Avenue Trees Quotes

A man who plants a tree could never be called a pessimist.

Clarissa had a theory in those days - they had heaps of theories, always theories, as young people have. It was to explain the feeling they had of dissatisfaction; not knowing people; not being known. For how could they know each other? You met every day; then not for six months, or years. It was unsatisfactory, they agreed, how little one knew people. But she said, sitting on the bus going up Shaftesbury Avenue, she felt herself everywhere; not 'here, here, here'; and she tapped the back of the seat; but everywhere. She waved her hand, going up Shaftesbury Avenue. She was all that. So that to know her, or any one, one must seek out the people who completed them; even the places. Odd affinities she had with people she had never spoke to, some women in the street, some man behind a counter - even trees, or barns. It ended in a transcendental theory which, with her horror of death, allowed her to believe, or say that she believed (for all her scepticism), that since our apparitions, the part of us which appears, are so momentary compared with the other, the unseen part of us, which spreads wide, the unseen might survive, be recovered somehow attached to this person or that, or even haunting certain places, after death. Perhaps - perhaps.

On moonlight nights the long, straight street and dirty white walls, nowhere darkened by the shadow of a tree, their peace untroubled by footsteps or a dog's bark, glimmered in the pale recession. The silent city was no more than an assemblage of huge, inert cubes, between which only the mute effigies of great men, carapaced in bronze, with their blank stone or metal faces, conjured up a sorry semblance of what the man had been. In lifeless squares and avenues these tawdry idols lorded it under the lowering sky; stolid monsters that might have personified the rule of immobility imposed on us, or, anyhow, its final aspect, that of a defunct city in which plague, stone, and darkness had effectively silenced every voice.

Happiness, after all, depends for the most part not on one’s ability to resolve contradictions but on making them disappear, the way the gaps between trees disappear when we look down a long avenue of them.

The Frays had never been a religiously observant family, but Clary loved Fifth Avenue at Christmas time. The air smelled like sweet roasted chestnuts, and the window displays sparkled with silver and blue, green and red. This year there were fat round crystal snowflakes attached to each lamppost, sending back the winter sunlight in shafts of gold. Not to mention the huge tree at Rockefeller Center. It threw its shadow across them as she and Simon draped themselves over the gate at the side of the skating rink, watching tourists fall down as they tried to navigate the ice. Clary had a hot chocolate wrapped in her hands, the warmth spreading through her body. She felt almost normal—this, coming to Fifth to see the window displays and the tree, had been a winter tradition for her and Simon for as long as she could remember. “Feels like old times, doesn’t it?” he said, echoing her thoughts as he propped his chin on his folded arms. She chanced a sideways look at him. He was wearing a black topcoat and scarf that emphasized the winter pallor of his skin. His eyes were shadowed, indicating that he hadn’t fed on blood recently. He looked like what he was—a hungry, tired vampire. Well, she thought. Almost like old times. “More people to buy presents for,” she said. “Plus, the always traumatic what-to-buy-someone-for-the-first-Christmas-after-you’ve-started-dating question.” “What to get the Shadowhunter who has everything,” Simon said with a grin. “Jace mostly likes weapons,” Clary sighed. “He likes books, but they have a huge library at the Institute. He likes classical music …” She brightened. Simon was a musician; even though his band was terrible, and was always changing their name—currently they were Lethal Soufflé—he did have training. “What would you give someone who likes to play the piano?” “A piano.” “Simon.” “A really huge metronome that could also double as a weapon?” Clary sighed, exasperated. “Sheet music. Rachmaninoff is tough stuff, but he likes a challenge.” “Now you’re talking. I’m going to see if there’s a music store around here.” Clary, done with her hot chocolate, tossed the cup into a nearby trash can and pulled her phone out. “What about you? What are you giving Isabelle?” “I have absolutely no idea,” Simon said. They had started heading toward the avenue, where a steady stream of pedestrians gawking at the windows clogged the streets. “Oh, come on. Isabelle’s easy.” “That’s my girlfriend you’re talking about.” Simon’s brows drew together. “I think. I’m not sure. We haven’t discussed it. The relationship, I mean.” “You really have to DTR, Simon.” “What?” “Define the relationship. What it is, where it’s going. Are you boyfriend and girlfriend, just having fun, ‘it’s complicated,’ or what? When’s she going to tell her parents? Are you allowed to see other people?” Simon blanched. “What? Seriously?” “Seriously. In the meantime—perfume!” Clary grabbed Simon by the back of his coat and hauled him into a cosmetics store that had once been a bank. It was massive on the inside, with rows of gleaming bottles everywhere. “And something unusual,” she said, heading for the fragrance area. “Isabelle isn’t going to want to smell like everyone else. She’s going to want to smell like figs, or vetiver, or—” “Figs? Figs have a smell?” Simon looked horrified; Clary was about to laugh at him when her phone buzzed. It was her mother. where are you? It’s an emergency.

…the warm glazes, the sparkling penumbra of the room itself and, through the little window framed with honeysuckle, in the rustic avenue, the resilient dryness of the sun-parched earth, veiled only by the diaphanous gauze woven of distance and the shade of the trees.

The trees bathed their great heads in the waves of the morning, while their roots were planted deep in gloom; save where on the borders of the sunshine broke against their stems, or swept in long streams through their avenues, washing with brighter hue all the leaves over which it flowed; revealing the rich brown of the dacayed leaves and fallen pine-cones, and the delicate greens of the long grasses and tiny forests of moss that covered the channel over which it passed in the motionless rivers of light.

This morning, on the avenue, my death was walking next to me, under the plane-trees. I came back home, lied on the bed. My death looked tired as much as I was. A few minuts later, I woke up, made a coffee and opened a poems book. Some light came out from the book. I think it was at this moment that my death left the appartment, crossing the door, without noise. It was not her time, and perhaps she was depressed by the beauty of a few words, yes, perhaps the death doesn't support books and prefers the head ache maker television.

The faint aroma of gum and calico that hangs about a library is as the fragrance of incense to me. I think the most beautiful sight is the gilt-edged backs of a row of books on a shelf. The alley between two well-stocked shelves in a hall fills me with the same delight as passing through a silent avenue of trees. The colour of a binding-cloth and its smooth texture gives me the same pleasure as touching a flower on its stalk. A good library hall has an atmosphere which elates. I have seen one or two University Libraries that have the same atmosphere as a chapel, with large windows, great trees outside, and glass doors sliding on noiseless hinges.

Silted-up residues of the years smouldered uninterruptedly—and not without melancholy—in the maroon brickwork of these medieval closes: beyond the cobbles and archways of which (in a more northerly direction) memory also brooded, no less enigmatic and inconsolable, among water-meadows and avenues of trees: the sombre demands of the past becoming at times almost suffocating in their insistence.

...I was shocked and astonished when a daring little girl -- a cousin I think -- having waited under a group of trees in the avenue, where she knew [my grandfather] would pass near four o'clock on the way to his dinner, said to him, 'If I were you and you were a little girl, I would give you a doll.

The Christmas trees are brought from Vermont by monosyllabic men in warm clothes; they seem alien, closer to the earth, silently contemptuous, like gypsies. They bring in their trees and stand them up on the pavements, so that swaths of Broadway are suddenly transformed into dark, pine-scented avenues.

Undine’s white and gold bedroom, with sea-green panels and old rose carpet, looked along Seventy-second Street toward the leafless tree-tops of the Central Park. She went to the window, and drawing back its many layers of lace gazed eastward down the long brownstone perspective. Beyond the Park lay Fifth Avenue—and Fifth Avenue was where she wanted to be!

On the avenue, dark and tree-lined, shop windows began to blink on.

A storm makes a tree grow its roots deeper so it can keep standing

The "Avenue," so called by the Newbridge people, was a stretch of road four or five hundred yards long, completely arched over with huge, wide-spreading apple-trees, planted years ago by an eccentric old farmer. Overhead was one long canopy of snowy fragrant bloom. Below the boughs the air was full of a purple twilight and far ahead a glimpse of painted sunset sky shone like a great rose window at the end of a cathedral aisle.

If you walk five blocks north from the wholefoods in Berkeley along Telegraph Avenue and then turn right at Dwight way, you'll soon come to a trash-strewn patch of grass and trees dotted with the tattered camps of a few homeless people.

Every time he looked at me I felt like I was standing in a tree-lined avenue, and the branches had interlaced into a canopy above me, surrounding me. It was the kind of green that told the sun what color to be as it filtered through the leaves.” “Oh,

That ride was perhaps the most wonderful thing that happened to them in Narnia. Have you ever had a gallop on a horse? Think of that; and then take away the heavy noise of the hoofs and the jingle of the bit and imagine instead the almost noiseless padding of the great paws. Then imagine instead of the black or grey or chestnut back of the horse the soft roughness of golden fur, and the mane flying back in the wind. And then imagine you are going about twice as fast as the fastest racehorse. But this is a mount that doesn't need to be guided and never grows tired. He rushes on and on, never missing his footing, never hesitating, threading his way with perfect skill between tree trunks, jumping over bush and briar and the smaller streams, wading the larger, swimming the largest of all. And you are riding not on a road nor in a park nor even on the downs, but right across Narnia, in spring, down solemn avenues of beech and across sunny glades of oak, through wild orchards of snow-white cherry trees, past roaring waterfalls and mossy rocks and echoing caverns, up windy slopes alight with gorse bushes, and across the shoulders of heathery mountains and along giddy ridges and down, down, down again into wild valleys and out into acres of blue flowers.

Seafood poisoning, a cigarette lit as the person is drifting off to sleep and that sets fire to the sheets or, worse, to a woollen blanket; a slip in the shower—the back of the head—the bathroom door locked; a lightning bolt that splits in two a tree planted in a broad avenue, a tree which, as it falls, crushes or slices off the head of a passer-by, possibly a foreigner; dying in your socks, or at the barber’s, still wearing a voluminous smock, or in a whorehouse or at the dentist’s; or eating fish and getting a bone stuck in your throat, choking to death like a child whose mother isn’t there to save him by sticking a finger down his throat; or dying in the middle of shaving, with one cheek still covered in foam, half-shaven for all eternity, unless someone notices and finishes the job off out of aesthetic pity; not to mention life’s most ignoble, hidden moments that people seldom mention once they are out of adolescence, simply because they no longer have an excuse to do so, although, of course, there are always those who insist on making jokes about them, never very funny jokes.

