Barn Dance Quotes

This was our language: half-truths, obvious lies, accusations neither one of us would ever make. It was a system eery bit as complicated as Morse code or the dancing of bees. Don't ask, don't tell, stay civil.

Dance it off.

less than an hour ago, all I'd wanted was detention. Now, I was nominated for homecoming court and going to the big dance with the hottest guy in school. Somewhere out there, God was laughing at me. I was sure of it.

Just because two of the people in this barn have decided to spend their lives together doesn't mean the rest of us are obligated to instantly find our soul mates. It's okay if we just dance.

You don't have to dance. Just brood in beat to the music.

In Jewish folk music, despair is disguised as the dance. And so, truth’s disguise was irony.

I often think . . . that the bookstores that will save civilization are not online, nor on campuses, nor named Borders, Barnes & Noble, Dalton, or Crown. They are the used bookstores, in which, for a couple of hundred dollars, one can still find, with some diligence, the essential books of our culture, from the Bible and Shakespeare to Plato, Augustine, and Pascal.

Ouch!'' The cry escaped before I could stop it, and on either side of me, Chase and Devon leapt to their feet. ''Problem?'' Ali asked mildly, amusement dancing in the corners of her eyes. Given the whole Casey thing, I didn't think she had to call to be in such a good mood, but what did I know? ''No problem,'' I said darkly, rubbing my shin ''Somebody just accidentally kicked me under the table.'' I narrowed my eyes at lake, and she helped herself to another T-bone And smothered it in stake sauce. ''Wasn’t an accident'' She said cheerfully. ''Lake'' Mitch didn’t say any more than his daughters name and she rolled her eyes. ''It’s not like I shot her''.

That night, Ronan didn’t dream. After Gansey and Blue had left the Barns, he leaned against one of the front porch pillars and looked out at his fireflies winking in the chilly darkness. He was so raw and electric that it was hard to believe that he was awake. Normally it took sleep to strip him to this naked energy. But this was not a dream. This was his life, his home, his night. After a few moments, he heard the door ease open behind him and Adam joined him. Silently they looked over the dancing lights in the fields. It was not difficult to see that Adam was working intensely with his own thoughts. Words kept rising up inside Ronan and bursting before they ever escaped. He felt he’d already asked the question; he couldn’t also give the answer. Three deer appeared at the tree line, just at the edge of the porch light’s reach. One of them was the beautiful pale buck, his antlers like branches or roots. He watched them, and they watched him, and then Ronan could not stand it. “Adam?” When Adam kissed him, it was every mile per hour Ronan had ever gone over the speed limit. It was every window-down, goose-bumps-on-skin, teeth-chattering-cold night drive. It was Adam’s ribs under Ronan’s hands and Adam’s mouth on his mouth, again and again and again. It was stubble on lips and Ronan having to stop, to get his breath, to restart his heart. They were both hungry animals, but Adam had been starving for longer. Inside, they pretended they would dream, but they did not. They sprawled on the living room sofa and Adam studied the tattoo that covered Ronan’s back: all the sharp edges that hooked wondrously and fearfully into each other. “Unguibus et rostro,” Adam said. Ronan put Adam’s fingers to his mouth. He was never sleeping again.

they dip and dance like barn swallows at dusk glancing wingtip-to-wingtip against a lavender sky barely touching - yet, each creating thermals for the other to catch and ride - higher and yet, higher - towards a pale star...

How do we seize the past? Can we ever do so? When I was a medical student some pranksters at the end-of-the-term dance released into the hall a piglet which had been smeared with grease. It squirmed between legs, evaded capture, squealed a lot. People fell over trying to grasp it, and were made to look ridiculous in the process. The past often seems to behave like that piglet.

From time to time, I open a newspaper. Things seem to be proceeding at a dizzy rate. We are dancing not on the edge of a volcano, but on the wooden seat of a latrine, and it seems to me more than a touch rotten. Soon society will go plummeting down and drown in nineteen centuries of shit. There’ll be quite a lot of shouting.

On the first day of November last year, sacred to many religious calendars but especially the Celtic, I went for a walk among bare oaks and birch. Nothing much was going on. Scarlet sumac had passed and the bees were dead. The pond had slicked overnight into that shiny and deceptive glaze of delusion, first ice. It made me remember sakes and conjure a vision of myself skimming backward on one foot, the other extended; the arms become wings. Minnesota girls know that this is not a difficult maneuver if one's limber and practices even a little after school before the boys claim the rink for hockey. I think I can still do it - one thinks many foolish things when November's bright sun skips over the entrancing first freeze. A flock of sparrows reels through the air looking more like a flying net than seventy conscious birds, a black veil thrown on the wind. When one sparrow dodges, the whole net swerves, dips: one mind. Am I part of anything like that? Maybe not. The last few years of my life have been characterized by stripping away, one by one, loves and communities that sustain the soul. A young colleague, new to my English department, recently asked me who I hang around with at school. "Nobody," I had to say, feeling briefly ashamed. This solitude is one of the surprises of middle age, especially if one's youth has been rich in love and friendship and children. If you do your job right, children leave home; few communities can stand an individual's most pitiful, amateur truth telling. So the soul must stand in her own meager feathers and learn to fly - or simply take hopeful jumps into the wind. In the Christian calendar, November 1 is the Feast of All Saints, a day honoring not only those who are known and recognized as enlightened souls, but more especially the unknowns, saints who walk beside us unrecognized down the millennia. In Buddhism, we honor the bodhisattvas - saints - who refuse enlightenment and return willingly to the wheel of karma to help other beings. Similarly, in Judaism, anonymous holy men pray the world from its well-merited destruction. We never know who is walking beside us, who is our spiritual teacher. That one - who annoys you so - pretends for a day that he's the one, your personal Obi Wan Kenobi. The first of November is a splendid, subversive holiday. Imagine a hectic procession of revelers - the half-mad bag lady; a mumbling, scarred janitor whose ravaged face made the children turn away; the austere, unsmiling mother superior who seemed with great focus and clarity to do harm; a haunted music teacher, survivor of Auschwitz. I bring them before my mind's eye, these old firends of my soul, awakening to dance their day. Crazy saints; but who knows what was home in the heart? This is the feast of those who tried to take the path, so clumsily that no one knew or notice, the feast, indeed, of most of us. It's an ugly woods, I was saying to myself, padding along a trail where other walkers had broken ground before me. And then I found an extraordinary bouquet. Someone had bound an offering of dry seed pods, yew, lyme grass, red berries, and brown fern and laid it on the path: "nothing special," as Buddhists say, meaning "everything." Gathered to formality, each dry stalk proclaimed a slant, an attitude, infinite shades of neutral. All contemplative acts, silences, poems, honor the world this way. Brought together by the eye of love, a milkweed pod, a twig, allow us to see how things have been all along. A feast of being.

Every year, Kansas watches the world die. Civilizations of wheat grow tall and green; they grow old and golden, and then men shaped from the same earth as the crop cut those lives down. And when the grain is threshed, and the dances and festivals have come and gone, then the fields are given over to fire, and the wheat stubble ascends into the Kansas sky, and the moon swells to bursting above a blackened earth. The fields around Henry, Kansas, had given up their gold and were charred. Some had already been tilled under, waiting for the promised life of new seed. Waiting for winter, and for spring, and another black death. The harvest had been good. Men, women, boys and girls had found work, and Henry Days had been all hot dogs and laughter, even without Frank Willis's old brown truck in the parade. The truck was over on the edge of town, by a lonely barn decorated with new No Trespassing signs and a hole in the ground where the Willis house had been in the spring and the early summer. Late summer had now faded into fall, and the pale blue farm house was gone. Kansas would never forget it.

Life is like invading Russia. A blitz start, massed shakos, plumes dancing like a flustered henhouse; a period of svelte progress recorded in ebullient despatches as the enemy falls back; then the beginning of a long, morale-sapping trudge with rations getting shorter and the first snowflakes upon your face. The enemy burns Moscow and you yield to General January, whose fingernails are very icicles. Bitter retreat. Harrying Cossacks. Eventually you fall beneath a boy-gunner's grapeshot while crossing some Polish river not even marked on your general's map.

When I was a medical student some pranksters at an end-of-term dance released into the hall a piglet which had been smeared with grease. It squirmed between legs, evaded capture, squealed a lot. People fell over trying to grasp it, and were made to look ridiculous in the process. The past often seems to behave like that piglet.

You like this stuff?' she asked neutrally. 'Good to dance to,' I replied, a little defensively. 'Do you dance to it? Here? In your room? By yourself?' 'No, not really.' Though of course I did.

