Surfaces Song Quotes

We've searched our database for all the quotes and captions related to Surfaces Song. Here they are! All 100 of them:

People live through such pain only once. Pain comes again—but it finds a tougher surface.
Willa Cather (The Song of the Lark)
But Mike was like a Bjork song-all happy and giddy and fun on the surface, but bubbling with turmoil and pain underneath.
Sara Shepard (Unbelievable (Pretty Little Liars, #4))
The hideous thing is this: I want to forgive him. Even after everything, I do. A baby before my 17th birthday and a future as lonely as the surface of the moon and still the sight of him feels like a homecoming, like a song I used to know but somehow forgot.
Katie Cotugno (How to Love)
If you listen, you can hear it. The city, it sings. If you stand quietly, at the foot of a garden, in the middle of the street, on the roof of a house. It's clearest at night, when the sound cuts more sharply across the surface of things, when the song reaches out to a place inside you. It's a wordless song, for the most, but it's a song all the same, and nobody hearing it could doubt what it sings. And the song sings the loudest when you pick out each note.
Jon McGregor (If Nobody Speaks Of Remarkable Things)
You don't let go once. That's your first mistake. You say goodbye over a lifetime. You might not have thought about her for ten years, then you'll hear a song or you'll walk past somewhere you once went together - something will come to the surface that you'd totally forgotten about. And you say another goodbye. You have to be prepared to let go and let go and let go a thousand times.
Dolly Alderton (Good Material)
Music is powerful; it transforms emotions and experiences into something tangible. Every time you hear a familiar song, the feelings from it bubble to the surface, bringing back memories you might have otherwise forgotten.
Michelle Madow (Remembrance (Transcend Time, #1))
There is much that is immortal in this medieval lady. The dragons have gone, and so have the knights, but still she lingers in our midst. She reigned in many an early Victorian castle, and was Queen of much early Victorian song. It is sweet to protect her in the intervals of business, sweet to pay her honour when she has cooked our dinner well. But alas! the creature grows degenerate. In her heart also there are springing up strange desires. She too is enamoured of heavy winds, and vast panoramas, and green expanses of the sea. She has marked the kingdom of this world, how full it is of wealth, and beauty, and war--a radiant crust, built around the central fires, spinning towards the receding heavens. Men, declaring that she inspires them to it, move joyfully over the surface, having the most delightful meetings with other men, happy, not because they are masculine, but because they are alive. Before the show breaks up she would like to drop the august title of the Eternal Woman, and go there as her transitory self.
E.M. Forster (A Room With a View)
Getting dumped is never really about getting dumped.' 'What is it about, then?' I ask. 'It's about every rejection you've ever experienced in your entire life. It's about the kids at school who called you names. And the parent who never came back. And the girls who wouldn't dance with you at the disco. And the school girlfriend who wanted to be single when she went to uni. And any criticism at work. When someone says they don't want to be with you, you feel the pain of every single one of those times in life where you felt like you weren't good enough. You live through all of it again.' 'I don't know how to get over it, Mum,' I say. 'At this point I'm so tired of myself. I don't know how to let go of her.' 'You don't let go once. That's your first mistake. You say goodbye over a lifetime. You might not have thought about her for ten years, then you'll hear a song or you'll walk past somewhere you once went together - something will come to the surface that you'd totally forgotten about. And you say another goodbye. You have to be prepared to let go and let go and let go a thousand times.' 'Does it get easier?' 'Much,' she says.
Dolly Alderton (Good Material)
Summertime, I think, is a collective unconscious. We all remember the notes that made up the song of the ice cream man; we all know what it feels like to brand our thighs on a playground slide that's heated up like a knife in a fire; we all have lain on our backs with our eyes closed and our hearts beating across the surface of our lids, hoping that this day will stretch just a little longer than the last one, when in fact it's all going in the other direction.
Jodi Picoult (My Sister’s Keeper)
Ghosts can haunt damned near anything. I have heard them in the breathy voice of a song and seen them between the covers of a book. They have hidden in trees so that their faces peer out of the bark, and hovered beneath the silver surface of water. They disguise themselves as cracks in concrete or come calling in a delirium of fever. On summer days they keep pace like the shadow of our shadow. They lurk in the breath of young girls who give us our first kiss. I've seen men who were haunted to the point of madness by things that never were and things that should have been. I've seen ghosts in the lines on a woman's face and heard them in the jangling of keys. The ghosts in fire freeze and the ghosts in ice burn. Some died long ago; some were never born. Some ride the blood in my veins until it reaches my brain. Sometimes I even mistake myself for one. Sometimes I am one.
Damien Echols (Life After Death)
Her sadness was like a deep well just beneath the surface of her determination.
Sage Steadman (Upon Destiny's Song)
A future as lonely as the surface of the moon and still just the sight of him feels like a homecoming, like a song I used to know but forgot.
Katie Cotugno (How to Love)
There is evidence that the honoree [Leonard Cohen] might be privy to the secret of the universe, which, in case you're wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person's biochemical atmosphere more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact. The poetic image may be the only device remotely capable of dissecting romantic passion, let alone disclosing the inherent mystical qualities of the material world. Cohen is a master of the quasi-surrealistic phrase, of the "illogical" line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and bewildering assaults of culture. Undoubtedly, it is to his lyrical mastery that his prestigious colleagues now pay tribute. Yet, there may be something else. As various, as distinct, as rewarding as each of their expressions are, there can still be heard in their individual interpretations the distant echo of Cohen's own voice, for it is his singing voice as well as his writing pen that has spawned these songs. It is a voice raked by the claws of Cupid, a voice rubbed raw by the philosopher's stone. A voice marinated in kirschwasser, sulfur, deer musk and snow; bandaged with sackcloth from a ruined monastery; warmed by the embers left down near the river after the gypsies have gone. It is a penitent's voice, a rabbinical voice, a crust of unleavened vocal toasts -- spread with smoke and subversive wit. He has a voice like a carpet in an old hotel, like a bad itch on the hunchback of love. It is a voice meant for pronouncing the names of women -- and cataloging their sometimes hazardous charms. Nobody can say the word "naked" as nakedly as Cohen. He makes us see the markings where the pantyhose have been. Finally, the actual persona of their creator may be said to haunt these songs, although details of his private lifestyle can be only surmised. A decade ago, a teacher who called himself Shree Bhagwan Rajneesh came up with the name "Zorba the Buddha" to describe the ideal modern man: A contemplative man who maintains a strict devotional bond with cosmic energies, yet is completely at home in the physical realm. Such a man knows the value of the dharma and the value of the deutschmark, knows how much to tip a waiter in a Paris nightclub and how many times to bow in a Kyoto shrine, a man who can do business when business is necessary, allow his mind to enter a pine cone, or dance in wild abandon if moved by the tune. Refusing to shun beauty, this Zorba the Buddha finds in ripe pleasures not a contradiction but an affirmation of the spiritual self. Doesn't he sound a lot like Leonard Cohen? We have been led to picture Cohen spending his mornings meditating in Armani suits, his afternoons wrestling the muse, his evenings sitting in cafes were he eats, drinks and speaks soulfully but flirtatiously with the pretty larks of the street. Quite possibly this is a distorted portrait. The apocryphal, however, has a special kind of truth. It doesn't really matter. What matters here is that after thirty years, L. Cohen is holding court in the lobby of the whirlwind, and that giants have gathered to pay him homage. To him -- and to us -- they bring the offerings they have hammered from his iron, his lead, his nitrogen, his gold.
Tom Robbins
There is so much information in one Hebrew word that translators are hard pressed to decide how much information should be cut. Since the first official translation (the Septuagint), Jewish translators advocated translating Hebrew (for outsiders) at the 'story' level. pg viii
Michael Ben Zehabe (Song of Songs: The Book for Daughters)
Culture is not trivial. It is not a decoration or artifice, the songs we sing or even the prayers we chant. It is a blanket of comfort that gives meaning to lives. It is a body of knowledge that allows the individual to make sense out of the infinite sensations of consciousness, to find meaning and order in a universe that ultimately has neither. Culture is a body of laws and traditions, a moral and ethical code that insulates a people from the barbaric heart that lies just beneath the surface of all human societies and indeed all human beings. Culture alone allows us to reach, as Abraham Lincoln said, for the better angels of our nature.
Wade Davis (The Wayfinders: Why Ancient Wisdom Matters in the Modern World (CBC Massey Lecture))
In the end, I'm not interested in that which I fully understand. The words I have written over the years are just a veneer. There are truths that lie beneath the surface of the words... truths that rise up without warning, like the humps of a sea monster and then disappear. What performance and song is to me is finding a way to tempt the monster to the surface, to create a space, where the creature can break through what is real and what is known to us. This shimmering space, where imagination and reality intersect... this is where all love and tears and joy exist. This is the place. This is where we live.
