Upstairs Window Quotes

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

We all live in a house on fire, no fire department to call; no way out, just the upstairs window to look out of while the fire burns the house down with us trapped, locked in it.
Tennessee Williams (The Milk Train Doesn't Stop Here Anymore)
I put my hand on the altar rail. 'What if ... what if Heaven is real, but only in moments? Like a glass of water on a hot day when you're dying of thirst, or when someone's nice to you for no reason, or ...' Mam's pancakes with Toblerone sauce; Dad dashing up from the bar just to tell me, 'Sleep tight, don't let the bedbugs bite'; or Jacko and Sharon singing 'For She's A Squishy Marshmallow' instead of 'For She's A Jolly Good Fellow' every single birthday and wetting themselves even though it's not at all funny; and Brendan giving his old record player to me instead of one of his mates. 'S'pose Heaven's not like a painting that's just hanging there for ever, but more like ... Like the best song anyone ever wrote, but a song you only catch in snatches, while you're alive, from passing cars, or ... upstairs windows when you're lost ...
David Mitchell (The Bone Clocks)
The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness. Although the two are identical twins, man, as a rule, views the prenatal abyss with more calm than the one he is heading for (at some forty-five hundred heartbeats an hour). I know, however, of a young chronophobiac who experienced something like panic when looking for the first time at homemade movies that had been taken a few weeks before his birth. He saw a world that was practically unchanged-the same house, the same people- and then realized that he did not exist there at all and that nobody mourned his absence. He caught a glimpse of his mother waving from an upstairs window, and that unfamiliar gesture disturbed him, as if it were some mysterious farewell. But what particularly frightened him was the sight of a brand-new baby carriage standing there on the porch, with the smug, encroaching air of a coffin; even that was empty, as if, in the reverse course of events, his very bones had disintegrated.
Vladimir Nabokov (Speak, Memory)
Meanwhile a certain amount of moaning and groaning was coming from upstairs. Sophie kept muttering to the dog and ignored it. A loud, hollow coughing followed, dying away into more moaning. Crashing sneezes followed the coughing, each one rattling the window and all the doors. Sophie found those harder to ignore, but she managed. Poot-pooooot! went a blown nose, like a bassoon in a tunnel. The coughing started again, mingled with moans. Sneezes mixed with the moans and the coughs, and the sounds rose to a crescendo in which Howl seemed to be managing to cough, groan, blow his nose, sneeze, and wail gently all at the same time. The doors rattled, the beams in the ceiling shook, and one of Calcifer’s logs rolled off onto the hearth. “All right, all right, I get the message!” Sophie said, dumping the log back into the grate. “It’ll be green slime next”.
Diana Wynne Jones (Howl’s Moving Castle (Howl’s Moving Castle, #1))
Glory never arrives through the front door. She sneaks in uninvited round the back or through an upstairs window while you are sleeping.
Stephen Fry (Moab Is My Washpot (Memoir, #1))
There are houses in Gloucester where grooves have been worn into the floorboards by women pacing past an upstairs window, looking out to sea.
Sebastian Junger (The Perfect Storm: A True Story of Men Against the Sea)
S’pose heaven’s not like a painting that’s just hanging there forever, but more like … like the best song anyone ever wrote, but a song you only catch in snatches, while you’re alive, from passing cars, or … upstairs windows when you’re lost …
David Mitchell (The Bone Clocks)
You've walked those streets a thousand times and still you end up here. Regret none of it, not one of the wasted days you wanted to know nothing, when the lights from the carnival rides were the only stars you believed in, loving them for their uselessness, not wanting to be saved. You've traveled this far on the back of every mistake, ridden in dark-eyed and morose but calm as a house after the TV set has been pitched out the upstairs window. Harmless as a broken ax. Emptied of expectation. Relax. Don't bother remembering any of it. Let's stop here, under the lit sign on the corner, and watch all the people walk by.
Dorianne Laux
Whatever wind fails to escape the Volroy through its many upstairs windows falls down into the cells to rot.
Kendare Blake (Three Dark Crowns (Three Dark Crowns, #1))
You've traveled this far on the back of every mistake, ridden in dark-eyed and morose but calm as a house after the TV set has been pitched out the upstairs window. (from "Antilamentation")
Dorianne Laux
When she had gone upstairs, he walked to a window and stood looking up at the sky. His head thrown back, he felt the pull of his throat muscles and he wondered whether the peculiar solemnity of looking at the sky comes, not from what one contemplates, but from that uplift of one's head.
Ayn Rand (The Fountainhead)
Does somebody have an explanation why there's human flesh on the hall window upstairs?
David Foster Wallace
Tennessee Williams once wrote, 'We all live in a house on fire, no fire department to call; no way out, just the upstairs window to look out of while the fire burns the house down with us trapped, locked in it.' Yes, but oh! What a view from that upstairs window! What Tennessee failed to mention was that if we look out of that window with an itchy curiousity and a passionate eye; with a generous spirit and a capacity for delight; and yes, the language with which to support and enrich the thing we see, then it DOESN'T MATTER that the house is burning down around us. It doesn't matter. Let the motherfucker blaze!
Tom Robbins (Fierce Invalids Home from Hot Climates)
Perhaps the House had heard Harvey wishing for a full moon, because when he and Wendell traipsed upstairs and looked out the landing window, there--hanging between the bare branches of the trees--was a moon as wide and as white as a dead man's smile.
Clive Barker (The Thief of Always)
It is the earliest dream that I can remember, earlier than the witch at the corner of the nursery passage, this dream of something outside that has got to come in. The witch, like the masked dancers, has form, but this is simply power, a force exerted on a door, an influence that drifted after me upstairs and pressed against windows.
Graham Greene (Journey Without Maps)
We walked down the back stairwell into the garden where the old breakfast table used to be. 'This was my father's spot. I call it his ghost spot. My spot used to be over there, if you remember.' I pointed to where my old table used to stand by the pool. 'Did I have a spot?' he asked with a half grin. 'You'll always have a spot.' I wanted to tell him that the pool, the garden, the house, the tennis court, the orle of paradise, the whole place, would always be his ghost spot. Instead, I pointed upstairs to the French windows of his room. Your eyes are forever there, I wanted to say, trapped in the sheer curtains, staring out from my bedroom upstairs where no one sleeps these days. When there's a breeze and they swell and I look up from down here or stand outside on the balcony, I'll catch myself thinking that you're in there, staring out from your world to my world, saying, as you did on that one night when I found you on the rock, I've been happy here. You're thousands of miles away but no sooner do I look at this window than I'll think of a bathing suit, a shirt thrown on on the fly, arms resting on the banister, and you're suddenly there, lighting up your first cigarette of the day—twenty years ago today. For as long as the house stands, this will be your ghost spot—and mine too, I wanted to say.
André Aciman (Call Me by Your Name)
On my first evening in the back country, I skipped down the porch steps of the farmhouse-leaving my father inside and the radio playing and my small suitcase decorated with neon flower stickers unpacked-and wandered towards the upside-down school bus I'd spied from an upstairs window.
Mitch Cullin (Tideland)
What about you, Neville?” said Ron. “Well, my gran brought me up and she’s a witch,” said Neville, “but the family thought I was all-Muggle for ages. My Great Uncle Algie kept trying to catch me off my guard and force some magic out of me — he pushed me off the end of Blackpool pier once, I nearly drowned — but nothing happened until I was eight. Great Uncle Algie came round for dinner, and he was hanging me out of an upstairs window by the ankles when my Great Auntie Enid offered him a meringue and he accidentally let go. But I bounced — all the way down the garden and into the road. They were all really pleased, Gran was crying, she was so happy.
J.K. Rowling (Harry Potter and the Sorcerer's Stone (Harry Potter, # 1))
He thought other resourceful people would have come, over the years, to look at it, and that the house would wear its own mild frown of self-regard, a certain half-friendly awareness of being admired. It would live up to its fame. But really there was nothing to see. The upstairs windows seemed to ponder blankly on the reflections of clouds.
Alan Hollinghurst (The Stranger's Child)
The doorknobs open the doors. The windows are always either open or shut. We are always either upstairs or downstairs in this house. Everything is the same as it always was.
Carl Sandburg (Stories from the Rootabaga country)
We walk past the house with the blue door. It has been made clear to us that we are to walk quietly by this house, never accept an invitation to step inside, never return the smile of the woman of the house, nor glance at the old man who sometimes looks out of the upstairs window; at our peril are we to be tempted by the flowers lying under the eaves, or by the figs that the storms shake loose. But our shadows dare each other. One of them is foolish enough to climb on to the doorstep but is pulled away just before it can reach the door bell.
Nadeem Aslam (Season of the Rainbirds)
And they left the mellow light of the dandelion wine and went upstairs to carry out the last few rituals of summer, for they felt that now the final day, the final night had come. As the day grew late they realized that for two or three nights now, porches had emptied early of their inhabitants. The air hard a different, drier smell and Grandma was talking of hot coffee instead of iced tea; the open, white-flutter-curtained windows were closing in the great bays; cold cuts were giving way to steamed beef. The mosquitos were gone from the porch, and surely when they abandoned the conflict the war with Time was really done, there was nothing for it but that humans also forsake the battleground.
Ray Bradbury (Dandelion Wine)
She slept all night with the bedroom window open even though she knows women are advised not to. She arranged glasses in a row along her windowsill so that if a man did break in at least she would have some warning.
Lisa Jewell (The Family Upstairs (The Family Upstairs, #1))
Regret nothing. Not the cruel novels you read to the end just to find out who killed the cook. Not the insipid movies that made you cry in the dark, in spite of your intelligence, your sophistication. Not the lover you left quivering in a hotel parking lot, the one you beat to the punchline, the door, or the one who left you in your red dress and shoes, the ones that crimped your toes, don’t regret those. Not the nights you called god names and cursed your mother, sunk like a dog in the livingroom couch,b chewing your nails and crushed by loneliness. You were meant to inhale those smoky nights over a bottle of flat beer, to sweep stuck onion rings across the dirty restaurant floor, to wear the frayed coat with its loose buttons, its pockets full of struck matches. You’ve walked those streets a thousand times and still you end up here. Regret none of it, not one of the wasted days you wanted to know nothing, when the lights from the carnival rides were the only stars you believed in, loving them for their uselessness, not wanting to be saved. You’ve traveled this far on the back of every mistake, ridden in dark-eyed and morose but calm as a house after the TV set has been pitched out the upstairs window. Harmless as a broken ax. Emptied of expectation. Relax. Don’t bother remembering any of it. Let’s stop here, under the lit sign on the corner, and watch all the people walk by.
Dorianne Laux (The Book of Men)
James was sixteen, Cam seventeen, perhaps. She had looked round for someone who was not there, for Mrs. Ramsay, presumably. But there was only kind Mrs. Beckwith turning over her sketches under the lamp. Then, being tired, her mind still rising and falling with the sea, the taste and smell that places have after long absence possessing her, the candles wavering in her eyes, she had lost herself and gone under. It was a wonderful night, starlit; the waves sounded as they went upstairs; the moon surprised them, enormous, pale, as they passed the staircase window. She had slept at once.
Virginia Woolf (To the Lighthouse)
His face almost looked the way it did when he was a teenager, when there was the subtle expression of both confidence and mischief in his darkly handsome eyes. When I think of him now, though, I don’t picture his face the way it is. What I see is from a memory, from a moment when he must have been eleven or twelve years old and we were both in our backyard and it was summertime and I was drawing in a coloring book and he was there in the green grass and he didn’t know I was watching him. He was crawling around on all fours; he was practicing being a lion or a tiger or more probably a leopard and he was growling to himself, stalking the shadow of a bird, and he didn’t see me staring at him and I think my mother was there, looking at us from an upstairs window, watching us both and gently smiling, and what I remember most is that all of us were happy then with who we were at that moment; at that moment, all of us were quietly happy.
