The Black Hand Book Quotes

My hands were paralyzed, one wrapped around the handle of the Hyena's sword, spikes sticking through the flesh and out the back of hand, thumb and fingers, too painful for me to let go of it. The other hand was tangled by the locket and the cord that surrounded the imp's book, fingers bent back out of position. When I moved, it had been a jerky, frustrated movement, the length of the sword, the pain, and the weight of the sword and book all frustrating my attempts to interact with the world.

My arms were cracked open like a hard plastic doll, and all that was within were feathers of mixed, dull colors, sticking to one another. I couldn't move fast enough to catch up to anyone. I was too tired, too gaunt, an old man in a young-looking body, and the objects bound to my hands were too awkward to allow me to open doors easily or even walk through a crowded area without banging them on something.

I couldn't close my eyes, because something black and monstrous slithered beneath the surface every time I did. When I breathed, it was like I was having the heart attack again. The air I spent was air that I couldn't replenish by any means. I was deflating, losing substance.

There was nothing to do but stand there, too tired to move, arms spread like I was crucified, or a bird in mid-flight, staring at Rose and her gathered summonings, with Pauz perched on her shoulder. I somehow knew that words would cost me more of that vital substance than I could affo ~ Wildbow

What I'd like more than anything," he said quietly, "is for you to listen to an apology."
"You have nothing to apologize for."
"I'm afraid I do." He let out a measured breath. "But first, I have something to give you."
He went to a cabinet in a corner of the room and rummaged through its contents. Finding the object he sought... a small book... he brought it to her.
Phoebe blinked in wonder as she read the gold and black lettering on the battered cloth cover. The title was worn and faded, but still legible.

Stephen Armstrong: Treasure Hunter

Opening the book with unsteady fingers, she found the words written on the inside cover in her own childish hand, long ago.

Dear Henry, whenever you feel alone, look for the kisses I left for you on my favorite pages.

Blinded by a hot, stinging blur, Phoebe closed the book. Even without looking, she knew there were tiny x's in the margins of several chapters. ~ Lisa Kleypas

1) Work on one thing at a time until finished.
2) Start no more new books, add no more new material to "Black Spring."
3) Don't be nervous. Work calmly, joyously, recklessly on whatever is in hand.
4) Work according to Program and not according to mood. Stop at the appointed time!
5) When you can't create you can work.
6) Cement a little every day, rather than add new fertilizers.
7) Keep human! See people, go places, drink if you feel like it.
8) Don't be a draught-horse! Work with pleasure only.
9) Discard the Program when you feel like it - but go back to it next day. Concentrate. Narrow down. Exclude.
10) Forget the books you want to write. Think only of the book you are writing.
11) Write first and always. Painting, music, friends, cinema, all these come afterwards. ~ Henry Miller

Ten years ago a book appeared in France called D'Une foi l'autre, les conversions a l'Islam en Occident. The authors, both career journalists, carried out extensive interviews with new Muslims in Europe and America. Their conclusions are clear. Almost all educated converts to Islam come in through the door of Islamic spirituality. In the middle ages, the Sufi tariqas were the only effective engine of Islamisation in Muslim minority areas like Central Asia, India, black Africa and Java; and that pattern is maintained today.

Why should this be the case? Well, any new Muslim can tell you the answer. Westerners are in the first instance seeking not a moral path, or a political ideology, or a sense of special identity - these being the three commodities on offer among the established Islamic movements. They lack one thing, and they know it - the spiritual life. Thus, handing the average educated Westerner a book by Sayyid Qutb, for instance, or Mawdudi, is likely to have no effect, and may even provoke a revulsion. But hand him or her a collection of Islamic spiritual poetry, and the reaction will be immediately more positive. It is an extraordinary fact that the best-selling religious poet in modern America is our very own Jalal al-Din Rumi. Despite the immeasurably different time and place of his origin, he outsells every Christian religious poet.

Islam and the New Millennium ~ Abdal Hakim Murad

I placed the tubes of paint on the palette and selected a small canvas. I prepared the palette with an assortment of colors, then closed my eyes, remembering the way the moors had looked when I rode into town with Lord Livingston. He'd been so different on that drive into the village before he left for London. Had that been the side of him that Lady Anna had fallen in love with? I dipped my brush into the black paint and then mixed in some white until I'd created the right shade of gray, then touched the brush to the canvas. I loved the feeling of the paintbrush in my hand. He'd been kind to buy me the art supplies, but I remembered how he'd behaved in the dining room and at other times before that. 'How could he be so cruel, so unfeeling?'
Once I'd painted the clouds, I moved on to the hills, mixing a sage green color for the grass and then dotting the foreground with a bit of lavender to simulate the heather. I stepped back from the canvas and frowned. It needed something else. But what? I looked out the window to the orchard.
The Middlebury Pink. 'Who took the page from Lady Anna's book? Lord Livingston?' I dabbed my brush into the brown paint and created the structure of the tree. Next I dotted the branches with its heart-shaped leaves and large, white, saucer-size blossoms with pink tips. ~ Sarah Jio

Lords, I protest my soul is full of woe
That blood should sprinkle me to make me grow.
Come, mourn with me for what I do lament,
And put sullen black incontinent.
I'll make a voyage to the Holy Land
To wash this blood off from my guilty hand.
March sadly after. Grace my mournings here
In weeping after this untimely bier. ~ William Shakespeare

Books have survived television, radio, talking pictures, circulars (early magazines), dailies (early newspapers), Punch and Judy shows, and Shakespeare's plays. They have survived World War II, the Hundred Years' War, the Black Death, and the fall of the Roman Empire. They even survived the Dark Ages, when almost no one could read and each book had to be copied by hand. They aren't going to be killed off by the Internet. ~ Vicki Myron

This never happens again," I said quietly. "You try to get to me through other mortals again and I'll kill you."

