Laurie Lee · 192 pages
Rating: (3.6K votes)
“For the first time I was learning how much easier it was to leave than to stay behind and love.”
― Laurie Lee, quote from As I Walked Out One Midsummer Morning
“I felt once again the unease of arriving at night in an unknown city--that faint sour panic which seems to cling to a place until one has found oneself a bed.”
― Laurie Lee, quote from As I Walked Out One Midsummer Morning
“But I think my most lasting impression was still the unhurried dignity and noblesse with which the Spaniard handled his drink. He never gulped, panicked, pleaded with the barman, or let himself be shouted into the street. Drink, for him, was one of the natural privileges of living, rather than the temporary suicide it so often is for others. But then it was lightly taxed here, and there were no licensing laws; and under such conditions one could take one's time.”
― Laurie Lee, quote from As I Walked Out One Midsummer Morning
“I felt it was for this I had come: to wake at dawn on a hillside and look out on a world for which I had no words, to start at the beginning, speechless and without plan, in a place that still had no memories for me.”
― Laurie Lee, quote from As I Walked Out One Midsummer Morning
“The borders of consciousness are anxious enough, raw and desperate places; we shouldn't be dragged across them like struggling thieves as if sleep was a felony.”
― Laurie Lee, quote from As I Walked Out One Midsummer Morning
“There are brilliant evocations of intense heat (‘the brass-taloned lion which licks the afternoon ground ready to consume anyone not wise enough to take cover’) and sunlight (it ‘struck upwards, sideways and down, while the wheat went buckling across the fields like a solid sheet of copper’),”
― Laurie Lee, quote from As I Walked Out One Midsummer Morning
“Max raised the mallet. He stared into her face and wished he could say he was sorry, that he didn't want to do it. When he slammed the mallet down, with an echoing bang, he heard a high, piercing scream and almost screamed himself, believing for an instant it was her, still somehow alive; then realized it was Rudy. Max was powerfully built, with his, deep water-buffalo chest and Dutch farmer's shoulders. With the first blow he had driven the stake over two-thirds of the way in. He only needed to bring the mallet down once more. The blood that squelched up around the wood was cold and had a sticky, viscous consistency.
Max swayed, his head light. His father took his arm.
'Goot,' Abraham whispered into his ear, his arms around him, squeezing him so tightly his ribs creaked. Max felt a little thrill of pleasure - an automatic reaction to the intense, unmistakable affection of his father's embrace - and was sickened by it. 'To do offense to the house of the human spirit, even after its tenant depart, is no easy thing, I know.'
("Abraham's Boys")”
― Joe Hill, quote from 20th Century Ghosts
“Spațiile lui Riemann sunt lipsite de orice fel de omogenitate. Fiecare dintre ele se caracterizează prin forma expresiei care definește pătratul distanței dintre două puncte infinit învecinate. ... Rezultă de aici că doi observatori aflați învecinați pot să repereze într-un spațiu riemannian punctele care se află în imediata lor vecinătate, dar nu pot, fără stabilirea unei noi convenții, să se repereze unul față de celălalt. Fiecare vecinătate este deci ca o mică bucată de spațiu euclidian, dar racordarea dintre o vecinătate și următoarea nu e definită și poate fi făcută într-o infinitate de moduri. Spațiul riemannian cel mai general se prezintă, astfel, ca o colecție amorfă de bucăți juxtapuse fără a fi legate’ (Albert Lautmann, Les schèmas de structure, Hermann, 1938, pp.23, 34-35); această mulțime poate fi definită independent de orice referire la o metrică, prin condiții de frecvență sau, mai curând, de acumulare valabile pentru un ansamblu de vecinătăți, condiții total diferite de cele care determină spațiile metrice și tăieturile lor (chiar dacă un raport între cele două feluri de spațiu trebuie să decurgă de aici). Pe scurt, dacă urmăm frumoasa descriere a lui Lautmann, spațiul riemannian este un pur patchwork. Are conexiuni sau raporturi tactile. Are valori ritmice care nu se regăsesc în altă parte, chiar dacă pot fi traduse într-un spațiu metric. Eterogen, în variație continuă, este un spațiu neted, în măsura în care este amorf, nu omogen. (Gilles Deleuze et Félix Guattari)”
― Gilles Deleuze, quote from A Thousand Plateaus: Capitalism and Schizophrenia
“But you will trust me again, Annabelle. You will want me again, and we will be together. I will behave. You'll see. - Zacharel”
― Gena Showalter, quote from Wicked Nights
“Give your false prophet a message for me. Tell him Jesus befriended the whores and the thieves and the sinners. Tell him his Old Testament God is dead. God doesn't punish the wicked and save the righteous. God is love.”
― Jennifer Bosworth, quote from Struck
“What boy could resist you?"
"Will's hardly a boy."
"Don't give me that. He's a boy playing a game," Norris said. "The oldest game there is.”
― Caragh M. O'Brien, quote from Prized
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