β
I have been surrounded by love letters you two have built each other for years, encased in tents.
β
β
Erin Morgenstern (The Night Circus)
β
Β βI am running back my tent to get my sub-machinegun. There are too many Noggies to kill using a pistol!β He then ran to where his scrape was and returned with the weapon.
β
β
Michael G. Kramer
β
At a few minutes before four, Peeta turns to me again. "Your favorite colour . . . it's green?"
"That's right." Then I think of something to add. "And yours is orange."
"Orange?" He seems unconvinced.
"Not bright orange. But soft. Like the sunset," I say. "At least, that's what you told me once."
"Oh." He closes his eyes briefly, maybe trying to conjure up that sunset, then nods his head. "Thank you."
But more words tumble out. "You're a painter. You're a baker. You like to sleep with the windows open. You never take sugar in your tea. And you always double-knot your shoelaces."
Then I dive into my tent before I do something stupid like cry.
β
β
Suzanne Collins (Mockingjay (The Hunger Games, #3))
β
The softness, warmth and weight of her breast filled his palm. βIβve imagined this for weeks,β he murmured. Thinking of her out there on the battlefield. In his tent. What more could a woman want? Quite a lot, actually.
β
β
Yvonne Korshak (Pericles and Aspasia: A Story of Ancient Greece)
β
There's nothing wrong with enjoying looking at the surface of the ocean itself, except that when you finally see what goes on underwater,you realize that you've been missing the whole point of the ocean. Staying on the surface all the time is like going to the circus and staring at the outside of the tent.
β
β
Dave Barry
β
If you want to understand any woman you must first ask about her mother and then listen carefully. Stories about food show a strong connection. Wistful silences demonstrate unfinished business. The more a daughter knows about the details of her mother's life - without flinching or whining - the stronger the daughter.
β
β
Anita Diamant (The Red Tent)
β
And the night shall be filled with music,
And the cares, that infest the day,
Shall fold their tents like the Arabs,
and silently steal away.
β
β
Henry Wadsworth Longfellow
β
Beauty is not who you are on the outside, it is the wisdom and time you gave away to save another struggling soul like you.
β
β
Shannon L. Alder
β
A home filled with nothing but yourself. It's heavy, that lightness. It's crushing, that emptiness.
β
β
Margaret Atwood (The Tent)
β
The circus arrives without warning. No announcements precede it. It is simply there, when yesterday it was not. Within the black-and-white striped canvas tents is an utterly unique experience full of breathtaking amazements. It is called Le Cirque des RΓͺves, and it is only open at night.
β
β
Erin Morgenstern (The Night Circus)
β
You are a terrifying creature," the Voice told her solemnly. "You do not take your place in your father's tent, letting men make your decisions for you. You ride as a man, you fight as a man, and you think as a man --"
"I think as a human being," she retorted hotly. "Men don't think any differently from women -- they just make more fuss about being able to.
β
β
Tamora Pierce (The Woman Who Rides Like a Man (Song of the Lioness, #3))
β
Oh, no way," Leo said. "We've been sitting in a cave and you get the luxury tent? Somebody give me hypothermia. I want hot chocolate and a parka!
β
β
Rick Riordan (The Lost Hero (The Heroes of Olympus, #1))
β
She picked up the book and then walked back past him into the tent, but as she did so, she brushed the top of his head lightly with her hand. He closed his eyes at her touch, and hated himself for wishing that what she said was true: that Dumbledore had really cared.
β
β
J.K. Rowling (Harry Potter and the Deathly Hallows (Harry Potter, #7))
β
It often occurs that pride and selfishness are muddled with strength and independence. They are neither equal nor similar; in fact, they are polar opposites. A coward may be so cowardly that he masks his weakness with some false personification of power. He is afraid to love and to be loved because love tends to strip bare all emotional barricades. Without love, strength and independence are prone to losing every bit of their worth; they become nothing more than a fearful, intimidated, empty tent lost somewhere in the desert of self.
β
β
Criss Jami (Killosophy)
β
Time folds you in its arms and gives you one last kiss, and then it flattens you out and folds you up and tucks you away until it's time for you to become someone else's past time, and then time folds again.
β
β
Margaret Atwood (The Tent)
β
Any sign of them yet? he asked. Will looked at him. 'Yes', he said. 'A party of fifty Scotti came though just twenty minutes ago'.
Really? Horace looked startled. He wasn't fully awake yet. Will rolled his eyes to heaven. 'Oh, my word, yes', he said. 'They were riding on oxen and playing bagpipes and drums. Of course not,' he went on. 'If they had come past, I would have woken you-if only to stop your snoring'.
I don't snore', Horace said, with dignity. Will raised his eyebrows. 'Is that so?' he said. 'Then in that case, you'd better chase out that colony of walruses who are in the tent with you...of course you snore.
β
β
John Flanagan (The Siege of Macindaw (Ranger's Apprentice, #6))
β
The more a daughter knows the details of her mother's life [...] the stronger the daughter.
β
β
Anita Diamant (The Red Tent)
β
It always rains on tents. Rainstorms will travel thousands of miles, against prevailing winds for the opportunity to rain on a tent.
β
β
Dave Barry
β
The painful things seemed like knots on a beautiful necklace, necessary for keeping the beads in place.
β
β
Anita Diamant (The Red Tent)
β
I wanted to cry, but I realized that I was too old for that. I would be a woman soon and I would have to learn how to live with a divided heart.
β
β
Anita Diamant (The Red Tent)
β
When I speak of home, I speak of the place where in default of a better--those I love are gathered together; and if that place where a gypsy's tent, or a barn, I should call it by the same good name notwithstanding.
β
β
Charles Dickens (Nicholas Nickleby)
β
You will always go into that tent. You will see her scar and wonder where she got it. You will always be amazed at how one woman can have so much black hair. You will always fall in love, and it will always be like having your throat cut, just that fast. You will always run away with her. You will always lose her. You will always be a fool. You will always be dead, in a city of ice, snow falling into your ear. You have already done all of this and will do it again.
β
β
Catherynne M. Valente (Deathless)
β
So let me get this straight. You were living in a tent in the woods, but now you're living with Prince Charming and anger management boy? SERIOUSLY?!
