Bamboo Tree Quotes

When I was little, I was afraid of monsters. I mistook the silhouettes flitting to and fro in the midst of the bamboo trees for ghost and other horrors. But now, I'm scared of other people, people who you imagine will just jump out form behind the brush to attack you. What age was I when I started to replace the ghosts with people?

After walking for a long time, he finally pulled me near a copse of bamboo that was growing near a large teak tree. He stuck his nose up in the air, smelling for who-knows-what and then wandered over to a grassy area and lay down. “Well, I guess that means this is where we sleep for the night.” I shrugged out of my backpack while grousing. “Great. No, really. It’s a lovely choice. I’d give it four stars if it included a mint.

The seed of a bamboo tree is planted, fertilized and watered. Nothing happens for the first year. There´s no sign of growth. Not even a hint. The same thing happens - or doesn´t happen - the second year. And then the third year. The tree is carefully watered and fertilized each year, but nothing shows. No growth. No anything. For eight years it can continue. Eight years! Then - after the eight years of fertilizing and watering have passed, with nothing to show for it - the bamboo tree suddently sprouts and grows thirty feet in three months!

Oh, my dear. My young wife. When the troops come home after the victory, and you do not see me, please look at the proud colors. You will see me there, and you will feel warm under the shadow of the bamboo tree.

Every time the wind would rustle the bamboo trees in the yard, or the moon would shine through the leaves of the banana tree outside my window, I would look out and miss her so terribly that dreams of her took possession of my soul.

Even after going public, there were so many problems. “We have so much opportunity, but we’re having a terrible time getting managers who can seize those opportunities. We try people from the outside, but they fail, because our culture is so different.” Mr. Hayami nodded. “See those bamboo trees up there?” he asked. “Yes.” “Next year . . . when you come . . . they will be one foot higher.” I stared. I understood.

In the Ondariva gardens the branches spread out like the tentacles of extraordinary animals, and the plants on the ground opened up stars of fretted leaves like the green skins of reptiles, and waved feathery yellow bamboos with a rustle like paper.

What frustrated me was the thought that with three thousand years of history someone in China, some monk in a monastery halfway up a mountain, must have developed a magic kata, a physical expression of formae. Or at least have got close enough to explain all those legendary swordsmen and their inexplicable desire to roost on the tops of bamboo trees.

Just as trees bear their fruit before winter, just as bamboo grass produces its seeds just before it withers, sex is simply a struggle with death on the human level.

Afterwards, I will have to tie the trees to bamboo poles so the wind will not determine their shape. A tree cannot be given form by the vagaries of the wind.

Every day of your life, you are faced with opportunities. Unfortunately, the choices that face you are not heroic choices. They are bamboo tree choices. They are small, but progressive choices that steer you in a positive direction and over time you're bound to meet success. For most of us, we spend all our lives waiting for that life changing moment that will change the course of our lives and make us successful. Unfortunately, the clock is ticking. Every day, we choose not to tend to our bamboo tree, a choice is made for us and by the time we realize it, the seasons have passed and we have nothing to show for it.

Then the house had been boldly planned with a ball-room, so that, instead of squeezing through a narrow passage to get to it (as at the Chiverses') one marched solemnly down a vista of enfiladed drawing-rooms (the sea-green, the crimson and the bouton d'or), seeing from afar the many-candled lustres reflected in the polished parquetry, and beyond that the depths of a conservatory where camellias and tree-ferns arched their costly foliage over seats of black and gold bamboo.

In Indonesia, bamboo is often planted over the site of felled trees to produce fabrics that can then be marketed as being “renewable” and environmentally friendly. Because rayon is made from cellulose, it is ripe for greenwashing, especially when consumers are fuzzy about how it’s made.

A dog's bark amid the water's sound, Peach blossom that's made thicker by the rain. Deep in the trees, I sometimes see a deer, And at the stream I hear no noonday bell. Wild bamboo divides the green mist, A flying spring hangs from the jasper peak. No-one knows the place to which he's gone, Sadly, I lean on two or three pines

There is one thing sure about life: Life will push us hardly many times! When you are pushed, don’t be surprised; stay firm like a plane tree or be elastic like a bamboo!

The foragers may have had their all-conquering Napoleons, who ruled empires half the size of Luxembourg; gifted Beethovens who lacked symphony orchestras but brought people to tears with the sound of their bamboo flutes; and charismatic prophets who revealed the words of a local oak tree rather than those of a universal creator god. But these are all mere guesses.

