Tomb Of Sand Quotes

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Once you’ve got women and a border, a story can write itself. Even women on their own are enough. Women are stories in themselves, full of stirrings and whisperings that float on the wind, that bend with each blade of grass.
Geetanjali Shree (Tomb of Sand)
Anything worth doing transcends borders.
Geetanjali Shree (Tomb of Sand)
when the cities are gone and all the ruckus has died away. when sunflowers push up through the concrete and asphalt of the forgotten interstate freeways. when the Kremlin & the Pentagon are turned into nursing homes for generals, presidents, & other such shit heads. when the glass-aluminum sky scraper tombs of Phoenix, AZ barely show above the sand dunes. why then, by God, maybe free men & wild women on horses can roam the sagebrush canyonlands in freedom...and dance all night to the music of fiddles! banjos! steel guitars! by the light of a reborn moon!
Edward Abbey
Have you been eating sand again?' [Cam asked] 'I haven't eaten sand in months', Nona protested, then more truthfully: 'Weeks,' and more truthfully than that: 'one week.
Tamsyn Muir (Nona the Ninth (The Locked Tomb, #3))
don’t you think youth comes at the wrong time? When we haven’t lived at all. It comes and then it’s gone, and we don’t even notice.
Geetanjali Shree (Tomb of Sand)
Teacher, may I ask a question?” “Sure,” he said, surprised, and he shook his fingers free of clinging sand. “Shoot.” “What does it mean to love God?” “Decent dinner and a bottle of average rosé. Maybe a movie. I’m not picky.
Tamsyn Muir (Nona the Ninth (The Locked Tomb, #3))
I refuse to let you build your house on such shiftless & ureal sand.
Tamsyn Muir (Harrow the Ninth (The Locked Tomb, #2))
That which is torn develops an increased capacity for insight and forbearance. A capacity to experience sensations that escape the notice of others.
Geetanjali Shree (Tomb of Sand)
Man worships the idols he himself creates. But not those that God has made.
Geetanjali Shree (Tomb of Sand)
Daughter. You love her. You fear her. Now you see her. Now you don't. All women, don't forget, are daughters.
Geetanjali Shree (Tomb of Sand)
Life exists because there’s death, and joy because there’s sorrow.
Geetanjali Shree (Tomb of Sand)
Beneath a toilet water of punctilio and restraint...a deep smell came off Kelly, a hint of a big foul cat, carnal as the meat on a butcher's block, and something else, some whiff of the icy rot and iodine in a piece of marine nerve left to bleach on the sand. With it all was that congregated odor of the wealthy, a mood within the nose of face powder, of perfumes which leave the turpentine of a witch's curse, the taste of pennies in the mouth, a whiff of the tomb. It was all of Deborah for me.
Norman Mailer (An American Dream)
You could say, Oh, what a horrible time this is! and then it will go ahead and make things even more horrible. And no one will say, but these are good days, acche din! Except for the government, that is.
Geetanjali Shree (Tomb of Sand)
When the cities are gone, he thought, and all the ruckus has died away, when sunflowers push up through the concrete and asphalt of the forgotten interstate freeways, when the Kremlin and the Pentagon are turned into nursing homes for generals, presidents and other such shitheads, when the glass-aluminum skyscraper tombs of Phoenix Arizona barely show above the sand dunes, why then, why then, why then by God maybe free men and wild women on horses, free women and wild men, can roam the sagebrush canyonlands in freedom—goddammit!—herding the feral cattle into box canyons, and gorge on bloody meat and bleeding fucking internal organs, and dance all night to the music of fiddles! banjos! steel guitars! by the light of a reborn moon!—by God, yes! Until, he reflected soberly, and bitterly, and sadly, until the next age of ice and iron comes down, and the engineers and the farmers
Edward Abbey (The Monkey Wrench Gang)
but the sum total of the thing is this: life is life and death is death, and what is dead is dead, and gone is gone, and busy is busy. The gist being that if great beings and treasures and memories depart, never to return, what happens to ordinary everyday items? Nothing.
Geetanjali Shree (Tomb of Sand)
Hate is a dead thing. Who of you would be a tomb?