This afternoon I walked through the city, making for a café where I was to meet Raphael. It was about half-past two on a day that had never really got light. It began to snow. The low clouds made a grey ceiling for the city; the snow muffled the noise of the cars until it became almost rhythmical; a steady, shushing noise, like the sound of tides beating endlessly on marble walls. I closed my eyes. I felt calm. There was a park. I entered it and followed a path through an avenue of tall, ancient trees with wide, dusky, grassy spaces on either side of them. The pale snow sifted down through bare winter branches. The lights of the cars on the distant road sparkled through the trees: red, yellow, white. It was very quiet. Though it was not yet twilight the streetlights shed a faint light. People were walking up and down on the path. An old man passed me. He looked sad and tired. He had broken veins on his cheeks and a bristly white beard. As he screwed up his eyes against the falling snow, I realised I knew him. He is depicted on the northern wall of the forty-eighth western hall. He is shown as a king with a little model of a walled city in one hand while the other hand he raises in blessing. I wanted to seize hold of him and say to him: In another world you are a king, noble and good! I have seen it! But I hesitated a moment too long and he disappeared into the crowd. A woman passed me with two children. One of the children had a wooden recorder in his hands. I knew them too. They are depicted in the twenty-seventh southern hall: a statue of two children laughing, one of them holding a flute. I came out of the park. The city streets rose up around me. There was a hotel with a courtyard with metal tables and chairs for people to sit in more clement weather. Today they were snow-strewn and forlorn. A lattice of wire was strung across the courtyard. Paper lanterns were hanging from the wires, spheres of vivid orange that blew and trembled in the snow and the thin wind; the sea-grey clouds raced across the sky and the orange lanterns shivered against them. The Beauty of the House is immeasurable; its Kindness infinite.

I imagined Julián Caraxat my age, holding that image in his hands, perhaps in the shade of the same tree that now sheltered me. I could almost see him smiling confidently, contemplating a future as wide and luminous as that avenue, and for a moment I thought there were no more ghosts there than that of absence and loss that the light that smiled on me was borrowed light, real only as long as I could hold it in my eyes, second by second.

It is a beautiful spot, endless forest stretching along the shore as far as the eye can reach ; and after driving through it for miles you come suddenly, at the end of an avenue of arching trees, upon the glistening, oily sea, with the orange-coloured sails of distant fishing-smacks shining in the sunlight.

Clarissa had a theory in those days—they had heaps of theories, always theories, as young people have. It was to explain the feeling of dissatisfaction; not knowing people; not being known. For how could they know each other? You met every day; then not for six months, or years. It was unsatisfactory, they agreed, how little one knew people. But she said, sitting on the bus going up Shaftesbury Avenue, she felt herself everywhere; not “here, here, here“; and she tapped the back of the seat; but everywhere. She waved her hand, going up Shaftesbury Avenue. She was all that. So that to know her, or any one, one must seek out the people who completed them; even the places. Odd affinities she had with people she had never spoken to, some woman in the street, some man behind a counter—even trees, or barns.

With a clamor of bells that set the swallows soaring, the Festival of Summer came to the city. Omelas, bright-towered by the sea. The rigging of the boats in harbor sparkled with flags. In the streets between houses with red roofs and painted walls, between old moss-grown gardens and under avenues of trees, past great parks and public buildings, processions moved. Some were decorous: old people in long stiff robes of mauve and grey, grave master workmen, quiet, merry women carrying their babies and chatting as they walked. In other streets the music beat faster, a shimmering of gong and tambourine, and the people went dancing, the procession was a dance.

Down the avenue of trees I can see a spot of sunlight. I’m trying so hard to get there.

I'm beginning to wonder about trees. Along avenues, on each side, they seem to curve, reach out to each other, or entwine...Whats that all about? - Who told them to do that?...

watching the full moon rise silently over the trees on one of those evenings, and how it beat a silver avenue across the water

Keys parachuted down into one of the exact seats he purchased that he and his father sat in as season ticket holders in the Old Barn on Grand River Avenue. Keys slipped his arm around the empty chair dressed with his father’s withering Tiger’s baseball cap, secured to the seat with a quarter inch drywall screw. Keys reflected upon his father, who chauffeured Keys and other players, every weekend, to a hockey tournament somewhere, “You know pop…every kid you gave a ride too game or practice, came to your funeral. When this hat falls away, no more screws, pop. I’m gonna branch out…make new friends. Soon as these gypsy moths get a hold of your precious, Old English “D”, here--turn your glory years, Kaline and Mclain into tree threads.

Old, yet beloved to my family, the cart is marked with the prints and sweat of our ancestors, who began our journeys in trade. I carry our world in this cart, wares we have taken ages to create. Foraging through earth and trees to source our natural ingredients. Wares I push with deep pride, along the sloping, uneven terrain. I can travel further with the cart and expand my avenues for trade.

she felt herself everywhere; not “here, here, here”; and she tapped the back of the seat; but everywhere. She waved her hand, going up Shaftesbury Avenue. She was all that. So that to know her, or any one, one must seek out the people who completed them; even the places. Odd affinities she had with people she had never spoken to, some woman in the street, some man behind a counter—even trees, or barns.

so dimly, so gradually, as I wandered along, that only when my home at last lay before me did I cry: ‘Now I know why I have been happy!’ How words weave spells! As I wrote of the avenue, it rose before my eyes – I can see it now, lined with great smooth-trunked trees whose branches meet far above me. The still air is flooded with peace, yet somehow expectant – as it seemed to me once when I was in King’s Crypt cathedral

Most of all, he was tired of being a holdout, a sole survivor, the last coconut hanging on the last palm tree on the last little atoll in the path of the great wave of late-modern capitalism, waiting to be hammered flat.

Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting.

Shortly before school started, I moved into a studio apartment on a quiet street near the bustle of the downtown in one of the most self-conscious bends of the world. The “Gold Coast” was a neighborhood that stretched five blocks along the lake in a sliver of land just south of Lincoln Park and north of River North. The streets were like fine necklaces and strung together were the brownstone houses and tall condominiums and tiny mansions like pearls, and when the day broke and the sun faded away, their lights burned like jewels shining gaudily in the night. The world’s most elegant bazaar, Michigan Avenue, jutted out from its eastern tip near The Drake Hotel and the timeless blue-green waters of Lake Michigan pressed its shores. The fractious make-up of the people that inhabited it, the flat squareness of its parks and the hint of the lake at the ends of its tree-lined streets squeezed together a domesticated cesspool of age and wealth and standing. It was a place one could readily dress up for an expensive dinner at one of the fashionable restaurants or have a drink miles high in the lounge of the looming John Hancock Building and five minutes later be out walking on the beach with pants cuffed and feet in the cool water at the lake’s edge.

Archy was tired of Nat, and he was tired of Gwen and of her pregnancy with all the unsuspected depths of his insufficiency that it threatened to reveal. He was tired of Brokeland, and of black people, and of white people, and of all their schemes and grudges, their frontings, hustles and corruptions. Most of all, he was tired of being a holdout, a sole survivor, the last coconut hanging on the last palm tree on the last atoll in the path of the great wave of late-modern capitalism, waiting to be hammered flat.

Do you know where a story is going when you start writing, or do you let the story take control and see where it takes you? This answer deserves one sentence or an essay! I’ll try to summarize it like this: writing, for me, is a little like wood carving. You find the lump of tree (the big central theme that gets you started) and you start cutting the shape that you think you want it to be. But you find, if you do it right, that the wood has a grain of its own (characters develop and present new insights, concentrated thinking about the story opens new avenues). If you’re sensible, you work with the grain and, if you come across a knot hole, you incorporate that into the design. This is not the same as “making it up as you go along”; it’s a very careful process of control.

Sometimes, in the evenings, a damp, gritty wind blew in the windows from Park Avenue, just as the rush hour traffic was thinning and the city was emptying for the night; it was rainy, trees leafing out, spring deepening into summer; and the forlorn cry of horns on the street, the dank smell of the wet pavement had an electricity about it, a sense of crowds and static, lonely secretaries and fat guys with bags of carry-out, everywhere the ungainly sadness of creatures pushing and struggling to live. For weeks, I’d been frozen, sealed-off; now, in the shower, I would turn up the water as hard as it would go and howl, silently. Everything was raw and painful and confusing and wrong and yet it was as if I’d been dragged from freezing water through a break in the ice, into sun and blazing cold.

potatoes, melons, and fruit trees in the long backyards behind their houses. He gave out seeds and bulbs. The town came to life. The Rosetans began raising pigs in their backyards and growing grapes for homemade wine. Schools, a park, a convent, and a cemetery were built. Small shops and bakeries and restaurants and bars opened along Garibaldi Avenue. More than a dozen factories sprang up making blouses for the garment trade. Neighboring Bangor was largely Welsh and English, and the next town over was overwhelmingly German, which meant—given

Do you have any idea why you might be feeling better?” “No, not really,” I said curtly. Better wasn’t even the word for how I felt. There wasn’t a word for it. It was more that things too small to mention—laughter in the hall at school, a live gecko scurrying in a tank in the science lab—made me feel happy one moment and the next like crying. Sometimes, in the evenings, a damp, gritty wind blew in the windows from Park Avenue, just as the rush hour traffic was thinning and the city was emptying for the night; it was rainy, trees leafing out, spring deepening into summer; and the forlorn cry of horns on the street, the dank smell of the wet pavement had an electricity about it, a sense of crowds and static, lonely secretaries and fat guys with bags of carry-out, everywhere the ungainly sadness of creatures pushing and struggling to live. For weeks, I’d been frozen, sealed-off; now, in the shower, I would turn up the water as hard as it would go and howl, silently. Everything was raw and painful and confusing and wrong and yet it was as if I’d been dragged from freezing water through a break in the ice, into sun and blazing cold.

