Sleepy Cat Quotes

We've searched our database for all the quotes and captions related to Sleepy Cat. Here they are! All 39 of them:

Nozy Cat lifted one sleepy eyelid, and his marble blue eye glared at her for interrupting his sacred nap. He wore a yellow collar with little red stars printed on it. His second eyelid also opened, and he gave them his irritated blue-eyed glare.
Lyn Key (Nozy Cat 1 (Hope Jones Cozy Mystery #1))
Arise from sleep, old cat, And with great yawns and stretchings... Amble out for love
Kobayashi Issa (Japanese Haiku (Japanese Haiku Series I))
She rubbed her cheek on his chest like a sleepy cat. “I like when you hold me.” Dios, she was going to break his heart. “I like when I hold you too.
Cherise Sinclair (To Command and Collar (Masters of the Shadowlands, #6))
When the girl returned, some hours later, she carried a tray, with a cup of fragrant tea steaming on it; and a plate piled up with very hot buttered toast, cut thick, very brown on both sides, with the butter running through the holes in great golden drops, like honey from the honeycomb. The smell of that buttered toast simply talked to Toad, and with no uncertain voice; talked of warm kitchens, of breakfasts on bright frosty mornings, of cosy parlour firesides on winter evenings, when one's ramble was over and slippered feet were propped on the fender, of the purring of contented cats, and the twitter of sleepy canaries.
Kenneth Grahame (The Wind in the Willows)
But still, sometimes, in the heart of winter when the light outside seemed yellow- sleepy, like a cat curled up on a sofa...
Stephen King (It)
The smell of that buttered toast simply spoke to Toad, and with no uncertain voice; talked of warm kitchens, of breakfasts on bright frosty mornings, of cozy parlour firesides on winter evenings, when one's ramble was over and slippered feet were propped on the fender; of the purring of contented cats, and the twitter of sleepy canaries.
Kenneth Grahame (The Wind in the Willows)
I have at this moment so many fundamental thoughts, so many truly metaphysical things to say, that I suddenly get tired and decide not to write any more, not to think any more, but to allow the fever of speaking to make me sleepy, and with my eyes closed, like a cat, I play with everything I could have said.
Fernando Pessoa (The Book of Disquiet)
A garden without cats, it will be generally agreed, can scarcely deserve to be called a garden at all...much of the magic of the heather beds would vanish if, as we bent over them, there was no chance that we might hear a faint rustle among the blossoms, and find ourselves staring into a pair of sleepy green eyes.
Beverley Nichols (Garden Open Tomorrow)
And here Alice began to get rather sleepy, and went on saying to herself, in a dreamy sort of way, 'Do cats eat bats? Do cats eat bats?' and sometimes, 'Do bats eat cats?' for, you see, as she couldn't answer either question, it didn't much matter which way she put it.
Lewis Carroll (Alice’s Adventures in Wonderland / Through the Looking-Glass)
It was a day to be inside somewhere, cosseted and loved; by a warm fireside with the clatter of friendly cups and saucers, a sleepy cat licking his paws, a cyclamen in a pot on a windowsill putting forth new buds.
Daphne du Maurier (The Parasites)
#41: SLEEP WHEN YOU’RE SLEEPY. CATS TAKE NAPS SO THEY’RE ALWAYS READY FOR ANYTHING.
Mark Frost (The Paladin Prophecy (The Paladin Prophecy, #1))
The rapid nightfall of mid-December had quite beset the little village as they approached it on soft feet over a first thin fall of powdery snow. Little was visible but squares of a dusky orange-red on either side of the street, where the firelight or lamplight of each cottage overflowed through the casements into the dark world without. Most of the low latticed windows were innocent of blinds, and to the lookers-in from outside, the inmates, gathered round the tea-table, absorbed in handiwork, or talking with laughter and gesture, had each that happy grace which is the last thing the skilled actor shall capture--the natural grace which goes with perfect unconsciousness of observation. Moving at will from one theatre to another, the two spectators, so far from home themselves, had something of wistfulness in their eyes as they watched a cat being stroked, a sleepy child picked up and huddled off to bed, or a tired man stretch and knock out his pipe on the end of a smouldering log.
Kenneth Grahame (The Wind in the Willows)
The white saucer like some full moon descends At last from the clouds of the table above; She sighs and dreams and thrills and glows, Transfigured with love. She nestles over the shining rim, Buries her chin in the creamy sea; Her tail hangs loose; each drowsy paw Is doubled under each bending knee. A long, dim ecstasy holds her life; Her world is an infinite shapeless white, Till her tongue has curled the last holy drop, Then she sinks back into the night, Draws and dips her body to heap Her sleepy nerves in the great arm-chair, Lies defeated and buried deep Three or four hours unconscious there.
