Stones Novel Quotes

Whither be the heart of Justice?             Lo, in stone, child. Lo, in stone.             Whither be the heart of Justice?             Lo, tis fast in stone.

Words have weight, something once said cannot be unsaid. Meaning is like a stone dropped into a pool; the ripples will spread and you cannot know what back they wash against.

…You’re throwing us away because you’re afraid to let yourself fall in love. You’re searching for something that isn’t real. You’re not Eric Stone. He’s your protagonist. Eric Stone is make-believe and life isn’t an adventure novel.

Pleasures may turn a heart to stone, riches may make it callous, but sorrows cannot break it. Hearts live by being wounded.

We...believe that art is religious, because it is one of man's highest aspirations. There is no such thing as pagan art, only good and bad art.

El problema es que los humanos tienen el don de elegir precisamente las cosas que son peores para ellos.

We stood for a moment, the brackish canal water teething at the stone,the last of the stars fading as the sky transformed from black to indigo. A pair of swans like large white clouds floated on the water, their heads tucked under their wings, as a gondola pulled up, a lantern on the prow, the gondolier on the stern, rubbing his sleepy eyes.

His world closes in. The sky is endless no longer but pieced into squares of brick and bright cloths hanging down to dry. Underfoot, no longer stone but rubble, earth, the peelings and rotted scraps of the inedible. He smells the smoke of cooking fires, he hears men arguing and babies screaming like seagulls, he sees young women looking shyly down from high windows, exchanging glances. Now, he is no longer the watcher. Watched. Shouts echo in the dark between twisted walls and back alleys. A twisted smile in a doorway. A stranger’s voice. A stranger’s language.

There was only the broad square with the scattered dim moons of the street lamps and with the monumental stone arch which receded into the mist as though it would prop up the melancholy sky and protect beneath itself the faint lonely flame on the tomb of the Unknown Soldier, which looked like the last grave of mankind in the midst of night and loneliness.

He had never believed that spirituality had to be anemic or aesthetic.

(The golden goose has died, my prince turned into a frog, the Kingdom is lost, everyone has turned into stone and I am locked in the tower)

I’ll tell you the story of the wave and the rock. It’s an old story. Older than we are. Listen. Once upon a time there was a wave who loved a rock in the sea, let us say in the Bay of Capri. The wave foamed and swirled around the rock, she kissed him day and night, she embraced him with her white arms, she sighed and wept and besought him to come to her. She loved him and stormed about him and in that way slowly undermined him, and one day he yielded, completely undermined, and sank into her arms.” “And suddenly he was no longer a rock to be played with, to be loved, to be dreamed of. He was only a block of stone at the bottom of the sea, drowned in her. The wave felt disappointed and deceived and looked for another rock “What does that mean? He should have remained a rock.” “The wave always says that. But things that move are stronger than immovable things. Water is stronger than rocks.

Loving humans means writing poems & songs novels & plays, slogans, chants & protest signs our critics want to stone us for while we think of them as people under different circumstances we might be able to help

It is better to grope in the dark and wade through a million errors to reach the Truth than to entrust oneself to someone who knows not that he knows not. Has a man ever learnt swimming by tying a stone to his neck? So let me go my own way even if it is the wrong one.

If I could, I would have you use me as your stepping stone, the bridge you take apart after crossing, the bones you need to trample on your climb, the sinner who endures the agony of a million knives. But I know you won’t allow it.

Fearful that they would be caught, the young lovers cast themselves into the sea with their stone, saying these words, "May we ever be united in love and hidden as long as this stone hides in deep waters.

This is a quantum universe,' said Spike, 'neither random nor determined. It is potential at every second. All you can do is intervene.

Women are just planets that attract the wrong species.

Never let it happen to you as it did to me. That you wake in the morning, stare at the ceiling, ask yourself, 'What have I got to get up for today?' and answer... 'Nothing.

No need to send a king when a princess will do.

The artist has the liberty to exaggerate, to create in his novel a world more beautiful, more simple, more consoling than ours.

HENDERSON, I LOVE YOUR NAME. I LOVE YOUR NOVEL. I LOVE YOUR FLANNEL SHIRTS, YOUR SMILE. I LOVE BENJAMIN FRANKLIN AND DINOSAURS AND VOLCANOES.

‎"It almost felt like the dolphin of my heart’s desire playing in the ocean of my life." - on writing

Fate isn't set in stone. Free will can change everything

And yet he was in the right! They were wrong and he was right. The obvious, the silly, and the true had got to be defended. Truisms are true, hold on to that! The solid world exists, its laws do not change. Stones are hard, water is wet, objects unsupported fall towards the earth’s centre.

Soon she is lost in another dimension where images prevail and silence rules.  A large, black eye flutters open, staring at Kate from deep within the oceanic darkness of its mysterious pupil.  Falling into the center of this cyclopean abyss, she comes face to face with something completely unexpected.  A tiny infant, seemingly asleep, is suspended in a cocoon of rotating beads of white light above a luminous white stone altar.

What artist has not experienced the feverish euphoria of composing the perfect thumbnail sketch, first draft, negative or melody — only to run headlong into a stone wall trying to convert that tantalizing hint into the finished mural, novel, photograph, sonata. The artist’s life is frustrating not because the passage is slow, but because he imagines it to be fast.

