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.

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.

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)

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.

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.

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.

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.

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.

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

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.

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.

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.

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?

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.

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.

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.

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.

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?

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.

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).

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.

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

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.

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.

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.

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.

We create our own sensuality.

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

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

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

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!

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.

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.

Lovely faces looked out of dim interiors, brown eyes, dark hair, Spanish and high yellow: beautiful buttocks leant against the bars, waiting for any life to come along the sea-wet street. To live in Havana was to live in a factory that turned out human beauty on a conveyor-belt.

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

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.

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.

By this time, midway through winter, I had become entirely fascinated with my spiritual melodrama. Then it stopped. Days passed, months passed and I saw nothing. I continued to peer and glance, sitting on the rug in front of my sofa in the curtainless morning with my nerves open to the air like something skinned. I saw nothing. Outside the window spring storms came and went. April snow folded its huge white paws over doors and porches. I watched a chunk of it lean over the roof and break off and fall and I thought, How slow! as it glided soundlessly past, but still—nothing. No nudes. No Thou. A great icicle formed on the railing of my balcony so I drew up close to the window and tried peering through the icicle, hoping to trick myself into some interior vision, but all I saw was the man and woman in the room across the street making their bed and laughing. I stopped watching. I forgot about Nudes. I lived my life, which felt like a switched-off TV. Something had gone through me and out and I could not own it. 'No need now to tremble for the hard frost and the keen wind. Emily does not feel them,' wrote Charlotte the day after burying her sister. Emily had shaken free. A soul can do that. Whether it goes to join Thou and sit on the porch for all eternity enjoying jokes and kisses and beautiful cold spring evenings, you and I will never know. But I can tell you what I saw. Nude #13 arrived when I was not watching for it. It came at night. Very much like Nude #1. And yet utterly different. I saw a high hill and on it a form shaped against hard air. It could have been just a pole with some old cloth attached, but as I came closer I saw it was a human body trying to stand against winds so terrible that the flesh was blowing off the bones. And there was no pain. The wind was cleansing the bones. They stood forth silver and necessary. It was not my body, not a woman’s body, it was the body of us all. It walked out of the light.

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")

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.

She took me through the parlors and the kitchen, and I marveled at the beautiful ceiling molding, the wooden banisters up to the second floor, the crystalline chandelier in the dining room. The furniture was tasteful and sparse, plastic over the fainting couches and coffee tables and wingback chairs, so that as they stood in stasis they wouldn't collect dust. The second floor was just as gorgeous, the rooms all themed in different flowers. The yellow daffodil room was my favorite. The wall with the headboard had an entire mural of huge daffodils blooming across it. Junie's handiwork, I was sure. Just like the mural on the side of Frank's Auto Shop, and the logo for the Grumpy Possum, and even Gail's bar scene. She showed me all the different rooms, each with a different flower theme and a different focal color--- lavender and coral and sage. The pink ones--- roses--- matched Junie's pastel hair.

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.

I paused at the top of the spiral staircase, and soaked in the view. In the daylight, the bookstore took on a new life. Motes of dust danced in the sunlight that streamed through the windows. It looked a lot cozier, as the colored glass window ornaments threw rainbows across the bookshelves and pirouetted across the hardwood floors like flecks of dappled sunlight on sand. Bookcases, filled to the brim, reached up to the ceiling, cluttered with so many colors and kinds of books, short and fat, long and wide, that it almost felt like an assault on the senses. The center of the bookstore was open to the second floor, where tall bookshelves towered so high you had to reach them with ladders. Heavy oak beams supported the roof. Planetariums and glass chimes and other ornaments hung from the rafters, catching the morning's golden light and throwing it across the store. The shelves were made from the same deep oak as the ceiling beams and the banisters on the second floor, signs hanging from the eye-level shelves detailing the different sections of the store: MEMOIR, FANTASY, SCI-FI, ROMANCE, SELF-HELP, NATURE, HOW-TO... This place was beautiful. I wondered, briefly, what it would be like to own a place like this. It was magical. A shop that sold the impossible inked onto soft white paper.

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.

Those that are in corporeal love see nothing in the light of heaven; to them the light of heaven is thick darkness; but the light of hell, which is like light from burning coals, is to them as clear light. Moreover, in the light of heaven their inward sight is so darkened that they become insane; consequently they shun that light and hide themselves in dens and caverns, more or less deeply in accordance with the falsities in them derived from their evils. On the other hand those who are in heavenly love, the more interiorly and deeply they enter into the light of heaven, see all things more clearly and all things appear more beautiful to them, and they perceive truths more intelligently and wisely. [5] Again, it is impossible for those who are in corporeal love to live at all in the heat of heaven, for the heat of heaven is heavenly love; but they can live in the heat of hell, which is the love of raging against others that do not favor them. The delights of that love are contempt of others, enmity, hatred and revenge; and when they are in these delights they are in their life, and have no idea what it is to do good to others from good itself and for the sake of good itself, knowing only what it is to do good from evil and for the sake of evil. [6] Those who are in corporeal love are unable to breathe in heaven. When any evil spirit is brought into heaven he draws his breath like one struggling in a contest; while those that are in heavenly love have a freer respiration and a fuller life the more interiorly they are in heaven. All this shows that heaven with man is heavenly and spiritual love, because on that love all things of heaven are inscribed; also that hell in man is corporeal and worldly love apart from heavenly and spiritual love, because on such loves all things of hell are inscribed. Evidently, then, he whose love is heavenly and spiritual enters heaven, and he whose love is corporeal and worldly apart from heavenly and spiritual love enters hell.

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)

Turning to the open window above my head, I saw the full moon, glowing as bright as a pot of molten silver. Moonlight poured through the window, and through the gaps in the thatched roof, painting the interior of the hut with its gleaming brush. For a moment, the moonlight nearly disguised the poverty of the room, covering the earthen floor with a sheath of silver, the rough clay walls with sparkles of light, and the still-sleeping form in the corner with the glow of an angel.

Trying to speak or write about beauty is like attempting to explain a joke.

The Fort had formerly been the residence of the old Mogul Emperors. Akbar, the greatest of them all, had built it and had held his court there. I have spent many an hour wandering around the beautiful buildings inside it. Not a stone’s throw from it, on the banks of the River Jumna, is the celebrated tomb called the Taj Mahal, which was built by Akbar’s grandson Shah Jehan in memory of his favourite wife. In addition to the finest craftsmen of their age, more than twenty thousand men, the majority of them slaves, were occupied for over seventeen years in building it. With the exception of the side facing the river, which from the foundation to a certain height is built of red sandstone, it is all pure white marble. The interior of the tomb with its marble screens and delicate pierced marble-work makes one amazed at the skill and patience of the workmen of old. Although the Prayer-wallah and I were hardened sinners we were also great admirers of all things that are beautiful: on many a night we left the Canteen half cut and journeyed down to view the Taj by moonlight, when it looked three times more beautiful than what it did during the day. Since the invention of cheap winter-cruises, I understand that thousands of globe-trotters go to Agra every year on purpose to see the Taj Mahal by moonlight, having been told by the steamship companies that the sight is something to dream about. But the Prayer-wallah and I found it out for ourselves.

