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1 " I sat down in the middle of the garden, where snakes could scarcely approach unseen, and leaned my back against a warm yellow pumpkin. There were some ground-cherry bushes growing along the furrows, full of fruit. I turned back the papery triangular sheaths that protected the berries and ate a few. All about me giant grasshoppers, twice as big as any I had ever seen, were doing acrobatic feats among the dried vines. The gophers scurried up and down the ploughed ground. There in the sheltered draw-bottom the wind did not blow very hard, but I could hear it singing its humming tune up on the level, and I could see the tall grasses wave. The earth was warm under me, and warm as I crumbled it through my fingers. Queer little red bugs came out and moved in slow squadrons around me. Their backs were polished vermilion, with black spots. I kept as still as I could. Nothing happened. I did not expect anything to happen. I was something that lay under the sun and felt it, like the pumpkins, and I did not want to be anything more. I was entirely happy. Perhaps we feel like that when we die and become a part of something entire, whether it is sun and air, or goodness and knowledge. At any rate, that is happiness; to be dissolved into something complete and great. When it comes to one, it comes as naturally as sleep. "
― Willa Cather
2 " There's a very generous donation in the parish's future if you make this fast. Ten minutes, at the most." Frowning, the man fumbled open his liturgy. " There's an established rite, Your Grace. Marriage must be entered into with solemnity and consideration. I don't know that I can rush--" " Ten minutes. One thousand guineas." The liturgy snapped closed. " Then again, what do a few extra minutes signify to an eternal God?" He beckoned Amelia with a fluttering, papery hand. " Make haste, child. You're about to be married. "
3 " She would have liked to love. It was terrible to think she had never loved her son as a man. Sometimes her hands would wrestle together. They were supple, rather plump hands, broad and not yet dry. But wrestling like this together, they were papery and dried-up. Then she would force herself into some deliberate activity or speak tenderly to her good husband, offering him things to eat, and seeing to his clothes. She loved her husband. Even after the drudgery of love she could still love him. But sometimes she lay on her side and said, I have not loved him enough, not yet, he has not seen the evidence of love. It would have been simpler if she had been able to turn and point to the man their son, but she could not. "
― Patrick White , The Tree of Man
4 " Have you ever wondered What happens to all the poems people write?The poems they neverlet anyone else read?Perhaps they are Too private and personalPerhaps they are just not good enough.Perhaps the prospect of such a heartfeltexpression being seen as clumsyshallow sillypretentious saccharineunoriginal sentimentaltrite boringoverwrought obscure stupidpointless or simply embarrassingis enough to give any aspiringpoet good reason to hide their work frompublic view.forever.Naturally many poems are IMMEDIATELY DESTROYED.Burnt shredded flushed awayOccasionally they are folded Into little squaresAnd wedged under the corner of An unstable piece of furniture(So actually quite useful)Others are hidden behind a loose brickor drainpipe or sealed into the back of an old alarm clockor put between the pages of AN OBSCURE BOOKthat is unlikely to ever be opened.someone might find them one day, BUT PROBABLY NOTThe truth is that unread poetry Will almost always be just that. DOOMED to join a vast invisible river of waste that flows out of suburbia.wellAlmost always.On rare occasions,Some especially insistentpieces of writing will escapeinto a backyard or a lanewaybe blown along a roadside embankmentand finally cometo rest in a shopping centerparking lotas so many things doIt is here that something quite Remarkabletakes placetwo or more pieces of poetry drift toward each otherthrough a strange force of attractionunknown to scienceand ever so slowlycling togetherto form a tiny, shapeless ball.Left undisturbed,this ball graduallybecomes larger and rounder as otherfree versesconfessions secrets stray musings wishes and unsentlove lettersattach themselvesone by one.Such a ball creeps through the streetsLike a tumbleweed for months even yearsIf it comes out only at night it has a goodChance of surviving traffic and childrenand through a slow rolling motionAVOIDS SNAILS(its number one predator)At a certain size, it instinctivelyshelters from bad weather, unnoticedbut otherwise roams the streetssearching for scraps of forgottenthought and feeling.Given time and luckthe poetry ball becomes large HUGE ENORMOUS:A vast accumulation of papery bitsThat ultimately take to the air, levitating byThe sheer force of so much unspoken emotion.It floats gentlyabove suburban rooftops when everybody is asleepinspiring lonely dogsto bark in the middle of the night.Sadlya big ball of papernot matter how large and buoyant, is still a fragile thing.Sooner or LATERit will be surprised bya suddengust of windBeaten by driving rainand REDUCEDin a matter of minutesto a billionsoggy shreds.One morningeveryone will wake upto find a pulpy messcovering front lawnsclogging up guttersand plastering carwindscreens.Traffic will be delayedchildren delightedadults baffledunable to figure outwhere it all came fromStranger stillWill be the Discovery that Every lump of Wet paperContains variousfaded words pressed into accidentalverse.Barely visiblebut undeniably presentTo each reader they will whisper something different something joyfulsomething sadtruthful absurdhilarious profound and perfectNo one will be able to explain the Strange feeling of weightlessnessor the private smilethat remainsLong after the street sweepers have come and gone. "
5 " Years later, I remember the waxy taste of the yellow paint, the papery taste of splintered wood, the sharp metallic of the graphite. "
― Alexandria Marzano-Lesnevich , The Fact of a Body: A Murder and a Memoir
6 " Today, unlocking the room and stepping into its dusty embrace, it struck her – the bareness, the cobwebs in the corners, the dark squares on the walls where the maps had once hung, the intricately designed tiles disappeared in filth, the urn-less, roseless emptiness, the laughter that once was. Sighs everywhere, and echoes, the papery trail of ants through the ancient wood, the still, suspended sheets of dust, and through it all, those memories, still alive, still alive. "
― , The Courtesans of Karim Street
7 " A naked woman was amazing.He'd never seen it this way, in full light, without half-off clothes or a beach blanket across the lap or sex in a dark car. This was her whole body naked in light, standing and lying and front and back and open and showing and then different when she walked, surer than he was, unclunky and smooth-moving, with parts that didn't bounce. She knew how to be naked. She looked like she'd been raised naked in this room, a skinny girl when she was a girl, probably, and skinny in a certain way, with a little bulgy belly and ashamed of her feet, but grown out of shyness and wrong proportions now, and being married of course, used to being seen, and she didn't have curves and swerves but was good looking naked and stuck to him when they fucked like a thing fighting for light, a great wet papery moth. "
― Don DeLillo , Underworld
8 " It is clear enough that not every something can be elevated to the rank of a thing - otherwise everything and everyone would be speaking once more, and the chatter would spread from humans to things. Rilke privileges two categories of 'entities' [Seienden), to express it in the papery diction of philosophy, that are eligible for the lofty task of acting as message-things - artifices and living creatures - with the latter gaining their particular quality from the former, as if animals were being's highest works of art before humans. Inherent to both is a message energy that does not activate itself, but requires the poet as a decoder and messenger. "
― Peter Sloterdijk