Kahlil Gibran (Sand and Foam)
Memories were like tomb paintings, thought the Major, the colors still vivid no matter how many layers of mud and sand time deposited. Scrape at them and they come up all red and blazing.
Helen Simonson (Major Pettigrew's Last Stand)
In what census of living creatures, the dead of mankind are included; why it is that a universal proverb says of them, that they tell no tales, though containing more secrets than the Goodwin Sands; how it is that to his name who yesterday departed for the other world, we prefix so significant and infidel a word, and yet do not thus entitle him, if he but embarks for the remotest Indies of this living earth; why the Life Insurance Companies pay death-forfeitures upon immortals; in what eternal, unstirring paralysis, and deadly, hopeless trance, yet lies antique Adam who died sixty round centuries ago; how it is that we still refuse to be comforted for those who we nevertheless maintain are dwelling in unspeakable bliss; why all the living so strive to hush all the dead; wherefore but the rumor of a knocking in a tomb will terrify a whole city. All these things are not without their meanings.
Herman Melville (Moby-Dick or, The Whale)
Lost between segments of a ferocious horizon, the white-helmeted explorer prepares to die and assembles his memories in order to discover how an explorer should end his days: with his arms outstretched and his face in the sand, or should he dig a fugitive tomb because of wind and hyenas, or just curl up in the so-called broken-gun position which causes so much worry to mothers when they discover that this is the position in which their offspring prefer to fall asleep, or will it be a lion or sunstroke or thirst that does the honours for him.
Robert Desnos (Liberty or Love!)
When you’re quiet, you’re polite; but when I’m quiet, I’m wily. If you did it, it’s good etiquette; if I do, it’s fawning flattery. If you say it, it’s candid; if I do, it’s just rude. If I ask, it’s obscene curiosity; when you do, it’s sympathy. If I do it, it’s for my own convenience; if you do it, you’re most beneficent. If I do it, I’m being stingy; if you do it, you’re being thrifty. If I’m quiet, I’m acting proud; if you’re quiet, you feel bashful. I’m extremely secretive, but you’re just reserved. And my fashions are faux, whereas yours are cutting edge. And if I lose something, what’s the big deal, but if you do, you’ve been robbed, woe is me!
Geetanjali Shree (Tomb of Sand)
Where are your monuments, your battles, martyrs? Where is your tribal memory? Sirs, in that gray vault. The sea. The sea has locked them up. The sea is History. First, there was the heaving oil, heavy as chaos; then, likea light at the end of a tunnel, the lantern of a caravel, and that was Genesis. Then there were the packed cries, the shit, the moaning: Exodus. Bone soldered by coral to bone, mosaics mantled by the benediction of the shark's shadow, that was the Ark of the Covenant. Then came from the plucked wires of sunlight on the sea floor the plangent harp of the Babylonian bondage, as the white cowries clustered like manacles on the drowned women, and those were the ivory bracelets of the Song of Solomon, but the ocean kept turning blank pages looking for History. Then came the men with eyes heavy as anchors who sank without tombs, brigands who barbecued cattle, leaving their charred ribs like palm leaves on the shore, then the foaming, rabid maw of the tidal wave swallowing Port Royal, and that was Jonah, but where is your Renaissance? Sir, it is locked in them sea sands out there past the reef's moiling shelf, where the men-o'-war floated down; strop on these goggles, I'll guide you there myself. It's all subtle and submarine, through colonnades of coral, past the gothic windows of sea fans to where the crusty grouper, onyx-eyed, blinks, weighted by its jewels, like a bald queen; and these groined caves with barnacles pitted like stone are our cathedrals, and the furnace before the hurricanes: Gomorrah. Bones ground by windmills into marl and cornmeal, and that was Lamentations - that was just Lamentations, it was not History; then came, like scum on the river's drying lip, the brown reeds of villages mantling and congealing into towns, and at evening, the midges' choirs, and above them, the spires lancing the side of God as His son set, and that was the New Testament. Then came the white sisters clapping to the waves' progress, and that was Emancipation - jubilation, O jubilation - vanishing swiftly as the sea's lace dries in the sun, but that was not History, that was only faith, and then each rock broke into its own nation; then came the synod of flies, then came the secretarial heron, then came the bullfrog bellowing for a vote, fireflies with bright ideas and bats like jetting ambassadors and the mantis, like khaki police, and the furred caterpillars of judges examining each case closely, and then in the dark ears of ferns and in the salt chuckle of rocks with their sea pools, there was the sound like a rumour without any echo of History, really beginning.
