported. In due course, they will be remembered against you." The king of Sung, terrified, endured the sudden onset of an attack of diarrhea that had nothing to do with the figs he had been eating. His latest bride, seeing his acute distress, made the most of her opportunity, and vigorously counselled him to commit suicide. Knowing Khmar's reputation, he was tempted - but finally, to her great disappointment, declined. Nevertheless, he lived in fear; he had no way of knowing that he was simply the victim of one of Khmar's little jokes.
Hugh Cook (The Wordsmiths and the Warguild)
The holy relics were granted to Rainald von Dassel, Archbishop of Cologne (1159–67), following Emperor Barbarossa’s sacking of the city of Milan. Such a treasure was granted to the German Archbishop for his aid and chancellorship in service to the current Emperor. Not all were content to see such a treasure leave Italy…not without a struggle. —From L’histoire de la Sainte Empire Romaine     (The History of the Holy Roman Empire), 1845,     HISTOIRES LITTÉRAIRES
James Rollins (Map of Bones (Sigma Force, #2))
PROLOGUE MARCH 1162 THE ARCHBISHOP’S men fled into the shadows of the lower valley. Behind them, atop the winter pass, horses screamed, arrow-bit and cleaved. Men shouted, cried, and roared. The clash of steel rang as silvery as a chapel’s bells. But it was not God’s work being done here.
James Rollins (Map of Bones (Sigma Force, #2))
Old people are starved of touch: no husband, no lover, no child to slip a hand into a hand, to plant sticky kisses on nose and cheek and mouth, to snuggle and fit into the curves of the body. I watched my grandmother - my mother's mother - in her last years: her hand, the skin drawn parchmentlike over the bones, stroking, stroking, the chairs, the table, the bedspread.
Ahdaf Soueif (The Map of Love)
One of the comforts of firing a big gun during a siege must be the satisfaction of watching the results at long range. Inside a tank or behind an M107, a smudge of smoke against a building can be marked off against a map coordinate. The blood and shattered bones at the other end of the trajectory have no physical contact with the gun. But Randal and I were driving towards the other end of the trajectory, back to west Beirut, where the casualty statistics marked the other side of the concave mirror through which armies fight their wars.
Robert Fisk
Few people know that, by canon law, each and every Catholic altar must contain a holy relic.
James Rollins (Map of Bones (Sigma Force, #2))
A baby’s skull the exact weight of a nightmare.
Francesca Haig (The Map of Bones)
Here’s the plane’s last known whereabouts.” Sheriff Patrick Collins tapped a finger on the plastic Cascade Mountains map spread across his Suburban’s hood and turned a resolute brown gaze on his team. Shivering, Brynn studied the wet map, ignoring a buzzing rush as it dumped a load of adrenaline in her gut.
Kendra Elliot (Chilled (Bone Secrets, #2))
Josefina had grown up hearing tales of treasures hidden by thieves, gold mines with secret entrances, jars of coins buried by old men afraid of being robbed. She’d always enjoyed these legends, shared by good storytellers when shadows were long and imaginations ran high. She’d never heard of anyone actually finding lost treasure. But she’d never seen a map marked with landmarks and strange sketches, either. Josefina tried to push the image of the map from her mind so that she could go to sleep, but it was no use. Finally, afraid she might wake her sisters, she got up. Wrapping her rebozo around her shoulders against the cool night breeze, she tiptoed out of the sala. She lit a candle and crept to the storeroom where she and Teresita kept their remedios and dyes. Josefina loved the musty-spicy smells of the plant bundles hanging from poles overhead. She loved seeing bins and gourds and baskets filled with supplies that might help ward off illness or cure disease. Sitting on a banco, she savored the peaceful stillness. She could feel her muscles relaxing. Soon she would be ready for sleep. Then an unexpected sound jerked Josefina upright. The candle fell to the hard earthen floor and snuffed out. In the sudden darkness, Josefina strained to hear the sound that had disturbed her. There it was again! A faint crying sound. Was one of her sisters awake? Was Francisca in the courtyard, weeping for Ramón? Josefina cocked her head, but when she heard the sound again, she was sure it came from outside the house. Josefina stepped closer to the window, carefully avoiding a basket of pumpkin stems. Pressing a palm against the wall, she held her breath. And the sound came again, drifting through the open window above her head—a woman’s sob, low and full of anguish. Josefina’s bones turned to ice. Only one woman roamed at night, weeping and wailing: the ghost, La Llorona!