From a Berkeley Notebook' ~Denis Johnson One changes so much from moment to moment that when one hugs oneself against the chill air at the inception of spring, at night, knees drawn to chin, he finds himself in the arms of a total stranger, the arms of one he might move away from on the dark playground. Also, it breaks the heart that the sign revolving like a flame above the gas station remembers the price of gas, but forgets entirely this face it has been looking at all day. And so the heart is exhausted that even the face of the dismal facts we wait for the loves of the past to come walking from the fire, the tree, the stone, tangible and unchanged and repentant but what can you do. Half the time I think about my wife and child, the other half I think how to become a citizen with an apartment, and sex too is quite on my mind, though it seems the women have no time for you here, for which in my larger, more mature moments I can’t blame them. These are the absolute Pastures I am led to: I am in Berkeley, California, trapped inside my body, I am the secret my body is going to keep forever, as if its secret were merely silence. It lies between two mistakes of the earth, the San Andreas and Hayward faults, and at night from the hill above the stadium where I sleep, I can see the yellow aurora of Telegraph Avenue uplifted by the holocaust. My sleeping bag has little cowboys lassoing bulls embroidered all over its pastel inner lining, the pines are tall and straight, converging in a sort of roof above me, it’s nice, oh loves, oh loves, why aren’t you here? Morgan, my pyjamas are so lonesome without the orangutans—I write and write, and transcend nothing, escape nothing, nothing is truly born from me, yet magically it’s better than nothing—I know you must be quite changed by now, but you are just the same, too, like those stars that keep shining for a long time after they go out—but it’s just a light they touch us with this evening amid the fine rain like mist, among the pines.

The fog was back. It seeped in through the streets, from the cracks around the closed windows behind the trees in the avenue, out of the blue door which opened after they had heard Weber’s abrupt bark over the intercom, and out through the keyholes in the doors they passed on the way upstairs.

December 1931 was drawing to a close and Hollywood was aglow with Christmas spirit, undaunted by sizzling sunshine, palm trees, and the dry encircling hills that would never feel the kiss of snow. But the “Know-how” that would transform the Chaplin studio in the frozen Chilkoot Pass could easily achieve a white Christmas. In Wilson’s Rolls-Royce convertible, we drove past Christmas trees heavy with fake snow. An entire estate on Fairfax Avenue had been draped in cotton batting; carolers straight out of Dickens were at its gate, perspiring under mufflers and greatcoats. The street signs on Hollywood Boulevard had been changed to Santa Claus Lane. They drooped with heavy glass icicles. A parade was led by a band blaring out “Santa Claus is Coming to Town,” followed by Santa driving a sleigh. But Hollywood granted Santa the extra dimension of a Sweetheart and seated beside him was Clara Bow (or was it Mabel Normand?)

Pan and the Cherries I RECOGNIZED him by his skips and hops, And by his hair I knew that he was Pan. Through sunny avenues he ran, And leapt for cherries to the red tree-tops. Upon his fleece were pearling water drops Like little silver stars. How pure he was! And this was when my spring was arched with blue. Now, seeing a cherry of a smoother gloss, He seized it, and bit the kernel from the pulp. I watched him with great joy ... I came anigh ... He spat the kernel straight into my eye. I ran to kill Pan with my knife! He stretched his arm out, swirled-- And the whole earth whirled! Let us adore Pan, god of all the world!

Before I opened my computer in the parking lot today, I relived one of my favorite memories. It's the one with Woody and me sitting on the steps of the Metropolitan Museum after it's closed. We're watching people parade out of the museum in summer shorts and sandals. The trees to the south are planted in parallel lines. The water in the fountain shoots up with a mist that almost reaches the steps we sit on. We look at silver-haired ladies in red-and-white-print dresses. We separate the mice from the men, the tourists from the New Yorkers, the Upper East Siders from the West Siders. The hot-pretzel vendor sells us a wad of dough in knots with clumps of salt stuck on top. We make our usual remarks about the crazies and wonder what it would be like to live in a penthouse apartment on Fifth Avenue overlooking the Met. We laugh and say the same things we always say. We hold hands and keep sitting, just sitting, as the sun beings to set. It's a perfect afternoon.

We became six people at a table in Hampton Court. We rose and walked together down the avenue. In the thin, the unreal twilight, fitfully like the echo of voices laughing down some alley, geniality returned to me and flesh. Against the gateway, against some cedar tree I saw blaze bright, Neville, Jinny, Rhoda, Louis, Susan and myself, our life, our identity. Still King William seemed an unreal monarch and his crown mere tinsel. But we – against the brick, against the branches, we six, out of how many million millions, for one moment out of what measureless abundance of past time and time to come, burnt there triumphant. The moment was all; the moment was enough.

Trexler knew what he wanted, and what, in general, all men wanted; and he was glad, in a way, that it was both inexpressible and unattainable, and that it wasn't a wing. He was satisfied to remember that it was deep, formless, enduring and impossible of fulfillment, and that it made men sick, and that when you sauntered along Third Avenue and looked through the doorways into the dim saloons, you could sometimes pick out from the unregenerate ranks the ones who had not forgotten, gazing steadily into the bottoms of their glasses on the long chance that they could get another little peek at it. Trexler found himself renewed by the remembrance that what he wanted was at once great and microscopic, and that although it borrowed from the nature of large deeds and of youthful love and of old songs and early intimations, it was not any one of these things, and that it had not been isolated or pinned down, and that a man who attempted to define it in the privacy of a doctor's office would fall flat on his face.

Before us, the moonlight lay upon the tumbled desolation of sand that had once been the brilliant capital of a pharaoh. For a moment I had a vision; I seemed to see the ruined walls rise up again, the stately villas in their green groves and gardens, the white walls of the temples, adorned with brilliantly painted reliefs, the flash of gold-tipped flagstaffs, with crimson pennants flying the breeze. The wide, tree-lined avenues were filled with a laughing throng of white-clad worshipers, going to the temple, and before them all raced the golden chariot of the king, drawn by matched pair of snow-white horses…. Gone. All gone, into the dust to which we must all descend when our hour comes. “Well?

All at once Sherman was aware of a figure approaching him on the sidewalk, in the wet black shadows of the town houses and the trees. Even from fifty feet away, in the darkness, he could tell. It was that deep worry that lives in the base of the skull of every resident of Park Avenue south of Ninety-sixth Street—a black youth, tall, rangy, wearing white sneakers. Now he was forty feet away, thirty-five. Sherman stared at him. Well, let him come! I’m not budging! It’s my territory! I’m not giving way for any street punks! The black youth suddenly made a ninety-degree turn and cut straight across the street to the sidewalk on the other side. The feeble yellow of a sodium-vapor streetlight reflected for an instant on his face as he checked Sherman out. He had crossed over! What a stroke of luck! Not once did it dawn on Sherman McCoy that what the boy had seen was a thirty-eight-year-old white man, soaking wet, dressed in some sort of military-looking raincoat full of straps and buckles, holding a violently lurching animal in his arms, staring, bug-eyed, and talking to himself.

On our block, everybody knows me and I know everybody. I know every brick and every tree trunk and every crack in the sidewalk. I know Mrs. Grimaldi, the lady who's always sitting by her window, and the old guy who walks up and down the street whistling like a bird. I know the deli on the corner where Mom gets our bagels, and the waitresses at the coffee shop who all call me "honey" and give me lollipops whenever they see me. I love my neighborhood of North River Heights, which is why it was so strange to be walking down these blocks feeling like it was all new to me suddenly. Amesfort Avenue, a street I've been down a million times, looked totally different for some reason. Full of people I never saw before, waiting for buses, pushing strollers

They drank from a spring which filled an ancient stone trough behind the ruin. Beyond it lay overgrown beds and plants John had never set eyes on before: tall resinous fronds, prickly shrubs, long grey-green leaves hot to the tongue. Nestling among them he found the root whose scent drifted among the trees like a ghost, sweet and tarry. He knelt and pressed it to his nose. 'That was called silphium.' His mother stood behind him. 'It grew in Saturnus's first garden.' She showed him the most ancient trees in the orchards, their gnarled trunks cloaked in grey lichen. Palm trees had grown there too once, she claimed. Now even their stumps had gone. Each day, John left the hearth to forage in the wreckage of Belicca's gardens. His nose guided him through the woods. Beyond the chestnut avenue, the wild skirrets, alexanders and broom grew in drifts. John chased after rabbits or climbed trees in search of birds' eggs. He returned with mallow seeds or chestnuts that they pounded into meal then mixed with water and baked on sticks. The unseasonal orchards yielded tiny red and gold-streaked apples, hard green pears and sour yellow cherries.

The "Avenue," so called by the Newbridge people, was a stretch of road four or five hundred yards long, completely arched over with huge, wide-spreading apple-trees, planted years ago by an eccentric old farmer. Overhead was one long canopy of snowy fragrant bloom. Below the boughs the air was full of a purple twilight and far ahead a glimpse of painted sunset sky shone like a great rose window at the end of a cathedral aisle. Its beauty seemed to strike the child dumb. She leaned back in the buggy, her thin hands clasped before her, her face lifted rapturously to the white splendor above. Even when they had passed out and were driving down the long slope to Newbridge she never moved or spoke. Still with rapt face she gazed afar into the sunset west, with eyes that saw visions trooping splendidly across that glowing background. Through Newbridge, a bustling little village where dogs barked at them and small boys hooted and curious faces peered from the windows, they drove, still in silence. When three more miles had dropped away behind them the child had not spoken. She could keep silence, it was evident, as energetically as she could talk.

For Hindus, banyan trees are sacred. For Buddhists, bodhi trees; for the Arabs, certain date palms. To be stalwart in a ‘tree-like’ way was to approach goodness, according to Confucius. The Normans built chapels in the trunks of yew trees. Many other cultures attached religious significance to particular trees and groves and forests. Adonis was born of a tree. Daphne turned into one. George Washington confessed to cutting one down and the United States, as a result, was all but immaculately conceived. The tree is the symbol of the male organ and of the female body. The Hebrew kabbalah depicts Creation in the form of a tree. In Genesis, a tree holds the key to immortal life, and it is to the branches and fruit of an olive tree that God’s people are likened in both the Old and New Testaments. To celebrate the birth of Christ his followers place trees in their sitting rooms and palm fronds, a symbol of victory, commemorate his entering Jerusalem. A child noted by Freud had fantasies of wounding a tree that represented his mother. The immortal swagman of Australia sat beneath a coolabah tree. In hundreds of Australian towns the war dead are honoured by avenues of trees.