There’s nothing to be scared of.” Instead of taking Charlie’s pulse – there was really no point – he took one of the old man’s hands in his. He saw Charlie’s wife pulling down a shade in the bedroom, wearing nothing but the slip of Belgian lace he’d bought her for their first anniversary; saw how the ponytail swung over one shoulder when she turned to look at him, her face lit in a smile that was all yes. He saw a Farmall tractor with a striped umbrella raised over the seat. He smelled bacon and heard Frank Sinatra singing ‘Come Fly with Me’ from a cracked Motorola radio sitting on a worktable littered with tools. He saw a hubcap full of rain reflecting a red barn. He tasted blueberries and gutted a deer and fished in some distant lake whose surface was dappled by steady autumn rain. He was sixty, dancing with his wife in the American Legion hall. He was thirty, splitting wood. He was five, wearing shorts and pulling a red wagon. Then the pictures blurred together, the way cards do when they’re shuffled in the hands of an expert, and the wind was blowing big snow down from the mountains, and in here was the silence and Azzie’s solemn watching eyes.

Worst fears: That God was not good. That the earth you stood upon shifted, and chasms yawned; that people, falling, clutched one another for help and none was forthcoming. That the basis of all things was evil. That the beauty of the evening, now settling in a yellow glow on the stone of The Cottage barns, the swallows dipping and soaring, a sudden host of butterflies in the long grasses in the foreground, was a lie; a deceitful sheen on which hopeful visions flitted momentarily, and that long, long ago evil had won against good, death over life... in the glow of the sun against the stone walls, as well as in the dancing of butterflies- that in this she had been mocked.

I took a step forward. Henry caught my elbow. "No bloodshed," he said. "No blackmail. No obstruction of justice." "You drive a hard bargain," I told him. "What are your thoughts on extortion?" Without waiting for an answer, I headed for Bancroft's car. Henry and Asher followed on my heels. "The cat is dancing in the catnip," Asher reported back to Vivvie. "Grumpy lion is grumpy." "Did you just refer to me as a grumpy lion?" Henry asked Asher. "Absolutely not," Asher promised. Then he took the phone off speaker and lowered his voice. "Suspicious lion is suspicious," he stage whispered to Vivvie.

As long as there had been eleven babies, they should have been so accustomed to children that they needn't all of them have objected to me, all except Laddie, of course. That was the reason I loved him so and tried to do every single thing he wanted me to, just the way he liked it done. That was why I was facing the only spot on our land where I was the slightest afraid; because he asked me to. If he had told me to dance a jig on the ridgepole of our barn, I would have tried it.

(1850) ‘From time to time, I open a newspaper. Things seem to be proceeding at a dizzy rate. We are dancing not on the edge of a volcano, but on the wooden seat of a latrine, and it seems to me more than a touch rotten. Soon society will go plummeting down and drown in nineteen centuries of shit. There’ll be quite a lot of shouting.

He never married, and he never learned to dance. He was so resistant to dancing that most of the principal male characters in his novels take sympathetic action and refuse to dance as well.

When truth-speaking becomes impossible - because it led to immediate death - it had to be disguised. In Jewish folk music, despair is disguised as the dance. And so, truth's disguise was irony.

A split second later, Sadie-Grace literally bowled me over with a hug. "I love college," she told me, scrambling to her feet and helping me up before resuming her aggressive hug campaign. "I'm majoring in dance and also Russian literature, and combined, Boone and I have only broken two bones!" "Both Boone's," Campbell clarified. "His bones are my bones," Sadie-Grace insisted. "And vice versa. Unless that's creepy? I've discovered I have a really hard time telling what's creepy, but on the bright side, I haven't been kidnapped or kidnapped anyone else this semester, so that's good.

I believe finally, that education must be conceived as a continuing reconstruction of experience; that the process and the goal of education are one and the same thing. —JOHN DEWEY I’m standing on the red railway car that sits abandoned next to the barn. The wind soars, whipping my hair across my face and pushing a chill down the open neck of my shirt. The gales are strong this close to the mountain, as if the peak itself is exhaling. Down below, the valley is peaceful, undisturbed. Meanwhile our farm dances: the heavy conifer trees sway slowly, while the sagebrush and thistles quiver,

As I exited the car, I glanced over at Henry. "Should I call Asher and tell him we won't be needing that getaway distraction?" Before Henry could reply, pop music reverberated off the building. Asher jogged into the middle of a large crowd and struck a dramatic pose. "You say distraction," Henry deadpanned, "Asher hears 'flash mob'." Five seconds later, Vivvie danced wildly past and gave me a questioning look. I nodded. "The possum has fallen on the nun!" Vivvie called to Asher. Asher didn't miss a beat of choreography. He shimmied and punched a fist into the air. "Long live the possum!

I swear,” Lia continued with a wave of her hand, “serial killers are so predictable. It’s always all ‘I want to watch you suffer’ and ‘let me quote Shakespeare while I imagine dancing on your corpse.

Beside me, Sloane looked at Lia, then at Michael, then at Dean. Then she bounced closer to me. “There’s a forty percent chance this ends with someone getting punched in the face,” she whispered. “Come on, Dean-o,” Lia called. “Join us.” Those words were part invitation, part challenge. Michael’s body moved to Lia’s beat, and I realized suddenly that Lia wasn’t putting on a show for my benefit—or for Michael’s. She was getting up close and personal with Michael solely to get a rise out of Dean. Based on the mutinous expression on Dean’s face, it was working. “You know you want to,” Lia taunted, turning as she danced so her back was up against Michael. Dean and Lia had been the program’s first recruits. For years, it had been just the two of them. Lia had told me once that she and Dean were like siblings—and right now, Dean looked every inch the overprotective big brother. Michael likes pissing Dean off. That much went without saying. Lia lives to pull Dean off the sidelines. And Dean… A muscle in Dean’s jaw ticked as Michael trailed a hand down Lia’s arm. Sloane was right. We were one wrong move away from a fistfight. Knowing Michael, he’d probably consider it a bonding activity. “Come on, Dean,” I said, intervening before Lia could say something inflammatory. “You don’t have to dance. Just brood in beat to the music.” That surprised a laugh out of Dean. I grinned. Beside me, Michael eased back, putting space between his body and Lia’s.

Travis came up behind her, his hat brim bumping her head as he nuzzled her neck. She giggled and danced away, feeling playful yet oddly shy at the same time. Travis gave chase, his husky laughter blending with hers as the two of them darted out of the barn. When they neared the porch, he grabbed her about the waist and lifted her off her feet. Meredith squealed. “You can’t escape me,” Travis murmured in her ear as he gently settled her back on the ground. Meredith turned in his arms to face the man she loved. “I’ve no desire to.” His eyes darkened, and for a moment she thought he would kiss her. But then he scooped her into his arms and carried her up the porch steps. The front door proved more of a challenge to conquer. Travis had to juggle his hold on her a bit before he could get the latch open. Meredith laughed in delight, endeared by his awkward efforts. Once the door was cracked, he kicked it wide with his boot and carried her over the threshold. “Welcome home, Mrs. Archer.

When she dies, you are not at first surprised. Part of love is preparing for death. You feel confirmed in your love when she dies. You got it right. This is part of it all. Afterward comes the madness. And then the loneliness: not the spectacular solitude you had anticipated, not the interesting martyrdom of widowhood, but just loneliness. You expect something almost geological-- vertigo in a shelving canyon -- but it's not like that; it's just misery as regular as a job. What do we doctors say? I'm deeply sorry, Mrs Blank; there will of course be a period of mourning but rest assured you will come out of it; two of these each evening, I would suggest; perhaps a new interst, Mrs Blank; can maintenance, formation dancing?; don't worry, six months will see you back on the roundabout; come and see me again any time; oh nurse, when she calls, just give her this repeat will you, no I don't need to see her, well it's not her that's dead is it, look on the bright side. What did she say her name was? And then it happens to you. There's no glory in it. Mourning is full of time; nothing but time.... you should eat stuffed sow's heart. I might yet have to fall back on this remedy. I've tried drink, but what does that do? Drink makes you drunk, that's all it's ever been able to do. Work, they say, cures everything. It doesn't; often, it doesn't even induce tiredness: the nearest you get to it is a neurotic lethargy. And there is always time. Have some more time. Take your time. Extra time. Time on your hands. Other people think you want to talk. 'Do you want to talk about Ellen?' they ask, hinting that they won't be embarrassed if you break down. Sometimes you talk, sometimes you don't; it makes little difference. The word aren't the right ones; or rather, the right words don't exist. 'Language is like a cracked kettle on which we beat out tunes for bears to dance to, while all the time we long to move the stars to pity.' You talk, and you find the language of bereavement foolishly inadequate. You seem to be talking about other people's griefs. I loved her; we were happy; I miss her. She didn't love me; we were unhappy; I miss her. There is a limited choice of prayers on offer: gabble the syllables. And you do come out of it, that's true. After a year, after five. But your don't come out of it like a train coming out of a tunnel, bursting through the Downs into sunshine and that swift, rattling descent to the Channel; you come out of it as a gull comes out of an oil-slick. You are tarred and feathered for life.

