Beautiful Pots Quotes

He had heard about talking to plants in the early seventies, on Radio Four, and thought it was an excellent idea. Although talking is perhaps the wrong word for what Crowley did. What he did was put the fear of God into them. More precisely, the fear of Crowley. In addition to which, every couple of months Crowley would pick out a plant that was growing too slowly, or succumbing to leaf-wilt or browning, or just didn't look quite as good as the others, and he would carry it around to all the other plants. "Say goodbye to your friend," he'd say to them. "He just couldn't cut it. . . " Then he would leave the flat with the offending plant, and return an hour or so later with a large, empty flower pot, which he would leave somewhere conspicuously around the flat. The plants were the most luxurious, verdant, and beautiful in London. Also the most terrified.

Love is the very essence of life. It is the pot of gold at the end of the rainbow. Yet it is not found only at the end of the rainbow. Love is at the beginning also, and from it springs the beauty that arched across the sky on a stormy day. Love is the security for which children weep, the yearning of youth, the adhesive that binds marriage, and the lubricant that prevents devastating friction in the home; it is the peace of old age, the sunlight of hope shining through death. How rich are those who enjoy it in their associations with family, friends, and neighbors! Love, like faith, is a gift of God. It is also the most enduring and most powerful virtue.

There is a Beautiful Creature Living in a hole you have dug. So at night I set fruit and grains And little pots of wine and milk Besides your soft earthen mounds, And I often sing. But still, my dear, You do not come out. I have fallen in love with Someone Who hides inside you. We should talk about this problem-- Otherwise, I will never leave you alone.

I would give the greatest sunset in the world for one sight of New York's skyline. Particularly when one can't see the details. Just the shapes. The shapes and the thought that made them. The sky over New York and the will of man made visible. What other religion do we need? And then people tell me about pilgrimages to some dank pesthole in a jungle where they go to do homage to a crumbling temple, to a leering stone monster with a pot belly, created by some leprous savage. Is it beauty and genius they want to see? Do they seek a sense of the sublime? Let them come to New York, stand on the shore of the Hudson, look and kneel. When I see the city from my window - no, I don't feel how small I am - but I feel that if a war came to threaten this, I would throw myself into space, over the city, and protect these buildings with my body.

A person of high, rare mental gifts who is forced into a job which is merely useful is like a valuable vase decorated with the most beautiful painting and then used as a kitchen pot.

We have become not a melting pot but a beautiful mosaic. Different people, different beliefs, different yearnings, different hopes, different dreams.

If we’re not going to get married, we need to break up. So…shit or get off the pot, honey.” “That was beautiful,” murmured Father Bruce as he opened a menu.

I feel like I need to speak out, because if no one speaks out, if no one says, this is me, this is what I believe in, and this is why I'm different, and this is why that's okay, then what's the point? What's the point of living in this beautiful, great melting pot where everyone can dare be anything they want to be?

Here is something that the psychologists have so far neglected: the love of ugliness for its own sake, the lust to make the world intolerable. Its habitat is the United States. Out of the melting pot emerges a race which hates beauty as it hates truth.

But in one pot, close to the edge—where the petals had tumbled over—Sofia planted a rosebush, a white one, and waited for the blossoms and the thorns.

Though there had been moments of beauty in it Mariam knew that life for most part had been unkind to her. But as she walked the final twenty paces, she could not help but wish for more of it. She wished she could see Laila again, wished to hear the clangor of her laugh, to sit with her once more for a pot of chai and leftover halwa under a starlit sky. She mourned that she would never see Aziza grow up, would not see the beautiful young woman that she would one day become, would not get to paint her hands with henna and toss noqul candy at her wedding. She would never play with Aziza's children. She would have liked that very much , to be old and play with Aziza's children. Mariam wished for so much in those final moments. Yet as she closed her eyes, it was not regret any longer but a sensation of abundant peace that washed over her. She thought of her entry into this world, the harami child of a lowly villager, an unintended thing, a pitiable, regrettable accident. A weed. And yet she was leaving the world as a woman who had loved and been loved back. She was leaving it as a friend, a companion, a guardian. A mother. A person of consequence at last. No. It was not so bad , Mariam thought, that she should die this way. Not so bad. This was a legitimate end to a life of illegitimate beginnings.

She craves men but women are her most abiding lovers. Her friends are her soul mates, all the love without the consumption of sex and romance, a different kind of intimacy. Women make love by admiring each other, studying and envying each other and mixing it all up in a pot of devotion.

When I die I want them to play the BLACK AND CRAZY BLUES, I want to be cremated, put in a bag of pot and I want beautiful people to smoke me and hope they got something out of it. ∞

When the sunlight strikes raindrops in the air, they act like a prism and form a rainbow. The rainbow is a division of white light into many beautiful colors. These take the shape of a long round arch, with it’s path high above, and it’s two ends apparently beyond the horizon. There is, according to legend, a boiling pot of a gold at one end. People look, but no one ever finds it. When a man looks for something beyond his reach, his friends say he is looking for the pot of gold at the end of the rainbow.

In fact, the only things in the flat Crowley devoted any personal attention to were the houseplants. They were huge, and green, and glorious, with shiny, healthy, lustrous leaves. This was because, once a week, Crowley went around the flat with a green plastic plant mister spraying the leaves, and talking to the plants.... Although talking is perhaps the wrong word for what Crowley did. What he did was put the fear of God into them. More precisely, the fear of Crowley. In addition to which, every couple of months Crowley would pick out a plant that was growing too slowly, or succumbing to leaf-wilt, or browning, or just didn't look quite as good as the others, and he would carry it around to all the plants. "Say goodbye to your friend," he'd say to them. "He just couldn't cut it..." Then he would leave the flat with the offending plant, and return an hour or so later with a large empty flower pot, which he would leave somewhere conspicuously around the flat. The plants were the most luxurious, verdant, and beautiful in London. Also the most terrified.

EM Forster never gets any further than warming the tea pot... Is it not beautifully warm? Yes, but there ain't going to be no tea.

I slowed my pace. Years of hauling water, wringing out clothes, scrubbing floors, emptying chamber pots, with no chance of beauty or color or light in my life, stretched before me like a landscape of flat land where, a long way off, the sea is visible but can never be reached.

So, Noah smoked pot. I drank beer. We made a beautiful couple.

In my mind, President Snow should be viewed in front of marble pillars hung with oversized flags. It's jarring to see him surrounded by the ordinary objects in the room. Like taking the lid off a pot and finding a fanged viper instead of stew.

Narcissus does not fall in love with his reflection because it is beautiful but because it is his. If it were his beauty that enthralled him, he would be set free in a few years by its fading. "After all," sighed Narcissus the hunchback, "on me it looks good. The contemplation of his reflection does not turn Narcissus into Priapus: the spell in which he is trapped is not a desire for himself but the satisfaction of not desiring the nymphs. "I prefer my pistol to my p…," said Narcissus; "it cannot take aim without my permission" – and took a pot shot at Echo.

She's a beautiful flower put in a pot and hidden in a closet. You can't keep her a little girl forever.

She’d painted her nails with rainbow stripes and it occurred to him that Vicki was just as beautiful and mysterious as a rainbow. One he’d been chasing for years without ever coming close to reaching the pot of gold at the end.

Poetry is not efficient. If you want to learn how to cook a lobster, it’s probably best not to look to poetry. But if you want to see the word lobster in all its reactant oddity, its pied beauty, as if for the first time, go to poetry. And if you want to know what it’s like to be that lobster in the pot, that’s in poetry too.

Yangi, a philosopher, art historian and poet, had evolved a theory of why some objects - pots, baskets, cloth made by unknown craftsmen - were so beautiful. In his view, they expressed unconscious beauty because they had been made in such numbers that the craftsman had been liberated from his ego.

I feel like I need to speak out, because if no one speaks out, if no one says, This is me, this is what I believe in, and this is why I’m different, and this is why that’s okay, then what’s the point? What’s the point of living in this beautiful, great melting pot where everyone can dare to be anything they want to be?

There’s something hypnotic about the word ‘tea’. I’m asking you to enjoy the beauties of the English countryside; to tell me your adventures and hear mine; to plan a campaign involving the comfort and reputation of two-hundred people; to honor me with your sole presence and to bestow upon me the illusion of paradise, and I speak as though the pre-eminent object of all desire were a pot of boiled water and a plateful of synthetic pastries in Ye Olde Worlde Tudor Tea Shoppe.

CONSORTING WITH ANGELS I was tired of being a woman, tired of the spoons and the pots, tired of my mouth and my breasts, tired of the cosmetics and the silks. There were still men who sat at my table, circled around the bowl I offered up. The bowl was filled with purple grapes and the flies hovered in for the scent and even my father came with his white bone. But I was tired of the gender of things. Last night I had a dream and I said to it . . . "You are the answer. You will outlive my husband and my father." In that dream there was a city made of chains where Joan was put to death in man's clothes and the nature of the angels went unexplained, no two made in the same species, one with a nose, one with an ear in its hand, one chewing a star and recording its orbit, each one like a poem obeying itself, performing God's functions, a people apart. "You are the answer," I said, and entered, lying down on the gates of the city. Then the chains were fastened around me and I lost my common gender and my final aspect. Adam was on the left of me and Eve was on the right of me, both thoroughly inconsistent with the world of reason. We wove our arms together and rode under the sun. I was not a woman anymore, not one thing or the other. 0 daughters of Jerusalem, the king has brought me into his chamber. I am black and I am beautiful. I've been opened and undressed. I have no arms or legs. I'm all one skin like a fish. I'm no more a woman than Christ was a man.

Connection with gardens, even small ones, even potted plants, can become windows to the inner life. The simple act of stopping and looking at the beauty around us can be prayer.

The roses started him thinking, how the oddity of them was beautiful and how that oddity was contrived to give them value. “It just struck me – clear and complete all at once – no long figuring about it.” He realized that children could be designed. “And I thought to myself, now that would a rose garden worthy of a man’s interest.” We children would smile and hug him and he would grin around at us and send the twins for a pot of cocoa from the drink wagon and me for a bag of popcorn because the red-haired girls would just throw it out when they finished closing the concession anyway. And we would all be cozy in the warm booth of the van, eating popcorn and drinking cocoa and feeling like Papa’s roses.

The song is an unvarnished love shout, an implorement tinged with...anger? Something like anger, but the anger of a philosoher, the anger of a pot. An anger directed at the transience of the world, at its heartbreaking beauty that collides constantly with our awareness of the fact that everything gets taken away, that we're being shown marvels but reminded always that they don't belong to us. They're sultans' treasures; we're lucky, we're expected to feel lucky to have been invited to see them at all.

We are accustomed to think of ourselves as an emancipated people; we say that we are democratic, liberty-loving, free of prejudices and hatred. This is the melting-pot, the seat of a great human experiment. Beautiful words, full of noble, idealistic sentiment. Actually we are a vulgar, pushing mob whose passions are easily mobilized by demagogues, newspaper men, religious quacks, agitators and such like. To call this a society of free peoples is blasphemous. What have we to offer the world beside the superabundant loot which we recklessly plunder from the earth under the maniacal delusion that this insane activity represents progress and enlightenment? The land of opportunity has become the land of senseless sweat and struggle. The goal of all our striving has long been forgotten. We no longer wish to succor the oppressed and homeless; there is no room in this great, empty land for those who, like our forefathers before us, now seek a place of refuge. Millions of men and women are, or were until very recently, on relief, condemned like guinea pigs to a life of forced idleness. The world meanwhile looks to us with a desperation such as it has never known before. Where is the democratic spirit? Where are the leaders?

