Beautiful Exile Quotes

You can't go back home to your family, back home to your childhood, back home to romantic love, back home to a young man's dreams of glory and of fame, back home to exile, to escape to Europe and some foreign land, back home to lyricism, to singing just for singing's sake, back home to aestheticism, to one's youthful idea of 'the artist' and the all-sufficiency of 'art' and 'beauty' and 'love,' back home to the ivory tower, back home to places in the country, to the cottage in Bermude, away from all the strife and conflict of the world, back home to the father you have lost and have been looking for, back home to someone who can help you, save you, ease the burden for you, back home to the old forms and systems of things which once seemed everlasting but which are changing all the time--back home to the escapes of Time and Memory.

What did Nabokov and Joyce have in common, apart from the poor teeth and the great prose? Exile, and decades of near pauperism. A compulsive tendency to overtip. An uxoriousness that their wives deservedly inspired. More than that, they both lived their lives 'beautifully'--not in any Jamesian sense (where, besides, ferocious solvency would have been a prerequisite), but in the droll fortitude of their perseverance. They got the work done, with style.

Ô, the wine of a woman from heaven is sent, more perfect than all that a man can invent.

It is this admirable, this immortal, instinctive sense of beauty that leads us to look upon the spectacle of this world as a glimpse, a correspondence with heaven. Our unquenchable thirst for all that lies beyond, and that life reveals, is the liveliest proof of our immortality. It is both by poetry and through poetry, by music and through music, that the soul dimly descries the splendours beyond the tomb; and when an exquisite poem brings tears to our eyes, those tears are not a proof of overabundant joy: they bear witness rather to an impatient melancholy, a clamant demand by our nerves, our nature, exiled in imperfection, which would fain enter into immediate possession, while still on this earth, of a revealed paradise.

He's my father!" she bellowed, pointing to Trevanion. "Vestie!" Beatriss said firmly, stopping to stare up at her. "I'll snip at the tongue if I ever see it in such a way again! Trevanion, speak to her." Vestie hung her head, shamefaced. "Vestie," he said, his voice still gentle. "Yes, Father." "Shout it out louder, my love. Shout it out louder.

This is my last letter There will be no others. This is the last grey cloud That will rain on you, After this, you will never again Know the rain. This is the last drop of wine in my cup There will be no more drunkenness. This is the last letter of madness, The last letter of childhood. After me you will no longer know The purity of youth The beauty of madness. I have loved you Like a child running from school Hiding birds and poems In his pockets. With you I was a child of Hallucinations, Distractions, Contradictions, I was a child of poetry and nervous writing. As for you, You were a woman of Eastern ways Waiting for her fate to appear In the lines of the coffee cups. How miserable you are, my lady, After today You won't be in the blue notebooks, In the pages of the letters, In the cry of the candles, In the mailman's bag. You won't be Inside the children's sweets In the colored kites. You won't be in the pain of the letters In the pain of the poems. You have exiled yourself From the gardens of my childhood You are no longer poetry.

Vain are the beliefs and teachings that make man miserable, and false is the goodness that leads him into sorrow and despair, for it is man's purpose to be happy on this earth and lead the way to felicity and preach its gospel wherever he goes. He who does not see the kingdom of heaven in this life will never see it in the coming life. We came not into this life by exile, but we came as innocent creatures of God, to learn how to worship the holy and eternal spirit and seek the hidden secrets within ourselves from the beauty of life.

Bound for your distant home" Bound for your distant home you were leaving alien lands. In an hour as sad as I’ve known I wept over your hands. My hands were numb and cold, still trying to restrain you, whom my hurt told never to end this pain. But you snatched your lips away from our bitterest kiss. You invoked another place than the dismal exile of this. You said, ‘When we meet again, in the shadow of olive-trees, we shall kiss, in a love without pain, under cloudless infinities.’ But there, alas, where the sky shines with blue radiance, where olive-tree shadows lie on the waters glittering dance, your beauty, your suffering, are lost in eternity. But the sweet kiss of our meeting ...... I wait for it: you owe it me .......

Seventeen moons, seventeen years, Eyes where Dark ot Light appears, Gold for yes and Green for no, Seventeen the last to know... Seventeen moons, seventeen turns, Eyes so dark and bright it burns, Time is high but one is higher, Draws the moon into the fire... Seventeen moon, seventeen fears, Pain of death and shame of tears, Find the marker, walk the mile, Seventeen knows just exile... Seventeen moons, seventeen spheres, The moon before her time appears, Hearts will go and stars will follow, One is broken, One is hollow... Seventeen moons, seventeen years Know the loss, stay the fears Wait for him and he appears Seventeen moons, seventeen tears...

If she'd ever hoped to impress Amon Byrne with her newly acquired glamour and beauty, that chance was gone forever. He'd seen her in every kind of ugly.

I am the lady of the castle. My name is exile. My name is anguish. My name is longing. Far from the world on the windy crests of the mountain, I am kept in absolute seclusion, my time passes in an endless reverie, a perpetual swooning. I am both the Sleeping Beauty and the enchanted castle; the princess drowses in the castle of her flesh.

After listening to my entire story, he quietly said: "You can say, "This is impossible, terrible.' Or you can say, 'This is beautiful, wonderful.' You can imagine that you're in exile. Or you can imagine that you have more than one home.

All my heart is yours: it belongs to you; and with you it would remain, were fate to exile the rest of me from your presence forever.

The Pomegranate The only legend I have ever loved is the story of a daughter lost in hell. And found and rescued there. Love and blackmail are the gist of it. Ceres and Persephone the names. And the best thing about the legend is I can enter it anywhere. And have. As a child in exile in a city of fogs and strange consonants, I read it first and at first I was an exiled child in the crackling dusk of the underworld, the stars blighted. Later I walked out in a summer twilight searching for my daughter at bed-time. When she came running I was ready to make any bargain to keep her. I carried her back past whitebeams and wasps and honey-scented buddleias. But I was Ceres then and I knew winter was in store for every leaf on every tree on that road. Was inescapable for each one we passed. And for me. It is winter and the stars are hidden. I climb the stairs and stand where I can see my child asleep beside her teen magazines, her can of Coke, her plate of uncut fruit. The pomegranate! How did I forget it? She could have come home and been safe and ended the story and all our heart-broken searching but she reached out a hand and plucked a pomegranate. She put out her hand and pulled down the French sound for apple and the noise of stone and the proof that even in the place of death, at the heart of legend, in the midst of rocks full of unshed tears ready to be diamonds by the time the story was told, a child can be hungry. I could warn her. There is still a chance. The rain is cold. The road is flint-coloured. The suburb has cars and cable television. The veiled stars are above ground. It is another world. But what else can a mother give her daughter but such beautiful rifts in time? If I defer the grief I will diminish the gift. The legend will be hers as well as mine. She will enter it. As I have. She will wake up. She will hold the papery flushed skin in her hand. And to her lips. I will say nothing.

How beautiful is sunset, when the glow of heaven descends upon a land like thee, Thou paradise of exiles, Italy.

He held up the ring and the light from the rising sun caught the stone and Froi thought he had never seen anything so beautiful. It was the ring that had given him a life he could never have imagined. It was all things magnificent about Lumatere.

If you can master me, that look seemed to say, then you can master whatever else this wicked world might bring. I can see her now, standing amidst her deerhounds that had the same thin, lean bodies, and the same long nose and the same huntess eyes as their mistress. Green eyes, she had, with a kind of cruelty deep inside them. It was not a soft face, any more that her body was soft. She was a woman of strong lines and high bones, and that made for a good face and a handsome one, but hard, so hard. What made her beautiful was her hair and her carriage, for she stood as straight as spear and her hair fell around her shoulders like a cascade of tumbling red tangles. That red hair softened her looks, while her laughter snared men like salmon caught in basket traps. There have been many more beautiful women, and thousands who were better, but since the world was weaned I doubt there have been many more so unforgettable as Guinevere, eldest daughter of Leodegan, the exiled King of Henis Wyren. And it would have been better, Merlin always said, had she been drowned at birth.

