Beautiful Interiors Quotes

Have nothing in your house that you do not know to be useful, or believe to be beautiful.

I suppose I am a snob. I loathe towns. I loathe townspeople. They have small minds and giant backsides. Which is to say, what they lack in interiors they make up in posteriors.

And so it happened again, the daily miracle whereby interiority opens out and brings to bloom the million-petalled flower of being here, in the world, with other people. Neither as hard as she had thought it might be nor as easy as it appeared.

A book is really like a lover. It arranges itself in your life in a way that is beautiful. Even as a kid, my sister, who was the eldest, brought books home for me, and I think I spent more time sniffing and touching them than reading. I just remember the joy of the book, the beauty of the binding. The smelling of the interior. Happy." [Interview with Emma Brockes, The Believer, November/December, 2012]

She’s out, Jim! The bugger’s out!” Well this was great. Anybody who has driven a car with a hysterical cat hurtling around the interior will appreciate my situation.

There is a secret place. A radiant sanctuary. As real as your own kitchen. More real than that. Constructed of the purest elements. Overflowing with the ten thousand beautiful things. Worlds within worlds. Forests, rivers. Velvet coverlets thrown over featherbeds, fountains bubbling beneath a canopy of stars. Bountiful forests, universal libraries. A wine cellar offering an intoxi cation so sweet you will never be sober again. A clarity so complete you will never again forget. This magnificent refuge is inside you. Enter. Shatter the darkness that shrouds the doorway… Believe the incredible truth that the Beloved has chosen for his dwelling place the core of your own being because that is the single most beautiful place in all of creation.

It's time to shop high heels if your fiance kisses you on the forehead.

No matter what the universe has in store, it cannot take away from the fact that you were born. You’ll have some joy and some pain, and all the other experiences that make up what it’s like to be a tiny part of a grand cosmos. No matter what happens next, you were here. And even when any record of our individual lives is lost to the ages, that won’t detract from the fact that we were. We lived. We were part of the enormity. All the great and terrible parts of being alive, the shocking sublime beauty and heartbreak, the monotony, the interior thoughts, the shared pain and pleasure. It really happened. All of it. On this little world that orbits a yellow star out in the great vastness. And that alone is cause for celebration.

Let us make our way through these low valleys of the humble and little virtues. We shall see in them the roses amid the thorns, charity that shows its beauty among interior and exterior afflictions, the lilies of purity.

As I lay there, listening to the soft slap of the sea, and thinking these sad and strange thoughts, more and more and more stars had gathered, obliterating the separateness of the Milky Way and filling up the whole sky. And far far away in that ocean of gold, stars were silently shooting and falling and finding their fates, among these billions and billions of merging golden lights. And curtain after curtain of gauze was quietly removed, and I saw stars behind stars behind stars, as in the magical Odeons of my youth. And I saw into the vast soft interior of the universe which was slowly and gently turning itself inside out. I went to sleep, and in my sleep I seemed to hear a sound of singing.

Beautiful is he who recognizes what is truly beautiful, Even if the surface is ugly. Truthful is he who says what is true, Even if the truth is ugly. Ugly is he who measures beauty by its exterior, Without first weighing the interior. And ugly is the man who judges harshly what he sees looking out, Without first judging what he sees in the mirror. Suzy Kassem, Rise Up and Salute the Sun (2010)

To listen is very hard, because it asks of us so much interior stability that we no longer need to prove ourselves by speeches, arguments, statements, or declarations. True listeners no longer have an inner need to make their presence known. They are free to receive, to welcome, to accept. Listening is much more than allowing another to talk while waiting for a chance to respond. Listening is paying full attention to others and welcoming them into our very beings. The beauty of listening is that, those who are listened to start feeling accepted, start taking their words more seriously and discovering their own true selves. Listening is a form of spiritual hospitality by which you invite strangers to become friends, to get to know their inner selves more fully, and even to dare to be silent with you.

They have small minds and giant backsides. Which is to say, what they lack in interiors they make up in posteriors.

His perfect face. His perfect body. His eyes as hard and beautiful as frozen gemstones. He repulses me. I want his exterior to match his broken black interior. I want to cripple his cockiness with the palm of my hand.

Jesús, alguna vez quise decir las palabras, pero apenas podía admitirlo ante mí mismo, y mucho menos a ella. En el fondo yo sabía que era un pedazo de mierda, y ella se merecía algo mejor. Una parte de mí quería que la llevara a la habitación y mostrarle por qué ella era diferente, pero también fue lo único que me detuvo. Ella era mi opuesto: Inocente en la superficie, y dañada profundamente en su interior. Había algo en ella que necesitaba en mi vida, y aunque no estaba seguro de lo que era, no podía dar a mis malos hábitos y joderla. Ella era el tipo de las que perdona, yo podía ver, pero tenía líneas dibujadas que yo sabía que no debía cruzarlas.

Dresses don't look beautiful on hangers.

I'm more preoccupied with furnishing my head than the place where I live. The most beautiful rooms I have entered have been empty ones.

When you have an interior life, it certainly doesn’t matter what side of the prison fence you’re on. . . I’ve already died a thousand times in a thousand concentration camps. I know everything. There is no new information to trouble me. One way or another, I already know everything. And yet, I find this life beautiful and rich in meaning. At every moment.

REFLECTIONS OF A MIRROR Beautiful is he who recognizes what is truly beautiful, Even if the surface is ugly. Truthful is he who says what is true, Even if the truth is ugly. Ugly is he who measures beauty by its exterior, Without first weighing the interior. And ugly is the man who judges harshly what he sees looking out, Without first judging what he sees in the mirror.

Reading for me, was like breathing. It was probably akin to masturbation for my brain. Getting off on the fantasy within the pages of a good novel felt necessary to my survival. If I wasn't asleep, knitting, or working, I was reading. This was for several reasons, all of them focused around the infititely superior and enviable lives of fictional heroines to real-life people. Take romans for instance. Fictional women in romance novels never get their period. They never have morning breath. They orgasm seventeen times a day. And they never seem to have jobs with bosses. These clean, well-satisfied, perm-minty-breathed women have fulfilling careers as florists, bakery owners, hair stylists or some other kind of adorable small business where they decorate all day. If they do have a boss, he's a cool guy (or gal) who's invested in the woman's love life. Or, he's a super hot billionaire trying to get in her pants. My boss cares about two things: Am I on time ? Are all my patients alive and well at the end of my shift? And the mend in the romance novels are too good to be true; but I love it, and I love them. Enter stage right the independently wealthy venture capitalist suffering from the ennui of perfection until a plucky interior decorator enters stage left and shakes up his life and his heart with perky catch phrases and a cute nose that wrinkles when she sneezes. I suck at decorating. The walls of my apartment are bare. I am allergic to most store-bought flowers. If I owned a bakery, I'd be broke and weigh seven hundred pounds, because I love cake.

She was yawning, and he saw the red interior of her mouth as if it had been a snake’s. She had stretched one arm so high above her coiled-up cable of hair that he could see its satin delicacy above the sunburn; her face was flushed with sleep, and her eyelids hung heavy over their pupils.The brim-fulness of her nature breathed from her.It was a moment when a woman’s soul is more incarnate than at any other time; when the most spiritual beauty bespeaks itself flesh; and sex takes the outside place in the presentation.

Dresses won't worn out in the wardrobe, but that is not what dresses are designed for.

Happy the old people who after long experience and many trials reach this superior simplicity of true wisdom, which they had glimpsed from a distance in their childhood! With this meaning it can be said that a beautiful life is a thought of youth realized in maturity.

I stepped inside and stopped, blinking in astonishment. From the exterior I'd expected a charming little book and curio shop with the inner dimensions of a university Starbucks. What I got was a cavernous interior that housed a display of books that made the library Disney's Beast gave to Beauty on their wedding day look understocked.

Slowly what she composed with the new day was her own focus, to bring together body and mind. This was made with an effort, as if all the dissolutions and dispersions of her self the night before were difficult to reassemble. She was like an actress who must compose a face, an attitude to meet the day. The eyebrow pencil was no mere charcoal emphasis on blond eyebrows, but a design necessary to balance a chaotic asymmetry. Make up and powder were not simply applied to heighten a porcelain texture, to efface the uneven swellings caused by sleep, but to smooth out the sharp furrows designed by nightmares, to reform the contours and blurred surfaces of the cheeks, to erase the contradictions and conflicts which strained the clarity of the face’s lines, disturbing the purity of its forms. She must redesign the face, smooth the anxious brows, separate the crushed eyelashes, wash off the traces of secret interior tears, accentuate the mouth as upon a canvas, so it will hold its luxuriant smile. Inner chaos, like those secret volcanoes which suddenly lift the neat furrows of a peacefully ploughed field, awaited behind all disorders of face, hair, and costume, for a fissure through which to explode. What she saw in the mirror now was a flushed, clear-eyed face, smiling, smooth, beautiful. The multiple acts of composure and artifice had merely dissolved her anxieties; now that she felt prepared to meet the day, her true beauty emerged which had been frayed and marred by anxiety.

