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21 " UPYou wake up filled with dread.There seems no reason for it.Morning light sifts through the window,there is birdsong,you can't get out of bed.It's something about the crumpled sheetshanging over the edge like junglefoliage, the terry slippers gapingtheir dark pink mouths for your feet,the unseen breakfast--some of itin the refrigerator you do not dareto open--you will not dare to eat.What prevents you? The future. The future tense,immense as outer space.You could get lost there.No. Nothing so simple. The past, its densityand drowned events pressing you down,like sea water, like gelatinfilling your lungs instead of air.Forget all that and let's get up.Try moving your arm.Try moving your head.Pretend the house is on fireand you must run or burn.No, that one's useless.It's never worked before.Where is it coming form, this echo,this huge No that surrounds you,silent as the folds of the yellowcurtains, mute as the cheerfulMexican bowl with its cargoof mummified flowers?(You chose the colours of the sun,not the dried neutrals of shadow.God knows you've tried.)Now here's a good one:you're lying on your deathbed.You have one hour to live.Who is it, exactly, you have neededall these years to forgive? "
― Margaret Atwood , Morning in the Burned House
22 " I realise now that the pain Kevin felt - that night, and for nearly eighteen months beforehand, since his suicide attempt - was no less real, no less urgent, than a heart attach, a stroke, a seizure. Than the sensation of running too hard or running too fast, keeling over, grasping for air. Wishing for something to fill your lungs - to rush in and then revive you - except nothing ever does, and maybe nothing ever can.It is unpleasant, of course, to sympathise with suicide. It is unpleasant to believe in a reality in which death is the only option. And it is problematic, certainly, to compare suicide to running, to cardiac arrest, to terminal cancer. But this is precisely the problem: There is no fair parallel that can be drawn between those who felt the dark pull of suicide and those who never have. "
― Amy E. Butcher , Visiting Hours: A Memoir of Friendship and Murder
23 " Or you might shout at the top of your lungs or whisper into your sleeve, " I hate you, God." That is a prayer too, because it is real, it is truth, and maybe it is the first sincere thought you've had in months. "
24 " You know, nothing ever goes back exactly the way it was. Things just expand and contract. Like the universe, like breathing. But you’ll never fill your lungs up with the same air twice. Sometimes, it would be cool if you could pause and rewind and do over. But I think anyone would get tired of that after one or two times. "
25 " We're saying the story doesn't end here, that the air in your lungs is there for a reason. "
― Jamie Tworkowski
26 " You are in his car and your words taste like honey. The suns yolk is stretching over the road, with hues of pink and red ribbon pressed against the bruises of the sky. He is talking about mechanics or sugar factories, and you are touching the rings on your fingers. The windows are open and the wind is making a home in your bones. Your jeans are ripped, your perfume smells like lilacs, your nails painted the color of sea weed. You forget about noise. You forget about color. It’s your lungs - I think, it’s your lungs that are morphing into purple butter. You are in his car and you are Mozart composing art, Claude Monet painting Water Lilies, you are Aphrodite, you are Shakespeare. You are in his car and you can’t remember what salt feels like against your tongue. You are in his car and you are ocean, fire - lip, tongue, breath, sweat. You are in his car and you are telling him you love him. You are in his car and he is telling you he loves you back. "
27 " Language is a poor thing. You fill your lungs with wind and shake a little slit in your throat, and make mouths, and that shakes the air; and the air shakes a pair of little drums in my head—a very complicated arrangement, with lots of bones behind—and my brain seizes your meaning in the rough. What a roundabout way, and what a waste of time. "
― George du Maurier
28 " Saturday evening, on a quiet lazy afternoon, I went to watch a bullfight in Las Ventas, one of Madrid's most famous bullrings. I went there out of curiosity. I had long been haunted by the image of the matador with its custom made torero suit, embroidered with golden threads, looking spectacular in his " suit of light" or traje de luces as they call it in Spain. I was curious to see the dance of death unfold in front of me, to test my humanity in the midst of blood and gold, and to see in which state my soul will come out of the arena, whether it will be shaken and stirred, furious and angry, or a little bit aware of the life embedded in every death. Being an avid fan of Hemingway, and a proponent of his famous sentence " About morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after,” I went there willingly to test myself. I had heard atrocities about bullfighting yet I had this immense desire to be part of what I partially had an inclination to call a bloody piece of cultural experience. As I sat there, in front of the empty arena, I felt a grandiose feeling of belonging to something bigger than anything I experienced during my stay in Spain. Few minutes and