You’re thinking, maybe it would be easier to let it slip let it go say ”I give up” one last time and give him a sad smile. You’re thinking it shouldn’t be this hard, shouldn’t be this dark, thinking love could flow easily with no holding back and you’ve seen others find their match and build something great together, of each other, like two halves fitting perfectly and now they achieve great things one by one, always together, and it seems grand. But you love him. Love him like a black stone in your chest you couldn’t live without because it fits in there. Makes you who you are and the thought of him gone—no more—makes your chest tighten up and maybe this is your fairytale. Maybe this is your castle. You could get it all on a shiny piece of glass with wooden stools and a neverending blooming garden but that’s not yours. This is yours. The cracks and the faults, the ugly words in the winter walking home alone and angry but falling asleep thinking you love him. This is your fairy tale. The quiet in the hallway, wishing for him to turn around, tell you to stay, tell you to please don’t go I need you like you need me and maybe it’s not a Jane Austen novel but this is your novel and your castle and you can run from it your whole life but this is here in front of you. Maybe nurture it? Sweet girl, maybe close the world off and look at him for an hour or two. This is your fairy. It ain’t perfect and it ain’t honey sweet with roses on the bed. It’s real and raw and ugly at times. But this is your love. Don’t throw it away searching for someone else’s love. Don’t be greedy. Instead, shelter it. Protect it. Capture every second of easy, pull through every storm of hardship. And when you can, look at him, lying next to you, trusting you not to harm him. Trusting you not to go. Be someone’s someone for someone. Be that someone for him. That’s your fairy tale. This is your castle. Now move in. Build a home. Build a house. Build a safety around things you love. It’s yours if you make it so. Welcome home, sweet girl, it will be all be fine.

It's a sad day when your iPhone becomes a horcrux, witches hunt your soul and you have to seek the resurrection stone just to find yourself. I was hardly Harry Potter. There was no lightening bolt on my forehead, but if you knew my life you would have met a storm.

All good writing is built one good line at a time. You build a novel the same way you do a pyramid. One word, one stone at a time, underneath a full moon while the fingers bleed.

But Moby-Dick is the explanation of America. It’s not just a novel. It is a book of prophecy. It is the book. It is the book of America.

The novel’s not dead, it’s not even seriously injured, but I do think we’re working in the margins, working in the shadows of the novel’s greatness and influence. There’s plenty of impressive talent around, and there’s strong evidence that younger writers are moving into history, finding broader themes. But when we talk about the novel we have to consider the culture in which it operates. Everything in the culture argues against the novel, particularly the novel that tries to be equal to the complexities and excesses of the culture. This is why books such as JR and Harlot’s Ghost and Gravity’s Rainbow and The Public Burning are important—to name just four. They offer many pleasures without making concessions to the middle-range reader, and they absorb and incorporate the culture instead of catering to it. And there’s the work of Robert Stone and Joan Didion, who are both writers of conscience and painstaking workers of the sentence and paragraph. I don’t want to list names because lists are a form of cultural hysteria, but I have to mention Blood Meridian for its beauty and its honor. These books and writers show us that the novel is still spacious enough and brave enough to encompass enormous areas of experience. We have a rich literature. But sometimes it’s a literature too ready to be neutralized, to be incorporated into the ambient noise. This is why we need the writer in opposition, the novelist who writes against power, who writes against the corporation or the state or the whole apparatus of assimilation. We’re all one beat away from becoming elevator music.

Something shifts in the air as he approaches, almost like an electrical current is pulling us together. I haven’t let myself feel anything for another man in a very long time, but even then, it never felt like this.

Toward the back of the small property, Twentymile Creek flows through a ravine two to three feet deep and three times as wide. The waters of the creek, high and vigorous from recent rains, purl noisily around stones bearded with green moss and swatched with lichen. There she finds the body, stretched across the frothing stream.

When you dance, sister, you feel in your heart the blessing of the Goddess, her peace, her kindness. But when you are with him, then the power of the Goddess is in your heart, crashing through you. The Goddess is no thing of stone. The Goddess is breath, desire, despair. She is the green of the brushing leaf, the baby's cry, the lovers bite, the fragrance of the rose. You feel the Goddess moving through you.

Tahn crept up the stone wall like a reptile silent after its prey.

In the desert there is no sign that says, 'Thou shalt not eat stones.

The novelist destroys the house of his life and uses its stones to build the house of his novel.

Prejudices, it is well known, are most difficult to eradicate from the heart whose soil has never been loosened or fertilised by education: they grow there, firm as weeds among stones.

Somedays you have to write even when you think you're putting out crap. You just need to tell yourself that you'll fix the problems later, and by then, they might not even be "problems" anymore. The challenge of writing a novel has always been to let loose with a beautifully flawed first draft, and to constantly fight belief you're chiseling words in stone each time you type.

Choice: that was the thing. Other people claimed that you can't choose who you love--it just happens!--but Grace and Roman knew that was a bunch of happy horseshit. Of course you chose who you loved. If you didn't choose, you ended up with what was left--the drunks and abusers, the debtors and vacuums, the ones who ate their food too fast or had never read a novel. Damn, marriage was hard work, was manual labor, and unpaid manual labor at that. Yet, year after year, Grace and Roman had pressed their shoulders against the stone and rolled it up the hill together.

The moment Rey reached her hut she had felt him near her, in the Force. The connection between them was so raw and powerful that it reminded her of touching a live wire in the wreckage of a starship. She had closed her eyes, opened them, and found Kylo Ren there--right next to her where she sat on the stone bench. As if she could actually reach out and touch his hand, his face, his hair. At the sight of him she'd felt relief surge through her.

The castle will seem very quiet and strange without you here. The stone stairs and the chapel will miss your footstep, the gateway will will miss your laughter, and the wall will miss your shadow.

In the end, he finally believed that it was indeed a worthless stone. But in his eyes, compared to the room full of gold and silver treasure, even if it was only a stone, it was still one of a kind—a stone out of a million.

The poet’s life is just so much crenellated waste, nights and days whipping swiftly or laboriously past the cinematic window. We’re hunched and weaving over the keys of our green our grey or pink blue manual typewriter maybe a darker stone cold thoritative selectric with its orgasmic expectant hum and us popping pills and laughing over what you or I just wrote, wondering if that line means insult or sex. Or both. Usually both.

Anger is simply momentary madness, and sometimes there is strength in silence. After all, he is only throwing words, not stones.

