Walking In The Shadows Quotes & Sayings

The hole where my heart had finally grown back after the loss of my parents was returning because of the very person who had filled the void — Cassandra Giovanni

I was walking in a meadow, the source of a small brook, when the sun at last, just before setting, after a cold, gray day, reached a clear stratum in the horizon, and the softest, brightest morning sunlight fell on the dry grass and on the stems of the trees in the opposite horizon and on the leaves of the shrub oaks on the hillside, while our shadows stretched long over the meadow east-ward, as if we were the only motes in its beams. It was such a light as we could not have imagined a moment before, and the air also was so warm and serene that nothing was wanting to make a paradise of that meadow. — Henry David Thoreau

Often, when I have been feeling lonely, when a book as been thrust aside in boredom [ ... ] I have lain back and stared at the shadows on the ceiling, wondering what life is all about [ ... ] and then, suddenly, there is the echo of the swinging door, and across the carpet, walking with the utmost delicacy and precision, stalks Four or Five or Oscar. He sits down on the floor beside me, regarding my long legs, my old jumper, and my floppy arms, with a purely practical interest. Which part of this large male body will form the most appropriate lap? Usually he settles for the chest. Whereupon he springs up and there is a feeling of cold fur [ ... ] and the tip of an icy nose, thrust against my wrist and a positive tattoo of purrs. And I no longer wonder what life is all about. — Beverley Nichols

The other day when I was walking through the woods, I saw a rabbit standing in front of a candle making shadows of people on a tree. — Steven Wright

You see layers as you look down. you see clouds towering up. You see their shadows on the sunlit plains, and you see a ship's wake in the Indian Ocean and brush fires in Africa and a lightning storm walking its way across Australia. You see the reds and the pinks of the Australian desert, and it's just like a stereoscopic view of all nature, except you're a hundred ninety miles up. — Joseph P. Allen

He asked, looking at her dark-rimmed eyes, "You do not sleep?"
She shivered. "No. I do not want to sleep any more. I sleep too much already. It is so cold, where Quincy sends me in my sleep. Deep into the house, farther in, not into the house we see. It is as if that house were a face, and when you see a face you can't see the brain or the thoughts of the person behind it. And it is so strange - the house inside the house."
********
"How is it strange - this that you call the house inside the house?"
She said vaguely, her eyes growing glassy, "Strange. Shapes change, and sizes. The rooms are different: bigger and blacker and longer and the shadows are full of things. Creatures - or sometimes the rooms get smaller, fewer, and the furnishings change and change, like the scenes in a kaleidoscope, and I see the people in the portraits walking about in them. — Evangeline Walton

Time held no meaning as my mind darted in and out of memories. Past and present collided to create a full-sensory collage out of my life: playing hide-n-seek with my best friends Luke - who always cheated by walking through walls when he was about to be caught - and Lucy; Mr. Caldrin critiquing my sketches and offering ideas to make them more realistic; targets changing faces, blending into the same person, their thoughts rippling through my mind like waves. Through it all, a demon stalked me from the shadows of my memories, never quite showing its face, but crouching, waiting.
And then I dreamed ... — Kimberly Kinrade

They didn't understand, for we were Shakespeare, and they were mere actors in the play. — Cassandra Giovanni

The long poem of walking manipulates spatial organizations, no matter how panoptic they may be: it is neither foreign to them (it can take place only within them) nor in conformity with them (it does not receive its identity from them). It creates shadows and ambiguities within them. It inserts its multitudinous references and citations into them (social models, cultural mores, personal factors). Within them it is itself the effect of successive encounters and occasions that constantly alter it and make it the other's blazon: in other words, it is like a peddler carrying something surprising, transverse or attractive compared with the usual choice. These diverse aspects provide the basis of a rhetoric. They can even be said to define it. — Michel De Certeau

APPROACH
Rain is falling. Winter approaches. I drive towards it. In the slow rain. In the semi-darkness. Cello music is playing in the car. The deep sad sound of the cello. It almost swamps me. Routine endeavours to swamp me. The everyday paying of bills.
But I paint men walking in a city of icebergs and crystal. Some of the icebergs are red. I paint a woman swimming in green wavy water. Surrounded by desert mesas. Bright orange in the sunlight. With darker orange for shadows. I paint two people. With purple and pink and yellow and blue circles overlapping the boundaries of their bodies. Dancing.
Life is not ordinary. When I see you tonight I will press my lips to your eyelids. Each one in turn. I will rub my fingertips over the skin on the back of your hands and around your wrists. I will sigh. I will growl. I will whinny. I will gallop into your smile. One sharp foot after the other. — Jay Woodman

