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The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock. But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else. The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side. Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As though the clock is falling apart, slowly and gracefully. All of this takes hours. The face of the clock becomes a darker grey, and then black, with twinkling stars where numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actual paper pages that turn. There is a silver dragon that curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress, awaiting an absent prince. Teapots that pour into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played. At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dress in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the clock chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern. After midnight, the clock begins once more to fold in upon itself. The face lightens and the cloud returns. The number of juggled balls decreases until the juggler himself vanishes. By noon it is a clock again, and no longer a dream. ↗
#change #clock #dream #fantasy #night-circus
If Los Angeles is a woman reclining billboard model and the San Fernando Valley is her teenybopper sister, then New York is their cousin. Her hair is dyed autumn red or aubergine or Egyptian henna, depending on her mood. Her skin is pale as frost and she wears beautiful Jil Sander suits and Prada pumps on which she walks faster than a speeding taxi (when it is caught in rush hour, that is). Her lips are some unlikely shade of copper or violet, courtesy of her local MAC drag queen makeup consultant. She is always carrying bags of clothes, bouquets of roses, take-out Chinese containers, or bagels. Museum tags fill her pockets and purses, along with perfume samples and invitations to art gallery openings. When she is walking to work, to ward off bums or psychos, her face resembles the Statue of Liberty, but at home in her candlelit, dove-colored apartment, the stony look fades away and she smiles like the sterling roses she has brought for herself to make up for the fact that she is single and her feet are sore. ↗
Tess, Tess, Tessa. Was there ever a more beautiful sound than your name? To speak it aloud makes my heart ring like a bell. Strange to imagine that, isn’t it – a heart ringing – but when you touch me that is what it is like: as if my heart is ringing in my chest and the sound shivers down my veins and splinters my bones with joy. Why have I written these words in this book? Because of you. You taught me to love this book where I had scorned it. When I read it for the second time, with an open mind and heart, I felt the most complete despair and envy of Sydney Carton. Yes, Sydney, for even if he had no hope that the woman he loved would love him, at least he could tell her of his love. At least he could do something to prove his passion, even if that thing was to die. I would have chosen death for a chance to tell you the truth, Tessa, if I could have been assured that death would be my own. And that is why I envied Sydney, for he was free. And now at last I am free, and I can finally tell you, without fear of danger to you, all that I feel in my heart. You are not the last dream of my soul. You are the first dream, the only dream I ever was unable to stop myself from dreaming. You are the first dream of my soul, and from that dream I hope will come all other dreams, a lifetime’s worth. With hope at least, Will Herondale ↗
#clockwork-prince #tessa-gray #will-herondale #will-s-letter-to-tessa #beauty
Holmes and Watson are on a camping trip. In the middle of the night Holmes wakes up and gives Dr. Watson a nudge. "Watson" he says, "look up in the sky and tell me what you see." "I see millions of stars, Holmes," says Watson. "And what do you conclude from that, Watson?" Watson thinks for a moment. "Well," he says, "astronomically, it tells me that there are millions of galaxies and potentially billions of planets. Astrologically, I observe that Saturn is in Leo. Horologically, I deduce that the time is approximately a quarter past three. Meterologically, I suspect that we will have a beautiful day tomorrow. Theologically, I see that God is all-powerful, and we are small and insignficant. Uh, what does it tell you, Holmes?" "Watson, you idiot! Someone has stolen our tent! ↗
Miss Cecily," she gasped, and then her eyes went to Will. She clapped a hand over her mouth, turned, and bolted back into the house. "Oh, dear," said Tessa. "I have that effect on women," Will said. " I probably should have warned you before you agreed to marry me." "I can still change my mind," Tessa said sweetly. "Don't you dare-," he began with a breathless half laugh. ↗
Father . . . ," Gabriel began. "Father is a worm." Will gave a short laugh. He was in gear as if he had just come from the practice room, and his hair curled damply against his temples. He was not looking at Tessa, but she had grown used to that. Will hardly ever looked at her unless he had to. "It's good to see you've come round to our view of things, Gabriel, but this is an unusual way of announcing it." Gideon shot Will a reproachful look before turning back to his brother. "What do you mean, Gabriel? What did Father do?" Gabriel shook his head. "He's a worm," he said again, tonelessly. "I know. He has brought shame on the name of Lightwood, and lied to both of us. He shamed and destroyed our mother. But we need not be like him." Gabriel pulled away from his brother's grip, his teeth suddenly flashing in an angry scowl. "You're not listening to me," he said. "He's a worm. A worm. A bloody great serpentlike thing. Since Mortmain stopped sending the medicine, he's been getting worse. Changing. Those sores upon his arms, they started to cover him. His hands, his neck, h-his face . . ." Gabriel's green eyes sought Will. "It was the pox, wasn't it? You know all about it, don't you? Aren't you some sort of expert?" "Well, you needn't act as if I invented it," said Will. "Just because I believed it existed. There are accounts of it—old stories in the library— ↗
#gabriel-lightwood #gideon-lightwood #will-herondale #change
Jem’s knees gave out, and he sank to the trunk at the foot of his bed, still playing. He played Will breathing the name Cecily, and he played himself watching the glint of his own ring on Tessa’s hand on the train from York, knowing it was all a charade, knowing, too, that he wished that it wasn’t. He played the sorrow in Tessa’s eyes when she had come into the music room after Will had told her she would never have children. Unforgivable, that, what a thing to do, and yet Jem had forgiven him. Love was forgiveness, he had always believed that, and the things that Will did, he did out of some bottomless well of pain. Jem did not know the source of that pain, but he knew it existed and was real, knew it as he knew of the inevitability of his own death, knew it as he knew that he had fallen in love with Tessa Gray and that there was nothing he or anyone else could do about it. ↗
In the context of the English language, there were many more important words than “in.” There were fancy words, historic words, words that meant life or death. There were multi-syllabic tongue-twisters that required a sort out before speaking, and mission-critical pivotals that started wars or ended wars…and even poetic nonsensicals that were like a symphony as they left the lips. Generally speaking, “in” did not play with the big boys. In fact, it barely had much of a definition at all, and, in the course of its working life, was usually nothing but a bridge, a conduit for the heavy lifters in any given sentence. There was, however, one context in which that humble little two-letter, one-syllable jobbie was a BFD. Love. The difference between someone “loving” somebody versus being “in love” was a curb to the Grand Canyon. The head of a pin to the entire Midwest. An exhale to a hurricane. ↗
