“I often used to sit and view the moon for a long time; and in the day spent much time in viewing the clouds and sky, to behold the sweet glory of God in these things: in the mean time, singing forth, with a low voice, my contemplations of the Creator and Redeemer. And scarce any thing, among all the works of nature, was so sweet to me as thunder and lightning; formerly nothing had been so terrible to me. Before, I used to be uncommonly terrified with thunder, and to be struck with terror when I saw a thunder-storm rising; but now, on the contrary, it rejoiced me. I felt God, if I may so speak, at the first appearance of a thunderstorm; and used to take the opportunity, at such times, to fix myself in order to view the clouds, and see the lightnings play, and hear the majestic and awful voice of God's thunder, which oftentimes was exceedingly entertaining, leading me to sweet contemplations of my great and glorious God. While thus engaged, it always seemed natural for me to sing, or chant forth my meditations; or to speak my thoughts in soliloquies with a singing voice.”

Source: Emir's Education In The Proper Use of Magical Powers (1979), p. 50

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

Letter of David Whitmer to Anthony Metcalf, March 1887. Quoted in Richard Lloyd Anderson, Investigating the Book of Mormon Witnesses (Salt Lake City: Deseret Book Company, 1981), p. 86.

Light (1919), Ch. XIX - Ghosts
Context: On this seat — where she came to me for the first time, which was once so important to us that it seemed as if the background of things all about us had been created by us — we sit down to-day, after we have vainly sought in nature the traces of our transit.
The landscape is peaceful, simple, empty; it fills us with a great quivering. Marie is so sad and so simple that you can see her thought.
I have leaned forward, my elbows on my knees. I have contemplated the gravel at my feet; and suddenly I start, for I understand that my eyes were looking for the marks of our footsteps, in spite of the stone, in spite of the sand.
After the solemnity of a long silence, Marie's face takes on a look of defeat, and suddenly she begins to cry. The tears which fill her — for one always weeps in full, drop on to her knees. And through her sobs there fall from her wet lips words almost shapeless, but desperate and fierce, as a burst of forced laughter.
"It's all over!" she cries.

Source: The Sacred Depths of Nature (1998), p. 11

Half-Truths and One-And-A-Half Truths (1976)

When asked what inspired him to write 'Tutti Frutti' amd where the style came from, in The Rolling Stone Interviews: 1967-1980 (1989) edited by Peter Herbst, p. 91.

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 247.

Part II. <br class="br"> Lalla Rookh http://www.columbia.edu/itc/mealac/pritchett/00generallinks/lallarookh/index.html (1817), Part I-III: The Veiled Prophet of Khorassan