Who can escape when in your grip, When your dark eyes confront one? I do not wish to flee when you seize me, I never shall believe that you only destroy. I know that you must course through everyone's life and nothing earthbound stays untouched by you, Though life without you would be beautiful! And yet, it is worthwhile to experience you. Indeed, you are not a night's phantom; You come to remind the spirit of its strength: It's the battle that has made the greatest persons great -on rugged roads towards the goal. For that, and happiness and joy, give me only one thing; pain which lends true greatness. So, come and let us wrestle breast to breast; do come, even if it means life or death. Do come and lip into the heart's deepest interior and rummage through the depths of life. Take away dream's illusion and joy; take away things not worth one's unlimited strivings. You are not mankind's final conqueror. Although we expose our breast to your blows and although we collapse in death, you are the pedestal for our soul's greatness.

REFLECTIONS FROM A MIRROR Beautiful is he who recognizes what is truly beautiful, Even if the surface is ugly. Truthful is he who says what is true, Even if the truth is ugly. Ugly is he who measures beauty by its exterior, Without first weighing the interior. And ugly is the man who judges harshly what he sees looking out, Without first judging what he sees in the mirror.

As usual, Junko thought about Jack London's 'To Build a Fire.' It was the story of a man traveling alone through the snowy Alaskan interior and his attempts to light a fire. He would freeze to death unless he could make it catch. The sun was going down. Junko hadn't read much fiction, but that one short story she had read again and again, ever since her teacher had assigned it as an essay topic during summer vacation of her first year in high school. The scene of the story would always come vividly to mind as she read. She could feel the man's fear and hope and despair as if they were her own; she could sense the very pounding of his heart as he hovered on the brink of death. Most important of all, though, was the fact that the man was fundamentally longing for death. She knew that for sure. She couldn't explain how she knew, but she knew it from the start. Death was really what he wanted. He knew that it was the right ending for him. And yet he had to go on fighting with all his might. He had to fight against an overwhelming adversary in order to survive. What most shook Junko was this deep-rooted contradiction. The teacher ridiculed her view. 'Death is really what he wanted? That's a new one for me! And strange! Quite 'original,' I'd have to say.' He read her conclusion aloud before the class, and everybody laughed. But Junko knew. All of them were wrong. Otherwise how could the ending of the story be so quiet and beautiful?

It is not just the language that we are sharing, it is what we don’t say. We are calling each other out of loneliness, across space, out of recognition of our beauty and power, and we are willing to go past the destruction and hurt we have done to reach each other.

My Sadness is Deeper than Yours My sadness is deeper than yours. My interior life is richer than yours. I am more interesting than you. I don’t care about anybody else’s problems. They are not as serious as mine. Nobody knows the weight I carry, the trouble I’ve seen. There are worlds in my head that nobody has access to: fortunately for them, fortunately for me. I have seen things that you will never see, and I have feelings that you are incapable of feeling, that you would never allow yourself to feel, because you lack the capacity and the curiosity. Once you felt the hint of such a feeling, you would stamp it out. I am a martyr to futility and I don’t expect to be shut down by a pretender. Mothballs are an aphrodisiac to me, beauty depresses me. You could never hope to fathom the depth of my feelings, deeper than death. I look down upon you all from my lofty height of lowliness. The fullness of your satisfaction lacks the cadaverous purity of my pain. Don’t talk to me about failure. You don’t know the meaning of the word. When it comes to failure, you’re strictly an amateur. Bush league stuff. I’m ten times the failure you’ll ever be. I have more to complain about than you, and regrets: more than a few, too many to mention. I am a fully-qualified failure, I have proven it over and over again. My credentials are impeccable, my resume flawless. I have worked hard to put myself in a position of unassailable wretchedness, and I demand to be respected for it. I expect to be rewarded for a struggle that produced nothing. I want the neglect, the lack of acknowledgment. And I want the bitterness that comes with it too.

As to what good qualities there may be in our souls, or Who dwells within them, or how precious they are -- those are things which we seldom consider and so we trouble little about carefully preserving the soul's beauty. All our interest is centred in the rough setting of the diamond, and in the outer wall of the castle -- that is to say, in these bodies of ours.

She goes on with her beautiful hair and mouth like before, I go on like before, alone in the field. It’s like my head had been lowered, And if I think this, and raise my head And the golden sun dries the need to cry I can’t stop having. How vast the field and interior love... ! I look, and I forget, like dryness where there was water and trees losing their leaves.

My perception of Winsome belonged to my mother—I thought of her as old, punctilious, someone without an interior life or worthwhile passions. That was the first time I saw her for myself. Winsome was an adult, someone who took care, who loved order and beauty and labored to create it as a gift to other people. She lifted her eyes to the ceiling and smiled. She was still wearing her wet apron.

She had not heard him enter, and hardly realized his presence there. She was yawning, and he saw the red interior of her mouth as if it had been a snake's. She had stretched one arm so high above her coiled-up cable of hair that he could see its satin delicacy above the sunburn; her face was flushed with sleep, and her eyelids hung heavy over their pupils. The brim-fulness of her nature breathed from her. It was a moment when a woman's soul is more incarnate than at any other time; when the most spiritual beauty bespeaks itself flesh; and sex takes the outside place in the presentation.

Until recently the locus of sexual fantasy was peopled with images actually glimpsed or were sensations actually felt, or private imaginings taken from suggestions in the real world, a dream well where weightless images from it floated, transformed by imagination. It prepared children, with these hints and traces of other people's bodies, to become adults and enter the landscape of adult sexuality and meet the lover face to face. Lucky men and women are able to keep a pathway clear to that dream well, peopling it with scenes and images that meet them as they get older, created with their own bodies mingling with other bodies; they choose a lover because of a smell from a coat, a way of walking, the shape of a lip, belong in their imagined interior and resonate back in time deep into the bones that recall childhood and early adolescent imagination.

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

Far worse, though, was the low, powerful moaning at dusk. The wind off the sea and the odd interior stillness dulled our ability to gauge direction, so that the sound seemed to infiltrate the black water that soaked the cypress trees. This water was so dark we could see our faces in it, and it never stirred, set like glass, reflecting the beards of gray moss that smothered the cypress trees. If you looked out through these areas, toward the ocean, all you saw was the black water, the gray of the cypress trunks, and the constant, motionless rain of moss flowing down. All you heard was the low moaning. The effect of this cannot be understood without being there. The beauty of it cannot be understood, either, and when you see beauty in desolation it changes something inside you Desolation tries to colonize you.

Every person encounters the open door here and there in the course of life, and it occurs to everyone at one time or another that everything visible is symbolic and that spirit and eternal life are living behind the symbol. Of course, very few people go through the gate and abandon the beautiful phenomenon of the outside world for the interior reality that they intuit.

Often beauty is disguised by appearance just as music can be by sound, the dreaming wish by the waking wish until there's this terrible stress because a thing must finally reveal itself, break itself. Leaning shadow, cinder heart, shouts. In Gorky's The Unattainable, the line begins to free itself from any utility of contour and becomes a trajectory. One day, Gorky hung himself from a beam but left us in charge of those ravishments. Hello, interior of the sun. Usually alone on Sundays, she won't get off until late, the man steams rice because it's cheap and easy and feels in its austerity poetic like candles during a power outage or trying on overcoats all afternoon, buying none.

He turned over towards the light and lay gazing into the glass paperweight. The inexhaustibly interesting thing was not the fragment of coral but the interior of the glass itself. There was such a depth of it, and yet it was almost as transparent as air. It was as though the surface of the glass had been the arch of the sky, enclosing a tiny world with its atmosphere complete. He had the feeling that he could get inside it, and that in fact he was inside it, along with the mahogany bed and the gateleg table, and the clock and the steel engraving and the paperweight itself. The paperweight was the room he was in, and the coral was Julia's life and his own, fixed in a sort of eternity at the heart of the crystal.