β
β
Natsuki Takaya (Fruits Basket, Vol. 2)
β
Academics were not intellectuals; they were not curious, they built their stolid tents of specialized knowledge and stayed securely in them.
β
β
Chimamanda Ngozi Adichie (Americanah)
β
You could offer her a seat,β Arin said.
βAh, but I have only two chairs in my tent, little Herrani, and we are three. I suppose she could always sit on your lap.
β
β
Marie Rutkoski (The Winner's Kiss (The Winner's Trilogy, #3))
β
You're a painter. You're a baker. You like to sleep with the windows open. You never take sugar in your tea and you always double knot your shoelaces.' I fight back. Then I dive back into my tent before I do something stupid like cry.
β
β
Suzanne Collins (Mockingjay (The Hunger Games, #3))
β
You're right though. I should have discussed my plan with you. I'm sorry. From now on, I promise I will consult with you before I do anything you don't expect. Is that exceptable?' (Eragon)
Only if it involves weapons, magic, kings, or family members.' (Saphira)
Or flowers.' (Eragon)
Or flowers. I don't need to know if you decide to eat some bread and cheese in the middle of the night.' (Saphira)
Unless a man with a very long knife is waiting for me outside of my tent.'(Eragon)
If you could not defeat a single man with a very long knife, you would be a poor excuse for a Rider indeed.' (Saphira)
β
β
Christopher Paolini
β
Tavi grinned. "Are you with me?"
"The plan is insane," Ehren said. "YOU are insane." He looked around the inside of the tent. "I'll need some pants.
β
β
Jim Butcher (Captain's Fury (Codex Alera, #4))
β
Holmes and Watson are on a camping trip. In the middle of the night Holmes wakes up and gives Dr. Watson a nudge. "Watson" he says, "look up in the sky and tell me what you see."
"I see millions of stars, Holmes," says Watson.
"And what do you conclude from that, Watson?"
Watson thinks for a moment. "Well," he says, "astronomically, it tells me that there are millions of galaxies and potentially billions of planets. Astrologically, I observe that Saturn is in Leo. Horologically, I deduce that the time is approximately a quarter past three. Meterologically, I suspect that we will have a beautiful day tomorrow. Theologically, I see that God is all-powerful, and we are small and insignficant. Uh, what does it tell you, Holmes?"
"Watson, you idiot! Someone has stolen our tent!
β
β
Thomas Cathcart
β
As she shuffled back, he glanced down at the tent between his legs. Christ, that goddamn thing in there was huge; he looked like he had another arm in his pants.
β
β
J.R. Ward (Lover Awakened (Black Dagger Brotherhood, #3))
β
I made it the mantra of those days; when I paused before yet another series of switchbacks or skidded down knee-jarring slopes, when patches of flesh peeled off my feet along with my socks, when I lay alone and lonely in my tent at night I asked, often out loud: Who is tougher than me?
The answer was always the same, and even when I knew absolutely there was no way on this earth that it was true, I said it anyway: No one.
β
β
Cheryl Strayed (Wild: From Lost to Found on the Pacific Crest Trail)
β
Behold the lavish tent under which the overeducated mingle, well versed in every art but the one of conversation.
β
β
Mona Awad (Bunny)
β
Sometimes in my tent, late at night, I think I can hear the stars scraping against the sky.
β
β
Rick Yancey
β
Later that sweltering evening, I climbed into my tiny tent and lay down on top of my bedroll, twisting the lighter blanket around me mummy-style.
Ren ducked his head in to check on me and laughed. βDo you always do that?β
βOnly when camping.β
βYou know bugs can still get in there.β
βDonβt say that. I like to live in ignorance.
β
β
Colleen Houck (Tiger's Voyage (The Tiger Saga, #3))
β
What else did he say?β
She screwed up her face. βOh, some weird thing about telling you that he still feels the same way about that tent, and he promises to say it to you in person next time he sees you.β
I gave a bark of laughter that was more of a sob. βThat asshat,β I blubbered.
Elodie nodded in sympathy. βSuch an asshat.
β
β
Rachel Hawkins (Spell Bound (Hex Hall, #3))
β
If you want to understand any woman, you must first ask about her mother and then listen carefully.
β
β
Anita Diamant (The Red Tent)
β
It is terrible how much has been forgotten, which is why, I suppose, remembering seems a holy thing.
β
β
Anita Diamant (The Red Tent)
β
The other reason women wanted daughters was to keep their memories alive.
β
β
Anita Diamant (The Red Tent)
β
I could not get my fill of looking.
There should be a song for women to sing at this moment or a prayer to recite. But perhaps there is none because there are no words strong enough to name that moment.
β
β
Anita Diamant (The Red Tent)
β
We search for patterns, you see, only to find where the patterns break. And itβs there, in that fissure, that we pitch our tents and wait.
β
β
Nicole Krauss (Great House)
β
I wanted to quit and to do this forever, sleep in a bed and in a tent, see what was over the next hill and never see a hill again. All of this all at once, every moment, on the trail or off.
β
β
Bill Bryson (A Walk in the Woods: Rediscovering America on the Appalachian Trail)
β
Aww, did I just become the most popular person in this tent?
β
β
Kresley Cole (Dead of Winter (The Arcana Chronicles, #3))
β
Our heaven is their hell, said God. I like a balanced universe.
β
β
Margaret Atwood (The Tent)
β
Egypt loved the lotus becuase it never dies. It is the same for people who are loved. Thus can something as insignificant as a name-two syllables, one high, one sweet- summon up the innumerable smiles, tears, sighs and dreams of a human life.
β
β
Anita Diamant (The Red Tent)
β
My heart is a ladle of sweet water brimming over.
β
β
Anita Diamant (The Red Tent)
β
Once a human named Evan Walker had a dreamβa dream it can no longer rememberβand in that dream there was a tent in the woods and in that tent there was a girl who called herself humanity, and the girl was worth more to it than its own life.
β
β
Rick Yancey (The Last Star (The 5th Wave, #3))
β
Of all life's pleasures, only love owes no debt to death.
