Rebecca Horn Quotes

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You’re such a centenarian. Perhaps my kind will not be such killjoys. Perhaps they will feast as they see fit. Perhaps they will— Ooh! What is that?” “A Mammoth Red-Horned Tortoise and absolutely not! The shell will embed between your teeth, and I will not carry you and a festering tortoise shell— Get back here!” His voice fades as they fly out of range.
Rebecca Yarros (Onyx Storm (The Empyrean, #3))
Another challenge we face is describing something commonly thought of as ugly,imperfect or disgusting. Again, we’re likely to jump to conclusions. Rather than considering our subject firsthand and describing what we observe, we label it. Because we’ve already established, for instance, that slugs are disgusting, we go on to describe them as “slimy” creatures that leave “gooey trails.” Cliché upon cliché. But when we engage our all-accepting eye, when we look beyond surface prejudices and preconceptions into the actual nature of our subject, clichés disappear. In her poem “The Connoisseuse of Slugs,” Sharon Olds transforms her subject with descriptive phrases like “naked jelly of those gold bodies,/translucent strangers glistening among the/stones” and “glimmering umber horns/rising like telescopes.” Her description forces us to see an old subject in a new way. We no longer have to choose between ugliness and beauty; they have realigned themselves, each side illuminating the other. When we engage our all-accepting eye, we discover the flaw that makes surface beauty interesting as well as the arresting detail that redeems a seemingly ugly image. THE
Rebecca McClanahan (Word Painting: A Guide to Writing More Descriptively)
Standing at the end of the line is a small golden dragon. Sunlight reflects off its scales and horns as it stands to its full height, flicking a feathered tail around the side of its body. The feathertail.
Rebecca Yarros (Fourth Wing (The Empyrean, #1))
Cave art found throughout the Dordogne region of France punctuates this point. The Venus of Laussel, a carving in relief, is thought to represent a connection between human fertility and the lunar cycle. The figure, carved around twenty-seven thousand years ago, depicts a voluptuous woman with long hair. Her left hand rests on her abdomen and her right arm is raised, clutching a bison horn that has been etched with thirteen notches. Her face appears to be turned toward the horn. The horn could represent the number of sidereal months, or lunar cycles, in a solar year—which happens to be approximately the same number of menstrual cycles in a solar year.
Rebecca Boyle (Our Moon: How Earth's Celestial Companion Transformed the Planet, Guided Evolution, and Made Us Who We Are)
He correctly speculates on the nature of earthshine, which people had for centuries named “the ashen glow,” the phenomenon that lets you view the dusky figure of the dark sector of the Moon. This is visible when the Moon is a crescent. It happens because sunlight reflected from Earth’s surface is bright enough to partially light the Moon, too, like a mirror shining back at you. In a scientific echo of Enheduanna’s paean to the Moon 3,860 years earlier, “Your shining horns are…holy and lustrous,” Galileo wrote that “this light is seen most clearly when the horns are the thinnest.”[
Rebecca Boyle (Our Moon: How Earth's Celestial Companion Transformed the Planet, Guided Evolution, and Made Us Who We Are)
2. The Ontological Argument Nothing greater than God can be conceived (this is stipulated as part of the definition of “God”). It is greater to exist than not to exist. If we conceive of God as not existing, then we can conceive of something greater than God (from 2). To conceive of God as not existing is not to conceive of God (from 1 and 3). It is inconceivable that God not exist (from 4). God exists. This argument, first articulated by Saint Anselm (1033–1109), the Archbishop of Canterbury, is unlike any other, proceeding purely on the conceptual level. Everyone agrees that the mere existence of a concept does not entail that there are examples of that concept; after all, we can know what a unicorn is and at the same time say, “Unicorns don’t exist.” The claim of The Ontological Argument is that the concept of God is the one exception to this generalization. The very concept of God, when defined correctly, entails that there is something that satisfies that concept. Although most people suspect that there is something wrong with this argument, it’s not so easy to figure out what it is. FLAW: It was Immanuel Kant who pinpointed the fallacy in The Ontological Argument—it is to treat “existence” as a property, like “being fat” or “having ten fingers.” The Ontological Argument relies on a bit of wordplay, assuming that “existence” is just another property, but logically it is completely different. If you really could treat “existence” as just part of the definition of the concept of God, then you could just as easily build it into the definition of any other concept. We could, with the wave of our verbal magic wand, define a trunicorn as “a horse that (a) has a single horn on its head, and (b) exists.” So, if you think about a trunicorn, you’re thinking about something that must, by definition, exist; therefore, trunicorns exist. This is clearly absurd: we could use this line of reasoning to prove that any figment of our imagination exists.