Dear Deborah, Words do not come easily for so many men. We are taught to be strong, to provide, to put away our emotions. A father can work his way through his days and never see that his years are going by. If I could go back in time, I would say some things to that young father as he holds, somewhat uncertainly, his daughter for the very first time. These are the things I would say: When you hear the first whimper in the night, go to the nursery leaving your wife sleeping. Rock in a chair, walk the floor, sing a lullaby so that she will know a man can be gentle. When Mother is away for the evening, come home from work, do the babysitting. Learn to cook a hotdog or a pot of spaghetti, so that your daughter will know a man can serve another's needs. When she performs in school plays or dances in recitals, arrive early, sit in the front seat, devote your full attention. Clap the loudest, so that she will know a man can have eyes only for her. When she asks for a tree house, don't just build it, but build it with her. Sit high among the branches and talk about clouds, and caterpillars, and leaves. Ask her about her dreams and wait for her answers, so that she will know a man can listen. When you pass by her door as she dresses for a date, tell her she is beautiful. Take her on a date yourself. Open doors, buy flowers, look her in the eye, so that she will know a man can respect her. When she moves away from home, send a card, write a note, call on the phone. If something reminds you of her, take a minute to tell her, so that she will know a man can think of her even when she is away. Tell her you love her, so that she will know a man can say the words. If you hurt her, apologize, so that she will know a man can admit that he's wrong. These seem like such small things, such a fraction of time in the course of two lives. But a thread does not require much space. It can be too fine for the eye to see, yet, it is the very thing that binds, that takes pieces and laces them into a whole. Without it, there are tatters. It is never too late for a man to learn to stitch, to begin mending. These are the things I would tell that young father, if I could. A daughter grown up quickly. There isn't time to waste. I love you, Dad

Our personal demons come in many guises. We experience them as shame, as jealousy, as abandonment, as rage. They are anything that makes us so uncomfortable that we continually run away. We do the big escape: we act out, say something, slam a door, hit someone, or throw a pot as a way of not facing what’s happening in our hearts. Or we shove the feelings under and somehow deaden the pain. We can spend our whole lives escaping from the monsters of our minds. All over the world, people are so caught in running that they forget to take advantage of the beauty around them. We become so accustomed to speeding ahead that we rob ourselves of joy.

As soon as we freed ourselves from the mirage of hurrying time—which was nothing more than the projection of our own impatience—we were alive again, as in childhood, to the miracles and ecstasies of ordinary life. You would be astounded at the beauty of our homes, our furniture, our clothes, and even our pots and pans, for we have the time to make most of these things ourselves, and the sense of reality to see that they—rather than money—constitute genuine wealth.

Ingredients taste as much in the hands of a beautiful ‘angel’ as in the hands of an ugly ‘gorilla’. The face or physique of a cook does not influence the ‘rhyme’ and ‘rhythm’ in a simmering pot.

I define hope as a narcotic. It courses through our veins, igniting ideas and feelings and emotions that all work in collaboration to produce a better tomorrow, while leaving today but a distant memory. The essence of its unknown and unseen promise is beautiful and addicting to those who are in need of its satiating grace. The dependence on the idea of possibility can become a crutch however; an excuse for ignoring the here and now. It can swiftly morph from a therapeutic escape to an addictive obsession that somewhere over the rainbow lies the answer that will make everything right again. I am thankful to call myself a true addict to hope's mind altering panacea. Its blissful nirvana can seem both inconceivably irrational yet entirely fathomable to anyone lost in a sea of uncertainty. Just as age brings wisdom, experience brings the understanding that no matter what pot of gold lies at the end of your hopeful rainbow, the relief it casts over tragedy and heartache is the power behind its true magic. To the hope that resides in the depths of my being, thank you.

I gently pressed on the back of my head, wondering how bad the gash was. Beneath the crusted patch of blood, there was still a sizable lump. It was ironic that a housekeeper armed only with an iron pot had nearly done in the Assassin of Venda. How the Rahtan would laugh at that. The name dug into me with a surprising sting—and longing. Rahtan. It brought back the familiar, the feeling of pride, the one place in my entire life where I had felt like I belonged. Now I was in a kingdom that didn’t want me and in a cottage where I wasn’t welcome. I didn’t want to be here either, but I couldn’t leave. I wondered about Griz and Eben. Surely Griz was healed and they were on their way by now. They were the closest thing I had to family—a family of poisonous vipers. The thought made me grin.

In my yellow room, Sunflowers with purple eyes stands out on a yellow background. They bath their stems in a yellow pot, on a yellow table. In a corner of the painting, the signature of the painter: Vincent. And the yellow sun that passes through the yellow curtains of my room floods all this fluorescence with gold. And in the morning upon awakening, from my bed, I imagin that all this smells very good. Oh yes! He loved yellow, this good Vincent, this painter from holland. Those glimmers of sunlight rekindled his soul That abhorred the fog, that needed the warmth. When two of us were together in arles, both of us mad and at constant war over the beauty of color, me, i loved the color red, Where to find a perfect vermilion? He traced with his most yellow brush on the wall, Suddenly turned violet. Je suis saint esprit Je suis sain d'espri. Paul gauguin, 1894.

The snow on the high mountains is melting fast, and the streams are singing bank-full, swaying softly through the level meadows and bogs, quivering with sun-spangles, swirling in pot-holes, resting in deep pools, leaping, shouting in wild, exulting energy over rough boulder dams, joyful, beautiful in all their forms. No Sierra landscape that I have seen holds anything truly dead or dull, or any trace of what in manufactories is called rubbish or waste; everything is perfectly clean and pure and full of divine lessons. This quick, inevitable interest attaching to everything seems marvelous until the hand of God becomes visible; then it seems reasonable that what interests Him may well interest us. When we try to pick out anything by itself, we find it hitched to everything else in the universe.

He said, I won't have one of those things in the house. It gives a young girl a false notion of beauty, not to mention anatomy. If a real woman was built like that she'd fall on her face. She said, If we don't let her have one like all the other girls she'll feel singled out. It'll become an issue. She'll long for one and she'll long to turn into one. Repression breeds sublimation. You know that. He said, It's not just the pointy plastic tits, it's the wardrobes. The wardrobes and that stupid male doll, what's his name, the one with the underwear glued on. She said, Better to get it over with when she's young. He said, All right but don't let me see it. She came whizzing down the stairs, thrown like a dart. She was stark naked. Her hair had been chopped off, her head was turned back to front, she was missing some toes and she'd been tattooed all over her body with purple ink, in a scrollwork design. She hit the potted azalea, trembled there for a moment like a botched angel, and fell. He said, I guess we're safe.

What’s it like when your father loves your mother madly? When he fills the breakfast room—because there is a room just for breakfast—with daisies—potted, not cut—on her birthday, and she rolls her eyes but laughs too, because she doesn’t have an ounce of his whimsy, but she understands the hundreds of ways her husband tries, again and again, to say something along the lines of I love you?

Spring returns to my lonely chamber, Once more spring grass is lush and green. Some red plum blossoms are open, Others have yet to bloom. I grind tea bricks into fine jade powder In a pot carved with azure clouds, Still under the spell of the morning's dream, Till all of a sudden I am woken By a jug of spring. Flower shadows press at the double gate, Pale moonlight silvers the translucent curtains. A beautiful evening! Three times in two years We've missed the spring. Come back without further ado And let's enjoy our fill of this spring!

What is hope? Is it the ambition of discovering for the first time what the carnal definition of physical love is without understanding the concept of true passion? Or is it imagination running wild and free fueled by the dram that tonight will last forever and tomorrows will always come as you are blinded by the brilliance of another's smile? Is it a theory of inevitability that relies on fate or destiny bringing two souls together for their one shot at true and unbridled happiness? Or is it a plea to erase a past that used to hold the potential for limitless smiles and endless laughs? I define hope as a narcotic. It courses through our veins, igniting ideas and feelings and emotions that all work in collaboration to produce a better tomorrow, while leaving today, but a distant memory. The essence of its unknown and unseen promise is beautiful and addicting to those who are in need of its satiating grace. The dependence on the idea of possibility can become a crutch however; an excuse for ignoring the here and now. It can swiftly morph from a therapeutic escape to an addictive obsession that somewhere over the rainbow lies the answer that will make everything right again. I am thankful to call myself a true addict to hope's mind altering panacea. It's blissful nirvana can seem both inconceivably irrational yet entirely fathomable to anyone lost in a sea of uncertainty. Just as age brings wisdom, experience brings the understanding that no matter what pot of gold lies at the end of your hopeful rainbow, the relief it casts over tragedy and heartache is the power behind it's true magic. To the hope that resides in the depths of my being, thank you.......

Last to check was her namesake: a rampion or bellflower, Campanula rapunculus-- little turnip. All by itself in a beautiful Spanish clay pot with a bright blue glaze. Its blooms were pinky-purple stars, tiny but perfect and delicate. Sometimes, if she was feeling down, Rapunzel would secretly break off a leaf and chew it, the sour/bitter taste comforting her through the worst of the drab winter months when nothing else grew.

The path turned a hard right and then dumped into a rocky stream. It looked as if a giant had tossed white boulders and the rocks the way children toss marbles. They lay in scrambled heaps, some as large as carriages, others the size of chamber pots. A weak stream trickled around them.

Yes You Are! Like the Blossoming rose, Like the Rays of hope. Like a deer in the forest, Like an athlete full of zest. Like a lamp in temple, Like the life feeling ample. Like the feel of the dawn, Like the grace of the swan. Like the melody of sitar, Like the rage of guitar. Like a group of angels in the sky, Like the pot that makes you high. Like the peacock's dance, Like she is the romance. Like the silent talk, Like the wine from Medoc. Like the colors of life, Like the music from the fife. Like the calmness of the cold wind Like the beauty of the hind.

The medieval mind, which saw only continuity, seemed so unassailable. It existed in a world which, with all its ups and downs, remained harmoniously ordered and could be taken for granted. It had not developed a sense of history, which is a sense of loss; it had developed no true sense of beauty, which is a gift of assessment. While it was enclosed, this made it secure. Exposed, its world became a fairyland, exceedingly fragile. It was one step from the Kashmiri devotional songs to the commercial jingles of Radio Ceylon; it was one step from the roses of Kashmir to a potful of plasticdaisies.

After Nicholas hung up the phone, he watched his mother carry buckets and garden tools across the couch grass toward a bed that would, come spring, be brightly ablaze as tropical coral with colorful arctotis, impatiens, and petunias. Katherine dug with hard chopping strokes, pulling out wandering jew and oxalis, tossing the uprooted weeds into a black pot beside her. The garden will be beautiful, he thought. But how do the weeds feel about it? Sacrifices must be made.

I feel like I need to speak out, because if no one speaks out, if no one says, this is me, this is what I believe in, and this is why I’m different, and this is why that’s okay, then what’s the point? What’s the point of living in this beautiful, great melting pot where everyone can dare be anything they want to be?

The children in my dreams speak in Gujarati turn their trusting faces to the sun say to me care for us nurture us in my dreams I shudder and I run. I am six in a playground of white children Darkie, sing us an Indian song! Eight in a roomful of elders all mock my broken Gujarati English girl! Twelve, I tunnel into books forge an armor of English words. Eighteen, shaved head combat boots - shamed by masis in white saris neon judgments singe my western head. Mother tongue. Matrubhasha tongue of the mother I murder in myself. Through the years I watch Gujarati swell the swaggering egos of men mirror them over and over at twice their natural size. Through the years I watch Gujarati dissolve bones and teeth of women, break them on anvils of duty and service, burn them to skeletal ash. Words that don't exist in Gujarati : Self-expression. Individual. Lesbian. English rises in my throat rapier flashed at yuppie boys who claim their people “civilized” mine. Thunderbolt hurled at cab drivers yelling Dirty black bastard! Force-field against teenage hoods hissing F****ing Paki bitch! Their tongue - or mine? Have I become the enemy? Listen: my father speaks Urdu language of dancing peacocks rosewater fountains even its curses are beautiful. He speaks Hindi suave and melodic earthy Punjabi salty rich as saag paneer coastal Kiswahili laced with Arabic, he speaks Gujarati solid ancestral pride. Five languages five different worlds yet English shrinks him down before white men who think their flat cold spiky words make the only reality. Words that don't exist in English: Najjar Garba Arati. If we cannot name it does it exist? When we lose language does culture die? What happens to a tongue of milk-heavy cows, earthen pots jingling anklets, temple bells, when its children grow up in Silicon Valley to become programmers? Then there's American: Kin'uh get some service? Dontcha have ice? Not: May I have please? Ben, mane madhath karso? Tafadhali nipe rafiki Donnez-moi, s'il vous plait Puedo tener….. Hello, I said can I get some service?! Like, where's the line for Ay-mericans in this goddamn airport? Words that atomized two hundred thousand Iraqis: Didja see how we kicked some major ass in the Gulf? Lit up Bagdad like the fourth a' July! Whupped those sand-niggers into a parking lot! The children in my dreams speak in Gujarati bright as butter succulent cherries sounds I can paint on the air with my breath dance through like a Sufi mystic words I can weep and howl and devour words I can kiss and taste and dream this tongue I take back.