The Marquesas! What strange visions of outlandish things does the very name spirit up! Naked houris—cannibal banquets—groves of cocoanut—coral reefs—tattooed chiefs—and bamboo temples; sunny valleys planted with bread-fruit-trees—carved canoes dancing on the flashing blue waters—savage woodlands guarded by horrible idols—HEATHENISH RITES AND HUMAN SACRIFICES. Such

Along with the greening of May came the rain. Then the clouds disappeared and a soft pale lightness fell over the city, as if Kyoto had broken free of its tethers and lifted up toward the sun. The mornings were as dewy and verdant as a glass of iced green tea. The nights folded into pencil-gray darkness fragrant with white flowers. And everyone's mood seemed buoyant, happy, and carefree. When I wasn't teaching or studying tea kaiseki, I would ride my secondhand pistachio-green bicycle to favorite places to capture the fleeting lushness of Kyoto in a sketchbook. With a small box of Niji oil pastels, I would draw things that Zen pots had long ago described in words and I did not want to forget: a pond of yellow iris near a small Buddhist temple; a granite urn in a forest of bamboo; and a blue creek reflecting the beauty of heaven, carrying away a summer snowfall of pink blossoms. Sometimes, I would sit under the shade of a willow tree at the bottom of my street, doing nothing but listening to the call of cuckoos, while reading and munching on carrots and boiled egg halves smeared with mayonnaise and wrapped in crisp sheets of nori. Never before had such simple indulgences brought such immense pleasure.

Questions of Travel There are too many waterfalls here; the crowded streams hurry too rapidly down to the sea, and the pressure of so many clouds on the mountaintops makes them spill over the sides in soft slow-motion, turning to waterfalls under our very eyes. —For if those streaks, those mile-long, shiny, tearstains, aren't waterfalls yet, in a quick age or so, as ages go here, they probably will be. But if the streams and clouds keep travelling, travelling, the mountains look like the hulls of capsized ships, slime-hung and barnacled. Think of the long trip home. Should we have stayed at home and thought of here? Where should we be today? Is it right to be watching strangers in a play in this strangest of theatres? What childishness is it that while there's a breath of life in our bodies, we are determined to rush to see the sun the other way around? The tiniest green hummingbird in the world? To stare at some inexplicable old stonework, inexplicable and impenetrable, at any view, instantly seen and always, always delightful? Oh, must we dream our dreams and have them, too? And have we room for one more folded sunset, still quite warm? But surely it would have been a pity not to have seen the trees along this road, really exaggerated in their beauty, not to have seen them gesturing like noble pantomimists, robed in pink. —Not to have had to stop for gas and heard the sad, two-noted, wooden tune of disparate wooden clogs carelessly clacking over a grease-stained filling-station floor. (In another country the clogs would all be tested. Each pair there would have identical pitch.) —A pity not to have heard the other, less primitive music of the fat brown bird who sings above the broken gasoline pump in a bamboo church of Jesuit baroque: three towers, five silver crosses. —Yes, a pity not to have pondered, blurredly and inconclusively, on what connection can exist for centuries between the crudest wooden footwear and, careful and finicky, the whittled fantasies of wooden cages. —Never to have studied history in the weak calligraphy of songbirds' cages. —And never to have had to listen to rain so much like politicians' speeches: two hour of unrelenting oratory and then a sudden golden silence in which the traveller takes a notebook, writes: "Is it lack of imagination that makes us come to imagined places, not just stay at home? Or could Pascal have been entirely right about just sitting quietly in one's room? Continent, city, country, society: the choice is never wide and never free. And here, or there...No. Should we have stayed at home, wherever that may be?

He built a blind within sight of the berries. It took him about five minutes to build the blind out of bamboo, leafy tree limbs and vines. Later, when I built a blind by myself, it took me two hours. Afterwards, I felt like one of the three little pigs, the one who built the stupid straw house that fell down.