All of the Indians must have tragic features: tragic noses, eyes, and arms. Their hands and fingers must be tragic when they reach for tragic food. The hero must be a half-breed, half white and half Indian, preferably from a horse culture. He should often weep alone. That is mandatory. If the hero is an Indian woman, she is beautiful. She must be slender and in love with a white man. But if she loves an Indian man then he must be a half-breed, preferably from a horse culture. If the Indian woman loves a white man, then he has to be so white that we can see the blue veins running through his skin like rivers. When the Indian woman steps out of her dress, the white man gasps at the endless beauty of her brown skin. She should be compared to nature: brown hills, mountains, fertile valleys, dewy grass, wind, and clear water. If she is compared to murky water, however, then she must have a secret. Indians always have secrets, which are carefully and slowly revealed. Yet Indian secrets can be disclosed suddenly, like a storm. Indian men, of course, are storms. The should destroy the lives of any white women who choose to love them. All white women love Indian men. That is always the case. White women feign disgust at the savage in blue jeans and T-shirt, but secretly lust after him. White women dream about half-breed Indian men from horse cultures. Indian men are horses, smelling wild and gamey. When the Indian man unbuttons his pants, the white woman should think of topsoil. There must be one murder, one suicide, one attempted rape. Alcohol should be consumed. Cars must be driven at high speeds. Indians must see visions. White people can have the same visions if they are in love with Indians. If a white person loves an Indian then the white person is Indian by proximity. White people must carry an Indian deep inside themselves. Those interior Indians are half-breed and obviously from horse cultures. If the interior Indian is male then he must be a warrior, especially if he is inside a white man. If the interior Indian is female, then she must be a healer, especially if she is inside a white woman. Sometimes there are complications. An Indian man can be hidden inside a white woman. An Indian woman can be hidden inside a white man. In these rare instances, everybody is a half-breed struggling to learn more about his or her horse culture. There must be redemption, of course, and sins must be forgiven. For this, we need children. A white child and an Indian child, gender not important, should express deep affection in a childlike way. In the Great American Indian novel, when it is finally written, all of the white people will be Indians and all of the Indians will be ghosts.

I think of two landscapes- one outside the self, the other within. The external landscape is the one we see-not only the line and color of the land and its shading at different times of the day, but also its plants and animals in season, its weather, its geology… If you walk up, say, a dry arroyo in the Sonoran Desert you will feel a mounding and rolling of sand and silt beneath your foot that is distinctive. You will anticipate the crumbling of the sedimentary earth in the arroyo bank as your hand reaches out, and in that tangible evidence you will sense the history of water in the region. Perhaps a black-throated sparrow lands in a paloverde bush… the smell of the creosote bush….all elements of the land, and what I mean by “the landscape.” The second landscape I think of is an interior one, a kind of projection within a person of a part of the exterior landscape. Relationships in the exterior landscape include those that are named and discernible, such as the nitrogen cycle, or a vertical sequence of Ordovician limestone, and others that are uncodified or ineffable, such as winter light falling on a particular kind of granite, or the effect of humidity on the frequency of a blackpoll warbler’s burst of song….the shape and character of these relationships in a person’s thinking, I believe, are deeply influenced by where on this earth one goes, what one touches, the patterns one observes in nature- the intricate history of one’s life in the land, even a life in the city, where wind, the chirp of birds, the line of a falling leaf, are known. These thoughts are arranged, further, according to the thread of one’s moral, intellectual, and spiritual development. The interior landscape responds to the character and subtlety of an exterior landscape; the shape of the individual mind is affected by land as it is by genes. Among the Navajo, the land is thought to exhibit sacred order…each individual undertakes to order his interior landscape according to the exterior landscape. To succeed in this means to achieve a balanced state of mental health…Among the various sung ceremonies of this people-Enemyway, Coyoteway, Uglyway- there is one called Beautyway. It is, in part, a spiritual invocation of the order of the exterior universe, that irreducible, holy complexity that manifests itself as all things changing through time (a Navajo definition of beauty).

True freedom is not so much something man wins for himself; it is a free gift from God, a fruit of the Holy Spirit, received in the measure in which we place ourselves in a relationship of loving dependence on our Creator and Savior. This is where the Gospel paradox is most apparent: “Whoever would save his life will lose it, and whoever loses his life for my sake will find it.”7 In other words, people who wish to preserve and defend their own freedom at any cost will lose it, but those willing to “lose” it by leaving it trustingly in God’s hands will save it. Their freedom will be restored to them, infinitely more beautiful, infinitely deeper, as a marvelous gift from God’s tenderness. Our freedom is, in fact, proportionate to the love and childlike trust we have for our heavenly Father.

Gregori stared with dismay at the small, two-story house enclosed in wrought-iron latticework and sandwiched between two smaller, rather rundown properties in the crowded French Quarter of New Orleans. He inserted the key in the lock and turned to look at Savannah's face. It was lit up with expectation, her blue eyes shining. "I have definitely lost all good sense," he muttered as he pushed open the door. The interior was dark, but he could see everything easily. The room was layered with dust, old sheets covered the furniture, and the wallpaper was peeling in small curls from the walls. "Isn't it beautiful?" Savannah flung out her hands and turned in a circle. Jumping into Gregori's arms, she hugged him tightly. "It's so perfect!" He couldn't help himself; he kissed her inviting mouth. "Perfect for torching. Savannah,did you even look at this place before you bought it?" She laughed and ruffled his thick mane of hair. "Don't be such a pessimist. Can't you see its potential?" "It is a firetrap," he groused.

We create our own sensuality.

Sensual innovation is the new hustle in today’s world of love and romance.

They have small minds and giant backsides. Which is to say, what they lack in interiors they make up in posteriors. They’re junk food. Fatty, but ultimately, terribly unsatisfying.

Money can buy your exterior beauty, but not your interior beaty

Every design choice we make has a sensual effect on us.

St. Thomas Aquinas deeply loved this beautiful chant thus understood. It is told of him that he could not keep back his tears when, during Compline of Lent, he chanted the antiphon: “In the midst of life we are in death: whom do we seek as our helper, but Thou, O Lord, who because of our sins art rightly incensed? Holy God, strong God, holy and merciful Savior, deliver us not up to a bitter death; abandon us not in the time of our old age, when our strength will abandon us.” This beautiful antiphon begs for the grace of final perseverance, the grace of graces, that of the predestined. How it should speak to the heart of the contemplative theologian, who has made a deep study of the tracts on Providence, predestination, and grace!

What are you looking for? Do you think you're the only group to be invisible? How about: Older women Older people in general People that are overweight People that don't conform to conventional Western beauty standards Black women Women in general in the workplace Are you sure you're not looking for something that you feel entitled to? Isn't this a kind of narcissism?

Finland is world-famous for its architects and decorators, who know how to produce beautiful effects in simple ways. On my first visit to Finland, I remember being invited into the living room of one of my host’s homes, and immediately thinking to myself, “This is the most beautiful room that I’ve ever seen!” On reflection, I then wondered why I found it so beautiful, because the room was a nearly-empty cubicle with just a few pieces of simple furniture. But the materials and form of the room, and those few pieces of furniture, were typically Finnish in their simplicity and beauty

The rock I'd seen in my life looked dull because in all ignorance I'd never thought to knock it open. People have cracked ordinary New England pegmatite - big, coarse granite - and laid bare clusters of red garnets, or topaz crystals, chrysoberyl, spodumene, emerald. They held in their hands crystals that had hung in a hole in the dark for a billion years unseen. I was all for it. I would lay about me right and left with a hammer, and bash the landscape to bits. I would crack the earth's crust like a piñata and spread to the light the vivid prizes in chunks within. Rock collecting was opening the mountains. It was like diving through my own interior blank blackness to remember the startling pieces of a dream: there was a blue lake, a witch, a lighthouse, a yellow path. It was like poking about in a grimy alley and finding an old, old coin. Nothing was at it seemed. The earth was like a shut eye. Mother's not dead, dear - she's only sleeping. Pry open the thin lid and find a crystalline intelligence inside, a rayed and sidereal beauty. Crystals grew inside rock like arithmetical flowers. They lengthened and spread, adding plane to plane in awed and perfect obedience to an absolute geometry that even the stones - maybe only the stones - understood.

At the leading edges of science, at the threshold of the truly new, the threat has often nearly overwhelmed. Thus Rutherford’s shock at rebounding alpha particles, “quite the most incredible event that has ever happened to me in my life.” Thus Heisenberg’s “deep alarm” when he came upon his quantum mechanics, his hallucination of looking through “the surface of atomic phenomena” into “a strangely beautiful interior” that left him giddy.

Modern people hate American Beauty for the same reason people in 1999 loved American Beauty: It examines the interior problems of upper-middle-class white people living in the late twentieth century—the kind of people who voted for Bill Clinton twice and (perhaps) saw fragments of their own lives within the problems he created for himself. And it was, in all probability, the last time in history such problems would be considered worthy of contemplation.

Despite our battered exterior and in spite of the festering scars and rank filth that overlays it, there is underneath it all the pristine likeness of God Himself. And we would be wise to cast an eye not on the marred exterior, but to be fixed on the glorious interior.

