Muzzy Quotes

I didn’t know what I was going to say, a feeling that was compounded when the line clicked open and Trent’s very muzzy voice murmured, “Rachel? Mmm, hi.

if they didn’t have wood or kindling, they curled against one another, barely touching, but by morning, they’d be pressed together, breathing in tandem, cocooned in muzzy sleep, a single crescent moon.

Every heart beats so imperfectly... But there is always that someone who makes it feel perfect.

Love is just a four letter word until someone comes into your life and gives it a true meaning.

Do not make a mistake and think God has abandoned you, the teacher remains silent during a test.

My best friend came to visit from far away. She took two planes and a train to get to Brooklyn. We met at a bar near my apartment and drank in a hurry as the babysitter's meter ticked. In the past, we'd talked about books and other people, but now we talked only of our respective babies, hers sweet-faced and docile, mine at war with the world. We applied our muzzy intellects to a theory of light. That all are born radiating light but that this light diminished slowly (if one was lucky) or abruptly (if one was not). The most charismatic people—the poets, the mystics, the explorers—were that way because they had somehow managed to keep a bit of this light that was meant to have dimmed. But the shocking thing, the unbearable thing it seemed, was that the natural order was for this light to vanish. It hung on sometimes through the twenties, a glint here or there in the thirties, and then almost always the eyes went dark.

And there is a soreness to her body, it aches, her head feels softened, muzzy. She has acquired a disturbingly acute sense of smell. The odour of print from a magazine someone is reading across a room can oppress her. She knows what will be on their plates at lunch just from sniffing the air. She can walk down the middle of the ward and can tell who has bathed this week and who has not.

But Edwin never saw mastery as having an end. As an artist, believing he had perfected any technique was anathema to him: fly-tying was an endless search for perfection. Some days he tied better than others. Some days he made mistakes he thought he’d long since moved past. He approached the art form with a humble, monkish devotion. As Muzzy put it, in a profile on Edwin and Anton that ran on McLain’s website: “All they need to remember is they are entering a school you never graduate from.

If the weakness of mainstream fiction is its deliberate smallness, the weakness of sf is its puffed-up size, its gauzy immensities. SF often pays so much attention to cosmic ideas that the story's surface is vague. Too much sf suffers from a lack of tangible reality. Muzzy settings, generic characters concocted merely for the sake of the idea, improbable action plots tidily wrapped up at the end. Too much preaching, not enough concrete, credible detail. An sf writer can get published without mastering certain things that most mainstream writers can’t evade: evocative prose style, naturalistic dialogue, attention to detail. Refraining from editorializing, over-explaining, or pat resolutions. To us, the contents of The Best American Short Stories seem paltry and timebound. To them, the contents of Asimov’s are overblown and underrealized. It’s no wonder that sf never makes the Ravenel collection. SF is habitually strong in areas considered unessential to good mainstream fiction, and weak in those areas that are considered essential. It doesn't matter that to the sf reader most contemporary fiction is so interested in "how things really are" in tight focus that it missed "how things really are" in the big picture. SF’s different standards make it invisible to mainstream readers, not in the literal way of H.G. Wells's invisible man, but in the cultural way of Ralph Ellison's. It's not that they can’t see us, it's that they don't know what to make of what they see. What they don't know about sf, and worse still, what they think they do know, make it impossible for them to appreciate our virtues. We are like a Harlem poet attempting to find a seat at the Algonquin round table in 1925. Our clothes are outlandish . Our accent is uncouth. The subjects we are interested in are uninteresting or incomprehensible. Our history and culture are unknown. Our reasons for being there are inadmissible. The result is embarrassment, condescension, or silence.

When I was a girl I loved fevers and flus and the muzzy feeling of a head cold, all these states carrying with them the special accoutrements of illness, the thermometer with its lovely line of red mercury, the coolness of ice chips pressed to a sweaty forehead, and best of all, a distant mother coming to your bedside with tea.