For three thousand years it had been the concent’s policy to accept any and all folding chairs and collapsible tables made available to it, and never throw one away. On one and only one occasion, this had turned out to be a wise policy: the millennial Apert of 3000, when 27,500 pilgrims had swarmed in through the gates to enjoy a square meal and see the End of the World. We had folding chairs made of bamboo, machined aluminum, aerospace composites, injection-molded poly, salvaged rebar, hand-carved wood, bent twigs, advanced newmatter, tree stumps, lashed sticks, brazed scrap metal, and plaited grass. Tabletops could be made of old-growth lumber, particle board, extruded titanium, recycled paper, plate glass, rattan, or substances on whose true nature I did not wish to speculate. Their lengths ranged from two to twenty-four feet and their weights from that of a dried flower to that of a buffalo.

The Grahamites who preach on the streets of Bangkok all talk of their Holy Bible and its stories of salvation. Their stories of Noah Bodhisattva, who saved all the animals and trees and flowers on his great bamboo raft and helped them cross the waters, all the broken pieces of the world piled atop his raft while he hunted for land. But there is no Noah Bodhisattva now. There is only Phra Seub who feels the pain of loss but can do little to stop it, and the little mud Buddhas of the Environment Ministry, who hold back rising waters by barest luck.

These long millennia may well have witnessed wars and revolutions, ecstatic religious movements, profound philosophical theories, incomparable artistic masterpieces. The foragers may have had their all-conquering Napoleons, who ruled empires half the size of Luxembourg; gifted Beethovens who lacked symphony orchestras but brought people to tears with the sound of their bamboo flutes; and charismatic prophets who revealed the words of a local oak tree rather than those of a universal creator god. But these are all mere guesses. The curtain of silence is so thick that we cannot even be sure such things occurred – let alone describe them in detail.

This scroll, five hundred years old and more, had been inspired by her favorite, the great Wang Wei, master of landscape art, who had painted the scenes from his own home, where he lived for thirty years before he died. Now behind the palace walls on this winter’s day, where she could see only sky and falling snow, Tzu His gazed upon the green landscapes of continuing spring. One landscape melted into another as slowly she unrolled the scroll, so that she might dwell upon every detail of tree and brook and distant hillside. So did she, in imagination, pass beyond the high walls which enclosed her, and she traveled through a delectable country, beside flowing brooks and spreading lakes, and following the ever-flowing river she crossed over wooden bridges and climbed the stony pathways upon a high mountainside and thence looked down a gorge to see a torrent fed by still higher springs, and breaking into waterfalls as it traveled toward the plains. Down from the mountain again she came, past small villages nestling in pine forests and into the warmer valleys among bamboo groves, and she paused in a poet’s pavilion, and so reached at last the shore where the river lost itself in a bay. There among the reeds a fisherman’s boat rose and fell upon the rising tide. Here the river ended, its horizon the open sea and the misted mountains of infinity. This scroll, Lady Miao had once told her, was the artist’s picture of the human soul, passing through the pleasantest scenes of earth to the last view of the unknown future, far beyond.

One day in Sumatra, Steve was climbing into the forest canopy alongside a family of orangutans when he fell. A four-inch spike of bamboo jammed into the back of his leg. As always, he was loath to go to the hospital and successfully cut the spike of bamboo out of his own leg himself. Ever since I’d met him, Steve had refused to let me dress or have anything to do with any of his wounds. He didn’t even like to talk about his injuries. I think this was a legacy from his years alone in the bush. He had his own approach to being injured, and he called it “the goanna theory.” “Sometimes you’ll see a goanna that’s been hurt,” he said. “He may have been hit by a car and had a leg torn off. Maybe he’s missing a chunk of his tail. Does he walk around feeling sorry for himself? No. He goes about his business, hunting for food, looking for mates, climbing trees, and doing the best that he can.” That’s the goanna theory. Steve would take into consideration how debilitating the specific wound was, but then he would carry on. A bamboo spike in the back of his leg? Well, it hurt. But his leg still worked. He continued filming.

At this point, the sequence of my memories is disrupted. I sank into a chaos of brief, incoherent and bizarre hallucinations, in which the grotesque and the horrible kept close company. Prostrate, as if I were being garrotted by invisible cords, I floundered in anguish and dread, oppressively ridden by the most unbridled nightmares. A whole series of monsters and avatars swarmed in the shadows, coming to life amid draughts of sulphur and phosphorus like an animated fresco painted on the moving wall of sleep. There followed a turbulent race through space. I soared, grasped by the hair by an invisible hand of will: an icy and powerful hand, in which I felt the hardness of precious stones, and which I sensed to be the hand of Ethal. Dizziness was piled upon dizziness in that flight to the abyss, under skies the colour of camphor and salt, skies whose nocturnal brilliance had a terrible limpidity. I was spun around and around, in bewildering confusion, above deserts and rivers. Great expanses of sand stretched into the distance, mottled here and there by monumental shadows. At times we would pass over cities: sleeping cities with obelisks and cupolas shining milk-white in the moonlight, between metallic palm-trees. In the extreme distance, amid bamboos and flowering mangroves, luminous millennial pagodas descended towards the water on stepped terraces.

