21
" It happened as it always did, swallowing her swiftly and completely. Intense. Painful. Quick, vivid colors spun beneath her eyelids. Sounds were sharp inside her skull. Fire shot up through her bones. She may have been screaming and she wouldn’t have known. There was smoke in her nose, thick and black, and she couldn’t breathe. It stung her eyes and licked at her skin. Wood and metal crashed down as skin blistered and popped and she knew this wasn’t her, knew it was someone else, someone with a bigger body, bigger boots and darker jeans, and big ol’ hands with scars on the fingers. Men’s hands. Nails blunt and dirty with oil and grease and burning and- The cars were on fire. Paper burned and curled and rags ignited, the cement floor pockmarked by flash fires. Meat withered in her nose and she realized it was her. Him. Dancing embers blackened and burned bone. He screamed and she hoped she was not. He writhed and she really hoped she was not. He was dying, dead, and- "
― Angele Gougeon , Sticks and Stones
24
" Tell me, Blaise, are we very far from Montmartre?'WorriesForget your worriesAll the stations full of cracks tilted along the wayThe telegraph wires they hang fromThe grimacing poles that gesticulate and strangle themThe world stretches lengthens and folds in like an accordion tormented by a sadistic handIn the cracks of the sky the locomotives in angerFleeAnd in the holes,The whirling wheels the mouths the voicesAnd the dogs of misfortune that bark at our heelsThe demons are unleashedIron railsEverything is off-keyThe broun-roun-roun of the wheelsShocksBouncesWe are a storm under a deaf man's skull...'Tell me, Blaise, are we very far from Montmartre?'Hell yes, you're getting on my nerves you know very well we're far awayOverheated madness bellows in the locomotivePlague, cholera rise up like burning embers on our wayWe disappear in the war sucked into a tunnelHunger, the whore, clings to the stampeding cloudsAnd drops battle dung in piles of stinking corpsesDo like her, do your job'Tell me, Blaise, are we very far from Montmartre? "
26
" Around me shone the kitchen I'd worked in each day: the copper pans hung neatly, the scratched wooden table and neat blue plates set in rows on the dresser. I got up to rake out the cinders and suddenly clutched at the black stone of the hearth. How long was it since as a new girl I'd first spiked a fowl and set it to roast on that fire? What great sides of beef had we roasted on the smoke-jack, while bacon dangled on hooks, and meat juices basted puddings as light as eggy clouds? Never, in all my ten years at Mawton, had I let that fire die out. Every dawn, in winter or summer, I'd riddled the dying embers and set new kindling on the top. I touched the rough stone and let my cheek press on its everlasting warmth, wishing I could take that loyal fire with me. Foolish, I know, but a fire is a cook's truest friend. It was a good fire at Mawton: blackened with hundreds of years of smoking hot dinners.
I think no heathen ever worshipped fire like a cook. So I kissed the smutty hearth wall and packed instead my little tinderbox, to light new fires I knew not where. "
― Martine Bailey , An Appetite for Violets
31
" Pastors enter congregations vocationally in order to embrace the totality of human life in Jesus' name. We are convinced there is no detail, however unpromising, in people's lives in which Christ may not work his will. Pastors agree to stay with the people in their communities week in and week out, year in and year out, to proclaim and guide, encourage and instruct as God work his purposes (gloriously, it will eventually turn out) in the meandering and disturbingly inconstant lives of our congregations.
This necessarily means taking seriously, and in faith, the dull routines, the empty boredom, and the unattractive responsibilities that make up much of most people's lives. It means witnessing to the transcendent in the fog and rain. It means living hopefully among people who from time to time get flickering glimpses of the Glory but then live through stretches, sometimes long ones, of unaccountable grayness. Most pastor work takes place in obscurity: deciphering grace in the shadows, searching out meaning in a difficult text, blowing on the embers of a hard-used life. This is hard work and not conspicuously glamorous. "
― Eugene H. Peterson , Under the Unpredictable Plant an Exploration in Vocational Holiness (The Pastoral series, #3)
33
" Her feet shifted underneath her. “I’m not sure what troubles
you.”
