Kelila > Kelila's Quotes

“‎There's no way to cheat a sensualist like me, somebody who can die laughing for hours over the pattern of the carpet in a hotel lobby.”
― Anne Rice, Memnoch the Devil

“Listen. To live is to be marked. To live is to change, to acquire the words of a story, and that is the only celebration we mortals really know. In perfect stillness, frankly, I've only found sorrow.”
― Barbara Kingsolver, The Poisonwood Bible

“There is no morality in war', they said, 'but cannibals never killed more in one day that they could eat. In your wars, thousands are killed in a few minutes. Perhaps it might be worth suggesting to you leaders that both parties in your war agree to five minutes of combat. Then let all the parents come to the battlefield and collect the pieces and parts of their children, take them home and mourn and bury them. After that is over, another five minutes of battle might or might not be agreed upon. It is difficult to make sense out of senselessness.”
― Marlo Morgan, Mutant Message Down Under

“I felt the way I feel sometimes right before you go to sleep, when all you want to do is sleep, and then suddenly, when you're almost there, when your mind goes dizzy and it's almost like you don't have a body at all, your remember how long the night is, how you might not wake back up. And like a shock, you're sitting straight up, scared to do the thing you've done every day of your life.”
― Sheri Reynolds, The Rapture of Canaan

“Have been unavoidably detained by the world. Expect us when you see us.”
― Neil Gaiman, Stardust

“I had drunk so deeply of grief and innocently gambled so hard with fate and irony that a special kind of vision was gathering in my eyes, not entirely clear just yet. This was the same look people saw in your eyes when you have died for beauty and come to live accepting nature as life with no promise of paradise, and mad at people who couldn't see that.”
― Martin Prechtel, Secrets of the Talking Jaguar: Memoirs from the Living Heart of a Mayan Village

“Honeymoon, a term we are all familiar with, is a specific reference to mead. The term comes from an old English tradition that dates from the Middles Ages. Mead was drunk in great quantities at weddings, and after the ceremony nuptial couples were given a month's supply of mead--sufficient for one full cycle of the moon.”
― Pamela Spence, Mad About Mead: Nectar of the Gods

“It is good that you ruined your face, because it brought you to me, but also because beautiful women rarely work strong magic.”
― Catherynne M. Valente, In the Night Garden

“Never put your faith in a Prince. When you require a miracle, trust in a Witch.”
― Catherynne M. Valente, In the Night Garden

“She took another step. The simple motion of her moving leg was like a dance, the unexaggerated shifting of her hip entrancing as a fire. The arch of her bare foot said more of sex than anything I'd seen in my young life.”
― Patrick Rothfuss, The Wise Man's Fear

“Words cannot always do the work we need them to. Music is there for when words fail us.”
― Patrick Rothfuss, The Wise Man's Fear

“To whom it may concern: It is springtime. It is late afternoon. -Mr. Vonnegut”
― Kurt Vonnegut

“What is honor compared to a woman's love? What is duty against the feel of a newborn son in your arms . . . or the memory of a brother's smile? Wind and words. Wind and words. We are only human, and the gods have fashioned us for love. That is our great glory, and our great tragedy.”
― George R.R. Martin, A Game of Thrones

“It was a strange moment, like when you get sad after sex, and it feels like it's too late in the afternoon, even if it's morning, or night, and you turn away from the other person, and they turn away from you, and you lie there, and when you turn back towards them you can both see each other's moles. Usually there seem to shadows from Venetian blinds all across your legs.”
― M.T. Anderson, Feed

“Is it not a magical thing, this life, when just a little ash, cinder, and unclear water can arrange themselves into a beautiful old woman who sways, lifts, kisses, loves, sickens, argues, loses, bears up under it all, and, wrinkling, still lives under all that and yet feeds the Holy in Nature by just the way she moves barefoot down a path?”
― Martin Prechtel, Unlikely Peace at Cuchumaquic

