1
" Sought we the Scrivani word-work of Surthur
Long-lost in ledger all hope forgotten.
Yet fast-found for friendship fair the book-bringer
Hot comes the huntress Fela, flushed with finding
Breathless her breast her high blood rising
To ripen the red-cheek rouge-bloom of beauty.
“That sort of thing,” Simmon said absently, his eyes still scanning the pages in front of him.
I saw Fela turn her head to look at Simmon, almost as if she were surprised to see him sitting there.
No, it was almost as if up until that point, he’d just been occupying space around her, like a piece of furniture. But this time when she looked at him, she took all of him in. His sandy hair, the line of his jaw, the span of his shoulders beneath his shirt. This time when she looked, she actually saw him.
Let me say this. It was worth the whole awful, irritating time spent searching the Archives just to watch that moment happen. It was worth blood and the fear of death to see her fall in love with him. Just a little. Just the first faint breath of love, so light she probably didn’t notice it herself. It wasn’t dramatic, like some bolt of lightning with a crack of thunder following. It was more like when flint strikes steel and the spark fades almost too fast for you to see. But still, you know it’s there, down where you can’t see, kindling. "
― Patrick Rothfuss , The Wise Man's Fear (The Kingkiller Chronicle, #2)
3
" At the time of Lewis and Clark, setting the prairies on fire was a well-known signal that meant, ‘Come down to the water.’ It was an extravagant gesture, but we can’t do less. If the landscape reveals one certainty, it is that the extravagant gesture is the very stuff of creation. After the extravagant gesture of creation in the first place, the universe has continued to deal exclusively in extravagances, flinging intricacies and colossi down aeons of emptiness, heaping profusions on profligacies with ever fresh vigor. The whole show has been on fire from the word go. I come down to the water to cool my eyes. But everywhere I look, I see fire: that which isn’t flint is tinder, and the whole world sparks and flames. "
― Annie Dillard , Pilgrim at Tinker Creek
4
" Because children grow up, we think a child's purpose is to grow up. But a child's purpose is to be a child. Nature doesn't disdain what lives only for a day. It pours the whole of itself into the each moment. We don't value the lily less for not being made of flint and built to last. Life's bounty is in its flow, later is too late. Where is the song when it's been sung? The dance when it's been danced? It's only we humans who want to own the future, too. We persuade ourselves that the universe is modestly employed in unfolding our destination. We note the haphazard chaos of history by the day, by the hour, but there is something wrong with the picture. Where is the unity, the meaning, of nature's highest creation? Surely those millions of little streams of accident and wilfulness have their correction in the vast underground river which, without a doubt, is carrying us to the place where we're expected! But there is no such place, that's why it's called utopia. The death of a child has no more meaning than the death of armies, of nations. Was the child happy while he lived? That is a proper question, the only question. If we can't arrange our own happiness, it's a conceit beyond vulgarity to arrange the happiness of those who come after us. "
― , The Coast of Utopia (Box Set)
7
" THE BARROW In this high field strewn with stones I walk by a green mound, Its edges sheared by the plough. Crumbs of animal bone Lie smashed and scattered round Under the clover leaves And slivers of flint seem to grow Like white leaves among green. In the wind, the chestnut heaves Where a man's grave has been. Whatever the barrow held Once, has been taken away: A hollow of nettles and dock Lies at the centre, filled With rain from a sky so grey It reflects nothing at all. I poke in the crumbled rock For something they left behind But after that funeral There is nothing at all to find. On the map in front of me The gothic letters pick out Dozens of tombs like this, Breached, plundered, left empty, No fragments littered about Of a dead and buried race In the margins of histories. No fragments: these splintered bones Construct no human face, These stones are simply stones. In museums their urns lie Behind glass, and their shaped flints Are labelled like butterflies. All that they did was die, And all that has happened since Means nothing to this place.Above long clouds, the skiesTurn to a brilliant redAnd show in the water's faceOne living, and not these dead." — Anthony Thwaite, from The Owl In The Tree "
8
" I see them standing at the formal gates of their colleges,
I see my father strolling out
under the ochre sandstone arch, the
red tiles glinting like bent
plates of blood behind his head, I
see my mother with a few light books at her hip
standing at the pillar made of tiny bricks with the
wrought-iron gate still open behind her, its
sword-tips black in the May air,
they are about to graduate, they are about to get married,
they are kids, they are dumb, all they know is they are
innocent, they would never hurt anybody.