β
β
Anita Diamant (The Red Tent)
β
On Saturday night, I would see men lusting after half-naked girls dancing at the carnival, and on Sunday morning when I was playing organ for tent-show evangelists at the other end of the carnival lot, I would see these same men sitting in the pews with their wives and children, asking God to forgive them and purge them of carnal desires. And the next Saturday they'd be back at the carnival or some other place of indulgence. I knew then that the Christian church thrives on hypocrisy, and that man's carnal nature will out no matter how much it is purged or scoured by any white-light religion.
β
β
Anton Szandor LaVey (The Satanic Bible)
β
Which tent is your favourite?" he asks.
"The Ice Garden," Celia answers, without even pausing to consider.
"Why is that?" Marco asks.
"Because of the way it feels," she says. "It's like walking into a dream. As though it is someplace else entirely and not simply another tent...
β
β
Erin Morgenstern (The Night Circus)
β
A king does not abide within his tent while his men bleed and die upon the field. A king does not dine while his men go hungry, nor sleep when they stand at watch upon the wall. A king does not command his men's loyalty through fear nor purchase it with gold; he earns their love by the sweat of his own back and the pains he endures for their sake. That which comprises the harshest burden, a king lifts first and sets down last. A king does not require service of those he leads but provides it to them...A king does not expend his substance to enslave men, but by his conduct and example makes them free.
β
β
Steven Pressfield (Gates of Fire)
β
Emifal Firdaant,' I say to him.
'You've said that before. What does it mean?'
I cannot quite look at him when I say it. 'May death claim me first.'
'Ah, no, my love.' He gathers me close. 'You cannot go first. I could not make sense of the world if you did.'
With that, he closes his eyes, but I cannot sleep. I stare up at the peak of the tent and listen to the rain drum down on the canvas. Emifal Firdaant, I beg the skies. Emifal Firdaant.
β
β
Sabaa Tahir (A βSky Beyond the Storm (An Ember in the Ashes, #4))
β
Then I look over at Corey, who is watching me with a tenderness that makes me want to crawl inside his heart, pitch a tent, and set up camp forever.
β
β
Colleen J Clayton (What Happens Next)
β
The silence is all there is. It is the alpha and the omega, it is God's brooding over the face of the waters; it is the blinded note of the ten thousand things, the whine of wings. You take a step in the right direction to pray to this silence, and even to address the prayer to "World." Distinctions blur. Quit your tents. Pray without ceasing.
β
β
Annie Dillard (Teaching a Stone to Talk: Expeditions and Encounters)
β
I could understand the moon leaning across a bar on skid row
and asking for a drink, but I couldn't understand anything about
myself,
I was murdered, I was shit, I was a tentful of dogs,
I was poppies mowed down by machine-gun fire
I was a hotshot wasp in a web
I was less and less and still reaching for
something, and I thought of her corny remark
a night or so ago:
You have wounded eyes.
β
β
Charles Bukowski (The People Look Like Flowers at Last)
β
But more words tumble out. 'You're a painter. You're a baker. You like to sleep with the windows open. You never take sugar in your tea. And you always double-knot your shoelaces.'
Then I dive into my tent before I do something stupid like cry.
β
β
Suzanne Collins (Mockingjay (The Hunger Games, #3))
β
Vin snorted, kneeling in the low tent as she pulled her belt tight; then she crawled over to him. "I don't know how you read while riding," she said.
"Oh, it's quite easy - if you aren't afraid of horses."
"I'm not afraid of them," Vin said. "They just don't like me. They know I can outrun them, and that makes them surly.
β
β
Brandon Sanderson (The Well of Ascension (Mistborn, #2))
β
If we go now, there's no coming back. You're mine all night."
Her eyes flashed. "Promise?"
That was it.
Jack grabbed her hand and pulled her off the dance floor, toward the main entrance of the tent.
β
β
Julie James (Something About You (FBI/US Attorney, #1))
β
Long before all these divisions were opened between home and the road, betweens a woman's place and a man's world, humans followed the crops, the seasons, traveling with their families, our companions, animals, our tents. We built campfires and moved from place to place. This way of traveling is still in our cellular memory. Living things have evolved as travelers, Even migrating birds know that nature doesn't demand a choice between nesting and flight.
β
β
Gloria Steinem (My Life on the Road)
β
And why is Heather wearing pink? Come on, people."
Heather rolled her eyes and disappeared back inside the tent, reappearing a minute later with a dark gray T-shirt on.
"Better?" She cocked her head at tristan.
"Yes. You've just extended your life by at least an hour.
β
β
Chelsea Fine (Avow (The Archers of Avalon, #3))
β
They sang the words in unison, yet somehow created a web of sounds with their voices. It was like hearing a piece of fabric woven with all the colors of a rainbow. I did not know that such beauty could be formed by the human mouth. I had never heard harmony before.
β
β
Anita Diamant (The Red Tent)
β
People talk about the happy quiet that can exist between two loves, but this, too, was great; sitting between his sister and his brother, saying nothing, eating. Before the world existed, before it was populated, and before there were wars and jobs and colleges and movies and clothes and opinions and foreign travel -- before all of these things there had been only one person, Zora, and only one place: a tent in the living room made from chairs and bed-sheets. After a few years, Levi arrived; space was made for him; it was as if he had always been. Looking at them both now, Jerome found himself in their finger joints and neat conch ears, in their long legs and wild curls. He heard himself in their partial lisps caused by puffy tongues vibrating against slightly noticeable buckteeth. He did not consider if or how or why he loved them. They were just love: they were the first evidence he ever had of love, and they would be the last confirmation of love when everything else fell away.
β
β
Zadie Smith (On Beauty)
β
Death is no enemy, but the foundation of gratitude, sympathy, and art. Of all life's pleasures, only love owes no debt to death.
β
β
Anita Diamant (The Red Tent)
β
It seems to me that you need a lot of courage, or a lot of something, to enter into others, into other people. We all think that everyone else lives in fortresses, in fastnesses: behind moats, behind sheer walls studded with spikes and broken glass. But in fact we inhabit much punier structures. We are, as it turns out, all jerry-built. Or not even. You can just stick your head under the flap of the tent and crawl right in. If you get the okay.
