2
" Ineluctable modality of the visible: at least that if no more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, MAESTRO
DI COLOR CHE SANNO. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see. "
― James Joyce , Ulysses
11
" Of the not very many ways known of shedding one's body, falling, falling, falling is the supreme method, but you have to select your sill or ledge very carefully so as not to hurt yourself or others. Jumping from a high bridge is not recommended even if you cannot swim, for wind and water abound in weird contingencies, and tragedy ought not to culminate in a record dive or a policeman's promotion. If you rent a cell in the luminous waffle, room 1915 or 1959, in a tall business centre hotel browing the star dust, and pull up the window, and gently - not fall, not jump - but roll out as you should for air comfort, there is always the chance of knocking clean through into your own hell a pacific noctambulator walking his dog; in this respect a back room might be safer, especially if giving on the roof of an old tenacious normal house far below where a cat may be trusted to flash out of the way. Another popular take-off is a mountaintop with a sheer drop of say 500 meters but you must find it, because you will be surprised how easy it is to miscalculate your deflection offset, and have some hidden projection, some fool of a crag, rush forth to catch you, causing you to bounce off it into the brush, thwarted, mangled and unnecessarily alive. The ideal drop is from an aircraft, your muscles relaxed, your pilot puzzled, your packed parachute shuffled off, cast off, shrugged off - farewell, shootka (little chute)! Down you go, but all the while you feel suspended and buoyed as you somersault in slow motion like a somnolent tumbler pigeon, and sprawl supine on the eiderdown of the air, or lazily turn to embrace your pillow, enjoying every last instant of soft, deep, death-padded life, with the earth's green seesaw now above, now below, and the voluptuous crucifixion, as you stretch yourself in the growing rush, in the nearing swish, and then your loved body's obliteration in the Lap of the Lord. "
― Vladimir Nabokov , Pale Fire
14
" Ten minutes ago, Frank though he was going to prison. Now he knows he’s not, and part of him thinks he should just be glad he’s getting out of this at all, but he’s not. He’s not glad. He’s furious. He’s known the world is broken for a long time, he’s known that, but sometimes he’s amazed at how broken; even now, at this point in his life, nearing fifty years old, he can stumble across something that makes him realize all over again that the world is not only broken, but beyond fixing. No amount of glue can ever make it right. And yet, you have to focus on your little part of it, don’t you? You have to focus on your little corner of the world and glue what cracks you can. Otherwise there’s no hope at all. "
15
" His breathing was heavy, and full of life. He shivered still, his hand finding Katty unsteady and unprepared of what was going to come next.
“I hurt you!” Nico said, his voice raised with worry.
“No, not at all, honey, my sweetest Master, but you have me, all of me, the wholeness of me and my darkness.”
“You play with the devil dear.” Nico sombered.
“No.” Katty defiantly said. “You took my blood and it made me your slave, yet I love every minute of it.”
“Tell me you love me Katty.” He said, nearing her closer than close, mending the space between them with the threads of courage. “Tell me you have no fear, nor no weakness against me. Or no shame in loving me.”
“I fear you not, my love.” Katty sincerely committed. “I fear only that you will be taken away by the hands of the vampire hunter, and only then, will I fall. "
― Keira D. Skye
18
" THERE IT IS,’ my mother says, and what she means is that the dot we’ve been nearing for weeks, the one that’s been growing into a larger dot with two smaller dots circling it, has now become even larger than that, growing from a dot to a disc, shining back the light from its sun, until you can see the blue of its oceans, the green of its forests, the white of its polar caps, a circle of colour against the black beyond. "
― Patrick Ness , The New World (Chaos Walking, #0.5)
20
" Though it's fearful, Though it's deep, though it's dark And though you may lose the path, Though you may encounter wolves, You can't just act, You have to listen. you can't just act, You have to think. Though it's dark, There are always wolves, There are always spells, There are always beans, Or a giant dwells there. So into the woods you go again, You have to every now and then. Into the woods, no telling when, Be ready for the journey. Into the woods, but not too fast or what you wish, you lose at last. Into the woods, but mind the past. Into the woods, but mind the future. Into the woods, but not to stray, Or tempt the wolf, or steal from the giant-- The way is dark, The light is dim, But now there's you, me, her, and him. The chances look small, The choices look grim, But everything you learn there Will help when you return there. The light is getting dimmer.. I think I see a glimmer-- Into the woods--you have to grope, But that's the way you learn to cope. Into the woods to find there's hope Of getting through the journey. Into the woods, each time you go, There's more to learn of what you know. Into the woods, but not too slow-- Into the woods, it's nearing midnight-- Into the woods to mind the wolf, To heed the witch, to honor the giant, To mind, to heed, to find, to think, to teach, to join, to go to the Festival! Into the woods, Into the woods, Into the woods, Then out of the woods-- And happy ever after! "