He had the dog on a lead and he was still managing to be a boy with a dog and the dog was still managing to be a dog with a boy because not even a bomb gets to wipe out everything,

We made our home on the wind, between sand and stars.

Can one be lost, when no destination awaits? When no home longs for one’s return?

Don’t bang your head against a stone wall.” He might add: “Climb over, go around, tunnel under, knock a hole in it—and if nothing works, forget it! Change your plans. Or take a nap. But don’t get ulcers.

Only now, years after having read though the works of Shakespeare, Dickens, Scott, Poe, Balzac did he realise that even the most prolific writer created only one novel; throw away the individual bindings and the whole of each man's writing constituted one book: the true and complete portrait of himself. An artist had one thing to say, and one only; he might flail about, seek new techniques, forms, colour combinations, subjects, but intrinsically he would always paint the same canvas, write the same book.

She rose and washed and dressed herself and braided her hair freshly, and having made her room neat for the day she went into the peach-tree garden. It lay in the silence of the spring morning. Under the early sun the dew still hung in a bright mist on the grass, and the pool in the center of the garden was brimming its stone walls. The water was clear and the fish were flashing their golden sides near the surface. The great low-built house that surrounded the garden was still in sleep. Birds twittered in the eaves undisturbed and a small Pekingese dog slept on the threshold like a small lioness.

I read my copy of On the Road and dug the scenery whizzing past. On the Road is a semi-autobiographical novel about Jack Kerouac, a druggy, hard-drinking writer who goes hitchhiking around America, working crummy jobs, howling through the streets at night, meeting people and parting ways. Hipsters, sad-faced hobos, con-men, muggers, scumbags and angels. There's not really a plot -- Kerouac supposedly wrote it in three weeks on a long roll of paper, stoned out of his mind -- only a bunch of amazing things, one thing happening after another. He makes friends with self-destructing people like Dean Moriarty, who get him involved in weird schemes that never really work out, but still it works out, if you know what I mean. There was a rhythm to the words, it was luscious, I could hear it being read aloud in my head. It made me want to lie down in the bed of a pickup truck and wake up in a dusty little town somewhere in the central valley on the way to LA, one of those places with a gas station and a diner, and just walk out into the fields and meet people and see stuff and do stuff.

They were walking along a roadway of great slabs of stone set down one after another, the beginning and end of which they could take in at a glance, a road rising from and heading toward nowhere now. "You can't get there from here," William said, using a Down East accent. "Anymore." Maine, they thought of Maine, then. Evidently this truncated road could still carry them as far away and as long ago as that.

And when I die all the memories of my own life will go to the grave with me, God willing, and Dick will never have to look back at them. And his children will never even know what my life was like. They'll know nothing of grinding stones and lying down to sleep in what felt like a coffin and being hungry and ashamed all day and night and being beaten by a teacher who couldn't write himself and being sure you kept your mind so empty that you had no thoughts at all. And that's what I've done for them, that's my gift to them and to all their children ever after, so don't talk to me about being hard.

Like the statue of David, our Authentic Swing already exists, concealed within the stone, so to speak.” Keeler broke in with excitement. “Then our task as golfers, according to this line of thought…” “…is simply to chip away all that is inauthentic, allowing our Authentic Swing to emerge in its purity.

Why didn’t you stay?” she had whispered against the unyielding stone. Why didn’t you stay? She pressed the berry against her lips. Why didn’t I ask you just one more time to stay? Sajjad stood up quietly and walked over to her. “There is a phrase I have heard in English: to leave someone alone with their grief. Urdu has no equivalent phrase. It only understands the concept of gathering around and becoming ‘ghum-khaur’—grief-eaters—who take in the mourner’s sorrow.

But it wasn’t enough. Since they were already in that position, Xie Lian thought he might as well take a bit more—he wound his arms tightly around Hua Cheng’s neck to deepen the kiss. All the fatigue he’d been feeling was swept away in an instant as his body was refilled with spiritual power. The enormous sword of spiritual light in the giant stone statue’s grip clamored with riotous noise. “What is this?!” Feng Xin cried, clearly shaken. “What are you two doing?! Your Highness?!” Xie Lian choked—only then did he break away. He didn’t dare look down. “I’m b-borrowing spiritual power!” he shouted to the sky. “I’m just borrowing his spiritual power! It’s all very proper!” Mu Qing was shaken too. “You don’t need to do that to borrow spiritual power, though! Couldn’t you just slap your palms together?!” “Ha ha ha ha! You saw through me!” Xie Lian babbled—he didn’t even know what he was saying. “So maybe it’s not just to borrow spiritual power! Ha ha ha ha…

Jaxon sits up like a novel thought has occurred to him. “Hey, you know what I was thinking? What is W’s deal? I mean, all the other letters in the alphabet have one syllable. But look at W. Double youuuu. Why’s it got to last so long? Right when you get to the end of the alphabet song, there’s W screwing things up. Am I right?

So, what do you go for in a girl?” He crows, lifting a lager to his lips Gestures where his mate sits Downs his glass “He prefers tits I prefer ass. What do you go for in a girl?” I don’t feel comfortable The air left the room a long time ago All eyes are on me Well, if you must know I want a girl who reads Yeah. Reads. I’m not trying to call you a chauvinist Cos I know you’re not alone in this but… I want a girl who reads Who needs the written word & uses the added vocabulary She gleans from novels and poetry To hold lively conversation In a range of social situations I want a girl who reads Who’s heart bleeds at the words of Graham Greene Or even Heat magazine Who’ll tie back her hair while reading Jane Eyre And goes cover to cover with each water stones three for two offer but I want a girl who doesn’t stop there I want a girl who reads Who feeds her addiction for fiction With unusual poems and plays That she hunts out in crooked bookshops for days and days and days She’ll sit addicted at breakfast, soaking up the back of the cornflakes box And the information she gets from what she reads makes her a total fox Cos she’s interesting & unique & her theories make me go weak at the knees I want a girl who reads A girl who’s eyes will analyze The menu over dinner Who’ll use what she learns to kick my ass in arguments so she always ends the winner But she’ll still be sweet and she’ll still be flirty Cos she loves the classics and the classics are dirty So late at night she’d always have me in a stupor As she paraphrases the raunchier moments from the works of Jilly Cooper See, some guys prefer asses Some prefer tits And I’m not saying that I don’t like those bits But what’s more important What supersedes Is a girl with passion, wit and dreams So I’d like a girl who reads.