There's nothing wrong with having a few monsters in the shadows. They keep me remembering what it is that I'm walking away from. — Seanan McGuire

The best teachers have showed me that things have to be done bit by bit. Nothing that means anything happens quickly
we only think it does. The motion of drawing back a bow and sending an arrow straight into a target takes only a split second, but it is a skill many years in the making. So it is with a life, anyone's life. I may list things that might be described as my accomplishments in these few pages, but they are only shadows of the larger truth, fragments separated from the whole cycle of becoming. And if I can tell an old-time story now about a man who is walking about, waudjoset ndatlokugan, a forest lodge man, alesakamigwi udlagwedewugan, it is because I spent many years walking about myself, listening to voices that came not just from the people but from animals and trees and stones. — Joseph Bruchac

There is seldom a physical description of a character or scene in Pride and Prejudice and yet we feel that we have seen each of these characters and their intimate worlds; we feel we know them, and sense their surroundings. We can see Elizabeth's reaction to Darcy's denunciation of her beauty, Mrs. Bennet chattering at the dinner table or Elizabeth and Darcy walking in and out of the shadows of the Pemberley estate. The amazing thing is that all of this is created mainly through tone - different tones of voice, words that become haughty and naughty, soft, harsh, coaxing, insinuating, insensible, vain.
The sense of touch that is missing from Austen's novels is replaced by a tension, an erotic texture of sounds and silences. She manages to create a feeling of longing by setting characters who want each other at odds. — Azar Nafisi

I was so distracted when walking out of the restroom that I hadn't noticed Rose standing nearby with Dimitri Belikov. They stood arm in arm, smiling at my surprise. I hadn't seen Dimitri tonight, and his black and white guardian attire told me why. He was on duty here and had undoubtedly been one of the shadows darting among the trees of the greenhouse, keeping a watch on everyone. He must be on break now because there was no way he'd be standing so casually here, even with Rose, otherwise. And really, "casual" for Dimitri meant he could still leap into battle at any moment.
They were a striking couple. His dark-haired, dark-eyed looks matched hers, and they were both dazzlingly attractive. It was no wonder Adrian had fallen for her, and I felt surprised at how uncomfortable that memory made me. Like Sonya and Mikhail, there was a bond of love between Rose and Dimitri and Rose that was almost palpable. — Richelle Mead

We kept walking, our shadows moving in shifting blobs over the ground. The sound of river rocks rattled under our feet. We turned along a bend in the stream and a curtain of poplar trees came into view, shivering in the distance, showing the white backsides of their leaves. I watched them for a while until an ancient, aching sorrow rose up in my chest. It was a familiar feeling. Something in the mute, unconscious trees resonated inside me, something so deep and fundamental it failed to remember its own source anymore. I watched the poplars flickering against the hard blue of the sky. What is sorrow? I thought. What is sorrow but old, worn out joy? — Jon Raymond

Tad they were too young to die ... My Mom was a spitfire - a total accident waiting to happen. I'm like her - I can trip over nothing." Tad chuckled acknowledging the thought. "My father ... he was more serious. He used to give me lectures like no tomorrow, he had a strong sense of who I should be - who I wanted to be and how to guide me, and he was my best friend. It seems like everything I love is just out of my reach now. — Cassandra Giovanni

walking slowly along the alleys and through the passages, up and down stairways, deeper into the older part, unchanged in generations. Water dripped off rotting eaves, the stones were slimy, wood creaked, doors hung crooked but fast closed. People moved ahead of him and behind like shadows. One moment it would be strange, frightening and bitterly infectious, the next he thought he recognized something. He would turn a corner and see exactly what he expected, a skyline or a crooked wall exactly as he had known it would be, a door with huge iron studs whose pattern he could have traced with his eyes closed. — Anne Perry