I'll be witnessing a painting being carefully drawn in front of me, few minutes and I will be part of an art form deeply entrenched in the Spanish cultural heritage: the art of defying death. But to sit there, and to watch the bull enter the arena… To watch one bull surrounded by a matador and his six assistants. To watch the matador confronting the bull with the capote, performing a series of passes, just before the picador on a horse stabs the bull's neck, weakening the neck muscles and leading to the animal's first loss of blood... Starting a game with only one side having decided fully to engage in while making sure all the odds will be in the favor of him being a predetermined winner. It was this moment precisely that made me feel part of something immoral. The unfair rules of the game. The indifferent bull being begged to react, being pushed to the edge of fury. The bull, tired and peaceful. The bull, being teased relentlessly. The bull being pushed to a game he isn't interested in. And the matador getting credits for an unfair game he set. As I left the arena, people looked at me with mocking eyes. Yes, I went to watch a bull fight and yes the play of colors is marvelous. The matador’s costume is breathtaking and to be sitting in an arena fills your lungs with the sands of time. But to see the amount of claps the spill of blood is getting was beyond what I can endure. To hear the amount of claps injustice brings is astonishing. You understand a lot about human nature, about the wars taking place every day, about poverty and starvation. You understand a lot about racial discrimination and abuse (verbal and physical), sex trafficking, and everything that stirs the wounds of this world wide open. You understand a lot about humans’ thirst for injustice and violence as a way to empower hidden insecurities. Replace the bull and replace the matador. And the arena will still be there. And you'll hear the claps. You've been hearing them ever since you opened your eyes. "
29 " Gazing out from the mountains, the clouds are whiter, the sky is bluer, the air seeping into your lungs is as clear as the water roaring down from the snow, melting on the high peaks. A place where heaven is a little closer. "
― Virginia Alison
30 " When her blue-black eyes lifted to his, everything disappeared. Their bodies dematerialized. The room they were in ceased to exist. Time became nothing. And in the void, in the wormhold, Wrath's chest opened up sure as if he'd been shot, a piercing pain licking over his nerve endings. He knew then that there are many ways for a heart to break. Sometimes it's from the crowding of life, the compression of responsibility and birthright and burden that just squeezed you until you couldn't breathe anymore. Even though your lungs were working just fine. And sometimes it's from the casual cruelty of a fate that took you far from where you had thought you would end up.And sometimes it's age in the face of youth. Or sickness in the face of health. But sometimes it's just because you're looking into the eyes of your lover, and your gratitude for having them in your life overflows...because you showed them what was on the inside and they didn't run scared or turn away: they accepted you and loved you and held you in the midst of your passion or your fear...or your combination of both. Wrath closed his eyes and focused on the soft pulls at his wrist. God, they were just like the beat of his heart. Which made sense.Because she was the center of his chest. And the center of his world. "
― J.R. Ward , The Black Dagger Brotherhood: An Insider's Guide (Black Dagger Brotherhood)
31 " I want to fill every part of you, breathe the air from your lungs and leave my handprints on your soul. I want to give you more pleasure than you can bear. "
― Lisa Kleypas , Devil in Winter (Wallflowers, #3)
32 " And with the smallest intake of breath he had painted me a picture. Ash that stung your tongue like poisoned snowflakes and breaths of air that burned your lungs without fire "
― Quil Carter , The Ghost and the Darkness Volume 1 (Fallocaust, #2)
33 " Seek out the company of those who will never ask you to jump," the earth advised.Bertie remembered the rush of feathers as she soared above the audience. " I can catch myself." " Of those whose love will never fill your lungs with water-" the earth argued." But it did not kill me." " there should be more to love," said the earth, " than 'it did not kill me.' More than 'I survived it. "
34 " I looked up at the ivory towers above us all. Nowhere else equals the feral design of this city. Tall skyscrapers that act as gorges hollowing out between flat cement dancing into narrow alleyways like bottomless pits. Building walls rusted the color of blood. Sometimes when you look down the horizon from afar the city looks wider than it is, like a thin field of magical lights gleaming with the hopes of children and idealists; a light on at midnight in one of the penthouses or the changing hues of the Empire State Building. Most of the time though, the city is covered with a layer of honking cars and greed, sirens and the war cry of solicitors, all full of brambles and impenetrable conscience; garbage, steaming manholes, and heat waves twirling smog and pollution through your lungs like mirages as you walk breathlessly through a boiling desert. "
― Bruce Crown , How Dim the Promised Land