As women we're raised to take tepid two-steps, to doubt, to let the other make the move. And when you are caught with another girl in that dance... How many times have I stepped the same steps, trodden the same tired grooves of my mind, an ouroboros of extreme elation and suffocating uncertainty? How does one get out of this labyrinth? Burn all your romantic novels, cough on the fumes till you spit out the sediment? Bury your pink lingerie in a bed of rock, quell those femme yearnings, become stone?

- Mis sueños son míos. Para cumplirlos o para perderlos. - También para compartirlos.

Sticks and stones may break my bones, but grenades and air strikes will silence Allah's throne.

The very stone one kicks with one’s boot will outlast Shakespeare.

A rolling stone gathers no moss,

Grundy Dopps, a sour-looking little pinch of white trash, waddled out of his trailer that morning somehow knowing it wasn’t going to be his day.

Wakanda forever.

When I was a kid, I just read and read. We were lucky enough to have gone to England and had a whole bunch of Penguin Puffins books, like The Land of Green Ginger by Noel Langley, which is hilarious. I would love to be able to write a book like that, but I don't know that I have a humorous bone in my body when it comes to writing. Once on a Time by A.A. Milne. I read a lot of old, old fantasy stuff. The Carbonelbooks by Barbara Sleigh. Then when I got a little older I loved Zilpha Keatley Snyder. I was a big fan of romance and when I got a little bit older I would read a Harlequin romance or a Georgette Heyer novel and then David Copperfield, and then another genre book and then Irving Stone's The Agony and the Ecstasy. I was that kind of reader. One book that I loved was I Capture the Castle by Dodie Smith. I loved voice and that book had it in spades. And then of course I grew into loving Jane Eyre.

- Siempre pienso en la nieve como en uno de esos tiempos entre tiempos. En esas ocasiones hay algo mágico, según nos cuentan las leyendas. La niebla, el amanecer, el crepúsculo...Cuando el mundo no es ni una cosa ni la otra. Eso mismo me parecen a mi la nieve y el hielo, el mundo convertido en un espacio blanco, silencioso y muy bello, formado por cristales y nubes.

And the plane began it's takeoff. How exciting it was to lift off from the ground with a jerk and see the houses that became parallelepipettes and the streets that changed into strips and the countryside that was reduced to a green patch and the sea that inclined like a compact paving stone and the clouds that fell below in a landslide of soft rocks and the anguish, the pain, the very happiness that became a part of a unique luminous motion. It seemed to me that flying subjected everything to a process of simplification and I sighed, I tried to lose myself. Every so often I asked Nino "are you happy?" and he nodded yes, kissed me. At times I had the impression that the floor under my feet, the only surface I could count on, was trembling.

most common people oft he market-place much prefer light literature to improving books. The problem is, that so many romances contain slanderous anecdotes about sovereigns and ministers or cast aspersions upon man’s wives and daughters so that they are packed with sex and violence. Even worse are those writers of the breeze-and-moonlight school, who corrupt the young with pornography and filth. As for books of the beauty-and-talented-scholar type, a thousand are written to a single pattern and none escapes bordering on indecency. They are filled with allusions to handsome, talented young men and beautiful, refined girls in history; but in order to insert a couple of his own love poems, the author invents stereotyped heroes and heroines with the inevitable low character to make trouble between them like a clown in a play, and makes even the slave girls talk pedantic nonsense. So all these novels are full of contradictions and absurdly unnatural.

A writer is someone who spends years patiently trying to discover the second being inside him, and the world that makes him who he is: when I speak of writing, what comes first to my mind is not a novel, a poem, or literary tradition, it is a person who shuts himself up in a room, sits down at a table, and alone, turns inward; amid its shadows, he builds a new world with words. This man – or this woman – may use a typewriter, profit from the ease of a computer, or write with a pen on paper, as I have done for 30 years. As he writes, he can drink tea or coffee, or smoke cigarettes. From time to time he may rise from his table to look out through the window at the children playing in the street, and, if he is lucky, at trees and a view, or he can gaze out at a black wall. He can write poems, plays, or novels, as I do. All these differences come after the crucial task of sitting down at the table and patiently turning inwards. To write is to turn this inward gaze into words, to study the world into which that person passes when he retires into himself, and to do so with patience, obstinacy, and joy. As I sit at my table, for days, months, years, slowly adding new words to the empty page, I feel as if I am creating a new world, as if I am bringing into being that other person inside me, in the same way someone might build a bridge or a dome, stone by stone. The stones we writers use are words. As we hold them in our hands, sensing the ways in which each of them is connected to the others, looking at them sometimes from afar, sometimes almost caressing them with our fingers and the tips of our pens, weighing them, moving them around, year in and year out, patiently and hopefully, we create new worlds.

It was as though grace and peace were bestowed on them out of the sanctity of marriage itself, which simply furnished them to one another, free and sufficient as rain to leaf. It was as if they were not making marriage but being made by it, and, while it held them, time and their lives flowed over them, like swift water over stones, rubbing them together, grinding off their edges, making them fit together, fit to be together, in the only way that fragments can be rejoined. And though Andy did not understand this, and though he suffered from it, he trusted it and rejoiced in it.

