42
" I don't even like the word ‘indoors’. It doesn’t make sense. According to you right now, by stepping through the doorway I’d be indoors. Yet I wouldn’t actually be standing in the doorway. If it’s supposed to refer to being inside a building, then they shouldn’t have used the word ‘door,’ since last time I checked, doors don’t make up every square inch of a building! And I’d assume that now, since I’m not indoors, you’d say I’m ‘out of doors’, right? But, shouldn’t out of doors just be everywhere that’s not directly under a door? You know what, from now on I insist that everyone refer to being in a building as being ‘under-roof’. "
― Natalie Bina , Vermilion Departure
47
" COME HOME, TENAR! COME HOME!”
In the deep valley, in the twilight, the apple trees were on the eve of blossoming; here and there among the shadowed boughs one flower had opened early, rose and white, like a faint star. Down the orchard aisles, in the thick, new, wet grass, the little girl ran for the joy of running; hearing the call she did not come at once, but made a long circle before she turned her face toward home. The mother waiting in the doorway of the hut, with the firelight behind her, watched the tiny figure running and bobbing like a bit of thistledown blown over the darkening grass beneath the trees. "
― Ursula K. Le Guin , The Tombs of Atuan (Earthsea Cycle, #2)
52
" March 1898
What a strange dream I had last night! I wandered in the warm streets of a port, in the low quarter of some Barcelona or Marseille. The streets were noisome, with their freshly-heaped piles of ordure outside the doors, in the blue shadows of their high roofs. They all led down towards the sea. The gold-spangled sea, seeming as if it had been polished by the sun, could be seen at the end of each thoroughfare, bristling with yard-arms and luminous masts. The implacable blue of the sky shone brilliantly overhead as I wandered through the long, cool and sombre corridors in the emptiness of a deserted district: a quarter which might almost have been dead, abruptly abandoned by seamen and foreigners. I was alone, subjected to the stares of prostitutes seated at their windows or in the doorways, whose eyes seemed to ransack my very soul.
They did not speak to me. Leaning on the sides of tall bay-windows or huddled in doorways, they were silent. Their breasts and arms were bare, bizarrely made up in pink, their eyebrows were darkened, they wore their hair in corkscrew-curls, decorated with paper flowers and metal birds. And they were all exactly alike!
They might have been huge marionettes, or tall mannequin dolls left behind in panic - for I divined that some plague, some frightful epidemic brought from the Orient by sailors, had swept through the town and emptied it of its inhabitants. I was alone with these simulacra of love, abandoned by the men on the doorsteps of the brothels.
I had already been wandering for hours without being able to find a way out of that miserable quarter, obsessed by the fixed and varnished eyes of all those automata, when I was seized by the sudden thought that all these girls were dead, plague-stricken and putrefied by cholera where they stood, in the solitude, beneath their carmine plaster masks... and my entrails were liquefied by cold. In spite of that harrowing chill, I was drawn closer to a motionless girl. I saw that she was indeed wearing a mask... and the girl in the next doorway was also masked... and all of them were horribly alike under their identical crude colouring...
I was alone with the masks, with the masked corpses, worse than the masks... when, all of a sudden, I perceived that beneath the false faces of plaster and cardboard, the eyes of these dead women were alive.
Their vitreous eyes were looking at me...
I woke up with a cry, for in that moment I had recognised all the women. They all had the eyes of Kranile and Willie, of Willie the mime and Kranile the dancer. Every one of the dead women had Kranile's left eye and Willie's right eye... so that every one of them appeared to be squinting.