Derek Walcott (Selected Poems)
In what census of living creatures, the dead of mankind are included; why it is that a universal proverb says of them, that they tell no tales, though containing more secrets than the Goodwin Sands! how it is that to his name who yesterday departed for the other world, we prefix so significant and infidel a word, and yet do not thus entitle him, if he but embarks for the remotest Indies of this living earth; why the Life Insurance Companies pay death-forfeitures upon immortals; in what eternal, unstirring paralysis, and deadly, hopeless trance, yet lies antique Adam who died sixty round centuries ago; how it is that we still refuse to be comforted for those who we nevertheless maintain are dwelling in unspeakable bliss; why all the living so strive to hush all the dead; wherefore but the rumor of a knocking in a tomb will terrify a whole city. All these things are not without their meanings.
Herman Melville
As black hair brushed her collarbone, Ead thought of the Prioress and the orange tree. She thought of what Chassar would say if he knew how her blood sand for the pretender, who prayed to the empty tomb of the Mother. Scion of Galian the Deceiver. Sabran drew her close, and Ead kissed the Queen of Inys as she would kiss a lover. Her body was spun glass. A flower just opened to the world. When Sabran parted her lips with her own, Ead understood, with an intensity that wrenched the breath from her, that what she had wanted for months now was to hold her like this. When she had lain beside Sabran and listened to her secrets. When she had stowed the rose behind her pillow. It was a realisation that pierced her to the core.
Samantha Shannon (The Priory of the Orange Tree (The Roots of Chaos, #1))
Kellum reminded the jury that special prosecutor Robert Smith, “a gentleman I don’t know,” would have the final argument, and that this was a powerful advantage. He then closed with a dramatic message that the jury’s verdict would have eternal consequences. I want you to think of the future. When your summons comes to cross the Great Divide, and, as you enter your father’s house—a home not made by hands but eternal in the heavens, you can look back to where your father’s feet have trod and see your good record written in the sands of time and, when you go down to your lonely silent tomb to a sleep that knows no dreams, I want you to hold in the palm of your hand a record of service to God and your fellow man. And the only way you can do that is to turn these boys loose.123
Devery S. Anderson (Emmett Till: The Murder That Shocked the World and Propelled the Civil Rights Movement)
Oh! ye whose dead lie buried beneath the green grass; who standing among flowers can say—here, here lies my beloved; ye know not the desolation that broods in bosoms like these. What bitter blanks in those black-bordered marbles which cover no ashes! What despair in those immovable inscriptions! What deadly voids and unbidden infidelities in the lines that seem to gnaw upon all Faith, and refuse resurrections to the beings who have placelessly perished without a grave. As well might those tablets stand in the cave of Elephanta as here. In what census of living creatures, the dead of mankind are included; why it is that a universal proverb says of them, that they tell no tales, though containing more secrets than the Goodwin Sands; how it is that to his name who yesterday departed for the other world, we prefix so significant and infidel a word, and yet do not thus entitle him, if he but embarks for the remotest Indies of this living earth; why the Life Insurance Companies pay death-forfeitures upon immortals; in what eternal, unstirring paralysis, and deadly, hopeless trance, yet lies antique Adam who died sixty round centuries ago; how it is that we still refuse to be comforted for those who we nevertheless maintain are dwelling in unspeakable bliss; why all the living so strive to hush all the dead; wherefore but the rumor of a knocking in a tomb will terrify a whole city. All these things are not without their meanings. But Faith, like a jackal, feeds among the tombs, and even from these dead doubts she gathers her most vital hope.
