What are any of our lives but the shapes we force them into. Memory doesn't come to us of its own; we go after it, pull it into sunlight and make of it what we need, what we're driven towards, what we imagine, changing the world again and again with each new quarry, each descent, each morning.
The search for truth can be compared to a cat chasing her tail: frantic in her pursuit, her quarry nevetheless eludes her; despite the fact that all the world can see it's right there, it remains just beyond her reach. It cannot be possessed because, paradoxically, it is already part of her.
The different steps and degrees of education may be compared to the artificer's operations upon marble; it is one thing to dig it out of the quarry, and another to square it, to give it gloss and lustre, call forth every beautiful spot and vein, shape it into a column, or animate it into a statue.
Isn't there a time or two you can remember when somehow an animal you've hunted has done something to make you let him vanish in the woods? ... Isn't there a bird or covey that somehow always manages to catch you with your gun on safe "" even when you know it's there? "I think we all know times that for almost certain we gave the hunt to the quarry.
It was '86. We were a big enough name and we had enough cache that MTV wanted to play us, so, along with Michael Jackson and Madonna, they played our upside-down, black-and-white, backward, single unedited footage of a rock quarry with orange letters over the top of it and called it art.
It's a real lightning bolt, this Science of Phrenology. I've found out more in the last three days than I knew in my whole life before. Mrs. Guilbert has always been a nasty one, but now I know that she can't help it-she's got a big pit in her Benevolence spot. She fell in the quarry when she was a girl, and my guess is she cracked her Benevolence and was never the same since.
Mary Ann Shaffer
The authour who imitates his predecessors only by furnishing himself with thoughts and elegances out of the same general magazine of literature, can with little more propriety be reproached as a plagiary, than the architect can be censured as a mean copier of Angelo or Wren, because he digs his marble out of the same quarry, squares his stones by the same art, and unites them in columns of the same orders.
I learn immediately from any speaker how much he has already lived, through the poverty or the splendor of his speech. Life lies behind us as the quarry from whence we get tiles and copestones for the masonry of today. This is the way to learn grammar. Colleges and books only copy the language which the field and the work-yard made.
Ralph Waldo Emerson
And she thought, with a vicious thrill, of what these people would do if they read her mind in this moment; if they knew that she was thinking of a man in a quarry, thinking of his body with a sharp intimacy as one does not think of another's body but only of one's own. She smiled; the cold purity of her face prevented them from seeing the nature of that smile.
Come, see the north-wind's masonry, Out of an unseen quarry evermore Furnished with tile, the fierce artificer Curves his white bastions with projected roof Round every windward stake, or tree, or door. Speeding, the myriad-handed, his wild work So fanciful, so savage, naught cares he For number or proportion.
Ralph Waldo Emerson
Nelson Mandela once remarked that he befriended his jailers, those grim, khaki-clad overseers of his decades of hard labor in a limestone quarry, by "exploiting their good qualities." Asked if he believed all people were kind at their core, he responded, "There is no doubt whatsoever, provided you are able to arouse their inherent goodness." If that sounds like wishful thinking, well, he actually did it.
Marc Ian Barasch
A minute analysis of life at once destroys that splendor which dazzles the imagination. Whatsoever grandeur can display, or luxury enjoy, is procured by offices of which the mind shrinks from the contemplation. All the delicacies of the table may be traced back to the shambles and the dunghill; all magnificence of building was hewn from the quarry, and all the pomp of ornament dug from among the damps and darkness of the mine.
I let my gaze travel out the picture window. Unlike at my old doublewide trailer perched on the fringe of a played out quarry, here I owned a real yard with real grass that screamed for mowing each Monday a.m. I sat at the kitchen table, cooling off from just having finished this week's job. Yes, here in 2005, I was a full-fledged suburbanite, but I'd been called worse.
So live, that when thy summons comes to join The innumerable caravan which moves To that mysterious realm where each shall take His chamber in the silent halls of death, Thou go not, like the quarry-slave at night, Scourged by his dungeon; but, sustain'd and soothed By an unfaltering trust, approach thy grave, Like one who wraps the drapery of his couch About him, and lies down to pleasant dreams." Thanatopsis
William Cullen Bryant
So live, that when thy summons comes to join The innumerable caravan which moves To that mysterious realm where each shall take His chamber in the silent halls of death, Thou go not, like the quarry-slave at night,Scourged by his dungeon; but, sustain'd and soothed By an unfaltering trust, approach thy grave,Like one who wraps the drapery of his couch About him, and lies down to pleasant dreams." Thanatopsis
William C. Bryant
So live that when thy summons comes to joinThe innumerable caravan that movesTo that mysterious realm, where each shall takeHis chamber in the silent halls of death,Thou go not, like the quarry-slave at night,Scourged to his dungeon, but, sustained and soothedBy an unfaltering trust, approach thy grave,Like one who wraps the drapery of his couchAbout him, and lies down to pleasant dreams.