“A flower should smell sweet, and a woman should have wit.”
― Victor Hugo, Les Misérables

“I propose a toast to mirth; be merry! Let us complete our course of law by folly and eating! Indigestion and the digest. let Justinian be the male, and Feasting, the female! Joy the depths! Live, O creation! The world is a great diamond. I am happy. The birds are astonishing. What a festival everywhere! The nightingale is a gratuitous Elleviou.
Summer, I salute thee!”
― Victor Hugo, Les Misérables

“Humans are amazing ritual animals, and it must be understood that the Tzutujil, nor any other real intact people, do not 'practice' rituals. Just as a bear must turn over stumps searching for beetles, real humans can only live life spiritually. Birth itself was a ritual: there was not a ritual for birth, or a ritual for death, or a ritual for marriage, for death was a ritual, life a ritual, cooking a ritual, and eating were all rituals with ceremonial guidelines, all of which fed life. Sleeping was a ritual, lovemaking was a ritual, sowing, cultivating, harvesting, storing food were rituals, even sweeping, insulting, fighting were rituals, everything human was a ritual, and to all Tzutujil, ritual was plant-oriented and based on feeding some big Holy ongoing vine-like, tree-like, proceedance that fed us it's fruit.”
― Martin Prechtel, The Unlikely Peace at Cuchumaquic: The Parallel Lives of People as Plants: Keeping the Seeds Alive

“Turn that worthless lawn into a beautiful garden of food whose seeds are stories sown, whose foods are living origins. Grow a garden on the flat roof of your apartment building, raise bees on the roof of your garage, grow onions in the iris bed, plant fruit and nut trees that bear, don't plant 'ornamentals', and for God's sake don't complain about the ripe fruit staining your carpet and your driveway; rip out the carpet, trade food to someone who raises sheep for wool, learn to weave carpets that can be washed, tear out your driveway, plant the nine kinds of sacred berries of your ancestors, raise chickens and feed them from your garden, use your fruit in the grandest of ways, grow grapevines, make dolmas, wine, invite your fascist neighbors over to feast, get to know their ancestral grief that made them prefer a narrow mind, start gardening together, turn both your griefs into food; instead of converting them, convert their garage into a wine, root, honey, and cheese cellar--who knows, peace might break out, but if not you still have all that beautiful food to feed the rest and the sense of humor the Holy gave you to know you're not worthless because you can feed both the people and the Holy with your two little able fists.”
― Martin Prechtel, The Unlikely Peace at Cuchumaquic: The Parallel Lives of People as Plants: Keeping the Seeds Alive