In Mexico City they somehow wandered into an exhibition of paintings by the beautiful Spanish exile Remedios Varo: in the central painting of a triptych, titled “Bordando el Manto Terrestre,” were a number of frail girls with heart-shaped faces, huge eyes, spun-gold hair, prisoners in the top room of a circular tower, embroidering a kind of tapestry which spilled out the slit windows and into a void, seeking hopelessly to fill the void: for all the other buildings and creatures, all the waves, ships and forests of the earth were contained in the tapestry, and the tapestry was the world. Oedipa, perverse, had stood in front of the painting and cried. No one had noticed; she wore dark green bubble shades. For a moment she’d wondered if the seal around her sockets were tight enough to allow the tears simply to go on and fill up the entire lens space and never dry. She could carry the sadness of the moment with her that way forever, see the world refracted through those tears, those specific tears, as if indices as yet unfound varied in important ways from cry to cry. She had looked down at her feet and known, then, because of a painting, that what she stood on had only been woven together a couple thousand miles away in her own tower, was only by accident known as Mexico, and so Pierce had take her away from nothing, there’d been no escape. What did she so desire escape from? Such a captive maiden, having plenty of time to think, soon realizes that her tower, its height and architecture, are like her ego only incidental: that what really keeps her where she is is magic, anonymous and malignant, visited on her from outside and for no reason at all. Having no apparatus except gut fear and female cunning to examine this formless magic, to understand how it works, how to measure its field strength, count its lines of force, she may fall back on superstition, or take up a useful hobby like embroidery, or go mad, or marry a disk jockey. If the tower is everywhere and the knight of deliverance no proof against its magic, what else?

Then she spied the cauldeon, sitting upright at the very bottom of the crater, filled with the most beautiful exiler she'd ever seen, like distilled starlight.

We were all trapped in stories, she said, just as he used to say, his wavy hair, his naughty smile, his beautiful mind, each of us the prisoner of our own solipsistic narrative, each family the captive of the family story, each community locked within its own tale of itself, each people the victims of their own versions of history, and there were parts of the world where the narratives collided and went to war, where there were two or more incompatible stories fighting for space on, to speak, the same page. She came from one such place, his place, from which he had been forever displaced, they exiled his body but his spirit, never. And maybe now every place was becoming that place, maybe Lebanon was everywhere and nowhere, so that we were all exiles, even if our hair wasn't so wavy, our smiles not so naughty, our minds less beautiful, even the name Lebanon wasn't necessary, the name of every place or any place would do just as well, maybe that's why she felt nameless, unnamed, unnameable, Lebanonymous.

It was beautiful, my little spot in the world. But it sometimes felt like a beautiful exile—the one place in the world where I was truly safe. But that safety could lock you in a place.

Where does this openness to the “other” come from in artists? Some may grow out of empathy earned because artists are themselves often exiled from a normative tribal identity. There is also training to extend that empathy. In art, we constantly train ourselves to inhabit or portray the “other.” Artists learn to be adaptable and blend into an environment while not belonging to it, which also requires learning to speak new tribal languages.

In youth he had felt the hidden beauty and ecstasy of things, and had been a poet; but poverty and sorrow and exile had turned his gaze in darker directions, and he had thrilled at the imputations of evil in the world around.

Even if we are often led to desire through the sense of beauty can you say that the beautiful is what we desire?

In youth he had felt the hidden beauty and ecstasy of things, and had been a poet; but poverty and sorrow and exile had turned his gaze in darker directions, and he had thrilled at the imputations of evil in the world around. Daily life had for him come to be a phantasmagoria of macabre shadow-studies; now glittering and leering with concealed rottenness as in Beardsley's best manner, now hinting terrors behind the commonest shapes and objects as in the subtler and less obvious work of Gustave Dore. He would often regard it as merciful that most persons of high Intelligence jeer at the inmost mysteries; for, he argued, if superior minds were ever placed in fullest contact with the secrets preserved by ancient and lowly cults, the resultant abnormalities would soon not only wreck the world, but threaten the very integrity of the universe. All this reflection was no doubt morbid, but keen logic and a deep sense of humour ably offset it. Malone was satisfied to let his notions remain as half-spied and forbidden visions to be lightly played with; and hysteria came only when duty flung him into a hell of revelation too sudden and insidious to escape.

My Venus is damaged, or in exile, that’s what you say of a Planet that can’t be found in the sign where it should be. What’s more, Pluto is in a negative aspect to Venus, and in my case Pluto rules the Ascendant. The result of this situation is that I have, as I see it, Lazy Venus syndrome. That’s what I call this Conformity. In this case we’re dealing with a Person whom fortune has gifted generously, but who has entirely failed to use their potential. Such People are bright and intelligent, but don’t apply themselves to their studies, and use their intelligence to play card games or patience instead. They have beautiful bodies, but they destroy them through neglect, poison themselves with harmful substances, and ignore doctors and dentists. This Venus induces a strange kind of laziness—lifetime opportunities are missed, because you overslept, because you didn’t feel like going, because you were late, because you were neglectful. It’s a tendency to be sybaritic, to live in a state of mild semiconsciousness, to fritter your life away on petty pleasures, to dislike effort and be devoid of any penchant for competition. Long mornings, unopened letters, things put off for later, abandoned projects. A dislike of any authority and a refusal to submit to it, going your own way in a taciturn, idle manner. You could say such people are of no use at all.

Fairy tales are about trouble, about getting into and out of it, and trouble seems to be a necessary stage on the route to becoming. All the magic and glass mountains and pearls the size of houses and princesses beautiful as the day and talking birds and part-time serpents are distractions from the core of most of the stories, the struggle to survive against adversaries, to find your place in the world, and to come into your own. Fairy tales are almost always the stories of the powerless, of youngest sons, abandoned children, orphans, of humans transformed into birds and beasts or otherwise enchanted away from their own lives and selves. Even princesses are chattels to be disowned by fathers, punished by step-mothers, or claimed by princes, though they often assert themselves in between and are rarely as passive as the cartoon versions. Fairy tales are children's stories not in wh they were made for but in their focus on the early stages of life, when others have power over you and you have power over no one. In them, power is rarely the right tool for survival anyway. Rather the powerless thrive on alliances, often in the form of reciprocated acts of kindness -- from beehives that were not raided, birds that were not killed but set free or fed, old women who were saluted with respect. Kindness sewn among the meek is harvested in crisis... In Hans Christian Andersen's retelling of the old Nordic tale that begins with a stepmother, "The Wild Swans," the banished sister can only disenchant her eleven brothers -- who are swans all day look but turn human at night -- by gathering stinging nettles barehanded from churchyard graves, making them into flax, spinning them and knitting eleven long-sleeved shirts while remaining silent the whole time. If she speaks, they'll remain birds forever. In her silence, she cannot protest the crimes she accused of and nearly burned as a witch. Hauled off to a pyre as she knits the last of the shirts, she is rescued by the swans, who fly in at the last moment. As they swoop down, she throws the nettle shirts over them so that they turn into men again, all but the youngest brother, whose shirt is missing a sleeve so that he's left with one arm and one wing, eternally a swan-man. Why shirts made of graveyard nettles by bleeding fingers and silence should disenchant men turned into birds by their step-mother is a question the story doesn't need to answer. It just needs to give us compelling images of exile, loneliness, affection, and metamorphosis -- and of a heroine who nearly dies of being unable to tell her own story.

I have this notion that maybe this world is the hell of the angels. That maybe we're creatures with angels exiled in our souls, banished to this godawful existence, howling in despair...and all those beautiful dreams we have are only the ravings of those angels, their screams in our animal minds.

We can either copy Him in that, and attempt to use our homes to testify to God’s abundant and overwhelming delight in beauty, or we can use our homes to say the opposite—that nothing matters and it’s all stupid and nobody cares anyway.

For those who are lost, there will always be cities that feel like home. Places where lonely people can live in exile of their own lives—far from anything that was ever imagined for them. —SIMON VAN BOOY, Everything Beautiful Began After

Poland! Poland! The very name carries with it sighings and groanings, nation-murder, brilliance, beauty, patriotism, splendors, self-sacrifice through generations of gallant men and exquisite women; indomitable endurance of bands of noble people carrying through world-wide exile the sacred fire of wrath against the oppressor, and uttering in every clime a cry of appeal to Humanity to rescue Poland.