William Cullen Bryant
In the forest you may find yourself lost, without companions. You may come to a river which is not on a map. You may lose sight of your quarry, and forget why you are there. You may meet a dwarf, or the living Christ, or an old enemy of yours; or a new enemy, one you do not know until you see his face appear between the rustling leaves, and see the glint of his dagger. You may find a woman asleep in a bower of leaves. For a moment, before you don't recognise her, you will think she is someone you know.
I'm so sorry," I whisper. I lean forward and kiss him. His eyelashes flutter and he looks at me through a haze of opiates. "Hey, Catnip." "Hey, Gale," I say. "Thought you'd be gone by now," He says. My choices are simple. I can die like a quarry in the woods or I can die here beside Gale. "I'm not going anywhere. I'm going to stay right here and cause all kinds of trouble." "Me, too," Gale says. He just manages a smile before the drugs pull him back under.
Though collecting quotations could be considered as merely an ironic mimetism -- victimless collecting, as it were... in a world that is well on its way to becoming one vast quarry, the collector becomes someone engaged in a pious work of salvage. The course of modern history having already sapped the traditions and shattered the living wholes in which precious objects once found their place, the collector may now in good conscience go about excavating the choicer, more emblematic fragments.
It is quite easy to debase the sport, change its values, dilute its ethics and destroy its traditional associations with quietness, relaxation and the opportunity to think. Angling is not a competitive sport. The fisherman'- s only real competition is with his quarry and his only real challenge is the challenge to himself. Nothing can add to this, but the blight of interhuman competition can certainly detract from it.
Being a copper I like to see the law win. I'd like to see the flashy well-dressed mugs like Eddie Mars spoiling their manicures in the rock quarry at Folsom, alongside of the poor little slum-bred guys that got knocked over on their first caper amd never had a break since. That's what I'd like. You and me both lived too long to think I'm likely to see it happen. Not in this town, not in any town half this size, in any part of this wide, green and beautiful U.S.A. We just don't run our country that way.
I observed on most collected stones the imprints of innumerable plant fragments which were so different from those which are growing in the Lyonnais, in the nearby provinces, and even in the rest of France, that I felt like collecting plants in a new world... The number of these leaves, the way they separated easily, and the great variety of plants whose imprints I saw, appeared to me just as many volumes of botany representing in the same quarry the oldest library of the world.
Antoine de Jussieu
Put it on record -I am an Arab And the number of my card is fifty thousand I have eight children And the ninth is due after summer. What's there to be angry about? Put it on record. -I am an Arab Working with comrades of toil in a quarry. I have eight childern For them I wrest the loaf of bread, The clothes and exercise books From the rocks And beg for no alms at your doors, -Lower not myself at your doorstep. -What's there to be angry about? Put it on record. -I am an Arab. I am a name without a tide, Patient in a country where everything Lives in a whirlpool of anger. -My roots -Took hold before the birth of time -Before the burgeoning of the ages, -Before cypess and olive trees, -Before the proliferation of weeds. My father is from the family of the plough -Not from highborn nobles. And my grandfather was a peasant -Without line or genealogy. My house is a watchman's hut -Made of sticks and reeds. Does my status satisfy you? -I am a name without a surname. Put it on Record. -I am an Arab. Color of hair: jet black. Color of eyes: brown. My distinguishing features: -On my head the 'iqal cords over a keffiyeh -Scratching him who touches it. My address: -I'm from a village, remote, forgotten, -Its streets without name -And all its men in the fields and quarry. -What's there to be angry about? Put it on record. -I am an Arab. You stole my forefathers' vineyards -And land I used to till, -I and all my childern, -And you left us and all my grandchildren -Nothing but these rocks. -Will your government be taking them too -As is being said? So! -Put it on record at the top of page one: -I don't hate people, -I trespass on no one's property. And yet, if I were to become starved -I shall eat the flesh of my usurper. -Beware, beware of my starvation. -And of my anger!
as a bird swoops down on it's prey, and assumes this land bound wretch into heaven, so did romeo steal her lips before they fled him again. suspended somewhere between cherubs and devils, his quarry ceased to buck, and he spread his wings wide and let the rising wind carry them off across the sky, until even the predator himself had lost every hope of returning home. within that one embrace, [he] became aware of a feeling of certainty he had not thought possible for anyone - even the virtuous. with her in his arms, all other women, past, present, and future, simply ceased to exist.
the burrowing wasp, which in order to provide a supply of fresh meat for her offspring after her own decease, calls in the science of anatomy to amplify the resources of her instinctive cruelty, and, having made a collection of weevils and spiders, proceeds with marvellous knowledge and skill to pierce the nerve-centre on which their power of locomotion (but none of their other vital functions) depends, so that the paralysed insect, beside which her egg is laid, will furnish the larva, when it is hatched, with a tamed and inoffensive quarry, incapable either of flight or of resistance, but perfectly fresh for the larder...