Harold Monro (Collected poems;)
Our two chairs were drawn up to the fire; a stack of scholarly books beside his and the latest volume of The Casebook of Simon Feximal by mine. Our cat Saul curled on the couch; he opened one sleepy eye at our entrance, then closed it again. The
Jordan L. Hawk (Draakenwood (Whyborne & Griffin, #9))
Doc was collecting marine animals in the Great Tide Pool on the tip of the Peninsula. It is a fabulous place: when the tide is in, a wave-churned basin, creamy with foam, whipped by the combers that roll in from the whistling buoy on the reef. But when the tide goes out the little water world becomes quiet and lovely. The sea is very clear and the bottom becomes fantastic with hurrying, fighting, feeding, breeding animals. Crabs rush from frond to frond of the waving algae. Starfish squat over mussels and limpets, attach their million little suckers and then slowly lift with incredible power until the prey is broken from the rock. And then the starfish stomach comes out and envelops its food. Orange and speckled and fluted nudibranchs slide gracefully over the rocks, their skirts waving like the dresses of Spanish dancers. And black eels poke their heads out of crevices and wait for prey. The snapping shrimps with their trigger claws pop loudly. The lovely, colored world is glassed over. Hermit crabs like frantic children scamper on the bottom sand. And now one, finding an empty snail shell he likes better than his own, creeps out, exposing his soft body to the enemy for a moment, and then pops into the new shell. A wave breaks over the barrier, and churns the glassy water for a moment and mixes bubbles into the pool, and then it clears and is tranquil and lovely and murderous again. Here a crab tears a leg from his brother. The anemones expand like soft and brilliant flowers, inviting any tired and perplexed animal to lie for a moment in their arms, and when some small crab or little tide-pool Johnnie accepts the green and purple invitation, the petals whip in, the stinging cells shoot tiny narcotic needles into the prey and it grows weak and perhaps sleepy while the searing caustic digestive acids melt its body down. Then the creeping murderer, the octopus, steals out, slowly, softly, moving like a gray mist, pretending now to be a bit of weed, now a rock, now a lump of decaying meat while its evil goat eyes watch coldly. It oozes and flows toward a feeding crab, and as it comes close its yellow eyes burn and its body turns rosy with the pulsing color of anticipation and rage. Then suddenly it runs lightly on the tips of its arms, as ferociously as a charging cat. It leaps savagely on the crab, there is a puff of black fluid, and the struggling mass is obscured in the sepia cloud while the octopus murders the crab. On the exposed rocks out of water, the barnacles bubble behind their closed doors and the limpets dry out. And down to the rocks come the black flies to eat anything they can find. The sharp smell of iodine from the algae, and the lime smell of calcareous bodies and the smell of powerful protean, smell of sperm and ova fill the air. On the exposed rocks the starfish emit semen and eggs from between their rays. The smells of life and richness, of death and digestion, of decay and birth, burden the air. And salt spray blows in from the barrier where the ocean waits for its rising-tide strength to permit it back into the Great Tide Pool again. And on the reef the whistling buoy bellows like a sad and patient bull.
John Steinbeck (Cannery Row (Cannery Row, #1))
...and then pops into the new shell. A wave breaks over the barrier, and churns the glassy water for a moment and mixes bubbles into the pool, and then it clears and is tranquil and lovely and murderous again. Here a crab tears a leg from his brother. The anemones expand like soft and brilliant flowers, inviting any tired and perplexed animal to lie for a moment in their arms, and when some small crab or little tide-pool Johnnie accepts the green and purple invitation, the petals whip in, the stinging cells shoot tiny narcotic needles into the prey and it grows weak and perhaps sleepy while the searing caustic digestive acids melt its body down. Then the creeping murderer, the octopus, steals out, slowly, softly, moving like a gray mist, pretending now to be a bit of weed, now a rock, now a lump of decaying meat while its evil goat eyes watch coldly. It oozes and flows toward a feeding crab, and as it comes close its yellow eyes burn and its body turns rosy with the pulsing color of anticipation and rage. Then suddenly it runs lightly on the tips of its arms, as ferociously as a charging cat. It leaps savagely on the crab, there is a puff of black fluid, and the struggling mass is obscured in the sepia cloud while the octopus murders the crab. On the exposed rocks out of water, the barnacles
John Steinbeck (Cannery Row (Cannery Row, #1))
The smell of that buttered toast simply spoke to Toad, and with no uncertain voice; talked of warm kitchens, of breakfasts on bright frosty mornings, of cozy parlor firesides on winter evenings, when one's ramble was over and slippered feet were propped on the fender; of the purring of contented cats, and the twitter of sleepy canaries.
