Roofing Free Quotes

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Death isn't empty like you say it is. Emptiness is life without freedom, Darrow. Emptiness is living chained by fear, fear of loss, of death. I say we break those chains. Break the chains of fear and you break the chains that bind us to the Golds, to the Society. Could you imagine it? Mars could be ours. It could belong to the colonists who slaved here, died here." Her face is easier to see as the night fades through the clear roof. It is alive, on fire. "If you led the others to freedom. The things you could do, Darrow. The things you could make happen." She pauses and I see her eyes are glistening. "It chills me. You have been given so, so much, but you set your sights so low." "You repeat the same damn points," I say bitterly. "You think a dream is worth dying for. I say it isn't. You say it's better to die on your feet. I say it's better to live on our knees." "You're not even listening!" she snaps. "We are machine men with machine minds, machine lives …" "And machine hearts?" I ask. "That's what I am?" "Darrow …" "What do you live for?" I ask her suddenly. "Is it for me? Is it for family and love? Or is it just for some dream?" "It's not just some dream, Darrow. I live for the dream that my children will be born free. That they will be what they like. That they will own the land their father gave them." "I live for you," I say sadly. She kisses my cheek. "Then you must live for more.
Pierce Brown (Red Rising (Red Rising Saga, #1))
Heterosexual relationships seem to lead only to marriage, and for most poor dumb brainwashed women marriage is the climactic experience. For men, marriage is a matter of efficient logistics: the male gets his food, bed, laundry, TV, pussy, offspring and creature comforts all under one roof, where he doesn't have to dissipate his psychic energy thinking about them too much - then he is free to go out and fight the battles of life, which is what existence is all about. But for a woman, marriage is surrender. Marriage is when a girl gives up the fight, walks off the battlefield and from then on leaves the truly interesting and significant action to her husband, who has bargained to 'take care' of her. What a sad bum deal. Women live longer than men because they really haven't been living. Better blue-in-the-face dead of a heart attack at fifty than a healthy seventy-year old widow who hasn't had a piece of life's action since girlhood.
Tom Robbins (Even Cowgirls Get the Blues)
The green-eyed angel came in less than a half hour and fell docile as a lamb into my arms. We kissed and caressed, I met no resistance when I unlaced the strings to free her dress and fill myself in the moist and hot bed nature made between her thighs. We made love outdoors—without a roof, I like most, without stove, my favorite place, assuming the weather be fair and balmy, and the earth beneath be clean. Our souls intertwined and dripping with dew, and our love for each other was seen. Our love for the world was new.
Roman Payne
In the afternoon dark clouds suddenly color the sky a mysterious shade and it starts raining hard, pounding the roof and windows of the cabin. I strip naked and run outside, washing my face with soap and scrubbing myself all over. It feels wonderful. In my joy I shut my eyes and shout out meaningless words as the large raindrops strike me on the cheeks, the eyelids, chest, side, penis, legs, and butt - the stinging pain like a religious initiation or something. Along with the pain there's a feeling of closeness, like for once in my life the world's treating me fairly. I feel elated, as if all of a sudden I've been set free. I face the sky, hands held wide apart, open my mouth wide, and gulp down the falling rain.
Haruki Murakami (Kafka on the Shore)
A Prayer for The Wild at Heart A prayer for the wild at heart Kept in cages I know how you long To run wild and free To feel your blood pumping To hear your heart beating faster Yet you can’t For you are locked inside a prison One that you will never escape I can hear your howls of pain And your growls of frustration Pacing back and forth Clawing at the bars Tearing at your skin Begging to be set free Your eyes are wild of full hate You face bears no smile Only a snarl of anger Blood drips from your hands Blood from the people Who didn’t understand Your fearful whimpers fill the air As you look to the full moon And let out a mournful howl Your voice gets louder As I and the others join in We let our pleads fill the night As we sit in our cold cages Praying someone will hear - Tennessee Williams
Tennessee Williams (Stairs to the Roof)
Children Are Like Kites You spend years trying to get them off the ground. You run with them until you are both breathless. They crash ... they hit the roof ... you patch, comfort and assure them that someday they will fly. Finally, they are airborne. They need more string, and you keep letting it out. They tug, and with each twist of the twine, there is sadness that goes with joy. The kite becomes more distant, and you know it won't be long before that beautiful creature will snap the lifeline that binds you together and will soar as meant to soar ... free and alone. Only then do you know that you have done your job.
Erma Bombeck
Inside her mind, she felt increasingly adrift, as if their lovemaking had reached a realm that transcended the physical body. She saw herself float above her body, past her ceiling, through her roof, and higher and higher, the entire world pulsating and alive with sensations. Even these receded as she floated above her town, the pinpoints of the shop windows and car headlights downtown, then she was even higher, above the mighty Mississippi.
Ray Smith (The Magnolia That Bloomed Unseen)
Folks don’t give themselves enough credit. The mother who endures cavities so her children can get braces. The father who works a dead-end job so his kids can have a roof over their heads. The daughter who sacrifices college so she can take care of her disabled mother. They are all heroes, and don’t you believe otherwise.
Ray Smith (The Magnolia That Bloomed Unseen)
A man's minor actions and arrangements ought to be free, flexible, creative; the things that should be unchangeable are his principles, his ideals. But with us the reverse is true; our views change constantly; but our lunch does not change. Now, I should like men to have strong and rooted conceptions, but as for their lunch, let them have it sometimes in the garden, sometimes in bed, sometimes on the roof, sometimes in the top of a tree. Let them argue from the same first principles, but let them do it in a bed, or a boat, or a balloon.
G.K. Chesterton
Through her voice I saw a free woman, down on her land, a woman who knew how to kill her own chickens, hunt her own possum, cut her own cotton, fix her own roof, make her own whiskey, walk in her own shoes, and speak her mind, tell her own story. A black woman. Ready for the journey. The Journey.
Bonnie Greer (A Parallel Life)
The tears in my pus-filled eyes became a thousand little crystals of ever color. Like stained-glass windows, I thought. God is with you today, Papi! In the midst of nature's monstrous elements, in the wind, the immenseness of the sea, the depth of the waves, the imposing green roof of the bush, you feel your own infinitesimal smallness, and perhaps it's here, without looking for Him, that you find God, that you touch Him with your finger. I had sensed Him at night during the thousands of hours I had spent buried alive in dank dungeons without a ray of sun; I touched Him today in a sun that would devour everything too weak to resist it. I touched God, I felt Him around me, inside me. He even whispered in my ear: "You will suffer; you will suffer more. But this time I am on your side. You will be free. You will, I promise you.
Henri Charrière
I spent the last Friday of summer vacation spreading hot, sticky tar across the roof of George Washington High. My companions were Dopey, Toothless, and Joe, the brain surgeons in charge of building maintenance. At least they were getting paid. I was working forty feet above the ground, breathing in sulfur fumes from Satan's vomitorium, for free. Character building, my father said. Mandatory community service, the judge said. Court-ordered restitution for the Foul Deed. He nailed me with the bill for the damage I had done, which meant I had to sell my car and bust my hump at a landscaping company all summer. Oh, and he gave me six months of meetings with a probation officer who thought I was a waste of human flesh. Still, it was better than jail. I pushed the mop back and forth, trying to coat the seams evenly. We didn't want any rain getting into the building and destroying the classrooms. Didn't want to hurt the school. No, sir, we sure didn't.
Laurie Halse Anderson (Twisted)
The free spirit again draws near to life - slowly, to be sure, almost reluctantly, almost mistrustfully. It again grows warmer about him, yellower as it were; feeling and feeling for others acquire depth, warm breezes of all kind blow across him. It seems to him as if his eyes are only now open to what is close at hand. he is astonished and sits silent: where had he been? These close and closest things: how changed they seem! what bloom and magic they have acquired! He looks back gratefully - grateful to his wandering, to his hardness and self-alienation, to his viewing of far distances and bird-like flights in cold heights. What a good thing he had not always stayed "at home," stayed "under his own roof" like a delicate apathetic loafer! He had been -beside himself-: no doubt about that. Only now does he see himself - and what surprises he experiences as he does so! What unprecedented shudders! What happiness even in the weariness, the old sickness, the relapses of the convalescent! How he loves to sit sadly still, to spin out patience, to lie in the sun! Who understands as he does the joy that comes in winter, the spots of sunlight on the wall! They are the most grateful animals in the world, also the most modest, these convalescents and lizards again half-turned towards life: - there are some among them who allow no day to pass without hanging a little song of praise on the hem of its departing robe. And to speak seriously: to become sick in the manner of these free spirits, to remain sick for a long time and then, slowly, slowly, to become healthy, by which I mean "healthier," is a fundamental cure for all pessimism.
Friedrich Nietzsche (Human, All Too Human: A Book for Free Spirits)
He surveyed the edifice from the outside, and admired it greatly; he looked in at the windows, and received an impression of proportions equally fair. But he felt that he saw it only by glimpses, and that he had not yet stood under the roof. The door was fastened, and although he had keys in his pocket he had a conviction that none of them would fit. She was intelligent and generous; it was a fine free nature, but what was she going to do with herself?
Henry James (The Portrait of a Lady)
If it makes you happier – I’m free.’ The rain came in sudden great swathes across the tree-tops and hit the windows and the roof; like spring rain, out of season. The bedroom air seemed full of unspoken words, unformulated guilts, a vicious silence, like the moments before a bridge collapses. We lay side by side, untouching, effigies on a bed turned tomb; sickeningly afraid to say what we really thought. In the end she spoke, in a voice that tried to be normal, but sounded harsh.
John Fowles (The Magus)
That's how, on the second-to-last day of the job, the convict crew that tarred the plate-factory roof in 1950 ending up sitting in a row at ten o'clock on a spring morning, drinking Black Label beer supplied by the hardest screw that ever walked a turn at Shawshank Prison. That beer was piss-warm, but it was still the best I ever had in my life. We sat and drank it and felt the sun on our shoulders, and not even the expression of half-amusement, half-contempt on Hadley's face - as if he was watching apes drink beer instead of men - could spoil it. It lasted twenty minutes, that beer-break, and for those twenty minutes we felt like free men. We could have been drinking beer and tarring the roof of one of our own houses.
Stephen King (Different Seasons)
I dreamed of going to the top of Mount Elum like Alexander the Great to touch Jupiter and even beyond the valley. But, as I watched my brother running across the roof, flying their kites and skillfully flicking the strings back and forth to cut each other's down, I wondered hoe free a daughter could ever be.