Joe Meno (Demons in the Spring)
Exhausted by the stresses, Phillip was called home after four years, and retired to Bath. Apart from founding Sydney, he had one other notable achievement. In 1814, he managed to die by falling from a wheelchair and out of an upstairs window.
Bill Bryson (In a Sunburned Country)
Eleanor closed her eyes and sighed, feeling and hearing and smelling the house; a flowering bush beyond the kitchen was heavy with scent, and the water in the brook moved sparkling over the stones. Far away, upstairs, perhaps in the nursery, a little eddy of wind gathered itself and swept along the floor, carrying dust. In the library the iron stairway swayed, and light glittered on the marble eyes of Hugh Crain; Theodora’s yellow shirt hung neat and unstained, Mrs. Dudley was setting the lunch table for five. Hill House watched, arrogant and patient. “I won’t go away,” Eleanor said up to the high windows.
Shirley Jackson (The Haunting of Hill House)
Then the short man disappears through the huge doors. Minutes later, the aide-de-camp flings open the shutters of an upstairs window and gazes a moment across the rooftops before unfurling a crimson flag over the brick and securing its eyelets to the sill.
Anthony Doerr (All the Light We Cannot See)
What if . . . what if heaven is real, but only in moments? Like a glass of water on a hot day when you're dying of thirst, or when someone's nice to your for no reason, or . . . ' Mam's pancakes with Mars Bar sauce; Dad dashing up from the bar just to tell me, 'Sleep tight don't let the bedbugs bite'; or Jacko and Sharon singing "For She's a Squishy Marshmallow' instead of 'For She's A Jolly Good Fellow' every single birthday and wetting themselves even though it's not at all funny; and Brendan giving his old record player to me instead of one of his mates. "S'pose heaven's not like a painting that's just hanging there forever, but more like . . . like the best song anyone ever wrote, but a song you only catch in snatches, while you're alive, from passing cars, or . . . upstairs windows when you're lost . . .
David Mitchell
I sat at my bedroom window after I changed; the cashew tree was so close I could reach out and pluck a leaf if it were not for the silver-colour crisscross of mosquito netting. The bell-shaped yellow fruits hung lazily, drawing buzzing bees that bumped against my window's netting. I heard Papa walk upstairs to his room for his afternoon siesta. I closed my eyes, sat still, waiting to hear him call Jaja, to hear Jaja go into his room. But after long, silent minutes, I opened my eyes and pressed my forehead against the window louvers to look outside.9
Chimamanda Ngozi Adichie (Purple Hibiscus)
I wanted to tell him that the pool, the garden, the house, the tennis court, the orle of paradise, the whole place, would always be his ghost spot. Instead, I pointed upstairs to the French windows of his room. Your eyes are forever there, I wanted to say, trapped in the sheer curtains, staring out from my bedroom upstairs where no one sleeps these days. When there’s a breeze and they swell and I look up from down here or stand outside on the balcony, I’ll catch myself thinking that you’re in there, staring out from your world to my world, saying, as you did on that one night when I found you on the rock, I’ve been happy here. You’re thousands of miles away but no sooner do I look at this window than I’ll think of a bathing suit, a shirt thrown on on the fly, arms resting on the banister, and you’re suddenly there, lighting up your first cigarette of the day—twenty years ago today. For as long as the house stands, this will be your ghost spot—and mine too, I wanted to say.
André Aciman (Call Me by Your Name)
On the day the Grisha Examiners came, the boy and the girl were perched in the window seat of a dusty upstairs bedroom, hoping to catch a glimpse of the mail coach. Instead, they saw a sleigh, a troika pulled by three black horses, pass through the white stone gates onto the estate.
Leigh Bardugo (Shadow and Bone (The Shadow and Bone Trilogy, #1))
Ifemelu stood by the window while Aunty Uju sat at the table drinking orange juice and airing her grievances like jewels. It had become a routine of Ifemelu’s visits: Aunty Uju collected all her dissatisfactions in a silk purse, nursing them, polishing them, and then on the Saturday of Ifemelu’s visit, while Bartholomew was out and Dike upstairs, she would spill them out on the table, and turn each one this way and that, to catch the light.
Chimamanda Ngozi Adichie (Americanah)
As they entered November, the weather turned very cold. The mountains around the school became icy gray and the lake like chilled steel. Every morning the ground was covered in frost. Hagrid could be seen from the upstairs windows defrosting broomsticks on the Quidditch field, bundled up in a long moleskin overcoat, rabbit fur gloves, and enormous beaverskin boots. The Quidditch season had begun. On Saturday, Harry would be playing in his first match after weeks of training: Gryffindor versus Slytherin. If Gryffindor won, they would move up into second place in the House Championship. Hardly anyone had seen Harry play because Wood had decided that, as their secret weapon, Harry should be kept, well, secret. But the news that he was playing Seeker had leaked out somehow, and Harry didn’t know which was worse — people telling him he’d be brilliant or people telling him they’d be running around underneath him holding a mattress. It was really lucky that Harry now had Hermione as a friend. He didn’t know how he’d have gotten through all his homework without her, what with all the last-minute Quidditch practice Wood was making them do. She had also lent him Quidditch Through the Ages, which turned out to be a very interesting read.
J.K. Rowling (Harry Potter and the Philosopher’s Stone (Harry Potter, #1))
7:50 a.m. Core Power Yoga Lot, Berkeley. I’m in my Prius finishing up a phone call before class. Suddenly a large black SUV whisks into the space next to me, so achingly close I can no longer open my door. I roll down my window, giggling. “You’re kidding, right?” I say to the girl, pointing at the almost empty lot. “I mean, really? Why here? Why me? Did ya just want to get to know me better?” She looks at me blankly, shrugs her shoulders, gets out of the car, and strolls upstairs. 7:52 a.m. Wow. Wedged behind wheel, momentarily fuming. 7:53 a.m. Wondering: Do I want to be mad and waste the morning with this? Does my body need the assault of even momentary resentment while on the way to yoga of all places? Or . . . do I want to feel compassion, plus a dose of good-humored astonishment, by just rolling with it all? 7:54 a.m. I spend a full minute contemplating how to twist myself like a true yogini over the gear shift to slither out the other door. But then, I have the Life-Changing Realization: I can MOVE THE CAR. 7:55 a.m. I move.
Tosha Silver (Change Me Prayers: The Hidden Power of Spiritual Surrender)
his fake sideburns had been torn from his cheek and was now perched on his ear like a small rodent, but he was too angry to notice. “What have you done?” he screamed at us. “What have you done?” “Well, it’s obvious,” I said. “We’ve blown up a rebel minivan.” In the farmhouse, the SPYDER agents disappeared from the upstairs windows and never reappeared again.
Stuart Gibbs (Spy Camp (Spy School #2))
Her family was at least as dysfunctional and peculiar as his own, riven with scenes that to other people might've been epoch defining—'it was a month before Daddy torched Mummy's portrait in the hall, and the paneling caught fire, and the fire brigade came, and we all had to be evacuated via the upstairs windows'—but to the Campbells were so normalized they seemed routine.
Robert Galbraith (Troubled Blood (Cormoran Strike, #5))
Although she’d been young—only four—Isabelle thought she’d learned what alone meant, but she’d been wrong. In the three years she’d lived at Le Jardin, she’d at least had a sister, even if Vianne was never around. Isabelle remembered peering down from the upstairs window, watching Vianne and her friends from a distance, praying to be remembered, to be invited, and then when
Kristin Hannah (The Nightingale)
A characteristic of Maxwell's work, indeed his life, was that he seemed to take everything in his stride—he was never hurried. Somehow, he and Katherine managed to go riding in the park most afternoons and, of course, they went on accumulating data on color vision, asking all new houseguests to have a go. They had installed the latest big color box near the window in an upstairs
Nancy Forbes (Faraday, Maxwell, and the Electromagnetic Field: How Two Men Revolutionized Physics)
Sophia stood staring blankly up the stairs for an entire minute before it dawned on her that he'd used the kiss to befuddle her. Blast it all! She fumed to herself as she walked to the front window and stationed herself there. Time went by. The clock ticked. A bee buzzed against the windowpane. Dust settled. After thirty minutes had passed, Sophia had had enough. She gave the empty lane one last glance, then went upstairs.
Karen Hawkins (To Catch a Highlander (MacLean Curse, #3))
I can see her now, in the spare room upstairs, music blaring, window open, a brush in her hand, an enormous canvas leaning against the wall. She’ll be there until midnight; Jason knows not to bother her when she’s working.
Paula Hawkins (The Girl on the Train)
Dogs that had been his which she had not known. “There’s dear old Punch…” (Punch, he used to tell her, always knew when his ship was due home, and waited at an upstairs window.) Naval officers riding donkeys… playing tennis… running races, all this before the war, and it had made her think, “unconscious of their doom, the little victims play,” because on the next page it became suddenly sad, the ship he had loved blown up, and so many of those laughing young men lost.
Daphne du Maurier (Don't Look Now and Other Stories)
servants' part of the house, the half-clad domestics were talking in low whispers to each other. Old Mrs. Leaf was crying and wringing her hands. Francis was as pale as death. After about a quarter of an hour, he got the coachman and one of the footmen and crept upstairs. They knocked, but there was no reply. They called out. Everything was still. Finally, after vainly trying to force the door, they got on the roof and dropped down on to the balcony. The windows yielded easily--their bolts
Oscar Wilde (The Picture of Dorian Gray)
But they were citizens of a shadow country that in his previous life he’d only dimly perceived, a country located at the edge of an abyss. He’d been aware of the shadowland forever, of course. He’d seen its more obvious outposts: shelters fashioned from cardboard under overpasses, tents glimpsed in the bushes alongside expressways, houses with boarded-up doors but a light shining in an upstairs window. He’d always been vaguely aware of its citizens, people who’d slipped beneath the surface of society, into a territory without comfort or room for error;
Emily St. John Mandel (The Glass Hotel)
You’re too trusting. You ever think maybe I didn’t stop by just to light sparklers for the kid?” “Then why did you come?” His deep voice reverberated, making her shiver. “Maybe I want to see if I can light you up, too.” Her heart thumped. She twisted her hands together in her lap. “Are you talking about...?” “Sex. Yeah.” She wrenched her head to glance at the upstairs windows, as if their words could somehow penetrate her son’s curtained, closed and darkened bedroom. “Well, I’m not,” she said crossly. “I don’t talk about sex.” “Okay. Why don’t we do it instead?
Virginia Kantra (Mad Dog and Annie (Sweet Home, Carolina, #5; MacNeill Brothers, #4))
The fog was back. It seeped in through the streets, from the cracks around the closed windows behind the trees in the avenue, out of the blue door which opened after they had heard Weber’s abrupt bark over the intercom, and out through the keyholes in the doors they passed on the way upstairs.
Jo Nesbø (Nemesis (Harry Hole, #4))
Jenny remembers what it was like, all those years ago. It was never dolls for her, nothing so tangible as that. It was more of a feeling. As if, for the first several years of her life, everything held over her a sort of knowledge and insistence. Fence posts, wallpaper, the lawn at certain hours of the day. These things glowered at her, or smiled. Even something as ordinary as the blue rolling chair in her father's office had some hold on her, some whisper of a new dimension in its puffs of dust sent upward by her fists against its cushions. There was an intensity inherent in everything until, one day, there wasn't. The blue chair rolled on its wheels to the window when she pushed it. The rising dust was rising dust. And when it was gone, there was only a knot of longing somewhere deep inside of her, a vacant ache: adolescence. Boredom. It's why we fall in love, Jenny will tell June. We fall in love to get back to that dimension, that wonder. She goes to the laundry room, where, from a pile of clean clothes, she picks out a few articles of June's, folds them, then goes upstairs to knock on her daughter's door and tell her that this, this lost doll world, is the reason there is love.