And he had to say farewell to his hands, his eyes, to hunger and thirst, to love, to playing the lute, to sleeping and waking, to everything. Tomorrow a bird would fly through the air and Goldmund would no longer see it, a girl would sing in a window and he would not hear her song, the river would run and the dark fish would swim silently, the wind would blow and sweep the yellow leaves on the ground, the sun would shine and stars would blink in the sky, young men would go dancing, the first snow would lie on the distant mountains—everything would go on, trees would cast their shadows, people would look gay or sad out of their living eyes, dogs would bark, cows would low in the barns of villages, and all of it without Goldmund.

This music ebbs and flows, irregular, sad. It reminds me, weirdly, of watching the ocean during a bad storm, the lashing, crashing waves and the spray of sea foam against the docks; the way it takes your breath away, the power and the hugeness of it. That’s exactly what happens as I listen to the music, as I come up over the final crest of hill, and the half-ruined barn and collapsing farmhouse fan out in front of me, just as the music swells, a wave about to break: The breath leaves my body all at once, and I’m struck dumb by the beauty of it. For a second it seems to me like I really am looking down at the ocean—a sea of people, writhing and dancing in the light spilling down from the barn like shadows twisting up around a flame.

Where will they stay?” I asked. “In the barn,” whispered Grandfather. “We’ll throw down some blankets.” “We’ll make room,” said Papa. “Harriet and Mattie and Lou can stay in Caleb’s room. That’s something to think about.” “I’ll stay in the barn,” said Grandfather in a strong voice. “Doggie stay in barn,” said Jack. Grandfather reached over and took Jack’s hand. “You bet,” he said.

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin.” “As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed, long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

Fermentation takes place in open tanks by necessity; otherwise, the pressure from the carbon dioxide would build to dangerous levels. But when a vat of fruit juice or grain mash is left to brew in an old barn or warehouse, bugs will surely find their way in. This is not always such a bad thing: lambic brewers in Brussels realize that some of their best strains of yeast come from insects falling from the rafters. In fact, yeast produce esters in order to attract insects, hoping they will pick up the yeast and move it around. This makes bugs unwitting accomplices in the dance between sugar and yeast.

I’ll ride Zeke,” said Aunt Lou, starting to walk to the barn. “No,” said Papa, going after her and taking her hand. “I’ll saddle up Molly.” “I’ll go with you,” said Grandfather. “This time we’ll take a quiet and slow ride around the slough. If that’s possible for you,” he called after Aunt Lou. “Boppa,” said Jack to Grandfather. He held out his arms. “All right, all right. A short ride,” said Grandfather. Grandfather, Papa, and Aunt Lou went to the paddock to bring in the horses. Jack followed Grandfather, walking just behind him, his arms behind his back like Grandfather’s. “Little Boppa and big Boppa,” said Caleb, making Mama laugh.

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin. As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed,long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

Ma went up to the gate, and pushed against it to open it. But it did not open very far, because there was Sukey, standing against it. Ma said: “Sukey, get over!” She reached across the gate and slapped Sukey’s shoulder. Just then one of the dancing little bits of light from the lantern jumped between the bars of the gate, and Laura saw long, shaggy, black fur, and two little, glittering eyes. Sukey had thin, short, brown fur. Sukey had large, gentle eyes. Ma said, “Laura, walk back to the house.” So Laura turned around and began to walk toward the house. Ma came behind her. When they had gone part way, Ma snatched her up, lantern and all, and ran. Ma ran with her into the house, and slammed the door. Then Laura said, “Ma, was it a bear?” “Yes, Laura,” Ma said. “It was a bear.” Laura began to cry. She hung on to Ma and sobbed, “Oh, will he eat Sukey?” “No,” Ma said, hugging her. “Sukey is safe in the barn. Think, Laura--all those big, heavy logs in the barn walls. And the door is heavy and solid, made to keep bears out. No, the bear cannot get in and eat Sukey.” Laura felt better then. “But he could have hurt us, couldn’t he?” she asked. “He didn’t hurt us,” Ma said. “You were a good girl, Laura, to do exactly as I told you, and to do it quickly, without asking why.” Ma was trembling, and she began to laugh a little. “To think,” she said, “I’ve slapped a bear!

Let’s have a closer look at Sue. Appearance-wise, Jerry’s mother was a dark dream with full lips and almond eyes; fashion-wise, she spared no expense but looked as conservative as all the rest; in terms of morals she was entirely conventional; in personality a flirt; in outlook a skeptic; in disposition a bleak and dire depressive; in political mind-set more progressive than most; in matters of sex, boldly forward, then discreetly withholding; she was mercurial at parties and dances (a charmer one night, a mute the next); in love a total slave, but as an object of a man’s desire, she was a merciless and cunning manipulator. If her kindness was subject to moods, she had her table manners down cold, and her telephone etiquette was impeccable.

Who’s that hot piece of cowboy standing with Nathan?” She pointed toward one end of the barn by a stack of hay bales. A scowl tightened all the muscles in his face as he followed the length of her arm to the direction of her fingertip. Before he could answer, she was already pulling him again. This time toward his cousin. “Nate, who’s your friend?” she asked, not bothering with hellos. Letting go of Caleb’s hand and leaving him feeling empty, she shifted her weight to her toes when she stopped in front of Preston. “Your eyes remind me of those old Sprite bottles. I found one at a flea market once. I think it’s still lying around somewhere in my room.” Nathan’s chuckle caught her attention. “Diana Alexander, let me introduce you to Preston Grant. He’s a childhood friend of mine and Caleb’s. Pres, this is Didi.” “Can I paint you naked?” she asked, unabashed, looking up at him. Nathan’s chuckles became full-blown laughter. She hiked her thumb at Caleb. His scowl deepened. “This one’s too shy.” “It’s nice to meet you, Didi,” Preston said. He seemed unperturbed by her request. The bastard. She danced to Nathan’s side and leaned in conspiratorially, not taking her eyes away from Preston. “Between you and me,” she whispered loud enough for Caleb and the object of her fascination to hear, “just how far does his tan go?” That had done it. The words came out of his mouth without thinking. “If you’re going to paint someone naked, it will be me.” With impatience running through his veins, he laced their fingers together and tugged. “Come on.

Rebecca's eyes were like faith,—"the substance of things hoped for, the evidence of things not seen." Under her delicately etched brows they glowed like two stars, their dancing lights half hidden in lustrous darkness. Their glance was eager and full of interest, yet never satisfied; their steadfast gaze was brilliant and mysterious, and had the effect of looking directly through the obvious to something beyond, in the object, in the landscape, in you. They had never been accounted for, Rebecca's eyes. The school teacher and the minister at Temperance had tried and failed; the young artist who came for the summer to sketch the red barn, the ruined mill, and the bridge ended by giving up all these local beauties and devoting herself to the face of a child,—a small, plain face illuminated by a pair of eyes carrying such messages, such suggestions, such hints of sleeping power and insight, that one never tired of looking into their shining depths, nor of fancying that what one saw there was the reflection of one's own thought.

Concealing himself from his father's wrath, behind the barn with wick turned low and his face two inches from the rough sawtooth page, Young Crawford had read of these atrocities in Beadle's Dime Library and fantasized about "calling out" the brutal old man who had sired him, "throwing down" on him with the "hogleg" he wore high on his hip, and blasting him into hell; after which he would go "on the scout," separating high-interest banks and arrogant railroad barons from their soiled coin and distributing it among their victims, or failing that into his own pockets and saddle pouches and living the "high Life" in saloons and "dance halls" where beautiful women in brief costumes admired his straight legs and square jaw and told him of the men who had "ruined" them (he knew not just how, only that the act was disgraceful and its effects permanent), whereupon he sought the blackguards out and deprived them of their lives. There was usually profit involved; invariably the men were thieves who lived in close proximity to their "ill-gotten booty," and didn't it say somewhere in Scripture that robbing a thief was no sin? If it didn't, it should have.