“After all, a kiss between real lovers is not some type of contract, a neatly defined moment of pleasure, something obtained by greedy conquest, or any kind of clear saying of how it is. It is a grief-drenched hatching of two hearts into some ecstatic never-before-seen bird whose new uncategorizable form, unrecognized by the status quo, gives the slip to Death's sure rational deal. For love is a delicious and always messy extension of life that unfrantically outgrows mortality's rigid insistence on precise and efficient definition. Having all the answers means you haven't really ecstatically kissed or lived, thereby declaring the world defined and already finished. Loving all the questions on the other hand is a vitality that makes any length of life worth living. Loving doesn't mean you know all the notes and that you have to play all the notes, it just means you have to play the few notes you have long and beautifully.
Like the sight of a truly beautiful young woman, smooth and gliding, melting hearts at even a distant glimpse, that no words, no matter how capable, can truly describe; a woman whose beauty is only really known by those who take a perch on the vista of time to watch the years of life speak out their long ornate sentences of grooves as they slowly stretch into her smoothness, wrinkling her as she glides struggling, decade by decade, her gait mitigated by a long trail of heavy loads, joys, losses, and suffering whose joint-aching years of traveling into a mastery of her own artistry of living, becomes even more than beauty something about which though we are even now no more capable of addressing than before, our admiration as original Earth-loving human beings should nonetheless never remain silent. And for that beauty we should never sing about, but only sing directly to it. Straightforward, cold, and inornate description in the presence of such living evidence of the flowering speech of the Holy in the Seed would be death of both the beauty and the speaker. Even if we always fail when we speak, we must be willing to fail magnificently, for even an eloquent failure, if in the service of life, feeds the Divine.
Is it not a magical thing, this life, when just a little ash, cinder, and unclear water can arrange themselves into a beautiful old woman who sways, lifts, kisses, loves, sickens, argues, loses, bears up under it all, and, wrinkling, still lives under all that and yet feeds the Holy in Nature by just the way she moves barefoot down a path?
If we can find the hearts, tongues, and brightness of our original souls, broken or not, then no matter from what mess we might have sprung today, we would be like those old-time speakers of life; every one of us would have it in our nature to feel obligated by such true living beauty as to know we have to say something in its presence if only for our utter feeling of awe. For, finally learning to approach something respectfully with love, slowly with the courtesy of an ornate indirectness, not describing what we see but praising the magnificence of her half-smiles of grief and persistent radiance rolling up from the weight-bearing thumping of her fine, well-oiled dusty old feet shuffling toward the dawn reeds at the edge of her part of the lake to fetch a head-balanced little clay jar of water to cook the family breakfast, we would know why the powerful Father Sun himself hurries to get his daily glimpse of her, only rising early because she does.”
― Martin Prechtel, The Unlikely Peace at Cuchumaquic: The Parallel Lives of People as Plants: Keeping the Seeds Alive

“Do you think I am a foo, Masha? All this time, and you speak to me as though I were a flighty pinprick of a girl. I am a magician! Did you ever think, even once, that I loved lipstick and rouge for more than their color alone? I am a student of their lore, and it is arcane and hermetic beyond the dreams of alchemists. Did you ever wonder why I gave you so many pots, so many creams, so much perfume?
...
Cosmetics are an extension of the will. Why do you think all men paint themselves when they go to fight? When I paint my eyes to match my soup, it is not because I have nothing better to do than worry over trifles. It says, I belong here, and you will not deny me. When I streak my lips red as foxgloves, I say, Come here, male. I am your mate, and you will not deny me. When I pinch my cheeks and dust them with mother-of-pearl, I say, Death, keep off, I am your enemy and you will not deny me. I say these things, and the world listens, Masha. Because my magic is as strong as an arm. I am never denied.”
― Catherynne M. Valente, Deathless

“Let us be greedy together; let us hoard. Let us hit each other with birch branches and lock each other in dungeons; let us drink each other's blood in the night and betray each other in the sun. Let us lie and lust and take hundreds of lovers; let us dance until snow melts between us. Let us steal and eat until we grow fat and roll in the pleasures of life, clutching each other for purchase.”
― Catherynne M. Valente, Deathless

“If I could pray with my cock, I'd be much more religious”
― George R.R. Martin, A Clash of Kings

“The dude feels right fatherly. Takes her down to the crick to wash the underground off of her. Just can't bring himself to shoot her while she's filthy and starving. There's time. Offers her a cake of French-milled soap he brought all the way out from Chicago. Smells like gardenias if you know your flowers, and the dude does. Snow White knows something's skewed but she grabs it, strips off like it's nothing and climbs in the water. She don't shiver even though that stream has to be as cold as a wagon tire. The miner's crud comes off her in black ribbons. The duded watches another girl come out of the blind mole-skin she was walking around it. This one has muscles like a mountain cat and a kind of pretty he doesn't know what to do with. For fairness he'd take her stepmother six days and twice on Sunday. The beauty Snow White's got has nothing to do with him. She's scarred up and suspicious an shameless. Her pretty's not for him. It's like saying the moon's got a fine figure on her. Maybe true, but what good is that to a man?”
― Catherynne M. Valente, Six-Gun Snow White