β
β
Martin Amis (Time's Arrow)
β
Cameron looked over her shoulder just as Jack stalked into the tent. He got his first glimpse of the back of her dress. Or lack thereof.
He stopped dead in his tracks.
"Wow."
His eyes lingered on her for another moment before he turned to Amy, gesturing. "This place looks great, Amy. You did one hell of a job."
Amy grinned. "Nice recovery, Jack.
β
β
Julie James (Something About You (FBI/US Attorney, #1))
β
Just as there is no warning for childbirth, there is no preparation for the sight of a first child... There should be a song for women to sing at this moment, or a prayer to recite. But perhaps there is none because there are no words strong enough to name the moment.
β
β
Anita Diamant (The Red Tent)
β
Perhaps its not the world that is soundless but we who are deaf.
β
β
Margaret Atwood (The Tent)
β
No more photos. Surely there are enough. No more shadows of myself thrown by light onto pieces of paper, onto squares of plastic. No more of my eyes, mouths, noses, moods, bad angles. No more yawns, teeth, wrinkles. I suffer from my own multiplicity. Two or three images would have been enough, or four, or five. That would have allowed for a firm idea: This is she. As it is, I'm watery, I ripple, from moment to moment I dissolve into my other selves. Turn the page: you, looking, are newly confused. You know me too well to know me. Or not too well: too much.
β
β
Margaret Atwood (The Tent)
β
All observations of life are harsh, because life is. I lament that fact, but I cannot change it.
β
β
Margaret Atwood (The Tent)
β
Thomas opened the throttle all the way and passed me, I kid you not, a shiny brass telescope.
βSeriously?β I asked him.
βEver since those pirate movies came out, theyβre everywhere,β he said. βIβve got a sextant, too.β
βAny tent you have is a sex tent,β I muttered darkly, extending the telescope.
Thomas smirked.
β
β
Jim Butcher (Cold Days (The Dresden Files, #14))
β
Why did I not know that birth is the pinnacle where women discover the courage to become mothers?
β
β
Anita Diamant (The Red Tent)
β
But I got a great deal else from the experience. I learned to pitch a tent and sleep beneath the stars. For a brief, proud period I was slender and fit. I gained a profound respect for the wilderness and nature and the benign dark power of woods. I understand now, in a way I never did before, the colossal scale of the world. I found patience and fortitude that I didn't know I had. I discovered an America that millions of people scarcely know exists. I made a friend. I came home.
β
β
Bill Bryson (A Walk in the Woods: Rediscovering America on the Appalachian Trail)
β
He was golden and beautiful as a sunset.
β
β
Anita Diamant (The Red Tent)
β
It is a well-known fact that of all the species on earth Homo sapiens is among the most adaptable. Settle a tribe of them in a desert and they will wrap themselves in cotton, sleep in tents, and travel on the backs of camels; settle them in the Arctic and they will wrap themselves in sealskin, sleep in igloos, and travel by dog-drawn sled. And if you settle them in a Soviet climate? They will learn to make friendly conversation with strangers while waiting in line; they will learn to neatly stack their clothing in their half of the bureau drawer; and they will learn to draw imaginary buildings in their sketchbooks. That is, they will adapt.
β
β
Amor Towles (A Gentleman in Moscow)
β
Each evening, I ached for the shelter of my tent, for the smallest sense that something was shielding me from the entire rest of the world, keeping me safe not from danger, but from vastness itself. I loved the dim, clammy dark of my tent, the cozy familiarity of the way I arranged my few belongings all around me each night.
β
β
Cheryl Strayed (Wild: From Lost to Found on the Pacific Crest Trail)
β
Who am I? And how I wonder, will this story end? . . .
My life? It is'nt easy to explain. It has not been the rip-roaring spectacular I fancied it woulf be, but neither have I burrowed around with the gophers. i suppose it has most resembled a bluechip stock: fairly stable, more ups and downs, and gradually tending over time. A good buy, a lucky buy, and I've learned that not everyone can say this about his life. But do not be misled. I am nothing special; of this I am sure. I am common man with common thought and I've led a common life. There are no monuments dedicated to me, and my name will soon be forgotten, but I've loved another with all my heart and soul, and to me, this has always been enough.
The romantics would call this a love story, the cynics would call it a tragedy. In my mind, it's a little bit of both, and no matter how you choose to view it in the end, it does not change the fact that involves a great deal of my life and the path I've chosen to follow. I have no complaints about the places it has taken me, enough complaints to fill a circus tent about other thins, maybe, but the path I've chosen has always been the right one, and I would'nt have had it any other way.
Time, unfortunatley, does'nt make it easy to stay on course. The path is straight as ever, but now it is strewn with the rocks and gravel that accumulated over a lifetime . . .
There is always a moment right before I begin to read the story when my mind churns, and I wonder, will it happen today? I don't know, for I never know beforehand, and deep down it really doesn't matter. It's the possibility that keeps me going, not the guarantee, a sort of wager on my part. And though you may call me a dreamer or a fool or any other thing, I believe that anything is possible.
I realize that odds, and science, are againts me. But science is not the answer; this I know, this I have learned in my lifetime. And that leaves me with the belief that miracles, no matter how inexplicable or unbelievable, are real and can occur without regard to the natural order of things. So once again, just as I do ecery day, I begin to read the notebook aloud, so that she can hear it, in the hope that the miracle, that has come to dominate my life will once again prevail.
And maybe, just maybe, it will.
β
β
Nicholas Sparks (The Notebook (The Notebook, #1))
β
I'm working on my own life story. I don't mean I'm putting it together; no, I'm taking it apart.
β
β
Margaret Atwood (The Tent)
β
The next night, alone in the tent, Laurent said: 'As we draw closer to the border, I think it would be safer--more private--to hold our discussions in your language rather than mine.'
He said it in carefully pronounced Akielon.
Damen stared at him, feeling as though the world had just been rearranged.
'What is it?' said Laurent.
'Nice accent,' said Damen, because despite everything, the corner of his mouth was beginning helplessly to curve up.
[...]
It was of course no surprise to find that Laurent had a well-stocked armoury of elegant phrases and bitchy remarks, but could not talk in detail about anything sensible.
