Rosencrantz: We might as well be dead. Do you think death could possibly be a boat?Guildenstern: No, no, no... Death is...not. Death isn't. You take my meaning. Death is the ultimate negative. Not-being. You can't not-be on a boat.Rosencrantz: I've frequently not been on boats.Guildenstern: No, no, no--what you've been is not on boats.
I really don't know why it is that all of us are so committed to the sea, except I think it's because in addition to the fact that the sea changes, and the light changes, and ships change, it's because we all came from the sea. And it is an interesting biological fact that all of us have in our veins the exact same percentage of salt in our blood that exists in the ocean, and, therefore, we have salt in our blood, in our sweat, in our tears. We are tied to the ocean. And when we go back to the sea - whether it is to sail or to watch it - we are going back from whence we
I had no fear of the stream's perils, and I listened with the greatest contentment to the quiet slap of water on rocks, the running whisper of the current, and the taps and creaks and croaks that rose with the mist around me. Overhead swing the glittering stars, and the bright moon shone down and lit the curling ripples of the water. At no time in my life had I been in greater danger from the elements, and yet if I learned that heaven is such as that night was, I should deem it a joy worth the dying.
I have a hunch the world is darker than I could ever imagine and there is less reason for hope than I am able to see. It makes me grateful there is only so much I can see, and I am left mostly with questions. Grateful, also, that hope is not a reasonable thing. Though I have seen my share of darkness, I am spared perceiving much of it. And here is why I hope beyond a reasonable doubt: I think that as the darkness grows, it makes the dim lights that are left seem brighter. And the darker it gets, the brighter the light appears, until it is so luminous, eventually, even falling shadows are filled with it.
Are you watching the boats?" Cornelia guessed. She craned her neck to see if there was any excitement on the river.Heavens no, I'm spying on people," Virginia responded unrepentantly.-Cornelia E and Virginia Somerset
Sometimes people leave us because staying becomes an impossibility. Because the world just gets too small. Or, sometimes, because there is just one boat, and too many hands. ...Because maybe, life can be a bit bigger than it exists today. And because, somewhere else, there may be another boat.
I wanted to putt my hand on this hand and hold it still under mine, made still by his made still. Oh he was bright and I was dark and I gave him all my darkness on that ship; but we joined, for all good things in the world, and to find somethin together; and loved, I never knew I could do it and was afraid; and on the bow of the ship that night that he said, "What have we done Christy?"I said, wonderin too, "But somethin good will come of this, I know somethin good will come of this..."Only sorrow came.
Quinn came forward and Sam pulled him aside. His old friend looked tortured and sad.“What’s up, brah?” Sam asked.Quinn couldn’t speak. He was choked with emotion. “Dude . . .”“You want to stay in town.”“My crews . . . my boats and all . . .”Sam put a hand on his shoulder. “Quinn, I’m glad you found something so important to do. Something you really like.”“Yeah, but . . .”Sam pulled him into a brief hug. “You and me, we’re still friends, man. But you have responsibilities.
But in the Gulf you got time. And I'm figuring all the time. I've got to think right all the time. I can't make a mistake. Not a mistake. Not once. Well, I got something to think about now all right. Something to do and something to think about besides wondering what the hell's going to happen. Besides wondering what's going to happen to the whole damn thing.
White-crested waves crash on the shore. The masts sway violently, every which way. In the gray sky the gulls are circling like white flakes. Rain squalls blow past like gray slanting sails, and blue gaps open in the sky. The air brightens. A cold silvery evening. The moon is overhead, and down below, in the water; and all around it-a wide frame of old, hammered, scaly silver. Etched on the silver-silent black fishing boats, tiny black needles of masts, little black men casting invisible lines into the silver. And the only sounds are the occasional plashing of an oar, the creaking of an oarlock, the springlike leap and flip-flop of a fish. ("The North")
Stay in your boats,” Dahra said. “We’re still going to need food. Throw your fish onto the dock. I’ll get Albert to send someone here to collect it. Then go back out, row up the coast a little ways, and camp out.”“Camp out?” Quinn echoed.“Yes!”“You’re serious.”“No, it’s my idea of a joke, Quinn,” Dahra snapped. “Pookie just coughed up a lung and fell over dead. You understand what I’m saying? I mean he coughed his actual lungs out of his mouth.
The late 1920s were an age of islands, real and metaphorical. They were an age when Americans by thousands and tens of thousands were scheming to take the next boat for the South Seas or the West Indies, or better still for Paris, from which they could scatter to Majorca, Corsica, Capri or the isles of Greece. Paris itself was a modern city that seemed islanded in the past, and there were island countries, like Mexico, where Americans could feel that they had escaped from everything that oppressed them in a business civilization. Or without leaving home they could build themselves private islands of art or philosophy; or else - and this was a frequent solution - they could create social islands in the shadow of the skyscrapers, groups of close friends among whom they could live as unconstrainedly as in a Polynesian valley, live without moral scruples or modern conveniences, live in the pure moment, live gaily on gin and love and two lamb chops broiled over a coal fire in the grate. That was part of the Greenwich Village idea, and soon it was being copied in Boston, San Francisco, everywhere.