Story Of The Eye Quotes

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I like to see people reunited, I like to see people run to each other, I like the kissing and the crying, I like the impatience, the stories that the mouth can't tell fast enough, the ears that aren't big enough, the eyes that can't take in all of the change, I like the hugging, the bringing together, the end of missing someone.
Jonathan Safran Foer (Extremely Loud & Incredibly Close)
Writing is something you do alone. Its a profession for introverts who want to tell you a story but don't want to make eye contact while doing it." [Thoughts from Places: The Tour, Nerdfighteria Wiki, January 17, 2012]
John Green
Ah, what happiness it is to be with people who are all happy, to press hands, press cheeks, smile into eyes.
Katherine Mansfield
The story of life is quicker than the wink of an eye, the story of love is hello and goodbye...until we meet again
Jimi Hendrix
I could never pretend something I didn't feel. I could never make love if I didn't love, and if I loved I could no more hide the fact than change the color of my eyes.
Marilyn Monroe (My Story)
For she had eyes and chose me.
William Shakespeare (Othello)
Tessa craned her head back to look at Will. “You know that feeling,” she said, “when you are reading a book, and you know that it is going to be a tragedy; you can feel the cold and darkness coming, see the net drawing tight around the characters who live and breathe on the pages. But you are tied to the story as if being dragged behind a carriage and you cannot let go or turn the course aside.” His blue eyes were dark with understanding — of course Will would understand — and she hurried on. “I feel now as if the same is happening, only not to characters on a page but to my own beloved friends and companions. I do not want to sit by while tragedy comes for us. I would turn it aside, only I struggle to discover how that might be done.” “You fear for Jem,” Will said. “Yes,” she said. “And I fear for you, too.” “No,” Will said, hoarsely. “Don’t waste that on me, Tess.
Cassandra Clare (Clockwork Princess (The Infernal Devices, #3))
We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.
Franz Kafka
Sometimes when she told stories about the past her eyes would get teary from all the memories she had, but they weren't tears. She wasn't crying. They were just the memories, leaking out.
Ruth Ozeki (A Tale for the Time Being)
The moral of this story is: Beware the man who faces you unarmed. If in his eyes you are not the target, then you can be sure you are the weapon.
Olivie Blake (The Atlas Six (The Atlas, #1))
I can’t lose the thing I’ve held onto for so long, you know?” My face twists up from the pain of pushing it out. “I just really need it to be a love story, you know? I really, really need it to be that.” “I know,” she says. “Because if it isn’t a love story, then what is it”? I look to her glassy eyes, her face of wide open empathy. “It’s my life,” I say. “This has been my whole life.
Kate Elizabeth Russell (My Dark Vanessa)
You must let what happens happen. Everything must be equal in your eyes, good and evil, beautiful and ugly, foolish and wise.
Michael Ende (The Neverending Story)
I spy with my little eye a great story.
John Green (Paper Towns)
Love's stories written in love's richest books. To fan the moonbeams from his sleeping eyes.
William Shakespeare (A Midsummer Night's Dream)
Sometimes you want to say, “I love you, but…” Yet the “but” takes away the ‘I love you’. In love their are no ‘buts’ or ‘if’s’ or ‘when’. It’s just there, and always. No beginning, no end. It’s the condition-less state of the heart. Not a feeling that comes and goes at the whim of the emotions. It is there in our heart, a part of our heart…eventually grafting itself into each limb and cell of our bodies. Love changes our brain, the way we move and talk. Love lives in our spirit and graces us with its presence each day, until death. To say “I love you, but….” is to say, “I did not love you at all”. I say this to you now: I love you, with no beginning, no end. I love you as you have become an extra necessary organ in my body. I love you as only a girl could love a boy. Without fear. Without expectations. Wanting nothing in return, except that you allow me to keep you here in my heart, that I may always know your strength, your eyes, and your spirit that gave me freedom and let me fly.
Coco J. Ginger
For, after all, you do grow up, you do outgrow your ideals, which turn to dust and ashes, which are shattered into fragments; and if you have no other life, you just have to build one up out of these fragments. And all the time your soul is craving and longing for something else. And in vain does the dreamer rummage about in his old dreams, raking them over as though they were a heap of cinders, looking in these cinders for some spark, however tiny, to fan it into a flame so as to warm his chilled blood by it and revive in it all that he held so dear before, all that touched his heart, that made his blood course through his veins, that drew tears from his eyes, and that so splendidly deceived him!
Fyodor Dostoevsky (White Nights and Other Stories)
The future of our relationship hinged on advice from a fifteen-year old girl, a probably untrue story from a one-eyed Chihuahua trainer, and me unromantically – yet skillfully – kissing you on top of silverware and china?
Richelle Mead (The Indigo Spell (Bloodlines, #3))
Cheekbones that cut like ice and eyes like liquid scotch. Loren Hale is an alcoholic beverage and he doesn't even know it.
Krista Ritchie (Addicted to You (Addicted, #1))
It has made me better loving you... it has made me wiser, and easier, and brighter. I used to want a great many things before, and to be angry that I did not have them. Theoretically, I was satisfied. I flattered myself that I had limited my wants. But I was subject to irritation; I used to have morbid sterile hateful fits of hunger, of desire. Now I really am satisfied, because I can’t think of anything better. It’s just as when one has been trying to spell out a book in the twilight, and suddenly the lamp comes in. I had been putting out my eyes over the book of life, and finding nothing to reward me for my pains; but now that I can read it properly I see that it’s a delightful story.
Henry James (The Portrait of a Lady)
So she told me a story. A story about a boy who was born with very green eyes, and the man who was so captivated by their color that he searched the world for a stone in exactly the same shade.” His voice is fading now, falling into whispers so quiet I can hardly hear him. “She said the boy was me. That this ring was made from that very same stone, and that the man had given it to her, hoping one day she’d be able to give it to me. It was his gift, she said, for my birthday." He stops. Breathes. “And then she took it off, slipped it on my index finger, and said, ‘If you hide your heart, he will never be able to take it from you'.
Tahereh Mafi (Ignite Me (Shatter Me, #3))
No, listen. I've got it now. You meet a girl: shy, unassuming. If you tell her she's beautiful, she'll think you're sweet, but she won't believe you. She knows that beauty lies in your beholding." Bast gave a grudging shrug. "And sometimes that's enough." His eyes brightened. "But there's a better way. You show her she is beautiful. You make mirrors of your eyes, prayers of your hands against her body. It is hard, very hard, but when she truly believes you..." Bast gestured excitedly. "Suddenly the story she tells herself in her own head changes. She transforms. She isn't seen as beautiful. She is beautiful, seen.
Patrick Rothfuss (The Name of the Wind (The Kingkiller Chronicle, #1))
They pray that their children will be brave and clever and strong, that they will tell the true stories instead of the easy ones. They pray for sons with red eyes and daughters with horns.
Leigh Bardugo (The Language of Thorns: Midnight Tales and Dangerous Magic (Grishaverse, #0.5 & 2.5 & 2.6))
Shall I tell you a story? A new and terrible one? A ghost story? Are you ready? Shall I begin? Once upon a time there were four girls. One was pretty. One was clever. One charming, and one...one was mysterious. But they were all damaged, you see. Something not right about the lot of them. Bad blood. Big dreams. Oh, I left that part out. Sorry, that should have come before. They were all dreamers, these girls. One by one, night after night, the girls came together. And they sinned. Do you know what that sin was? No one? Pippa? Ann? Their sin was that they believed. Believed they could be different. Special. They believed they could change what they were--damaged, unloved. Cast-off things. They would be alive, adored, needed. Necessary. But it wasn't true. This is a ghost story remember? A tragedy. They were misled. Betrayed by their own stupid hopes. Things couldn't be different for them, because they weren't special after all. So life took them, led them, and they went along, you see? They faded before their own eyes, till they were nothing more than living ghosts, haunting each other with what could be. With what can't be. There, now. Isn't that the scariest story you've ever heard?
Libba Bray (A Great and Terrible Beauty (Gemma Doyle, #1))
You must know that you are worth much to me whether you accomplish anything or not. Even if you are rejected in the world's eyes, you are valuable to me.
Stormie Omartian (Stormie: A Story of Forgiveness and Healing)
He looked at me with a hundred stories lit behind his eyes.
Adrienne Young (Fable (The World of the Narrows, #1))
Ultimately — or at the limit — in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight,'Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.
Roland Barthes (Camera Lucida: Reflections on Photography)
All stories are true,” Skarpi said. “But this one really happened, if that’s what you mean.” He took another slow drink, then smiled again, his bright eyes dancing. “More or less. You have to be a bit of a liar to tell a story the right way. Too much truth confuses the facts. Too much honesty makes you sound insincere.
Patrick Rothfuss (The Name of the Wind (The Kingkiller Chronicle, #1))
Do you know what it feels like to be aware of every star, every blade of grass? Yes. You do. You call it 'opening your eyes again.' But you do it for a moment. We have done it for eternity. No sleep, no rest, just endless... endless experience, endless awareness. Of everything. All the time. How we envy you, envy you! Lucky humans, who can close your minds to the endless deeps of space! You have this thing you call... boredom? That is the rarest talent in the universe! We heard a song — it went 'Twinkle twinkle little star....' What power! What wondrous power! You can take a billion trillion tons of flaming matter, a furnace of unimaginable strength, and turn it into a little song for children! You build little worlds, little stories, little shells around your minds, and that keeps infinity at bay and allows you to wake up in the morning without screaming!
Terry Pratchett (A Hat Full of Sky (Discworld, #32; Tiffany Aching, #2))
When I saw him look at me with lust, I dropped my eyes but, in glancing away from him, I caught sight of myself in the mirror. And I saw myself, suddenly, as he saw me, my pale face, the way the muscles in my neck stuck out like thin wire. I saw how much that cruel necklace became me. And, for the first time in my innocent and confined life, I sensed in myself a potentiality for corruption that took my breath away.
Angela Carter (The Bloody Chamber and Other Stories)
I would tell you stories from dawn to dusk if it meant filling your eyes with happiness.
Elizabeth Lim (Six Crimson Cranes (Six Crimson Cranes, #1))
For people could close their eyes to greatness, to horrors, to beauty, and their ears to melodies or deceiving words. But they couldn't escape scent. For scent was a brother of breath. Together with breath it entered human beings, who couldn't defend themselves against it, not if they wanted to live. And scent entered into their very core, went directly to their hearts, and decided for good and all between affection and contempt, disgust and lust, love and hate. He who ruled scent ruled the hearts of men.
Patrick Süskind (Perfume: The Story of a Murderer)
What is the point? We assume that every time we do anything we know what the consequences will be, i.e., more or less what we intend them to be. This is not only not always correct. It is wildly, crazily, stupidly, cross-eyed-blithering-insectly wrong!
Douglas Adams (The Ultimate Hitchhiker's Guide: Five Complete Novels and One Story (Hitchhiker's Guide to the Galaxy, #1-5))
I've apparently been the victim of growing up, which apparently happens to all of us at one point or another. It's been going on for quite some time now, without me knowing it. I've found that growing up can mean a lot of things. For me, it doesn't mean I should become somebody completely new and stop loving the things I used to love. It means I've just added more things to my list. Like for example, I'm still beyond obsessed with the winter season and I still start putting up strings of lights in September. I still love sparkles and grocery shopping and really old cats that are only nice to you half the time. I still love writing in my journal and wearing dresses all the time and staring at chandeliers. But some new things I've fallen in love with -- mismatched everything. Mismatched chairs, mismatched colors, mismatched personalities. I love spraying perfumes I used to wear when I was in high school. It brings me back to the days of trying to get a close parking spot at school, trying to get noticed by soccer players, and trying to figure out how to avoid doing or saying anything uncool, and wishing every minute of every day that one day maybe I'd get a chance to win a Grammy. Or something crazy and out of reach like that. ;) I love old buildings with the paint chipping off the walls and my dad's stories about college. I love the freedom of living alone, but I also love things that make me feel seven again. Back then naivety was the norm and skepticism was a foreign language, and I just think every once in a while you need fries and a chocolate milkshake and your mom. I love picking up a cookbook and closing my eyes and opening it to a random page, then attempting to make that recipe. I've loved my fans from the very first day, but they've said things and done things recently that make me feel like they're my friends -- more now than ever before. I'll never go a day without thinking about our memories together.
Taylor Swift (Taylor Swift (Guitar Recorded Versions))
Oh," the girl said, shaking her head. "Don't be so simple. People adore monsters. They fill their songs and stories with them. They define themselves in relation to them. You know what a monster is, young shade? Power. Power and choice. Monsters make choices. Monsters shape the world. Monsters force us to become stronger, smarter, better. They sift the weak from the strong and provide a forge for the steeling of souls. Even as we curse monsters, we admire them. Seek to become them, in some ways." Her eyes became distant. "There are far, far worse things to be than a monster.
Jim Butcher (Ghost Story (The Dresden Files, #13))
Running out the anchor line, the pirates babbled to one another, and in the tangle of their barbaric language, Aspasia listened for one word—Athens. It lit up the darkness in her mind, like the single glint her eyes fixed on above the distant gray-green hills.
Yvonne Korshak (Pericles and Aspasia: A Story of Ancient Greece)
There was a girl, and her uncle sold her. Put like that it seems so simple. No man, proclaimed Donne, is an island, and he was wrong. If we were not islands, we would be lost, drowned in each other's tragedies. We are insulated (a word that means, literally, remember, made into an island) from the tragedy of others, by our island nature and by the repetitive shape and form of the stories. The shape does not change: there was a human being who was born, lived and then by some means or other, died. There. You may fill in the details from your own experience. As unoriginal as any other tale, as unique as any other life. Lives are snowflakes- forming patterns we have seen before, as like one another as peas in a pod (and have you ever looked at peas in a pod? I mean, really looked at them? There's not a chance you'll mistake one for another, after a minute's close inspection) but still unique. Without individuals we see only numbers, a thousand dead, a hundred thousand dead, "casualties may rise to a million." With individual stories, the statistics become people- but even that is a lie, for the people continue to suffer in numbers that themselves are numbing and meaningless. Look, see the child's swollen, swollen belly and the flies that crawl at the corners of his eyes, this skeletal limbs: will it make it easier for you to know his name, his age, his dreams, his fears? To see him from the inside? And if it does, are we not doing a disservice to his sister, who lies in the searing dust beside him, a distorted distended caricature of a human child? And there, if we feel for them, are they now more important to us than a thousand other children touched by the same famine, a thousand other young lives who will soon be food for the flies' own myriad squirming children? We draw our lines around these moments of pain, remain upon our islands, and they cannot hurt us. They are covered with a smooth, safe, nacreous layer to let them slip, pearllike, from our souls without real pain. Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives. A life that is, like any other, unlike any other. And the simple truth is this: There was a girl, and her uncle sold her.
Neil Gaiman (American Gods (American Gods, #1))
Chronicler shook his head and Bast gave a frustrated sigh. "How about plays? Have you seen The Ghost and the Goosegirl or The Ha'penny King?" Chronicler frowned. "Is that the one where the king sells his crown to an orphan boy?" Bast nodded. "And the boy becomes a better king than the original. The goosegirl dresses like a countess and everyone is stunned by her grace and charm." He hesitated, struggling to find the words he wanted. "You see, there's a fundamental connection between seeming and being. Every Fae child knows this, but you mortals never seem to see. We understand how dangerous a mask can be. We all become what we pretend to be." Chronicler relaxed a bit, sensing familiar ground. "That's basic psychology. You dress a beggar in fine clothes, people treat him like a noble, and he lives up to their expectations." "That's only the smallest piece of it," Bast said. "The truth is deeper than that. It's..." Bast floundered for a moment. "It's like everyone tells a story about themselves inside their own head. Always. All the time. That story makes you what you are. We build ourselves out of that story." Frowning, Chronicler opened his mouth, but Bast held up a hand to stop him. "No, listen. I've got it now. You meet a girl: shy, unassuming. If you tell her she's beautiful, she'll think you're sweet, but she won't believe you. She knows that beauty lies in your beholding." Bast gave a grudging shrug. "And sometimes that's enough." His eyes brightened. "But there's a better way. You show her she is beautiful. You make mirrors of your eyes, prayers of your hands against her body. It is hard, very hard, but when she truly believes you..." Bast gestured excitedly. "Suddenly the story she tells herself in her own head changes. She transforms. She isn't seen as beautiful. She is beautiful, seen." "What the hell is that supposed to mean?" Chronicler snapped. "You're just spouting nonsense now." "I'm spouting too much sense for you to understand," Bast said testily. "But you're close enough to see my point.