[Stares at dead knight, killed by the Direwolves]
Ersen: If he had sounded his horn ...
Theon: Try and imagine it was you up there, Ersen. Its dark and cold. You have been walking century for hours looking forward to the end of your watch. Then you hear a noise and you move forward to the gate, and suddenly, you see eyes glowing green and gold in the torchlight.
Two shadows come rushing toward you faster than you can believe. You catch a glimpse of teeth, start to level your spear, and they slam into you and open your belly, tearing through leather as if it was cheese cloth.
[Shoves Ersen hard]
Theon: And now you're down on you back, your guts are spilling out and one of them has his teeth around your neck.
[Grabs Ersen around the neck and sqeezes]
Theon: Tell me, at what moment during all of this do you stop to blow your Fucking horn?
[Shoves Ersen roughly] — George R R Martin

He lifted a hand and turned and went on. He had divested himself of the little cloaked godlet and his other amulets in a place where they would not be found in his lifetime and he'd taken for talisman the simple human heart within him. Walking down the little street for the last time he felt everything fall away from him. Until there was nothing left of him to shed. It was all gone. No trail, no track. The spoor petered out down there on Front Street where things he'd been lay like paper shadows, a few here, they thin out. After that nothing. A few rumors. Idle word on the wind. Old news years in traveling that you could not put stock in. — Cormac McCarthy

FINISTERRE
The road in the end taking the path the sun had taken,
into the western sea, and the moon rising behind you
as you stood where ground turned to ocean: no way
to your future now but the way your shadow could take,
walking before you across water, going where shadows go,
no way to make sense of a world that wouldn't let you pass
except to call an end to the way you had come,
to take out each frayed letter you brought
and light their illumined corners, and to read
them as they drifted through the western light;
to empty your bags; to sort this and to leave that;
to promise what you needed to promise all along,
and to abandon the shoes that had brought you here
right at the water's edge, not because you had given up
but because now, you would find a different way to tread,
and because, through it all, part of you could still walk on,
no matter how, over the waves. — David Whyte

The men rode into Beaver Run like two horsemen of the apocalypse, justice on a white horse and war on a red. The few citizens walking through the muddy streets hurried to get out of their path, while those milling on the plank walkways stared as the duo passed.
Danger.
Long and lean, both sat their saddles with the ease of men accustomed to mastering both the beasts beneath them and the world around them. Their dusters hung to the tops of their boots and were covered in trail dust. Their hats, pulled low, cast shadows over their faces. Rifles were mounted to their horses' saddles and each man had a gun strapped to his thigh. — Suzanne Ferrell

The same is true of stories and legends that haunt urban space like superfluous or additional inhabitants. They are the object of a witch-hunt, by the very logic of the techno-structure. But [the extermination of proper place names] (like the extermination of trees, forests, and hidden places in which such legends live) makes the city a 'suspended symbolic order.' The habitable city is thereby annulled. Thus, as a woman from Rouen put it, no, here 'there isn't any place special, except for my own home, that's all ... There isn't anything.' Nothing 'special': nothing that is marked, opened up by a memory or a story, signed by something or someone else. Only the cave of the home remains believable, still open for a certain time to legends, still full of shadows. Except for that, according to another city-dweller, there are only 'places in which one can no longer believe in anything. — Michel De Certeau

Hundreds of false rumors of alleged attacks by the man-eater were brought to us, entailing endless miles of walking, but this was only to be expected, for in an area in which an established man-eater is operating everyone suspects their own shadows, and every sound heard at night is attributed to the man-eater. — Jim Corbett

I had no idea where I was going, but at that point, walking straight into the sea didn't seem like such a bad idea. For months I'd been torturing myself, wondering if Archer kissing me had just been part of his act. But he was right, he hadn't kissed me. I had kissed him, and he'd just...responded.God, I was a moron.
Archer caught up with me,but I kept looking straight ahead.
"Mercer-"
"Look,forget it," I said. "Just show me whatever it was you dragged me out here to see."
"Fine," he replied, his voice clipped.
We walked down the beach in total silence. In the moonlight, our shadows stretched out before us, almost touching. — Rachel Hawkins

I think he has a girlfriend? Not sure though, he just seems to be off limits to all women here - well you know the other single women teachers. Maybe he's gay?"
"I seriously doubt that one." I responded struggling not to laugh.
"That would be a serious punishment to women kind. I wonder what he looks like without that vest and tie teacher getup ... I bet he looks amazing naked."
"Holy crap Jaz!" I yelped, but I knew I was blushing. I knew what he looked like with his shirt off and it was damned good. — Cassandra Giovanni