The next day Aunt Lou was the very first up in the morning again. “I’ve driven a car,” she said to Papa. “Now it is time to ride a horse. Only five more days before we have to go back East. It’s time.” “‘Old lady on a dapple…’” began Jack before Mama put her hand over his mouth. Grandfather and Papa smiled. “Zeke, maybe,” said Aunt Lou. Papa looked at Mama. “I remember a long time ago,” he said softly. “Do you?” Mama nodded. “When I first came here I wanted to learn to ride your wildest horse, Jack, and to fix the roof…” “And to plow and almost everything else,” said Papa. “And she did,” said Caleb with a smile. “She wore overalls, too.” “I had a lot to learn,” said Mama. “Well, Sarah taught me how to swim when she first came here,” said Caleb. “In the slough?” exclaimed Aunt Harriet. “You bet,” said Caleb. “You bet,” echoed Jack, making everyone laugh. “I remember skinny-dipping in Maine,” Caleb said. “That water was cold.” “I’ll ride Zeke,” said Aunt Lou, starting to walk to the barn. “No,” said Papa, going after her and taking her hand. “I’ll saddle up Molly.” “I’ll go with you,” said Grandfather. “This time we’ll take a quiet and slow ride around the slough. If that’s possible for you,” he called after Aunt Lou.

This new hockey was a barn full of jubilant line dancers and they grabbed my arm - me, slouching against hay bales in the darkest corner, worried about my weak knee, that I might pop a rib or want a cold beer or twelve, that I wouldn't know the steps and was dressed all wrong, that I was too fucking old - and dragged me onto the floor and joined me up to the long and twisting line. "Dance," said the game.

Love is stillness quaked only by the leaves' cascading pirouettes.

troubled, Alfred Allsworth (Fred) Thorp, Sheriff of Okanogan County approached the Lute Morris Saloon in Conconully Monday morning, November 9, 1909. Inside, a hard-looking stranger of medium height, with black hair and a mustache, who gave his name as Frank LeRoy, was playing cards at a table. Sheriff Thorp intended to question LeRoy regarding a safe blown in the A.C. Gillespie & Son store in Brewster a few days earlier and two residential burglaries in Brewster. A mild mannered Iowa farmer, Thorp came to the Okanogan in 1900, carried mail between Chesaw and Loomis, ran for sheriff. Armed with a six-shooter, Thorp feared only that some day, he might have to kill someone, which would compel him to resign, and this might be the day. LeRoy sat very still, watching the frontier sheriff approach the card table. “I’ll have to take you in, partner.” said Thorp. There must have been an unearthly silence in the saloon as LeRoy rose. Thorp drew his revolver, “I’m going to search you.” LeRoy turned as if to throw off his coat, and then jerked a pistol from a shoulder holster. The two opened fire simultaneously LeRoy dancing about to present an elusive target. LeRoy got off four shots. Thorp emptied his revolver, striking LeRoy’s right hand, causing him to drop his gun, and hitting the suspect in the shoulder as he bolted out a rear door. LeRoy staggered a few yards up Salmon Creek before hiding in some brush. “Look out, he’s got another gun” someone yelled from across the creek. Having borrowed a second revolver, the sheriff pounced, kicking LeRoy’s gun from his hand. LeRoy was rolled onto a piece of barn board and carried into the Elliot Hotel. There his wounds, including a punctured lung were treated. In LeRoy’s hotel room Thorp found two more guns, wedges and drills, and a supply of nitroglycerine. Two days later, LeRoy broke out of the county jail. Wearing only his nightshirt, a blanket for trousers, shoes and an old mackinaw taken from an elderly trusty who served as jailer, the desperado flew through chilling weather to Okanogan. Three days later, Thorp caught up with him in a fleld of sagebrush below Malott. LeRoy came out with his hands up commenting mildly he wished he had a gun so the two could shoot it out again. In January, 1910, at Conconully LeRoy was convicted of burglarizing the William Plemmon’s home at Brewster. Since this was his third burglary conviction, he was sentenced to life imprisonment in the state penitentiary at Walla Walla as a habitual criminal. After serving nine years, LeRoy, in ill health, was released in 1919. He once met Fred Thorp on a street in Spokane. They chatted for a few minutes. While there were, in pioneer times, numerous other confrontations between armed men, the Thorp-LeRoy gun flght probably was the closest Okanogan County ever came to a HIGH NOON shootout.

They stepped into the gloom and peered into the rows of cages. Luxuriant, curly fur covered some rabbits, so thick it weighed the tips of the ears down. Other pens housed pink-eyed albinos, their jaws working furiously on bits of hay poking out of their mouths. Earth's biodiversity never ceased to amaze him. One of the rabbits was easily the size of a dog. The label on its cage read FLEMISH GIANT. Giant was right. Quentin leaned close to one to snap a photo for his nieces, and the rabbit thumped its back feet on the metal cage. Next to the rabbit, Alisha jumped a mile, her sneakers skidding on the concrete as she danced away. Not so eager for the bunnies, then. Fine by him. The next barn housed horses. In one of the stalls, a huge horse regarded them through wise dark eyes, like a sentient Narnian beast. A black mane fell across its face, and feathery white hair fanned out around its hooves. "A Budweiser horse!" She laughed, pointing to the placard. "Clydesdale.

I told her Skye was the one to worry about. That child came out of the womb tap-dancing.

I left all safe bets behind, Ford. I don’t want a safe relationship. I don’t want a safe love.” His eyes dance between mine, and I forge ahead. “I want messy and snarky and…” I peek back over my shoulder at the old barn, transformed into a new office, before turning my gaze back on him. “I want a wild love.

He remembered the way she looked wearing his hat, remembered the warmth of her in his arms as they danced, their first kiss in the barn when he’d been rocked by the riot she’d caused inside him. There was nothing he didn’t remember. Including the way she looked at him, like he hung the moon and the stars. It was the look Dylan referred to, the one that convinced his friend her feelings were real. Wade would give anything to have her here now, looking at him like that.

Miss Kristoffersen.” He offered his elbow to her. After a slight hesitation, she slipped her hand into the crook of his arm, and the two of them walked toward the barn. Just before they reached it, guitar and fiddle, flute and banjo, drums and tambourine began to play a lively melody. Very soon, couples swirled by the open doorway, the women’s colorful skirts soaring out behind them. Colin dared to look at Felicia again and was rewarded with an enormous smile. “It’s wonderful,” she said, loud enough to be heard above the music. “I’ve never seen anything like it.” “Your first barn dance?” She nodded. “Would you like to dance?” The smile vanished, and she shook her head. It surprised him how much he wanted to change her mind. “Are you sure?” Color infused her cheeks. “I don’t know how to dance, Mr. Murphy.” “Tell you what.” He leaned closer so he didn’t have to raise his voice. “We’ll wait until they play something a bit slower. Then I’ll teach you. Okay?” For a heartbeat, he feared she would still refuse. But then she nodded, and pleasure flowed through him. Mrs. Summerville be hanged.

The plague took too much, from all of us. But we're here. We survived, and we work hard all week, just trying to keep surviving. There are always chores to do, crops to tend, animals to care for, fences to build. Another task to complete if we want to stay alive. But the fact that we survived, that we're still here when billions aren't, is worth celebrating. So once a week, on Saturday night, we have a party. We gather in the north barn, we eat, we laugh, we play music, we dance, and we try and remember the joy in a world steeped in misery.

I said,'What's your problem?' Asshole.' There was a question behind his question, and that shadow question was 'Do you want to mean to dance?

Nobody had to say it; everyone could see it with their eyes and know it in their hearts. In a way all those afternoons down on the sandbar at Thompson Creek, late evenings of margaritas at Que Pasa, nights of pool parties and barn dances and Ronnie Morgan's campfires followed by pancakes and kitchen camaraderie, and church on Sunday morning--these things were like a levee the people of Starhill had spent a lifetime building together. Now, facing a catastrophe that felt like it had the power to wash them away, the levee was holding.

farmer barn dances, although the

Texas Wisdom on the Nature of Hate When a person hates ya' they're dug in like a badger at a barn dance. There ain't no use talkin' to 'em 'cause they've tossed all logic to the wind. How can ya' talk reason to a mind that's become unreasonable? Rather than waste your energy fightin' an uphill battle tryin' to sway 'em, you're better off usin' that good energy just lovin' the people who love you more. And the haters? Well, just hit 'em over the head with a 2-by-4. Maybe that'll knock some sense into 'em.