Emily Ruskovich (Idaho)
The house was dark. Upstairs, behind the black open window with the pale curtain flapping in the spartan air, slept Arthur Morrison, trainer of the forty-three racehorses in the stables below. Morrison habitually slept lightly. His ears were sharper than half a dozen guard dogs', his stable-hands said.
Dick Francis (Field of Thirteen)
Taking Off Emily Dickinson’s Clothes" First, her tippet made of tulle, easily lifted off her shoulders and laid on the back of a wooden chair. And her bonnet, the bow undone with a light forward pull. Then the long white dress, a more complicated matter with mother-of-pearl buttons down the back, so tiny and numerous that it takes forever before my hands can part the fabric, like a swimmer’s dividing water, and slip inside. You will want to know that she was standing by an open window in an upstairs bedroom, motionless, a little wide-eyed, looking out at the orchard below, the white dress puddled at her feet on the wide-board, hardwood floor. The complexity of women’s undergarments in nineteenth-century America is not to be waved off, and I proceeded like a polar explorer through clips, clasps, and moorings, catches, straps, and whalebone stays, sailing toward the iceberg of her nakedness. Later, I wrote in a notebook it was like riding a swan into the night, but, of course, I cannot tell you everything— the way she closed her eyes to the orchard, how her hair tumbled free of its pins, how there were sudden dashes whenever we spoke. What I can tell you is it was terribly quiet in Amherst that Sabbath afternoon, nothing but a carriage passing the house, a fly buzzing in a windowpane. So I could plainly hear her inhale when I undid the very top hook-and-eye fastener of her corset and I could hear her sigh when finally it was unloosed, the way some readers sigh when they realize that Hope has feathers, that Reason is a plank, that Life is a loaded gun that looks right at you with a yellow eye.
Billy Collins (Taking Off Emily Dickinson's Clothes: Selected Poems)
It was gentler here, softer, its seethe the quietest of whispers, as if, in deference to a drawing room, it had quite deliberately put on its 'manners'; it kept itself out of sight, obliterated itself, but distinctly with an air of saying, 'Ah, but just wait! Wait till we are alone together! Then I will begin to tell you something new! Something white! something cold! something sleepy! something of cease, and peace, and the long bright curve of space! Tell them to go away. Banish them. Refuse to speak. Leave them, go upstairs to your room, turn out the light and get into bed - I will go with you, I will be waiting for you, I will tell you a better story than Little Kay of the Skates, or The Snow Ghost - I will surround your bed, I will close the windows, pile a deep drift against the door, so that none will ever again be able to enter. Speak to them!...' It seemed as if the little hissing voice came from a slow white spiral of falling flakes in the corner by the front window - but he could not be sure. ("Silent Snow, Secret Snow")
Conrad Aiken (Great Tales of Terror and the Supernatural (Modern Library))
It is possible to lead several lives at once. In fact, it is impossible not to. Sometimes these lives overlap and interact. It is busy work living them and it requires stamina that a singular life doesn't need. Sometimes these lives live peaceably in the house of the body. Sometimes they don't. Sometimes they grouse and bicker and storm upstairs and shout from windows and don't take out the trash. Some other times, these lives, these several lives, each indulge several lives of their own. And those lives, like rabbits or rodents, multiply, make children of themselves. And those child lives birth others. This is when a woman ceases leading her own life. This is when the lives start leading her.
Jill Alexander Essbaum (Hausfrau)
The city, thinks Marie-Laure, is slowly being remade into the model upstairs. Streets sucked empty one by one. Each time she steps outside, she becomes aware of all the windows above her. The quiet is fretful, unnatural. It’s what a mouse must feel, she thinks, as it steps from its hole into the open blades of a meadow, never knowing what shadow might come cruising above.
Anthony Doerr (All the Light We Cannot See)
I'd been here before. Not to this Freedman Town, but to plenty of others. I've been all over the North, and every northern city has a Freedman Town. New York City's got a few, and Chicago's got more than a few. Baltimore, Washington. The manumitted have got to go somewhere, and the world doesn't give them a lot of options. The details are different - some of 'em are built on a high-rise model, bent towers clustered around courtyards, crammed to the gills with the poorest of the poor, living hard, the forgotten children of forgotten children. Some are like this one, blocks and blocks of small ramshackle homes, no sidewalks along narrow roads with the concrete worn and blasted through, the yards between the houses as weed-choked as vacant lots. Ivy growing in wild overlapping networks, engulfing the lower stories and sending menacing tendrils into upstairs windows. Gutters dangling or cracked, porches falling.
Ben H. Winters (Underground Airlines)
How destiny plays games so thrilling, both stay in the same building. His books declared for the best seller of the year, and she lives in the apartment to his but upstairs. He is making fame, she has committed suicide severe. The same window of the tall building instigated, such varied colors. In the woman-frustration and fear. In the man- an inspiration so rare. They share the same height, same sight, of the same building. From which, one flew like kite and the other down right.
Jasleen Kaur Gumber
Where will we have lunch?” I asked Brett. The bar was cool. You could feel the heat outside through the window. “Here?” asked Brett. “It’s rotten here in the hotel. Do you know a place called Botín’s?” I asked the barman. “Yes, sir. Would you like to have me write out the address?” “Thank you.” We lunched up-stairs at Botín’s. It is one of the best restaurants in the world. We had roast young suckling pig and drank rioja alta. Brett did not eat much. She never ate much. I ate a very big meal and drank three bottles of rioja alta.
Ernest Hemingway (The Sun Also Rises)
Three miles from my adopted city lies a village where I came to peace. The world there was a calm place, even the great Danube no more than a pale ribbon tossed onto the landscape by a girl’s careless hand. Into this stillness I had been ordered to recover. The hills were gold with late summer; my rooms were two, plus a small kitchen, situated upstairs in the back of a cottage at the end of the Herrengasse. From my window I could see onto the courtyard where a linden tree twined skyward — leafy umbilicus canted toward light, warped in the very act of yearning — and I would feed on the sun as if that alone would dismantle the silence around me. At first I raged. Then music raged in me, rising so swiftly I could not write quickly enough to ease the roiling. I would stop to light a lamp, and whatever I’d missed — larks flying to nest, church bells, the shepherd’s home-toward-evening song — rushed in, and I would rage again. I am by nature a conflagration; I would rather leap than sit and be looked at. So when my proud city spread her gypsy skirts, I reentered, burning towards her greater, constant light. Call me rough, ill-tempered, slovenly— I tell you, every tenderness I have ever known has been nothing but thwarted violence, an ache so permanent and deep, the lightest touch awakens it. . . . It is impossible to care enough. I have returned with a second Symphony and 15 Piano Variations which I’ve named Prometheus, after the rogue Titan, the half-a-god who knew the worst sin is to take what cannot be given back. I smile and bow, and the world is loud. And though I dare not lean in to shout Can’t you see that I’m deaf? — I also cannot stop listening.
Rita Dove
Clarissa touches Louis’s shoulder, and it seems that they will both rise, without speaking, go upstairs to the bedroom, and undress together. It seems they will go to the bedroom and undress not like lovers but like gladiators who’ve survived the arena, who find themselves bloody and harmed but miraculously alive when all the others have died. They will wince as they unstrap their breastplates and shin guards. They will look at each other with tenderness and reverence; they will gently embrace as New York clatters outside the casement window; as Richard sits in his chair listening to voices and Sally has her lunch uptown with Oliver St. Ives.
Michael Cunningham (The Hours)
M. Vinteuil...carried politeness and consideration for others to such scrupulous lengths, always putting himself in their place, that he was afraid of boring them, or of appearing egotistical, if he carried out or even allowed them to suspect what were his own desires. On the day when my parents had gone to pay him a visit, I had accompanied them, but they had allowed me to remain outside, and as M. Vinteuil's house, Montjouvain, stood at the foot of a bushy hillock where I went to hide, I had found myself on a level with his drawing-room, upstairs, and only a few feet away from its window. When the servant came in to tell him that my parents had arrived, I had seen M. Vinteuil hurriedly place a sheet of music in a prominent position on the piano. But as soon as they entered the room he had snatched it away and put it in a corner. He was afraid, no doubt, of letting them suppose that he was glad to see them only because it gave him a chance of playing them some of his compositions. And every time that my mother, in the course of her visit, had returned to the subject he had hurriedly protested: 'I can't think who put that on the piano; it's not the proper place for it at all,' and had turned the conversation aside to other topics, precisely because they were of less interest to himself.
Marcel Proust (Du côté de chez Swann (À la recherche du temps perdu, #1))
To the door of an inn in the provincial town of N. there drew up a smart britchka—a light spring-carriage of the sort affected by bachelors, retired lieutenant-colonels, staff-captains, land-owners possessed of about a hundred souls, and, in short, all persons who rank as gentlemen of the intermediate category. In the britchka was seated such a gentleman—a man who, though not handsome, was not ill-favoured, not over-fat, and not over-thin. Also, though not over-elderly, he was not over-young. His arrival produced no stir in the town, and was accompanied by no particular incident, beyond that a couple of peasants who happened to be standing at the door of a dramshop exchanged a few comments with reference to the equipage rather than to the individual who was seated in it. "Look at that carriage," one of them said to the other. "Think you it will be going as far as Moscow?" "I think it will," replied his companion. "But not as far as Kazan, eh?" "No, not as far as Kazan." With that the conversation ended. Presently, as the britchka was approaching the inn, it was met by a young man in a pair of very short, very tight breeches of white dimity, a quasi-fashionable frockcoat, and a dickey fastened with a pistol-shaped bronze tie-pin. The young man turned his head as he passed the britchka and eyed it attentively; after which he clapped his hand to his cap (which was in danger of being removed by the wind) and resumed his way. On the vehicle reaching the inn door, its occupant found standing there to welcome him the polevoi, or waiter, of the establishment—an individual of such nimble and brisk movement that even to distinguish the character of his face was impossible. Running out with a napkin in one hand and his lanky form clad in a tailcoat, reaching almost to the nape of his neck, he tossed back his locks, and escorted the gentleman upstairs, along a wooden gallery, and so to the bedchamber which God had prepared for the gentleman's reception. The said bedchamber was of quite ordinary appearance, since the inn belonged to the species to be found in all provincial towns—the species wherein, for two roubles a day, travellers may obtain a room swarming with black-beetles, and communicating by a doorway with the apartment adjoining. True, the doorway may be blocked up with a wardrobe; yet behind it, in all probability, there will be standing a silent, motionless neighbour whose ears are burning to learn every possible detail concerning the latest arrival. The inn's exterior corresponded with its interior. Long, and consisting only of two storeys, the building had its lower half destitute of stucco; with the result that the dark-red bricks, originally more or less dingy, had grown yet dingier under the influence of atmospheric changes. As for the upper half of the building, it was, of course, painted the usual tint of unfading yellow. Within, on the ground floor, there stood a number of benches heaped with horse-collars, rope, and sheepskins; while the window-seat accommodated a sbitentshik[1], cheek by jowl with a samovar[2]—the latter so closely resembling the former in appearance that, but for the fact of the samovar possessing a pitch-black lip, the samovar and the sbitentshik might have been two of a pair.
