Shiny Broken Pieces Quotes

We've searched our database for all the quotes and captions related to Shiny Broken Pieces. Here they are! All 12 of them:

Sunday had spread all over the city. It looked as if the sun had smacked into the earth and broken into pieces and chunks of wet light were scattered everywhere -- in the streets, on the window panes, on puddles and roofs. I remembered a day long ago when Grandmother had cleaned a big fish. Her forearms were splattered with shiny scales. It was as if she had Sunday in her whole body. When my father got angry, he had Tuesday.
Ismail Kadare (Chronicle in Stone)
Don't you know by now? You're not meant to fit in. You're one of a kind.
Sona Charaipotra (Shiny Broken Pieces (Tiny Pretty Things, #2))
So it was that the Red Tower put into production its new, more terrible and perplexing, line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stages of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight and insistently grew back should one attempt to clip them. Numerous natural objects, mostly bulbous gourds, were designed to produce a long, deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough, igneous forms were sent a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in a gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling 'hands' were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of a kind which might pass through a fever-stricken or even permanently damaged brain.
Thomas Ligotti (Teatro Grottesco)
They are looking for the smooth remains of bottles, shiny coins of broken glass worn smooth by the sea. This is what happens when things break. The pieces separate, scatter. They are battered by the elements, buffed and polished smooth, then deposited on far-off beaches. All your hopes and dreams.
Noah Hawley
So it was that the Red Tower put into production its terrible and perplexing line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stage of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight, every night like clockwork. Numerous natural objects, mostly bulbous gourds, were designed to produce a long deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough igneous forms were set a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling "hands" were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of the kind which might pass through a fever-stricken or even permanently damaged brain.
Thomas Ligotti (The Nightmare Factory)
His eyes dragged over her. “Arin, your slave looks positively wild.” Lack of sleep made her thoughts broken and shiny, like pieces of mirrors on strings. Cheat’s words spun in her head. Arin tensed beside her. “No offense,” Cheat told him. “It was a compliment to your taste.” “What do you want, Cheat?” Arin said. The man stroked a thumb over his lower lip. “Wine.” He looked straight at Kestrel. “Get some.” The order itself wasn’t important. It was how Cheat had meant it: as the first of many, and how, in the end, they translated into one word: obey. The only thing that kept Kestrel’s face clean of her thoughts was the knowledge that Cheat would take pleasure in any resistance. Yet she couldn’t make herself move. “I’ll get the wine,” Arin said. “No,” Kestrel said. She didn’t want to be left alone with Cheat. “I’ll go.” For an uncertain moment, Arin stood awkwardly. Then he walked to the door and motioned a Herrani girl into the room. “Please escort Kestrel to the wine cellar, then bring her back here.” “Choose a good vintage,” Cheat said to Kestrel. “You’ll know the best.” As she left the room, his eyes followed her, glittering. She returned with a clearly labeled bottle of Valorian wine dated to the year of the Herran War. She placed it on the table in front of the two seated men. Arin’s jaw set, and he shook his head slightly. Cheat lost his grin. “This was the best,” Kestrel said.