I want to go up to them and say Stop,
don't do it--she's the wrong woman,
he's the wrong man, you are going to do things
you cannot imagine you would ever do,
you are going to do bad things to children,
you are going to suffer in ways you never heard of,
you are going to want to die. I want to go
up to them there in the late May sunlight and say it,
her hungry pretty blank face turning to me,
her pitiful beautiful untouched body,
his arrogant handsome blind face turning to me,
his pitiful beautiful untouched body,
but I don't do it. I want to live. I
take them up like the male and female
paper dolls and bang them together
at the hips like chips of flint as if to
strike sparks from them, I say
Do what you are going to do, and I will tell about it "
― Sharon Olds
12
" Whirrun ignored ‘em. ‘Then, when I’ve got two cut,’ and he dropped a pale slab of cheese on one slice then slapped the other on top like he was catching a fly, ‘I trap the cheese between then, and there you have it!’
‘Bread and cheese.’ Yon weighed the half-loaf in one hand and the cheese in the other. ‘Just the same as I’ve got.’ And he bit off the cheese and tossed it to Scorry.
Whirrun sighed. ‘Have none of you no vision?’ He held up his masterpiece to such light as there was, which was almost none. ‘This is no more bread and cheese than a fine axe is wood and iron, or a live person is meat and har.’
‘What is it, then?’ asked Drfod, rocking back from his wet wood and tossing the flint aside in disgust.
‘A whole new thing. A forging of the humble part of bread and cheese into a greater whole. I call it … a cheese-trap.’ Whirrun took a dainty nibble from one corner. ‘Oh, yes, my friends. This tastes like … progress… "
― Joe Abercrombie , The Heroes (First Law World, #5)
16
" When Sally stopped crying, she found herself alone, the cold draft of the window at her neck, and on both sides, the rows of doors went on and on, diminishing to nothing, the end.
'What fun it is to ride and sing a sleighing song tonight, oh.' What glories.
Mathilde came. And though she appeared to be the... same sweet girl Sally had been afraid of, she was not. Sally saw the flint in her. Mathilde can save Lotto from his own laziness, Sally thought. But here they were, a year later, and he was still ordinary. The chorus caught in her throat.
A stranger hurrying as fast as he could over the icy sidewalks looked in. He saw a circle of singing people bathed in the clean, white light from a tree, and his heart did a soumersault. And the image stayed with him, it merged with him even as he came home to his own children, who were already asleep in their beds, to his wife crossly putting together the tricycle without the screwdriver he'd run out to borrow. It remained long after his children ripped open their gifts and abandoned their toys and puddles of paper and grew too old for them and left their house and parents and childhoods, so that he and his wife gaped at each other in bewilderment as to how it had happened so terribly swiftly. All those years, the singers in the soft light in the basement apartment crystalized in his mind, became the very idea of what happiness should look like. "
― Lauren Groff , Fates and Furies
17
" When a soul in sin, under the impetus of grace, turns to God, there is penance; but when a soul in sin refuses to change, God sends chastisement. This chastisement need not be external, and certainly it is never arbitrary; it comes as an inevitable result of breaking God’s moral law. But the entrenched forces of the modern world are irrational, men nowadays do not always interpret disasters as the moral events they are. When calamity strikes the flint of human hearts, sparks of sacred fire are kindled and men will normally begin to make an estimate of their true worth. In previous ages this was usual: a disordered individual could find his way back to peace because he lived in an objective world inspired by Christian order. But the frustrated man of today, having lost his faith in God, living as he does, in a disordered chaotic world, has no beacon to guide him. In times of trouble he sometimes turns in upon himself, like a serpent devouring its own tail. Given such a man, who worships the false trinity of (1) his own pride, which acknowledges no law; (2) his own sensuality, which makes earthly comfort it goal; (3) his license, which interprets liberty as the absences of all restraint and law—then a cancer is created which is impossible to cure except through an operation or calamity unmistakable as God’s action in history. It is always through sweat and blood and tears that the soul is purged of its animal egotism and laid open to the Spirit … Catastrophe can be to a world that has forgotten God what a sickness can be to a sinner; in the midst of it millions might be brought not to a voluntary, but to an enforced crisis. Such a calamity would put an end to Godlessness and make vast numbers of men, who might otherwise lose their souls, turn to God. "
― Fulton J. Sheen , Peace of Soul: Timeless Wisdom on Finding Serenity and Joy by the Century's Most Acclaimed Catholic Bishop