I ran. It was fantastic how far I ran without stopping to rest. I can't even remember what places I passed. I must have left by the back gate next to the Kyohoku Tower in the north of the temple precincts, then I must have passed by the Myoo Hall, run up the mountain path that was bordered by bamboo grass and azalea, and reached the top of Mount Hidari Daimonji. Yes, it was surely on top of Mount Hidari Daimonji that I lay down on my hack in the bamboo field in the shadow of the red pines and tried to still the fierce beating of my heart. This was the mountain that protected the Golden Temple from the north. The cry of some startled birds brought me to my senses. Or else it was a bird that flew close to my face with a great fluttering of its wings. As I lay there on my back I gazed at the night sky. The birds soared over the branches of the redpines in great numbers and the thin flakes from the fire, which were already becoming scarce, floated in the sky above my head. I sat up and looked far down the ravine towards the Golden temple. A strange sound echoed from there. It was like the sound of crackers. It was like the sound of countless people's soul joints all cracking at once. From where I sat the Golden Temple itself was invisible. All that I could see was the eddying smoke and the great fire that rose into the sky. The flakes from the fire drifted between the trees and the Golden Temple's sky seemed to be strewn with golden sand. I crossed my legs and sat gazing for a long time at the scene. When I came to myself, I found that my body was covered in blisters and scars and that I was bleeding profusely. My fingers also were stained with blood, evidently from when I had hurt them by knocking against the temple door. I licked my wounds like an animal that has fled from its pursuers. I looked in my pocket and extracted the bottle of arsenic, wrapped in my handkerchief, and the knife. I threw them down the ravine. Then I noticed the pack of cigarettes in my other pocket. I took one out and started smoking. I felt like a man who settles down for a smoke after finishing a job of work. I wanted to live.

In the courtyard before them grew a clump of bright green bamboo, while by the main doorway stood a row of dark pine-trees.

Life is like a Chinese Bamboo tree, be patience, be persistence and be positive in your action one day it's goes high and make sure it's worth watching.

At the end, without a summarized essence an instruction cannot be given; being in the company of the Malaya Mountain does not make a bamboo tree a sandalwood tree.

Rwanda in 1949 was a land of enchantment—a wilderness where people and animals lived in harmony untouched by the outside world. Shepherds led their cattle to drink at the lakes and pools until evening, when elephants began to migrate toward the watering holes to drink and bathe. Time was told by the sun, and the moon was the calendar. A house could be built in a few days, made from trees and bamboo gathered from the forests and roofed with grass. Men prayed that the weather would be favorable for their crops, young boys dreamed of owning large herds of cattle, and little girls cradled and sang to their dolls made of spiky flowers called red-hot pokers, imagining a baby of their own. The markets were social gathering places and trading centers where a finely woven grass mat was exchanged for forty pounds of potatoes or a basket for storing grain.

VISITING THE TAOIST PRIEST DAI TIANSHAN, BUT NOT FINDING HIM A dog's bark amid the water's sound, Peach blossom that's made thicker by the rain. Deep in the trees, I sometimes see a deer, And at the stream I hear no noonday bell. Wild bamboo divides the green mist, A flying spring hangs from the jasper peak. No-one knows the place to which he's gone, Sadly, I lean on two or three pines.

Complementing the imposing stone edifice of the Palace of Colonies were three “traditional” African villages, with houses built of bamboo and thatch in the Bangala style. Two of them were located along a large pool, with dugout canoes at the waterfront. The third village was away from the water in the trees. Palm trees and other tropical vegetation were planted in and around the villages to give them an air of authenticity. The European visitors were not allowed to enter the villages, but they could watch from behind iron fences, much as they would watch animals in a zoo. A sign proclaimed, “Do not feed the blacks. They are already being fed.