Malala Yousafzai (I Am Malala: The Story of the Girl Who Stood Up for Education and Was Shot by the Taliban)
They began to invent humourless, glum jokes of their own and disastrous rumours about the destruction awaiting them at Bologna. Yossarian sidled up drunkenly to Colonel Korn at the officers' club one night to kid with him about the new Lepage gun that the Germans had moved in. 'What Lepage gun?' Colonle Korn inquired with curiousity. 'The new three-hundred-and-forty-four-millimeter Lepage glue gun,' Yossarian answered. 'It glues a whole formation of planes together in mid-air.' Colonel Korn jerked his elbow free from Yossarian's clutching fingers in startled affront. 'Let go of me, you idiot!' he cried out furiously, glaring with vindictive approval as Nately leaped upon Yossarian's back and pulled him away. 'Who is that lunatic anyway?' Colonel Cathcart chortled merrily. 'That's the man you made me give a medal to after Ferrara. You had me promote him to captain, too, remember? It serves you right.' Nately was lighter than Yossarian and had great difficulty maneuvering Yossarian's luching bulk across the room to an unoccupied table. 'Are you crazy?' Nately kept hissing with trepidation. 'That was Colonel Korn. Are you crazy?' Yossarian wanted another drink and promised to leave quietly if Nately bought him one. Then he made Nately bring him two more. When Nately finally coaxed him to the door, Captain Black came stomping in from outside, banging his sloshing shoes down hard on the wood floor and spilling water from his eaves like a high roof. 'Boy, are you bastards in for it!' he announced exuberantly, splashing away from the puddle forming at his feet. 'I just got a call from Colonel Korn. Do you know what they've got waiting for you at Bologna? Ha! Ha! They've got the new Lepage glue gun. It glues a whole formation of planes together in mid-air.' 'My God, it's true!' Yossarian shrieked, and collapsed against Nately in terror.
Joseph Heller (Catch-22)
Once I am sure there's nothing going on I step inside, letting the door thud shut. Another church: matting, seats, and stone, And little books; sprawlings of flowers, cut For Sunday, brownish now; some brass and stuff Up at the holy end; the small neat organ; And a tense, musty, unignorable silence, Brewed God knows how long. Hatless, I take off My cycle-clips in awkward reverence. Move forward, run my hand around the font. From where I stand, the roof looks almost new - Cleaned, or restored? Someone would know: I don't. Mounting the lectern, I peruse a few Hectoring large-scale verses, and pronounce 'Here endeth' much more loudly than I'd meant. The echoes snigger briefly. Back at the door I sign the book, donate an Irish sixpence, Reflect the place was not worth stopping for. Yet stop I did: in fact I often do, And always end much at a loss like this, Wondering what to look for; wondering, too, When churches will fall completely out of use What we shall turn them into, if we shall keep A few cathedrals chronically on show, Their parchment, plate and pyx in locked cases, And let the rest rent-free to rain and sheep. Shall we avoid them as unlucky places? Or, after dark, will dubious women come To make their children touch a particular stone; Pick simples for a cancer; or on some Advised night see walking a dead one? Power of some sort will go on In games, in riddles, seemingly at random; But superstition, like belief, must die, And what remains when disbelief has gone? Grass, weedy pavement, brambles, buttress, sky, A shape less recognisable each week, A purpose more obscure. I wonder who Will be the last, the very last, to seek This place for what it was; one of the crew That tap and jot and know what rood-lofts were? Some ruin-bibber, randy for antique, Or Christmas-addict, counting on a whiff Of gown-and-bands and organ-pipes and myrrh? Or will he be my representative, Bored, uninformed, knowing the ghostly silt Dispersed, yet tending to this cross of ground Through suburb scrub because it held unspilt So long and equably what since is found Only in separation - marriage, and birth, And death, and thoughts of these - for which was built This special shell? For, though I've no idea What this accoutred frowsty barn is worth, It pleases me to stand in silence here; A serious house on serious earth it is, In whose blent air all our compulsions meet, Are recognized, and robed as destinies. And that much never can be obsolete, Since someone will forever be surprising A hunger in himself to be more serious, And gravitating with it to this ground, Which, he once heard, was proper to grow wise in, If only that so many dead lie round.
Philip Larkin
But our tiny home is so much more than its four ramshackle walls and lopsided roof would have you believe. Inside, it’s big, full of love. It’s a hospital where my babies can be born. It’s a schoolhouse where my children can learn. It’s a mansion where my husband and I can enjoy the riches of our life together.
Jessica McCann (All Different Kinds of Free)
There is nothing worse, after days of falling asleep by a babbling brook and waking up to a choir chirping birds, than to go inside a house with insulated walls and an obstructive roof. This torturous invention, a cage, a box, prevents you from seeing or hearing anything of natural importance. Make time to free yourself and find a bit of nature.
Katherine Keith
As I watched my brothers run up to the roof to launch their kites, I wondered how free I could ever really be.
Malala Yousafzai (I Am Malala: How One Girl Stood Up for Education and Changed the World (Young Readers Edition))
I spoke of disintegrating, dissolving into your surroundings. About atoms coming undone from each other, and being freed from yourself. She was free. She was free to float upward. There was nothing to stop her. She was floating up through the roof of the car, through the atmosphere, through the stratosphere, into the stars. Into outer space. Her atoms were intermingling with stardust. She was floating up here because this was where she belonged. Her atoms were weaving like thread into the fabric of the universe. Together, they formed a tapestry - a great, infinite tapestry - of stars and nebulae, of death and darkness, of life and creation. Swirling together. Endless. She was the universe. And the universe accepted her.
Preston Norton (Where I End and You Begin)
And I went to bed and hugged the memory of his attention until the roof seemed to lift off the hotel and the walls to fall away and the huge starry darkness to embrace me with the implications of what I felt. Why do we live so painfully in our fictions? Why do we suffer so, from the things we ourselves have invented? Do you understand it, Jeffers? I have wanted to be free my whole life and I haven’t managed to liberate my smallest toe.
Rachel Cusk (Second Place: A Novel)
1 You said ‘The world is going back to Paganism’. Oh bright Vision! I saw our dynasty in the bar of the House Spill from their tumblers a libation to the Erinyes, And Leavis with Lord Russell wreathed in flowers, heralded with flutes, Leading white bulls to the cathedral of the solemn Muses To pay where due the glory of their latest theorem. Hestia’s fire in every flat, rekindled, burned before The Lardergods. Unmarried daughters with obedient hands Tended it. By the hearth the white-armd venerable mother Domum servabat, lanam faciebat. At the hour Of sacrifice their brothers came, silent, corrected, grave Before their elders; on their downy cheeks easily the blush Arose (it is the mark of freemen’s children) as they trooped, Gleaming with oil, demurely home from the palaestra or the dance. Walk carefully, do not wake the envy of the happy gods, Shun Hubris. The middle of the road, the middle sort of men, Are best. Aidos surpasses gold. Reverence for the aged Is wholesome as seasonable rain, and for a man to die Defending the city in battle is a harmonious thing. Thus with magistral hand the Puritan Sophrosune Cooled and schooled and tempered our uneasy motions; Heathendom came again, the circumspection and the holy fears … You said it. Did you mean it? Oh inordinate liar, stop. 2 Or did you mean another kind of heathenry? Think, then, that under heaven-roof the little disc of the earth, Fortified Midgard, lies encircled by the ravening Worm. Over its icy bastions faces of giant and troll Look in, ready to invade it. The Wolf, admittedly, is bound; But the bond wil1 break, the Beast run free. The weary gods, Scarred with old wounds the one-eyed Odin, Tyr who has lost a hand, Will limp to their stations for the Last defence. Make it your hope To be counted worthy on that day to stand beside them; For the end of man is to partake of their defeat and die His second, final death in good company. The stupid, strong Unteachable monsters are certain to be victorious at last, And every man of decent blood is on the losing side. Take as your model the tall women with yellow hair in plaits Who walked back into burning houses to die with men, Or him who as the death spear entered into his vitals Made critical comments on its workmanship and aim. Are these the Pagans you spoke of? Know your betters and crouch, dogs; You that have Vichy water in your veins and worship the event Your goddess History (whom your fathers called the strumpet Fortune).
C.S. Lewis
The proprietary advantage once enjoyed by companies who assembled teams under their own roofs and used them only on their own products has been surrendered in the rush to attain some semblance of “lean, efficient” flexibility.
Cory Doctorow (Information Doesn't Want to Be Free: Laws for the Internet Age)
Tristan looked at me with pleading eyes, as though he could forget for one moment how I was programmed to respond to him—how even now upon hearing his confession, I wanted nothing more than to suck his beautiful cock to fulfillment, to straddle him right here on the edge of this roof, to let him fuck every orifice he’d created on my body. I fought back the feelings of lust, wondering if I’d ever truly be myself again, if I’d ever be free of the programming.
A. Violet End (The Billionaire Who Atoned to Me)
Lord Thornton,” the Lord Chancellor was saying to Ian as Ian slowly rose, “it is the finding of this commission that you are innocent of all charges against you. You are free to leave.” He paused as if debating something, then said, in what struck Elizabeth as a discordant note of humor, “I would like to suggest informally that if it is your intention to abide under the same roof as your wife tonight, you seriously reconsider that notion. In your place I would be sorely tempted to commit the act that you have already been accused of committing. Although,” he added as laughter began to rumble through the galleries, “I feel certain you could count on an acquittal here on grounds of justifiable cause.
Judith McNaught (Almost Heaven (Sequels, #3))
Well, it certainly is nice to be free from the threat of that lamp, my boy.” Chains drew a last breath of smoke, then rubbed his dwindling sheaf of tobacco out against the roof stones. “Was it informing for the duke? Plotting to murder us?
Scott Lynch (The Lies of Locke Lamora (Gentleman Bastard, #1))
The Silver Samarsanda stood above the Jardeen, behind a line of tall pencil cypress: an irregular bulk of masonry, plastered and whitewashed, with a wide, many-slanted roof of mossy tiles. Beside the entrance five colored lanterns hung in a vertical line: deep green, a dark, smoky scarlet, a gay light green, violet, and once more dark scarlet; and at the bottom, slightly to the side, a small, steady yellow lamp, the purport of all being: Never neglect the wonder of conscious existence, which too soon comes to an end!
