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Quote by Farrah Rochon

“The five of you are never more powerful than when you lift your voices together. How many times had her mother spoken those words? Ree now realized that they were not just words; they were a prophecy. There had always been something special about the connection she felt with her sisters when they sang together.”

Quote by Farrah Rochon

Book:Bemused

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Bemused

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Farrah Rochon

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“Sometimes, when you're deep in the countryside, you meet three girls, walking along the hill tracks in the dusk, spinning. They each have a spindle, and on to these they are spinning their wool, milk-white, like the moonlight. In fact, it is the moonlight, the moon itself, which is why they don't carry a distaff. They're not Fates, or anything terrible; they don't affect the lives of men; all they have to do is to see that the world gets its hours of darkness, and they do this by spinning the moon down out of the sky. Night after night, you can see the moon getting less and less, the ball of light waning, while it grown on the spindles of the maidens. Then, at length, the moon is gone, and the world has darkness, and rest..... ...on the darkest night, the maidens take their spindles down to the sea, to wash their wool. And the wool slips from the spindles into the water, and unravels in long ripples of light from the shore to the horizon, and there is the moon again, rising above the sea....Only when all the wool is washed, and wound again into a white ball in the sky, can the moon-spinners start their work once more....”

“There are several books on Walter Potter---one is called Sweet Death: A Feast With Kittens; another, The Victorian Visionary: Inventor of Kitsch. There are some on carnivals, fairgrounds, prison murals, prison art, and a hefty book with a title in gold, Portraits of Icons: From Alexamenos Graffito to Peter Blake's Sgt. Pepper. There are also books I have seen before, books I used to, until very recently when I lost my suitcase, own. One is a book on the abstract expressionist Bernice Bing; colors from her piece Burney Falls cascade down the spine---deep red, tinged with orange, outlined in black against white, brown and peach like skin. There's a book on the performance artist Senga Nengudi too, and another on the painter Amrita Sher-Gil. I take this last one off the shelf, and it falls open to a middle page, which has a picture of her painting Three Girls on it. I stand there for a moment, looking at the three girls' faces: calm, patiently waiting. They are huddled close together, as though perhaps they are sisters, but I don't think they could be; they look too different. I had a postcard of this painting taped to my wall while I was growing up. It was blank on the other side, but I kept it because I had found it tucked in the wooden frame of one of Dad's paintings. It went missing at some point, but while I had it, I looked at it often and felt that I knew---like really knew, as though I had a sense about these things---that the girls depicted were vampires, and that they were still out there in the world, looking exactly the same as when Sher-Gil painted them in 1935, and that I would one day meet them. The painting, I decided when I was a child, depicted the three girls quietly waiting for three brothers to come out of a house so that they could eat them.”

“He might wield shadows, Violet, but give him his way, and you'll become one.' 'That won't happen,' I promise her. 'It will if he has anything to say about it.' Her gaze flickers behind me. 'Killing someone isn't the only way to destroy them. Keeping you from reaching your potential seems like a great path to the retribution he swore against our mother.”

“Are you calling me weak?' 'No.' Mira squeezes my hand. 'Just... fragile.' 'That's not any better.' Dragons don't bond fragile women. They incinerate them. 'So she's small.' Mom scans me up and down, taking in the generous fit of the cram belted tunic and pants I selected this morning for my potential execution. I snort. 'Are we just listing my faults now?' 'I never said it was a fault.' Mom turns to my sister. 'Mira, Violet deals with more pain before lunch than you do in an entire week. If any of my children is capable of surviving the Rider's Quadrant, it's her.”

“You can't keep your seat?' 'No.' It's barely a whisper, and the heat of embarrassment scorches my skin.' 'How the hell can you not?' Her mouth hangs open. 'Because I'm not you"' I shout. She rears back like I've slapped her, our hands breaking apart. 'But you... you look so much stronger now.' 'My joints and muscles are stronger because Imogen makes me lift these horrible weights, but that doesn't... fix me.' Mira blanches. 'No. I didn't mean it like that, Vi. You're not anything that needs to be fixed. I just didn't know you couldn't hold your seat. Why didn't you tell me?' 'Because there's nothing you can do about it.' I force a wry smile. 'There's nothing anyone can do about the way I'm made.”

“After the stormy disruption of the elements, there comes a great peace. The elements then shine with a wonderful clarity, fire has no searing heat, air is free of dense clouds, water does not rage and flood, and the earth is not fragile and crumbling. Sun, moon, and stars sparkle in brilliant illumination and beauty; they stand still, so that there is no night, but only day. Since the body, as well as the psyche, is composed of the elements, there is great healing as the scattered and bruised fragments of our being are brought together again, in wholeness. The fiery aspect of our nature glows golden like the dawn; the air of our mind is clear and shining; the water currents of our body and the emotional currents of our psyche become transparent and still; the earthy part of our nature, our flesh and bones, becomes strong and well-proportioned. Here is revealed a vision of the total transformation possible for the human being—a psycho-alchemical transmutation of the elements from a state of disorder and conflict to a state of harmony and balance.”