3
" The organist was almost at the end of the anthem’s long introduction, and as the crescendo increases the cathedral began to glitter before my eyes until I felt as if every stone in the building was vibrating in anticipation of the sweeping sword of sound from the Choir.
The note exploded in our midst, and at that moment I knew our creator had touched not only me but all of us, just as Harriet had touched that sculpture with a loving hand long ago, and in that touch I sensed the indestructible fidelity, the indescribable devotion and the inexhaustible energy of the creator as he shaped his creation, bringing life out of dead matter, wresting form continually from chaos. Nothing was ever lost, Harriet had said, and nothing was ever wasted because always, when the work was finally completed, every article of the created process, seen or unseen, kept or discarded, broken or mended – EVERYTHING was justified, glorified and redeemed. "
― Susan Howatch
4
" Then as Anna listened another sound began to rise within the first. It began as a low keening, like the wind in a bottle tree, almost indiscernible amid the guns. Yet it was there, and it grew and grew, gaining strength and timbre until suddenly a new note broke away and was taken up: a high weird quavering like nothing that Anna had ever heard, that peopled the smoke with an army of mourning phantoms. Anna had heard the men talk of this, too—the uncanny demon cry of the Rebel army going into the attack—and now here it was for real, echoing across violence and death for the last time in a wild crescendo that seemed to peak and yet peak again: descanting blood, crying lost youth and the loss of all dreams. One last time it shrilled out of the rolling smoke, then collapsed all at once into a maelstrom of voices—the deep snarling utterance of thousands of men in hell. "
― Howard Bahr , The Black Flower: A Novel of the Civil War
7
" Rush-hour on the A rain. A blind man
staggers forth, his cane tapping lightly
own the aisle. He leans against the door,
raises a violin to chin, and says I’m sorry
to bother you, folks. But please. Just listen.
And it kills me, the word sorry. As if something like music
should be forgiven. He nuzzles into the wood like a lover,
inhales, and at the first slow stroke, the crescendo
seeps through our skin like warm water, we
who have nothing but destinations, who dream of light
but descend into the mouths of tunnels, searching.
Beads of sweat fall from his brow, making dark roses
on the instrument. His head swooning to each chord
exhaled through the hollow torso. The woman beside me
has put down her book, closed her eyes, the baby
has stopped crying, the cop has sat down, and I know
this train is too fast for dreaming, that these iron jaws
will always open to swallow a smile already lost.
How insufficient the memory, to fail before death.
how will hear these notes when the train slides
into the yard, the lights turned out, and the song
lingers with breaths rising from empty seats?
I know I am too human to praise what is fading.
But for now, I just want to listen as the train fills
completely with warm water, and we are all
swimming slowly toward the man with Mozart
flowing from his hands. I want nothing
but to put my fingers inside his mouth,
let that prayer hum through my veins.
I want crawl into the hole in his violin.
I want to sleep there
until my flesh
becomes music. "
― Ocean Vuong
13
" Layer upon layer it comes, dense and rich within the texts, echo upon echo, allusion and resonance tumbling over one another, so that for those with ears to hear it becomes un-missable, a crescendo of questions to which in the end there can be only one answer. Why are you speaking like this? Are you the one who is to come? Can anything good come out of Nazareth? What sign can you show us? Why does he eat with tax-collectors and sinners? Where did this man get all this wisdom? How can this man give us his flesh to eat? Who are you? Why do you not follow the traditions? Do the authorities think he’s the Messiah? Can the Messiah come from Galilee? Why are you behaving unlawfully? Who then is this? Aren’t we right to say that you’re a Samaritan and have a demon? What do you say about him? By what right are you doing these things? Who is this Son of Man? Should we pay tribute to Caesar? And climactically: Are you the king of the Jews? What is truth? Where are you from? Are you the Messiah, the son of the Blessed One? Then finally, too late for answers, but not too late for irony: Aren’t you the Messiah? Save yourself and us! If you’re the Messiah, why don’t you come down from that cross?
…
And Jesus had his own questions. Who do you say I am? Do you believe in the Son of Man? Can you drink the cup I’m going to drink? How do the scribes say that the Messiah is David’s son? Couldn’t you keep watch with me for a single hour? And finally and horribly: My God, my God, why did you abandon me?
