In his youth, [he] had believed everything was possible. Then in grief, he believed everything was impossible. And now. . . he felt that when you had lived enough of your life, there was no difference between the two.
Glen David GoldHe felt people were never intentionally beastly or malicious, but they were pompous and foolish; awful decisions were made by men divorced from their own humanity.
Glen David GoldHis curse in life was to be attracted to people who understood him.
Glen David GoldThere were never moments in your life when you actually saw something end, for whether you knew it or not something else was always flowering. Never a disappearance, always a transformation.
Glen David GoldWe know how ninety-nine percent of the universe works," he told Carter shortly after they met, "and that's the clockworks, that's what we build with. But the other one percent makes the clockworks wind down. That's inertia. No one knows how that works, but it does. It's that one percent mystery that's the way of our maker. Put everything together, energy and inertia, the explicable and the inexplicable, and that's how you and I make our living.
Glen David GoldStichwörter: universe mystery inertia inexplicable carter-beats-the-devil clockworks
Faith was a choice. So, it followed, was wonder.
Glen David GoldOh, dear God, you don't actually have a brain, do you, it's more a filigreed spiderweb, with little chambers in it where trained monkeys play the pipe organ.
Glen David GoldStichwörter: carter-beats-the-devil
She knew him. Somehow. And wasn't that quite marvelous?
Glen David GoldHe thought of the boys and girls who looked for sweethearts at Mountain View Cemetery, and chorus girls who met their beaux behind scrim, and office romances that flourished in the buildings on Market Street, and he felt like there were little lights in alcoves here and there across the city, in cozy dens, in doorways during rainstorms, or even a chilly balcony on the Ferry building. Everywhere, little pairs of glowing lights. When you walked a city, wherever you looked, someone had probably fallen in love.
Glen David GoldEach piece of the set was on a winch and pulley, bag-dropped, counterbalanced by nests of fifty-pound bags of sand. The setup was called a "Fairbanks," for the reason that when a stagehand so wanted, he could stand upon a knot on the rope, untie as few or as many bags of sand as he wanted, and ride nearly to the rafters like Zorro as the scenery lowered.
There was no particular reason to ride that way, but because Carter allowed it, the team of men did so all night long, trading places at the top, jumping onto the ropes and riding back down later. With the mighty Egyptian set descending in its many pieces, the audience was deprived of a behind-the-scenes tableau of beauty: Carter's team swiftly riding ropes up to the catwalk and down to the stage again, simply because they could.
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