β
β
C.S. Pacat (Captive Prince: Volume Two (Captive Prince, #2))
β
A picnic. Picture a forest, a country road, a meadow. Cars drive off the country road into the meadow, a group of young people get out carrying bottles, baskets of food, transistor radios, and cameras. They light fires, pitch tents, turn on the music. In the morning they leave. The animals, birds, and insects that watched in horror through the long night creep out from their hiding places. And what do they see? Old spark plugs and old filters strewn around... Rags, burnt-out bulbs, and a monkey wrench left behind... And of course, the usual messβapple cores, candy wrappers, charred remains of the campfire, cans, bottles, somebodyβs handkerchief, somebodyβs penknife, torn newspapers, coins, faded flowers picked in another meadow.
β
β
Arkady Strugatsky (Roadside Picnic)
β
Losing your familyβ¦.it puts fear in a different perspective,β he said. βBesides, I got by all right. I stayed on the fringe around Chicago, hoped around tent cities and Red Cross camps. Worked for some people who didnβt ask questions. Avoided case-workers and foster care. And thought about you.β
βMe?β I huffed, completely unsettled. In awe at how vanilla my life seemed. In awe of what heβd endured, He turned then, meeting my eyes for the first time. When he spoke, his voice was gentle, and unashamed.
βYou. The only thing in my life that doesnβt change. When everything went to hell, you were all I had.
β
β
Kristen Simmons (Article 5 (Article 5, #1))
β
I could end this with a moral,
as if this were a fable about animals,
though no fables are really about animals.
β
β
Margaret Atwood (The Tent)
β
We want to get there faster. Get where? Wherever we are not. But a human soul can only go as fast as a man can walk, they used to say. In that case, where are all the souls? Left behind. They wander here and there, slowly, dim lights flickering in the marshes at night, looking for us. But they're not nearly fast enough, not for us, we're way ahead of them, they'll never catch up. That's why we can go so fast: our souls don't weigh us down.
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Margaret Atwood (The Tent)
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The great mother whom we call Innana gave a gift to woman that is not known among men, and this is the secret of blood. The flow at the dark of the moon, the healing blood of the moonβs birth - to men, this is flux and distemper, bother and pain. They imagine we suffer and consider themselves lucky. We do not disabuse them.
In the red tent, the truth is known. In the red tent, where days pass like a gentle stream, as the gift of Innana courses through us, cleansing the body of last monthβs death, preparing the body to receive the new monthβs life, women give thanks β for repose and restoration, for the knowledge that life comes from between our legs, and that life costs blood.
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Anita Diamant (The Red Tent)
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The Day is Done
The day is done, and the darkness
Falls from the wings of Night,
As a feather is wafted downward
From an eagle in his flight.
I see the lights of the village
Gleam through the rain and the mist,
And a feeling of sadness comes o'er me
That my soul cannot resist:
A feeling of sadness and longing,
That is not akin to pain,
And resembles sorrow only
As the mist resembles the rain.
Come, read to me some poem,
Some simple and heartfelt lay,
That shall soothe this restless feeling,
And banish the thoughts of day.
Not from the grand old masters,
Not from the bards sublime,
Whose distant footsteps echo
Through the corridors of Time.
For, like strains of martial music,
Their mighty thoughts suggest
Life's endless toil and endeavor;
And to-night I long for rest.
Read from some humbler poet,
Whose songs gushed from his heart,
As showers from the clouds of summer,
Or tears from the eyelids start;
Who, through long days of labor,
And nights devoid of ease,
Still heard in his soul the music
Of wonderful melodies.
Such songs have power to quiet
The restless pulse of care,
And come like the benediction
That follows after prayer.
Then read from the treasured volume
The poem of thy choice,
And lend to the rhyme of the poet
The beauty of thy voice.
And the night shall be filled with music,
And the cares, that infest the day,
Shall fold their tents, like the Arabs,
And as silently steal away.
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Henry Wadsworth Longfellow (The Belfry of Bruges and Other Poems)
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I hug her one more time and pull her down to the bed. And in my mind, I rise up from the bed and look down on us, and look down at everybody else in this hospital who might have the good fortune of holding a pretty girl right now, and then at the entire Brooklyn block, and then the neighborhood, and then Brooklyn, and then New York City, and then the whole Tri-State Area, and then this little corner of America- with laser eyes I can see into every house- and then the whole country and the hemisphere and now the whole stupid world, everyone in every bed, couch, futon, chair, hammock, love seat, and tent, everyone kissing or touching eachother... and i know that i'm the happiest of all of them.
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Ned Vizzini (It's Kind of a Funny Story)
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My particular dread--the vivid possibility that left me staring at tree shadows on the bedroom ceiling night after night--was having to lie in a small tent, alone in an inky wilderness, listening to a foraging bear outside and wondering what its intentions were. I was especially riveted by an amateur photograph in Herrero's book, taken late at night by a camper with a flash at a campground out West. The photograph caught four black bears as they puzzled over a suspended food bag. The bears were clearly startled but not remotely alarmed by the flash. It was not the size or demeanor of the bears that troubled me--they looked almost comically nonaggressive, like four guys who had gotten a Frisbee caught up a tree--but their numbers. Up to that moment it had not occurred to me that bears might prowl in parties. What on earth would I do if four bears came into my camp? Why, I would die, of course. Literally shit myself lifeless. I would blow my sphincter out my backside like one of those unrolling paper streamers you get at children's parties--I daresay it would even give a merry toot--and bleed to a messy death in my sleeping bag.
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Bill Bryson (A Walk in The Woods: Rediscovering America on the Appalachian Trail)
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That was impressive," Ash said quietly as we walked through the maze of tents. Summer fey parted for us, scurrying out of sight as we headed deeper into camp. "Oberon was throwing all the mind-altering glamour he could at you, trying to get you to agree to his terms quickly and not question him. Not only did you resist, you turned the contract to your advantage. Not many could have done that."
"Really?" I thought back to the thick, sluggish feeling in the Erlking's tent. "So that was Oberon trying to manipulate me again, huh? Maybe I could resist since I'm family. Half Oberon's blood and all that."
"Or you're just incredibly stubborn," Ash added, and I smacked his arm. He chuckled, taking my hand and we continued on to the Winter's territory.
