Favourite Imagery

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Favourite Imagery

Postby Cuton » Wed Jul 18, 2007 2:00 pm UTC

Poached from the "favourite words" thread, name/quote/identify some imagery in a piece of literature that you really like.

I'll go first!

Book: Childhood's End by Arthur C. Clarke
This was the moment when history held its breath, and the present sheared asunder from the past as an iceberg splits from its frozen, parent cliffs, and goes sailing out to sea in lonely pride.


I think it's just an amazing image and it just describes the situation SO well... amazing.

Now, your turn!

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Postby haveblue » Wed Jul 18, 2007 2:19 pm UTC

Alistair MacLeod has some amazing imagery. Check out this excerpt, as it's one of the few I could find, and one of his best stories. I should also put this into the short stories thread, as it's one of my favourites.
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Postby Darcey » Wed Jul 18, 2007 4:42 pm UTC

Childhood's End FTW. <3

I don't know if these are my favourite quotes, but they come to mind immediately because they're part of the last essay I finished for school last year. Both by Bradbury, from Fahrenheit 451. SPOILERS MAY FOLLOW.

Ray Bradbury wrote:The room was indeed empty. Every night the waves came in and bore her off on their great tides of sound, floating her, wide-eyed, toward morning.

(about Montag's wife, Mildred, completely enclosed in her world of constant stimulation)

Ray Bradbury wrote:They had this machine. They had two machines, really. One of them slid down into your stomach like a black cobra down an echoing well looking for all the old water and the old time gathered there. It drank up the green matter that flowed to the top in a slow boil. Did it drink of the darkness? Did it suck out all the poisons accumulated with the years?

(from the part where Mildred swallows a whole bottle of pills)
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Postby Yhatki » Wed Jul 18, 2007 5:38 pm UTC

James Joyce's The Dead. Well, besides pretty much the entire novella, this paragraph right over here.
He stood still in the gloom of the hall, trying to catch the air that the voice was singing and gazing up at his wife. There was grace and mystery in her attitude as if she were a symbol of something. He asked himself what is a woman standing on the stairs in the shadow, listening to distant music, a symbol of. If he were a painter he would paint her in that attitude. Her blue felt hat would show off the bronze of her hair against the darkness and the dark panels of her skirt would show off the light ones. Distant Music he would call the picture if he were a painter.


And not just because I wrote my best essay in English last year about it. I'm not sure why, but it strikes me as just such an epiphany moment. And I find it bewilderingly romantic, about Gabriel dreaming of painting his wife, even though in context of the novella it's showing how he feels ownership and superiority over her. But shhhh, let me dream.
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Postby Devilsaur » Wed Jul 18, 2007 6:12 pm UTC

Yhatki wrote:James Joyce's The Dead. Well, besides pretty much the entire novella, this paragraph right over here.
He stood still in the gloom of the hall, trying to catch the air that the voice was singing and gazing up at his wife. There was grace and mystery in her attitude as if she were a symbol of something. He asked himself what is a woman standing on the stairs in the shadow, listening to distant music, a symbol of. If he were a painter he would paint her in that attitude. Her blue felt hat would show off the bronze of her hair against the darkness and the dark panels of her skirt would show off the light ones. Distant Music he would call the picture if he were a painter.


And not just because I wrote my best essay in English last year about it. I'm not sure why, but it strikes me as just such an epiphany moment. And I find it bewilderingly romantic, about Gabriel dreaming of painting his wife, even though in context of the novella it's showing how he feels ownership and superiority over her. But shhhh, let me dream.
That's a good quote. I haven't read the book, but for me it symbolizes such a tragic and sad woman listening quietly for a better time.

I can't think of any good ones off the top of my head, just a impossibly simple (yet meaningful) one from a classic:
[quote]“She’s got an indiscreet voice,â€
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Postby mrguy753 » Thu Jul 19, 2007 4:30 am UTC

I don't really think this counts as imagery, but i love it anyways. It's from House of Leaves, by Mark Z. Danielewski. If you haven't read it, go get it now. It is scary, interesting, completely insane, experimental, and a ridiculously good read. Anyways, here ya go:

To get a better idea try this: focus on these words, and whatever you do don't let your eyes wander past the perimeter of this page. Now imagine just beyond your peripheral vision, maybe behind you, maybe to the side of you, maybe even in front of you, but right where you can't see it, something is quietly closing in on you, so quiet in fact you can only hear it as silence. Find those pockets without sound. That's where it is. Right at this moment. But don't look. Keep your eyes here. Now take a deep breath. Go ahead, take an even deeper one. Only this time as you exhale try to imagine how fast it will happen, how hard it's gonna hit you, how many times it will stab your jugular with its teeth or are they nails?, don't worry, that particular detail doesn't matter, because before you have time to process that you should be moving, you should be running, you should at the very least be flinging up your arms-you sure as hell should be getting rid of this book-you won't have time to even scream.
Don't look.
I didn't.
Of course I looked.
I looked so fucking fast I should of ended up wearing one of those neck braces for whiplash.
I sing anyway.
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Postby Darcey » Thu Jul 19, 2007 5:52 am UTC

I would count that as imagery, although less so than some of Johnny's other stuff in that book. But House of Leaves is made of pure liquid win, so it's all good (by me at least).
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Postby Herman » Sun Jul 22, 2007 9:26 am UTC

There was a terrible ghastly silence.
There was a terrible ghastly noise.
There was a terrible ghastly silence.