Nick Cave
He was watching me closely, reading my face over and over, like a priest searching the auguries for an answer. I could see the slight line in his forehead that meant utmost concentration. Something shifted in me then, like the frozen surface of the Apidanos in spring. I had seen the way he looked at Deidameia; or rather the way he did not. It was the same way he had looked at the boys in Phtia, blank and unseeing. He had never, not once, looked at me that way.
Madeline Miller (The Song of Achilles)
I opened my eyes and watched the water stream past me. I let out some of my air and gazed at the cascade of silver bubbles dancing up to the surface.
Erica Sehyun Song (Thorns in the Shadow)
Like an ocean, life is deep, but we are just floating on the surface.
Michael Bassey Johnson (Song of a Nature Lover)
We packed whole lives into bundles in search of what chooses us, what wants to come back to the surface, what needs to be said. We had so many dreams we didn’t know what to make of them.
Helene Cardona (Life in Suspension: La Vie Suspendue)
Marathon 2. Song of the River Once we were happy, we had no memories. For all the repetition, nothing happened twice. We were always walking parallel to a river with no sense of progression though the trees across from us were sometimes birch, sometimes cypress- the sky was blue, a matrix of blue glass. While, in the river, things were going by- a few leaves, a child's boat painted red and white, its sail stained by the water- As they passed, on the surface we could see ourselves; we seemed to drift apart and together, as the river linked us forever, though up ahead were other couples, choosing souvenirs.
Louise Glück (The Triumph of Achilles)
Life's an act of magic, too. Claire Hamill sings a line in one of her songs that really sums it up for me: 'If there's no magic, there's no meaning.' Without magic- or call it wonder, mystery, natural wisdom- nothing has any depth. It's all just surface. You know: what you see is what you get. I honestly believe there's more to everything than that, whether it's a Monet hanging in a gallery or some old vagrant sleeping in an alley.
Charles de Lint (The Onion Girl (Newford, #8))
From attraction and affection Cover of perfection Failure beyond texture to a painful lesson Everything that was from the start wasn't from the heart
Criss Jami (Salomé: In Every Inch In Every Mile)
Sometimes you don't know what you want until you just do. It hits you like a wave, knocks you underwater, and when you surface, all you want is this one thing. It's like gasping for air.
Jessica Pennington (Love Songs & Other Lies)
I had never seen the joy he took in his own skill, the roaring vitality that was always just beneath the surface. Who was he if not miraculous and radiant? Who was he if not destined for fame?
Madeline Miller (The Song of Achilles)
An old Russian folk song is like water held back by a dam. It looks as if it were still and were no longer flowing, but in its depths it is ceaselessly rushing through the sluice gates and the stillness of its surface is deceptive. By every possible means, by repetitions and similes, the song slows down the gradual unfolding of its theme. Then at some point it suddenly reveals itself and astounds us. That is how the song’s sorrowing spirit comes to expression. The song is an insane attempt to stop time by means of its words.
Boris Pasternak (Doctor Zhivago)
Mandelstam was, one is tempted to say, a modern Orpheus: sent to hell, he never returned, while his widow dodged across one-sixth of the earth's surface, clutching the saucepan with his songs rolled up inside, memorizing them by night in the event they were found by Furies with a search warrant. These are our metamorphoses, our myths.
Joseph Brodsky (Less Than One: Selected Essays (FSG Classics))
-I'll play you a song. Blake flexed his fingers and concentrated harder on the cardboard, moving his hands methodically over it's surface. What do you say after an imaginary concert? Livia watched as the song came to a close with his careful plucking a certain keys on the cardboard. She couldn't help but glance to see if the commuters were staring. -I couldn't hear that, but your hands looked beautiful. -Of course not. It's not plugged in. Blake smiled, then watched as she didn't get his joke.
Debra Anastasia (Poughkeepsie (Poughkeepsie Brotherhood, #1))
...she has somehow heard your deepest, darkest secrets without even asking. She is blessed with an innate ability to make people feel seen, heard, and safe, meanwhile keeping her own vulnerability tucked just beneath the surface of her own skin. She shares it with only a very select and privileged few.
Sara Bareilles (Sounds Like Me: My Life (So Far) in Song)
I’m surprised that the next speaker is Boggs, who I think of as a muscular robot that does Coin’s bidding. “When she sang the song. While the little girl died.” Somewhere in my head an image surfaces of Boggs with a young boy perched up on his hip. In the dining hall, I think. Maybe he’s not a robot after all.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Something awful must’ve happened on the surface, Damy thought. He squeezed his forearm, looking at the animated tattoo there, the mark of the strike teams.
Raeden Zen (The Song of the Jubilee (The Phantom of the Earth, #1))
The pain was on the surface, so it took all his will to reach upward. But maybe that's what God asked of man. To reach upward even when it's hard.
Mary Connealy (Her Secret Song (Brides of Hope Mountain, #3))
Loving a band with all your heart is something you understand when it happens to you. On the surface, others can see its a petty obsession, but they'll just never know the feeling of putting so much fail into a few people on the other side of the world. It's hard to explain it to them, the listening to a song after song on repeat, the waits for new albums, the excitement and surreal sensation when you finally see them live. They don't understand why the lyric books give you a sense of comfort, or why you paste photos of them on your bedroom walls. And they can't understand why one band could matter to you so much. And you think to yourself ‘Because they saved my life’. But you say nothing, because thy wouldn't understand.
Alex Gaskath
An old song surfaced in my memories. Love is all you need. Maybe, but in real life love was rarely all you got. Raphael and I also had pride, and guilt, and anger, jealousy and hurt feelings,
Ilona Andrews (Gunmetal Magic (Kate Daniels #5.5))
He was watching me closely, reading my face over and over, like a priest searching the auguries for an answer. I could see the slight line in his forehead that meant utmost concentration. Something shifted in me then, like the frozen surface of the Apidanos in spring. I had seen the way he looked at Deidameia; or rather the way he did not. It was the same way he had looked at the boys in Phthia, blank and unseeing. He had never, not once, looked at me that way.
Madeline Miller (The Song of Achilles)
I made spasmodic efforts to work, assuring myself that once I began working I would forget her. The difficulty was in beginning. There was a feeling of weakness, a sort of powerlessness now, as though I were about to be ill but was never quite ill enough, as though I were about to come down with something I did not quite come down with. It seemed to me that for the first time in my life I had been in love, and had lost, because of the grudgingness of my heart, the possibility of having what, too late, I now thought I wanted. What was it that all my life I had so carefully guarded myself against? What was it that I had felt so threatened me? My suffering, which seemed to me to be a strict consequence of having guarded myself so long, appeared to me as a kind of punishment, and this moment, which I was now enduring, as something which had been delayed for half a lifetime. I was experincing, apparently, an obscure crisis of some kind. My world acquired a tendency to crumble as easily as a soda cracker. I found myself horribly susceptible to small animals, ribbons in the hair of little girls, songs played late at night over lonely radios. It became particularly dangerous for me to go near movies in which crippled girls were healed by the unselfish love of impoverished bellhops. I had become excessively tender to all the more obvious evidences of the frailness of existence; I was capable of dissolving at the least kind word, and self-pity, in inexhaustible doses, lay close to my outraged surface. I moved painfully, an ambulatory case, mysteriously injured.
Alfred Hayes (In Love (Modern Romance Classics))
I howl at the roof like a hotted-up bomb doing donuts, full of screeches. I howl like an air-raid siren, my arms stretched out wide. Howls are like songs. They can't be summoned; they just happen. They come from a place that I barely understand. And then something else climbs to the surface, something black and jagged, something from the deep. Imagine all your worse feelings surfacing. Imagine coughing up razor blades. Imagine not being able to stop the pain from coming out, and not knowing when it's going to end.
Leanne Hall (This Is Shyness (This Is Shyness, #1))
My life would be the same in all the surface ways. I'd live in the same house and have the same friends. But somehow I'd changed. He'd woken me from a dreamless sleep, and I couldn't roll over and close my eyes, because, in my wakefulness I'd started dreaming.
C.D. Reiss (Submit (Songs of Submission, #3))
Oh, those Greeks! They knew how to live. What is required for that is to stop courageously at the surface, the fold, the skin, to adore appearance, to believe in forms, tones, words, in the whole Olympus of appearance. Those Greeks were superficial—out of profundity.
