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“I always thought that would be really neat if black people ever got control of the United States we would, of course, tear down some of the statues because we just don't like them...like all of Richmond would probably not have a statue standing.”
― Nikki Giovanni, Shimmy Shimmy Shimmy Like My Sister Kate: Looking At The Harlem Renaissance Through Poems

“The cart slowed as they came to a place so dark and quiet that it seemed as if they had entered some remote forest. Peeking beneath the hem of the cart's canvas covering, Garrett saw towering gates covered with ivy, and ghostly sculptures of angels, and solemn figures of men, women, and children with their arms crossed in resignation upon their breasts. Graveyard sculptures. A stab of horror went through her, and she crawled to the front of the cart to where West Ravenel was sitting with the driver.
"Where the devil are you taking us, Mr. Ravenel?"
He glanced at her over his shoulder, his brows raised. "I told you before- a private railway station."
"It looks like a cemetery."
"It's a cemetery station," he admitted. "With a dedicated line that runs funeral trains out to the burial grounds. It also happens to connect to the main lines and branches of the London Ironstone Railroad, owned by our mutual friend Tom Severin."
"You told Mr. Severin about all this? Dear God. Can we trust him?"
West grimaced slightly. "One never wants to be in the position of having to trust Severin," he admitted. "But he's the only one who could obtain clearances for a special train so quickly."
They approached a massive brick and stone building housing a railway platform. A ponderous stone sign adorned the top of the carriage entrance: Silent Gardens. Just below it, the shape of an open book emblazoned with words had been carved in the stone. Ad Meliora. "Toward better things," Garrett translated beneath her breath.”
― Lisa Kleypas, Hello Stranger

“And while I was going to meet
the flowers and sculptures of Montreux,
I smelled Lord Byron’s ink
sweating an amazing darkness out
from the medieval body of Chillon Castle

From the poem - Along the Shore”
― Munia Khan, Fireclay

“Agnete had walked over to one of the taller works, the school of fish, and fingered a small piece of metal slightly darker than the others, its shape not quite symmetrical as the rest of the pieces swimming through the air in swirling, upward drifts. Upon closer scrutiny, Stephen saw she had changed the spacing of this one piece of metal in relation to the others, as well as the weight of it. When the wind blew, it did not move in the same pattern as the rest; instead, it twitched and wavered in a way that suggested it was swimming harder, against the tide, in an effort to catch up.
"I'm that fish," she said. "I grew up in this house. It's the only place I've ever lived, and I love it here. But everyone in town knew that Therese, even though she raised me, wasn't my mother. Everyone knew that whoever my father was, he wasn't around. I survived adolescence by convincing myself I didn't care; I told myself being different didn't make me any less." She pulled her hair away from her face, and Stephen was struck by the resemblance to her father. He could feel Bayber's hand, an iron clamp squeezing his wrist. Her father, had he been around, would likely have scared away anyone brave enough to come within five feet of Agnete.
"I made this piece because I've always had a feeling of being separated from everyone else, which I was fine with, but at the same time, a fear of being left behind. Does that make sense?"
Her explanation resonated with him, though he'd have been hard-pressed to articulate it as clearly. He'd stared at the ground, scowling in concentration, unable to say more than "Yes, I understand what you mean. Maybe I'm that fish, as well."
"Then there are two of us. We'll be our own school.”
― Tracy Guzeman, The Gravity of Birds

“The second course would feature six butter statues, one of which was an elephant, and another Hercules fighting the legendary monster Cerebus. A monstrous pastry stag was the centerpiece of that course, with red wine gelatin bleeding from where an arrow had pierced its side.
The final course included six monstrous statues made of pastry: Helen of Troy; a nude Venus; a camel with a king upon its back; a unicorn with its horn in the mouth of a serpent; Hercules holding open the mouth of a lion; and Poseidon and his mighty trident. There were 361 bowls and plates of candied fruits: coconuts, apricots, grapes, pears, and melons, as well as plates of almonds, pistachios, pine nuts, and a variety of cheeses.”
― Crystal King, The Chef's Secret