1
" We all build internal sea walls to keep at bay the sadnesses of life and the often overwhelming forces within our minds. In whatever way we do this—through love, work, family, faith, friends, denial, alcohol, drugs, or medication—we build these walls, stone by stone, over a lifetime. One of the most difficult problems is to construct these barriers of such a height and strength that one has a true harbor, a sanctuary away from crippling turmoil and pain, but yet low enough, and permeable enough, to let in fresh seawater that will fend off the inevitable inclination toward brackishness. "
― Kay Redfield Jamison , An Unquiet Mind: A Memoir of Moods and Madness
5
" Stacy smiled proudly and he filed the image of her sweet face in the section of his heart he shared with no one else ~ Brian, Song of the Snowman" Mom said if you put ears on your snowman, he’ll hear the music of the angels and sing songs to you.” ~ Stacy, Song of the SnowmanThe sweet promise of her embrace cured the loneliness in him. In her arms, he was whole. ~ Brian, Song of the Snowman He composed music, dreamed of the future, and kept the situations he couldn’t change at bay to the rhythm of his feet drumming on the concrete. Brian, Song of the SnowmanThis was as simple as his life got rhythm, rhyme, and fingertips on cool keys. ~ Brian, Song of the Snowman "
6
" Supermarkets this large and clean and modern are a revelation to me. I spent my life in small steamy delicatessens with slanted display cabinets full of trays that hold soft wet lumpy matter in pale colours. High enough cabinets so you had to stand on tiptoes to give your order. Shouts, accents. In cities no one notices specific dying. Dying is a quality of the air. It's everywhere and nowhere. Men shout as they die to be noticed, remembered for a second or two. To die in an apartment instead of a house can depress the soul, I would imagine, for several lives to come. In a town there are houses, plants in bay windows. People notice dying better. The dead have faces, automobiles. If you don't know a name you know a street name, a dog's name. 'He drove an orange Mazda.' You know a couple of useless things about a person that become major facts of identification and cosmic placement when he dies suddenly, after a short illness, in his own bed, with a comforter and matching pillows, on a rainy Wednesday afternoon, feverish, a little congested in the sinuses and chest, thinking about his dry cleaning. "
― Don DeLillo , White Noise
8
" Prison MoonFour a.m. work duty and I beginmy solitary trudge from outer compoundto main building. A shivering guard,chilled in his lonely outpost, strip searchesme until content that my inconsequential nudity.poses no threat and then whispersthe secret code that allows me admittance into the open quarter-mile walkway.I chuff my way into another dayas ice glints on the razor wireand the rifles note my numbed passage,silent but for my huffs and scuffleon the cracked, slippery sidewalk A new moon, veiled in wispy fogand beringed in glory, hangs over the prison, its gaudy glow taunting the halogen spotlights.The moon’s creamy pull upsetssome liquid equilibrium within meand like tides, wolves and all manner of madmen, I surrender disturbed by the certainty that under the bony luminescence of a grinning moon The lunar deliriums grip meand I howl--once, then again, andsurely somewhere an unbound sleeper stirs, penitence is dying a giddy death.I shake myself saneand as the echoes hangin the frigid air I explainto the wild-eyed guard that convicts, like all animals under the leash,must bay at the beauty beyond them. "
14
" They took Daisy to the orangery, where warm autumn light glittered through the windows, and the scents of citrus and bay hung thick in the air. Removing Daisy's heavy orange-blossom wreath and veil, Lillian set them aside on a chair.There was a silver tray on a nearby table, laden with a bottle of chilled champagne and four tall crystal glasses." This is a special toast for you, dear," Lillian said, while Annabelle poured the sparkling liquid and handed the glasses out. " To your happy ending. Since you've had to wait for it longer than the rest of us, I'd say you deserve the entire bottle." She grinned. " But we're going to share it with you anyway." Daisy curved her fingers around the crystal stem. " It should be a toast for all of us," she said. " After all, three years ago we had the worst marriage prospects imaginable. We couldn't even get an invitation to dance. And look how well things turned out." " All it t-took was some devious behavior and a few scandals here and there," Evie said with a smile." And friendship," Annabelle added." To friendship," Lillian said, her voice suddenly husky.And their four glasses clicked in one perfect moment. "
18
" The full moon, well risen in a cloudless eastern sky, covered the high solitude with its light. We are not conscious of daylight as that which displaces darkness. Daylight, even when the sun is clear of clouds, seems to us simply the natural condition of the earth and air. When we think of the downs, we think of the downs in daylight, as with think of a rabbit with its fur on. Stubbs may have envisaged the skeleton inside the horse, but most of us do not: and we do not usually envisage the downs without daylight, even though the light is not a part of the down itself as the hide is part of the horse itself. We take daylight for granted. But moonlight is another matter. It is inconstant. The full moon wanes and returns again. Clouds may obscure it to an extent to which they cannot obscure daylight. Water is necessary to us, but a waterfall is not. Where it is to be found it is something extra, a beautiful ornament. We need daylight and to that extent it us utilitarian, but moonlight we do not need. When it comes, it serves no necessity. It transforms. It falls upon the banks and the grass, separating one long blade from another; turning a drift of brown, frosted leaves from a single heap to innumerable flashing fragments; or glimmering lengthways along wet twigs as though light itself were ductile. Its long beams pour, white and sharp, between the trunks of trees, their clarity fading as they recede into the powdery, misty distance of beech woods at night. In moonlight, two acres of coarse bent grass, undulant and ankle deep, tumbled and rough as a horse's mane, appear like a bay of waves, all shadowy troughs and hollows. The growth is so thick and matted that event the wind does not move it, but it is the moonlight that seems to confer stillness upon it. We do not take moonlight for granted. It is like snow, or like the dew on a July morning. It does not reveal but changes what it covers. And its low intensity---so much lower than that of daylight---makes us conscious that it is something added to the down, to give it, for only a little time, a singular and marvelous quality that we should admire while we can, for soon it will be gone again. "
― Richard Adams , Watership Down (Watership Down, #1)
19
" Yesterday I watched a curious nightfall. The cloud ceiling took on a warm tone, deepened, and departed as if drawn on a leash. I could no longer see the fat snow flying against the sky; I could see it only as it fell before dark objects. Any object at a distance –like the dead, ivy-covered walnut I see from the bay window- looked like a black and white frontispiece seen through a sheet of white tissue. It was like dying, this watching the world recede into deeper and deeper blues while the snow piled; silence swelled and extended, distance dissolved, and soon only concentration at the largest shadows let me make out the movement of falling snow, and that too failed. The snow on the yard was blue as ink, faintly luminous; the sky violet. The bay window betrayed me, and started giving me back the room’s lamps. It was like dying, that growing dimmer and deeper and then going out. "
― Annie Dillard , Pilgrim at Tinker Creek