Patrick Rothfuss (The Name of the Wind (The Kingkiller Chronicle, #1))
The alchemist picked up a book that someone in the caravan had brought. Leafing through the pages, he found a story about Narcissus. The alchemist knew the legend of Narcissus, a youth who knelt daily beside a lake to contemplate his own beauty. He was so fascinated by himself that, one morning, he fell into the lake and drowned. At the spot where he fell, a flower was born, which was called the narcissus. But this was not how the author of the book ended the story. He said that when Narcissus died, the goddesses of the forest appeared and found the lake, which had been fresh water, transformed into a lake of salty tears. 'Why do you weep?' the goddesses asked. 'I weep for Narcissus," the lake replied. 'Ah, it is no surprise that you weep for Narcissus,' they said, 'for though we always pursued him in the forest, you alone could contemplate his beauty close at hand.' 'But... was Narcissus beautiful?' the lake asked. 'Who better than you to know that?' the goddesses asked in wonder. 'After all, it was by your banks that he knelt each day to contemplate himself!' The lake was silent for some time. Finally, it said: 'I weep for Narcissus, but I never noticed that Narcissus was beautiful. I weep because, each time he knelt beside my banks, I could see, in the depths of his eyes, my own beauty reflected.' 'What a lovely story,' the alchemist thought.
Paulo Coelho (The Alchemist)
Tell your daughters how you love your body. Tell them how they must love theirs. Tell them to be proud of every bit of themselves— from their tiger stripes to the soft flesh of their thighs, whether there is a little of them or a lot, whether freckles cover their face or not, whether their curves are plentiful or slim, whether their hair is thick, curly, straight, long or short. Tell them how they inherited their ancestors, souls in their smiles, that their eyes carry countries that breathed life into history, that the swing of their hips does not determine their destiny. Tell them never to listen when bodies are critiqued. Tell them every woman’s body is beautiful because every woman’s soul is unique.
Nikita Gill (The Girl and the Goddess: Stories and Poems of Divine Wisdom)
If you were my girlfriend I would give you a hundred lightning bugs in a green glass jar, so you could always see your way. I would give you a meadow full of wildflowers, where no two blooms would ever be alike. I would give you my bicycle, with its golden eye to protect you. I would write a story for you, and make you a princess who lived in a white marble castle. If you would only like me, I would give you magic. If you would only like me.
Robert McCammon (Boy's Life)
We had old architects and were working with what we had on hand. You’ve hired this new, young architect now, and, Pericles, I’m going to build you a statue of Athena—all gold and ivory, think of that, Pericles—and taller than our city walls.” Pericles raised his eyes toward the birds.
Yvonne Korshak (Pericles and Aspasia: A Story of Ancient Greece)
In any war story, but especially a true one, it's difficult to separate what happened from what seemed to happen. What seems to happen becomes its own happening and has to be told that way. The angles of vision are skewed. When a booby trap explodes, you close your eyes and duck and float outside yourself. .. The pictures get jumbled, you tend to miss a lot. And then afterward, when you go to tell about it, there is always that surreal seemingness, which makes the story seem untrue, but which in fact represents the hard and exact truth as it seemed.
Tim O'Brien (The Things They Carried)
There was still something unfinished around her eyes; she wasn’t done yet. She was a story, not an epilogue. And if she chose to narrate her own life one word at a time as she descended the stairs to meet her newest arrival, that wasn’t hurting anyone. Narration was a hard habit to break, after all. Sometimes it was all a body had.
Seanan McGuire (Every Heart a Doorway (Wayward Children, #1))
I want someone to love me for me, faults and all. Someone who cant fall asleep without being her last call. Someone who wants to be my last goodnight and my first hello. Someone who will hold my hand and not let it go. Someone who means it when she says, 'I will leave you never.' Someone who looks into my eyes and sees her... Forever.
José N. Harris (MI VIDA: A Story of Faith, Hope and Love)
It might have been brief, but so much of a kiss - a first kiss especially - is the moment before your lips touch, and before your eyes close, when you're filled with the sight of each other, and with the compulsion, the pull, and it's like...it's like...finding a book inside another book. A small treasure of a book hidden inside a big common one - like...spells printed on dragonfly wings, discovered tucked inside a cookery book, right between the recipes for cabbages and corn. That's what a kiss is like, he thought, no matter how brief: It's a tiny, magical story, and a miraculous interruption of the mundane.
Laini Taylor (Strange the Dreamer (Strange the Dreamer, #1))
Amazing how eye and skin color come in many shades yet many think sexuality is just gay or straight.
DaShanne Stokes
No two readers read the same book, because we all see the words through different eyes, filter the story through different life experiences.
Lisa Wingate (The Book of Lost Friends)
She put all of her weight against the sill of the balcony, her lovesick heart ready and willing to join the man she loved.  She closed her eyes and pushed herself forward.  From three stories high, she plummeted to the earth.  Before hitting the ground, she swore she saw him, racing down from the heavens and lifting her up towards God’s domain where lovers never ceased to rule.
Harvey Havel (The Odd and the Strange: A Collection of Very Short Fiction)
A game: say something. Close your eyes and say something. Anything, a number, a name. Like this (she closes her eyes): Two, two what? Two women. What do they look like? Wearing black. Where are they? In a park. . . . And then, what are they doing? Try it, it's so easy, why don't you want to play? You know, that's how I talk to myself when I'm alone, I tell myself all kinds of stories. And not only silly stories: actually, I live this way altogether.
André Breton (Nadja)
The Boy with Nails in His Eyes put up his aluminum tree. It looked pretty strange because he couldn't really see.
Tim Burton (The Melancholy Death of Oyster Boy and Other Stories)
To others, the universe seems decent because decent people have gelded eyes. That is why they fear lewdness. They are never frightened by the crowing of a rooster or when strolling under a starry heaven. In general, people savor the "pleasures of the flesh" only on condition that they be insipid. But as of then, no doubt existed for me: I did not care for what is known as "pleasures of the flesh" because they really are insipid; I cared only for what is classified as "dirty." On the other hand, I was not even satisfied with the usual debauchery, because the only thing it dirties is debauchery itself, while, in some way or other, anything sublime and perfectly pure is left intact by it. My kind of debauchery soils not only my body and my thoughts, but also anything I may conceive in its course, that is to say, the vast starry universe, which merely serves as a backdrop.
Georges Bataille (Story of the Eye)
Liam cleared his throat again and turned to fully face me. “So, it’s the summer and you’re in Salem, suffering through another boring, hot July, and working part-time at an ice cream parlor. Naturally, you’re completely oblivious to the fact that all of the boys from your high school who visit daily are more interested in you than the thirty-one flavors. You’re focused on school and all your dozens of clubs, because you want to go to a good college and save the world. And just when you think you’re going to die if you have to take another practice SAT, your dad asks if you want to go visit your grandmother in Virginia Beach.” “Yeah?” I leaned my forehead against his chest. “What about you?” “Me?” Liam said, tucking a strand of hair behind my ear. “I’m in Wilmington, suffering through another boring, hot summer, working one last time in Harry’s repair shop before going off to some fancy university—where, I might add, my roommate will be a stuck-up-know-it-all-with-a-heart-of-gold named Charles Carrington Meriwether IV—but he’s not part of this story, not yet.” His fingers curled around my hip, and I could feel him trembling, even as his voice was steady. “To celebrate, Mom decides to take us up to Virginia Beach for a week. We’re only there for a day when I start catching glimpses of this girl with dark hair walking around town, her nose stuck in a book, earbuds in and blasting music. But no matter how hard I try, I never get to talk to her. “Then, as our friend Fate would have it, on our very last day at the beach I spot her. You. I’m in the middle of playing a volleyball game with Harry, but it feels like everyone else disappears. You’re walking toward me, big sunglasses on, wearing this light green dress, and I somehow know that it matches your eyes. And then, because, let’s face it, I’m basically an Olympic god when it comes to sports, I manage to volley the ball right into your face.” “Ouch,” I said with a light laugh. “Sounds painful.” “Well, you can probably guess how I’d react to that situation. I offer to carry you to the lifeguard station, but you look like you want to murder me at just the suggestion. Eventually, thanks to my sparkling charm and wit—and because I’m so pathetic you take pity on me—you let me buy you ice cream. And then you start telling me how you work in an ice cream shop in Salem, and how frustrated you feel that you still have two years before college. And somehow, somehow, I get your e-mail or screen name or maybe, if I’m really lucky, your phone number. Then we talk. I go to college and you go back to Salem, but we talk all the time, about everything, and sometimes we do that stupid thing where we run out of things to say and just stop talking and listen to one another breathing until one of us falls asleep—” “—and Chubs makes fun of you for it,” I added. “Oh, ruthlessly,” he agreed. “And your dad hates me because he thinks I’m corrupting his beautiful, sweet daughter, but still lets me visit from time to time. That’s when you tell me about tutoring a girl named Suzume, who lives a few cities away—” “—but who’s the coolest little girl on the planet,” I manage to squeeze out.
Alexandra Bracken (The Darkest Minds (The Darkest Minds, #1))
I’m not particularly keen on writing which exhaustively describes the physical characteristics of the people in the story and what they’re wearing… I can always get a J. Crew catalogue… …So spare me, if you please, the hero’s ‘sharply intelligent blue eyes’ and ‘outthrust determined chin’.
Stephen King (On Writing: A Memoir of the Craft)
When I get honest, I admit I am a bundle of paradoxes. I believe and I doubt, I hope and get discouraged, I love and I hate, I feel bad about feeling good, I feel guilty about not feeling guilty. I am trusting and suspicious. I am honest and I still play games. Aristotle said I am a rational animal; I say I am an angel with an incredible capacity for beer. To live by grace means to acknowledge my whole life story, the light side and the dark. In admitting my shadow side I learn who I am and what God's grace means. As Thomas Merton put it, "A saint is not someone who is good but who experiences the goodness of God." The gospel of grace nullifies our adulation of televangelists, charismatic superstars, and local church heroes. It obliterates the two-class citizenship theory operative in many American churches. For grace proclaims the awesome truth that all is gift. All that is good is ours not by right but by the sheer bounty of a gracious God. While there is much we may have earned--our degree and our salary, our home and garden, a Miller Lite and a good night's sleep--all this is possible only because we have been given so much: life itself, eyes to see and hands to touch, a mind to shape ideas, and a heart to beat with love. We have been given God in our souls and Christ in our flesh. We have the power to believe where others deny, to hope where others despair, to love where others hurt. This and so much more is sheer gift; it is not reward for our faithfulness, our generous disposition, or our heroic life of prayer. Even our fidelity is a gift, "If we but turn to God," said St. Augustine, "that itself is a gift of God." My deepest awareness of myself is that I am deeply loved by Jesus Christ and I have done nothing to earn it or deserve it.
Brennan Manning (The Ragamuffin Gospel)
Through her eyes, I was able to experience the story for the first time all over again.
S.T. Gibson (A Dowry of Blood (A Dowry of Blood, #1))
We see with our brains, not with our eyes,
Norman Doidge (The Brain That Changes Itself: Stories of Personal Triumph from the Frontiers of Brain Science)
Ruby, what does the future look like?” Nico asked. “I can’t picture it. I try all the time, but I can’t imagine it. Jude said it looked like an open road just after a rainstorm.” I turned back toward the board, eyes tracing those eight letters, trying to take their power away; change them from a place, a name, to just another word. Certain memories trap you; you relive their thousand tiny details. The damp, cool spring air, swinging between snow flurries and light rain. The hum of the electric fence. The way Sam used to let out a small sigh each morning we left the cabin. I remembered the path to the Factory the way you never forgot the story behind a scar. The black mud would splatter over my shoes, momentarily hiding the numbers written there. 3285. Not a name. You learned to look up, craning your neck back to gaze over the razor wire curled around the top of the fence. Otherwise, it was too easy to forget that there was a world beyond the rusting metal pen they’d thrown all of us animals into. “I see it in colors,” I said. “A deep blue, fading into golds and reds—like fire on a horizon. Afterlight. It’s a sky that wants you to guess if the sun is about to rise or set.” Nico shook his head. “I think I like Jude’s better.” “Me too,” I said softly. “Me too.
Alexandra Bracken (In the Afterlight (The Darkest Minds, #3))
This life is a virtual simulation game where you can win or lose, you can continue playing for the rest of your life or join the club. You decide! You only have to respect one rule because your stay in the human farm will depend on that, continue playing until the end no matter how many times you are brought into this reality, so stay awake with your eyes wide open and your mouth tight shut." Welcome to the game of life, welcome to the matrix.
Marcos Orowitz (TALENT FOR HORROR 2: Special- Madame Jeanne Weber's shoes (Talent for Horror Series Book Revelation 2022))
I intercepted Chaol, and he informed me of your ‘condition.’ You’d think a man in his position wouldn’t be so squeamish, especially after examining all of those corpses.” Calaena opened an eye and frowned as Dorian sat on her bed. “I’m in a state of absolute agony and I can’t be bothered.” “It can’t be that bad,” he said, fishing a deck of cards from his jacket. “Want to play?” “I already told you that I don’t feel well.” “You look fine to me.” He skillfully shuffled the deck. “Just one game.” “Don’t you pay people to entertain you?” He glowered, breaking the deck. “You should be honored by my company.” “I’d be honored if you would leave.” “For someone who relies on my good graces, you’re very bold.” “Bold? I’ve barely begun.” Lying on her side, she curled her knees to her chest. He laughed, pocketing the deck of cards. “Your new canine companion is doing well, if you wish to know.” She moaned into her pillow. “Go away. I feel like dying.” “No fair maiden should die alone,” he said, putting a hand on hers. “Shall I read to you in your final moments? What story would you like?” She snatched her hand back. “How about the story of the idiotic prince who won’t leave the assassin alone?” “Oh! I love that story! It has such a happy ending, too—why, the assassin was really feigning her illness in order to get the prince’s attention! Who would have guessed it? Such a clever girl. And the bedroom scene is so lovely—it’s worth reading through all of their ceaseless banter!” “Out! Out! Out! Leave me be and go womanize someone else!” She grabbed a book and chucked it at him.
Sarah J. Maas (Throne of Glass (Throne of Glass, #1))
Celaena knew where she was before she awoke. And she didn't care. She was living the same story again and again. The night she'd been captured, she'd also snapped, and come so close to killing the person she most wanted to destroy before someone knocked her out and she awoke in a rotting dungeon. She smiled bitterly as she opened her eyes. It was always the same story, the same loss.
Sarah J. Maas (Crown of Midnight (Throne of Glass, #2))
You are a born storyteller," said the old lady. "You had the sense to see you were caught in a story, and the sense to see that you could change it to another one.
A.S. Byatt (The Djinn in the Nightingale's Eye: Five Fairy Stories)
Where are you going, Master?' cried Sam, though at last he understood what was happening. 'To the Havens, Sam,' said Frodo. 'And I can't come.' 'No, Sam. Not yet, anyway, not further than the Havens. Though you too were a Ring-bearer, if only for a little while. Your time may come. Do not be too sad, Sam. You cannot always be torn in two. You will have to be one and whole, for many years. You have so much to enjoy and to be, and to do.' 'But,' said Sam, and tears started in his eyes, 'I thought you were going to enjoy the Shire, too, for years and years, after all you have done.' 'So I thought too, once. But I have been too deeply hurt, Sam. I tried to save the Shire, and it has been saved, but not for me. It must often be so, Sam, when things are in danger: some one has to give them up, lose them, so that others may keep them. But you are my heir: all that I had and might have had I leave to you. And also you have Rose, and Elanor; and Frodo-lad will come, and Rosie-lass, and Merry, and Goldilocks, and Pippin; and perhaps more that I cannot see. Your hands and your wits will be needed everywhere. You will be the Mayor, of course, as long as you want to be, and the most famous gardener in history; and you will read things out of the Red Book, and keep alive the memory of the age that is gone, so that people will remember the Great Danger, and so love their beloved land all the more. And that will keep you as busy and as happy as anyone can be, as long as your part in the Story goes on. 'Come now, ride with me!
J.R.R. Tolkien (The Return of the King (The Lord of the Rings, #3))
Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.
Alfred Hitchcock
In its silence, a book is a challenge: it can't lull you with surging music or deafen you with screeching laugh tracks or fire gunshots in your living room; you have to listen to it in your head. A book won't move your eyes for you the way images on a screen do. It won't move your mind unless you give it your mind, or your heart unless you put your heart in it ... To read a story well is to follow it, to act it, to feel it, to become it--everything short of writing it, in fact. Reading is not interactive with a set of rules or options, as games are; reading is actual collaboration with the writer's mind. No wonder not everyone is up to it.
