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1 " To him she seemed so beautiful, so seductive, so different from ordinary people, that he could not understand why no one was as disturbed as he by the clicking of her heels on the paving stones, why no one else's heart was wild with the breeze stirred by the sighs of her veils, why everyone did not go mad with the movements of her braid, the flight of her hands, the gold of her laughter. He had not missed a single one of her gestures, not one of the indications of her character, but he did not dare approach her for fear of destroying the spell. "
― Gabriel García Márquez , Love in the Time of Cholera
2 " I have a secret to confide to you, my confidante. Who should I confide it to? To Echo? She would betray it. To the stars? They are cold. People? They do not understand. Only to you can I confide it, for you know how to safeguard it. There is a girl, more beautiful than my soul’s dream, purer than the light of the sun, deeper than the source of the ocean, more proud than the flight of the eagle―there is a girl―oh! bend your head to my ear and my words, that my secret may steal into it―this girl I love more dearly than my life, for she is my life; more dearly than all my desires, for she is the only one; more dearly than all my thoughts, for she is the only one; more warmly than the sun loves the flower, more intensely than sorrow the privacy of the troubled mind; more longingly than the desert’s burning sand loves the rain―I cling to her more tenderly than the mother’s eye to the child, more confidingly than the pleading soul to God, more inseparably than the plant to its root.―Your head grows heavy and thoughtful, it sinks down on your breast, your bosom rises to its aid―my Cordelia! You have understood me, you have understood me exactly, to the letter, not one jot have you ignored. Shall I stretch the membrane of my ear and let your voice assure me of this? Should I doubt? Will you safeguard this secret? Can I depend on you? One hears of people who, in terrible crimes, dedicate themselves to mutual silence. I have confided to you a secret which is my life and my life’s content. Have you nothing to confide to me, nothing so beautiful, so significant…?”―Johannes de Silentio, from_Either/Or_ "
― Søren Kierkegaard
3 " The little Otak was hiding in the rafters of the house, as it did when strangers entered. There it stayed while the rain beat on the walls and the fire sank down and the night wearing slowly along left the old woman nodding by the hearthpit. Then the otak crept down and came to Ged where he lay stretched stiff and still upon the bed. It began to lick his hands and wrists, long and patiently, with its dry leaf-brown tongue. Crouching beside his head it licked his temple, his scarred cheek, and softly his closed eyes. And very slowly under that soft touch Ged roused. He woke, not knowing where he had been or where he was or what was the faint grey light in the air about him, which was the light of dawn coming to the world. Then the otak curled up near his shoulder as usual, and went to sleep.Later, when Ged thought back upon that night, he knew that had none touched him when he lay thus spirit-lost, had none called him back in some way, he might have been lost for good. It was only the dumb instinctive wisdom of the beast who licks his hurt companion to comfort him, and yet in that wisdom Ged saw something akin to his own power, something that went as deep as wizardry. From that time forth he believed that the wise man is one who never sets himself apart from other living things, whether they have speech or not, and in later years he strove to learn what can be learned, in silence, from the eyes of animals, the flight of birds, the great slow gestures of trees "
― Ursula K. Le Guin , A Wizard of Earthsea (Earthsea Cycle, #1)
4 " ALL THINGS THAT ARE, ARE OURS. BUT WE MUST CARE. FOR IF WE DO NOT CARE, WE DO NOT EXIST. IF WE DO NOT EXIST, THEN THERE IS NOTHING BUT BLIND OBLIVION. AND EVEN OBLIVION MUST END SOMEDAY. LORD, WILL YOU GRANT ME JUST A LITTLE TIME? FOR THE PROPER BALANCE OF THINGS. TO RETURN WHAT WAS GIVEN. FOR THE SAKE OF PRISONERS AND THE FLIGHT OF BIRDS.Death took a step backwards.It was impossible to read expression in Azrael's features.Death glanced sideways at the servants. LORD, WHAT CAN THE HARVEST HOPE FOR, IF NOT FOR THE CARE OF THE REAPER MAN? "
― Terry Pratchett , Reaper Man (Discworld, #11; Death, #2)
5 " Now, Woolf calls her fictional bastion of male privilege Oxbridge, so I'll call mine Yarvard. Even though she cannot attend Yarvard because she is a woman, Judith cheerfully applies for admission at, let's call it, Smithcliff, a prestigious women's college. She is denied admission on the grounds thatthe dorms and classrooms can'taccommodate wheelchairs, that her speech pattern would interfere with her elocution lessons, and that her presence would upset the other students. There is also the suggestion that she is not good marriage material for the men at the elite college to which Smithcliff is a bride-supplying " sister school." The letter inquires as to why she hasn't been institutionalized.When she goes to the administration building to protest the decision, she can't get up the flight of marble steps on the Greek Revival building. This edifice was designed to evoke a connection to the Classical world, which practiced infanticide of disabled newborns. "