Jack Vance (The Brave Free Men)
Perspective - Use It or Lose It. If you turned to this page, you're forgetting that what is going on around you is not reality. Think about that. Remember where you came from, where you're going, and why you created the mess you got yourself into in the first place. You are led through your lifetime by the inner learning creature, the playful spiritual being that is your real self. Don't turn away from possible futures before you're certain you don't have anything to learn from them. Learning is finding out what you already know. Doing is demonstrating that you know it. Teaching is reminding others that they know just as well as you. You are all learners, doers, and teachers. Your only obligation in any lifetime is to be true to yourself. Being true to anyone else or anything else is not only impossible, but the mark of a false messiah. Your conscience is the measure of the honesty of your selfishness. Listen to it carefully. The simplest questions are the most profound. Where were you born? Where is your home? Where are you going? What are you doing? Think about these once in awhile, and watch your answers change. Your friends will know you better in the first minute you meet than your acquaintances will know you in a thousand years. The bond that links your true family is not one of blood, but of respect and joy in each other's life. Rarely do members of one family grow up under the same roof. There is no such thing as a problem without a gift for you in its hands. You seek problems because you need their gifts. Imagine the universe beautiful and just and perfect. Then be sure of one thing: The Is has imagined it quite a bit better than you have. The original sin is to limit the Is. Don't. A cloud does not know why it moves in just such a direction and at such a speed, it feels an impulsion....this is the place to go now. But the sky knows the reason and the patterns behind all clouds, and you will know, too, when you lift yourself high enough to see beyond horizons. You are never given a wish without being given the power to make it true. You may have to work for it, however. Argue for your limitations, and sure enough, they're yours. If you will practice being fictional for a while, you will understand that fictional characters are sometimes more real than people with bodies and heartbeats. The world is your exercise-book, the pages on which you do your sums. It is not reality, although you can express reality there if you wish. You are also free to write nonsense, or lies, or to tear the pages. Every person, all the events of your life, are there because you have drawn them there. What you choose to do with them is up to you. In order to live free and happily, you must sacrifice boredom. It is not always an easy sacrifice. The best way to avoid responsibility is to say, "I've got responsibilities." The truth you speak has no past and no future. It is, and that's all it needs to be. Here is a test to find whether your mission on earth is finished: If you're alive, it isn't. Don't be dismayed at good-byes. A farewell is necessary before you can meet again. And meeting again, after moments or lifetimes, is certain for those who are friends. The mark of your ignorance is the depth of your belief in injustice and tragedy. What the caterpillar calls the end of the world, the master calls a butterfly. You're going to die a horrible death, remember. It's all good training, and you'll enjoy it more if you keep the facts in mind. Take your dying with some seriousness, however. Laughing on the way to your execution it not generally understood by less advanced lifeforms, and they'll call you crazy. Everything above may be wrong!
Richard Bach
Just then, in that instant, I saw His eyes. I recognised them. They were the eyes of that trembling father in a smoke-filled room on the ninety-third floor of Tower One, dialing his little girls for the last time. Those were the eyes behind that calming voice singing 'Amazing Grace' in a crowded and slippery stairwell, trapped outside a roof door when the ceilings began to cave. The eyes of the people who stayed behind with the handicapped victims waiting for police officers who never made it up the stairs. Those were the eyes of firemen who pushed me to safety, the doctor who cared for me for more than a year free of charge, the therapist who visited my home regularly so that I could sleep a little, the children who loved me, the brother who prayed nonstop, and the pastor who became my friend. Those were the eyes of God.
Leslie Haskin (Between Heaven and Ground Zero: One Woman's Struggle for Survival and Faith in the Ashes of 9/11)
A character like that," he said to himself—"a real little passionate force to see at play is the finest thing in nature. It's finer than the finest work of art—than a Greek bas-relief, than a great Titian, than a Gothic cathedral. It's very pleasant to be so well treated where one had least looked for it. I had never been more blue, more bored, than for a week before she came; I had never expected less that anything pleasant would happen. Suddenly I receive a Titian, by the post, to hang on my wall—a Greek bas-relief to stick over my chimney-piece. The key of a beautiful edifice is thrust into my hand, and I'm told to walk in and admire. My poor boy, you've been sadly ungrateful, and now you had better keep very quiet and never grumble again." The sentiment of these reflexions was very just; but it was not exactly true that Ralph Touchett had had a key put into his hand. His cousin was a very brilliant girl, who would take, as he said, a good deal of knowing; but she needed the knowing, and his attitude with regard to her, though it was contemplative and critical, was not judicial. He surveyed the edifice from the outside and admired it greatly; he looked in at the windows and received an impression of proportions equally fair. But he felt that he saw it only by glimpses and that he had not yet stood under the roof. The door was fastened, and though he had keys in his pocket he had a conviction that none of them would fit. She was intelligent and generous; it was a fine free nature; but what was she going to do with herself? This question was irregular, for with most women one had no occasion to ask it. Most women did with themselves nothing at all; they waited, in attitudes more or less gracefully passive, for a man to come that way and furnish them with a destiny. Isabel's originality was that she gave one an impression of having intentions of her own. "Whenever she executes them," said Ralph, "may I be there to see!
Henry James (The Portrait of a Lady)
Wandering, ever wandering, Because life holds not anything so good As to be free of yesterday, and bound Towards a new to-morrow ; and they wend Into a world of unknown faces, where It may be there are faces waiting them, Faces of friendly strangers, not the long Intolerable monotony of friends. The joy of earth is yours, O wanderers, The only joy of the old earth, to wake, As each new dawn is patiently renewed, With foreheads fresh against a fresh young sky. To be a little further on the road, A little nearer somewhere, some few steps Advanced into the future, and removed By some few counted milestones from the past; God gives you this good gift, the only gift That God, being repentant, has to give. Wanderers, you have the sunrise and the stars; And we, beneath our comfortable roofs, Lamplight, and daily fire upon the hearth, And four walls of a prison, and sure food. But God has given you freedom, wanderers.
Arthur Symons
(Family rumor has it that he was originally cloistered off - that is relieved of his duties as a secular priest in Astoria - to free him of a persistent temptation to administer the sacramental wafer to his parishioners' lips by standing back two or three feet and trajecting it in a lovely arc over his left shoulder.)
J.D. Salinger (Raise High the Roof Beam, Carpenters & Seymour: An Introduction)
It isn’t Lesje she resents. Let him screw whatever he likes, why should she care? It’s his freedom she can’t take. Free as a goddamned bird, while she’s locked in this house, locked into this house while the roof leaks and the foundation crumbles and the earth revolves and leaves fall from the calendars like snow. In the centers of her bones dark metal smolders.
Margaret Atwood (Life Before Man)
A woman I know gave me a build-it-yourself bird-feeder kit for Christmas, so I built it, and hung it from the eve of my roof high enough to keep the birds save from my cat. But the birds scratch the seed out of the feeder, then fly down to the deck and eat the seed. They know there's a cat, but still they go down to pick at the seed. When you think about it, people are often like this, too.
Robert Crais (Free Fall (Elvis Cole, #4))
Old Time heaved a moldy sigh from tomb and arch and vault; and gloomy shadows began to deepen in corners; and damps began to rise from green patches of stone; and jewels, cast upon the pavement of the nave from stained glass by the declining sun, began to perish. Within the grill-gate of the chancel, up the steps surmounted loomingly by the fast darkening organ, white robes could be dimly seen, and one feeble voice, rising and falling in a cracked monotonous mutter, could at intervals be faintly heard. In the free outer air, the river, the green pastures, and the brown arable lands, the teeming hills and dales, were reddened by the sunset: while the distant little windows in windmills and farm homesteads, shone, patches of bright beaten gold. In the Cathedral, all became gee, murky, and sepulchral, and the cracked monotonous mutter went on like a dying voice, until the organ and the choir burst forth, and drowned it in a sea of music. Then, the sea fell, and the dying voice made another feeble effort, and then the sea rose high, and beat its life out, and lashed the roof, and surged among the arches, and pierced the heights of the great tower; and then the sea was dry, and all was still.
Charles Dickens (The Mystery of Edwin Drood)
The corners of his lips picked up. "You really didn't know I've been following you for the last five weeks?" Yeah, please feel free to make me feel stupid for that, Ken doll. I shook my head. "Well, of course not, because if you knew someone was watching you, you probably wouldn't have given yourself a spanking on the roof." And just like that, the man turned the humour back on. Weird. - Chapter 3: Heather and Brendan
Elizabeth Morgan (Cranberry Blood (Blood, #1))
One sunny day, when Jung was twelve, he was traversing the Münsterplatz in Basel, admiring the sun shining on the newly restored glazed roof tiles of the cathedral. He then felt the approach of a terrible, sinful thought, which he pushed away. He was in a state of anguish for several days. Finally, after convincing himself that it was God who wanted him to think this thought, just as it had been God who had wanted Adam and Eve to sin, he let himself contemplate it, and saw God on his throne unleashing an almighty turd on the cathedral, shattering its new roof and smashing the cathedral. With this, Jung felt a sense of bliss and relief such as he had never experienced before. He felt that it was an experience of the "direct living God, who stands omnipotent and free above the Bible and Church." He felt alone before God, and that his real responsibility commenced then.
C.G. Jung (The Red Book: Liber Novus)
Humanistic propaganda screams at us everywhere we go. “You deserve better.” “There’s no one like you.” “Stand up for yourself.” And after a while we start believing the mantra. The most influential culture-shaping document in American history is the Declaration of Independence. And built into the ethos of American society are three inalienable rights: life, liberty, and the pursuit of happiness. I think the wording is ironic: the pursuit of happiness. It’s almost like the architects of modern democracy said, “We guarantee you life, and we promise you liberty. But happiness? Good luck.” America is a social experiment founded on the pursuit of happiness. Hundreds of millions of Americans are chasing down happiness. Money, materialism, sex, romance, religion, family, and fame are all pursuits of the same human craving—joy. But apart from Jesus, we never get there. People spend decades searching high and low for happiness and never land at joy. In an odd twist of fate, America, for all her life and liberty, is one of the most depressed nations in the world. And many of us are mad at God. Somehow we think God owes us. We deserve happiness. We deserve a good, comfortable life, free from pain and suffering. We have rights! Right? The scriptures present a totally different worldview that stands against the humanism of Western Europe. It is written, “By grace you have been saved.”[17] The word grace is (charis) in the Greek, which can be translated as “gift.” All of life is grace. All of life is a gift. Humans have no rights. Everything is a gift. Food, shelter, the clothes on our backs, the oxygen in our lungs—it’s all grace. The entire planet, the sky above us and the ground beneath our feet, is all on loan from the Creator God. We live under his roof, eat his food, and drink his water. We are guests. And we are blessed. A reporter once asked Bob Dylan if he was happy. Dylan’s response was, “These are yuppie words, happiness and unhappiness. It’s not happiness or unhappiness. It’s either blessed or unblessed.”[18] I like that. We are blessed. When you reorient yourself to a biblical worldview, the only posture left to take is gratitude. If all of life is a gift, how could we help but thank God?
John Mark Comer (My Name is Hope: Anxiety, depression, and life after melancholy)
Bless this house, oh Lord, we pray. Make it safe by night and day. Bless these walls, so firm and stout, keeping want and trouble out. Bless the roof and chimney tall, let Thy peace lie over all. Bless the door that it may prove, ever open to joy and love. Bless these windows, shining bright, letting in God's heavenly light. Bless the folks who dwell within, keep them pure and free from sin. Bless us that we'll dwell one day, oh Lord with Thee.
