The High Mountains Of Portugal Quotes

What his uncle does not understand is that in walking backwards, his back to the world, his back to God, he is not grieving. He is objecting. Because when everything cherished by you in life has been taken away, what else is there to do but object?

Because to suffer and do nothing is to be nothing, while to suffer and do something is to become someone.

That's the nature of grief: It's a creature with many arms but few legs, and it staggers about, searching for support.

This tiny habitation on wheels, with bit parts of the living room, the washroom, and the fireplace, is a pathetic admission that human life is no more than this: an attempt to feel at home while racing towards oblivion. He

Love is a house with many rooms, this room to feed the love, this one to entertain it, this one to clean it, this one to dress it, this one to allow it to rest, and each of these rooms can also just as well be the room for laughing or the room for listening or the room for apologizing or the room for intimate togetherness, and, of course, there are the rooms for the new members of the household.

Loneliness comes up to him like a sniffing dog. It circles him insistently. He waves it away, but it refuses to leave him alone.

Love is a house with an unshakable foundation and an indestructible roof.

We must do the same with death in our lives: resolve it, give it meaning, put it into context, however hard that might be.

Under the pathologist's microscope, life and death fight in an illuminated circle in a sort of cellular bullfight. The pathologist's job is to find the bull among the matador cells

The sad fact is that there are no natural deaths, despite what doctors say. Every death is felt by someone as a murder, as the unjust taking of a loved being.

A very long sentence, anchored in solid nouns, with countless subordinate clauses, scores of adjectives and adverbs, and bold conjunctions that launched the sentence in a new direction--besides unexpected interludes--has finally, with a surprisingly quiet full stop, come to an end.

Now he realized that this matter of faith was either radically to be taken seriously or radically not to be taken seriously.

The holy word is story, and story is the holy word.

Stories full of metaphors are by writers who play the language like a mandolin for our entertainment, novelists,

We are random animals. That is who we are, and we have only ourselves, nothing more--there is no greater relationship.

How strange, this habit of weeping. Do animals weep? Surely they feel sadness—but do they express it with tears? He doubts it. He has never heard of a weeping cat or dog, or of a weeping wild animal. It seems to be a uniquely human trait. He doesn’t see what purpose it serves. He weeps hard, even violently, and at the end of it, what? Desolate tiredness. A handkerchief soaked in tears and mucus. Red eyes for everyone to notice. And weeping is undignified. It lies beyond the tutorials of etiquette and remains a personal idiom, individual in its expression. The twist of face, quantity of tears, quality of sob, pitch of voice, volume of clamour, effect on the complexion, the play of hands, the posture taken: One discovers weeping—one’s weeping personality—only upon weeping. It is a strange discovery, not only to others but to oneself. Resolve

Grief is a disease. We were riddled with its pockmarks, tormented by its fevers, broken by its blows. It ate at us like maggots, attacked us like lice- we scratched ourselves to the edge of madness. In the process we became as withered as crickets, as tired as old dogs.

Ageing is not easy, Senhora Castro. It's a terrible, incurable pathology. And great love is another pathology.

Right away, death is word-eating.

The grand march of progress apparently includes the unfortunate necessity of chopping down every obstacle in its way.

That is Christianity at heart: a single miracle surrounded and sustained by stories, like an island surrounded by the sea.

There are many ways in which life's little candle can be snuffed out. A cold wind pursues us all.

Do you understand? You've been praying to a crucified chimpanzee all these years. Your Son of Man is not a god-he's just an ape on a cross!

And she prays with her eyes closed. It's just a crucifix. And if he's an ape, so be it-he's an ape. He's still the Son of God.

That's the great, enduring challenge of our modern times, is it not, to marry faith and reason? So hard--so unreasonable--to root our lives upon a distant wisp of holiness. Faith is grand but impractical: How does one live an eternal idea in a daily way? It's so much easier to be reasonable. Reason is practical, its rewards are immediate, its workings are clear. But alas, reason is blind. Reason, on its own, leads us nowhere, especially in the face of adversity. How do we balance the two, how do we live with both faith and reason?

We loved our son like the sea loves an island, always surrounding him with our arms, always touching him and crashing upon his shore with our care and concern. When he was gone, the sea had only itself to contemplate.