Nikolai Gogol (Dead Souls)
And once we get hold of it, how do you destroy a Horcrux?” asked Ron. “Well,” said Hermione, “I’ve been researching that.” “How?” asked Harry. “I didn’t think there were any books on Horcruxes in the library?” “There weren’t,” said Hermione, who had turned pink. “Dumbledore removed them all, but he--he didn’t destroy them.” Ron sat up straight, wide-eyed. “How in the name of Merlin’s pants have you managed to get your hands on those Horcrux books?” “It--it wasn’t stealing!” said Hermione, looking from Harry to Ron with a kind of desperation. “They were still library books, even if Dumbledore had taken them off the shelves. Anyway, if he really didn’t want anyone to get at them, I’m sure he would have made it much harder to--” “Get to the point!” said Ron. “Well…it was easy,” said Hermione in a small voice. “I just did a Summoning Charm. You know--Accio. And--they zoomed out of Dumbledore’s study window right into the girls’ dormitory.” “But when did you do this?” Harry asked, regarding Hermione with a mixture of admiration and incredulity. “Just after his--Dumbledore’s--funeral,” said Hermione in an even smaller voice. “Right after we agreed we’d leave school and go and look for the Horcruxes. When I went back upstairs to get my things it--it just occurred to me that the more we knew about them, the better it would be…and I was alone in there…so I tried…and it worked. They flew straight in through the open window and I--I packed them.” She swallowed and then said imploringly, “I can’t believe Dumbledore would have been angry, it’s not as though we’re going to use the information to make a Horcrux, is it?” “Can you hear us complaining?” said Ron.
J.K. Rowling (Harry Potter and the Deathly Hallows (Harry Potter, #7))
Where are you? Have you arrived yet?” she asked eagerly. “I have. I’m here and it’s great. I love it.” “I knew you would!” cried Hannah. “So are you coming down? Help me pull a pint or two?” “Yeah, sure. Give me half an hour or so, and I’ll be there.” “Brilliant. See you soon.” “Bye,” replied Layla, hanging up. No time for eating then, she’d better unpack the car, sort out the bedraggled mess that she was, and get down to the pub. Start learning the ropes. Hauling one of the bags upstairs, she went into her bedroom and plonked it on the bed. Before doing anything else, however, she couldn’t resist peering out of the window again, having to imagine Gull Rock this time as the deepening night had hidden it completely. A year, she thought. That’s all I’ve got, a year. Enough time to get over anyone, surely? Taking in a deep breath then letting it slowly out, she bloody hoped so.
Shani Struthers
I also suspect that he loves you." Trying to suppress the anguished hope that flared in her heart, Lauren turned her face to the stained-glass window near their table. "What makes you think so?" "To begin with, he isn't treating you the way he normally treats the women in his life." "I know that. He's nice to the others," Lauren said bitterly. "Exactly!" Mary agreed. "He's always treated his women with an attitude of amused indulgence...of tolerant indifference. While an affair lasts he's attentive and charming. When a woman begins to bore him he courteously but firmly dismisses her from his life. Not once to my knowledge has any woman touched an emotion in him deeper than affection or desire. I've seen them try in the most inventive ways to make him jealous,yet he has reacted with nothing stronger than amusement, or occasionally exasperation. Which brings us to you." Lauren blushed at being correctly categorized with the other woen Nick had taken to bed,but she knew it was useless to deny it. "You," Mary continued quietly, "have evoked genuine anger in him.He is furious with you and with himself. Yet he doesn't dismiss you fro his life; he doesn't even send you downstairs. Doesn't it seem odd to you that he won't let you work for Jim,and simply have you come upstairs to act as translator when Rossi's call finally comes through?" "I think he's keeping me up there for revenge," Lauren said grimly. "i think he is too.Perhaps he's trying to get back at you for what you're making him feel.Or possibly he's trying to find fault with you,so that he won't feel the way he does any longer. I don't know. Nick is a complex man. Jim, Ericka and I are all very close to him, and yet he keeps each one of us at a slight distance. There's a part of himself that he will not share with others, not even us.
Judith McNaught (Double Standards)
Love and religion! thought Clarissa. … How detestable. How detestable they are! For now that the body of Miss Kilman was not before her, it overwhelmed her—the idea. The cruellest things in the world, she thought, seeing them clumsy, hot, domineering; hypocritical, eavesdropping, jealous, infinitely cruel and unscrupulous, dressed in a mackintosh coat, on the landing; love and religion? Had she ever tried to convert anyone herself? Did she not wish everybody merely to be themselves? And she watched out of the window the old lady opposite climbing upstairs. Let her climb upstairs if she wanted to; let her stop; then let her, as Clarissa had often seen her, gain her bedroom, part her curtains and disappear again into the background. Somehow one respected that—that old woman looking out of the window, quite unconscious that she was being watched. There was something solemn in it—but love and religion would destroy that, whatever it was, the privacy of the soul.
Virginia Woolf (Mrs. Dalloway)
At one stage in the heated intramural debate, ex-ACS president and longtime director Alton Ochsner took the floor and regaled his eminent colleagues with a tale intended to disarm those still unpersuaded by the proof against smoking. There was a certain Russian count, Ochsner told them, who, suspecting his attractive young wife of infidelity, advised her that he was leaving their home for an extended trip, but in fact posted himself at a nearby residence to spy on her. The very first night after his leave-taking, the count watched by moonlight as a sleigh pulled up to his house, a handsome lieutenant from the Czar's Guard bounded out, the count's wife greeted the hussar at the door and led him inside, and in a moment the couple was seen through an upstairs bedroom window in candlelit silhouette as they wildly embraced; after another moment the candle was blown out. "Proof! Proof!" said the anguished count, smiting himself on the brow. "If I only had the proof!
Richard Kluger (Ashes to Ashes: America's Hundred-Year Cigarette War, the Public Health, and the Unabashed Triumph of Philip Morris)
her power now that she had lost the hair. So when the bride had finished drinking, and would have got upon Falada again, the maid said, "I shall ride upon Falada, and you may have my horse instead;" so she was forced to give up her horse, and soon afterwards to take off her royal clothes, and put on her maid's shabby ones. At last, as they drew near the end of the journey, this treacherous servant threatened to kill her mistress if she ever told anyone what had happened. But Falada saw it all, and marked it well. Then the waiting-maid got upon Falada, and the real bride was set upon the other horse, and they went on in this way till at last they came to the royal court. There was great joy at their coming, and the prince hurried to meet them, and lifted the maid from her horse, thinking she was the one who was to be his wife; and she was led upstairs to the royal chamber, but the true princess was told to stay in the court below. However, the old king happened to be looking out of the window, and saw her in the yard below; and as she looked very pretty, and too delicate for a waiting-maid, he went into the royal chamber to ask the bride whom it was she had brought with her, that was thus left standing in the court below. "I brought her with me for the sake of her company on the road," said she. "Pray give the girl some work to do, that she may not be idle." The old king could not for some time think of any work for her, but at last he said, "I have a lad who takes care of my geese; she may go and help him." Now the name of this lad, that the real bride was to help in watching the king's geese, was Curdken. Soon after, the false bride said to the prince, "Dear husband, pray do me one piece of kindness." "That I will," said the prince. "Then tell one of your slaughterers to cut off the head of the horse I rode upon, for it was very unruly, and plagued me sadly on the road." But the truth was, she was very much afraid lest Falada should speak, and tell all she had done to the princess. She carried her point, and the faithful Falada was killed; but when the true princess heard of it she wept, and begged the man to nail up Falada's head against a large dark gate in the city through which she had to pass every morning and evening, that there she might still see him sometimes. Then the slaughterer said he would do as she wished, so he cut off the head and nailed it fast under the dark gate. Early the next morning, as the princess and Curdken went out through the gate, she said sorrowfully— "Falada, Falada, there thou art hanging!" and the head answered— "Bride, bride, there thou are ganging! Alas! alas! if thy mother knew it, Sadly, sadly her heart would rue it." Then they went out of the city, driving the geese. And when they came to the meadow, the princess sat down upon a bank there and let down her waving locks of hair, which were all of pure gold; and when Curdken saw it glitter in the sun, he ran up, and would have pulled some of the locks out; but she cried— "Blow, breezes, blow! Let Curdken's hat go! Blow breezes, blow! Let him after it go! "O'er hills, dales, and rocks, Away be it whirl'd, Till the golden locks Are all comb'd and curl'd!" Then there came a wind, so strong that it blew off Curdken's hat, and away it flew over the hills, and he after it; till, by the time he came back, she had done combing and curling her hair, and put it up again safely. Then he was very angry and sulky, and would not speak to her at all; but they watched the geese until it grew dark in the evening, and then drove them homewards. The next morning, as they were going through the dark gate, the poor girl looked up at Falada's head, and cried— "Falada, Falada, there thou art hanging!" and it answered— "Bride, bride, there thou are ganging! Alas! alas! if thy mother knew it, Sadly, sadly her heart would rue it." Then she drove on the geese and sat down again in the meadow, and began to comb
Jacob Grimm (Grimm's Fairy Stories)
There's a faulty signal on this line, about halfway through my journey. I assume it must be faulty, in any case, because it's almost always red; we stop there most days, sometimes just for a few seconds, sometimes for minutes on end. If I sit in carriage D, which I usually do, and the train stops at this signal, which it almost always does, I have a perfect view into my favourite trackside house: number fifteen. Number fifteen is much like the other houses along this stretch of track: a Victorian semi, two storeys high, overlooking a narrow, well-tended garden which runs around twenty feet down towards some fencing, beyond which lie a few metres of no man's land before you get to the railway track. I know this house by heart. I know every brick, I know the colour of the curtains in the upstairs bedroom (beige, with a dark-blue print), I know that the paint is peeling off the bathroom window frame and that there are four tiles missing from a section of the roof over on the right-hand side.
Paula Hawkins (The Girl on the Train)
It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube-shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats — the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill — The Hill, as all the people for many miles round called it — and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining-rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left-hand side (going in), for these were the only ones to have windows, deep-set round windows looking over his garden, and meadows beyond, sloping down to the river.
J.R.R. Tolkien (The Hobbit)
In a far-off country there was once a little girl who was called Silver-hair, because her curly hair shone brightly. She was a sad romp, and so restless that she could not be kept quiet at home, but must needs run out and away, without leave. One day she started off into a wood to gather wild flowers, and into the fields to chase butterflies. She ran here and she ran there, and went so far, at last, that she found herself in a lonely place, where she saw a snug little house, in which three bears lived; but they were not then at home. The door was ajar, and Silver-hair pushed it open and found the place to be quite empty, so she made up her mind to go in boldly, and look all about the place, little thinking what sort of people lived there. Now the three bears had gone out to walk a little before this. They were the Big Bear, and the Middle-sized Bear, and the Little Bear; but they had left their porridge on the table to cool. So when Silver-hair came into the kitchen, she saw the three bowls of porridge. She tasted the largest bowl, which belonged to the Big Bear, and found it too cold; then she tasted the middle-sized bowl, which belonged to the Middle-sized Bear, and found it too hot; then she tasted the smallest bowl, which belonged to the Little Bear, and it was just right, and she ate it all. She went into the parlour, and there were three chairs. She tried the biggest chair, which belonged to the Big Bear, and found it too high; then she tried the middle-sized chair, which belonged to the Middle-sized Bear, and she found it too broad; then she tried the little chair, which belonged to the Little Bear, and found it just right, but she sat in it so hard that she broke it. Now Silver-hair was by this time very tired, and she went upstairs to the chamber, and there she found three beds. She tried the largest bed, which belonged to the Big Bear, and found it too soft; then she tried the middle-sized bed, which belonged to the Middle-sized Bear, and she found it too hard; then she tried the smallest bed, which belonged to the Little Bear, and found it just right, so she lay down upon it, and fell fast asleep. While Silver-hair was lying fast asleep, the three bears came home from their walk. They came into the kitchen, to get their porridge, but when the Big Bear went to his, he growled out: “SOMEBODY HAS BEEN TASTING MY PORRIDGE!” and the Middle-sized Bear looked into his bowl, and said: “Somebody Has Been Tasting My Porridge!” and the Little Bear piped: “Somebody has tasted my porridge and eaten it all up!” Then they went into the parlour, and the Big Bear growled: “SOMEBODY HAS BEEN SITTING IN MY CHAIR!” and the Middle-sized Bear said: “Somebody Has Been Sitting In My Chair!” and the Little Bear piped: “Somebody has been sitting in my chair, and has broken it all to pieces!” So they went upstairs into the chamber, and the Big Bear growled: “SOMEBODY HAS BEEN TUMBLING MY BED!” and the Middle-sized Bear said: “Somebody Has Been Tumbling My Bed!” and the little Bear piped: “Somebody has been tumbling my bed, and here she is!” At that, Silver-hair woke in a fright, and jumped out of the window and ran away as fast as her legs could carry her, and never went near the Three Bears’ snug little house again.