I can find nothing with which to compare the great beauty of a soul and its great capacity. In fact, however acute our intellects may be, they will no more be able to attain to a comprehension of this than to an understanding of God; for, as He Himself says, He created us in His image and likeness.

It was the gift that every girl dreams of, to be dead long enough for your parents to realize how meaningless their lives were without you, how they were suddenly and at once deeply sorrowed at all of the horrible injustices they caused you, how they had truly never appreciated your natural gifts of beauty and grace, being that their beautiful angel would have such a short time on earth and should have spent that time driving the restored 1965 convertible Mustang she had openly AND PUBLICLY desired. But nope, she spent her last, short, fleeting moments driving a 1980 Chevy Citation, every so clearly a GRANDMA car, with fake red-velvet upholstery, a hatchback, and an interior that smelled like spoiled milk and sometimes meat. Being temporarily run over by a car was the best present I had ever received, and I didn't even have to do anything dramatic to get it, like write a note or buy some rope.

Just beyond the opening the cave was higher, and as the boat floated into the dim interior they found themselves on quite an extensive branch of the sea. For a time neither of them spoke and only the soft lapping of the water against the sides of the boat was heard. A beautiful sight met the eyes of the two adventurers and held them dumb with wonder and delight. It was not dark in this vast cave, yet the light seemed to come from underneath the water, which all around them glowed with an exquisite sapphire color. Where the little waves crept up the sides of the rocks they shone like brilliant jewels, and every drop of spray seemed a gem fit to deck a queen.

Reading was a defense, a shield his timidity could use to arm itself, a guide to seeking relationships. But writing was infinitely more than that. Writing was an interior palace with secret sites, gorgeous places, a complex of unlimited spaces. He explored them, laughing, running barefoot, and stopping to touch the beautiful treasures stored there.

Beautiful is he who recognizes what is truly beautiful, Even if the surface is ugly. Truthful is he who says what is true, Even if the truth is ugly. Ugly is he who measures beauty by its exterior, Without first weighing the interior. And ugly is the man who judges harshly what he sees looking out, without first judging what he sees in the mirror

Let's press ahead a little further by sketching out a few variations among short shorts: ONE THRUST OF INCIDENT. (Examples: Paz, Mishima, Shalamov, Babel, W. C. Williams.) In these short shorts the time span is extremely brief, a few hours, maybe even a few minutes: Life is grasped in symbolic compression. One might say that these short shorts constitute epiphanies (climactic moments of high grace or realization) that have been tom out of their contexts. You have to supply the contexts yourself, since if the contexts were there, they'd no longer be short shorts. LIFE ROLLED UP. (Examples: Tolstoy's 'Alyosha the Pot,' Verga's 'The Wolf,' D. H. Lawrence's 'A Sick Collier.') In these you get the illusion of sustained narrative, since they deal with lives over an extended period of time; but actually these lives are so compressed into typicality and paradigm, the result seems very much like a single incident. Verga's 'Wolf' cannot but repeat her passions, Tolstoy's Alyosha his passivity. Themes of obsession work especially well in this kind of short short. SNAP-SHOT OR SINGLE FRAME. (Examples: Garda Marquez, Boll, Katherine Anne Porter.) In these we have no depicted event or incident, only an interior monologue or flow of memory. A voice speaks, as it were, into the air. A mind is revealed in cross-section - and the cut is rapid. One would guess that this is the hardest kind of short short to write: There are many pitfalls such as tiresome repetition, being locked into a single voice, etc. LIKE A FABLE. (Examples: Kafka, Keller, von Kleist, Tolstoy's 'Three Hermits.') Through its very concision, this kind of short short moves past realism. We are prodded into the fabulous, the strange, the spooky. To write this kind of fable-like short short, the writer needs a supreme self-confidence: The net of illusion can be cast only once. When we read such fable-like miniatures, we are prompted to speculate about significance, teased into shadowy parallels or semi allegories. There are also, however, some fables so beautifully complete (for instance Kafka's 'First Sorrow') that we find ourselves entirely content with the portrayed surface and may even take a certain pleasure in refusing interpretation. ("Introduction")

Entering by a wide gateway, but without gates, into an inner court, surrounded on all sides by great marble pillars supporting galleries above, I saw a large fountain of porphyry in the middle, throwing up a lofty column of water, which fell, with a noise as of the fusion of all sweet sounds, into a basin beneath; overflowing which, it ran into a single channel towards the interior of the building. Although the moon was by this time so low in the west, that not a ray of her light fell into the court, over the height of the surrounding buildings; yet was the court lighted by a second reflex from the sun of other lands. For the top of the column of water, just as it spread to fall, caught the moonbeams, and like a great pale lamp, hung high in the night air, threw a dim memory of light (as it were) over the court below.

how from time to time some young and beautiful nun had suddenly disappeared, to the surprise and alarm of her companions; how piercing shrieks had been heard to issue from the interior of the building, by those who passed near it at night,—and how the inmates themselves were often aroused from their slumbers by strange noises resembling the rattling of chains, the working of ponderous machinery, and the revolution of huge wheels.

Life’s shrouded crossing seems to jump off with a hunger to take a blood-quickening journey, a desire to search for enchantment over the next hillock. We launch our feral voyage with a primitive pulsation to explore unknown lands and a desire to become acquainted with both village people and sophisticated ancient civilizations. Along the way, we will meet friends and foes. In our lightest moments, we will make love to a beautiful mate under a canopy of stars. In the darkest hours, we will fret about how to evade danger and scheme how best to conquer our enemies. The rainbow of experiences that we endure will undoubtedly bemuse, bruise, batter, and occasionally sully us. These hard on the hide shards of experience will also reveal our polychromatous character. By undertaking vivid encounters in the wilderness, with any luck, we will discover a numinous interior world. With immersion into a myriad of life shaping experiences, an undeterred person will stumble onto a path leading to personal illumination. The passage of liberation that a crusader must inevitably endure leads to a shocking psychological transformation, a spiritual overhaul allowing the seeker to finally overcome infantile images and febrile delusions that would otherwise continue to derail their fervent urge to forge an emergent personality, acquire wisdom, and attain bliss.

Death can prompt a slamming of the interior door. We don’t want to open it because doing so means living without the ones we love. Prayer helps loosen the lock. It allows oxygen to flow back into our spirits after being depleted by grief. We take that first deep breath when we accept what has happened. In doing so, we are no longer suffocated by our yearning for the past. Grateful for all that has been, for the beauty and love we have known, we can begin to live again.

Obscure faith enlightens us somewhat like the night, which, though surrounding us with shadows, allows us to see the stars, and by them the depths of the firmament. There is here a mingling of light and shade which is extremely beautiful. That we may see the stars, the sun must hide, night must begin. Amazingly, in the obscurity of night we see to a far greater distance than in the day; we see even the distant stars, which reveal to us the immense expanse of the heavens.

Monks were rich in interior life and very dirty, because the body, protected by a habit that, ennobling it, released it, was free to think, and to forget about itself. The idea was not only ecclesiastic; you have to think only of the beautiful mandes Erasmus wore. And when even the intellectual must dress in lay armor (wigs, waistcoats, knee breeches) we see that when he retires to think, he swaggers in rich dressing-gowns, or in Balzac’s loose, drôlatique blouses. Thought abhors tights.

Stars, on the other hand, were inexplicable. Not holes in the sky, not candles, not electric lights, not anything that resembled what you knew. The immensity of the black air overhead, the vastness of the space that stood between you and those small luminosities, was something that resisted all understanding. Benign and beautiful presences hovering in the night, there because they were there and for no other reason. The work of God's hands, yes, but what in the world had he been thinking?

When a fine old carpet is eaten by mice, the colors and patterns of what's left behind do not change,' wrote my neighbor and friend, the poet Jane Hirschfield, after she visited an old friend suffering from Alzheimer's disease in a nursing home. And so it was with my father. His mind did not melt evenly into undistinguishable lumps, like a dissolving sand castle. It was ravaged selectively, like Tintern Abbey, the Cistercian monastery in northern Wales suppressed in 1531 by King Henry VIII in his split with the Church of Rome. Tintern was turned over to a nobleman, its stained-glass windows smashed, its roof tiles taken up and relaid in village houses. Holy artifacts were sold to passing tourists. Religious statues turned up in nearby gardens. At least one interior wall was dismantled to build a pigsty. I've seen photographs of the remains that inspired Wordsworth: a Gothic skeleton, soaring and roofless, in a green hilly landscape. Grass grows in the transept. The vanished roof lets in light. The delicate stone tracery of its slim, arched quatrefoil windows opens onto green pastures where black-and-white cows graze. Its shape is beautiful, formal, and mysterious. After he developed dementia, my father was no longer useful to anybody. But in the shelter of his broken walls, my mother learned to balance her checkbook, and my heart melted and opened. Never would I wish upon my father the misery of his final years. But he was sacred in his ruin, and I took from it the shards that still sustain me.