Love is a house with many rooms, this room to feed the love, this one to entertain it, this one to clean it, this one to dress it, this one to allow it to rest, and each of these rooms can also just as well be the room for laughing or the room for listening or the room for telling one’s secrets or the room for sulking or the room for apologizing or the room for intimate togetherness, and, of course, there are the rooms for the new members of the household. Love is a house in which plumbing brings bubbly new emotions every morning, and sewers flush out disputes, and bright windows open up to admit the fresh air of renewed goodwill. Love is a house with an unshakable foundation and an indestructible roof. He had a house like that once, until it was demolished.

The sad fact is that there are no natural deaths, despite what doctors say. Every death is felt by someone as a murder, as the unjust taking of a loved being. And even the luckiest of us will encounter at least one murder in our lives: our own. It is our fate. We all live a murder mystery of which we are the victim.

One discovers weeping - one's weeping personality - only upon weeping. It is a strange discovery, not only to others but to oneself. p 49

He often repeated something Father Abrahan said to him once, how faith is ever young, how faith, unlike the rest of us, does not age.

Because to suffer and do nothing is to be nothing, while to suffer and do something is to become someone. And that is what he is doing: becoming someone.

The multitude of the curious and the offended descends upon him.

HIs life was always a happenstance.

Đứa con là mặt trời nhỏ chiếu lên cái bóng của cha mẹ nó, và khi mặt trời đó lặn đi, thì cha mẹ chỉ còn bóng tối.

To her, writing is making stock and reading is sipping broth, but only the spoken word is the full roasted chicken.

It’s the sun that makes a landscape, drawing out its color, defining its contours, giving it its spirit.

What are we without the ones we love?

Peter has learned the difficult animal skill of doing nothing. He’s learned to unshackle himself from the race of time and contemplate time itself.

His heart is expended that way, of loving the single, particular individual. He loved Clara with every fibre of his being, but now he has nothing left. Or rather, he has learned to live with her absence, and he has no wish to fill that absence; that would be like losing her a second time. Instead he would prefer to be kind to everyone, a less personal but broader love.

As far as he can tell, that's what Odo spends most of his time doing: being in time, like one sits by the river, watching the water go by. It's a lesson hard learned, just to sit there and be.

And so the explanation for why Agatha Christie is the most popular author in the history of the world. Her appeal is as wide and her dissemination as great as the Bible's, because she is a modern apostle, a female one--about time, after two thousand years of men blathering on. And this new apostle answers the same questions Jesus answered: What are we to do with death? Because murder mysteries are always resolved in the end, the mystery neatly dispelled. We must do the same with death in our lives: resolve it, give it meaning, put it into context however hard that might be.

I noticed how those who know the truth are always treated with suspicion and disdain. That was the case with Jesus, of course. But look at old Miss Marple. Always she knows, and everyone is surprised that she does. And the same with Hercule Poirot. How can that ridiculous little man know anything? But he does, he does. It is the triumph of the meek, in Agatha Christie as in the Gospels.

The boundaries are not to be blurred. I was sent off, struck by his harshest thunderbolt, excommunication. In his eyes I am no longer a man of the cloth. But I yet feel the Lord's hand holding me up.

While Odo has mastered the simple human trick of making porridge, Peter has learned the difficult animal skill of doing nothing. He's learned to unshackle himself from the race of time and contemplate time itself. As far as he can tell, that's what Odo spends most of his time doing: being in time, like one sits by a river, watching the water go by. It's a lesson hard learned, just to sit there and be.

Now he realized that this matter of faith was either radically to be taken seriously or radically not to be taken seriously. He stared at the crucifix, balancing between utter belief and utter disbelief.

Peter has learned the difficult animal skill of doing nothing. He's learned to unshackle himself of the race of time and contemplate time itself. [..] It's a lesson hard learned, just to sit there and be.

Ageing is not easy, Sennhora Castro. It's a terrible, incurable pathology. And great love is another pathology. It starts well. It's a most desirable disease. One wouldn't want to do without it. It's like yeast that corrupts the juice of grapes. One loves, one loves, one persists in loving-the incubation period can be very long- and then, with death, comes the heart break. Love must always meet its unwanted end.

When the final moment came, signalled to him by the dramatic stoppage of her loud, rasping breathing (whereas their son had departed so quietly, like the petals of a flower falling off), he felt like a sheet of ice being rushed along a river.