Neta Jackson
I dream that someone in space says to me: So let us rush, then, to see the world. It is shaped like an egg, covered with seas and continents, warmed and lighted by the sun. It has churches of indescribable beauty, raised to gods that have never been seen; cities whose distant roofs and smokestacks will make your heart leap; ballparks and comfortable auditoriums in which people listen to music of the most serious import; to celebrate life is recorded. Here the joy of women’s breasts and backsides, the colors of water, the shapes of trees, athletes, dreams, houses, the shapes of ecstasy and dismay, the shape even of an old shoe, are celebrated. Let us rush to see the world. They serve steak there on jet planes, and dance at sea. They have invented musical instruments to express love, peaceableness; to stir the finest memories and aspirations. They have invented games to catch the hearts of young men. They have ceremonies to exalt the love of men and women. They make their vows to music and the sound of bells. They have invented ways to heat their houses in the winter and cool them in the summer. They have even invented engines to cut their grass. They have free schools for the pursuit of knowledge, pools to swim in, zoos, vast manufactories of all kinds. They explore space and the trenches of the sea. Oh, let us rush to see this world.
John Cheever (The Journals of John Cheever)
For a woman who has chosen family as well as work, there’s never time, and yet somehow time is given to us as time is given to the man who must sail a ship or chart the stars. For most writers it takes many manuscripts before enough royalties are coming in to pay for a roof over the head and bread on the table. Other jobs must often be found to take care of bread and butter. A certain amount of stubbornness—pig-headedness—is essential. — I’m often asked how my children feel about my work, and I have to reply, “Ambivalent.” Our firstborn observed to me many years ago, when she was a grade-school child, “Nobody else’s mother writes books.” But she also said, around the same time, “Mother, you’ve been very cross and edgy with us lately, and we’ve noticed that you haven’t been writing, and we wish you’d get back to the typewriter.” A wonderfully freeing remark. I had to learn that I was a better mother and wife when I was working than when I was not.
Madeleine L'Engle (Walking on Water: Reflections on Faith and Art)
The song she heard from the meadow was the same tune as the bird's call.She looked up in the trees.For a moment she thought she'd lost the bird, and she nearly cried out for him, but he fluttered down,landed right at her feet, and grew into a man." "Oh." Meg sighed.She'd always liked that part. "He whistled the tune once more, then the fey man said, 'My lady,will you dance?" "'I will.' She crossed the bridge to the meadow,and danced with the whistler." "Tell us they married," Meg said. "The story doesn't go like that," Poppy reminded. "It should." Meg stroked Tom's blood-clotted hair. I fumbled with the charcoal in my blackened fingers. As the story went, the girl danced through the seasons, but when she wandered home at last and reached her cottage door, she was a shriveled-up old women, for a hundred years had passed while she danced with the whistler,and everyone she'd known in her former life had died. Meg knew how it went.But when our eyes locked, I saw tonight she couldn't bear it. I found another bit of charcoal. "That very spring when the meadow was in bloom,the whistler, who had fey power to transform into a bird and sing any girl he wished to into the wood, chose the one girl who'd followed him so bravely and so far to be his wife. And she lived with him and the fey folk deep in Dragonswood in DunGarrow Castle, a place that blends into the mountainside and cannot be seen with human eyes unless the fairies will it so." I drew the couple hand in hand, rouch sketches on the cave wall; the stone wasn't smooth by any means. "She lived free among the fey folk and never wanted to return to her old life that had been full of hunger and sorrow under her father's roof." I sketched what came next before I could think of it. "A dragon came to their wedding," I said, drawing his right wing so large, I had to use the ceiling. "He lit a bonfire to celebrate their union." I drew the left wing spanning over the couple in the meadow. "And they lived all their lives content in Dragonswood.
Janet Lee Carey (Dragonswood (Wilde Island Chronicles, #2))
On this way, they reached the roof. Christine tripped over it as lightly as a swallow. Their eyes swept the empty space between the three domes and the triangular pediment. She breathed freely over Paris, the whole valley of which was seen at work below. She called Raoul to come quite close to her and they walked side by side along the zinc streets, in the leaden avenues; they looked at their twin shapes in the huge tanks, full of stagnant water, where, in the hot weather, the little boys of the ballet, a score or so, learn to swim and dive. The shadow had followed behind them clinging to their steps; and the two children little suspected its presence when they at last sat down, trustingly, under the mighty protection of Apollo, who, with a great bronze gesture, lifted his huge lyre to the heart of a crimson sky. It was a gorgeous spring evening. Clouds, which had just received their gossamer robe of gold and purple from the setting sun, drifted slowly by; and Christine said to Raoul: “Soon we shall go farther and faster than the clouds, to the end of the world, and then you will leave me, Raoul. But, if, when the moment comes for you to take me away, I refuse to go with you—well you must carry me off by force!” “Are you afraid that you will change your mind, Christine?” “I don’t know,” she said, shaking her head in an odd fashion. “He is a demon!” And she shivered and nestled in his arms with a moan. “I am afraid now of going back to live with him … in the ground!” “What compels you to go back, Christine?” “If I do not go back to him, terrible misfortunes may happen! … But I can’t do it, I can’t do it! … I know one ought to be sorry for people who live underground … But he is too horrible! And yet the time is at hand; I have only a day left; and, if I do not go, he will come and fetch me with his voice. And he will drag me with him, underground, and go on his knees before me, with his death’s head. And he will tell me that he loves me! And he will cry! Oh, those tears, Raoul, those tears in the two black eye-sockets of the death’s head! I can not see those tears flow again!” She wrung her hands in anguish, while Raoul pressed her to his heart. “No, no, you shall never again hear him tell you that he loves you! You shall not see his tears! Let us fly, Christine, let us fly at once!” And he tried to drag her away, then and there. But she stopped him. “No, no,” she said, shaking her head sadly. “Not now! … It would be too cruel … let him hear me sing to-morrow evening … and then we will go away. You must come and fetch me in my dressing-room at midnight exactly. He will then be waiting for me in the dining-room by the lake … we shall be free and you shall take me away … You must promise me that, Raoul, even if I refuse; for I feel that, if I go back this time, I shall perhaps never return.” And she gave a sigh to which it seemed to her that another sigh, behind her, replied. “Didn’t you hear?” Her teeth chattered. “No,” said Raoul, “I heard nothing.” - Chapter 12: Apollo’s Lyre
Gaston Leroux (The Phantom of the Opera)
I'm with you in Rockland where we wake up electrified out of the coma by our own souls' airplanes roaring over the roof they've come to drop angelic bombs the hospital illuminates itself imaginary walls collapse O skinny legions run outside O starry-spangled shock of mercy the eternal war is here O victory forget your underwear we're free I'm with you in Rockland in my dreams you walk dripping from a sea-journey on the highway across America in tears to the door of my cottage in the Western night
Allen Ginsberg (Howl and Other Poems)
goodness tries to get the upper hand in us whenever it seems to have the slightest chance—on Sunday mornings, perhaps, when we are set free from the grinding hurry of the week, and take the little three-year old on our knee at breakfast to share our egg and muffin; in moments of trouble, when death visits our roof or illness makes us dependent on the tending hand of a slighted wife; in quiet talks with an aged mother, of the days when we stood at her knee with our first picture-book, or wrote her loving letters from school.
George Eliot (Scenes of Clerical Life)
The roof of this house is dreadfully dilapidated; the outside shutters are always closed; the balconies are hung with swallows’ nests; the doors are for ever shut. Straggling grasses have outlined the flagstones of the steps with green; the ironwork is rusty. Moon and sun, winter, summer, and snow have eaten into the wood, warped the boards, peeled off the paint. The dreary silence is broken only by birds and cats, polecats, rats, and mice, free to scamper round, and fight, and eat each other. An invisible hand has written over it all: ‘Mystery.
Honoré de Balzac (Works of Honore de Balzac)
The pony's head rose above the open roof as her mane whipped in the wind. I knew she must be thinking of running free through tallgrass fields, wild daisies slapping her shins, no one to hold her down. I slid my hand up her leg, feeling raised ridges of whip scars. The tips of her ears had been cut. There were smaller scars across her nose. A knife had been used there, perhaps only to remind her who she belonged to. She had lived by the orders and commands of men. Her entire existence on earth and she had never once been allowed to be free. She had been imprisoned and owned, as if all of her value was wrapped up in how large a load she could carry on her back. She had lived her life to the point of being given away, her legs too weak to run, her eyes no longer able to see a world beyond the coal cave she was forced to spend her life in. And yet, now she could feel the wind in her mane. She was not too dead for this small kindness that delivered her from a past of hell to a moment she could believe she was free enough to gallop as she wished. Is this love? she must have been asking herself. Am I finally loved?
Tiffany McDaniel (Betty)
Then there occurred to me the 'glucklichste Gedanke meines Lebens,' the happiest thought of my life, in the following form. The gravitational field has only a relative existence in a way similar to the electric field generated by magnetoelectric induction. Because for an observer falling freely from the roof of a house there exists-at least in his immediate surroundings-no gravitational field [his italics]. Indeed, if the observer drops some bodies then these remain relative to him in a state of rest or of uniform motion, independent of their particular chemical or physical nature (in this consideration the air resistance is, of course, ignored). The observer therefore has the right to interpret his state as 'at rest.' Because of this idea, the uncommonly peculiar experimental law that in the gravitational field all bodies fall with the same acceleration attained at once a deep physical meaning. Namely, if there were to exist just one single object that falls in the gravitational field in a way different from all others, then with its help the observer could realize that he is ina gravitational field and is falling in it. If such an object does not exist, however-as experience has shown with great accuracy-then the observer lacks any objective means of perceiving himself as falling in a gravitational field. Rather he has the right to consider his state as one of rest and his environment as field-free relative to gravitation. The experimentally known matter independence of the acceleration of fall is therefore a powerful argument for the fact that the relativity postulate has to be extended to coordinate systems which, relative to each other, are in non-uniform motion.
Albert Einstein
I imagined each experience going on in that city, the world that was taking up my chest and throat, and I wanted to experience all of them. For every person sitting on a roof top staring at the stars, every person driving out to the desert with their lover and a mattress in the back of their pickup, every adrenalin shot of stepping on a stage or movie set, every hand and breath casting music into the night, every kiss that felt like the first, every breath stealing glance, every dance, every burst of camera light, everything – I wanted to do it all. I was a moment chaser.
Jackie Haze (Borderless)
Q: What are in your eyes the major defects in the West? A: The West has come to regard the values of freedom, the yardstick of human rights, as something Western. Many of them [westerns] specially in Europe take the values and the institutions on freedom, the institutions on science, curiosity, the individual, i mean, the rule of law and they’ve come to take that all for granted that they are not aware of the threat against it and not aware of the fact that you have to sustain it day by day as with all man made things. I mean, a building for example, the roof will leak, the paint will fall and you have to repaint it, you have to maintain it all the time it seems that people have forgotten that and perhaps part of the reason is because the generation that is now enjoying all the freedoms in the West is not the generations that built it; these are generations that inherited and like companies, family companies, often you’ll see the first generation or the second generation are almost always more passionate about the brand and the family company and name and keeping it all int he family and then the third generation live, use, take the money and they are either overtaken by bigger companies, swallowed up or they go bankrupt and I think there is an analogy there in that the generations after the second world war living today in Europe, United States may be different but I’m here much too short to say anything about it, is that there are people who are so complacent, they’ve always been free, they just no longer know what it is that freedom costs and for me that would be making the big mistake and you can see it. The education system in Europe where history is no longer an obligatory subject, science is no longer an obligatory subject, school systems have become about, look at Holland, our country where they have allowed parents, in the name of freedom, to build their own schools that we now have schools founded on what the child wants so if the child wants to play all day long then that is an individual freedom of the child and so it’s up to the child to decide whether to do math or to clay and now in our country in Holland, in the name of freedom of education, the state pays for these schools and I was raving against muslim schools and i thought about this cuz i was like you know ok in muslin schools at least they learn to count.