Was it possible to love more than one person at the same time? I had always thought it just kind of a convenient notion that authors of novels and screen plays used to amp up intrigue in their stories. I could remember more than a few times while reading a book or watching a movie, I had laughed and rolled my eyes at the heroine for finding herself in such a situation. And yet . . . here I was . . .

Remembering is my only job and it's hard work. We are natural-born amnesiacs, hardwired to let go of the past, to release ourselves from history; the only way to withstand our pain is to forget our pain. We may think we don't forget, but we do. Time wears down the rough edges of our memory, sure as a stone on the river bank is smoothed by the rushing current. And like the eroding stone, the memory fades so gradually we don't even feel it. We don't notice. Eighteen years fly by, whoosh, and we don't even realize that not long ago, we didn't all drink bottled water, the Soviet Union loomed as a threat, smoking was commonplace in restaurants, and Bono was just a rockstar. What I want... all I want... is not to forget. But it's an uphill battle. Over time, the image blurs, the scent dissipates, the memory fades.

Your Highness, I understand your everything." Hua Cheng said quietly. "Your courage, your despair. Your kindness, your pain. Your resentment, your hate. Your wisdom, your foolishness. "If I could, I would have you use me as your stepping stone, the bridge you take apart after crossing, the bones you need to trample on your climb, the sinner who endures the agony of a million knives. But I know you won't allow it.

Jessica Stone. The Jessica Stone. My costar. As in, indie film poster child, beloved by the internet for being sexy and cute and funny, sure to snag an Oscar one day Jessica Stone. I think I saw her last movie in theaters fifteen times, and not just because it was based on a graphic novel. Don’t fanboy, I order myself. Don’t fanboy. Gail looks at me, surprised. “But Dare, we were—” I cough. Twice. Gail looks between Jessica Stone and me, widens her eyes, and finally gets it. Her ears go even redder. “Oh. Oh.” She grabs her backpack and makes a hasty retreat. “I…um. I’ll be around if you need me, Dare.” After the door closes, Jessica Stone turns her eyes—which are super, freakishly, ice-water blue—to me. “I didn’t mean to intrude.” My tongue ties into ten hundred knots. She can intrude as much as she wants. I mean, not intrude—like, let me politely be in her presence for the rest of my life—but intruding works too. Into my life. As much as she wants. Is that weird? It’s probably weird. But it’s Jessica Stone. Damn it, man, don’t fanboy.

Like the moon, the novel is a symbol and a necessary reality. Ideally it serves neither gods nor masters. Philosopher’s stone, it sublimates, precipitates, and quickens. House of Keys, it opens all our darkest doors. May the Pol Pot Persons of all genders and denominations take heed: to create a fictional world with rigor and passion, to imagine a character of any sex, place, time, or color and make it palpitate and quiver, to catapult it into the deepest forests of our most luminous reveries, is to commit an act of empathy. To write a novel of the imagination is a gesture of tenderness; to enter the body of a book is a fearless act and generous.

ROBERT MASELLO is the author of many previous works of fiction and nonfiction, most recently the novels Blood and Ice and The Medusa Amulet. A native of Evanston, Illinois, he studied writing under the novelists Robert Stone and Geoffrey Wolff at Princeton, and has since taught and lectured at many leading universities. For six years, he was the visiting lecturer in literature at Claremont McKenna College. He now lives and works in Santa Monica,

Bandaged in dirty clouds and seeping rabbit milk from a wound in its side, the sun rolls the stone from the tomb of night, to emerge—pale, blinking, but triumphant—into Easter's yard, somewhere between “Coca-Cola” and “IBMmmm.

If I have to look at one more pansy in mascara attempting to be ‘threatening’ while wearing more flounces, zips and hair lacquer than a female impersonator, I will do serious damage to anyone who writes another paranormal romance.

Bearing witness from the sides of the room, ten or more lepers shouted at the bizarre scene, “Diable! Diable!” And then chants of some sort, or prayers, followed by more shouts of “Diable!” They were hurling these words at Moreau like stones.

After walking the Royal Mile, we visit Edinburgh Castle. Overlooking the city from the grassy hilltop of the Castle Rock, the fortress itself looks as though it has been carved from the very stone upon which it sits. It is powerful yet elegant, lavish yet wholly inviting to anyone fortunate enough to find themselves standing at the castle gate. These are doors and walls and windows that have seen kings and queens, saints and sinners, voyagers from all corners of the world. And now us.

Encircling all this was a ring of flame, the holiness of God, my Mother, blazing everywhere. Our abbot and prior preached that God was above all things, and yet my vision told me that God was in all things, alive inside every stone and leaf. A white cloud, filled with light, opened and a voice began to sing. I am the breeze that nurtures everything green and growing, that urges the blossoms to flourish, the fruits to ripen. I am the dew that makes the grasses laugh with the joy of life.

She said that we didn't know anything, either as children or now, that we were therefore not in a position to understand anything, that everything in the neighbourhood, every stone or piece of wood, everything, anything you could name, was already there before us, but we had grown up without realizing it, without ever even thinking about it. Not just us. Her father pretended that there had been nothing before. Her mother did the same, my mother, my father, even Rino. And yet Stefano's grocery store before, had been the carpenter shop of Alfredo Peluso, Pasquale's father. And yet Don Achille's money had been made before. And the Solaras' money as well. She had tested this out on her father and mother. They didn't know anything, they wouldn't talk about anything. Not Fascism, not the king. No injustice, no oppression, no exploitation. They hated Don Achille and were afraid of the Solaras. But they overlooked it and went to spend their money both at Don Achille's son's and at the Solaras', and sent us, too. And they votes for the Fascists, for the monarchists, as the Solaras wanted them to. And they thought that what had happened before was past, and in order to live quietly, they placed a stone on top of it, and so, without knowing it, they continued it, they were immersed in the things of before, and we kept them inside us, too.