Ursula K. Le Guin
The only woman's body I had studied, with ever-increasing apprehension, was the lame body of my mother, and I had felt pressed, threatened by that image, and still feared that it would suddenly impose itself on mine. That day, instead, I saw clearly the mothers of the old neighborhood. They were nervous, they were acquiescent. They were silent, with tight lips and stooping shoulders, or they yelled terrible insults at the children who harassed them. Extremely thin, with hollow eyes and cheeks, they lugged shopping bags and small children who clung to their skirts and wanted to be picked up. And, good God, they were ten, at most twenty years older than me. Yet they appeared to have lost those feminine qualities that were so important to us girls and that we accentuated with clothes, with makeup. They had been consumed by the bodies of husbands, fathers, brothers, whom they ultimately came to resemble, because of their labors or the arrival of old age, of illness. When did that transformation begin? With housework? With pregnancies? With beatings?
Elena Ferrante (The Story of a New Name (The Neapolitan Novels, #2))
She was indeed a girl of exquisite beauty. She was one of those languid women made of dark honey, smooth and sweet and terribly sticky, who take control of a room with a syrupy gesture, a toss of the hair, a single slow whiplash of the eyes-and all the while remain as still as the center of a hurricane, apparently unaware of the force of gravity by which they irresistibly attract to themselves the yearnings and the souls of both men and women.
Patrick Süskind (Perfume: The Story of a Murderer)
When I closed my eyes, the overview of the entire universe would get drawn inside my head. Han Su-Yeong wrote the story. Yu Jung-Hyeok lived that story. And, I read that very story. And that’s how this world barely managed to reach its completion.
Singshong (Omniscient Reader’s Viewpoint, Vol. 5)
When Compasia took pity on me, she reached down into the Underworld, touched the shoulder of Moritas, and asked her forgiveness. Then Compasia took my sister in her arms and placed her in the sky, where she, too, turned to stardust. Magiano looks at me, his eyes wide. It seems as if he already, somehow, understands. “My goddess made me a promise,” I whisper. Only now do I realize that I have never seen him cry before. In the stories, Compasia and her human lover would descend each night from the stars to walk the mortal world, before vanishing with the dawn. So, together, we stare at the sky, waiting.
Marie Lu (The Midnight Star (The Young Elites, #3))
Often I have thought of the day when I gazed for the first time at the sea. The sea is vast, the sea is wide, my eyes roved far and wide and longed to be free. But there was the horizon. Why a horizon, when I wanted the infinite from life?
Thomas Mann (Stories and Episodes)
That is the way we decided to talk, free and easy, two young men discussing a boxing match. That was the only way to talk. You couldn't let too much truth seep into your conversation, you couldn't admit with your mouth what your eyes had seen. If you opened the door even a centimeter, you would smell the rot outside and hear the screams. You did not open the door. You kept your mind on the tasks of the day, the hunt for food and water and something to burn, and you saved the rest for the end of the war.
David Benioff (City of Thieves)
Kazi of Brightmist...you are the love I didn't know I needed. You are the hand pulling me through the wilderness, The sun warming my face. You make me stronger, smarter, wiser. You are the compass that makes me a better man. With you by my side, no challenge will be too great. I vow to honor you, Kazi, and do all I can to be worthy of your love. I will never stumble in my devotion to you, and I vow to keep you safe always. My family is now your family, and your family, mine. You have not stolen my heart, but I give it freely, And in the presence of these witnesses, I take you to be my wife." He squeezed my hand. His brown eyes danced, just as they had the first time he spoke those vows to me. It was my turn now. I took a deep breath. Were any words enough? But I said the ones closest to my heart, the ones I had said in the wilderness and repeated almost daily when I lay in a dark cell, uncertain where he was but needing to believe I would see him again. "I love you, Jase Ballenger, and I will for all my days. You have brought me fullness where there was only hunger, You have given me a universe of stars and stories, Where there was emptiness. You've unlocked a part of me I was afraid to believe in, And made the magic of wish stalks come true. I vow to care for you, to protect you and everything that is yours. Your home is now my home, your family, my family. I will stand by you as a partner in all things. With you by my side, I will never lack for joy. I know life is full of twists and turns, and sometimes loss, but whatever paths we go down, I want every step to be with you. I want to grow old with you, Jase. Every one of my tomorrows is yours, And in the presence of these witnesses, I take you to be my husband.
Mary E. Pearson (Vow of Thieves (Dance of Thieves, #2))
I remember when I realized … when I knew that this was more than a friendship.’ That made Nico smile despite himself. ‘I remember my moment, too.’ Will’s eyes filled with tears. ‘I think mine is different than yours.’ ‘But I know mine happened first,’ Nico said. ‘Tell me,’ Gorgyra said, moving closer to Nico and Will. ‘Tell me one more story.’ And Nico felt another string start to unravel.
Rick Riordan (The Sun and the Star: A Nico di Angelo Adventure (Camp Half-Blood Chronicles, #17))
First having read the book of myths, and loaded the camera, and checked the edge of the knife-blade, I put on the body-armor of black rubber the absurd flippers the grave and awkward mask. I am having to do this not like Cousteau with his assiduous team aboard the sun-flooded schooner but here alone. There is a ladder. The ladder is always there hanging innocently close to the side of the schooner. We know what it is for, we who have used it. Otherwise it is a piece of maritime floss some sundry equipment. I go down. Rung after rung and still the oxygen immerses me the blue light the clear atoms of our human air. I go down. My flippers cripple me, I crawl like an insect down the ladder and there is no one to tell me when the ocean will begin. First the air is blue and then it is bluer and then green and then black I am blacking out and yet my mask is powerful it pumps my blood with power the sea is another story the sea is not a question of power I have to learn alone to turn my body without force in the deep element. And now: it is easy to forget what I came for among so many who have always lived here swaying their crenellated fans between the reefs and besides you breathe differently down here. I came to explore the wreck. The words are purposes. The words are maps. I came to see the damage that was done and the treasures that prevail. I stroke the beam of my lamp slowly along the flank of something more permanent than fish or weed the thing I came for: the wreck and not the story of the wreck the thing itself and not the myth the drowned face always staring toward the sun the evidence of damage worn by salt and sway into this threadbare beauty the ribs of the disaster curving their assertion among the tentative haunters. This is the place. And I am here, the mermaid whose dark hair streams black, the merman in his armored body. We circle silently about the wreck we dive into the hold. I am she: I am he whose drowned face sleeps with open eyes whose breasts still bear the stress whose silver, copper, vermeil cargo lies obscurely inside barrels half-wedged and left to rot we are the half-destroyed instruments that once held to a course the water-eaten log the fouled compass We are, I am, you are by cowardice or courage the one who find our way back to this scene carrying a knife, a camera a book of myths in which our names do not appear.
Adrienne Rich (Diving Into the Wreck)
No matter where; of comfort no man speak: Let's talk of graves, of worms, and epitaphs; Make dust our paper and with rainy eyes Write sorrow on the bosom of the earth, Let's choose executors and talk of wills: And yet not so, for what can we bequeath Save our deposed bodies to the ground? Our lands, our lives and all are Bolingbroke's, And nothing can we call our own but death And that small model of the barren earth Which serves as paste and cover to our bones. For God's sake, let us sit upon the ground And tell sad stories of the death of kings; How some have been deposed; some slain in war, Some haunted by the ghosts they have deposed; Some poison'd by their wives: some sleeping kill'd; All murder'd: for within the hollow crown That rounds the mortal temples of a king Keeps Death his court and there the antic sits, Scoffing his state and grinning at his pomp, Allowing him a breath, a little scene, To monarchize, be fear'd and kill with looks, Infusing him with self and vain conceit, As if this flesh which walls about our life, Were brass impregnable, and humour'd thus Comes at the last and with a little pin Bores through his castle wall, and farewell king! Cover your heads and mock not flesh and blood With solemn reverence: throw away respect, Tradition, form and ceremonious duty, For you have but mistook me all this while: I live with bread like you, feel want, Taste grief, need friends: subjected thus, How can you say to me, I am a king?
William Shakespeare (Richard II)
I remember that one day, when we were in a car tooling along at top speed,we crashed into a cyclist, an apparently very young and very pretty girl. Her head was almost totally ripped off by the wheels. For a long time, we were parked a few yards beyond without getting out, fully absorbed in the sight of the corpse. The horror and despair at so much bloody flesh, nauseating in part, and in part very beautiful, was fairly equivalent to our usual impression upon seeing one another.
Georges Bataille (Story of the Eye)
Dandelion, staring into the dying embers, sat much longer, alone, quietly strumming his lute. It began with a few bars, from which an elegant, soothing melody emerged. The lyric suited the melody, and came into being simultaneously with it, the words bending into the music, becoming set in it like insects in translucent, golden lumps of amber. The ballad told of a certain witcher and a certain poet. About how the witcher and the poet met on the seashore, among the crying of seagulls, and how they fell in love at first sight. About how beautiful and powerful was their love. About how nothing - not even death - was able to destroy that love and part them. Dandelion knew that few would believe the story told by the ballad, but he was not concerned. He knew ballads were not written to be believed, but to move their audience. Several years later, Dandelion could have changed the contents of the ballad and written about what had really occurred. He did not. For the true story would not have move anyone. Who would have wanted to hear that the Witcher and Little Eye parted and never, ever, saw each other again? About how four years later Little Eye died of the smallpox during an epidemic raging in Vizima? About how he, Dandelion, had carried her out in his arms between corpses being cremated on funeral pyres and buried her far from the city, in the forest, alone and peaceful, and, as she had asked, buried two things with her: her lute and her sky blue pearl. The pearl from which she was never parted. No, Dandelion stuck with his first version. And he never sang it. Never. To no one. Right before the dawn, while it was still dark, a hungry, vicious werewolf crept up to their camp, but saw that it was Dandelion, so he listened for a moment and then went on his way.
Andrzej Sapkowski (Miecz przeznaczenia (Saga o Wiedźminie, #0.7))
He had not opened his eyes in the moment. Her touch had released some tiny increment of the poison bound up in him that would, days to come, ripen into sorrow. And by the time he thought all this he could no longer tell if her caress had truly happened or whether he'd manufactured it out of necessity.
David Wroblewski (The Story of Edgar Sawtelle)
Those deep set eyes that look like they could tell stories for days, and that wavy brown hair that feels soft between my fingers. I try to memorize the angles of his jaw and the lines of his lips, because I know. I know this may be the last time I ever see him. Breathe fills my lungs, my throat relaxes, and I can't help but smile. Because I can see what he's thinking as clearly as if he'd spoken. He doesn't want to leave - he doesn't want to go home. He's going to choose me instead.
Elizabeth Norris (Unraveling (Unraveling, #1))
Wearing an antique bridal gown, the beautiful queen of the vampires sits all alone in her dark, high house under the eyes of the portraits of her demented and atrocious ancestors, each one of whom, through her, projects a baleful posthumous existence; she counts out the Tarot cards, ceaselessly construing a constellation of possibilities as if the random fall of the cards on the red plush tablecloth before her could precipitate her from her chill, shuttered room into a country of perpetual summer and obliterate the perennial sadness of a girl who is both death and the maiden.
Angela Carter (The Bloody Chamber and Other Stories)
Min­nie Four-Eyes.
Erich Segal (Love Story (Love Story, #1))
But coming out of that sleep was excruciating. My entire life flashed before my eyes in the worst way possible, my mind refilling itself with all my lame memories, every little thing that had brought me to where I was. I'd try to remember something else—a better version, a happy story, maybe, or just an equally lame but different life that would at least be refreshing in its digressions—but it never worked. I was always still me. Sometimes I woke up with my face wet with tears. The only times I cried, in fact, were when I was pulled out of that nothingness, when the alarm on my cell phone went off.
Ottessa Moshfegh (My Year of Rest and Relaxation)
Let no one reduce to tears or reproach This statement of the mastery of God, Who, with magnificent irony, gave Me at once both books and night Of this city of books He pronounced rulers These lightless eyes, who can only Peruse in libraries of dreams The insensible paragraphs that yield With every new dawn. Vainly does the day Lavish on them its infinite books, Arduous as the arduous manuscripts Which at Alexandria did perish. Of hunger and thirst (a Greek story tells us) Dies a king amidst fountains and gardens; I aimlessly weary at the confines Of this tall and deep blind library. Encyclopedias, atlases, the East And the West, centuries, dynasties Symbols, cosmos and cosmogonies Do walls proffer, but pointlessly. Slow in my shadow, I the hollow shade Explore with my indecisive cane; To think I had imagined Paradise In the form of such a library. Something, certainly not termed Fate, rules on such things; Another had received in blurry Afternoons both books and shadow. Wandering through these slow corridors I often feel with a vague and sacred dread That I am another, the dead one, who must Have trodden the same steps at the same time. Which of the two is now writing this poem Of a plural I and of a single shadow? How important is the word that names me If the anathema is one and indivisible? Groussac or Borges, I see this darling World deform and extinguish To a pale, uncertain ash Resembling sleep and oblivion
Jorge Luis Borges
... 'But Gold was not all. The other kings bring Frank Innocence and Mirth.' | Darcourt was startled, then delighted. 'That is very fine, Yerko; is it your own?' | 'No, it is in the story. I saw it in New York. The kings say, We bring you Gold, Frank Innocence, and Mirth.' | 'Sancta simplicitas,' said Darcourt, raising his eyes to mine. 'If only there were more Mirth in the message He has left to us. We miss it sadly, in the world we have made. And Frank Innocence. Oh, Yerko, you dear man.' ...
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
She would be brave because her father had once told her that the world lived within her. That her bones were made of mountains. That rivers coursed through her veins. That her heartbeat was the sound of a thousand pounding hooves. That her eyes glittered with the light of a starry sky. I am that girl, and this is my story.
Nadia Hashimi (Sparks Like Stars)
-Paint- My girlfriend is so besotted that she can't take her eyes off me. After we've turned out the light she puts on her night-vision goggles, and watched me as I sleep. Quite often I am woken by her sighing and involuntary yelps of happiness. This has been going on for years, and is showing no sign of abating. Once I asked her to stop all this infra-red activity, but it didn't really work; I'd wake up to find her covering me in luminous paint, and softly whispering, 'Sometimes I wonder if you know how much I love you.
Dan Rhodes (Anthropology: And a Hundred Other Stories)
I just feel …” I press the heels of my hands into my thighs. “I can’t lose the thing I’ve held on to for so long. You know?” My face twists up from the pain of pushing it out. “I just really need it to be a love story. You know? I really, really need it to be that.” “I know,” she says. “Because if it isn’t a love story, then what is it?” I look to her glassy eyes, her face of wide-open empathy. “It’s my life,” I say. “This has been my whole life.
Kate Elizabeth Russell (My Dark Vanessa)
So you're thinking you'd rather not hand me a pistol?' 'They're dangerous. And illegal. And Chekov is qa writer you can trust.' 'But this is not a story. We're talking about the real word.' Tamaru narrowed his eyes and looked hard at Aomame. Then, slowly opening his mouth, he said 'Who knows?
Haruki Murakami (1Q84 (1Q84, #1-3))
How I'm rushing through this! How much each sentence in this brief story contains. "The stars are made of the same atoms as the earth." I usually pick one small topic like this to give a lecture on. Poets say science takes away from the beauty of the stars—mere globs of gas atoms. Nothing is "mere." I too can see the stars on a desert night, and feel them. But do I see less or more ? The vastness of the heavens stretches my imagina-tion—stuck on this carousel my little eye can catch one-million-year-old light. A vast pattern—of which I am a part—perhaps my stuff was belched from some forgotten star, as one is belching there. Or see them with the greater eye of Palomar, rushing all apart from some common starting point when they were perhaps all together. What is the pattern, or the meaning, or the why ? It does not do harm to the mystery to know a little about it. For far more marvelous is the truth than any artists of the past imagined! Why do the poets of the present not speak of it ? What men are poets who can speak of Jupiter if he were like a man, but if he is an immense spinning sphere of methane and ammonia must be silent?
Richard P. Feynman (The Feynman Lectures on Physics)
With every slow thrust of his tongue, every possessive push of his hips, he damns us, the confession in his eyes narrating our story, our ill-fated fortune as star-crossed fools, sharing a merciless love neither of us can ever deny, but can never keep.
Kate Stewart (Exodus (The Ravenhood, #2))
She knew Paul D was adding something to her life—something she wanted to count on but was scared to... His waiting eyes and awful human power. The mind of him that knew her own. Her story was bearable because it was his as well—to tell, to refine and tell again. The things neither knew about the other—the things neither had word-shapes for—well, it would come in time.