Experience is less about where we've traveled and worked, or what we've seen. It's more about our feelings. Reflecting on your interior life and your emotions leads back to story and to the realization that no matter what your age, if you've felt deeply, you've lived deeply. And in that way, you are a courageous person of deep experience. And when we acknowledge the infinite number of emotions that we're capable of feeling, we realize that there are an infinite number of ways to feel - and be - human. That's beautiful

Arin glanced up as she approached. One tree shadowed the knoll, a laran tree, leaves broad and glossy. Their shadows dappled Arin’s face, made it a patchwork of sun and dark. It was hard to read his expression. She noticed for the first time the way he kept the scarred side of his face out of her line of sight. Or rather, what she noticed for the first time was how common this habit was for him in her presence--and what that meant. She stepped deliberately around him and sat so that he had to face her fully or shift into an awkward, neck-craned position. He faced her. His brow lifted, not so much in amusement as in his awareness of being studied and translated. “Just a habit,” he said, knowing what she’d seen. “You have that habit only with me.” He didn’t deny it. “Your scar doesn’t matter to me, Arin.” His expression turned sardonic and interior, as if he were listening to an unheard voice. She groped for the right words, worried that she’d get this wrong. She remembered mocking him in the music room of the imperial palace (I wonder what you believe could compel me to go to such epic lengths for your sake. Is it your charm? Your breeding? Not your looks, surely.). “It matters because it hurts you,” she said. “It doesn’t change how I see you. You’re beautiful. You always have been to me.” Even when she hadn’t realized it, even in the market nearly a year ago. Then later, when she understood his beauty. Again, when she saw his face torn, stitched, fevered. On the tundra, when his beauty terrified her. Now. Now, too. Her throat closed. The line of his jaw hardened. He didn’t believe her. “Arin--” “I’m sorry for what happened in the village.” She dropped her hand to her lap. She hadn’t been conscious of lifting it.

He hoped and feared,' continued Solon, in a low. mournful voice; 'but at times he was very miserable, because he did not think it possible that so much happiness was reserved for him as the love of this beautiful, innocent girl. At night, when he was in bed, and all the world was dreaming, he lay awake looking up at the old books against the walls, thinking how he could bring about the charming of her heart. One night, when he was thinking of this, he suddenly found himself in a beautiful country, where the light did not come from sun or moon or stars, but floated round and over and in everything like the atmosphere. On all sides he heard mysterious melodies sung by strangely musical voices. None of the features of the landscape was definite; yet when he looked on the vague harmonies of colour that melted one into another before his sight he was filled with a sense of inexplicable beauty. On every side of him fluttered radiant bodies, which darted to and fro through the illuminated space. They were not birds, yet they flew like birds; and as each one crossed the path of his vision he felt a strange delight flash through his brain, and straightaway an interior voice seemed to sing beneath the vaulted dome of his temples a verse containing some beautiful thought. Little fairies were all this time dancing and fluttering around him, perching on his head, on his shoulders, or balancing themselves on his fingertips. 'Where am I?' he asked. 'Ah, Solon?' he heard them whisper, in tones that sounded like the distant tinkling of silver bells, "this land is nameless; but those who tread its soil, and breathe its air, and gaze on its floating sparks of light, are poets forevermore.' Having said this, they vanished, and with them the beautiful indefinite land, and the flashing lights, and the illumined air; and the hunchback found himself again in bed, with the moonlight quivering on the floor, and the dusty books on their shelves, grim and mouldy as ever.' ("The Wondersmith")

Hi, I’m Gale Norton,” she said. “Welcome to the White House.” “I’m Jessica,” I said, shaking her hand. I made a stab at small talk. “And what do you do?” “I’m the secretary of the interior,” she said. “Oh my gosh,” I said, waving my arm high to take in the room. “I love what you’ve done with the place. Everything is beautiful.” My dad pinched my arm, and she just walked away. I was trying to be nice and give a compliment, but that’s her Jessica Simpson story. Now I know the secretary of the interior manages federal land and national parks. Believe me, I beat myself up so much over that one that I could ace a test on it. At least I’d made it to the White House again. I couldn’t believe my good fortune.

Funny thing about Gabby: you wouldn’t know it from looking at him, with his golden halo and platonic beauty, but the guy was something of a pack rat. He’d been collecting little odds and ends since at least the double-digit redshifts. The interior reality of Gabriel’s Magisterium burbled and shifted like convection currents in a star on the zaftig end of the main sequence. Because, I realized, that’s what they were. Dull dim light, from IR to X-ray, oozed past me like the wax in a million-mile lava lamp while carbon, nitrogen, and oxygen nuclei did little do-si-dos about my toes. Every bubble, every sizzle, every new nucleus, every photodissociation tagged something of interest to Gabriel. The heart of this star smelled of roses and musty libraries.

Beings Trees in Autumn
 These trees in Buddhist saffron robes renouncing everything,
becoming naked without fear,
in win that is a part of them, disclose a beauty in this death, become new shapes, interior.
To live they cannot hoard;
This losing, too, is growth.
New shapes emerge, new vision clears. Surrender strengthens in the soul another song. This emptying is confidence
in springs, but more-a farthing in the growth that’s come before, a counting of the gifts
and then releasing one by one, so as to give again,
Knowing growth is not a season, but is in the root of things.
This is no losing,
but a becoming.
Coveting such openness
of limb and heart and hand, such bareness in the singing,
I only now discover that I want this wind, blowing where it will, within.

My hair floated out around me with the evening breeze, and Romeo caught a strand of it before he opened the door to the car. “You really do look beautiful,” he murmured, dipping his head low. “Thanks,” I said against his lips. His kiss ignited instant desire inside me. Even though I spent last night with him, and the night before, I missed him terribly. I felt like we hadn’t had enough alone time. I wanted more. I wanted so much more. He groaned and pulled back. “Let’s get this dinner over with,” he said grumpily. “I want to spend some time alone with you.” “You read my mind.” “Now that the season is over, we’ll have more time together.” “Want to just go to Taco Bell and hide at your place?” I asked when he slid into the driver’s seat. He laughed. The sound filled the interior of the car. “Why, Rimmel,”— he pressed a hand to his chest like he was scandalized—“ are you suggesting we stand up my mother?” I giggled. “I knew it,” he drawled. “Underneath that sweet exterior lies the heart of a baddie baddie.” I laughed out loud. “A baddie baddie?” “Like totally,” he said in a valley girl voice and pretended to flip the long hair he didn’t have. God, I loved him. “So what do you say?” I taunted as I smiled. “Want to play hookie?” He groaned. “I’d love to, baby, but we can’t.” I stuck out my tongue. “Watch what you do with that thing, baby girl.” “Yeah? Or what?” I challenged. “Or we might be late and I might mess up the perfect hair and makeup you got going on.” His eyes twinkled and he fake gasped as he put the car in gear. “Just what would mother say?

Far worse, though, was a low, powerful moaning at dusk. The wind off the sea and the odd interior stillness dulled our ability to gauge direction, so that the sound seemed to infiltrate the black water that soaked the cypress trees. This water was so dark we could see our faces in it, and it never stirred, set like glass, reflecting the beards of gray moss that smothered the cypress trees. If you looked out through these areas, toward the ocean, all you saw was the black water, the gray of the cypress trunks, and the constant, motionless rain of moss flowing down. All you heard was the low moaning. The effect of this cannot be understood without being there. The beauty of it cannot be understood, either, and when you see beauty in desolation it changes something inside you. Desolation tries to colonize you. As

Decorated in exotic tones of saffron, gold, ruby, and cinnamon with accent walls representing the natural movement of wind and fire, and a cascading waterfall layered with beautiful landscaped artificial rocks and tiny plastic animals, the restaurant was the embodiment of her late brother's dream to re-create "India" in the heart of San Francisco. The familiar scents- cinnamon, pungent turmeric, and smoky cumin- brought back memories of evenings spent stirring dal, chopping onions, and rolling roti in the bustling kitchen of her parents' first restaurant in Sunnyvale under the watchful army of chefs who followed the recipes developed by her parents. What had seemed fun as a child, and an imposition as a teenager, now filled her with a warm sense of nostalgia, although she would have liked just one moment of her mother's time.

the canvases which Mr. St. Jones referred to with a paintbrush that was long and slightly bowed: for the most part interiors, or undergrounds, of pocked and craggy holes, rock vaults with mossy floors and slimy walls, or narrow scenic vistas that skinny silver streams squirmed through like sidewinders flipped on their backs, beneath downward grasping tentacles of roots, stalactites dagger-sharp and dangling by threads of stone, stalagmites teetering, all doused, frozen in molten electric white that suggested what a glimpse of hell might be, too beautiful, some still lifes too, great bulbous beets, hoary legumes, giant scallions, white carrots, tomatoes, berries, squash in huge radiant bowls, and portraits, signed by Ionia, of shadows, from which gleamed eyes and teeth and nails and, here and there, a glowing bubble, or scrotum, caught the eye. Near the door a counter clacked but rather quietly.

