102
" There is something improbably about the silence in the [subway] carriage, considering how naturally gregarious we are as a species. Still, how much kinder it is for the commuters to pretend to be absorbed in other things, rather than revealing the extent to which they are covertly evaluating, judging, condemning and desiring each other. A few venture a glance here and there, as furtively as birds pecking grain. But only if the train crashed would anyone know for sure who else had been in the carriage, what small parts of the nation's economy had been innocuously seated across the aisle just before the impact: employees of hotels, government ministries, plastic-surgery clinics, fruit nurseries and greetings-card companies. "
― Alain de Botton , The Pleasures and Sorrows of Work
106
" Like all things organically formed, there does exist a harmony, interrelated patterns, intuitive logic, and purpose, but these are subtle and you can’t find them exclusively by emotional or intellectual analysis. At first glance it’s all too complex and liquid-like, and our minds and emotions look for control and relief. To know water, you have to get wet; you can’t just sit back and analyze its components. So, do try to enjoy the swim, and don’t be afraid to just sit back and drink now and then—the water’s clean. "
― Darrell Calkins , Re:
110
" And you can glance out the window for a moment, distracted by the sound of small kids playing a made-up game in a neighbor's yard, some kind of kickball maybe, and they speak in your voice, or piggyback races on the weedy lawn, and it's your voice you hear, essentially, under the glimmerglass sky, and you look at the things in the room, offscreen, unwebbed, the tissued grain of the deskwood alive in light, the thick lived tenor of things, the argument of things to be seen and eaten, the apple core going sepia in the lunch tray, and the dense measures of experience in a random glance, the monk's candle reflected in the slope of the phone, hours marked in Roman numerals, and the glaze of the wax, and the curl of the braided wick, and the chipped rim of the mug that holds your yellow pencils, skewed all crazy, and the plied lives of the simplest surface, the slabbed butter melting on the crumbled bun, and the yellow of the yellow of the pencils, and you try to imagine the word on the screen becoming a thing in the world, taking all its meanings, its sense of serenities and contentments out into the streets somehow, its whisper of reconciliation, a word extending itself ever outward, the tone of agreement or treaty, the tone of repose, the sense of mollifying silence, the tone of hail and farewell, a word that carries the sunlit ardor of an object deep in drenching noon, the argument of binding touch, but it's only a sequence of pulses on a dullish screen and all it can do is make you pensive--a word that spreads a longing through the raw sprawl of the city and out across the dreaming bournes and orchards to the solitary hills.
Peace. "
― Don DeLillo
113
" What’s Albert going to do?” a boy named Jim demanded. “Where’s Albert?”
Albert stepped from an inconspicuous position off to one side. He mounted the steps, moving carefully still, not entirely well even now.
He carefully chose a position equidistant between Caine and Sam.
“What should we do, Albert?” a voice asked plaintively.
Albert didn’t look out at the crowd except for a quick glance up, like he was just making sure he was pointed in the right direction. He spoke in a quiet, reasonable monotone. Kids edged closer to hear.
“I’m a businessman.”
“True.” Toto.
“My job is organizing kids to work, taking the things they harvest or catch, and redistributing them through a market.”
“And getting the best stuff for yourself,” someone yelled to general laughter.
“Yes,” Albert acknowledged. “I reward myself for the work I do.”
This blunt admission left the crowd nonplussed.
“Caine has promised that if I stay here he won’t interfere. But I don’t trust Caine.”
“No, he doesn’t,” Toto agreed.
“I do trust Sam. But . . .”
And now you could hear a pin drop.
“But . . . Sam is a weak leader.” He kept his eyes down. “Sam is the best fighter ever. He’s defended us many times. And he’s the best at figuring out how to survive. But Sam”— Albert now turned to him—“You are too humble. Too willing to step aside. When Astrid and the council sidelined you, you put up with it. I was part of that myself. But you let us push you aside and the council turned out to be useless.”
Sam stood stock-still, stone-faced.
“Let’s face it, you’re not really the reason things are better here, I am,” Albert said. “You’re way, way braver than me, Sam. And if it’s a battle, you rule. But you can’t organize or plan ahead and you won’t just put your foot down and make things happen.”
Sam nodded slightly. It was hard to hear. But far harder was seeing the way the crowd was nodding, agreeing. It was the truth. The fact was he’d let the council run things, stepped aside, and then sat around feeling sorry for himself. He’d jumped at the chance to go off on an adventure and he hadn’t been here to save the town when they needed it.
“So,” Albert concluded, “I’m keeping my things here, in Perdido Beach. But there will be free trading of stuff between Perdido Beach and the lake. And Lana has to be allowed to move freely.”
Caine bristled at that. He didn’t like Albert laying down conditions.
Albert wasn’t intimidated. “I feed these kids,” he said to Caine. “I do it my way.”
Caine hesitated, then made a tight little bow of the head.
“I want you to say it,” Albert said with a nod toward Toto.
Sam saw panic in Caine’s eyes. If he lied now the jig would be up for him. Toto would call him out, Albert would support Sam, and the kids would follow Albert’s lead.
Sam wondered if Caine was just starting to realize what Sam had known for some time: if anyone was king, it was neither Sam nor Caine, it was Albert. "
― Michael Grant , Plague (Gone, #4)
116
" He pictured himself at the lake, on a houseboat. Dekka would be there, and Brianna and Jack. He would have friends. He wouldn’t be alone.
But he couldn’t stop himself from looking for her.
She no longer had Little Pete to worry about. They could be together without all of that. But of course he knew Astrid, and knew that right now, wherever she was, she was eaten up inside with guilt.
“She’s not coming, is she?” Sam said to Dekka.
But Dekka didn’t answer. She was somewhere else in her head. Sam saw her glance and look away as Brianna laid a light hand on Jack’s shoulder.
Dahra was staying in the hospital, but a few more kids came. Groups of three or four at a time. The Siren and the kids she lived with came. John Terrafino came. Ellen. He waited. He would wait the full two hours. Not for her, he told himself, just to keep his word.
Then Orc, with Howard.
Sam groaned inwardly.
“You gotta be kidding me,” Brianna said.
“The deal was kids make a choice,” Sam said. “I think Howard just realized how dangerous life can be for a criminal living in a place where the ‘king’ can decide life or death. "
― Michael Grant , Plague (Gone, #4)
120
" The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock.
But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else.
The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side.
Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As though the clock is falling apart, slowly and gracefully.
All of this takes hours.
The face of the clock becomes a darker grey, and then black, with twinkling stars where numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actual paper pages that turn. There is a silver dragon that curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress, awaiting an absent prince. Teapots that pour into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played.
At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dress in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the clock chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern.
After midnight, the clock begins once more to fold in upon itself. The face lightens and the cloud returns. The number of juggled balls decreases until the juggler himself vanishes.
By noon it is a clock again, and no longer a dream. "
― Erin Morgenstern , The Night Circus