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Julie Kagawa (The Iron Queen (The Iron Fey, #3))
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Before our white brothers arrived to make us civilized men,we didn't have any kind of prison. Because of this, we had no delinquents. We had no locks nor keys and therefore among us there were no thieves. When someone was so poor that he couldn't afford a horse, a tent or a blanket, he would, in that case, receive it all as a gift. We were too uncivilized to give great importance to private property. We didn't know any kind of money and consequently, the value of a human being was not determined by his wealth. We had no written laws laid down, no lawyers, no politicians, therefore we were not able to cheat and swindle one another. We were really in bad shape before the white men arrived and I don't know how to explain how we were able to manage without these fundamental things that (so they tell us) are so necessary for a civilized society.
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John Fire Lame Deer
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I want you to tell me
about the Survivor," he finally said.
"He was lord of the mists," Demoux said immediately.
"Not the rhetoric," Elend said. "Someone tell me about the man, Kelsier. I never met him, you know. I
saw him once, right before he died, but I never knew him."
"What's the point?" Cett asked. "We've all heard the stories. He's practically a god, if you listen to the
skaa."
"Just do as I ask," Elend said.
The tent was still for a few moments. Finally, Ham spoke. "Kell was . . . grand. He wasn't just a man,
he was bigger than that. Everything he did was largeβhis dreams, the way he spoke, the way he thought.
. . ."
"And it wasn't false," Breeze added. "I can tell when a man is being a fake. That's why I started my
first job with Kelsier, actually. Amidst all the pretenders and posturers, he was genuine. Everyone wanted
to be the best. Kelsier really was."
"He was a man," Vin said quietly. "Just a man. Yet, you always knew he'd succeed. He made you be
what he wanted you to be."
"So he could use you," Breeze said.
"But you were better when he was done with you," Ham added
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Brandon Sanderson (The Hero of Ages (Mistborn, #3))
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The sign outside this tent is accompanied by a small box full of smooth black stones. The text instructs you to take one with you as you enter. Inside, the tent is dark, the ceiling covered with open black umbrellas, the curving handles hanging down like icicles. In the center of the room there is a pool. A pond enclosed within a black stone wall that is surrounded by white gravel. The air carries the salty tinge of the ocean. You walk over to the edge to look inside. The gravel crunches beneath your feet. It is shallow, but it is glowing. A shimmering, shifting light cascades up through the surface of the water. A soft radiance, enough to illuminate the pool and the stones that sit at the bottom. Hundreds of stones, each identical to the one you hold in your hand. The light beneath filters through the spaces between the stones. Reflections ripple around the room, making it appear as though the entire tent is underwater. You sit on the wall, turning your black stone over and over in your fingers. The stillness of the tent becomes a quiet melancholy. Memories begin to creep forward from hidden corners of your mind. Passing disappointments. Lost chances and lost causes. Heartbreaks and pain and desolate, horrible loneliness. Sorrows you thought long forgotten mingle with still-fresh wounds. The stone feels heavier in your hand. When you drop it in the pool to join the rest of the stones, you feel lighter. As though you have released something more than a smooth polished piece of rock.
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Erin Morgenstern (The Night Circus)
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The the uncertainty was dispelled and the melancholy lifted as he saw a familiar stocky figure moving near one of the tents.
"Halt!" he cried out gladly, and a slight pressure with his knees set Tug galloping through the deserted Gathering site. The dog, caught by surprise, barked once, then shot in pursuit like an arrow from a bow.
The grim-faced Ranger straightened from the fire at the sound of his former student's voice. He stood, hands on hips and a frown on his face as Will and Tug careered toward him. But inside, there was a lightening of his heart that he never failed to feel when in Will's company. Not for the first time, the realization hit Halt that Will was no longer a mere boy. No one wore the Silver Oakleaf if he hadn't proven himself to be worthy. Despite himself, he felt a surge of pride.
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John Flanagan (The Sorcerer in the North (Ranger's Apprentice, #5))
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The old oak, utterly transformed, draped in a tent of sappy dark green, basked faintly, undulating in the rays of the evening sun. Of the knotted fingers, the gnarled excrecenses, the aged grief and mistrust- nothing was to be seen. Through the rough, century-old bark, where there were no twigs, leaves had burst out so sappy, so young, that is was hard to believe that the aged creature had borne them. "Yes, that is the same tree," thought Prince Andrey, and all at once there came upon him an irrational, spring feeling of joy and renewal. All the best moments of his life rose to his memory at once. Austerlitz, with that lofty sky, and the dead, reproachful face of his wife, and Pierre on the ferry, and the girl, thrilled by the beauty of the night, and that night and that moon- it all rushed at once into his mind.
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Leo Tolstoy (War and Peace)
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A lot of fans are basically fans of fandom itself. It's all about them. They have mastered the Star Wars or Star Trek universes or whatever, but their objects of veneration are useful mainly as a backdrop to their own devotion. Anyone who would camp out in a tent on the sidewalk for weeks in order to be first in line for a movie is more into camping on the sidewalk than movies. Extreme fandom may serve as a security blanket for the socially inept, who use its extreme structure as a substitute for social skills. If you are Luke Skywalker and she is Princess Leia, you already know what to say to each other, which is so much safer than having to ad lib it. Your fannish obsession is your beard. If you know absolutely all the trivia about your cubbyhole of pop culture, it saves you from having to know anything about anything else. That's why it's excruciatingly boring to talk to such people: They're always asking you questions they know the answer to.
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Roger Ebert (A Horrible Experience of Unbearable Length: More Movies That Suck)
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Tarquin turned from the table, just as the tent flaps parted for a pair of broad shouldersβ
Varian. He didnβt so much as look at his High Lord, his focus going right to where Amren sat at the head of the table. As if heβd sensed she was hereβor someone had reported. And heβd come running.
Amrenβs eyes flicked up from the Book as Varian halted. A coy smile curved her red lips.
There was still blood and dirt splattered on Varianβs brown skin, coating his silver armor and close-cropped white hair. He didnβt seem to notice or care as he strode for Amren.
And none of us dared to speak as Varian dropped to his knees before Amrenβs chair, took her shocked face in his broad hands, and kissed her soundly.