On hearing that she was to continue to act as Malcolm Sage's secretary, Miss Gladys Norman had done a barn-dance across the room, her arrival at the door synchronising with the appearance of Malcolm Sage from without. It had become a tradition at Department Z that "M.S." could always be depended upon to arrive at the most embarrassing moment of any little dramatic episode; but it was equally well-known that he possessed a "blind-side" to his vision. They called it "the Nelson touch.

You are American,” he says, as if I’m a mythical creature. I nod. “Yes. And, uh, we have different dances where I come from.” “Can you show us one?” The second boy, a dark-haired kid, steps forward, looking intrigued. I stifle a laugh. “Oh, uh, no. I’m a horrible dancer.” “Please?” the redheaded boy asks. “I have never seen an American dance.” I just laughed at them thirty seconds ago. Wouldn’t that make me mean if I just blow them off now? “I doubt you’d want to see these dances,” I say, stalling. I feel kind of bad. But I really can’t dance. I’ll make a fool of myself. “Oh, but I do. Most certainly.” “Oh.” Well, then. I could try, right? Just some tiny little thing? But what do I share? MC Hammer? The Running Man? The Electric Slide? A little Macarena? “Uh,” I say, stepping forward. “How about, um, the Robot?” “The Robot?” the two boys ask in unison. Did the word robot even exist in 1815? “Yeah. You, uh, hold your arms out like this,” I say, demonstrating the proper way to stand like a scarecrow. I can’t believe I’m doing this. “And then relax your elbows and let your hands swing. Like this.” I’m really not doing it well, but by the way their eyes widen, you’d think I just did a full-on pop-and-lock routine with Justin Timberlake. They mimic my maneuver, making it look effortless. The drummer guy stands up and gets in on the action, swinging his arms freely. The guy’s better than me after a two-second demo. Figures. “Okay, then, uh, you sort of walk and you try to make everything look stiff and, uh, unnatural. Like this.” I show him my best robotic walk, my arms mechanical in their movements. The two boys and the drummer immediately copy me, and by the time they’ve taken four or five steps, they seriously look like robots. In no time they’re improvising, and their laughter trickles up toward the rafters of the barn. Yeah. That’s my cue to leave before inspiration strikes and I try to show them how to break-dance but only succeed in breaking my neck. I slip out of the barn unnoticed, grinning to myself as I walk the gravel path back toward the house, my skirts brushing the dirt. At least somewhere, I’m not Callie the Klutz. Even if it’s just some smelly old barn. There’s hope for me after all.

Ballroom dancing was inherently social, but steps replaced words and beats ironed out pauses. The shy, the awkward, and the weird found a home where good rhythm or a barn of a memory vanquished their shyness, awkwardness, and weirdness. Some got good while others stayed middling. Everyone, though, had fun.

The Name of the Wind (Patrick Rothfuss) - Your Highlight at location 554-554 | Added on Tuesday, 6 May 2014 10:10:16 “Careful, Bast! You’re carrying a lady there, not swinging some wench at a barn dance.” ========== The Name of the Wind (Patrick Rothfuss) - Your Highlight at location 673-673 | Added on Tuesday, 6 May 2014 10:24:50 Bast recommended several unpleasant hangover cures. ========== The Name of the Wind (Patrick Rothfuss) - Your Highlight at location 812-812 | Added on Tuesday, 6 May 2014 11:29:25 “A note? You sneak out and leave me a note?” He hissed angrily. “What am I, some dockside whore?” ========== The Name of the Wind (Patrick Rothfuss) - Your Highlight at location 1885-1886 | Added on Tuesday, 6 May 2014 13:24:08 He then proceeded to shout at Alpha and Beta, a sign that he was in a genuine good mood. They took it as calmly as ever, in spite of the fact that he accused them of things I’m sure no donkey has ever willingly done, especially not Beta, who possessed impeccable moral character. ========== The Name of the Wind (Patrick Rothfuss) - Your Highlight at location 2308-2309 | Added on Tuesday, 6 May 2014 14:06:04 I refuse to tell the rest of this story with you making blubbery cow eyes at me.” ========== The Name of the Wind (Patrick Rothfuss) - Your Bookmark at location 2405 | Added on Tuesday, 6 May 2014 14:34:50 ========== The Name of the Wind (Patrick Rothfuss) - Your Bookmark at location 1885 | Added on Tuesday, 6 May 2014 14:36:07 ========== The Name of the Wind (Patrick Rothfuss) - Your Highlight at location 2478-2478 | Added on Tuesday, 6 May 2014 18:38:21 He started to sing “Tinker Tanner,” a drinking song that is older than God. ==========

They have a piano in town," Cade said. He'd stood outside Clark's barn any number of times, listening to the intertwining of notes, contemplating making such a joyful noise. The player hadn't been expert, but he'd never heard anything like it before. Apparently this was news to Lily. She looked up at Cade with something akin to excitement burning in the pale blue of her eyes. "Really? Why didn't anyone tell me?" Then she shut up and her gaze drifted to the pasture beyond the trees. Her husband had known. He could see that suspicion forming on her face. "I suppose that's what they do in town on Saturday nights," she murmured. "Jim told me it was too rowdy to stay after dark." "The other women stay," Cade said without inflection. Lily had never been close to her sisters, but she had grown up in a household of females and missed the feminine discussions and laughter and shared secrets. Juanita couldn't fill that need entirely; she had been too damaged by her past. Lily didn't know much about the town ladies, but there was no reason she couldn't meet them somehow, if she put her mind to it. "I wish I could hear the piano," Lily said. Actually, she wished she had a right to play the piano, but that was beyond her ability to speak. "I'll take you in if you wish to go." Lily surprised herself by saying, "I would like that, thank you. I don't think Juanita would mind watching Serena, and my father can look after Roy. Do they have other instruments besides the piano?" Cade stroked the flute as he gazed on the woman sitting boldly in the grass before him. He had never met anyone quite like her before. She was white and female, which should put her completely out of bounds for any conversation at all. But she was his boss, and as such, there had to be a certain amount of communication. She wore trousers like a man, and to a certain extent she spoke like a man, but he couldn't treat her with the same deference as Ralph Langton or with the scorn he felt for the ignorant farmhands he worked with. If she had been a whore, he could have had certain expectations, but she was a lady. How the hell should he treat a lady who wore pants? "Fiddles, sometimes," he responded while he struggled with the problem. "Is there dancing?" she asked anxiously. It was then that Cade realized that this woman didn't see categories as other people did. She saw people through the eyes of a child, as they related to her. It was rather amusing to realize that he had been avoiding her to keep from offending her ladylike sensibilities, when she was more likely offended by his avoidance than his presence. That's what he got for assuming all white women were alike. "They dance," he agreed. Cade

Come Let Us Worship Come, let us bow down in worship, let us kneel before the LORD our Maker. —PSALM 95:6     A recent point of frustration, debate, and tension in many churches has been about defining worship and agreeing what it should look like. Older Christians are confused because of changes made to the style of worship. They wonder whatever happened to the old hymns that were so beloved. They knew the page numbers and all the old verses by heart. Today there are no hymnals, the organs have been silenced, and guitars, drums, and cymbals have taken over. The choir and their robes have been abandoned, and now we have five to seven singers on stage leading songs. We stand for 30 minutes at a time singing song lyrics that we aren’t familiar with from a large screen. What’s happening? If the church doesn’t have these components, the young people leave and go to where it’s happening. Are we going to let the form of worship divide our churches? I hope not! The origins of many of the different expressions of worship can be found in the Psalms, which portray worship as an act of the whole person, not just the mental sphere. The early founders established ways to worship based on what they perceived after reading this great book of the Bible. Over the centuries, Christian worship has taken many different forms, involving various expressions and postures on the part of churchgoers. The Hebrew word for “worship” literally means “to kneel” or “to bow down.” The act of worship is the gesture of humbling oneself before a mighty authority. The Psalms also call upon us to “sing to the LORD, bless His name” (96:2 NASB). Music has always played a large part in the sacred act of worship. Physical gestures and movements are also mentioned in the Psalms. Lifting our hands before God signifies our adoration of Him. Clapping our hands shows our celebration before God. Some worshipers rejoice in His presence with tambourines and dancing (see Psalm 150:4). To worship like the psalmist is to obey Jesus’ command to “love the Lord your God with all your heart and with all your soul and with all your mind and with all your strength” (Mark 12:30). There are many more insights for worship in the book of Psalms: • God’s gifts of instruments and vocal music can be used to help us worship (47:1; 81:1-4). • We can appeal to God for help, and we can thank Him for His deliverance (4:3; 17:1-5). • Difficult times should not prevent us from praising God (22:23- 24; 102:1-2; 140:4-8).