Kathleen Ernst (Secrets in the Hills: A Josefina Mystery (American Girl))
They were presented to Louis XV, who installed them in his museum, the Cabinet du Roi. Decades later, maps of the Ohio River valley were still largely blank, except for the Endroit où on a trouvé des os d’Éléphant—the “place where the elephant bones were found.” (Today the “place where the elephant bones were found” is a state park in Kentucky known as Big Bone Lick.) Longueuil’s bones confounded everyone who examined them.
Elizabeth Kolbert (The Sixth Extinction: An Unnatural History)
Rolling across the floor, she reached Vigor. The monsignor crouched near the top of the firepit tunnel. She handed him her gun. “Down,” she ordered. “Shoot anybody that comes into view.” “What about you?” “No, don’t shoot me.” “I mean where are you going?
James Rollins (Map of Bones (Sigma Force, #2))
Down,” she ordered. “Shoot anybody that comes into view.” “What about you?” “No, don’t shoot me.” “I mean where are you going?
James Rollins (Map of Bones (Sigma Force, #2))
we fabricate for ourselves. We decide what’s good and what isn’t, we draw maps of meanings for ourselves . . . And then we spend our whole lives struggling with what we have invented for ourselves. The problem is that each of us has our own version of it, so people find it hard to understand each other.
Olga Tokarczuk (Drive Your Plow Over the Bones of the Dead)
My hands read a Braille map hewn from bone, starting with my hollow breasts threaded with blue-vein rivers thick with ice. I count my ribs like rosary beads, muttering incantations, fingers curling under the bony cage. They can almost touch what’s hiding inside. My skin slopes down over the empty belly, then around the inside sharp curve of my hip bones, bowls carved out of stone and painted with fading pink razor scars. I twist in the glass. My vertebrae are wet marbles piled one on top of the other. My winged shoulder blades look ready to sprout feathers. I pick up the knife. The tendons on the back of my hand tense, ropes holding down a tent while the wind blows. Thin scars etch the inside of my wrist, widening to the ribbons in the crook of my elbow where I cut too deep in ninth grade. I win, I won.   I’m lost.     The music from my bedroom shrieks so loud against the mirror it’s making my ears ring. I stare at the ghost-girl on the other side, her corset bones waiting to be laced even tighter so she can fold in on herself over and over until she disappears past zero.
Laurie Halse Anderson (Wintergirls)
Irenaeus, wrote
James Rollins (Map of Bones (Sigma Force, #2))
bishop of Lyons, Saint Irenaeus, wrote five volumes under the title Adversus Haereses. Against Heresies. Its full title was The
James Rollins (Map of Bones (Sigma Force, #2))
Oh….I almost forgot….There was also the copper scroll which was a treasure map of golden treasures from the Temple. Are we paying attention?
Judah (Back Upright: Skull & Bones, Knights Templar, Freemasons & The Bible)
August 2004. Purdue University reports success in using rhodium to kill viruses with light from inside a body.
James Rollins (Map of Bones (Sigma Force, #2))
So from morning onward I’m kept company by pictures of weather fronts, lovely abstract lines on maps, blue ones and red ones, relentlessly approaching from the west, from over the Czech Republic and Germany. They carry the air that Prague was breathing a short while ago, maybe Berlin too. It flew in from the Atlantic and crept across the whole of Europe, so one could say we have sea air up here, in the mountains. I particularly love it when they show maps of pressure, which explain a sudden resistance to getting out of bed or an ache in the knees, or something else again—an inexplicable sorrow that has just the same character as an atmospheric front, a moody figura serpentinata within the Earth’s atmosphere.
Olga Tokarczuk (Drive Your Plow Over the Bones of the Dead)
She handed him her gun. “Down,” she ordered. “Shoot anybody that comes into view.” “What about you?” “No, don’t shoot me.” “I mean where are you going?” “Hunting.” Kat had already extinguished their flashlights. She unhooked her night-vision goggles and pulled them over her eyes. “There might be more.” She freed a long steel blade from her belt.
James Rollins (Map of Bones (Sigma Force, #2))