Robert Southey (Goldilocks and the Three Bears)
The past few days when I've been at that window upstairs, I've thought a bit of the ``shining city upon a hill.'' The phrase comes from John Winthrop, who wrote it to describe the America he imagined. What he imagined was important because he was an early Pilgrim, an early freedom man. He journeyed here on what today we'd call a little wooden boat; and like the other Pilgrims, he was looking for a home that would be free. I've spoken of the shining city all my political life, but I don't know if I ever quite communicated what I saw when I said it. But in my mind it was a tall, proud city built on rocks stronger than oceans, wind-swept, God-blessed, and teeming with people of all kinds living in harmony and peace; a city with free ports that hummed with commerce and creativity. And if there had to be city walls, the walls had doors and the doors were open to anyone with the will and the heart to get here. That's how I saw it, and see it still. And how stands the city on this winter night? More prosperous, more secure, and happier than it was 8 years ago. But more than that: After 200 years, two centuries, she still stands strong and true on the granite ridge, and her glow has held steady no matter what storm. And she's still a beacon, still a magnet for all who must have freedom, for all the pilgrims from all the lost places who are hurtling through the darkness, toward home.
Ronald Reagan
think you should let me go on my knees and eat you out until tomorrow morning.” God. God. I shake my head, dizzy, warm, dazzled. “Let’s just have sex. You—you can’t be enjoying this,” I tell him around a moan. I clearly am. Enjoying it. “You sure?” He angles me a little, and there is no mistaking the hot bulge of his cock against my hip. “Oh.” “Yeah.” “I’m not—I’m not even doing anything. If we went to bed, I could—” “You make soft little sounds. You shift your hips when I do—ah, yes. This. And these tiny spasms around my finger, which make me think of you clenching around my cock. Given how tight you are, it isn’t happening anytime soon, but—” He closes his eyes and takes a deep, undone breath. “Sorry.” His rhythm on my clit is picking up, and I’m fading fast, all shallow breathing and spotty vision. “Sorry?” “Just trying to get a grip.” “You don’t have to get a grip. You can take me upstairs and—” My channel contracts around him and we both groan. “You sure you don’t want two fingers, Elsie?” I let my shoulders fall back against the window. It’s wet with my sweat, not cold anymore. “We should try.” He watches himself this time. He stares at his index finger disappearing inside me alongside the middle, his other hand drawing calming patterns on my waist. I clench and gasp and twist on him, but he doesn’t let up, keeps pushing in slowly, and after some resistance, I’m taking him, arching involuntarily to make room, letting out a final little noise of gratitude and disbelief. “Jesus,” Jack says. “Fuck.” I’m getting used to it. This sense of being crammed with something hot and beautiful. I move experimentally
Ali Hazelwood (Love, Theoretically)
So, about your classes,” said Doug. “I put in the requirements already. History of Woodsmen and Pirates, Safety Rules for the Internet, and”—he cleared his throat—“Remedial Goodness 101.” “Let me guess...” said Mal. She popped a piece of candy into her mouth. “New class?” Doug nodded sheepishly. “Come on, guys,” Mal said, dropping the wrapper on the floor. “Let’s go find our dorms.” She started up a flight of stairs. Carlos, Jay, and Evie followed her. “Oh! Uh, yeah, your dorms are that way, guys,” said Doug, pointing in the opposite direction. As Mal and her friends came back down the stairs and headed in the direction he indicated, Doug hung back, counting through the dwarves again. “Dopey, Doc, Bashful, Happy, Grumpy, Sleepy, and...” “Sneezy,” said Carlos, passing him and ascending the opposite staircase. Doug sighed and looked at the ceiling. Upstairs, Mal and Evie opened the door to their dorm room. It was light and airy and dappled in sunlight. The white canopy beds were covered with pink pillows, and flowery curtains fluttered gently in the fresh breeze from the open windows. Evie’s eyes widened with delight as Mal’s narrowed in horror. “Wow,” said Evie. “This place is so amazing—” “Gross,” said Mal. “I know, right?” said Evie, changing her tune. “Amazingly gross. Ew!” When Mal wasn’t looking, Evie couldn’t help giving a silent gasp of joy at her new crib. “I am going to need some serious sunscreen,” said Mal, arms crossed. “Yeah,” said Evie. “E,” said Mal, pointing to the windows. She closed the curtains as Evie moved to other windows in the room and did the same, plunging the dorm into darkness. “Whoa!” said Mal. “That is much better.
Walt Disney Company (Descendants Junior Novel)
Love and religion! thought Clarissa, going back into the drawing-room, tingling all over. How detestable, how detestable they are! For now that the body of Miss Kilman was not before her, it overwhelmed her — the idea. The cruelest things in the world, she thought, seeing them clumsy, hot, domineering, hypocritical, eavesdropping, jealous, infinitely cruel and unscrupulous, dressed in a mackintosh coat, on the landing; love and religion. Had she ever tried to convert any one herself? Did she not wish everybody merely to be themselves? And she watched out of the window the old lady opposite climbing upstairs. Let her climb upstairs if she wanted to; let her stop; then let her, as Clarissa had often seen her, gain her bedroom, part her curtains, and disappear again into the background. Somehow one respected that — that old woman looking out of the window, quite unconscious that she was being watched. There was something solemn in it — but love and religion would destroy that, whatever it was, the privacy of the soul. The odious Kilman would destroy it. Yet it was a sight that made her want to cry. Love destroyed too. Everything that was fine, everything that was true went. Take Peter Walsh now. There was a man, charming, clever, with ideas about everything. If you wanted to know about Pope, say, or Addison, or just to talk nonsense, what people were like, what things meant, Peter knew better than any one. It was Peter who had helped her; Peter who had lent her books. But look at the women he loved — vulgar, trivial, commonplace. Think of Peter in love — he came to see her after all these years, and what did he talk about? Himself. Horrible passion! she thought. Degrading passion! she thought, thinking of Kilman and her Elizabeth walking to the Army and Navy Stores.
Virginia Woolf (Complete Works of Virginia Woolf)
Sam’s the man who’s come to chop us up to bits. No wonder I kicked him out. No wonder I changed the locks. If he cannot stop death, what good is he? ‘Open the door. Please. I’m so tired,’ he says. I look at the night that absorbed my life. How am I supposed to know what’s love, what’s fear? ‘If you’re Sam who am I?’ ‘I know who you are.’ ‘You do?’ ‘Yeah.’ ‘Who?’ Don’t say wife, I think. Don’t say mother. I put my face to the glass, but it’s dark. I don’t reflect. Sam and I watch each other through the window of the kitchen door. He coughs some more. ‘I want to come home,’ he says. ‘I want us to be okay. That’s it. Simple. I want to come home and be a family.’ ‘But I am not simple.’ My body’s coursing with secret genes and hormones and proteins. My body made eyeballs and I have no idea how. There’s nothing simple about eyeballs. My body made food to feed those eyeballs. How? And how can I not know or understand the things that happen inside my body? That seems very dangerous. There’s nothing simple here. I’m ruled by elixirs and compounds. I am a chemistry project conducted by a wild child. I am potentially explosive. Maybe I love Sam because hormones say I need a man to kill the coyotes at night, to bring my babies meat. But I don’t want caveman love. I want love that lives outside the body. I want love that lives. ‘In what ways are you not simple?’ I think of the women I collected upstairs. They’re inside me. And they are only a small fraction of the catalog. I think of molds, of the sea, the biodiversity of plankton. I think of my dad when he was a boy, when he was a tree bud. ‘It’s complicated,’ I say, and then the things I don’t say yet. Words aren’t going to be the best way here. How to explain something that’s coming into existence? ‘I get that now.’ His shoulders tremble some. They jerk. He coughs. I have infected him. ‘Sam.’ We see each other through the glass. We witness each other. That’s something, to be seen by another human, to be seen over all the years. That’s something, too. Love plus time. Love that’s movable, invisible as a liquid or gas, love that finds a way in. Love that leaks. ‘Unlock the door,’ he says. ‘I don’t want to love you because I’m scared.’ ‘So you imagine bad things about me. You imagine me doing things I’ve never done to get rid of me. Kick me out so you won’t have to worry about me leaving?’ ‘Yeah,’ I say. ‘Right.’ And I’m glad he gets that. Sam cocks his head the same way a coyote might, a coyote who’s been temporarily confused by a question of biology versus mortality. What’s the difference between living and imagining? What’s the difference between love and security? Coyotes are not moral. ‘Unlock the door?’ he asks. This family is an experiment, the biggest I’ve ever been part of, an experiment called: How do you let someone in? ‘Unlock the door,’ he says again. ‘Please.’ I release the lock. I open the door. That’s the best definition of love. Sam comes inside. He turns to shut the door, then stops himself. He stares out into the darkness where he came from. What does he think is out there? What does he know? Or is he scared I’ll kick him out again? That is scary. ‘What if we just left the door open?’ he asks. ‘Open.’ And more, more things I don’ts say about the bodies of women. ‘Yeah.’ ‘What about skunks?’ I mean burglars, gangs, evil. We both peer out into the dark, looking for thees scary things. We watch a long while. The night does nothing. ‘We could let them in if they want in,’ he says, but seems uncertain still. ‘Really?’ He draws the door open wider and we leave it that way, looking out at what we can’t see. Unguarded, unafraid, love and loved. We keep the door open as if there are no doors, no walls, no skin, no houses, no difference between us and all the things we think of as the night.
Samantha Hunt (The Dark Dark)
Come here.” Without regard for modesty, she pulled off her T-shirt and wadded it up to stanch his wounds. He splayed his fingers on her bare stomach and grinned. “Honey, I’m afraid I can’t help you with that right now. Maybe later?” How could he joke and flirt when she was so afraid? “Max. You’re bleeding. Maybe dying. I don’t want to lose you.” “Come. Here.” He grabbed her and pulled her down into the grass beside him. He pressed a kiss to her temple and rubbed his grizzled cheek against hers. The sirens were getting closer. “Are you okay? Are you hurt?” “I’m fine. You’re the one who got shot. Twice.” “I’m gonna live through both. I’m a tough guy, remember?” “Damn it, Max—” “Rosemary March. Did you just swear? You know I don’t like hearing that from you,” he teased. He pulled her in for a kiss that lasted until a groan of pain forced him to come up for air. “You get under my skin, Rosie.” “Like an itchy rash?” she teased. “Like an alarm clock finally waking me up to the life I’m supposed to have. With you.” So when did the tough guy learn to speak such beautiful things? Tears stung her eyes again as she found a spot where she could hug him without causing any pain. “I know I’m not the guy you expected to want you like this, and I know you weren’t the woman I was looking for. Hell, I wasn’t even looking.” “Neither was I.” “But we found each other.” “We’re good for each other.” “I’m not an easy man to live with. I come with a lot of emotional baggage.” “And I don’t?” “You can do better than me.” Rosie shook her head, smiling. “I can’t do better than a good man who loves me. A man who encourages me to be myself and to be strong and who makes me feel safer and more loved than I have ever felt in my life.” “I do love you, Rosie.” “I love you, Max.” “What are we going to do about these feelings?” Max asked. “What do you want to do?” " Let’s give the Dinkles something to talk about.” “You’re moving in upstairs?” “And opening all the windows.” Rosie smiled. “Oh, I hope we give them plenty to talk about.
