1
" I know I want you," he heard himself say, all his vows and his honor all forgotten. She stood before him naked as her name day, and he was as hard as the rock around them. He had been in her half a hundred times by now, but always beneath furs, with others all around them. He had never seeen how beautiful she was. Her legs were skinny and well muscled, the hair at the juncture of her thighs a brighter red than that on her head. Does that make it even luckier? He pulled her close. " I love the smell of you," he said. " I love your red hair. I love your mouth, and the way you kiss me. I love your smile. I love your teats." He kissed them, one and then the other. " I love your skinny legs, and what's between them." He knelt to kiss her there, lightly on her mound at first, but Ygritte moved her legs apart a little, and he saw the pink inside and kissed that as well, and tasted her. She gave a little gasp. " If you love me all so much, why are you still dressed?" she whispered. " You know nothing, Jon Snow. Noth---oh. Oh. OHHH." Afterward, she was almost shy, or as shy as Ygritte ever got. " The thing you did," she said, when they lay together on their piled clothes. " With your...mouth." She hesistated. " Is that...is it what lordss do to their ladies, down in the south?" " I don't think so." No one had ever told Jon just what lords did with their ladies. " I only...wanted to kiss you there, that's all. You seemed to like it." " Aye. I...I liked it some. No one taught you such?" " There's been no one," he confessed. " Only you. "
4
" Not that there seems to be any appropriate place to bury someone, but these municipal cemeteries, or any cemetery at all for that matter, like the ones by the highway, or the ones in the middle of town, with all these bodies with their corresponding rocks - oh it's just too primitive and vulgar, isn't it? The hole, and the box, and the rock on the grass? And we glamorize this process, feel it fitting and dramatic, austerely beautiful, standing there by the hole as we lower the box. It's incredible. Barbaric and base. "
― , A Heartbreaking Work of Staggering Genius
7
" Where is the land of Luthany,Where is the tract of Elenore?I am bound therefore.'Pierce thy heart to find the key;With thee takeOnly what none else would keep;Learn to dream when thou dost wake;Learn to wake when thou dost sleep.Learn to water joy with tears,Learn from fears to vanquish fears;To hope, for thou dar'st not despair;Exult, for that thou dar'st not grieve;Plough thou the rock until it bear;Know, for thou else couldst not believe;Lose, that the lost thou may'st receive;Die, for none other way canst live.'When earth and heave lay down their veil,And that apocalypse turns thee pale;When thy seeing blindeth theeTo what thy fellow-mortals see;When their sight to thee is sightless;Their living, death; their light, most lightless;Search no more--Pass the gates of Luthany,Tread the region Elenore!'Where is the land of Luthany?And where the region Elenore?I do faint therefore.'When to the new eyes of theeAll things by immortal power,Near or far,HiddenlyTo each other linked are,That thou canst not stir a flowerWithout troubling of a star;When thy song is shield and mirrorTo the fair snake curled pain,Where thou dar'st affront her terrorThat on her thou may'st attainPersean Conquest; seek no more,O seek no more!Pass the gates of Luthany,Tread the region Elenore! "
11
" My own general thesis was somewhat to this effect: that Artists have worried the world by being wantonly, needlessly, and gratuitously progressive. Politicians have to be progressive; that is, they have to live in the future, because they know they have done nothing but evil in the past. But Artists, who have been right from the beginning of the world, who were, perhaps, the only people who were right even in the beginning of the world, decorating pottery or designing rude frescoes on the rock when other people were fighting or offering human sacrifice, they have no right to despise their own past. "
― G.K. Chesterton
12
" Like the rest of Holy Week, Easter is also a terrific story. It starts as tragedy: the hero broken and bloody, against all expectation dead, his followers' joyful hope in him entombed with his corpse, the rock rolled into place, sealing their despair.
But the curtain doesn't fall there. The next morning at dawn they discover the rock has been rolled back. The tomb is empty, the body's gone! A missing corpse? Great stuff. A whisper of comedy. Now a touch of farce as Mary Magdalen and the guys chase frantically around looking for help, or the corpse, when suddenly, out of nowhere, up it pops—alive!
Of course it's Jesus, who's done the impossible and beaten death.
And they're so amazed they think he's the gardener! It's a payoff way beyond the Hollywood ending: all the flooding emotion and uplift of a tragedy followed by all the bubbling joy and optimism of a comedy.
Is that possible? Not just to live happily ever after but to die—and still live happily ever after? It's the most audacious claim of Christianity, the one element that marks the brand indelibly, that trumps the claims of all other major faiths. "
― Tony Hendra , Father Joe: The Man Who Saved My Soul
13
" Sophia and Grandmother sat down by the shore to discuss the matter further. It was a pretty day, and the sea was running a long, windless swell. It was on days just like this--dog days--that boats went sailing off all by themselves. Large, alien objects made their way in from sea, certain things sank and others rose, milk soured, and dragonflies danced in desperation. Lizards were not afraid. When the moon came up, red spiders mated on uninhabited skerries, where the rock became an unbroken carpet of tiny, ecstatic spiders. "
― Tove Jansson , The Summer Book