I consider a human soul without education like marble in the quarry, which shows none of its inherent beauties till the skill of the polisher fetches out the colors, makes the surface shine, and discovers every ornamental cloud, spot and vein that runs through the body of it and hence the paradox of education is precisely this - that as one begins to become conscious one begins to examine the society in which he is being educated. Help Dacodep showcase the potential of orphan children and illiterate adults in the community flooded with politicians, we are working to turn Bondo into an education hub.
I've never believed that they're separate. Leonardo da Vinci was a great artist and a great scientist. Michelangelo knew a tremendous amount about how to cut stone at the quarry. The finest dozen computer scientists I know are all musicians. Some are better than others, but they all consider that an important part of their life. I don't believe that the best people in any of these fields see themselves as one branch of a forked tree. I just don't see that.People bring these things together a lot. Dr. Land at Polaroid said, "I want Polaroid to stand at the intersection of art and science, " and I've never forgotten that. I think that that's possible, and I think a lot of people have tried.
Every once in a bestseller list, you come across a truly exceptional craftsman, a wordsmith so adept at cutting, shaping, and honing strings of words that you find yourself holding your breath while those words pass from page to eye to brain. You know the feeling: you inhale, hold it, then slowly let it out, like one about to take down a bull moose with a Winchester.30-06. You force your mind to the task, scope out the area, take penetrating aim, and... read. But instead of dropping the quarry, you find you've become the hunted, the target. The projectile has somehow boomeranged and with its heat-sensing abilities (you have raised a sweat) darts straight towards you. Duck! And turn the page lest it drill between your eyes.
It was hot; I never need the sweater. A great tall cloud moved elegantly across an invisible walkway in the upper air, sliding on its flat foot like an enormous proud snail. I smelled silt on the wind, turkey, laundry, leaves... my God what a world. There is no accounting for one second of it. On the quarry path through the woods I saw again the discarded aquarium; now, almost a year later, still only one side of the aquarium's glass was shattered. I could plant a terrarium here, I thought; I could transfer the two square feet of forest floor under the glass to above the glass, framing it, hiding a penny, and saying to passers-by look! Look! Here is two square feet of the world.
Studies [on the origin of fairy-stories] are, however, scientific (at least in intent); they are the pursuit of folklorists or anthropologists: that is of people using the stories not as they were meant to be used, but as a quarry from which to dig evidence, or information, about matters in which they are interested... with regard to fairy stories, I feel that it is more interesting, and also in its way more difficult, to consider what they are, what they have become for us, and what values the long alchemic processes of time have produced in them. In Dasent's words I would say: 'We must be satisfied with the soup that is set before us, and not desire to see the bones of the ox out of which it has been boiled.' Such stories have now a mythical or total (unanalysable) effect, an effect quite independent of the findings of Comparative Folk-lore, and one which it cannot spoil or explain; they open a door on Other Time, and if we pass through, though only for a moment, we stand outside our own time, outside Time itself, maybe.
Edwin Land of Polaroid talked about the intersection of the humanities and science. I like that intersection. There's something magical about that place. There are a lot of people innovating, and that's not the main distinction of my career. The reason Apple resonates with people is that there's a deep current of humanity in our innovation. I think great artists and great engineers are similar in that they both have a desire to express themselves. In fact some of the best people working on the original Mac were poets and musicians on the side. In the seventies computers became a way for people to express their creativity. Great artists like Leonardo da Vinci and Michelangelo were also great art science. Michelangelo knew a lot about how to quarry stone, not just how to be a sculptor.
