Oasis Short Quotes

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Not long ago-incredible though it may seem-I heard a clerk of Oxford declare that he 'welcomed' the proximity of mass-production robot factories, and the roar of self-obstructive traffic, because it brought his university into 'contact with real life.' He may have meant that the way men were living and working in the twentieth century was increasing in barbarity at an alarming rate, and that the loud demonstration of this in the streets of Oxford might serve as a warning that it is not possible to preserve for long an oasis of sanity in a desert of unreason by mere fences, without actual offensive action (practical and intellectual). I fear he did not. In any case the expression 'real life' in this context seems to fall short of academic standards. The notion that motor-cars are more 'alive' than, say, centaurs or dragons is curious; that they are more 'real' than, say, horses is pathetically absurd. How real, how startlingly alive is a factory chimney compared with an elm tree: poor obsolete thing, insubstantial dream of an escapist!
J.R.R. Tolkien (Tree and Leaf: Includes Mythopoeia and The Homecoming of Beorhtnoth)
In the OASIS, you got used to seeing freakishly beautiful faces on everyone. But Art3mis’s features didn’t look as though they’d been selected from a beauty drop-down menu on some avatar creation template. Her face had the distinctive look of a real person’s, as if her true features had been scanned in and mapped onto her avatar. Big hazel eyes, rounded cheekbones, a pointy chin, and a perpetual smirk. I found her unbearably attractive. Art3mis’s body was also somewhat unusual. In the OASIS, you usually saw one of two body shapes on female avatars: the absurdly thin yet wildly popular supermodel frame, or the top-heavy, wasp-waisted porn starlet physique (which looked even less natural in the OASIS than it did in the real world). But Art3mis’s frame was short and Rubenesque. All curves.
Ernest Cline (Ready Player One (Ready Player One, #1))
WHEN YOU CROW UP IN KANSAS WEARING VERY LARGE SHORTS, thinking not very much of yourself, thinking mainly of your knees, looking mainly at your knees, your face a frisbee that cant fly, your teeth buck, your eyebrows rectangles, your forehead more than half of your face, your shirts shapeless, your shape shapeless, your Kansas shapeless, your lust absent, your legs bowed, your arches flat, your chest flat, your ears your only curves, your ears never pierced, your denim never dazzled, your sneakers white, your socks white, your teeth turquoise with rubber bands, your cheese orange, your milk whole, your bread wonder, your luxury a tuna casserole, your pale a neon pale, your fantasy to race a Mario Kart over the desert and into the final oasis, your earthly oasis a salted pretzel, your solitude total, your urges not even visible to you on the clearest days at the farthest horizons, your blank magnificent, your inertia wild and authentic, your nothing your preference, and then into it somebody walks, a Joan, this sudden hero can really take control. You’re susceptible first to idolatry, then to study, to apprenticeship, and finally to a kind of patient love that makes fun of itself and believes in itself without limit. Imagine being a pudding cup of a person and encountering a confident, elegant, powerful scholar who knows what to do with her shoulders. Imagine encountering you.
Rebecca Dinerstein Knight (Hex)
She was reluctant to admit that Buckeye had become what her sons called “a hick town.” The Sears and Roebuck no longer delivered, there were no new shiny, neon shopping malls, and the peach farmers, whose abounding yields had once been the town’s glory, had either moved or were slowly dying off. The few shopkeepers who eked out a living now catered to tourists who came in late Friday afternoons on their way to the emerging gambling oasis in Laughlin, Nevada. Indian mocassins and peach jam in jars with fake old-fashioned labels were loaded into their foreign cars before they sped through the invisible town to the highway lined with crooked Joshua trees.
Linda Feyder (All's Fair and Other California Stories)
The most famous child survivor of the Holocaust in the 1950s was not Anne Frank—after all, she didn’t survive—but a young woman named Hannah Bloch Kohner. NBC television’s This Is Your Life was one of television’s first reality shows, in which host Ralph Edwards surprised a guest, often a celebrity, by reuniting him or her with friends and family members the guest hadn’t heard from in years. The program didn’t shy away from either political controversy or questionable sentimentality, as when guest Reverend Kiyoshi Tanimoto, who had survived the atomic bombing of Hirsohima in 1945, was introduced to the copilot of the Enola Gay. On May 27, 1953, This Is Your Life ambushed a beautiful young woman in the audience, escorted her to the stage, and proceeded, in a matter of minutes, to package, sanitize, and trivialize the Holocaust for a national television audience. Hannah Bloch Kohner’s claim to fame was that she had survived Auschwitz before emigrating, marrying, and settling in Los Angeles. She was the first Holocaust survivor to appear on a national television entertainment program. “Looking at you, it’s hard to believe that during seven short years of a still short life, you lived a lifetime of fear, terror, and tragedy,” host Edwards said to Kohner in his singsong baritone. “You look like a young American girl just out of college, not at all like a survivor of Hitler’s cruel purge of German Jews.” He then reunited a stunned Kohner with Eva, a girl with whom she’d spent eight months in Auschwitz, intoning, “You were each given a cake of soap and a towel, weren’t you, Hannah? You were sent to the so-called showers, and even this was a doubtful procedure, because some of the showers had regular water and some had liquid gas, and you never knew which one you were being sent to. You and Eva were fortunate. Others were not so fortunate, including your father and mother, your husband Carl Benjamin. They all lost their lives in Auschwitz.” It was an extraordinary lapse of sympathy, good taste, and historical accuracy—history that, if not common knowledge, had at least been documented on film. It would be hard to explain how Kohner ever made it on This Is Your Life to be the Holocaust’s beautiful poster girl if you didn’t happen to know that her husband—a childhood sweetheart who had emigrated to the United States in 1938—was host Ralph Edwards’s agent. Hannah Bloch’s appearance was a small, if crass, oasis of public recognition for Holocaust survivors—and child survivors especially—in a vast desert of indifference. It would be decades before the media showed them this much interest again.
R.D. Rosen (Such Good Girls: The Journey of the Holocaust's Hidden Child Survivors)
In short, the emerging community must endeavour to be a question rather than an answer and an aroma rather than food. It must seek to offer an approach that enables the people of God to become the parable, aroma and salt of God in the world, helping to form a space where God can give of God. For too long the Church has been seen as an oasis in the desert – offering water to those who are thirsty. In contrast, the emerging community appears more as a desert in the oasis of life, offering silence, space and desolation amidst the sickly nourishment of Western capitalism. It is in this desert, as we wander together as nomads, that God is to be found. For it is here that we are nourished by our hunger.
Peter Rollins (How (Not) to Speak of God: Marks of the Emerging Church)
After a long, winding climb over gravel and boulder, the Igibys, Podo, and Oskar reached level ground. Soft green grass stretched before them for a short distance before the trees of the forest gathered into a green wall. They stood in a clearing roughly the size of the Glipwood Township, an oasis of open space surrounded by glipwood trees. The area was littered with large stones, but they weren’t the rounded boulders of the falls. They were squared, stacked in places, and overgrown with weeds. Beneath the grass, the trail they followed up from the river became a cobbled roadway, the stones the ruins of a cluster of
Andrew Peterson (North! or Be Eaten)
I don’t think two blokes having the same fucking argument for 16 years over and over is the stuff of opera. Oasis: the Opera would be very short. The fat lady would refuse to sing it.
Tom Mason (Noel Gallagher - The Biography)
what do you want to make of this life? Do you want to live it solely for yourself, or do you also want to contribute to the well-being of the planet during your short time here?
Celinne Da Costa (The Art of Being Human: The Nomad's Oasis)