Strong winds buffet the sea oats and tall dune grasses, tossing sand and seabirds where it will, winding my sister's golden hair into sunlit spirals of silk until it becomes the only good memory I have of her -- the only memory I allowed myself to keep.
Think of a rock polisher, one of those drums, goes round and round, rolls twenty-four/seven, full of water and rocks and gravel. Grinding it all up. Round and round. Polishing those ugly rocks into gemstones. That’s the earth. Why it goes around. We’re the rocks. And what happens to us—the drama and pain and joy and war and sickness and victory and abuse—why, that’s just the water and sand to erode us. Grind us down. To polish us up, nice and bright.
My love is like a red, red rose That's newly sprung in June: My love is like the melody That's sweetly played in tune. How fair art thou, my bonnie lass, So deep in love am I; And I will love thee still, my dear, Till all the seas gang dry. Till all the seas gang dry, my dear, And the rocks melt with the sun; I will love thee still, my dear, While the sands of life shall run. And fare thee weel, my only love. And fare thee weel awhile! And I will come again, my love, Though it were ten thousand mile.
The Owl and the Pussycat went to sea In a beautiful pea-green boat: They took some honey, and plenty of money Wrapped up in a five-pound note. . . They dined on mince and slices of quince, Which they ate with a runcible spoon; And hand in hand, on the edge of the sand, They danced by the light of the moon, The moon, The moon, They danced by the light of the moon.
Yes, to dance beneath the diamond sky with one hand waving free, Silhouetted by the sea, circled by the circus sands
Fear is like the wilderland - Stepping stones or sinking sand
Write today's worries in sand. Chisel yesterday's victories in stone.
When you know your work sells, then seeking a gallery or outdoor show is fine. Then, if an event or art gallery kicks sand in your face don't give up, keep moving forward. Use your brain and eliminate a lot of your personal agony. There are times when you should not take NO for an answer. But there are others when you should never put yourself in the place to be rejected to begin with. Seek the wisdom to know the difference and then go for it. Persevere in the face of disappointment.
Nothing is more satisfying than to write a good sentence. It is no fun to write lumpishly, dully, in prose the reader must plod through like wet sand. But it is a pleasure to achieve, if one can, a clear running prose that is simple yet full of surprises. This does not just happen. It requires skill, hard work, a good ear, and continued practice.
The challenges surrounding HIV and AIDS are getting more complex and mature, and we just can't stick our heads in the sand and say 'it can't happen to me.'
Amid this vast and overwhelming space and in these boundless solar archipelagoes, how small is our own sphere, and the earth, what a grain of sand!
We [Raymond and Meursault] stared at each other without blinking, and everything came to a stop there between the sea, the sand, and the sun, and the double silence of the flute and the water. It was then that I realized that you could either shoot or not shoot.
Good night.' Diana summoned all the dignity that she could manage in her bedraggled state and began to move back up the beach. Her dress was soaked and her stockings dotted with sand and her heart couldn't possibly withstand any more.
We must remember that there is a great difference between a myth and a miracle. A myth is the idealization of a fact. A miracle is the counterfeit of a fact. There is the same difference between a myth and a miracle that there is between fiction and falsehood -- between poetry and perjury. Miracles belong to the far past and the far future. The little line of sand, called the present, between the seas, belongs to common sense to the natural.
A little tap at the window, as though some missile had struck it, followed by a plentiful, falling sound, as light, though, as if a shower of sand were being sprinkled from a window overhead; then the fall spread, took on an order, a rhythm, became liquid, loud, drumming, musical, innumerable, universal. It was the rain
I sometimes felt as if these marks on my body were a kind of code, which blossomed, then faded, like invisible ink held to a candle. But if they were a code, who held the key to it? I was sand, I was snow — written on, rewritten, smoothed over.
Sonnet XXV Before I loved you, love, nothing was my own: I wavered through the streets, among Objects: Nothing mattered or had a name: The world was made of air, which waited. I knew rooms full of ashes, Tunnels where the moon lived, Rough warehouses that growled 'get lost', Questions that insisted in the sand. Everything was empty, dead, mute, Fallen abandoned, and decayed: Inconceivably alien, it all Belonged to someone else - to no one: Till your beauty and your poverty Filled the autumn plentiful with gifts.
The name Alaska is probably an abbreviation of Unalaska, derived from the original Aleut word agunalaksh, which means "the shores where the sea breaks its back." The war between water and land is never-ending. Waves shatter themselves in spent fury against the rocky bulwarks of the coast; giant tides eat away the sand beaches and alter the entire contour of an island overnight; williwaw winds pour down the side of a volcano like snow sliding off a roof, building to a hundred-mile velocity in a matter of minutes and churning the ocean into a maelstrom where the stoutest vessels founder.
Bearing in his right paw the shovel that digs to the truth beneath appearances, cut the roots of useless attachments, and flings damp sand on the fires of greed and war; His left paw in the Mudra of Comradely Display - indicating that all creatures have the full right to live to their limits and that deer, rabbits, chipmunks, snakes, dandelions, and lizards all grow in the realm of the Dharma.
The wilderness is near as well as dear to every man. Even the oldest villages are indebted to the border of wild wood which surrounds them, more than to the gardens of men. There is something indescribably inspiriting and beautiful in the aspect of the forest skirting and occasionally jutting into the midst of new towns, which, like the sand-heaps of fresh fox-burrows, have sprung up in their midst. The very uprightness of the pines and maples asserts the ancient rectitude and vigor of nature. Our lives need the relief of such a background, where the pine flourishes and the jay still screams.
What happens in the music business is that if you step out of your little spot to do something else, the sand falls right into where you stood and you're gone, you're history.
If all the circumstances of acting are made to easy, then there's no grain of sand to make the pearl.
Well, actually, I do the voiceover for Quentin Sands.
I think we all look for clues that we are not utterly alone... Clues we find in literature and paintings and music and even someone’s eyes; clues that demonstrate that someone else has felt the same indescribable feelings, seen the same things or passed by the spot even if it was by candlelight three hundred years ago. It means everything, like finding footprints in the sand of a deserted island.
People don't settle for people. They resolve to be with them. It takes faith. You draw a circle in the sand and agree to stand in it and believe in it.
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