My Lord, you own wisdom has taught me to aspire to One even more great, more beautiful, and more closely approximate to perfection than yourself. As you yourself, superior to all Flatland forms, combine many Circles in One, so doubtless there is One above you who combines many Spheres in One Supreme Existence, surpassing even the Solids of Spaceland. And even as we, who are now in Space, look down on Flatland and see the inside of all things, so of a certainly there is yet above us some higher, purer region, whither thou dost surely purpose to lead me - O Thou Whome I shall always call everywhere and in all Dimensions, my Priest, Philosopher, and Friend - some yet more spacious Space, some more dimensionable Dimensionality, from the vantage-ground of which we shall look down together upon the revealed insides of solid things, and where thine own intestines, and those of thy kindred Spheres, will lie exposed to the View of the poor wandering exile from Flatland, to whome so much has already been vouchsafed.

They’re to be seen, not owned, like every beautiful thing in this world, including you.

I waited. I’ve found if you can leave a silence alone, someone else will fill it.

Tis torture and not mercy. Heaven is here, Where Juliet lives, and every cat and dog And little mouse, every unworthy thing, Live here in heaven and may look on her, But Romeo may not. More validity, More honorable state, more courtship lives In carrion flies than Romeo. They may seize On the white wonder of dear Juliet’s hand And steal immortal blessing from her lips, Who even in pure and vestal modesty, Still blush, as thinking their own kisses sin. But Romeo may not. He is banishèd. Flies may do this, but I from this must fly. They are free men, but I am banishèd. And sayst thou yet that exile is not death? Hadst thou no poison mixed, no sharp-ground knife, No sudden mean of death, though ne'er so mean, But “banishèd” to kill me?—“Banishèd”! O Friar, the damnèd use that word in hell. Howling attends it. How hast thou the heart, Being a divine, a ghostly confessor, A sin-absolver, and my friend professed, To mangle me with that word “banishèd”?

You can't go back home to your family, back home to your childhood, back home to romantic love, back home to a young man's dreams of glory and of fame, back home to exile, to escape to Europe and some foreign land, back home to lyricism, to singing just for singing's sake, back home to aestheticism, to one's youthful idea of "the artist" and the all-sufficiency of "art" and "beauty" and "love," back home to the ivory tower, back home to places in the country, to the cottage in Bermuda, away from all the strife and conflict of the world, back home to the father you have lost and have been looking for, back home to someone who can help you, save you, ease the burden for you, back home to the old forms and systems of things which once seemed everlasting but which are changing all the time--back home to the escapes of Time and Memory. In a way, the phrase summed up everything he had ever learned.

I watch Stewart. He has the most interesting face. It is beautiful, young, almost childlike, and yet with a power and authority in his features. In another time he would have been a young warrior, a Lost Prince exiled from his kingdom. But he's from this time, this place, so he's just some "at risk" kid who can't find a place for himself in the straight world.

This point must be heard: the Gospels are first-century narrations based on first-century interpretations. Therefore they are a first-century filtering of the experience of Jesus. They have never been other than that. We must read them today not to discover the literal truth about Jesus, but rather to be led into the Jesus experience they were seeking to convey. That experience always lies behind the distortions, which are inevitable since words are limited. If the Gospels are to be for us revelations of truth, we must enter these texts, go beneath the words, discover the experience that made the words necessary, and in this manner seek the meaning to which the words point. One must never identify the text with the revelation or the messenger with the message. That has been the major error in our two thousand years of Christian history. It is an insight that today is still feared and resisted. But let it be clearly stated, the Gospels are not in any literal sense holy, they are not accurate, and they are not to be confused with reality. They are rather beautiful portraits painted by first-century Jewish artists, designed to point the reader toward that which is in fact holy, accurate, and real. The Gospels represent that stage in the development of the faith story in which ecstatic exclamation begins to be placed into narrative form.

Especially in times of exile, when our anchors are pulled up and we’re no longer taking cues from the outside world, we have a chance to find that inner well and reinstate our connection to the sacred. We may find it overgrown, or hard to reach through the brambles, but each of us faces a time when the well within needs tending: when we’re no longer able to bestow blessings on others because we’ve over-given, or when something precious has been taken from us, or life’s demands have been too taxing on our fragile system. When the moisture goes out of our lives, and we’re no longer able to see beauty or converse with magic, we must ask ourselves how we can replenish our well-ness.

What is my object in making a friend? To have someone to be able to die for, someone I may follow into exile, someone for whose life I may put myself up as security and pay the price as well. The thing you describe is not friendship but a business deal, looking to the likely consequences, with advantage as its goal. There can be no doubt that the desire lovers have for each other is not so very different from friendship – you might say it was friendship gone mad. Well, then, does anyone ever fall in love with a view to a profit, or advancement, or celebrity? Actual love in itself, heedless of all other considerations, inflames people’s hearts with a passion for the beautiful object, not without the hope, too, that the affection will be mutual. How then can the nobler stimulus of friendship be associated with any ignoble desire?

The hostility to art shown by all revolutionary reformers must, however, be pointed out. Plato is moderately reasonable. He only calls in question the deceptive function of language and exiles only poets from his republic. Apart from that, he considers beauty more important than the world.

Maybe all exiles are drawn to the sea, the ocean. There is an inherent music in the working sounds of docks and harbors and there were times when he thought that all the melancholy beauty of the blues was present in a foghorn, wailing out to sea, warning men of the dangers that awaited them. Increasingly

If we could see souls instead of bodies, what would be beautiful? What is the first thing people would know about you? What would you be most afraid of them seeing? Who would you impress? Who would you love? What would you adjust as you walked past the mirror? What kind of work would you be in? What would your goals be, how would you strive to be better if what you collected in the bank or put on your body or attached next to your name on a business card no longer affected what people saw? Would you spend your time in gyms and stores or in libraries and temples? Who would you let yourself fall in love with? What would your “type” be? Tall, dark, and handsome or creative, kind, and self-aware? What would happen if we could see people not as “bad,” but as… blocked? If we could see the ways they’ve packed away their pain, or how they hold a belief that keeps them away from being kind to others? What would happen if we realized our bodies never wanted anything more than to feel connected, and acted out on nothing more than their false ideas of being separate, different, exiled, the odd one out, the almost-but-notgood-enough? What would happen if we embraced our desire to play out and finagle with our individualism, but eventually returned to the knowing that we are all just energy fields? And where would we be if we realized that we were all from the same one? What would happen if we realized we really weren’t that different at all?

Glazed brick, white mortar, and blue roof-tiles do not make a house beautiful; carved rosewood, gold cloth, and clear green jade do not furnish a house with grace; a man of cultivated mind makes a house of mud and wattle beautiful; a woman, even with a pock-marked face; if refined of heart, fills a house with grace. -House of Exile

ONCE UPON A time there was a king who had three beautiful daughters. As he grew old, he began to wonder which should inherit the kingdom, since none had married and he had no heir. The king decided to ask his daughters to demonstrate their love for him. To the eldest princess he said, “Tell me how you love me.” She loved him as much as all the treasure in the kingdom. To the middle princess he said, “Tell me how you love me.” She loved him with the strength of iron. To the youngest princess he said, “Tell me how you love me.” This youngest princess thought for a long time before answering. Finally she said she loved him as meat loves salt. “Then you do not love me at all,” the king said. He threw his daughter from the castle and had the bridge drawn up behind her so that she could not return. Now, this youngest princess goes into the forest with not so much as a coat or a loaf of bread. She wanders through a hard winter, taking shelter beneath trees. She arrives at an inn and gets hired as assistant to the cook. As the days and weeks go by, the princess learns the ways of the kitchen. Eventually she surpasses her employer in skill and her food is known throughout the land. Years pass, and the eldest princess comes to be married. For the festivities, the cook from the inn makes the wedding meal. Finally a large roast pig is served. It is the king’s favorite dish, but this time it has been cooked with no salt. The king tastes it. Tastes it again. “Who would dare to serve such an ill-cooked roast at the future queen’s wedding?” he cries. The princess-cook appears before her father, but she is so changed he does not recognize her. “I would not serve you salt, Your Majesty,” she explains. “For did you not exile your youngest daughter for saying that it was of value?” At her words, the king realizes that not only is she his daughter—she is, in fact, the daughter who loves him best. And what then? The eldest daughter and the middle sister have been living with the king all this time. One has been in favor one week, the other the next. They have been driven apart by their father’s constant comparisons. Now the youngest has returned, the king yanks the kingdom from his eldest, who has just been married. She is not to be queen after all. The elder sisters rage. At first, the youngest basks in fatherly love. Before long, however, she realizes the king is demented and power-mad. She is to be queen, but she is also stuck tending to a crazy old tyrant for the rest of her days. She will not leave him, no matter how sick he becomes. Does she stay because she loves him as meat loves salt? Or does she stay because he has now promised her the kingdom? It is hard for her to tell the difference.