Toni Morrison (Beloved)
A book, he thinks at one point, rubbing his eyes, tired from so much focused reading. It's a world all on its own, too. He looks at the cover again. A satyr playing pan pipes, far more innocent-looking than when it got up to in the story. A world made of words, Seth thinks, where you live for a while. "And then it's over," he says.
Patrick Ness (More Than This)
[The stigma ‘Regression Lv. 3’ has been activated!] It was cruel. Was this really how it ended? How did I(Kim Dokja) get here? Would Yoo Jonghyuk really die here? Then a single line emerged. [Incarnation ‘Yoo Jonghyuk’ is looking at his sponsor.] “…Yoo Jonghyuk?” Yoo Jonghyuk, who became so ragged that his shape couldn’t be recognized, stared at his sponsor with a single bloody eye. Sparks appeared around his disappearing body. [Incarnation ‘Yoo Jonghyuk’ is resisting his sponsor.] [All of the stories of incarnation ‘Yoo Jonghyuk’ is resisting death.] This was something I had never seen in any round. [The incarnation ‘Yoo Jonghyuk’ has refused to regress.]
Singshong (Omniscient Reader's Viewpoint, Vol. 2)
I arrive now at the ineffable core of my story. And here begins my despair as a writer. All language is a set of symbols whose use among its speakers assumes a shared past. How, then, can I translate into words the limitless Aleph, which my floundering mind can scarcely encompass? Mystics, faced with the same problem, fall back on symbols: to signify the godhead, one Persian speaks of a bird that somehow is all birds; Alanus de Insulis, of a sphere whose center is everywhere and circumference is nowhere; Ezekiel, of a four-faced angel who at one and the same time moves east and west, north and south. (Not in vain do I recall these inconceivable analogies; they bear some relation to the Aleph.) Perhaps the gods might grant me a similar metaphor, but then this account would become contaminated by literature, by fiction. Really, what I want to do is impossible, for any listing of an endless series is doomed to be infinitesimal. In that single gigantic instant I saw millions of acts both delightful and awful; not one of them occupied the same point in space, without overlapping or transparency. What my eyes beheld was simultaneous, but what I shall now write down will be successive, because language is successive. Nonetheless, I'll try to recollect what I can.
Jorge Luis Borges
Soon some of the plants were as big as fruit trees. There were fans of long emerald-green leaves, flowers resembling peacock tails with rainbow-colored eyes, pagodas consisting of sumperimposed unbrellas of violet silk. Thick stems were interwoven like braids. Since they were transparent, they looked like pink glass lit up from within. Some of the blooms looked like clusters of blue and yellow Japanese lanterns. And little by little, as the luminous night growths grew denser, they intertwined to form a tissue of soft light.
Michael Ende (The Neverending Story)
The west you talk about doesn’t exist. It’s a fairytale, a fantasy you sell yourself because the alternative is to admit that you are the least important character in your own story. You invent an entire world because your conscience demands it, you invent good people and bad people and you draw a neat line between them because your simplistic morality demands it. But the two kinds of people in this world are not good and bad, they are engines and fuel. Go ahead, change your country, change your name, change your accent, pull the skin right off your bones, but in their eyes they will always be the engines and you will always, always be fuel.
Omar El Akkad (What Strange Paradise)
I had then two reasons to live: one, to work with the resistance movement and help as long as I could stand upon my feet; two, to dream and pray for the day to come when I could go free and tell the world, “This is what I saw with my own eyes. It must never be allowed to happen again!
Olga Lengyel (Five Chimneys: The Story of Auschwitz)
A story isn't like a smoothly running engine, but is rather like a photograph. Photos can never be a perfect representation of what an eye looking at the same subject will see, partially due to the limitations of lenses and emulsions, but largely due to the conscious choice of the photographer.
Nick Mamatas
No one has ever told me that I'm beautiful before," Hazel said. She hadn't realized it was true until she said it out loud. Jack stood with his hands on either side of her face and stared at her for a few heartbeats. Then he leaned in and softly kissed both her eyelids. "Someone should tell you that you're beautiful every time the sun comes up. Someone should tell you you're beautiful on Wednesdays. And at teatime. Someone should tell you you're beautiful on Christmas Day and Christmas Eve and the evening before Christmas Eve, and on Easter. He should tell you on Guy Fawkes Night and on New Year's, and on the eighth of August, just because." He kissed her lips once more, gently, and then pulled away and gazed into her eyes. "Hazel Sinnett, you are the most miraculous creature I have ever come across, and I am going to be thinking about how beautiful you are until the day I die.
Dana Schwartz (Anatomy (The Anatomy Duology, #1))
I need more pieces to the puzzle, but no one is going to hand them to me. I have to find them. Dig them from their hiding places, from the ground and the people. Listen, the road seems to admonish. Listen. I have stories. I close my eyes, and I hear voices. Thousands whispering all at once. I can’t make out any single one, but I know they’re here. What do they have to say?
Lisa Wingate (The Book of Lost Friends)
It isn’t Easter,” he said, “but this week has caused me to think a lot about the Easter story. Not the glorious resurrection that we celebrate on Easter Sunday but the darkness that came before. I know of no darker moment in the Bible than the moment Jesus in his agony on the cross cries out, ‘Father, why have you forsaken me?’ Darker even than his death not long after because in death Jesus at last gave himself over fully to the divine will of God. But in that moment of his bitter railing he must have felt betrayed and completely abandoned by his father, a father he’d always believed loved him deeply and absolutely. How terrible that must have been and how alone he must have felt. In dying all was revealed to him, but alive Jesus like us saw with mortal eyes, felt the pain of mortal flesh, and knew the confusion of imperfect mortal understanding. “I see with mortal eyes. My mortal heart this morning is breaking. And I do not understand. “I confess that I have cried out to God, ‘Why have you forsaken me?’ ” Here my father paused and I thought he could not continue. But after a long moment he seemed to gather himself and went on. “When we feel abandoned, alone, and lost, what’s left to us? What do I have, what do you have, what do any of us have left except the overpowering temptation to rail against God and to blame him for the dark night into which he’s led us, to blame him for our misery, to blame him and cry out against him for not caring? What’s left to us when that which we love most has been taken? “I will tell you what’s left, three profound blessings. In his first letter to the Corinthians, Saint Paul tells us exactly what they are: faith, hope, and love. These gifts, which are the foundation of eternity, God has given to us and he’s given us complete control over them. Even in the darkest night it’s still within our power to hold to faith. We can still embrace hope. And although we may ourselves feel unloved we can still stand steadfast in our love for others and for God. All this is in our control. God gave us these gifts and he does not take them back. It is we who choose to discard them. “In your dark night, I urge you to hold to your faith, to embrace hope, and to bear your love before you like a burning candle, for I promise that it will light your way. “And whether you believe in miracles or not, I can guarantee that you will experience one. It may not be the miracle you’ve prayed for. God probably won’t undo what’s been done. The miracle is this: that you will rise in the morning and be able to see again the startling beauty of the day. “Jesus suffered the dark night and death and on the third day he rose again through the grace of his loving father. For each of us, the sun sets and the sun also rises and through the grace of our Lord we can endure our own dark night and rise to the dawning of a new day and rejoice. “I invite you, my brothers and sisters, to rejoice with me in the divine grace of the Lord and in the beauty of this morning, which he has given us.
William Kent Krueger (Ordinary Grace)
World history is always the story of how “we” got to the here and now, so the shape of the narrative inherently depends on who we mean by “we” and what we mean by “here and now.
Tamim Ansary (Destiny Disrupted: A History of the World Through Islamic Eyes)
My eyes are open and I’m not seeing a thing because I am so lost inside.
David Levithan (How They Met, and Other Stories)
He is so much greater than the greatest thing and much more glorious than the most glorious glory the eyes could see. Knowing this, He becomes the aim of all our doing. Because, if God is bigger than we can imagine, we are wasting our time to chase after something or someone lesser than Him. And because we know that He is our all in all, in our temptations, our trials, and our victories, we must place our ultimate identity not in who we are, but in who we know God to be.
Jackie Hill Perry (Gay Girl, Good God: The Story of Who I Was and Who God Has Always Been)
But scales hung before me and obscured my mind. Fateful, terrible scales! How did it come about that all this fell from my eyes, that all of a sudden I saw the light and understood everything?
Fyodor Dostoevsky (A Gentle Creature and Other Stories)
She stood on the end of the dock, pale and goosefleshed and shivering in the fog. In her hand, Needle seemed to whisper to her. Stick them with the pointy end, it said, and, don’t tell Sansa! Mikken’s mark was on the blade. It’s just a sword. If she needed a sword, there were a hundred under the temple. Needle was too small to be a proper sword, it was hardly more than a toy. She’d been a stupid little girl when Jon had it made for her. “It’s just a sword,” she said, aloud this time . . . . . . but it wasn’t. Needle was Robb and Bran and Rickon, her mother and her father, even Sansa. Needle was Winterfell’s grey walls, and the laughter of its people. Needle was the summer snows, Old Nan’s stories, the heart tree with its red leaves and scary face, the warm earthy smell of the glass gardens, the sound of the north wind rattling the shutters of her room. Needle was Jon Snow’s smile. He used to mess my hair and call me “little sister,” she remembered, and suddenly there were tears in her eyes.
George R.R. Martin (A Feast for Crows (A Song of Ice and Fire, #4))
Besides, what is pretty, anyway?” she continues. “Eyes? What does the color matter, as long as the ones you love can see themselves shining there? A mouth? Wide or narrow, so long as it speaks the truth.
Shirley Russak Wachtel (The Story of Blima: A Holocaust Survivor)
I gazed up at the sky and let my eyes flicker from one constellation to another, to another, jumping between stepping stones. I thought of the heavenly bodies throwing down their narrow ropes to hook us. I’ve never believed the future was inscribed for each of us the day we were born. If anything were written in the stars, it was we who joined those dots, and our lives were the writing. But baby Garrett, born dead yesterday, and all those whose stories were over before they began, and those who opened their eyes and found they were living in a long nightmare, like Bridie and baby White, who decreed that, I wondered, or at least allowed it?
Emma Donoghue (The Pull of the Stars)
Why are you being so cruel?' 'Because you won't leave!' Jacks shouted. 'And if you stay, you will die. Chaos hasn't fed in thousands of years. I know he thinks he can control his hunger, but he can't. That's why they put the helm on him.' 'You could have just said that. If you didn't want me to say goodbye or you want me to leave, you don't have to hurt me to get me to do it.' 'I'm not- I-' Jacks broke off abruptly. His eyes were no longer just red, they were blazing with fear. She'd never seen him look so terrified before. She'd been poisoned, shot, lashed across the back, and Jacks had always kept his calm until now. With a great deal of effort, he took a deep breath, and when he spoke again, his voice was soft but uneven. 'I'm sorry, Little Fox. I didn't want to hurt you, I just-' He looked suddenly at a loss for words, as if whatever he said next might be the wrong thing. He's never looked at her like this before. 'Jacks, please, don't use the stones tonight. Come with me instead.' He took a jagged breath. For a second, he looked torn. He raked a hand through his hair, his movements jagged. Evangeline took a step closer. He shuttered his expression and took a step back. 'This doesn't change anything. I still can't have you in my life. You and I aren't meant to be.' 'What if you're wrong?' Evangeline had once heard a tale about a pair of doomed stars, drawn across skies toward each other's brightness, even though they knew that if they drew too close, their desire would end in a fiery explosion. This was how Jacks looked at her now. As if neither of them would survive if they drew any closer. 'Evangeline, you need to go.' A thunderous roar poured out from the Valory, so loud it shook the arch and the angels and the ground at Evangeline's feet. 'Get out of here.' Jacks said. She held his gaze, one final time, wishing she knew how to change his mind. 'I wish our story could have had another ending.' 'I don't want another ending,' Jacks said flatly. 'I just want you to leave.
Stephanie Garber (The Ballad of Never After (Once Upon a Broken Heart, #2))
We will be stuck in the nightmare forever. We are a people who tell stories, who try to use stories to put what we have experienced into some sort of context, to explain what we have been fighting about in the hope that it will excuse what we have done. But stories reveal both the very best of us and the very worst, and can one ever outweigh the other? Are our triumphs greater than our mistakes? What are we responsible for? What are we guilty of? Can we look ourselves in the mirror tomorrow? Can we look each other in the eye?
Fredrik Backman (The Winners (Beartown, #3))
EVERY DOG’S STORY I have a bed, my very own. It’s just my size. And sometimes I like to sleep alone with dreams inside my eyes. But sometimes dreams are dark and wild and creepy and I wake and am afraid, though I don’t know why. But I’m no longer sleepy and too slowly the hours go by. So I climb on the bed where the light of the moon is shining on your face and I know it will be morning soon. Everybody needs a safe place.
Mary Oliver (Dog Songs)
Listen up, pal, the moon is way up in the sky. Aren’t you scared? The helplessness that comes from nature. That moonlight, think about it, that moonlight, paler than a corpse’s face, so silent and far away, that moonlight witnessed the cries of the first monsters to walk the earth, surveyed the peaceful waters after the deluges and the floods, illuminated centuries of nights and went out at dawns throughout centuries . . . Think about it, my friend, that moonlight will be the same tranquil ghost when the last traces of your great-grandsons’ grandsons no longer exist. Prostrate yourself before it. You’ve shown up for an instant and it is forever. Don’t you suffer, pal? I . . . I myself can’t stand it. It hits me right here, in the center of my heart, having to die one day and, thousands of centuries later, undistinguished in humus, eyeless for all eternity, I, I!, for all eternity . . . and the indifferent, triumphant moon, its pale hands outstretched over new men, new things, different beings. And I Dead! Think about it, my friend. It’s shining over the cemetery right now. The cemetery, where all lie sleeping who once were and never more shall be. There, where the slightest whisper makes the living shudder in terror and where the tranquility of the stars muffles our cries and brings terror to our eyes. There, where there are neither tears nor thoughts to express the profound misery of coming to an end.
Clarice Lispector (The Complete Stories)
Why do we need the things in books? The poems, the essays, the stories? Authors disagree. Authors are human and fallible and foolish. Stories are lies after all, tales of people who never existed and the things that never actually happened to them. Why should we read them? Why should we care? The teller and the tale are very different. We must not forget that. Ideas–written ideas–are special. They are the way we transmit our stories and our thoughts from one generation to the next. If we lose them, we lose our shared history. We lose much of what makes us human. And fiction gives us empathy: it puts us inside the minds of other people, gives us the gift of seeing the world through their eyes. Fiction is a lie that tells us true things, over and over.
Neil Gaiman
He had two stories to live. In the first, God had saved his eye. In the second, God had taken his eye. Both were true.... It was up to him which story he chose to live out every day. The lost eye or the saved eye. The blind man or the sighted one. The God who had abandoned him or the God who had saved him.
Tessa Afshar (The Hidden Prince)
You hate it, yes, but your eyes do not. Like a killer forest fire, like cancer under a microscope, any battle or bombing raid or artillery barrage has the aesthetic purity of absolute moral indifference—a powerful, implacable beauty—and a true war story will tell the truth about this, though the truth is ugly. To
Tim O'Brien (The Things They Carried)
If I must die, you must live to tell my story to sell my things to buy a piece of cloth and some strings, (make it white with a long tail) so that a child, somewhere in Gaza while looking heaven in the eye awaiting his dad who left in a blaze– and bid no one farewell not even to his flesh not even to himself– sees the kite, my kite you made, flying up above and thinks for a moment an angel is there bringing back love If I must die let it bring hope let it be a tale
Refaat Alareer, If I must die
If I must Die” — Refaat Alareer If I must die, you must live to tell my story to sell my things to buy a piece of cloth and some strings, (make it white with a long tail) so that a child, somewhere in Gaza while looking heaven in the eye awaiting his dad who left in a blaze— and bid no one farewell not even to his flesh not even to himself— sees the kite, my kite you made, flying up above and thinks for a moment an angel is there bringing back love If I must die let it bring hope let it be a tale
Refaat Alareer
He was a long, slender youth, with green eyes, jet-black hair, and a passionate fondness for the sound of his own voice.
P.G. Wodehouse (The Man Upstairs and Other Stories (Golf Stories, #0.5))
We all have free will, but only when we open our eyes and face the realities of our past and present are we able to make the most of it.
Gary Small (The Naked Lady Who Stood on Her Head: A Psychiatrist’s Stories of His Most Bizarre Cases)
But this is not a story. We’re talking about the real world.” Tamaru narrowed his eyes and looked hard at Aomame. Then, slowly opening his mouth, he said, “Who knows?
Haruki Murakami (1Q84 (Vintage International))
But this is not a story. We're talking about the real world' Tamaru narrowed his eyes and looked hard at Aomame. Then, slowly opening his mouth, he said, 'Who knows?