Be still, my soul, be still; the arms you bear are brittle, Earth and high heaven are fixt of old and founded strong. Think rather, -call to thought, if now you grieve a little, The days when we had rest, O soul, for they were long. Men loved unkindness then, but lightless in the quarry I slept and saw not; tears fell down, I did not mourn; Sweat ran and blood sprang out and I was never sorry: Then it was well with me, in days ere I was born. Now, and I muse for why and never find the reason, I pace the earth, and drink the air, and feel the sun. Be still, be still, my soul; it is but for a season: Let us endure an hour and see injustice done. Ay, look: high heaven and earth ail from the prime foundation; All thoughts to rive the heart are here, and all are vain: Horror and scorn and hate and fear and indignation- Oh why did I awake? when shall I sleep again?
I've never liked urban myths. I've never liked pretending to believe in them; never understood why everyone else doesn't see straight through them. Why is it they've always happened to a friend of a friend - someone you've never met? Why does everyone smile and nod and pull the right faces, when they must know they're not true? Pointless. A waste of breath. So I sneered at the myths about Scaderstone Pit. It was just an old quarry - nothing more. I never believed in the rumours of discarded dynamite. It had decayed, they said. It exploded at the slightest touch, had even blown someone's hand off. I shrugged off the talk of the toxic waste. It was dumped in the dead of night, they said. The canisters rusting away, leaking deadly poisons that could blind you, burn your lungs. I laughed at the ghost stories. You could hear the moans, they said, of quarrymen buried alive and never found. You could see their nightwalking souls, searching for their poor crushed bodies. I didn't believe any of it - not one word. Now, after everything that's happened, I wonder whether I should've listened to those stories. Maybe then, these things would've happened to someone else, and I could've smiled and said they were impossible. But this is not an urban myth. And it did not happen to someone else, but to me. I've set it down as best I can remember. Whether you believe it or not, is up to you.
Their quarry had been cornered in his defenses and their bloodlust was such that they were likely to pay top Julep to watch him escape, so that he might be brutalized and killed before their very eyes, as this was much more gratifying to them than simply watching justice be enacted. They, too, understood that societal constructs for justice were moderate gratification, at best, as they were empty and subject to contradictions and compromises steeped in moral relativism and an unconditional dependence upon overblown semantics that made the law a mockery of itself. As for the ideologies that these hollow systems of jurisprudence sought to define and uphold: these could easily be subjugated through a meticulous analysis of the trivial components of one statute or another. The rule of law had failed them. What the people wanted, in its stead, was rather simple: moral absolutes. Good versus evil. And evil was not to be simply prevailed over. Evil was to be dominated and effectively eliminated, because as long as it was able to while away the time somewhere-in some sweaty prison cell, far away, staring out the barred window with a wry smile, as it plotted its next offensive on the Common Good, a sense of wholeness could not be achieved.
And that date, too, is far off?' 'Far off; when it comes, think your end in this world is at hand!' 'How and what is the end? Look east, west, south and north.' 'In the north, where you never yet trod, towards the point whence your instincts have warned you, there a spectre will seize you. 'Tis Death! I see a ship - it is haunted - 'tis chased - it sails on. Baffled navies sail after that ship. It enters the regions of ice. It passes a sky red with meteors. Two moons stand on high, over ice-reefs. I see the ship locked between white defiles - they are ice-rocks. I see the dead strew the decks - stark and livid, green mold on their limbs. All are dead, but one man - it is you! But years, though so slowly they come, have then scathed you. There is the coming of age on your brow, and the will is relaxed in the cells of the brain. Still that will, though enfeebled, exceeds all that man knew before you, through the will you live on, gnawed with famine; and nature no longer obeys you in that death-spreading region; the sky is a sky of iron, and the air has iron clamps, and the ice-rocks wedge in the ship. Hark how it cracks and groans. Ice will imbed it as amber imbeds a straw. And a man has gone forth, living yet, from the ship and its dead; and he has clambered up the spikes of an iceberg, and the two moons gaze down on his form. That man is yourself; and terror is on you - terror; and terror has swallowed your will. And I see swarming up the steep ice-rock, grey grisly things. The bears of the north have scented their quarry - they come near you and nearer, shambling and rolling their bulk, and in that day every moment shall seem to you longer than the centuries through which you have passed. And heed this - after life, moments continued make the bliss or the hell of eternity.' 'Hush, ' said the whisper; 'but the day, you assure me, is far off - very far! I go back to the almond and rose of Damascus! - sleep!' ("The House And The Brain