And now you know it, don't you, Daddy? The only things worth seeking are treasures in heaven. And those treasures are our acts of love. People loved me, cared for me, and prayed for me not because of what I looked like or how important I was. My weakness brought out the best in people. I asked God why so many people loved me so much, and God said, `The most beautiful stones are the ones that have been tossed by the wind and washed by the water and polished to brilliance by life's strongest storms.' That is why, Daddy. That is why I was born.

Charlie stood there like a stone monolith, blinking at his friend. Former friend? Christ. Eventually, he managed to utter, “So it’s like that, then?” Sean visibly swallowed, stood up straight, and seemed to force himself to meet Charlie’s provoking gaze. “It is exactly like that,” he replied, brave as can be.

Bucket had started his criminal career in Braas, not far from when Allan and his new friends now found themselves. There he had gotten together with some like-minded peers and started the motorcycle club called The Violence. Bucket was the leader; he decided which newsstand was to be robbed of cigarettes next. He was the one who has chosen the name- The Violence, in English, not swedish. And he was the one who unfortunately asked his girlfriend Isabella to sew the name of the motorcycle club onto ten newly stolen leather jackets. Isabella had never really learned to spell properly at school, not in Swedish, and certainly not in English. The result was that Isabella sewed The Violins on the jackets instead. As the rest of the club members had had similar academic success, nobody in the group noticed the mistake. So everyone was very surprised when one day a letter arrived for The Violins in Braas from the people in charge of the concert hall in Vaxjo. The letter suggested that, since the club obviously concerned itself with classical music, they might like to put in am appearance at a concert with the city’s prestigious chamber orchestra, Musica Viate. Bucket felt provoked; somebody was clearly making fun of him. One night he skipped the newsstand, and instead went into Vaxjo to throw a brick through the glass door of the concert hall. This was intended to teach the people responsible lesson in respect. It all went well, except that Bucket’s leather glove happened to follow the stone into the lobby. Since the alarm went off immediately, Bucket felt it would be unwise to try to retrieve the personal item in question. Losing the glove was not good. Bucket had traveled to Vaxjo by motorbike and one hand was extremely cold all the way home to Braas that night. Even worse was the fact that Bucket’s luckless girlfriend had written Bucket’s name and adress inside the glove, in case he lost it." For more quotes from the novel visit my blog: frommybooks.wordpress.com

So we are nearing the end. The right-hand, still untasted part of the novel, which, during our delectable reading, we would lightly feel, mechanically testing whether there was still plenty left (and our fingers were always gladdened by the placid, faithful thickness) has suddenly, for no reason at all, become quite meager: a few minutes of quick reading, already downhill, and–O horrible! The heap of cherries, whose mass had seemed to us such a ruddy and glossy black, had suddenly become discrete drupes: the one over there with the scar is a little rotten, and this one has shriveled and dried up around its stone (and the very last one is inevitably hard and unripe) O horrible!

I took her to my favorite bookstore, where I loaded her up with Ian Rankin novels and she bullied me into buying a book on European snails. I took her to the chip shop on the corner, where she distracted me by giving a detailed-and-probably-bullshit account of her brother's sex life (drones, cameras, his rooftop pool) while she ate all my fried fish and left her own plate untouched. I took her for a walk along the Thames, where I showed her how to skip a stone and she nearly punctured a hole in a passing pontoon boat. We went to my favorite curry place. Twice. In one day. She'd gotten this look on her face when she took her first bite of their pakora, this blissful lids-lowered look, and two hours later I decided that it made up for the embarrassment I felt that night, when I found her instructing my sister, Shelby on the best way to bleach out bloodstains, using the curry dribble on my shirt as a test case. In short, it was both the best three days I'd ever had, my mother notwithstanding, and a fairly standard week with Charlotte Holmes.

What would you like for your own life, Kate, if you could choose?” “Anything?” “Of course anything.” “That’s really easy, Aunty Ivy.” “Go on then.” “A straw hat...with a bright scarlet ribbon tied around the top and a bow at the back. A tea-dress like girls used to wear, with big red poppies all over the fabric. A pair of flat, white pumps, comfortable but really pretty. A bicycle with a basket on the front. In the basket is a loaf of fresh bread, cheese, fruit oh...and a bottle of sparkly wine, you know, like posh people drink. “I’m cycling down a lane. There are no lorries or cars or bicycles. No people – just me. The sun is shining through the trees, making patterns on the ground. At the end of the lane is a gate, sort of hidden between the bushes and trees. I stop at the gate, get off the bike and wheel it into the garden. “In the garden there are flowers of all kinds, especially roses. They’re my favourite. I walk down the little path to a cottage. It’s not big, just big enough. The front door needs painting and has a little stained glass window at the top. I take the food out of the basket and go through the door. “Inside, everything is clean, pretty and bright. There are vases of flowers on every surface and it smells sweet, like lemon cake. At the end of the room are French windows. They need painting too, but it doesn’t matter. I go through the French windows into a beautiful garden. Even more flowers there...and a veranda. On the veranda is an old rocking chair with patchwork cushions and next to it a little table that has an oriental tablecloth with gold tassels. I put the food on the table and pour the wine into a glass. I’d sit in the rocking chair and close my eyes and think to myself... this is my place.” From A DISH OF STONES

My own mother was evacuated at the age of five during World War Two and my father was a young man working as an ARP warden. This novel is purely fictitious, but I wanted to explore the traumas that many ordinary people of the war generation suffered, experiences which would be quite unimaginable to many of us today and then to contrast them with the issues we all face in the modern day.

I suppose it could be said that indeed all my roads to Arthur have led to my novel, The Green Knight’s Apprentice. I read Malory when I was very young and my first reading left me with very v ivid images that haunt me still: white stags, headless damsels, horns hanging from tree limbs, and giants. Oh yes, I had the usual sword in the stone, lady of the lake, and Holy Grail images, too, I assure you.

