Beautiful Odor Quotes

I Am Vertical But I would rather be horizontal. I am not a tree with my root in the soil Sucking up minerals and motherly love So that each March I may gleam into leaf, Nor am I the beauty of a garden bed Attracting my share of Ahs and spectacularly painted, Unknowing I must soon unpetal. Compared with me, a tree is immortal And a flower-head not tall, but more startling, And I want the one's longevity and the other's daring. Tonight, in the infinitesimal light of the stars, The trees and flowers have been strewing their cool odors. I walk among them, but none of them are noticing. Sometimes I think that when I am sleeping I must most perfectly resemble them-- Thoughts gone dim. It is more natural to me, lying down. Then the sky and I are in open conversation, And I shall be useful when I lie down finally: The the trees may touch me for once, and the flowers have time for me. "I Am Vertical", 28 March 1961

Belatedly I loved thee, O Beauty so ancient and so new, belatedly I loved thee. For see, thou wast within and I was without, and I sought thee out there. Unlovely, I rushed heedlessly among the lovely things thou hast made. Thou wast with me, but I was not with thee. These things kept me far from thee; even though they were not at all unless they were in thee. Thou didst call and cry aloud, and didst force open my deafness. Thou didst gleam and shine, and didst chase away my blindness. Thou didst breathe fragrant odors and I drew in my breath; and now I pant for thee. I tasted, and now I hunger and thirst. Thou didst touch me, and I burned for thy peace.

Masculine exhalations are, as a rule, stronger, more vivid,more widely differentiated than those of women. In the odor of young men there is something elemental, as of fire, storm, and salt sea. It pulsates with buoyancy and desire. It suggests all the things strong and beautiful and joyous and gives me a sense of physical happiness.

What a face this girl possessed!—could I not gaze at it every day I would need to recreate it through painting, sculpture, or fatherhood until a second such face is born. Her face, at once innocent and feral, soft and wild! Her mouth voluptuous. Eyes deep as oceans, her eyes as wide as planets. I likened her to the slender Psyché and judged that the perfection of her face ennobled everything unclean around her: the dusty hems of her bunched-up skirt, the worn straps of her nightshirt; the blackened soles of her tiny bare feet, the coal-stained balcony bricks upon which she sat, and that dusty wrought-ironwork that framed her perch. All this and the pungent air!—almost foul, with so many odors. Ô, that and the spicy night! …Pungency, spice, filth and night, dust and light; all things dark did blossom in sight; flower and bloom, the night has its pearl too—the moon! And once a month it will make the face of this tender girl bloom.

The odors of perfume were fanned out on the summer air by the whirling vents of the grottoes where the women hid like undersea creatures, under electric cones, their hair curled into wild whorls and peaks, their eyes shrewd and glassy, animal and sly, their mouths painted a neon red.

I saw thee once - only once - years ago: I must not say how many - but not many. It was a July midnight; and from out A full-orbed moon, that, like thine own soul, soaring, Sought a precipitate pathway up through heaven, There fell a silvery-silken veil of light, With quietude, and sultriness, and slumber, Upon the upturn'd faces of a thousand Roses that grew in an enchanted garden, Where no wind dared stir, unless on tiptoe - Fell on the upturn'd faces of these roses That gave out, in return for the love-light, Their odorous souls in an ecstatic death - Fell on the upturn'd faces of these roses That smiled and died in the parterre, enchanted By thee, and by the poetry of thy presence. Clad all in white, upon a violet bank I saw thee half reclining; while the moon Fell upon the upturn'd faces of the roses, And on thine own, upturn'd - alas, in sorrow! Was it not Fate, that, on this July midnight - Was it not Fate, (whose name is also Sorrow,) That bade me pause before that garden-gate, To breathe the incense of those slumbering roses? No footsteps stirred: the hated world all slept, Save only thee and me. (Oh, Heaven! - oh, G**! How my heart beats in coupling those two words!) Save only thee and me. I paused - I looked - And in an instant all things disappeared. (Ah, bear in mind the garden was enchanted!) The pearly lustre of the moon went out: The mossy banks and the meandering paths, The happy flowers and the repining trees, Were seen no more: the very roses' odors Died in the arms of the adoring airs. All - all expired save thee - save less than thou: Save only divine light in thine eyes - Save but the soul in thine uplifted eyes. I saw but them - they were the world to me. I saw but them - saw only them for hours - Saw only them until the moon went down. What wild heart-histories seemed to lie enwritten Upon those crystalline, celestial spheres! How dark a wo! yet how sublime a hope! How silently serene a sea of pride! How daring an ambition! yet how deep - How fathomless a capacity for love! But now, at length, dear Dian sank from sight, Into a western couch of thunder-cloud; And thou, a ghost, amid the entombing trees Didst glide away. Only thine eyes remained. They would not go - they never yet have gone. Lighting my lonely pathway home that night, They have not left me (as my hopes have) since. They follow me - they lead me through the years. They are my ministers - yet I their slave. Their office is to illumine and enkindle - My duty, to be saved by their bright fire, And purified in their electric fire, And sanctified in their elysian fire. They fill my soul with Beauty (which is Hope,) And are far up in Heaven - the stars I kneel to In the sad, silent watches of my night; While even in the meridian glare of day I see them still - two sweetly scintillant Venuses, unextinguished by the sun!

A little thing, like children putting flowers in my hair, can fill up the widening cracks in my self-assurance like soothing lanolin. I was sitting out on the steps today, uneasy with fear and discontent. Peter, (the little boy-across-the-street) with the pointed pale face, the grave blue eyes and the slow fragile smile came bringing his adorable sister Libby of the flaxen braids and the firm, lyrically-formed child-body. They stood shyly for a little, and then Peter picked a white petunia and put it in my hair. Thus began an enchanting game, where I sat very still, while Libby ran to and fro gathering petunias, and Peter stood by my side, arranging the blossoms. I closed my eyes to feel more keenly the lovely delicate-child-hands, gently tucking flower after flower into my curls. "And now a white one," the lisp was soft and tender. Pink, crimson, scarlet, white ... the faint pungent odor of the petunias was hushed and sweet. And all my hurts were smoothed away. Something about the frank, guileless blue eyes, the beautiful young bodies, the brief scent of the dying flowers smote me like the clean quick cut of a knife. And the blood of love welled up in my heart with a slow pain.

Fear. That’s right. That was the odor I couldn’t place before. That’s the smell of my beautiful, breaking country.