In the course of aesthetic experience, the perceiver may be overwhelmed by this 'mere object', overcome with emotion, altered to the very roots of his being.[...] The experience of beauty involves an exchange of power, and as such, it is often disorienting, a mix of humility and exaltation, subjugation and liberation, awe and mystified pleasure.[...] Many people, fearing a pleasure they cannot control, have vilified beauty as a siren or a whore. Since at one time or another though, everyone answers to 'her' call, it would be well if we could recognize the meaning of our succumbing as a valuable response, an opportunity for self-revelation rather than defeat.[...] It entails a flexibility and empathy toward 'Others' in general and the capacity to see ourselves as both active and passive without fearing that we will be diminished in the process.

Crawling across the barren ground, life was hard for the tiny colorless caterpillar. But today, she shimmied in delight like a ballerina twirling before a great audience. She transformed into an iridescent butterfly full of mystery and wonder. As she took flight on a magical adventure, she was caught in a spider’s web. Her story was just beginning.

Laughter is the only real way to express how glad you are to be alive when you know too much of death.

security isn’t the heart’s true desire, that it’s the unknown we long for.

I’ve found if you can leave a silence alone, someone else will fill it.

Bertrand made me laugh. I suppose he was the first man who really did, and if there is anything better than a man that makes you laugh, I don't know what it is.

They say hindsight is twenty-twenty, but it isn’t; it’s as fogged by the goggles we swim through life wearing as anything is.

himself at his home in Ketchum, Idaho. July 2, 1961. I suppose it’s what I might do as well if ever I found myself unable to write;

Even if exile is spent in the most beautiful city in the world, Brunetti realized, it is still exile.

Remember the noises, the light, the exact action that made you excited or angry or scared. Then write down the details so the reader feels your exact feeling.

I never thought myself attractive until I grew old and could look back at photos and see that I had been, but no longer was.

What a girl is doing and what she is seen to be doing don’t always line up, and a girl who protests only draws attention and doubt.

I smiled the way a girl learns to smile to mask irritation, resisting the urge to fling his filthy beret back in his face.

but really there is so little upside to acting your age as an old woman that it would have been more remarkable had I stayed home.

but I carried his disapproval in my head like a tumor.

I suppose we all bumble through life far more randomly than we like to think.

Food, fellowship, laughter, beauty—these form loyalties that run deep.

It’s a thing, to write about something that sticks to your insides like that, isn’t it? It’s the only way any of us should ever write, with a sharp shard lodged between our tickers and our spines.

Angel’s trumpet. Beautiful, in’it? Eating these flowers makes your troubles go away. Problem is, too much will kill ye.” She laughed. “It got its name because it’s the last thing you’ll see before ascending into heaven.

Nights, I danced with the Swede, and lay alone in bed with the humid air softening my lungs and my skin and my despair, invoice my gods—who all look like typewriters—to give me strength to write a book as alive as five minutes ago.

In the simplicity of everyday life one rule reigns supreme: Each good action, even for a ‘bad cause,’ adds some real goodness to the world; each bad action even for the most beautiful of all ideals makes our common world a little worse.

This might not be what Emele pictured, but if I’m supposed to prod him from his self-imposed exile, I’m going to select a winning strategy rather than a conventional one. After musing over it for a few hours, Elle had decided that the best way to befriend His Illegitimate Highness Prince Severin, based on his personality and her observations, was to be as inconspicuous as possible and steadily invade his life. If she made him uncomfortable along the way, so be it. In fact, that would be preferred!

different forms. “The verbal intercourse of these raven-beings of the planet Saturn is somewhat like our own. But their way of speaking is the most beautiful I have ever heard. “It can be compared to the music of our best singers when with all their being they sing in a minor key. “And as for the quality of their relations with each other—I don’t even know how to describe it. It can be known only by existing among them and having the experience oneself. “All that can be said is that these bird-beings have hearts exactly like those of the angels nearest our Endless Maker and Creator. “They exist strictly according to the ninth commandment of our Creator: ‘Consider everything belonging to another as if it were your own, and so treat it.’ “Later, I must certainly tell you in more detail about those three-brained beings who arise and exist on the planet Saturn, since one of my real friends during the whole period of my exile in that solar system was a being of that planet, who had the exterior coating of a raven and whose name was Harharkh.

In Sugamo, Louie asked his escort what had happened to the Bird. He was told that it was believed that the former sergeant, hunted, exiled and in despair, had stabbed himself to death. The words washed over Louie. In prison camp, Watanabe had forced him to live in incomprehensible degradation and violence. Bereft of his dignity, Louie had come home to a life lost in darkness, and had dashed himself against the memory of the Bird. But on an October night in Los Angeles, Louie had found, in Payton Jordan’s words, “daybreak.” That night, the sense of shame and powerlessness that had driven his hate the Bird had vanished. The Bird was no longer his monster. He was only a man. In Sugamo Prison, as he was told of Watanabe’s fate, all Louie saw was a lost person, a life beyond redemption. He felt something that he had never felt fro his captor before. With a shiver of amazement, he realized that it was compassion. At that moment, something shifted swiftly inside him. It was forgiveness, beautiful and effortless and complete. For Louie Zamperini, the was was over.

There was no politics in Persia because the great king was the master of slaves, not rulers of citizens. The point is beautifully made by Herodotus, the father of history and our own starting point. The exiled Spartan king, Demaratus, had taken refuge at the court of the great king of Persia, Darius I, in 491 BCE. Darius made him the ruler of Pergamum and some other cities. In 480 Darius's son and successor, Xerxes, took him to see the enormous army he had assembled to avenge his father's humiliation by the Athenians in an earlier attempt to conquer Greece. 'Surely,' he said to Demaratus, "the Greeks will not fight against such odds.' He was displeased when Demaratus assured him that they certainly would. 'How is it possible that a thousand men-- or ten thousand, or fifty thousand should stand up to an army as big as mine, especially if they were not under a single master but all perfectly free to do as they pleased?' He could understand that they might feign courage if they were whipped into battle as his Persian troops would be, but it was absurd to suppose that they would fight against such odds. Not a bit of it, said Demaratus. THey would fight and die to preserve their freedom. He added, 'They are free--yes--but they are not wholly free; for they have a master, and that master is Law, which they fear much more than your subjects fear you. Whatever this master commands they do; and his command never varies: it is never to retreat in battle, however great the odds, but always to remain in formation and to conquer or die.' They were Citizens, not subjects, and free men, not slaves; they were disciplined but self-disciplined. Free men were not whipped into battle.

You do not have to be the best player in the world to win. You only have to be better, on that day, than the person across from you. And that’s something you understood from the start.” “You scared the shit out of the other girls,” he added. “Especially Jelena and Tatiana. You intimidated them. I don’t know whether you did it deliberately, but you had an air about you: this is a business and you are in my way.” * * * And then, just like that, I was kicked out of the academy. For Yuri, it was like being exiled from Eden, or slapped awake in the middle of a beautiful

It's always "I love you" but never "I can give you death." This primitive country has picked you clean. It has shackled you in permanent exile. Every room you enter, every hat you are forced to wear....the stern landlord, the deferential businessman, the loyal son...all these roles you conform to and none of them your true nature. What rage you must feel as you choke on your sorrow. The first time I laid eyes on you, your beautiful face, I saw that sorrow. I did not know how it got there or why it was so voluminous. I can take away that sorrow, Louis. I can give you the death you begged your feeble, blind, degenerate, nonexistent god for. But I can do it....joyfully. I can swap this life of shame, swap it out for a dark gift and a power you can't begin to imagine. You just have to ask me for it. You just have to nod your beautiful head.... and say yes. I love you, Louis. You are loved. I send my love to you, and you send it back round to me. And this circle, this home we barely had a glimpse of how it frightens me as much as it does you. Be my companion, Louis. Be all the beautiful thing you are, and be them without apology. For all eternity.

