144
" She reached forward and lifted her uncle up into her arms. He was still too weak to resist, and she comforted him with a stroke of her fingers through his greying hair, softly kissing his lips, tasting the blood with a shiver of anticipation, and moving her kisses to his cheek, the line of his jaw, the crook of his neck where his pulse thundered to push the shadowy blood to its destinations.
“Know that, when I do this, I’m doing it, to ease your suffering,” she whispered, lips pressed to his skin, her fangs pressing behind them hungrily. "
― Carmen Dominique Taxer , And Blood Divides Us (Shades of the Sea and Flame, #4)
145
" I know what you’re doing,” he whispered to Raphael, whose movements only became more fervent, and the thought slipped from the boy’s mind so that he became dazed and undone with pleasure, staring up at the ceiling, watching as it blurred and became indistinct, and he felt the rising rush of pleasure, until he cried out in a sharp gasp.
And the pleasure went on and on, as it did, unbearably, until either Raphael took pity on him, or he pushed his Genitor away. Whichever it was, the pleasure that was leaking into pain, stopped, and he was lifted and laid down on the stone, cold and hard under his spine, and Raphael was bent over him, kissing up this time, up to his lips, flicking his tongue at them, and whispering: “Don’t question my love for you. Ever again. "
― Carmen Dominique Taxer , And Blood Divides Us (Shades of the Sea and Flame, #4)
146
" Father and the child were no longer speaking, but they sat together in silence. The child was at his feet, and he sat, up in his throne, his eyes on the sky as well.
It made her smile. They existed beneath the same stretch of stars. They loved the same night blanket above them.
She looked at him, taking the opportunity to relish in his distraction to study him, his midnight hair, his pale body, only barely covered by the cloak, the fur of it distractingly like his hair, his lips just parted enough that his fangs were visible, his deep violet eyes, his long, elegant fingers, stroking the…
She swallowed back pain that rose up her throat as she watched Father stroking the boy’s hair. Sitting together like that, the similarities between them were bewitching. She frowned, glancing once, disdainfully at the wavy-haired child with the slanted green eyes, walking to her Father’s throne and bending her knee in a bow.
There was a sound like a chuckle, and she looked up at him. He was smiling at her. It warmed the quiet cold in her chest.
“Come,” he said in his sonorous voice, and the darkness whispered with it, a thousand voices in varying degrees of age, gender, depth and lifted sweetness, all speaking together. She moved closer to him, sitting where his arm wound around her shoulder, fitting them together like childish toy blocks. "
― Carmen Dominique Taxer , Blood Deluge (Shades of the Sea and Flame, #2)
147
" Before he went away, he had heard all about the self-made girl, and there was something in the picture that strongly impressed him. She was possible doutbless only in America; American life had smoothed the way for her. She was not fast, nor emancipated, nor crude, nor loud, and there wasn’t in her, of necessity at least, a grain of the stuff of which the adventuress is made.
She was simply very successful, and her success was entirely personal. She hadn’t been born with the silver spoon of social opportunity, she had grasped it by honest exertion. You knew her by many different signs, but chiefly, infallibly, by the appearance of her parents. It was her parents who told her story; you always saw how little her parents could have made her. Her attitude with regard to them might vary in different ways. As the great fact on her own side was that she had lifted herself from a lower social plane, done it all herself, and done it by the simple lever of her personality, it was naturally to be expected that she would leave the authors of her mere material being in the shade.
(…)
But the general characteristic of the self-made girl was that, though it was frequently understood that she was privately devoted to her kindred, she never attempted to impose them on society, and it was striking that, though in some of her manifestations a bore, she was at her worst less of a bore than they. They were almost always solemn and portentous, and they were for the most part of a deathly respectability. She wasn’t necessarily snobbish, unless it was snobbish to want the best. She didn’t cringe, she didn’t make herself smaller than she was, she took on the contrary a stand of her own and attracted things to herself.
Naturally she was possible only in America, only in a country where whole ranges of competition and comparison were absent. "
― Henry James , Pandora
152
" This is what I think about
when I shovel compost
into a wheelbarrow,
and when I fill the long flower boxes,
then press into rows
the limp roots of red impatiens—
the instant hand of Death
always ready to burst forth
from the sleeve of his voluminous cloak.
Then the soil is full of marvels,
bits of leaf like flakes off a fresco,
red-brown pine needles, a beetle quick
to burrow back under the loam.
Then the wheelbarrow is a wilder blue,
the clouds a brighter white,
and all I hear is the rasp of the steel edge
against a round stone,
the small plants singing
with lifted faces, and the click
of the sundial
as one hour sweeps into the next. "
― Billy Collins , Picnic, Lightning
156
" Most people are afflicted with an inability to say what they see or think. They say there’s nothing more difficult than to define a spiral in words; they claim it is necessary to use the unliterary hand, twirling it in a steadily upward direction, so that human eyes will perceive the abstract figure immanent in wire spring and a certain type of staircase. But if we remember that to say is to renew, we will have no trouble defining a spiral; it’s a circle that rises without ever closing. I realize that most people would never dare to define it this way, for they suppose that defining is to say what others want us to say rather than what’s required for the definition. I’ll say it more accurately: a spiral is a potential circle that winds round as it rises, without ever completing itself. But no, the definition is still abstract. I’ll resort to the concrete, and all will become clear: a spiral is a snake without a snake, vertically wound around nothing.
All literature is an attempt to make life real. All of us know, even when we act on what we don’t know, life is absolutely unreal in its directly real form; the country, the city and our ideas are absolutely fictitious things, the offspring of our complex sensation of our own selves. Impressions are incommunicable unless we make them literary. Children are particularly literary, for they say what they feel not what someone has taught them to feel. Once I heard a child, who wished to say that he was on the verge of tears, say not ‘I feel like crying’, which is what an adult, i.e., an idiot, would say but rather, ’ I feel like tears.’ And this phrase -so literary it would seem affected in a well-known poet, if he could ever invent it - decisively refers to the warm presence of tears about to burst from eyelids that feel the liquid bitterness. ‘I feel like tears’! The small child aptly defined his spiral.
To say! To know how to say! To know how to exist via the written voice and the intellectual image! This is all that matters in life; the rest is men and women, imagined loves and factitious vanities, the wiles of our digestion and forgetfulness, people squirming- like worms when a rock is lifted - under the huge abstract boulder of the meaningless blue sky. "
― Fernando Pessoa , The Book of Disquiet
160
" I hated being around people, couldn’t pay attention to what anyone was saying, couldn’t talk to clients, couldn’t tag my pieces, couldn’t ride the subway, human activity seemed pointless, incomprehensible, some blackly swarming ant hill in the wilderness, there was not a squeak of light anywhere I looked, the antidepressants I’d been dutifully swallowing for eight weeks hadn’t helped a bit, nor had the ones before that (but then, I’d tried them all; apparently I was among the twenty unfortunates who didn’t get the daisy fields and the butterflies but the Sever Headaches and the Suicidal Thoughts); and though the darkness sometimes lifted just enough so I could construe my surroundings, familiar shapes solidifying the bedroom furniture at dawn, my relief was never more than temporary because somehow the full morning never came, things always went black before I could orient myself and there I was again with ink poured in my eyes, guttering around in the dark. "
― Donna Tartt , The Goldfinch