Julie Miller
A winnowing fan was droning away in one of the barns and dust poured out of the open door. On the threshold stood the master himself, Alyokhin, a man of about forty, tall, stout, with long hair, and he looked more like a professor or an artist than a landowner. He wore a white shirt that hadn't been washed for a very long time, and it was tied round with a piece of rope as a belt. Instead of trousers he was wearing underpants; mud and straw clung to his boots. His nose and eyes were black with dust. He immediately recognised Ivan Ivanych and Burkin, and was clearly delighted to see them. 'Please come into the house, gentlemen,' he said, smiling, 'I'll be with you in a jiffy.' It was a large house, with two storeys. Alyokhin lived on the ground floor in the two rooms with vaulted ceilings and small windows where his estate managers used to live. They were simply furnished and smelled of rye bread, cheap vodka and harness. He seldom used the main rooms upstairs, reserving them for guests. Ivan Ivanych and Burkin were welcomed by the maid, who was such a beautiful young woman that they both stopped and stared at each other. 'You can't imagine how glad I am to see you, gentlemen,' Alyokhin said as he followed them into the hall. 'A real surprise!' Then he turned to the maid and said, 'Pelageya, bring some dry clothes for the gentlemen. I suppose I'd better change too. But I must have a wash first, or you'll think I haven't had one since spring. Would you like to come to the bathing-hut while they get things ready in the house?' The beautiful Pelageya, who had such a dainty look and a gentle face, brought soap and towels, and Alyokhin went off with his guests to the bathing-hut. 'Yes, it's ages since I had a good wash,' he said as he undressed. 'As you can see, it's a nice hut. My father built it, but I never find time these days for a swim.' He sat on one of the steps and smothered his long hair and neck with soap; the water turned brown. 'Yes, I must confess...' Ivan Ivanych murmered, with a meaningful look at his head. 'Haven't had a wash for ages,' Alyokhin repeated in his embarrassment and soaped himself again; the water turned a dark inky blue.
Anton Chekhov (Gooseberries and Other Stories (The Greatest Short Stories, Pocket Book))
The wars break out and die down, but then there’s a flareup elsewhere. Houses cracked open like eggs, their contents torched or stolen or stomped vindictively underfoot; refugees strafed from airplanes. In a million cellars the bewildered royal family faces the firing squad; the gems sewn into their corsets will not save them. Herod’s troops patrol a thousand streets; just next door, Napoleon makes off with the silverware. In the wake of the invasion, any invasion, the ditches fill up with raped women. To be fair, raped men as well. Raped children, raped dogs and cats. Things can get out of control. But not here; not in this gentle, tedious backwater; not in Port Ticonderoga, despite a druggie or two in the parks, despite the occasional break-in, despite the occasional body found floating around in the eddies. We hunker down here, drinking our bedtime drinks, nibbling our bedtime snacks, peering at the world as if through a secret window, and when we’ve had enough of it we turn it off. So much for the twentieth century, we say, as we make our way upstairs. But there’s a far-off roaring, like a tidal wave racing inshore. Here comes the twentyfirst century, sweeping overhead like a spaceship filled with ruthless lizard-eyed aliens or a metal pterodactyl. Sooner or later it will sniff us out, it will tear the roofs off our flimsy little burrows with its iron claws, and then we will be just as naked and shivering and starving and diseased and hopeless as the rest. Excuse this digression. At my age you indulge in these apocalyptic visions. You say, The end of the world is at hand. You lie to yourself – I’m glad I won’t be around to see it – when in fact you’d like nothing better, as long as you can watch it through the little secret window, as long as you won’t be involved. But why bother about the end of the world? It’s the end of the world every day, for someone. Time rises and rises, and when it reaches the level of your eyes you drown. What happened next? For a moment I’ve lost the thread, it’s hard for me to remember, but then I do. It was the war, of course. We weren’t prepared for it, but at the same time we knew we’d been there before. It was the same chill, the chill that rolled in like a fog, the chill into which I was born.
Margaret Atwood (The Blind Assassin)
We ran back, he first and I following him, between the beds and downstairs, and we picked up an armful of wood from the pile by the wall and the knife for whittling and ran up again, we couldn’t be quick enough. He knelt down in front of the stove, and it wasn’t long before he had done the trick again. Outside the window it was night now, and the wind blew vaporous white milk against the panes, milk over the forest and the fjord, but in here there were just the two of us and the stoves and the sound of wood burning behind the black iron and sending waves of heat out into the rooms and into the walls and timbers that sucked it in. I smelt the scent of wood growing warm, and it made me as white in my head as the whirling night outside, and hungry. We stood in the kitchen with our coats on eating the contents of two tins with one spoon we took it in turns to use, and we laughed, I didn’t even notice what I was eating. Soon it was warm enough for us to take off some clothes, his overcoat and my coat, and while he hung his on a hook, I let mine fall to the floor. I took off the sweater I wore underneath and dropped that on the floor too, I unbuttoned my blouse and still felt the cold against my neck. But the heat rose to the ceiling and up to the first floor and there was another stove there. Then I calmly walked across the room and upstairs with his eyes on my back, and at first he stood still, and then he followed, and when he got to the top my blouse was off and my stockings on the floor. I slowly turned round and stood there, me inside my skin, while he was fully clothed, and I cleared my head of every thought I had ever had and let them sink out into my skin till it was painfully taut and shinning all over my body, and he saw it and did not know what it was he saw. I put my arms round my back and unfastened my bra and slid the straps over my shoulders, and I thought he might be going to weep, but his voice sounded hoarse as he whispered: “You’re lovely,” and I answered “Yes”, and didn’t know if that was true. But it did not matter, for I knew what I wanted and what to say, and his hands were as I’d thought they would be, his skins as soft and his body as hard, and it was so warm around us, and the whole time I smelt the dampness of the bedclothes like the ones at Vrangbæk, and then I just shut my eyes and floated away.
Per Petterson (To Siberia)
Hey…you okay?” Marlboro Man repeated. My heart fluttered in horror. I wanted to jump out of the bathroom window, scale down the trellis, and hightail it out of there, forgetting I’d ever met any of these people. Only there wasn’t a trellis. And outside the window, down below, were 150 wedding guests. And I was sweating enough for all of them combined. I was naked and alone, enduring the flop sweat attack of my life. It figured. It was usually the times I felt and looked my absolute best when I wound up being humbled in some colossally bizarre way. There was the time I traveled to my godmother’s son’s senior prom in a distant city and partied for an hour before realizing the back of my dress was stuck inside my panty hose. And the time I entered the after-party for my final Nutcracker performance and tripped on a rug, falling on one of the guest performers and knocking an older lady’s wineglass out of her frail arms. You’d think I would have come to expect this kind of humiliation on occasions when it seemed like everything should be going my way. “You need anything?” Marlboro Man continued. A drop of sweat trickled down my upper lip. “Oh, no…I’m fine!” I answered. “I’ll be right out! You go on back to the party!” Go on, now. Run along. Please. I beg you. “I’ll be out here,” he replied. Dammit. I heard his boots travel a few steps down the hall and stop. I had to get dressed; this was getting ridiculous. Then, as I stuck my big toe into the drenched leg of my panty hose, I heard what I recognized as Marlboro Man’s brother Tim’s voice. “What’s she doing in there?” Tim whispered loudly, placing particularly uncomfortable emphasis on “doing.” I closed my eyes and prayed fervently. Lord, please take me now. I no longer want to be here. I want to be in Heaven with you, where there’s zero humidity and people aren’t punished for their poor fabric choices. “I’m not sure,” Marlboro Man answered. The geyser began spraying again. I had no choice but to surge on, to get dressed, to face the music in all my drippy, salty glory. It was better than staying in the upstairs bathroom of his grandmother’s house all night. God forbid Marlboro Man or Tim start to think I had some kind of feminine problem, or even worse, constipation or diarrhea! I’d sooner move to another country and never return than to have them think such thoughts about me.
Ree Drummond (The Pioneer Woman: Black Heels to Tractor Wheels)
For God’s sake, Anders, your pacing is driving me wild,” Leigh said with exasperation. “Sit down.” Anders paused with surprise and turned to peer at the brunette curled up in the corner of the couch with a book in her hands. “I’m not pacing, I’m . . .” She arched her eyebrows, waiting, and he sighed. “Pacing,” he acknowledged and sank onto the nearest chair. He rested his elbows on his spread knees, allowing his hands to dangle between them, and stared out the window. After several minutes, he dropped back in the chair with a heavy sigh, then straightened and asked impatiently, “What the devil is she doing up there?” “She’s checking with her academic advisor to ensure that missing the first two weeks of classes won’t bugger her up for the term,” Leigh reminded him patiently. “Yeah, but that should have been a five-minute conversation. She’s been up there over an hour,” he complained. Valerie had helped clean up the kitchen after breakfast, then had taken Roxy with her and escaped upstairs on the pretext of calling the veterinary college to be sure she was still welcome after missing the first two weeks of the semester. “Yes, well, perhaps whoever she needs to speak to wasn’t available and she’s waiting for a call back,” Leigh suggested. “Or maybe they had work for her to do to keep from falling behind and she’s up their reading her textbooks and studying.” “Or maybe she’s hiding,” Anders said unhappily. Leigh tsked with irritation. “Why would she be hiding?” Anders didn’t respond, but in his mind he was remembering their kiss that morning . . . well, kisses. Or maybe one kiss. He wasn’t sure how to classify it. Did you have to come up for air to classify it as more than one kiss? Or was it counted in minutes or seconds? Because it had been a constant devouring of each other’s mouths for several minutes. “Oh my, yes. I see,” Leigh murmured. Anders glanced up at her murmur and noted her narrowed concentration on him. She’d read his damn mind. “Yes, that might have made her want to hide out,” she said sympathetically. “It wasn’t that long ago when I had my first encounter with life mate passion. It was pretty terrifying. And she didn’t have any idea what was happening. I mean, as an immortal you had heard about it, had some idea of what to expect, and yet you were still overwhelmed by it. Imagine how she must feel. She got hit by a nuclear explosion of passion out of nowhere.” Anders sighed and ran one hand wearily over his closely cropped hair. Leigh wasn’t saying a damned thing he hadn’t already thought of. Which was why he suspected Valerie was hiding out. The question was, how long would she hide? And how was he supposed to get her to know and trust him if she wouldn’t come out of her room?
Lynsay Sands (Immortal Ever After (Argeneau, #18))
HE DO THE POLICE IN DIFFERENT VOICES: Part I THE BURIAL OF THE DEAD First we had a couple of feelers down at Tom's place, There was old Tom, boiled to the eyes, blind, (Don't you remember that time after a dance, Top hats and all, we and Silk Hat Harry, And old Tom took us behind, brought out a bottle of fizz, With old Jane, Tom's wife; and we got Joe to sing 'I'm proud of all the Irish blood that's in me, 'There's not a man can say a word agin me'). Then we had dinner in good form, and a couple of Bengal lights. When we got into the show, up in Row A, I tried to put my foot in the drum, and didn't the girl squeal, She never did take to me, a nice guy - but rough; The next thing we were out in the street, Oh it was cold! When will you be good? Blew in to the Opera Exchange, Sopped up some gin, sat in to the cork game, Mr. Fay was there, singing 'The Maid of the Mill'; Then we thought we'd breeze along and take a walk. Then we lost Steve. ('I turned up an hour later down at Myrtle's place. What d'y' mean, she says, at two o'clock in the morning, I'm not in business here for guys like you; We've only had a raid last week, I've been warned twice. Sergeant, I said, I've kept a decent house for twenty years, she says, There's three gents from the Buckingham Club upstairs now, I'm going to retire and live on a farm, she says, There's no money in it now, what with the damage don, And the reputation the place gets, on account off of a few bar-flies, I've kept a clean house for twenty years, she says, And the gents from the Buckingham Club know they're safe here; You was well introduced, but this is the last of you. Get me a woman, I said; you're too drunk, she said, But she gave me a bed, and a bath, and ham and eggs, And now you go get a shave, she said; I had a good laugh, couple of laughs (?) Myrtle was always a good sport'). treated me white. We'd just gone up the alley, a fly cop came along, Looking for trouble; committing a nuisance, he said, You come on to the station. I'm sorry, I said, It's no use being sorry, he said; let me get my hat, I said. Well by a stroke of luck who came by but Mr. Donovan. What's this, officer. You're new on this beat, aint you? I thought so. You know who I am? Yes, I do, Said the fresh cop, very peevish. Then let it alone, These gents are particular friends of mine. - Wasn't it luck? Then we went to the German Club, Us We and Mr. Donovan and his friend Joe Leahy, Heinie Gus Krutzsch Found it shut. I want to get home, said the cabman, We all go the same way home, said Mr. Donovan, Cheer up, Trixie and Stella; and put his foot through the window. The next I know the old cab was hauled up on the avenue, And the cabman and little Ben Levin the tailor, The one who read George Meredith, Were running a hundred yards on a bet, And Mr. Donovan holding the watch. So I got out to see the sunrise, and walked home. * * * * April is the cruellest month, breeding lilacs out of the dead land....
