a hurricane QUOTES

3 " And then she caught the song. She fell upon it and music poured from the fiddle’s hollow, bright and liquid like fire out of the heart of the earth. Pierre-Jean drew back and stood mesmerized. The room around Fin stirred as every ear bent to the ring of heartsong. It rushed through Fin and spread to the outermost and tiniest capillary reaches of her body. Her flesh sang. The hairs of her arms and neck roused and stood. She sped the bow across the strings. Her fingers danced on the fingerboard quick as fat raindrops. Every man in the room that night would later swear that there was a wind within it. They would tell their children and lovers that a hurricane had filled the room, toppled chairs, driven papers and sheets before it and blew not merely around them but through them, taking fears, grudges, malice, and contempt with it, sending them spiraling out into the night where they vanished among the stars like embers rising from a bonfire.

And though the spirited cry of the fiddle’s song blew through others and around the room and everything in it, Fin sat at the heart of it. It poured into her. It found room in the closets and hollow places of her soul to settle and root. It planted seeds: courage, resolve, steadfastness. Fin gulped it in, seized it, held it fast. She needed it, had thirsted for it all her days. She saw the road ahead of her, and though she didn’t understand it or comprehend her part in it, she knew that she needed the ancient and reckless power of a holy song to endure it. She didn’t let the music loose. It buckled and swept and still she clung to it, defined it in notes and rhythm, channeled it like a river bound between mountain steeps. And a thing happened then so precious and strange that Fin would ever after remember it only in the formless manner of dreams. The song turned and spoke her name—her true name, intoned in a language of mysteries. Not her earthly name, but a secret word, defining her alone among all created things. The writhing song spoke it, and for the first time, she knew herself. She knew what it was to be separated out, held apart from every other breathing creature, and known. Though she’d never heard it before and wouldn’t recall it after, every stitch of her soul shook in the passage of the word, shuddered in the wake of it, and mourned as the sound sped away. In an instant, it was over. The song ended with the dissonant pluck of a broken string. "

― A.S. Peterson , Fiddler's Green (Fin's Revolution, #2)

5 " But it would have been a surprise, not only to katherine herself, if some magic watch could have taken count of the moments spent in an entirely different occupation from her ostensible one.Sitting with faded papers before her, she took part in a series of scenes such as the taming of wild ponies upon the American prairies, or the conduct of a vast ship in a hurricane round a black promontory of rock, or in others more peaceful, but marked by her complete emancipation from her present surroundings and, needles to say, her surprising ability in her new vocation. "

7 " She had seen the almost-human Orona, who was orphaned and alone in the world, a woman whom Cain had plucked off the streets and fallen in love with. What she didn’t see was the undead creature Cain barely knew, the foolish human girl who fell in love with the caretaker of the seas. She hadn’t seen me stand up against a hurricane or keep a cave from crushing two lovers to death. She hadn’t seen me throw myself over the ones who would have turned to ashes when the volcano erupted, or made water appear from the sands to the dying in the desert. She did not know I was both savior and destroyer to so many souls. "

― Jennifer Silverwood , Stay (Cursed Gods #1)

9 " Night-time. Why is it, I wonder…
Always, always it is at night when
The fury of a hurricane makes itself felt.
Perhaps it is because the spirit of the storm
Delights in the darkness, for there it can
Unleash its rage most potently, most
Anonymously, upon the element of earth?
Or perhaps it is simply because we
Humans are afraid of the dark. "

― Stephanie Osborn , Stolen Moments

11 " I saw the massive stone altar first begin to glow like a ruby; then it was a heart of liquid gold like a solid single-crystal chrysoprase: the gold intensified into ice-cold emerald and passed into the dark sapphire of an arctic sky; this again withdrew into a violet so deep that the visual purple of the eye itself seemed absorbed in that depth, that abyss of color in which sight was being drowned. And as this intensification of vibrancy seemed to sweep across the visible spectrum up to those ranges where energy absorbs all mass and that which can pierce the most solid is itself fine beyond all substance, so it seemed with hearing. That abyss of sound which I had been thinking of as only depth, it, too, seemed to rise or, rather, I suppose I was carried up on some rising wave which explored the deep of the height.
As the light drew toward the invisible, I experienced a sound so acute that I can only remember feeling to myself that this was the note emitted when the visible universe returns to the unmanifest—this was the consummatum est of creation. I knew that an aperture was opening in the solid manifold. The things of sense were passing with the music of their own transmutation, out of sight. Veil after veil was evaporating under the blaze of the final Radiance. Suddenly I knew terror as never before. The only words which will go near to recreating in me some hint of that actual mode are those which feebly point toward the periphery of panic by saying that all things men dread are made actually friendly by this ultimate awfulness. Every human horror, every evil that the physical body may suffer, seemed, beside this that loomed before me, friendly, homely, safe. The rage of a leaping tiger would have been a warm embrace. The hell of a forest wrapped in a hurricane of fire, the subzero desolation of the antarctic blizzard, would have been only the familiar motions of a simple well-known world. Yes, even the worst, most cunning and cruel evil would only be the normal reassuring behavior of a well-understood, much-sympathized-with child. Against This, the ultimate Absolute, how friendly became anything less, anything relative. "

― Gerald Heard , Dromenon: The Best Weird Stories of Gerald Heard

13 " Now the evening's at its noon, its meridian. The outgoing tide has simmered down, and there's a lull-like the calm in the eye of a hurricane - before the reverse tide starts to set in.The last acts of the three-act plays are now on, and the after-theater eating places are beginning to fill up with early comers; Danny's and Lindy's - yes, and Horn & Hardart too. Everybody has got where they wanted to go - and that was out somewhere. Now everybody will want to get back where they came from - and that's home somewhere. Or as the coffee-grinder radio, always on the beam, put it at about this point: 'New York, New York, it's a helluva town, The Bronx is up, the Battery's down, And the people ride around in a hole in the ground.Now the incoming tide rolls in; the hours abruptly switch back to single digits again, and it's a little like the time you put your watch back on entering a different time zone. Now the buses knock off and the subway expresses turn into locals and the locals space themselves far apart; and as Johnny Carson's face hits millions of screens all at one and the same time, the incoming tide reaches its crest and pounds against the shore. There's a sudden splurge, a slew of taxis arriving at the hotel entrance one by one as regularly as though they were on a conveyor belt, emptying out and then going away again.Then this too dies down, and a deep still sets in. It's an around-the-clock town, but this is the stretch; from now until the garbage-grinding trucks come along and tear the dawn to shreds, it gets as quiet as it's ever going to get.This is the deep of the night, the dregs, the sediment at the bottom of the coffee cup. The blue hours; when guys' nerves get tauter and women's fears get greater. Now guys and girls make love, or kill each other or sometimes both. And as the windows on the 'Late Show' title silhouette light up one by one, the real ones all around go dark. And from now on the silence is broken only by the occasional forlorn hoot of a bogged-down drunk or the gutted-cat squeal of a too sharply swerved axle coming around a turn. Or as Billy Daniels sang it in Golden Boy: While the city sleeps, And the streets are clear, There's a life that's happening here.(" New York Blues" ) "

15 " We are terrible for each other, and, yes, we are a disaster. But tell me your heart doesn't race for a hurricane or a burning building. I'd rather die terrified than live forever. "

― Joey Comeau