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101 " Out of the fog that shrouded the countryside, softening the outlines of people and things, demonstrators emerged, flags waved and speakers rose spontaneously to address spontaneous gatherings. Mostly they were people who had not been allowed to speak for years. They clambered on to piles of rock, balanced on the rims of fountains and on pedestals of statues whose removal they demanded, just as they demanded the removal of those who had bowed down before these statues. They spun visions of how everyone's life, including Pavel's own, would quickly be transformed and rise above the poverty in which it had for so long been mired. Others, who preferred actions to words, climbed onto rooftops to remove the snow-covered symbols of yesterday's power. They pulled down street signs and fastened in their place new plaques scrawled with names that until recently had been unmentionable, and they sometimes gathered threateningly under the windows of abandoned Party secretariats, ready to break in and begin, or rather complete, the purging. In every face he saw a kind of ecstasy that looked almost sexual. "
― Ivan Klíma , Waiting for the Dark, Waiting for the Light
102 " All day the storm lasted. The windows were white and the wind never stopped howling and screaming. It was pleasant in the warm house. Laura and Mary did their lessons, then Pa played the fiddle while Ma rocked and knitted, and bean soup simmered on the stove. All night the storm lasted, and all the next day. Fire-light danced out of the stove's draught, and Pa told stories and played the fiddle. "
― Laura Ingalls Wilder , On the Banks of Plum Creek (Little House, #4)
103 " But now she loved winter. Winter was beautiful " up back" - almost intolerably beautiful. Days of clear brilliance. Evenings that were like cups of glamour - the purest vintage of winter's wine. Nights with their fire of stars. Cold, exquisite winter sunrises. Lovely ferns of ice all over the windows of the Blue Castle. Moonlight on birches in a silver thaw. Ragged shadows on windy evenings - torn, twisted, fantastic shadows. Great silences, austere and searching. Jewelled, barbaric hills. The sun suddenly breaking through grey clouds over long, white Mistawis. Ice-grey twilights, broken by snow-squalls, when their cosy living-room, with its goblins of firelight and inscrutable cats, seemed cosier than ever. Every hour brought a new revalation and wonder. "
104 " Harriet, to hide her excitement, had turned to the bookshelves in the corner between the windows and the fireplace. The books, untidily arranged, some standing, some piled on their sides, with newspapers and magazines wedged among them, confused her. There were no sets and a great many were paper-backed. She saw friends - Mr. Dickens was present — and nodding acquaintances - Laurence Sterne, for instance, and Theodore Dreiser — but they were among strangers: Henry Miller, Norman Douglas, Saki, Ronald Firbank, strangers all. "
― , The French Touch
105 " ...a tall, gaunt man with small narrow eyes set deep in his skull like two old sisters trying to spy out of the windows of their house without being noticed themselves. "
― Ned Beauman , The Teleportation Accident
106 " Torch strode over and stared at the fiver" What's this?" " Some change for you. Buy your flunkies some decent clothes." I dipped my fingers into the jar and smeared think fragrant paste on my face. Torch frowned, mirroring the expression on my aunt's face." Change?" Oh, for crying out loud. " It's money. We don't use coins as currency now, we use paper money." He stared at me. " I'm insulting you! I'm saying your poor, like a beggar, because your undead are in rags. I'm offering to clothe your servants for you, because you can't provide for them. Come on, how thick do you have to be?" He jerked his hand up. A jet of flame erupted from his fingers, sliding against the ward. I jerked back from the windows on instinct. The fire died. I leaned forward. " Do you understand now?" More fire. " What's the matter? Was that not enough money? "
107 " Drab and colorless as her existence would seem to have been, Mrs. Harris had always felt a craving for beauty and color and which up to this moment had manifested itself in a love for flowers....Outside the windows of her basement flat were two window boxes of geraniums, her favorite flower, and inside, wherever there was room, there was a little pot containing a geranium struggling desperately to conquer its environment, or a single hyacinth or tulip, bought from a barrow for a hard-earned shilling. Then too, the people for whom she worked would sometimes present her with the leavings of their cut flowers which in their wilted state she would take home and try to nurse back to health, and once in a while, particularly in the spring, she would buy herself a little box of pansies, primroses or anemones. As long as she had flowers Mrs. Harris had no serious complaints concerning the life she led. They were her escape from the somber stone desert in which she lived. These bright flashes of color satisfied her. They were something to return to in the evening, something to wake up to in the morning. "