The planet turns there without you, beautiful. Exiled by death you cannot touch it. Weird joy to watch postulates lived out and discarded, something crowed inside us always craving to become something glistening outside us, the relentless planet showing itself the logic of what is buried inside it. To love existence is to love what is indifferent to you you think, as you watch it turn there, beautiful. World that can know itself only by world, soon it must colonize and infect the stars. You are an hypothesis of flesh. What you will teach the stars is constant rage at the constant prospect of not-being.

Whether it’s the beads of water on the line as it tightens like a hanging rope, or the drops thrown by the thrashing fish—that’s what you need to know. Remember the noises, the light, the exact action that made you excited or angry or scared. Then write down the details so the reader feels your exact feeling.

And so, it is not our own life that we live, but the lives of the dead, and the soul that dwells within us is no single spiritual entity, making us personal and individual, created for our service, and entering into us for our joy. It is something that has dwelt in fearful places, and in ancient sepulchres has made its abode. It is sick with many maladies, and has memories of curious sins. It is wiser than we are, and its wisdom is bitter. It fills us with impossible desires, and makes us follow what we know we cannot gain. One thing, however, Ernest, it can do for us. It can lead us away from surroundings whose beauty is dimmed to us by the mist of familiarity, or whose ignoble ugliness and sordid claims are marring the perfection of our development. It can help us to leave the age in which we were born, and to pass into other ages, and find ourselves not exiled from their air. It can teach us how to escape from our experience, and to realise the experiences of those who are greater than we are. The pain of Leopardi crying out against life becomes our pain. Theocritus blows on his pipe, and we laugh with the lips of nymph and shepherd. In the wolfskin of Pierre Vidal we flee before the hounds, and in the armour of Lancelot we ride from the bower of the Queen. We have whispered the secret of our love beneath the cowl of Abelard, and in the stained raiment of Villon have put our shame into song. We can see the dawn through Shelley's eyes, and when we wander with Endymion the Moon grows amorous of our youth. Ours is the anguish of Atys, and ours the weak rage and noble sorrows of the Dane. Do you think that it is the imagination that enables us to live these countless lives? Yes: it is the imagination; and the imagination is the result of heredity. It is simply concentrated race-experience.

Nature becomes really and truly intimate in strange and lonely places. I have been actually worrying myself for days at the thought that after the moon is past her full I shall daily miss the moonlight more and more; feeling further and further exiled when the beauty and peace which awaits my return to the riverside will no longer be there, and I shall have to come back through darkness.

Mestre. Say the word without hissing the conurbated villain, and pitying its citizens. As quickly as they can, two million tourists pass through, or by, Mestre each year, and each one will be struck by the same thought as they wonder at the aesthetic opposition that it represents. Mestre is an ugly town but ugly only in the same way that Michael Jackson might be desccribed as eccentric or a Tabasco Vindaloo flambéed in rocket fuel might be described as warm. Mestre is almost excremental in its hideousness: a fetid, fly-blown, festering, industrial urbanization, scarred with varicose motorways, flyovers, rusting railway sidings and the rubbish of a billion holidaymakers gradually burning, spewing thick black clouds into the Mediterranean sky. A town with apparently no centre, a utilitarian ever-expandable wasteland adapted to house the displaced poor, the shorebound, outpriced, domicile-deprived exiles from its neighbouring city. For, just beyond the condom- and polystyrene-washed, black-stained, mud shores of Marghera, Mestre's very own oil refinery, less than a mile away across the waters of the lagoon in full sight of its own dispossessed citizens, is the Jewel of Adriatic. Close enough for all to feel the magnetism, there stands the most beautiful icon of Renaissance glory and, like so much that can attract tourism, a place too lovely to be left in the hands of its natives, the Serenissima itself, Venice.

...I discovered a small kitten in the garden, which apparently had been abandoned by its mother. I picked it up and noticed that its hind legs were crippled in just the same way as Tsering's were when she died. I took this creature into my house and looked after it until eventually it was able to walk. Like Tsering, she was also female, but very beautiful and even more gentle. She also got along very well with the two dogs, particularly Sangye, against whose furry chest she liked to lie.

A staunch determinist might argue that between a magazine in a democratic country applying financial pressure to its contributors to make them exude what is required by the so-called reading public—between this and the more direct pressure which a police state brings to bear in order to make the author round out his novel with a suitable political message, it may be argued that between the two pressures there is only a difference of degree; but this is not so for the simple reason that there are many different periodicals and philosophies in a free country but only one government in a dictatorship. It is a difference in quality. If I, an American writer, decide to write an unconventional novel about, say, a happy atheist, an independent Bostonian, who marries a beautiful Negro girl, also an atheist, has lots of children, cute little agnostics, and lives a happy, good, and gentle life to the age of 106, when he blissfully dies in his sleep — it is quite possible that despite your brilliant talent, Mr. Nabokov, we feel [in such cases we don't think, we feel] that no American publisher could risk bringing out such a book simply because no bookseller would want to handle it. This is a publisher's opinion, and everybody has the right to have an opinion. Nobody would exile me to the wilds of Alaska for having my happy atheist published after all by some shady experimental firm; and on the other hand, authors in America are never ordered by the government to produce magnificent novels about the joys of free enterprise and of morning prayers.

O helpless few in my country, O remnant enslaved! Artists broken against her, A-stray, lost in the villages, Mistrusted, spoken-against, Lovers of beauty, starved Thwarted with systems, Helpless against the control; You who can not wear yourselves out By persisting to successes, You who can only speak, Who can not steel yourselves into reiteration; You of the finer sense, Broken against false knowledge, You who can know at first hand, Hated, shut in, mistrusted: Take thought; I have weathered the storm, I have beaten out my exile.

An illness called nostalgia, which often is cured with a sprinkle of love, some lemon, a few raisins and many slices of avocado. Wine is a yellow sun in a crystal goblet. One taste of Chile's earth and sky could delight the entire world. Maybe once you are an exile, you always are an exile. Always missing somewhere else, always carrying a bit from here and a bit from there and always with a bit of a broken heart. A refugee - a beautiful word, a beautiful thing. An exile. That means I am a traveler of the world and I belong to nothing but the things I love.

This naked embrace of earth and sky, the sun hard and strong overhead, pulling up moisture from the foliage, from soil, so that the swimming glisten of heat is like a caress made visible, this openness of air, everything visible for leagues, so that the circling hawk (the sun glancing off its wings) seems equipoised between sun and boulder -- this frank embrace between the lifting breast of the the land and the deep blue warmth of the sky is what exiles dream of; it is what they sicken for, now matter how hard they try to shut their minds against the memory of it... Living in town, Martha had forgotten this infinite exchange of earth and sky.

The traveler, alas, is at the mercy of his aesthetic sensations. A fine evening, a seat under a plant tree, the smile of a peasant girl, the scent of orange flower, a view over mountains or river—and he feels at home. His country is not the land where his friends live, but the wider territory of beautiful things—the territory where, if one agrees with Stendhal, he collects those promissory notes of happiness which give a precious fraction of their value when they are pocketed. He is therefore continually subject to accidents. An ugly town, a rainy day, and unsympathetic hotel, and he is at once a double exile—equally far from his native land and from that ideal country which he has set out to visit. The only recourse left is a bottle of wine.

If they cannot forgive me my foibles, then they are not such good people, no?"... "But they do forgive your foibles. They would welcome your company, too. But if you joined them, you would not understand what they were talking about. You would not have had the experiences that bind them together. You would be an outsider, not because of any act of theirs, but because you have not passed along the road that teaches you to be one of them. You will feel like an exile from the beautiful garden, but it will be you who exiled yourself. And yet you will blame them, and call them judgmental and unforgiving, even as it is your own pain and bitter memory that condemns you, your own ignorance of virtue that makes you a stranger in the land that should have been your home.

What she thinks and feels is this: This is a world of men. They come into your country, they invade your home, they kill your family. They turn your body into the battlefield — the territory of all violence — all power — all life and death. And we take it. We do. We keep taking it. We have lost track of the reasons we do not slaughter the world of men, but we do not. Yes, there are good men. She sees the face of her father. She sees how the filmmaker loves the writer. She sees the yet-unwritten life of the writer’s son. She sees her. . brother. Beautiful smear. But it is the world of men that creates pure destruction. And this is a truth we cannot bear: Since we bear them into the world, we cannot kill them. Cannot be done with them. Cannot exile them into oblivion.