The wolf prowled, though he sat in a great chair. His uneasiness
made her skin tight and her heart race. Hakan was a handsome
man, very appealing to all of the fairer sex tonight with his black
jerkin stretched across broad shoulders. He had shaved for the
Glima festival, and his blonde hair, lighter from summer, loosened
from the leather tie.
“Many thoughts trouble me tonight, but Astrid’s not one of
them.” In the dim light of the longhouse, his white teeth gleamed
against his tanned face.
“Does your head ail you?” She clasped her hands together,
comfortable with the role of nurturing thrall.
“Nay, but ‘twould please me if you sat close to me and played
your harp.”
“Music would be pleasant.” Skittish and studying him under
the veil of her lashes, Helena retrieved her harp.
She sat cross-legged on a pelt near his chair. ‘Twas easy to
strum a soothing song and lose herself in the delicate notes her
fingers plucked. But when the last note faded, the restless wolf
stirred on his throne, unpacified.
“Why did you play that game with Astrid? Letting her think
more goes on between us?”
Ice-blue eyes pinned her, yet, ‘twas his voice, dangerous and
soft, that did things to her.
“I…I don’t know.” Her own voice faltered as warmth flushed
her skin.
Glowing embers molded his face with dim light. Hakan
leaned forward, resting both elbows on his knees. His sinewy hand
plucked the harp from her, placing it on the ground.
“Why?” Hakan’s fingertips tilted her chin. "
― , Norse Jewel (Norse, #1)
39
" Right now, many female activists in their forties, fifties, sixties, seventies, and eighties are gazing thoughtfully into the glowing embers of lesbian culture. For us, this is still an active campfire where we gather and warm ourselves; one which, we hope, will not fade away into forgotten ash, but instead retain hot coals to stoke new fires. Such images of heat and spark have always served to symbolize shifts in leadership; think of that other fire-based metaphor, the passing of the torch - presumably, to a next generation. What does it mean if that next generation is disdainful of the torch, welcomes its dousing, or lacks the data or the will to learn how it was lit and carried forward in the first place? "
― , The Disappearing L: Erasure of Lesbian Spaces and Culture
40
" I feel shock splinter through him, his body going rigid. Then he relaxes, melting into me, stepping forward until I am caught between him and the wall, the torch crackling beside me. His hands slide down my back, over my hips and thighs, leaving a trail of fire. His heart beats fast enough for the both of us, its thunderous pulse echoing through me.
I bury my hands in his dark hair, fingers knotting around those thick locks. Desire pulls at my stomach, and I lean into him, lifting one leg and wrapping it around his waist. He lifts me, and my other leg coils around him, my skirts sliding up my thighs, my back pressed against the column.
His lips are soft and warm and gentle, underlined with barely restrained urgency. I cannot get enough of him. I pull his kurta over his head and let it fall on the floor. I press my hands against his bared chest, feel his heart against my palm, his lungs rising and falling. His shoulder is knotted with the scar from the arrow he took for me. He kisses me again, this time more strongly, and I run my hands down his jaw and neck, over his shoulders, the taut muscles of his back.
He turns, without letting me go or breaking our kiss, and we tumble onto the soft divan. Aladdin holds himself over me, his abdomen clenched and his hair hanging across his forehead. His lips wander downward, to my chin, to the curve of my jaw, to my neck.
My hands are ravenous, exploring the planes and angles of his body. His fingers find mine, and our hands knit together. He raises them over my head, pressing them into the pillow beneath my hair, as his kisses trace my collarbone, and then he sinks lower, parting the buttons of my dress and pressing his lips to my bare stomach.
I gasp and open my eyes wide, my borrowed body coursing with sensations I have never felt, never dared to feel, never thought I could feel.
“Aladdin,” I murmur. “We shouldn’t . . .”
“Sh.” He silences me with a kiss, and I lift my chin to meet him. A warm wind rushes through my body, stirring embers and setting them aflame. I don’t want to stop. I don’t want to think about consequences. I only want Aladdin, everywhere. "
― Jessica Khoury , The Forbidden Wish