Her face deeply moved him. Why, he could at first not say. It gave him the impression of youth--spring flowers, yet age--a sense of having been used to the bone, wasted; this came from the eyes, which were hauntingly familiar, yet absolutely strange. He had a vivid impression that he had met her before, but try as he might he could not place her although he could almost recall her name, as he had read it in her own handwriting. No, this couldn't be; he would have remembered her. It was not, he affirmed, that she had an extraordinary beauty--no, though her face was attractive enough; it was that something about her moved him. Feature for feature, even some of the ladies of the photographs could do better; but she lapsed forth to this heart--had lived, or wanted to--more than just wanted, perhaps regretted how she had lived--had somehow deeply suffered: it could be seen in the depths of those reluctant eyes, and from the way the light enclosed and shone from her, and within her, opening realms of possibility: this was her own. Her he desired. His head ached and eyes narrowed with the intensity of his gazing, then as if an obscure fog had blown up in the mind, he experienced fear of her and was aware that he had received an impression, somehow, of evil. He shuddered, saying softly, it is thus with us all. Leo brewed some tea in a small pot and sat sipping it without sugar, to calm himself. But before he had finished drinking, again with excitement he examined the face and found it good: good for Leo Finkle. Only such a one could understand him and help him seek whatever he was seeking. She might, perhaps, love him. How she had happened to be among the discards in Salzman's barrel he could never guess, but he knew he must urgently go find her.

Along with the greening of May came the rain. Then the clouds disappeared and a soft pale lightness fell over the city, as if Kyoto had broken free of its tethers and lifted up toward the sun. The mornings were as dewy and verdant as a glass of iced green tea. The nights folded into pencil-gray darkness fragrant with white flowers. And everyone's mood seemed buoyant, happy, and carefree. When I wasn't teaching or studying tea kaiseki, I would ride my secondhand pistachio-green bicycle to favorite places to capture the fleeting lushness of Kyoto in a sketchbook. With a small box of Niji oil pastels, I would draw things that Zen pots had long ago described in words and I did not want to forget: a pond of yellow iris near a small Buddhist temple; a granite urn in a forest of bamboo; and a blue creek reflecting the beauty of heaven, carrying away a summer snowfall of pink blossoms. Sometimes, I would sit under the shade of a willow tree at the bottom of my street, doing nothing but listening to the call of cuckoos, while reading and munching on carrots and boiled egg halves smeared with mayonnaise and wrapped in crisp sheets of nori. Never before had such simple indulgences brought such immense pleasure.

Do you know the only time I felt beautiful?” Hanne asked, her eyes still closed. “When?” “When I tailored myself to look like a soldier. When we cut off all my hair.” Nina exchanged the shimmer for a pot of rose balm. “But you didn’t look like you.” Hanne’s eyes opened. “But I did. For the first time. The only time.” Nina dipped her thumb into the pot of balm and dabbed it onto Hanne’s lower lip, spreading it in a slow sweep across the soft cushion of her mouth. “I can grow my hair, you know,” Hanne said, and moved her hand over one side of her scalp. Sure enough, a reddish-brown curl twined over Hanne’s ear. Nina stared. “That’s powerful tailoring, Hanne.” “I’ve been practicing.” She drew small scissors from a drawer and snipped away the curl. “But I like it the way it is.” “Then leave it.” Nina took the scissors from her hand, brushed her thumb over Hanne’s knuckles. “In trousers. In gowns. With your hair shorn or in braids or down your back. You have never not been beautiful.” “Do you mean that?” “I do.” “I’ve never seen your real face,” Hanne said, eyes scanning Nina’s features. “Do you miss it?” Nina wasn’t sure how to answer. For a long while she’d startled every time she glimpsed herself in the mirror, when she caught sight of the pale blue eyes, the silky fall of straight blond hair. But the longer she played Mila, the easier it became, and sometimes that scared her. Who will I be when I return to Ravka? Who am I now? “I’m beginning to forget what I looked like,” she said. “But trust me, I was gorgeous.” Hanne took her hand. “You still are.

Gary tried not to notice how pale Savannah was as she fixed him a pot of coffee.Her satin skin was almost translucent.He was groggy from the trance-induced sleep and had a hard time waking up, even after a long shower. He had no idea where the change of clothes had come from,but they were lying on the end of the bed when he awakened. Savannah was beautiful, moving through the house like flowing water, like music in the air.She was dressed in faded blue jeans and a pale turquoise shirt that clung to her curves and emphasized her narrow rib cage and small waist.Her long hair was pulled back in a thick braid that hung below her bottom.Gary tried to keep his eyes to himself.He hadn't seen any evidence of Gregori this evening,but he didn't want to take any chances.He had a feeling the one thing that could change that remote expression fast was to have another man ogling Savannah.

Forget about drawing pictures, Nana, get out in the kitchen and rattle those pots and pans. Fold my clothes. Haul my ashes, then I’ll burp and roll over and go to sleep.

That too many cooks spoil the soup may be true but the single hand that garnishes a pot is neither determined by beauty nor ugliness.

A UCLA study has shown that an addict is twelve times more likely to relapse on meth if he smokes pot or drinks alcohol.

Alma poured more Gin like it was tea; careful with two hands like to steady the pot. ‘Well, it’s a lovely tradition. Used to do it with my parents. Most people back then had physical mobile phones filled with apps. I used to walk around looking at all the trees and beauty and wonder why other kids my age didn’t put their phones down and just take it all in...

Fuck hope and all the tiny little towns, one-horse towns, the one-stoplight towns, three-bars country-music jukebox-magic parquet-towns, pressure-cooker pot-roast frozen-peas bad-coffee married-heterosexual towns, crying-kids-in-the-Oldsmobile-beat-your-kid-in the-Thriftway-aisles towns, one-bank one-service-station Greyhound-Bus-stop-at-the-Pepsi-Cafe towns, two-television towns, Miracle Mile towns, Viv's Double Wide Beauty Salon towns, schizophrenic-mother towns, buy-yourself-a-handgun towns, sister-suicide towns, only-Injun's-a-dead-Injun towns, Catholic-Protestant-Mormon-Baptist religious-right five-churches Republican-trickle-down-to-poverty family-values sexual-abuse pro-life creation-theory NRA towns, nervous-mother rodeo-clown-father those little-town-blues towns.

Whether good or bad, culture should never crystallize. The beauty of culture is in its evolution. Let culture always remain in a fluid state, gradually cooking in a stew pot and adapting to the changes.

Oh I would never dream of assuming I know all Hogwarts' secrets, Igor," said Dumbledore amicably.n"Only this morning, for instance, I took a wrong turning on the way to the bathroom and found myself in a beautifully proportioned room I have never seen before, containing a really rather magnificent collection of chamber pots. When I went back to investigate more closely, I discovered that the room had vanished. But I must keep an eye out for it. Possibly it is only accessible at five-thirty in the morning. Or it may only appear at the quarter moon — or when the seeker has an exceptionally full bladder.

archaeologists have found the inscription ΚΑΛΟΣΟΠΑΙΣ scratched on thousands of ancient Greek pots, given as gifts by older men to boys they found attractive. ΚΑΛΟΣΟΠΑΙΣ, καλός ὁ παῖς, “the boy is beautiful.

I enjoy waking up before the weather. It never rains at 4:00AM. Yes, it’s always cold, but it’s not an uncomfortable cold; it’s the cold of an engine at rest, a day that has yet to fire into life. At this time, everything is fresh and crisp, as if it’s new and still in its wrapping. Sunsets are beautiful, but the light fades to darkness. It’s like watching a candle burn itself out. The dawn is the birth of a new day; the sun spills colours into the clouds like a child’s paintbrush swirling in a pot of water. The countryside has such a beautiful sadness about it; a distant tractor ambles slowly along a furrowed field like a tear on a cheek.

I define hope as a narcotic. It courses through our vei s, igniti.g ideas and feelings and emotions that all work in collaboration to produce a better to.orrow, while leaving today but a distant memory. The essence of its unknown and unseen promise is beautiful and addicting to those who are in need of its satiati g grace. The dependence on the idea of possibility can become a crutch however; an excuse for ignoring the here and now. It can swiftly morph from a therapeutic escape to an addictive obsession that somewhere over the rainbow lies the answer that will make everything right again. I am thankful to call myself a true addict to hope's mind altering panacra. Its blissful nirvana can seem both inconceivably irrational yet entirely fathomable to anyone lost in a sea of uncertainty. Just as age brings wisdom, experience brings the understanding that no matter what pot of gold lies at the end of your hopeful rainbow, the relief it casts over tragedy and heartache is the power behind its true magic. To the hope that resides in the depths of my being, thank you.

Come, squib, sit with Kudj. Engage in beautifully awkward hospitality.” He reached into the pot with a large finger and stirred whatever was inside. “Stew not hot. Fire not big enough. Squib is welcome to some anyway.

Can you believe it? Here's a 15-year-old girl pinching pennies to buy strainers and whetstones and tempura pots when all the girls in school are getting huge allowances and buying beautiful dresses and shoes. Don't you feel sorry for me?

It is a remarkable fact that the people who do things by hand still find time to add to their work some elaboration of mere beauty which makes it a joy to look on, while our machine-made tools, which could do so at much less cost, are too utilitarian to afford any ornament. It used to give me daily pleasure in Teheran to see the sacks in which refuse is carried off the streets woven with a blue and red decorative pattern: but can one imagine a borough council in Leeds or Birmingham expressing a delicate fancy of this kind? Beauty, according to these, is what one buys for the museum: pots and pans, taps and door-handles, though one has to look at them twenty times a day, have no call to be beautiful. So we impoverish our souls and keep our lovely things for rare occasions, even as our lovely thoughts - wasting the most of life in pondering domestic molehills or the Stock Exchange, among objects as ugly as the less attractive forms of sin.

Aristocrația înseamnă doar să accepți faptul că anumite calități pe care le numim frumoase - curaj, onoare, frumusețe și altele de genul ăsta - se pot dezvolta cel mai bine într-un mediu favorabil, fără constrângerile ignoraței și nevoilor.

In the great meteor shower of August, the Perseid, I wail all day for the shooting stars I miss. They’re out there showering down, committing hari-kiri in a flame of fatal attraction, and hissing perhaps into the ocean. But at dawn what looks like a blue dome clamps down over me like a lid on a pot. The stars and planets could smash and I’d never know. Only a piece of ashen moon occasionally climbs up or down the inside of the dome, and our local star without surcease explodes on our heads. We have really only that one light, one source for all power, and yet we must turn away from it by universal decree. Nobody here on the planet seems aware of that strange, powerful taboo, that we all walk about carefully averting our faces, this way and that, lest our eyes be blasted forever.