Please,' she says, her head bent. 'Please. You must try to break the curse. I know that you are the queen by right and that you may not want him back, but-' If anything could have increased my astonishment, it was that. 'You think that I'd-' 'I didn't know you, before,' she says, the anguish clear in her voice. There is a hitch in her breath that comes with weeping. 'I thought you were just some mortal.' I have to bite my tongue at that, but I don't interrupt her. 'When you became his seneschal, I told myself that he wanted you for your lying tongue. Or because you'd become biddable, although you never were before. I should have believed you when you told him he didn't know the least of what you could do. 'While you were in exile, I got more of the story out of him. I know you don't believe this, but Cardan and I were friends before we were lovers, before Locke. He was my first friend when I came here from the Undersea. And we were friends, even after everything. I hate that he loves you.' 'He hated it, too,' I say with a laugh that sounds more brittle than I'd like. Nicasia fixes me with a long look. 'No, he didn't.' To that, I can only be silent. 'He frightens the Folk, but he's not what you think he is,' Nicasia says. 'Do you remember the servants that Balekin had? The human servants?' I nod mutely. Of course I remember. I will never forget Sophie and her pockets full of stones. 'They'd go missing sometimes, and there were rumours that Cardan hurt them, but it wasn't true. He'd return them to the mortal world.' I admit, I'm surprised. 'Why?' She throws up a hand. 'I don't know! Perhaps to annoy his brother. But you're human, so I thought you'd like that he did it. And he sent you a gown. For the coronation.' I remember it- the ball gown in the colours of the night, with the stark outlines of trees stitched on it and the crystals for stars. A thousand times more beautiful than the dress I commissioned. I had thought perhaps it came from Prince Dain, since it was his coronation and I'd sworn to be his creature when I'd joined the Court of Shadows. 'He never told you, did he?' Nicasia says. 'So see? Those are two nice things about him you didn't know. And I saw the way you used to look at him when you didn't think anyone was watching you.' I bite the inside of my cheek, embarrassed despite the fact that we were lovers, and wed, and it should hardly be a secret that we like each other. 'So promise me,' she says. 'Promise me you'll help him.' I think of the golden bridle, about the future the stars predicted. 'I don't know how to break the curse,' I say, all the tears I haven't shed welling up in my eyes. 'If I could, do you think i would be at this stupid banquet? Tell me what I must slay, what I must steal, tell me the riddle I must solve or the hag I must trick. Only tell me the way, and I will do it, no matter the danger, no matter the hardship, no matter the cost.' My voice breaks. She gives me a steady look. Whatever else I might think of her, she really does care for Cardan. And as tears roll down my cheeks, to her astonishment, I think she realises I do, too. Much good it does him.

To come back to the question, the wise man, self-sufficient as he is, still desires to have a friend if only for the purpose of practising friendship and ensuring that those talents are not idle. Not, as Epicurus put it in the same letter, ‘for the purpose of having someone to come and sit beside his bed when he is ill or come to his rescue when he is hard up or thrown into chains’, but so that on the contrary he may have someone by whose sickbed he himself may sit or whom he may himself release when that person is held prisoner by hostile hands. Anyone thinking of his own interests and seeking out friendship with this in view is making a great mistake. Things will end as they began; he has secured a friend who is going to come to his aid if captivity threatens: at the first clank of a chain that friend will disappear. These are what are commonly called fair-weather friendships. A person adopted as a friend for the sake of his usefulness will be cultivated only for so long as he is useful. This explains the crowd of friends that clusters about successful men and the lonely atmosphere about the ruined – their friends running away when it comes to the testing point; it explains the countless scandalous instances of people deserting or betraying others out of fear for themselves. The ending inevitably matches the beginning: a person who starts being friends with you because it pays him will similarly cease to be friends because it pays him to do so. If there is anything in a particular friendship that attracts a man other than the friendship itself, the attraction of some reward or other will counterbalance that of the friendship. What is my object in making a friend? To have someone to be able to die for, someone I may follow into exile, someone for whose life I may put myself up as security and pay the price as well. The thing you describe is not friendship but a business deal, looking to the likely consequences, with advantage as its goal. There can be no doubt that the desire lovers have for each other is not so very different from friendship – you might say it was friendship gone mad. Well, then, does anyone ever fall in love with a view to a profit, or advancement, or celebrity? Actual love in itself, heedless of all other considerations, inflames people’s hearts with a passion for the beautiful object, not without the hope, too, that the affection will be mutual. How then can the nobler stimulus of friendship be associated with any ignoble desire?

There was one more trend that Thucydides noted. In every free and prosperous country he found a parade of monsters: human beings with oversized egos, with ambitions out of proportion to their ability, whose ideas rather belied their understanding than affirmed it. Whereas, there was one Alcibiades in his own day, there were now hundreds of the like: self-serving, cunning and profane; only they did not possess the skills, or the mental acuity, or beauty of Alcibiades. Instead of being exiled, they pushed men of good sense from the center of affairs. Instead of being right about strategy and tactics, they were always wrong. And they were weak, he thought, because they had learned to be bad by the example of others. There was nothing novel about them, although they believed themselves to be original in all things. J.R.Nyquist

Once he had reached the top, he looked down on the town at his feet. Such repose, such tranquility, what a lesson in calmness! Seeing it, he was ashamed of his troubled existence. He renounced the love that brought him misery for the love of the town. It took hold of him again, suffusing his entire being as it had done during the first days of the Flemish Movement. How beautiful Bruges still was, seen from above, with its belfries, its pinnacles, its stepped gables like stairs to climb up to the land of dreams, to return to the great days of yesteryear. Among the roofs were canals fanned by the trees, quiet streets with a few women making their way in cloaks, swinging like silent bells. Lethargic peace! The sweetness of renunciation! A queen in exile, the widow of History whose only desire, basically, was to carve her own tomb.

If I had to hold up the most heavily guarded bank in Europe and I could choose my partners in crime, I’d take a gang of five poets, no question about it. Five real poets, Apollonian or Dionysian, but always real, ready to live and die like poets. No one in the world is as brave as a poet. No one in the world faces disaster with more dignity and understanding. They may seem weak, these readers of Guido Cavalcanti and Arnaut Daniel, these readers of the deserter Archilochus who picked his way across a field of bones. And they work in the void of the word, like astronauts marooned on dead-end planets, in deserts where there are no readers or publishers, just grammatical constructions or stupid songs sung not by men but by ghosts. In the guild of writers they’re the greatest and least sought-after jewel. When some deluded kid decides at sixteen or seventeen to be a poet, it’s a guaranteed family tragedy. Gay Jew, half black, half Bolshevik: the Siberia of the poet’s exile tends to bring shame on his family too. Readers of Baudelaire don’t have it easy in high school, or with their schoolmates, much less with their teachers. But their fragility is deceptive. So is their humor and the fickleness of their declarations of love. Behind these shadowy fronts are probably the toughest people in the world, and definitely the bravest. Not for nothing are they descended from Orpheus, who set the stroke for the Argonauts and who descended into hell and came up again, less alive than before his feat, but still alive. If I had to hold up the most heavily fortified bank in America, I’d take a gang of poets. The attempt would probably end in disaster, but it would be beautiful.

The tribal ceremonies of birth, initiation, marriage, burial, installation, and so forth, serve to translate the individual's life-crises and life-deeds into classic, impersonal forms. They disclose him to himself, not as this personality or that, but as the warrior, the bride, the widow, the priest, the chieftain; at the same time rehearsing for the rest of the community the old lesson of the archetypal stages. All participate in the ceremonial according to rank and function. The whole society becomes visible to itself as an imperishable living unit. Generations of individuals pass, like anonymous cells from a living body; but the sustaining, timeless form remains. By an enlargement of vision to embrace this superindividual, each discovers himself enhanced, enriched, supported, and magnified. His role, however unimpressive, is seen to be intrinsic to the beautiful festival-image of man—the image, potential yet necessarily inhibited, within himself. Social duties continue the lesson of the festival into normal, everyday existence, and the individual is validated still. Conversely, indifference, revolt—or exile—break the vitalizing connectives. From the standpoint of the social unit, the broken-off individual is simply nothing—waste. Whereas the man or woman who can honestly say that he or she has lived the role—whether that of priest, harlot, queen, or slave—is something in the full sense of the verb to be. Rites of initiation and installation, then, teach the lesson of the essential oneness of the individual and the group; seasonal festivals open a larger horizon. As the individual is an organ of society, so is the tribe or city—so is humanity entire—only a phase of the mighty organism of the cosmos.