…
The reason there were so many questions, in both directions, was that–as historians have concluded for many years now–Jesus fitted no ready-made categories "
― N.T. Wright , Simply Jesus: A New Vision of Who He Was, What He Did, and Why He Matters
14
" More to the point, one cannot understand The Holocaust without understanding the intentions, ideology, and mechanisms that were put in place in 1933. The eugenics movement may have come to a catastrophic crescendo with the Hitler regime, but the political movement, the world-view, the ideology, and the science that aspired to breed humans like prized horses began almost 100 years earlier. More poignantly, the ideology and those legal and governmental mechanisms of a eugenic world-view inevitably lead back to the British and American counterparts that Hitler’s scientists collaborated with. Posterity must gain understanding of the players that made eugenics a respectable scientific and political movement, as Hitler’s regime was able to evade wholesale condemnation in those critical years between 1933 and 1943 precisely because eugenics had gained international acceptance. As this book will evidence, Hitler’s infamous 1933 laws mimicked those already in place in the United States, Britain, Norway, Sweden, Finland, and Canada.
So what is this scientific and political movement that for 100 years aspired to breed humans like dogs or horses? Eugenics is quite literally, as defined by its principal proponents, an attempt at “directing evolution” by controlling any aspect of human existence that affects human heredity. From its onset, Francis Galton, the cousin of Charles Darwin and the man credited with the creation of the science of eugenics, knew that the cause of eugenics had to be observed with religious fervor and dedication. As the quote on the opening pages of this book illustrates, a eugenicist must “intrude, intrude, intrude.” A vigilant control over anything and everything that affects the gene pool is essential to eugenics. The policies could not allow for the individual to enjoy self-government or self-determination any more than a horse breeder can allow the animals to determine whom to breed with. One simply cannot breed humans like horses without imbuing the state with the level of control a farmer has over its livestock, not only controlling procreation, but also the diet, access to medical services, and living conditions. "
― A.E. Samaan , H.H. Laughlin: American Scientist, American Progressive, Nazi Collaborator (History of Eugenics, Vol. 2)
16
" Sometimes time can play tricks. One moment it idles by, an hour can seem a lifetime, such as when sitting by the river at dusk watching the bats snatching insects above the limpid waters; the breaching fish causing ringed ripples and a satisfying plop. Other times, time flashes by in an immodest fashion. So it is with the start of war. First time quivers with the last strum of a wonderful peace, the note holding in the air, mysterious and haunting, filling the listener with awe. Then, with a rising crescendo the terror starts with uncouth haste; with a boom the listener is shaken from their reverie and delivered into the servitude, of an ear-shattering cacophony. "
― M.A. Lossl , Mizpah Cousins: life, love and perilous predicaments during the Great War era.
17
" Bradley is one of the few basketball players who have ever been appreciatively cheered by a disinterested away-from-home crowd while warming up. This curious event occurred last March, just before Princeton eliminated the Virginia Military Institute, the year's Southern Conference champion, from the NCAA championships. The game was played in Philadelphia and was the last of a tripleheader. The people there were worn out, because most of them were emotionally committed to either Villanova or Temple-two local teams that had just been involved in enervating battles with Providence and Connecticut, respectively, scrambling for a chance at the rest of the country. A group of Princeton players shooting basketballs miscellaneously in preparation for still another game hardly promised to be a high point of the evening, but Bradley, whose routine in the warmup time is a gradual crescendo of activity, is more interesting to watch before a game than most players are in play. In Philadelphia that night, what he did was, for him, anything but unusual. As he does before all games, he began by shooting set shots close to the basket, gradually moving back until he was shooting long sets from 20 feet out, and nearly all of them dropped into the net with an almost mechanical rhythm of accuracy. Then he began a series of expandingly difficult jump shots, and one jumper after another went cleanly through the basket with so few exceptions that the crowd began to murmur. Then he started to perform whirling reverse moves before another cadence of almost steadily accurate jump shots, and the murmur increased. Then he began to sweep hook shots into the air. He moved in a semicircle around the court. First with his right hand, then with his left, he tried seven of these long, graceful shots-the most difficult ones in the orthodoxy of basketball-and ambidextrously made them all. The game had not even begun, but the presumably unimpressible Philadelphians were applauding like an audience at an opera. "
― John McPhee , A Sense of Where You Are: Bill Bradley at Princeton
18
" This was different. It had synths droning and sending saltwater waves under my feet. It had drumbeats bursting like fireworks, rumbling the furniture out of place, and then a crazy, irregular, disharmonious, spiral crescendo of pure electric noise, like a typhoon dragging our bodies into it. It featured brass orchestras and choirs of mermaids and a piano in Iceland, all of them right there, visible, touchable, in Axton House. It shook us, fucked us, suspended us far above the reach of Help bouncing on his hind legs. It spoke of magenta sunsets and plastic patio chairs growing moss under summer storms rolling on caterpillar tracks. It sprinkled a bokeh of car lights rushing through night highways and slapped our faces like the wind at a hundred and twenty miles an hour. It pictured Niamh playing guitar, washed up naked on a beach in Fiji. "
― Edgar Cantero , The Supernatural Enhancements