Whether that lady's gentle mind, No longer with the form combined Which scattered love, as stars do light, Found sadness where it left delight, I dare not guess; but in this life Of error, ignorance, and strife, Where nothing is, but all things seem, And we the shadows of the dream, It is a modest creed, and yet Pleasant if one considers it, To own that death itself must be, Like all the rest, a mockery. That garden sweet, that lady fair, And all sweet shapes and odors there, In truth have never passed away: 'Tis we, 'tis ours, are changed; not they. For love, and beauty, and delight, There is no death or change: their might Exceeds our organs, which endure No light, being themselves obscure. (--Conclusion, Autumn - A Dirge)

To Helen I saw thee once-once only-years ago; I must not say how many-but not many. It was a july midnight; and from out A full-orbed moon, that, like thine own soul, soaring, Sought a precipitate pathway up through heaven, There fell a silvery-silken veil of light, With quietude, and sultriness, and slumber Upon the upturn'd faces of a thousand Roses that grew in an enchanted garden, Where no wind dared to stir, unless on tiptoe- Fell on the upturn'd faces of these roses That gave out, in return for the love-light Thier odorous souls in an ecstatic death- Fell on the upturn'd faces of these roses That smiled and died in this parterre, enchanted by thee, by the poetry of thy prescence. Clad all in white, upon a violet bank I saw thee half reclining; while the moon Fell on the upturn'd faces of the roses And on thine own, upturn'd-alas, in sorrow! Was it not Fate that, on this july midnight- Was it not Fate (whose name is also sorrow) That bade me pause before that garden-gate, To breathe the incense of those slumbering roses? No footstep stirred; the hated world all slept, Save only thee and me. (Oh Heaven- oh, God! How my heart beats in coupling those two worlds!) Save only thee and me. I paused- I looked- And in an instant all things disappeared. (Ah, bear in mind this garden was enchanted!) The pearly lustre of the moon went out; The mossy banks and the meandering paths, The happy flowers and the repining trees, Were seen no more: the very roses' odors Died in the arms of the adoring airs. All- all expired save thee- save less than thou: Save only the divine light in thine eyes- Save but the soul in thine uplifted eyes. I saw but them- they were the world to me. I saw but them- saw only them for hours- Saw only them until the moon went down. What wild heart-histories seemed to lie enwritten Upon those crystalline, celestial spheres! How dark a woe! yet how sublime a hope! How silently serene a sea of pride! How daring an ambition!yet how deep- How fathomless a capacity for love! But now, at length, dear Dian sank from sight, Into western couch of thunder-cloud; And thou, a ghost, amid the entombing trees Didst glide away. Only thine eyes remained. They would not go- they never yet have gone. Lighting my lonely pathway home that night, They have not left me (as my hopes have) since. They follow me- they lead me through the years. They are my ministers- yet I thier slave Thier office is to illumine and enkindle- My duty, to be saved by thier bright light, And purified in thier electric fire, And sanctified in thier Elysian fire. They fill my soul with Beauty (which is Hope), And are far up in heaven- the stars I kneel to In the sad, silent watches of my night; While even in the meridian glare of day I see them still- two sweetly scintillant Venuses, unextinguished by the sun!

An Evening Air I go out in the grey evening In the air the odor of flowers and the sounds of lamentation. I go out into the hard loneliness of the barren field of grey evening In the air the odor of flowers and the sounds of lamentation. In the gathering darkness a long, swift train suddenly Passes me like a lighting. Hard and ponderous and loud are the wheels. As ponderous as the darkness, and as beautiful. I look on, enchanted, and listen to the sounds of lamentation In the soft fragrant air. The long rails, grey-dark, smooth as a serpent, shiver, and A soft, low thing cries out in the distance, But the sounds are hard and heavy, In the air the odor of flowers and the sounds of lamentation.

One of Francie's favorite stores was the one which sold nothing but tea, coffee, and spices. It was an exciting place of rows of lacquered bins and strange, romantic, exotics odors. There were a dozen scarlet coffee bins with adventurous words written across the front in black China ink: Brazil! Argentine! Turkish! Java! Mixed Blend! The tea was in smaller bins: beautiful bins with sloping covers. They read: Oolong! Formosa! Orange Pekoe! Black China! Flowering Almond! Jasmine! Irish Tea! The spices were in miniature bins behind the counter. Their names marches in a row across the shelves: cinnamon-- cloves-- ginger-- all-spice-- ball nutmeg--curry-- peppercorns-- sage-- thyme-- marjoram.

I want to marry you, Malda - because I love you - because you are young and strong and beautiful - because you are wild and sweet and - fragrant, and - elusive, like the wild flowers you love. Because you are so truly an artist in your special way, seeing beauty and giving it to others. I love you because of all of this, because you are rational and highminded and capable of friendship - and in spite of your cooking!” “But - how do you want to live?” “As we did here - at first,” he said. “There was peace, exquisite silence. There was beauty - nothing but beauty. There were the clean wood odors and flowers and fragrances and sweet wild wind. And there was you - your fair self, always delicately dressed, with white firm fingers sure of touch in delicate true work. I loved you then.

The room has Nic’s smell—not the sweet childhood smell he once had, but a cloying odor of incense and marijuana, cigarettes and aftershave, possibly a trace of ammonia or formaldehyde, the residual odor of burning meth. Smells like teen spirit.

But enough of that--here I am. Hineni! How marvelously beautiful it is today. He stopped in the overgrown yard, shut his eyes in the sun, against flashes of crimson, and drew in the odors of catalpa-bells, soil, honeysuckle, wild onions, and herbs.

In praise of mu husband's hair A woman is alone in labor, for it is an unfortunate fact that there is nobody who can have the baby for you. However, this account would be inadequate if I did not speak to the scent of my husband's hair. Besides the cut flowers he sacrifices his lunches to afford, the purchase of bags of licorice, the plumping of pillows, steaming of fish, searching out of chic maternity dresses, taking over of work, listening to complaints and simply worrying, there was my husband's hair. His hair has always amazed stylists in beauty salons. At his every first appointment they gather their colleagues around Michael's head. He owns glossy and springy hair, of an animal vitality and resilience that seems to me so like his personality. The Black Irish on Michael's mother's side of the family have changeable hair--his great-grandmother's hair went from black to gold in old age. Michael's went from golden-brown of childhood to a deepening chestnut that gleams Modoc black from his father under certain lights. When pushing each baby I throw my arm over Michael and lean my full weight. When the desperate part is over, the effort, I turn my face into the hair above his ear. It is as though I am entering a small and temporary refuge. How much I want to be little and unnecessary, to stay there, to leave my struggling body at the entrance. Leaves on a tree all winter that now, in your hand, crushed, give off a dry, true odor. The brass underside of a door knocker in your fingers and its faint metallic polish. Fresh potter's clay hardening on the wrist of a child. The slow blackening of Lent, timeless and lighted with hunger. All of these things enter into my mind when drawing into my entire face the scent of my husband's hair. When I am most alone and drowning and I think I cannot go on, it is breathing into his hair that draws me to the surface and restores my small courage.

