3
" Shrieking Brooke’s name as loudly as I could, out in the corridor, I brought her running quickly to my room.
‘What’s happened, what’s wrong?’ she immediately cried concerned, legging it up the stairs two at a time. She appeared breathless outside the kitchen door. Brian appeared sleepily at his door too, awoken by the noise, and watched us.
‘She’s moving,’ I cried.
‘What? Flutters like before?’
‘No more, here feel.’ I grabbed her hand and pushed it down onto my
exposed belly. Brian averted his eyes as I stood, belly out and top up over my bra, in the middle of the corridor.
‘I can’t push you that hard,’ she exclaimed, pulling back her fingers surprised. ‘It will hurt you, or her, I can’t do that.’
‘Yes, you can,’ I insisted. ‘You won’t hurt us.’ I pulled her hand back and pushed her long fingers into my belly and we stood waiting, hardly daring to breathe. You kicked again, hard into my side, under Brooke’s long pink fingernails. Brooke jumped away from me in shock and then burst out laughing. She clapped her hands together delighted.
‘Well?’ I asked her.
‘She kicked me,’ Brooke shrieked still jumping up and down clapping. ‘She kicked me. That was amazing, let me do it again.’ She came back over towards me slowly. Cautiously she pushed her fingers into the same spot on my side. We waited again in silence and I saw her face slightly drop as the seconds ticked by.
‘Ah it works,’ she yelled, as again she jumped back shocked as the tiny little feet thudded from my insides at her hand. ‘I love it. Do it again.’ I laughed and then Brian stepped forward.
‘Can I have a go?’ he asked quietly, fiddling with his hands and stepping out of his room towards us.
‘Of course you can, come here.’
And that is how we spent the next few minutes out in the corridor by the kitchen, shrieking, whooping, and jumping around. If anyone had been in the house, I know they would probably have thought we were all mad. Mad, no. Thrilled and excited, most definitely.
Baby girl, you did that to us. Thank you. "
― Emily Williams , Letters to Eloise
4
" Hope is a slighter, tougher thing even than trust, he thought, pacing his room as the soundless, vague lightning flashed overhead. In a good season one trusts life; in a bad season one only hopes, But they are of the same essence: they are the mind's indispensable relationship with other minds, with the world, and with time. Without trust, a man lives, but not a human life; without hope, he dies. When there is no relationship, where hands do not touch, emotion atrophies in void and intelligence goes sterile and obsessed. Between men the only link left is that of owner to slave, or murderer to victim. "
― Ursula K. Le Guin , City of Illusions (Hainish Cycle, #3)
11
" Leo and the Notmuch, the five-year old Leo Loses his best friend (is death for children like moving away?). For a whole summer he sits in his room and makes up stories. When his mother knocks and asks what he’s doing in his room, he answers: not much. Does his miss his friend? Not much, always: not much. Leo’s stories are the Notmuch (what kind of an idea is a Notmuch? It’s not nothing, at least).
Leo and fips turned the world into a fun and exciting place. They stayed together through thick and thin. Leo is despondent without Fips, he hides away in his room. His mother gets worried and asks how he’s doing and what he’s up to in there. Not much, answers Leo, not much. He lies on the bed and grieves for Fips (a childlike depression). Then Leo begins to create a friend in his mind, a cheeky, brave, and honest friend like Fips. Leo dubs this “good monster” the notmuch (a childlike mania). Now the two of them play, they’re cheeky and brave together, Leo now answers his mother: Notmuch. The notmuch is half memory of Fips, the other half is imagination, the two halves together enable Leo to overcome grief. "
― Thomas Pletzinger
13
" And in an essential way, this was what he was most ashamed of: not his poor understanding of sex, not his traitorous racial tendencies, not his inability to separate himself from his parents or make his own money or behave like an autonomous creature. It was that, when he and his colleagues sat there at night, the group of them burrowed deep into their own ambitious dream-structures, all of them drawing and planning their improbable buildings, he was doing nothing. He had lost the ability to imagine anything. And so every evening, while the others created, he copied: he drew buildings he had seen on his travels, buildings other people had dreamed and constructed, buildings he had lived in or passed through. Again and again, he made what had already been made, not bothering to improve them, just mimicking them. He was twenty-eight; his imagination had deserted him; he was a copyist.
It frightened him. JB had his series. Jude had his work, Willem had his. But what if Malcolm never again created anything? He longed for the years when it was enough to simply be in his room with his hand moving over a piece of graph paper, before the years of decisions and identities, when his parents made his choices for him, and the only thing he had to concentrate on was the clean blade stroke of a line, the ruler's perfect knife edge. "
― Hanya Yanagihara , A Little Life
14
" Around three a.m. he feels a presence in the room. He sees, for the pulse of a moment, a figure at the foot of his bed, against the wall or painted onto it perhaps, not quite discernible in the darkness of foliage beyond the candlelight. He mutters something, something he had wanted to say, but there is silence and the slight brown figure, which could be just a night shadow, does not move. A poplar. A man with plumes. A swimming figure. And he would not be so lucky, he thinks, to speak to the young sapper again.
He stays awake in any case this night, to see if the figure moves towards him. Ignoring the tablet that brings painlessness, he will remain awake till the light dies out and the smell of candle smoke drifts into his room and into the girl's room farther down the hall. If the figure turns around there will be paint on his back, where he slammed in grief against the mural of trees. When the candle dies out he will be able to see this.
His hand reaches out slowly and touches his book and returns to his dark chest. Nothing else moves in the room. [298] "
― Michael Ondaatje , The English Patient
19
" People have seen that I intend to sweep away everything we have been taught to consider - without question - as grace and beauty; but have overlooked my work to substitute a vaster beauty, touching all objects and beings, not excluding the most despised - and because of that, all the more exhilarating....
I would like people to look at my work as an enterprise for the rehabilitation of scorned values, and, in any case, make no mistake, a work of ardent celebration....
I am convinced that any table can be for each of us a landscape as inexhaustible as the whole Andes range... I am struck by the high value, for a man, of a simple permanent fact, like the miserable vista on which the window of his room opens daily, that comes, with the passing of time, to have an important role in his life. I often think that the highest destination at which a work of art can aim is to take on that function in someone's life. "
― Jean Dubuffet