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Dead Quotes

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Dead Quotes

“Anubis is associated with the mummification and protection of the dead for their journeys through Denver International Airport to the afterlife. He is usually portrayed as being half human and half jackal, and holding a metal detector in his hand ... Anubis is employed by the Department of Homeland Security to examine the hearts of all travellers to make sure they have not exceeded the weight limit for psychological baggage ... He is also shown frisking mummies and confiscating firearms and other contraband. It doesn't take much to tip the scales in favour of a dead body cavity search or an afterlifetime travel ban.”

“My aching, bloodied fingers dug into dented armour and clammy, stiff flesh as I heaved away the last of the High Fae corpses piled atop the fallen Illyrian soldier. The dark hair, the golden-brown skin... The same as Cassian's. But it was not Cassian's death-grey face that gaped at the sky. My breath whooshed from me, my lungs still raw from roaring, my lips dry and chapped. I needed water- badly. But nearby, another set of Illyrian wings poked up from the piled dead. I mumbled and lurched toward it, letting my mind drift someplace dark and quiet while I righted the twisted neck to peer at the face beneath the simple helm. Not him. I picked my way through the corpses to another Illyrian. Then another. And another. Some I knew. Some I didn't. Still the killing field stretched onward under the sky. Mile after mile. A kingdom of the rotting dead. And still I looked.”

“When I got home, I seemed in a dream. My windows looked upon hers; I remained all the day looking at them, and all the day they were closed and dark. I forgot everything for this woman; I slept not, I eat nothing. That evening I fell into a fever, the next morning I was delirious, and the next evening I was DEAD!' 'Dead!' cried his hearers. 'Dead!' answered the narrator, with a conviction in his voice which words alone cannot give; 'dead as Fabian, the cast of whose dead face hangs from that wall!' 'Go on,' whispered the others, holding their breath. The hail still rattled against the windows, and the fire had so nearly died out, that they threw more wood on the feeble flame which penetrated the darkness of the studio and cast a faint light upon the pale face of him who told the story. ("The Dead Man's Story”

“Three hundred and thirty-two kids between the age of one month and fourteen years had been confined within the FAYZ. One hundred and ninety-six eventually emerged. One hundred and thirty-six lay dead. Dead and buried in the town plaza. Dead and floating in the lake or on its shores. Dead in the desert. In the fields. Dead of battles old and recent. Of starvation and accident, suicide and murder. It was a fatality rate of just over 40 percent.”

“Many marriages would have been laid to rest a long time ago, if they were not on a life-support machine called other people’s opinions and/or expectations.”

“Stay back,"I warned. "Stay away from him." They kept coming. "Stay back!" I yelled. They stopped. Except for one. "Rose," came a soft voice. "Drop the sword." My hands shook. I swallowed. "Get away from us." "Rose." The voice spoke again, a voice that my soul would have known anywhere. Hesitantly, I let myself finally become aware of my surroundings, let the details sink in. I let my eyes focus on the features of the man standing there. Dimitri's brown eyes, gentle and firm, looking down on me. "It's okay," he said. "Everything's going to be okay. You can let go of the sword." My hands shook even harder as I fought to hold on to the hilt. "I can't." The words hurt coming out. "I can't leave him alone. I have to protect him." " you have," said Dimitri. The sword fell out of my hands, landing with a clatter on the wooden floor. I followed, collapsing on all fours, anything to cry but unable to. Dimitri's arms wrapped around me as he helped me up. Voices swarmed around us, and one by one, I recognised people I knew and trusted.”

“Photographs were such powerful magic. It was a gift from the God of Immortality. I felt like both my mom and dad were on either side of my shoulder as I flipped through the album. For the first time in my life, I didn’t feel like an orphan. For the first time, I felt the warmth and love of a complete family through the album.”

“He doesn't fall like the others. Instead of blood pouring from his wound, red moths stream out, in to the air. They rush out of him so quickly that in a moment, the High King's body is gone and there are just those red moths, swirling up in to the air in a vast cloud, a tornado of soft wings. But whatever magic made them does not last. They begin to fall until they are scattered across the dais like blown leaves. The High King Eldred is, impossibly, dead.”

“March 1898 What a strange dream I had last night! I wandered in the warm streets of a port, in the low quarter of some Barcelona or Marseille. The streets were noisome, with their freshly-heaped piles of ordure outside the doors, in the blue shadows of their high roofs. They all led down towards the sea. The gold-spangled sea, seeming as if it had been polished by the sun, could be seen at the end of each thoroughfare, bristling with yard-arms and luminous masts. The implacable blue of the sky shone brilliantly overhead as I wandered through the long, cool and sombre corridors in the emptiness of a deserted district: a quarter which might almost have been dead, abruptly abandoned by seamen and foreigners. I was alone, subjected to the stares of prostitutes seated at their windows or in the doorways, whose eyes seemed to ransack my very soul. They did not speak to me. Leaning on the sides of tall bay-windows or huddled in doorways, they were silent. Their breasts and arms were bare, bizarrely made up in pink, their eyebrows were darkened, they wore their hair in corkscrew-curls, decorated with paper flowers and metal birds. And they were all exactly alike! They might have been huge marionettes, or tall mannequin dolls left behind in panic - for I divined that some plague, some frightful epidemic brought from the Orient by sailors, had swept through the town and emptied it of its inhabitants. I was alone with these simulacra of love, abandoned by the men on the doorsteps of the brothels. I had already been wandering for hours without being able to find a way out of that miserable quarter, obsessed by the fixed and varnished eyes of all those automata, when I was seized by the sudden thought that all these girls were dead, plague-stricken and putrefied by cholera where they stood, in the solitude, beneath their carmine plaster masks... and my entrails were liquefied by cold. In spite of that harrowing chill, I was drawn closer to a motionless girl. I saw that she was indeed wearing a mask... and the girl in the next doorway was also masked... and all of them were horribly alike under their identical crude colouring... I was alone with the masks, with the masked corpses, worse than the masks... when, all of a sudden, I perceived that beneath the false faces of plaster and cardboard, the eyes of these dead women were alive. Their vitreous eyes were looking at me... I woke up with a cry, for in that moment I had recognised all the women. They all had the eyes of Kranile and Willie, of Willie the mime and Kranile the dancer. Every one of the dead women had Kranile's left eye and Willie's right eye... so that every one of them appeared to be squinting. Am I to be haunted by masks now?”

“Sitting in the courtyard, I watch the woman sweeping. I luxuriate in the sound of the bristles of her besom against the ground. She sweeps in an invisible pattern only she understands. I study her hands. They are blackened with chimney dust— not unlike the soft dust she’s now sweeping. It rises in a cloud above her, which makes me wonder: Where does it come from? The dust on our overworked hands and travelled shoes. The dust we inhale and cough into our handkerchiefs. The house dust, the road dust, the concrete dust, and cosmic dust. Where are they born? Perhaps they come from our aged bodies. We shed our skins like we shed our beauty— not all at once. And we walk freely on this blanket of dust without paying any mind to our ancestors, though we walk on them! Tread softly, for you tread on Yeats’s wrists and Poe’s elbows. You tread on van Gogh’s ears and Keller’s eyes. You breathe in your grandfather’s lover and the little girl you were when you were four. You smell them after the first rain in a long dry spell, or when an old lamp smoulders the bulb quite well. These all serve as reminders of our dusty secret: we are all dust under dust under dust. So next time it settles, remember to ask the dust!”