Kenneth Grahame (The Wind in the Willows)
But then: a pink nose tiny black paws and blinking sleepy eyes a small black fur ball not a BIG fat fur ball a kitten stumbling out of a basket and wobbling over to me and crawling up on my lap and licking my pajamas and I forgot that I hate cats as it crawled up onto my chest and purrrrrred and I was smiiiiiling all over the place.
Sharon Creech (Hate That Cat (Jack, #2))
Susan Baker and the Anne Shirley of other days saw her coming, as they sat on the big veranda at Ingleside, enjoying the charm of the cat's light, the sweetness of sleepy robins whistling among the twilit maples, and the dance of a gusty group of daffodils blowing against the old, mellow, red brick wall of the lawn. Anne was sitting on the steps, her hands clasped over her knee, looking, in the kind dusk, as girlish as a mother of many has any right to be; and the beautiful gray-green eyes, gazing down the harbour road, were as full of unquenchable sparkle and dream as ever. Behind her, in the hammock, Rilla Blythe was curled up, a fat, roly-poly little creature of six years, the youngest of the Ingleside children. She had curly red hair and hazel eyes that were now buttoned up after the funny, wrinkled fashion in which Rilla always
L.M. Montgomery (Rainbow Valley (Anne of Green Gables #7))
There was just enough room for the tonga to get through among the bullock-carts, rickshaws, cycles and pedestrians who thronged both the road and the pavement--which they shared with barbers plying their trade out of doors, fortune-tellers, flimsy tea-stalls, vegetable-stands, monkey-trainers, ear-cleaners, pickpockets, stray cattle, the odd sleepy policeman sauntering along in faded khaki, sweat-soaked men carrying impossible loads of copper, steel rods, glass or scrap paper on their backs as they yelled 'Look out! Look out!' in voices that somehow pierced though the din, shops of brassware and cloth (the owners attempting with shouts and gestures to entice uncertain shoppers in), the small carved stone entrance of the Tinny Tots (English Medium) School which opened out onto the courtyard of the reconverted haveli of a bankrupt aristocrat, and beggars--young and old, aggressive and meek, leprous, maimed or blinded--who would quietly invade Nabiganj as evening fell, attempting to avoid the police as they worked the queues in front of the cinema-halls. Crows cawed, small boys in rags rushed around on errands (one balancing six small dirty glasses of tea on a cheap tin tray as he weaved through the crowd) monkeys chattered in and bounded about a great shivering-leafed pipal tree and tried to raid unwary customers as they left the well-guarded fruit-stand, women shuffled along in anonymous burqas or bright saris, with or without their menfolk, a few students from the university lounging around a chaat-stand shouted at each other from a foot away either out of habit or in order to be heard, mangy dogs snapped and were kicked, skeletal cats mewed and were stoned, and flies settled everywhere: on heaps of foetid, rotting rubbish, on the uncovered sweets at the sweetseller's in whose huge curved pans of ghee sizzled delicioius jalebis, on the faces of the sari-clad but not the burqa-clad women, and on the horse's nostrils as he shook his blinkered head and tried to forge his way through Old Brahmpur in the direction of the Barsaat Mahal.
Vikram Seth (A Suitable Boy (A Bridge of Leaves, #1))
My darling was purring in her sleep, with the archaic smile on her lips, and she had the extra glow of comfort and solace she gets after love, a calm fulfilledness. I should have been sleepy after wandering around the night before, but I wasn't. I've noticed that I am rarely sleepy if I know I can sleep long in the morning. The red dots were swimming in my eyes, and the street light threw the shadows of naked elm branches on the ceiling, where they made slow and stately cats' cradles because the spring wind was blowing. The window was open halfway and the white curtains swelled and filled like sails on an anchored boat... I felt good and fulfilled, too, but whereas Mary dives for sleep, I didn't want to go to sleep. I wanted to go on fully tasting how good I felt.
