Nan Died Quotes

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Oh, my sweet summer child," Old Nan said quietly, "what do you know of fear? Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north. Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods
George R.R. Martin (A Game of Thrones (A Song of Ice and Fire, #1))
She had a vision of the two of them trapped on a tiny raft surrounded by miles of open water. It would be a kind of test, like surviving on a desert island--but that's what a marriage was, wasn't it? They would have to help each other or die.
Stewart O'Nan (Songs for the Missing)
Poor little girl. Poor little girl," Nan says, and at first I think she is speaking of the baby, perhaps it is a girl after all. But then I realize she is speaking of me, a girl of thirteen years, whose own mother has said that they can let her die as long as a son and heir is born.
Philippa Gregory (The Red Queen (The Plantagenet and Tudor Novels, #3))
So I heard on the news that the Tard died and your house burnt down. I bet secretly you're relieved you don't have to live with him anymore in that dump." The whole commotion in the hallway immediately stopped, as if her words had been spoken over the intercom. It became so quiet that you could hear Mina's and Nan's sharp intakes of breath. Mina wasn't prone to violence and was about to think of something mean to say back to Savannah, but she didn't have the chance to, because Nan Taylor, perky, happy-go-lucky Nan Taylor, pulled back her fist and punched Savannah in the face. Savannah wasn't prepared, and fell to the floor. Nan stood over her shocked face and yelled, "No way was he handicapped, or different. He was the most special, coolest and smartest kid ever. And the world is a much sadder place because he's not here. And don't you ever, EVER, insult him again!" Nan shook with anger. The hall was full of students and teachers, and one by one they started to clap.
Chanda Hahn (Fable (An Unfortunate Fairy Tale, #3))
So I brought them into the room with the bodies and I was all, Let me introduce you to … Ulysses. Let me introduce you to … Titania. He thought about it and added, I better say that it was Titania from Midsummer, Shakespeare, but Ulysses was for a dog my nana had when I was a child. I worshipped that dog. He was the bravest dog I’d ever met. Half Chihuahua, half pug. Nan called him Ulysses S. Grunt. Died from eating too much pizza. The dog, I mean. Nan died of pneumonia when I was a teenager.
Tamsyn Muir (Nona the Ninth (The Locked Tomb, #3))
There's nothing to do. You've been in the business long enough to understand grief. That's the awful thing: there is nothing to do but go on. You don't want to, you don't want to leave the loved one behind, but you do. Death's taught you that much at least.
Stewart O'Nan (A Prayer for the Dying)
Late in life, after his mother had died, his father cried at baptisms and funerals and sappy movies on TV, age stripping away a final protective layer. Now Henry could feel the same softening taking place inside him, a helpless grief for the past and boundless pity for the world, and that was right too. No fool like an old fool.
Stewart O'Nan (Henry, Himself)
It frightens you how practical you can be, how cold, even with your own.
Stewart O'Nan (A Prayer for the Dying)
Getting sentimental," you say, but who are you fooling, you've always been.
Stewart O'Nan (A Prayer for the Dying)
If all of this has taught you anything, it's that hope is easier to get rid of than sorrow.
Stewart O'Nan (A Prayer for the Dying)
Grief breaks down all but the crazy; it's a secret of your profession, one people don't want to know.
Stewart O'Nan (A Prayer for the Dying)
Lately it seems there are mysteries everywhere, as if you've only just opened your eyes.
Stewart O'Nan (A Prayer for the Dying)
In Heaven you forget everything. In Hell they make you remember.
Stewart O'Nan (A Prayer for the Dying)
And even you, then, will wonder how you have such hope, and marvel at how impossible it is to stop the heart from reaching out into the whole world.
Stewart O'Nan (A Prayer for the Dying)
On the day Charles Barrett died, James MacNally closed the door to his study, sat down in his chair, and laid his head on the thick edge of his desk so he could weep. His wife, Nan, did not knock to be let in, though his rough, heavy sobs hit her like stones. She knew James’s own death would wring the same sounds from her, if he went first and left her adrift in the world, unmoored. Nan knew, full well, that life was a series of bereavements and each stole from her one load-bearing beam, one bone. Nan almost always believed, as her father had, that even deep wounds could be repaired, that God healed all parts of us like skin: no matter how sharp the cut, it would someday knit itself back together and leave only a scar.