Nietzsche (The Gay Science: With a Prelude in Rhymes and an Appendix of Songs)
A BIG PART OF SONGWRITING, like all writing, is editing—distilling thought down to essentials. Novice writers often hide behind filigree. In many cases the artistry is in what is unsaid. As the old saying goes, an iceberg moves gracefully because most of it is beneath the surface.
Bob Dylan (The Philosophy of Modern Song)
As Siri walked along that oh-so-noisy riverbank on his way to work, he saw a pelican gliding above the surface of the water. It was a marvelous bird, proud and resourceful, and he imagined how it would taste with a little chili paste and fresh yams. Hungry people made poor environmentalists.
Colin Cotterill (Love Songs From A Shallow Grave (Dr. Siri Paiboun, #7))
We say it is "explanation" but it is only in "description" that we are in advance of the older stages of knowledge and science. We describe better we explain just as little as our predecessors. We have discovered a manifold succession where the naive man and investigator of older cultures saw only two things "cause" and "effect " as it was said we have perfected the conception of becoming but have not got a knowledge of what is above and behind the conception. The series of "causes" stands before us much more complete in every case we conclude that this and that must first precede in order that that other may follow - but we have not grasped anything thereby. The peculiarity for example in every chemical process seems a "miracle " the same as before just like all locomotion nobody has "explained" impulse. How could we ever explain We operate only with things which do not exist with lines surfaces bodies atoms divisible times divisible spaces - how can explanation ever be possible when we first make everything a conception our conception It is sufficient to regard science as the exactest humanizing of things that is possible we always learn to describe ourselves more accurately by describing things and their successions. Cause and effect: there is probably never any such duality in fact there is a continuum before us from which we isolate a few portions - just as we always observe a motion as isolated points and therefore do not properly see it but infer it. The abruptness with which many effects take place leads us into error it is however only an abruptness for us. There is an infinite multitude of processes in that abrupt moment which escape us. An intellect which could see cause and effect as a continuum which could see the flux of events not according to our mode of perception as things arbitrarily separated and broken - would throw aside the conception of cause and effect and would deny all conditionality.
Friedrich Nietzsche (The Gay Science: With a Prelude in Rhymes and an Appendix of Songs)
These sprays, dusts, and aerosols are now applied almost universally to farms, gardens, forests, and homes - nonselective chemicals that have the power to kill every insect, the "good" and the "bad", to still the song of birds and the leaping of fish in the streams, to coat the leaves with a deadly film, and to linger on in soil - all this though the intended target may be only a few weeds or insects. Can anyone believe it is possible to lay down such a barrage of poisons on the surface of the earth with out making it unfit for all life? They should not be called "insecticides", but "biocides".
Rachel Carson
I knew he spoke not of his death, but of the nightmare Odysseus had spun, the loss of his brilliance, the withering of his grace. I had seen the joy he took in his own skill, the roaring vitality that was always just beneath the surface. Who was he if not miraculous, and radiant? Who was he if not destined for fame?
Madeline Miller (The Song of Achilles)
He considered her ruthless, in his moments of pain, but also in moments of happiness, experienced mere feet from her but bound right wrist to left ankle by her rules: nothing could evolve, nothing could be consummated, nothing repressed could surface, nothing previously accepted could be ignored. One must not speak of it, in case one could no longer sing of it. Instead, she only kept directing his attention to the wondrously charged air they could tame and make dance between them.
Arthur Phillips (The Song Is You)
The thing about being underwater is that it’s not—quiet, I mean. I can’t hear what’s happening above the surface, but when I’m totally submerged, I hear the water. I hear its song, the way it sings to itself and anybody who comes below to hear it. I love the way it never changes, and the way I’m always different when I’m here.
Bethany C. Morrow (A Song Below Water (A Song Below Water, #1))
He seizes my hand, and crows to me of the day's events, of how his name was on everybody's lips, of the power of his absence, big as a Cyclops, walking heavily amongst the soldiers. The excitement of the day has flared through him, like flame in dry grass. For the first time, he dreams of killing: the stroke of glory, his inevitable spear through Hector's heart. My skin prickles to hear him say so. 'Do you see?' he says. 'It is the beginning!' I cannot escape the feeling that, below the surface, something is breaking.
Madeline Miller (The Song of Achilles)
The world, once flat to his eyes, now bristled with edges and textures. He saw the tiny grooves of petals and leaves, like fingerprints, their identities written like poems across their surfaces. He saw the slow firecrackers of pine cones, popping and stretching all summer, their stiff armor like soldiers on parade, and also the rolling softness of their sap like happy tears. He understood the flurry of motes, which no longer looked like chaos fogging his vision as it had when he was Birthless. Now he could hear the tune of the world, the song of the wind, and the play of all things in it and he knew now that it was a dance, choreographed down to the smallest antennae thrust into the reeling.
Remy Wilkins (Strays)
A walk is exploring surfaces and textures with finger, toe, and—yuck—tongue; standing still and seeing who or what comes by; trying out different forms of locomotion (among them running, marching, high-kicking, galloping, scooting, projectile falling, spinning, and noisy shuffling). It is archeology: exploring the bit of discarded candy wrapper; collecting a fistful of pebbles and a twig and a torn corner of a paperback; swishing dirt back and forth along the ground. It is stopping to admire the murmuring of the breeze in the trees; locating the source of the bird’s song; pointing. Pointing!— using the arm to extend one’s fallen gaze so someone else can see what you’ve seen. It is a time of sharing. On our block,
Alexandra Horowitz (On Looking: A Walker's Guide to the Art of Observation)
I can't tell you how I felt when my father died. But I was able to write Song of Solomon and imagine, not him, and not his specific interior life, but the world that he inhabited and the private or interior life of the people in it. And I can't tell you how I felt reading to my grandmother while she was turning over and over in her bed (because she was dying, and she was not comfortable), but I could try to reconstruct the world that she lived in. And I have suspected, more often than not, that I know more than she did, that I know more than my grandfather and my great-grandmother did, but I also know that I'm no wiser than they were. And whenever I have tried earnestly to diminish their vision and prove to myself that I know more, and when I have tried to speculate on their interior life and match it up with my own, I have been overwhelmed every time by the richness of theirs compared to my own. Like Frederick Douglass talking about his grandmother, and James Baldwin talking about his father, and Simone de Beauvoir talking about her mother, these people are my access to me; they are my entrance into my own interior life. Which is why the images that float around them--the remains, so to speak, at hte archeological site--surface first, and they surface so vividly and so compellingly that I acknowledge them as my route to a reconstruction of a world, to an exploration of an interior life that was not written and to the revelation of a kind of truth.
Toni Morrison
There are two paths to magic: Imagination and paying attention. Imagination is the fiction we love, the truths built of falsehoods, glowing dust on the water’s surface. Paying attention is about intentional noticing, participating in making meaning to lend new weight to our world. An acorn. The geometry of a beehive. The complexity of whale song. The perfect slowness of a heron.
Jarod K. Anderson (Something in the Woods Loves You)
The aquamarine becomes invisible when you place it into the sea. It seems like birds should have aquamarine beaks that they can dip into the sea and therefore surprise the fish. They could also sing aquamarine songs. If you borrowed someone’s aquamarine, swallowed it, and jumped into the sea, then you would not become invisible. But your soul would become visible and all the fish would try to bite you. If you put an aquamarine onto any surface other than the sea, then it should be visible. If you put on an aquamarine choker and look in the mirror and don’t see anything, then you must be the sea.
Chelsey Minnis (Zirconia)
A surface, she reflected, exists for so many reasons, concealment only one. For it may also serve to protect, from others and from oneself. And perhaps, in an unexpected twist, to protect others from oneself.
Ilana C. Myer (Last Song Before Night)
Over its waters the willows drooped their long hair, bucking in the gusts as if with sobs. Against the dark surface she could make out the white waterlily buds, like small hands reaching up from beneath the surface.
Frances Hardinge (Cuckoo Song)
The artist’s job is to reveal the real nature of things through picture or story or song, to show the rest of us what is really there when we are content with the misleading surface of things. As Pope John Paul II has written, “Artists are constantly in search of the hidden meaning of things, and their torment is to succeed in expressing the world of the ineffable.” Through their work, in the words of the Vatican II document Gaudium et Spes, “the knowledge of God can be better revealed and the preaching of the Gospel can become clearer to the human mind.” DAVID MILLS, “Imaginative Orthodoxy: The Art of Telling the Christian Story,” Touchstone
Ian Morgan Cron (Chasing Francis: A Pilgrim’s Tale)
I don't know you. I can't know you. You don't even know yourself, see? And me, do you know me? No. Even less. You know what I tell you, and I tell you the truth, but maybe not all. And you read my feelings, my surface feelings—the pain of a stubbed toe, a quick flash of annoyance, the pleasure I get when you're in me. Does that mean you know me? What of my levels, and levels? What about the things I don't even know myself? Do you know them? How, Robb, how?