― Paul Gallico , Mrs. 'Arris Goes to Paris
108 " Sometimes, down in the subway, a train Maxine's riding on will slowly be overtaken by a local or an express on the other track, and in the darkness of the tunnel, as the windows of the other train move slowly past, the lighted panels appear one by one, like a series of fortune-telling cards being deal and slid in front of her. The Scholar, The Unhoused, The Warrior Thief, The Haunted Woman... After a while Maxine has come to understand that the faces framed in these panels are precisely those out of all the city millions she must in the hour be paying most attention to, in particular those whose eyes actually meet her own - they are the day's messengers from whatever the Beyond has for a Third World, where the days are assembled one by one under non-union conditions. Each messenger carrying the props required for their character, shopping bags, books, musical instruments, arrived here out of darkness, bound again into darkness, with only a minute to deliver the intelligence Maxine needs. At some point naturally she begins to wonder if she might not be performing the same role for some face looking back out another window at her. "
― Thomas Pynchon
109 " Night is the worst time. After the long regimentation of the day, the enforced silences, the men want to talk. At first it doesn’t matter what about: TV, movies, travel, jobs. I lie on my side on my mattress as the words pool around me, reciting to myself the botanical classifications for peach, cherry, apple. Magnoliophyta, Magnoliopsida, Rosales, Rosaceae… I smell the smell of other bodies: stale skin, flatulence, cologne. I long to open the windows and let the fresh air sweep the smells away, sweep the bodies away too. Gradually one man drops out of the conversation, then another. Soon there will be only two men left speaking. And these two—they are not the same two every night—will drop their voices, speak in an intimate murmur. Perhaps they are only gossiping about one of the monks. Perhaps they are complaining about the food. But no, there is a reticence that lets me know that they are trying, clumsily, to reach each other. "
― Pamela Erens , The Understory
110 " What we have here is a war—the war of matter and spirit. In the classical era, spirit was in harmony with matter. Matter used to condense spirit. What was unseen—the ghost of Hamlet’s father—was seen—in the conscience of the king. The spirit was trapped in the matter of theater. The theater made the unseen, seen. In the Romantic era, spirit overwhelms matter. The glass of champagne can’t contain the bubbles. But never in the history of humanity has spirit been at war with matter. And that is what we have today. The war of banks and religion. It’s what I wrote in Prayers of the Dawn, that in New York City, banks tower over cathedrals. Banks are the temples of America. This is a holy war. Our economy is our religion. When I came back to midtown a week after the attack—I mourned—but not in a personal way—it was a cosmic mourning—something that I could not specify because I didn’t know any of the dead. I felt grief without knowing its origin. Maybe it was the grief of being an immigrant and of not having roots. Not being able to participate in the whole affair as a family member but as a foreigner, as a stranger—estranged in myself and confused—I saw the windows of Bergdorf and Saks—what a theater of the unexpected—my mother would have cried—there were only black curtains, black drapes—showing the mourning of the stores—no mannequins, just veils—black veils. When the mannequins appeared again weeks later—none of them had blond hair. I don’t know if it was because of the mourning rituals or whether the mannequins were afraid to be blond—targets of terrorists. Even they didn’t want to look American. They were out of fashion after the Twin Towers fell. To the point, that even though I had just dyed my hair blond because I was writing Hamlet and Hamlet is blond, I went back to my coiffeur immediately and told him—dye my hair black. It was a matter of life and death, why look like an American. When naturally I look like an Arab and walk like an Egyptian. "
― Giannina Braschi