Herman Melville (Moby-Dick or, The Whale)
Oh! ye whose dead lie buried beneath the green grass; who standing among flowers can say—here, here lies my beloved; ye know not the desolation that broods in bosoms like these. What bitter blanks in those black-bordered marbles which cover no ashes! What despair in those immovable inscriptions! What deadly voids and unbidden infidelities in the lines that seem to gnaw upon all Faith, and refuse resurrections to the beings who have placelessly perished without a grave. As well might those tablets stand in the cave of Elephanta as here. In what census of living creatures, the dead of mankind are included; why it is that a universal proverb says of them, that they tell no tales, though containing more secrets than the Goodwin Sands; how it is that to his name who yesterday departed for the other world, we prefix so significant and infidel a word, and yet do not thus entitle him, if he but embarks for the remotest Indies of this living earth; why the Life Insurance Companies pay death-forfeitures upon immortals; in what eternal, unstirring paralysis, and deadly, hopeless trance, yet lies antique Adam who died sixty round centuries ago; how it is that we still refuse to be comforted for those who we nevertheless maintain are dwelling in unspeakable bliss; why all the living so strive to hush all the dead; wherefore but the rumor of a knocking in a tomb will terrify a whole city. All these things are not without their meanings. But Faith, like a jackal, feeds among the tombs, and even from these dead doubts she gathers her most vital hope.
Herman Melville (Moby Dick)
Colonel Fedmahn Kassad shouted a FORCE battle cry and charged through the dust storm to intercept the Shrike before it covered the final thirty meters to where Sol Weintraub crouched next to Brawne Lamia. The Shrike paused, its head swiveling frictionlessly, red eyes gleaming. Kassad armed his assault rifle and moved down the slope with reckless speed. The Shrike shifted. Kassad saw its movement through time as a slow blur, noting even as he watched the Shrike that movement in the valley had ceased, sand hung motionless in the air, and the light from the glowing Tombs had taken on a thick, amberish quality. Kassad’s skinsuit was somehow shifting with the Shrike, following it through its movements through time. The creature’s head snapped up, attentive now, and its four arms extended like blades from a knife, fingers snapping open in sharp greeting. Kassad skidded to a halt ten meters from the thing and activated the assault rifle, slagging the sand beneath the Shrike in a full-power wide-beam burst. The Shrike glowed as its carapace and steel-sculpture legs reflected the hellish light beneath and around it. Then the three meters of monster began to sink as the sand bubbled into a lake of molten glass beneath it. Kassad shouted in triumph as he stepped closer, playing the widebeam on the Shrike and ground the way he had sprayed his friends with stolen irrigation hoses in the Tharsis slums as a boy. The Shrike sank. Its arms splayed at the sand and rock, trying to find purchase. Sparks flew. It shifted, time running backward like a reversed holie, but Kassad shifted with it, realizing that Moneta was helping him, her suit slaved to his but guiding him through time, and then he was spraying the creature again with concentrated heat greater than the surface of a sun, melting sand beneath it, and watching the rocks around it burst into flame. Sinking in this cauldron of flame and molten rock, the Shrike threw back its head, opened its wide crevasse of a mouth, and bellowed. Kassad almost stopped firing in his shock at hearing noise from the thing. The Shrike’s scream resounded like a dragon’s roar mixed with the blast of a fusion rocket. The screech set Kassad’s teeth on edge, vibrated from the cliff walls, and tumbled suspended dust to the ground. Kassad switched to high-velocity solid shot and fired ten thousand microfléchettes at the creature’s face.
Dan Simmons (The Fall of Hyperion (Hyperion Cantos, #2))
Elephanta caves, Mumbai-- I entered a world made of shadows and sudden brightness. The play of the light, the vastness of the space and its irregular form, the figures carved on the walls: all of it gave the place a sacred character, sacred in the deepest meaning of the word. In the shadows were the powerful reliefs and statues, many of them mutilated by the fanaticism of the Portuguese and the Muslims, but all of them majestic, solid, made of a solar material. Corporeal beauty, turned into living stone. Divinities of the earth, sexual incarnations of the most abstract thought, gods that were simultaneously intellectual and carnal, terrible and peaceful. ............................................................................ Gothic architecture is the music turned to stone; one could say that Hindu architecture is sculpted dance. The Absolute, the principle in whose matrix all contradictions dissolve (Brahma), is “neither this nor this nor this.” It is the way in which the great temples at Ellora, Ajanta, Karli, and other sites were built, carved out of mountains. In Islamic architecture, nothing is sculptural—exactly the opposite of the Hindu. The Red Fort, on the bank of the wide Jamuna River, is as powerful as a fort and as graceful as a palace. It is difficult to think of another tower that combines the height, solidity, and slender elegance of the Qutab Minar. The reddish stone, contrasting with the transparency of the air and the blue of the sky, gives the monument a vertical dynamism, like a huge rocket aimed at the stars. The mausoleum is like a poem made not of words but of trees, pools, avenues of sand and flowers: strict meters that cross and recross in angles that are obvious but no less surprising rhymes. Everything has been transformed into a construction made of cubes, hemispheres, and arcs: the universe reduced to its essential geometric elements. The abolition of time turned into space, space turned into a collection of shapes that are simultaneously solid and light, creations of another space, made of air. There is nothing terrifying in these tombs: they give the sensation of infinity and pacify the soul. The simplicity and harmony of their forms satisfy one of the most profound necessities of the spirit: the longing for order, the love of proportion. At the same time they arouse our fantasies. These monuments and gardens incite us to dream and to fly. They are magic carpets. Compare Ellora with the Taj Mahal, or the frescoes of Ajanta with Mughal miniatures. These are not distinct artistic styles, but rather two different visions of the world.