Small Changes, Big Impact: Décor Ideas for Your Home - The theory of small changes and their significant impact holds true when it comes to interior design Little things such as adding rugs, changing curtains, and decorating walls can bring functionality, comfort, and aesthetic beauty to your space.

We sailed down this magnificent bay with a light wind, the tide, which was running out, carrying us at the rate of four or five knots. It was a fine day; the first of entire sunshine we had had for more than a month. We passed directly under the high cliff on which the presidio is built, and stood into the middle of the bay, from whence we could see small bays making up into the interior, large and beautifully wooded islands, and the mouths of several small rivers. If California ever becomes a prosperous country, this bay will be the centre of its prosperity. The abundance of wood and water; the extreme fertility of its shores; the excellence of its climate, which is as near to being perfect as any in the world; and its facilities for navigation, affording the best anchoring-grounds in the whole western coast of America — all fit it for a place of great importance.

Love is never between two people. It is what happens within you, and your interiority need not be enslaved to someone or some thing 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.

We saw our authentic selves residing only in the abstract realms of art, creation, and beauty--an interior space of thought and private feeling.

I wish someone would peer into the chaos of my interior and pull me into peaceful composition. It's no wonder the rich enjoy life; they get to live it in such beautiful spaces

I tried to restrain myself, but I was already so severely restrained that I seemed to lose all interior command.

But it seems to me that Hedy, her history, and her creation may have even greater symbolic importance. The manner in which her contribution to this world-changing device was largely lost—or ignored—for decades reflects the pervasive marginalization of women’s contributions, a problem that is both historical and modern. Whether Hedy’s work in spread-spectrum technology was purposefully disregarded or unconsciously forgotten, it appears that imbedded in that oversight were misconceptions about her abilities—about all women, really. Faulty assumptions about women’s capabilities, stemming in part from the conscripted roles into which they’d been slotted, has caused many to think more narrowly about the manner in which the past has been shaped. But unless we begin to view historical women through a broader, more inclusive lens—and rewrite them back into the narrative—we will continue to view the past more restrictively than it likely was, and we risk carrying those perspectives over into the present. Perhaps if Hedy’s society had viewed her not simply as a blindingly beautiful creature, but as a human being with a sharp mind capable of significant contributions, they might have learned that her interior life was more interesting and fruitful than her exterior. Her invention might have been accepted by the navy when she offered it, and who knows what impact that might have had on the war? If only people had been willing to look behind “the only woman in the room” to examine the person she was beneath, they might have seen a woman capable of greatness, and not only on the screen.

It's just the two of us. She shows me more secret passageways through the woods until the trees clear to reveal a large, moonlit meadow. We stop at the edge. Emma's looking at me expectantly, and at first I'm not sure what I'm supposed to see. I see tall, unkempt grass surrounded by trees. Then, like my eyes are playing tricks on me, fluorescent green lights flash on and off in the field, some of them rising up like bubbles in a pot of boiling water, some shooting across and lighting up the ground below them. "Whoa." "Pretty, right?" Emma says, turning her neck slowly from me to the meadow. "I almost never see fireflies." "I did some research, and they're not even supposed to exist west of Kansas. I have no idea why there's so many of them here." We walk through the field together, and in the blinking green lights I can see Emma's hand inches from my own, I see the curves and dips of her face in profile and I wonder how it is that I can find the space between things beautiful. Emma stops for a second and reaches into the waist-high grass, her hand disappearing in the dark. She pulls it back out to reveal a berry I have never seen before, not in the smorgasbord of rainbow-colored fruit at American grocery stores and definitely not anywhere in Mexico. It is the size of a child's fist, and the skin is prickly, like a lychee's. "When I was a kid, if I was mad at my mom, I'd hide out here for the day, picking out berries," Emma says. "I had no way of knowing if they were poisonous, but I'd feast on them anyway." She digs her thumb into the skin to reveal a pulpy white interior. She takes a bite out of it and then hands it to me. It's sweet and tangy and would be great in a vinaigrette, as a sauce, maybe along with some roasted duck. "I don't even think anyone else knows about these, because I've never seen them anywhere else. I'm sure she'd put it on her menu if she found out about them, but I like keeping this one thing to myself." We grab them by the handful, take them with us down the hill toward the lake. Sitting on the shore, gentle waves lapping at our ankles, we peel the berries one by one. A day or two ago, I thought of Emma as pretty. Tonight, her profile outlined by a full moon, she looks beautiful to me. I wish I could drive the thought away, but there it is anyway. The water---or something else about these nights---really does feel like it can cure hopelessness.

My name is Christina Barthelemy. Holistic 5D designer, feng shui practitioner, and crystal lover on a mission to bring more light into the world through design. I love helping others and creating beautiful spaces & have found that changing your space can, not only change your life, but actually help you manifest the life you want. Amazing, right?! I take a holistic approach to interior design by considering all of your needs - mental, emotional, physical, and spiritual- and bring a calm, supportive energy to every client. I use my intuition and gift for balancing space and harmonizing interiors to find the perfect solution that meets your needs and desires. I’m organized, thorough, and take a positive approach to design challenges; supporting you every step of the way.

Then I opened a door of dull brown wood, and a breath of warm, fragrant air struck me. I stood on the threshold of a kitchen with red poppies painted around the rim of its walls, and wide windows whose lacy white curtains glowed with morning light. It looked as if the cooks had just vanished, for oatmeal bubbled on the stove next to a pan of sizzling sausages, mushrooms, and capers, while on the table a fresh-baked loaf of bread sat fragrant next to a little dish of olives and a pile of pastries.

The next morning, I opened a red-painted door and saw a little room with bookshelves lining its whitewashed walls. In the center of the room sat a round lion-footed table, on which a fat old codex lay open; on the far wall, between a gap in the bookcases, a life-sized bas-relief of the Muse Clio stared at me, her scrolls clasped to her chest, her blind white eyes all-knowing. It was a library. At first I thought it was very small, but when I stepped inside I saw a doorway leading to another room of books, which itself opened on two more. It was a honeycomb of rooms, their walls covered in bookshelves, reliefs of the Muses peering from occasional alcoves.