Where shall we find words more adapted to express joy, than what are contained in the Psalms of thanksgiving and of praise? We see here the hearts of saints. Our thoughts are like the flowers of a beautiful and well-cultivated garden, and our gratification consists in a grateful adoration of divine goodness. Again, where do you find more profound expressions of melancholy and of sorrow than are contained in the Psalms of affliction and of mourning? You look, I say, into the very hearts of holy men; you become familiar with death, and the interior of the tomb is opened to you. We see it dead and dark, under a consciousness of the just wrath of God, and we perceive that His countenance is, as it were, turned away from us. In the two great passions of fear and hope, we find them depicted in language which no painter can embody, and which the greatest human actor would ineffectually attempt to transcend.

Culture is the last refuge, the sanctuary, the human place in the midst of the surrounding dehumanization. Through the arts man is able to know himself, even if only on the intuitive level. He senses his own worth, even when he cannot articulate it.” “Can a poem or a song defeat a tyrant?” Defeat a killer, defeat atrocities, defeat the bottom falling out of the universe when you least expect it? “Yes. Yes, it can, given enough time. When a work of art is both beautiful and true, man’s freedom is strengthened by it—both his interior need for freedom and his capacity to seek a rational understanding of it.” “You hope for a lot.” “Yes, I hope for it. And if I didn’t, I would die of despair.” “You are a person of extremes”, Josip says, not unkindly. “Am I? I suppose so. But which is more extreme, a man who desires to speak the truth in a season of lies or a tyrant who creates the lies that engulf an entire people?” Josip nods in agreement.

There is no psychology in a fairy tale. The characters have little interior life; their motives are clear and obvious. If people are good, they are good, and if bad, they’re bad. Even when the princess in ‘The Three Snake Leaves’…inexplicably and ungratefully turns against her husband, we know about it from the moment it happens. Nothing of that sort is concealed. The tremors and mysteries of human awareness, the whispers of memory, the promptings of half-understood regret or doubt or desire that are so much part of the subject matter of the modern novel are absently entirely. One might almost say that the characters in a fairy tale are not actually conscious. They seldom have names of their own. More often than not they’re known by their occupation or their social position, or by a quirk of their dress: the miller, the princess, the captain, the Bearskin, Little Red Riding Hood. When they do have a name it’s usually Hans, just as Jack is the hero of every British fairy tale. The most fitting pictorial representation of fairy-tale characters seems to me to be found not in any of the beautifully illustrated editions of Grimm that have been published over the years, but in the little cardboard cut-out figures that come with the toy theatre.

Actually I'm reminded of a time when I smuggled myself into Sydney Opera House to see Faust. Sydney Opera House is very beautiful at night, its grand interiors and lights beaming out over the water and into the night sky. Afterwards I came out and I heard three women talking together, leaning on the railing overlooking the darkened bay. The older woman was describing how she was having problems with her job, which turned out to be working for the CIA as an intelligence agent, and she had previously complained to the Senate Select Committee for Intelligence and so on, and she was telling this in hushed tones to her niece and another woman. I thought, "So it is true then. CIA agents really do hang out at the Sydney opera!" And then I looked inside the Opera House through the massive glass panels at the front, and there in all this lonely palatial refinement was a water rat that had crawled up in to the Opera House interior, and was scurrying back and forth, leaping on to the fine linen-covered tables and eating the Opera House food, jumping on to the counter with all the tickets and having a really great time. And actually I think that is the most probable scenario for the future: an extremely confining, homogenized, postmodern transnational totalitarian structure with incredible complexity, absurdities and debasements, and within that incredible complexity a space where only the smart rats can go.

Those who do not carry within them the soul of everything the world can show them, will do well to watch it: they will not recognize it, each thing being beautiful only according to the thought of him who gazes at it & reflects it in himself. Faith is essential in poetry as in religion, & faith has no need of seeing with corporeal eyes to contemplate that which it recognizes much better in itself. Such ideas were many times, under multiple forms, always new, expressed by Villiers de L'Isle-Adam in his works. Without going as far as Berkley's pure negations, which nevertheless are but the extreme logic of subjective idealism, he admitted in his conception of life, on the same plan, the Interior & the Exterior, Spirit & Matter, with a very visible tendency to give the first term domination over the second. For him the idea of progress was never anything but a subject for jest, together with the nonsense of the humanitarian positivists who teach, reversed mythology, that terrestrial paradise, a superstition if we assign it the past, becomes the sole legitimate hope if we place it in the future. On the contrary, he makes a protagonist (Edison doubtless) say in a short fragment of an old manuscript of l'Eve future: "We are in the ripe age of Humanity, that is all! Soon will come the senility & decrepitude of this strange polyp, & the evolution accomplished, his mortal return to the mysterious laboratory where all the Ghosts eternally work their experiments, by grace of some unquestionable necessity.

Jay's downstairs waiting." With her father on one side, and the handrail on the other, Violet descended the stairs as if she were floating. Jay stood at the bottom, watching her, frozen in place like a statue. His black suit looked as if it had been tailored just for him. His jacket fell across his strong shoulders in a perfect line, tapering at his narrow waist. The crisp white linen shirt beneath stood out in contrast against the dark, finely woven wool. He smiled appreciatively as he watched her approach, and Violet felt her breath catch in her throat at the striking image of flawlessness that he presented. "You...are so beautiful," he whispered fervently as he strode toward her, taking her dad's place at her arm. She smiled sheepishly up at him. "So are you." Her mom insisted on taking no fewer than a hundred pictures of the two of them, both alone and together, until Violet felt like her eyes had been permanently damaged by the blinding flash. Finally her father called off her mom, dragging her away into the kitchen so that Violet and Jay could have a moment alone together. "I meant it," he said. "You look amazing." She shook her head, not sure what to say, a little embarrassed by the compliment. "I got you something," he said to her as he reached inside his jacket. "I hope you don't mind, it's not a corsage." Violet couldn't have cared less about having flowers to pin on her dress, but she was curious about what he had brought for her. She watched as he dragged out the moment longer than he needed to, taking his time to reveal his surprise. "I got you this instead." He pulled out a black velvet box, the kind that holds fine jewelry. It was long and narrow. She gasped as she watched him lift the lid. Inside was a delicate silver chain, and on it was the polished outline of a floating silver heart that drifted over the chain that held it. Violet reached out to touch it with her fingertip. "It's beautiful," she sighed. He lifted the necklace from the box and held it out to her. "May I?" he asked. She nodded, her eyes bright with excitement as he clasped the silver chain around her bare throat. "Thank you," she breathed, interlacing her hand into his and squeezing it meaningfully. She reluctantly used the crutches to get out to the car, since there were no handrails for her to hold on to. She left like they ruined the overall effect she was going for. Jay's car was as nice on the inside as it was outside. The interior was rich, smoky gray leather that felt like soft butter as he helped her inside. Aside from a few minor flaws, it could have passed for brand-new. The engine purred to life when he turned the key in the ignition, something that her car had never done. Roar, maybe-purr, never. She was relieved that her uncle hadn't ordered a police escort for the two of them to the dance. She had half expected to see a procession of marked police cars, lights swirling and sirens blaring, in the wake of Jay's sleek black Acura. Despite sitting behind the wheel of his shiny new car, Jay could scarcely take his eyes off her. His admiring gaze found her over and over again, while he barely concentrated on the road ahead of him. Fortunately they didn't have far to go.

The next room was a great round ballroom. Its walls were arrayed in gold-painted moldings; its floor was a swirling mosaic of blue and gold; its dome was painted with the loves of all the gods, a vast tangle of plump limbs and writhing fabric. The air was cool, still, and hugely silent. My footsteps were only a soft tap-tap-tap, but they echoed through the room. After that came what seemed like a hundred more rooms and hallways. In every one, the air was different: hot or cold, fresh or stuffy, smelling of rosemary, incense, pomegranates, old paper, pickled fish, cedarwood. None of the rooms frightened me like the first hallway. But sometimes--especially when sunlight glowed through a window--I thought I heard the faint laughter. Finally, at the end of a long hallway with a cherrywood wainscot and lace-hung windows between the doors, we came to my room. I could see why the Gentle Lord called it the "bridal suite": the walls were papered with a silver pattern of hearts and doves, and most of the room was taken up by a huge canopied bed, more than big enough for two. The four posts were shaped like four maidens, coiffed and dressed in gauzy robes that clung to their bodies, their faces serene. They were exactly like the caryatids holding up the porch of a temple. The bed curtains were great falls of white lace, woven through with crimson ribbons. A vase of roses sat on the bedside table. Their red petals had blossomed wide to expose their gold centers, and their musk wove through the air. It was a bed that had been built for pleasure, just like my dress, and as I stared at it I felt hot and cold at once.