Grief is a disease. We were riddled with its pockmarks, tormented by its fevers, broken by its blows. It ate at us like maggots, attacked us like lice—we scratched ourselves to the edge of madness. In the process we became as withered as crickets, as tired as old dogs.

And where in the automobile is the offal that so offends with the horse? There is none, only a puff of smoke that vanishes in the air. An automobile is as harmless as a cigarette. Mark my words, Tomás: This century will be remembered as the century of the puff of smoke!

He weeps like a child, catching his breath and hiccuping,his face drenched with tears.We are random animals. That is who we are, and we have only ourselves, nothing more--there is no greater relationship. [..] We are risen does, not fallen angels. Tomás is strangled by loneliness.

And then he has nothing to do. After three weeks-or is it a lifetime?-of ceaseless activity, he has nothing to do. A very long sentence, anchored in solid nouns, with countless subordinate clauses, scores of adjectives and adverbs, and bold conjunctions that launched the sentence in a new direction-besides unexpected interludes-has finally, with a surprisingly quiet full stop, come to an end. For an hour or so, sitting outside on the landing at the top of the stairs, nursing a coffee, tired, a little relieved, a little worried, he contemplates that full stop. What will the next sentence bring?

His father had been his sole supporter, telling him to live for his love for Dora, in precise opposition to his uncle's silent opprobrium. Dora was relegated to invisible duties deep within the kitchen. Gaspar lived equally invisibly in the Lobo household, invisibly loved by his father, who invisibly loved his mother.

Without your sheep, you would have no livelihood, you would die. This dependency creates a sort of equality, doesn't it? Not individually, but collectively. As a group, you and your sheep are at opposite sides of a seesaw, and somewhere in between there is a fulcrum. You must maintain the balance. In that sense, we are no better than they.

Tomás shudders. He lifts his head. A breeze is blowing. In whatever direction he looks, there is majestic normalcy: wild growth here, tilled fields over there, the road, the sky, the sun. Everything is in its place, and time is moving with its usual discretion. Then, in an instant, without any warning, a little boy tripped everything up. Surely the fields will notice; they will rise, dust themselves, and come closer to take a concerned look. The road will curl up like a snake and make sad pronouncements. The sun will darken with desolation. Gravity itself will be upset and objects will float in existential hesitation. But no. The fields remain still, the road continues to lie hard and fixed, and the morning sun does not stop shining with unblinking coolness.

They never look very big on the table, the bodies. It's built to accommodate the largest frames, there's that. And they're naked. But it's something else. That parcel of the being called the soul-weighing twenty-one grams, according to the experiments of the American doctor Duncan MacDougall-takes up a surprising amount of space, like aloud voice. In its absence, the body seems to shrink

Love is a house with many rooms, this room to feed the love, this one to entertain it, this one to clean it, this one to dress it, this one to allow it to rest, and each of these rooms can also just as well also be the room for laughing or the room for listening or the room for telling one's secrets or the room for sulking or the room for apologizing or the room for intimate togetherness...

Love is a house with many rooms, this room to feed the love, this one to entertain it, this one to clean it, this one to dress it, this one to allow it to rest, and each of these rooms can also just as well be the room for laughing or the room for listening or the room for telling one’s secrets or the room for sulking or the room for apologizing or the room for intimate togetherness, and, of course, there are the rooms for the new members of the household. Love is a house in which plumbing brings bubbly new emotions every morning, and sewers flush out disputes, and bright windows open up to admit the fresh air of renewed goodwill. Love is a house with an unshakable foundation and an indestructible roof.

Now, why does Jesus benefit the human body? Of course, he does his miracle work to impress those around him--and they are impressed. They're amazed. But to show that he is the Messiah, why does Jesus cure infirmities and feed hungry stomachs? After all, he could soar like a bird, as the devil asked him to do, or, as he himself mentioned, he could go about casting mountains into seas. These too would be miracles worthy of a Messiah. Why body miracles?" ... His wife answers her question. "Jesus performs these miracles because they bring relief where we want it most. We all suffer in our bodies and die. It is our fate--as you well know, my dear, spending your days cutting up human carrion. In curing and feeding us, Jesus meets us at our weakest. He eases us of our heavy burden of morality. And that impresses us more deeply than any other display of mighty power, be it flying in the air or throwing mountains into seas.