Inspirational quotes with aromas.
If You Forget MeI want you to knowone thing.You know how this is:if I lookat the crystal moon, at the red branchof the slow autumn at my window,if I touchnear the firethe impalpable ashor the wrinkled body of the log,everything carries me to you,as if everything that exists,aromas, light, metals,were little boatsthat sailtoward those isles of yours that wait for me.Well, now,if little by little you stop loving meI shall stop loving you little by little.If suddenlyyou forget medo not look for me,for I shall already have forgotten you.If you think it long and mad,the wind of bannersthat passes through my life,and you decideto leave me at the shoreof the heart where I have roots,rememberthat on that day,at that hour,I shall lift my armsand my roots will set offto seek another land.Butif each day,each hour,you feel that you are destined for mewith implacable sweetness,if each day a flowerclimbs up to your lips to seek me,ah my love, ah my own,in me all that fire is repeated,in me nothing is extinguished or forgotten,my love feeds on your love, beloved,and as long as you live it will be in your armswithout leaving mine.
I want you to knowone thing. You know how this is: if I look at the crystal moon, at the red branch of the slow autumn at my window, if I touch near the fire the impalpable ash or the wrinkled body of the log, everything carries me to you, as if everything that exists, aromas, light, metals, were little boats that sail toward those isles of yours that wait for me. Well, now, if little by little you stop loving me I shall stop loving you little by little. If suddenly you forget me do not look for me, for I shall already have forgotten you. If you think it long and mad, the wind of banners that passes through my life, and you decide to leave me at the shore of the heart where I have roots, remember that on that day, at that hour, I shall lift my arms and my roots will set off to seek another land. But if each day, each hour, you feel that you are destined for me with implacable sweetness, if each day a flower climbs up to your lips to seek me, ah my love, ah my own, in me all that fire is repeated, in me nothing is extinguished or forgotten, my love feeds on your love, beloved, and as long as you live it will be in your arms without leaving mine.
You know how this is:if I lookat the crystal moon, at the red branchof the slow autumn at my window,if I touchnear the firethe impalpable ashor the wrinkled body of the log,everything carries me to you,as if everything that exists,aromas, light, metals,were little boatsthat sailtoward those isles of yours that wait for me.
But a smell shivered him awake.It was a scent as old as the world. It was a hundred aromas of a thousand places. It was the tang of pine needles. It was the musk of sex. It was the muscular rot of mushrooms. It was the spice of oak. Meaty and redolent of soil and bark and herb. It was bats and husks and burrows and moss. It was solid and alive - so alive! And it was close.The vapors invaded Nicholas' nostrils and his hair rose to their roots. His eyes were as heavy as manhole covers, but he opened them. Through the dying calm inside him snaked a tremble of fear.The trees themselves seemed tense, waiting. The moonlight was a hard shell, sharp and ready to ready be struck and to ring like steel.A shadow moved.It poured like oil from between the tall trees and flowed across dark sandy dirt, lengthening into the middle of the ring. Trees seem to bend toward it, spellbound. A long, long shadow...
Without thinking, I step a little closer, reaching out slowly to slide a fingertip over the largest petal of the lily tattoo on her lower back. Instantly a vibration moves up my arm, and I swear the mark on my hand burns against my skin.I clench my fingers into a fist, but I don’t step away.“Did you feel that?” she asks.I shake my head. “I don’t know.” I feel so much, always so much.She takes my hand and brings it to her side again, resting it on the violets. I look at thepurple flowers between my fingers and feel the heat of her skin, the way it slides beneath my palm, soft as silk. And that vibration moves through my arm again.Her breath quickens.I find myself moving closer as her blue eyes go wide with wonder. My heart stutters and my chest aches with some unknown need.“Are you doing this?” I ask. Is she making me want this?“No,” she breathes. The smell of her turns to spice, sharp and warm, and I know I’m sensing her now, even through the block in the house.We stand like that for an eternity, still as statues on the outside, but inside I’m running, running toward a place I’ve never been. I should be terrified. But all I feel is strength. Rightness.And then Kara moves, her hands skimming up my chest, testing the boundaries. Her palms slide to my shoulders, her fingers tracing the line of the muscles in my arms, down to my waist. She grips my shirt, stretching it a little, waiting for me to tell her to stop. But I watch her lift it, let her pull it up, raising my arms, and I even take the last of it off myself, dropping it to the floor.We breathe, staring at each other.The vibrations move between us. My left arm buzzes with them. I think she’s doing it. Whatever’s happening, it’s her.I reach up and brush my marked knuckles across her cheek, amazed at the feel of her, the way her eyes seem to see everything, the way she pulls me into her. I can’t seem to remember why I shouldn’t kiss her. And kiss her. And . . .I kiss her, taking her face in both hands, skimming my thumb over her jaw as she leans into the touch, reaching out to curl her fingers around the back of my neck. I have to remind myself to breathe. I need more of her. The emotions roll over me in a rush, a tangle of sensation and movement, heat and sugar and heady aromas.I grip her tighter.Her nails dig into my shoulders. My hands slide down her spine. The kiss deepens, goes on forever, until I can barely see sense. I explore her shape, the feel of her ribs, the textures and taste of her skin on my tongue as I kiss her neck, her shoulders, her chest. As I draw trembling gasps from her lips, she grips me so hard it hurts.Our bodies mesh. Our breath mingles in frenzied desperation. Nothing else exists except her. Her warmth. Her spice. Her.