Then she got into her van again and headed on to Foster Avenue, taking the long way along the Goatstown Road so she could see her favorite tree, a rare magnolia Genie that had taken over the entire garden of a suburban house. The tree was ugly in winter, a tangle of twisting branches like scrawny limbs, but in March it was covered in heart-stoppingly lovely pink and cream flowers the size of teacups.

Martin got up and brushed off the seat of his pants with his hat. He put his hat on his head and started back toward the path. For when you woke from a long dream, into the new morning, then try as you might you couldn't not hear, beyond your door, the sounds of the new day, the drawer opening in your father's bureau, the bang of a pot, you couldn't not see, through your trembling lashes, the stripe of light on the bedroom wall. Boys shouted in the park, on a sunny tree-root he saw a cigar band, red and gold. One of these days he might find something to do in a cigar store, after all he still knew his tobacco, you never forgot a thing like that. But not just yet. Boats moved on the river, somewhere a car horn sounded, on the path a piece of broken glass glowed in a patch of sun as if at any second it would burst into flame. Everything stood out sharply: the red stem of a green leaf, horse clops and the distant clatter of a pneumatic drill, a smell of riverwater and asphalt. Martin felt hungry: chops and beer in a little he remembered on Columbus Avenue. But not yet. For the time being he would just walk along, keeping a little out of the way of things, admiring the view. It was a warm day. He was in no hurry.

One morning she at last succeeded in helping him to the foot of the steps, trampling down the grass before him with her feet, and clearing a way for him through the briars, whose supple arms barred the last few yards. Then they slowly entered the wood of roses. It was indeed a very wood, with thickets of tall standard roses throwing out leafy clumps as big as trees, and enormous rose bushes impenetrable as copses of young oaks. Here, formerly, there had been a most marvellous collection of plants. But since the flower garden had been left in abandonment, everything had run wild, and a virgin forest had arisen, a forest of roses over-running the paths, crowded with wild offshoots, so mingled, so blended, that roses of every scent and hue seemed to blossom on the same stem. Creeping roses formed mossy carpets on the ground, while climbing roses clung to others like greedy ivy plants, and ascended in spindles of verdure, letting a shower of their loosened petals fall at the lightest breeze. Natural paths coursed through the wood — narrow footways, broad avenues, enchanting covered walks in which one strolled in the shade and scent. These led to glades and clearings, under bowers of small red roses, and between walls hung with tiny yellow ones. Some sunny nooks gleamed like green silken stuff embroidered with bright patterns; other shadier corners offered the seclusion of alcoves and an aroma of love, the balmy warmth, as it were, of a posy languishing on a woman’s bosom. The rose bushes had whispering voices too. And the rose bushes were full of songbirds’ nests. ‘We must take care not to lose ourselves,’ said Albine, as she entered the wood. ‘I did lose myself once, and the sun had set before I was able to free myself from the rose bushes which caught me by the skirt at every step.’ They had barely walked a few minutes, however, before Serge, worn out with fatigue, wished to sit down. He stretched himself upon the ground, and fell into deep slumber. Albine sat musing by his side. They were on the edge of a glade, near a narrow path which stretched away through the wood, streaked with flashes of sunlight, and, through a small round blue gap at its far end, revealed the sky. Other little paths led from the clearing into leafy recesses. The glade was formed of tall rose bushes rising one above the other with such a wealth of branches, such a tangle of thorny shoots, that big patches of foliage were caught aloft, and hung there tent-like, stretching out from bush to bush. Through the tiny apertures in the patches of leaves, which were suggestive of fine lace, the light

was virtually certain of that. As the coach drew into St. Giles’, the sky was an open blue, and the sunlight gleamed on the cinnamon-coloured stone along the broad tree-lined avenue. “Here we are, in St. Giles.’ ” (Ashenden slipped into over-drive now.) “You can see the plane trees on either side of us, ablaze with the beautifully golden tints of autumn—and, on the left here, St. John’s College—and Balliol just beyond. And here in front of us, the famous Martyrs’ Memorial, modelled on the Eleanor Crosses of Edward the First, and designed by Gilbert Scott to honour the great Protestant martyrs—Cranmer and Latimer and, er …” “Nicholas Ridley,” supplied Mrs. Roscoe, as the coach turned right at the traffic lights and almost immediately pulled in on the left of Beaumont Street beneath the tall neo-Gothic façade of The Randolph Hotel. “At last!” cried Laura Stratton, with what might have been

He said that death marks places like a dog marking its territory. Some people can sense it right away, while others simply start to feel uncomfortable after a time. Every stay in any place betrays the quiet ubiquitousness of the dead. As he said: ‘At first you always see what’s alive and vibrant. You’re delighted by nature, by the local church painted in different colours, by the smells and all that. But the longer you’re in a place, the more the charm of those things fades. You wonder who lived here before you came to this home and this room, whose things these are, who scratched the wall above the bed and what tree the sills were cut from. Whose hands built the elaborately decorated fireplace, paved the courtyard? And where are they now? In what form? Whose idea led to these paths around the pond and who had the idea of planting a willow out the window? All the houses, avenues, parks, gardens and streets are permeated with the deaths of others. Once you start feeling this, something starts to pull you elsewhere, you start to think it’s time to move on.’ He added that when we are in motion, there’s no time for such idle meditations. Which is why to people on trips everything seems new and clean, virginal, and, in some sense, immortal.

Astarte has come again, more powerful than before. She possesses me. She lies in wait for me. December 97 My cruelty has also returned: the cruelty which frightens me. It lies dormant for months, for years, and then all at once awakens, bursts forth and - once the crisis is over - leaves me in mortal terror of myself. Just now in the avenue of the Bois, I whipped my dog till he bled, and for nothing - for not coming immediately when I called! The poor animal was there before me, his spine arched, cowering close to the ground, with his great, almost human, eyes fixed on me... and his lamentable howling! It was as though he were waiting for the butcher! But it was as if a kind of drunkenness had possessed me. The more I struck out the more I wanted to strike; every shudder of that quivering flesh filled me with some incomprehensible ardour. A circle of onlookers formed around me, and I only stopped myself for the sake of my self-respect. Afterwards, I was ashamed. I am always ashamed of myself nowadays. The pulse of life has always filled me with a peculiar rage to destroy. When I think of two beings in love, I experience an agonising sensation; by virtue of some bizarre backlash, there is something which smothers and oppresses me, and I suffocate, to the point of anguish. Whenever I wake up in the middle of the night to the muted hubbub of bumps and voices which suddenly become perceptible in the dormant city - all the cries of sexual excitement and sensuality which are the nocturnal respiration of cities - I feel weak. They rise up around me, submerging me in a sluggish flux of embraces and a tide of spasms. A crushing weight presses down on my chest; a cold sweat breaks out on my brow and my heart is heavy - so heavy that I have to get up, run bare-foot and breathless, to my window, and open both shutters, trying desperately to breathe. What an atrocious sensation it is! It is as if two arms of steel bear down upon my shoulders and a kind of hunger hollows out my stomach, tearing apart my whole being! A hunger to exterminate love. Oh, those nights! The long hours I have spent at my window, bent over the immobile trees of the square and the paving-stones of the deserted street, on watch in the silence of the city, starting at the least noise! The nights I have passed, my heart hammering in anguish, wretchedly and impatiently waiting for my torment to consent to leave me, and for my desire to fold up the heavy wings which beat inside the walls of my being like the wings of some great fluttering bird! Oh, my cruel and interminable nights of impotent rebellion against the rutting of Paris abed: those nights when I would have liked to embrace all the bodies, to suck in all the breaths and sup all the mouths... those nights which would find me, in the morning, prostrate on the carpet, scratching it still with inert and ineffectual fingers... fingers which never know anything but emptiness, whose nails are still taut with the passion of murder twenty-four hours after the crises... nails which I will one day end up plunging into the satined flesh of a neck, and... It is quite clear, you see, that I am possessed by a demon... a demon which doctors would treat with some bromide or with all-healing sal ammoniac! As if medicines could ever be imagined to be effective against such evil!

Not only did I no longer feel the anxious dread of isolation which had gripped my heart the first evening, I had no longer any need to fear its reawakening, nor to feel myself a stranger or alone in this land productive not only of chestnut trees and tamarisks, but of friendships which from beginning to end of the journey formed a long chain, interrupted like that of the blue hills, hidden here and there in the anfractuosity of the rock or behind the lime trees of the avenue, but delegating at each stage an amiable gentleman who came to interrupt my course with a cordial handclasp, to prevent me from feeling it too long, to offer if need be to continue the journey with me

My earliest recollections of a school-life, are connected with a large, rambling, Elizabethan house, in a misty-looking village of England, where were a vast number of gigantic and gnarled trees, and where all the houses were excessively ancient. In truth, it was a dream-like and spirit-soothing place, that venerable old town. At this moment, in fancy, I feel the refreshing chilliness of its deeply-shadowed avenues, inhale the fragrance of its thousand shrubberies, and thrill anew with undefinable delight, at the deep hollow note of the church-bell, breaking, each hour, with sullen and sudden roar, upon the stillness of the dusky atmosphere in which the fretted Gothic steeple lay imbedded and asleep.

Only last Sunday, when poor wretches were gay—within the walls playing with children among the clipped trees and the statues in the Palace Garden; walking, a score abreast, in the Elysian Fields, made more Elysian by performing dogs and wooden horses; between whiles filtering (a few) through the gloomy Cathedral of Our Lady to say a word or two at the base of a pillar within flare of a rusty little gridiron-full of gusty little tapers; without the walls encompassing Paris with dancing, love-making, wine-drinking, tobacco-smoking, tomb-visiting, billiard card and domino playing, quack-doctoring, and much murderous refuse, animate and inanimate—only last Sunday, my Lady, in the desolation of Boredom and the clutch of Giant Despair, almost hated her own maid for being in spirits. She cannot, therefore, go too fast from Paris. Weariness of soul lies before her, as it lies behind—her Ariel has put a girdle of it round the whole earth, and it cannot be unclasped—but the imperfect remedy is always to fly from the last place where it has been experienced. Fling Paris back into the distance, then, exchanging it for endless avenues and cross-avenues of wintry trees! And, when next beheld, let it be some leagues away, with the Gate of the Star a white speck glittering in the sun, and the city a mere mound in a plain—two dark square towers rising out of it, and light and shadow descending on it aslant, like the angels in Jacob's dream!

