92
" And the time sundials tell
May be minutes and hours. But it may just as well
Be seconds and sparkles, or seasons and flowers.
No, I don't think of time as just minutes and hours.
Time can be heartbeats, or bird songs, or miles,
Or waves on a beach, or ants in their files
(They do move like seconds—just watch their feet go:
Tick-tick-tick, like a clock). You'll learn as you grow
That whatever there is in a garden, the sun
Counts up on its dial. By the time it is done
Our sundial—or someone's— will certainly add
All the good things there are. Yes, and all of the bad.
And if anyone's here for the finish, the sun
Will have told him—by sundial—how well we have done.
How well we have done, or how badly. Alas,
That is a long thought. Let me hope we all pass. "
― John Ciardi , The Monster Den: or Look What Happened at My House — and to It
93
" The guide invited the crowd to imagine that they were looking across a desert at a mountain range on a day that was twinkling bright and clear. They could look at a peak or a bird or cloud, at a stone right in front of them, or even down into a canyon behind them. But among them was this poor Earthling, and his head was encased in a steel sphere which he could never take off. There was only one eyehole through which he could look, and welded to that eyehole were six feet of pipe." This was only the beginning of Billy's miseries in the metaphor. He was also strapped to a steel lattice which was bolted to a flatcar on rails, and there was no way he could turn his head or touch the pipe. The far end of the pipe rested on a bi-pod which was also bolted to the flatcar. All Billy could see was the little dot at the end of the pipe. He didn't know he was on a flatcar, didn't even know there was anything peculiar about his situation. " The flatcar sometimes crept, sometimes went extremely fast, often stopped--went uphill, downhill, around curves, along straightaways. Whatever poor Billy saw through the pipe, he had no choice but to say to himself, 'That's life. "
97
" The fish is that perfect, amazing guy it can never work out with—you know, a bird and a fish may fall in love—but where would they live? . . . So the fish is your total dream guy, he’s smart, he’s handsome, he gets all your jokes, he loves to talk, he gives you a nine-hour orgasm and then makes you homemade chocolate chip pancakes and serves you breakfast in bed—but he lives all the way across the country and neither of you can move, or he’s married, or next in line for the throne, or he has a terminal disease or something . . . the fish. "
― Lisa Daily , Single-Minded
98
" Once there was a boy,” said Jace.
Clary interrupted immediately. “A Shadowhunter boy?”
“Of course.” For a moment a bleak amusement colored his voice. Then it was gone. “When the boy was six years old, his father gave him a falcon to train. Falcons are raptors – killing birds, his father told him, the Shadowhunters of the sky.
“The falcon didn’t like the boy, and the boy didn’t like it, either. Its sharp beak made him nervous, and its bright eyes always seemed to be watching him. It would slash at him with beak and talons when he came near: For weeks his wrists and hands were always bleeding. He didn’t know it, but his father had selected a falcon that had lived in the wild for over a year, and thus was nearly impossible to tame. But the boy tried, because his father told him to make the falcon obedient, and he wanted to please his father.
“He stayed with the falcon constantly, keeping it awake by talking to it and even playing music to it, because a tired bird was meant to be easier to tame. He learned the equipment: the jesses, the hood, the brail, the leash that bound the bird to his wrist. He was meant to keep the falcon blind, but he couldn’t bring himself to do it – instead he tried to sit where the bird could see him as he touched and stroked its wings, willing it to trust him. Hee fed it from his hand, and at first it would not eat. Later it ate so savagely that its beak cut the skin of his palm. But the boy was glad, because it was progress, and because he wanted the bird to know him, even if the bird had to consume his blood to make that happen.
“He began to see that the falcon was beautiful, that its slim wings were built for the speed of flight, that it was strong and swift, fierce and gentle. When it dived to the ground, it moved like likght. When it learned to circle and come to his wrist, he neary shouted with delight Sometimes the bird would hope to his shoulder and put its beak in his hair. He knew his falcon loved him, and when he was certain it was not just tamed but perfectly tamed, he went to his father and showed him what he had done, expecting him to be proud.
“Instead his father took the bird, now tame and trusting, in his hands and broke its neck. ‘I told you to make it obedient,’ his father said, and dropped the falcon’s lifeless body to the ground. ‘Instead, you taught it to love you. Falcons are not meant to be loving pets: They are fierce and wild, savage and cruel. This bird was not tamed; it was broken.’
“Later, when his father left him, the boy cried over his pet, until eventually his father sent a servant to take the body of the bird away and bury it. The boy never cried again, and he never forgot what he’d learned: that to love is to destroy, and that to be loved is to be the one destroyed. "
― Cassandra Clare , City of Bones (The Mortal Instruments, #1)