Mavra's rotted lips turned up at one corner. "No, you won't," she said in her dusty voice. "You don't have that kind of power."

"I can get it," I said.

"But you won't," she responded, mockery in her tone. "It wouldn't be right."

I stared at her for a full ten seconds before I said, in a very quiet voice, "I've got a fallen angel tripping all over herself to give me more power. Queen Mab has asked me to take the mantle of Winter Knight twice now. I've read Kemmler's book. I know how the Darkhallow works. And I know how to turn necromancy against the Black Court."

Mavra's filmed eyes flashed with anger.

I continued to speak quietly, never raising my voice. "So once again, let me be perfectly clear. If anything happens to Murphy and I even think you had a hand in it, fuck right and wrong. If you touch her, I'm declaring war on you. Personally. I'm picking up every weapon I can get. And I'm using them to kill you. Horribly. ~ Jim Butcher

What a skeletal wreck of man this is.
Translucent flesh and feeble bones,
the kind of temple where the whores and villains try to tempt the holistic domes.
Running rampid with free thought to free form, and the free and clear.
When the matters at hand are shelled out like lint at a
laundry mat to sift and focus on the bigger, better, now.
We all have a little sin that needs venting,
virtues for the rending and laws and systems and stems are ripped
from the branches of office, do you know where your post entails?
Do you serve a purpose, or purposely serve?
When in doubt inside your atavistic allure, the value of a summer spent, and a winter earned.
For the rest of us, there is always Sunday.
The day of the week the reeks of rest, but all we do is catch our breath,
so we can wade naked in the bloody pool, and place our hand on the big, black book.
To watch the knives zigzag between our aching fingers.
A vacation is a countdown, T minus your life and
counting, time to drag your tongue across the sugar cube,
and hope you get a taste.
WHAT THE FUCK IS ALL THIS FOR?
WHAT THE HELL'S GOING ON? SHUT UP!
I can go on and on but lets move on, shall we?

Say, your me, and I'm you, and they all watch the things we do,
and like a smack of spite they threw me down the stairs,
haven't felt like this in years.
The great magnet of malicious magnanimous refuse, let me go, ~ Stone Sour

This writing thing, it ain't like that hip hop shit, City. For li'l niggas like you," he told me, "this writing thing is like a gotdamn porta potty. It's one li'l nigga at a time, shitting in the toilet, funking up the little space he get. And you shit a regular shit or a classic shit. Either way," he said. "City, you gotta shit classic, then get your black ass on off the pot." He actually grabbed my hand. "You probably think I'm hyping you just for the money. It ain't just about the money. It's really not. It's about doing whatever it takes for you to have your voice heard. So I don't know what you're writing in that book you always carrying around, but it better be classic because you ain't gonna get no two times to get it right, you hear me? ~ Kiese Laymon

Golosh Street is an interesting locality. All the oddities of trade seemed to have found their way thither and made an eccentric mercantile settlement. There is a bird-shop at one corner. Immediately opposite is an establishment where they sell nothing but ornaments made out of the tinted leaves of autumn, varnished and gummed into various forms. Further down is a second-hand book-stall. There is a small chink between two ordinary-sized houses, in which a little Frenchman makes and sells artificial eyes, specimens of which, ranged on a black velvet cushion, stare at you unwinkingly through the window as you pass, until you shudder and hurry on, thinking how awful the world would be if everyone went about without eyelids. Madame Filomel, the fortune-teller, lives at No. 12 Golosh Street, second storey front, pull the bell on the left-hand side. Next door to Madame is the shop of Herr Hippe, commonly called the Wondersmith.
("The Wondersmith") ~ Fitz-James O'Brien

I think I might have something for you today, he says, reaches beneath the counter, and his hand comes back with a book, clothbound cover the color of antique ivory, title and author stamped in faded gold and art deco letters. Best Ghost Stories by Algernon Blackwood, and she lifts it carefully off the countertop, picks it up the way someone else might lift a diamond necklace or a sick kitten, and opens the book to the frontispiece and title page, black-and-white photo of the author in a dapper suit, sadkind eyes and his bow tie just a little crooked. ~ Caitlin R. Kiernan

Let us suppose you give your three-year-old daughter a coloring book and a box of crayons for her birthday. The following day, with the proud smile only a little once can muster, she presents her first pictures for inspection. She has colored the sun black, the grass purple, and the sky green. In the lower right-hand corner, she has added woozy wonders of floating slabs and hovering rings; on the left, a panoply of colorful, carefree squiggles. You marvel at her bold strokes and intuit that her psyche is railing against its own cosmic punniness in the face of a big, ugly world. Later at the office, you share with your staff your daughter's first artistic effort and you make veiled references to the early work of van Gogh.