I took my solo and beat hell out of the skins. Then Spoof swiped at his mouth and let go with a blast and moved it up into that squeal and stopped and started playing. It was all headwork. All new to us. New to anybody. I saw Sonny get a look on his face, and we sat still and listened while Spoof made love to that horn. Now like a scream, now like a laugh - now we're swinging in the trees, now the white men are coming, now we're in the boat and chains are hanging from our ankles and we're rowing, rowing - Spoof, what is it? - now we're sawing wood and picking cotton and serving up those cool cool drinks to the Colonel in his chair - Well, blow, man! - now we're free, and we're struttin' down Lenox Avenue and State & Madison and Pirate's Alley, laughing, crying - Who said free? - and we want to go back and we don't want to go back - Play it, Spoof! God, God, tell us all about it! Talk to us! - and we're sitting in a cellar with a comb wrapped up in paper, with a skin-barrel and a tinklebox - Don't stop, Spoof! Oh Lord, please don't stop! - and we're making something, something, what is it? Is it jazz? Why, yes, Lord, it's jazz. Thank you, sir, and thank you, sir, we finally got it, something that is ours, something great that belongs to us and to us alone, that we made, and that's why it's important and that's what it's all about and - Spoof! Spoof, you can;t stop now -- But it was over, middle of the trip. And there was Spoof standing there facing us and tears streaming out of those eyes and down over that coaldust face, and his body shaking and shaking. It's the first we ever saw that. It's the first we ever heard him cough, too - like a shotgun going off every two seconds, big raking sounds that tore up from the bottom of his belly and spilled out wet and loud. ("Black Country")

Cairo: the future city, the new metropole of plants cascading from solar-paneled roofs to tree-lined avenues with white washed facades abut careful restorations and integrated innovations all shining together in a chorus of new and old. Civil initiatives will soon find easy housing in the abandoned architectural prizes of Downtown, the river will be flooded with public transportation, the shaded spaces underneath bridges and flyovers will flower into common land connected by tramways to dignified schools and clean hospitals and eclectic bookshops and public parks humming with music in the evenings. The revolution has begun and people, every day, are supplanting the regime with their energy and initiative in this cement super colony that for decades of state failure has held itself together with a collective supraintelligence keeping it from collapse. Something here, in Cairo's combination of permanence and piety and proximity, bound people together.

longer; it cannot deceive them too much." Madame Defarge looked superciliously at the client, and nodded in confirmation. "As to you," said she, "you would shout and shed tears for anything, if it made a show and a noise. Say! Would you not?" "Truly, madame, I think so. For the moment." "If you were shown a great heap of dolls, and were set upon them to pluck them to pieces and despoil them for your own advantage, you would pick out the richest and gayest. Say! Would you not?" "Truly yes, madame." "Yes. And if you were shown a flock of birds, unable to fly, and were set upon them to strip them of their feathers for your own advantage, you would set upon the birds of the finest feathers; would you not?" "It is true, madame." "You have seen both dolls and birds to-day," said Madame Defarge, with a wave of her hand towards the place where they had last been apparent; "now, go home!" XVI. Still Knitting Madame Defarge and monsieur her husband returned amicably to the bosom of Saint Antoine, while a speck in a blue cap toiled through the darkness, and through the dust, and down the weary miles of avenue by the wayside, slowly tending towards that point of the compass where the chateau of Monsieur the Marquis, now in his grave, listened to the whispering trees. Such ample leisure had the stone faces, now, for listening to the trees and to the fountain, that the few village scarecrows who, in their quest for herbs to eat and fragments of dead stick to burn, strayed within sight of the great stone courtyard and terrace staircase, had it borne in upon their starved fancy that the expression of the faces was altered. A rumour just lived in the village—had a faint and bare existence there, as its people had—that when the knife struck home, the faces changed, from faces of pride to faces of anger and pain; also, that when that dangling figure was hauled up forty feet above the fountain, they changed again, and bore a cruel look of being avenged, which they would henceforth bear for ever. In the stone face over the great window of the bed-chamber where the murder was done, two fine dints were pointed out in the sculptured nose, which everybody recognised, and which nobody had seen of old; and on the scarce occasions when two or three ragged peasants emerged from the crowd to take a hurried peep at Monsieur the Marquis petrified, a skinny finger would not have pointed to it for a minute, before they all started away among the moss and leaves, like the more fortunate hares who could find a living there. Chateau and hut, stone face and dangling figure, the red stain on the stone floor, and the pure water in the village well—thousands of acres of land—a whole province of France—all France itself—lay under the night sky, concentrated into a faint hair-breadth line. So does a whole world, with all its greatnesses and littlenesses, lie in a twinkling star. And as mere human knowledge can split a ray of light and analyse the manner of its composition, so, sublimer intelligences may read in the feeble shining of this earth of ours, every thought and act, every vice and virtue, of every responsible

Hang on, Levon,” said Elf. “Hang on. Are you saying you want to sack Griff because his brother just died in a horrific car crash and he’s too full of grief to play? Seriously?” “I am laying out the facts. Because somebody has to. Or there is no band. Of course we give Griff time. Of course. But you heard Griff. You saw him. It is entirely possible he won’t be back.” “Drummers like Griff don’t grow on trees,” said Elf. “You think I don’t know that?” asked Levon. “I chose him! But a drummer who can’t drum isn’t a drummer. Jasper. Speak.” Jasper drew a spiral on the steamy glass. “Eight days.” “Speak English, not Cryptic Crossword. Please. I have a headache as big as East Anglia.” “My Dutch grandfather used to say, ‘If you don’t know what to do, do nothing for eight days.’ ” Dean asked, “Why eight?” “Less than eight is haste. More than eight is procrastination. Eight days is long enough for the world to shuffle the deck and deal you another hand.” Without warning, the train shuddered into motion. The passengers raised a weary ironic cheer.

Darwin’s transcendantly democratic insight that all humans are descended from the same non-human ancestors, that we are all members of one family, is inevitably distorted when viewed with the impaired vision of a civilization permeated by racism. White supremacists seized on the notion that people with high abundances of melanin in their skin must be closer to our primate relatives than bleached people. Opponents of bigotry, perhaps fearing that there might be a grain of truth in this nonsense, were just as happy not to dwell on our relatedness to the apes. But both points of view are located on the same continuum: the selective application of the primate connection to the veldt and the ghetto, but never, ever, perish the thought, to the boardroom or the military academy or, God forbid, to the Senate chamber or the House of Lords, to Buckingham Palace or Pennsylvania Avenue. This is where the racism comes in, not in the inescapable recognition that, for better or worse, we humans are just a small twig on the vast and many-branched tree of life.

The morning after / my death” The morning after my death we will sit in cafés but I will not be there I will not be * There was the great death of birds the moon was consumed with fire the stars were visible until noon. Green was the forest drenched with shadows the roads were serpentine A redwood tree stood alone with its lean and lit body unable to follow the cars that went by with frenzy a tree is always an immutable traveller. The moon darkened at dawn the mountain quivered with anticipation and the ocean was double-shaded: the blue of its surface with the blue of flowers mingled in horizontal water trails there was a breeze to witness the hour * The sun darkened at the fifth hour of the day the beach was covered with conversations pebbles started to pour into holes and waves came in like horses. * The moon darkened on Christmas eve angels ate lemons in illuminated churches there was a blue rug planted with stars above our heads lemonade and war news competed for our attention our breath was warmer than the hills. * There was a great slaughter of rocks of spring leaves of creeks the stars showed fully the last king of the Mountain gave battle and got killed. We lay on the grass covered dried blood with our bodies green blades swayed between our teeth. * We went out to sea a bank of whales was heading South a young man among us a hero tried to straddle one of the sea creatures his body emerged as a muddy pool as mud we waved goodbye to his remnants happy not to have to bury him in the early hours of the day We got drunk in a barroom the small town of Fairfax had just gone to bed cherry trees were bending under the weight of their flowers: they were involved in a ceremonial dance to which no one had ever been invited. * I know flowers to be funeral companions they make poisons and venoms and eat abandoned stone walls I know flowers shine stronger than the sun their eclipse means the end of times but I love flowers for their treachery their fragile bodies grace my imagination’s avenues without their presence my mind would be an unmarked grave. * We met a great storm at sea looked back at the rocking cliffs the sand was going under black birds were leaving the storm ate friends and foes alike water turned into salt for my wounds. * Flowers end in frozen patterns artificial gardens cover the floors we get up close to midnight search with powerful lights the tiniest shrubs on the meadows A stream desperately is running to the ocean The Spring Flowers Own & The Manifestations of the Voyage (The Post-Apollo Press, 1990)

After my return to Paris, one thing seemed obvious: To see Manhattan again, to feel as good about New York as Liza Minnelli sounded singing about it at Giants Stadium in 1986 (Google it), I had to start treating it as if it were a foreign city; to bring a reporter's eye and habits, care, and attention to daily life. But as that was the sort of vague self-directive easily ignored, I gave myself a specific assignment: Once a week, during routine errands, I would try something new or go someplace I hadn't been in a long while. It could be as quick as a walk past the supposedly haunted brownstone at 14 West 10th Street, where former resident Mark Twain is said to be among the ghosts. It could a stroll on the High Line, the elevated park with birch trees and long grasses growing where freight trains used to roll. Or it could be a snowy evening visit to the New York Public Library's Beaux-Arts flagship on Fifth Avenue, where Pamuk wrote the first sentence of The Museum of Innocence. There I wandered past white marble walls and candelabras, under chandeliers and ornate ceiling murals, through the room with more than ten thousand maps of my city, eventually taking a seat at a communal wood table to read a translation of Petrarch's Life of Solitude, to rare to be lent out. Tourist Tuesdays I called these outings, to no one but myself.

and these he concluded had probably been made by Jane Clayton's abductors. It had only been to minimize the chance of error by the process of elimination that he had carefully reconnoitered every other avenue leading from A-lur toward the southeast where lay Mo-sar's city of Tu-lur, and now he followed the trail to the shores of Jad-ben-lul where the party had embarked upon the quiet waters in their sturdy canoes. He found many other craft of the same description moored along the shore and one of these he commandeered for the purpose of pursuit. It was daylight when he passed through the lake which lies next below Jad-ben-lul and paddling strongly passed within sight of the very tree in which his lost mate lay sleeping. Had the gentle wind that caressed the bosom of the lake been blowing from a southerly direction the giant ape-man and Jane Clayton would have been reunited then, but an unkind fate had willed otherwise and the opportunity passed with the passing of his canoe which presently his powerful strokes carried out of sight into the stream at the lower end of the lake. Following the winding river which bore a considerable distance to the north before doubling back to empty into the Jad-in-lul, the ape-man missed a portage that would have saved him hours of paddling. It was at the upper end of this portage where Mo-sar and his warriors had debarked that the chief discovered the absence of his captive