Where are the cows?” asked Lizzy, looking around. “In the barn, waiting to be milked,” said Farmer Ben. “But they left plenty of cow pies out here yesterday, so watch your step.” To one side of the barn stood the chicken coop. Ben stopped in front of it and said, “Before milking the cows, we have to feed the chickens.” The chicken coop was even smellier than the fertilizer. “Pew!” said Queenie. “Go ahead, Ferdy. You’ll fit right in!” Farmer Ben picked up a large bag of chicken feed and poured the feed into a bucket. He handed the bucket to Ferdy. “Now, how hard can feeding chickens be?” he said. “Show us how to do it, my boy.” He unlatched the door to the coop and held it open. “Go on, son. Git!” Ferdy stepped inside and walked to the center of the chicken coop. He scooped a handful of feed from the bucket and said, “I believe the common phrase for such a task is ‘piece of cake.’” Then he began to scatter the feed in a circle around him. The cubs heard Farmer Ben chuckle. “That’s mighty close to your body, son!” he called to Ferdy. But it was too late. Ferdy was already surrounded by a mass of clucking, pecking chickens. What’s more, in scattering feed so close to him, he had accidentally dropped some into the cuffs of his overalls. Soon there were chickens pecking hungrily at his ankles. “Ouch!” cried Ferdy. “Ow! Stop! Back, I say!” The cubs laughed as Ferdy dropped the bucket and did an awkward dance to avoid his attackers. Lucky for him, the chickens went for the feed that had spilled from the fallen bucket. That gave Ferdy a chance to dash through the door and slam it behind him. Farmer Ben patted Ferdy on the back. “We farmers have a saying,” he chuckled. “‘He who drops chicken feed at his own feet soon finds himself in a peck of trouble.’ Get it? Peck of trouble?” “Very clever,” Ferdy grumbled as the other cubs hooted and hollered.

Super toad!” Carol said. “What?” “I was trying out another expression. Instead of ‘holy cow,’ maybe you can just pick any adjective and any animal and it would work.” “No, I don’t think so.” “Dancing piglet!” Carol whispered a little louder. “Oh, it totally works. Bloated antelope! Ugly barn owl! Hippie hedgehog! I’m going to have to write these down.” “Shhhh,

Life's Just a Day Sunrise over fields, golden waves of grain, Tractor trails and morning dew, simple and plain. Life's just a day, on this old family farm, Where the rooster's crow, is our wake-up alarm. Yeah, shit happens, out here in the sticks, But we patch it up, with our country tricks. Oh-oh, life's just a day, it's a wild, wild ride, Shit happens, yeah, but we take it in stride. We love, we lose, but we still find our way, Oh-oh, life's just a day, and we're okay. Oh-oh, life's just a day, and we're okay. Barn dances at night, under a silver moon, Harvests that come, none too soon. Needed you more, but you gave me less, Now I'm sowing seeds, of newfound happiness. Yeah, shit happens, even when you plow straight, But we learn to bend, before it's too late. Oh-oh, life's just a day, it's a wild, wild ride, Shit happens, yeah, but we take it in stride. We love, we lose, but we still find our way, Oh-oh, life's just a day, and we're okay. Oh-oh, life's just a day, and we're okay. Through the dust and the dirt, we find our way, With the strength of the earth, we build our day. And when the sun sets, painting the sky, We'll remember the day, with a satisfied sigh. Oh-oh, life's just a day, it's a wild, wild ride, Shit happens, yeah, but we take it in stride. We love, we lose, but we still find our way, Oh-oh, life's just a day, and we're okay. Oh-oh, life's just a day, and we're okay. Life is but a day, and it's fleeting, they say, But in every furrow, there's a chance to sway. To the rhythm of the land, to the heartbeat of life, Through the good and the bad, the peace and the strife.

Old Country Longing August 9, 2024 at 8:49 AM [Verse] Old country, I miss your dusty roads, The fields where wildflowers still grow. I feel lonely when I can't see your face, Yearnin' for your warm, familiar embrace. [Verse 2] I desire to walk through your rolling hills, To hear the whisper of your creeks and rills. Obsessed, I hunger for your taste and scent, Missin' every single moment we spent. [Chorus] Old country, you fill my dreams, Your rivers and plains, your whispering streams. In your fields and farms, I long to find, The feel of your soul, touchin' mine. [Verse 3] I reminisce 'bout your moonlit nights, Your crickets singin' soft lullabies. The summer breeze that danced in my hair, In your presence, I felt no despair. [Verse 4] Your rusty barns and your forest trails, Every path tells a hundred tales. I crave the scent of your fresh cut hay, Dreamin' of home every single day. [Chorus] Old country, you fill my dreams, Your rivers and plains, your whispering streams. In your fields and farms, I long to find, The feel of your soul, touchin' mine.

his waist. His warm arms wind around me, and his hands grip my ass. “I left all safe bets behind, Ford. I don’t want a safe relationship. I don’t want a safe love.” His eyes dance between mine, and I forge ahead. “I want messy and snarky and…” I peek back over my shoulder at the old barn, transformed into a new office, before turning my gaze back on him. “I want a wild love. I want you, even though you make me want to push you into the lake and break your computer and throw paint all over your pristine floors. I want this feeling I have with you where it hurts to breathe when you get too far away, where my skin itches uncontrollably when you look at me. Where thinking feels overrated because we both know nothing and no one will ever feel like this. Like us.

We are doing 55 on Indiana 65. Jasper County. Flooded fields. Iroquois River spread way out, wide and brown as a Hershey bar. Distances in this glacier-flattened planed-down ground-level ground aren't blue, but whitish, and the sky is whitish-blue. It's in the eighties at 9:30 in the morning, the air is soft and humid, and the wind darkens the flooded fields between rows of oaks. Watch Your Speed - We Are. Severely clean white farmhouses inside square white fences painted by Tom Sawyer yesterday produce a smell of dung. A rich and heavy smell of dung on the southwest wind. Can shit be heady? La merde majestueuse. This is the "Old Northwest." Not very old, not very north, not very west. And in Indiana there are no Indians. Wabash River right up to the road and the oaks are standing ten feet out in the brown shadowmottled flood, but the man at the diesel station just says: You should of seen her yesterday. The essence is motion being in motion moving on not resting at a point: and so by catching at points and letting them go again without recurrence or rhyme or rhythm I attempt to suggest or imitate that essence the essence of which is that you cannot catch it. Of course there are other continuities: the other aspect of the essence of moving on. The county courthouses. Kids on bikes. White frame houses with high sashed windows. Dipping telephone wires, telephone poles. The names of the dispossessed. The redwing blackbird singing to you from fencepost to fencepost. Dave and Shelley singing "You're the Reason God Made Oklahoma" on the radio. The yellow weedy clover by the road. The flowering grasses. And the crow, not the Indian, the bird, you seen one crow you seen 'em all, kronk kronk. CHEW MAIL POUCH TOBACCO TREAT YOURSELF TO THE BEST on an old plank barn, the letters half worn off, and that's a continuity, not only in space but time: my California in the thirties, & I at six years old would read the sign and imagine a Pony Express rider at full gallop eating a candy cigarette. Lafayette Greencastle And the roadsign points: Left to Indianapolis Right to Brazil. Now there's some choice.