Am I to be haunted by masks now? "
― Jean Lorrain , Monsieur De Phocas
53
" ...here we have the first lesson about the nature of memory: what you wish to forget, you may not be able to. What seems to have died, perhaps is just asleep. On the other hand, sometimes you wish to remember something, and there it stands at the doorway of your consciousness, and refuses to come in. You know you know something, the name of some useless celebrity, perhaps, and yet you cannot fish that name out of your inner aquarium. And this illustrates a critical feature of memory, which resembles, as it turns out, most of the processes in the internal realm: the same cause will regularly yield different, even opposite effects. "
― Noam Shpancer , The Good Psychologist
54
" Time, I think, is like walking backward away from something: say, from a kiss. First there is the kiss; then you step back, and the eyes fill up your vision, then the eyes are framed in the face as you step further away; the face then is part of a body, and then the body is framed in a doorway, then the doorway framed in the trees beside it. The path grows longer and the door smaller, the trees fill up your sight and the door is lost, then the path is lost in the woods and the woods lost in the hills. Yet somewhere in the center still is the kiss. That's what time is like. "
― John Crowley , Engine Summer
56
" His life coiled back into the brown murk of the past like a twined filament of electric wire; he gave life, a pattern, and movement to these million sensations that Chance, the loss or gain of a moment, the turn of the head, the enormous and aimless impulsion of accident, had thrust into the blazing heat of him. His mind picked out in white living brightness these pinpoints of experience and the ghostliness of all things else became more awful because of them. So many of the sensations that returned to open haunting vistas of fantasy and imagining had been caught from a whirling landscape through the windows of the train.
And it was this that awed him — the weird combination of fixity and change, the terrible moment of immobility stamped with eternity in which, passing life at great speed, both the observer and the observed seem frozen in time. There was one moment of timeless suspension when the land did not move, the train did not move, the slattern in the doorway did not move, he did not move. It was as if God had lifted his baton sharply above the endless orchestration of the seas, and the eternal movement had stopped, suspended in the timeless architecture of the absolute. Or like those motion-pictures that describe the movements of a swimmer making a dive, or a horse taking a hedge — movement is petrified suddenly in mid-air, the inexorable completion of an act is arrested. Then, completing its parabola, the suspended body plops down into the pool. Only, these images that burnt in him existed without beginning or ending, without the essential structure of time. Fixed in no-time, the slattern vanished, fixed, without a moment of transition.
His sense of unreality came from time and movement, from imagining the woman, when the train had passed, as walking back into the house, lifting a kettle from the hearth embers. Thus life turned shadow, the living lights went ghost again. The boy among the calves. Where later? Where now?
I am, he thought, a part of all that I have touched and that has touched me, which, having for me no existence save that which I gave to it, became other than itself by being mixed with what I then was, and is now still otherwise, having fused with what I now am, which is itself a cumulation of what I have been becoming. Why here? Why there? Why now? Why then?
The fusion of the two strong egotisms, Eliza’s inbrooding and Gant’s expanding outward, made of him a fanatical zealot in the religion of Chance. Beyond all misuse, waste, pain, tragedy, death, confusion, unswerving necessity was on the rails; not a sparrow fell through the air but that its repercussion acted on his life, and the lonely light that fell upon the viscous and interminable seas at dawn awoke sea-changes washing life to him. The fish swam upward from the depth. "
― Thomas Wolfe , Look Homeward, Angel
59
" As we stand before this sacred doorway [the doorway to meaning], we realize its response to us is conditional, albeit only in the sense that it’s reflective. If we stand before it arrogant and haughty, indeed the door will remained locked. If we stand before it in doubt, it will disappear. If we knock upon it distracted, our minds somewhere else, we fail to see it open. Anyone in the world can go through it, and there could never be a key. Yet it opens only when we approach it in a certain, truthful way. Otherwise, we may not notice its openness and its infinite offering again and again.
To pass into this fertile land of meaning, we must arrive in reverence. We must approach the door in silence, focused upon the primordial pulse of our beings and all of life. We must allow ourselves to open into acceptance, for within acceptance lives our accountability and, therefore, our ability to extract meaning for our growth—and the possibility for things to come to life. We must allow ourselves to be released into the current, the movement of acceptance, otherwise known as surrender, so that we may be taken and discovered unto ourselves. And once we are through, by God, we must celebrate, for what else is there to do? "
― Tehya Sky , A Ceremony Called Life: When Your Morning Coffee Is as Sacred as Holy Water
60
" As we stand before this sacred doorway [the doorway to meaning], we realize its response to us is conditional, albeit only in the sense that it’s reflective. If we stand before it arrogant and haughty, indeed the door will remained locked. If we stand before it in doubt, it will disappear. If we knock upon it distracted, our minds somewhere else, we fail to see it open. Anyone in the world can go through it, and there could never be a key. Yet it opens only when we approach it in a certain, truthful way. Otherwise, we may not notice its openness and its infinite offering again and again. "
― Tehya Sky , A Ceremony Called Life: When Your Morning Coffee Is as Sacred as Holy Water