Cara Wall (The Dearly Beloved)
And someone else wrote me, "What I want is to know your own experience of illness." Why the interest? People on their ailments are not always interesting, far from it. But we all hope for a - must I say the word - recipe, we all believe, however much we know we shouldn't, that maybe somebody's got that recipe and can show us how not to be sick, suffer and die.
Nan Shin
You're proud of your ability to both believe and question everything. Secretly you think everyone does, but at some point they give in, surrender to the comfort of certainty. It's too much trouble, this endless jousting of belief and doubt, too tiring. Finally you suppose it will break you, yet strangely it's the only thing that keeps you going - though, true, at times you feel unbalanced, even somewhat mad.
Stewart O'Nan (A Prayer for the Dying)
Her head rolled but a little way from her body, and I could see her lips still moving in silent prayer for a few moments while the blood pumped outward from the body and from the head. I was stuck firm in my place by the horror of it, jarred loose only by the clattering of Nan Zouche and Alice as they ran up the stairs with linen. I quickly leaned down and picked up her head, eyes still open and aware as the linen slipped from them, as they looked at me. I willed the bile back down my throat and forced myself to look into those eyes with love for the few moments before awareness dimmed from them. Within seconds, she slipped away. I took the head into the smallest and finest of linens and carefully wrapped it, her blood running thickly between my fingers, under my nails, and staining my forearms as I sought to save her from any indignity.
Sandra Byrd (To Die For: A Novel of Anne Boleyn (Ladies in Waiting, #1))
Oh, my sweet summer child,” Old Nan said quietly, “what do you know of fear? Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north. Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods.
George R.R. Martin (A Game of Thrones (A Song of Ice and Fire, #1))
Oh, what a gift God made when He created dogs. She had loved—and laid to rest—so many sweet dogs in her lifetime—each with its own personality; each with its own way of bringing comfort; each with solemn, loving eyes that were filled with all the wisdom in the world; and each leaving a gaping hole in her heart when they died and making her vow to never get another, never set herself up for so much sadness again. But she always did.
Nan Rossiter (Firefly Summer)
For a moment we just sit there silently, our heads tipped back as we stare at the sky. A minute passes, maybe two. And then Ryder’s hand grazes mine before settling on the ground, our pinkies touching. I suck in a breath, my entire body going rigid. I’m wondering if he realizes it, if he even knows he’s touching me, when just like that, he draws away. Ryder clears his throat. “So…I hear you’re going out with Patrick on Friday.” “And?” I ask. That brief connection that we’d shared is suddenly gone--poof, just like that. “And what?” he answers with a shrug. “Oh, I’m sure you’ve got an opinion on this--one you’re just dying to share.” Because Ryder has an opinion on everything. “Well, it’s just that Patrick…” He shakes his head. “Never mind. Forget I brought it up.” “No, go on. It’s just that Patrick what?” “Seriously, Jemma. It’s none of my business.” “C’mon, Ryder, get it out of your system. What? Patrick is looking to get a piece? Is using me? Is planning on standing me up?” I can’t help myself; the words just tumble out. “I was going to say that I think he really likes you,” he says, his voice flat. I bite back my retort, forcing myself to take a deep, calming breath instead. That was not what I had expected him to say--not at all--and it takes me completely by surprise. Patrick really likes me? I’m not sure how I feel about that--not sure I want it to be true. “What do you mean, he really likes me?” I ask stupidly. “Just what I said. It’s pretty simple stuff, Jemma. He likes you. I think he always has.” “And you know this how?” He levels a stare at me. “Trust me on this, okay? He’s got problems, sure, but he’s a decent guy. Don’t break his heart.” I scramble to my feet. “I agreed to go out with him--once. And I’m probably going to cancel, anyway, because after today’s news, I’m really not in the mood. But the last thing I need is dating advice from you.” “How come every conversation we have ends like this--with you going off on me? You didn’t use to be like this. What happened?” He’s right, and I hate myself for it--hate the way he makes me feel inside, as if I’m not good enough. I mean, let’s face it--I know I’m nothing special. I’m not beauty-pageant perfect like Morgan, or fashion-model gorgeous like Lucy. Unlike Ryder and Nan, I don’t have state-championship trophies lining my walls. My singing voice is only so-so, I can’t draw or play a musical instrument, and if the school plays are any indicator, I can’t act for shit, either.
