Miguel

“One scene stayed with de Chauliac forever, obsessing him, even though, mercifully, the rest would blur; he saw a devil with wide black wings gripped by two angels, who drove it down and seemed to speak in its ears as they fell; they hit the bend of the Rhone, sending up a great, illuminated plume of water visible from Orange.

Two angels and a devil had tumbled into the water.

Three angels came up.

Forgiveness, then, was possible even for the worst.”
― Christopher Buehlman, Between Two Fires

“Our personal hallucination now developed as boundlessly as perhaps the total nightmare of human society, for instance, with earth, sky, and atmosphere.”
― Georges Bataille, Story of the Eye

“In his extreme youth Stoner had thought of love as an absolute state of being to which, if one were lucky, one might find access; in his maturity he had decided it was the heaven of a false religion, toward which one ought to gaze with an amused disbelief, a gently familiar contempt, and an embarrassed nostalgia. Now in his middle age he began to know that it was neither a state of grace nor an illusion; he saw it as a human act of becoming, a condition that was invented and modified moment by moment and day by day, by the will and the intelligence and the heart.”
― John Williams, Stoner

“And this was perhaps the first time in my life that death occurred to me as a reality. I thought of the people before me who had looked down at the river and gone to sleep beneath it. I wondered about them. I wondered how they had done it—it, the physical act. I had thought of suicide when I was much younger, as, possibly, we all have, but then it would have been for revenge, it would have been my way of informing the world how awfully it had made me suffer. But the silence of the evening, as I wandered home, had nothing to do with that storm, that far off boy. I simply wondered about the dead because their days had ended and I did not know how I would get through mine.”
― James Baldwin, Giovanni’s Room