T.S. Eliot (The Waste Land Facsimile)
She says, enough, enough, just enough. It's too much already, I've never-- thank God-- had a problem with any of my children, but now all of a sudden it's like you are three different people and I don't ever know which one I'm going to get. It's exhausting, you hear me, you are exhausting me. Can we not just have some real, genuine peace in this house? Between you and your father everyone here is always walking around like someone has died or is about to die. Or people are shouting or sulking or whatever it is you men do. You see my hair. You people are making me old! For once can someone not fucking shout at me for something, I say, I can't wait until I'm out of this stupid fucking place and no one can yell at me. My mother's mouth falls open and her eyes lock on my face. She has heard me swear before. on the phone when joking with some friends but never have I said any such thing to either one of my parents. Never. I have always assumed that such an event would result in my being beaten within an inch of my unborn grandchild's life, but she just stands there like a malfunctioning robot. Is anyone keeping you here, she says finally. If you are unhappy, please go. Go and find the place where you feel happy. I'm sorry, I say, but it's too late. I've fucked up. The less I've said the better things have been, the less likely my father has seemed ready to pounce on me for the smallest mistake. If she tells him what has happened, this might be the end. I'm really sorry. My hands smell of cucumber as I wipe my nose. She tosses the vegetable peeler in her hand to the counter between us. Its protected blades glint in the sunlight streaming through the large bay windows. Do what you like, she says. Mommy, wait please, I say. Get out of here, I don't want to talk to you. Not like this, in my house, my mother says. Her voice is flat and hard, her eyes fixed directly to mine. Ypu should go and find whatever it is you want to find. Me, sef, I'm tired, I'm going upstairs, she says. I listen to her reach the top stair, enter her bedroom, and shut the door. It's just me now.
Uzodinma Iweala (Speak No Evil)
She says, enough, enough, just enough. It's too much already, I've never-- thank God-- had a problem with any of my children, but now all of a sudden it's like you are three different people and I don't ever know which one I'm going to get. It's exhausting, you hear me, you are exhausting me. Can we not just have some real, genuine peace in this house? Between you and your father everyone here is always walking around like someone has died or is about to die. Or people are shouting or sulking or whatever it is you men do. You see my hair. You people are making me old! For once can someone not fucking shout at me for something, I say, I can't wait until I'm out of this stupid fucking place and no one can yell at me. My mother's mouth falls open and her eyes lock on my face. She has heard me swear before, on the phone when joking with some friends but never have I said any such thing to either one of my parents. Never. I have always assumed that such an event would result in my being beaten within an inch of my unborn grandchild's life, but she just stands there like a malfunctioning robot. Is anyone keeping you here, she says finally. If you are unhappy, please go. Go and find the place where you feel happy. I'm sorry, I say, but it's too late. I've fucked up. The less I've said the better things have been, the less likely my father has seemed ready to pounce on me for the smallest mistake. If she tells him what has happened, this might be the end. I'm really sorry. My hands smell of cucumber as I wipe my nose. She tosses the vegetable peeler in her hand to the counter between us. Its protected blades glint in the sunlight streaming through the large bay windows. Do what you like, she says. Mommy, wait please, I say. Get out of here, I don't want to talk to you. Not like this, in my house, my mother says. Her voice is flat and hard, her eyes fixed directly to mine. Ypu should go and find whatever it is you want to find. Me, sef, I'm tired, I'm going upstairs, she says. I listen to her reach the top stair, enter her bedroom, and shut the door. It's just me now.
Uzodinma Iweala (Speak No Evil)
Sharon did have house guests to keep her company, though. Abigail Folger, the heiress to the Folger Coffee Company and her boyfriend, Wojciech Frykowski, were also living at Cielo Drive. On the evening of August 8, 1969, Sharon made phone calls to her sister and her friend to cancel plans she had made, saying that she was tired and would spend the night in with another friend, Jay Sebring. The foursome, Sharon, Jay, Abigail, and Wojciech, ate at a local Mexican restaurant before returning to Sharon’s home at Cielo Drive. At 11.30 pm, Manson took his follower and right-hand man Tex Watson to one side and explained to him what he had to do. For the good of the family, Manson said, Tex had to lead the others to Cielo Drive to “totally destroy everyone in that house” and steal whatever they could. It’s unclear whether Manson even knew who was now living in that particular house, but he must have known they were rich and that they would serve as an example to the rest of the world that no one was safe. Manson rounded up Susan Atkins, Patricia Krenwinkel, and new follower Linda Kasabian. Dressed in black, the girls grabbed their knives and jumped into the car with Tex. Manson rested at Spahn Ranch, waiting for news from 10050 Cielo Drive. When the group arrived at the house, Tex climbed a telephone pole and snipped the wire. It was only now that the group had arrived that Tex told the girls exactly what they were there to do. If the girls were shocked, they didn’t show it, and they dutifully followed Tex’s lead in what came next. Steve Parent, an 18-year-old friend of the caretaker at Cielo Drive, was the first to be murdered. Parent was leaving the property in his car, having just visited his friend, when Tex shot him four times. Tex then entered the house through an open window and told the girls to follow him inside. New follower Kasabian was terrified and unable to help, so Tex told her to go back to the car and keep watch. In the sitting room of the house, Tex woke Wojciech who had fallen asleep on the couch, and Susan ventured upstairs where she found Abigail reading in bed. Abigail saw Susan but wasn’t alarmed at first. It wasn’t unusual for strangers to be in the house. But when Susan brandished a large knife and told Abigail, Sharon, and Jay to go with her downstairs, the group were terrified. Tex tied a rope around Wojciech’s throat, threw it over a beam in the house, and tied it around Sharon’s throat. Tex demanded money and grew furious when no one produced any, then he shot Jay in the stomach. As Sharon and Abigail screamed in terror, Tex stabbed Jay, over and over again. Realizing that no one was going to escape alive if he didn’t do something, Wojciech tried to break free, causing Susan to attack him with a knife. Wojciech was able to overpower Susan, so Tex shot him twice then battered him with the handle of his gun. Incredibly, Wojciech still managed to escape the house, but Tex caught up with him on the lawn and ended his life with a knife. Abigail also broke free of Patricia, but she caught her and stabbed her repeatedly. Tex finally ended Abigail’s life with his knife. Sharon was the only person still alive in the house; she pleaded for her life and the life of her unborn child. As Sharon begged, Susan Atkin’s began stabbing her, being sure to stab her directly through her pregnant stomach. Later, Susan said she “got sick of listening to her so I stabbed her and then I just stabbed her and she fell and I stabbed her again, just kept stabbing and stabbing.” The group almost left without writing the bloody graffiti Manson had explicitly told them to leave behind. Susan went back into the house and used a towel to write “PIG” on the front door of 10500 Cielo Drive in the victims’ blood.
Hourly History (Charles Manson: A Life From Beginning to End (Biographies of Criminals))
Halfway home I stopped at a deli and had soup and a sandwich and coffee. There was a bizarre story in the Post. Two neighbors in Queens had been arguing for months because of a dog that barked in its owner’s absence. The previous night, the owner was walking the dog when the animal relieved itself on a tree in front of the neighbor’s house. The neighbor happened to be watching and shot at the dog from an upstairs window with a bow and arrow. The dog’s owner ran back into his house and came out with a Walther P-38, a World War II souvenir. The neighbor also ran outside with his bow and arrow, and the dog’s owner shot him dead. The neighbor was eighty-one, the dog’s owner was sixty-two, and the two men had lived side by side in Little Neck for over twenty years. The dog’s age wasn’t given, but there was a picture of him in the paper, straining against a leash in the hands of a uniformed police officer.
Lawrence Block (Eight Million Ways to Die (Matthew Scudder, #5))
Matthew looked up the street. The pub on the corner was the centre of a mob of people kicking, gouging and biting each other to get to the bar. An upstairs window shattered and a stream of people fell twenty feet to the hard concrete pavement. The courting couple lay in the middle of the junction having loud and enthusiastic sex, the crowd around them either openly masturbating or dropping to the ground in groupings of naked limbs.
Peter Bailey (Kings Of This World)
Another thing etched into my memory, was that someone stole my swimming suit from the wash line that ran from an upstairs window to a rickety wooden pole behind the house. That someone would steal clothing from a clothesline puts the desperation of people during the depression years into focus. Discovering this, I ran to tell Charlie the Cop…. Charlie was a mounted policeman who sat tall in the saddle, and he was my idol. He cut quite an impressive figure of authority in his blue uniform, badge, and highly shined, black riding boots. Charlie, Jersey City’s finest, carefully listened to my tale of woe and promised to get to the bottom of this serious criminal matter. I believed what he said and trusted him to get my itchy two- piece, woolen, swimsuit back. Years went by and he never did apprehend the culprits, but in my heart I know that this is still an open case with the Jersey City Police Department and Charlie is still out there looking! We respected the police and thought of them as friends. Charlie on his horse patrolled our area and was known and trusted by everyone. I wish that the police were thought of in the same way today.
Hank Bracker
EVERYONE THOUGHT QUINN was watching Meet the Press with Grandma, even Grandma. Lying on the sofa, covered with an afghan, Quinn had simply rolled off and stuffed pillows under the covers while Grandma stared at the screen. Then she had sidled upstairs, out her bedroom window, and down the oak tree growing right by the house.
Luanne Rice (Safe Harbor)
Imagine that you are in your house—no—you are locked in your house, cannot get out. It is the dead of winter. The drifted snow is higher than your windows, blocking the light of both moon and sun. Around the house, the wind moans, night and day. Now imagine that even though you have plenty of electric lights, and perfectly good central heating, you are almost always in the dark and quite cold, because something is wrong with the old-fashioned fuse box in the basement. Inside this cobwebbed, innocuous-looking box, the fuses keep burning out, and on account of this small malfunction, all the power in the house repeatedly fails. You have replaced so many melted fuses that now your little bag of new ones is empty; there are no more. You sigh in frustration, and regard your frozen breath in the light of the flashlight. Your house, which could be so cozy, is tomblike instead. In all probability, there is something quirky in the antiquated fuse box; it has developed some kind of needless hair trigger, and is not really reacting to any dangerous electrical overload at all. Should you get some pennies out of your pocket, and use them to replace the burned-out fuses? That would solve the power-outage problem. No more shorts, not with copper coins in there. Using coins would scuttle the safeguard function of the fuse box, but the need for a safeguard right now is questionable, and the box is keeping you cold and in the dark for no good reason. Well, probably for no good reason. On the other hand, what if the wiring in the house really is overloaded somehow? A fire could result, probably will result eventually. If you do not find the fire soon enough, if you cannot manage to put the fire out, the whole house could go up, with you trapped inside. You know that death by burning is hideous. You know also that your mind is playing tricks, but thinking about fire, you almost imagine there is smoke in your nostrils right now. So, do you go back upstairs and sit endlessly in a dark living room, defeated, numb from the cold, though you have buried yourself under every blanket in the house? No light to read by, no music, just the wail and rattle of the icy wind outside? Or, in an attempt to feel more human, do you make things warm and comfortable? Is it wise to gamble with calamity and howling pain? If you turn the power back on, will you not smell nonexistent smoke every moment you are awake? And will you not have far too many of these waking moments, for how will you ever risk going to sleep? Do you sabotage the fuse box? I
Martha Stout (The Myth of Sanity: Divided Consciousness and the Promise of Awareness)
As a Restricted Person under South Africa’s banning decree I was forbidden by the government to write anything — even a diary or postcard — and the Security Police in charge of my surveillance had threatened to raid my house at any time of day or night to ensure that I wasn’t breaking the ban. My home was under constant observation from the sidewalk and from the Security Police cars that cruised close by, and there were clear indications that apart from monitoring all telephone calls and intercepting all mail, they had planted listening devices inside the house. For these reasons I wrote most of this book in long-hand, only twice using a typewriter while playing a phonograph record to mask the sounds of the keys. I wrote at a table by an upstairs window from which I could watch the rather predictable routine of my watchers, prepared should they approach the house.
