3
" Science uses the Red Shift to measure deep cosmic distances. But how to measure deep historic time? How about—the Saffron Shift.
If history itself had a color, it is . . . like wood or bark, or living forest floor.
Assigning hues to time periods, the sum total of history is saffron-brown—but the chromatic arc starts from blinding white (prehistory) to sun-yellow (Ancient Greece), then deepening to pale wood tones (Dark Ages) and finally exploding like an infinite chord into a full brown palette that includes mahoganies, siennas (Middle Ages), oak, sandalwood (the Renaissance), cherry, maple (Age of Reason), and near-black old woods (Industrial Revolution) for which there may not be names.
As time approaches our own, the wood-brown palette fades to a weird glassy colorlessness, goes black-and-white for a brief span as you think of photographs of your grandparents, and then again fades until we get a clear medium that is the color of the world.
And the present moment is perfectly transparent.
It's only as you start looking into the future, that the colors start returning. The glass is turning silvery with a murky haze, and there is blue somewhere in the distance . . . "
― Vera Nazarian , The Perpetual Calendar of Inspiration
4
" Everything is melting in nature. We think we see objects, but our eyes are slow and partial. Nature is blooming and withering in long puffy respirations, rising and falling in oceanic wave-motion. A mind that opened itself fully to nature without sentimental preconception would be glutted by nature’s coarse materialism, its relentless superfluity. An apple tree laden with fruit: how peaceful, how picturesque. But remove the rosy filter of humanism from our gaze and look again. See nature spuming and frothing, its mad spermatic bubbles endlessly spilling out and smashing in that inhuman round of waste, rot, and carnage. From the jammed glassy cells of sea roe to the feathery spores poured into the air from bursting green pods, nature is a festering hornet’s nest of aggression and overkill. This is the chthonian black magic with which we are infected as sexual beings; this is the daemonic identity that Christianity so inadequately defines as original sin and thinks it can cleanse us of. Procreative woman is the most troublesome obstacle to Christianity’s claim to catholicity, testified by its wishful doctrines of Immaculate Conception and Virgin Birth. The procreativeness of chthonian nature is an obstacle to all of western metaphysics and to each man in his quest for identity against his mother. Nature is the seething excess of being. "
― Camille Paglia , Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson
8
" Meanwhile it's got stormy, the tattered fog even thicker, chasing across my path. Three people are sitting in a glassy tourist cafe between clouds and clouds, protected by glass from all sides. Since I don't see any waiters, it crosses my mind that corpses have been sitting there for weeks, statuesque. All this time the cafe has been unattended, for sure. Just how long have they been sitting here, petrified like this? "
― Werner Herzog , Of Walking in Ice: Munich-Paris, 11/23 to 12/14, 1974
11
" A notion of character, not so much discredited as simply forgotten, once held that people only came into themselves partway through their lives. They woke up, were they lucky enough to have consciousness, in the act of doing something they already knew how to do: feeding themselves with currants. Walking the dog. Knotting up a broken bootlace. Singing antiphonally in the choir. Suddenly: This is I, I am the girl singing this alto line off-key, I am the boy loping after the dog, and I can see myself doing it as, presumably, the dog cannot see itself. How peculiar! I lift on my toes at the end of the dock, to dive into the lake because I am hot, and while isolated like a specimen in the glassy slide of summer, the notions of hot and lake and I converge into a consciousness of consciousness–in an instant, in between launch and landing, even before I cannonball into the lake, shattering both my reflection and my old notion of myself. "
― Gregory Maguire , Son of a Witch (The Wicked Years, #2)
14
" What do we have here?” Grant slurs at me. He seems different and it raises flags in my mind. His fingers wrap around a section of my hair and it scares me. His face is flushed red and his eyes are glassy and bright. I can smell the smoky scent of whiskey or scotch rolling off his tongue as he speaks and breathes heavily.
“I’m lost and I need a ride home.” My voice wavers as I speak and I hate it. I fist my hands in the hem of my blazer.
“I’ll get Albert for you, but first spend some time with me,” he slurs again, sounding like his tongue is too large for his mouth. As if sensing my attention, the tip of his tongue sneaks out and slides along his supple bottom lip. He smiles as he tastes the alcohol that’s staining his mouth. His eyes are bright and shiny and glazed over. He has a smirk on his face that shows off his dimple. It no longer reminds me of Whitt. It seems sinister and dangerous- promising something I’m not ready to experience.
The feel of his fingers playing with my hair gives me goosebumps and I shiver as my scalp tightens, sucking up the pleasant attention. I do my first stupid-girl moment of my life. I shameless crush on a guy and let it turn my thoughts to mush.
“Okay, if you promise to call Albert first.” I try to negotiate with him and he gives me a naughty smirk for agreeing.
He backs me up with his physical presence. His front touches mine- chest-to-chest. His lips part and breathes the smoky, whiskey scent onto my chin. My back hits the door behind me with an audible thump. He reaches around me and I don’t wince. I anticipate him touching me and crave it. Instead, his hand twists the doorknob by my hip and I fall backwards.
I’m pushed into a dark room until my legs connect with the edge of a bed. I can’t see anything, and the only sound is our combined breathing. I feel alive with caution. I’m aware of every hair, every nerve on my flesh. My senses are so in-tuned that I can feel my system pumping the blood through my veins nourishing my whole body. "
― Erica Chilson , Jaded (Mistress & Master of Restraint, #5)
15
" Cassie,” I growl at the young brunette. “How’s the sobriety?”
Alex brought the submissive to us. She’s an addict that he councils at Transcend. I don’t want to be mean to her right now, especially since my best friend brought her here, but I’m furious and she’s an outlet. She can’t strike back.
“Ninety days sober,” she says with pride.