When it came time to retire to his chamber for the night, the khan had his pick of beautiful young women, all of whom had been tested to make sure that they did not snore, have bad breath, or discharge any unpleasant body odors.

You have already proven yourself very capable, even in our short time together. And besides, you have judged many throughout your life. You have judged the actions and even the motivations of others, as if you somehow knew what those were in truth. You have judged the color of skin and body language and body odor. You have judged history and relationships. You have even judged the value of a person’s life by the quality of your concept of beauty. By all accounts, you are quite well practiced in the activity.

Ohhhhh." A lush-bodied girl in the prime of her physical beauty. In an ivory georgette-crepe sundress with a halter top that gathers her breasts up in soft undulating folds of the fabric. She's standing with bare legs apart on a New York subway grating. Her blond head is thrown rapturously back as an updraft lifts her full, flaring skirt, exposing white cotton panties. White cotton! The ivory-crepe sundress is floating and filmy as magic. The dress is magic. Without the dress the girl would be female meat, raw and exposed. She's not thinking such a thought! Not her. She's an American girl healthy and clean as a Band-Aid. She's never had a soiled or a sulky thought. She's never had a melancholy thought. She's never had a savage thought. She's never had a desperate thought. She's never had an un-American thought. In the papery-thin sundress she's a nurse with tender hands. A nurse with luscious mouth. Sturdy thighs, bountiful breasts, tiny folds of baby fat at her armpits. She's laughing and squealing like a four year-old as another updraft lifts her skirt. Dimpled knees, a dancer's strong legs. This husky healthy girl. The shoulders, arms, breasts belong to a fully mature woman but the face is a girl's face. Shivering in New York City mid-summer as subway steam lifts her skirt like a lover's quickened breath. "Oh! Ohhhhh." It's nighttime in Manhattan, Lexington Avenue at 51st Street. Yet the white-white lights exude the heat of midday. The goddess of love has been standing like this, legs apart, in spike-heeled white sandals so steep and so tight they've permanently disfigured her smallest toes, for hours. She's been squealing and laughing, her mouth aches. There's a gathering pool of darkness at the back of her head like tarry water. Her scalp and her pubis burn from the morning's peroxide applications. The Girl with No Name. The glaring-white lights focus upon her, upon her alone, blond squealing, blond laughter, blond Venus, blond insomnia, blond smooth-shaven legs apart and blond hands fluttering in a futile effort to keep her skirt from lifting to reveal white cotton American-girl panties and the shadow, just the shadow, of the bleached crotch. "Ohhhhhh." Now she's hugging herself beneath her big bountiful breasts. Her eyelids fluttering. Between the legs, you can trust she's clean. She's not a dirty girl, nothing foreign or exotic. She's an American slash in the flesh. That emptiness. Guaranteed. She's been scooped out, drained clean, no scar tissue to interfere with your pleasure, and no odor. Especially no odor. The Girl with No Name, the girl with no memory. She has not lived long and she will not live long.

Beside her the two dozen schoolgirls and debutantes, young married women and waifs and strays whom he had known were so many females, in the word's most contemptuous sense, breeders and bearers, exuding still that faintly odorous atmosphere of the cave and the nursery.

As if in answer to her question, an odor of decay seeped through thee doorway from the darkened shop. Senescence, she thought. A beautiful word for what happened to all living things as they progressed toward death. Petals fading, leaves falling, stems beginning to rot.

My soul will not sleep For want of my sister The river runs between us And I am sick with loss. My pool is broken By ripples unending, For the wind has blown her far away, The wind has blown her far away. Oh, sister, your perfume Is like honey dropped in water. Like spices and pomegranates, You stain my mouth with longing. My pool is broken By ripples unending; The wind has blown your odor far away, The wind has blown your odor far away. The gods have made your love Like the advance of flames on straw, My longing like the downward stoop Of the falcon in bright flight. My pool is broken By ripples unending. I will fly to you on wind far away, I will fly to you on wind far away. I am a hunted goose, a hunted one; The beauty of your shining hair Is a bait to trap me in your net; Your eyes, a snare of meryu-wood. Gratefully I fall Into ripples unending. Hunt me, sister, far away. Hunt me, sister, far away.

I have perceiv’d that to be with those I like is enough, To stop in company with the rest at evening is enough, To be surrounded by beautiful, curious, breathing, laughing flesh is enough, To pass among them or touch any one, or rest my arm ever so lightly round his or her neck for a moment, what is this then? I do not ask any more delight, I swim in it as in a sea. There is something in staying close to men and women and looking on them, and in the contact and odor of them, that pleases the soul well, All things please the soul, but these please the soul well

Aside the narrow path leading from the house entrance door to the wicket, the perennials like variegated carnations and creamy color spots of pyrethrum made a curvy line looking like a kind of flowery brook falling into the odorous ocean of phloxes at the gate.

I have perceiv’d that to be with those I like is enough, To stop in company with the rest at evening is enough, To be surrounded by beautiful, curious, breathing, laughing flesh is enough, To pass among them or touch any one, or rest my arm ever so lightly round his or her neck for a moment, what is this then? I do not ask any more delight, I swim in it as in a sea. There is something in staying close to men and women and looking on them, and in the contact and odor of them, that pleases the soul well, All things please the soul, but these please the soul well.

You can have the room just off this one. I can lend you everything you need." Collins's eyes implored her like a dog's; Captain Wolf's arm had settled familiarly around Rachael's waist; they were waiting. But the lure of promiscuity, colorful, various, labyrinthine, and ever a little odorous and stale, had no call or promise for Gloria. Had she so desired she would have remained, without hesitation, without regret; as it was she could face coolly the six hostile and offended eyes that followed her out into the hall with forced politeness and hollow words. "He wasn't even sport, enough to try to take me home," she thought in the taxi, and then with a quick surge of resentment: "How utterly common!" GALLANTRY

Gran Gran recalled the bloodstained dress she had taken off the girl. It was made of blue silk muslin and finely embroidered, stitched by somebody who knew what they were doing. She hated having to toss the ruined garment into the stove. The smell had sickened her. Since she was a girl, she had never forgotten the odor of beautiful things set afire. Such a waste!