Octavio Paz (In Light Of India)
In a short while, they heard the pitiful cries of the victims from the minefields begging for mercy. “Christ, Mustafa, the poor bastards are suffering. Can’t we put them out of their misery?” Brian groaned, unnerved by the screams that grated on him like sand on a tin roof. “Don’t worry, without medical attention, they will bleed out in no time. Would you care for another steak?” Brian and Angus shook their heads and placed their plates on the slate table in front of them. The agonized shrieks continued for several more minutes, and just as Mustafa predicted, one by one, they ended, and the night became as silent as a tomb.
Billy Wells (Scary Stories: A Collection of Horror - Volume 1 (Chamber of Horror Series))
Memories were like tomb paintings, thought the Major, the colors still vivid no matter how many layers of mud and sand time deposited. Scrape at them and they come up all red and blazing.
Helen Simonson (Major Pettigrew's Last Stand)
His mind returned to a place and time he could never forget. That late afternoon lived on. It was an eternal day. Perhaps like some ancient Egyptian curse carved upon the walls of the hallowed tombs he plundered. That bloody, gold-dusted afternoon never faded. It stood like an immortal pillar in the shifting sands of his turbulent lifetime. It could not be undone. It could not be amended. That day changed his life forever.
Zita Steele (The Hidden Sphinx: A Tale of World War II Egypt)
I have a purpose, thought Ays. I am a purpose. And the winds sang their mournful tunes through the sand-scoured pipes and sails, conjuring a salt-sweat memory that surely must be false. A woman’s song; a melody. The feel of sand and dry air. A sense of tombs, of ancient dust.
Storm Constantine
Champagne mixes with salt. Rain mixes with sea. Am I dead myself? How long have I been here and gone at once? I feel something inside my heart, something that reminds me of someone I used to know, long ago, in a city no one remembers but me. I feel old things running around this place, like we’re in the center of the smoke of a burning book of wonders, as though all the pages have gotten stuck together and now it’s a world of everything at once, a pitcher of water in my hands, a stand of trees somewhere in the middle of a desert, a bed of white linen sheets, above me the moon crescented, stars I don’t know, wine in a cup, smooth wet sand around me packed down, a cave, a tomb, a room, a rock rolling across the entrance, a stick made of old wood. And here, a country of claws, a mob of monsters. Look at them as we fly and look at us, all of us, the desperate desiring humans of this place, no longer. The story is shifting, things are changing. All is well and will be well.
Maria Dahvana Headley (The Mere Wife)
फिर जबरदस्त मंचन होता है। ऐसा चुस्त दुरुस्त मार्शल डांस जिसका दोनों टुकड़ियों ने खूब रिहर्सल किया होगा। रिहर्सल करते में कोई दुश्मन नहीं हो सकता। हँसी ठट्ठा चला होगा।
Geetanjali Shree (Tomb of Sand)
But I’ve eaten so much today.” “You ate gruel and a sausage roll.” “But I’m full, I’m really full.” “Have you been eating sand again?” “I haven’t eaten sand in months,” Nona protested, then more truthfully: “Weeks,” and more truthfully than that: “One week.
