24
" Father and the child were no longer speaking, but they sat together in silence. The child was at his feet, and he sat, up in his throne, his eyes on the sky as well.
It made her smile. They existed beneath the same stretch of stars. They loved the same night blanket above them.
She looked at him, taking the opportunity to relish in his distraction to study him, his midnight hair, his pale body, only barely covered by the cloak, the fur of it distractingly like his hair, his lips just parted enough that his fangs were visible, his deep violet eyes, his long, elegant fingers, stroking the…
She swallowed back pain that rose up her throat as she watched Father stroking the boy’s hair. Sitting together like that, the similarities between them were bewitching. She frowned, glancing once, disdainfully at the wavy-haired child with the slanted green eyes, walking to her Father’s throne and bending her knee in a bow.
There was a sound like a chuckle, and she looked up at him. He was smiling at her. It warmed the quiet cold in her chest.
“Come,” he said in his sonorous voice, and the darkness whispered with it, a thousand voices in varying degrees of age, gender, depth and lifted sweetness, all speaking together. She moved closer to him, sitting where his arm wound around her shoulder, fitting them together like childish toy blocks. "
― Carmen Dominique Taxer , Blood Deluge (Shades of the Sea and Flame, #2)
25
" I looked around for that welcoming light I'd heard about, but I didn't see it. Instead, everything around me seemed to glow and shimmer in the sunlight. I heard beautiful sounds-not the voices of dead loved ones, but the laughter and singing of my children when they were tiny. I saw James, young and shirtless, chasing them through Mama's garden. Off in the distance I saw Barbara Jean and Clarice, and even myself when we were kids, dancing to music pouring out of my old pink and violet portable record player. Here I was with my fingers brushing up against the frame of the picture I'd been painting for the last fifty-five years, and my beautiful, scarred husband, my happy children, and my laughing friends were right there with me. "
26
" Even in rainier areas, where dust is less inexorable and submits to brooms and rags, it is generally detested, because dust is not organized and is therefore considered aesthetically bankrupt. Our light is not kind to faint diffuse spreading things. Our soft comfortable light flatters carefully organized, formally structured things like wedding cakes with their scrolls and overlapping flounces.
It takes the mortal storms of a star to transform dust into something incandescent. Our dust, shambling and subtractive as it is, would be radiant, if we were close enough to such a star, to that deep and dangerous light, and we would be ravished by the vision—emerald shreds veined in gold, diamond bursts fraught with deep-red flashes, aqua and violet and icy-green astral manifestations, splintery blinking harbor of light, dust as it can be, the quintessence of dust. "
― Amy Leach , Things That Are
28
" Since he died some of the colours have disappeared. I have lost the violet of seeing him, the indigo of touching him, the blue of talking to him and the green of smelling him. But I can still see some of his colours. I still have the red of the feelings in my heart, the orange of his possessions, and the yellow of our memories.
Which is why it feels so confusing. He is gone, but not entirely. The white light is no longer with me, but a few of his colours remain; vibrant, illuminating. Sometimes I lose sight even of these colours. I search in the shadows, hungry for another glimpse, desperate that I may have lost them forever. This is my darkness. "
― Thomas Harding , Kadian Journal: A Father's Story
30
" I used to think grief was grey and spacious and insubstantial, like a damp fog that surrounds you on every side, one that you can't get away from because it colours the air, and you breathe it in and out, and it has its own earthy smell that seeps into your ores. I thought of grief as a fleeting thing like fog, like a damp that eventually disperses. One day the greyness is slightly lighter; after a few weeks the damp no longer collects on your skin, the musty smell diminishes, somewhere in the distance a pale sun flashes from between tatters of mist, and the grief dissolves into melancholy and then memory.