I write these last lines on Sauvie's Island - the Wappatto of the Indians - sitting upon the bank of the river, beneath the gnarled and ancient cottonwood that still marks the spot where the old Columbia trail led up from the water to the interior of the island. Stately and beautiful are the far snow-peaks and the sweeping forest. The woods are rich in the colors of an Oregon autumn. The white wappatto blooms along the marshes, its roots ungathered, the dusky hands that once reaped the harvest long crumbled into dust. Blue and majestic in the sunlight flows the Columbia, river of many names -- the Wauna and the Wemath of the Indians, the St. Roque of the Spaniards, the Oregon of poetry -- always vast and grand, always flowing placidly to the sea. Steamboats of the present; batteaux of the fur traders; ships, Grey's and Vancouver's, of discovery; Indian canoes of the old unknown time -- the stately river has seen them all come and go, and yet holds its way past forest and promontory, still beautiful and unchanging. Generation after generation, daring hunter, ardent discoverer, silent Indian -- all the shadowy peoples of the past have sailed its waters as we sail them, have lived perplexed and haunted by mystery as we live, have gone out into the Great Darkness with hearts full of wistful doubt and questioning, as we go; and still the river holds its course, bright, beautiful, inscrutable. It stays; we go. It there anything beyond the darkness into which generation follows generation and race follows race? Surely there is an after-life, where light and peace shall come to all who, however defeated, have tried to be true and loyal; where the burden shall be lifted and the heartache shall cease; where all the love and hope that slipped away from us here shall be given back to us again, and given back forever Via crucis, via lucis.

The soul, since by its nature, what it is, and is related to the higher kind of reality in the realm of being, when it sees something akin to it or a trace of its kindred reality is delighted and thrilled and returns to itself and remembers itself and it’s own possessions… Being in the presence of such beauty doesn’t just reverberate with the inner me, but also makes me want to pull that best part up and out of me, to strip off all that is superfluous and useless, and be the purest, cleanest version of me. By seeing beauty, I want to be beauty. When I see beauty, I have the sense that everything can change. I can start over. I can liberate the inner me. Plotinus then, imagines a kind of dialectic in which I am shocked by beauty, inspired by it, reverberate with it interiorly, and then resolve to impose more unity on my life, become less disordered, so that I slowly become like what I admire. Plotinus calls this working on your inner statue. Over the course of time, as I polish the statue and reduce the difference between me and the external experience of beauty, a kind of inner light pools up within me, an intellectual generosity, a spiritual magnanimity. At this point, says Plotinus, I am ready for the deep dive within.

You’ll never spend one goddamn second jealous while I’m your man.” He pauses, as if wanting that statement to sink in…and boy, does it. Right down to my toes. “My Pontiac. Yeah, she’s a beauty. Red leather interior. A convertible, which means my big ass fits inside.

BOOKS THAT GREATLY INSPIRED ME AND THAT YOU SHOULD CONSIDER READING (in no particular order) Beyond the Culture of Contest by Michael Karlberg A New Earth: Awakening to Your Life’s Purpose by Eckhart Tolle Black Elk Speaks by John G. Neihardt The Family Virtues Guide by Linda Kavelin Popov, Dan Popov, and John Kavelin The Second Mountain by David Brooks High Conflict by Amanda Ripley The Myth of Normal: Trauma, Illness, and Healing in a Toxic Culture by Gabor Maté and Daniel Maté Zen and the Art of Saving the Planet by Thich Nhat Hanh The Seven Mysteries of Life by Guy Murchie Viral Justice by Ruha Benjamin The More Beautiful World Our Hearts Know Is Possible by Charles Eisenstein The Story of Our Time by Robert Atkinson Global Unitive Healing by Dr. Elena Mustakova What the Buddha Taught by Walpola Rahula The Road Less Traveled by M. Scott Peck How Should We Live? by Roman Krznaric The God Equation by Michio Kaku Einstein’s God by Krista Tippett What We Talk About When We Talk About God by Rob Bell Team Human by Douglas Rushkoff Help, Thanks, Wow by Anne Lamott See No Stranger by Valarie Kaur Plays Well with Others by Eric Barker Narrow Road to the Interior by Matsuo Bashō The Soul’s Code by James Hillman The Experience of God: Being, Consciousness, Bliss by David Bentley Hart The Power of Myth by Joseph Campbell New Seeds of Contemplation by Thomas Merton The Awakened Brain by Lisa Miller, PhD The Hidden Words by Baha’u’llah

Nuestra vida interior con Dios es mucho más importante que nuestra vida exterior

Small Changes, Big Impact: Decor Ideas for Your Home - The theory of small changes and their significant impact holds true when it comes to interior design Little things such as adding rugs, changing curtains, and decorating walls can bring functionality, comfort, and aesthetic beauty to your space.

The Cadillac was vast, domed, vaulted and trussed, specially built by Detroit to the Gospel Singer's own specifications, but costing as much as Detroit cared to make it cost, expense being no consideration with the Gospel Singer because he consistently made more money during any given year than he was able to spend. The interior was deep savage red: the seats and headliner formed in heavy leather; the floor padded in spongy carpet. A pale mauve light-indirect, as though emanating from the passengers themselves-lit up the Gospel Singer in the back seat where he lolled, long-jointed and beautiful under his incredible head of yellow girl's hair, and lit up Didymus-manager, chauffeur and confessor to the Gospel Singer-where he sat, narrow-faced and nicotine-stained, rigid in his dark blue businessman's suit. He turned to look over his shoulder at the Gospel Singer, his mouth like the blade of a hatchet. He wore a clerical collar.

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There are deeply mystical experiences of interior soul pain, trials, and the inexplicably arid desolation of the human soul as it dies bit by bit as it moves through the higher Spheres; and this is balanced by your soul experiencing more joy, peace, gratitude, flow, life force, beauty and interior rest (and your sharing of life and love with your soul half if you have met) in fully desiring and deserving all that God wishes to give you. Anything within us that feels it does not deserve Divine Love in its fullness is part of our wounding, in particular our Original Wounding, and is not how God created us to be.