...
None of us lasted long after dinner.
Amren and Varian didnβt even bother to join us.
No, sheβd just wrapped her legs around his waist, right there in front of us, and heβd stood, lifting her in one swift movement. I wasnβt entirely sure how Varian managed to walk them out of the tent while still kissing her, Amrenβs hands dragging through his hair, letting out noises that were unnervingly like purring as they vanished into the camp.
Rhys had let out a low laugh as we all gawked in their wake. βI suppose thatβs how Varian decided heβd tell Amren he was feeling rather grateful she ordered us to go to Adriata.β
Tarquin cringed. βWeβll alternate who has to deal with them on holidays.
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Sarah J. Maas (A Court of Wings and Ruin (A Court of Thorns and Roses, #3))
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I believe in that goodly mansion, his heart, he kept one little place under the skylights where Lucy might have entertainment, if she chose to call. It was not so handsome as the chambers where he lodged his male friends; it was not like the hall where he accommodated his philanthropy, or the library where he treasured his science, still less did it resemble the pavilion where his marriage feast was splendidly spread; yet, gradually, by long and equal kindness, he proved to me that he kept one little closet, over the door of which was written " Lucy's Room." I kept a place for him, tooβa place of which I never took the measure, either by rule or compass: I think it was like the tent of Peri-Banou. All my life long I carried it folded in the hollow of my handβyet, released from that hold and constriction, I know not but its innate capacity for expanse might have magnified it into a tabernacle for a host.
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Charlotte BrontΓ« (Villette)
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The Western States nervous under the beginning change.
Texas and Oklahoma, Kansas and Arkansas, New Mexico,
Arizona, California. A single family moved from the land.
Pa borrowed money from the bank, and now the bank wants
the land. The land company--that's the bank when it has land
--wants tractors, not families on the land. Is a tractor bad? Is
the power that turns the long furrows wrong? If this tractor
were ours it would be good--not mine, but ours. If our tractor
turned the long furrows of our land, it would be good.
Not my land, but ours. We could love that tractor then as
we have loved this land when it was ours. But the tractor
does two things--it turns the land and turns us off the land.
There is little difference between this tractor and a tank.
The people are driven, intimidated, hurt by both. We must think
about this.
One man, one family driven from the land; this rusty car
creaking along the highway to the west. I lost my land, a
single tractor took my land. I am alone and bewildered.
And in the night one family camps in a ditch and another
family pulls in and the tents come out. The two men squat
on their hams and the women and children listen. Here is the
node, you who hate change and fear revolution. Keep these
two squatting men apart; make them hate, fear, suspect each
other. Here is the anlarge of the thing you fear. This is the
zygote. For here "I lost my land" is changed; a cell is split
and from its splitting grows the thing you hate--"We lost our
land." The danger is here, for two men are not as lonely and
perplexed as one. And from this first "we" there grows a still
more dangerous thing: "I have a little food" plus "I have
none." If from this problem the sum is "We have a little
food," the thing is on its way, the movement has direction.
Only a little multiplication now, and this land, this tractor are
ours. The two men squatting in a ditch, the little fire, the side-
meat stewing in a single pot, the silent, stone-eyed women;
behind, the children listening with their souls to words their
minds do not understand. The night draws down. The baby
has a cold. Here, take this blanket. It's wool. It was my mother's
blanket--take it for the baby. This is the thing to bomb.
This is the beginning--from "I" to "we."
If you who own the things people must have could understand
this, you might preserve yourself. If you could separate
causes from results, if you could know Paine, Marx,
Jefferson, Lenin, were results, not causes, you might survive.
But that you cannot know. For the quality of owning freezes
you forever into "I," and cuts you off forever from the "we."
The Western States are nervous under the begining
change. Need is the stimulus to concept, concept to action.
A half-million people moving over the country; a million
more restive, ready to move; ten million more feeling the
first nervousness.
And tractors turning the multiple furrows in the vacant land.
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John Steinbeck (The Grapes of Wrath)
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Briseis is kneeling by my body. She has brought water and cloth, and washes the blood and dirt from my skin. Her hands are gentle, as though she washes a baby, not a dead thing. Achilles opens the tent, and their eyes meet over my body.
"Get away from him," he says.
"I am almost finished. He does not deserve to lie in filth."
"I would not have your hands on him."
Her eyes are sharp with tears. "Do you think you are the only one who loved him?"
"Get out. Get out!"
"You care more for him in death than in life." Her voice is bitter with grief. "How could you have let him go? You knew he could not fight!"
Achilles screams, and shatters a serving bowl. "Get out!"
Briseis does not flinch. "Kill me. It will not bring him back. He was worth ten of you. Ten! And you sent him to his death!"
The sound that comes from him is hardly human. "I tried to stop him! I told him not to leave the beach!"
"You are the one who made him go." Briseis steps towards him. "He fought to save you, and your darling reputation. Because he could not bear to see you suffer!"
Achilles buries his face in his hands. But she does not relent. "You have never deserved him. I do not know why he ever loved you. You care only for yourself!"
Achilles' gaze lifts to meet hers. She is afraid, but does not draw back. "I hope that Hector kills you."
The breath rasps in his throat. "Do you think I do not hope the same?" he asks.
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Madeline Miller (The Song of Achilles)
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Marya put down her fork. βWhy are you doing this, Koschei? I have had lovers before. You have, too. Remember Marina? The rusalka? She and I swam together every morning. We raced the salmon. You called us your little sharks.β
The Tsar of Life held his knife so tightly Marya could see his knucklebones bulging. βWere any of them called Ivan? Were any of them human boys all sticky with their own innocence? I know you. I know you because you are like me, as much like me as two spoons nested in each other.β Her husband leaned close to her, the candlelight sparking in his dark, shaggy hair. βWhen you steal them, they mean so much more, Marousha. Trust me. I know. What did I do wrong? Was I boring? Did I ignore you? Did I not give you enough pretty dresses? Enough emeralds? Iβm sure I have more, somewhere.β
Marya lifted her hand and laid it on her husbandβs cheek. With a blinking quickness, she drove her nails deep into his face. βDonβt you dare speak to me like that. I have worn nothing but blood and death for years. I have fought all your battles for you, just as you asked me. I have learned all the tricks you said I must learn. I have learned not to cry when I strangle a man. I have learned to lay my finger aside my nose and disappear. I have learned to watch everything die. I am not a little girl anymore, dazzled by your magic. It is my magic, now, too. And if I have watched all my soldiers die in front of me, if I have only been saved by my rifle and my own hands, if I have drunk more blood than water for weeks, then I take the human boy who stumbled into my tent and hold him between my legs until I stop screaming, you will not punish me for it. Are we not chyerti? Are we not devils? I will not even hear your punishment, old man.