George R.R. Martin (A Song for Lya)
Summertime, I think, is a collective unconscious. We all remember the notes that made up the song of the ice-cream man; we all know what it feels like to brand our thighs on a playground slide that's heated up like a knife in a fire; we all have lain on our backs with our eyes closed and our hearts beating across the surface of our lids, hoping that this day will stretch just a little longer than the last one, when in fact it's all going the other direction
Jodi Picoult (My Sister’s Keeper)
She always knew she was on the verge of invention at the precise moment when originality felt impossible. That instead of surrendering to despair, she would needle in and out and through her brain until an idea surfaced ― naked, stripped of predictability and familiarity. By embedding herself into her song, she muted any risk of passing off mimicry as art. Why wasn’t fully committing to creation more desirable than observing what everyone else was doing and doing the same?
Vivek Shraya (The Subtweet)
The devotional came on. A minister talked about beating swords into plowshares. Then the “Star Spangled Banner” played over scenes of majestic snow-capped mountains, wide, waving fields of wheat and corn, running streams, verdant forests and mighty cities; it ended with an image of the American flag, stretched out and immobile on a pole sunk into the surface of the moon. The picture froze, lingered for a few seconds, and then static filled the screen as the local station signed off.
Robert McCammon (Swan Song)
Oh, those Greeks! They knew how to live. What is required for that is to stop courageously at the surface, the fold, the skin, to adore appearance, to believe in forms, tones, words, in the whole Olympus of appearance. Those Greeks were superficial—out of profundity.
Friedrich Nietzsche (The Gay Science: With a Prelude in Rhymes and an Appendix of Songs)
it up again at the same spot six months later. Sometimes they strike up with a new song, which no member can have heard before but which each already knows. How they do this is not remotely understood. And these are animals that must routinely come to the surface to breathe.
Bill Bryson (A Short History of Nearly Everything)
In 1911, the poet Morris Rosenfeld wrote the song “Where I Rest,” at a time when it was the immigrant Italians, Irish, Poles, and Jews who were exploited in the worst jobs, worked to death or burned to death in sweatshops.[*] It always brings me to tears, provides one metaphor for the lives of the unlucky:[19] Where I Rest Look not for me in nature’s greenery You will not find me there, I fear. Where lives are wasted by machinery That is where I rest, my dear. Look not for me where birds are singing Enchanting songs find not my ear. For in my slavery, chains a-ringing Is the music I do hear. Not where the streams of life are flowing I draw not from these fountains clear. But where we reap what greed is sowing Hungry teeth and falling tears. But if your heart does love me truly Join it with mine and hold me near. Then will this world of toil and cruelty Die in birth of Eden here.[*] It is the events of one second before to a million years before that determine whether your life and loves unfold next to bubbling streams or machines choking you with sooty smoke. Whether at graduation ceremonies you wear the cap and gown or bag the garbage. Whether the thing you are viewed as deserving is a long life of fulfillment or a long prison sentence. There is no justifiable “deserve.” The only possible moral conclusion is that you are no more entitled to have your needs and desires met than is any other human. That there is no human who is less worthy than you to have their well-being considered.[*] You may think otherwise, because you can’t conceive of the threads of causality beneath the surface that made you you, because you have the luxury of deciding that effort and self-discipline aren’t made of biology, because you have surrounded yourself with people who think the same.
Robert M. Sapolsky (Determined: A Science of Life without Free Will)
Time goes, you say? Ah no! Alas, Time stays, we go; Or else, were this not so, What need to chain the hours, For Youth were always ours? Time goes, you say?-ah no! Ours is the eyes' deceit Of men whose flying feet Lead through some landscape low; We pass, and think we see The earth's fixed surface flee:- Alas, Time stays,-we go! Once in the days of old, Your locks were curling gold, And mine had shamed the crow. Now, in the self-same stage, We've reached the silver age; Time goes, you say?-ah no! Once, when my voice was strong, I filled the woods with song To praise your 'rose' and 'snow'; My bird, that sang, is dead; Where are your roses fled? Alas, Time stays,-we go! See, in what traversed ways, What backward Fate delays The hopes we used to know; Where are our old desires?- Ah, where those vanished fires? Time goes, you say?-ah no! How far, how far, O Sweet, The past behind our feet Lies in the even-glow! Now, on the forward way, Let us fold hands, and pray; Alas, Time stays,-we go!
Henry Austin Dobson
I feel as though dispossessed from the semblances of some crystalline reality to which I’d grown accustomed, and to some degree, had engaged in as a participant, but to which I had, nevertheless, grown inexplicably irrelevant. But the elements of this phenomenon are now quickly dissolving from memory and being replaced by reverse-engineered Random Access actualizations of junk code/DNA consciousness, the retro-coded catalysts of rogue cellular activity. The steel meshing titters musically and in its song, I hear a forgotten tale of the Interstitial gaps that form pinpoint vortexes at which fibers (quanta, as it were) of Reason come to a standstill, like light on the edge of a Singularity. The gaps, along their ridges, seasonally infected by the incidental wildfires in the collective unconscious substrata. Heat flanks passageways down the Interstices. Wildfires cluster—spread down the base trunk Axon in a definitive roar: hitting branches, flaring out to Dendrites to give rise to this release of the very chemical seeds through which sentience is begotten. Float about the ether, gliding a gentle current, before skimming down, to a skip over the surface of a sea of deep black with glimmering waves. And then, come to a stop, still inanimate and naked before any trespass into the Field, with all its layers that serve to veil. Plunge downward into the trenches. Swim backwards, upstream, and down through these spiraling jets of bubbles. Plummet past the threshold to trace the living history of shadows back to their source virus. And acquire this sense that the viruses as a sample, all of the outlying populations withstanding: they have their own sense of self-importance, too. Their own religion. And they mine their hosts barren with the utilitarian wherewithal that can only be expected of beings with self-preservationist motives.
Ashim Shanker (Sinew of the Social Species)
Elvis Costello and the Attractions were a better band than any of their contemporaries. Light years better. Elvis himself was a unique figure. Horn-rimmed glasses, quirky, pigeon-toed and intense. The only singer-guitarist in the band. You couldn’t say that he didn’t remind you of Buddy Holly. The Buddy stereotype. At least on the surface. Elvis had Harold Lloyd in his DNA as well.
Bob Dylan (The Philosophy of Modern Song)
They will be plotting a strategy for recapture; or will they really go off and discard me, vanish into the catacombs of the city, giving me up for lost, stashing me away in their heads with all the obsolete costumes and phrases? For them I’ll soon be ancient as crew cuts and World War songs, a half-remembered face in a high-school year book, a captured enemy medal: memorabilia, or possibly not even that.
Margaret Atwood (Surfacing)
So much apparent cruelty is mercifully concealed from us by the sheltering leaves. We seldom see the bones of pain that hang beyond the green summer day. The woods and fields and gardens are places of endless stabbing, impaling, squashing, and mangling. We see only what floats to the surface: the colour, the song, the nesting, and the feeding. I do not think we could bear a clear vision of the animal world.
J.A. Baker (The Peregrine: The Hill of Summer & Diaries: The Complete Works of J. A. Baker)
Words exist. What are they made of? Air under pressure? Ink? Some instances of the word "cat" are made of ink, and some are made of bursts of acoustic energy in the atmosphere, and some are made of patterns of glowing dots on computer screens, and some occur silently in thoughts, and what they have in common is just that they count as "the same" (tokens of the same type, as philosophers say) say in a system of symbols known as a language. Words are such familiar items in our language-drenched world that we tend to think of them as if they were unproblematically tangible things - as real as teacups and raindrops - but they are in fact quite abstract, even more abstract than voices or songs or haircuts or opportunities (and what are they made off?). What are words? Words are basically information packets of some sort, recipes for using one's vocal apparatus and ears (or hands or eyes) - and brains - in quite specific ways. A world is more than a sound or a spelling. For instance, fast sounds the same and is spelled the same in English and German, but has completely different meanings and roles in the two languages. Two different worlds, sharing only some of their surface properties. Words exist. Do memes exist? Yes, because words exist, and words are memes that can be pronounced.