John Steinbeck (The Winter of Our Discontent)
Down, down, down. There was nothing else to do, so Alice soon began talking again. "Dinah'll miss me very much to-night, I should think!" (Dinah was the cat.) "I hope they'll remember her saucer of milk at tea-time. Dinah my dear! I wish you were down here with me! There are no mice in the air, I'm afraid, but you might catch a bat, and that's very like a mouse, you know. But do cats eat bats, I wonder?" And here Alice began to get rather sleepy, and went on saying to herself, in a dreamy sort of way, "do cats eat bats? Do cats eat bats?" and sometimes, "do bats eat cats?" for, you see, as she couldn't answer either question, it didn't much matter which way she put it. She felt that she was dozing off, and had just begun to dream that she was walking hand in hand with Dinah, and saying to her very earnestly, "Now, Dinah, tell me the truth: did you ever eat a bat?" when suddenly, thump! thump! down she came upon a heap of sticks and dry leaves, and the fall was over.   Alice
Lewis Carroll (Alice's Adventures in Wonderland)
Vim?” “Sweetheart?” The whispered endearment spoken with sleepy sensuality had Sophie’s insides fluttering. Was this what married people did? Cuddled and talked in shadowed rooms, gave each other bodily warmth as they exchanged confidences? “What troubles you about going home?” He was quiet for a long moment, his breath fanning across her neck. Sophie felt him considering his words, weighing what to tell her, if anything. “I’m not sure exactly what’s amiss, and that’s part of the problem, but my associations with the place are not at all pleasant, either.” Was that…? His lips? The glancing caress to her nape made Sophie shiver despite the cocoon of blankets. “What do you think is wrong there?” Another kiss, more definite this time. “My aunt and uncle are quite elderly, though Uncle Bert and Aunt Essie seem the type to live forever. I’ve counted on them living forever. You even taste like flowers.” Ah, God, his tongue… a slow, warm, wet swipe of his tongue below her ear, like a cat, but smoother than a cat, more deliberate. “Nobody lives forever.” The nuzzling stopped. “This is lamentably so. My aunt writes to me that a number of family heirlooms have gone missing, some valuable in terms of coin, some in terms of sentiment.” His teeth closed gently on the curve of her ear. What was this? He wasn’t kissing her, exactly, nor fondling the parts other men had tried to grope in dark corners—though Sophie wished he might try some fondling. “Do you think you might have a thief among the servants?” He slipped her earlobe into his mouth and drew on it briefly. “Perhaps, though the staff generally dates back to before the Flood. We pay excellent wages; we pension those who seek retirement, those few who seek retirement.” “Is some sneak thief in the neighborhood preying on your relations, then?” It was becoming nearly impossible to remain passively lying on her side. She wanted to be on her back, kissing him, touching his hair, his face, his chest… “Or has some doughty old retainer merely misplaced some of the silver?” Vim muttered right next to her ear. “You’ll sort it out.
Grace Burrowes (Lady Sophie's Christmas Wish (The Duke's Daughters, #1; Windham, #4))
The Golem If (as affirms the Greek in the Cratylus) the name is archetype of the thing, in the letters of “rose” is the rose, and all the Nile flows through the word. Made of consonants and vowels, there is a terrible Name, that in its essence encodes God’s all, power, guarded in letters, in hidden syllables. Adam and the stars knew it in the Garden. It was corroded by sin (the Cabalists say), time erased it, and generations have forgotten. The artifice and candor of man go on without end. We know that there was a time in which the people of God searched for the Name through the ghetto’s midnight hours. But not in that manner of those others whose vague shades insinuate into vague history, his memory is still green and lives, Judá the Lion the rabbi of Prague. In his thirst to know the knowledge of God Judá permutated the alphabet through complex variations and in the end pronounced the name that is the Key the Door, the Echo, the Guest, and the Palace, over a mannequin shaped with awkward hands, teaching it the arcane knowledge of symbols, of Time and Space. The simulacrum raised its sleepy eyelids, saw forms and colors that it did not understand, and confused by our babble made fearful movements. Gradually it was seen to be (as we are) imprisoned in a reverberating net of Before, Later, Yesterday, While, Now, Right, Left, I, You, Those, Others. The Cabalists who celebrated this mysterium, this vast creature, named it Golem. (Written about by Scholem, in a learned passage of his volume.) The rabbi explained the universe to him, “This is my foot, this yours, and this the rope,” but all that happened, after years, was that the creature swept the synagogue badly. Perhaps there was an error in the word or in the articulation of the Sacred Name; in spite of the highest esoteric arts this apprentice of man did not learn to speak. Its eyes uncanny, less like man than dog and much less than dog but thing following the rabbi through the doubtful shadows of the stones of its confinement. There was something abnormal and coarse in the Golem, at its step the rabbi’s cat fled in fear. (That cat not from Scholem but of the blind seer) It would ape the rabbi’s devotions, raising its hands to the sky, or bend over, stupidly smiling, into hollow Eastern salaams. The rabbi watched it tenderly but with some horror. How (he said) could I engender this laborious son? Better to have done nothing, this is insanity. Why did I give to the infinite series a symbol more? To the coiled skein on which the eternal thing is wound, I gave another cause, another effect, another grief. In this hour of anguish and vague light, on the Golem our eyes have stopped. Who will say the things to us that God felt, at the sight of his rabbi in Prague?
