The Tiny Things Are Heavier Quotes

So it was that the Red Tower put into production its new, more terrible and perplexing, line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stages of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight and insistently grew back should one attempt to clip them. Numerous natural objects, mostly bulbous gourds, were designed to produce a long, deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough, igneous forms were sent a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in a gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling 'hands' were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of a kind which might pass through a fever-stricken or even permanently damaged brain.

So it was that the Red Tower put into production its terrible and perplexing line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stage of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight, every night like clockwork. Numerous natural objects, mostly bulbous gourds, were designed to produce a long deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough igneous forms were set a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling "hands" were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of the kind which might pass through a fever-stricken or even permanently damaged brain.

Let us pause for a moment and consider the structure of the atom as we know it now. Every atom is made from three kinds of elementary particles: protons, which have a positive electrical charge; electrons, which have a negative electrical charge; and neutrons, which have no charge. Protons and neutrons are packed into the nucleus, while electrons spin around outside. The number of protons is what gives an atom its chemical identity. An atom with one proton is an atom of hydrogen, one with two protons is helium, with three protons is lithium, and so on up the scale. Each time you add a proton you get a new element. (Because the number of protons in an atom is always balanced by an equal number of electrons, you will sometimes see it written that it is the number of electrons that defines an element; it comes to the same thing. The way it was explained to me is that protons give an atom its identity, electrons its personality.) Neutrons don't influence an atom's identity, but they do add to its mass. The number of neutrons is generally about the same as the number of protons, but they can vary up and down slightly. Add a neutron or two and you get an isotope. The terms you hear in reference to dating techniques in archeology refer to isotopes—carbon-14, for instance, which is an atom of carbon with six protons and eight neutrons (the fourteen being the sum of the two). Neutrons and protons occupy the atom's nucleus. The nucleus of an atom is tiny—only one millionth of a billionth of the full volume of the atom—but fantastically dense, since it contains virtually all the atom's mass. As Cropper has put it, if an atom were expanded to the size of a cathedral, the nucleus would be only about the size of a fly—but a fly many thousands of times heavier than the cathedral. It was this spaciousness—this resounding, unexpected roominess—that had Rutherford scratching his head in 1910. It is still a fairly astounding notion to consider that atoms are mostly empty space, and that the solidity we experience all around us is an illusion. When two objects come together in the real world—billiard balls are most often used for illustration—they don't actually strike each other. “Rather,” as Timothy Ferris explains, “the negatively charged fields of the two balls repel each other . . . were it not for their electrical charges they could, like galaxies, pass right through each other unscathed.” When you sit in a chair, you are not actually sitting there, but levitating above it at a height of one angstrom (a hundred millionth of a centimeter), your electrons and its electrons implacably opposed to any closer intimacy.

But let us note some simple facts that will justify one, even in this scientific age, in believing that the word of the Lord, which in the beginning said, “Let the earth bring forth grass,” is still causing the earth to bring forth grass. Who has not watched the springing forth of the tender blade of grass or corn? Have you not at times passed along by the field of corn, and noticed a tiny blade pushing its way to the surface, in spite of heavy clods of earth? Have you not seen a portion of the baked earth heaved up, and, looking beneath, have seen that a tiny spire held it up, so tender that it could not support its own weight if released from its position? The blade had as yet scarcely any color, and was but little more than water, for if you had crushed it in your fingers there would have been scarcely anything but moisture on your hand. Yet this tiny thing was pushing away from before it a clod of earth ten thousand times its own weight. Whence comes this power? Is it something that is inherent in the grass? Try it, and see. Take that blade of grass that is full grown. Select a small clod of earth, not half the size of the one that was pushed away from be fore it when it was crowding its way to the surface of the ground, and put it upon the grass. What is the result? Anybody can tell you. The grass is crushed to the ground. It has no power in itself. Test it again. Take that blade that is pushing its way to the surface from beneath that clod, and remove it from the ground. You take it in you fingers, and it lops down over the side of your hand. It cannot stand upright. Scarcely anything can be thought of that is weaker, and yet but a few moment before it was standing erect, and bearing a burden infinitely heavier than itself. Here is a miracle that is wrought hundreds of millions of times every year, and yet there are those who say that the age of miracles is past.

Most of the Universe is made of a mysterious substance called ‘dark matter’ and an even more mysterious substance called ‘dark energy’. Ordinary matter—the stuff our Solar System and ourselves are made of—makes up just 5% of the Universe, with dark matter accounting for 25% and the remainder being dark energy. Ordinary matter is called ‘baryonic’, after the heavy particles (e.g. protons and neutrons) of which it is mostly made. Shortly after the birth of the Universe in the Big Bang, about 75% of the baryonic matter was hydrogen, with almost all of the rest being helium. Things haven’t changed much since, but the tiny bits of stardust which have accumulated contain the heavier elements that make it possible to form beings like ourselves, and the planets on which we live.

In a moment she lost sight of the couple and instead saw in front of her a woman dressed in baggy trousers barely reaching the knees, as was the fashion that year. The outfit seemed to make her behind even heavier and closer to the ground. Her bare, pale calves resembled a pair of rustic pitchers decorated by varicose veins entwined like a ball of tiny blue snakes. Agnes said to herself: that woman could have found a dozen outfits that would have covered her bluish veins and made her behind less monstrous. Why hadn't she done so? Not only have people stopped trying to be attractive when they are out among other people, but they are no longer even trying not to look ugly! She said to herself: when once the onslaught of ugliness became completely unbearable, she would go to a florist and buy a forget-me-not, a single forget-me-not, a slender stalk with miniature blue flowers. She would go out into the street holding the flower before her eyes, staring at it tenaciously so as to see only that single beautiful blue point, to see it as the last thing she wanted to preserve for herself from a world she had ceased to love. She would walk like that through the streets of Paris, she would soon become a familiar sight, children would run after her, laugh at her, throw things at her and all Paris would call her: the crazy woman with the forget-me-not… (...) Suddenly frightened by her hatred she said to herself: the world is at some sort of border; if it is crossed everything will turn to madness: people will walk the streets holding forget-me-nots or kill one another on sight. And it will take very little for the glass to overflow, perhaps just one drop: perhaps just one car too many, or one person, or one decibel. There is a certain quantitative border that must not be crossed, yet no one stands guard over it and perhaps no one even realizes that it exists.

Of course

To be Igbo by blood and nothing else

It will be okay—what people say when the only option is to hope for the best of an utterly irredeemable situation.

Now Bayo asks

She’d said to him that she’s aware of the challenges of living in Nigeria