I. In the greenest of our valleys, By good angels tenanted, Once a fair and stately palace - Radiant palace - reared its head. In the monarch Thought's dominion - It stood there ! Never seraph spread a pinion Over fabric half so fair. II. Banners yellow, glorious, golden, On its roof did float and flow; (This - all this - was in the olden Time long ago) And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A winged odor went away. III. Wanderers in that happy valley Through two luminous windows saw Spirits moving musically To a lute's well-tunéd law, Round about a throne, where sitting (Porphyrogene !) In state his glory well befitting, The ruler of the realm was seen. IV. And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing, And sparkling evermore, A troop of Echoes whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king. V. But evil things, in robes of sorrow, Assailed the monarch's high estate ; (Ah, let us mourn, for never morrow Shall dawn upon him, desolate !) And, round about his home, the glory That blushed and bloomed Is but a dim-remembered story Of the old time entombed. VI. And travellers now within that valley, Through the red-litten windows, see Vast forms that move fantastically To a discordant melody ; While, like a rapid ghastly river, Through the pale door, A hideous throng rush out forever, And laugh - but smile no more.

The foreigners who heard the noise in the dining room and hastened to remove the body noticed the suffocating odor of Remedios the Beauty on his skin. It was so deep in his body that the cracks in his skull did not give off blood but an amber-colored oil that was impregnated with that secret perfume, and then they understood that the smell of Remedios the Beauty kept on torturing men beyond death, right down to the dust of their bones.

Almost impersonally he was convinced that no woman he had ever met compared in any way with Gloria. She was deeply herself; she was immeasurably sincere—of these things he was certain. Beside her the two dozen schoolgirls and débutantes, young married women and waifs and strays whom he had known were so many females, in the word’s most contemptuous sense, breeders and bearers, exuding still that faintly odorous atmosphere of the cave and the nursery.

In recent years I had begun to be interested in fashion. But sometimes—especially when I had dressed not only to make a good impression in general but for a man—preparing myself (this was the word) seemed to me to have something ridiculous about it. All that struggle, all that time spent camouflaging myself when I could be doing something else. The colors that suited me, the ones that didn’t, the styles that made me look thinner, those that made me fatter, the cut that flattered me, the one that didn’t. A lengthy, costly preparation. Reducing myself to a table set for the sexual appetite of the male, to a well-cooked dish to make his mouth water. And then the anguish of not succeeding, of not seeming pretty, of not managing to conceal with skill the vulgarity of the flesh with its moods and odors and imperfections. But I had done it. I had done it also for Nino, recently. I had wanted to show him that I was different. But now, enough. He had brought his wife and it seemed to me a mean thing. I hated competing in looks with another woman, especially under the gaze of a man, and I suffered at the thought of finding myself in the same place with the beautiful girl I had seen in the photograph, it made me sick to my stomach. She would size me up, study every detail with the pride of a woman of Via Tasso taught since birth to attend to her body; then, at the end of the evening, alone with her husband, she would criticize me with cruel lucidity.

Her eyes were deep blue. Long eye lashes guarded them as if they were guarding a treasure of immense value. One could feel the freshness of her milky skin. Her faint odor hung around her and her silken hairs danced in the wind. She moved in slow, measured steps, her shapely figure floating in the air. A long, white, silver brocaded gown followed her as a lone sentry. Now and then she would brush her black hairs back with a careless flourish and silently admonish the wind with a nonchalance of a child.

It is a marvel whence this perfect flower derives its loneliness and perfume, springing as it does from the black mud over which the river sleeps, and where lurk the slimy eel, and speckled frog, and the mud turtle, whom continual washing cannot cleanse. It is the very same black mud out of which the yellow lily sucks its obscene life and noisome odor. Thus, we see, too, in the world that some persons assimilate only what is ugly and evil from the same moral circumstances which supply good and beautiful results -- the fragrance of celestial flowers -- to the daily life of others.

How on earth was this woman a spinster? She was an earl's daughter, surely possessed of a large dowry. If none of the title-hungry, debt-ridden layabouts in Mayfair had seen fit to propose marriage, simple logic dictated there must be something remarkably off-putting about her. An unbearably grating voice, perhaps. A snaggletooth, or poor personal hygiene. But she displayed none of those features. She was young and pretty, with no detectable odor. Her teeth were a string of pearls, and she had a voice like sunshine. There was nothing off-putting about her whatsoever. She was... on-putting, in every way.

They sat eating ham sandwiches and fresh strawberries and waxy oranges and Mr. Tridden told them how it had been twenty years ago, the band playing on that ornate stand at night, the men pumping air into their brass horns, the plump conductor flinging perspiration from his baton, the children and fireflies running in the deep grass, the ladies with long dresses and high pompadours treading the wooden xylophone walks with men in choking collars. There was the walk now, all softened into a fiber mush by the years. The lake was silent and blue and serene, and fish peacefully threaded the bright reeds, and the motorman murmured on and on, and the children felt it was some other year, with Mr. Tridden looking wonderfully young, his eyes lighted like small bulbs, blue and electric. It was a drifting, easy day, nobody rushing, and the forest all about, the sun held in one position, as Mr. Tridden's voice rose and fell, and a darning needle sewed along the air, stitching, restitching designs both golden and invisible. A bee settled into a flower, humming and humming. The trolley stood like an enchanted calliope, simmering where the sun fell on it. The trolley was on their hands, a brass smell, as they ate ripe cherries. The bright odor of the trolley blew from their clothes on the summer wind.

Sweet Rose of Virtue Sweet rose of virtue and of gentleness, delightful lily of youthful wantonness, richest in bounty and in beauty clear and in every virtue that is held most dear― except only that you are merciless. Into your garden, today, I followed you; there I saw flowers of freshest hue, both white and red, delightful to see, and wholesome herbs, waving resplendently― yet everywhere, no odor but bitter rue. I fear that March with his last arctic blast has slain my fair rose of pallid and gentle cast, whose piteous death does my heart such pain that, if I could, I would compose her roots again― so comforting her bowering leaves have been.

