Sister Expired Quotes

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But first, on earth as vampire sent, Thy corse shall from its tomb be rent, Then ghastly haunt thy native place, And suck the blood of all thy race. There from thy daughter, sister, wife, At midnight drain the stream of life, Yet loathe the banquet which perforce Must feed thy livid living corse. Thy victims ere they yet expire Shall know the demon for their sire, As cursing thee, thou cursing them, Thy flowers are withered on the stem.
Lord Byron
Was Trakl a Christian? Yes, of course, at times he becomes a Christian, among a general confusion of becomings—becoming an animal, becoming a virus, becoming inorganic—just as he was also an antichrist, a poet, a pharmacist, an alcoholic, a drug addict, a psychotic, a leper, a suicide, an incestuous cannibal, a necrophiliac, a rodent, a vampire, and a werewolf. Just as he became his sister, and also a hermaphrodite. Trakl's texts are scrawled over by redemptionist monotheism, just as they are stained by narcotic fluidities, gnawed by rats, cratered by Russian artillery, charred and pitted by astronomical debris. Trakl was a Christian and an atheist and also a Satanist, when he wasn't simply undead, or in some other way inhuman. It is perhaps more precise to say that Trakl never existed, except as a battlefield, a reservoir of disease, the graveyard of a deconsecrated church, as something expiring from a massive cocaine overdose on the floor of a military hospital, cheated by lucidity by the searing onslaught of base difference.
Nick Land (Fanged Noumena: Collected Writings, 1987–2007)
just want him to treat my sister right because if he doesn't, I have an ass whippin’ that I've put on reserve just for him, and it ain't never gonna expire.
S.K. Hardy (No Secrets No Lies (Sin City Heat, #3))
He found himself thinking about a guy named Johnnie Larch he’d shared a cell with when he’d first been put inside, who told Shadow how he’d once got out after five years behind bars, with $100 and a ticket to Seattle, where his sister lived. Johnnie Larch had got to the airport, and he handed his ticket to the woman on the counter, and she asked to see his driver’s license. He showed it to her. It had expired a couple of years earlier. She told him it was not valid as ID. He told her it might not be valid as a driver’s license, but it sure as hell was fine identification, and it had a photo of him on it, and his height and his weight, and damn it, who else did she think he was, if he wasn’t him?
Neil Gaiman (American Gods)
Everything and Nothing* There was no one inside him; behind his face (which even in the bad paintings of the time resembles no other) and his words (which were multitudinous, and of a fantastical and agitated turn) there was no more than a slight chill, a dream someone had failed to dream. At first he thought that everyone was like him, but the surprise and bewilderment of an acquaintance to whom he began to describe that hollowness showed him his error, and also let him know, forever after, that an individual ought not to differ from its species. He thought at one point that books might hold some remedy for his condition, and so he learned the "little Latin and less Greek" that a contemporary would later mention. Then he reflected that what he was looking for might be found in the performance of an elemental ritual of humanity, and so he allowed himself to be initiated by Anne Hathaway one long evening in June. At twenty-something he went off to London. Instinctively, he had already trained himself to the habit of feigning that he was somebody, so that his "nobodiness" might not be discovered. In London he found the calling he had been predestined to; he became an actor, that person who stands upon a stage and plays at being another person, for an audience of people who play at taking him for that person. The work of a thespian held out a remarkable happiness to him—the first, perhaps, he had ever known; but when the last line was delivered and the last dead man applauded off the stage, the hated taste of unreality would assail him. He would cease being Ferrex or Tamerlane and return to being nobody. Haunted, hounded, he began imagining other heroes, other tragic fables. Thus while his body, in whorehouses and taverns around London, lived its life as body, the soul that lived inside it would be Cassar, who ignores the admonition of the sibyl, and Juliet, who hates the lark, and Macbeth, who speaks on the moor with the witches who are also the Fates, the Three Weird Sisters. No one was as many men as that man—that man whose repertoire, like that of the Egyptian Proteus, was all the appearances of being. From time to time he would leave a confession in one corner or another of the work, certain that it would not be deciphered; Richard says that inside himself, he plays the part of many, and Iago says, with curious words, I am not what I am. The fundamental identity of living, dreaming, and performing inspired him to famous passages. For twenty years he inhabited that guided and directed hallucination, but one morning he was overwhelmed with the surfeit and horror of being so many kings that die by the sword and so many unrequited lovers who come together, separate, and melodiously expire. That very day, he decided to sell his theater. Within a week he had returned to his birthplace, where he recovered the trees and the river of his childhood and did not associate them with those others, fabled with mythological allusion and Latin words, that his muse had celebrated. He had to be somebody; he became a retired businessman who'd made a fortune and had an interest in loans, lawsuits, and petty usury. It was in that role that he dictated the arid last will and testament that we know today, from which he deliberately banished every trace of sentiment or literature. Friends from London would visit his re-treat, and he would once again play the role of poet for them. History adds that before or after he died, he discovered himself standing before God, and said to Him: I , who have been so many men in vain, wish to be one, to be myself. God's voice answered him out of a whirlwind: I, too, am not I; I dreamed the world as you, Shakespeare, dreamed your own work, and among the forms of my dream are you, who like me, are many, yet no one.