6 " The steward, according to custom, had stopped all the clocks. This, in the language of Narouz, said, " Your stay with us is so brief, let us not be reminded of the flight of the hours. God made eternity. Let us escape from the despotism of time altogether." These ancient and hereditary politenesses filled Nessim with emotion. "
7 " I am sitting here, you are sitting there. Say even that you are sitting across the kitchen table from me right now. Our eyes meet; a consciousness snaps back and forth. What we know, at least for starters, is: here we- so incontrovertibly- are. This is our life, these are our lighted seasons, and then we die. In the meantime, in between time, we can see. The scales are fallen from our eyes, the cataracts are cut away, and we can work at making sense of the color-patches we see in an effort to discover where we so incontrovertibly are. I am as passionately interested in where I am as is a lone sailor sans sextant in a ketch on an open ocean. I have at the moment a situation which allows me to devote considerable hunks of time to seeing what I can see, and trying to piece it together. I’ve learned the name of some color-patches, but not the meanings. I’ve read books; I’ve gathered statistics feverishly: the average temperature of our planet is 57 degrees F…The average size of all living animals, including man, is almost that of a housefly. The earth is mostly granite, which is mostly oxygen…In these Appalachians we have found a coal bed with 120 seams, meaning 120 forests that just happened to fall into water…I would like to see it all, to understand it, but I must start somewhere, so I try to deal with the giant water bug in Tinker Creek and the flight of three hundred redwings from an Osage orange and let those who dare worry about the birthrate and population explosion among solar systems. So I think about the valley. And it occurs to me more and more that everything I have seen is wholly gratuitous. The giant water bug’s predations, the frog’s croak, the tree with the lights in it are not in any real sense necessary per se to the world or its creator. Nor am I. The creation in the first place, being itself, is the only necessity for which I would die, and I shall. The point about that being, as I know it here and see it, is that as I think about it, it accumulates in my mind as an extravagance of minutiae. The sheer fringe and network of detail assumes primary importance. That there are so many details seems to be the most important and visible fact about creation. If you can’t see the forest for the trees, then look at the trees; when you’ve looked at enough trees, you’ve seen a forest, you’ve got it. If the world is gratuitous, then the fringe of a goldfish’s fin is a million times more so. The first question- the one crucial one- of the creation of the universe and the existence of something as a sign and an affront to nothing is a blank one…The old Kabbalistic phrase is “the Mystery of the Splintering of the Vessels.” The words refer to the shrinking or imprisonment of essences within the various husk-covered forms of emanation or time. The Vessels splintered and solar systems spun; ciliated rotifers whirled in still water, and newts laid tracks in the silt-bottomed creek. Not only did the Vessels splinter; they splintered exceeding fine. Intricacy then is the subject, the intricacy of the created world. "
― Annie Dillard , Pilgrim at Tinker Creek
8 " I breathe in the soft, saturated exhalations of cedar trees and salmonberry bushes, fireweed and wood fern, marsh hawks and meadow voles, marten and harbor seal and blacktail deer. I breathe in the same particles of air that made songs in the throats of hermit thrushes and gave voices to humpback whales, the same particles of air that lifted the wings of bald eagles and buzzed in the flight of hummingbirds, the same particles of air that rushed over the sea in storms, whirled in high mountain snows, whistled across the poles, and whispered through lush equatorial gardens…air that has passed continually through life on earth. I breathe it in, pass it on, share it in equal measure with billions of other living things, endlessly, infinitely. "
― , The Island Within
9 " Why should a man be scorned, if, finding himself in prison, he tries to get out and go home? Or if, when he cannot do so, he thinks and talks about other topics than jailers and prison-walls? The world outside has not become less real because the prisoner cannot see it. In using Escape in this way the critics have chosen the wrong word, and, what is more, they are confusing, not always by sincere error, the Escape of the Prisoner with the Flight of the Deserter. just so a Party-spokesman might have labeled departure from the misery of the Fuhrer's or any other Reich and even criticism of it as treachery .... Not only do they confound the escape of the prisoner with the flight of the deserter; but they would seem to prefer the acquiescence of the " quisling" to the resistance of the patriot. "