Rebecca Goldstein (36 Arguments for the Existence of God: A Work of Fiction)
Na’asho’ii dich’izhii means horned toad,
Rebecca Roanhorse (Race to the Sun)
Alex closed his own eyes. Immediately sounds thickened in his ears: choppers, church bells, a distant drill. The usual confetti of horns and sirens. The tingle of track lighting overhead, a dishwasher slop, Cara-Ann's sleepy 'No ...' as Rebecca pulled on her sweater. They were about to go. Alex felt a spasm of dread, or something like it, at the thought of leaving this brunch with Bennie Salazar empty-handed. He opened his eyes. Bennie's were already open, his brown, tranquil gaze fixed on Alex's face. 'I think you hear what I hear, Alex,' he said. 'Am I right?'" (p. 310)
Jennifer Egan (A Visit from the Goon Squad)
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are ten feet thick. It’s not a barrier. The edge of the fortress is a damned perch. My mouth drops open. In my five years of living here, I’ve never seen this, but then again, I’ve never been allowed to watch what happens on Conscription Day. A few cadets scream. Guess everyone wants to be a dragon rider until they’re actually twenty feet away from one. Steam blasts my face as the navy-blue one directly in front of me exhales through its wide nostrils. Its glistening blue horns rise above its head in an elegant, lethal sweep, and its wings flare momentarily before tucking in, the tip of their top joint crowned by a single fierce talon. Their tails are just as fatal, but I can’t see them at this angle or even tell which breed of dragon each is without that clue. All are deadly.
Rebecca Yarros (Fourth Wing (The Empyrean, #1))
Standing at the end of the line is a small golden dragon. Sunlight reflects off its scales and horns as it stands to its full height, flicking a feathered tail around the side of its body. The feathertail. My jaw drops as I take in the sharp teeth and quick, darting movements of its head as it studies us. At its full height, it’s probably only a few feet taller than I am, like a perfect miniature of the brown next to it.
Rebecca Yarros (Fourth Wing (The Empyrean, #1))
Wait a second. Is she yours?” I ask Tairn. “I swear to the gods, if she’s another secret you kept from me, I’ll—” “I told you last year, she is not our progeny,” Tairn answers, drawing up his head as if offended. “Black dragons are rare but not unheard of.” “And I happened to bond to two of them?” I counter, outright glaring at him. “Technically, she was gold when you bonded her. Not even she knew what color her scales would mature to. Only the eldest of our dens can sense a hatchling’s pigment. In fact, two more black dragons have hatched in the last year, according to Codagh.” “Not helping.” I let Andarna’s steady breathing assure me that she really is fine. Giant but…fine. I can still see her features—her slightly more rounded snout, the spiral twist carved into her curled horns, even the way she tucks her wings in while sleeping is all…her, only bigger. “If there’s a morningstartail on her—” “Tails are a matter of choice and need.” He huffs indignantly. “Don’t they teach you anything?
Rebecca Yarros (Iron Flame (The Empyrean, #2))
She was something else, tall and broad shouldered, her face creased and jagged like rocks, with a long nose that hovered over a thin, crooked mouth. Her skin was pale and her hair was still silver, but it was long and wiry, and threaded with leaves and sticks and thorny vines, as if she had risen from a forest. Two horns crowned her head, small and pointed, gleaming like bone.
Rebecca Ross (Dreams Lie Beneath)
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Perhaps they will— Ooh! What is that?” “A Mammoth Red-Horned Tortoise and absolutely not! The shell will embed between your teeth, and I will not carry you and a festering tortoise shell— Get back here!” His voice fades as they fly out of range.
Rebecca Yarros (Onyx Storm (The Empyrean, #3))