Daniel C. Dennett (Breaking the Spell: Religion as a Natural Phenomenon)
THE SHACK SAT BACK from the palmettos, which sprawled across sand flats to a necklace of green lagoons and, in the distance, all the marsh beyond. Miles of blade-grass so tough it grew in salt water, interrupted only by trees so bent they wore the shape of the wind. Oak forests bunched around the other sides of the shack and sheltered the closest lagoon, its surface so rich in life it churned. Salt air and gull-song drifted through the trees from the sea.
Delia Owens (Where the Crawdads Sing)
She said, "Today, today, today. Today feels green. There's still some blue, but that's life, I think. Sometimes it can be a forest. Other times it's an ocean. But we float, don't we? Along the surface. I always thought so, even when I was drowning. There's a song I like. An old one." And remarkably, she started singing. "Sometimes I float along the river, for to its surface I am bound. And there are times stones done fill my pockets, oh Lord, and it's into this river I drown.
T.J. Klune (Brothersong (Green Creek, #4))
ALL ARE WELCOME. (NO FIGHTING.) That rule is simple on the surface, but not easy in the execution, because Maz Kanata's castle has been a meeting place since time immemorial-- a nexus point drawing together countless lines of allegiance and opposition, a place not only where friend and foe can meet, but where complex conflicts are worn down flat so that all may sit, have a drink and a meal, listen to a song, and broker whatever deals their hearts or politics require. That's why the flags outside her castle represent hundreds of cities and civilizations and guilds from before forever. The galaxy is not now, nor has it ever been, two polar forces battling for supremacy. It has been thousands of forces: a tug-of-war not with as ingle rope but a spider's web of influence, dominance, and desire. Clans and cults, tribes and families, governments and anti-governments. Queens, satraps, warlords! Diplomats, buccaneers, droids! Slicers, spicers, ramblers, and gamblers! To repeat: ALL ARE WELCOME. (NO FIGHTING.)
Chuck Wendig (Life Debt (Star Wars: Aftermath, #2))
This is what I understand to be true phenomenalism and perspectivism: that due to the nature of animal consciousness, the world of which we can become conscious is merely a surface- and sign-world, a world turned into generalities and thereby debased to its lowest common denominator,—that everything that enters consciousness thereby becomes superficial, thin, relatively stupid, general, a sign, a mark of the herd, that all becoming-conscious involves a vast and fundamental corruption, falsification, superficialization, and generalization.
Friedrich Nietzsche (The Gay Science: With a Prelude in Rhymes and an Appendix of Songs)
We believe that everyone has a tiny bit of magic in them. It’s just that in most people, there’s some kind of blockage that keeps it from surfacing—whether that’s fear or a lack of knowledge that it even exists. For them, it can manifest in small things, like always knowing what song is going to be next on the radio or having an incredible green thumb.” She smiled, adding, “Putting your love into a home-cooked meal for someone else can be as much of a ritual as the chanting of a spell. There’s magic in everything, if you know to recognize it.
Philline Harms (Love and Other Wicked Things)
In the end, I’m not interested in that which I fully understand. The words I have written over the years are just a veneer. There are truths that lie beneath the surface of the words… truths that rise up without warning, like the humps of a sea monster and then disappear. What performance and song is to me is finding a way to tempt the monster to the surface, to create a space, where the creature can break through what is real and what is known to us. This shimmering space, where imagination and reality intersect… This is where all love and tears and joy exist. This is the place. This is where we live.
Nick Cave
IN OCTOBER 2006, A US NAVAL SUPERCARRIER GROUP LED by the 1,000-foot USS Kitty Hawk was confidently sailing through the East China Sea between southern Japan and Taiwan, minding everyone’s business, when, without warning, a Chinese navy submarine surfaced in the middle of the group. An American aircraft carrier of that size is surrounded by about twelve other warships, with air cover above and submarine cover below. The Chinese vessel, a Song-class attack submarine, may well be very quiet when running on electric power but, still, this was the equivalent to Pepsi-Cola’s management popping up in a Coca-Cola board meeting after listening under the table for half an hour.
Tim Marshall (Prisoners of Geography: Ten Maps That Tell You Everything You Need to Know About Global Politics)
In a city it's impossible to forget we live in places raised and built over time itself. The past is underneath our feet. Every day when I leave the house , I may walk over a place where a king killed a wolf in the Royal Forest of Stocket, one of the medieval hunting forests ,where alder and birch , oak and hazel,willow, cherry and aspen grew. The living trees were cut down , their wood used to fuel the city's growth , it's trade, it's life.The ancient wood ,preserved in peat, was found underneath the city(The site of the killing is fairly well buried -the wolf and the king had their encounter some time around the early years of the eleventh century)It's the same as in any other city, built up and over and round , ancient woodlands cut down , bogs drained , watercourses altered, a landscape rendered almost untraceable, vanished.Here, there's a history of 8,000 years of habitation , the evidence in excavated fish hooks and fish bone reliquaries, in Bronze Age grave-goods of arrowheads and beakers, what's still under the surface, in revenants and ghosts of gardens , of doo'cots and orchards, of middens and piggeries, plague remains and witch-hunts, of Franciscans and Carmelites, their friaries buried , over-taken by time and stone .This is a stonemasons' city , a city of weavers and gardeners and shipwrights and where I walk , there was once a Maison Dieu, a leper house; there was song schools and sewing schools, correction houses and tollboths, hidden under layers of time, still there
Esther Woolfson (Field Notes from a Hidden City: An Urban Nature Diary)
with walls of bare black stone and four tall narrow windows that looked out to the four points of the compass. In the center of the chamber was the great table from which it took its name, a massive slab of carved wood fashioned at the command of Aegon Targaryen in the days before the Conquest. The Painted Table was more than fifty feet long, perhaps half that wide at its widest point, but less than four feet across at its narrowest. Aegon’s carpenters had shaped it after the land of Westeros, sawing out each bay and peninsula until the table nowhere ran straight. On its surface, darkened by near three hundred years of varnish, were painted the Seven Kingdoms as they had been in Aegon’s day; rivers and mountains, castles and cities, lakes and forests.
George R.R. Martin (A Clash of Kings (A Song of Ice and Fire, #2))
The collapsing star pushes past the resistance of crushed electrons, past the resistance of the neutrons. When the stellar material is compressed enough, the curves in spacetime around the collapsing mass become so sharp that even light can be caught in orbit. As collapse continues, light cannot escape the surface, as though the spacetime spills behind the crushed material faster than light can race outward. A horizon defining the region of no return, the event horizon, is inscribed in the very geometry of spacetime. The event horizon casts a lightless shadow, and a black hole has formed. The black hole is not a star anymore. It’s not really even a thing. The pulverized matter that cast the shadow of the event horizon continues to fall and is gone. The black hole is nothing but its shadow. Wheeler
Janna Levin (Black Hole Blues and Other Songs from Outer Space)
This afternoon a flock of doves settled on my porch. Their silence took the shape of all I ever wanted to say. Today, the miracle we want aches inside the trees. Why believe anything except what is unbelievable? […] Now the leaves turn into messages that are simply impossible to read. The roots turn into roads as they break through the surface. How can I even know what I mean? Beneath the hem of night the rain falls asleep on the grass. We have to turn into each other. One heart inside the other’s heart. One love. One word. Inside us, our shadows will walk into water, the water will walk into the sky. Blind. Faithful. Inside us the music turns into a flock of birds. Theirs is a song whose promise we must believe the way the moon believes the earth, the fire believes the wood, that is, for no reason, for no reason at all.
Richard Jackson (Out of Place)
When I saw them on the beach, perfectly tanned, or when I watched them twirling in the waves, I grasped the transcendental element in surf music. It was all about freedom from the rules of life, the whole of your being concentrated in the act of shooting the tube. For several years after that trip to L.A. I subscribed to Surfer magazine, and I practiced the Atlantic Ocean version of the sport, though only with my body and on rather tame waves. With my voice muffled by the water I would shout a line from “Surf City.” To me, this was the ultimate fantasy of plenty: “two girls for every boy,” except I sang it as “Two girls for every goy.” Fortunately, Brian has survived the schizoid tendencies that seemed close to the surface when I met him. He’s still performing and writing songs. But it was his emotional battle and the intersection of that struggle with the acid-dosed aesthetic of the sixties that produced his most astonishing music.
Richard Goldstein (Another Little Piece of My Heart: My Life of Rock and Revolution in the '60s)
There is an underlying rhythm to all text. Sentences crashing fall like the waves of the sea, and work unconsciously on the reader. Punctuation is the music of language. As a conductor can influence the experience of the song by manipulating its rhythm, so can punctuation influence the reading experience, bring out the best (or worst) in a text. By controlling the speed of a text, punctuation dictates how it should be read. A delicate world of punctuation lives just beneath the surface of your work, like a world of microorganisms living in a pond. They are missed by the naked eye, but if you use a microscope you will find a exist, and that the pond is, in fact, teeming with life. This book will teach you to become sensitive to this habitat. The more you do, the greater the likelihood of your crafting a finer work in every respect. Conversely the more you turn a blind eye, the greater the likelihood of your creating a cacophonous text and of your being misread.