Ayaan Hirsi Ali
Chorus for a Cat I will never subject be, I am free. Try to curb me and, no doubt, You'll find out Just exactly what a claw Is for! Or I'll dematerialize Before your eyes: Ere you lay a finger on Me, I'm gone! You may think I'm in the lane; Think again! You may guess I'm on the roof; Any proof? I am not to hold or bind, Or find. I will hunt and sing and fight In the night. All day long I lie and doze, Comatose: Never answer when you call And bawl. If to order me you choose, You will lose. Try to understand my mind And you'll find Truest friendship I will give While I live; Kindly amiability, And sympathy. If subservience you prefer, Buy a cur!
Nicholas Stuart Gray (The Random House Book of Fantasy Stories)
Leaving Forever My son can look me level in the eyes now, and does, hard, when I tell him he cannot watch chainsaw murders at the midnight movie, that he must bend his mind to Biology, under this roof, in the clear light of a Tensor lamp. Outside, his friends throb with horsepower under the moon. He stands close, milk sour on his breath, gauging the heat of my conviction, eye-whites pink from his new contacts. He can see me better than before. And I can see myself in those insolent eyes, mostly head in the pupil's curve, closed in by the contours of his unwrinkled flesh. At the window he waves a thin arm and his buddies squall away in a glare of tail lights. I reach out my arm to his shoulder, but he shrugs free and shows me my father's narrow eyes, the trembling hand at my throat, the hard wall at the back of my skull, the raised fist framed in the bedroom window I had climbed through at three A.M. "If you hit me I'll leave forever," I said. But everything was fine in a few days, fine. "I would have come back," I said, "false teeth and all." Now, twice a year after the long drive, in the yellow light of the front porch, I breathe in my father's whiskey, ask for a shot, and see myself distorted in his thick glasses, the two of us grinning, as he holds me with both hands at arm's length.
Ron Smith (Running Again in Hollywood Cemetery: Poems)
Trout's favorite formula was to describe a perfectly hideous society, not unlike his own, and then, toward the end, to suggest ways in which it could be improved. In 2BRO2B he hypothecated an America in which almost all of the work was done by machines, and the only people who could get work had three or more Ph.D's. There was a serious overpopulation problem, too. All serious diseases had been conquered. So death was voluntary, and the government, to encourage volunteers for death, set up a purple-roofed Ethical Suicide Parlor at every major intersection, right next door to an orange-roofed Howard Johnson's. There were pretty hostesses in the parlor, and Barca-Loungers, and Muzak, and a choice of fourteen painless ways to die. The suicide parlors were busy places, because so many people felt silly and pointless, and because it was supposed to be an unselfish, patriotic thing to do, to die. The suicides also got free last meals next door. And so on. Trout had a wonderful imagination. One of the characters asked a death stewardess if he would go to Heaven, and she told him that of course he would. He asked if he would see God, and she said, "Certainly, honey." And he said, "I sure hope so. I want to ask Him something I never was able to find out down here." "What's that?" she said, strapping him in. "What in hell are people for?
Kurt Vonnegut Jr. (God Bless You, Mr. Rosewater)
Then, as though she held a dandelion blowball in her hand, she simply blew away the nightmare that dominated her life for so many long years. She released each painful memory to dance on the wind, to soar high with each tiny propeller from the seed head. With the last puff of breath, she found a measure of forgiveness for her father. With that act, the cell imprisoning her mind fractured. The walls split and fell apart, the roof slid to one side, and the terrified girl was freed. As bricks and timber disintegrated into dust, she stood in a meadow surrounded by tall trees. One half bathed in sunlight, the other wrapped in shadows and dark. "You are free to walk whatever path you chose,
A.W. Exley (Moseh's Staff (Artifact Hunters #4))
I read, in yellow, on the roof tile of a low structure: "Silvano free." He's free, we're free, all of us are free. Disgust at the torments that shackle us, the chains of heavy life. I leaned weakly on the blue-painted wall of a building on Via Alessandria, with letters cut in the stone: "Prince of Naples Nursery." That's where I was, accents of the south cried in my head, cities that were far apart became a single vice, the blue surface of the sea and the white of the Alps. Thirty years ago the poverella of Piazza Mazzini had been leaning against a wall, a house wall, as I was now, when her breath failed, out of desperation. I couldn't, now, like her, give myself the relief of protest, of revenge.
Elena Ferrante (The Days of Abandonment)
There was something very poetic about lying on the hay, beneath the polythene roof. This was how we had spent our first night, on the hay next to the bull in Harry Mann’s barn. During the 18 days in-between we had slept in a posh hotel, a canal boat, a student house, a pub, a tent in a car park, a hitman’s sitting room, an elderly lady’s spare bedroom, a hostel, a bunk house, a farm house, our own self-contained flat, our own house, and now we were back on the hay. We had gone full circle. Out of all of the different types of accommodation, our two nights on the hay were undoubtedly our most comfortable. Next time you hear the nativity story, don’t feel sorry for Mary and Joseph; they had it very lucky indeed.
George Mahood (Free Country: A Penniless Adventure the Length of Britain)
[How does it happen that this man, so distressed at the death of his wife and his only son, or who has some great lawsuit which annoys him, is not at this moment sad, and that he seems so free from all painful and disquieting thoughts? We need not wonder; for a ball has been served him, and he must return it to his companion. He is occupied in catching it in its fall from the roof, to win a game. How can he think of his own affairs, pray, when he has this other matter in hand? Here is a care worthy of occupying this great soul, and taking away from him every other thought of the mind. This man, born to know the universe, to judge all causes, to govern a whole state, is altogether occupied and taken up with the business of catching a hare.
Blaise Pascal (Pascal's Pensées)
It is true. I did fall asleep at the wheel. We nearly went right off a cliff down into a gorge. But there were extenuating circumstances.” Ian snickered. “Are you going to pull out the cry-baby card? He had a little bitty wound he forgot to tell us about, that’s how small it was. Ever since he fell asleep he’s been trying to make us believe that contributed.” “It wasn’t little. I have a scar. A knife fight.” Sam was righteous about it. “He barely nicked you,” Ian sneered. “A tiny little slice that looked like a paper cut.” Sam extended his arm to Azami so she could see the evidence of the two-inch line of white marring his darker skin. “I bled profusely. I was weak and we hadn’t slept in days.” “Profusely?” Ian echoed. “Ha! Two drops of blood is not profuse bleeding, Knight. We hadn’t slept in days, that much is true, but the rest . . .” He trailed off, shaking his head and rolling his eyes at Azami. Azami examined the barely there scar. The knife hadn’t inflicted much damage, and Sam knew she’d seen evidence of much worse wounds. “Had you been drinking?” she asked, her eyes wide with innocence. Those long lashes fanned her cheeks as she gaze at him until his heart tripped all over itself. Sam groaned. “Don’t listen to him. I wasn’t drinking, but once we were pretty much in the middle of a hurricane in the South Pacific on a rescue mission and Ian here decides he has to go into this bar . . .” “Oh, no.” Ian burst out laughing. “You’re not telling her that story.” “You did, man. He made us all go in there, with the dirtbag we’d rescued, by the way,” Sam told Azami. “We had to climb out the windows and get on the roof at one point when the place flooded. I swear ther was a crocodile as big as a house coming right at us. We were running for our lives, laughing and trying to keep that idiot Frenchman alive.” “You said to throw him to the crocs,” Ian reminded. “What was in the bar that you had to go in?” Azami asked, clearly puzzled. “Crocodiles,” Sam and Ian said simultaneously. They both burst out laughing. Azami shook her head. “You two could be crazy. Are you making these stories up?” “Ryland wishes we made them up,” Sam said. “Seriously, we’re sneaking past this bar right in the middle of an enemy-occupied village and there’s this sign on the bar that says swim with the crocs and if you survive, free drinks forever. The wind is howling and trees are bent almost double and we’re carrying the sack of shit . . . er . . . our prize because the dirtbag refuses to run even to save his own life—” “The man is seriously heavy,” Ian interrupted. “He was kidnapped and held for ransom for two years. I guess he decided to cook for his captors so they wouldn’t treat him bad. He tried to hide in the closet when we came for him. He didn’t want to go out in the rain.” “He was the biggest pain in the ass you could imagine,” Sam continued, laughing at the memory. “He squealed every time we slipped in the mud and went down.” “The river had flooded the village,” Sam added. “We were walking through a couple of feet of water. We’re all muddy and he’s wiggling and squeaking in a high-pitched voice and Ian spots this sign hanging on the bar.
Christine Feehan (Samurai Game (GhostWalkers, #10))
Riding high and above the waves on extemporaneous notions of an afterlife, Michael brought one foot forward and let it dangle over the roof’s edge. He knew that he did not have much time before the other would follow. Some patients below could see the figure atop the building from the courtyard. They started to rile with anticipation, their irate murmurings incomprehensible. A groundskeeper looked up to see what justified the commotion. Michael could hear the shouts from below. He almost toppled when the wind picked up again, but recovered and kept one foot dangling with the other anchored to the roof. The hoots came louder now, almost calling him toward them like sirens guiding ships in the night. From below it was impossible to make out the face of the balancing figurine now poised in suspended descent. Another gust came. He closed his eyes, felt the levity manifesting, and felt the complete freedom inside. He could feel himself gliding down like the sail of a weightless craft, forever plunging into the great beyond, below where mermaids sing and summon their lovers home, further down into the depths of some complacent serenity, further down where thoughts float away and never return and the lightness is so grand that there is no other worldly place imaginable, for there is no world left to be considered. There is only the soul, free from the prison of the body, and it is released to travel another millennium through time, carrying with it the progress and industry gathered from the mind previously occupied. The time it spans inconceivable. He let his other foot go from the roof and felt himself completely let go.
Matthew Chase Stroud (Paths of Young Men)
~We were here~ We were here years ago Dusk swept away the white day departing monotonous sun to sleep “You came out of abyss or on High?” The scent of her willingness breasts I breathe ! Eyes closed ! Naked bodies sailed in colour, sound and smell her swan-like arms coiled The shadowy light of lamp the flamboyant bits of dying coal sighed in air Blood depurated the tawny flesh of bodies Beside on a table words scattered like flock of birds grief, dejection and melancholy b r o k e n bones of free verse In contrivance of our sweetest submission words rupture; secret message deciphered unrhymed metamorphosed to rhymes they read our skins like first love poem besotted in warm delighted air flying high as kite You were coaxed to sing in flow; I danced wobbly Wary sky above the roof ceased in our devout brittle embrace.