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Catherynne M. Valente (Deathless)
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What is in mind is a sort of Chautauqua...that's the only name I can think of for it...like the traveling tent-show Chautauquas that used to move across America, this America, the one that we are now in, an old-time series of popular talks intended to edify and entertain, improve the mind and bring culture and enlightenment to the ears and thoughts of the hearer. The Chautauquas were pushed aside by faster-paced radio, movies and TV, and it seems to me the change was not entirely an improvement. Perhaps because of these changes the stream of national consciousness moves faster now, and is broader, but it seems to run less deep. The old channels cannot contain it and in its search for new ones there seems to be growing havoc and destruction along its banks. In this Chautauqua I would like not to cut any new channels of consciousness but simply dig deeper into old ones that have become silted in with the debris of thoughts grown stale and platitudes too often repeated. "What's new?" is an interesting and broadening eternal question, but one which, if pursued exclusively, results only in an endless parade of trivia and fashion, the silt of tomorrow. I would like, instead, to be concerned with the question "What is best?," a question which cuts deeply rather than broadly, a question whose answers tend to move the silt downstream. There are eras of human history in which the channels of thought have been too deeply cut and no change was possible, and nothing new ever happened, and "best" was a matter of dogma, but that is not the situation now. Now the stream of our common consciousness seems to be obliterating its own banks, losing its central direction and purpose, flooding the lowlands, disconnecting and isolating the highlands and to no particular purpose other than the wasteful fulfillment of its own internal momentum. Some channel deepening seems called for.
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Robert M. Pirsig (Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values (Phaedrus, #1))
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The hoopoe said: 'Your heart's congealed like ice;
When will you free yourself from cowardice?
Since you have such a short time to live here,
What difference does it make? What should you fear?
The world is filth and sin, and homeless men
Must enter it and homeless leave again.
They die, as worms, in squalid pain; if we
Must perish in this quest, that, certainly,
Is better than a life of filth and grief.
If this great search is vain, if my belief
Is groundless, it is right that I should die.
So many errors throng the world - then why
Should we not risk this quest? To suffer blame
For love is better than a life of shame.
No one has reached this goal, so why appeal
To those whose blindness claims it is unreal?
I'd rather die deceived by dreams than give
My heart to home and trade and never live.
We've been and heard so much - what have we learned?
Not for one moment has the self been spurned;
Fools gather round and hinder our release.
When will their stale, insistent whining cease?
We have no freedom to achieve our goal
Until from Self and fools we free the soul.
To be admitted past the veil you must
Be dead to all the crowd considers just.
Once past the veil you understand the Way
From which the crowd's glib courtiers blindly stray.
If you have any will, leave women's stories,
And even if this search for hidden glories
Proves blasphemy at last, be sure our quest
Is not mere talk but an exacting test.
The fruit of love's great tree is poverty;
Whoever knows this knows humility.
When love has pitched his tent in someone's breast,
That man despairs of life and knows no rest.
Love's pain will murder him and blandly ask
A surgeon's fee for managing the task -
The water that he drinks brings pain, his bread
Is turned to blood immediately shed;
Though he is weak, faint, feebler than an ant,
Love forces him to be her combatant;
He cannot take one mouthful unaware
That he is floundering in a sea of care.
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Attar of Nishapur
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Hardly had the light been extinguished, when a peculiar trembling began
to affect the netting under which the three children lay.
It consisted of a multitude of dull scratches which produced a metallic
sound, as if claws and teeth were gnawing at the copper wire. This was
accompanied by all sorts of little piercing cries.
The little five-year-old boy, on hearing this hubbub overhead, and
chilled with terror, jogged his brother's elbow; but the elder brother
had already shut his peepers, as Gavroche had ordered. Then the little
one, who could no longer control his terror, questioned Gavroche, but in
a very low tone, and with bated breath:--
"Sir?"
"Hey?" said Gavroche, who had just closed his eyes.
"What is that?"
"It's the rats," replied Gavroche.
And he laid his head down on the mat again.
The rats, in fact, who swarmed by thousands in the carcass of the
elephant, and who were the living black spots which we have already
mentioned, had been held in awe by the flame of the candle, so long as
it had been lighted; but as soon as the cavern, which was the same
as their city, had returned to darkness, scenting what the good
story-teller Perrault calls "fresh meat," they had hurled themselves in
throngs on Gavroche's tent, had climbed to the top of it, and had begun
to bite the meshes as though seeking to pierce this new-fangled trap.
Still the little one could not sleep.
"Sir?" he began again.
"Hey?" said Gavroche.
"What are rats?"
"They are mice."
This explanation reassured the child a little. He had seen white mice in
the course of his life, and he was not afraid of them. Nevertheless, he
lifted up his voice once more.
"Sir?"
"Hey?" said Gavroche again.
"Why don't you have a cat?"
"I did have one," replied Gavroche, "I brought one here, but they ate
her."
This second explanation undid the work of the first, and the little
fellow began to tremble again.
The dialogue between him and Gavroche began again for the fourth time:--
"Monsieur?"
"Hey?"
"Who was it that was eaten?"
"The cat."
"And who ate the cat?"
"The rats."
"The mice?"
"Yes, the rats."
The child, in consternation, dismayed at the thought of mice which ate
cats, pursued:--
"Sir, would those mice eat us?"
"Wouldn't they just!" ejaculated Gavroche.
The child's terror had reached its climax. But Gavroche added:--
"Don't be afraid. They can't get in. And besides, I'm here! Here, catch
hold of my hand. Hold your tongue and shut your peepers!
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Victor Hugo (Les MisΓ©rables)