Kristi Cook (Magnolia (Magnolia Branch, #1))
Chicago, Illinois 1896 Opening Night Wearing her Brünnhilda costume, complete with padding, breastplate, helm, and false blond braids, and holding a spear as if it were a staff, Sophia Maxwell waited in the wings of the Canfield-Pendegast theatre. The bright stage lighting made it difficult to see the audience filling the seats for opening night of Die Walküre, but she could feel their anticipation build as the time drew near for the appearance of the Songbird of Chicago. She took slow deep breaths, inhaling the smell of the greasepaint she wore on her face. Part of her listened to the music for her cue, and the other part immersed herself in the role of the god Wotan’s favorite daughter. From long practice, Sophia tried to ignore quivers of nervousness. Never before had stage fright made her feel ill. Usually she couldn’t wait to make her appearance. Now, however, nausea churned in her stomach, timpani banged pain-throbs through her head, her muscles ached, and heat made beads of persperation break out on her brow. I feel more like a plucked chicken than a songbird, but I will not let my audience down. Annoyed with herself, Sophia reached for a towel held by her dresser, Nan, standing at her side. She lifted the helm and blotted her forehead, careful not to streak the greasepaint. Nan tisked and pulled out a small brush and a tin of powder from one of the caprious pockets of her apron. She dipped the brush into the powder and wisked it across Sophia’s forehead. “You’re too pale. You need more rouge.” “No time.” A rhythmic sword motif sounded the prelude to Act ll. Sophia pivoted away from Nan and moved to the edge of the wing, looking out to the scene of a rocky mountain pass. Soon the warrior-maiden Brünnhilda would make an appearance with her famous battle cry. She allowed the anticpaptory energy of the audience to fill her body. The trills of the high strings and upward rushing passes in the woodwinds introduced Brünnhilda. Right on cue, Sophia made her entrance and struck a pose. She took a deep breath, preparing to hit the opening notes of her battle call. But as she opened her mouth to sing, nothing came out. Caught off guard, Sophia cleared her throat and tried again. Nothing. Horrified, she glanced around, as if seeking help, her body hot and shaky with shame. Across the stage in the wings, Sophia could see Judith Deal, her understudy and rival, watching. The other singer was clad in a similar costume to Sophia’s for her role as the valkerie Gerhilde. A triumphant expression crossed her face. Warwick Canfield-Pendegast, owner of the theatre, stood next to Judith, his face contorted in fury. He clenched his chubby hands. A wave of dizziness swept through Sophia. The stage lights dimmed. Her knees buckled. As she crumpled to the ground, one final thought followed her into the darkness. I’ve just lost my position as prima dona of the Canfield-Pendegast Opera Company.
Debra Holland (Singing Montana Sky (Montana Sky, #7))
Thinking of the little creature dying in her
Nan Sweet (Fierce Winds and Fiery Dragons (Dusky Hollows, #1))
You're unsure what you think of him, a fact you pride yourself on. It defines you, this willingness to hear all sides, love everyone. You've stopped believing in evil. Is that a sin? You know what your mother would say, but justice needs to be fair-handed, the dead deserve your compassion. It's your job to understand, to forgive, not simply your custom.
Stewart O'Nan (A Prayer for the Dying)
Worry rolls inside you like a wheel.
Stewart O'Nan (A Prayer for the Dying)
It doesn't seem enough, and as he starts them off, you want to call after him, tell him how you too question the ways of faith, the injustice, the never-ending losses, that it stuns you too, that you still grieve for Mrs. Goetz and Arnie and Eric Soderholm just as their families do, though everyone else seems to have forgotten. Lydia Flynn, the tramp behind Meyer's, the men in the swamps of Kentucky. If a sparrow fall, you want to say, it is not lost. I will remember. We are all saved.