Plum got up at eight the next morning, late by her standards, but instead of rejuvenating her brain the extra sleep had just made it all muzzy. It had smeared all those clear thoughts she was supposed to be having all over the inside of her skull. Her depressive tendency, the flip side of her manic streak, was stirring. Why were they even doing this? it wanted to know. What a waste of time, of effort. Of pencils. Plum needed to get moving, but she was having trouble attaching meanings to things; the meanings kept peeling off like old stickers.

In the past, we’d talked about books and other people, but now we talked only of our respective babies, hers sweet-faced and docile, mine at war with the world. We applied our muzzy intellects to a theory of light. That all are born radiating light but that this light diminished slowly (if one was lucky) or abruptly (if one was not). The most charismatic people—the poets, the mystics, the explorers—were that way because they had somehow managed to keep a bit of this light that was meant to have dimmed. But the shocking thing, the unbearable thing it seemed, was that the natural order was for this light to vanish. It hung on sometimes through the twenties, a glint here or there in the thirties, and then almost always the eyes went dark.

Santa Monica is what I once naïvely pictured all of Los Angeles would be: the palm trees, indoor-outdoor restaurants, views of the ocean, trim green parks. Temperatures sway gently between warm and cool; the air is either muzzy or sparkly. Attractive people lead their Weimaraners on leather leashes.

Kestrel waited outside Arin’s tent. It was a muzzy sort of night, too warm for a fire. The camp was a dark terrain. He didn’t see her clearly, just the shape of her. “I brought you something.” She held out her hand and dropped a round object into his. I knew it instantly. He ran fingers over its firm, lightly pebbled surface. “An orange.” “I found a tree not far from camp and took as many as I could carry. Most I gave away. This one, I thought we could share.” He jumped the orange from one hand to the other, marveling at it. She said, “I didn’t know whether you like them.” “I do.” “Did you tell this to me once? Did I forget?” “I never told you. Actually…” He rolled it in the well of one palm. “I love them.” He could have sworn that she smiled in the dark. “Then what are you waiting for?” He dug his thumb in and peeled it open. Its perfume sprayed the air. He halved it and gave Kestrel her share. They sat on the grass outside his tent. They’d camped in a meadow not far from the road. He touched the grass, sleek beneath his fingers. He ate. The fruit was vibrant on his tongue. It had been years. “Thank you.” He thought he saw her mouth curve, and he was washed by a breathless nervousness. He spat a seed into his palm and wondered what little kernel lay in the folds of this moment. Then he told himself to stop thinking. An orange. A rare enough pleasure. Just eat.

But the powders they gave her made the world all muzzy and sideways and sometimes she felt mad.

Darling?” Vane’s voice is hoarse above me. “You still with me?” My response is thick and muzzy. “I think so.” He lays me down on a bed. The room is dark and warm and it smells like him, like dark, summer nights and crushed amber. He starts to pull away but I take a fistful of his shirt. “Don’t go.

We applied our muzzy intellects to a theory of light. That all are born radiating light but that this light diminished slowly (if one was lucky) or abruptly (if one was not). The most charismatic people - the poets, the mystics, the explorers - were that way because they had somehow managed to keep a bit of this light that was meant to have dimmed. But the shocking thing, the unbearable thing it seemed, was that the natural order was for this light to vanish. It hung on sometimes through the twenties, a glint here or there in the thirties, and then almost always the eyes went dark.

We applied our muzzy intellects to a theory of light. That all are born radiating light but that this light diminished slowly (if one was lucky) or abruptly (if one was not). The most charismatic people—the poets, the mystics, the explorers—were that way because they had somehow managed to keep a bit of this light that was meant to have dimmed. But the shocking thing, the unbearable thing it seemed, was that the natural order was for this light to vanish. It hung on sometimes through the twenties, a glint here or there in the thirties, and then almost always the eyes went dark.

Claudia Muzzi, of Italian ancestry, had traveled in Italy and indeed spoke Italian. But her most memorable experiences had been in the United States, specifically in Georgia. She planned to write about it later in the week.