This had once been a garden. Beautiful glazed pots stood against the walls but now were cracked, crumbling, and contained only dead bushes and weeds. A broken wooden bench had been overturned and lay forlornly on its side. Perhaps even gardens were considered sinful.

Drab and colorless as her existence would seem to have been, Mrs. Harris had always felt a craving for beauty and color and which up to this moment had manifested itself in a love for flowers.... Outside the windows of her basement flat were two window boxes of geraniums, her favorite flower, and inside, wherever there was room, there was a little pot containing a geranium struggling desperately to conquer its environment, or a single hyacinth or tulip, bought from a barrow for a hard-earned shilling. Then too, the people for whom she worked would sometimes present her with the leavings of their cut flowers which in their wilted state she would take home and try to nurse back to health, and once in a while, particularly in the spring, she would buy herself a little box of pansies, primroses or anemones. As long as she had flowers Mrs. Harris had no serious complaints concerning the life she led. They were her escape from the somber stone desert in which she lived. These bright flashes of color satisfied her. They were something to return to in the evening, something to wake up to in the morning.

Tranquility is the soul of our community.” Not a quarter mile’s distance away, Susanna Finch sat in the lace-curtained parlor of the Queen’s Ruby, a rooming house for gently bred young ladies. With her were the room house’s newest prospective residents, a Mrs. Highwood and her three unmarried daughters. “Here in Spindle Cove, young ladies enjoy a wholesome, improving atmosphere.” Susanna indicated a knot of ladies clustered by the hearth, industriously engaged in needlework. “See? The picture of good health and genteel refinement.” In unison, the young ladies looked up from their work and smiled placid, demure smiles. Excellent. She gave them an approving nod. Ordinarily, the ladies of Spindle Cove would never waste such a beautiful afternoon stitching indoors. They would be rambling the countryside, or sea bathing in the cove, or climbing the bluffs. But on days like these, when new visitors came to the village, everyone understood some pretense at propriety was necessary. Susanna was not above a little harmless deceit when it came to saving a young woman’s life. “Will you take more tea?” she asked, accepting a fresh pot from Mrs. Nichols, the inn’s aging proprietress. If Mrs. Highwood examined the young ladies too closely, she might notice that mild Gaelic obscenities occupied the center of Kate Taylor’s sampler. Or that Violet Winterbottom’s needle didn’t even have thread.

The greenhouse overflowed with a dazzling array of beautiful plants. And as I scanned the beauty spilling out of innumerable planters and pots and baskets, I realized that the beauty now on display had always laid in the seeds. And if the seeds had not been cultivated the beauty within would have certainly remained, but it would have remained forever hidden. And I wondered, how many people remain a seed because no one ever stepped up to cultivate them? And because no one did, beauty remained hidden and the greenhouse of our lives were left with a forever hole.

I'm an inclusionist. I've always divided up (very, very broadly, I admit) the artistic instincts into the inclusionist and the exclusionist. The exclusionist is Raccine. The inclusionist is Shakespeare. I've always felt like I'd prefer to throw 45 things into the pot and hope that maybe 36 of them will taste good. You may choke on 9 of them. I'd rather do that than only have half that number of elements and each one perfect. That's because I know that people choke on different things.... I think that when I was a kid, the experience of things, the experience of just finding words for things, of finding somebody else's world and being able to leap into it and, like any world, you pick up the geography instantly. You expected the thing to unfold, you expected there to be valleys that upon entering that world you were barely aware of. For me a novel, particularly a large novel, one you put down at the end and think, 'Hell, that was interesting. I'm not sure I understood Chapters X, Y and Z, but maybe next time I read it or talk to someone about it, I will'... that's a very different experience to the immaculately formed, beautifully honed, finished 'art' thing.

She had sought me out. I knew it would happen. Even if I had switched to a different section, she would have sought me out all the same. She, who hid in the crowd, who didn’t want anyone to see her behind her veil of averted eyes and aloofness. When I stepped forward, she came out, too. And she pointed and said, revealing a child’s wanton smile: “That’s the one I want.” And like a potted sunflower that had just been sold to a customer, I was taken away. There was no way to refuse. This, from a beautiful girl that I was already deeply, viscerally attracted to. Things were getting good.

We walked north, with the lake on our right hand. If we looked at it, the water seemed spread over half the world. The mountains, grayed and flattened by distance, looked like remnants of a broken dam, or like the broken lip of an iron pot, just at a simmer, endlessly distilling water into light.

In addition to which, every couple of months Crowley would pick out a plant that was growing too slowly, or succumbing to leaf-wilt or browning, or just didn’t look quite as good as the others, and he would carry it around to all the other plants. “Say goodbye to your friend,” he’d say to them. “He just couldn’t cut it…” Then he would leave the flat with the offending plant, and return an hour or so later with a large, empty flower pot, which he would leave somewhere conspicuously around the flat. The plants were the most luxurious, verdant, and beautiful in London. Also the most terrified.

Today the tower's flock, the usual birds, flew in a kind of scatter pattern, their paths intricately chaotic, the bunch parting and interweaving like boiling pasta under a pot's lifted lid. It appeared someone had given the birds new instructions, had whispered that there was something to avoid, or someone to fool. I once heard Perkus Tooth say that he'd woken that morning having dreamed an enigmatic sentence: "Paranoia is a flower in the brain." Perkus offered this, then smirked and bugged his eyes--the ordinary eye, and the other. I played at amazement (I was amazed, anyway, at the fact that Perkus dreamed sentences to begin with). Yet I hadn't understood what the words meant to him until now, when I knew for a crucial instant that the birds had been directed to deceive me. That was when I saw the brain's flower. Perkus had, I think, been trying to prepare me for how beautiful it was.

The realization hits her. Wordsworth never spent days preparing food. Keats never cleaned a chamber pot. Coleridge didn’t have to sneak around to read a book. Those who sought the sublime were white men with lives of leisure. They sought an unattainable beauty because they’d already attained everything else.

Do you know the only time I felt beautiful?” Hanne asked, her eyes still closed. “When?” “When I tailored myself to look like a soldier. When we cut off all my hair.” Nina exchanged the shimmer for a pot of rose balm. “But you didn’t look like you.” Hanne’s eyes opened. “But I did. For the first time. The only time.

Beautiful words ruin your poetry. A touch of beauty enhances a dish, but you throw a hill of it inton the pot! No, the palate becomes nauseous. You belief a poem must be beautiful, or it can have no excellence. I am right? Sort of. Your "sort of" is annoying. A yes, or a no, or a qualification please. "Sort of" is an idle loubard, an ignorant vandale. "Sort of" says, "I am ashamed of clarity and precision." So we try again. You belief a poem must be beautiful or it is not a poem. I am right? Yes. Yes. Idiots labor in this misconception. Beauty is not excellence. Beauty is distraction, beauty is cosmetics, beauty is ultimately fatigue.

Time passes, day by day. The greatness of this country lies in the inexorable journey it has taken through time. Time is like an enormous pot, into which all ugliness and beauty are thrown, all happiness and grief, all life and all death. Cycle follows cycle, living life and dying death. Only the great River rolls on, unending.

One Whisper of the Beloved Lovers share a sacred decree – to seek the Beloved. They roll head over heels, rushing toward the Beautiful One like a torrent of water In truth, everyone is a shadow of the Beloved – Our seeking is His seeking, Our words are His words. At times we flow toward the Beloved like a dancing stream. At times we are still water held in His pitcher. At times we boil in a pot turning to vapor – that is the job of the Beloved. He breathes into my ear until my soul takes on His fragrance. He is the soul of my soul – How can I escape? But why would any soul in this world want to escape from the Beloved? He will melt your pride making you thin as a strand of hair, Yet do not trade, even for both worlds, One strand of His hair. We search for Him here and there while looking right at Him. Sitting by His side we ask, "O Beloved, where is the Beloved?" Enough with such questions! – Let silence take you to the core of life. All your talk is worthless When compared to one whisper of the Beloved.

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")

The Cocoa-Nut Tree at Covent Garden? Why it's the finest confectioner in the capital and sells bonbons, macaroons, candied fruits, and ices,' I said in my proper reading voice. I had long studied their advertisement in Mr Pars' London Gazette after he'd left it by the kitchen fire. It was a beautiful advertisement, with little drawings of sugar cones, ice pots, and tiny men attending wondrous stoves.

Human colour is the colour I'm truly interested in, the colour of your humanity. May the size of your heart and the depth of your soul be your currency. welcome aboard my Good Ship. Let us sail to the colourful island of misex identity. You can eat from the cooking pot of mixed culture and bathe in the cool shade of being mixed-race. There is no need for a passport. There are no borders. We are all citizens of the world. Whatever shade you are, bring your light, bring your colour, bring your music and your books, your stories and your histories, and climb aboad. United as a people we are a million majestic colours, together we are a glorious stained-glass window. We are building a cathedral of otherness, brick by brick and book by book. Raise your glass of rum, let's toast to the minorities who are the majority. There's no stopping time, nor the blurring of lines or the blending of shades. With a spirit of hope I leave you now. I drink to our sameness and to our unique differences. This is the twenty-first century and we share this, we live here, in the future. It is a beautiful morning, it is first light on the time of being other, so get out from that shade and feel the warmth of being outside. You tick: Other.

The history of Vietnam lies in this bowl, for it is in Hanoi, the Vietnamese heart, that phở was born, a combination of the rice noodles that predominated after a thousand years of Chinese occupation and the taste for beef the Vietnamese acquired under the French, who turned their cows away from ploughs and into bifteck and pot-au-feu. The name of their national soup is pronounced like this French word for fire...

All my life, I’d thought of having kids with the seriousness that I’d thought of taking a ceramics class. When I finally took one and came home with three beautifully glazed but warped bowls, my husband said: “You’re not going to turn into a lady who makes pots, are you?” I was not. I kept the bowls and display them proudly—one holds fruit, one batteries, one loose change—but I had no interest in making anything else.

He had heard about talking to plants in the early seventies, on Radio Four, and thought it an excellent idea. Although talking is perhaps the wrong word for what Crowley did. What he did was put the fear of God into them. More precisely, the fear of Crowley. In addition to which, every couple of months Crowley would pick out a plant that was growing too slowly, or succumbing to leaf-wilt or browning, or just didn’t look quite as good as the others, and he would carry it around to all the other plants. “Say goodbye to your friend,” he’d say to them. “He just couldn’t cut it…” Then he would leave the flat with the offending plant, and return an hour or so later with a large, empty flower pot, which he would leave somewhere conspicuously around the flat. The plants were the most luxurious, verdant, and beautiful in London. Also the most terrified. The

It being the 1970s, and Chet being a high school dropout with a damaged brain, he could not help but perceive something huge in this discovery. Nor could he avoid coming to the conclusion that the mistake he had made on that beautiful moonlit night had been a sort of message from above, a warning that, during the grubby, day-to-day work of small-town pot dealing, he had been failing to attend to larger and more cosmic matters.

I’ve said before that every craftsman searches for what’s not there to practice his craft. A builder looks for the rotten hole where the roof caved in. A water carrier picks the empty pot. A carpenter stops at the house with no door. Workers rush toward some hint of emptiness, which they then start to fill. Their hope, though, is for emptiness, so don’t think you must avoid it. It contains what you need!        Dear soul, if you were not friends with the vast nothing inside, why would you always be casting your net into it, and waiting so patiently? This invisible ocean has given you such abundance, but still you call it “death,” that which provides you sustenance and work. God has allowed some magical reversal to occur, so that you see the scorpion pit as an object of desire, and all the beautiful expanse around it as dangerous and swarming with snakes. This is how strange your fear of death and emptiness is, and how perverse the attachment to what you want.

To only perceive what's visible to the eye is like having a beautiful jug but being oblivious to the real beauty of the wine inside, because you can only see the container. I drink from a pitcher, and I taste the delectable wine; but if you drink from the same vessel, God will only allow you to taste vinegar. Laily's love will never enter your hearts. Love for her shall never pull your ear. I'll taste honey from a pot while you'll taste poison. Every person sees what he chooses to see.