Haruki Murakami (1Q84 (1Q84, #1-3))
One day a young fugitive, trying to hide himself from the enemy, entered a small village. The people were kind to him and offered him a place to stay. But when the soldiers who sought the fugitive asked where he was hiding, everyone became very fearful. The soldiers threatened to burn the village and kill every man in it unless the young man were handed over to them before dawn. The people went to the minister and asked him what to do. The minister, torn between handing over the boy to the enemy or having his people killed, withdrew to his room and read his Bible, hoping to find an answer before dawn. After many hours, in the early morning his eyes fell on these words: “It is better that one man dies than that the whole people be lost.” Then the minister closed the Bible, called the soldiers and told them where the boy was hidden. And after the soldiers led the fugitive away to be killed, there was a feast in the village because the minister had saved the lives of the people. But the minister did not celebrate. Overcome with a deep sadness, he remained in his room. That night an angel came to him, and asked, “What have you done?” He said: “I handed over the fugitive to the enemy.” Then the angel said: “But don’t you know that you have handed over the Messiah?” “How could I know?” the minister replied anxiously. Then the angel said: “If, instead of reading your Bible, you had visited this young man just once and looked into his eyes, you would have known.” While versions of this story are very old, it seems the most modern of tales. Like that minister, who might have recognized the Messiah if he had raised his eyes from his Bible to look into the youth’s eyes, we are challenged to look into the eyes of the young men and women of today, who are running away from our cruel ways. Perhaps that will be enough to prevent us from handing them over to the enemy and enable us to lead them out of their hidden places into the middle of their people where they can redeem us from our fears.
Henri J.M. Nouwen (The Wounded Healer: Ministry in Contemporary Society (Doubleday Image Book. an Image Book))
At the point where he, today's Ivan Ilyich, began to emerge, all the pleasures that had seemed so real melted away now before his eyes and turned into something trivial and often disgusting. And the further he was from childhood, the nearer he got to the present day, the more trivial and dubious his pleasures appeared. It started with law school. That had retained a little something that was really good: there was fun, there was friendship, there was hope. But in the last years the good times had become more exceptional. Then, at the beginning of his service with the governor, some good times came again: memories of making love to a woman. Then it became all confused, and the good times were not so many. After that there were fewer still; the further he went the fewer there were. Marriage. . .an accident and such a disappointment, and his wife's bad breath, and all that sensuality and hypocrisy! And the deadlines of his working life, and those money worries, going on for a year, two years, ten, twenty - always the same old story. And the longer it went on the deadlier it became. 'It's as if I had been going downhill when I thought I was going uphill. That's how it was. In society's opinion I was heading uphill, but in equal measure life was slipping away from me...And now it's all over. Nothing left but to die!
Leo Tolstoy (The Death of Ivan Ilych)
Many lyricists rhyme as they pronounce, and their pronunciation is simply horrible. They can make "home" rhyme with "alone," and "saw" with "more," and go right off and look their innocent children in the eye without a touch of shame.
P.G. Wodehouse (A Wodehouse Miscellany Articles & Stories)
If I must die, you must live to tell my story to sell my things to buy a piece of cloth and some strings, (make it white with a long tail) so that a child, somewhere in Gaza while looking heaven in the eye awaiting his dad who left in a blaze— and bid no one farewell not even to his flesh not even to himself— sees the kite, my kite you made, flying up above and thinks for a moment an angel is there bringing back love If I must die let it bring hope let it be a tale
Hhhhhh
I have something for you,” she said as she pulled his leather gloves from the sleeve of her prison tunic. He stared at them. “How—” “I got them from the discarded clothes. Before I made the climb.” “Six stories in the dark.” She nodded. She wasn’t going to wait for thanks. Not for the climb, or the gloves, or for anything ever again. He pulled the gloves on slowly, and she watched his pale, vulnerable hands disappear beneath the leather. They were trickster hands—long, graceful fingers made for prying open locks, hiding coins, making things vanish. “When we get back to Ketterdam, I’m taking my share, and I’m leaving the Dregs.” He looked away. “You should. You were always too good for the Barrel.” It was time to go. “Saints’ speed, Kaz.” Kaz snagged her wrist. “Inej.” His gloved thumb moved over her pulse, traced the top of the feather tattoo. “If we don’t make it out, I want you to know…” She waited. She felt hope rustling its wings inside her, ready to take flight at the right words from Kaz. She willed that hope into stillness. Those words would never come. The heart is an arrow. She reached up and touched his cheek. She thought he might flinch again, even knock her hand away. In nearly two years of battling side by side with Kaz, of late-night scheming, impossible heists, clandestine errands, and harried meals of fried potatoes and hutspot gobbled down as they rushed from one place to another, this was the first time she had touched him skin to skin, without the barrier of gloves or coat or shirtsleeve. She let her hand cup his cheek. His skin was cool and damp from the rain. He stayed still, but she saw a tremor pass through him, as if he were waging a war with himself. “If we don’t survive this night, I will die unafraid, Kaz. Can you say the same?” His eyes were nearly black, the pupils dilated. She could see it took every last bit of his terrible will for him to remain still beneath her touch. And yet, he did not pull away. She knew it was the best he could offer. It was not enough. She dropped her hand. He took a deep breath. Kaz had said he didn’t want her prayers and she wouldn’t speak them, but she wished him safe nonetheless. She had her aim now, her heart had direction, and though it hurt to know that path led away from him, she could endure it.
Leigh Bardugo (Six of Crows (Six of Crows, #1))
Reading off a page is like looking down at a landscape from a balloon – your eye "sees" the story as well as reads it, its layout, its paragraphs and structure, and "remembers" what it just read because it's still there, on the page, simultaneously. If you want to, you can reread any line instantly; or linger; or speed up; or optically "flinch." Reading a series of tweets is more like looking through a narrow window from a train speeding through a landscape full of tunnels and bands of light and dark. Each tweet erases its predecessor.
David Mitchell
My eyes burn with unshed tears from the reminder of how unbelievably hard that time of my life was. It felt like everything was going wrong and I couldn’t tell a soul—not even Pippa—what was happening. Nobody knew that I’d had my heart broken by a man who was my entire world.
Kat Singleton (Rewrite Our Story (Sutten Mountain, #1))
Well, it's like this. Deep in your consciousness there's this core that is imperceptible to yourself. In my case, the core is a town. A town with a river flowing through it and a high brick wall surrounding it. None of the people in the town can leave. Only unicorns can go in and out. The unicorns absorb the egos of the town people like blotter paper and carry them outside the wall. So the people in the town have no ego, no self. I live in the town-or so the story goes. I don't know any more than that, since I haven't actually seen any of this with my own eyes.
Haruki Murakami (Hard-Boiled Wonderland and the End of the World)
But this is not a story. We’re talking about the real world.” Tamaru narrowed his eyes and looked hard at Aomame. Then, slowly opening his mouth, he said, “Who knows?” CHAPTER 2 Tengo I DON’T HAVE A THING EXCEPT MY SOUL He set his recording of Janáček’s Sinfonietta on the turntable and pressed the “auto-play” button.
Haruki Murakami (1Q84 (Vintage International))
One internee told me that he had been in their barrack while they waited for the trucks. The children were sitting on the floor, wide-eyed and silent. He asked one lad, “Well, how are you, Janeck?” With a thoughtful expression on his face, the child answered, “Everything is so bad here that it can only be better ‘over there.’ I am not afraid.
Olga Lengyel (Five Chimneys: A Woman Survivor’s True Story Of Auschwitz [Illustrated Edition])
My heart aches with pent-up yearning as I hold the girl of my dreams in my arms. I look into those wonderful eyes and a million questions rush into my fevered mind at that instant. I try to speak, but Marty places her index finger on my lips and gently shushes me with a Mona Lisa smile. “Don’t say a word,” she whispers. “Let’s just dance, okay?
Alex Diaz-Granados (Reunion: A Story: A Novella (The Reunion Duology Book 1))
Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long. As, therefore, in the case of animate bodies and organisms a certain magnitude is necessary, and a magnitude which may be easily embraced in one view; so in the plot, a certain length is necessary, and a length which can be easily embraced by the memory. The limit of length in relation to dramatic competition and sensuous presentment, is no part of artistic theory. For had it been the rule for a hundred tragedies to compete together, the performance would have been regulated by the water-clock,--as indeed we are told was formerly done. But the limit as fixed by the nature of the drama itself is this: the greater the length, the more beautiful will the piece be by reason of its size, provided that the whole be perspicuous. And to define the matter roughly, we may say that the proper magnitude is comprised within such limits, that the sequence of events, according to the law of probability or necessity, will admit of a change from bad fortune to good, or from good fortune to bad.
Aristotle (Poetics)
Think about it,” the old man said. “Close your eyes again, and think it all through. A circle that has many centers but no circumference. Your brain is made to think about difficult things. To help you get to a point where you understand something that you didn’t understand at first. You can’t be lazy or neglectful. Right now is a critical time. Because this is the period when your brain and your heart form and solidify.
Haruki Murakami (New Yorker Short Stories)
Tell me the story," said Fenchurch firmly. "You arrived at the station." "I was about twenty minutes early. I'd got the time of the train wrong." "Get on with it." Fenchurch laughed. "So I bought a newspaper, to do the crossword, and went to the buffet to get a cup of coffee." "You do the crossword?" "Yes." "Which one?" "The Guardian usually." "I think it tries to be too cute. I prefer The Times. Did you solve it?" "What?" "The crossword in the Guardian." "I haven't had a chance to look at it yet," said Arthur, "I'm still trying to buy the coffee." "All right then. Buy the coffee." "I'm buying it. I am also," said Arthur, "buying some biscuits." "What sort?" "Rich Tea." "Good Choice." "I like them. Laden with all these new possessions, I go and sit at a table. And don't ask me what the table was like because this was some time ago and I can't remember. It was probably round." "All right." "So let me give you the layout. Me sitting at the table. On my left, the newspaper. On my right, the cup of coffee. In the middle of the table, the packet of biscuits." "I see it perfectly." "What you don't see," said Arthur, "because I haven't mentioned him yet, is the guy sitting at the table already. He is sitting there opposite me." "What's he look like?" "Perfectly ordinary. Briefcase. Business suit. He didn't look," said Arthur, "as if he was about to do anything weird." "Ah. I know the type. What did he do?" "He did this. He leaned across the table, picked up the packet of biscuits, tore it open, took one out, and..." "What?" "Ate it." "What?" "He ate it." Fenchurch looked at him in astonishment. "What on earth did you do?" "Well, in the circumstances I did what any red-blooded Englishman would do. I was compelled," said Arthur, "to ignore it." "What? Why?" "Well, it's not the sort of thing you're trained for is it? I searched my soul, and discovered that there was nothing anywhere in my upbringing, experience or even primal instincts to tell me how to react to someone who has quite simply, calmly, sitting right there in front of me, stolen one of my biscuits." "Well, you could..." Fenchurch thought about it. "I must say I'm not sure what I would have done either. So what happened?" "I stared furiously at the crossword," said Arthur. "Couldn't do a single clue, took a sip of coffee, it was too hot to drink, so there was nothing for it. I braced myself. I took a biscuit, trying very hard not to notice," he added, "that the packet was already mysteriously open..." "But you're fighting back, taking a tough line." "After my fashion, yes. I ate a biscuit. I ate it very deliberately and visibly, so that he would have no doubt as to what it was I was doing. When I eat a biscuit," Arthur said, "it stays eaten." "So what did he do?" "Took another one. Honestly," insisted Arthur, "this is exactly what happened. He took another biscuit, he ate it. Clear as daylight. Certain as we are sitting on the ground." Fenchurch stirred uncomfortably. "And the problem was," said Arthur, "that having not said anything the first time, it was somehow even more difficult to broach the subject a second time around. What do you say? "Excuse me...I couldn't help noticing, er..." Doesn't work. No, I ignored it with, if anything, even more vigor than previously." "My man..." "Stared at the crossword, again, still couldn't budge a bit of it, so showing some of the spirit that Henry V did on St. Crispin's Day..." "What?" "I went into the breach again. I took," said Arthur, "another biscuit. And for an instant our eyes met." "Like this?" "Yes, well, no, not quite like that. But they met. Just for an instant. And we both looked away. But I am here to tell you," said Arthur, "that there was a little electricity in the air. There was a little tension building up over the table. At about this time." "I can imagine.
Douglas Adams
Why the fuck would I want you to stay away when I was in love with you?” Her mouth falls open. “What?” she asks, her voice breaking. I let out a dejected sigh, anger and sadness coursing through my veins. I shake my head. “You knew that.” “No.” She shakes her head back and forth, her eyes misting over. “I didn’t know. I hoped. God, I wanted that more than anything. But I asked you if you loved me and you told me no. How can I trust you now?
Kat Singleton (Rewrite Our Story (Sutten Mountain, #1))
Deeds which populate the dimensions of space and which reach their end when someone dies may cause us wonderment, but one thing, or an infinite number of things, dies in every final agony, unless there is a universal memory as the theosophists have conjectured. In time there was a day that extinguished the last eyes to see Christ; the battle of Junín and the love of Helen died with the death of a man. What will die with me when I die, what pathetic or fragile form will the world lose?
Jorge Luis Borges (Labyrinths: Selected Stories & Other Writings)
So these Kings and Queens entered the thicket, and before they had gone a score of paces, they all remembered that the thing they had seen was called a lamppost, and before they had gone twenty more, they noticed that they were making their way not through branches but through coats. And next moment they all came tumbling out of a wardrobe door into the empty room, and they were no longer Kings and Queens in their hunting array but just Peter, Susan, Edmund, and Lucy in their old clothes. It was the same day and the same hour of the day on which they had all gone into the wardrobe to hide. Mrs. Macready and the visitors were still talking I the passage; but luckily they never came into the empty room and so the children weren’t caught. And that would have been the very end of the story if it hadn’t been that they felt they really must explain to the Professor why four of the coats out of his wardrobe were missing. And the Professor, who was a very remarkable man, didn’t tell them not to be silly or not to tell lies, but believed the whole story. “No,” he said, “I don’t think it will be any good trying to go back through the wardrobe door to get the coats. You won’t get into Narnia again by that route. Nor would the coats be much use by now if you did! Eh? What’s that? Yes, of course you’ll get back to Narnia again someday. Once a King in Narnia, always a King in Narnia. But don’t go trying to use the same route twice. Indeed, don’t try to get there at all. It’ll happen when you’re not looking for it. And don’t talk too much about it even among yourselves. And don’t mention it to anyone else unless you find that they’ve had adventures of the same sort themselves. What’s that? How will you know? Oh, you’ll know all right. Odd things they say--even their looks--will let the secret out. Keep your eyes open. Bless me, what do they teach them at these schools?” And that is the very end of the adventures of the wardrobe. But if the Professor was right, it was only the beginning of the adventures of Narnia.
C.S. Lewis (The Chronicles of Narnia The Lion, the Witch & the Wardrobe)
I have been drenched in you I'm going about my day soaking like us in Canons Park, when your car became a prison and I escaped to the side of the road and wept with the rain. That day it understood me where you couldn't. And held me when you wouldn't. I'm soaking again. So of course you have pushed your way into every conversation. Even when I meet those polite folk who only as with their eyes. You spill from my mouth like a tsunami. How vocal this lonely. Sliding into every crevice of my day, I count the minutes by you. It's been an hour and I haven't said your name. But still, there is no getting away from this layer of wet skin sat on mine. Where can I go this wet? Where is quiet enough to listen to the little ripples writing themselves along my arms, and then spend hours building those stories about how we would travel far from here and surf them once they grew into waves? Everyone leave me alone today. It's for me and the you of my mind to hold our breath for as long as possible underneath our reality which is this.
Sophia Thakur (Somebody Give This Heart a Pen)
What's the meaning of a flower? There's the Zen story about a sermon of the Buddha in which he simply lifted a flower. There was only one man who gave him a sign with his eyes that he understood what was said. Now, the Buddha himself is called "the one thus come". There's no meaning. What's the meaning of the universe? What's the meaning of a flea? It's just there. We're so engaged in doing things to achieve purposes of outer value that we forget the inner value, the rapture that is associated with being alive, is what it's all about.
Joseph Campbell (The Power of Myth)
The big cat’s flame-green eyes were on the plump child not ten feet away from where it lay, lashing its tail. Here was a chance for revenge. One raking blow of unsheathed claws would make up for those tortured months of captivity. Closing his jaws in the man-child’s throat would repay him for the wounds that still smarted where the bullets had grazed his flesh. The puny dog, who was crouching close by, was not even to be considered. ‘The dogs, who had been guarding the sheep and the bull the puma had recently slaughtered, had fled when he spat at them.