But, alas, I have such a limited spirit, so feeble a memory, that I can’t make any progress. This long illness has parched my poor head. How painful it is to me to open these big books! The odor of damp parchment makes me faint, and all the letters aligned and printed with discouraging symmetry make me dizzy. [...] Just yesterday I confused “objectivity” with “subjectivity” and last night I dreamed about the definition of the absolute. I dreamed I was in a beautiful meadow and watched the flow of a stream of living water. It seemed to me that there were some words written in the depths of its transparent bed, and I read there all sorts of beautiful things, as though in a book.

Parts of it are surprisingly beautiful. On a vast stretch on chromosome eleven, for instance, there is a causeway dedicated entirely to the sensation of smell. Here, a cluster of 155 closely related genes encodes a series of protein receptors that are professional smell sensors. Each receptor binds to a unique chemical structure, like a key to a lock, and generates a distinctive sensation of smell in the brain—spearmint, lemon, caraway, jasmine, vanilla, ginger, pepper. An elaborate form of gene regulation ensures that only one odor-receptor gene is chosen from this cluster and expressed in a single smell-sensing neuron in the nose, thereby enabling us to discriminate thousands of smells.

I. In the greenest of our valleys, By good angels tenanted, Once a fair and stately palace— Radiant palace—reared its head. In the monarch Thought’s dominion— It stood there! Never seraph spread a pinion Over fabric half so fair. II. Banners yellow, glorious, golden, On its roof did float and flow (This—all this—was in the olden Time long ago); THE FALL OF THE HOUSE OF USHER14 And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A winged odor went away. III. Wanderers in that happy valley Through two luminous windows saw Spirits moving musically To a lute’s well-tunèd law; Round about a throne, where sitting (Porphyrogene!) In state his glory well befitting, The ruler of the realm was seen. IV. And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing And sparkling evermore, A troop of Echoes whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king. V. But evil things, in robes of sorrow, Assailed the monarch’s high estate; (Ah, let us mourn, for never morrow Shall dawn upon him, desolate!) And, round about his home, the glory That blushed and bloomed EDGAR ALLAN POE 15 Is but a dim-remembered story Of the old time entombed. VI. And travellers now within that valley, Through the red-litten windows see Vast forms that move fantastically To a discordant melody; While, like a rapid ghastly river, Through the pale door, A hideous throng rush out forever, And laugh—but smile no more.

Moving on, while he wondered, the dark through which Mr. Lecky's light cut grew more beautiful with scents. Particles of solid matter so minute, gases so subtle, that they filtered through stopping and sealing, hung on the unstirred air. Drawn in with Mr. Lecky's breath came impalpable dews cooked out of disintegrating coal. Distilled, chemically split and reformed, they ended in flawless simulation of the aromas of gums, the scent of woods and the world's flowers. The chemists who made them could do more than that. Loose on the gloom were perfumes of flowers which might possibly have bloomed but never had, and the strong-smelling saps of trees either lost or not yet evolved. Mixed in the mucus of the pituitary membrane, these volatile essences meant more than synthetic chemistry to Mr. Lecky. Their microscopic slime coated the bushed-out ends of the olfactory nerve; their presence was signaled to the anterior of the brain's temporal lobe. At once, thought waited on them, tossing down from the great storehouse of old images, neglected ideas - sandalwood and roses, musk and lavender. Mr. Lecky stood still, wrung by pangs as insistent and unanswerable as hunger. He was prodded by the unrest of things desired, not had; the surfeit of things had, not desired. More than anything he could see, or words, or sounds, these odors made him stupidly aware of the past. Unable to remember it, whence he was, or where he had previously been, all that was sweet, impermanent and gone came back not spoiled by too much truth or exact memory. Volatile as the perfumes, the past stirred him with longing for what was not - the only beloved beauty which you will have to see but which you may not keep. Mr. Lecky's beam of light went through glass top and side of a counter, displayed bottles of colored liquid - straw, amber, topaz - threw shadows behind their diverse shapes. He had no use for perfume. All the distraction, all the sense of loss and implausible sweetness which he felt was in memory of women. Behind the counter, Mr. Lecky, curious, took out bottles, sniffed them, examined their elaborately varied forms - transparent squares, triangles, cones, flattened ovals. Some were opaque, jet or blue, rough with embedded metals in intricate design. This great and needless decoration of the flasks which contained it was one strange way to express the inexpressible. Another way was tried in the names put on the bottles. Here words ran the suggestive or symbolic gamut of idealized passion, or festive night, of desired caresses, or of abstractions of the painful allure yet farther fetched. Not even in the hopeful, miracle-raving fancy of those who used the perfumes could a bottle of liquid have any actual magic. Since the buyers at the counters must be human beings, nine of every ten were beyond this or other help. Women, young, but unlovely and unloved, women, whatever they had been, now at the end of it and ruined by years or thickened to caricature by fat, ought to be the ones called to mind by perfume. But they were not. Mr. Lecky held the bottle in his hand a long while, aware of the tenth woman.

Between Myself and Death To Jimmy Blanton's Music: Sophisticated Lady, Body and Soul A fervor parches you sometimes, And you hunch over it, silent, Cruel, and timid; and sometimes You are frightened with wantonness, And give me your desperation. Mostly we lurk in our coverts, Protecting our spleens, pretending That our bandages are our wounds. But sometimes the wheel of change stops; Illusion vanishes in peace; And suddenly pride lights your flesh— Lucid as diamond, wise as pearl— And your face, remote, absolute, Perfect and final like a beast's. It is wonderful to watch you, A living woman in a room Full of frantic, sterile people, And think of your arching buttocks Under your velvet evening dress, And the beautiful fire spreading From your sex, burning flesh and bone, The unbelievably complex Tissues of your brain all alive Under your coiling, splendid hair. * * * I like to think of you naked. I put your naked body Between myself alone and death. If I go into my brain And set fire to your sweet nipples, To the tendons beneath your knees, I Can see far before me. It is empty there where I look, But at least it is lighted. I know how your shoulders glisten, How your face sinks into trance, And your eves like a sleepwalker's, And your lips of a woman Cruel to herself. I like to Think of you clothed, your body Shut to the world and self contained, Its wonderful arrogance That makes all women envy you. I can remember every dress, Each more proud then a naked nun. When I go to sleep my eves Close in a mesh of memory. Its cloud of intimate odor Dreams instead of myself.