“The glance of women resembles certain combinations of wheels, which are tranquil in appearance yet formidable. You pass close to them every day, peaceably and with impunity, and without a suspicion of anything. A moment arrives when you forget that the thing is there. You go and come, dream, speak, laugh. All at once you feel yourself clutched; all is over. The wheels hold you fast, the glance has ensnared you. It has caught you, no matter where or how, by some portion of your thought which is fluttering loose, by some distraction which had attacked you. You are lost. The whole of you passes into it. A chain of mysterious forces takes possession of you. You struggle in vain; no more human succor is possible. You go on falling from gearing to gearing, from agony to agony, from torture to torture, you, your mind, your fortune, your future, your soul; and, according to whether you are in the power of a wicked creature, or of a noble heart, you will not escape from this terrifying machine otherwise than disfigured with shame, or transfigured by passion.”
― Victor Hugo, Les Misérables

“You will always fall in love, and it will always be like having your throat cut, just that fast.”
― Catherynne M. Valente, Deathless

“Once upon a time an Athenian princesss named Prokne was wed to Tereus, king of the barbarous Thracians of the north. When Prokne's unfortunate sister, Philomela, came for a visit, Tereus fell madly in love with the girl locked her away and raped her, then cut out her tongue to prevent her from telling anyone of the crime. Philomela, however, wove into a cloth the story of her misfortune. When Prokne, receiving the cloth, understood what had befallen, she freed her sister, killed her own son, Itys, whom she had borne to Tereus, and served the child up to his father at a feast--the vilest revenge she could think of. When Tereus discovered the truth, in wrath he pursued the two sisters, thinking to kill them, but the gods transformed all three into birds: Tereus into the hoopoe (a large, crested bird with a daggerlike beak), Philomela into the swallow, which can only twitter unintelligibly, and Prokne into the nightingale, which spends the night singing 'Itys Itys!' in mourning for her dead son. All these birds have reddish spots, it is said, from getting spattered with the blood of the child.
...
It is interesting in our purposes because it shows in yet another way the great importance that clothmaking had in women's lives, becoming central to their mythology as well.”
― Elizabeth Wayland Barber, Women's Work: The First 20,000 Years: Women, Cloth, and Society in Early Times

“Death has a body like a model, the clothes of a poet and the smile of your best friend. She wears a top hat for fun, her ankh necklace for power, and carries a big black umbrella for travelling to the 'sunless lands.' I wonder what she smells like? I'm sure it's fresh and clean and her laugh must be rinkly or maybe it's warm and chuckly, but whatever it is, Death laughs a lot.

We talk about the 'miracle of birth' but what about the 'miracle of death'? We have the science of death pretty much figured out, but death's magic and inevitability have been feared and ignored for a long time now.

What if Death is a person?”
― Neil Gaiman, Death: The Time of Your Life

“Perhaps the greatest faculty our minds possess is the ability to cope with pain. Classic thinking teaches us of the four doors of the mind, which everyone moves through according to their need.

First is the door of sleep. Sleep offers us a retreat from the world and all its pain. Sleep marks passing time, giving us distance from the things that have hurt us. When a person is wounded they will often fall unconscious. Similarly, someone who hears traumatic news will often swoon or faint. This is the mind's way of protecting itself from pain by stepping through the first door.

Second is the door of forgetting. Some wounds are too deep to heal, or too deep to heal quickly. In addition, many memories are simply painful, and there is no healing to be done. The saying 'time heals all wounds' is false. Time heals most wounds. The rest are hidden behind this door.

Third is the door of madness. There are times when the mind is dealt such a blow it hides itself in insanity. While this may not seem beneficial, it is. There are times when reality is nothing but pain, and to escape that pain the mind must leave reality behind.

Last is the door of death. The final resort. Nothing can hurt us after we are dead, or so we have been told.”
― Patrick Rothfuss, The Name of the Wind

“May all your stories be glad ones, and your roads be smooth and short.”
― Patrick Rothfuss, The Name of the Wind