I seem to remember carrying him that evening to the window with uncommon tenderness (following the setting sun that was to take him away), and telling him with not unnatural bitterness that he had got to leave me because another child was in need of all his pretty things; and as the sun, his true father, lapt him in its dancing arms, he sent his love to a lady of long ago whom he called by the sweetest of names, not knowing in his innocence that the little white birds are the birds that never have a mother. I wished (so had the phantasy of Timothy taken possession of me) that before he went he could have played once in the Kensington Gardens, and have ridden on the fallen trees, calling gloriously to me to look; that he could have sailed on paper-galleon on the Round Pond; fain would I have had him chase one hoop a little way down the laughing avenues of childhood, where memory tells us we run but once, on a long summer-day, emerging at the other end as men and women with all the fun to pay for; and I think (thus fancy wantons with me in these desolate champers) he knew my longings, and said with a boy-like flush that the reason he never did these things was not that he was afraid, for he would have loved to do them all, but because he was not quite like other boys; and, so saying, he let go my finger and faded from before my eyes into another and olden ether; but I shall ever hold that had he been quite like the other boys there would have been none braver than my Timothy

Clarissa once, going on top of an omnibus with him somewhere, Clarissa superficially at least, so easily moved, now in despair, now in the best of spirits, all aquiver in those days and such good company, spotting queer little scenes, names, people from the top of a bus, for they used to explore London and bring back bags full of treasures from the Caledonian market – Clarissa had a theory in those days – they had heaps of theories, always theories, as young people have. It was to explain the feeling they had of dissatisfaction; not knowing people; not being known. For how could they know each other? You met every day; then not for six months, or years. It was unsatisfactory, they agreed, how little one knew people. But she said, sitting on the bus going up Shaftesbury Avenue, she felt herself everywhere; not 'here, here, here'; and she tapped the back of the seat; but everywhere. She waved her hand, going up Shaftesbury Avenue. She was all that. So that to know her, or anyone, one must seek out the people who completed them; even the places. Odd affinities she had with people she had never spoken to, some woman in the street, some man behind a counter – even trees, or barns. It ended in a transcendental theory which, with her horror of death, allowed her to believe, or say that she believed (for all her scepticism), that since our apparitions, the part of us which appears, are so momentary compared with the other, the unseen part of us, which spreads wide, the unseen might survive, be recovered somehow attached to this person or that, or even haunting certain places, after death. Perhaps – perhaps.

It was clear just how much Tommy loved the city. New York City. The CKY Grocery on Amsterdam had giant, bright red Spartan apples every day of the year, even if it wasn’t the right season. He loved that grocery, and the old, shaky Persian man who owned it. Tommy emphatically, yet erroneously believed that the CKY Grocery was the genuine heart of the great city. All five boroughs embodied distinct feelings for him, but there was only one that he’d ever truly romanticized. To him, Manhattan was the entire world. He loved everything between the East River and the Hudson; from the Financial District up to Harlem; from Avenue A to Zabar’s. He loved the four seasons, although autumn was easily the most anticipated. To Tommy, Central Park’s bright, almost copper hues in the fall were the epitome of orange. He loved the unique perfume of deli meats and subway steam. He loved the rain with such verve that every time it so much as drizzled, he would turn to the sky so he could feel the drops sprinkle onto his teeth. Because every raindrop that hit him had already experienced that much envied journey from the tips of the skyscrapers all the way down to the cracked and foot-stamped sidewalks. He believed every inch of the city had its own predetermined genre of music that suited it to a tee. The modal jazz of Miles Davis and Wayne Shorter was absolutely meant for the Upper East Side, north of 61st Street. Precisely between Gershwin and gospel. He loved the view from his apartment, even if it was just the leaves of the tree outside in July or the thin shadows of its bare branches crawling along the plain brick wall in January. Tommy loved his career. He loved his friends. And he loved that first big bite of apple I watched him take each and every morning. Everything was perfect in the city, and as long as things remained the way he wanted them to, Tommy would continue to love the city forever. Which is exactly why his jaw dropped when he opened the letter he found in his mailbox that morning. The first bite of still un-chewed apple fell out of his mouth and firmly planted itself within the crack of that 113th Street sidewalk.

At first piecemeal, then point-blank, he let his attention be drawn to a little scene that was being acted out sublimely, unhampered by writers and directors and producers, five stories below the window and across the street. A fair-sized maple tree stood in front of the girls' private school--one of four or five trees on that fortunate side of the street--and at the moment a child of seven or eight, female, was hiding behind it. She was wearing a navy-blue reefer and a tam that was very nearly the same shade of red as the blanket on the bed in van Gogh's room at Aries. Her tam did, in fact, from Zooey's vantage point, appear not unlike a dab of paint. Some fifteen feet away from the child, her dog--a young dachshund, wearing a green leather collar and leash--was sniffing to find her, scurrying in frantic circles, his leash dragging behind him. The anguish of separation was scarcely bearable for him, and when at last he picked up his mistress's scent, it wasn't a second too soon. The joy of reunion, for both, was immense. The dachshund gave a little yelp, then cringed forward, shimmying with ecstasy, till his mistress, shouting something at him, stepped hurriedly over the wire guard surrounding the tree and picked him up. She said a number of words of praise to him, in the private argot of the game, then put him down and picked up his leash, and the two walked gaily west, toward Fifth Avenue and the Park and out of Zooey's sight. Zooey reflexively put his hand on a cross-piece between panes of glass, as if he had a mind to raise the window and lean out of it to watch the two disappear. It was his cigar hand, however, and he hesitated a second too long. He dragged on his cigar. "God damn it," he said, "there are nice things in the world--and I mean nice things. We're all such morons to get so sidetracked. Always, always, always referring every goddam thing that happens right back to our lousy little egos." Behind him, just then, Franny blew her nose with guileless abandon; the report was considerably louder than might have been expected from so fine and delicate-appearing an organ. Zooey turned around to look at her, somewhat censoriously.

Elephanta caves, Mumbai-- I entered a world made of shadows and sudden brightness. The play of the light, the vastness of the space and its irregular form, the figures carved on the walls: all of it gave the place a sacred character, sacred in the deepest meaning of the word. In the shadows were the powerful reliefs and statues, many of them mutilated by the fanaticism of the Portuguese and the Muslims, but all of them majestic, solid, made of a solar material. Corporeal beauty, turned into living stone. Divinities of the earth, sexual incarnations of the most abstract thought, gods that were simultaneously intellectual and carnal, terrible and peaceful. ............................................................................ Gothic architecture is the music turned to stone; one could say that Hindu architecture is sculpted dance. The Absolute, the principle in whose matrix all contradictions dissolve (Brahma), is “neither this nor this nor this.” It is the way in which the great temples at Ellora, Ajanta, Karli, and other sites were built, carved out of mountains. In Islamic architecture, nothing is sculptural—exactly the opposite of the Hindu. The Red Fort, on the bank of the wide Jamuna River, is as powerful as a fort and as graceful as a palace. It is difficult to think of another tower that combines the height, solidity, and slender elegance of the Qutab Minar. The reddish stone, contrasting with the transparency of the air and the blue of the sky, gives the monument a vertical dynamism, like a huge rocket aimed at the stars. The mausoleum is like a poem made not of words but of trees, pools, avenues of sand and flowers: strict meters that cross and recross in angles that are obvious but no less surprising rhymes. Everything has been transformed into a construction made of cubes, hemispheres, and arcs: the universe reduced to its essential geometric elements. The abolition of time turned into space, space turned into a collection of shapes that are simultaneously solid and light, creations of another space, made of air. There is nothing terrifying in these tombs: they give the sensation of infinity and pacify the soul. The simplicity and harmony of their forms satisfy one of the most profound necessities of the spirit: the longing for order, the love of proportion. At the same time they arouse our fantasies. These monuments and gardens incite us to dream and to fly. They are magic carpets. Compare Ellora with the Taj Mahal, or the frescoes of Ajanta with Mughal miniatures. These are not distinct artistic styles, but rather two different visions of the world.

Mr Casaubon’s behaviour about settlements was highly satisfactory to Mr Brooke, and the preliminaries of marriage rolled smoothly along, shortening the weeks of courtship. The betrothed bride must see her future home, and dictate any changes that she would like to have made there. A woman dictates before marriage in order that she may have an appetite for submission afterwards. And certainly, the mistakes that we male and female mortals make when we have our own way might fairly raise some wonder that we are so fond of it. On a grey but dry November morning Dorothea drove to Lowick in company with her uncle and Celia. Mr Casaubon’s home was the manor-house. Close by, visible from some parts of the garden, was the little church, with the old parsonage opposite. In the beginning of his career, Mr Casaubon had only held the living, but the death of his brother had put him in possession of the manor also. It had a small park, with a fine old oak here and there, and an avenue of limes towards the south-west front, with a sunk fence between park and pleasure-ground, so that from the drawing-room windows the glance swept uninterruptedly along a slope of greensward till the limes ended in a level of corn and pastures, which often seemed to melt into a lake under the setting sun. This was the happy side of the house, for the south and east looked rather melancholy even under the brightest morning. The grounds here were more confined, the flower-beds showed no very careful tendance, and large clumps of trees, chiefly of sombre yews, had risen high, not ten yards from the windows. The building, of greenish stone, was in the old English style, not ugly, but small-windowed and melancholy-looking: the sort of house that must have children, many flowers, open windows, and little vistas of bright things, to make it seem a joyous home. In this latter end of autumn, with a sparse remnant of yellow leaves falling slowly athwart the dark evergreens in a stillness without sunshine, the house too had an air of autumnal decline, and Mr Casaubon, when he presented himself, had no bloom that could be thrown into relief by that background. ‘Oh dear!’ Celia said to herself, ‘I am sure Freshitt Hall would have been pleasanter than this.’ She thought of the white freestone, the pillared portico, and the terrace full of flowers, Sir James smiling above them like a prince issuing from his enchantment in a rosebush, with a handkerchief swiftly metamorphosed from the most delicately-odorous petals—Sir James, who talked so agreeably, always about things which had common-sense in them, and not about learning! Celia had those light young feminine tastes which grave and weather-worn gentlemen sometimes prefer in a wife; but happily Mr Casaubon’s bias had been different, for he would have had no chance with Celia.