Though there had been moments of beauty in it, Mariam knew that life for the most part had been unkind to her. But as she walked the final twenty paces, she could not help but wish for more of it. She wished she could see Laila again, wished to hear the clamour of her laugh, to sit with her once more for a pot of chai and left over halwa under a starlit sky. She mourned that she would never see Aziza grow up, would not see the beautiful young woman that she would one day become, would not get to paint her hands with henna and toss noqul candy at her wedding. She would never play with Aziza's children. She would have liked that very much, to be old and play with Aziza's children. Near the goalpost, the man behind her asked her to stop. Mariam did. Through the crisscrossing grid of the burqa, she saw his shadow arms lift his shadow Kalashnikov. Mariam wished for so much in those final moments. Yet as she closed her eyes, it was not regret any longer but a sensation of abundant peace that washed over her. She thought of her entry into this world, the harami child of a lowly villager, an unintended thing, a pitiable, regrettable accident. A weed. And yet she was leaving the world as a woman who had loved and been loved back. She was leaving it as a friend, a companion, a guardian. A mother. A person of consequence at last. No. It was not so bad, Mariam thought, that she should die this way. Not so bad. This was a legitimate end to a life of illegitimate beginnings. Mariam's final thoughts were a few words from the Koran, which she muttered under her breath. He has created the heavens and the earth with the truth; He makes the night cover the day and makes the day overtake the night, and He has made the sun and the moon subservient; each one runs on to an assigned term; now surely He is the Mighty, the Great Forgiver. "Kneel," the Talib said O my Lord! Forgive and have mercy, for you are the best of the merciful ones. "Kneel here, hamshira and look down." One last time, Mariam did as she was told.

Only this morning, for instance, I took a wrong turning on the way to the bathroom and found myself in a beautifully proportioned room I have never seen before, containing a really rather magnificent collection of chamber pots. When I went back to investigate more closely, I discovered that the room had vanished. But I must keep an eye out for it. Possibly it is only accessible at five-thirty in the morning. Or it may only appear at the quarter moon — or when the seeker has an exceptionally full bladder.

She wandered around Sally's garden, sipping coffee, stopping to admire the grevillea and talk to the chickens. As the warmth of the sun unknotted the tension in her spine, Alice noticed a lush alley of potted tropical plants alongside the house: monstera, bird of paradise, agave, staghorns and ferns. Alice was filled with a sense of wonder; it was a garden within a garden, so meticulous and well-tended in contrast to the wild beauty surrounding it. The sumptuous blends of greens. The varying, glossy foliage.

Marianne came home from work in her beautiful silk suit and immediately began pulling lids out of the cupboard, matching each one to the correct pot. My heart sank. I was trying to be helpful, to make my family happy, and there she was, showing me that I wasn’t doing it right. That I wasn’t good enough. It took me a while to realize that the message of my failure wasn’t coming from Marianne—it was coming from me. To counteract my belief that I was damaged, I strove for perfection, believing I could achieve and perform my way out of shame.

Away above a harborful of caulkless houses / among the charley noble chimney-pots of a rooftop rigged with clotheslines / a woman pastes up sails upon the wind." That was a woman, perpetually appearing from behind something, too busy being a part of the world to consider it from the outside. She was the soft pink inside of the world. Back when I got it, I had just noticed the beauty of the poem's imagery. Looking at it now, it had an added weight. I wanted to be outside the world, like a poet, and I wanted to be inside the world, like a woman.

Bird was watering the pots. She stood still for a moment and watched him. The spray of the water made rainbows in the low, afternoon light, and the leaves of the chard glowed emerald and ruby. And how could she distinguish him from her, or her from the garden, when it was all light, colors playing against one another, wrapped in scent, rich earth and citrus? Bird himself was merely a sphere of turquoise and gold, laced with darker streaks. Musk and sweat and sun-warmed skin. She inhaled, wondering what elixir she could brew from this moment of perfect beauty.

The beauty of marijuana is that it instantly brings people together. Two minutes earlier you’re standing with strangers in awkward silence because you brought up dildos, and then someone whispers that the hostess’s brother died in a dildo accident, and you feel terrible about bringing up such a sensitive issue, but also really curious, because how does someone die from a dildo accident? Unless maybe a box of them fell on his head? But you’re afraid to ask, because you already feel bad enough for bringing up the subject of dildos, which may have somehow killed a man, and you inwardly tell yourself that you shouldn’t even be bringing up dildos at parties at all, but you know you won’t listen, because next time there’s a lull in the conversation you already know you’re going to blurt out something about the girl you know whose brother died from a dildo accident. And then you’ll remember that that girl is the girl you’re actually talking to at the time. And then, just when it gets so terribly uncomfortable that you consider stabbing someone in the knee just to distract everyone so you can run away, someone pulls out a baggie of pot—and suddenly it’s all cool.

He blinks several times. The house is spacious and beautiful but feels sterile to him, just like their lives. He doesn’t notice it as much when Asha fills it with her chatter and laughter, but even then, it never feels as full and rich as the family get-togethers he remembers from childhood. This is the life he envisioned, the life he hoped for, but somehow the American dream now seems hollow to him. Just a few weeks ago, his family back home was all gathered for Diwali dinner at his parents’ home, at least two dozen people in all. Krishnan was the only one missing, so they called him, passing the phone around so each could wish him a happy Diwali. He had been rushing out the door that day when the phone rang, but after hanging up, he sat motionless at the kitchen table with the phone in hand. It was evening in Bombay, and he could close his eyes and picture the millions of diyas, the tiny clay pots holding small flames lining the balconies, the street stalls, and the shop windows. Visitors came to exchange boxes of sweets and good wishes. Schools closed and children stayed up to enjoy fireworks. Ever since he was a child, it had been one of his favorite nights of the year, when the whole of Bombay took on a magical feel.

We [Americans] are accustomed to think of ourselves as an emancipated people; we say that we are democratic, liberty-loving, free of prejudices and hatred. This is the melting-pot, the seat of a great human experiment. Beautiful words, full of noble, idealistic sentiment. Actually we are a vulgar, pushing mob whose passions are easily mobilized by demagogues, newspaper men, religious quacks, agitators and such like. To call this a society of free peoples is blasphemous. What have we to offer the world beside the superabundant loot which we recklessly plunder from the earth under the maniacal delusion that this insane activity represents progress and enlightenment? The land of opportunity has become the land of senseless sweat and struggle. The goal of all our striving has long been forgotten. We no longer wish to succor the oppressed and homeless; there is no room in this great, empty land for those who, like our forefathers before us, now seek a place of refuge. Millions of men and women are, or were until very recently, on relief, condemned like guinea pigs to a life of forced idleness. The world meanwhile looks to us with a desperation such as it has never known before. Where is the democratic spirit? Where are the leaders?

But then Lalita did something odd. Well, not odd, but beautiful. She shifted the clay pot of water from her right hip to her left. She pushed it up against the curve of her waist, wrapped her arm around the neck of the pot, and disappeared around the bend. Mohan knelt to the ground; he could taste the earthen dampness clinging to her waist. He knew then that he'd been wrong: she wasn't simply happy; happiness could not possibly explain the strange loveliness, the utter seductiveness, of that gesture. No, what Lalita had was something even more audacious than happiness. What was it? Mohan trembled.... Sitting on his bed that afternoon, after lunch, Mohan decided that the clay of the pot and the bronze of Lalita's skin were the only true substances. They were why the rains fell, why the sun rose. His fingers traced them all his life. Then he knew. He knew what Lalita had that the others didn't, that he didn't; she had sex. In fact, he realized, what she had was the opposite of what he had. But what was it that he had? What was the opposite of sex? It seemed like a question without an answer. Like where does reality stop and unreality begin? Or, what goes deeper, the human soul or the human imagination? But this one had an answer. That much Mohan knew. He knew that the opposite of sex was fear. And fear was something he had an abundance of.

As he started making a pot of coffee he glanced out his kitchen window and into his neighbor’s window and froze. He had the perfect view of his new neighbor. She was beautiful. Scratch that. The word didn’t even come close to describing her. She didn’t seem very tall, though it was hard to measure. Her dark wavy hair cascaded down over her shoulders, reaching just below her breasts. Very full breasts. Definitely enough to fill his palms. And the tight tank top she was wearing left very little to the imagination. It was obvious she’d just woken up as she rubbed a hand over her face and reached for the coffee pot. Look away, he ordered himself. But he was rooted to the spot.

A scholarly acquaintance in Samarkand had sent my colleague the finest and rarest tulips, as perfectly fresh as though they had just been cut from the stem. He was principally concerned with the microscopic study of their internal organs, especially of the pollen. He therefore dissected a beautiful lilac and yellow tulip, and discovered inside the calyx a tiny grain of alien matter which caught his attention in a singular fashion. How great was his astonishment when, on applying the magnifying glass, he clearly perceived that the tiny grain was none other than Princess Gamaheh, who was reposing on the pollen of the tulip's calyx and seemed to be sleeping calmly and peacefully.

There's no such thing as witches. But there used to be. It used to be the air was so thick with magic you could taste it on your tongue like ash. Witches lurked in every tangled wood and waited at every midnight-crossroad with sharp-toothed smiles. They conversed with dragons on lonely mountaintops and rode rowan-wood brooms across full moons; they charmed the stars to dance beside them on the summer solstice and rode to battle with familiars at their heels. It used to be witches were wild as crows and fearless as foxes, because magic blazed bright and the night was theirs. But then came the plague and the purges. The dragons were slain and the witches were burned and the night belonged to men with torches and crosses. Witching isn’t all gone, of course. My grandmother, Mama Mags, says they can’t ever kill magic because it beats like a great red heartbeat on the other side of everything, that if you close your eyes you can feel it thrumming beneath the soles of your feet, thumpthumpthump. It’s just a lot better-behaved than it used to be. Most respectable folk can’t even light a candle with witching, these days, but us poor folk still dabble here and there. Witch-blood runs thick in the sewers, the saying goes. Back home every mama teaches her daughters a few little charms to keep the soup-pot from boiling over or make the peonies bloom out of season. Every daddy teaches his sons how to spell ax-handles against breaking and rooftops against leaking. Our daddy never taught us shit, except what a fox teaches chickens — how to run, how to tremble, how to outlive the bastard — and our mama died before she could teach us much of anything. But we had Mama Mags, our mother’s mother, and she didn’t fool around with soup-pots and flowers. The preacher back home says it was God’s will that purged the witches from the world. He says women are sinful by nature and that magic in their hands turns naturally to rot and ruin, like the first witch Eve who poisoned the Garden and doomed mankind, like her daughter’s daughters who poisoned the world with the plague. He says the purges purified the earth and shepherded us into the modern era of Gatling guns and steamboats, and the Indians and Africans ought to be thanking us on their knees for freeing them from their own savage magics. Mama Mags said that was horseshit, and that wickedness was like beauty: in the eye of the beholder. She said proper witching is just a conversation with that red heartbeat, which only ever takes three things: the will to listen to it, the words to speak with it, and the way to let it into the world. The will, the words, and the way. She taught us everything important comes in threes: little pigs, bill goats gruff, chances to guess unguessable names. Sisters. There wer ethree of us Eastwood sisters, me and Agnes and Bella, so maybe they'll tell our story like a witch-tale. Once upon a time there were three sisters. Mags would like that, I think — she always said nobody paid enough attention to witch-tales and whatnot, the stories grannies tell their babies, the secret rhymes children chant among themselves, the songs women sing as they work. Or maybe they won't tell our story at all, because it isn't finished yet. Maybe we're just the very beginning, and all the fuss and mess we made was nothing but the first strike of the flint, the first shower of sparks. There's still no such thing as witches. But there will be.