Anyone who enjoys inner peace is no more broken by failure than he is inflated by success. He is able to fully live his experiences in the context of a vast and profound serenity, since he understands that experiences are ephemeral and that it is useless to cling to them. There will be no “hard fall” when things turn bad and he is confronted with adversity. He does not sink into depression, since his happiness rests on a solid foundation. One year before her death at Auschwitz, the remarkable Etty Hillesum, a young Dutchwoman, affirmed: “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.”7

On Being Human" Angelic minds, they say, by simple intelligence Behold the Forms of nature. They discern Unerringly the Archtypes, all the verities Which mortals lack or indirectly learn. Transparent in primordial truth, unvarying, Pure Earthness and right Stonehood from their clear, High eminence are seen; unveiled, the seminal Huge Principles appear. The Tree-ness of the tree they know-the meaning of Arboreal life, how from earth's salty lap The solar beam uplifts it; all the holiness Enacted by leaves' fall and rising sap; But never an angel knows the knife-edged severance Of sun from shadow where the trees begin, The blessed cool at every pore caressing us -An angel has no skin. They see the Form of Air; but mortals breathing it Drink the whole summer down into the breast. The lavish pinks, the field new-mown, the ravishing Sea-smells, the wood-fire smoke that whispers Rest. The tremor on the rippled pool of memory That from each smell in widening circles goes, The pleasure and the pang --can angels measure it? An angel has no nose. The nourishing of life, and how it flourishes On death, and why, they utterly know; but not The hill-born, earthy spring, the dark cold bilberries. The ripe peach from the southern wall still hot Full-bellied tankards foamy-topped, the delicate Half-lyric lamb, a new loaf's billowy curves, Nor porridge, nor the tingling taste of oranges. —An angel has no nerves. Far richer they! I know the senses' witchery Guards us like air, from heavens too big to see; Imminent death to man that barb'd sublimity And dazzling edge of beauty unsheathed would be. Yet here, within this tiny, charmed interior, This parlour of the brain, their Maker shares With living men some secrets in a privacy Forever ours, not theirs.

Our mission is to help bring your vision to life and help you make your dream home a reality with our custom made window treatments, bedding, upholstery and custom furniture. All of our work is manufactured in our own in-house workroom by our qualified craftsman and supervised from beginning to end by the Dream House Interiors owner, Farzi. We source the best upholstery fabrics and custom drapery in Thousand Oaks CA directly from the greatest mills all over the world, straight to Dream House Interiors. We have over 10,000 fabrics, so your options definitely aren’t limited. As one of the largest fabric buyers in the nation, we have special access to the top weaving mills and print houses – and the best prices too! We even have performance fabrics that work beautifully for both indoor and outdoor use.

CORPUS CHRISTI Oh God! Yesterday when I returned of bloom, i read in the eyes of a different woman, hat the galaxies dissipate with the rapidity of a serpent towards the interior of every grain of sand. How can you allow that, God! I just wanted enjoy in my long hair of the summer swallows. And from your slight sources in the thistles .. Now, each grain of sand gets excited with your beauty ... Now, the news of enlightenment It will spread to all corners of my party dress! Now, who but my mother, will be able to embrace me when I faint of love in your presence ... like a galaxy?

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five story Georgian terrace whose elegant proportions would have caused the most hardened Canadian property developer’s soul to weep to see such beauty—just prior to having the place gutted and filled with the latest in personality-free interior design.

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

An admirer of architects Mies van der Rohe and Le Corbusier, Mr. Vignelli moved to New York from Italy in the mid-1960s hoping to propagate a design aesthetic inspired by their ideal of functional beauty. He preached clarity and coherence and practiced it with intense discipline in everything he turned out, whether kitchenware, public signage, books, or home interiors.

I’d take you home with me, see, but two of us in the same Behold? Just wouldn’t work, ends up in all sorts of squabbles over interior design; and the human, well, one faery in the Behold of the Eye, that just gives them a little twinkle of imagination, but more than one and it’s like a bloody fireworks display. They get all unstable and artistic, blinded by the glamour of everything, real or imagined, concrete or abstract. They get confused between beauty and truth and meaning, you see, start thinking every butterfly-brained idea must be true; before you know it they’ve gone schizo on you and you’re in a three-way firefight with all the angels and the demons, them and their bloody ideologies.

Patty’s Cake with Espresso-Caramel Sauce 7 (1-ounce) squares unsweetened cooking chocolate ¾ cup butter 1½ cups strong coffee ¼ cup bourbon 2 eggs 1 teaspoon vanilla 2 cups cake flour 1½ cups sugar 1 teaspoon baking soda ¼ teaspoon salt Grease and flour two 8½ by 4½-inch loaf pans. Put the chocolate, butter, and coffee in a heavy saucepan with a 4½-quart capacity. Place over low heat, stirring constantly, till chocolate is melted, then stir vigorously till mixture is smooth and thoroughly blended. Set aside to cool for at least 10 minutes. Beat in bourbon, eggs, and vanilla. Sift dry ingredients together and beat into the chocolate mixture till well blended. Divide batter between prepared pans and bake in a 275°F oven 45 to 55 minutes, or until a wooden skewer inserted in the center comes out clean. Cool in pans for 15 minutes, then turn out onto racks to cool completely. Serve with whipped cream, crème fraîche, or Espresso-Caramel Sauce. ESPRESSO-CARAMEL SAUCE 1 cup sugar ⅓ cup water ½ cup heavy (whipping) cream 3 tablespoons espresso Whisk sugar into water and pour into heavy-bottomed saucepan—preferably one with a white or light-colored interior, so you can keep an eye on the color change of the caramel. Stir over medium heat until sugar is completely dissolved, about 1 minute. Increase heat to high and bring to a boil. Do not stir, but wash down sides of pan frequently with a clean brush dipped in water. Meanwhile, heat cream to a simmer in another pan. When sugar begins to caramelize and turn golden around edges of pan, lift pan very carefully and gently swirl mixture to ensure even caramelization. Boil until syrup is a beautiful, deep amber—3 to 4 minutes. Remove from heat and set pan in sink. Slowly pour in hot cream, whisking to combine. Mixture will bubble up and may splatter. You may want to wear glasses to protect your eyes. Stir in espresso and blend until smooth. If mixture starts to harden, return to low heat and whisk until dissolved. While sauce is still warm, strain through fine-mesh strainer. Makes about 1 cup.

Monitoring Sean’s progress with the towel, Hal gave a grunt of disgust. “Come on. I have an extra towel you can use in the office. No way you can drive home like that—you’ll ruin the car’s interior. ’Sides, we need to talk,” Hal added heavily. Turning on his heel, he headed back toward his office. Sean swallowed with a decided lack of enthusiasm. They entered Hal’s cramped cubicle of an office and Hal shut the door behind him. It closed with an ominous bang. He took a towel hanging from the hook on the door and tossed it at Sean, who grabbed it one-handed. “Thanks,” he said, as he bent to pat his khakis dry. “I hope you know what the hell you’re doing.” The warning tone in Hal’s voice had Sean pausing to glance up at his friend. He straightened, towel forgotten. “Hey, I didn’t plan what you saw back there, Hal. It just happened.” “What’d she do? Pull you into the pool?” Whatever he saw in Sean’s expression had Hal’s face shifting into a lopsided grin. “Thought so. Serves you right, McDermott. You were being a total SOB. You knew it, so did she. Christ, you would never pull that kind of stunt with Dave.” He gave a snort of disgust. “I was watching the two of you the entire workout. Don’t think I didn’t see when you finally took pity on her. Any slower, and you’d have been doing a dog paddle. Real shitty of you, McDermott.” I know, Sean admitted silently. “Right. If she ever agrees to swim with me again, I’ll let her swim her arms off. She got her revenge anyway.” “Good for her.” Sean’s gaze narrowed. Sometimes Hal was a pain in the ass. “Gee, thanks, Coach.” Unfazed by Sean’s sarcasm, Hal continued, “You know, I always suspected something would happen between you and Lily. Intense rivalry can’t come without intense passion. I figured the attraction was there, just waiting for the right moment.” He paused to glare at Sean, then said, “But I would have hoped you’d have a hell of a lot more smarts than to try to seduce a beautiful woman in my pool! Anybody could have walked in on you!” His voice was at a near shout.