Near You" Man I miss the way you laugh Setting my head straight again Our walks haven't changed, the barn's still there The gate still sticks Guess I just didn't know what to expect I'm glad you finally got your car out of the mud Now we can make plans for the bar Man I missed getting you to dance Getting you drunk enough to dance I'm not asking for the moon, or even the whole truth I don't need to know everything about you I don't need the purest spring, You can have eyes for anyone in the room I just want, just want to be near you Your cigarette was lit inside You were ready to go, ready for anything Ready for all those lonely nights I was ready to rip the ticket up Throw it in the street, so I didn't have to leave Drive your damn car back in the mud I'm not asking for the moon, or even the whole truth I don't need to know everything about you I don't need the purest spring, You can have eyes for anyone in the room I just want, just want to be near you Courtney Marie Andrews, Leuven Letters (2014)

In my youth . . . my sacred youth . . . in eaves sole sparowe sat not more alone than I . . . in my youth, my saucer-deep youth, when I possessed a mirror and both a morning and an evening comb . . . in my youth, my pimpled, shame-faced, sugared youth, when I dreamed myself a fornicator and a poet; when life seemed to be ahead somewhere like a land o’ lakes vacation cottage, and I was pure tumescence, all seed, afloat like fuzz among the butterflies and bees; when I was the bursting pod of a fall weed; when I was the hum of sperm in the autumn air, the blue of it like watered silk, vellum to which I came in a soft cloud; O minstrel galleons of Carib fire, I sang then, knowing naught, clinging to the tall slim wheatweed which lay in a purple haze along the highway like a cotton star . . . in my fumbling, lubricious, my uticated youth, when a full bosom and a fine round line of Keats, Hart Crane, or Yeats produced in me the same effect—a moan throughout my molecules—in my limeade time, my uncorked innocence, my jellybelly days, when I repeated Olio de Oliva like a tenor; then I would touch the page in wonder as though it were a woman, as though I were blind in my bed, in the black backseat, behind the dark barn, the dim weekend tent, last dance, date's door, reaching the knee by the second feature, possibly the thigh, my finger an urgent emissary from my penis, alas as far away as Peking or Bangkok, so I took my heart in my hand, O my love, O my love, I sighed, O Christina, Italian rose; my inflated flesh yearning to press against that flesh becoming Word—a word—words which were wet and warm and responsive as a roaming tongue; and her hair was red, long, in ringlets, kiss me, love me up, she said in my anxious oral ear; I read: Milton! thou shouldst be living at this hour; for I had oodles of needs, if England didn't; I was nothing but skin, pulp, and pit, in my grapevine time, during the hard-on priesthood of the poet; because then—in my unclean, foreskinned, and prurient youth—I devoutly believed in Later Life, in Passion, in Poetry, the way I thought only fools felt about God, prayer, heaven, foreknowledge, sin; for what was a poem if not a divine petition, a holy plea, a prophecy:

In my youth . . . my sacred youth . . . in eaves sole sparowe sat not more alone than I . . . in my youth, my saucer-deep youth, when I possessed a mirror and both a morning and an evening comb . . . in my youth, my pimpled, shame-faced, sugared youth, when I dreamed myself a fornicator and a poet; when life seemed to be ahead somewhere like a land o’ lakes vacation cottage, and I was pure tumescence, all seed, afloat like fuzz among the butterflies and bees; when I was the bursting pod of a fall weed; when I was the hum of sperm in the autumn air, the blue of it like watered silk, vellum to which I came in a soft cloud; O minstrel galleons of Carib fire, I sang then, knowing naught, clinging to the tall slim wheatweed which lay in a purple haze along the highway like a cotton star . . . in my fumbling, lubricious, my uticated youth, when a full bosom and a fine round line of Keats, Hart Crane, or Yeats produced in me the same effect—a moan throughout my molecules—in my limeade time, my uncorked innocence, my jellybelly days, when I repeated Olio de Oliva like a tenor; then I would touch the page in wonder as though it were a woman, as though I were blind in my bed, in the black backseat, behind the dark barn, the dim weekend tent, last dance, date's door, reaching the knee by the second feature, possibly the thigh, my finger an urgent emissary from my penis, alas as far away as Peking or Bangkok, so I took my heart in my hand, O my love, O my love, I sighed, O Christina, Italian rose; my inflated flesh yearning to press against that flesh becoming Word—a word—words which were wet and warm and responsive as a roaming tongue; and her hair was red, long, in ringlets, kiss me, love me up, she said in my anxious oral ear; I read: Milton! thou shouldst be living at this hour; for I had oodles of needs, if England didn't; I was nothing but skin, pulp, and pit, in my grapevine time, during the hard-on priesthood of the poet; because then—in my unclean, foreskinned, and prurient youth—I devoutly believed in Later Life, in Passion, in Poetry, the way I thought only fools felt about God, prayer, heaven, foreknowledge, sin; for what was a poem if not a divine petition, a holy plea, a prophecy: [...] a stranger among strangers, myself the strangest because I could never bring myself to enter adolescence, but kept it about like a bit of lunch you think you may eat later, and later come upon at the bottom of a bag, dry as dust, at the back of the refrigerator, bearded with mold, or caked like sperm in the sock you've fucked, so that gingerly, then, you throw the mess out, averting your eyes, just as Rainer complained he never had a childhood—what luck!—never to have suffered birthpang, nightfear, cradlecap, lake in your lung; never to have practiced scales or sat numb before the dentist's hum or picked your mother up from the floor she's bled and wept and puked on; never to have been invaded by a tick, sucked by a leech, bitten by a spider, stung by a bee, slimed on by a slug, seared by a hot pan, or by paper or acquaintance cut, by father cuffed; never to have been lost in a crowd or store or parking lot or left by a lover without a word or arrogantly lied to or outrageously betrayed—really what luck!—never to have had a nickel roll with slow deliberation down a grate, a balloon burst, toy break; never to have skinned a knee, bruised a friendship, broken trust; never to have had to conjugate, keep quiet, tidy, bathe; to have lost the chance to be hollered at, bullied, beat up (being nothing, indeed, to have no death), and not to have had an earache, life's lessons to learn, or sums to add reluctantly right up to their bitter miscalculated end—what sublime good fortune, the Greek poet suggested—because Nature is not accustomed to life yet; it is too new, too incidental, this shiver in the stone, never altogether, and would just as soon (as Culp prefers to say) cancer it; erase, strike, stamp it out— [...]

I found at last the town I had been hunting for. After digging in several wrong places for over a year and persisting in several blockheaded opinions - that it must be walled, with one gate, for instance - I was studying yet once more the contours of my map of the region, when it dawned as slowly and certainly as the sun itself upon me that the town was there, between the creeks, under my feet the whole time. And there was never a wall; what on earth did they need a wall for? What I had taken for the gate was the bridge across the meeting of the creeks. And the sacred buildings and the dancing place not in the center of town, for the center is the Hinge, but over in their own arm of the double spiral, the right arm, of course - there in the pasture below the barn. And so it is, and so it is.

Identify your assumptions. Question them. Negate them.”- Grayson Davenport Hawthorne ' “I need this,” Xander said into the microphone. “You need this. We all need this. Nash, I’ve cued up the Taylor Swift for you. Jameson, get ready to break out those dance moves because this stage is calling your name, and we all know that your hips are utterly incapable of falsehood. And as for Grayson…” Xander paused. “Where is Gray?” “Grayson Hawthorne skipping out on karaoke?” Libby said. “I’m shocked, I tell you. Shocked. ” “Gray has a voice so deep and smooth that you will shed literal tears as he sings something so old school that you will come to believe he spent the 1950s wearing the most dapper of suits and hanging out with his bestie, Frank Sinatra,” Xander swore. - The final Gambit by Jennifer lyn barnes

Vowels,” I say slowly. “Verbs and connections. They help sentences come together. Like a barn dance for words.

The Waystone Inn lay in silence, and it was a silence of three parts. The first part was a hollow, echoing quiet, made by things that were lacking. If there had been horses stabled in the barn they would have stamped and champed and broken it to pieces. If there had been a crowd of guests, even a handful of guests bedded down for the night, their restless breathing and mingled snores would have gently thawed the silence like a warm spring wind. If there had been music…but no, of course there was no music. In fact there were none of these things, and so the silence remained. Inside the Waystone a man huddled in his deep, sweet-smelling bed. Motionless, waiting for sleep, he lay wide-eyed in the dark. In doing this he added a small, frightened silence to the larger, hollow one. They made an alloy of sorts, a harmony. The third silence was not an easy thing to notice. If you listened for an hour, you might begin to feel it in the thick stone walls of the empty taproom and in the flat, grey metal of the sword that hung behind the bar. It was in the dim candlelight that filled an upstairs room with dancing shadows. It was in the mad pattern of a crumpled memoir that lay fallen and un-forgotten atop the desk. And it was in the hands of the man who sat there, pointedly ignoring the pages he had written and discarded long ago. The man had true-red hair, red as flame. His eyes were dark and distant, and he moved with the weary calm that comes from knowing many things. The Waystone was his, just as the third silence was his. This was appropriate, as it was the greatest silence of the three, wrapping the others inside itself. It was deep and wide as autumn's ending. It was heavy as a great river-smooth stone. It was the patient, cut-flower sound of a man who is waiting to die.