Satbir Singh Noor
Now the whole parable and purpose of these last pages, and indeed of all these pages, is this: to assert that we must instantly begin all over again, and begin at the other end. I begin with a little girl’s hair. That I know is a good thing at any rate. Whatever else is evil, the pride of a good mother in the beauty of her daughter is good. It is one of those adamantine tendernesses which are the touchstones of every age and race. If other things are against it, other things must go down. If landlords and laws and sciences are against it, landlords and laws and sciences must go down. With the red hair of one she–urchin in the gutter I will set fire to all modern civilization. Because a girl should have long hair, she should have clean hair; because she should have clean hair, she should not have an unclean home: because she should not have an unclean home, she should have a free and leisured mother; because she should have a free mother, she should not have an usurious landlord; because there should not be an usurious landlord, there should be a redistribution of property; because there should be a redistribution of property, there shall be a revolution. That little urchin with the gold–red hair, whom I have just watched toddling past my house, she shall not be lopped and lamed and altered; her hair shall not be cut short like a convict’s; no, all the kingdoms of the earth shall be hacked about and mutilated to suit her. She is the human and sacred image; all around her the social fabric shall sway and split and fall; the pillars of society shall be shaken, and the roofs of ages come rushing down, and not one hair of her head shall be harmed.
G.K. Chesterton (The G.K. Chesterton Collection [34 Books])
The perfectionist in her wanted to be sure he'd done it correctly, so she took a cautious step toward the edge of the roof, only to get here foot caught in the gauze. Cade jerked up on the roll, just as she stepped down. The fabric slipped between her legs. Up her thighs, all the way to her crotch. She froze. Her eyes went wide. Embarrassment colored her cheeks. "Grace?" Cade's voice was deep, amused, questioning. He gave the webbing a tug, attempting to pull it free. Instead it rubbed intimately, at the crease between her sex and thigh. His gaze on her groin, he gave a second slow pull. His eyes darkened. A muscle jerked in his jaw. His nostrils flared. He rolled his shoulders and released the tautness of the gauze. The clearing of his throat cut the tension, the silence. "Snared in a spider's web," he joked, lightening the moment.
Kate Angell (The Cottage on Pumpkin and Vine)
Water began to drip steadily through the dormer window. Outside, in the treacherous city, a thaw had come, giving the streets the unreliable consistency of wet cardboard. Slow masses of whiteness slid from sloping, grey-slate roofs. The footprints of delivery vans corrugated the slush. First light; and the dawn chorus began, chattering of road-drills, chirrup of burglar alarms, trumpeting of wheeled creatures clashing at corners, the deep whirr of a large olive-green garbage eater, screaming radio-voices from a wooden painter's cradle clinging to the upper storey of a Free House, roar of the great wakening juggernauts rushing awesomely down this long but narrow pathway. From beneath the earth came tremors denoting the passage of huge subterranean worms that devoured and regurgitated human beings, and from the skies the thrum of choppers and the screech of higher, gleaming birds.
Salman Rushdie (The Satanic Verses)
It is ironic that none of those who took issue with Schweitzer’s theology and cursed his writings gave up fame and fortune or membership in the highest stratum of German society to live among the poorest of the poor. They prepared their critiques in the comfort of the pastor’s study or the university library, while Schweitzer nailed patches of tin on the roof of his free medical clinic at Lambarene by the banks of the Ogoove River. Theologians who sat in endowed chairs took his Christology to task, while he scraped infectious lesions off blue-black natives in the steaming misery of equatorial Africa. Albert Schweitzer deserves to be remembered as the greatest Christian of the twentieth century, yet he did not believe in literal miracles— the blood atonement, the bodily resurrection, or the second coming, just to name a few. All he did was walk away from everything the world calls good to follow Jesus.
Robin Meyers (Saving Jesus from the Church: How to Stop Worshiping Christ and Start Following Jesus)
Then with his merciless mace he smashed her skull, and with his scimitar split her like a shellfish. He set one half above, as a heavenly roof, that the waters above should not escape, placed the other half over the abyssal Deep, and when that work of world creation was done, assigned the gods to their places, variously, in Heaven, Earth, and the Abyss. Finally, then, he shaped Man to serve the gods, so that all should be free to repose at ease.7 How interesting! In the older view the goddess Universe was alive, herself organically the Earth, the horizon, and the heavens. Now she is dead, and the universe is not an organism, but a building, with gods at rest in it in luxury: not as personifications of the energies in their manners of operation, but as luxury tenants, requiring service. And Man, accordingly, is not as a child born to flower in the knowledge of his own eternal portion but as a robot fashioned to serve.
Joseph Campbell (Goddesses: Mysteries of the Feminine Divine (The Collected Works of Joseph Campbell))
Outside the window is a roofed wooden tray he fills with seeds for the birds. They make a sort of dance as they descend and light and fly off at a slant across the strictly divided black sash. At first they came fearfully, worried by the man's movements inside the room. They watched his eyes, and flew when he looked. Now they expect no harm from him and forget he's there. They come into his vision, unafraid. He keeps a certain distance and quietness in tribute to them. That they ignore him he takes in tribute to himself. But they stay cautious of each other, half afraid, unwilling to be too close. They snatch what they can carry and fly into the trees. They flirt out with tail or beak and waste more sometimes than they eat. And the man, knowing the price of seed, wishes they would take more care. But they understand only what is free, and he can give only as they will take. Thus they have enlightened him. He buys the seed, to make it free.
Wendell Berry (The Selected Poems of Wendell Berry)
How did we define “poverty-free”? After interviewing many borrowers about what a poverty-free life meant to them, we developed a set of ten indicators that our staff and outside evaluators could use to measure whether a family in rural Bangladesh lived a poverty-free life. These indicators are: (1) having a house with a tin roof; (2) having beds or cots for all members of the family; (3) having access to safe drinking water; (4) having access to a sanitary latrine; (5) having all school-age children attending school; (6) having sufficient warm clothing for the winter; (7) having mosquito nets; (8) having a home vegetable garden; (9) having no food shortages, even during the most difficult time of a very difficult year; and (10) having sufficient income-earning opportunities for all adult members of the family. We will be monitoring these criteria on our own and are inviting local and international researchers to help us track our successes and setbacks as we head toward our goal of a poverty-free Bangladesh.
Muhammad Yunus (Banker To The Poor: Micro-Lending and the Battle Against World Poverty)
And . . . I owe you.” Selene didn’t explain because she knew he’d think she was referring to when Meghan saved her life. That was fine with her. Telling him exactly how she owed him would strip her open too bare and she wasn’t willing to let anyone see that vulnerable side of her. “Telling the truth again.” He frowned now, true confusion in his gaze. Whether from her words or the fact that she was letting him in on this op. “You plan to try to bring me in after the op?” “No.” That was actually the truth. Wesley, however, was a different story. But she refused to let her mind go there, knowing Levi would pick up on it. Levi started to respond when a burst of gunfire from the pool area made them both turn at the noise. Selene automatically moved off the bench, crouching down behind it and to her surprise Levi moved in front of her, blocking her even though they were too far away to be in any danger from what she could hear. “This is what happens when you get a bunch of criminals under the same roof,” he muttered. She snorted in agreement. “I’m leaving using the beach. You’re free to join me.” There hadn’t been any more gunfire so likely the guards had the situation under control but she wasn’t heading back up there. She’d already had her meeting so she had no reason to return. Now he snorted as he turned to face her, still crouching low. He slid his long, callused hands down her bare arms. This time she couldn’t hide the shiver. “Oh, I’m joining you,” he murmured, a seductive note in his voice. But the timing was all wrong. For once she wished she understood the opposite sex more. What was he doing? She’d already told him he could come on the op with her. Her nipples tightened and her body hummed with a strange anticipation as he lightly held her wrists in both hands, his thumbs rubbing her inner wrist in small circles. She started to pull back and he let go of one of her wrists. As she pushed out a sigh of relief, the feel of cold steel skimmed her skin just as the soft snick of handcuffs clicked into place.
Katie Reus (Shattered Duty (Deadly Ops, #3))
On the first day, he’d completed the stucco walls for a small structure the size of his stallion’s box stall, and the other Sorias had been pleased. On the second day, he’d torn free a section of abandoned railroad and melted it into a beautifully intricate metal gate, and the other Sorias had been pleased. On the third day, he’d fired one thousand ceramic tiles with the heat of his own belief and installed a roof made of them, and the other Sorias had been pleased. On the fourth day, the Virgin had appeared again, this time surrounded by owls; he’d carved a statue of her in this state to place inside the Shrine, and the other Sorias had been pleased. On the fifth day, he’d made a rich pigment from some sky that had gotten too close to him and used it to paint the Shrine’s exterior turquoise, and the other Sorias had been pleased. On the sixth day, he’d held up a passenger train, robbed the passengers, killed the sheriff on board, and used the sheriff’s femurs to fashion a cross for the top of the shrine. The Sorias had not been pleased.
Maggie Stiefvater (All the Crooked Saints)
Separated from everyone, in the fifteenth dungeon, was a small man with fiery brown eyes and wet towels wrapped around his head. For several days his legs had been black, and his gums were bleeding. Fifty-nine years old and exhausted beyond measure, he paced silently up and down, always the same five steps, back and forth. One, two, three, four, five, and turn . . . an interminable shuffle between the wall and door of his cell. He had no work, no books, nothing to write on. And so he walked. One, two, three, four, five, and turn . . . His dungeon was next door to La Fortaleza, the governor’s mansion in Old San Juan, less than two hundred feet away. The governor had been his friend and had even voted for him for the Puerto Rican legislature in 1932. This didn’t help much now. The governor had ordered his arrest. One, two, three, four, five, and turn . . . Life had turned him into a pendulum; it had all been mathematically worked out. This shuttle back and forth in his cell comprised his entire universe. He had no other choice. His transformation into a living corpse suited his captors perfectly. One, two, three, four, five, and turn . . . Fourteen hours of walking: to master this art of endless movement, he’d learned to keep his head down, hands behind his back, stepping neither too fast nor too slow, every stride the same length. He’d also learned to chew tobacco and smear the nicotined saliva on his face and neck to keep the mosquitoes away. One, two, three, four, five, and turn . . . The heat was so stifling, he needed to take off his clothes, but he couldn’t. He wrapped even more towels around his head and looked up as the guard’s shadow hit the wall. He felt like an animal in a pit, watched by the hunter who had just ensnared him. One, two, three, four, five, and turn . . . Far away, he could hear the ocean breaking on the rocks of San Juan’s harbor and the screams of demented inmates as they cried and howled in the quarantine gallery. A tropical rain splashed the iron roof nearly every day. The dungeons dripped with a stifling humidity that saturated everything, and mosquitoes invaded during every rainfall. Green mold crept along the cracks of his cell, and scarab beetles marched single file, along the mold lines, and into his bathroom bucket. The murderer started screaming. The lunatic in dungeon seven had flung his own feces over the ceiling rail. It landed in dungeon five and frightened the Puerto Rico Upland gecko. The murderer, of course, was threatening to kill the lunatic. One, two, three, four, five, and turn . . . The man started walking again. It was his only world. The grass had grown thick over the grave of his youth. He was no longer a human being, no longer a man. Prison had entered him, and he had become the prison. He fought this feeling every day. One, two, three, four, five, and turn . . . He was a lawyer, journalist, chemical engineer, and president of the Nationalist Party. He was the first Puerto Rican to graduate from Harvard College and Harvard Law School and spoke six languages. He had served as a first lieutenant in World War I and led a company of two hundred men. He had served as president of the Cosmopolitan Club at Harvard and helped Éamon de Valera draft the constitution of the Free State of Ireland.5 One, two, three, four, five, and turn . . . He would spend twenty-five years in prison—many of them in this dungeon, in the belly of La Princesa. He walked back and forth for decades, with wet towels wrapped around his head. The guards all laughed, declared him insane, and called him El Rey de las Toallas. The King of the Towels. His name was Pedro Albizu Campos.