Stewart O'Nan (A Prayer for the Dying)
It's just a hard moment for him, a low point, not some soul-shaking crisis; you know those aren't sudden or public, they take years, worming inside you like a disease.
Stewart O'Nan (A Prayer for the Dying)
Jill, like Nan, was at the stage when she adored villains. There was no surer passport to her favour than to look as if you were the wreck of a misspent life. 'Or a remorseful pirate,' Nan had said. 'It would be better still for him to be an unremorseful one,' said Diana. Jill felt that she would die for an unremorseful pirate.
L.M. Montgomery (The Blythes Are Quoted (Anne of Green Gables, #9))
He means people who let their faith take the place of their reason, people who believe this world is just a prelude to another, more glorious life. He means people like you. *
Stewart O'Nan (A Prayer for the Dying)
I was told the men who found me searched for my companion, Nan,” Bridget said, the hint of a question in her voice. “Aye, they did.” Mora began to braid Bridget’s hair. “If they couldnae find her, lass, she wasnae there.” “So strange, isnae it? Where would she go? As I see it, she had but two choices when the thieves attacked. She either died with the others or fled.” “If she had fled, Jankyn would have been able to see that and followed her trail.” “It was dark. He may have missed whate’er trail she left.” “Nay. Jankyn could track a wee mousie in the dark. But, it wasnae so verra dark, was it? Moon was full.
Hannah Howell (The Eternal Highlander (McNachton Vampires, #1))
I had to stay alive—no matter how bad things got. Because if I died, then there would be no one to keep an eye out for Nan Sparrow.” He looked up at the sky. It was just clear enough to make out the faint glimmer of moonlight. “That’s how it works, doesn’t it? We are saved by saving others.
Jonathan Auxier (Sweep: The Story of a Girl and Her Monster)
and Nan died at age three months.
Ben S. Bernanke (Courage to Act: A Memoir of a Crisis and Its Aftermath)
You want me to lay down my blade, but I was born a sword. To put it down, you’ll need me to die.
Tang Jiuqing (南禅 [Nan Chan])
We wachten wel tot u klaar bent met bidden,' antwoordde ik op een toon die mijn nederigheid moest overbrengen - of dat in elk geval proberen. 'Met bidden?' gromde Nan. 'Met onze Schepper eens goed de waarheid te vertellen, bedoel je.' 'Mijn grootvader heeft deze kapel gebouwd zodat Nan ergens tegen God kon schreeuwen,' zei Jameson tegen me.
Jennifer Lynn Barnes (The Final Gambit (The Inheritance Games, #3))
It's commonly said that this book is about 'marginalized' people. We were never marginalized. We were the world. We were our own world, and we couldn't have cared less about what 'straight' people thought of us. I made my people into superstars, and the Ballad maintains their legacy. In the '80s, there was a certain freedom, and a sense of immortality, that ended with that decade. AIDS cracked the earth. With everyone dying, everything shifted. Our history got cut off. We lost a whole generation. We didn't just lose the actors, we lost the audience. There are few people left with that kind of intensity. There was an attitude towards life that doesn't exist anymore, everything's been so cleaned up. Lately when I'm working with the photos of my missing friends, it's as if they are frozen in amber. For long periods of time I forget they're not on this planet. But the pictures show me how much I've lost; the people who knew me the best, the people who carried my history, the people I grew up with and I was planning to get old with are gone. They took my memory with them. The pictures in the Ballad haven't changed. But Cookie is dead. David is dead. Greer is dead. Kenny is dead. I talk to them all the time, but they don't talk back anymore. Mourning doesn't end, it continues and it transmutes. This book is now a volume of loss, as well as a ballad of love.
Nan Goldin (The Ballad of Sexual Dependency)
You want to tell him about the conversations they have, the arguments over things long forgotten. You want to impress on him how many stories everyone has within them, how much each death diminishes Friendship, especially with the young people leaving. But again, he's done enough. And he's young, you don't expect him to understand.
Stewart O'Nan (A Prayer for the Dying)
Faith will always save you. It's a question, really, and you think the answer could make a good sermon. When won't faith save you? When you believe too much in this world. In yourself. In anything but God.
Stewart O'Nan (A Prayer for the Dying)