Moving on, while he wondered, the dark through which Mr. Lecky's light cut grew more beautiful with scents. Particles of solid matter so minute, gases so subtle, that they filtered through stopping and sealing, hung on the unstirred air. Drawn in with Mr. Lecky's breath came impalpable dews cooked out of disintegrating coal. Distilled, chemically split and reformed, they ended in flawless simulation of the aromas of gums, the scent of woods and the world's flowers. The chemists who made them could do more than that. Loose on the gloom were perfumes of flowers which might possibly have bloomed but never had, and the strong-smelling saps of trees either lost or not yet evolved.Mixed in the mucus of the pituitary membrane, these volatile essences meant more than synthetic chemistry to Mr. Lecky. Their microscopic slime coated the bushed-out ends of the olfactory nerve; their presence was signaled to the anterior of the brain's temporal lobe. At once, thought waited on them, tossing down from the great storehouse of old images, neglected ideas - sandalwood and roses, musk and lavender. Mr. Lecky stood still, wrung by pangs as insistent and unanswerable as hunger. He was prodded by the unrest of things desired, not had; the surfeit of things had, not desired. More than anything he could see, or words, or sounds, these odors made him stupidly aware of the past. Unable to remember it, whence he was, or where he had previously been, all that was sweet, impermanent and gone came back not spoiled by too much truth or exact memory. Volatile as the perfumes, the past stirred him with longing for what was not - the only beloved beauty which you will have to see but which you may not keep.Mr. Lecky's beam of light went through glass top and side of a counter, displayed bottles of colored liquid - straw, amber, topaz - threw shadows behind their diverse shapes. He had no use for perfume. All the distraction, all the sense of loss and implausible sweetness which he felt was in memory of women.Behind the counter, Mr. Lecky, curious, took out bottles, sniffed them, examined their elaborately varied forms - transparent squares, triangles, cones, flattened ovals. Some were opaque, jet or blue, rough with embedded metals in intricate design. This great and needless decoration of the flasks which contained it was one strange way to express the inexpressible. Another way was tried in the names put on the bottles. Here words ran the suggestive or symbolic gamut of idealized passion, or festive night, of desired caresses, or of abstractions of the painful allure yet farther fetched.Not even in the hopeful, miracle-raving fancy of those who used the perfumes could a bottle of liquid have any actual magic. Since the buyers at the counters must be human beings, nine of every ten were beyond this or other help. Women, young, but unlovely and unloved, women, whatever they had been, now at the end of it and ruined by years or thickened to caricature by fat, ought to be the ones called to mind by perfume. But they were not. Mr. Lecky held the bottle in his hand a long while, aware of the tenth woman.
