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Lyrical Quotes

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Lyrical Quotes

“The sight of her lovely brown face breaking into laughter and focusing tightly on him, as she stood in the dress of azaleas in the sunlight yard of weeds, made him feel light again. In that moment he realized that all the experience of thirty-two years on the NYPD and all the formal police training in the world was useless when the smile of someone you suddenly care about finds the bow that wraps your heart and undoes it.”

“tonight the backyard is brutal in its twilit emptiness & I have put my lips on the glass of his face again so I won't be lonely & I have dressed to please him because it's too quiet here my hand alive in the cage of his an actual dandelion in the grass beside his sandal the mosquitoes grazing our ankles we should go inside he says as the pitchblack comes on again like arsenic over the glowing lawn”

“The full moon, well risen in a cloudless eastern sky, covered the high solitude with its light. We are not conscious of daylight as that which displaces darkness. Daylight, even when the sun is clear of clouds, seems to us simply the natural condition of the earth and air. When we think of the downs, we think of the downs in daylight, as with think of a rabbit with its fur on. Stubbs may have envisaged the skeleton inside the horse, but most of us do not: and we do not usually envisage the downs without daylight, even though the light is not a part of the down itself as the hide is part of the horse itself. We take daylight for granted. But moonlight is another matter. It is inconstant. The full moon wanes and returns again. Clouds may obscure it to an extent to which they cannot obscure daylight. Water is necessary to us, but a waterfall is not. Where it is to be found it is something extra, a beautiful ornament. We need daylight and to that extent it us utilitarian, but moonlight we do not need. When it comes, it serves no necessity. It transforms. It falls upon the banks and the grass, separating one long blade from another; turning a drift of brown, frosted leaves from a single heap to innumerable flashing fragments; or glimmering lengthways along wet twigs as though light itself were ductile. Its long beams pour, white and sharp, between the trunks of trees, their clarity fading as they recede into the powdery, misty distance of beech woods at night. In moonlight, two acres of coarse bent grass, undulant and ankle deep, tumbled and rough as a horse's mane, appear like a bay of waves, all shadowy troughs and hollows. The growth is so thick and matted that event the wind does not move it, but it is the moonlight that seems to confer stillness upon it. We do not take moonlight for granted. It is like snow, or like the dew on a July morning. It does not reveal but changes what it covers. And its low intensity---so much lower than that of daylight---makes us conscious that it is something added to the down, to give it, for only a little time, a singular and marvelous quality that we should admire while we can, for soon it will be gone again.”

“Don't bother pulling my string again- Not behind those doll eyes anymore I won't say what's expected, kid, laugh at your tantrum on the floor I'm just not looking at you, kid, I'm not a piss-poor heart anymore; Not going home with the lowest bid Out of stock- your projection whore I'm never going back to the toy box Elevated up from the cellar- home of the wish-washed pretty cocks Out of the dark, preachin' Helen Keller Bored with the coin-operated allure I'm top shelf, kid, out of your reach You can't afford to walk in the store Turn around, kid, don't slip in bleach -from 'Ragdoll$ & Riche$”

“Distance, the dissonance insurmountable, would be not the end, but a magnet. When fingertips kiss, they imprint and cement something, that cannot be disintegrated. Time becomes a phantom, the wind becomes an anchor, and old dreams- blankets of warmth. Lull with me, Lady, there is no greater escape. Love and war, even when buttered on toast, still makes for the breakfast of champions.”

“only said you loved me one time i cornered you... now i understand only want the tightest hand to just let go, yeah, letting you go, go, go ready, set, go ready, set, go ready, set, GO!!! Now, I'm racing so slow! Snails RRR running the show! At my own pace, LET GO! Said, pour another, Moe, I'm just tryin' to let go...”

“That's why we sing for these kids who don't have a thing, except for a dream and a fuckin rap magazine; Who post pin-up pictures on they walls all day long, idolize they favorite rappers and know all they songs; Or for anyone who's ever been through shit in they lives, so they sit and they cry, at night, wishin they'd die; Til they throw on a rap record and they sit and they vibe; We're nothin to you, but we're the fuckin shit in they eyes; That's why we seize the moment; Try to freeze it and own it, squeeze it and hold it, cause we consider these minutes golden; And maybe they'll admit it when we're gone; Just let our spirits live on, through our lyrics that you hear in our songs... [Sing for the Moment]”

“So, a little desperate and surprisingly inspired, I bought a cap. Not just any cap. I picked one with a bright-gold visor, a gold button at the top, a crown of navy blue, an American flag on the left temple, and—on the forehead emblem—a spread-winged eagle over a rising sun and a red-and-green tractor-trailer and the white letters “America— Spirit of Freedom.” On the back, over my cerebellum, was a starred banner in blue, white, red, green, and gold that said “Carnesville, GA Petro.” I put on that hat and disappeared. The glances died like flies. I could sit anywhere, from Carnesville to Tacoma. In Candler, North Carolina, while Ainsworth was outside fuelling the truck, I sat inside in my freedom hat saying “Biscuits and gravy” to a waitress. She went “Oooooo wheeeee” and I thought my cover wasn’t working, but a trucker passing her had slipped his hand between the cheeks of her buttocks, and she did not stop writing.”

“Unkar Delta at Mile 73 The layers of brick red sandstone, siltstone, and mudstone of the Dox formation deposited a billion years ago, erode easily, giving the landscape an open, rolling character very different that the narrow, limestone walled canyon upstream, both in lithology and color, fully fitting Van Dyke’s description of “raspberry-red color, tempered with a what-not of mauve, heliotrope, and violet.” Sediments flowing in from the west formed deltas, floodplains, and tidal flats, which indurated into these fine-grained sedimentary rocks thinly laid deposits of a restful sea, lined with shadows as precise as the staves of a musical score, ribboned layers, an elegant alteration of quiet siltings and delicious lappings, crinkled water compressed, solidified, lithified.”

“It's the principle of it, I get a rush when I bust Some dope lines oral, that maybe somebody'll quote. That's what I consider real in this field of music, Instead of puttin' brain cells to work, they abuse it. Non-conceptual, non-exceptional, Everybody's either crime-related or sexual. For those who pose lyrical, but really ain't true, I feel: Their time's limited, hard rocks too.”

“Anne Pitkin's poems have such lyrical sweep, such a sensitive eye for the natural world as it touches the human, that reading Winter Arguments is like seeing a landscape or, better, a richly realized painting of a landscape dotted with figures. But that would leave out their music, which would be a loss. This is a wise and graceful book by a well-traveled woman who knows how to confront deep feeling and frame it to make it all the more intense.”

“Disgrace is a subtle, multi-layered story, as much concerned with politics as it is with the itch of male flesh. Coetzee's prose is chaste and lyrical without being self- conscious: it is a relief to encounter writing as quietly stylish as this. I was not totally convinced by Lurie's musical abilities, with regard to his proposed opera, but that is my sole complaint.”