If he says, “I'm dropping a pearl,” or “A pearl slipped,” he means that he has farted in a certain way, very softly, that the fart has flowed out very quietly. Let us wonder at the fact that it does suggest a pearl of dull sheen: the flowing, the muted leak, seems to us as milky as the paleness of a pearl, that is, slightly cloudy. It makes Darling seem to us a kind of precious gigolo, a Hindu, a princess, a drinker of pearls. The odor he has silently spread in the prison has the dullness of the pearl, coils about him, haloes him from head to foot, isolates him, but isolates him much less than does the remark that his beauty does not fear to utter. “I'm dropping a pearl” means that the fart is noiseless. If it rumbles, then it is coarse, and if it's some jerk who drops it, Darling says, “My cock's house is falling down!

Sunday Morning V She says, "But in contentment I still feel The need of some imperishable bliss." Death is the mother of beauty; hence from her, Alone, shall come fulfilment to our dreams And our desires. Although she strews the leaves Of sure obliteration on our paths, The path sick sorrow took, the many paths Where triumph rang its brassy phrase, or love Whispered a little out of tenderness, She makes the willow shiver in the sun For maidens who were wont to sit and gaze Upon the grass, relinquished to their feet. She causes boys to pile new plums and pears On disregarded plate. The maidens taste And stray impassioned in the littering leaves. VI Is there no change of death in paradise? Does ripe fruit never fall? Or do the boughs Hang always heavy in that perfect sky, Unchanging, yet so like our perishing earth, With rivers like our own that seek for seas They never find, the same receding shores That never touch with inarticulate pang? Why set the pear upon those river-banks Or spice the shores with odors of the plum? Alas, that they should wear our colors there, The silken weavings of our afternoons, And pick the strings of our insipid lutes! Death is the mother of beauty, mystical, Within whose burning bosom we devise Our earthly mothers waiting, sleeplessly. VII Supple and turbulent, a ring of men Shall chant in orgy on a summer morn Their boisterous devotion to the sun, Not as a god, but as a god might be, Naked among them, like a savage source. Their chant shall be a chant of paradise, Out of their blood, returning to the sky; And in their chant shall enter, voice by voice, The windy lake wherein their lord delights, The trees, like serafin, and echoing hills, That choir among themselves long afterward. They shall know well the heavenly fellowship Of men that perish and of summer morn. And whence they came and whither they shall go The dew upon their feet shall manifest. VIII She hears, upon that water without sound, A voice that cries, "The tomb in Palestine Is not the porch of spirits lingering. It is the grave of Jesus, where he lay." We live in an old chaos of the sun, Or old dependency of day and night, Or island solitude, unsponsored, free, Of that wide water, inescapable. Deer walk upon our mountains, and the quail Whistle about us their spontaneous cries; Sweet berries ripen in the wilderness; And, in the isolation of the sky, At evening, casual flocks of pigeons make Ambiguous undulations as they sink, Downward to darkness, on extended wings

It was surprising how well we got along in these weeks. Sometimes I found it hard to remember his treachery, sometimes I discovered myself thoughtlessly slipping back into affection for him again. It was hard to remember when one summer day after another broke with a cool effulgence over us, and there was a breath of widening life in the morning air - something hard to describe - an oxygen intoxicant, a shining northern paganism, some odor, some feeling so hopelessly promising that I would fall back in my bed on guard against it. It was hard to remember in the heady and sensual clarity of these mornings; I forgot whom I hated and who hated me. I wanted to break out crying from stabs of hopeless joy, or intolerable promise, or because I knew these mornings were too full of beauty for me, because I knew of too much hate to be contained in a world like this.

So as I’m walking up and down the grocery aisles, I notice this distinct, mildewy, putrid odor following me. And I keep looking around for the responsible party, until I discover that she is me. I stink. When I get home, Craig rolls out of bed to help me with the groceries and I say “Honey, smell me. I stink.” And he sniffs my shirt and says without surprise, “Yes, you do.” And I say “Well, what IS that? It’s disgusting.” And he says the following: “It’s mildew. All our clothes smell like that. We always stink.” I’ll just give you a few seconds to digest that information. I know I needed a little time. “WHAT? WELL WHY DIDN’T YOU TELL ME, HUSBAND?” “I was scared to tell you. You get sensitive about …. housekeeping stuff.” “Oh. So let me clarify here. You’d rather reek all day at work and allow Chase to be THE STINKY KID IN CLASS than risk me getting mad? “Yes. Yes, I would. Definitely.

I am Vertical by Sylvia Plath But I would rather be horizontal. I am not a tree with my root in the soil Sucking up minerals and motherly love So that each March I may gleam into leaf, Nor am I the beauty of a garden bed Attracting my share of Ahs and spectacularly painted, Unknowing I must soon unpetal. Compared with me, a tree is immortal And a flower-head not tall, but more startling, And I want the one's longevity and the other's daring. Tonight, in the infinitesimal light of the stars, The trees and the flowers have been strewing their cool odors. I walk among them, but none of them are noticing. Sometimes I think that when I am sleeping I must most perfectly resemble them -- Thoughts gone dim. It is more natural to me, lying down. Then the sky and I are in open conversation, And I shall be useful when I lie down finally: Then the trees may touch me for once, and the flowers have time for me.

O Petronius, thou hast seen what endurance and comfort that religion gives in misfortune, how much patience and courage before death; so come and see how much happiness it gives in ordinary, common days of life. People thus far did not know a God whom man could love, hence they did not love one another; and from that came their misfortune, for as light comes from the sun, so does happiness come from love....Thou didst say to me that our teaching was an enemy of life; and I answer thee now, that, if from the beginning of this letter I had been repeating only the three words, ‘I am happy!’ I could not have expressed my happiness to thee. To this thou wilt answer, that my happiness is Lygia. True, my friend. Because I love her immortal soul, and because we both love each other in Christ; for such love there is no separation, no deceit, no change, no old age, no death. For, when youth and beauty pass, when our bodies wither and death comes, love will remain, for the spirit remains. Before my eyes were open to the light I was ready to burn my own house even, for Lygia’s sake; but now I tell thee that I did not love her, for it was Christ who first taught me to love. In Him is the source of peace and happiness. It is not I who say this, but reality itself. Compare thy own luxury, my friend, lined with alarm, thy delights, not sure of a morrow, thy orgies, with the lives of Christians, and thou wilt find a ready answer. But, to compare better, come to our mountains with the odor of thyme, to our shady olive groves on our shores lined with ivy. A peace is waiting for thee, such as thou hast not known for a long time, and hearts that love thee sincerely. Thou, having a noble soul and a good one, shouldst be happy. Thy quick mind can recognize the truth, and knowing it thou wilt love it. To be its enemy, like Cæsar and Tigellinus, is possible, but indifferent to it no one can be. O my Petronius, Lygia and I are comforting ourselves with the hope of seeing thee soon. Be well, be happy, and come to us.