Sound waves, regardless of their frequency or intensity, can only be detected by the Mole Fly’s acute sense of smell—it is a little known fact that the Mole Fly’s auditory receptors do not, in fact, have a corresponding center in the brain designated for the purposes of processing sensory stimuli and so, these stimuli, instead of being siphoned out as noise, bypass the filters to be translated, oddly enough, by the part of the brain that processes smell. Consequently, the Mole Fly’s brain, in its inevitable confusion, understands sound as an aroma, rendering the boundary line between the auditory and olfactory sense indistinguishable.Sounds, thus, come in a variety of scents with an intensity proportional to its frequency. Sounds of shorter wavelength, for example, are particularly pungent. What results is a species of creature that cannot conceptualize the possibility that sound and smell are separate entities, despite its ability to discriminate between the exactitudes of pitch, timbre, tone, scent, and flavor to an alarming degree of precision. Yet, despite this ability to hyper-analyze, they lack the cognitive skill to laterally link successions of either sound or smell into a meaningful context, resulting in the equivalent of a data overflow.And this may be the most defining element of the Mole Fly’s behavior: a blatant disregard for the context of perception, in favor of analyzing those remote and diminutive properties that distinguish one element from another. While sensory continuity seems logical to their visual perception, as things are subject to change from moment-to-moment, such is not the case with their olfactory sense, as delays in sensing new smells are granted a degree of normality by the brain. Thus, the Mole Fly’s olfactory-auditory complex seems to be deprived of the sensory continuity otherwise afforded in the auditory senses of other species. And so, instead of sensing aromas and sounds continuously over a period of time—for example, instead of sensing them 24-30 times per second, as would be the case with their visual perception—they tend to process changes in sound and smell much more slowly, thereby preventing them from effectively plotting the variations thereof into an array or any kind of meaningful framework that would allow the information provided by their olfactory and auditory stimuli to be lasting in their usefulness.The Mole flies, themselves, being the structurally-obsessed and compulsive creatures that they are, in all their habitual collecting, organizing, and re-organizing of found objects into mammoth installations of optimal functional value, are remarkably easy to control, especially as they are given to a rather false and arbitrary sense of hierarchy, ascribing positions—that are otherwise trivial, yet necessarily mundane if only to obscure their true purpose—with an unfathomable amount of honor, to the logical extreme that the few chosen to serve in their most esteemed ranks are imbued with a kind of obligatory arrogance that begins in the pupal stages and extends indefinitely, as they are further nurtured well into adulthood by a society that infuses its heroes of middle management with an immeasurable sense of importance—a kind of celebrity status recognized by the masses as a living embodiment of their ideals. And yet, despite this culture of celebrity worship and vicarious living, all whims and impulses fall subservient, dropping humbly to the knees—yes, Mole Flies do, in fact, have knees!—before the grace of the merciful Queen, who is, in actuality, just a puppet dictator installed by the Melic papacy, using an old recycled Damsel fly-fishing lure. The dummy is crude, but convincing, as the Mole flies treat it as they would their true-born queen.
Annie believed taste and aromas had the power to transport people from the present to other places. Sometimes this was a journey to a different mood, but it was also a form of time travel.
The Warrior's Diet Three Rules of Eating:Rule #1: Always start with subtle-tasting foods and move to the moreaggressive foods.Rule #2: Include as many tastes, textures, colors, and aromas as possible in your main meal.Rule #3: Stop eating when you feel much more thirsty than hungry.
I’m a big believer in cooking your own meals. It makes it much easier not only to ensure that you eat fresh foods but also to follow the second rule of eating (see previous chapter), which advises incorporating as many colors, tastes, textures, and aromas as possible into one’s meal. Beyond those benefits, I feel that cooking celebrates self-respect, and it’s especially important on the Warrior Diet. Through cooking, you can control exactly what you put inside your body. It’s a creative process, where you use trial and error to determine what you like.You can use different herbs and spices to increase or balance flavors, aromas, and textures.You’re not a scavenger on the Warrior Diet.
Horace, like all dogs, heard dead-voices quite often, and sometimes saw their owners. The dead were all around, but living people saw them no more than they could smell most of the ten thousand aromas that surrounded them every minute of every day.
Peeling an OrangeBetween you and a bowl of oranges I lie nudeReading The World’s Illusion through my tears.You reach across me hungry for global fruit,Your bare arm hard, furry and warm on my belly.Your fingers pry the skin of a naval orangeReleasing tiny explosions of spicy oil.You place peeled disks of gold in a bizarre patternOn my white body. Rearranging, you bend and biteThe disks to release further their eager scent.I say “Stop, you’re tickling,” my eyes still on the page.Aromas of groves arise. Through green leavesGlow the lofty snows. Through red lipsYour white teeth close on a translucent segment.Your face over my face eclipses The World’s Illusion.Pulp and juice pass into my mouth from your mouth.We laugh against each other’s lips. I hold my bookBehind your head, still reading, still weeping a little.You say “Read on, I’m just an illusion,” rollingOver upon me soothingly, gently unmoving,Smiling greenly through long lashes. And soonI say “Don’t stop. Don’t disillusion me.”Snows melt. The mountain silvers into many a stream.The oranges are golden worlds in a dark dream.
Her mouth— ah, that lush, sweet mouth— was a garden, and I was on my back, face tipped in adoration to the sun for giving me such brilliance, delightful aromas, and the indescribable lightness of being with her.
I have smelt all the aromas there are in the fragrant kitchen they call Earth and what we can enjoy in this life I surely have enjoyed just like a lord!
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