Marie Rutkoski (The Winner's Curse (The Winner's Trilogy, #1))
Cheat wore a Valorian jacket Kestrel was sure she had seen on the governor the night before. He sat at the right hand of the empty head of the dining table, but stood when Kestrel and Arin entered. He approached. His eyes dragged over her. “Arin, your slave looks positively wild.” Lack of sleep made her thoughts broken and shiny, like pieces of mirrors on strings. Cheat’s words spun in her head. Arin tensed beside her. “No offense,” Cheat told him. “It was a compliment to your taste.” “What do you want, Cheat?” Arin said. The man stroked a thumb over his lower lip. “Wine.” He looked straight at Kestrel. “Get some.” The order itself wasn’t important. It was how Cheat had meant it: as the first of many, and how, in the end, they translated into one word: obey. The only thing that kept Kestrel’s face clean of her thoughts was the knowledge that Cheat would take pleasure in any resistance. Yet she couldn’t make herself move. “I’ll get the wine,” Arin said. “No,” Kestrel said. She didn’t want to be left alone with Cheat. “I’ll go.” For an uncertain moment, Arin stood awkwardly. Then he walked to the door and motioned a Herrani girl into the room. “Please escort Kestrel to the wine cellar, then bring her back here.” “Choose a good vintage,” Cheat said to Kestrel. “You’ll know the best.” As she left the room, his eyes followed her, glittering. She returned with a clearly labeled bottle of Valorian wine dated to the year of the Herran War. She placed it on the table in front of the two seated men. Arin’s jaw set, and he shook his head slightly. Cheat lost his grin. “This was the best,” Kestrel said. “Pour.” Cheat shoved his glass toward her. She uncorked the bottle and poured--and kept pouring, even as the red wine flowed over the glass’s rim, across the table, and onto Cheat’s lap. He jumped to his feet, swatting wine from his fine stolen clothes. “Damn you!” “You said I should pour. You didn’t say I should stop.” Kestrel wasn’t sure what would have happened next if Arin hadn’t intervened. “Cheat,” he said, “I’m going to have to ask you to stop playing games with what is mine.
Marie Rutkoski (The Winner's Curse (The Winner's Trilogy, #1))
I’m sure it is.
Sona Charaipotra (Shiny Broken Pieces (Tiny Pretty Things, #2))
Bitterness feeds on the host.
Sona Charaipotra (Shiny Broken Pieces (Tiny Pretty Things, #2))
As the elevator descends, tears wet my mask and become so furious that it can't catch them all. Not angry or bitter ones. Little girl tears. Sad tears. Unexpected tears.
Sona Charaipotra (Shiny Broken Pieces (Tiny Pretty Things, #2))
Oasis at Ground Zero Salvation Army representatives would certainly counsel you and pray with you if you wanted, and at Ground Zero the Salvationists in the shiny red “Chaplain” jackets were sought after for just that reason. Mainly, though, they were there to assist with more basic human needs: to wash out eyes stinging from smoke, and provide Blistex for parched lips and foot inserts for boots walking across hot metal. They operated hydration stations and snack canteens. They offered a place to rest, and freshly cooked chicken courtesy of Tyson’s. The day I arrived, they distributed 1500 phone cards for the workers to use in calling home. Every day they served 7500 meals. They offered an oasis of compassion in a wilderness of rubble. I had studied the maps in newspapers, but no two-dimensional representation could capture the scale of destruction. For about eight square blocks, buildings were deserted, their windows broken, jagged pieces of steel jutting out from floors high above the street. Thousands of offices equipped with faxes, phones, and computers, sat vacant, coated in debris. On September 11, people were sitting there punching keys, making phone calls, grabbing a cup of coffee to start the day, and suddenly it must have seemed like the world was coming to an end. I studied the faces of the workers, uniformly grim. I didn’t see a single smile at Ground Zero. How could you smile in such a place? It had nothing to offer but death and destruction, a monument to the worst that human beings can do to each other. I saw three booths set up in a vacant building across from the WTC site: Police Officers for Christ, Firemen for Christ, and Sanitation Workers for Christ. (That last one is a charity I’d like to support.) Salvation Army chaplains had told me that the police and fire had asked for two prayer services a day, conducted on the site. The Red Cross, a nonsectarian organization, had asked if the Salvationists would mind staffing it. “Are you kidding? That’s what we’re here for!” Finding God in Unexpected Places
Philip Yancey (Grace Notes: Daily Readings with Philip Yancey)
While we haunt ourselves, we become part of others. With all our broken pieces, we are gathered in mosaics— reflecting every careless smile, echoing every careless word. We become them eventually, in the way we live and survive each night. Ghosts, bohemian wallpapers, and shiny crystal whiskey glasses, used by them—hauntingly beautiful, collected, and far behind. And after all this, nothing of ourselves remains.
Laura Chouette