Jorge Luis Borges
The guns on both sides were silent until they returned. Suddenly, a fierce cannonade from the British ships exploded onto the beach at Turtle Gut Inlet, but only one American was hit, “Shott through the arm and body.” It was Richard Wickes. A cannonball took his arm and half his chest away. Fresh from the Reprisal, Lambert Wickes arrived on the beach at the head of his reinforcements just as his younger brother died: “I arrived just at the Close of the Action Time enough to see him expire . . . Captn Barry . . . says a braver Man never existed.”123 Taking Richard Wickes's body, the American sailors left the spit of sand they fought over that morning. The powder was stowed in the Wasp's hold and sent up the Delaware. “At 2 weighed and made Sail,” Hudson briefly noted in his journal.124 The British returned to Cape Henlopen. As before, Barry had taken long odds, assessed the best plan that could succeed, and beaten the British. The Nancy was destroyed, but the Wasp would reach Philadelphia safely with the desperately needed gunpowder. Despite superior firepower, the “butcher's bill” was far heavier for the British. But the victory brought no cheers or satisfaction among the Americans, and Barry was particularly saddened by the death of the gallant young Wickes.125 The next morning—Sunday, June 30—the men of the Lexington and Reprisal gathered to mourn their shipmate at the log meetinghouse in the small village of Cold Spring, just north of Cape May. Under the same light breezes of the day before, the American sailors, with “bowed and uncovered heads,” filed inside and sat on the long, rough-cut wooden pews. After “The Clergyman preached a very deacent Sermon,” Lambert Wickes and the Reprisal's officers silently hoisted the coffin. Shuffling under its weight, they carried it outside to the little cemetery, and laid their comrade to rest.126 Lambert Wickes now faced the task of informing his family in Maryland of Richard's death. On July 2, in a sad but disjointed letter to his brother Samuel, he mentioned Richard's death among a list of the items—including the sugar and “one Bagg Coffee” that accompanied the letter. “You'll disclose this Secret with as much Caution as possible to our Sisters,” he pleaded. He quoted Barry's report that Richard “fought like a brave Man & was fore most in every transaction of that day,” dying for the cause of the “united Colonies.”127 By the time Lambert's package reached his family in Maryland, the “united Colonies” ceased to exist as well. The same day Wickes posted his letter, Congress approved the Declaration of Independence. Barry, Wickes, and the rest of the Continental Navy were now fighting for the survival of a new country: the United States of America.
Tim McGrath (John Barry: An American Hero in the Age of Sail)
I’ve felt how you feel,” he said simply. “As if another had all I needed and lacked, and he didn’t even appreciate what he had.” “You?” She expostulated in disbelief but walked more slowly and made no objection to his hand lightly touching her back. “What could you possibly want for? You’re the firstborn of a duke, titled, wealthy; you’ve survived battles, and you can charm little girls. How could you long for more than that?” “My brother will succeed Moreland, if the duke ever condescends to expire. This harum-scarum earldom is a sop thrown to my younger brother’s conscience, and his wife’s, I suppose. He and my father had considerable influence with the Regent, and Westhaven’s wife may well be carrying the Moreland heir. Anna made the suggestion to see Rosecroft passed along to me, and Westhaven would not rest until that plan had been fulfilled.” “How can that be?” Emmie watched their moon shadows float along the ground as they walked. “A duke cannot choose which of his offspring inherits his title.” “He cannot. According to the Moreland letters patent, it goes to the oldest legitimate son surviving at the time of the duke’s death.” “Well, you aren’t going to die soon, are you?” She glanced over at his obviously robust frame, puzzled and concerned for some reason to think of him expiring of a pernicious illness. “No, Miss Farnum, the impediment is not death, but rather the circumstances of my birth.” There was a slight, half-beat pause in the darkness, a hitch in her gait he would not have seen. “Oh.” “Oh, indeed. I have a sister similarly situated, though Maggie and I do not share even the same mother. The duke was a busy fellow in his youth.” “Busy and selfish. What is it with men that they must strut and carry on, heedless of the consequences to any save themselves?” “What is it with women,” he replied, humor lacing his tone, “that they must indulge our selfish impulses without regard to the consequences even to themselves?” “Point taken.
Grace Burrowes (The Soldier (Duke's Obsession, #2; Windham, #2))
She had much to think over just now, so that to be deprived of a separate bedroom was a real hardship. The reason she had had to vacate her own was the unfortunate coincidence of Harriet’s arrival with that of Alice’s married sister and her husband. Elizabeth Hoppner had married an impecunious young artist of twenty-two, four years younger than herself; they had been living with Patrick’s brother Lewis in a small villa at Streatham; but, the lease having now expired, circumstances combined to make them feel that living in the country would be in every way better
Elizabeth Jenkins (Harriet)
And now you come here to tell me all the ways we let you down? No, I’m sorry, darling. You’re too old to be blaming your parents for your problems. That get-out-of-jail-free card has expired.
Coco Mellors (Blue Sisters)