Jorge Luis Borges
And what of that person, her most beautiful boy? He opened his eyes each morning , and the first word from his mouth was Mama. He needed to be lifted from bed, for he was so tiny and so sleepy, then dressed, fed, bathed, played with, sung to, tickled, swung high in the air, chased. He needed her to watch me, Mama, nearly every second of his waking life. Sometimes he took his soft little hand and put it on her face, moved her head to where he wanted her to look. And it was in this gesture she saw and entire impending future, one in which all things of this world revolved around this boy: when she woke and when she slept, where they went and what they bought, the very direction of his mother’s gaze. If she was not careful, he would come to know the world as a place that bent to his every whim, for she did indeed want to bend, because she loved him, but in the hardest moments- the moments in which, for instance, she held the limp body of the cat in her bloody hands- she grew resentful of this innocent little soul, whose life would be one of ease, one of knowing that he was taken care of and could have whatever her wanted, that the world was in a very real way his. She didn’t want to deny him things, to make his life harder, but already she felt this pull inside her, to make him responsible in a fundamental way, to tell him no and no and no, and, sure, she was trying to train him against what the entire world told him, was trying to say, Look, I am not all yours, I am not only here for you, but of course, ultimately, she was his, all of her.
Rachel Yoder (Nightbitch)
and the Anne Shirley of other days saw her coming, as they sat on the big veranda at Ingleside, enjoying the charm of the cat's light, the sweetness of sleepy robins whistling among the twilit maples, and the dance of a gusty group of daffodils blowing against the old, mellow, red brick wall of the lawn. Anne was sitting on the steps, her hands clasped over her knee, looking, in the kind
L.M. Montgomery (Rainbow Valley (Anne of Green Gables #7))
Susan Baker and the Anne Shirley of other days saw her coming, as they sat on the big veranda at Ingleside, enjoying the charm of the cat's light, the sweetness of sleepy robins whistling among the twilit maples, and the dance of a gusty group of daffodils blowing against the old, mellow, red brick wall of the lawn. Anne
L.M. Montgomery (Rainbow Valley (Anne of Green Gables #7))
There was nothing I loved more than going to a friend’s house, because their mothers were around. I loved my mother more than anything, but the house would be empty and quiet when I got home. I would help myself to something from the fridge before traipsing up the stairs to my parents’ master bedroom, pushing the door open to find my mother lying propped up on pillows. On a really bad day, the curtains would be drawn, the room in darkness. Often she’d be asleep, and I’d pad over to her side of the bed and stroke her arm. She’d rouse, giving me a sleepy smile, pulling me down for a kiss and a hug, wanting to hear all about my day, her only access to the outside world. I couldn’t stay long, though. She didn’t have the capacity for too much stimulation, and on those days, the bad days, I always saw the relief in her eyes when I said I had to go back downstairs to do homework.
Jane Green (Cat and Jemima J)
Susan Baker and the Anne Shirley of other days saw her coming, as they sat on the big veranda at Ingleside, enjoying the charm of the cat's light, the sweetness of sleepy robins whistling among the twilit maples,
L.M. Montgomery (Rainbow Valley (Anne of Green Gables #7))
Sit Quietly This is the most important Zen practice.   It is the classroom for living a wise and kind life.   Sit anywhere and be quiet: on a couch, a bed, a bench, inside, outside, leaning against a tree, by a lake, at the ocean, in a garden, on an airplane, in your office chair, on the floor, in your car. Meditation cushions are okay too.   Sit at any time: morning, night, one minute, three years.   Wear what you've got on. Loosen your waist so that your belly can move with your breath.   Sit as relaxed as possible. Relax your muscles when starting and during sitting.   Sit with your back straight but not stiff. Keep your head upright with your ears level.   Respect all medical conditions. Only take a posture you can. All postures are okay.   Do what you can do.   Keep your eyes slightly opened and out of focus. Closing them will make you sleepy and sometimes busy. Opening them wide will keep you busy.   Breathe naturally through your nose. Enjoy breathing. Feel your breath. Watch your breath. Become your breath.   Be like a cat purring. Follow your breath like ocean waves coming in and out.   When you get distracted, come back to the simplest and most basic experience of being alive, your breathing.   That's it. No belief. No program. No dogma.   You do not have to be Buddhist. You can be of any faith, religion, race, nationality, gender, relationship status, or capacity.   Just sit quietly, connect with your breath, and pay attention to what happens. You will learn things.   Do it when you want. You decide how much is enough for you. If you do it daily, it will get into your bones.   Please enjoy sitting quietly!   The only way to learn sitting quietly is to do it.