Be men to be proud of. Actions speak louder than words, boys. When you do wrong, and believe me, you will do more wrong than right some days, you own up to it. Completely. You can’t take back the stone once it’s thrown. The reality is, you can never really right the wrong once it’s done. It will live on forever in one’s memory. You can atone for it. You can work hard to assure you never make the same mistake twice. But there is a time for freedoms and a time for life responsibilities. Be the man to handle his responsibilities. Be the man to take responsibility for his shortcomings and failures. Take pride in being humble enough to admit when you are wrong and when you have failed....“People will think many things of you. Some true, some complete lies. Their opinions don’t matter. The half-truths, the lies, the many things people will think of you throughout this life should never hold weight. It is what you see in the mirror looking back at you that should tell you the character and the man in which you are. Look in the mirror, boys, and be men to be proud of.” Excerpt From: Camaron, Chelsea. “Merciless Ride: A Hellions Novel.” Whiskey Girls Publishing, 0101-01-01T00:00:00+00:00. iBooks. This material may be protected by copyright.

But the Anthropocene isn’t a novel phenomenon of the last few centuries. Already tens of thousands of years ago, when our Stone Age ancestors spread from East Africa to the four corners of the earth, they changed the flora and fauna of every continent and island on which they settled. They drove to extinction all the other human species of the world, 90 per cent of the large animals of Australia, 75 per cent of the large mammals of America and about 50 per cent of all the large land mammals of the planet – and all before they planted the first wheat field, shaped the first metal tool, wrote the first text or struck the first coin.

I too, weary of pleading an incomprehensible cause, at six and eight the thousand flowers of rhetoric, let myself drop among the contumacious, nice image that, telescoping space, it must be the Pulitzer Prize, they want to bore me to sleep, at long range, for fear I might defend myself, they want to catch me alive, so as to be able to kill me, thus I shall have lived, they think I’m alive, what a business, were there but a cadaver it would smack of body-snatching, not in a womb either, the slut has yet to menstruate capable of whelping me, that should singularly narrow the field of research, a sperm dying, of cold, in the sheets, feebly wagging its little tail, perhaps I’m a drying sperm, in the sheets of an innocent boy, even that takes time, no stone must be left unturned, one mustn’t be afraid of making a howler, how can one know it is one before it’s made, and one it most certainly is, now that it’s irrevocable, for the good reason, here’s another, here comes another, unless it escapes them in time, what a hope, the bright boy is there, for the excellent reason that counts as living too, counts as murder, it’s notorious, ah you can’t deny it, some people are lucky, born of a wet dream and dead before morning, I must say I’m tempted, no, the testis has yet to descend that would want any truck with me, it’s mutual, another gleam down the drain.

My eye keeps escaping towards the big blue lacquered door that I've had painted in a trompe-l'oeil on the back wall. I would like to call Mrs. Cohen back and tell her there's no problem for her son's bar mitzvah, everything's ready: I would like to go through that door and disappear into the garden my mind's eye has painted behind it. The grass there is soft and sweet, there are bulrushes bowing along the banks of a river. I put lime trees in it, hornbeams, weeping elms, blossoming cherries and liquidambars. I plant it with ancient roses, daffodils, dahlias with their melancholy heavy heads, and flowerbeds of forget-me-nots. Pimpernels, armed with all the courage peculiar to such tiny entities, follow the twists and turns between the stones of a rockery. Triumphant artichokes raise their astonished arrows towards the sky. Apple trees and lilacs blossom at the same time as hellebores and winter magnolias. My garden knows no seasons. It is both hot and cool. Frost goes hand in hand with a shimmering heat haze. The leaves fall and grow again. row and fall again. Wisteria climbs voraciously over tumbledown walls and ancient porches leading to a boxwood alley with a poignant fragrance. The heady smell of fruit hangs in the air. Huge peaches, chubby-cheeked apricots, jewel-like cherries, redcurrants, raspberries, spanking red tomatoes and bristly cardoons feast on sunlight and water, because between the sunbeams it rains in rainbow-colored droplets. At the very end, beyond a painted wooden fence, is a woodland path strewn with brown leaves, protected from the heat of the skies by a wide parasol of foliage fluttering in the breeze. You can't see the end of it, just keep walking, and breathe.

She laughed, a sound of pure joy, and she cried more, because that joy was a miracle. 'That's a sound I never thought to hear from you, girl,' Amren said beside her. The delicate female was regal in a gown of light grey, diamonds at her throat and wrists, her usual black bob silvered with the starlight. Nesta wiped away her tears, smearing the stardust upon her cheeks and not caring. For a long moment, her throat worked, trying to sort through all that sought to rise from her chest. Amren just held her stare, waiting. Nesta fell to one knee and bowed her head. 'I am sorry.' Amren made a sound of surprise, and Nesta knew others were watching, but she didn't care. She kept her head lowered and let the words flow from her heart. 'You gave me kindness, and respect, and your time, and I treated them like garbage. You told me the truth, and I did not want to hear it. I was jealous, and scared, and too proud to admit it. But losing your friendship is a loss I can't endure.' Amren said nothing, and Nesta lifted her head to find the female smiling, something like wonder on her face. Amren's eyes became lined with silver, a hint of how they had once been. 'I went poking about the House when we arrived an hour ago. I saw what you did to the place.' Nesta's brow furrowed. She hadn't changed anything. Amren grabbed Nesta under the shoulder, hauling her up. 'The House sings. I can hear it in the stone. And when I spoke to it, it answered. Granted, it gave me a pile of romance novels by the end of it, but... you caused this House to come alive, girl.' 'I didn't do anything.' 'You Made the House,' Amren said, smiling again, a slash of red and white in the glowing dark. 'When you arrived here, what did you wish for most?' Nesta considered, watching a few stars whiz past. 'A friend. Deep down, I wanted a friend.' 'So you Made one. Your power brought the House to life with a silent wish born from loneliness and desperate need.' 'But my power only creates terrible things. The House is good,' Nesta breathed. 'Is it?' Nesta considered. 'The darkness in the pit of the library- it's the heart of the House.' Amren nodded. 'And where is it now?' 'It hasn't made an appearance in weeks. But it's still there. I think it's just... being managed. Maybe it's the House's knowledge that I'm aware of it, and didn't judge it, makes it easier to keep in check.' Amren put a hand above Nesta's heart. 'That's the key, isn't it? To know the darkness will always remain, but how you choose to face it, handle it... that's the important part. To not let it consume. To focus upon the good, the things that fill you with wonder.' She gestured to the stars zooming past. 'The struggle with that darkness is worth it, just to see such things.' But Nesta's gaze had slid from the stars- finding a familiar face in the crowd, dancing with Mor. Laughing, his head thrown back. So beautiful she had no words for it. Amren chuckled gently. 'And worth it for that, too.' Nesta looked back at her friend. Amren smiled, and her face became as lovely as Cassian's, as the stars arching past. 'Welcome back to the Night Court, Nesta Archeron.