Nelson A. Denis (War Against All Puerto Ricans: Revolution and Terror in America's Colony)
You’re not meant to be a martyr.” Sighing, she lies back in disappointment. “You wouldn’t see the point to it.” “Oh? Well then, tell me, Eo. What is the point to dying? I’m only a martyr’s son. So tell me what that man accomplished by robbing me of a father. Tell me what good comes of all that bloodydamn sadness. Tell me why it’s better I learned to dance from my uncle than my father.” I go on. “Did his death put food on your table? Did it make any of our lives any better? Dying for a cause doesn’t do a bloodydamn thing. It just robbed us of his laughter.” I feel the tears burning my eyes. “It just stole away a father and a husband. So what if life isn’t fair? If we have family, that is all that should matter.” She licks her lips and takes her time in replying. “Death isn’t empty like you say it is. Emptiness is life without freedom, Darrow. Emptiness is living enchained by fear, fear of loss, of death. I say we break those chains. Break the chains of fear and you break the chains that bind us to the Golds, to the Society. Could you imagine it? Mars could be ours. It could belong to the colonists who slaved here, died here.” Her face is easier to see as night fades through the clear roof. It is alive, on fire. “If you led the others to freedom. The things you could do, Darrow. The things you could make happen.” She pauses and I see her eyes are glistening. “It chills me when I think of the things you could do. You have been given so, so much, but you set your sights so low.” “You repeat the same damn points,” I say bitterly. “You think a dream is worth dying for. I say it isn’t. You say it’s better to die on your feet. I say it’s better to live on our knees.” “You’re not even living!” she snaps. “We are machine men with machine minds, machine lives.…” “And machine hearts?” I ask. “That’s what I am?” “Darrow …” “What do you live for?” I ask her suddenly. “Is it for me? Is it for family and love? Or is it for some dream?” “It’s not just some dream, Darrow. I live for the dream that my children will be born free. That they will be what they like. That they will own the land their father gave them.” “I live for you,” I say sadly. She kisses my cheek. “Then you must live for more.” There’s a long, terrible silence that stretches between us. She does not understand how her words wrench my heart, how she can twist me so easily. Because she does not love me like I love her. Her mind is too high. Mine too low. Am I not enough for her?
Pierce Brown (Red Rising (Red Rising Saga, #1))
Rider scooped Willow into his arms and carried her outside to the nearest tree, Miriam right behind him. Awkwardly shifting his burden, he sat in the shade and settled Willow in his lap. "Mrs. Brigham, could you lend me a hand?" he asked anxiously. "I think we should loosen her clothing or something." Rider propped Willow's limp form over one arm, giving Miriam access to the back of the girl's dress. As the corset came into view, he snorted in disgust. "Unlace that contraption, too. No wonder she fainted; she can't breathe." Miriam looked aghast. "Oh, but I can't do that! It wouldn't be decent." "She's wearing something under it, isn't she?" "Well, yes, but--" "Good God, I'll do it myself!" His free hand produced a small knife from his pants pocket. The blade flashed and before Miriam could stop him, the corset ribbons were severed. Immediately, Willow inhaled deeply. Rider shifted her back into the bend of his arm and gently patted her cheeks. "Come on, little girl, open those big blue eyes." Inhaling another deep breath, Willow gradually came around. She blinked at the leafy roof overhead, then focused a confused gaze on Rider's smiling face. "What happened? How did I get out here?" Glancing around, she impatiently brushed a few errant strands of hair from her eyes. "Oh, my dear, you fainted," Miriam fussed. "Fainted! I've never fainted in my life. I'm not the fainting kind." "Maybe not under normal circumstances," Rider contradicted, "but you did faint. And it's little wonder, trussed up in that ridiculous corset. Wearing that thing in this heat is insane!" "Really, Mr. Sinclair." Miriam scowled. "I hardly think this is an appropriate subject in mixed company." "I'm sorry, Mrs. Brigham, but it's the truth." "I don't care what either one of you says," Willow broke in. "I did not faint." Rider grimaced in disgust. "Just dozed off again, huh?
Charlotte McPherren (Song of the Willow)
Everyone tensed as he leaned in, head dipping, and kissed her. Nesta's lips were chips of ice. But he let their coldness sting his own, and brushed his mouth against hers. Nipped at her bottom lip until he felt it drop a fraction. He slid his tongue into that opening, and found the inside of her mouth, usually so soft and warm, crusted with hoarfrost. Nesta didn't kiss him back, but didn't shove him away. So Cassian sent his heat into it, fusing their mouths together, his free hand bracing her hip as his Siphons nipped at her hand once more. Her mouth opened wider, and he slid his tongue over every inch- over her frozen teeth, over the roof of her mouth. Warming, softening, freeing. Her tongue lifted to meet his in a single stroke that cracked the ice in her mouth. He slanted his mouth over hers, tugging her against his chest, and tasted her as he'd wanted to taste her the other night, deep and thorough and claiming. Her tongue again brushed against his, and then her body was warming, and Cassian pulled back enough to say against her lips, 'Let go, Nesta.' He drove his mouth into hers again, daring her to unleash that cold fire upon him. Something thunked and clinked beside them. And when Nesta's other hand gripped her shoulder, fingers now free of stones and bones, when she arched her neck, granting him better, deeper access, he nearly shuddered with relief. She broke the kiss first, as if sliding into her body and remembering who kissed her, where they were, who watched. Cassian opened his eyes to find her so close that they shared breath. Normal, unclouded breath. Her eyes had returned to the blue-grey he knew so well. Stunned surprise and a little fear lit her face. As if she'd never seen him before. 'Interesting,' Amren observed, and he found the female studying the map. Feyre gaped, though, Rhys's hand gripped tight in her own. Caution blazed on Rhys's face. On Azriel's, too. What the hell did you do to pull her out of that? Rhys asked. Cassian didn't really know. The only thing I could think of. You warmed the entire room. I didn't mean to.
Sarah J. Maas (A ​Court of Silver Flames (A Court of Thorns and Roses, #4))
LXXII In sooth, it was no vulgar sight to see Their barbarous, yet their not indecent, glee, And as the flames along their faces gleam’d, Their gestures nimble, dark eyes flashing free, The long wild locks that to their girdles stream’d, While thus in concert they this lay half sang, half scream’d: Tambourgi! Tambourgi! thy ’larum afar Gives hope to the valiant, and promise of war; All the sons of the mountains arise at the note, Chimariot, Illyrian, and dark Suliote! Oh! who is more brave than a dark Suliote, To his snowy camese and his shaggy capote? To the wolf and the vulture he leaves his wild flock, And descends to the plain like the stream from the rock. Shall the sons of Chimari, who never forgive The fault of a friend, bid an enemy live? Let those guns so unerring such vengeance forego? What mark is so fair as the breast of a foe? Macedonia sends forth her invincible race; For a time they abandon the cave and the chase: But those scarves of blood-red shall be redder, before The sabre is sheathed and the battle is o’er. Then the pirates of Parga that dwell by the waves, And teach the pale Franks what it is to be slaves, Shall leave on the beach the long galley and oar, And track to his covert the captive on shore. I ask not the pleasure that riches supply, My sabre shall win what the feeble must buy; Shall win the young bride with her long flowing hair, And many a maid from her mother shall tear. I love the fair face of the maid in her youth, Her caresses shall lull me, her music shall soothe; Let her bring from her chamber the many-toned lyre, And sing us a song on the fall of her sire. Remember the moment when Previsa fell, The shrieks of the conquer’d, the conquerors’ yell; The roofs that we fired, and the plunder we shared, The wealthy we slaughter’d, the lovely we spared. I talk not of mercy, I talk not of fear; He neither must know who would serve the Vizier: Since the days of our prophet, the Crescent ne’er saw A chief ever glorious like Ali Pasha. Dark Muchtar his son to the Danube is sped, Let the yellow-haired Giaours view his horsetail with dread; When his Delhis come dashing in blood o’er the banks, How few shall escape from the Muscovite ranks! Selictar, unsheath then our chief’s scimitar: Tambourgi! thy ’larum gives promise of war; Ye mountains, that see us descend to the shore, Shall view us as victors, or view us no more!
Lord Byron (Childe Harold's Pilgrimage)
At the Fishhouses Although it is a cold evening, down by one of the fishhouses an old man sits netting, his net, in the gloaming almost invisible, a dark purple-brown, and his shuttle worn and polished. The air smells so strong of codfish it makes one's nose run and one's eyes water. The five fishhouses have steeply peaked roofs and narrow, cleated gangplanks slant up to storerooms in the gables for the wheelbarrows to be pushed up and down on. All is silver: the heavy surface of the sea, swelling slowly as if considering spilling over, is opaque, but the silver of the benches, the lobster pots, and masts, scattered among the wild jagged rocks, is of an apparent translucence like the small old buildings with an emerald moss growing on their shoreward walls. The big fish tubs are completely lined with layers of beautiful herring scales and the wheelbarrows are similarly plastered with creamy iridescent coats of mail, with small iridescent flies crawling on them. Up on the little slope behind the houses, set in the sparse bright sprinkle of grass, is an ancient wooden capstan, cracked, with two long bleached handles and some melancholy stains, like dried blood, where the ironwork has rusted. The old man accepts a Lucky Strike. He was a friend of my grandfather. We talk of the decline in the population and of codfish and herring while he waits for a herring boat to come in. There are sequins on his vest and on his thumb. He has scraped the scales, the principal beauty, from unnumbered fish with that black old knife, the blade of which is almost worn away. Down at the water's edge, at the place where they haul up the boats, up the long ramp descending into the water, thin silver tree trunks are laid horizontally across the gray stones, down and down at intervals of four or five feet. Cold dark deep and absolutely clear, element bearable to no mortal, to fish and to seals . . . One seal particularly I have seen here evening after evening. He was curious about me. He was interested in music; like me a believer in total immersion, so I used to sing him Baptist hymns. I also sang "A Mighty Fortress Is Our God." He stood up in the water and regarded me steadily, moving his head a little. Then he would disappear, then suddenly emerge almost in the same spot, with a sort of shrug as if it were against his better judgment. Cold dark deep and absolutely clear, the clear gray icy water . . . Back, behind us, the dignified tall firs begin. Bluish, associating with their shadows, a million Christmas trees stand waiting for Christmas. The water seems suspended above the rounded gray and blue-gray stones. I have seen it over and over, the same sea, the same, slightly, indifferently swinging above the stones, icily free above the stones, above the stones and then the world. If you should dip your hand in, your wrist would ache immediately, your bones would begin to ache and your hand would burn as if the water were a transmutation of fire that feeds on stones and burns with a dark gray flame. If you tasted it, it would first taste bitter, then briny, then surely burn your tongue. It is like what we imagine knowledge to be: dark, salt, clear, moving, utterly free, drawn from the cold hard mouth of the world, derived from the rocky breasts forever, flowing and drawn, and since our knowledge is historical, flowing, and flown.