Tamsyn Muir (Nona the Ninth (The Locked Tomb, #3))
बहन को हवाई अड्डे बुरे लगते थे इसलिए बार बार वो खुद को हवाई अड्डों में ही पाती । वहाँ उसे लगता वो कीड़े के बराबर का कीड़ा है, किसी ज़बरदस्त प्रयोगशाला में बंद। नकली बत्तियाँ, नकली गर्मियाँ, नकली धींगाधांगी जहाँ है। उसी की तरह के कीड़े हर दिशा में भरे हुए हैं, सब बेहद व्यस्त और बदहवास, निकास का रास्ता ढूँढने को चारों ओर भागते हुए। सब को चकाचक पहनावा पहनाया है और सब को एक जैसी पहियों वाली अटैचियों से अटका दिया है, जो उन्हें खींचती ले चल रही हैं। और इस जगर-मगर रौशनी में उनकी हर ज़रा सी हरकत पे नज़र है, कैमरे में क़ैद हो रहे सबके ब्योरे हैं।
Geetanjali Shree (Tomb of Sand)
लगा मैं गयी तो लगा कि जा रही हूँ तो रोते हुए क्यों जाऊँ, हँसते हुए जाऊँगी ।
Geetanjali Shree (Tomb of Sand)
I must have looked like she did: cut and bruised, covered in sand and dust and rubble. But still we both grinned. "You just killed a giant monster snake," Pan said. "We did," I replied.
Rob Lloyd Jones (Jake Atlas and the Tomb of the Emerald Snake (Jake Atlas, #1))
What does it mean to be mixed up?' i asked, thinking of my grandfather's accusations. The medium laughed softly, as though to blanket a cry. 'I don't know,' he said. He drew a circle in the sand with his bare toes. 'I don't like to think of myself that way. I like, instead, to think that my parents put me in perfect symmetry with this country's history. Perhaps it's better to think that people like me are not mixed up, as some might say, but that we have access to more than one side of the story.
Alexandra Chang (Tomb Sweeping)
July 16 Because you have done this and have not withheld your son, your only son, I will . . . make your descendants as numerous as the stars in the sky . . . because you have obeyed me. (Genesis 22:16–18) From the time of Abraham, people have been learning that when they obey God’s voice and surrender to Him whatever they hold most precious, He multiplies it thousands of times. Abraham gave up his one and only son at the Lord’s command, and in doing so, all his desires and dreams for Isaac’s life, as well as his own hope for a notable heritage, disappeared. Yet God restored Isaac to his father, and Abraham’s family became “as numerous as the stars in the sky and as the sand on the seashore” (v. 17). And through his descendants, “when the time had fully come, God sent his Son” (Gal. 4:4). This is exactly how God deals with every child of His when we truly sacrifice. We surrender everything we own and accept poverty—then He sends wealth. We leave a growing area of ministry at His command—then He provides one better than we had ever dreamed. We surrender all our cherished hopes and die to self—then He sends overflowing joy and His “life . . . that [we] might have it more abundantly” (John 10:10 KJV). The greatest gift of all was Jesus Christ Himself, and we can never fully comprehend the enormity of His sacrifice. Abraham, as the earthly father of the family of Christ, had to begin by surrendering himself and his only son, just as our heavenly Father sacrificed His only Son, Jesus. We could never have come to enjoy the privileges and joys as members of God’s family through any other way. Charles Gallaudet Trumbull We sometimes seem to forget that what God takes from us, He takes with fire, and that the only road to a life of resurrection and ascension power leads us first to Gethsemane, the cross, and the tomb. Dear soul, do you believe that Abraham’s experience was unique and isolated? It is only an example and a pattern of how God deals with those who are prepared to obey Him whatever the cost. “After waiting patiently, Abraham received what was promised” (Heb. 6:15), and so will you. The moment of your greatest sacrifice will also be the precise moment of your greatest and most miraculous blessing. God’s river, which never runs dry, will overflow its banks, bringing you a flood of wealth and grace. Indeed, there is nothing God will not do for those who will dare to step out in faith onto what appears to be only a mist. As they take their first step, they will find a rock beneath their feet. F. B. Meyer
Mrs. Charles E. Cowman (Streams in the Desert: 366 Daily Devotional Readings)