3
" She discovered that underneath the aspect of the Rumpled Porcupine, a tortured Marxist was at war with an impossible, incurable Romantic - who forgot the candles, who broke the wine glasses, who forgot the ring. Who made love to her with a passion that took her breath away. She had always thought of herself as a somewhat uninteresting, thick-waisted, thick ankled girl. Not bad-looking. Not special. But when she was with Chacko, old limits were pushed back. Horizons expanded.
She had never before met a man who spoke of the workd - of what it was, and how it came to be, or what he thought would become of it - in the way in which other men she knew discussed their jobs, their friends or their weekends at the beach.
Being with Chacko made Margaret Kochamma feel as though her soul had escaped from the narrow confines of her island country, into the vast extravagant spaces of his. He made her feel as though the world belonged to them - as though it lay before thm like an opened frog on a dissecting table, begging to be examined. "
― Arundhati Roy , The God of Small Things
7
" Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do.
There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert.
But the still life resides in absolute silence.
Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard.
But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver.
These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time.
Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented.
These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said? "
― Mark Doty , Still Life with Oysters and Lemon: On Objects and Intimacy
8
" It’s like those nights when I was a kid, lying awake thinking the darkness would go on forever. And I couldn’t go back to sleep because of the dream of the whatever it was in the cellar coming out of the corner. I’d lie in the hot, rumpled bed, hot burning hot, trying to shut myself away and know that there were three eternities before the dawn. Everything was the night world, the other world where everything but good could happen, the world of ghosts and robbers and horrors, of things harmless in the daytime coming to life, the wardrobe, the picture in the book, the story, coffins, corpses, vampires, and always squeezing, tormenting darkness, smoke thick. And I’d think of anything because if I didn’t go on thinking I’d remember whatever it was in the cellar down there, and my mind would go walking away from my body and go down three stories defenceless, down the dark stair past the tall, haunted clock, through the whining door, down the terrible steps to where the coffin ends were crushed in the walls of the cellar – and I’d be held helpless on the stone floor, trying to run back, run away, climb up---- "
― William Golding , Pincher Martin
10
" You’re a pirate?” Obviously. Still, hard to believe. He pressed forward, forcing on her a series of blows meant to test her strength and will.
She parried and blocked his every move with an aptitude that amazed. “Aye. A pirate, and captain of the Sea Sprite,” she boasted, a wry smile upon her full lips.
Indeed, she appeared very much a pirate in her men’s garb—a threadbare, brown suit with overly long sleeves
she’d had to roll up. Her ebony hair had been pulled back in a queue and was half hidden beneath a rumpled tricorn. Also, like her men, was her look of desperation and the grim cast to her countenance that bespoke of a hard existence.
“We offered you quarter,” she said as she evaded his thrust with ease. “Why didn’t you surrender? You had to
know we outnumbered you.”
He didn’t answer. In all honesty, he’d thought they could defeat the pirates, if not with cannon fire, then with skill. After hearing of all the pirate attacks of late, they’d hired on additional hands, men who could fight. If it hadn’t been for the damn illness…
“It’s not too late. You can save what’s left of your crew. Surrender now, Captain Glanville, and we’ll see that your men are ransomed back.” A wicked gleam brightened her eyes as if victory would soon be hers.
He should do as she asked. It would be the sensible thing, but pride kept him from saying the words. Not yet. He still had another opponent to defeat, and so far she hadn’t been an easy one to overcome. Despite his steady attack, she kept her muscles relaxed, her balance sure. Her attention followed his movements no matter how small, adjusting her stance, looking for weaknesses. “How do you know I’m Captain Glanville?” When work was at hand, he didn’t dress any differently than his men.
“I know much about you.” Stepping clear of two men battling to their left, she blocked his sword with her own
and lunged with her dagger. He jumped from the blade, avoiding injury by the barest inch. This one relied on speed and accuracy rather than power. Smart woman.
“What do you want from us?” he asked, launching an attack of his own, this time with so much force and speed, she had no choice but to retreat until her back came up against the railing. “We only just left London four days ago. Our cargo is mainly iron and ale.”
Her gaze sharpened even as her expression became strained. His assault was wearing her down. “I want the
Ruby Cross.”
How the hell did she know he had the cross? And did she believe he’d simply hand it over? Hand over a priceless antiquity of the Knights Templar? Absurd. He swung his sword all the harder. The clang of steel rang through the air. Her reactions slowed, and her arms trembled. He made a final cut, putting all his strength behind the blow, and knocked her sword from her hand. Triumph surged through his veins. She attempted to slash out with her dagger. He grabbed her arm before her blade could reach him and hauled her close, their faces nose to nose. “You’ll never take the cross from me,” he vowed as he towered over her, his grip strong.
The point of a sword touched his back. Thomas tensed, he swore beneath his breath, self-disgust heavy in his chest. The distraction of this one woman had sealed his fate.
Bloody hell. "
― Tamara Hughes , His Pirate Seductress (Love on the High Seas, #3)
12
" George Malcolm: half white, half black, with messy tousled hair, rumpled and tugged between kind of curly and extremely curly. Once, a year or so before, he'd been at our house and he'd pulled out a lock of his hair and used it to teach me about eddies and helixes. It's a circular current into a central station, he'd explained, giving me one to hold. I pulled on the spring. Nature is full of the same shapes, he said, taking me to the bathroom sink and spinning on the top and pointing out the way the water swirled down the drain. Taking me to the bookshelf and flipping open a book on weather and showing me a cyclone. Then a spiral galaxy. Pulling me back to the bathroom sink, to my glass jar of collected seashells, and pointing out the same curl in a miniature conch. See? he said, holding the seashell up to his hair. Yes! I clapped. His eyes were warm with teaching pleasure. It's galactic hair, he said, smiling.
At school, George was legendary already. He was so natural at physics that one afternoon the eighth-grade science teacher had asked him to do a preview of the basics of relativity, really fast, for the class. George had stood up and done such a fine job, using a paperweight and a yardstick and the standard-issue school clock, that the teacher had pulled a twenty-dollar bill from his wallet. I'd like to be the first person to pay you for your clarity of mind, the teacher had said. George used the cash to order pizza for the class. Double pepperoni, he told me later, when I'd asked. "
― Aimee Bender , The Particular Sadness of Lemon Cake