George Watson Little (True Stories of Heroic Dogs)
Perhaps lovers aren't supposed to look down at the ground. That kind of story is told in symbols, and earth represents reality, and reality represents frustrations, chance illnesses, death, murder, and all kinds of other tragedies. Lovers are meant to look up at the sky, for up there no beautiful illusions can be trampled upon." Frowning, sulky, I gazed moodily at him. "And when I fall in love," I began, "I will build a mountain to touch the sky. Then, my lover and I will have the best of both worlds, reality firmly under our feet, while we have our heads in the clouds with all our illusions still intact. And the purple grass will grow all around, high enough to reach our eyes.
V.C. Andrews (Flowers in the Attic (Dollanganger, #1))
We can at least give them our names,” Jeff insisted. They were very sweet about it, quite willing to do whatever we asked, to please us. As to the names, Alima, frank soul that she was, asked what good it would do. Terry, always irritating her, said it was a sign of possession. “You are going to be Mrs. Nicholson,” he said, “Mrs. T.O. Nicholson. That shows everyone that you are my wife.” “What is a ‘wife’ exactly?” she demanded, a dangerous gleam in her eye. “A wife is a woman who belongs to a man,” he began. But Jeff took it up eagerly: “And a husband is the man who belongs to a woman. It is because we are monogamous, you know. And marriage is a ceremony, civil and religious, that joins the two together—“until death do us part,” he finished, looking at Celia with unutterable devotion. “What makes us feel foolish,” I told the girls, “is that here we have nothing to give you—except, of course, our names.” “Do your women have no names before they are married?” Celis suddenly demanded. “Why, yes,” Jeff explained. “They have their maiden names—their father’s names, that is.” “And what becomes of them?” asked Alima. “They change them for their husband’s, my dear,” Terry answered her. “Change them? Do the husbands then take the wives’ ‘maiden names’?” “Oh no,” he laughed. “The man keeps his own and gives it too her, too.” “Then she just loses hers and takes a new one—how unpleasant! We won’t do that!” Alima said decidedly.
Charlotte Perkins Gilman (Herland and Selected Stories)
If I could go back, I would take all the wrong turns on purpose. I would be reckless with chances and greedy with wishes. I would believe in a lot more, but trust less. If I could go back, I would find my fears earlier to kick their asses sooner. I would realize that eye contact never killed anyone and words hurt, but silence is what breaks hearts. I would go back to tell myself that I have the sky in my eyes, the universe in my heart and dynamite built into my own bare feet. I would tell that beautiful girl to never let anyone crack her steel spine, never give anyone the power to slip disregard under her nail beds and don't ever allow someone to leave a trail of regret beneath her skin, and try to call it a promise. I would remind her.... Beautiful Girl, never lose sight of who writes your story.
Stephanie Bennett-Henry
Paradiso, XXXI,108 Diodorus Siculus tells the story of a god that is cut into pieces and scattered over the earth. Which of us, walking through the twilight or retracing some day in our past, has never felt that we have lost some infinite thing? Mankind has lost a face, an irrecoverable face, and all men wish they could be that pilgrim (dreamed in the empyrean, under the Rose) who goes to Rome and looks upon the veil of St. Veronica and murmurs in belief: My Lord Jesus Christ, very God, is this, indeed, Thy likeness in such fashion wrought?* There is a face in stone beside a path, and an inscription that reads The True Portrait of the Holy Face of the Christ of Jaén. If we really knew what that face looked like, we would possess the key to the parables, and know whether the son of the carpenter was also the Son of God. Paul saw the face as a light that struck him to the ground; John, as the sun when it shines forth in all its strength; Teresa de Jesús, many times, bathed in serene light, although she could never say with certainty what the color of its eyes was. Those features are lost to us, as a magical number created from our customary digits can be lost, as the image in a kaleidoscope is lost forever. We can see them and yet not grasp them. A Jew's profile in the subway might be the profile of Christ; the hands that give us back change at a ticket booth may mirror those that soldiers nailed one day to the cross. Some feature of the crucified face may lurk in every mirror; perhaps the face died, faded away, so that God might be all faces. Who knows but that tonight we may see it in the labyrinths of dream, and not know tomorrow that we saw it.
Jorge Luis Borges
Still grows the vivacious lilac a generation after the door and lintel and the sill are gone, unfolding its sweet-scented flowers each spring, to be plucked by the musing traveller; planted and tended once by children's hands, in front-yard plots—now standing by wallsides in retired pastures, and giving place to new-rising forests;—the last of that stirp, sole survivor of that family. Little did the dusky children think that the puny slip with its two eyes only, which they stuck in the ground in the shadow of the house and daily watered, would root itself so, and outlive them, and house itself in the rear that shaded it, and grown man's garden and orchard, and tell their story faintly to the lone wanderer a half-century after they had grown up and died—blossoming as fair, and smelling as sweet, as in that first spring. I mark its still tender, civil, cheerful lilac colors.
Henry David Thoreau (Walden)
The muezzins were calling the faithful to their early morning prayers when Averroes entered his library again. (In the harem, the dark-haired slave girls had tortured a red-haired slave girl, but he would not know it until the afternoon.) Something had revealed to him the meaning of the two obscure words. With firm and careful calligraphy he added these lines to the manuscript : 'Aristu (Aristotle) gives the name of tragedy to panegyrics and that of comedy to satires and anathemas. Admirable tragedies and comedies abound in the pages of the Koran and in the mohalacas of the sanctuary.' He felt sleepy, he felt somewhat cold. Having unwound his turban, he looked at himself in a metal mirror. I do not know what his eyes saw, because no historian has ever described the forms of his face. I do know that he disappeared suddenly, as if fulminated by an invisible fire, and with him disappeared the houses and the unseen fountain and the books and the manuscript and the doves and the many dark-haired slave girls and the tremulous red-haired slave girl and Farach and Abulcasim and the rose bushes and perhaps the Guadalquivir.
Jorge Luis Borges (Labyrinths: Selected Stories & Other Writings)
was no one else there to comfort her. There was only him. The real him. She stepped forward and laid her head against his chest. Samantha: I’ll never forget the moment when Perry and Celeste walked into the trivia night. There was like this ripple across the room. Everyone just stopped and stared. 23. Isn’t this FANTASTIC!” cried Madeline to Chloe as they took their really very excellent seats in front of the giant ice rink. “You can feel the cold from the ice! Brrr! Oh! Can you hear the music? I wonder where the princesses—” Chloe had reached over and placed one hand gently over her mother’s mouth. “Shhh.” Madeline knew she was talking too much because she was feeling anxious and ever so slightly guilty. Today needed to be stupendous to make it worth the rift she’d created between herself and Renata. Eight kindergarten children, who would otherwise be attending Amabella’s party, were here watching Disney On Ice because of Madeline. Madeline looked past Chloe at Ziggy, who was nursing a giant stuffed toy on his lap. Ziggy was the reason they were here today, she reminded herself. Poor Ziggy wouldn’t have been at the party. Dear little fatherless Ziggy. Who was possibly a secret psychopathic bully . . . but still! “Are you taking care of Harry the Hippo this weekend, Ziggy?” she said brightly. Harry the Hippo was the class toy. Every weekend it went home with a different child, along with a scrapbook that had to be returned with a little story about the weekend, accompanied by photos. Ziggy nodded mutely. A child of few words. Jane leaned forward, discreetly chewing gum as always. “It’s quite stressful having Harry to stay. We have to give Harry a good time. Last weekend he went on a roller coaster— Ow!” Jane recoiled as one of the twins, who was sitting next to her and fighting his brother, elbowed her in the back of the head. “Josh!” said Celeste sharply. “Max! Just stop it!” Madeline wondered if Celeste was OK today. She looked pale and tired, with purplish shadows under her eyes, although on Celeste they looked like an artful makeup effect that everyone should try. The lights in the auditorium began to dim, and then went to black. Chloe clutched Madeline’s arm. The music began to pound, so loud that Madeline could feel the vibrations. The ice rink filled with an
Liane Moriarty (Big Little Lies)
I was not able to sleep that night. To be honest, I didn’t even try. I stood in front of my living room window, staring out at the bright lights of New York City. I don’t know how long I stood there; in fact, I didn’t see the millions of multicolored lights or the never-ending streams of headlights and taillights on the busy streets below. Instead, I saw, in my mind’s eye, the crowded high school classrooms and halls where my friends and I had shared triumphs and tragedies, where the ghosts of our past still reside. Images flickered in my mind. I saw the faces of teachers and fellow students I hadn’t seen in years. I heard snatches of songs I had rehearsed in third period chorus. I saw the library where I had spent long hours studying after school. Most of all, I saw Marty. Marty as a shy sophomore, auditioning for Mrs. Quincy, the school choir director. Marty singing her first solo at the 1981 Christmas concert. Marty at the 1982 Homecoming Dance, looking radiant after being selected as Junior Princess. Marty sitting alone in the chorus practice room on the last day of our senior year. I stared long and hard at those sepia-colored memories. And as my mind carried me back to the place I had sworn I’d never return to, I remembered.
Alex Diaz-Granados (Reunion: A Story: A Novella (The Reunion Duology Book 1))
Marion: Now it's serious. At last it's becoming serious. So I've grown older. Was I the only one who wasn't serious? Is it our times that are not serious? I was never lonely neither when I was alone, nor with others. But I would have liked to be alone at last. Loneliness means I'm finally whole. Now I can say it as tonight, I'm at last alone. I must put an end to coincidence. The new moon of decision. I don't know if there's destiny but there's a decision. Decide! We are now the times. Not only the whole town - the whole world is taking part in our decision. We two are now more than us two. We incarnate something. We're representing the people now. And the whole place is full of those who are dreaming the same dream. We are deciding everyone's game. I am ready. Now it's your turn. You hold the game in your hand. Now or never. You need me. You will need me. There's no greater story than ours, that of man and woman. It will be a story of giants... invisible... transposable... a story of new ancestors. Look. My eyes. They are the picture of necessity, of the future of everyone in the place. Last night I dreamt of a stranger... of my man. Only with him could I be alone, open up to him, wholly open, wholly for him. Welcome him wholly into me. Surround him with the labyrinth of shared happiness. I know... it's you.
wings of desire (1987)
I am sitting alone in my old English classroom at my old desk, reading from Shakespeare’s Macbeth. The only sounds in the room are the ticking of the clock and the occasional rustling of the pages of the book. Then, Martina Reynaud, the most beautiful girl in the Class of ’83, walks in. She’s tall, graceful, and absolutely breathtaking. She’s wearing a black dress, one that shows off her long dancer’s legs. Her peaches-and-cream complexion is flawless; there is no sign of a pimple anywhere. Her long chestnut hair cascades down over her shoulders. In short, she is the personification of feminine elegance from the top of her head to her high-heeled shoes. I try to get back to my reading assignment, but the scent of her perfume, a mixture of jasmine and orange blossoms, is beguiling. I look to my right; she is sitting at the desk right next to mine. She gives me a smile. My heart skips a beat. I know guys who would kill for one of Marty’s smiles. She has that effect on most men. Her smile is full of genuine warmth and affection; I can tell by the look in her hazel eyes. “Hi, Jimmy,” she says. Her voice is soft and melodious; she speaks with a lilting British accent. From what I’ve heard, her family is from England. London, actually. “Hi,” I reply, feeling about as articulate as your average mango. Then, mustering my last reserves of willpower, I focus my attention on Shakespeare’s play.
Alex Diaz-Granados (Reunion: A Story: A Novella (The Reunion Duology Book 1))
Having done with the cares of business, Oblomov liked to withdraw into himself and live in the world of his own creation. He was not unacquainted with the joys of lofty thoughts; he was not unfamiliar with human sorrows. Sometimes he wept bitterly in his heart of hearts over the calamities of mankind and experienced secret and nameless sufferings and anguish and a yearning for something far away, for the world, perhaps, where Stolz used to carry him away. ... Sweet tears flowed from his eyes. It would also happen that sometimes he would be filled with contempt for human vice, lies, and slanders, for the evil that was rife in the world, and he was consumed by a desire to point out to man his sores, and suddenly thoughts were kindled in him, sweeping through his head like waves of the sea, growing into intentions, setting his blood on fire, flexing his muscles, and swelling his veins; then his intentions turned to strivings; moved by a spiritual force, he would change his position two or three times in one minute, and half-rising on his couch with blazing eyes, stretch forth his hand and look around him like one inspired. ... In another moment the striving would turn into a heroic act – and then, heavens! What wonders, what beneficent results might one not expect from such a lofty effort! But the morning passed, the day was drawing to its close, and with it Oblomov's exhausted energies were crying out for a rest: the storms and emotions died down, his head recovered from the spell of his reverie, and his blood flowed more slowly in his veins. Oblomov turned on his back quietly and wistfully and, fixing a sorrowful gaze at the window and the sky, mournfully watched the sun setting gorgeously behind a four-storied house. How many times had he watched the sun set like that!
Ivan Goncharov (Oblomov)
C. M. Knaphle, Jr., of Philadelphia had tried for years to sell fuel to a large chain-store organization. But the chain-store company continued to purchase its fuel from an out-of-town dealer and haul it right past the door of Knaphle’s office. Mr. Knaphle made a speech one night before one of my classes, pouring out his hot wrath upon chain stores, branding them as a curse to the nation. And still he wondered why he couldn’t sell them. I suggested that he try different tactics. To put it briefly, this is what happened. We staged a debate between members of the course on whether the spread of the chain store is doing the country more harm than good. Knaphle, at my suggestion, took the negative side; he agreed to defend the chain stores, and then went straight to an executive of the chain-store organization that he despised and said: “I am not here to try to sell fuel. I have come to ask you to do me a favor.” He then told about his debate and said, “I have come to you for help because I can’t think of anyone else who would be more capable of giving me the facts I want. I’m anxious to win this debate, and I’ll deeply appreciate whatever help you can give me.” Here is the rest of the story in Mr. Knaphle’s own words: I had asked this man for precisely one minute of his time. It was with that understanding that he consented to see me. After I had stated my case, he motioned me to a chair and talked to me for exactly one hour and forty-seven minutes. He called in another executive who had written a book on chain stores. He wrote to the National Chain Store Association and secured for me a copy of a debate on the subject. He feels that the chain store is rendering a real service to humanity. He is proud of what he is doing for hundreds of communities. His eyes fairly glowed as he talked, and I must confess that he opened my eyes to things I had never even dreamed of. He changed my whole mental attitude. As I was leaving, he walked with me to the door, put his arm around my shoulder, wished me well in my debate, and asked me to stop in and see him again and let him know how I made out. The last words he said to me were: “Please see me again later in the spring. I should like to place an order with you for fuel.” To me that was almost a miracle. Here he was offering to buy fuel without my even suggesting it. I had made more headway in two hours by becoming genuinely interested in him and his problems than I could have made in ten years trying to get him interested in me and my product.
Dale Carnegie (How to win friends and Influence People)
Islam tells us that on the unappealable Day of Judgment, all who have perpetrated images of living things will reawaken with their works, and will be ordered to blow life into them, and they will fail, and they and their works will be cast into the fires of punishment. As a child, I knew that horror of the spectral duplication or multiplication of reality, but mine would come as I stood before large mirrors. As soon as it began to grow dark outside, the constant, infallible functioning of mirrors, the way they followed my every movement, their cosmic pantomime, would seem eerie to me. One of my insistent pleas to God and my guardian angel was that I not dream of mirrors; I recall clearly that I would keep one eye on them uneasily. I feared sometimes that they would begin to veer off from reality; other times, that I would see my face in them disfigured by strange misfortunes. I have learned that this horror is monstrously abroad in the world again. The story is quite simple, and terribly unpleasant. In 1927, I met a grave young woman, first by telephone (because Julia began as a voice without a name or face) and then on a corner at nightfall. Her eyes were alarmingly large, her hair jet black and straight, her figure severe. She was the granddaughter and greatgranddaughter of Federalists, as I was the grandson and great-grandson of Unitarians,* but that ancient discord between our lineages was, for us, a bond, a fuller possession of our homeland. She lived with her family in a big run-down high-ceiling'd house, in the resentment and savorlessness of genteel poverty. In the afternoons— only very rarely at night—we would go out walking through her neighbor-hood, which was Balvanera.* We would stroll along beside the high blank wall of the railway yard; once we walked down Sarmien to all the way to the cleared grounds of the Parque Centenario.*Between us there was neither love itself nor the fiction of love; I sensed in her an intensity that was utterly unlike the intensity of eroticism, and I feared it. In order to forge an intimacy with women, one often tells them about true or apocryphal things that happened in one's youth; I must have told her at some point about my horror of mirrors, and so in 1928 I must have planted the hallucination that was to flower in 1931. Now I have just learned that she has gone insane, and that in her room all the mirrors are covered, because she sees my reflection in them— usurping her own—and she trembles and cannot speak, and says that I am magically following her, watching her, stalking her. What dreadful bondage, the bondage of my face—or one of my former faces. Its odious fate makes me odious as well, but I don't care anymore.
