John Crowley Quotes

But life is wakings-up, all unexpected, all surprising.

In silvergreen rainy April they went down to Glastonbury on the long straight roads ...

And yet, though we wake, though there is no end to waking and saying Oh I see, not ever [...], still within the dream in which we find ourselves every other dream is nested, every one we have awakened from.

He had no name for it in the language of Ka; there was no name for it because he was the first Crow ever to feel it within him. Pity for them in the awful complications of the lives they built for themselves, laboring as helplessly and ceaselessly as bees building their combs, but their combs held no honey, he thought now. Useless, useless, and worse than useless, needless: the labor of their lives, the battles and deaths, and all their own doing. He lifted his wings to fly, to fly from this pity, but he could not; folded them in disorder; bowed with open mouth in pity.
If only he had not gone into Ymr. For out of Ymr he had brought pity into Ka, and now could never get it out.

In a moment of silence they simply looked at each other, and understanding hummed, thundered within Smoky as he realized what had happened; not only had he fallen in love with her, and at first sight, but she at first sight had fallen in love with him, and the two circumstances had this effect: his anonymity was being cured. Not disguised, as George Mouse had tried to do, but cured, from the inside out. That was the feeling. It was as though she stirred him with cornstarch. He had begun to thicken.

Just as a lamp waved in darkness creates a figure of light in the air, which remains for as long as the lamp repeats its motion exactly, so the universe retains its shape by repetition: the universe is Time's body.

There aren't many now who leave from the same world they were born into. Not here, not anywhere on earth as far as I can tell or know; the simplest and most unchanging of human societies have been shattered in the last hundred years, people flung into centrifuges of change and loss, that there comes to be nothing at last to say good-bye to. I was leaving the world, but it was not my world I was leaving

I know that things can’t stay the same, that change is the whole of the law: but that not just the human world but the earth and the weather and life itself could be different at the end of a single lifetime from how it was at the beginning . . . you feel that the world, the earth, can die along with you. Can it? How can I believe that all around me is ruination unless I believe it was once as it should be, and I was alive then to see it? And how am I to know that this is so?

This was the problem: if what had to be discovered lay in the what-was-to-be, then they could discover that easily enough. It was what-had-been that was hard to keep in mind. That's the way it is for beings who are immortal or nearly so; they know the future, but the past is dark to them; beyond the present year is the door into aeons-ago.

First she wanted to taste the sweat that shone on his throat and fragile clavicle; then he chose to undo the tails of her shirt, that she had tied up beneath her breasts; then, but then impatient they forgot about taking turns and quarreled silently, eagerly over each other, like pirates dividing treasure long sought, long imagined, long withheld.

Time, I think, is like walking backward away from something: say, from a kiss. First there is the kiss; then you step back, and the eyes fill up your vision, then the eyes are framed in the face as you step further away; the face then is part of a body, and then the body is framed in a doorway, then the doorway framed in the trees beside it. The path grows longer and the door smaller, the trees fill up your sight and the door is lost, then the path is lost in the woods and the woods lost in the hills. Yet somewhere in the center still is the kiss. That's what time is like.

There are seven windows in the Queen's bedroom in the Citadel that is the center of the City that is on the lake island called the Hub in the middle of the world.
Two of the seven windows face the tower stones and are dark; two overlook inner courtyards; two face the complex lanes that wind between the high, blank-faced mansions of the Protectorate; and the seventh, facing the steep Street of the Birdsellers and, beyond, a crack in the ring of the mountains across the lake, is always filled at night with stars. When wind speaks in the mountains, it whispers in this window, and makes the fine brown bed hangings dance.

There's a time in some years, after the first frosts, when the sun gets hot again, and summer returns for a time. Winter is coming; you know that from the way the mornings smell, the way the leaves, half-turned to color, are dry and poised to drop. But summer goes on, a small false summer, all the more precious for being small and false. In Little Belaire, we called this time — for some reason nobody knows — engine summer.

Stories last longer: but only by becoming only stories.

It was anyway all a long time ago; the world, we know now, is as it is and not different; if there was ever a time when there were passages, doors, the borders open and many crossing, that time is not now. The world is older than it was. Even the weather isn’t as we remember it clearly once being; never lately does there come a summer day such as we remember, never clouds as white as that, never grass as odorous or shade as deep and full of promise as we remember they can be, as once upon a time they were.