Say what you will of religion, but draw applicable conclusions and comparisons to reach a consensus. Religion = Reli = Prefix to Relic, or an ancient item. In days of old, items were novel, and they inspired devotion to the divine, and in the divine. Now, items are hypnotizing the masses into submission. Take Christ for example. When he broke bread in the Bible, people actually ate, it was useful to their bodies. Compare that to the politics, governments and corrupt, bumbling bureacrats and lobbyists in the economic recession of today. When they "broke bread", the economy nearly collapsed, and the benefactors thereof were only a select, decadent few. There was no bread to be had, so they asked the people for more! Breaking bread went from meaning sharing food and knowledge and wealth of mind and character, to meaning break the system, being libelous, being unaccountable, and robbing the earth. So they married people's paychecks to the land for high ransoms, rents and mortgages, effectively making any renter or landowner either a slave or a slave master once more. We have higher class toys to play with, and believe we are free. The difference is, the love of profit has the potential, and has nearly already enslaved all, it isn't restriced by culture anymore. Truth is not religion. Governments are religions. Truth does not encourage you to worship things. Governments are for profit. Truth is for progress. Governments are about process. When profit goes before progress, the latter suffers. The truest measurement of the quality of progress, will be its immediate and effective results without the aid of material profit. Quality is meticulous, it leaves no stone unturned, it is thorough and detail oriented. It takes its time, but the results are always worth the investment. Profit is quick, it is ruthless, it is unforgiving, it seeks to be first, but confuses being first with being the best, it is long scale suicidal, it is illusory, it is temporary, it is vastly unfulfilling. It breaks families, and it turns friends. It is single track minded, and small minded as well. Quality, would never do that, my friends. Ironic how dealing and concerning with money, some of those who make the most money, and break other's monies are the most unaccountable. People open bank accounts, over spend, and then expect to be held "unaccountable" for their actions. They even act innocent and unaccountable. But I tell you, everything can and will be counted, and accounted for. Peace can be had, but people must first annhilate the love of items, over their own kind.

Many people approach Tolstoy with mixed feelings. They love the artist in him and are intensely bored by the preacher; but at the same time it is rather difficult to separate Tolstoy the preacher from Tolstoy the artist—it is the same deep slow voice, the same robust shoulder pushing up a cloud of visions or a load of ideas. What one would like to do, would be to kick the glorified soapbox from under his sandalled feet and then lock him up in a stone house on a desert island with gallons of ink and reams of paper—far away from the things, ethical and pedagogical, that diverted his attention from observing the way the dark hair curled above Anna's white neck. But the thing cannot be done : Tolstoy is homogeneous, is one, and the struggle which, especially in the later years, went on between the man who gloated over the beauty of black earth, white flesh, blue snow, green fields, purple thunderclouds, and the man who maintained that fiction is sinful and art immoral—this struggle was still confined within the same man. Whether painting or preaching, Tolstoy was striving, in spite of all obstacles, to get at the truth. As the author of Anna Karenin, he used one method of discovering truth; in his sermons, he used another; but somehow, no matter how subtle his art was and no matter how dull some of his other attitudes were, truth which he was ponderously groping for or magically finding just around the corner, was always the same truth — this truth was he and this he was an art. What troubles one, is merely that he did not always recognize his own self when confronted with truth. I like the story of his picking up a book one dreary day in his old age, many years after he had stopped writing novels, and starting to read in the middle, and getting interested and very much pleased, and then looking at the title—and seeing: Anna Karenin by Leo Tolstoy. What obsessed Tolstoy, what obscured his genius, what now distresses the good reader, was that, somehow, the process of seeking the Truth seemed more important to him than the easy, vivid, brilliant discovery of the illusion of truth through the medium of his artistic genius. Old Russian Truth was never a comfortable companion; it had a violent temper and a heavy tread. It was not simply truth, not merely everyday pravda but immortal istina—not truth but the inner light of truth. When Tolstoy did happen to find it in himself, in the splendor of his creative imagination, then, almost unconsciously, he was on the right path. What does his tussle with the ruling Greek-Catholic Church matter, what importance do his ethical opinions have, in the light of this or that imaginative passage in any of his novels? Essential truth, istina, is one of the few words in the Russian language that cannot be rhymed. It has no verbal mate, no verbal associations, it stands alone and aloof, with only a vague suggestion of the root "to stand" in the dark brilliancy of its immemorial rock. Most Russian writers have been tremendously interested in Truth's exact whereabouts and essential properties. To Pushkin it was of marble under a noble sun ; Dostoevski, a much inferior artist, saw it as a thing of blood and tears and hysterical and topical politics and sweat; and Chekhov kept a quizzical eye upon it, while seemingly engrossed in the hazy scenery all around. Tolstoy marched straight at it, head bent and fists clenched, and found the place where the cross had once stood, or found—the image of his own self.