On The Bridge Quotes

Man is something that shall be overcome. Man is a rope, tied between beast and overman — a rope over an abyss. What is great in man is that he is a bridge and not an end.

Stop fighting me!" he said, trying to pull on the arm he held. He was in a precarious position himself, straddling the rail as he tried to lean over far enough to get me and actually hold onto me. “Let go of me!” I yelled back. But he was too strong and managed to haul most of me over the rail, enough so that I wasn’t in total danger of falling again. See, here’s the thing. In that moment before I let go, I really had been contemplating my death. I’d come to terms with it and accepted it. I also, however, had known Dimitri might do something exactly like this. He was just that fast and that good. That was why I was holding my stake in the hand that was dangling free. I looked him in the eye. "I will always love you." Then I plunged the stake into his chest. It wasn’t as precise a blow as I would have liked, not with the skilled way he was dodging. I struggled to get the stake in deep enough to his heart, unsure if I could do it from this angle. Then, his struggles stopped. His eyes stared at me, stunned, and his lips parted, almost into a smile, albeit a grisly and pained one. "That’s what I was supposed to say. . .” he gasped out. Those were his last words.

The nutritionist said I should eat root vegetables. Said if I could get down thirteen turnips a day I would be grounded, rooted. Said my head would not keep flying away to where the darkness lives. The psychic told me my heart carries too much weight. Said for twenty dollars she’d tell me what to do. I handed her the twenty. She said, “Stop worrying, darling. You will find a good man soon.” The first psycho therapist told me to spend three hours each day sitting in a dark closet with my eyes closed and ears plugged. I tried it once but couldn’t stop thinking about how gay it was to be sitting in the closet. The yogi told me to stretch everything but the truth. Said to focus on the out breath. Said everyone finds happiness when they care more about what they give than what they get. The pharmacist said, “Lexapro, Lamicatl, Lithium, Xanax.” The doctor said an anti-psychotic might help me forget what the trauma said. The trauma said, “Don’t write these poems. Nobody wants to hear you cry about the grief inside your bones.” But my bones said, “Tyler Clementi jumped from the George Washington Bridge into the Hudson River convinced he was entirely alone.” My bones said, “Write the poems.

Manifestation begins with the willingness to make room in our beliefs for something that supposedly doesn’t exist. We create that “something” through the force of consciousness and awareness.

Man did not weave the web of life—he is merely a strand in it. Whatever he does to the web, he does to himself.”1

Everyone was in position by 9 p.m. Merlin and Bridges had taken the Charing Cross conveniences, Johnson Leicester Square and Price Piccadilly Circus. It was agreed that Robinson would move back and forth between the three locations and act as a go-between.

Zona spat a stream of Spanish that overwhelmed translation, a long and liquid curse.

Ancient spiritual traditions remind us that in each moment of the day, we make the choices that either affirm or deny our lives. Every second we choose to nourish ourselves in a way that supports or depletes our lives; to breathe deep and life-affirming breaths or shallow, life-denying ones; and to think and speak about other people in a manner that is honoring or dishonoring.

In the loveliest town of all where the houses were white and high and the elm trees were green and higher than the houses where the front yards were wide and pleasant and the back yards were bushy and worth finding out about, where the streets sloped down to the stream and the stream flowed quietly under the bridge, where the lawns ended in orchards and the orchards ended in fields and the fields ended in pastures and the pastures climbed the hill and disappeared over the top toward the wonderful wide sky, in this loveliest of all towns Stuart stopped to get a drink of sarsaparilla.

The day ends with a shine already on the memory of it. It reminds me of the way Mom would, once a year, let me and Paige play hooky from school--she'd drive us all the way there and then just past the school and keep driving, and we'd get pancakes at IHOP or take pictures on the bridge or drive into Belle Meade and stare at all the mansions. A stolen day. The kind of day that ends too fast but stays with you much longer.

At 'Corway Stakes'—the first bend above Walton Bridge—was fought a battle between Cæsar and Cassivelaunus.  Cassivelaunus had prepared the river for Cæsar, by planting it full of stakes (and had, no doubt, put up a notice-board).  But Cæsar crossed in spite of this.  You couldn’t choke Cæsar off that river.  He is the sort of man we want round the backwaters now.

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and shove the nozzle

Spiff turned his back to everyone and found a chair near the door, he wasn’t leaving the hospital until he got to see his son and he didn’t care what anyone said. Running his hand across his head he leaned his head back and pinched the bridge of his nose. Every nerve in his body was twitching with anger and he wanted to unleash it so bad, and soon he would. If he lost his son, everybody in the town of Charlotte was gonna feel it.

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Normally, when I have an idea for a book, it will sit in my head for at least a year before I start writing. If it’s a murder mystery, the starting point will be the murder itself. Someone kills somebody else for a reason. That’s the core of the matter. I will create those characters and then gradually build the world around them, drawing links between the various suspects, giving them a history, working out their relationships. I’ll think about them when I’m out walking, lying in bed, sitting in the bath – and I won’t begin writing until the story has a recognisable shape. I’m often asked if I start writing a book without knowing the end. For me, it would be like building a bridge without knowing what it’s got to reach.

In the last nights of the nineteenth century, the humans began to whisper about a new demon, hungrier and crueler than all the rest. The Yōkai hunted where shadows grew deep, in the thin breath of twilight that bridges night and day. It crawled from the spindly shadows of chair legs on hardwood floors, the crooked shade that lamps cast on wallpaper, even your own silhouette—the one shadow you could never escape. But none of those things were really shadows at all. They were holes carved into the human world, peering into a void that echoed down and down through an endless night. Its darkness could peel away your skin like you were a soft summer peach, crawl deep in your bone marrow and rot you from the inside out, soak the soil with your blood. The night stole the parts of you that no one wanted—all your lies and broken promises and disappointments. 

I panted and stared back at my reflection in the dark waters, face and neck painted red, eyes wild and burning black. I didn’t look like the Goddess of Death, but a girl who couldn’t remember sunlight. A wicked creature who lived under bridges like a troll, ugly and alone.

The best part about crossing any bridge is the chance to look back and be able to fully understand where you came from. You’re not a machine. You’re not a computer. You’re an artist, and any good artist knows life feeds into art and art feeds into life.