Tai Sheridan (Buddha in Blue Jeans: An Extremely Short Simple Zen Guide to Sitting Quietly and Being Buddha)
Iwas satisfied. I felt warm and sated, like a sleepy, smug cat. I nearly arched off the desk in contentment, not at all fearing the warning in my husband’s voice. It was inconvenient, I decided, to be attracted to my husband. Unfortunately, I was. Terribly.
Zoey Draven (Desire in His Blood (Brides of the Kylorr, #1))
And what of that person, her most beautiful boy? He opened his eyes each morning, and the first word form his mouth was *Mama.* He needed to be lifted from bed, for he was so tiny and so sleepy, then dressed, fed, bathed, played with, sung to, tickled, swung high in the air, chased. He needed her to *watch me, Mama,* nearly every second of his waking life. Sometimes he took his soft little hand and put it on her face, moved her head to where he wanted her to look. And it was in this gesture she saw an entire impending future, one in which all things of this world revolved around this boy: when she woke and when she slept, where they went and what they bought, the very direction of his mother's gaze. If she was not careful, he would come to know the world as a place that bent to his every whim, for she did indeed want to bend, because she loved him, but in the hardest moments--moments in which, for instance, she held the limp body of the cat in her bloody hands--she grew resentful of this innocent little soul, whose life would be one of ease, one of knowing that he was taken care of and could have whatever he wanted, that the world was in a very real way *his.* She didn't want to deny him things, to make his life harder, but already she felt this pull inside her, to make his *responsible* in a fundamental way, to tell him *no* and *no,* and, sure, she was trying to train him against what the entire world told him, was trying to say, Look, I am not all yours, I am not only here for you, but of course, ultimately, she was his, all of her.
Rachel Yoder (Nightbitch)
Four years in, she had discovered the gallery when a hailstorm chased her off the street. The door stuck - it still did - and was set back from the street between two shops that sold vintage clothing. Glenice climbed the stairs and went in. A grey-faced man peered out around a curtain at the far end of the room. He nodded, and returned to his heater and his laptop. He knew Glenice of old: she wouldn't buy, steal or vandalise anything, and he had no interest in her. His lumpy black cat strolled out, inspected Glenice, tested the patch of light that the window threw on the floor and stalked back into the office. Quite often there was something here for Glenice. Today it was a room with a table, a vase, a dish of fruit and part of a window. The hungry blue of the window frame clashed perfectly with the blue of the tablecloth without taking it over. The vase held flowers, mauve, pinky yellow, pale red, blackish - Glenice tried and failed to call up the names of black flowers. The wall was a quiet, mortal sort of pink, and there were sleepy-looking pears slumped on a green dish. It looked to Glenice like the kind of room in which someone had gradually recovered from a long illness. She stared at the painting until her feet died from the cold and then she left.
Michelle de Kretser (The Life to Come)
Well, I just thought … maybe … it was something to do with … you know … her lot.’ Mrs Dursley sipped her tea through pursed lips. Mr Dursley wondered whether he dared tell her he’d heard the name ‘Potter’. He decided he didn’t dare. Instead he said, as casually as he could, ‘Their son – he’d be about Dudley’s age now, wouldn’t he?’ ‘I suppose so,’ said Mrs Dursley stiffly. ‘What’s his name again? Howard, isn’t it?’ ‘Harry. Nasty, common name, if you ask me.’ ‘Oh, yes,’ said Mr Dursley, his heart sinking horribly. ‘Yes, I quite agree.’ He didn’t say another word on the subject as they went upstairs to bed. While Mrs Dursley was in the bathroom, Mr Dursley crept to the bedroom window and peered down into the front garden. The cat was still there. It was staring down Privet Drive as though it was waiting for something. Was he imagining things? Could all this have anything to do with the Potters? If it did … if it got out that they were related to a pair of – well, he didn’t think he could bear it. The Dursleys got into bed. Mrs Dursley fell asleep quickly but Mr Dursley lay awake, turning it all over in his mind. His last, comforting thought before he fell asleep was that even if the Potters were involved, there was no reason for them to come near him and Mrs Dursley. The Potters knew very well what he and Petunia thought about them and their kind … He couldn’t see how he and Petunia could get mixed up in anything that might be going on. He yawned and turned over. It couldn’t affect them … How very wrong he was. Mr Dursley might have been drifting into an uneasy sleep, but the cat on the wall outside was showing no sign of sleepiness. It was sitting as still as a statue, its eyes fixed unblinkingly on the far corner of Privet Drive. It didn’t so much as quiver when a car door slammed in the next
J.K. Rowling (Harry Potter and the Philosopher's Stone (Harry Potter, #1))
awake that she climbed out of bed and went to the window. She pulled the curtains aside, but the Kanes’ house was in darkness. She went back to bed, switched on her bedside lamp and picked up the crossword she had been trying to finish before she had grown too sleepy. One of down clues was ‘Together, the top and bottom of the world are manic’. The answer was ‘bipolar’. *** Next morning, as she came back with Barney from his early-morning walk, she found David Kane standing in her porch with the collar of his grey raincoat turned up. It was raining hard now and Barney had been stopping every few yards to shake himself. ‘Good morning, Katie,’ said David. ‘That’s the trouble with dogs, isn’it? You have to take them out to do the necessary, whatever the weather.’ Katie lowered her umbrella and shook it. ‘Don’t you have a dog?’ she asked him. ‘No, I couldn’t. If my patients smelled another dog in the house, whether they were dogs themselves or cats or whatever, they’d find it very disturbing.’ He stood close beside her as she unlocked her front door. ‘Talking of disturbing, the reason I’ve come over is to apologize for all the racket we were making last night, Sorcha and me. Sorcha was having one of her episodes.’ Katie stepped into the hallway and Barney followed her. David stayed in the porch as she hung up her raincoat. ‘Has she been back to her doctor?’ she said.