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

Peterhof (Petrodvorets). Nicknamed the “Russian Versailles,” the elaborate interiors, formal gardens, and beautiful fountains of Peter the Great’s summer palace live up to their moniker. This is St. Petersburg’s most famous imperial residence, located in the suburbs about 40 minutes away.

The interior journey of the soul from the wilds of sin into the enjoyed Presence of God is beautifully illustrated in the Old Testament tabernacle. The returning sinner first entered the outer court where he offered a blood sacrifice on the brazen altar and washed himself in the laver that stood near it. Then through a veil he passed into the holy place where no natural light could come, but the golden candlestick which spoke of Jesus the Light of the World threw its soft glow over all. There also was the shewbread to tell of Jesus, the Bread of Life, and the altar of incense, a figure of unceasing prayer.

Some furniture taught me one thing, if you are being bitten, it only means that you are going to become the owner of immense beauty very soon, which you are going to feel soon, And this design of yours will look different in those moments, Because it is that simplicity that will keep you fresh for a lifetime now, so keep that beautiful design. Some people will come like a carpenter, then let them come, if someone comes, let them do whatever they want, you will not be harmed, Just the interior design of your soul will be transformed. feel it ∞

Kate had been inside enough grand London homes not to publicly gape at the obvious wealth and beauty of the furnishings, but even she was impressed by the interiors, decorated with elegance and restraint in the Adam style. Even the ceilings were works of art—done up in pale shades of sage and blue, the colors separated by white plasterwork so intricate it almost appeared to be a more solid form of lace.

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The simple beauty of the yin/yang system is based on the observation that everything has two sides. The word yin designates the shady side of a mountain; the word yang represents the sunny side. By extension, yin came to mean all things dark, cool, damp, hidden, withdrawn, interior, feminine, while yang represented all things light, warm, dry, exteriorized, visible, masculine.

It took me miles of gentle puzzling before I worked out that the love was about my father and me. For weeks after he died, I’d sat in front of the television watching the British television drama Tinker Tailor Soldier Spy over and over again; hours of grainy 1970s 16mm cinefilm, soft and black on an old VHS tape. I’d curled up mentally in its dark interiors, its Whitehall offices and gentlemen’s clubs. It was a story of espionage and betrayal that fitted together like a watch, and it was glacially slow and beautiful.

The psychologist Erik Erikson discovered that, while little girls playing with blocks generally liked to create pleasant interior spaces and attractive entrances, little boys are inclined to pile up the blocks as high as they can and then watch them fall down: “the contemplation of ruins,” Erikson observes, “is a masculine specialty.” No matter the mesmerizing grace and beauty of a great boxing match, it is the catastrophic finale for which everyone waits, and hopes: the blocks piled as high as they can possibly be piled, then brought spectacularly down.

She certainly does.” We headed towards the café and came to a smooth landing outside. We entered the brightly lit building and my spirits immediately lifted. The interior of the café had been painted in soft shades of blues and yellows. Flowers and trees had been painted on the walls which gave the impression of you being outside on a beautiful sunny day. Gilda, the owner of the café, glided towards us smoothly.

Perhaps it’s this autumn beauty that inclines people toward ginkgos. When they grow older still, they become giants of great gravitas. In comparison to those massive craggy branches, the leaves are dots. You can see through their pointillist drapery to the interior architecture.

Perhaps it’s this autumn beauty that inclines people toward ginkgos. When they grow older still, they become giants of great gravitas. In comparison to those massive craggy branches, the leaves are dots. You can see through their pointillist drapery to the interior architecture. They live for many hundreds of years. Careful reviews of historical records puts the oldest trees at about a thousand years, though some claim they are as much as four thousand years old. These big ginkgos—there are more than one hundred of them—are especially magnificent in the autumn.

When we die, our interior light in departing follows the attraction of its star, and thus it is that we live in other universes, where the soul makes for itself a new garment, analogous to the development or diminution of its beauty; for our souls, when separated from our bodies, resemble revolving stars; they are globules of animated light which always seek their centre for the recovery of their equilibrium and their true movement. Before all things, however, they must liberate themselves from the folds of the serpent, that is, the unpurified Astral Light (physical realm) which envelops and imprisons them, unless the strength of their will can lift them beyond its reach.

Through prayer, all of reality becomes somehow illuminated by the love of God. It is seen mostly by the eyes of the heart and mysteriously it pours over somehow into actual external sight. Sometimes we see how God is in all things, which at the same time are not themselves divine but are rather given by God. These gifts become transparent to us as the fruit of prayer and deepening interiority, and we learn to see the Giver in all things. What we hear has a transparent clarity: the singing of a bird, the voice of another person, the beauty of a piece of music. We see and hear the vulnerability of all life and the precious uniqueness of every single thing, of every single being. When we see the luminous beauty of all of creation, it becomes easy to believe that each precious creature, each precious moment will ultimately flow into God’s eternity, where it will not disappear but will eternally be preserved as precious.

The cab pulled up to our building on St. Louis between Decatur and Chartres Streets, a three-story cement stucco town house in the old creole style. It was painted pale pink and covered with delicate ironwork like a lace veil. It had an arched opening with a wrought-iron gate and an old metal lock. Inside, the ground-floor hallway had high, rounded ceilings and a dark caramel tiled floor leading to a garden in the back. It was drippy and heavy with the scent of jasmine, just like me. Wisteria rolled down from the top-floor balconies all the way to the garden below and curled around the legs of the iron tables and chairs like beautiful prison shackles. Everything about the building looked like it was from another century, and having never been to New Orleans I did not yet know that everything was.