Let the suns warmth fall on your face, bask in the light, let the shadows fall softly on your shoulders, don't look back, keep walking, feel the shadows slip away. Look forward to a new day. — Jennifer Calvert

Seconds seem like a life time when the life you lived is slowly drained out of you by those who care not what you felt, hoped, or dreamed. When the darkness comes it is all consuming, there is no light and there is no pain. It is the never ending loss of hope that now consumes me as I die in his arms. — Cassandra Giovanni

Where does your soul walk? Does it walk in the sunlit woods or hide in the shadowy forest? — Seth Adam Smith

Here, Earth-born, over the lilt of the water,
Lisping its music and bearing a burden of light,
Bosoming day as a laughing and radiant daughter ...
Here we may whisper unheard, unafraid of the night.
Walking alone ... was it splendor, or what, we were bound with?
Deep in the time when summer lets down her hair?
Shadows we loved and the patterns they covered the ground with
Tapestries, mystical, faint in the breathless air. — F Scott Fitzgerald

In that moment, I knew what love was. It was walking away from the man in front of me. It was turning my back on the man I'd made cry out my name and beg for more of me inside of him. I needed to turn away because he asked it of me. Whether I wanted to or not, because I loved him, I was supposed to step back into the shadows and fade from his view. — Rhys Ford

False teammates are like our shadows. They keep close to us when we are all walking in the sunshine, but they are gone the instant we just go into the shade, let alone the darkness. — John Kessel

It had been a little over a year since the last murder; moreover it had been a year since I had run as quickly as legally possible from whom I had been. It had taken almost that long to become a legal adult, get the money straightened out and get my name changed. Who was Abigail? Who was Vera? I felt as though I was neither person. I felt like I wasn't a person at all anymore. — Cassandra Giovanni

He walked to the exit, skirting the pools of vapor light purely out of habit, but he saw that the last lamp was unavoidable, because it was set directly above the exit gate. So he saved himself a further perimeter diversion by walking through the next-to-last pool of light, too. At which point a woman stepped out of the shadows. She came toward him with a distinctive burst of energy, two fast paces, eager, like she was pleased to see him. Her body language was all about relief. Then it wasn't. Then it was all about disappointment. She stopped dead, and she said, "Oh." She was Asian. But not petite. Five-nine, maybe, or even five-ten. And built to match. Not a bone in sight. No kind of a willowy waif. She was about forty, Reacher guessed, with black hair worn long, jeans and a T-shirt under a short cotton coat. She had lace-up shoes on her feet. He said, "Good evening, ma'am." She was looking past his shoulder. He said, "I'm the only passenger. — Lee Child

Walking under Dusk, Moonlit leaf shadows were cast on my skin from the trees above, every step I took was taking a step deeper into magic. Silent whispers of mystical mouthes pulling me in deeper. Then the lights from inside the house turned on. A few seconds later, the fence lights went on. Just like that, the leafy ghosts on my skin ran away and the faery voices ran home. It seems like the creations of man kill magic in so many ways - even the light bulb does this! Oh to be a race of people designing magical things, if someone could capture pieces of Moonlight and place it in a jar; or other things like that, then we could stop killing the magic and be filled with it instead. Or maybe we are already always filled with it. It's the bringing out that we have trouble with. Stop being a doorknob, darling! Be magical, instead! — C. JoyBell C.

The two climbers looked at each other, a glance that bored all the way down to Medvetz's DNA - not desperate or pleading or frightened but resolved, almost at peace. Here were two men, united in their obsessive enterprise, their trajectories intersecting for just an instant, but an instant that contained some fundamental understanding: the long journey full of failures and setbacks, injuries and disfigurement and pain, propelled by a commitment beyond reason. Here were two men in this inhospitable place, the wind raking across the ridge, the shadows lengthening - one departing his life, the other walking back into it.
"God bless you," Medvetz murmured. "Good-bye."
And then he faced down the mountain and resumed lumbering along the route, toward Brice and Brett Merrell and Mogens Jensen and all the others waiting for him in the world below. — Nick Heil