1
" Perhaps swimming was dancing under the water, he thought. To swim under lily pads seeing their green slender stalks wavering as you passed, to swim under upraised logs past schools of sunfish and bluegills, to swim through reed beds past wriggling water snakes and miniature turtles, to swim in small lakes, big lakes, Lake Michigan, to swim in small farm ponds, creeks, rivers, giant rivers where one was swept along easefully by the current, to swim naked alone at night when you were nineteen and so alone you felt like you were choking every waking moment, having left home for reasons more hormonal than rational; reasons having to do with the abstraction of the future and one's questionable place in the world of the future, an absurdity not the less harsh for being so widespread. "
― Jim Harrison , The Man Who Gave Up His Name
4
" In the jumbled, fragmented memories I carry from my childhood there are probably nearly as many dreams as images from waking life. I thought of one which might have been my earliest remembered nightmare. I was probably about four years old - I don't think I'd started school yet - when I woke up screaming. The image I retained of the dream, the thing which had frightened me so, was an ugly, clown-like doll made of soft red and cream-coloured rubber. When you squeezed it, bulbous eyes popped out on stalks and the mouth opened in a gaping scream. As I recall it now, it was disturbingly ugly, not really an appropriate toy for a very young child, but it had been mine when I was younger, at least until I'd bitten its nose off, at which point it had been taken away from me. At the time when I had the dream I hadn't seen it for a year or more - I don't think I consciously remembered it until its sudden looming appearance in a dream had frightened me awake.When I told my mother about the dream, she was puzzled.'But what's scary about that? You were never scared of that doll.'I shook my head, meaning that the doll I'd owned - and barely remembered - had never scared me. 'But it was very scary,' I said, meaning that the reappearance of it in my dream had been terrifying.My mother looked at me, baffled. 'But it's not scary,' she said gently. I'm sure she was trying to make me feel better, and thought this reasonable statement would help. She was absolutely amazed when it had the opposite result, and I burst into tears.Of course she had no idea why, and of course I couldn't explain. Now I think - and of course I could be wrong - that what upset me was that I'd just realized that my mother and I were separate people. We didn't share the same dreams or nightmares. I was alone in the universe, like everybody else. In some confused way, that was what the doll had been telling me. Once it had loved me enough to let me eat its nose; now it would make me wake up screaming. (" My Death" ) "
5
" An outline, my body, no mass or feeling, A dark reflection spread from floor to ceiling, The faceless copycat stalks me day after day, A personal eclipse of the sun never going astray, Each movement mine in a world of its own, Whispering shades unseen of a different home, A skewed yet comparable story occurs every day, Removed, though not far, less than halfway, The whiter the glow the blacker the stain, An ethereal cachet remaining midst the acidic rain, A trust and intimacy of a curious nature, I follow, it follows, we follow a stranger. "
9
" Love is the great intangible. In our nightmares, we can create beasts out of pure emotion. Hate stalks the streets with dripping fangs, fear flies down narrow alleyways on leather wings, and jealousy spins sticky webs across the sky. In daydreams, we can maneuver with poise, foiling an opponent, scoring high on fields of glory while crowds cheer, cutting fast to the heart of an adventure. But what dream state is love? Frantic and serene, vigilant and calm, wrung-out and fortified, explosive and sedate –love commands a vast army of moods. Hoping for victory, limping from the latest skirmish, lovers enter the arena once again. Sitting still, we are as daring as gladiators. "
― Diane Ackerman , A Natural History of Love
10
" I know now what was happening to me, what was overwhelming me, what was about to consume and almost destroy me. Didier had even given me a name for it - assassin grief, he'd once called it: the kind of grief that lies in wait and attacks you from ambush, with no warning and no mercy. I know now that assassin grief can hide for years and then strike suddenly on the happiest day, without discernible reason or exegesis. But on that day, ... almost a year after Khader's death, I couldn't understand the dark and trembling mood that was moving in me, swelling to the sorrow I'd too long denied. I couldn't understand it, so i tried to fight it as a man fights pain or despair. But you can't bite down on assassin grief and will it away. The enemy stalks you, step for step, and knows your every move before you make it. The enemy is your own grieving heart and, when it strikes, it can't miss. "
― Gregory David Roberts , Shantaram
13
" For a moment or two before the spell took effect, he was aware of all the sounds around him: rain splashing on metal and leather, and running down canvas; horses shuffling and snorting; Englishmen singing and Scotsmen playing bagpipes; two Welsh soldiers arguing over the proper interpretation of a Bible passage; the Scottish captain, John Kincaid, entertaining the American savages and teaching them to drink tea (presumably with the idea that once a man had learnt to drink tea, the other habits and qualities that make up a Briton would naturally follow).