“That’s awesome,” I say enthusiastically and smile at her. “I love how we have to give fuck ups a medal when they behave. I would think it should go to those who never fuck up. What’s the incentive to behave if all you have to do is get shit-faced and steal shit for years and then ninety days on the straight-and-narrow we have to pat you on the back for being a good girl,” I say in a saccharine voice.
She gazes at me with huge, glassy brown eyes. I can see the tears forming. Cassie worries her full bottom lip between her teeth and tries not to blink.
“But hey, what do I know. It just seems like the system is flawed. The good little boys and girls just don’t get the recognition that a crack-whore thief gets,” I shrug.
Cassie blinks and the surface of her tears breaks and they finally slide down her cheeks in shame.
“But go you!” I shout sarcastically. I give her a thumbs up and walk down the hall.
“Cold… that was just cold, dude,” Alex chuckles at me.
That was so bad that I have to laugh or I’d puke. I shake my head as my belly contracts from laughter.
“Score on my newest asshattery?” I ask my partner in crime. If I didn’t have him I’d scream. I’ll owe Master Marcus forever. He stripped me bare until Font was naked in the impact room at Brownstone I trained in. Alex walked in and shook my hand- instant best friend.
“Ah…” He taps his chin in thought and the bastard tucks his black hair behind his ear. I growl at him because he did it on purpose. He knows how much I miss the feel of my hair swinging at my jawline.
Alex arches a perfect brow above his aqua eye and smirks. He runs his hands through his hair and groans in pleasure.
“8.5. It was a decent attempt, but you pulled your hit. You’re too soft. I bet you were scared you’d make her relapse.”
“Yeah,” I say bashfully.
“Not happening, bud. I’m just that fucking good. I better go do some damage control. Don’t hurt any more subs. Pick on the big bastards. They may bite back, but their egos are delicate. "
― Erica Chilson , Dalton (Mistress & Master of Restraint, #4)
16
" Intriguing isn't it? One day you are the king of your world. And the next day, you stand aside, watching it all burn. Ashes slipping out of your hand, you just stand and stare, your glassy gaze fixed on something no one else could see, no one else could know...
People will talk as people do talk. And they will walk over the ashes. And the ashes will dance in front of you, reminding you every second of what was and what might have been. And you will almost give in.
But my advice is, don’t give in. Because one day, you will decide to turn the corner. Put it all behind you. Just stand strong and still as the great wind comes and takes all the ashes away with with it, leaving fresh air behind. Fresh for you to make a new world, a better world. "
―
19
" Under the tossing ocean the voice of the waters was in my ears—a low, sweet voice, intimate, mysterious. Through singing foam and broad, green, glassy depths, by whispering sandy channels atrail with sea-weed, and on, on, out into the vague, cool sea, I sped, rising to the top, sinking, gliding. Then at last I flung myself out of water, hands raised, and the clamor of the gulls filled my ears. "
― Robert W. Chambers , In Search of the Unknown
20
" Doc was collecting marine animals in the Great Tide Pool on the tip of the Peninsula. It is a fabulous place: when the tide is in, a wave-churned basin, creamy with foam, whipped by the combers that roll in from the whistling buoy on the reef. But when the tide goes out the little water world becomes quiet and lovely. The sea is very clear and the bottom becomes fantastic with hurrying, fighting, feeding, breeding animals. Crabs rush from frond to frond of the waving algae. Starfish squat over mussels and limpets, attach their million little suckers and then slowly lift with incredible power until the prey is broken from the rock. And then the starfish stomach comes out and envelops its food. Orange and speckled and fluted nudibranchs slide gracefully over the rocks, their skirts waving like the dresses of Spanish dancers. And black eels poke their heads out of crevices and wait for prey. The snapping shrimps with their trigger claws pop loudly. The lovely, colored world is glassed over. Hermit crabs like frantic children scamper on the bottom sand. And now one, finding an empty snail shell he likes better than his own, creeps out, exposing his soft body to the enemy for a moment, and then pops into the new shell. A wave breaks over the barrier, and churns the glassy water for a moment and mixes bubbles into the pool, and then it clears and is tranquil and lovely and murderous again. Here a crab tears a leg from his brother. The anemones expand like soft and brilliant flowers, inviting any tired and perplexed animal to lie for a moment in their arms, and when some small crab or little tide-pool Johnnie accepts the green and purple invitation, the petals whip in, the stinging cells shoot tiny narcotic needles into the prey and it grows weak and perhaps sleepy while the searing caustic digestive acids melt its body down.
Then the creeping murderer, the octopus, steals out, slowly, softly, moving like a gray mist, pretending now to be a bit of weed, now a rock, now a lump of decaying meat while its evil goat eyes watch coldly. It oozes and flows toward a feeding crab, and as it comes close its yellow eyes burn and its body turns rosy with the pulsing color of anticipation and rage. Then suddenly it runs lightly on the tips of its arms, as ferociously as a charging cat. It leaps savagely on the crab, there is a puff of black fluid, and the struggling mass is obscured in the sepia cloud while the octopus murders the crab. On the exposed rocks out of water, the barnacles bubble behind their closed doors and the limpets dry out. And down to the rocks come the black flies to eat anything they can find. The sharp smell of iodine from the algae, and the lime smell of calcareous bodies and the smell of powerful protean, smell of sperm and ova fill the air. On the exposed rocks the starfish emit semen and eggs from between their rays. The smells of life and richness, of death and digestion, of decay and birth, burden the air. And salt spray blows in from the barrier where the ocean waits for its rising-tide strength to permit it back into the Great Tide Pool again. And on the reef the whistling buoy bellows like a sad and patient bull. "
― John Steinbeck , Cannery Row (Cannery Row, #1)