Naturally, without intending to, I transitioned from these dreams in which I healed myself to some in which I cared for others: I am flying over the Champs-Élysées Avenue in Paris. Below me, thousands of people are marching, demanding world peace. They carry a cardboard dove a kilometer long with its wings and chest stained with blood. I begin to circle around them to get their attention. The people, astonished, point up at me, seeing me levitate. Then I ask them to join hands and form a chain so that they can fly with me. I gently take one hand and lift. The others, still holding hands, also rise up. I fly through the air, drawing beautiful figures with this human chain. The cardboard dove follows us. Its bloodstains have vanished. I wake up with the feeling of peace and joy that comes from good dreams. Three days later, while walking with my children along the Champs-Élysées Avenue, I saw an elderly gentleman under the trees near the obelisk whose entire body was covered by sparrows. He was sitting completely still on one of the metal benches put there by the city council with his hand outstretched, holding out a piece of cake. There were birds flitting around tearing off crumbs while others waited their turn, lovingly perched on his head, his shoulders, his legs. There were hundreds of birds. I was surprised to see tourists passing by without paying much attention to what I considered a miracle. Unable to contain my curiosity, I approached the old man. As soon as I got within a couple of meters of him, all the sparrows flew away to take refuge in the tree branches. “Excuse me,” I said, “how does this happen?” The gentleman answered me amiably. “I come here every year at this time of the season. The birds know me. They pass on the memory of my person through their generations. I make the cake that I offer. I know what they like and what ingredients to use. The arm and hand must be still and the wrist tilted so that they can clearly see the food. And then, when they come, stop thinking and love them very much. Would you like to try?” I asked my children to sit and wait on a nearby bench. I took the piece of cake, reached my hand out, and stood still. No sparrow dared approach. The kind old man stood beside me and took my hand. Immediately, some of the birds came and landed on my head, shoulders, and arm, while others pecked at the treat. The gentleman let go of me. Immediately the birds fled. He took my hand and asked me to take my son’s hand, and he another hand, so that my children formed a chain. We did. The birds returned and perched fearlessly on our bodies. Every time the old man let go of us, the sparrows fled. I realized that for the birds when their benefactor, full of goodness, took us by the hand, we became part of him. When he let go of us, we went back to being ourselves, frightening humans. I did not want to disrupt the work of this saintly man any longer. I offered him money. He absolutely would not accept. I never saw him again. Thanks to him, I understood certain passages of the Gospels: Jesus blesses children without uttering any prayer, just by putting his hands on them (Matthew 19:13–15). In Mark 16:18, the Messiah commands his apostles, “They shall lay hands on the sick, and they shall recover.” St. John the Apostle says mysteriously in his first epistle, 1.1, “That which was from the beginning, which we have heard, which we have seen with our eyes, which we have looked upon, and our hands have handled, of the Word of life.

I am speaking of the evenings when the sun sets early, of the fathers under the streetlamps in the back streets returning home carrying plastic bags. Of the old Bosphorus ferries moored to deserted stations in the middle of winter, where sleepy sailors scrub the decks, pail in hand and one eye on the black-and-white television in the distance; of the old booksellers who lurch from one ϧnancial crisis to the next and then wait shivering all day for a customer to appear; of the barbers who complain that men don’t shave as much after an economic crisis; of the children who play ball between the cars on cobblestoned streets; of the covered women who stand at remote bus stops clutching plastic shopping bags and speak to no one as they wait for the bus that never arrives; of the empty boathouses of the old Bosphorus villas; of the teahouses packed to the rafters with unemployed men; of the patient pimps striding up and down the city’s greatest square on summer evenings in search of one last drunken tourist; of the broken seesaws in empty parks; of ship horns booming through the fog; of the wooden buildings whose every board creaked even when they were pashas’ mansions, all the more now that they have become municipal headquarters; of the women peeking through their curtains as they wait for husbands who never manage to come home in the evening; of the old men selling thin religious treatises, prayer beads, and pilgrimage oils in the courtyards of mosques; of the tens of thousands of identical apartment house entrances, their facades discolored by dirt, rust, soot, and dust; of the crowds rushing to catch ferries on winter evenings; of the city walls, ruins since the end of the Byzantine Empire; of the markets that empty in the evenings; of the dervish lodges, the tekkes, that have crumbled; of the seagulls perched on rusty barges caked with moss and mussels, unϩinching under the pelting rain; of the tiny ribbons of smoke rising from the single chimney of a hundred-yearold mansion on the coldest day of the year; of the crowds of men ϧshing from the sides of the Galata Bridge; of the cold reading rooms of libraries; of the street photographers; of the smell of exhaled breath in the movie theaters, once glittering aϱairs with gilded ceilings, now porn cinemas frequented by shamefaced men; of the avenues where you never see a woman alone after sunset; of the crowds gathering around the doors of the state-controlled brothels on one of those hot blustery days when the wind is coming from the south; of the young girls who queue at the doors of establishments selling cut-rate meat; of the holy messages spelled out in lights between the minarets of mosques on holidays that are missing letters where the bulbs have burned out; of the walls covered with frayed and blackened posters; of the tired old dolmuşes, ϧfties Chevrolets that would be museum pieces in any western city but serve here as shared taxis, huϫng and puϫng up the city’s narrow alleys and dirty thoroughfares; of the buses packed with passengers; of the mosques whose lead plates and rain gutters are forever being stolen; of the city cemeteries, which seem like gateways to a second world, and of their cypress trees; of the dim lights that you see of an evening on the boats crossing from Kadıköy to Karaköy; of the little children in the streets who try to sell the same packet of tissues to every passerby; of the clock towers no one ever notices; of the history books in which children read about the victories of the Ottoman Empire and of the beatings these same children receive at home; of the days when everyone has to stay home so the electoral roll can be compiled or the census can be taken; of the days when a sudden curfew is announced to facilitate the search for terrorists and everyone sits at home fearfully awaiting “the oϫcials”; CONTINUED IN SECOND PART OF THE QUOTE

A hot dry wind was tossing Maddie’s hair this way and that when she and Sue left the station to drive to the Crawford home. The hot desert breeze was more like a tic on the corner of a mean mouth, than a real breeze, at least down low. Higher up, the tall palm trees on Central Avenue, reaching for the sky like giant giraffes, were swishing back and forth like tails on nervous cats.

The one who sits beneath the tree is of a hierarchy, high and mighty, who guides the archangels and angels through the avenues of the heart; in this, there is much wisdom to impart.

A CHRISTMAS TREE was coming up Eleventh Avenue. Or rather, was trying to come; having tangled itself in a shopping cart someone had abandoned in the crosswalk, it shuddered and bristled and heaved, on the verge of bursting into flame.

Records show that slaves who lived in the Washington, D.C., area made up a good portion of the labor pool that worked on the Capitol. More than four hundred slaves, or more than half of the documented workforce that constructed the Capitol, cleared trees from Jenkins Hill and dug up stumps for the wide avenues that radiate out into the city, according to research first publicized by NBC reporter Edward Hotaling in 2000. We now know that slaves baked the bricks used for the building’s foundation and walls, sawed lumber for the interior walls and floors, dug the trenches for the foundation, worked the Virginia quarries where the sandstone was cut, and laid the stones that hold up the Capitol to this day.

On a June afternoon in 1791, George Washington, Andrew Ellicott, and Peter Charles L’Enfant rode east from Georgetown “to take,” so Washington recorded in his diary, “a more perfect view of the ground” of the new federal city. From David Burnes’s fields they surveyed the prospect of the Potomac River, and then, continuing east across the Tiber Creek, they climbed to the crest of Jenkins Hill. With the confluence of the Eastern Branch and the Potomac, the cities of Alexandria and Georgetown, and the hills of Maryland and Virginia spread majestically before them, the time had come, the president wrote, “to decide finally on the spots on which to place the public buildings.” From their vantage point on Jenkins Hill, L’Enfant presented his vision of a city worthy of the new republic. He began by siting the two principal buildings: the “Congress House,” as he called it, would command Jenkins Hill, “a pedestal waiting for a superstructure”; the “President’s Palace,” L’Enfant’s name for today’s White House, would rise about a mile away on the land partially belonging to David Burnes. A star of avenues each named for a state would radiate from the center of each house. Pennsylvania Avenue—the name would honor the state’s importance in the nation’s creation—would connect the two buildings. It would be “a direct and large avenue,” 180 feet wide and lined with a double row of trees. These radiating avenues would intersect at circles and squares, to be named for heroes, and they would overlay a grid of streets similar to that of Philadelphia.

Soon they were just glimmering specks a few hundred feet above drifting east toward downtown, over the darkened side streets of East Orange where they had all inhabited various residences over the years, over the streaming headlights along the I-280 and the Garden State Parkway and Central Avenue and South Orange Avenue and the other thoroughfares that radiated like spokes from downtown Newark to the nether regions, over Bloomfield and Vailsburg and Irvington, over St. Benedict’s Preparatory Academy for Boys and the Passaic River and the rusty yet mighty bridges spanning it, a vantage point Rob had seen leaving for and returning from all his trips, from which the city looked so serene and sometimes, at the right angle and at the right time of night, even beckoning. At a certain point, the lights disappeared from view beyond the trees and eaves of the neighboring homes, leaving the Burger Boyz to sit down once again in the plastic fold-out chairs and wonder how long it would be before the flames flickered out and the lanterns began their descent. And once that happened, they wondered where each would fall.

On the way up Telopea Avenue she picked a rose off a tree and asked me why I didn't think to pick it off and give it to her. 'I simply didn't notice the plant,' I said. She picked the petals off the thing as we walked, leaving a melodramatic trail of broken romance behind us.

When the coach set me down before that avenue of trees – straight and stern with cicadas screaming in the tall branches – I saw no welcome for a starved brat missing her mama.