24. you would rather remain with Christ than with the truth: The same sentiments are expressed in Dostoyevsky’s letter of late January-February 1854 to Natalya Fonvizina (1805–69), wife of the Decembrist Ivan Fonvizin, who followed her husband into exile. She visited Dostoyevsky and other members of the Petrashevsky Circle in the transit prison in Tobolsk, an act of kindness he remembered ever afterwards. Dostoyevsky wrote: ‘That credo is very simple, here it is: to believe that there is nothing more beautiful, more profound, more attractive, more wise, more courageous and more perfect than Christ, and what’s more, I tell myself jealous with love, there cannot be. Moreover, if someone proved to me that Christ were outside the truth, and it really were that the truth lay outside Christ, I would prefer to remain with Christ rather than with the truth’ (Complete Letters, tr. D. Lowe and R. Meyer, vol. 1, p. 195).

The Memoirs from Beyond the Grave have come to be considered a classic of French literature as much for the elegiac beauty of their language as for the way they capture an age. If they are the recollections of a sometime ambassador, a part-time politician, and a onetime celebrity, they are also the masterwork of an artist in consummate control of his prose. The person who writes that, on the day of his birth, his mother “inflicted” life on him, who makes up a meeting with George Washington and has the gall to declare that the first president “resembled his portraits,” has picked up the plume for more complicated reasons than the urge to compose a record of his times. The seductiveness of the Memoirs’ style—what Barthes calls the “vivid, sumptuous, desirable seal of Chateaubriand’s writing”—makes questions of factual authenticity seem piddling. The voice of the Memoirs is the voice of the private man behind the public façade, the grown-up boy who left home out of fear and in search of the Northwest Passage, the death-haunted exile, the solitary writer at his desk at night, who knew that he had to imagine himself and his world into being, as if everywhere were America, a second space and a dominion of dreams.

Skiddy Cottontail—that was his name—and he defended LGBT equality. He was a flamboyant, colorful striped rabbit, with a headdress of a rainbow crown on his forehead. The radiance of his energy was violet, scarlet, and turquoise; as it represented his love for everyone. In the infancy years of his existence, he was abandoned—alone—unwanted—unloved; rejected by a world that disdains him. His father wished him deceased, his family exiled him from the warren, he was physically mistreated and preyed on by homophobic mobs in the surrounding community by Elephants—Hyenas—rats. They splashed spit at his face, advising him that God condemns homosexuality—as Christ did not. They would slam him on the pavement with their Bibles, strike him in the stomach with their feet, throw boulders of stone at his body: imploring—abusing—condemning him to a tyrannical sentence. Skiddy Cottontail thought that his existence would end with this case of cruelty—violence—assault that was perpetrated against him. He wanted to cease to exist— he wanted to commit the ultimate murder on himself—he no more desired to go on living— he realized hope is already deceased. He yearned to have the courage to emerge, to discover his bravery that would sever this spiral of sensations of oppression. Being a victim made him a slave to his opponent—as his adversaries have full leverage against him. Life has become a thread of light, which he longed to be liberated from its shackles. His demon—a voice that keeps blaming him for his crimes in the back of his mind—a glass that continually cracks in his heart—will keep breaking him if he does not devise a way out of this crisis. He was conscious by his innermost conviction that there was candlelight with a key that had the potential to illuminate a new chapter that will erase this trail of obscurity behind him. He sees a new horizon with greater comprehension, a journey that can give him the roses of affection than a handful of dead birds that his adversaries handed him along the way. The stunning blossoming trees did have a forest—beautiful greenery that was colorful like the rainbow in the Heavens. This home will embrace him with a warm embrace of open arms, where cruelty is forbidden; where adoration can forever abound. Dawn will know him when he arrives. No more hurricanes or strife will be here—no crying of a sad humanity are here—only a gift of harmony and devotion, beyond all explanation, will abide in the heart of Skiddy Cottontail—when he finds his way out from this opponent world for a beautiful existence that is called liberation. Skiddy Cottontail has found a happiness that can only bring him contentment like nothing in this hurtful world can. Find your own sense of balance like him, Skiddy Cottontail, and you will experience serenity as much as him.

So let us not talk falsely now, the hour is getting late. Let’s remember again the radical profession that we Christians make. We confess that Jesus is the world’s true king. We confess that Jesus is Lord...right now. The rightful ruler of the world is not some ancient Caesar, not some contemporary Commander in Chief, but Jesus Christ! Jesus is not going to be king someday, Jesus is King of Kings right now! Christ was crowned on the cross and God vindicated him as the world’s true king by raising him from the dead. This is what Christians confess, believe, and seek to live. We have no king but Jesus. And our king has nothing to do with violent power. Our king has no use for nuclear weapons. Why? Because you can’t love your neighbor with hydrogen bombs. Our king said his kingdom does not come from the world of war, which is why his servants do not fight. Jesus told Pontius Pilate, “My kingdom is not from this world. If my kingdom were from this world, my servants would be fighting.”[9] The kingdom from heaven that Jesus brings into the world does not come riding an M1 Abrams tank. In the kingdom of the Prince of Peace, we study war no more, we turn swords into plowshares and spears into pruning hooks, we turn tanks into tractors and missile silos into grain silos. Our task is not to turn the world into a battlefield, our task is to turn the world into a garden. Our goal is not Armageddon, our goal is New Jerusalem. We’re marching to Zion, the beautiful city of God. Of course Governor Pilate doesn’t believe any of this.

Build houses and make yourselves at home. You are not camping. This is your home; make yourself at home. This may not be your favorite place, but it is a place. Dig foundations; construct a habitation; develop the best environment for living that you can. If all you do is sit around and pine for the time you get back to Jerusalem, your present lives will be squalid and empty. Your life right now is every bit as valuable as it was when you were in Jerusalem, and every bit as valuable as it will be when you get back to Jerusalem. Babylonian exile is not your choice, but it is what you are given. Build a Babylonian house and live in it as well as you are able. Put in gardens and eat what grows in the country. Enter into the rhythm of the seasons. Become a productive part of the economy of the place. You are not parasites. Don’t expect others to do it for you. Get your hands into the Babylonian soil. Become knowledgeable about the Babylonian irrigation system. Acquire skill in cultivating fruits and vegetables in this soil and climate. Get some Babylonian recipes and cook them. Marry and have children. These people among whom you are living are not beneath you, nor are they above you; they are your equals with whom you can engage in the most intimate and responsible of relationships. You cannot be the person God wants you to be if you keep yourself aloof from others. That which you have in common is far more significant than what separates you. They are God’s persons: your task as a person of faith is to develop trust and conversation, love and understanding. Make yourselves at home there and work for the country’s welfare. Pray for Babylon’s well-being. If things go well for Babylon, things will go well for you. Welfare: shalom. Shalom means wholeness, the dynamic, vibrating health of a society that pulses with divinely directed purpose and surges with life-transforming love. Seek the shalom and pray for it. Throw yourselves into the place in which you find yourselves, but not on its terms, on God’s terms. Pray. Search for that center in which God’s will is being worked out (which is what we do when we pray) and work from that center. Jeremiah’s letter is a rebuke and a challenge: “Quit sitting around feeling sorry for yourselves. The aim of the person of faith is not to be as comfortable as possible but to live as deeply and thoroughly as possible—to deal with the reality of life, discover truth, create beauty, act out love. You didn’t do it when you were in Jerusalem. Why don’t you try doing it here, in Babylon? Don’t listen to the lying prophets who make an irresponsible living by selling you false hopes. You are in Babylon for a long time. You better make the best of it. Don’t just get along, waiting for some miraculous intervention. Build houses, plant gardens, marry husbands, marry wives, have children, pray for the wholeness of Babylon, and do everything you can to develop that wholeness. The only place you have to be human is where you are right now. The only opportunity you will ever have to live by faith is in the circumstances you are provided this very day: this house you live in, this family you find yourself in, this job you have been given, the weather conditions that prevail at this moment.