Jorge Luis Borges
Ronan's trying to wake up the world. I'm trying to think of how to talk him out of it, but what he's talking about is a world where she never fell asleep. A world where Matthew's just a kid. A world where it doesn't matter what Hennessy does, if something happens to her. A level playing field. I don't think it's a good idea, but it's not like I can't see the appeal, because now I'm biased, I'm too biased to be clear." Declan shook his head a little. "I said I would never become my father, anything like him. And now look at me. At us." Ah, there it was. It took no effort to remember the way he'd looked at her the first moment he realized she was a dream. "I'm a dream," Jordan said. "I'm not your dream." Declan put his chin in his hand and looked back out the window; that, too, would be a good portrait. Perhaps it was just because she liked looking at him that she thought each pose would make a good one. A series. What a future that idea promised, nights upon nights like this, him sitting there, her standing here. "By the time we're married," Declan said eventually, "I want you to have applied for a different studio in this place because this man's paintings are very ugly." Her pulse gently skipped two beats before continuing on as before. "I don't have a social security number of my own, Pozzi." "I'll buy you one," Declan said. "You can wear it in place of a ring." The two of them looked at each other past the canvas on her easel. Finally, he said, voice soft, "I should see the painting now." "Are you sure?" "It's time, Jordan." Putting his jacket to the side, he stood. He waited. He would not come around to look without an invite. It's time, Jordan. Jordan had never been truly honest with anyone who didn't wear Hennessy's face. Showing him this painting, this original, felt like being more honest than she had ever been in her life. She stepped back to give him room. Declan took it in. His eyes flickered to and from the likeness, from the jacket on Portrait Declan's leg to the real jacket he'd left behind on the chair. She watched his gaze follow the line edge she had taken such care to paint, that subtle electricity of complementary colors at the edge of his form. "It's very good," Declan muttered. "Jordan, it's very good." "I thought it might be." "I don't know if it's a sweetmetal. But you're very good." "I thought I might be." "The next one will be even better." "I think it might be." "And in ten years your scandalous masterpiece will get you thrown out of France, too," he said. "And later you can triumphantly sell it to the Met. Children will write papers about you. People like me will tell stories about you to their dates at museums to make them think they're interesting." She kissed him. He kissed her. And this kiss, too, got all wrapped up in the art-making of the portrait sitting on the easel beside them, getting all mixed in with all the other sights and sounds and feelings that had become part of the process. It was very good.
Maggie Stiefvater (Mister Impossible (Dreamer Trilogy, #2))
The dark object stepped out of the bushes’ shades to reveal a young rabbit-like creature. He was light brown, with long and wide large ears, skinny long legs, an agile body, large yellow eyes, and a fuzzy small tail. “You are a cute bunny!!” said Nader. “I’m not a bunny! I am he, the most fearless, the bravest, and most courageous, Shuja’ , the Arabian hare,
Noora Ahmed Alsuwaidi (The Desert Heroes: Novel)
No one’s here!” Alex said, and tears came to her eyes. “We’re too late again! Uncle Lloyd has already taken everyone! We’ll never catch up to him!
Chris Colfer (Beyond the Kingdoms (The Land of Stories, #4))
The Cook arrived sometime in the small hours of the morning. The moon was high but falling, and the air had taken to chill. Our lamps were out. Clement snored. The front door creaked. I didn’t move. The Cook crept in. His yellow cloak hung in threads, trail-worn, his apron smeared in dark brown and crimson stains—I hoped it was not Edwin’s blood. Dark circles under his eyes, a scratchy, unshaved beard, dirt under his nails so black it was opaque, and flaked skin made him more creature than man.
D.C. McNeill (The Retrievers of Windsor: A Maynard Trigg Story)
The map of Florence, a bird’s-eye view from the north, shows the city embraced by a diamond-shaped circuit of walls and split in half by the River Arno, spanned by its four bridges. Many of Florence’s churches and various other monuments are shown inside the walls, all identified by inscriptions helpfully added by a scribe in reddish ink. The artist, Piero del Massaio, even included the copper ball that in 1471 Andrea del Verrocchio added to the lantern at the top of Brunelleschi’s dome. The map also shows, on the south side of the Arno, between the Ponte Rubaconte and the Ponte Vecchio, a handsome private home. The reddish ink clearly identifies the occupant: Domus Vespasiani—the house, that is, of Vespasiano. The inclusion of Vespasiano’s home in Via de’ Bardi indicates his friendship with Duke Alfonso, who must have appreciated this little in-joke, and who may have been a visitor to Vespasiano’s house during his stay in Florence. It also gives proof of Vespasiano’s eminence: his house, like that of Niccolò Niccoli many years earlier, had become one of the sights of Florence.
Ross King (The Bookseller of Florence: The Story of the Manuscripts That Illuminated the Renaissance)
But it was her eyes that stopped his breath; that made his heart leap up. Blue they were, even through the swirling vapors of pompous Chesterfields and arrogant Lucky Strikes he saw her eyes were a blue beyond blue, like the ocean. A blue he could swim into forever and never miss a fire engine red or a cornstalk yellow. Across the chasm of that room, that blue, those eyes, devoured him and looked past him and never saw him and never would, of that he was sure. From that moment, Eugene understood what the poets had been writing about these many years, all the lost, wandering, lonely souls who were now his brothers. He knew a love that would never be his. So quickly did he fall for her that no one in the room even heard the sound, the whoosh as he fell, the clatter of his broken heart. It was a sure silence, but his life was shattered." O Lost: A Story of a Buried Life
Wolfe, Thomas,
Mrs. Hamilton gave him a pitying look. She didn’t believe it any more than her brother did. “We’ve all heard the stories.” “Well, they died here, or died running from here. Who do you think does the killing? It’s them. They come to work every day like killing people is nothing. How can they do that? How can they kill kids and nobody does anything?” Mrs. Hamilton strained to think of a good answer, or maybe another lie, but she couldn’t reply to him for a time. “It’s wrong,” she said. “As wrong as anything I’ve ever seen.” Hearing the truth made Robert’s bones heavy. He sobbed into Mrs. Hamilton’s arms. If she’d been Mama, she would have hugged him for a long while, patting the back of his neck, saying, All right, try to be brave like your papa, and then let him lie down and miss his chores. But she wasn’t Mama, so when the hug was cut short, he could barely stand. “Listen to me,” Mrs. Hamilton said, her words steadying him. “I know.” She’d spoken as if she’d seen it all: the dead boys in the photographs, Gloria’s map, the haint at the church. Every secret thing that only Redbone knew—had known. Robert felt dizzy when he remembered Redbone was dead. “I know what it is to have someone killed by violence—the injustice of it. It’s the worst feeling there is. My late husband, he didn’t die in the war: he got pulled off a train and beaten to death after he got back home. He never made it back to me. I carry that, Robert.” Her eyes were bright with tears. “This is yours to carry. There’s lots of people working to get you out of here, but you won’t find justice in here. If there’s any kind of justice, and I do mean if, it’s waiting outside. After
Tananarive Due (The Reformatory)
Burns, a former Secret Service agent, had succeeded Pinkerton as the world’s most celebrated private eye. A short, stout man, with a luxuriant mustache and a shock of red hair, Burns had once aspired to be an actor, and he cultivated a mystique, in part by writing pulp detective stories about his cases. In one such book, he declared, “My name is William J. Burns, and my address is New York, London, Paris, Montreal, Chicago, San Francisco, Los Angeles, Seattle, New Orleans, Boston, Philadelphia, Cleveland, and wherever else a law-abiding citizen may find need of men who know how to go quietly about throwing out of ambush a hidden assassin or drawing from cover criminals who prey upon those who walk straight.” Though dubbed a “front-page detective” for his incessant self-promotion, he had an impressive track record, including catching those responsible for the 1910 bombing of the headquarters of the Los Angeles Times, which killed twenty people. The New York Times called Burns “perhaps the only really great detective, the only detective of genius, whom this country has produced,” and Sir Arthur Conan Doyle gave him the moniker he longed for: “America’s Sherlock Holmes.
David Grann (Killers of the Flower Moon: The Osage Murders and the Birth of the FBI)
put it down here for you as though I had been an eyewitness. My information was fragmentary, but I’ve fitted the pieces together, and there is enough of them to make an intelligible picture. I wonder how he would have related it himself. He has confided so much in me that at times it seems as though he must come in presently and tell the story in his own words, in his careless yet feeling voice, with his offhand manner, a little puzzled, a little bothered, a little hurt, but now and then by a word or a phrase giving one of these glimpses of his very own self that were never any good for purposes of orientation. It’s difficult to believe he will never come. I shall never hear his voice again, nor shall I see his smooth tan-and-pink face with a white line on the forehead, and the youthful eyes darkened by excitement to a profound, unfathomable blue.
Joseph Conrad (Joseph Conrad: The Complete Novels)
In phantom father's shadow, I still roam, A love unwritten, a yearning for home. First male touch, a myth my heart craves, His absence echoes in unspoken graves. I search for him in faces passing by, A familiar line, a flicker in their eye. His name a whisper on the wind's soft sigh, A ghost I chase, a tear that won't dry. But love, it blooms in unexpected ways, In mentors' wisdom, friends' unwavering gaze. In echoes of kindness, hands that hold me tight, In lessons learned from shadows and from light. So father, phantom, wherever you may be, Though you left me wanting, I set myself free. From the chains of longing, the hunger for your face, I build my own fortress, in this heart's embrace. With threads of resilience, I weave my own song, A tapestry of strength, where I belong. No longer searching in the empty air, My love blooms within, a flame I dare to share. And though the echo of your absence may remain, It no longer defines me, a dance in the rain. I rise above the loss, with spirit bright and bold, My own story unfolds, in colors yet untold. So let the phantom father fade into the mist, His memory a whisper, a lesson I've kissed. For I am the daughter, of courage and grace, And love, my own compass, lights up this space.
Mriganka Sekhar Ganguly
What were you,” Nesta breathed, coming around Cassian to stand at his side. Amren toyed with one of her black pearl earrings. “A messenger—and soldier-assassin. For a wrathful god who ruled a young world.” I could feel the questions of the others brewing. Rhys’s eyes were near-glowing with them. “Was Amren your name?” Nesta asked. “No.” The smoke swirled in her eyes. “I do not remember the name I was given. I used Amren because—it’s a long story.
Sarah J. Maas (A Court of Wings and Ruin (A Court of Thorns and Roses, #3))
I don’t know what it was about menopause, specifically, that caused me all of a sudden to become a gatherer of “found objects.” But now, wherever I went in this bleakly untamed and often inhospitable landscape in the wild western extremes of Ireland, I seemed to hear things calling out to me. I was rooting for something — I didn’t know what. For fragments of myself, perhaps; my life, my loves. For fragments which reflected something of myself back at me — whatever I might be becoming now, at this turbulent, shapeshifting time of my life. And all the fragments I seemed to need came from this new place, from the ancient, uncompromising earth around me: that land which I walked compulsively, day after day after day. I would come home from the woods reverently carrying strangely shaped sticks, from the lough with pebbles and water-bird feathers, from the beach with seashells and mermaid’s purses — as if I were reassembling myself from elements of the land itself. After the deep dissolutions of menopause, I was refashioning myself from those calcinated ashes; I was growing new bones. It’s something we all have to do at this time in our lives; somehow, with whatever tools are available to us, we have to begin to curate the vision of the elder we will become. It’s an act of bricolage. And so now I had become like the bright-eyed, cackling magpies which regularly ransacked our garden: a collector — though not of trinkets, but of clues. I was gathering them together in the safety of my new nest. The clues were there in the pieces; those clues are threaded through this book. Scattered in shadowy corners and brightly lit windows, these objects I’ve selected are so much more than random gatherings of whatever it was that I happened to come across in my wanderings. They’re so much more than mere clutter. They are active choices, carefully selected objects that mirror my sense of myself as a shapeshifting, storied creature. Because the clues to our re-memberings are in the stories, and the stories are always born from the land.
Sharon Blackie (Hagitude: Reimagining the Second Half of Life)
That very month, at the St. Louis Children’s Hospital, two young patients experienced strange and alarming symptoms. As they underwent dialysis, a lifesaving procedure to filter blood for those whose kidneys don’t work properly, the patients’ eyes started swelling, their heart rates escalated, and their blood pressure dropped. These were signs of a life-threatening allergic reaction. Dr. Anne Beck, the director of the nephrology unit, directed her staff to wash out the tubing with extra fluid before hooking the children back up to the dialysis machines. For the next two months, everything seemed fine. But in January 2008, the symptoms struck again. Beck contacted an epidemiologist specializing in children’s infectious diseases who immediately assembled a command center where a team worked around the clock to uncover the cause of the strange reactions. But as more children succumbed and the staff grew frightened, the epidemiologist notified the Centers for Disease Control and Prevention. The CDC immediately contacted dialysis centers in other states and learned of similar reactions elsewhere. As the CDC and the FDA began a joint investigation, their efforts pointed to a common denominator: all the sickened patients had been given heparin made by the brand-name company Baxter, the nation’s biggest heparin supplier. It was a drug that patients took intravenously during dialysis to ensure that they didn’t suffer blood clots. Within weeks, Baxter—at the FDA’s urging—began a sweeping series of recalls, until finally the allergic reactions stopped. Yet
Katherine Eban (Bottle of Lies: The Inside Story of the Generic Drug Boom)
I rolled my eyes and waited. This year was going to be my villain origin story, I just knew it.
Abby Jimenez (Yours Truly (Part of Your World, #2))
BROADCASTING RESONANCE Anchored in nonlocal consciousness, your local life begins to change. As you resonate with the cycles of nature, as your heart’s coherence conditions the energy space around you, as you vibrate to the signal of love and joy in your consciousness, you attract people and conditions that match your states and traits. Without effort, as your magnificent new signal broadcasts out around you, resonating with the music of the universe, you’ll come into synchrony with people and events that bless and delight you. You’ll discover that you’re not alone. As you tune to the great symphony of life each day, you’ll find that you’re tuned to millions of other people who are likewise attuned. With no effort at all, you’ll discover wonderful new friends and companions wherever you travel. As the light shines from your eyes, it meets the light in the eyes of others. When you’re awake, you naturally enjoy others who are awake. 9.3. Coming into synchrony. LOVING THE SLEEPER Not everyone is awake, and that’s fine. Sometimes your friends and family members are tossing in their sleep, suffering unnecessarily. Their plight touches you. You feel their misery. You would love to see them wake up, and shed those beliefs, thoughts, and habits that drag them down. You can’t force them to do so, no matter how much you love them. Everyone makes their own choice. What you can do for people who are suffering is shine brightly yourself. If they’re ready, they’ll wake up. If they don’t, trust the universe. We each wake up when the time is right. Their time might come later; it’s not up to you. You can share this book and other resources with them. You can share your story as I have shared mine, and perhaps these examples will inspire them. If and when each of us wakes up is our choice. UNLOCKING YOUR POTENTIAL As you live in synchrony with the universe, enjoying the community of other Bliss Brainers, you find new possibilities opening up. You start to unlock potential that’s been trapped inside the suffering, selfing self. Increasingly, you’re not just in Bliss Brain during meditation. You’re in the Awakened Mind state with your eyes open, going about your day. All kinds of possibilities that were previously unavailable to you now become available.
Dawson Church (Bliss Brain: The Neuroscience of Remodeling Your Brain for Resilience, Creativity, and Joy)
If you cease to think well of yourself because you shine in the eyes of others, but, rather, do whatever it is you do out of interest and delight (and discipline), such a great burden will be floated from your shoulders as you cannot imagine, and the world will appear as wonderful as it is to a child.
Mark Helprin (The Oceans and the Stars: A Sea Story, A War Story, A Love Story (A Novel))
It was Eddie Willers who told her the whole truth. She heard that he had known Jim since childhood, and she asked him to lunch with her. When she faced him at the table, when she saw the earnest, questioning directness of his eyes and the severely literal simplicity of his words, she dropped all attempts at casual prodding, she told him what she wanted to know and why, briefly, impersonally, not appealing for help or for pity, only for truth. He answered her in the same manner. He told her the whole story, quietly, impersonally, pronouncing no verdict, expressing no opinion, never encroaching on her emotions by any sign of concern for them, speaking with the shining austerity and the awesome power of facts. He told her who ran Taggart Transcontinental. He told her the story of the John Galt Line. She listened, and what she felt was not shock, but worse: the lack of shock, as if she had always known it. “Thank you, Mr. Willers,” was all that she said when he finished.