111 " Thomas remembered the image of the Cranks at the windows back at the dorm. Like living nightmares, missing only a death certificate to make them official zombies. "
― James Dashner , The Scorch Trials (The Maze Runner, #2)
112 " The wind from the Caribbean blew in the windows along with the racket made by the birds, and Fermina Daza felt in her blood the wild beating of her free will. "
― Gabriel García Márquez , Love in the Time of Cholera
113 " ... the reigns of the kings and queens who are portrayed as kneeling with clasped hands in the windows of churches, were stained by oppression and bloodshed. "
― Marcel Proust , Swann's Way
114 " Reading a book, for me at least, is like traveling in someone else's world. If it's a good book, then you feel comfortable and yet anxious to see what's going to happen to you there, what'll be around the next corner. But if it's a lousy book, then it's like going through Secaucus, New Jersey -- it smells and you wish you weren't there, but since you've started the trip, you roll up the windows and breathe through your mouth until you're done. "
― Jonathan Carroll , The Land of Laughs
115 " She thought of the last couple of years: the boredom, the narrowness of existence, the dearth of anything to look forward to. Yet now, in a single instant, the curtains had been whipped aside, and the windows been thrown open onto a brillant view that had been there, waiting for her, all the time. A view, moreover, laden with the most marvellous possibilities and opportunities. "
― Rosamunde Pilcher
116 " By eroding their sense of shame we've made immorality normal, not only in the world but also in the forbidden squadron. ...their new Christian friends recommended some of the movies Fletcher had been wondering if he should now avoid. I was delighted one of them said, " This is a great movie--only one sex scene, and the f-word's only used a few times." 'Titanic' is one of my favorites. How many Christian young people have watched it in their own homes? Think of it, Squaltaint. Suppose someone in the youth group said to the boys, 'There's an attractive girl down the street. Let's get together and go look through her window and watch her undress and lay back on a couch and pose naked from the waist up. Then this girl and her boyfriend will get in a car and have sex--let's get as close as we can and listen to them and watch the windows steam up.' The strategy would never work. They'd know immediately it was wrong. But you can get them to do exactly the same thing by using a television instead of a window. That's all is takes! Think of it, Squaltaint. Every day Christians across the country, including many squadron leaders, watch women and men undress and commit acts of fornication and adultery the Enemy calls an abomination.We've made them a bunch of voyeurs! Churches full of peeping toms. "
117 " Taking time to live is taking time to appreciate simple silence as better than any kind of talk or watching a flower or watching a guy wash the windows on a skyscraper and wondering what he is thinking. "
118 " Exploration! Exploring the past! We students in the camps seminar considered ourselves radical explorers. We tore open the windows and let in the air, the wind that finally whirled away the dust that society had permitted to settle over the horrors of the past. We made sure people could see. And we placed no reliance on legal scholarship. It was evident to us that there had to be convictions. It was just as evident as conviction of this or that camp guard or police enforcer was only the prelude. The generation that had been served by the guards and enforcers, or had done nothing to stop them, or had not banished them from its midst as it could have done after 1945, was in the dock, and we explored it, subjected it to trial by daylight, and condemned it to shame. "
― Bernhard Schlink , The Reader
119 " The creative writer is compulsively concrete . . . . His fictional house should be haunted by ideas, not inhabited by them; they should flit past the windows after dark, not fill the rooms. The moment anyone tries to make poems or stories of ideas alone he is at the edge of absurdity; he can only harangue, never interest and persuade, because ideas in their conceptual state are simply not dramatic. They have to be put into the form of people and actions . . . "
― Wallace Stegner , On Teaching and Writing Fiction
120 " Below Les Avants there was a chalet where the pension was wonderful and where we would be together and have our books and at night be warm in bed together with the windows open and the stars bright. That was where we could go. Traveling third class on the train was not expensive. The pension cost very little more than we spent in Paris. "
― Ernest Hemingway