A strange structure untangled itself out of the background like a hallucination, not part of the natural landscape. It was a funny-shaped, almost spherical, green podlike thing woven from living branches of trees and vines. A trellis of vines hung down over the opening that served as a door. Wendy was so delighted tears sprang to her eyes. It was her Imaginary House! They all had them. Michael wanted his to be like a ship with views of the sea. John had wanted to live like a nomad on the steppes. And Wendy... Wendy had wanted something that was part of the natural world itself. She tentatively stepped forward, almost swooning at the heavy scent of the door flowers. Languorously lighting on them were a few scissorflies, silver and almost perfectly translucent in the glittery sunlight. Their sharp wings made little snickety noises as they fluttered off. Her shadow made a few half-hearted attempts to drag back, pointing to the jungle. But Wendy ignored her, stepping into the hut. She was immediately knocked over by a mad, barking thing that leapt at her from the darkness of the shelter. "Luna!" Wendy cried in joy. The wolf pup, which she had rescued in one of her earliest stories, stood triumphantly on her chest, drooling very visceral, very stinky dog spit onto her face. "Oh, Luna! You're real!" Wendy hugged the gray-and-white pup as tightly as she could, and it didn't let out a single protest yelp. Although... "You're a bit bigger than I imagined," Wendy said thoughtfully, sitting up. "I thought you were a puppy." Indeed, the wolf was approaching formidable size, although she was obviously not yet quite full-grown and still had large puppy paws. She was at least four stone and her coat was thick and fluffy. Yet she pranced back and forth like a child, not circling with the sly lope Wendy imagined adult wolves used. You're not a stupid little lapdog, are you?" Wendy whispered, nuzzling her face into the wolf's fur. Luna chuffed happily and gave her a big wet sloppy lick across the cheek. "Let's see what's inside the house!" As the cool interior embraced her, she felt a strange shudder of relief and... welcome was the only way she could describe it. She was home. The interior was small and cozy; plaited sweet-smelling rush mats softened the floor. The rounded walls made shelves difficult, so macramé ropes hung from the ceiling, cradling halved logs or flat stones that displayed pretty pebbles, several beautiful eggs, and what looked like a teacup made from a coconut. A lantern assembled from translucent pearly shells sat atop a real cherry writing desk, intricately carved and entirely out of place with the rest of the interior. Wendy picked up one of the pretty pebbles in wonder, turning it this way and that before putting it into her pocket. "This is... me..." she breathed. She had never been there before, but it felt so secure and so right that it couldn't have been anything but her home. Her real home. Here there was no slight tension on her back as she waited for footsteps to intrude, for reality to wake her from her dreams; there was nothing here to remind her of previous days, sad or happy ones. There were no windows looking out at the gray world of London. There was just peace, and the scent of the mats, and the quiet droning of insects and waves outside. "Never Land is a... mishmash of us. Of me," she said slowly. "It's what we imagine and dream of- including the dreams we can't quite remember.

Mrs. Barnstable took her to a beautiful room with windows overlooking the gardens. “This is yours,” the housekeeper said. “No one has occupied it before.” The bed was made of light blue upholstered panels, the bedclothes of white linen. There was a graceful lady’s writing desk in the corner, and a satin maple wardrobe with a looking glass set in the door. “Mr. Merripen personally selected the wallpaper,” Mrs. Barnstable said. “He nearly drove the interior architect mad with his insistence on seeing hundreds of samples until he found this pattern.” The wallpaper was white, with a delicate pattern of flowering branches. And at sparse intervals, there was the motif of a little robin perched on one of the twigs. Slowly Win went to one of the walls and touched one of the birds with her fingertips. Her vision blurred. During her long recuperation from the scarlet fever, when she had grown tired of holding a book in her hands and no one had been available to read to her, she had stared out the window at a robin’s nest in a nearby maple tree. She had watched the fledglings hatch from their blue eggs, their bodies pink and veined and fuzzy. She had watched their feathers grow in, and she had watched the mother robin working to fill their ravenous beaks. And Win had watched as, one by one, they had flown from the nest while she remained in bed. Merripen, despite his fear of heights, had often climbed a ladder to wash the second-floor window for her. He had wanted her view of the outside world to be clear. He had said the sky should always be blue for her. “You’re fond of birds, Miss Hathaway?” the housekeeper asked. Win nodded without looking around, afraid that her face was red with unexpressed emotion. “Robins especially,” she half-whispered.

But we have, if not our understanding, our own experience, and it feels to me sealed, inviolable, ours. We have a last, deep week together, because Wally is not on morphine yet, because he has just enough awareness, just enough ability to communicate with me. I’m with him almost all day and night- little breaks, for swimming, for walking the dogs. Outside it snows and snows, deeper and deeper; we seem to live in a circle of lamplight. I rub his feet, make him hot cider. All week I feel like we’re taking one another in, looking and looking. I tell him I love him and he says I love you, babe, and then when it’s too hard for him to speak he smiles back at me with the little crooked smile he can manage now, and I know what it means. I play music for him, the most encompassing and quiet I can find: Couperin, Vivaldi, the British soprano Lesley Garret singing arias he loved, especially the duet from Lakme: music of freedom, diving, floating. How can this be written? Shouldn’t these sentences simply be smithereened apart, broken in a hurricane? All that afternoon he looks out at us though a little space in his eyes, but I know he sees and registers: I know that he’s loving us, actively; if I know nothing else about this man, after nearly thirteen years, I know that. I bring all the animals, and then I sit there myself, all afternoon, the lamps on. The afternoon’s so quiet and deep it seems almost to ring, like chimes, a cold, struck bell. I sit into the evening, when he closes his eyes. There is an inaudible roaring, a rush beneath the surface of things, beneath the surface of Wally, who has now almost no surface- as if I could see into him, into the great hurrying current, that energy, that forward motion which is life going on. I was never this close to anyone in my life. His living’s so deep and absolute that it pulls me close to that interior current, so far inside his life. And my own. I know I am going to be more afraid than I have ever been, but right now I am not afraid. I am face to face with the deepest movement in the world, the point of my love’s deepest reality- where he is most himself, even if that self empties out into no one, swift river hurrying into the tumble of rivers, out of individuality, into the great rushing whirlwind of currents. All the love in the world goes with you.

Land and Sea The brilliant colors are the first thing that strike a visitor to the Greek Isles. From the stunning azure waters and blindingly white houses to the deep green-black of cypresses and the sky-blue domes of a thousand churches, saturated hues dominate the landscape. A strong, constant sun brings out all of nature’s colors with great intensity. Basking in sunshine, the Greek Isles enjoy a year-round temperate climate. Lemons grow to the size of grapefruits and grapes hang in heavy clusters from the vines of arbors that shade tables outside the tavernas. The silver leaves of olive trees shiver in the least sea breezes. The Greek Isles boast some of the most spectacular and diverse geography on Earth. From natural hot springs to arcs of soft-sand beaches and secret valleys, the scenery is characterized by dramatic beauty. Volcanic formations send craggy cliffsides plummeting to the sea, cause lone rock formations to emerge from blue waters, and carve beaches of black pebbles. In the Valley of the Butterflies on Rhodes, thousands of radiant winged creatures blanket the sky in summer. Crete’s Samaria Gorge is the longest in Europe, a magnificent natural wonder rife with local flora and fauna. Corfu bursts with lush greenery and wildflowers, nurtured by heavy rainfall and a sultry sun. The mountain ranges, gorges, and riverbeds on Andros recall the mainland more than the islands. Both golden beaches and rocky countrysides make Mykonos distinctive. Around Mount Olympus, in central Cyprus, timeless villages emerge from the morning mist of craggy peaks and scrub vegetation. On Evia and Ikaria, natural hot springs draw those seeking the therapeutic power of healing waters. Caves abound in the Greek Isles; there are some three thousand on Crete alone. The Minoans gathered to worship their gods in the shallow caves that pepper the remotest hilltops and mountain ranges. A cave near the town of Amnissos, a shrine to Eileithyia, goddess of childbirth, once revealed a treasure trove of small idols dedicated to her. Some caves were later transformed into monasteries. On the islands of Halki and Cyprus, wall paintings on the interiors of such natural monasteries survive from the Middle Ages. Above ground, trees and other flora abound on the islands in a stunning variety. ON Crete, a veritable forest of palm trees shades the beaches at Vai and Preveli, while the high, desolate plateaus of the interior gleam in the sunlight. Forest meets sea on the island of Poros, and on Thasos, many species of pine coexist. Cedars, cypress, oak, and chestnut trees blanket the mountainous interiors of Crete, Cyprus, and other large islands. Rhodes overflows with wildflowers during the summer months. Even a single island can be home to disparate natural wonders. Amorgos’ steep, rocky coastline gives way to tranquil bays. The scenery of Crete--the largest of the Greek Isles--ranges from majestic mountains and barren plateaus to expansive coves, fertile valleys, and wooded thickets.