I stood under the arch and absorbed the image. Rose and blue and ancient oriental rugs held pale pink loveseats with curved arms and perfectly faded silk upholstery. Sheer white-winged angels floated on a ceiling of baby-blue sky with clouds of spun gold. And eastern-facing windows of blue stained glass held paler blue stained-glass crosses in the middle. Daylight and streetlamps were obliterated by thick velvet curtains with gold tasseled ropes, and a small, dusty beam of faded light managed to seep past the heavy drapes, making it look like the tail end of the day instead of the early part of the afternoon. His home was lavish and seductive, and I thought it rare that a man living alone could create a thing of such intensity. For the second time in two days I found myself having to adjust my opinion of Michael Bon Chance. It was a marble fountain that ended my reverie and brought me back down to earth. It was the true centerpiece of the room, with water slowly seeping from a cracked jug and dripping over a statue of a nude couple, bathing. I cringed at the sound. Michael looked at me. "Something wrong?" "It's the dripping." He went over to the bar and poured me a glass of wine. "You're tense. Maybe this will help." I took a sip from the glass and put it down on the fireplace mantel. I caught a glimpse of Michael and myself in the mirror above the fire and felt trapped by how beautiful we looked in the rose glow of the dragon's-head lamps with pale pink bulbs.

Jennifer began to change. Her clothes fell from her body in rotten tatters, like the wrappings of a mummy. The skin shifted on her body, turning a pallid gray, covered with black patches of mold. It glistened with some kind of interior light—a luminous rot. She seemed taller, stronger, more beautiful. She was naked, but her body was androgynous: gorgeous, magnetic, dead. Through her failing flesh he saw an equine skull bearing too many pale, sightless eyes. She was at once regal and putrid, her body wavering between her own elderly form and the holy beauty of the Corpse, as though seen beneath rippling water.

Mental prayer may also be done by choosing to engage some beautifully written prayer and making it your own. For example, Saint Ignatius of Loyola wrote a beautiful prayer that goes to the heart of surrender. That prayer is as follows: Take, Lord, and receive all my liberty, my memory, my understanding, and my entire will, all I have and possess. You have given all to me. To you, Lord, I return it. Everything is Yours; do with it what You will. Give me only Your love and Your grace. That’s enough for me.

Active recollection might also include seeing your sins as you journey within yourself. As you do, you feel sorrow for those sins and personally express that sorrow with a firm purpose of amendment. The key to this prayer is to journey to God Who lives within the center of your soul. As you do, you will grow in self-knowledge as you come face to face with your weaknesses and sins. You will grow in an awareness of the beauty and dignity of your soul since you are more aware of the fact that God dwells within you. You will grow in a desire to love God and never offend Him. All of these realizations will help you enter deeper and deeper where Your loving God dwells.

Everything that makes the neck longer is attractive. Extravagance kills the personality. All the superlatives are devalued. Beauty treatments should begin with the heart and the soul, otherwise cosmetics are pointless. The interior of the home is the natural projection of the soul and Balzac was right to attach as much importance to it as he did to clothing. You don't need enthusiasm in order to earn money, you need it in order to spend it. Wealth is not accumulation, it's the exact opposite, it serves to free us, it's the "I've had everything and that everything is nothing." Just as in fashion, you generally begin with something that is too beautiful in order to attain simplicity. I have a hatred of hanging on to things. Almost all our emotional, social and moral troubles stem from the fact that we don't know how to give anything up. Money adds to the decorative pleasures of life but it's not life. Women conceal their defects instead of considering them as yet another asset. You have to know how to take advantage of your flaws and apply them with cunning; if you know how to make use of them, you obtain everything. I have decided to be happy without requiring that daily dose of poison, recently invented, that we call happiness.

The art of painting is one of the greatest of human inventions, a cultural instrument, a gateway to all other arts and branches of knowledge. When you have a collection of great paintings before your eyes, you can think of history, you can watch the pageant of the ages passing before your eyes. You can think of the poems and stories you have read, the legends, the traditions. You can think of religion, broaden your understanding of it, and learn that fundamentally all worship is one. You can travel in imagination and see the world without any of the discomforts and dangers of travel. You can enjoy the distilled essence of the beauties of nature. You can behold the works of man, “and manners, climates, councils, governments.” You can study architecture, costumes, interior decoration, and, above all peoples of all races and climes. You can study psychology in the faces of the proud monarch and the humble toilworn peasant; the great painter has read their secrets and told you more about them than they themselves knew.

She stepped inside a vestibule with a silver bowl of pure, clear water set on a pedestal made of what Delphine could only assume was a very large, very sturdy zinnia. Was she supposed to wash in it, or was she firmly barred from touching it? She glanced in its shallow depth, and it began to pulse and swirl with pale light. She stepped away quickly. A filmy veil of light separated the interior; she held out a tentative finger, and the light brushed it like organza and separated for her. She stepped through into the Court, sprawling and open to the sky above, yet bound by the pale walls on all sides. Inside, the Court looked back at her. Dozens of Fae, gathered in twos and threes, beneath trees of gold and silver and around pools of deep azure blue, inside pavilions made of sheer flower petals and on carpets that must have been woven bird feathers. They all watched her, silently, unmoving. Each was almost painful to look at, beautiful and yet sharp and cold. All of them were arrayed in the spoils of their bargains, with sheer gowns of watercolor silk and robes of pliable silver, elaborate braids adorned with finely wrought metal and tautly bound silk, and even, on a few, wings and horns and talons refashioned from wood and bone and glass. Delphine was terrified of them, and yet also drawn to them. A great and terrible power hummed among them, just below the surface, a nearly tangible potential for change, for creation, for more than anything the world on her own side of the veil could offer.

people waiting for fresh carne asada or the millions of food trucks selling everything from sushi burritos to Korean barbecue. Los Angeles is all about layers, and middle-of-the-night Hollywood is one from the deep interior, all the for-show stripped away, displaying only what’s at its core, what’s usually hidden under all the tourism and partying and beauty and wealth. In the middle of the night, everyone is gone except the residents of tent cities, the people whose habits keep them up all night, the sex workers searching for stragglers from the bars, and the cops like vultures circling for carrion.

entered this place . . . obliged to continue my rout untill sometime after dark before I found a place sufficiently large to encamp my small party; at length such an one occurred on the lard. side. . . . from the singular appearance of this place I called it the gates of the rocky mountains.” In the morning, as the flotilla paddled its way out of the canyon, the mountains receded and a beautiful intermountain valley presented itself. But about 10:00 a.m., a distressing, worry-making sight appeared in the sky: a column of smoke, coming out of a creek drainage some seven miles west, big enough to have been deliberately set. It had to have been done by Indians, all but certainly Shoshone, and almost surely because a single Indian or a small party had heard the discharge of a rifle and set fire to the grass to warn the rest of the tribe to retreat into the interior of the mountains. That was about as bad as anything that could happen, but there was nothing to do but press on. The following day, the flotilla entered “a beautifull and extensive plain country of about 10 or 12 miles wide which extended upwards further than the eye could reach this valley is bounded by two nearly parallel ranges of high mountains which have their summits partially covered with snow.” • Lewis was within a couple of hours’ march from one of the great gold deposits, at Last Chance Gulch,

book Wild Hunger: The Primal Roots of Modern Addiction,16 the rejection of beauty, one of the ageless sources of regeneration, is at the root of much of the addiction which characterizes modern society. The wiser person seeks beauty in all things. He or she seeks to live a life that nourishes the soul, and “the depth of interiority and quality in which it flourishes”, as Thomas Moore writes. He or she discovers epiphanies in the contemplation of timeless realities, and seeks to move through the deep imagination, the royal road to the sacred.