To eat responsibly is to understand and enact, so far as one can, this complex relationship. What can one do? Here is a list, probably not definitive: 1. Participate in food production to the extent that you can. If you have a yard or even just a porch box or a pot in a sunny window, grow something to eat in it. Make a little compost of your kitchen scraps and use it for fertilizer. Only by growing some food for yourself can you become acquainted with the beautiful energy cycle that revolves from soil to seed to flower to fruit to food to offal to decay, and around again. You will be fully responsible for any food that you grow for yourself, and you will know all about it. You will appreciate it fully, having known it all its life. 2. Prepare your own food. This means reviving in your own mind and life the arts of kitchen and household. This should enable you to eat more cheaply, and it will give you a measure of “quality control”: You will have some reliable knowledge of what has been added to the food you eat. 3. Learn the origins of the food you buy, and buy the food that is produced closest to your home. The idea that every locality should be, as much as possible, the source of its own food makes several kinds of sense. The locally produced food supply is the most secure, the freshest, and the easiest for local consumers to know about and to influence. 4. Whenever possible, deal directly with a local farmer, gardener, or orchardist. All the reasons listed for the previous suggestion apply here. In addition, by such dealing you eliminate the whole pack of merchants, transporters, processors, packagers, and advertisers who thrive at the expense of both producers and consumers. 5. Learn, in self-defense, as much as you can of the economy and technology of industrial food production. What is added to food that is not food, and what do you pay for these additions? 6. Learn what is involved in the best farming and gardening. 7. Learn as much as you can, by direct observation and experience if possible, of the life histories of the food species. The

Nicole’s hand shakes as she lifts the tea cup to her lips. “Chamomile calms the nerves and I added a little verveine to the mix too to help with stress.” Agnes lifts the pot to pour some into Brian’s cup. “Are we worried about vampires?” asks Helen, winking over her tea at Nicole. Nicole almost chokes on the lemony, flowery-smelling liquid.  She’s been watching Vampire Diaries re-runs with Helen for the past week so the reference isn’t lost on her. “Vampires?  Heavens no.” Agnes looks down into her cup.  “Why would you think that?” “Oh, no reason.  So what are these?” Helen asks, holding up a small cake and doing a good job of distracting Agnes from the vampire remedy in her teacup.

I have talked to many people about this and it seems to be a kind of mystical experience. The preparation is unconscious, the realization happens in a flaming second. It was on Third Avenue. The trains were grinding over my head. The snow was nearly waist-high in the gutters and uncollected garbage was scattered in a dirty mess. The wind was cold, and frozen pieces of paper went scraping along the pavement. I stopped to look in a drug-store window where a latex cooch dancer was undulating by a concealed motor–and something burst in my head, a kind of light and a kind of feeling blended into an emotion which if it had spoken would have said, “My God! I belong here. Isn’t this wonderful?” Everything fell into place. I saw every face I passed. I noticed every doorway and the stairways to apartments. I looked across the street at the windows, lace curtains and potted geraniums through sooty glass. It was beautiful–but most important, I was part of it. I was no longer a stranger. I had become a New Yorker. Now there may be people who move easily into New York without travail, but most I have talked to about it have had some kind of trial by torture before acceptance. And the acceptance is a double thing. It seems to me that the city finally accepts you just as you finally accept the city. A young man in a small town, a frog in a small puddle, if he kicks his feet is able to make waves, get mud in his neighbor’s eyes–make some impression. He is known. His family is known. People watch him with some interest, whether kindly or maliciously. He comes to New York and no matter what he does, no one is impressed. He challenges the city to fight and it licks him without being aware of him. This is a dreadful blow to a small-town ego. He hates the organism that ignores him. He hates the people who look through him. And then one day he falls into place, accepts the city and does not fight it any more. It is too huge to notice him and suddenly the fact that it doesn’t notice him becomes the most delightful thing in the world. His self-consciousness evaporates. If he is dressed superbly well–there are half a million people dressed equally well. If he is in rags–there are a million ragged people. If he is tall, it is a city of tall people. If he is short the streets are full of dwarfs; if ugly, ten perfect horrors pass him in one block; if beautiful, the competition is overwhelming. If he is talented, talent is a dime a dozen. If he tries to make an impression by wearing a toga–there’s a man down the street in a leopard skin. Whatever he does or says or wears or thinks he is not unique. Once accepted this gives him perfect freedom to be himself, but unaccepted it horrifies him. I don’t think New York City is like other cities. It does not have character like Los Angeles or New Orleans. It is all characters–in fact, it is everything. It can destroy a man, but if his eyes are open it cannot bore him. New York is an ugly city, a dirty city. Its climate is a scandal, its politics are used to frighten children, its traffic is madness, its competition is murderous. But there is one thing about it–once you have lived in New York and it has become your home, no place else is good enough. All of everything is concentrated here, population, theatre, art, writing, publishing, importing, business, murder, mugging, luxury, poverty. It is all of everything. It goes all right. It is tireless and its air is charged with energy. I can work longer and harder without weariness in New York than anyplace else….

There were days, weeks, and months when I hated politics. And there were moments when the beauty of this country and its people so overwhelmed me that I couldn’t speak. Then it was over. Even if you see it coming, even as your final weeks are filled with emotional good-byes, the day itself is still a blur. A hand goes on a Bible; an oath gets repeated. One president’s furniture gets carried out while another’s comes in. Closets are emptied and refilled in the span of a few hours. Just like that, there are new heads on new pillows—new temperaments, new dreams. And when it ends, when you walk out the door that last time from the world’s most famous address, you’re left in many ways to find yourself again. So let me start here, with a small thing that happened not long ago. I was at home in the redbrick house that my family recently moved into. Our new house sits about two miles from our old house, on a quiet neighborhood street. We’re still settling in. In the family room, our furniture is arranged the same way it was in the White House. We’ve got mementos around the house that remind us it was all real—photos of our family time at Camp David, handmade pots given to me by Native American students, a book signed by Nelson Mandela. What was strange about this night was that everyone was gone. Barack was traveling. Sasha was out with friends. Malia’s been living and working in New York, finishing out her gap year before college. It was just me, our two dogs, and a silent, empty house like I haven’t known in eight years.

She was proud of her build, which was in accordance with the old Botswana ideas of beauty, and she would not pander to the modern idea of slenderness. That was an importation from elsewhere, and it was simply wrong. How could a very thin woman do all the things that women needed to do: to carry children on their backs, to pound maize into flour out at the lands or the cattle post, to cart around the things of the household—the pots and pans and buckets of water? And how could a thin woman comfort a man? It would be very awkward for a man to share his bed with a person who was all angles and bone, whereas a traditionally built lady would be like an extra pillow on which a man coming home tired from his work might rest his weary head. To do all that you needed a bit of bulk, and thin people simply did not have that.

And then she sat me down and combed out my hair, which was gentle and soothing, and she said, Grace, you will be a beauty, soon you will turn the men’s heads. The worst ones are the gentlemen, who think they are entitled to anything they want; and when you go out to the privy at night, they’re drunk then, they lie in wait for you and then it is snatch and grab, there’s no reasoning with them, and if you must, you should give them a kick between the legs where they’ll feel it; and it is always better to lock your door, and to use the chamber pot. But any kind of man will try the same; and they’ll start promising things, they’ll say they will do whatever you want; but you must be very careful what you ask, and you must never do anything for them until they have performed what they promised; and if there’s a ring, there must be a parson to go with it.

he herself will serve them coffee in tiny, cracked cups of precious porcelain and little sugar cakes. The hobbledehoys sit with a spilling cup in one hand and a biscuit in the other, gaping at the beautiful Countess in her satin finery as she pours from a silver pot and chatters distractedly to put them at their fatal ease. A certain desolate stillness of her eyes indicates she is inconsolable. She would like to caress their lean, brown cheeks and stroke their ragged hair. When she takes them by the hand and leads them to her bedroom, they can scarcely believe their luck. Afterwards, her governess will tidy the remains into a neat pile and wrap it in its own discarded clothes. This mortal parcel she then discreetly buries in the garden. The blood on the Countess' cheeks will be mixed with tears; her keeper probes her fingernails for her with a little silver toothpick, to get rid of the fragments of skin and bone that have lodged there.

Erin. “No matter what else has happened, you’re water and your element is welcome in our circle, but we don’t need any negative energy here—this is too important.” I nodded to the spiders. Erin’s gaze followed mine and she gasped. “What the hell is that?” I opened my mouth to evade her question, but my gut stopped me. I met Erin’s blue eyes. “I think it’s what’s left of Neferet. I know it’s evil and it doesn’t belong at our school. Will you help us kick it out?” “Spiders are disgusting,” she began, but her voice faltered as she glanced at Shaunee. She lifted her chin and cleared her throat. “Disgusting things should go.” Resolutely, she walked to Shaunee and paused. “This is my school, too.” I thought Erin’s voice sounded weird and kinda raspy. I hoped that meant that her emotions were unfreezing and that, maybe, she was coming back around to being the kid we used to know. Shaunee held out her hand. Erin took it. “I’m glad you’re here,” I heard Shaunee whisper. Erin said nothing. “Be discreet,” I told her. Erin nodded tightly. “Water, come to me.” I could smell the sea and spring rains. “Make them wet,” she continued. Water beaded the cages and a puddle began to form under them. A fist-sized clump of spiders lost their hold on the metal and splashed into the waiting wetness. “Stevie Rae.” I held my hand out to her. She took mine, then Erin’s, completing the circle. “Earth, come to me,” she said. The scents and sounds of a meadow surrounded us. “Don’t let this pollute our campus.” Ever so slightly, the earth beneath us trembled. More spiders tumbled from the cages and fell into the pooling water, making it churn. Finally, it was my turn. “Spirit, come to me. Support the elements in expelling this Darkness that does not belong at our school.” There was a whooshing sound and all of the spiders dropped from the cages, falling into the waiting pool of water. The water quivered and began to change form, elongating—expanding. I focused, feeling the indwelling of spirit, the element for which I had the greatest affinity, and in my mind I pictured the pool of spiders being thrown out of our campus, like someone had emptied a pot of disgusting toilet water. Keeping that image in mind, I commanded: “Now get out!” “Out!” Damien echoed. “Go!” Shaunee said. “Leave!” Erin said. “Bye-bye now!” Stevie Rae said. Then, just like in my imagination, the pool of spiders lifted up, like they were going to be hurled from the earth. But in the space of a single breath the dark image reformed again into a familiar silhouette—curvaceous, beautiful, deadly. Neferet! Her features weren’t fully formed, but I recognized her and the malicious energy she radiated. “No!” I shouted. “Spirit! Strengthen each of the elements with the power of our love and loyalty! Air! Fire! Water! Earth! I call on thee, so mote it be!” There was a terrible shriek, and the Neferet apparition rushed forward. It surged from our circle, breaking over Erin

Simple." Braydyn took a deep breath. "Those other lasses are vases and she's a flower pot." "Dude, what the hell are you talking about? Vases and flower pots?" Mitch furrowed his brow in confusion. "Vases are usually beautiful and purely decorative. They're sleek and sometimes expensive. But they are also the place flowers go te die. They can only bring life to the flower for so long before its empty shell eventually kills it. And if they're not used te temporarily hold flowers, then they're empty and meant for nothing more than te look pretty on someone's shelf or mantel." Bradyn leaned back in his chair, placed his hands on the back on his head and smiled, before continuing. "Now, a flower pot can be bonnie, painted, or even a little fancy. They can also be chipped and round and even plain. But they're filled with rich soil and if treated right, they are the places where flowers go te grow. Payton is a flower pot. Those other lasses are vases. I have no need for a vase.