Show me." He looks at her, his eyes darker than the air. "If you draw me a map I think I'll understand better." "Do you have paper?" She looks over the empty sweep of the car's interior. "I don't have anything to write with." He holds up his hands, side to side as if they were hinged. "That's okay. You can just use my hands." She smiles, a little confused. He leans forward and the streetlight gives him yellow-brown cat eyes. A car rolling down the street toward them fills the interior with light, then an aftermath of prickling black waves. "All right." She takes his hands, runs her finger along one edge. "Is this what you mean? Like, if the ocean was here on the side and these knuckles are mountains and here on the back it's Santa Monica, Beverly Hills, West L.A., West Hollywood, and X marks the spot." She traces her fingertips over the backs of his hands, her other hand pressing into the soft pads of his palm. "This is where we are- X." "Right now? In this car?" He leans back; his eyes are black marble, dark lamps. She holds his gaze a moment, hears a rush of pulse in her ears like ocean surf. Her breath goes high and tight and shallow; she hopes he can't see her clearly in the car- her translucent skin so vulnerable to the slightest emotion. He turns her hands over, palms up, and says, "Now you." He draws one finger down one side of her palm and says, "This is the Tigris River Valley. In this section there's the desert, and in this point it's plains. The Euphrates runs along there. This is Baghdad here. And here is Tahrir Square." He touches the center of her palm. "At the foot of the Jumhurriya Bridge. The center of everything. All the main streets run out from this spot. In this direction and that direction, there are wide busy sidewalks and apartments piled up on top of shops, men in business suits, women with strollers, street vendors selling kabobs, eggs, fruit drinks. There's the man with his cart who sold me rolls sprinkled with thyme and sesame every morning and then saluted me like a soldier. And there's this one street...." He holds her palm cradled in one hand and traces his finger up along the inside of her arm to the inner crease of her elbow, then up to her shoulder. Everywhere he touches her it feels like it must be glowing, as if he were drawing warm butter all over her skin. "It just goes and goes, all the way from Baghdad to Paris." He circles her shoulder. "And here"- he touches the inner crease of her elbow-"is the home of the Nile crocodile with the beautiful speaking voice. And here"- his fingers return to her shoulder, dip along their clavicle-"is the dangerous singing forest." "The dangerous singing forest?" she whispers. He frowns and looks thoughtful. "Or is that in Madagascar?" His hand slips behind her neck and he inches toward her on the seat. "There's a savanna. Chameleons like emeralds and limes and saffron and rubies. Red cinnamon trees filled with lemurs." "I've always wanted to see Madagascar," she murmurs: his breath is on her face. Their foreheads touch. His hand rises to her face and she can feel that he's trembling and she realizes that she's trembling too. "I'll take you," he whispers.

From an essay on early reading by Robert Pinsky: My favorite reading for many years was the "Alice" books. The sentences had the same somber, drugged conviction as Sir John Tenniel's illustrations, an inexplicable, shadowy dignity that reminded me of the portraits and symbols engraved on paper money. The books were not made of words and sentences but of that smoky assurance, the insistent solidity of folded, textured, Victorian interiors elaborately barricaded against the doubt and ennui of a dreadfully God-forsaken vision. The drama of resisting some corrosive, enervating loss, some menacing boredom, made itself clear in the matter-of-fact reality of the story. Behind the drawings I felt not merely a tissue of words and sentences but an unquestioned, definite reality. I read the books over and over. Inevitably, at some point, I began trying to see how it was done, to unravel the making--to read the words as words, to peek behind the reality. The loss entailed by such knowledge is immense. Is the romance of "being a writer"--a romance perhaps even created to compensate for this catastrophic loss--worth the price? The process can be epitomized by the episode that goes with one of my favorite illustrations. Alice has entered a dark wood--"much darker than the last wood": [S]he reached the wood: It looked very cool and shady. "Well, at any rate it's a great comfort," she said as she stepped under the trees, "after being so hot, to get into the--into the--into what?" she went on, rather surprised at not being able to think of the word. "I mean to get under the--under the--under this, you know!" putting her hand on the trunk of the tree. "What does it call itself, I wonder? I do believe it's got no name--why to be sure it hasn't!" This is the wood where things have no names, which Alice has been warned about. As she tries to remember her own name ("I know it begins with L!"), a Fawn comes wandering by. In its soft, sweet voice, the Fawn asks Alice, "What do you call yourself?" Alice returns the question, the creature replies, "I'll tell you, if you'll come a little further on . . . . I can't remember here". The Tenniel picture that I still find affecting illustrates the first part of the next sentence: So they walked on together through the wood, Alice with her arms clasped lovingly round the soft neck of the Fawn, till they came out into another open field, and here the Fawn gave a sudden bound into the air, and shook itself free from Alice's arm. "I'm a Fawn!" it cried out in a voice of delight. "And dear me! you're a human child!" A sudden look of alarm came into its beautiful brown eyes, and in another moment it had darted away at full speed. In the illustration, the little girl and the animal walk together with a slightly awkward intimacy, Alice's right arm circled over the Fawn's neck and back so that the fingers of her two hands meet in front of her waist, barely close enough to mesh a little, a space between the thumbs. They both look forward, and the affecting clumsiness of the pose suggests that they are tripping one another. The great-eyed Fawn's legs are breathtakingly thin. Alice's expression is calm, a little melancholy or spaced-out. What an allegory of the fall into language. To imagine a child crossing over from the jubilant, passive experience of such a passage in its physical reality, over into the phrase-by-phrase, conscious analysis of how it is done--all that movement and reversal and feeling and texture in a handful of sentences--is somewhat like imagining a parallel masking of life itself, as if I were to discover, on reflection, that this room where I am writing, the keyboard, the jar of pens, the lamp, the rain outside, were all made out of words. From "Some Notes on Reading," in The Most Wonderful Books (Milkweed Editions)

... cooptation of the rhetoric of beauty, morality and duty into the realm of commercial life set in train the development of other rhetorics designed to sell growing numbers of products that promised both surface change and inner transformation.

At the very core of connection, our homes fill a basic psychological need for shelter and safety. But they should do a lot more than that. They should provide connection with others and a sense of belonging, space for rest and replenishment. If your home does not satisfy these needs, it will create disharmony in your life.

Is there not a silent dialogue between a mother and the child whom she bears? Sometimes she speaks to him, maybe she has already given him a name, but most often she simply feels him. I remember, during one annual visit of my family to the monastery, my sister was pregnant, and suddenly, in the middle of a conversation, she smiled a beautiful smile. Since the context did not explain it, I asked her: “Irene, why are you smiling?” She then answered me: “He is moving.” It was not necessary to ask who “he” was. I like this image of the pregnant woman because it nicely illustrates the question of interiority. There is no need for a lot of words; “he” is there, that is enough. When “he” means God, prayer is near, because adoration and silence are brother and sister.

But it was impossible to know the truth of another's interior life. Wasn't it?

The Bible presents a grace-soaked, spectacular vision for female beauty. It insists that the King is enthralled—ENTHRALLED!—with the beauty of every woman who puts her faith in Him. We

9. In conclusion, individuals must not fix the eyes of their souls on that rind of the figure and object supernaturally accorded to the exterior senses, such as locutions and words to the sense of hearing; visions of saints and beautifully resplendent lights to the sense of sight; fragrance to the sense of smell; delicious and sweet tastes to the palate; and other delights, usually derived from the spirit, to the sense of touch, as is more commonly the case with spiritual persons. Neither must they place their eyes on interior imaginative visions. They must instead renounce all these things. They

Love is never between two people. It is what happens within you, and your interiority need not be enslaved to someone or something else. Try this for fifteen minutes or so: go sit with something that means nothing to you right now—maybe a tree, a pebble, a worm, or an insect. Do it a few days in a row. After a while, you will find you can look upon it with as much love as you do your wife or husband or mother or child. Maybe the worm does not know this. That doesn’t matter. If you can look at everything lovingly, the whole world becomes beautiful in your experience.