You were raised with a very special status in Tibet. You must have come to this recognition of oneness over time.” “Yes, I have grown in my wisdom from study and experience. When I first went to Peking, now Beijing, to meet Chinese leaders, and also in 1956 when I came to India and met some Indian leaders, there was too much formality, so I felt nervous. So now, when I meet people, I do it on a human-to-human level, no need for formality. I really hate formality. When we are born, there is no formality. When we die, there is no formality. When we enter hospital, there is no formality. So formality is just artificial. It just creates additional barriers. So irrespective of our beliefs, we are all the same human beings. We all want a happy life.” I couldn’t help wondering if the Dalai Lama’s dislike of formality had to do with having spent his childhood in a gilded cage. “Was it only when you went into exile,” I asked, “that the formality ended?” “Yes, that’s right. So sometimes I say, Since I became a refugee, I have been liberated from the prison of formality. So I became much closer to reality. That’s much better. I often tease my Japanese friends that there is too much formality in their cultural etiquette. Sometimes when we discuss something, they always respond like this.” The Dalai Lama vigorously nodded his head. “So whether they agree or disagree, I cannot tell. The worst thing is the formal lunches. I always tease them that the meal looks like decoration, not like food. Everything is very beautiful, but very small portions! I don’t care about formality, so I ask them, more rice, more rice. Too much formality, then you are left with a very little portion, which is maybe good for a bird.” He was scooping up the last bits of dessert.

Many of my friends around the world express surprise at the Palestinian attachment to place of origin and concerns for family ties. Some even scoff at it and contrast it with their own open-armed acceptance of adventure, discovery, a nomadic lifestyle and residence in places that they choose and change according to their fancy, without the slightest regret at leaving family or even homeland behind. They remind me that the world is wider and more beautiful than 'our villages' and 'our families'. I understand this beautiful sense of the vastness of the world. Like them, I love movement, journeys, and living in new places. What these friends forget is that it is they who choose to distance themselves. They are the ones who take the decision and make the plans and then present their passports (recognized everywhere) and get on planes and trains and cars and motorcycles and go to places where three conditions that the Palestinian cannot meet are fulfilled: first, that it is their preference and choice to go to specifically these places; second, that these places always welcome them; and third and most important, that it is in their power to return to their home country whenever they desire and decide. The Palestinian forced to become a refugee, to migrate, and to go into exile from his homeland in the sixty years since the Nakba of 1948, or the forty since the June 1967 War, suffers miseries trying to obtain a document by which he will be recognized at borders. He suffers miseries trying to obtain a passport from another state because he is stateless and has to go through Kafkaesque interrogations before being granted entry visa to any place in the world, even the Arab states. The Palestinian is forbidden to enter his own country by land, sea, or air, even in a coffin. It is not a matter of romantic attachment to a place but of eternal exclusion from it. The Palestinian stripped of an original identity is a palm tree broken in the middle. My foreign friends have control over the details of their lives but a single Israeli solder can control the details of the life of any Palestinian. This is the difference. This is the story.

[14] It is in accordance with this plan of action above all that one should train oneself. As soon as you leave the house at break of day, examine everyone whom you see, everyone whom you hear, and answer as if under questioning. What did you see? A handsome man or beautiful woman? Apply the rule. Does this lie within the sphere of choice, or outside it? Outside. Throw it away. [15] What did you see? Someone grieving over the death of his child? Apply the rule. Death is something that lies outside the sphere of choice. Away with it. You met a consul? Apply the rule. What kind of thing is a consulship? One that lies outside the sphere of choice, or inside? Outside. Throw that away too, it doesn’t stand the test. Away with it; it is nothing to you. [16] If we acted in such a way and practised this exercise from morning until night, we would then have achieved something, by the gods. [17] But as things are, we’re caught gazing open-mouthed at every impression that comes along, and it is only in the schoolroom that we wake up a little, if indeed we ever do. Afterwards, when we go outside, if we see someone in distress, we say, ‘He’s done for,’ or if we see a consul, exclaim, ‘A most fortunate man’; if an exile, ‘Poor wretch!’; if someone in poverty, ‘How terrible for him; he hasn’t money enough to buy a meal.’ [18] These vicious judgements must be rooted out, then; that is what we should concentrate our efforts on. For what is weeping and groaning? A judgement. What is misfortune? A judgement. What is civil strife, dissension, fault-finding, accusation, impiety, foolishness? [19] All of these are judgements and nothing more, and judgements that are passed, moreover, about things that lie outside the sphere of choice, under the supposition that such things are good or bad. Let someone transfer these judgements to things that lie within the sphere of choice, and I guarantee that he’ll preserve his peace of mind, regardless of what his circumstances may be. [20] The mind is rather like a bowl filled with water, and impressions are like a ray of light that falls on that water. [21] When the water is disturbed, the ray of light gives the appearance of being disturbed, but that isn’t really the case. [22] So accordingly, whenever someone suffers an attack of vertigo, it isn’t the arts and virtues that are thrown into confusion, but the spirit in which they’re contained; and when the spirit comes to rest again, so will they too.

In Shushan the citadel there was a certain Jew whose name was Mordecai the son of Jair, the son of Shimei, the son of Kish, a Benjamite. Kish had been carried away from Jerusalem with the captives who had been captured with Jeconiah king of Judah, whom Nebuchadnezzar the king of Babylon had carried away. Esther 2:5-6 Mordecai is a Jew living in Shushan (remember from last week — this is the city that Darius established as the capital). His great-grandfather is Kish the Benjamite, who was brought to Persia / Babylon during the Babylonian captivity. Even though King Cyrus ended the captivity many years ago, many Jews have remained in Persia. Mordecai’s family was among them. Mordecai’s heritage is an vital part of God’s plan, so let’s be careful not to over look this important detail. God always has a remnant of people. Even though Mordecai is no longer captive to the will of man keeping him in exile, he is still captive to the will of God. As a result of his obedience to God, Mordecai remained in Persia even after he was free to leave. God has promised to protect His people, and His plan is in action. Mordecai is an important part of that plan! Also important to note is that this the historian’s first mention of Jews living in Persia. Mordecai descending from Kish the Benjamite is interesting, because another important biblical figure also descended from Kish: Israel’s first king, Saul. Saul was Kish’s son (1 Samuel 9:1). While this point may not seem important in a history of Ahasuerus, the ancestry of this Jew is very important in the history of Persia. Mordecai’s most important connection is about to be introduced to us: his cousin, Esther. “And Mordecai had brought up Hadassah, that is, Esther, his uncle’s daughter, for she had neither father nor mother. The young woman was lovely and beautiful. When her father and mother died, Mordecai took her as his own daughter.” Esther 2:7 Ahasuerus is not the only one in Persia busy preparing; Mordecai is preparing as well. For many years now, he has been preparing Esther, raising her for the future that God intended for her. As you prepare, consider that you might be preparing for a future you do not know anything about; and that you may be preparing someone other than yourself. Mordecai’s first step was to obey God. Certainly it was God who told him to stay with Esther in Persia, even after her parents had died. We are never told that Mordecai had married; what reason was there for him to stay in Persia? Even so, Mordecai stayed in Persia with Esther and raised her as his own daughter. Raising her was a process, and he had to depend on the Lord to know the right thing to do. He had no way of predicting what would happen in her life or his, but he was obedient during the process (remember Jeremiah 29?). Mordecai was preparing Esther for a future he did not know anything about yet, but Mordecai knew something that we need to keep in our hearts as well: serving God every day will develop qualities in us that will serve us well, whatever the future may hold. Mordecai was preparing Esther to be faithful to God, knowing that quality could only help her in her life. Mordecai did not know what God had in store for Esther — but he did know that God had a plan for her, just as He has a plan for all of us. Mordecai poured his life into her. Is there someone that you are supposed to be pouring your life into? Perhaps while reading this history, you are identifying with Esther. Maybe you are an “Esther”, but consider that you may be a “Mordecai”. It is likely you will identify with both of them at different seasons in your life. Pray that you will be able to discern those seasons. Mordecai and Esther are cousins. Sometime after the Jews were carried away to Persia, Esther’s parents died. Out of the heartbreaking tragedy of losing her parents, God’s providence was still at work. His word promises that in the hands of the Lord, “all things work together for good to those who