In the daylight that followed my arrival, the pale grey Trappe resembled not so much an abbey as a hospital, an asylum or a reformatory. It dwindled off into farm buildings, and came to an end in the fields where thousands of turnips led their secret lives and reared into the air their little frostbitten banners. Among the furrows an image mouldered on its pedestal; and, under a sky of clouded steel, the rooks cawed and wheeled and settled. Across the December landscape, flat and waterlogged with its clumps of drizzling coppice and barren-looking pasture-land, ran a rutted path which disappeared beneath an avenue of elm-trees. Willows, blurred and colourless as the detail of an aquatint, receded in the mist; and, here and there, the pallor of the woods was interrupted by funereal clumps of pine. Isolated monks, all of them hooded and clogged, at work in the fields, ploughing or chopping wood, dotted this sodden panorama and the report of their falling axes reached the ear long seconds after the visual impact. Others were driving slow herds of cattle to graze.

Midtown was a war zone. We flew over little skirmishes everywhere. A giant was ripping up trees in Bryant Park while dryads pelted him with nuts. Outside the Waldorf Astoria, a bronze statue of Benjamin Franklin was whacking a hellhound with a rolled-up newspaper. A trio of Hephaestus campers fought a squad of dracaenae in the middle of Rockefeller Center. I was tempted to stop and help, but I could tell from the smoke and noise that the real action had moved farther south. Our defenses were collapsing. The enemy was closing in on the Empire State Building. We did a quick sweep of the surrounding area. The Hunters had set up a defensive line on 37th, just three blocks north of Olympus. To the east on Park Avenue, Jake Mason and some other Hephaestus campers were leading an army of statues against the enemy. To the west, the Demeter cabin and Grover's nature spirits had turned Sixth Avenue into a jungle that was hampering a squadron of Kronos's demigods. The south was clear for now, but the flanks of the enemy army were swinging around. A few more minutes and we'd be totally surrounded.

Now as the train moved towards Calcutta, Malay felt as if his life was coming full circle. It had been a strange decision to visit the city at a time when post-Partition vomit and excreta was splattered on Calcutta streets. Marked by communal violence, anger and unemployment, the streets smelled of hunger and disillusionment. Riots were still going on. The wound of a land divided lingered, refugees from East Pakistan (now Bangladesh) continued to arrive in droves. And since they did not know where to go, they occupied the pavements, laced the streets with their questions, frustrations and a deep need to be recognised as more than an inconvenient presence on tree-lined avenues. The feeling of being uprooted was everywhere. Political leaders decided that the second phase of the five-year planning needed to see the growth of heavy industries. The land required for such industries necessitated the evacuation of farmers. Devoid of their ancestral land and in the absence of a proper rehabilitation plan, those evicted wandered aimlessly around the cities—refugees by another name. Calcutta had assumed different dimensions in Malay’s mind. The smell of the Hooghly wafted across Victoria Memorial and settled like an unwanted cow on its lawns. Unsung symphonies spilled out of St Paul’s Cathedral on lonely nights; white gulls swooped in on grey afternoons and looked startling against the backdrop of the rain-swept edifice. In a few years, Naxalbari would become a reality, but not yet. Like an infant Kali with bohemian fantasies, Calcutta and its literature sprouted a new tongue – that of the Hungry Generation. Malay, like Samir and many others, found himself at the helm of this madness, and poetry seemed to lick his body and soul in strange colours. As a reassurance of such a huge leap of faith, Shakti had written to Samir: Bondhu Samir, We had begun by speaking of an undying love for literature, when we suddenly found ourselves in a dream. A dream that is bigger than us, and one that will exist in its capacity of right and wrong and beyond that of our small worlds. Bhalobasha juriye Shakti

A Station by the Sea" On the shore of this sea, looking at the big tree trunks floating I heard the days growing, perhaps shamelessly. When solitude is an open arch upon the heart, at the beginning of April, I see them fade on the algae, on the avenues flooded by birds. In the station, some dogs loiter in the waiting room and the trains turn to the interior of the country among mountains, gropingly they cross the dried-out soil, under a sun of copper swollen over the city. From the swing of summer I saw the days growing and I heard the cicadas and the noises of the port. Perhaps shamelessly, I see them fade when death puts new clothes on my father’s back, and this sea is not enough and the shores of this sea are not enough.

A man’s life is like a day’s journey travelled, westwards and facing always the way one has come. In the morning the field of experience is bright, simple and—dazzling. Shadows are thrown by the sun from things already past and known and they need no interpreting—and there is nothing to hinder fancying the future. But after midday the sun gets ahead and there begin to fall—into the field of vision shadows of things before they are seen, some of which can be recognized as similar to things already known, but others not. And now the future journey depends on how these shadows are interpreted before the things which cast them—are encountered. And as the day draws on the shadows get longer and more intricate. And meanwhile, as when looking back from a car travelling down a long avenue of trees that are slipping by, the trees appear to get rapidly smaller as they recede, but distant hills behind in the background, though receding too, seem, by contrast with the shrinking trees, to be getting larger and larger.

It is hard to understand how the same tree could thrive both choking along Pittsburgh’s Penn Avenue and slogging knee-deep in Tinker Creek. Of course, come to think of it, I’ve done the same thing myself.

So I content myself with what can be written and I dream whatever should be dreamed; I have the time and place for it. La Mousse has a little swelling on the teeth and the Abbé a little swelling on the knee, which leave me free in my avenue of trees to do what I please. And what I please means to walk up and down there in the evening until eight o’clock. My son has gone now and that leaves a silence, tranquillity and solitude that I don’t think it is easy to find anywhere else.

impoverished landowner MARINA, an old nurse A WORKMAN The scene is laid on SEREBRAKOFF'S country place UNCLE VANYA ACT I A country house on a terrace. In front of it a garden. In an avenue of trees, under an old poplar, stands a table set for tea, with a samovar, etc. Some benches and chairs

What was I to do, after sailing the seven seas now that we moved to 33 Van Wart Avenue, on the Scarsdale line of White Plains, NY. Like they say, money doesn’t grow on trees, so it was up to me to find a job. The economy wasn’t all that great and the best I could do was to find a commission job selling home fire detection units. One of the senior salesmen took me under his wing and showed me the ropes. The most important part of the pitch was to emphasize the importance of the fire detection unit and how, after declining our product a family had a fire in their home. The hapless husband was found stretched across the bed where he obviously died attempting to reach the telephone, while his family succumbed to the super-heated poisonous gasses and raging flames. It all could have been prevented if only they would have bought the fire detection unit when it was offered. I hated cold calling and selling something to people that they couldn’t afford was not in my nature. I wasn’t like my brother who could lure a hungry dog off the back of a meat wagon! It wasn’t that I didn’t try, because the more often I told the story the worse it got! I could just tell that the people I talked to knew that I was full of shXt and all I wanted to do was get out of there, although one of the sales rules was that you stayed until the people invited you to leave at least three times. For every rebuttal I had an answer and for every financial problem I had a solution, to put them even further into debt. In the end I would come home with my tail between my legs and with Ursula, watched the midnight horror show with John Zacherle. Dick Clark, a friend, gave Zacherle his nickname, "The Cool Ghoul," and for us it was television at it’s very best in the 1960’s.

The Arquitectonica office, which produced the celebrated glass condominium on Brickell Avenue with the fifty-foot cube cut from its center, the frequently photographed “sky patio” in which there floated a palm tree, a Jacuzzi, and a lipstick-red spiral staircase, accompanied its elevations with crayon sketches, all moons and starry skies and airborne maidens, as in a Chagall.

They drove up Third Avenue so that they might see the famous Stuyvesant pear tree on the corner of Thirteenth Street. Again for the two hundredth time its ancient boughs were loaded with blossoms. How strange it was that it could go on renewing itself in exquisite youth, when the hands that had planted it had so long ago fallen to dust!

In 1925, a master plan was instituted to blend the French neo-classical design with the tropical background. The Art Deco movement, both in Havana and in Miami Beach, took hold during the late 1920’s, and is found primarily in the residential section of Miramar. Miramar is where most of the embassies are located, including the massive Russian embassy. The predominant street is Fifth Avenue known as La Quinta Avenida, along which is found the church of Jesus de Miramar, the Teatro Miramar and the Karl Marx Theater. There is also the Old Miramar Yacht Club and the El Ajibe Restaurant, recently visited and televised by Anthony Bourdain on his show, “No Reservations.” Anthony Bourdain originally on the Travel Channel is now being shown on CNN. The modern five-star Meliá Habana hotel, known for its cigar bar, is located opposite the Miramar Trade Centre. Started in 1772, el Paseo del Prado, also known as el Paseo de Marti, became the picturesque main street of Havana. It was the first street in the city to be paved and runs north and south, dividing Centro Habana from Old Havana. Having been designed by Jean-Claude Nicolas Forestier, a French landscape architect, it connects the Malecón, the city’s coastal esplanade, with a centrally located park, Parque Central. Although the streets on either side are still in disrepair, the grand pedestrian walkway goes for ten nicely maintained blocks. The promenade has a decorated, inlaid, marble terrazzo pavement with a balustrade of small posts. It is shaded by a tree-lined corridor and has white marble benches for the weary tourist. Arguably, the Malecón is the most photographed street in Havana. It lies as a bulwark just across the horizon from the United States, which is only 90, sometimes treacherous miles away. It is approximately 5 miles long, following the northern coast of the city from east to west. This broad boulevard is ideal for the revelers partaking in parades and is the street used for Fiesta Mardi Gras, known in Cuba as Los Carnavales. It has at times also been used for “spontaneous demonstrations” against the United States. It runs from the entrance to Havana harbor, alongside the Centro Habana neighborhood to the Vedado neighborhood, past the United States Embassy on the Calle Calzada.

Fake? Who said anything about fake? I don’t do ‘fake,’ Mr. Blade. I don’t do fake Christmas trees, fake handbags, or fake orgasms.

the wind moved a thin scrim of sand across the bleached asphalt, brushed it along the ground in wide, crossing arcs that thinned and ebbed in much the same way the beige sea foam thinned and ebbed at the edge of the beach that was just beyond the trees. The wind took the sound of the slammed car doors, the slammed trunk, and sailed it off like a black scrap, over their heads, back toward the long highway and the crowded towns and the churches on shaded avenues choked with parked cars. It took their voices, too, but more gently. The