But you are not listening, sapperment! great big she-fool that you are—sheep’s-head! Dummkopf! Donnerwetter! you are looking at the chimney-pots when Svengali talks! Look a little lower down between the houses, on the other side of the river! There is a little ugly grey building there, and inside are eight slanting slabs of brass, all of a row, like beds in a school dormitory, and one fine day you shall lie asleep on one of those slabs—you, Drilpy, who would not listen to Svengali, and therefore lost him! … And over the middle of you will be a little leather apron, and over your head a little brass tap, and all day long and all night the cold water shall trickle, trickle, trickle all the way down your beautiful white body to your beautiful white feet till they turn green, and your poor, damp, draggled, muddy rags will hang above you from the ceiling for your friends to know you by; drip, drip, drip! But you will have no friends…. ‘And people of all sorts, strangers, will stare at you through the big plate-glass window—Englanders,

A short while later, they were all covered in flour. "Anna, do you have to use so much flour?" her mother asked, waving a cloud of dust away from her face. "I hate when the cookies stick, Ma, you know that." Anna sifted more flour onto the wooden table that doubled as a workspace. She loved flour and she used it liberally, but it did make cleanup much harder. The bakery wasn't large and it wasn't bright; the windows were high up, just below the ceiling eaves. Anna had to squint to see her measurements. Spoons and pots hung on the walls, and the large wooden table stood in the middle of the room, where Anna and her mom baked bread, cinnamon rolls, and Anna's famous cookies. The majority of the bakery was taken up by the cast-iron stove. It was as beautiful as it was functional, and Anna was constantly tripping over it- or falling into it, hence the small burn marks on her forearms. Those also came from paddling the bread into and out of the oven. Her parents said she was the best at knowing when the temperature of the stove was just right for baking the softest bread. Maybe she was a little messy when she baked, but it didn't bother her.

She sent a serving girl out to fetch some food. A beef pie, bread and butter and plenty of the sweet stuff that she loved. She devoured a treacle pudding, closing her eyes to savor every sticky crumb. Sugar. How she had craved the stuff. Though her belly was full, still she helped herself from a paper bag of sugarplums, globes of candied fruits that made her cheeks bulge. Was this happiness, she wondered? She was full of food again, and as sleepy as a suckled child. She pictured a well-stocked larder, and the chance to make all the delights in Mother Eve's Secrets. She would help herself to the best, of course, for she who stirs the pot never starves. A comfortable future lay before her, all for the taking. Mrs. Quin bustled back into the room and began to dress her face. Gone were the worst of the bran-specks and flaking red sores. Instead, she had the prettiness of a portrait on an enameled tin; a smudgy confection of pink and cream. "A rosy blush," Mrs. Quin said benignly, "is the fashion nowadays." While Mrs. Quin deposited her half a crown in a locked trunk, Mary slipped a bottle of Pear's Almond Bloom and a tin of White Imperial Powder into her skirts.

The sea witch’s name was Raven. She sat by the hearth, winding twine into poppets while I hid in the corner, tiny and trembling; I didn’t know where I was. She said she was named after the birds of her homeland, and opened a mouldering book to show me a photograph. She was patient. Gentle. Finally betrayed by curiosity, I peeked out from my hiding place. ‘Took this from a fine young man,’ she said. Her ancient eyes twinkled just like the bird’s in the picture, wide and wild and cunning. ‘A seafarer. A beautiful one.’ She gave me pringlea in cold broth and said that the sailor had had a broad nose, and strong hands, and mumbled in his sleep. She loved him. But he loved the ocean more than her, and so she took his compass, blankets and books. She had taken the chairs, pots and tables of the shack from the duchess, with lovely lips and hair so soft it felt like down. The fine woman had been lost at sea. The windchimes—they had been made by the selkies. Raven brought me blankets. They smelled like her: of sweat, earth, and decay. She told me stories of her heartaches. I played with the pretty birds in their cages. My fear dwindled with the weeks as I began to feel sad for her.

We [Americans] are accustomed to think of ourselves as an emancipated people; we say that we are democratic, liberty-loving, free of prejudices and hatred. This is the melting-pot, the seat of a great human experiment. Beautiful words, full of noble, idealistic sentiment. Actually we are a vulgar, pushing mob whose passions are easily mobilized by demagogues, newspaper men, religious quacks, agitators and such like. To call this a society of free peoples is blasphemous. What have we to offer the world beside the superabundant loot which we recklessly plunder from the earth under the maniacal delusion that this insane activity represents progress and enlightenment? The land of opportunity has become the land of senseless sweat and struggle. The goal of all our striving has long been forgotten. We no longer wish to succor the oppressed and homeless; there is no room in this great, empty land for those who, like our forefathers before us, now seek a place of refuge. Millions of men and women are, or were until very recently, on relief, condemned like guinea pigs to a life of forced idleness. The world meanwhile looks to us with a desperation such as it has never known before. Where is the democratic spirit? Where are the leaders?

Then Daniel stepped forward and a trumpet sounded, followed by a drum. The dance was beginning. He took her hand. When he spoke, he spoke to her, not to the audience,as the other players did. "The fairest hand I ever touched," Daniel said. "O Beauty, till now I never knew thee." As if the lines had been written for the two of them. They began to dance,and Daniel locked eyes with her the whole time. His eyes were crystal clear and violet, and the way they never strayed from hers chipped away at Luce's heart. She knew he'd loved her always,but until this moment,dancing with him on the stage in front of all these people,she had never really thought about what it meant. It meant that when she saw him for the first time in every life,Daniel was already in love with her. Every time. And always had been. And every time, she had to fall in love with him from scratch.He could never pressure her or push her into loving him. He had to win her anew each time. Daniel's love for her was one long, uninterrupted stream.It was the purest form of love there was,purer even than the love Luce returned. His love flowed without breaking,without stopping. Whereas Luce's love was wiped clean with every death, Daniel's grew over time, across all eternity. How powerfully strong must it be by now? Hundreds of love stacked one on top of the other? It was almost too massive for Luce to comprehend. He loved her that much,and yet in every lifetime,over and over again,he had to wait for her to catch up. All this time,they had been dancing with the rest of the troupe, bounding in and out of the wings at breaks in the music,coming back onstage for more gallantry,for longer sets with more ornate steps,until the whole company was dancing. At the close of the scene,even though it wasn't in the script,even though Cam was standing right there watching,Luce held fast to Daniel's hand and pulled him to her,up against the potted orange trees.He looked at her like she was crazy and tried to tug her to the mark dictated by her stage directions. "What are you doing?" he murmured. He had doubted her before,backstage when she'd tried to speak freely about her feelings.She had to make him believe her.Especially if Lucinda died tonight,understanding the depth of her love would mean everything to him. It would help him to carry on,to keep loving her for hundreds more years, through all the pain and hardship she'd witnessed,right up to the present. Luce knew that it wasn't in the script, but she couldn't stop herself: She grabbed Daniel and she kissed him. She expected him to stop her,but instead he swooped her into his arms and kissed her back.Hard and passionately, responding with such intensity that she felt the way she did when they were flying,though she knew her feet were planted on the ground. For a moment, the audience was silent. Then they began to holler and jeer.Someone threw a shoe at Daniel, but he ignored it. His kisses told Luce that he believed her,that he understood the depth of her love,but she wanted to be absolutely sure. "I will always love you,Daniel." Only, that didn't seem quite right-or not quite enough. She had to make him understand,and damn the consequences-if she changed history,so be it. "I'll always choose you." Yes, that was the word. "Every single lifetime, I'll choose you.Just as you have always chosen me.Forever." His lips parted.Did he believe her? Did he already know? It was a choice, a long-standing, deep-seated choice that reached beyond anything else Luce was capable of.Something powerful was behind it.Something beautiful and- Shadows began to swirl in the rigging overhead. Heat quaked through her body, making her convulse,desperate for the fiery release she knew was coming. Daniel's eyes flashed with pain. "No," he whispered. "Please don't go yet." Somehow,it always took both of them by surprise.

A drone is often preferred for missions that are too "dull, dirty, or dangerous" for manned aircraft.” PROLOGUE The graffiti was in Spanish, neon colors highlighting the varicose cracks in the wall. It smelled of urine and pot. The front door was metal with four bolt locks and the windows were frosted glass, embedded with chicken wire. They swung out and up like big fake eye-lashes held up with a notched adjustment bar. This was a factory building on the near west side of Cleveland in an industrial area on the Cuyahoga River known in Ohio as The Flats. First a sweatshop garment factory, then a warehouse for imported cheeses then a crack den for teenage potheads. It was now headquarters for Magic Slim, the only pimp in Cleveland with his own film studio and training facility. Her name was Cosita, she was eighteen looking like fourteen. One of nine children from El Chorillo. a dangerous poverty stricken barrio on the outskirts of Panama City. Her brother, Javier, had been snatched from the streets six months ago, he was thirteen and beautiful. Cosita had a high school education but earned here degree on the streets of Panama. Interpol, the world's largest international police organization, had recruited Cosita at seventeen. She was smart, street savvy, motivated and very pretty. Just what Interpol was looking for. Cosita would become a Drone!

…Swammerdamm drew a small telescope from his pocket, extended it to its full length, and assailed his enemy with a loud cry of: 'Draw, you scoundrel, if you have the courage!'    Leuwenhoek promptly had a similar instrument in his hand, likewise extended it, and shouted: 'Come on, I'll fight you, and you'll soon feel my power!' The two put the telescopes to their eyes and fell upon each other furiously with sharp and murderous strokes, lengthening and shortening their weapons by pulling the extensions in and out. There were feints, parries, turns, in a word all the tricks of the fencer, and they seemed to grow ever more infuriated. If one of them was hit, he screamed, leapt into the air, and performed the most wonderful caprioles, and the most beautiful entrechats and pirouettes, like the best solo dancer in the Paris ballet, until the other focused the shortened telescope on him. If the same thing happened to the other, he behaved similarly. Thus they alternately displayed the boldest leaps, the wildest gestures, the most furious outcry; the sweat was dripping from their foreheads, their bloodshot eyes were protruding from their heads, and since no cause for their St Vitus dance was visible, save that they looked through the telescopes in turn, one was obliged to conclude that they were lunatics escaped from the madhouse. For the rest, the duel was a most pleasing sight.

And what of all these spices? They're worth a pretty fortune." She waves a juddering arm across the table, at the tins and glass jars and earthenware pots. All at once a shaft of thin northern light swoops over them, jolting them into luminous life: bubbled glass jars of briny green peppercorns, salted capers, gleaming vanilla pods, rusted cinnamon sticks, all leaping and glinting. The sudden startling beauty of it, the palette of hues--ocher, terra-cotta, shades of earth and sand and grass---the pale trembling light. All thoughts of running a boardinghouse vanish. I reach for a jar, lift its cork lid. The scent of bark, earth, roots, sky. And for a second I am somewhere else. "The mysterious scent of a secret kingdom," I murmur. The jar contains little pellets, brown, spherical, unexotic. How marvelous that something so plain can have such an enthralling perfume, I think. "Oh, Miss Eliza. Always the poetess! It's only allspice." Cook gives a wan smile and gestures at the ceiling, where long bunches of herbs hang from a rack. Rosemary, tansy, sage, nettles, woodruff. "And what of these? All summer I was collecting these and they still ain't properly dry." "May I lower it?" Not waiting for an answer I wind down the rack until the drying herbs are directly in front of me---a farmyard sweetness, a woody sappy scent, the smell of bruised apples and ripe earth and crushed ferns.

