Small Bulb Quotes

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Yes, all of this is sorrow. But leave a little love burning always like the small bulb in the room of a sleeping baby that gives him a bit of security and quiet love though he doesn’t know what the light is or where it comes from.
Yehuda Amichai (The Poetry of Yehuda Amichai (The Copenhagen Trilogy Book 2))
It's a poem about moths. But it's also a poem about psychopaths. I get it copied. And stick it in a frame. And now it glowers redoubtably above my desk:an entomological keepsake of the horizons of existence. And the brutal, star-crossed wisdom of those who seek them out. i was talking to a moth the other evening he was trying to break into an electric bulb and fry himself on the wires why do you fellows pull this stunt i asked him because it is the conventional thing for moths or why if that had been an uncovered candle instead of an electric light bulb you would now be a small unsightly cinder have you no sense plenty of it he answered but at times we get tired of using it we get bored with routine and crave beauty and excitement fire is beautiful and we know that if we get too close it will kill us but what does that matter it is better to be happy for a moment and be burned up with beauty than to live a long time and be bored all the while so we wad all our life up into one little roll and then we shoot the roll that is what life is for it is better to be part of beauty our attitude toward life is come easy go easy we are like human beings used to be before they became too civilized to enjoy themselves and before i could argue him out of his philosophy he went and immolated himself on a patent cigar lighter i do not agree with him myself i would rather have half the happiness and twice the longevity but at the same time i wish there was something i wanted as badly as he wanted to fry himself
Kevin Dutton (The Wisdom of Psychopaths: What Saints, Spies, and Serial Killers Can Teach Us About Success)
Instead of thinking gigantic thoughts, I tried to focus on something small, the smallest thing I could think of. Someone once made this pew I’m sitting on, I thought. Someone sanded the wood and varnished it. Someone carried it into the church. Someone laid the tiles on the floor, someone fitted the windows. Each brick was placed by human hands, each hinge fitted on each door, every road surface outside, every bulb in every streetlight. And even things built by machines were really built by human beings, who built the machines initially. And human beings themselves, made by other humans, struggling to create happy children and families. Me, all the clothing I wear, all the language I know. Who put me here in this church, thinking these thoughts? Other people, some I know very well and others I have never met. Am I myself, or am I them? Is this me, Frances? No, it is not me. It is the others. Do I sometimes hurt and harm myself, do I abuse the unearned cultural privilege of whiteness, do I take the labor of others for granted, have I sometimes exploited a reductive iteration of gender theory to avoid serious moral engagement, do I have a troubled relationship with my body, yes. Do I want to be free of pain and therefore demand that others also live free of pain, the pain that is mine and therefore also theirs, yes, yes.
Sally Rooney (Conversations with Friends)
Not for the first time, Peter thought about how much of our lives we spend sequestered inside small patches of electric brightness, blind to everything beyond the reach of those fragile bulbs.
Michel Faber (The Book of Strange New Things)
How peaceful it was, with the light evening breeze stirring the small leaves of the grapevine that clustered around the electric bulb, making the shadows move and change on the yellow mat below. For a moment he pushed aside the thought of money. From time to time the dark water beside them rippled audibly, as if a tiny fish had come to the surface for an instant and then darted beneath. It was in peaceful moments such as this, his father had said, that men were given to know just a little of what paradise was like, so that they might yearn for it with all their soul,and strive during their time on earth to be worthy of going there.
Paul Bowles (The Spider's House)
Tapping a little bell, I leaned on the desk and turned to look at a small, traditionally decorated Christmas tree on a table near the entranceway. It was complete with shiny, egg-fragile bulbs; miniature candy canes; flat, laughing Santas with arms wide; a star on top nodding awkwardly against the delicate shoulder of an upper branch; and colored lights that bloomed out of flower-shaped sockets. For some reason this seemed to me a sorry little piece.
Thomas Ligotti (The Nightmare Factory)
THE FAIR HAD A POWERFUL and lasting impact on the nation’s psyche, in ways both large and small. Walt Disney’s father, Elias, helped build the White City; Walt’s Magic Kingdom may well be a descendant. Certainly the fair made a powerful impression on the Disney family. It proved such a financial boon that when the family’s third son was born that year, Elias in gratitude wanted to name him Columbus. His wife, Flora, intervened; the baby became Roy. Walt came next, on December 5, 1901. The writer L. Frank Baum and his artist-partner William Wallace Denslow visited the fair; its grandeur informed their creation of Oz. The Japanese temple on the Wooded Island charmed Frank Lloyd Wright, and may have influenced the evolution of his “Prairie” residential designs. The fair prompted President Harrison to designate October 12 a national holiday, Columbus Day, which today serves to anchor a few thousand parades and a three-day weekend. Every carnival since 1893 has included a Midway and a Ferris Wheel, and every grocery store contains products born at the exposition. Shredded Wheat did survive. Every house has scores of incandescent bulbs powered by alternating current, both of which first proved themselves worthy of large-scale use at the fair; and nearly every town of any size has its little bit of ancient Rome, some beloved and be-columned bank, library or post office. Covered with graffiti, perhaps, or even an ill-conceived coat of paint, but underneath it all the glow of the White City persists. Even the Lincoln Memorial in Washington can trace its heritage to the fair.