We shall never know whether thought is an imposture, and that is providential. 'The people is, in some cases, so enlightened that it is no longer indifferent to anything' (Montesquieu). That is indeed the end point: when there is no longer anything about which there is nothing to say. Verdict of a Chinese writer on a monstrous tree that is at once a blackberry and a bamboo: 'any disorder appearing in nature is the sign of a hidden disorder in the administration of the Empire ... Order restored in nature clearly indicates satisfaction in heaven.' Our current blossoming of monsters and clones, hybrids and chimeras, our systematic mixing of mores and cultures, sexes and genes, cannot but attest to an irremediable disorder in the highest spheres of the Empire.

Distant parts of the same continent can also be connected, isolated and then connected again. Asia and Europe form a single landmass, Eurasia, but the oak trees and beech trees that grow in eastern Asia and in Europe are not the same as one another. A single species of beech tree forms cathedral-like forests carpeted in golden autumnal leaves in Europe, but different beech species grow in China and elsewhere in eastern Asia, some with trunks that soar towards the canopy, while others branch close to the ground and jostle for space with bamboo thickets on mountain slopes. The climate of central Asia is too harsh, and these trees survive best in the more moderate oceanic regions that exist towards each end of the Eurasian landmass. Isolated, they have become separate species. European oaks also differ from those in eastern Asia, as though the two regions were giant islands separated by the frigid aridity of the continent’s centre. North American beeches and oaks differ again from those in Europe and Asia. Perhaps 55 million years ago, a new kind of tree evolved: the first oak. It originated, spread, colonized different continents, evolved into different species in different regions and climates, and at least some of them came back together again; acting like a giant, slow-acting global archipelago.

Notice that the stiffest tree is most easily cracked, while the bamboo or willow survives by bending with the wind. ~ Bruce Lee

In what is one of the most bizarre and ecologically damaging episodes of the Great Leap Forward, the country was mobilised in an all-out war against the birds. Banging on drums, clashing pots or beating gongs, a giant din was raised to keep the sparrows flying till they were so exhausted that they simply dropped from the sky. Eggs were broken and nestlings destroyed; the birds were also shot out of the air. Timing was of the essence, as the entire country was made to march in lockstep in the battle against the enemy, making sure that the sparrows had nowhere to escape. In cities people took to the roofs, while in the countryside farmers dispersed to the hillsides and climbed trees in the forests, all at the same hour to ensure complete victory. Soviet expert Mikhail Klochko witnessed the beginning of the campaign in Beijing. He was awakened in the early morning by the bloodcurdling screams of a woman running to and fro on the roof of a building next to his hotel. A drum started beating, as the woman frantically waved a large sheet tied to a bamboo pole. For three days the entire hotel was mobilised in the campaign to do away with sparrows, from bellboys and maids to the official interpreters. Children came out with slings, shooting at any kind of winged creature.77 Accidents happened as people fell from roofs, poles and ladders. In Nanjing, Li Haodong climbed on the roof of a school building to get at a sparrow’s nest, only to lose his footing and tumble down three floors. Local cadre He Delin, furiously waving a sheet to scare the birds, tripped and fell from a rooftop, breaking his back. Guns were deployed to shoot at birds, also resulting in accidents. In Nanjing some 330 kilos of gunpowder were used in a mere two days, indicating the extent of the campaign. But the real victim was the environment, as guns were taken to any kind of feathered creature. The extent of damage was exacerbated by the indiscriminate use of farm poison: in Nanjing, bait killed wolves, rabbits, snakes, lambs, chicken, ducks, dogs and pigeons, some in large quantities.

THE MOTHER SPARROW take ni iza / ume ni iza to ya / oya suzume Let’s be off to the bamboo, to the peach trees, says the mother sparrow. Issa was more than sympathetic. He felt an intimacy with the mother sparrow that relates to what John Keats must have felt when he wrote, “The setting sun will always set me to rights, and if a sparrow come before my window, I take part in its existence and peck about the gravel.”6 Issa and Keats lived in different times and in far distant cultures, yet unknowingly their relationship was mar velously close—as close as their relationship with the little birds was. LOOK