:P
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Postby Darcey » Sun Jul 22, 2007 8:13 pm UTC

Herman wrote:
There was a terrible ghastly silence.
There was a terrible ghastly noise.
There was a terrible ghastly silence.


:P


I have heard this somewhere, definitely. Forgive me for asking, but H2G2?
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Postby Herman » Sun Jul 22, 2007 8:36 pm UTC

I have heard this somewhere, definitely. Forgive me for asking, but H2G2?


Yup. There's a lot of great *actual* imagery in those books -- like right after Ford and Arthur get picked up. The above was the least vivid description of the most significant event in, I'm gonna say, all of literature.
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Postby dan » Sun Jul 22, 2007 10:36 pm UTC

P.G. Wodehouse:
Ice formed on the butler's upper slopes.
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Postby zomgmouse » Tue Jul 24, 2007 10:20 am UTC

If it's Wodehouse you want, then nothing beats:

"Alf Todd," said Ukridge, soaring to an impressive burst of imagery, "has about as much chance as a one-armed blind man in a dark room trying to shove a pound of melted butter into a wild cat's left ear with a red-hot needle."


Also, Kubla Khan by Samuel Taylor Coleridge is pretty good.
"Alf Todd," said Ukridge, soaring to an impressive burst of imagery, "has about as much chance as a one-armed blind man in a dark room trying to shove a pound of melted butter into a wild cat's left ear with a red-hot needle." P.G. Wodehouse
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Postby German Sausage » Tue Jul 24, 2007 11:12 am UTC

mervyn peake. specifically, titus groan. exactly, the fight in the rafters between flay and swelter.
also heart of darkness and 100 years of solitude. what can i say, there's something about jungle that does it for me.
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Postby Darcey » Wed Jul 25, 2007 4:31 am UTC

Kubla Khan by Coleridge is made of pure liquid win. <3

My favourite line of the whole thing would have to be "And from this chasm with ceaseless turmoil seething", but the whole thing is incredible and the end always sends a shiver down my spine. I still don't know exactly what it means, though. =X
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Postby peri_renna » Wed Jul 25, 2007 11:24 am UTC

My favorite passage of description was this one, in Watership Down, although partly from the context:
The sun, risen behind the copse, threw long shadows from the trees southwestward across the field. The wet grass glittered and nearby a nut tree sparkled iridescent, winking and gleaming as its branches moved in the light wind. The brook was swolled and Hazel's ears could distinguish the deeper, smoother sound, changed since the day before. Between the copse and the brook, the slope was covered with pale lilac lady's-smocks, each standing separately in the grass, a frail stalk of bloom above a spread of cressy leaves. The breeze dropped and the little valley lay completely still, held in long beams of light and enclosed on either side by the lines of the woods. Upon this clear stillness, like feathers on the surface of a pool, fell the calling of a cuckoo.

(Of course, if you wanted metaphorical imagery, you should probably just read the last sentence.)
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Postby Dibley » Sun Jul 29, 2007 11:44 pm UTC

Currently reading Only Revolutions by Mark Z Danielewski. I don't have it with me, so no quotes, but some amazing imagery type things. Will get to House of Leaves next.
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Postby Wolf » Tue Jul 31, 2007 5:56 am UTC

I'm not sure if this is the best imagery available, but when I read it it really worked for me.

From the Great Gatsby by F. Scott Fitzgerald:
. . . One autumn night, five years before, they had been walking down the street when the leaves were falling, and they came to a place where there were no trees and the sidewalk was white with moonlight. They stopped here and turned toward each other. Now it was a cool night with that mysterious excitement in it which comes at the two changes of the year. The quiet lights in the houses were humming out into the darkness and there was a stir and bustle among the stars. Out of the corner of his eye Gatsby saw that the blocks of the sidewalks really formed a ladder and mounted to a secret place above the trees—he could climb to it, if he climbed alone, and once there he could suck on the pap of life, gulp down the incomparable milk of wonder.

His heart beat faster and faster as Daisy’s white face came up to his own. He knew that when he kissed this girl, and forever wed his unutterable visions to her perishable breath, his mind would never romp again like the mind of God. So he waited, listening for a moment longer to the tuning-fork that had been struck upon a star. Then he kissed her. At his lips’ touch she blossomed for him like a flower and the incarnation was complete.
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