Then silence. Men and horses began to disappear, few by few at first, and then more quickly – hundreds, thousands of them vanishing from sight. Great gaps appeared among the close-packed soldiers. A little further to the east an entire regiment was gone, leaving a hole the size of Hanover-square. Where, moments before, all had been life, conversation and activity, there was now nothing but the rain and the twilight and the waving stalks of rye. Strange wiped his mouth because he felt sick. "
― Susanna Clarke , Jonathan Strange & Mr Norrell
16
" For about 48 weeks of the year an asparagus plant is unrecognizable to anyone except an asparagus grower. Plenty of summer visitors to our garden have stood in the middle of the bed and asked, 'What is this stuff? It's beautiful!' We tell them its the asparagus patch, and they reply, 'No this, these feathery little trees.' An asparagus spear only looks like its picture for one day of its life, usually in April, give or take a month as you travel from the Mason-Dixon Line. The shoot emerges from the ground like a snub nose green snake headed for sunshine, rising so rapidly you can just about see it grow. If it doesn't get it's neck cut off at ground level as it emerges, it will keep growing. Each triangular scale on the spear rolls out into a branch until the snake becomes a four foot tree with delicate needles. Contrary to lore, fat spears are no more tender or mature than thin ones. Each shoot begins life with its own particular girth. In the hours after emergence, it lengthens but does not appreciably fatten. To step into another raging asparagus controversy, white spears are botanically no different from their green colleagues. White shoots have been deprived of sunlight by a heavy mulch pulled up over the plant's crown. European growers go to this trouble for consumers who prefer the stalks before they've had their first blush of photosynthesis. Most Americans prefer the more developed taste of green. Uncharacteristically, we're opting for the better nutritional deal here also. The same plant could produce white or green spears in alternate years, depending on how it is treated. If the spears are allowed to proceed beyond their first exploratory six inches, they'll green out and grow tall and feathery like the house plant known as asparagus fern, which is the next of kin. Older, healthier asparagus plants produce chunkier, more multiple shoots. Underneath lies an octopus-shaped affair of chubby roots called a crown that stores enough starch through the winter to arrange the phallic send-up when winter starts to break. The effect is rather sexy, if you're the type to see things that way. Europeans of the Renaissance swore by it as an aphrodisiac and the church banned it from nunneries. "
18
" History is a funny little creature. Do you remember visiting your old Aunt that autumn when the trees shone so very yellow, and how she owned a striped and unsocial cat, quite old and fat and wounded about the ears and whiskers, with a crooked, broken tail? That cat would not come to you no matter how you coaxed and called; it had its own business, thank you, and no time for you. But as the evening wore on, it would come and show some affection or favor to your Aunt, or your Father, or the old end-table with the stack of green coasters on it. You couldn’t predict who that cat might decide to love, or who it might decide to bite. You couldn’t tell what it thought or felt, or how old it might really be, or whether it would one day, miraculously, decide to let you put one hand, very briefly, on its dusty head.
History is like that.
Of course, unlike your Aunt’s cat, history is going on all around you, all the time, and is often quite lively. Sometimes it rests in a sunbeam for a peaceful century or two, but on the whole, history is always plotting, and it bites very hard. It stalks around the world, fickle and dissatisfied and often angry. It demands to be fed just a little earlier each day, until you find yourself carving meat from the bone as fast as you can, faster than you thought possible, just to satisfy it. Some people have a kind of marvelous talent for calming it and enticing it onto their laps. To some it will never even spare a glance. "
― Catherynne M. Valente , The Girl Who Ruled Fairyland - For a Little While (Fairyland, #0.5)