Gentleman, ' I purr smoothly in greeting. Ezra and Cort circle me like sharks scenting blood. I know who they are, but not who is who since they're wearing black hoods over their heads. It covers them to the shoulder and has holes for the eyes and mouth. Their clothing is identical Italian designer label suits. Even their shoes are the same. Their eyes glow like steel ball-bearings from the safety of their masks. The mouths are different- one serious, one snarky- both ruby-red and kissable. While they circle Fate and me several times taking our measure, the other Master stands in a sphere of his own confidence. He's older and I don't mean just in age, but knowledge. Ezra and Cortez feel like babies compared to this man. I bet he's who I really have to impress. I wait, always meeting their eyes when their path moves them back to my face. I don't follow them with my gaze- I wait. 'Hello, ' the hood with the serious lips speaks in a smooth deep tone. I know it's not his true voice, but the one Kris calls The Boss. His eyes are kind and assessing. No one pays Fate any mind as she cowers at my thigh. I hold their undivided attention. Curly-locks is quiet- watchful- a predator sighting its quarry. Snarky mouth is leering at my chest and I smirk. Caught ya, Cortez Abernathy. 'I seem to be at a disadvantage conversing with you while you're hooded. I can't see you, but you can see me.' I try to get them to out themselves. It's a longshot. 'And who are you, Ma'am?' Ezra asks respectfully. 'Please call me Queen.' I draw on all of my lessons from Hillbrook to pull me through this conversation. The power in the air is stifling. I wonder if it's difficult for them to be in the same room without having a cage match for dominance. I feel like I'm on Animal Planet and the lions are circling. 'Queen, indeed, ' Cort says snidely under his breath and I wince. I turn my face from them in embarrassment. I should have gone with something less- less everything. I know I'm strong, but the word also emulates elegance and beauty. I'm neither. Have to say, tonight has sucked for my self-esteem. First, the dominant one overlooks me for Fate and now Cortez makes fun of me- lovely. 'What did you say to upset her?' Ezra accuses Cortez. 'Nothing, ' Cort complains in confusion. 'Please excuse my partner. Words are his profession and it seems they have failed him this evening. I will apologize for not sharing our names, but this gentleman is Dexter.' He gestures to the dominant man. I wait for him to shake my hand like a civilized person. He does not- he actually crosses his arms over his chest in disobedience. This shit is going to be a piece of cake.
It was getting difficult to see exactly what was going on in the pool and a fourth officer jumped in as one came up with the unconscious form of the first cop. While others pulled the half-drowned man from the pool, three more wrestled Skorzeny to the surface and dragged him to the steps at the shallow end of the pool. He wasn't struggling any longer. Nor was he breathing with any apparent difficulty. The biggest of the three cops later admitted to punching him as hard as he could in the stomach and Skorzey doubled over. Another half-dragged him, still on his feet, shirt torn, jacket ripped, out of the pool and put a handcuff on his left wrist. Skorzeny pulled his arm away from the cop and, suddenly straightening, elbow-jabbed him in the gut, sending him sprawling and rolling back into the pool. Skorzeny turned toward the back fence and was now between the pool and a small palm tree. Before him were two advancing officers, pistols leveled. Behind him two more circled the pool. Skorzeny lunged forward and all fired simultaneously. The noise was deafening. Lights in neighboring houses began to go on. Skorzeny's body twitched and bucked as the heavy slugs ripped through his body. His forward momentum carried him into the officers ahead of him and he half-crawled, half-staggered to the southeast corner of the yard where another gate was set into the fiberglass fencing. Two more officers, across the pool, cut loose with their pistols, emptying them into this writing body which danced like a puppet. Another cop fired two shots from his pump-action shotgun and Skorzeny was lifted clean off his feet and slammed against the gate, sagging to the ground. En masse from both ends of the pool they advanced, when he gave out with a terrible hissing snarl and started to rise once more. All movement ceased as the cops, to a man, stood frozen in their tracks. Skorzeny stood there like some hideous caricature, his shredding clothing and skin hanging like limp rags from his scarecrow form. His flesh was ripped in several places and he was oozing something that looked like watered-down blood. It was pinkish and transparent. He stood there like a living nightmare. Then he straightened and raised his fist with the cuff still dangling from it like a charm bracelet. 'Fools!' he shrieked. 'You can't kill me. You can't even hurt me.' Overhead, the copter hovered, the copilot giving a blow-by-blow description of the fight over the radio. The police on the ground were paralyzed. Nearly thirty shots had been fired (the bullets later tallied in reports turned in by the participating officers) and their quarry was still as strong as ever. He'd been hit repeatedly in the head and legs, so a bulletproof vest wasn't the answer. And at distances sometimes as little as five feet, they could hardly have missed. They'd seen him hit. They stood frozen in an eerie tableau as the still roiling pool water threw weird reflections all over the yard. Then Skorzeny did the most frightening thing of all. He smiled. A red-rimmed, hideous grin revealing fangs that 'would have done justice to a Doberman Pinscher.