Noah Lukeman (A Dash of Style: The Art and Mastery of Punctuation)
The man raised the violin under his chin, placed the bow across the strings, and closed his eyes. For a moment his lips moved, silently, as if in prayer. Then, with sure, steady movements, he began to play. The song was like nothing Abbey had heard anywhere else. The notes were clear, sweet and perfect, with a purity of tone that not one violin in ten thousand could produce. But the song was more than that. The song was pain, and loss, and sorrow, an anthem of unrelenting grief for which no words could be sufficient. In its strains Abbey heard the cry of the mother clutching her lifeless child; of the young woman whose husband never returned from war; of the father watching his son die of cancer; of the old man weeping at his wife's grave. It was the wordless cry of every man, woman and child who had ever shaken a fist at the uncaring universe, every stricken heart that had demanded an answer to the question, “Why?”, and was left unsatisfied. When the song finally, mercifully ended, not a dry eye remained in the darkened hall. The shades had moved in among the mortals, unseen by all but Abbey herself, and crowded close to the stage, heedless of all but the thing that called to them. Many of the mortals in the audience were sobbing openly. Those newcomers who still retained any sense of their surroundings were staring up at the man, their eyes wide with awe and a silent plea for understanding. The man gave it to them. “I am not the master of this instrument,” he said. “The lady is her own mistress. I am only the channel through which she speaks. What you have heard tonight — what you will continue to hear — is not a performance, but a séance. In my … unworthy hands … she will tell you her story: Sorrow, pain, loss, truth, and beauty. This is not the work of one man; it is the story of all men, of all people everywhere, throughout her long history. Which means, of course, that it is also your story, and mine.” He held up the violin once more. In the uncertain play of light and shadow, faces seemed to appear and vanish in the blood-red surface of the wood. “Her name is Threnody,” he said. “And she has come to make you free.
Chris Lester (Whispers in the Wood (Metamor City, #6))
The classroom was too tidy. I missed the texture of the weather, the smell of cooking, the jostle of shoulders and elbows on a crowded sidewalk. In the congregation, by contrast, everything was going on at once, random, unscheduled, accompanied too much of the time by undisciplined and trivializing small talk. Babies born squalling, people dying neglected, and in between the parenthesis of birth and death, lifetimes of ambiguity: adolescents making an unholy mess of growing up and their parents muddling through as guilty bystanders. Also, of course, heroic holiness, stunningly beautiful prayers, sacrificial love surfacing from the tangled emotions in a difficult family, a song in the night, glimpses of glory, the sullen betrayal of a bored spouse quietly redeemed from years of self-imprisoned self-worship by forgiveness and grace: Father, Son, and Holy Ghost. And all of this mixed together. In this world, sin was not a word defined in a lexicon. Salvation was not a reference traced down in a concordance. Every act of sin and every event of salvation involved a personal name in a grammar of imperatives and promises in a messy community of friends and neighbors, parents and grandparents, none of whom fit a stereotype.
Eugene H. Peterson (The Pastor: A Memoir)
The black hole of the galaxy swallows the boiling energy of human fury. Soon my waning fume will be obscured forevermore, all insignia of my ionized essence tucked into the anonymous pleat of the universe’s billowing skirt. Until the coarse earth’s rank mustiness calls for me, can I take comfort living purposefully in the rhythms of an ordinarily life? Can I unabashedly absorb the scintillating jewels in the daily milieu? Can I savor an array of pleasantries with my tongue, ears, nose, eyes, lips, and fingertips? Can I take solace in the tenderness of the nights by singing out songs of love and heartache? Can I devote the dazzle of daylight and the vastness of the night’s starriness to investigate life, make a concerted effort to reduce imbedded ignorance, and penetrate layers of obdurate obliviousness? Can I conduct a rigorous search for wisdom irrespective of wherever this journey takes me? Can I make use of the burly pack of prior personal experiences to increase self-awareness? Can I aspire to go forward in good spirits and cheerfully accept all challenges as they come? Can I skim along the delicate surface of life with a light heart until greeting an endless sleep with a begrudging grin in the coolness of the ebbing light?
Kilroy J. Oldster (Dead Toad Scrolls)
She could sense the approach of land- taste when the waters changed, feel when currents turned cool or warm- but it didn't hurt to keep an eye on the shore now and then, and an ear out for boats. The slap of oars could be heard for leagues. Her father had told tales about armored seafarers in days long past, whose trireme ships had three banks of rowers to ply the waters- you could hear them clear down to Atlantica, he'd say. Any louder and they would disrupt the songs of the half-people- the dolphins and whales who used their voices to navigate the waters. Even before her father had enacted the ban on going to the surface, it was rare that a boat would encounter a mer. If the captain kept to the old ways, he would either carefully steer away or throw her a tribute: fruit of the land, the apples and grapes merfolk treasured more than treasure. In return the mermaid might present him with fruit of the sea- gems, or a comb from her hair. But there was always the chance of an unscrupulous crew, and nets, and the potential prize of a mermaid wife or trophy to present the king. (Considering some of the nets that merfolk had found and freed their underwater brethren from, it was quite understandable that Triton believed humans might eat anything they found in the sea- including merfolk.)
Liz Braswell (Part of Your World)
What else could eternity be? on the surface a waterlily holds shadowy depths just-kissed with clouds and rouge surfacing — on the water’s edge just-bound, just-bound to break, and change, but never does.... By rippling refracted waterlight she dances like a reflection before me— like a mirage I watch the visage of her — and reach for her body like coursing water like pulsing-liquid her body like flesh-contained breath…. Fingers entwine o’er fingers we thread agile on the trail over vines and brambles: by the turn of her head into tree shade she shows me the nests hidden in thickets…. Delighted by the lightness of her touch, the quickness of her brow— and notice: the heaviness of her breasts I, too, am carrying…. Oh with her calm, receptive walk and her quiet, sensitive talk and with the posture in which she sits which slows down and softens my speech…. Of her am I moved to study and to muse: how this moment in the movement of her swallowing hips she's a lover, and this moment behind her sisters — her nose turned to air— she walks with childhood, and now in the shape of her vase-body she reveals motherliness, and now in this moment she is in this moment she is in this moment…. Now, today we leave this valley for my love we've a world to show we've friends, elders, the people to show— the purple glow of our presence the gravity of our having-met….
Mark Kaplon (Song of Rainswept Sand)
Eurydice He is here, come down to look for you. It is the song that calls you back, a song of joy and suffering equally: a promise: that things will be different up there than they were last time. You would rather have gone on feeling nothing, emptiness and silence; the stagnant peace of the deepest sea, which is easier than the noise and flesh of the surface. You are used to these blanched dim corridors, you are used to the king who passes you without speaking. The other one is different and you almost remember him. He says he is singing to you because he loves you, not as you are now, so chilled and minimal: moving and still both, like a white curtain blowing in the draft from a half-opened window beside a chair on which nobody sits. He wants you to be what he calls real. He wants you to stop light. He wants to feel himself thickening like a treetrunk or a haunch and see blood on his eyelids when he closes them, and the sun beating. This love of his is not something he can do if you aren’t there, but what you knew suddenly as you left your body cooling and whitening on the lawn was that you love him anywhere, even in this land of no memory, even in this domain of hunger. You hold love in your hand, a red seed you had forgotten you were holding. He has come almost too far. He cannot believe without seeing, and it’s dark here. Go back, you whisper, but he wants to be fed again by you. O handful of gauze, little bandage, handful of cold air, it is not through him you will get your freedom.