On an bed, surrounded by a confusion of potted pants, exotic palms and cut flowers, faintly over-sung by the notes of unseen birds, which seem to have forgotten - left without the usual silence cover, which, like cloaks on funeral urns, are cast over their cages at night by good housewives - half flung off the support of the cushions from which, in a moment of threatened consciousness she had turned her head, lay the young woman, heavy and dishevelled. Her legs, in white flannel trousers, were spread as in a dance, the thick-laquered pumps looking too lively for the arrested step. Her hands, long and beautiful, lay on either side of her face.

answered, pulling on his overcoat. All the loneliness of the evening seemed to descend upon her at once then and she said with the suggestion of a whine in her voice, ‘Why don’t you take me with you some Saturday?’ ‘You?’ he said. ‘Take you? D’you think you’re fit to take anywhere? Look at yersen! An’ when I think of you as you used to be!’ She looked away. The abuse had little sting now. She could think of him too, as he used to be; but she did not do that too often now, for such memories had the power of evoking a misery which was stronger than the inertia that, over the years, had become her only defence. ‘What time will you be back?’ ‘Expect me when you see me,’ he said at the door. ‘Is’ll want a bite o’ supper, I expect.’ Expect him at whatever time his tipsy legs brought him home, she thought. If he lost he would drink to console himself. If he won he would drink to celebrate. Either way there was nothing in it for her but yet more ill temper, yet further abuse. She got up a few minutes after he had gone and went to the back door to look out. It was snowing again and the clean, gentle fall softened the stark and ugly outlines of the decaying outhouses on the patch of land behind the house and gently obliterated Scurridge’s footprints where they led away from the door, down the slope to the wood, through which ran a path to the main road, a mile distant. She shivered as the cold air touched her, and returned indoors, beginning, despite herself, to remember. Once the sheds had been sound and strong and housed poultry. The garden had flourished too, supplying them with sufficient vegetables for their own needs and some left to sell. Now it was overgrown with rampant grass and dock. And the house itself – they had bought it for a song because it was old and really too big for one woman to manage; but it too had been strong and sound and it had looked well under regular coats of paint and with the walls pointed and the windows properly hung. In the early days, seeing it all begin to slip from her grasp, she had tried to keep it going herself. But it was a thankless, hopeless struggle without support from Scurridge: a struggle which had beaten her in the end, driving her first into frustration and then finally apathy. Now everything was mouldering and dilapidated and its gradual decay was like a symbol of her own decline from the hopeful young wife and mother into the tired old woman she was now. Listlessly she washed up and put away the teapots. Then she took the coal-bucket from the hearth and went down into the dripping, dungeon-like darkness of the huge cellar. There she filled the bucket and lugged it back up the steps. Mending the fire, piling it high with the wet gleaming lumps of coal, she drew some comfort from the fact that this at least, with Scurridge’s miner’s allocation, was one thing of which they were never short. This job done, she switched on the battery-fed wireless set and stretched out her feet in their torn canvas shoes to the blaze. They were broadcasting a programme of old-time dance music: the Lancers, the Barn Dance, the Veleta. You are my honey-honey-suckle, I am the bee… Both she and

Dance! Both of you. Afterward I’ll answer whatever questions you like.” A few seconds later, as the old man strode confidently across the dance floor toward a young woman with a severe ponytail and a slit skirt, he was utterly transformed into a lithe, ageless tanguero who pressed the young woman tightly to him and guided her gracefully around the hall. While Max gawked at this unsuspected world, Monsieur Perdu grasped right away where he was. He had read about places like this in a book by Jac. Toes: secret tango milongas in school halls, gymnasiums or deserted barns. There dancers of all levels and ages and every nationality would meet up; some would drive hundreds of miles to savor these few hours. One thing united them: they had to keep their passion for the tango a secret from jealous partners and families who greeted these depraved, suggestive, frivolous moves with disgust and rigid, pinch-mouthed embarrassment.

But before it came to that, the show needed a quizmaster, an adult who, like Clifton Fadiman on Information, Please, gave it exactly the right edge. This chair was as vital to the show’s success as were the young panelists. A pair of college professors auditioned: they were too impressed with themselves, giving the kids no time to talk. A candidate from the lecture circuit gave away half the answers. Among the 20-odd people who auditioned was Joe Kelly, a thirdgrade dropout, seasoned vaudevillian, and host of the hayseed music show The National Barn Dance. “His height of intellectual polish before The Quiz Kids was to ring a cowbell and chortle, ‘I’m teakettled pink to be here,’” wrote John Lear in the Saturday Evening Post. Kelly was far from dumb: he had finished third grade a year ahead of schedule but at age 8 had gone into show business.

There used to be an enormous and fine barn at Bicho Raro, capable of housing two hundred bales of hay, twelve horses, a small tractor, and twenty-four barn swallows. The siding had been amber brown and the roof was gloriously red. It was, in fact, the very barn Pete was scavenging for the dance floor’s boards. Shortly after it had been built, the wind nudged it, as it nudged all things in the San Luis Valley. Nothing happened, because the barn was very securely built. The wind nudged it for all that week, and still nothing happened. The wind nudged it for ninety-nine weeks in a row, and still nothing happened; the barn did not budge. But on the one hundredth week, the wind nudged the barn and the barn fell onto itself. It was not that the one hundredth week of nudging was any stronger than the previous weeks. It was not even that the one hundredth week of nudging was what had actually knocked the barn over. The ninety-nine weeks of nudging were what had truly done the job, but the one hundredth was the one around to take the credit. We almost always can point to that hundredth blow, but we don’t always mark the ninety-nine other things that happen before we change.

To Bob these artifacts were only moderately strange, and he learned to overlook them after a few moments’ nervous glancing around the room. What really paralyzed him was the omnipresent noise—not because it was loud, but because it wasn’t. The room contained at least two dozen clocks, or sub-assemblies of clocks, driven by weights or springs whose altitude or tension stored enough energy, summed, to raise a barn. That power was restrained and disciplined by toothy mechanisms of various designs: brass insects creeping implacably around the rims of barbed wheels, constellations of metal stars hung on dark stolid axle-trees, all marching or dancing to the beat of swinging plumb-bobs.

Second in intensity to the regret of hating their bodies is the wish of the dying that they had appreciated their bodies in the course of their lives... So they talk about their favorite memories of their bodies.... And dancing. So many stories about dancing. I can't count the hundreds of times people--more men than women--have closed their eyes and said, when describing USO dances during World War II...or long exuberant nights dancing at roadhouses and discos and barns and whereever else there were bodies and music, "If I had only known, I would ahve danced more.

I said,’What’s your problem?’ Asshole.” There was a question behind his question, and that shadow question was ‘Do you want to dance?

Because I’m fuckin’ me!” I lose my shit and yell at him. “I’m not the guy who takes a girl travelin’ around the world. I ain’t the guy who’ll take ‘em to a fuckin’ barn dance. Despite what she thinks, I’m not what she needs. I’m too far gone.” My fist slams into the tailgate of my truck and makes a dent.

Okay, I’m calling it,” Michael announced when the quiet got to be too much. “I’m turning on the radio. There will be singing. I would not be opposed to car-dancing. But the next person whose facial expression approaches ‘brood’ is getting punched in the nose. Unless it’s Cassie. If it’s Cassie, I punch Dean in the nose.

Scents waft from the kitchen, dancing around the halls to find me and tickle my nose. Warm and comforting and mouthwatering. "Come closer," those scents seem to say. "Come see what we have for you." Come. How can I ignore that? So I don't. I follow the siren's call and find the siren herself at the very center of activity. Delilah moves with utter confidence in her kitchen--- because it is unequivocally hers now. This is a prima ballerina performing a solo. Not a fast-paced, frantic dance, but slow and easy, controlled power in motion. Knowing that she hasn't yet noticed me, I simply watch her work, admiring the curves of her body as she reaches for a spoon to taste a sauce. The pink tip of her tongue flashes as she licks her lush top lip. Something hot and tight clenches low in my gut at the sight. Then she's moving again, adding a spice to her sauce; a flick of her wrist controls the temperature on the stove. My body remembers the feel of hers, the way she cuddled up in my lap for those few mindless minutes. I was surprised enough that she did it. I simply held her, afraid to make any move that might startle her away. She was warm and soft, her tan skin smelling of butter and cinnamon sugar. I wanted to sit there all night and breathe her in. I wanted to let my hands roam over those plump curves and learn each one. It was an act of careful coordination to keep her from noticing just how much she affected me. It was worth the painful dick and the aching gut of lust because in that moment, she felt perfect. She turns back to the center island and the cutting board there and sees me. The loose-limbed ease of her body dies. She's all twitchy now, eyeing me like a feral barn cat as if I might try to lash out and catch her. Tempting.