Ain't it just like the night to play tricks when you're tryin' to be so quiet?
We sit here stranded, though we're all doin' our best to deny it
And Louise holds a handful of rain, temptin' you to defy it
Lights flicker from the opposite loft
In this room the heat pipes just cough
The country music station plays soft
But there's nothing, really nothing to turn off
Just Louise and her lover so entwined
And these visions of Johanna that conquer my mind

At night, when the objective world has slunk back into its cavern and left dreamers to their own, there come inspirations and capabilities impossible at any less magical and quiet hour. No one knows whether or not he is a writer unless he has tried writing at night.

I think nighttime is dark so you can imagine your fears with less distraction.

Sounds — possibly musical — heard in the night from other worlds or realms of being.

It was always late at night, when everything and everyone else was quiet, that those voices would rise like ghosts, soft and haunting, filling your mind until sleep finally came.

If there were a silent observer, Mirabelle would be seen as a carefree, happy girl who is preparing for a night on the town. But in reality, these activities are the physical manifestations of her stillness.

Night is the other half of life, and the better half.

Show a little faith, there's magic in the night.

Night is when we are closer to ourselves, closer to essential ideas and feelings that do not register so much during daylight hours.

Nights through dreams tell the myths forgotten by the day.

So the next time you see a person with a compose face and a soft voice, remember that inside her mind she might be solving an equation, composing a sonnet, designing a hat. She might, that is, be deploying the powers of quiet.

I love night conversations best. Bonds somehow grow deeper in the dark, our stories climbing to the surface to be seen. These are some of the times that live on longest in our minds- conversations by candle or moonlight with our sleep deprived eyes. When I speak on the heart, I’m talking about your creative self, your internal self, your intuition, and your source of power.

Does it seem reasonable that she should play so wonderfully, and live so quietly? I suspect that one day she will be wonderful in both. The water-tight compartments in her will break down, and music and life will mingle.

There are quiet places also in the mind,” he said, meditatively. “But we build bandstand and factories on them. Deliberately — to put a stop to the quietness. We don’t like the quietness. All the thoughts, all the preoccupation in my head — round and round continually.” He made a circular motion with his hands. “And the jazz bands, the music hall songs, the boys shouting the news. What’s it all for? To put an end to the quiet, to break it up and disperse it, to pretend at any cost it isn’t there. Ah, but it is, it is there, in spite of everything, at the back of everything. Lying awake at night, sometimes — not restlessly, but serenely, waiting for sleep — the quiet re-establishes itself, piece by piece; all the broken bits, all the fragments of it we’ve been so busily dispersing all day long. It re-establishes itself, an inward quiet, like this outward quiet of grass and trees. It fills one, it grows –a crystal quiet, a growing expanding crystal. It grows, it becomes more perfect; it is beautiful and terrifying, yes, terrifying, as well as beautiful. For one’s alone in the crystal and there’s no support from outside, there’s nothing external and important, nothing external and trivial to pull oneself up by or to stand up, superiorly, contemptuously, so that one can look down. There’s nothing to laugh at or feel enthusiastic about. But the quiet grows and grows. Beautifully and unbearably. And at last you are conscious of something approaching; it is almost a faint sound of footsteps. Something inexpressibly lovely and wonderful advances through the crystal, nearer, nearer. And oh, inexpressibly terrifying. For if it were to touch you, if it were to seize and engulf you, you’d die; all the regular habitual, daily part of you would die. There would be and end of bandstands and whizzing factories, and one would have to begin living arduously in the quiet, arduously n some strange unheard-of manner. Nearer, nearer come the steps; but one can’t face the advancing thing.