Donald Woods (Biko: The powerful biography of Steve Biko and the struggle of the Black Consciousness Movement)
Though if I count my upstairs neighbor Mecca's cat hanging outside my window on the fire escape, then I have a gorgeous pussy purring for me.
Glenna Maynard (The Roommate Pact)
At first I felt something like an oppressed anxiety when I was near the little sick girl, which later changed into pious and reverential awe in face of this dumb and strangely moving suffering. Whenever I saw her, an obscure sensation would arise in me that she must surely die. And then I grew afraid to look her in the face. Whenever I roamed the forests during the day, feeling so joyful in this solitude and peace, when I stretched out wearily on the moss and gazed for hours together into the bright, shimmering sky, into whose very depths one could see, when a strange and profound sense of joy thrilled me, I would suddenly think of the sick Maria - then I would get up and roam aimlessly about, overwhelmed by inexplicable thoughts and feel a dull pressure in my head and my heart which brought me to the verge of tears. At times when I walked in the evening along the dusty main street which was filled with the scent of the blossoming lime and watched whispering couples as they stood in the shadows of the trees; when I saw two people pressed close together as though they were one being, sauntering slowly beside the fountain as it quietly played in the moolight, and a feverish thrill of presentiment coursed through me as I thought of poor sick Maria; then I was seized by a quiet yearning for something inexplicable and all at once I saw myself strolling arm in arm with her in the shade of the fragrant lime trees. And a strange radiance shone from Maria's great dark eyes, and the moon made her slender little face appear still paler and more transparent. Then I fled upstairs into my attic, leaned against the window, looked up into the deep dark heavens where the stars appeared to have gone out and for hours abandoned myself to formless and confusing dreams until overcome by sleep. And yet - and yet I did not exchange so much as ten words with poor sick Maria. She never spoke. I would only sit at her side for hours gazing into her sick, suffering face, feeling ever and again that she must die. In the garden I lay in the grass and breathed in the fragrance of a thousand flowers; my eye was intoxicated by the gleaming colours of blossoms flooded with sunlight, and I listened too for the silence in the air above, interrupted only by the mating call of a bird. I sensed the ferment of the fruitful, torrid earth, that mysterious sound of ever-creative life. I could then darkly feel the greatness and beauty of life. Then it semed to me as if life belonged to me. But then my eye lit upon the bay-window of the house. I could see the sick Maria sitting there - silent and motionless and with closed eyes. And all my thinking was again drawn to the suffering of this being and remained there - became a painful but shyly conceded yearning which struck me as puzzling and confusing. And I left the garden timidly, silently, as though I had no right to linger in this temple.
Georg Trakl (Poems and Prose)
Maximize Natural Light If you are undertaking a larger design or refurbishment project, consider: Adding more windows if building permits allow. Enlarging your windows by (most cost effectively) dropping the sills. Replacing existing windows and choosing windows with smaller frames. Replacing the glass so that it is one solid piece rather than broken up by fenestration bars or leaded light strips. Adding a sun tube, a small reflective tube that lets light into windowless spaces that are near the roof, such as an upstairs hallway. Adding a skylight to allow light to flood in and aid ventilation.
Oliver Heath (Design A Healthy Home: 100 ways to transform your space for physical and mental wellbeing)
train me, nice as could be other than acting like she’s my mom, all honey-this and honey-that and “You think you can remember all that, sweetie?” Just three or four years out of high school herself. But she did have three kids, so probably she’d wiped so many asses she got stuck that way. I didn’t hold it against her. Coach Briggs’s brother stayed upstairs in the office. Heart attack guy was a mystery. First they said he might come back by the end of summer. Then they all stopped talking about him. As far as customers, every kind of person came in. Older guys would want to chew the fat outside in the dock after I loaded their grain bags or headgates or what have you. I handled all the larger items. They complained about the weather or tobacco prices, but oftentimes somebody would recognize me and want to talk football. What was my opinion on our being a passing versus running team, etc. So that was amazing. Being known. It was the voice that hit my ear like a bell, the day he came in. I knew it instantly. And that laugh. It always made you wish that whoever made him laugh like that, it had been you. I was stocking inventory in the home goods aisle, and moved around the end to where I could see across the store. Over by the medications and vaccines that were kept in a refrigerator case, he was standing with his back to me, but that wild head of hair was the giveaway. And the lit-up face of Donnamarie, flirting so hard her bangs were standing on end. She was opening a case for him. Some of the pricier items were kept under lock and key. I debated whether to go over, but heard him say he needed fifty pounds of Hi-Mag mineral and a hundred pounds of pelleted beef feed, so I knew I would see him outside. I signaled to Donnamarie that I’d heard, and threw it all on the dolly to wheel out to the loading dock. He pulled his truck around but didn’t really see me. Just leaned his elbow out the open window and handed me the register ticket. He’d kept the Lariat of course, because who wouldn’t. “You’ve still got the Fastmobile, I see,” I said. He froze in the middle of lighting a smoke, shifted his eyes at me, and shook his head fast, like a splash of cold water had hit him. “I’ll be goddamned. Diamond?” “The one,” I said. “How you been hanging, Fast Man?” “Cannot complain,” he said. But it seemed like he wasn’t a hundred percent on it really being me loading his pickup. He watched me in the side mirror. The truck bounced a little each time I hefted a mineral block or bag into the bed. Awesome leaf springs on that beauty. I came around to give him back his ticket, and he seemed more sure.
Barbara Kingsolver (Demon Copperhead)
Around 5 in the morning, I walked back, plowing through the snow to my parents' home, and I thought, "Wouldn't it be nice; I'll shovel the walk—young tribal buck shovels the walk." So I started to shovel the walk and my parents' faces appeared at the upstairs window. "Come to bed, you idiot. Nobody shovels snow at 5 in the morning." And I looked up at them and I heard the external voice I had been listening to for 30 years, and inside me, something said, "It's all right to shovel snow and it's all right to be happy." And I looked up at them and I laughed and did a jig and went back to shoveling snow. And they closed the windows and then I looked up and inside they were smiling too. That was my first experience of giving a contact high! But also, you can see in that moment in the early morning the seeds of the breakaway. The seeds of the ability to be able to confront, and even disagree with, an existing institution and know and trust that inside place that says it's all right.
Ram Dass (Be Here Now)
A two-story house had caught on fire. The family—father, mother, several children—were on their way out when the smallest boy became terrified, tore away from his mother, ran back upstairs. Suddenly he appeared at a smoke-filled window, crying like crazy. His father, outside, shouted, “Jump, son, jump! I’ll catch you.” The boy cried, “But, daddy, I can’t see you.” “I know,” his father called, “I know. But I can see you.”10
Brennan Manning (The Ragamuffin Gospel: Good News for the Bedraggled, Beat-Up, and Burnt Out)
He frowned with difficulty at everyone’s quick transition. He felt something crack in the room. It was like the feeling an artist got when he closed up his gallery, walked upstairs to his living quarters, and stared at the window to watch his former crowd rush to party next door and forget his exhibition one martini at a time. It was like goodbye. There was an unsaid, incomprehensive quality of unfairness to endings. They lacked a transition. The guitarist’s identity, for example, was in her strumming ten seconds ago, not when she finished and looked up at the seduced crowd as “her” again. The singer’s heart was housed in his lyrics, not in his thick-accented voice that rooms never understood.
Kristian Ventura (A Happy Ghost)
Well, I just thought … maybe … it was something to do with … you know … her lot.’ Mrs Dursley sipped her tea through pursed lips. Mr Dursley wondered whether he dared tell her he’d heard the name ‘Potter’. He decided he didn’t dare. Instead he said, as casually as he could, ‘Their son – he’d be about Dudley’s age now, wouldn’t he?’ ‘I suppose so,’ said Mrs Dursley stiffly. ‘What’s his name again? Howard, isn’t it?’ ‘Harry. Nasty, common name, if you ask me.’ ‘Oh, yes,’ said Mr Dursley, his heart sinking horribly. ‘Yes, I quite agree.’ He didn’t say another word on the subject as they went upstairs to bed. While Mrs Dursley was in the bathroom, Mr Dursley crept to the bedroom window and peered down into the front garden. The cat was still there. It was staring down Privet Drive as though it was waiting for something. Was he imagining things? Could all this have anything to do with the Potters? If it did … if it got out that they were related to a pair of – well, he didn’t think he could bear it. The Dursleys got into bed. Mrs Dursley fell asleep quickly but Mr Dursley lay awake, turning it all over in his mind. His last, comforting thought before he fell asleep was that even if the Potters were involved, there was no reason for them to come near him and Mrs Dursley. The Potters knew very well what he and Petunia thought about them and their kind … He couldn’t see how he and Petunia could get mixed up in anything that might be going on. He yawned and turned over. It couldn’t affect them … How very wrong he was. Mr Dursley might have been drifting into an uneasy sleep, but the cat on the wall outside was showing no sign of sleepiness. It was sitting as still as a statue, its eyes fixed unblinkingly on the far corner of Privet Drive. It didn’t so much as quiver when a car door slammed in the next
J.K. Rowling (Harry Potter and the Philosopher's Stone (Harry Potter, #1))
You can always tell the places: better presented than the drinking holes, more conspicuous than gambling dens, and if business is slow then girls will be leaning out of the upstairs windows. Besides, this one had “Hore House” painted in big red letters on a sign running the length of the eaves.
Mark Lawrence (The Wheel of Osheim (The Red Queen's War, #3))
The pudding fell to the floor with a heart-stopping crash. Cream splattered the windows and walls as the dish shattered. With a crack like a whip, Dobby vanished. There were screams from the dining room and Uncle Vernon burst into the kitchen to find Harry, rigid with shock, covered from head to foot in Aunt Petunia’s pudding. At first, it looked as though Uncle Vernon would manage to gloss the whole thing over (‘Just our nephew – very disturbed – meeting strangers upsets him, so we kept him upstairs …’) He shooed the shocked Masons back into the dining room, promised Harry he would flay him to within an inch of his life when the Masons had left, and handed him a mop. Aunt Petunia dug some ice-cream out of the freezer and Harry, still shaking, started scrubbing the kitchen clean. Uncle Vernon might still have been able to make his deal – if it hadn’t been for the owl. Aunt Petunia was just handing round a box of after-dinner mints when a huge barn owl swooped through the dining room window, dropped a letter on Mrs Mason’s head and swooped out again. Mrs Mason screamed like a banshee and ran from the house, shouting about lunatics. Mr Mason stayed just long enough to tell the Dursleys that his wife was mortally afraid of birds of all shapes and sizes, and to ask whether this was their idea of a joke.
J.K. Rowling (Harry Potter: The Complete Collection (1-7))