I lie splayed out on the bed, staring numbly at the world's most beautiful bedroom. I've been given the Duchess Suite, a relic from the days when husbands and wives slept in separate rooms. The bedroom's damask walls are painted robin's-egg blue, the same shade as Tiffany's famous little boxes, with matching curtains framing the French windows. The ceiling above my bed is gilded in a mosaic pattern, and impressionist paintings grace the walls. Delicate white-and-gold furniture softens the room's edges, and the freshly cut peonies in a vase on my bedside table lend the air a sweet smell.

Armand Gamache had expected to need a few moments to adjust to the dark interior. He hadn’t expected that he’d need to adjust to the light.

... 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.

The beautiful in its pure form can safely be left to the idealists, while the half-beautiful and the ugly occupy empiricists.

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.

Fancy exterior is indicative of a rotten interior.

In front of the couch was a very large square coffee table with inlaid woodwork on the top and elaborately carved legs. The table was scattered with things Eric had been enjoying recently: the manuscript of a book about the Vikings that he’d been asked to endorse, a heavy jade cigarette lighter (though he didn’t smoke), and a beautiful silver bowl with a deep blue enamel interior. I always found his selections interesting. My own house was kind of . . . cumulative. In fact, I hadn’t picked out anything in it but the kitchen cabinets and appliances—but my house was the history of my family. Eric’s house was the history of Eric.

Empathy: because the commonality among human beings is emotion, and the only way we can bridge our vast discrepancies in experience is through what we feel. Let us be humbled in the knowledge that one may never fully understand the interior lives of others—but let us continue to care.

Powers II is a huge helicopter that comfortably seats my family. It’s a Mercedes-Benz EC145 and has eight comfortable leather seats. After Tracee gets on, I help Rhian in first then I follow. Her beautiful eyes scan the entire interior before she finally sits.

when she turned to Orlando to speak to him, I saw she had what Pa Salt would have termed a Roman nose, which sat prominently in her striking face. She was certainly not classically beautiful and, from the look of her jeans and old sweater, did not care to make herself more so. Yet, there was something very attractive about her and I realized I wanted her to like me—an unusual feeling. “Are you coping back there?” she asked me. “Not far now.” “Yes, thank you.” I leaned my head against the windowpane as the thick hedges, their height exaggerated by the low car, flew by me, the country lanes becoming narrower. It felt so good to be out of London, with only the odd red-brick chimney stack peeping out from behind the wall of green. We turned right, through a pair of old gates that led to a drive so potholed that Marguerite’s and Orlando’s heads bumped against the roof. “I really must ask Mouse to bring the tractor and fill in these holes with gravel before the winter comes,” she commented to Orlando. “Here we are, Star,” she added as she pulled the car to a halt in front of a large, graceful house, its walls formed from mellow red brick, with ivy and wisteria fringing the uneven windows in greenery. Tall, thin chimney stacks, which emphasized the Tudor architecture, reached up into the crisp September sky. As I squeezed myself out of the back of the Fiat, I imagined the house’s interior to be rambling as opposed to impressive—it was certainly no stately home; rather, it looked as if it had gently aged and sunk slowly into the countryside surrounding it. It spoke of a bygone era, one that I loved reading about in books, and I experienced a twinge of longing. I followed Marguerite and Orlando toward the magnificent oak front door, and saw a young boy wobbling toward us on a shiny red bike. He let out a strange muffled shout, tried to wave, and promptly fell off the bike. “Rory!” Marguerite ran to him, but he had already picked himself up. He spoke again, and I wondered if he was foreign, as I couldn’t make out what he was saying. She dusted him down, then the boy picked up the bike and the two of them walked back to us. “Look who’s here,” Marguerite said, turning directly to the boy to speak to him. “It’s Orlando and his friend Star. Try saying ‘Star.’ ” She particularly enunciated the “st” in my name. “Ss-t-aahh,” the boy said as he approached me, a smile on his face, before holding up his hand and opening his fingers out like a shining star. I saw that Rory was the owner of a pair of inquisitive green eyes, framed by dark lashes. His wavy copper-colored hair glowed in the sun, and his rosy cheeks dimpled with happiness. I recognized that he was the kind of child that one would never want to say no to. “He prefers to go by the name ‘Superman,’ don’t you, Rory?” Orlando chuckled, holding up his hand in a fist like Superman taking off into the air. Rory nodded, then shook my hand with all the dignity of a superhero, and turned to Orlando for a hug. After giving him a tight squeeze and a tickle, Orlando set him down, then squatted in front of him and used his hands to sign, also speaking the words clearly. “Happy birthday! I have your present in Marguerite’s car. Would you like to come and get it with me?” “Yes please,” Rory spoke and signed, and I knew then that he was deaf. I rifled through my rusty mental catalog of what I had learned

You grew up in Adarlan, didn’t you?” Nesryn considered the question, why it might be asked. “Yes. I was born and raised in Rifthold, though my father’s family comes from Antica.” Borte was quiet for a few steps. But as they reached the narrow stairwell and stepped into the dim interior, Borte smiled over a shoulder at Nesryn. “Then welcome home.” Nesryn wondered if those words might be the most beautiful she’d ever heard.