Graham Masterton (Taken for Dead (Kate Maguire, #4))
warmth of the day was making her sleepy, too. “Then you can go and do whatever it is you apprentices do,” she murmured. When Firepaw had cleared away Yellowfang’s dirt, he left her dozing and made his way to the gorse tunnel. He was keen to get to the stream and rinse his paws. “Firepaw!” a voice called from the side of the clearing. Firepaw turned. It was Halftail. “Where are you off to?” meowed the old cat curiously. “You ought to be helping with the preparations.” “I’ve just been putting mouse bile on Yellowfang’s ticks,” replied Firepaw. Amusement flickered through Halftail’s whiskers. “So now you’re off to the nearest stream! Well, don’t come back without fresh-kill. We need as much as we can find.” “Yes, Halftail,” Firepaw replied. He made his way out of the camp and up the side of the ravine. He trotted down to the stream where he and Graypaw had hunted on the day he had found Yellowfang. Without hesitating he jumped down into the cold, clear water. It came up to his haunches, and wet his belly fur. The shock made him gasp, and he shivered. A rustle in the bushes above him made him look up, although the familiar scent that reached his nose told him there was nothing to be alarmed about. “What are you doing in there?” Graypaw and Ravenpaw were standing looking at him as if he were mad. “Mouse bile.” Firepaw grimaced. “Don’t ask! Where are Lionheart and Tigerclaw?” “They’ve gone to join the next patrol,” answered Graypaw. “They ordered us to spend the rest of the afternoon hunting.” “Halftail told me the same thing,” Firepaw mewed, flinching as a chilly current of water rushed around his paws. “Everyone’s busy back at camp. You’d think we were about to be attacked at any moment.” He climbed up onto the bank, dripping. “Who says we won’t be?” mewed Ravenpaw, his eyes flicking from side to side as if he expected an enemy patrol to leap
Erin Hunter (Into the Wild)
The tiny tortoiseshell kit blinked up at him. “Sootkit and Rainkit were asleep in the nursery,” she began in a faint voice. “But I wasn’t sleepy. My mother wasn’t watching, so I went to play in the ravine. I wanted to catch a mouse. And then I saw Darkstripe.” Her voice shook and she hesitated. “Go on,” Firestar encouraged her. “He was coming up the ravine by himself. I knew he should have had Brackenfur with him, and I . . . I wondered where he was going. I followed him—I remembered the time he took Bramblepaw and Tawnypaw out of the camp, and I thought I might have an adventure like that, too.” Firestar felt a pang of sadness as he remembered how Sorrelkit was always so bright and curious, getting into trouble because of her misguided courage. This limp scrap of fur didn’t look at all adventurous now, and Firestar could only hope that with Cinderpelt’s care she would soon be her lively self again. “I followed him a long way,” Sorrelkit went on, sounding rather proud of herself. “I’d never been so far from the camp. I hid from Darkstripe too—he didn’t know I was there. And then he met another cat—a cat I’d never seen before.” “What other cat? What did it look like? What scent did it have?” Firestar questioned her urgently. Sorrelkit looked bewildered. “I didn’t recognize the scent,” she mewed. Her nose wrinkled. “But it was yucky. He was a big white cat—bigger than you, Firestar. And he had black paws.” Firestar stared at her as he realized whom she had seen. “Blackfoot!” he exclaimed. “Tigerstar’s deputy. That was ShadowClan scent you smelled, Sorrelkit.” “And what’s Darkstripe doing, meeting the ShadowClan deputy on our territory?” Sandstorm growled. “That’s what I’d like to know.” “So what happened then?” Firestar prompted the kit. “I got scared,” Sorrelkit admitted, looking down at her paws. “I ran back to camp, but I think Darkstripe must have heard me, because he caught up with me in the ravine. I thought he would be angry because I spied on him, but he told me how clever I was. He gave me some red berries for a special treat. They looked tasty, but when I ate them I started to feel really ill. . . . And I don’t remember anything else, except waking up here.” She sank her head on her paws again as she finished, as if telling the long story had exhausted her. Cinderpelt nosed her gently, checking her breathing. “Those were deathberries,” she mewed. “You must never, ever touch them again.” “I won’t, Cinderpelt, I promise,