But what does that mean, protect, it’s only a word. I could make you, now, a detailed list of all the coverings, large and small, that I constructed to keep myself hidden, and yet they were of no use to me. Do you remember how the night sky of Ischia horrified me? You all said how beautiful it is, but I couldn’t. I smelled an odor of rotten eggs, eggs with a greenish-yellow yolk inside the white and inside the shell, a hard-boiled egg cracked open. I had in my mouth poisoned egg stars, their light had a white, gummy consistency, it stuck to your teeth, along with the gelatinous black of the sky, I crushed it with disgust, I tasted a crackling of grit. Am I clear? Am I making myself clear? And yet on Ischia I was happy, full of love. But it was no use, my head always finds a chink to peer through, beyond—above, beneath, on the side—where the fear is. In Bruno’s factory, for example, the bones of the animals cracked in your fingers if you merely touched them, and a rancid marrow spilled out. I was so afraid that I thought I was sick. But was I sick? Did I really have a murmur in my heart? No. The only problem has always been the disquiet of my mind.

I have just spoken of that morbid condition of the auditory nerve which rendered all music intolerable to the sufferer, with the exception of certain effects of stringed instruments. It was, perhaps, the narrow limits to which he thus confined himself upon the guitar which gave birth, in great measure, to the fantastic character of his performances. But the fervid facility of his impromptus could not be so accounted for. They must have been, and were, in the notes, as well as in the words of his wild fantasies (for he not unfrequently accompanied himself with rhymed verbal improvisations), the result of that intense mental collectedness and concentration to which I have previously alluded as observable only in particular moments of the highest artificial excitement. The words of one of these rhapsodies I have easily remembered. I was, perhaps, the more forcibly impressed with it as he gave it, because, in the under or mystic current of its meaning, I fancied that I perceived, and for the first time, a full consciousness on the part of Usher of the tottering of his lofty reason upon her throne. The verses, which were entitled “The Haunted Palace,” ran very nearly, if not accurately, thus:— I. In the greenest of our valleys, By good angels tenanted, Once a fair and stately palace— Radiant palace—reared its head. In the monarch Thought’s dominion— It stood there! Never seraph spread a pinion Over fabric half so fair. II. Banners yellow, glorious, golden, On its roof did float and flow (This—all this—was in the olden Time long ago); And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A winged odor went away. III. Wanderers in that happy valley Through two luminous windows saw Spirits moving musically To a lute’s well-timed law; Round about a throne, where sitting (Porphyrogene!) In state his glory well befitting, The ruler of the realm was seen. IV. And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing And sparkling evermore, A troop of Echoes whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king. V. But evil things, in robes of sorrow, Assailed the monarch’s high estate; (Ah, let us mourn, for never morrow Shall dawn upon him, desolate!) And, round about his home, the glory That blushed and bloomed Is but a dim-remembered story Of the old time entombed. VI. And travellers now within that valley, Through the red-litten windows see Vast forms that move fantastically To a discordant melody; While, like a rapid ghastly river, Through the pale door; A hideous throng rush out forever, And laugh—but smile no more.

in the under or mystic current of its meaning, I fancied that I perceived, and for the first time, a full consciousness on the part of Usher, of the tottering of his lofty reason upon her throne. The verses, which were entitled "The Haunted Palace," ran very nearly, if not accurately, thus: I. In the greenest of our valleys, By good angels tenanted, Once a fair and stately palace— Radiant palace—reared its head. In the monarch Thought's dominion— It stood there! Never seraph spread a pinion Over fabric half so fair. II. Banners yellow, glorious, golden, On its roof did float and flow; (This—all this—was in the olden Time long ago) And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A winged odor went away. III. Wanderers in that happy valley Through two luminous windows saw Spirits moving musically To a lute's well-tunéd law, Round about a throne, where sitting (Porphyrogene!) In state his glory well befitting, The ruler of the realm was seen. IV. And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing, And sparkling evermore, A troop of Echoes whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king. V. But evil things, in robes of sorrow, Assailed the monarch's high estate; (Ah, let us mourn, for never morrow Shall dawn upon him, desolate!) And, round about his home, the glory That blushed and bloomed Is but a dim-remembered story Of the old time entombed. VI. And travellers now within that valley, Through the red-litten windows, see Vast forms that move fantastically To a discordant melody; While, like a rapid ghastly river, Through the pale door, A hideous throng rush out forever, And laugh—but smile no more.

He liked seeing the world through her eyes. The night, to him, was rather ordinary, overlaid with London's crowded odors and a damp that promised a deeply unlovely fog in the near future. But she preferred to consider the commonest patch of grass and the most unremarkable clump of trees worthy of a Constable canvas - in which case this night could very well have graced the ceiling of a great cathedral.

We might say that the child is a "natural" coward: he cannot have the strength to support the terror of creation. The world as it is, creation out of the void, things as they are, things as they not, are too much for us to be able to stand. or, better: they would be too much for us to bear without crumbling in a faint, trembling like a leaf, standing in a trance in response to the movement, colors, and odors of the world. I say "would be" because most of us- by the time we leave childhood-have repressed our vision of the primary miraculousness of creation. We have closed it off, changed it, and no longer perceive the world as it is to raw experience. Sometimes we may recapture this world by remembering some striking childhood perceptions, how suffused they were in emotion and wonder-how a favorite grandfather looked, or one's first love in his early teens. We change these heavily emotional perceptions precisely because we need to move about in the world with some kind of equanimity, some kind of strength and directness; we can't keep gaping with our heart in our mouth, greedily sucking up with our eyes everything great and powerful that strikes us. The great boon of repression is that it makes it possible to live decisively in an overwhelmingly miraculous and incomprehensible world, a world so full of beauty, majesty, and terror that if animals perceived it all they would be paralyzed to act.

Here are to be seen all the varied colors which Bierstadt and Church endeavor to represent in their mountain scenery. A journey across and around them on foot and upon horseback will well repay the tourist or artist. The air is pure and fragrant, and as exhorting as the purist wine; the climate entrancingly mild; the sky clear, and blue as the most beautiful sapphire, with here and there clouds of rarest loveliness, presenting to the eye the richest commingling of bright and varied colors; delightful odors are constantly being wafted by; while forests, filled with the mockingbird, the colibri, the hummingbird, and the thrush, constantly put forth a joyful chorus, and all combine to fill the soul with visions of delight and enhance the perfection and glory of the creation. Strong indeed must be the unbelief which can here contemplate nature in all her purity and glory, and unawed by the sublimity of this closely-connected testimony, question either the Divine origin or purpose of the beautiful firmament.