Ayn Rand (Atlas Shrugged)
We would prefer to say that such people cannot exist, that there aren't any. It is permissible to portray evildoers in a story for children, so as to keep the picture simple. But when the great world literature of the past -- Shakespeare, Schiller, Dickens -- inflates and inflates images of evildoers of the blackest shades, it seems somewhat farcical and lumsy to our contemporary percetption. The trouble lies in the way these classical evildoers are pictured. They recognize themselves as evildoers and they know their souls are black. And they reason: "I cannot live unless I do evil. So I'll set my father against my brother! I'll drink the victim's sufferings until I'm drunk with them!" Iago very precisely identifies his purposes and his motives as being black and born of hate. But no; that's not the way it is! To do evil a human being must first of all believe that what he's doing is good, or else that it's a well-considered act in conformity with natural law. Fortunately, it is in the nature of the human beingto seek a justifaction for his actions. Macbeth's self-justifications were feeble -- and his conscience devoured him. Yes, even Iago was a little lamb too. The imagination and the spiritual strength of Shakespeare's evildoers stopped short at a dozen corpses. Because they have no ideology. Ideology-- that is what gives evildoing its long-sought justification and gives the evildoer the necessary steadfastness and determination. That is the social theory which helps to make his acts seem good instead of bad and in his own and other's eyes, so that he won't hear reproaches and curses but will received praise and honors. That was how the agents of the Inquisition fortified their weills: by invoking Christianity; the conquerors of foreign lands, by extolling the grandeur of their Mother-land; the conolizers, by civilization; the Nazis, by race; and the Jacobins (early and late), by equality, brotherhood, and the happiness of future generations. Thanks to ideology, the twentieth century was fated to experience evildoing on a scale calculated in the millions. This cannot be denied, nor passed over, nor suppressed. How, then, do we dare insist that evildoers do not exist? And who was it that destroyed these millions? Without evildoers there would have been no Archipelago.
Aleksandr Solzhenitsyn (The Gulag Archipelago)
The bones were on the table, naked and chalky. The eye sockets hollow, the mouth in a loose grimace, as if to say. "Yep, it's me. Bet you're wondering how I ended up here. It's a funny story actually...."
Maureen Johnson (The Hand on the Wall (Truly Devious, #3))
His eyes finally meet mine and they bore through my entire existence. I feel naked. Like I'm sitting here in the middle of the public library, without a stitch of clothing. Like every question has removed another layer and I'm just sinew, muscle, bone, and marrow, laid bare in front of him.
J.J. Wright (Icing Hearts: A Young Adult Hockey Romance)
Contrary to what the Catholic Church preached, fleeing the darkness wasn’t the right way: you had to enter it, let your eyes get used to the dark, because learning to see through the night was the only way to perceive the true nature of things.
Bernardo Esquinca (The Secret Life of Insects and Other Stories)
The rat was acting abnormally, he felt, and the unwinking gaze of its cold shoe-button eyes was somehow disturbing.
Henry Kuttner (The Book of Iod: Ten Cthulhu Stories)
Why do Southerners eat Black Eyed Peas on New Year’s Day? The story of the Southern tradition of eating black-eyed peas as the first meal on New Year's Day is generally believed to date back to the winter of 1864 - 1865. When Union General William T. Sherman led his invading troops on their destructive march through Georgia, the fields of black-eyed peas were largely left untouched because they were deemed fit only for animals. The Union foragers took everything, plundered the land, and left what they could not take, burning or in shambles. But two things did remain, the lowly peas and good Ol’ Southern salted pork. As a result, the humble yet nourishing black-eyed peas saved surviving Southerners - mainly women, children, elderly and the disabled veterans of the Confederate army - from mass starvation and were thereafter regarded as a symbol of good luck. The peas are said to represent good fortune. Certainly the starving Southern families and soldiers were fortunate to have those meager supplies. According to the tradition and folklore, the peas are served with several other dishes that symbolically represent good fortune, health, wealth, and prosperity in the coming year. Some folks still traditionally cook the black-eyed peas with a silver dime in the pot as a symbol of good fortune. Greens represent wealth and paper money. Any greens will do, but in the South the most popular are collards, mustard greens, turnip greens, and cabbage. Cornbread - a regular staple among Southerners in the absence of wheat - symbolizes gold and is very good for soaking up the juice from the greens on the plate. You should always have some cornbread on hand in your kitchen anyway. Good for dinner and in the morning with syrup. Pork symbolizes bountiful prosperity, and then progressing into the year ahead. Ham and hog jowls are typical with the New Year meal, though sometimes bacon will be used, too. Pigs root forward, so it’s the symbolic moving forward for the New Year. Tomatoes are often eaten with this meal as well. They represent health and wealth. So reflect on those stories when you sit down at your family table and enjoy this humble, uniquely Southern meal every New Year’s Day. Be thankful for what this year did give you in spite of the bad, and hope and pray for better days that are coming ahead for you.
James Hilton-Cowboy
You know who’s here?” Nell said to me, her eyes closed. She had been asleep all afternoon and I was sitting there turning hems because, unbelievably, people were bringing their sewing by, thinking it would give her something to do while she was dying. She wanted me to finish it. “Who?” So many people came in and out. “Brian. Whenever I wake up now he’s sitting at the foot of the bed.” “That’s good,” I said. “He hasn’t changed. I always wondered if he would grow up but he didn’t.” She was looking out the window at the snow, or maybe she wasn’t. Her eyes were clouded. “Do you want a pill now?” She nodded a little and I poured a glass of water and helped her sit. When she was asleep again I went to the kitchen and called my mother to ask her who Brian was and she told me the story of her brother who had died in the snow. All those years and I’d never heard of him.
Ann Patchett (Tom Lake)
The other is Pico della Mirandola, Marsilio Ficino’s friend and fellow Plato enthusiast: a tall, green-eyed intellectual virtuoso who can read, among other languages, Aramaic and Chaldean, and who can recite the entirety of Dante’s Divine Comedy both forward and backward. The awestruck Ficino regards him as a member of “a superhuman race.”5 “They wanted to see everything in our library,” Brother Gregorio later notes of his distinguished visitors.
Ross King (The Bookseller of Florence: The Story of the Manuscripts That Illuminated the Renaissance)
Once upon a time in a small, cozy village, there lived a curious little cat named Whiskers. Whiskers was known for his sense of humor, playful nature, and never-ending curiosity. He had soft, light brown fur with a dark brown spot over his left eye, and his paws also had charming brown spots. Whiskers spent his days exploring the village and making friends with the other animals. One sunny morning, as Whiskers was strolling through the village, he stumbled upon a mysterious garden. The entrance was hidden behind a tall, green hedge, and it looked like it had been forgotten for years. Intrigued by this secret place, Whiskers couldn't help but enter the garden to investigate.
Uncle Amon (Whiskers the Cat: Five Fun Short Stories)
Visions flood in as I watch her chest rise and fall . . . the second our eyes locked in my backyard, the flash of surety I initially dismissed but still rang true through every fiber of my being. She knows you. The long looks we shared across every space, to the minute we snapped on that float before we collided and were created. The same continuous buzz thrumming steadily as we stole glances of each other between the flip of pages as storms raged outside my window. Her fingers tracing my skin, wonder in her eyes, to running my palm reverently over her back—in awe of the heart that beat inside of her, wrapped in her mystery. To the burst of sun that lit her up in my passenger seat as she adjusted her honeysuckle crown. The laughter spilling from us where she lay beneath me, tangled in the sheets before our smiles faded. Hearts raw and aching as we locked together, lost in our connection, chests bouncing in unison due to the tie that bound us. That still binds us. A fate we created together. A story I’ll continue to relive without regret. Falling for her was worth hitting bottom—and every single ache that comes with it. Reaching out, I trace the curve of her cheek. “You gutted me, baby,” I croak in confession as my chest caves. “But I can’t say I don’t deserve it . . .” I falter, grunting through the pain consuming me. “You thrive on love, and I . . . we fucking starved your heart . . . we just left you here.
Kate Stewart (One Last Rainy Day: The Legacy of a Prince (Ravenhood Legacy Book 1))
— I tell this story not as a record of history but to explain the role the Edsa Revolution played in my understanding of who I was. Edsa was not my revolution, but it gave me a story grander than the dragon-slayers of my fairy tales. It was one part myth, two parts magic, peopled by giants, all thunder and power and bright yellow hope. It was that woman—smiling, kindly eyed Corazon Aquino—who stayed in my mind’s eye at the ringing of the morning bell when the national anthem crackled through the school loudspeaker. The brave wore yellow in my imagination. Here was our manifest destiny writ large—land of the morning, pearl of the East, cradle of the brave, whose people pushed back the guns of a dictator with no more than a prayer and a song.
Patricia Evangelista (Some People Need Killing: A Memoir of Murder in My Country)
Arjuna’s story isn’t really about shooting through a fish’s eye. It’s about focusing, peeling away distractions. That’s how you aim true. The only way out is through my mind.
Roshani Chokshi (Aru Shah and the End of Time: the Graphic Novel)
He looks into the faces of people who pass us by. He tells me that in their eyes he reads the story of their souls.
Kate Chopin
On the day of the christening, Elizabeth, with Tomas by her side, carried her daughter, who was swathed in a lace robe, towards the priest who stood in the main hall. As she looked around the assembled guests, smiling, one in particular caught her eye and she stumbled, staggering with the baby in her arms. Damien Chegwidden. She couldn't help but to be reminded of the tale of the bad fairy at the christening of Sleeping Beauty, a story that had fascinated her as a child. She had often wondered what it must be like to sleep for a hundred years and then wake to find a world utterly changed. Was his presence to be a bad omen for her daughter?
Kayte Nunn (The Botanist's Daughter)
There is no overtime, and I had to use the potion in the bathroom.” Valen’s cheeks begin to turn pink. Tisha hums. She already knows the story, but she’s not going to give up the details. I round on Valen. “Did you get caught spanking the monkey?” Dane snickers. “Valen squeezed his lemon at the airport?” “I did not squeeze my lemon or spank a monkey.” He huffs and crosses his arms. “If you must know, I had an incident with a breakfast croissant.” I pinch my eyebrows together. “You used your potion on someone who heard you take a crap?” His eyes narrow. “It was a bad croissant.
Rory Miles (Shadow Slayer (To Kill a Nightmare, #1))
Out of a bleak world of enmity and despair had come a tall, blond, blue-eyed Texan who loved Russia and its music with humble reverence. He had old-fashioned courtliness, a touchingly eager manner, and a spectacular way with the piano that transported them to a half-remembered past. Music that depicted the many cruelties and brutalities of that past was not for him: the Russia he summoned up with his hands was a place of magnificence, beauty, and romance.
Nigel Cliff (Moscow Nights: The Van Cliburn Story-How One Man and His Piano Transformed the Cold War)
You’re perfect. This is perfect. Every time you’re around, it hurts to take my eyes off you. And it ain’t ‘cause of your body, which is perfect, but ‘cause there ain’t anything in the world that makes me feel the way I do when I look at you.” “And what’s that?” Her hands have stilled, but she’s trembling. “Like there’s good in it.
Cate C. Wells (Nickel's Story (Steel Bones Motorcycle Club, #2))
No way! Indira Story is like six feet tall and can shoot lightning bolts with her eyes.
Scott Reintgen (Breaking Badlands (Talespinners, #3))
You were a hero,” Joan said. “Not just a hero. You were a legend. Like King Arthur.” Nick went to laugh, but the uncertain amusement died on his face when he saw that Joan wasn’t laughing with him. “You can’t be serious,” he said. “My grandmother used to tell me bedtime stories about you,” Joan said. “People aren’t afraid of heroes.” It wasn’t funny, but Joan heard her breath come out hard. For a moment, he looked confused, and then understanding. put a shadow in his eyes. “Monsters are.” “You were a hero,” Joan said, needing him to understand. “You were more than just a hero. You were the hero. People told stories about you. Made art depicting you.
Vanessa Len (Never a Hero (Monsters, #2))
In so many of the encounters boys described to me, I couldn’t know, though sometimes it seemed like the shadow of a girl hovered behind them, a girl who was furious or traumatized or rolling her eyes, one who would have told the same story very differently.
Peggy Orenstein (Boys & Sex: Young Men on Hookups, Love, Porn, Consent, and Navigating the New Masculinity)
But the challenges were increasingly severe. Shoghi Effendi’s secretary had commented on this the previous year in a letter to the struggling British Bahá’í community: It would seem as if all our tasks, including here at the World Centre, are becoming increasingly more of a challenge to us. As the time approaches for the ending of the various Plans, Six Year ones, Seven Year, Five Year, etc., the obstacles seem to become greater, and the friends are made to realise that very real, hard, often back-breaking effort and sacrifice is involved! ... He himself, having undertaken at such a disturbed time to raise at least the first story or arcade of the new part of the Báb’s Shrine, finds himself beset with worries, problems and complications which have not only doubled his work, but exhaust and harass him all the time. So at least, let the British friends know that when they struggle and feel hard beset, they are not struggling and worrying alone! Far from it! We must expect these things ... We must have no illusions about how much depends on us and our success or failure. All humanity is disturbed and suffering and confused; we cannot expect to not be disturbed and not to suffer − but we don’t have to be confused. On the contrary, confidence and assurance, hope and optimism are our prerogative. The successful carrying out of our various Plans is the greatest sign we can give or our faith and inner assurance, and the best way we can help our fellow-men out of their confusion and difficulties.[905]
Earl Redman (Shoghi Effendi through the Pilgrim's Eye: Volume 1 Building the Administrative Order, 1922-1952)
Step one: Get my hot bod back. Step two: Show off aforementioned hot bod by strategic losing of shirt. Repeat as necessary. Step three: Show her I’ve changed. Step four: Do whatever it takes to restore the sparkle in her eyes.
Emma St. Clair (The Buy-In (Love Stories in Sheet Cake, Texas, #1))
God was good that afternoon, and merciful. His world came in through our eyes and lived in our heads, and our thoughts went wordlessly out across the world, far beyond the horizon they went. - Out Along the Ij
Nescio (Amsterdam Stories)
As he raised his pistol and held it two inches from the flimsy metal of the shelving unit’s rear wall, he noticed a “personal” douche-bag box sitting at eye level. Was there a community model?
Inc. Thriller Writers (Thriller: Stories To Keep You Up All Night)
Gwyn smiled again, her eyes bright. “Our stories are worth telling.
Sarah J. Maas (A Court of Silver Flames (A Court of Thorns and Roses, #4))
Calmer again, he looked out to see he was sandwiched below the cloud and above the fog. There was no way the helicopter would see him here. The cabin was nearer, but he was still too far above it and night was getting closer. He had to keep going. He plucked another couple of limbs from a tree. The pine scent thrilled his senses. He was alive. Norman half walked, half skidded down the slope until eventually it began to widen and the gradient relaxed. He found Sandra a little further down, tall spruces surrounding the patch of snow where she lay. Norman’s seat from the plane was just above her. Her eyes were open but she was stiff and dead. He covered her body with twigs then moved on. Now that the slope was shallow enough for him to control his descent, he slid on his bottom down the apron for at least 300 m (1,000 ft). He made his way down into a narrow and twisted gulch in front of the huge ridge he had seen earlier. Carefully he avoided the ice-covered stream that snaked below him. Get wet, you get hypothermia, you die.
Collins Maps (Extreme Survivors: 60 of the World’s Most Extreme Survival Stories)
After all, it was the story of Emmett Till that opened Patrick’s eyes and caused him to see the world differently, realizing the unifying themes of the story, a story that can bring us all together—across political and racial lines—in our commitment to shared values.
Wheeler Parker Jr. (A Few Days Full of Trouble: Revelations on the Journey to Justice for My Cousin and Best Friend, Emmett Till)
the woman glancing across at Eilish, she introduces herself as Mona and Eilish sees into her eyes and knows the story of the woman’s life without a word having to be spoken.
Paul Lynch (Prophet Song)
Maisie was with the idea of the sentiment Sir Claude had inspired, and familiar, in addition, by Mrs Wix’s anecdotes, with the ravages that in general such a sentiment could produce, she was able to make allowances for her ladyship’s remarkable appearance, her violent splendour, the wonderful colour of her lips and even the hard stare, the stare of some gorgeous idol described in a story-book, that had come into her eyes in consequence of a curious thickening of their already rich circumference.
Henry James (What Maisie Knew)