From Shanghai, Meyer had sent seeds and cuttings of oats, millet, a thin-skinned watermelon, and new types of cotton. The staff of Fairchild's office watched with anticipation each time one of Meyer's shipments were unpacked. There were seeds of wild pears, new persimmons, and leaves of so-called Manchurian spinach that America's top spinach specialist would declare was the best America had ever seen. Meyer had delivered the first samples of asparagus ever to officially enter the United States. In 1908, few people had seen a soybean, a green legume common in central China. Even fewer people could have imagined that within one hundred years, the evolved descendants of soybeans that Meyer shipped back would cover the Midwest of the United States like a rug. Soybeans would be applied to more diverse uses than any other crop in history, as feed for livestock, food for humans (notably vegetarians), and even a renewable fuel called biodiesel. Meyer also hadn't come empty-handed. He had physically brought home a bounty, having taken from China a steamer of the Standard Oil Company that, unlike a passenger ship, allowed him limitless cargo and better onboard conditions for plant material. He arrived with twenty tons, including red blackberries, wild apricots, two large zelkova trees (similar to elms), Chinese holly shrub, twenty-two white-barked pines, eighteen forms of lilac, four viburnum bushes that produced edible red berries, two spirea bushes with little white flowers, a rhododendron bush with pink and purple flowers, an evergreen shrub called a daphne, thirty kinds of bamboo (some of them edible), four types of lilies, and a new strain of grassy lawn sedge.

We have increased our population to the level of 7 billion and beyond. We are well on our way toward 9 billion before our growth trend is likely to flatten. We live at high densities in many cities. We have penetrated, and we continue to penetrate, the last great forests and other wild ecosystems of the planet, disrupting the physical structures and the ecological communities of such places. We cut our way through the Congo. We cut our way through the Amazon. We cut our way through Borneo. We cut our way through Madagascar. We cut our way through New Guinea and northeastern Australia. We shake the trees, figuratively and literally, and things fall out. We kill and butcher and eat many of the wild animals found there. We settle in those places, creating villages, work camps, towns, extractive industries, new cities. We bring in our domesticated animals, replacing the wild herbivores with livestock. We multiply our livestock as we've multiplied ourselves, operating huge factory-scale operations involving thousands of cattle, pigs, chickens, ducks, sheep, and goats, not to mention hundreds of bamboo rats and palm civets, all confined en masse within pens and corrals, under conditions that allow those domestics and semidomestics to acquire infectious pathogens from external sources (such as bats roosting over the pig pens), to share those infections with one another, and to provide abundant opportunities for the pathogens to evolve new forms, some of which are capable of infecting a human as well as a cow or a duck. We treat many of those stock animals with prophylactic doses of antibiotics and other drugs, intended not to cure them but to foster their weight gain and maintain their health just sufficiently for profitable sale and slaughter, and in doing that we encourage the evolution of resistant bacteria. We export and import livestock across great distances and at high speeds. We export and import other live animals, especially primates, for medical research. We export and import wild animals as exotic pets. We export and import animal skins, contraband bushmeat, and plants, some of which carry secret microbial passengers. We travel, moving between cities and continents even more quickly than our transported livestock. We stay in hotels where strangers sneeze and vomit. We eat in restaurants where the cook may have butchered a porcupine before working on our scallops. We visit monkey temples in Asia, live markets in India, picturesque villages in South America, dusty archeological sites in New Mexico, dairy towns in the Netherlands, bat caves in East Africa, racetracks in Australia – breathing the air, feeding the animals, touching things, shaking hands with the friendly locals – and then we jump on our planes and fly home. We get bitten by mosquitoes and ticks. We alter the global climate with our carbon emissions, which may in turn alter the latitudinal ranges within which those mosquitoes and ticks live. We provide an irresistible opportunity for enterprising microbes by the ubiquity and abundance of our human bodies. Everything I’ve just mentioned is encompassed within this rubric: the ecology and evolutionary biology of zoonotic diseases. Ecological circumstance provides opportunity for spillover. Evolution seizes opportunity, explores possibilities, and helps convert spillovers to pandemics.

The master said, ‘Learn about a pine tree from a pine tree, and about a bamboo stalk from a bamboo stalk.’ What he meant was that the poet should detach his mind from self… and enter into the object, sharing its delicate life and its feelings. Whereupon a poem forms itself. Description of the object is not enough: unless a poem contains feelings which have come from the object, the object and the poet’s self will be separate things.

Study the teachings of the pine tree, the bamboo, and the plum blossom. The pine is evergreen, firmly rooted, and venerable. The bamboo is strong, resilient, unbreakable. The plum blossom is hardy, fragrant, and elegant.

