23
" This is what’ll happen,” she said, “and it’s true, perfectly true. When you go out of here, all the particles that make you up will loosen and float apart, just like your daemons did. If you’ve seen people dying, you know what that looks like. But your daemons en’t just nothing now; they’re part of everything. All the atoms that were them, they’ve gone into the air and the wind and the trees and the earth and all the living things. They’ll never vanish. They’re just part of everything. And that’s exactly what’ll happen to you, I swear to you, I promise on my honor. You’ll drift apart, it’s true, but you’ll be out in the open, part of everything alive again. "
― Philip Pullman , His Dark Materials (His Dark Materials #1-3)
29
" To Have Without Holding:
Learning to love differently is hard,
love with the hands wide open, love
with the doors banging on their hinges,
the cupboard unlocked, the wind
roaring and whimpering in the rooms
rustling the sheets and snapping the blinds
that thwack like rubber bands
in an open palm.
It hurts to love wide open
stretching the muscles that feel
as if they are made of wet plaster,
then of blunt knives, then
of sharp knives.
It hurts to thwart the reflexes
of grab, of clutch, to love and let
go again and again. It pesters to remember
the lover who is not in the bed,
to hold back what is owed to the work
that gutters like a candle in a cave
without air, to love consciously,
conscientiously, concretely, constructively.
I can't do it, you say it's killing
me, but you thrive, you glow
on the street like a neon raspberry,
You float and sail, a helium balloon
bright bachelor's buttons blue and bobbing
on the cold and hot winds of our breath,
as we make and unmake in passionate
diastole and systole the rhythm
of our unbound bonding, to have
and not to hold, to love
with minimized malice, hunger
and anger moment by moment balanced. "
― Marge Piercy
32
" When I started writing I wanted the best tools. I skipped right over chisels on rocks, stylus on wet clay plates, quills and fountain pens, even mechanical pencils, and went straight to one of the first popular spin-offs of the aerospace program: the ballpoint pen. They were developed for comber navigators in the war because fountain pens would squirt all over your leather bomber jacket at altitude. (I have a cherished example of the next generation ballpoint, a pressurized Space Pen cleverly designed to work in weightlessness, given to me by Spider Robinson. At least, I cherish it when I can find it. It is also cleverly designed to seek out the lowest point of your desk, roll off, then find the lowest point on the floor, under a heavy piece of furniture. That's because it is cylindrical and lacks a pocket clip to keep it from rolling. In space, I presume it would float out of your pocket and find a forgotten corner of your spacecraft to hide in. NASA spent $3 million developing it. Good job, guys. I'm sure it's around here somewhere.) "
― John Varley , The John Varley Reader
36
" The four of them stand in the cockpit of the Misdemeanor as they motor from one town to another. They pass their house, which is not theirs any longer. Libby cuts the throttle, and they stall there in front of their sprawling memory. The four of them have come up for the closing; since all of them are owners, they all must be present to sign away this place. They have given most of the land to the Maine Preservation Society, and the house, they have sold to a family who promises not to tear the whole thing down, though they know that is a lie. The oak is yellow and peeks from behind the house. The glossy white windows of the great room look down upon them. It is cold and they all wear their foul-weather gear, bright-yellow slickers, except Gwen, in a red poncho to accommodate the swell of her belly. Libby keeps one hand on the tiller and the other she slips into Tom’s hand. He gives it a squeeze and then puts his arm around her. Danny moves from the stern to stand between Tom and Gwen. They all stand on the starboard side looking at the house. Libby and Tom, then Danny, his hand resting on his brother’s shoulder, and Gwen next to him, her arms crossed over her protruding belly, her hair long and dark hanging down her back. She is no longer a beacon, but a buoy in her poncho, red right returning. The sky is gray and low and promises a choppy ferry ride to the mainland, but there in the safe haven of the harbor it is calm and windless, and the house isn’t empty, but expectant. The flat water, dark green now, lies empty, the float pulled out the month before. Going from town dock to town dock, there is no need for a tender. There is no way for them to come ashore, even if they wanted to. A house like this is not supposed to exist now. It comes from another era. It is a ghost, like the schooners that sail through the thoroughfare every summer. It is an aberration, a figment. It is their great shingled memory. "
― , North Haven