Elizabeth Bishop
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palate is a wall or septum that separates the oral cavity from the nasal cavity, forming the roof of the mouth. This important structure makes it possible to chew and breathe at the same time. The hard palate—the anterior portion of the roof of the mouth—is formed by the maxillae and palatine bones and is covered by a mucous membrane; it forms a bony partition between the oral and nasal cavities. The soft palate, which forms the posterior portion of the roof of the mouth, is an arch-shaped muscular partition between the oropharynx and nasopharynx that is lined with mucous membrane. Hanging from the free border of the soft palate is a conical ¯ muscular process called the uvula ( U-vu¯ -la � little grape). During swallowing, the soft palate and uvula are drawn superiorly, closing off the nasopharynx and preventing swallowed • C L I N I C A L C O N N E C T I O N Per i toni t is A common cause of peritonitis, an acute inflammation of the peritoneum, is contamination of the peritoneum by infectious microbes, which can result from accidental or surgical wounds in the abdominal wall, or from perforation or rupture of abdominal organs.If, for example, bacteria gain access to the peritoneal cavity through an intestinal perforation or rupture of the appendix, they can produce an acute, life-threatening form of peritonitis. A less serious (but still painful) form of peritonitis can result from the rubbing together of inflamed peritoneal surfaces. Peritonitis is of particularly grave concern to those who rely on peritoneal dialysis, a procedure in which the peritoneum is used to filter the blood when the kidneys do not function properly (see page 1048). •
The flower display continued through the town. Window boxes adorned the shop fronts, hanging baskets hung from patent black lampposts, trees grew tall in the main street. Each building was painted a different refreshing color and the main street, the only street, was a rainbow of mint greens, salmon pinks, lilacs, lemons, and blues. The pavements were litter free and gleaming as soon as you averted your gaze above the gray slate roofs you found yourself surrounded by majestic green mountains.
Cecelia Ahern (If You Could See Me Now)
But in having power, or the illusion of power, i was blessed with the knowledge of it. I saw the view from the top. In capitalism, the normal people think the special people are free because they can control people, and the special think the normals are free because there's no pressure. What I learned is that too far over the top edge is madness or evil: Max swimming toward his death, Parker jumping off the roof, Lucky Mike raping a little girl. But too far over the bottom edge is destitution and isolation: the man with the elephant trunk for a forehead, the breastfeeding women crying "help me" from the doorways in Phnom Penh, Rocky Balboa cut in half by a power-mad tourist. The two poles are related. The calamities I saw were not separate from the freedom of the special people, they were the result of their freedom. Lucky Mike's ultimate freedom depended on the ultimate slavery of another. Those at the top are not free either, because their freedom is tied inexorably to the sacrifice of those at the bottom.
Six heads erupted from the water with fangs flashing and mouths roaring. On the neck of one of them was Asherah, riding it like a steed. She pointed down at the approaching form of Mikael. The monster focused on the angel as a target. The sound of gurgling from deep within its bowels warned Mikael. He had been caught by this attack before, at the beach of Mount Sapan. He was not going to let it happen again. He dove behind a huge boulder as a stream of fire poured out from the dragon head and blackened the entire area of stone. Another head reached down and Dagon leapt onto it, pulled away before Uriel and Gabriel could reach him. Ba’alzebul and Molech dashed headlong at the seven heads. Ba’alzebul’s muscular form launched an amazing thirty feet to catch one of the gaping jaws as it swung past the rocks of the beach. Molech was not so glorious. He could only make a good twenty feet. It was not enough to reach his target. He landed in the water in a belly flop. Uriel and Gabriel could not help but look at each other, smirking. One of the dragon heads reached down and picked Molech out of the water with its teeth and placed him on the back of another neck. The head that Ba’alzebul had caught had a sword stuck in the roof of its mouth, the hilt sticking out of its head. It was Gabriel’s sword, from their confrontation at Sapan generations earlier. Ba’alzebul pulled it from the creature’s mouth and swung around to mount its neck. He raised the sword high in victory, as all seven heads plunged back into the deep, carrying its four riders away from the grasp of the angels. Mikael stepped down to the shoreline to stand by Uriel and Gabriel as Raphael and Raguel helped the trapped angels get free from the rocks. They looked out onto the frothing, swirling waters left behind by the exit of the gargantuan and its riders. There was no way the archangels could ever chase that chaos monster. “You have to hand it to that Asherah,” said Uriel. “She is one goddess with chutzpah, taking her chances with enchanting Leviathan.” Gabriel added, “And I thought Ashtart was gutsy.” “Ashtart cut your gut in half back at Mount Hermon,” said Uriel wryly. “If I had not found your legs in the waters of the Abyss you would have been a paraplegic until the Resurrection.
Brian Godawa (David Ascendant (Chronicles of the Nephilim, #7))
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it's true an' that's jus' what she is,—the Angel of this Tenement, an', as Norma says, you're free to come over and play with her, though there ain't many of you I'd say it to;" and with that the tall, gaunt Mary bearing the baby, followed Norma into the house and up the narrow, broken stairs, and along the dark halls past door after door closed upon its story of squalor and poverty, until, at last, panting with the child's weight, she reached their own abode under the roof.
George Madden Martin (The Angel of the Tenement)
Example: You’ll get a good roof which results in a worry-free home.
Donald Miller (Marketing Made Simple: A Step-by-Step StoryBrand Guide for Any Business (Made Simple Series))
Atop the coop is a “green roof” covered with selected plants like sedums and hens and chicks (Sempervivum tectorum), and a nearby bog garden has carnivorous plants that eat any flies coming from the coop area.
Jessi Bloom (Free-Range Chicken Gardens: How to Create a Beautiful, Chicken-Friendly Yard)
With six hellhounds beneath me, I consider several things at once: First, that my leg is stuck through the bars and it's within their reach. Second, that it's unfortuante they're named after the hounds, because it's really souring me on the idea of ever getting a dog. And third, the same as the first: My. Leg. Is. Stuck. I tug with all my might and it pops free just as the nearest hellhound leaps. The hound smashes against the roof of the cage, jaws closing around one of the bars. "Bad doggy!" I shout.
Kiersten White (Slayer (Slayer, #1))
Sally Jackson and son Percy are still missing one week after their mysterious disappearance. The family’s badly burned ’78 Camaro was discovered last Saturday on a north Long Island road with the roof ripped off and the front axle broken. The car had flipped and skidded for several hundred feet before exploding. Mother and son had gone for a weekend vacation to Montauk, but left hastily, under mysterious circumstances. Small traces of blood were found in the car and near the scene of the wreck, but there were no other signs of the missing Jacksons. Residents in the rural area reported seeing nothing unusual around the time of the accident. Ms. Jackson’s husband, Gabe Ugliano, claims that his stepson, Percy Jackson, is a troubled child who has been kicked out of numerous boarding schools and has expressed violent tendencies in the past. Police would not say whether son Percy is a suspect in his mother’s disappearance, but they have not ruled out foul play. Below are recent pictures of Sally Jackson and Percy. Police urge anyone with information to call the following toll-free crime-stoppers hotline.
Rick Riordan (The Lightning Thief (Percy Jackson and the Olympians, #1))
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So the Chapter of Perfection, under the leadership of Johannes Kelpius, both a Rosicrucian magus and a magister of the University of Altdorf, set out for Pennsylvania to prepare for the coming of the Lord and to seek that state of personal perfection that was free of all sensuous temptations and beyond all rational understanding. Quickly upon their arrival they built a log-walled monastery of perfect proportions: forty feet by forty feet. It had a common room for communal worship and also cells where the celibate brethren could search for personal perfection by contemplating their magic numbers and their esoteric symbols. In a primitive laboratory they conducted alchemical and pharmaceutical experiments aimed at eliminating disease and prolonging life indefinitely. And on the roof they placed a telescope, which they manned from dusk till dawn, so that in case the Bridegroom came in the middle of the night they would be prepared to receive him.
Bernard Bailyn (Sometimes an Art: Nine Essays on History)
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[ELLA] Oh! You know what Wes? [WESLEY] What? [ELLA] That story your father used to tell about that eagle. You remember the whole thing? [WESLEY] Yeah. [ELLA] I remember he keeps coming back and swooping down on the shed roof and then flying off again. What else? [WESLEY] I don't know. [ELLA] You remember. What happens next? [WESLEY] A cat comes. [ELLA] That's right. A big tomcat comes. He jumps up on top of that roof to sniff around in all the entails or whatever it was. [WESLEY] And that eagle comes down and picks up that cat in his talons and carries him screaming off into the sky. [ELLA] And they fight. They fight like crazy in the middle of the sky. The cat's tearing his chest out, and the eagle's trying to drop him, but the cat won't let go because he knows if he falls he'll die. [WESLEY] And the eagle's being torn apart in midair. The eagle's trying to free himself from the cat, and the cat won't let go. [ELLA] And they come crashing down to earth. Both of them come crashing down. Like one whole thing.
Sam Shepard (Curse of the Starving Class)
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Raymond Fong (Growth Hacking: Silicon Valley's Best Kept Secret)
What use have I for gold? The earth is my floor, the heavens my roof. The Merry Men my company. What more do I need what gold would buy?
Jenny Elder Moke (Hood)
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Flat Roofers Barrow in Furness
By early summer the flats were almost completed, and I knew I would soon be out of a job. There was no prospect of another, but I wasn’t worried; I never felt so beefily strong in my life. I remember standing one morning on the windy roof-top, and looking round at the racing sky, and suddenly realizing that once the job was finished I could go anywhere I liked in the world. There was nothing to stop me, I would be penniless, free, and could just pack up and walk away. I was a young man whose time coincided with the last years of peace, and so was perhaps luckier than any generation since. Europe at least was wide open, a place of casual frontiers, few questions and almost no travellers.
Laurie Lee (As I Walked Out One Midsummer Morning)