Erin Hunter (The Darkest Hour)
Sootkit and Rainkit were asleep in the nursery,” she began in a faint voice. “But I wasn’t sleepy. My mother wasn’t watching, so I went to play in the ravine. I wanted to catch a mouse. And then I saw Darkstripe.” Her voice shook and she hesitated. “Go on,” Firestar encouraged her. “He was coming up the ravine by himself. I knew he should have had Brackenfur with him, and I . . . I wondered where he was going. I followed him—I remembered the time he took Bramblepaw and Tawnypaw out of the camp, and I thought I might have an adventure like that, too.” Firestar felt a pang of sadness as he remembered how Sorrelkit was always so bright and curious, getting into trouble because of her misguided courage. This limp scrap of fur didn’t look at all adventurous now, and Firestar could only hope that with Cinderpelt’s care she would soon be her lively self again. “I followed him a long way,” Sorrelkit went on, sounding rather proud of herself. “I’d never been so far from the camp. I hid from Darkstripe too—he didn’t know I was there. And then he met another cat—a cat I’d never seen before.” “What other cat? What did it look like? What scent did it have?” Firestar questioned her urgently. Sorrelkit looked bewildered. “I didn’t recognize the scent,” she mewed. Her nose wrinkled. “But it was yucky. He was a big white cat—bigger than you, Firestar. And he had black paws.” Firestar stared at her as he realized whom she had seen. “Blackfoot!” he exclaimed. “Tigerstar’s deputy. That was ShadowClan scent you smelled, Sorrelkit.” “And what’s Darkstripe doing, meeting the ShadowClan deputy on our territory?” Sandstorm growled. “That’s what I’d like to know.” “So what happened then?” Firestar prompted the kit. “I got scared,” Sorrelkit admitted, looking down at her paws. “I ran back to camp, but I think Darkstripe must have heard me, because he caught up with me in the ravine. I thought he would be angry because I spied on him, but he told me how clever I was. He gave me some red berries for a special treat. They looked tasty, but when I ate them I started to feel really ill. . . . And I don’t remember anything else, except waking up here.” She sank her head on her paws again as she finished, as if telling the long story had exhausted her. Cinderpelt nosed her gently, checking her breathing. “Those were deathberries,” she mewed. “You must never, ever touch them again.” “I won’t, Cinderpelt, I promise,
Erin Hunter (The Darkest Hour)
I had a little ginger cat. I found him in a field, stolen from his mother, a real wild cat. He was two weeks old, maybe a little more, but he already knew how to scratch and bite. I fed him and petted him and took him home. He became the sweetest cat. Once, he hid in the sleeve of a visitor’s coat. He was the most polite creature, a real prince. When we came home in the middle of the night, he would come greet us, his eyes all sleepy. Then he’d go back to sleep in our bed. One time the door was closed to our bedroom—he tried to open it, he pushed it with his behind, and he got angry and he made a beautiful noise. He shunned us for a week. He was terrified of the vacuum cleaner. He was really a cowardly cat, defenseless, a poet cat. Once we brought him a toy mouse and he hid under the cabinet. We wanted him to experience the outside world. We put him on the pavement right outside the window. He was so scared. There were pigeons all around and he was frightened of pigeons. He meowed with despair, pressed against the wall. All animals and all other cats were strange creatures that he mistrusted or enemies that he feared. He was only happy with us. We were his family. He thought we were cats and cats were something else. But still, one day, he went out on his own. The big dog next door killed him. He was lying there like a cat doll, a puppet ripped open with an eye gouged out and a paw torn off, like a stuffed animal damaged by a sadistic child. I had a dream about him. He was in the fireplace, lying on the embers. Marie was surprised he didn’t burn. I said, “Cat’s don’t burn. They’re fireproof.” He came out of the fireplace, meowing in a cloud of smoke. But it wasn’t him—it was another cat, ugly and fat and female. Like his mother, the wildcat. He looked like Marguerite.
Eugène Ionesco (Three Plays: Exit the King / The Killer / Macbett)