Never, not for a moment, did I think that grief could be as hard as a dagger, sharp and unrelenting. That it could strike again and again, always unexpected, hard, straight between my ribs, bright lights in my eyes, black and violet and pain so big that I gasp and stagger. I forget the dagger sometimes for a few moments, perhaps an hour, and that's the very worst--the stroke of the blade takes me by surprise, still just as hard, cruel, painful. "
― Johanna Sinisalo , Enkelten verta
37
" But the three siblings were not born yesterday. Violet was born more than fifteen years before this particular Wednesday, and Klaus was born approximately two years after that, and even Sunny who had just passed out of babyhood, was not born yesterday. Neither were you, unless of course I am wrong, in which case, welcome to the world, little baby, and congratulations on learning to read so early in life. "
― Lemony Snicket , The Penultimate Peril (A Series of Unfortunate Events, #12)
39
" Reade drew a deep breath. He said with resignation, " All right. I'll try to explain. But it's rather difficult. You see, I've devoted my life to the problem of why certain men see visions. Men like Blake and Boehme and Thomas Traherne. A psychologist once suggested that it's a chemical in the bloodstream—the same sort of thing that makes a dipsomaniac see pink elephants. Now obviously, I can't accept this view. But I've spent a certain amount of time studying the action of drugs, and taken some of them myself. And it's become clear to me that what we call 'ordinary consciousness' is simply a special, limited case. . . But this is obvious after a single glass of whiskey. It causes a change in consciousness, a kind of deepening. In ordinary consciousness, we're mainly aware of the world around us and its problems. This is awfully difficult to explain. . ." Fisher said, " You're being very clear so far. Please go on." " Perhaps an analogy will help. In our ordinary state of consciousness, we look out from behind our eyes as a motorist looks from behind the windscreen of a car. The car is very small, and the world out there is very big. Now if I take a few glasses of whiskey, the world out there hasn't really changed, but the car seems to have grown bigger. When I look inside myself, there seem to be far greater spaces than I'm normally aware of. And if I take certain drugs, the car becomes vast, as vast as a cathedral. There are great, empty spaces. . . No, not empty. They're full of all kinds of things—of memories of my past life and millions of things I never thought I'd noticed. Do you see my point? Man deliberately limits his consciousness. It would frighten him if he were aware of these vast spaces of consciousness all the time. He stays sane by living in a narrow little consciousness that seems to be limited by the outside world. Because these spaces aren't just inhabited by memories. There seem to be strange, alien things, other minds. . ." As he said this, he saw Violet de Merville shudder. He said, laughing, " I'm not trying to be alarming. There's nothing fundamentally horrible about these spaces. One day we shall conquer them, as we shall conquer outer space. They're like a great jungle, full of wild creatures. We build a high wall around us for safety, but that doesn't mean we're afraid of the jungle. One day we shall build cities and streets in its spaces. "
40
" I saw the massive stone altar first begin to glow like a ruby; then it was a heart of liquid gold like a solid single-crystal chrysoprase: the gold intensified into ice-cold emerald and passed into the dark sapphire of an arctic sky; this again withdrew into a violet so deep that the visual purple of the eye itself seemed absorbed in that depth, that abyss of color in which sight was being drowned. And as this intensification of vibrancy seemed to sweep across the visible spectrum up to those ranges where energy absorbs all mass and that which can pierce the most solid is itself fine beyond all substance, so it seemed with hearing. That abyss of sound which I had been thinking of as only depth, it, too, seemed to rise or, rather, I suppose I was carried up on some rising wave which explored the deep of the height.
As the light drew toward the invisible, I experienced a sound so acute that I can only remember feeling to myself that this was the note emitted when the visible universe returns to the unmanifest—this was the consummatum est of creation. I knew that an aperture was opening in the solid manifold. The things of sense were passing with the music of their own transmutation, out of sight. Veil after veil was evaporating under the blaze of the final Radiance. Suddenly I knew terror as never before. The only words which will go near to recreating in me some hint of that actual mode are those which feebly point toward the periphery of panic by saying that all things men dread are made actually friendly by this ultimate awfulness. Every human horror, every evil that the physical body may suffer, seemed, beside this that loomed before me, friendly, homely, safe. The rage of a leaping tiger would have been a warm embrace. The hell of a forest wrapped in a hurricane of fire, the subzero desolation of the antarctic blizzard, would have been only the familiar motions of a simple well-known world. Yes, even the worst, most cunning and cruel evil would only be the normal reassuring behavior of a well-understood, much-sympathized-with child. Against This, the ultimate Absolute, how friendly became anything less, anything relative. "
― Gerald Heard , Dromenon: The Best Weird Stories of Gerald Heard