Very bad,” she muttered. Benedict looked up. “Did you say something?” She crossed her arms mutinously. “Just that you’re a very bad man.” He chuckled. She’d known he would chuckle, and it still irritated her. He pulled the curtain away from the window and looked out. “We’re nearly there,” he said. He’d said that he was taking her directly to his mother’s residence. Sophie remembered the grand house in Grosvenor Square as if she’d been there the night before. The ballroom was huge, with hundreds of sconces on the walls, each adorned by a perfect beeswax candle. The smaller rooms had been decorated in the Adam style, with exquisitely scalloped ceilings and pale, pastel walls. It had been Sophie’s dream house, quite literally. In all her dreams of Benedict and their fictional future together, she’d always seen herself in that house. It was silly, she knew, since he was a second son and thus not in line to inherit the property, but still, it was the most beautiful home she’d ever beheld, and dreams weren’t meant to be about reality, anyway. If Sophie had wanted to dream her way right into Kensington Palace, that was her prerogative. Of course, she thought with a wry smile, she wasn’t likely ever to see the interior of Kensington Palace. “What are you smiling about?” Benedict demanded. She didn’t bother to glance up as she replied, “I’m plotting your demise.” He grinned— not that she was looking at him, but it was one of those smiles she could hear in the way he breathed. She hated that she was that sensitive to his every nuance. Especially since she had a sneaking suspicion that he was the same way about her. “At least it sounds entertaining,” he said. “What does?” she asked, finally moving her eyes from the lower hem of the curtain, which she’d been staring at for what seemed like hours. “My demise,” he said, his smile crooked and amused. “If you’re going to kill me, you might as well enjoy yourself while you’re at it, because Lord knows, I won’t.” Her jaw dropped a good inch. “You’re mad,” she said. “Probably.” He shrugged rather casually before settling back in his seat and propping his feet up on the bench across from him. “I’ve all but kidnapped you, after all. I should think that would qualify as the maddest thing I’ve ever done.” “You could let me go now,” she said, even though she knew he never would. “Here in London? Where you could be attacked by footpads at any moment? That would be most irresponsible of me, don’t you think?” “It hardly compares to abducting me against my will!” “I didn’t abduct you,” he said, idly examining his fingernails. “I blackmailed you. There’s a world of difference.” Sophie was saved from having to reply by the jolt of the carriage as it ground to a halt. -Sophie & Benedict

deeper insight into human nature and make them more capable of influencing others. Homosexuals also excel in professions associated with taste and beauty, such as interior decoration and clothing design; it is well known that the most famous clothes designers in the world are homosexuals, perhaps because their dual sexual nature enables them to design women’s clothes that are attractive to men and vice versa.

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.

Do you think I’m afraid of your wolves?” she demanded. “The only big bad wolf around here is you. Call all your wolves. Go ahead.” She glared into the secret, dark interior of the forest. “Come and get me. What did he say to you about me?” Mikhail pried her fingers loose from the branch she held like a club, allowing it to fall. He curved an arm around her slender waist, brought her small, soft body up against his much larger, rock-hard frame. “I told them you tasted like warm honey.” He whispered the words with his black velvet sorcerer’s voice. Turning her in his arms, he cupped her small, beautiful face in his hands. “Where is all that marvelous respect a man as powerful as myself deserves?

Stop following me.” “Am I not a gentleman, obligated to see his lady home?” “If you laugh at me one more time, I swear I won’t be responsible for what I do.” Raven became aware of the slinking figures then, the burning eyes following her. Her heart nearly stopped, then began to pound. “Fine!” She whirled around and glared at him. “This is great! Just great, Mikhail. Call in the wolves to eat me alive. I find the idea so ‘you.’ So logical.” He bared his white gleaming teeth at her like a hungry predator and laughed softly, teasingly. “It is not the wolves that would find you delicious.” Raven picked up a broken branch and flung it at him. “Stop laughing, you hyena. This is not funny. Your arrogance is enough to make me want to throw up.” It took every ounce of self-control she had not to laugh. The beast was far too charming for his own good. “Your American colloquialisms are very colorful, little one.” She threw another branch, and then followed it up with a small rock. “Someone needs to teach you the lesson of a lifetime.” She looked like a beautiful little spitfire, all sparks and flame. Mikhail drew in his breath slowly, carefully. She was his, all fire and fury, all independence and courage, all heated passion. She melted his heart with it, entered his soul with her soft laughter. He felt it in her mind, although she was being extremely careful not to allow him to see it. “And you think you are the one to do this thing?” he teased. Another rock came flying at his chest. He caught it easily, and deliberately polished it before dropping it to the forest floor, all the while his dark eyes holding her gaze captive. “Do you think I’m afraid of your wolves?” she demanded. “The only big bad wolf around here is you. Call all your wolves. Go ahead.” She glared into the secret, dark interior of the forest. “Come and get me. What did he say to you about me?” Mikhail pried her fingers loose from the branch she held like a club, allowing it to fall. He curved an arm around her slender waist, brought her small, soft body up against his much larger, rock-hard frame. “I told them you tasted like warm honey.” He whispered the words with his black velvet sorcerer’s voice. Turning her in his arms, he cupped her small, beautiful face in his hands. “Where is all that marvelous respect a man as powerful as myself deserves?

As Devon accompanied her to the second floor, Kathleen became aware of strange ethereal music floating through the air. The delicate notes didn’t come from a piano. “What is that sound?” she asked. Devon shook his head, looking perplexed. They entered the drawing room, where Helen, Cassandra and Pandora had gathered around a small rectangular table. The twins’ faces glowed with excitement, while Helen’s was blank. “Kathleen,” Pandora exclaimed, “it’s the most beautiful, clever thing you’ve ever seen!” She saw a music box that was at least three feet long and a foot tall. The shining rosewood box, decorated with gold and lacquer inlay, rested upon its own matching table. “Let’s try another,” Cassandra urged, opening a drawer in the front of the table. Helen reached into the box to withdraw a brass cylinder, its surface bristling with hundreds of tiny pins. Several more cylinders lay in a gleaming row in the drawer. “You see?” Pandora said to Kathleen excitedly. “Each cylinder plays a different piece of music. You can choose what you want to hear.” Kathleen shook her head, marveling silently. Helen placed a new cylinder in the box and flipped a brass lever. The brisk, jaunty melody of the William Tell Overture poured out, making the twins laugh. “Swiss-made,” Devon remarked, staring at a plaque on the interior of the lid. “The cylinders are all opera overtures. Il Bacio, Zampa,,,” “But where did it come from?” Kathleen asked. “It seems to have been delivered today,” Helen said, her voice oddly subdued. “For me. From…Mr. Winterborne.

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

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In that moment, the difference between agaru and noboru became clear. Words that had been floating in chaos swiftly grouped themselves into interlocking sets. In his mind’s eye he saw an agaru tower and a noboru tower, each one soaring high in perfect, beautiful balance. Forgetful of Kaguya’s presence in the room, forgetful of her invitation, he pursued the thoughts unfolding in his mind at bewildering speed. Controlling his excitement, he murmured, “That’s it. That’s it.” Agaru emphasized the place reached by upward movement, whereas noboru emphasized the process of upward movement. When inviting someone to “come on up for a cup of tea,” you used agaru, never noboru. That’s because the focus was on reaching a place suitable for drinking tea—the interior of the house, a step up from the outside—rather than the process of moving indoors. For “to climb a mountain,” the reverse was true; the correct verb was definitely noboru, as the emphasis was on the action of physically moving up the face of the mountain toward the summit, not just the moment of reaching the summit. Then what about that expression ten ni mo noboru kimochi (a feeling of rising to heaven)? Majime ruminated on the feeling he had experienced a moment before. Noboru was correct, not agaru, because his joy still had room to grow; he hadn’t yet attained heaven itself. Then he thought of something else.

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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.