10 " You do not even think of your own past as quite real; you dress it up, you gild it or blacken it, censor it, tinker with it...fictionalize it, in a word, and put it away on a shelf - your book, your romanced autobiography. We are all in the flight from the real reality. That is the basic definition of Homo sapiens. "
― John Fowles , The French Lieutenant's Woman
11 " Yet Nathan appreciated being alone as he sipped his cold glass of beer. It gave him time to think. In the next thirty minutes or so, the flight he was waiting for would land and his day would begin. It was autumn in the capital, and the clear skies created an illusion of a city that was at peace with itself. "
12 " ROSEMARY Beauty and Beauty’s son and rosemary— Venus and Love, her son, to speak plainly— born of the sea supposedly, at Christmas each, in company, braids a garland of festivity. Not always rosemary— since the flight to Egypt, blooming differently. With lancelike leaf, green but silver underneath, its flowers—white originally— turned blue. The herb of memory, imitating the blue robe of Mary, is not too legendary to flower both as symbol and as pungency. Springing from stones beside the sea, the height of Christ when thirty-three— it feeds on dew and to the bee “hath a dumb language”; is in reality a kind of Christmas-tree. "
― Marianne Moore , Complete Poems
13 " He knew that any given thing on the face of the earth could reveal the history of all things. One could open a book to any page, or look at a person's hand; one could turn a card, or watch the flight of birds... whatever the thing observed, one could find a connection with his experience of the moment. Actually, it wasn't that those things, in themselves, revealed anything at all; it was just that people, looking at what was occurring around them, could find a means of penetration to the Soul of the World. "
14 " So rapid is the flight of dreams upon the wings of imagination. "
― Alexandre Dumas
15 " I began my effort at improving my flight experiences by reading purposefully during my flights. My airplane reading would often be centered on themes. On some flights I would read only newspapers and magazines, catching up on one particular event. On other flights I would read a short novel, and finishing the entire book during the flight would give me a great thrill, as if I'd just flown a cross-Atlantic mission with Amelia Earhart. "
― Edwidge Danticat
16 " Technology is crucial to civilization why? Because it helps us make our fate. We don't need God or miracles or the flight of the bumble bee. But it is also crouched and undecidable. It can go either way. "
― Don DeLillo , Cosmopolis
17 " Some say " fear even helps like; The flight or over love reaction but to me it is your loving heart to prove to prove it worthy. "
18 " He scraped through the dark sand to the center house, two stories, both pouring bands of light into the fog. There was warmth and gaiety within, through the downstairs window he could see young people gathered around a piano, their singing mocking the forces abroad on this cruel night. She was there, proptected by happiness and song and the good. He was separated from her only by a sand yard and a dark fence, by a lighted window and by her protectors. He stood there until he was trembling with pity and rage. Then he fled, but his flight was slow as the flight in a dream, impeded by the deep sand and the blurring hands of the fog. He fled from the goodness of that home, and his hatred for Laurel throttled his brain. If she had come back to him, he would not be shut out, an outcast in a strange, cold world. "
19 " I am doubtful myself about the undertaking. Part of the attraction of the L.R. is, I think, due to the glimpses of a large history in the background: an attraction like that of viewing far off an unvisited island, or seeing the towers of a distant city gleaming in a sunlit mist. To go there is to destroy the magic, unless new unattainable vistas are again revealed. Also many of the older legends are purely 'mythological', and nearly all are grim and tragic: a long account of the disasters that destroyed the beauty of the Ancient World, from the darkening of Valinor to the Downfall of Numenor and the flight of Elendil. "
― J.R.R. Tolkien
20 " On the flight over to Chicago, I thought of a story Mom had once told me from her days as a pediatric nurse. " There was this little boy I was taking care of," she said " and he was terminally ill,and we all knew it,but he kept hanging on and hanging on. He wouldn't die, it was so sad.And his parents were always there with him,giving him so much love and support,but he was in so much pain,and it really was,time for him to go.So finally some of us nurses took his father aside and we told him, 'You have to tell your son it's okay for him to go. You have to give him permission.' And so the father took his son in his arms and he sat with him in a chair and held on to him and told him over and over, that it was okay for him to go,and,well,after a few moments,his son died. "