Her work in the garden was almost at a standstill now; the January and February days were all alike, they went like a procession of the nuns themselves, unrelieved by any colour, there seemed to be no life or movement in the earth but the wind tearing at the trees and bamboos.

In the Ondariva gardens the branches spread out like the tentacles of extraordinary animals, and the plants on the ground opened up stars of fretted leaves like the green skins of reptiles, and waved feathery yellow bamboos with a rustle like paper. From the highest tree Cosimo, in his yearning to enjoy to the utmost the unusual greens of this exotic flora and its different lights and different silence, would let his head drop upside down, so that the garden became a forest, a forest not of this earth but a new world in itself.

Zen is eminently practical in seeing nature as a model for human behavior to learn and practice the way of the dharma. For example, the pine trees weathering the harsh winter storms teach a lesson in the value of dedication and determination in pursing the path to enlightenment; bamboo branches that sway but are not broken by the breeze teach flexibility and the need to overcome stubborn one-sided or partial views; and evaporating dew, which accepts its brevity and inevitable demise, shows the demise, significance of adjusting and abandoning resistance to the impermanence of reality. These natural images, which are used extensively in the Chinese and Japanese poetic traditions, frequently enter into various styles of Zen verse and prose, not just as rhetorical flourishes but as indicators of inner spiritual transformation.

Time for Kentrosaurus to hatch. Time to plant the millet. Time for the magnolia buds to open. Professor Denison, I'm afraid you persist in thinking of time as numbers. You think of meaningless units of time - weeks, hours, minutes - based on what? Movements of faraway planets? Of what use to us is that? Why not pay attention to the precise 30-year life cycle of the bamboo Guadua trinii or the exactly repeated mitotic cycle of the paramecium? The whole earth has a heartbeat.' He paused, swung his tail from side to side, and squinted. 'And some things happen too slowly for you to notice. If you sit quite still, you can hear the grinding down of mountains, the stretching upward of trees, the pushing forward of continents - indeed the wearing down of this very waterfall.

In his poems and in his teaching of other poets, Bashō set forth a simple, deeply useful reminder: that if you see for yourself, hear for yourself, and enter deeply enough this seeing and hearing, all things will speak with and through you. “To learn about the pine tree,” he told his students, “go to the pine tree; to learn from the bamboo, study bamboo.” He found in every life and object an equal potential for insight and expansion. A good subject for haiku, he suggested, is a crow picking mud-snails from between a rice paddy’s plants. Seen truly, he taught, there is nothing that does not become a flower, a moon. “But unless things are seen with fresh eyes,” he added, “nothing’s worth writing down.” A wanderer all his life both in body and spirit, Bashō concerned himself less with destination than with the quality of the traveller’s attention. A poem, he comments, only exists while it’s on the writing desk; by the time its ink has dried, it should be recognized as just a scrap of paper. In poetry as in life, he saw each moment as gate-latch. Permeability mattered more in this process than product or will: “If we were to gain mastery over things, we would find their lives would vanish under us without a trace.

Once outside the courtyard gate, the Garden stretched out on every hand in uniform whiteness, uninterrupted except for the dark green of a pine tree or the lighter green of some bamboos here and there in the distance. He felt as if he was standing in the middle of a great glittering crystal bowl.

Why can’t we be like that frail stem, laden with roses and rose-buds?” the philosopher said, pointing at a beautiful rosebush. “The wind blows, it shakes, and it bends, as if it were trying to protect its precious charge. If the stem were to remain upright, it would break, the wind would scatter the flowers, and the buds would rot. The wind passes by and the stem straightens anew, proud of its treasures. Who would accuse it of folding in the face of such need? Look over there, at that giant kupang,170 whose high leaves sway majestically, up where the eagle makes his nest. I brought it from the forest when it was still a fragile cutting, with thin bamboo poles supporting its trunk for months. Had I brought it here when it was large and full of life, it would certainly not have survived. The wind would have shaken it before its roots could sink into the earth, before it could establish itself in its surroundings and develop the nourishment it needed for its size and stature. That’s how you’ll end up, a plant transplanted from Europe to this rocky soil, if you don’t find support and develop humility. You are alone, highborn, in terrible conditions. The ground shakes, the sky portends a storm, and the tree canopy of your family attracts lightning. To fight against everything that exists today is not

But did it grow ninety feet in six weeks or was it ninety feet in five years? You think about it for a moment, and you know it was ninety feet in five years because had there been any year they did not water it and fertilize it, there would have been no Chinese bamboo tree.