All the shall stand about the God of glory, the fountain of love, as it were opening their bosoms to be filled with those effusions of love which are poured forth from thence, as the flowers on the earth in a pleasant spring day open their bosoms to the sun to be filled with his warmth and light, and to flourish in beauty and fragrancy by his rays. Every saint is as a flower in the garden of God, and holy love is the fragrancy and sweet odor which they all send forth, with which they fill that paradise.

Monique was the most unlikely girl to be tending bar at a place like the French Hotel in Monrovia. She was the girl guys would ask, “What’s a sweet girl like you doing in a place like this?” I, like everyone else, liked Monique and always chatted her up. Monique loved the attention and had a heavy hand with the bottles. The later into the evening it got, the more she poured. In Liberia there were no laws holding a bartender responsible for the inebriated actions of their patrons and she was just being friendly. What’s more is that all the expats kept returning. Monique was a dark haired beauty. Slight of stature, she had a pleasant demeanor and a cute French accent. Having some difficulty with English, she would listen intently and try to repeat what was said. Her mannerisms were a delight to watch as she tended bar. For the men, in this hot forsaken place, Monique was a breath of fresh air and an attentive young female to talk to. Her French perfume was a most pleasant contrast to the foul odors that normally filled the air in Monrovia. I liked Monique, didn’t everyone? She was a hot French mademoiselle and looked the part with her cute slightly turned up nose, brown eyes and dark brown hair. In fact she looked very much like Leslie Caron. No one took photos like they do today, so just to give you an idea of how she looked, I was tempted to use a publicity photo of Leslie. However with copyright laws being what they are, I prudently resisted that idea. Although Monique always flirted with me, it was always in a cute or perhaps an innocent way. Without the little encouragement, which I hoped for, I was starting to think of her more like a sister. No, that wasn’t quite it. Although she was always flirtatious and cutesy, the truth was that she just wasn’t available to me and I didn’t know why.

The wallpaper with which the men of science have covered the world of reality is falling to tatters. The grand whorehouse which they have made of life requires no decoration. It is essential only that the drains function adequately. Beauty, that feline beauty which has us by the balls in America is finished. To fathom a new reality, it is first necessary to dismantle the drains. To lay open the gangrened ducts which compose the genitourinary system that supplies the excreta of art. The odor of the day is permanganate and formaldehyde. The drains are clogged with strangled embryos.

Try to draw an odor using crayons. You can’t even begin to try, no matter how many crayons you have in your box. That’s what it’s like describing NDEs with words. No matter how many words you use, you can’t really describe what an NDE is like. Lying awake in the dark, I tried forming sounds that would explain. Maybe music would do what speech could not. After all, no one can describe the beauty of certain sounds, sounds that move us to action or to tears. Yes, maybe music was the only form of communication that could explain the feelings of peace that never left.

For Mescal was there. Far away she must be, a mere grain of sand in all that world of drifting sands, perhaps ill, perhaps hurt, but alive, waiting for him, calling for him, crying out with a voice that no distance could silence. He did not see the sharp peaks as pitiless barriers, nor the mesas and domes as black-faced death, nor the moisture-drinking sands as life-sucking foes to plant and beast and man. That painted wonderland had sheltered Mescal for a year. He had loved it for its color, its change, its secrecy; he loved it now because it had not been a grave for Mescal, but a home. ‘Therefore he laughed at the deceiving yellow distances in the foreground of glistening mesas, at the deceiving purple distances of the far-off horizon, The wind blew a song in his ears; the dry desert odors were fragrance in his nostrils; the sand tasted sweet between his teeth, and the quivering heat-waves, veiling the desert in transparent haze, framed beautiful pictures for his eyes.

When I seek my God I seek not corporal grace, nor transient beauty, nor splendor, nor melodious sound, nor sweet fragrance of flowers, nor odorous essence, nor honeyed manna, nor grace of form, nor anything pleasing to the flesh. None of these things do I seek when I seek my God. But I seek a light exceeding all light, which the eyes cannot see; a voice sweeter than all sound, which the ear cannot hear; a sweetness above all sweetness, which the tongue cannot taste; a fragrance above all fragrance, which the senses cannot perceive; a mysterious and divine embrace, which the body cannot feel. For this light shines without radiance, this voice is heard without striking the air, this fragrance is perceived though the wind does not bear it, this taste inebriates with no palate to relish it, and this embrace is felt in the center of the soul." (Conf., L.10, 6; Solil., c. 31).

Twould take me half a lifetime to describe to you the wonders and the horrors of the future world. The garderobe, what they call the ODEC, is housed within a large chamber—a strange room with mechanical monstrosities and a dreadful buzz in the air as if lightning were always just about to strike, a sound they are all indifferent to, much as I became indifferent to the odors of Southwark. And this chamber in turn is inside a vast building, which is on a street full of vast buildings, in a city of streets with vast buildings. Larger than cathedrals some of them, but without ornament or even shape. Like building blocks for giants, so they are. No imagination or love of beauty at all. Everything functions without human or magical assistance, but I confess most breathlessly that whatever power keeps humanity and its many mechanical servants humming . . . it is far more dazzling than any magic I have ever seen performed. And I tell you straight out: suspicious this makes me, for what is the cause to bring magic back when it has been replaced by something clearly more serviceable? So the first riddle I put my mind to was this: in a world where carriages travel without beasts to pull them, and food is effortlessly abundant, and there is ample light to sunder any darkness, from all manner of peculiar torches, none of them given to burning down a place even if it is all wood, and where all and sundry wear grander clothes than most anyone in London and an astonishing variety what’s more . . . something there must be, some commodity or advantage, that magic can attain but mankind cannot yet. Nothing material can it be, for no magic I ever knew summoned such luxuries for royalty as everyday folk here take as commonplace.

you have judged many throughout your life. You have judged the actions and even the motivations of others, as if you somehow knew what those were in truth. You have judged the color of skin and body language and body odor. You have judged history and relationships. You have even judged the value of a person’s life by the quality of your concept of beauty. By all accounts, you are quite well practiced in the activity.” Mack felt shame reddening his face. He had to admit he had done an awful lot of judging in his time. But he was no different from anyone else, was he? Who doesn’t jump to conclusions about others from the way they impact us? There it was again—his self-centered view of the world around him. He looked up and saw her peering intently at him and quickly looked down again.