Margaret Atwood (Eating Fire : Selected Poetry, 1965-95)
The multiplication of desires. This is what our culture has given us. It gives us things and the desire for those things. And the more attached we are to things—whether those things are physical objects, or sins, or pets, or people—the less we hunger for the real bread of eternal life (see John 6:55). We are like a man dying of malnutrition despite having a pantry full of food. He stuffed himself with soda and chips and chocolate, but it wasn’t enough. It couldn’t sustain him. And he never felt the hunger pains because he had filled his stomach with junk. Every petty and meaningless desire of ours is filled. We have so much that we even invent new desires and fulfill them, too. Every day you hear about some new fetish, some new perverse interest that has taken hold of some segment of society. And with these new fetishes always come new “rights.” We plunge into ourselves and bring to the surface every dark and depraved and strange desire we can find, and then we fight for the right to satisfy it. We not only indulge ourselves, we even feel heroic in our indulgence. We have made selfishness into a cause; a banner under which we march and sing songs of victory. All of it is empty, none of it has any substance, but we drown our souls in it, in this sea of nothingness, and God is pushed ever further to the periphery. As Jeremiah said, we have gone after empty idols and become empty ourselves; we have exchanged our glory for useless things (Jeremiah 2:5, 2:11). Our lives have become consumed by so much noise, so much commotion, so much food, so much media, so many advertisements, so many lights and sounds, and all it does is keep us focused on a million things besides the one thing that matters. We run from God into the haze of modern culture, and we lose Him somewhere in the chaos, in the noise.
Matt Walsh (Church of Cowards: A Wake-Up Call to Complacent Christians)
Are you going to help me up?” Adaira unwound her matted braid and laughed again. “Do you think I was born yesterday?” She gave him a terrible idea. He almost smiled. “Then will you at least take my harp? It’s going to warp now, after all this time in the water.” He held up his instrument, and Adaira studied it. Jack concealed his glee as she reached forward to take hold of his harp. As soon as her fingers closed over the frame, he pulled. Adaira let out a shriek as she tumbled into the sea, just over his head. He couldn’t resist it; a broad grin spread across his face as Adaira spluttered to the surface. “You will soon pay for that,” she said, wiping water from her eyes. “Old menace.” “I have no doubt,” he replied in a droll tone. “What will it be, heiress? Tar and feathers? The stocks? My firstborn son?” She stared at him a moment, pearls of water on her long lashes. The sea lapped at their shoulders, and Jack could feel her fingers brush his as they both waded in the roll of the waves. “I can think of something far worse.” But she smiled as she said it, and he had never seen such a smile on her face before. Or maybe he had once, long ago when they were children. She was making him remember those old days. Days spent in the sea and caves. Nights spent roaming the wild places, the thistle patches and glens and the rocks on the coast. She was making him remember what it felt like to belong on isle. To belong to the east. She wanted him to stay and play for their clan, and Jack was beginning to think that maybe he should seize that opportunity, even if it stole his health, song by song. Just for a year. A full passing of seasons. Long enough to see her rise as laird. He drew a tendril of golden algae from her hair and begrudgingly acknowledged it then. He disliked her a little less than yesterday. And that could only bring him trouble.
Rebecca Ross (A River Enchanted (Elements of Cadence, #1))
Sorrow walked in my clothes before I did. Flocks of shadows followed me. One night I looked at the stars I thought were gods until they disappeared. Some say I smashed my father’s idols and walked away. Or walked towards a desert of barren promises. Or promises that are hummingbirds hovering for a moment then drifting away. Even now, walking towards that mountain, sometimes I will watch my shadow sitting beneath a plane tree, casting dice, ignoring my steps. Some of you made me a founder but it was only that shadow. Some of you made me your father, but it was yourselves you were describing. You plant a tree, you dig a well, and it brings life, that’s all. Everything else is the heart’s mirage. Except what begins inside you. Except Sarah. When she stepped inside my dream the curtains shivered, whole mountains entered the room. It always seemed a question of which love to honor. The land I loved fills with fire. Who should we listen to? It’s true, He offered the world and I offered only myself. But I thought His words were coffins. I was frantic for any scrap of shade. Now everything is shade. Your old newspapers are taken up by the wind like pairs of broken wings. Each window, each door is a wound. One track erases another track. One bomb. One rock, one rubber bullet. What can I tell you? Where have you left your own morning of promises? You remember Isaac, maybe Ishmael, but not the love that led me there. Not Sarah. Just to hear the sound of her eyelids opening, or her plants pushing the air aside as they reach for the sun, twilight filling her fingers like fruit. This afternoon a flock of doves settled on my porch. Their silence took the shape of all I ever wanted to say. Today, the miracle you want aches inside the trees. Why believe anything except what is unbelievable? I never thought of it as a trial, not any of it. Now the leaves turn into messages that are simply impossible to read. The roots turn into roads as they break through the surface. How can I even know what I mean? Beneath the hem of night the rain falls asleep on the grass. We have to turn into each other. One heart inside the other’s heart. One love. One word. Inside us, our shadows will walk into water, the water will walk into the sky. Blind. Faithful. Inside us the music turns into a flock of birds. Theirs is a song whose promise we must believe the way the moon believes the earth, the fire believes the wood, that is, for no reason, for no reason at all.
Richard Jackson
Long ago there was a little boy who lived in the wood with his father and his sister. One night, the three of them were out collecting firewood when they heard a low, delicate whimper. The father realised it was an injured animal and ordered the children to fetch water from the lake, whilst he followed the sound. Hours past but the father did not return. The children became fearful for their father’s safety and in their moment of fright, they disobeyed their father in order to find him. And find him they did. However, he was no longer the man he once was. Both his eyes were slit through their centre, oozing blood down the paleness of his face. His neck had been torn open. The entirety of his midsection was split but nothing, not one, single organ, seemed to be left within. Each limb still remained, however they had been dragged, with some exceptional force, in the opposite direction to which they were designed. The children screamed and ran, though the image of their father’s mangled corpse seemed to chase after them. They slept. Within the whisper of the wind came the sweet tune of a woman’s song. The little girl awoke to the feeling of happiness, security and motherly love that the song carried with it. She needed to find the woman it had come from. Leaving her brother, she took off into the wood to try and find the singer. The little boy quickly entered into a spit of panic when he found his sister missing. He didn’t know whether he should call out for her, look for her or wait. But waiting could mean the worst, he thought, and so he took off into the woods after her. He had searched everywhere, every dark corner and decrepit tree, before reaching the lake. The moon reflected off its black surface, which drew his attention to something bobbing within the ripples. It was a leg. When he caught sight of the foot, the boy fell to his knees. He recognised the shoe. It was his sister’s shoe; his sister’s leg. Soon enough, the other body parts came drifting to join the leg, forming a rough manifestation of what was once his sister’s living body. Firstly, there was a head facing down in the water, then arms seemingly blue under the moonlight, and lastly a torso coated in her favourite dress. He felt sick, lost, terrified to his very core. Just as thoughts of never being whole again began to pain his chest, the boy heard the snapping of a twig behind him. He dared to turn around but all he found was a small, black-furred wolf. The wolf approached him timidly, whining deep in its throat to say to the boy that he too was lonely and afraid. The boy put out his hand for the wolf to join him and they sat together. Perhaps he would be OK. Perhaps all that had happened had led to this; something new. He rustled the fur of his new friend, starting with its back then its ear before going under its snout. His hand touched something wet and sticky. He drew it from the wolf to get a better look, only to find a crimson substance now clinging to his small hands. Blood. The wolf turned on the boy as its eyes became a pale blue before thwack! He tore the boy’s face from his head…
S.R. Crawford (Bloodstained Betrayal)
It’s nice to see you.” Stupid, silly, banal little words. Luca smiles, his dark blue eyes sparking. “Nice?” he says, and he starts to take off his shoes. “This is a very strong word in English, non è vero?” “No,” I say quickly. “It’s not a strong word at all.” “Oh, peccato,” he says cheerfully, which means “what a shame.” He’s pulling off his socks. “What are you doing?” I ask, which is stupid too, as it’s obvious; he’s standing up now, his hands at his waistband, unbuckling his belt. The sight is incredibly disconcerting. I back away, into deeper water, on the tips of my toes now. “Luca--” “I am hot,” he says. “That’s correct, isn’t it? Not ‘I have hot.’” I know what he means: in Italian, you say you “have” hot or cold, not that you “are.” It takes a bit of getting used to. Especially with the double meaning, which I’m certainly not going to explain to him now. “Yes,” I say even more feebly as Luca’s jeans drop to the ground and he steps out of them. Thank goodness he’s wearing boxers! His legs are long and almost too thin, a bit stork-like. I’m ridiculously glad to have found a defect in him. As he starts to unbutton his shirt, I take another step back and find myself treading water frantically, out of my depth now. I can’t look at his mostly bare body: I turn away, feeling a blush suffusing my cheeks. So I hear, rather than see, him dive into the river. He surfaces next to me, shaking his wet hair back from his face. It plasters down to his skull, and that makes his bone structure much more pronounced, his cheekbones sharp as knives. I stare at him, tongue-tied, as he treads water easily next to me. “Now you must be cross with me,” he says, a thread of laughter in his voice. “You must tell me that I’m wrong, that we must not be alone together.” “We mustn’t,” I say, suddenly angry. “You know we mustn’t.” I can’t keep treading water; my legs feel too wobbly. I put my head down and swim away from him, a couple of strokes to the far bank, where I can stand. He follows me; he swims right to me, and when he comes up, he’s so close, so tall, that he blocks out the moon. His bare chest is dappled with drops of water clinging to his skin. I can’t look anymore, so I raise my eyes, and then I’m looking into his, and oh no, that’s a really terrible idea, that’s the worst idea in the world… “Se scorre un fiume dentro ad ogni cuore, arriveremo al mare prima o poi,” he says, looking down at me. “More Jovanotti,” he adds, smiling, as he sees me staring at him in confusion. Jovanotti is Luca’s favorite singer; he’s quoted songs of his before to me. But I don’t know this one. “‘If a river runs inside every heart, we will arrive at the sea,’” he translates. “I think of this because we are in a river.” “It’s very pretty,” I mumble. “The rest of the song is maybe not so pretty,” he says. “It is a love song, but Jovanotti tells the truth about love. That it is sometimes not pretty at all.” I nod, even though hearing the word “love” spoken by Luca is enough to make me feel as if I’m blushing all over.