The key to great bamboo, Yamashita tells me, is space. Bamboo trees can reproduce for six years, but their roots need room to spread, and the sun needs room to bake the forest floor. More than a farmer, Yamashita is a constant gardener, pruning branches, keeping the trees to a height of six meters, using rice husk to sow nutrients into the soil. The best bamboo is found deep underground, safely away from sunlight, turning the harvest into something resembling a truffle hunt. We walk carefully and quietly through the forest, looking for little cracks in the earth that indicate a baby bamboo trying to make its way to the surface. When we spot cracks, Yamashita comes by with a small pick and gently works the soil until he reaches the bulb. Most bamboo you see is ruddy brown or purple, but Yamashita's takenoko comes out lily white, tender, and sweet enough to eat like an apple. "You have to cook it right away, otherwise you begin to lose the flavor," says Shunichi.

When he finished he had a magnificent house, perched on the edge of a precipice at whose feet the ocean thundered, but it was a house that knew no happiness, for shortly after Whip had moved in with his third wife, the Hawaiian-Chinese beauty Ching-ching, who was pregnant at the time, she had caught him fooling around with the brothel girls that flourished in the town of Kapaa. Without even a scene of recrimination, Ching-ching had simply ordered a carriage and driven back to the capital town of Lihune, where she boarded an H & H steamer for Honolulu. She divorced Whip but kept both his daughter Iliki and his yet-unborn son John. Now there were two Mrs. Whipple Hoxworths in Honolulu and they caused some embarrassment to the more staid community. There was his first wife, Iliki Janders Hoxworth, who moved in only the best missionary circles, and there was Ching-ching Hoxworth who lived within the Chinese community. The two never met, but Howxworth & Hale saw to it that each received a monthly allowance. The sums were generous, but not so much so as those sent periodically Wild Whip's second wife, the fiery Spanish girl named Aloma Duarte Hoxworth, whose name frequently appeared in New York and London newspapers... p623 When the polo players had departed, when the field kitchens were taken down, and when the patient little Japanese gardeners were tending each cut in the polo turf as if it were a personal wound, Wild Whip would retire to his sprawling mansion overlooking the sea and get drunk. He was never offensive and never beat anyone while intoxicated. At such times he stayed away from the brothels in Kapaa and away from the broad lanai from which he could see the ocean. In a small, darkened room he drank, and as he did so he often recalled his grandfather's words: "Girls are like stars, and you could reach up and pinch each one on the points. And then in the east the moon rises, enormous and perfect. And that's something else, entirely different." It was now apparent to Whip, in his forty-fifth year, that for him the moon did not intend to rise. Somehow he had missed encountering the woman whom he could love as his grandfather had loved the Hawaiian princess Noelani. He had known hundreds of women, but he had found none that a man could permanently want or respect. Those who were desirable were mean in spirit and those who were loyal were sure to be tedious. It was probably best, he thought at such times, to do as he did: know a couple of the better girls at Kapaa, wait for some friend's wife who was bored with her husband, or trust that a casual trip through the more settled camps might turn up some workman's wife who wanted a little excitement. It wasn't a bad life and was certainly less expensive in the long run than trying to marry and divorce a succession of giddy women; but often when he had reached this conclusion, through the bamboo shades of the darkened room in which he huddled a light would penetrate, and it would be the great moon risen from the waters to the east and now passing majestically high above the Pacific. It was an all-seeing beacon, brillant enough to make the grassy lawns on Hanakai a sheet of silver, probing enough to find any mansion tucked away beneath the casuarina trees. When this moon sought out Wild Whip he would first draw in his feet, trying like a child to evade it, but when it persisted he often rose, threw open the lanai screens, and went forth to meet it. p625

F is for Fisker, a California-based hybrid luxury sportscar manufacturer named after owner Henrik Fisker. They debuted their first prototype, the Karma, in 2008. Features: solar panels on the roof to run minor electrical systems; leather interiors made from the hides of free-range cattle that were never branded; wood trim from “non-living” trees (such as wood taken from trees long submerged in lakes); an “animal-free” model that uses bamboo-based cloth instead of leather; and a center console inlaid with fossilized leaves. Cost: from about $80,000 to $106,000.