Erik Larson (The Devil in the White City)
Who" The month of flowering’s finished. The fruit’s in, Eaten or rotten. I am all mouth. October’s the month for storage. The shed’s fusty as a mummy’s stomach: Old tools, handles and rusty tusks. I am at home here among the dead heads. Let me sit in a flowerpot, The spiders won’t notice. My heart is a stopped geranium. If only the wind would leave my lungs alone. Dogsbody noses the petals. They bloom upside down. They rattle like hydrangea bushes. Mouldering heads console me, Nailed to the rafters yesterday: Inmates who don’t hibernate. Cabbageheads: wormy purple, silver-glaze, A dressing of mule ears, mothy pelts, but green-hearted, Their veins white as porkfat. O the beauty of usage! The orange pumpkins have no eyes. These halls are full of women who think they are birds. This is a dull school. I am a root, a stone, an owl pellet, Without dreams of any sort. Mother, you are the one mouth I would be a tongue to. Mother of otherness Eat me. Wastebasket gaper, shadow of doorways. I said: I must remember this, being small. There were such enormous flowers, Purple and red mouths, utterly lovely. The hoops of blackberry stems made me cry. Now they light me up like an electric bulb. For weeks I can remember nothing at all.
Sylvia Plath (The Collected Poems)
Moths fly toward burning bulbs not because they’re drunk with love or exhausted from flight, wanting to wait out the pain in their wings, as if waiting was something warm they could wrap themselves around. They fly and die simply because they cannot see what we see. Instead they see stars off in the distance, the same stars we long ago used to navigate the darkness we still know nothing about. It’s hard to imagine what we once needed to know to know where we were. Without depth, with color, the moths look to the light until it calls to them. We are good at thinking we can stay. We are good at finding hurt. I live in a mapped city that keeps expanding like regret. When I look out the window I see a house so close I can hear a toilet flush. At night we take black lights and hunt scorpions stuck to our stucco walls. I walk around darkening rooms not in use, but I cannot stop the sun or streetlights from shining in. We are all aglow. I don’t want to think about the sun burning out or the billion small deaths I continue to cause. Even in the desert, a place whose name I learned to spell by the sweet treat of its opposite, the extra s demanding more, even after all these years of genetics, of rock slides, of canyons cut deep and persistent as a heart, moths spin in circles toward their stars.
Josh Rathkamp
Deacon met my glare with an impish grin. “Anyway, did you celebrate Valentine’s Day when you were slumming with the mortals?” I blinked. “Not really. Why?” Aiden snorted and then disappeared into one of the rooms. “Follow me,” Deacon said. “You’re going to love this. I just know it.” I followed him down the dimly-lit corridor that was sparsely decorated. We passed several closed doors and a spiral staircase. Deacon went through an archway and stopped, reaching along the wall. Light flooded the room. It was a typical sunroom, with floor-to-ceiling glass windows, wicker furniture, and colorful plants. Deacon stopped by a small potted plant sitting on a ceramic coffee table. It looked like a miniature pine tree that was missing several limbs. Half the needles were scattered in and around the pot. One red Christmas bulb hung from the very top branch, causing the tree to tilt to the right. “What do you think?” Deacon asked. “Um… well, that’s a really different Christmas tree, but I’m not sure what that has to do with Valentine’s Day.” “It’s sad,” Aiden said, strolling into the room. “It’s actually embarrassing to look at. What kind of tree is it, Deacon?” He beamed. “It’s called a Charlie Brown Christmas Tree.” Aiden rolled his eyes. “Deacon digs this thing out every year. The pine isn’t even real. And he leaves it up from Thanksgiving to Valentine’s Day. Which thank the gods is the day after tomorrow. That means he’ll be taking it down.” I ran my fingers over the plastic needles. “I’ve seen the cartoon.” Deacon sprayed something from an aerosol can. “It’s my MHT tree.” “MHT tree?” I questioned. “Mortal Holiday Tree,” Deacon explained, and smiled. “It covers the three major holidays. During Thanksgiving it gets a brown bulb, a green one for Christmas, and a red one for Valentine’s Day.” “What about New Year’s Eve?” He lowered his chin. “Now, is that really a holiday?” “The mortals think so.” I folded my arms. “But they’re wrong. The New Year is during the summer solstice,” Deacon said. “Their math is completely off, like most of their customs. For example, did you know that Valentine’s Day wasn’t actually about love until Geoffrey Chaucer did his whole courtly love thing in the High Middle Ages?” “You guys are so weird.” I grinned at the brothers. “That we are,” Aiden replied. “Come on, I’ll show you your room.” “Hey Alex,” Deacon called. “We’re making cookies tomorrow, since it’s Valentine’s Eve.” Making cookies on Valentine’s Eve? I didn’t even know if there was such a thing as Valentine’s Eve. I laughed as I followed Aiden out of the room. “You two really are opposites.” “I’m cooler!” Deacon yelled from his Mortal Holiday Tree room
Jennifer L. Armentrout (Deity (Covenant, #3))