A little child can not do a bad coloring; nor can a child of God do bad prayer. "A father is delighted when hi little one, leaving off her toys and friends, runs to him and climbs into his arms. AS he hold shi little one close to him, he cared little whether the child is looking around, her attention flittering from one thing to another or just settling down to sleep. Essentially the child is choosing to be with the father, confident of the love, the care, the security that is hers in those arms. Our prayer is much like that. We settle down in our Father's arms, in his loving hands. Our minds, our thougths, our imagination may flit about here and there; we might even fall asleep; but essentially we are choosing for thi time to remian intimately wi ~ Brennan Manning

I got back from the University late in the afternoon, had a quick swim, ate my dinner, and bolted off to the Stanton house to see Adam. I saw him sitting out on the galley reading a book (Gibbon, I remember) in the long twilight. And I saw Anne. I was sitting in the swing with Adam, when she came out the door. I looked at her and knew that it had been a thousand years since I had last seen her back at Christmas when she had been back at the Landing on vacation from Miss Pound's School. She certainly was not now a little girl wearing round-toed, black patent-leather, flat-heeled slippers held on by a one-button strap and white socks held up by a dab of soap. She was wearing a white linen dress, cut very straight, and the straightness of the cut and the stiffness of the linen did nothing in the world but suggest by a kind of teasing paradox the curves and softnesses sheathed by the cloth. She had her hair in a knot on the nape of her neck, and a little white ribbon around her head, and she was smiling at me with a smile which I had known all my life but which was entirely new, and saying, 'Hello, Jack,' while I held her strong narrow hand in mine and knew that summer had come. ~ Robert Penn Warren

The other shape, If shape it might be call'd that shape had none Distinguishable in member, joint, or limb; Or substance might be call'd that shadow seem'd, For each seem'd either,
black it stood as night, Fierce as ten furies, terrible as hell, And shook a dreadful dart; what seem'd his head The likeness of a kingly crown had on. Satan was now at hand. ~ John Milton

Aubade"

Who lives where summer
ends knows the hard cold of

autumn is blissfully
close, although it feels
each season newly un-

known. You are constantly
newly unknown to me,
my night-glowing open-hearted

sting-of-salt weather.
Rains and winds, sleights-of-
hand. Who if not you

could weigh me enough
down. You'd paint my eyes
blacker and warmer than they are

and soon they would carry
whole calendars of
black night in them.

You say you're pulled back,
but it is a rare thing inside those

shocks of minutes that
holds without our even
needing to touch it.

Maybe you think you trade
one clean joy for

another. But mine is darker,
slanted, nitrous blue at the root,

an acrostic of what is
most free and
far. To be another

person than the one
you were before means
more than I understand.

But my gradual hands
move in streams
over you whether you travel or not,

as you drop into sleep or not,
and in the book of this
most-alone-place I am

there only when you feel
need, a coat so thin and so like

skin you can touch the
slopes, the smoother

pools, dust-mooded
winds over roads, the skeleton
instrument of your voi ~ Joanna Klink

It didn't look like a solid hand; it looked like paper, almost transparent in the light. Just as suddenly the hand was pulled back and the window went black. ~ Sian B. Claven

Storm Warnings

The glass has been falling all the afternoon,
And knowing better than the instrument
What winds are walking overhead, what zone
Of grey unrest is moving across the land,
I leave the book upon a pillowed chair
And walk from window to closed window, watching
Boughs strain against the sky

And think again, as often when the air
Moves inward toward a silent core of waiting,
How with a single purpose time has traveled
By secret currents of the undiscerned
Into this polar realm. Weather abroad
And weather in the heart alike come on
Regardless of prediction.

Between foreseeing and averting change
Lies all the mastery of elements
Which clocks and weatherglasses cannot alter.
Time in the hand is not control of time,
Nor shattered fragments of an instrument
A proof against the wind; the wind will rise,
We can only close the shutters.

I draw the curtains as the sky goes black
And set a match to candles sheathed in glass
Against the keyhole draught, the insistent whine
Of weather through the unsealed aperture.
This is our sole defense against the season;
These are the things we have learned to do
Who live in troubled regions. ~ Adrienne Rich

In July 1964 an alleged incident involving Paco Rabanne rocked the
model community to its foundations. The innovative Spanish-born designer
had used black beauties in his Paris show to model his futuristic
plastic dresses, a move that enraged the American fashion press. According
to Rabanne in Barbara Summers's book Skin Deep, things got
out of hand backstage after the show. 'I watched them coming,' he said,
'the girls from American Vogue and Harper's Bazaar. "Why did you do
that?" they said. "You don't have the right to do that, to take those kind
of girls. Fashion is for us, white people." They spat in my face. I had to
wipe it off.' Rabanne was subsequently blacklisted by the fashion cartels
until black runway models finally became chic in the 1970s. ~ Ben Arogundade