Lauren Henderson (Kissing in Italian (Flirting in Italian, #2))
Dark against the bright rust of the dead leaves, an unfledged starling lay flabbily upon its back. It was loose-skinned, helpless, and frog-like. Its eyes were closed, but twitching; its whole body twitched, its legs moved feebly, pathetically, feeling for foothold upon the unresisting air. It had probably been dropped there by the jay I had disturbed a few minutes earlier. It is sad to see life ending before it has really begun. So much apparent cruelty is mercifully concealed from us by the sheltering leaves. We seldom see the bones of pain that hang beyond the green summer day. The woods and fields and gardens are places of endless stabbing, impaling, squashing, and mangling. We see only what floats to the surface: the colour, the song, the nesting, and the feeding. I do not think we could bear a clear vision of the animal world.
J.A. Baker (The Peregrine: The Hill of Summer & Diaries: the Complete Works of J. A. Baker)
Antidote for Bitterness 1 Heart Full of Love 1 Mind Set on Forgiveness 1 Song of Encouragement 2 Hands Full of Determination 2 Eyes That See Beyond the Surface Added together with heaping portions of prayer, you will soon find your relationships rising to incredible new levels of loyalty. For an added delight, top off with a scoop of happiness. Unlimited servings. No calories, just pure sweetness.
Renee Kinlaw (GOD Has A Scrub Brush: Making Room for Revival)
In the silence I felt it all unravelling, the audience waking with the dream unfinished, all my work ruined, wasted. And all the while burning inside me was the song, the song. The song! Without knowing what I did, I set my fingers back to the strings and fell deep into myself. Into years before, when my hands had calluses like stones and my music had come as easy as breathing. Back to the time I had played to make the sound of Wind Turning a Leaf on a lute with six strings... And then it was done. Raising my head to look at the room was like breaking the surface of the water for air. I came back into myself, found my hand bleeding and my body covered in sweat. Then the ending of the song struck me like a fist in my chest, as it always does, no matter where or when I listen to it. I buried my face in my hands and wept.
Patrick Rothfuss (The Name of the Wind (The Kingkiller Chronicle, #1))
As I spent those years saying the same collect for purity, the Nicene Creed, the Lord's Prayer, and various other unchanging parts of the liturgy, I learned that common prayer can open the door to deeper levels of engagement and internalization. Like the lyrics of an old favorite song, the words take up residence deep down in our souls. Every recitation "above the surface" draws from memories and associations that shoot out like roots beneath our conscious thoughts and words.
Terry J. Stokes (Prayers for the People: Things We Didn't Know We Could Say to God)
Fuck, I’ve had this song stuck on repeat for the last week. Do you like John Mayer?” My hands skim his broad shoulders, grazing the knotted muscles that ripple beneath the surface, and I run a palm up the nape of his neck, a strong desire to twine my fingers in the chestnut waves peeking out from his toque. “I love him.” “What’s your favorite song?” My mouth quirks to the side. “I’ve got two.” “Gimme your most favorite first.” My face warms as I avoid his gaze. “‘Slow Dancing in a Burning Room.’” A slow, sad song, two people who are destined to fail together, kind of like whatever the hell it is we’re doing right now. There’s no way this ends well. It’s bound to go up in flames; we’re just denying the inevitable.
Becka Mack (Consider Me (Playing For Keeps, #1))
FAKE LOVE” is not, as the title would suggest, about fake, or false, love. As the opening lyrics convey, the song is about the intentions and concerns of a person hiding their pain before the one they love, trying to show them only the best of themselves. On the surface, these lyrics might appear to tell a universal story of the pain of love, but they also represent the BTS members’ minds at the time, standing before ARMY.
BTS (Beyond The Story: 10-Year Record of BTS)
So I’m curious, how far does the Pope think we should go in the direction of respecting and correcting the natural world and it’s wild inhabitants. Before I arrived the PIL media manager sent me a copy of Francis’s rather beautiful and cyclical ‘On Care For Our Common Home’. “Each creature has its own purpose” he writes “none is superfluous." He describes how Saint Francis would burst into song when he gazed at the sun, the moon or the smallest of animals. I read these passages to Father Carlo. He listens, nodding. “Saint Francis began a new relationship between nature and humanity. If you read his poems you find the expressions ‘Sister Water’, ‘Brother Sun’, ‘Sister Moon’.” “Would Saint Francis include brother rat?” I ask “Sister Boll Weevil, Uncle Blackbird who devours 2% of the North Dakota sunflower crop?”. Father Carlo says "Yes, Yes he would. He includes even death” he says.“Did saint Francis say anything specifically about rodents?”I hear myself say. “No, he didn’t. but the point is, brotherhood is not a simple relationship. with your brothers and sisters, normally you fight. You cannot think that there is an idillic way of being in a relationship with someone. Every relationship among humans and the earth is not only connotated with positive aspects. At the same time you also have negative aspects. The point is how do you deal with those aspects?” He’s good, this guy. “Yes” I say, “and how should we deal? It’s well and good to say these things, but how do we act in a way that serves both human and animal fairly? Let’s take the example of Canada Geese on gold courses. What is their crime? Befouling the turf, littering. For this should we be allowed to call someone in to round them up and gas them? Do they deserve to die because a few well-heeled humans want to hit a ball into hole and they need an obsessively tidy playing surface the size of the holy sea? Think of all the Sister Water that gets wasted watering the greens. Maybe it’s time to eliminate gold, not geese.” Father Carlos collects his thoughts. Among them, surely, ‘who let her in?’.
Mary Roach (Fuzz: When Nature Breaks the Law)
So I’m curious, how far does the Pope think we should go in the direction of respecting and correcting the natural world and it’s wild inhabitants. Before I arrived the PIL media manager sent me a copy of Francis’s rather beautiful and cyclical ‘On Care For Our Common Home’. “Each creature has its own purpose” he writes “none is superfluous." He describes how Saint Francis would burst into song when he gazed at the sun, the moon or the smallest of animals. I read these passages to Father Carlo. He listens, nodding. “Saint Francis began a new relationship between nature and humanity. If you read his poems you find the expressions ‘Sister Water’, ‘Brother Sun’, ‘Sister Moon’.” “Would Saint Francis include brother rat?” I ask “Sister Boll Weevil, Uncle Blackbird who devours 2% of the North Dakota sunflower crop?”. Father Carlo says "Yes, Yes he would. He includes even death” he says.“Did saint Francis say anything specifically about rodents?”I hear myself say. “No, he didn’t. but the point is, brotherhood is not a simple relationship. with your brothers and sisters, normally you fight. You cannot think that there is an idillic way of being in a relationship with someone. Every relationship among humans and the earth is not only connotated with positive aspects. At the same time you also have negative aspects. The point is how do you deal with those aspects?” He’s good, this guy. “Yes” I say, “and how should we deal? It’s well and good to say these things, but how do we act in a way that serves both human and animal fairly? Let’s take the example of Canada Geese on gold courses. What is their crime? Befouling the turf, littering. For this should we be allowed to call someone in to round them up and gas them? Do they deserve to die because a few well-heeled humans want to hit a ball into hole and they need an obsessively tidy playing surface the size of the holy sea? Think of all the Sister Water that gets wasted watering the greens. Maybe it’s time to eliminate golf, not geese.” Father Carlos collects his thoughts. Among them, surely, ‘who let her in?’.
Mary Roach (Fuzz: When Nature Breaks the Law)