Lady Rose, you grow lovelier every time I see you.” Had it been a stranger who spoke she might have been flustered, but since it was Archer, Grey’s younger brother, she merely grinned in response and offered her hand. “And your eyesight grows poorer every time you see me, sir.” He bowed over her fingers. “If I am blind it is only by your beauty.” She laughed at that, enjoying the good-natured sparkle in his bright blue eyes. He was so much more easy-natured than Grey, so much more full of life and flirtation. And yet, the family resemblance could not be denied even if Archer’s features were a little thinner, a little sharper. How would Grey feel if she found a replacement for him in his own brother? It was too low, even in jest. “Careful with your flattery, sir,” she warned teasingly. “I am trolling for a husband you know.” Archer’s dark brows shot up in mock horror. “Never say!” Then he leaned closer to whisper. “Is my brother actually fool enough to let you get away?” Rose’s heart lurched at the note of seriousness in his voice. When she raised her gaze to his she saw only concern and genuine affection there. “He’s packing my bags as we speak.” He laughed then, a deep, rich sound that drew the attention of everyone on the terrace, including his older brother. “Will you by chance be at the Devane musicale next week, Lord Archer?” “I will,” he remarked, suddenly sober. “As much as it pains me to enter that viper’s pit. I’m accompanying Mama and Bronte. Since there’s never been any proof of what she did to Grey, Mama refuses to cut the woman. She’s better than that.” Archer’s use of the word “cut” might have been ironic, but what a relief knowing he would be there. “Would you care to accompany Mama and myself as well?” He regarded her with a sly smile. “My dear, Lady Rose. Do you plan to use me to make my brother jealous?” “Of course not!” And she was honest to a point. “I wish to use your knowledge of eligible beaux and have you buoy my spirits. If that happens to annoy your brother, then so much the better.” He laughed again. This time Grey scowled at the pair of them. Rose smiled and waved. Archer tucked her hand around his arm and guided her toward the chairs where the others sat enjoying the day, the table before them laden with sandwiches, cakes, scones, and all kinds of preserves, cream, and biscuits. A large pot of tea sat in the center. “What are you grinning at?” Grey demanded as they approached. Archer gave his brother an easy smile, not the least bit intimidated. “Lady Rose has just accepted my invitation for both she and her dear mama to accompany us to the Devane musicale next week.” Grey stiffened. It was the slightest movement, like a blade of grass fighting the breeze, but Rose noticed. She’d wager Archer did too. “How nice,” he replied civilly, but Rose mentally winced at the coolness of his tone. He turned to his mother. “I’m parched. Mama, will you pour?” And he didn’t look at her again.

Despite the raised voices and the wild gesticulations, nobody here is wrong. The beauty of ragù is that it's an idea as much as it is a recipe, a slow-simmered distillation of what means and circumstances have gifted you: If Zia Peppe's ragù is made with nothing but pork scraps, that's because her neighbor raises pigs. When Maria cooks her vegetables in a mix of oil and butter, it's because her family comes from a long line of dairy farmers. When Nonna Anna slips a few laurel leaves into the pot, she plucks them from the tree outside her back door. There is no need for a decree from the Chamber of Commerce to tell these women what qualifies as the authentic ragù; what's authentic is whatever is simmering under the lid. Eventually the women agree to disagree and the rolling boil of the debate calms to a gentle simmer. Alessandro opens a few bottles of pignoletto he's brought to make the peace. We drink and take photos and make small talk about tangential ragù issues such as the proper age of Parmesan and the troubled state of the prosciutto industry in the region. On my way out, Anna no. 1 grabs me by the arm. She pulls me close and looks up into my eyes with an earnestness that drowns out the rest of the chatter in the room. "Forget about these arguments. Forget about the small details. Just remember that the most important ingredient for making ragù, the one thing you can never forget, is love." Lisetta overhears from across the room and quickly adds, "And pancetta!

Tina was hosting. She's a thirty-five-year-old version of Sienne, only bottle blonde.Same blind-you lipstick, same taste in clothes,same complete disregard for anyone else's opinion on anything. They hate each other. "You hate me!" Sienna wailed. It wasn't Tina's voice that snapped back, but Dad's, "Oh,no. I am not playing that game with you. Do you have any idea what a hundred pounds of filet is gonna cost me? And now you want lobster?" "But it's my wedding! Daddy-" "Don't you Daddy me, princess! I'm already five grand in the hole for the damned hotel,not to mention two for the dress, and every time I turn around, you and your mother have added a new guest, bridesmaid,or crustacean!" First of all,Dad was yelling.Almost. Second,he was swearing.Even damn is fighting talk for him.I set down my pizza and debated the best route for a sealthy escape. I'd seen the dress.Pretty, in a Disney-princess, twenty-yards-of-tulle, boobs-shaped-into-missiles sort of way. Sienne looked deliriously happy in it. She looked beautiful.The less said about the bridesmaids' dressed, I'd decided, on seeing the purple sateen,the better. "No lobster!" he yelled. There was a dramatic howl, followed by the bang of the back door. When I peeked out,it was like a photo. Everything was frozen.Dad was standing over the massive pasta pot, red-faced and scowling, wooden spoon brandished like a sword. Leo and Ricky had retreated to the doorway of the freezer. Nonna had her eyes turned heavenward, and Tina was halfway through the dining room door, smirking a little.

… we are not going to add any fresh thrill to the thrill which the loveliness of The Piper at the Gates of Dawn has already given its readers… it seemed clear to me that Rat and Toad, Mole and Badger could only face the footlights with hope f success if they were content to amuse their audiences. There are both beauty and comedy in the book, but the beauty must be left to blossom there, for I, anyhow, shall not attempt to transplant it. But can one transplant even the comedy? Perhaps it has happened to you, as it has certainly happened to me, that you have tried to explain a fantastic idea to an entirely matter-of-fact person. ‘But they don’t,’ he says, and ‘You can’t,’ and ‘I don’t see why, just because –’ and ‘Even if you assume that –’ and ‘I thought you said just now he hadn’t.’ By this time you have thrown the ink-pot at him, with enough of accuracy, let us hope, to save you from his ultimatum, which is this: ‘However fantastic your assumption, you must work it out logically’ – that is to say, realistically. To such a mind The Wind in the Willows makes no appeal, for it is not worked out logically. In reading the book, it is necessary to think of Mole, for instance, sometimes as an actual mole, sometimes as such a mole in human clothes, sometimes as a mole grown to human size, sometimes as walking on two legs, sometimes on four. He is a mole, he isn’t a mole. What is he? I don’t know. And, not being a matter-of-fact person, I don’t mind. At least, I do know, and still I don’t mind. He is a fairy, like so many immortal characters in fiction; and, as a fairy, he can do, or be, anything. But the stage has no place for fairies. There is a horrid realism about the theatre, from which, however hard we try, we can never quite escape. Once we put Mole and his friends on the boards we have to be definite about them. What do they look like?

CLOSE is what we almost always are: close to happiness, close to another, close to leaving, close to tears, close to God, close to losing faith, close to being done, close to saying something, or close to success, and even, with the greatest sense of satisfaction, close to giving the whole thing up. Our human essence lies not in arrival, but in being almost there, we are creatures who are on the way, our journey a series of impending anticipated arrivals. We live by unconsciously measuring the inverse distances of our proximity: an intimacy calibrated by the vulnerability we feel in giving up our sense of separation. To go beyond our normal identities and become closer than close is to lose our sense of self in temporary joy, a form of arrival that only opens us to deeper forms of intimacy that blur our fixed, controlling, surface identity. To consciously become close is a courageous form of unilateral disarmament, a chancing of our arm and our love, a willingness to hazard our affections and an unconscious declaration that we might be equal to the inevitable loss that the vulnerability of being close will bring. Human beings do not find their essence through fulfillment or eventual arrival but by staying close to the way they like to travel, to the way they hold the conversation between the ground on which they stand and the horizon to which they go. What makes the rainbow beautiful, is not the pot of gold at its end, but the arc of its journey between here and there, between now and then, between where we are now and where we want to go, illustrated above our unconscious heads in primary colour. We are in effect, always, close; always close to the ultimate secret: that we are more real in our simple wish to find a way than any destination we could reach: the step between not understanding that and understanding that, is as close as we get to happiness.

People are so soon gone; let us catch them. That man there, by the cabinet; he lives, you say, surrounded by china pots. Break one and you shatter a thousand pounds. And he loved a girl in Rome and she left him. Hence the pots, old junk found in lodging-houses or dug from the desert sands. And since beauty must be broken daily to remain beautiful, and he is static, his life stagnates in a china sea. It is strange though; for once, as a young man, he sat on damp ground and drank rum with soldiers. One must be quick and add facts deftly, like toys to a tree, fixing them with a twist of the fingers. He stoops, how he stoops, even over an azalea. He stoops over the old woman even, because she wears diamonds in her ears, and, bundling about her estate in a pony carriage, directs who is to be helped, what tree felled, and who turned out tomorrow. (I have lived my life, I must tell you, all these years, and I am now past thirty, perilously, like a mountain goat, leaping from crag to crag; I do not settle long anywhere; I do not attach myself to one person in particular; but you will find that if I raise my arm, some figure at once breaks off and will come.) And that man is a judge; and that man is a millionaire, and that man, with the eyeglass, shot his governess “through the heart with an arrow when he was ten years old. Afterwards he rode through deserts with despatches, took part in revolutions and now collects materials for a history of his mother’s family, long settled in Norfolk. That little man with a blue chin has a right hand that is withered. But why? We do not know. That woman, you whisper discreetly, with the pearl pagodas hanging from her ears, was the pure flame who lit the life of one of our statesmen; now since his death she sees ghosts, tells fortunes, and has adopted a coffee-coloured youth whom she calls the Messiah.* That man with the drooping moustache, like a cavalry officer, lived a life of the utmost debauchery (it is all in some memoir) until one day he met a stranger in a train who converted him between Edinburgh and Carlisle by reading the Bible. Thus, in a few seconds, deftly, adroitly, we decipher the hieroglyphs written on other people’s faces. Here, in this room, are the abraded and battered shells cast on the shore.

The Monk in the Kitchen I ORDER is a lovely thing; On disarray it lays its wing, Teaching simplicity to sing. It has a meek and lowly grace, Quiet as a nun's face. Lo—I will have thee in this place! Tranquil well of deep delight, All things that shine through thee appear As stones through water, sweetly clear. Thou clarity, That with angelic charity Revealest beauty where thou art, Spread thyself like a clean pool. Then all the things that in thee are, Shall seem more spiritual and fair, Reflection from serener air— Sunken shapes of many a star In the high heavens set afar. II Ye stolid, homely, visible things, Above you all brood glorious wings Of your deep entities, set high, Like slow moons in a hidden sky. But you, their likenesses, are spent Upon another element. Truly ye are but seemings— The shadowy cast-oft gleamings Of bright solidities. Ye seem Soft as water, vague as dream; Image, cast in a shifting stream. III What are ye? I know not. Brazen pan and iron pot, Yellow brick and gray flag-stone That my feet have trod upon— Ye seem to me Vessels of bright mystery. For ye do bear a shape, and so Though ye were made by man, I know An inner Spirit also made, And ye his breathings have obeyed. IV Shape, the strong and awful Spirit, Laid his ancient hand on you. He waste chaos doth inherit; He can alter and subdue. Verily, he doth lift up Matter, like a sacred cup. Into deep substance he reached, and lo Where ye were not, ye were; and so Out of useless nothing, ye Groaned and laughed and came to be. And I use you, as I can, Wonderful uses, made for man, Iron pot and brazen pan. V What are ye? I know not; Nor what I really do When I move and govern you. There is no small work unto God. He required of us greatness; Of his least creature A high angelic nature, Stature superb and bright completeness. He sets to us no humble duty. Each act that he would have us do Is haloed round with strangest beauty; Terrific deeds and cosmic tasks Of his plainest child he asks. When I polish the brazen pan I hear a creature laugh afar In the gardens of a star, And from his burning presence run Flaming wheels of many a sun. Whoever makes a thing more bright, He is an angel of all light. When I cleanse this earthen floor My spirit leaps to see Bright garments trailing over it, A cleanness made by me. Purger of all men's thoughts and ways, With labor do I sound Thy praise, My work is done for Thee. Whoever makes a thing more bright, He is an angel of all light. Therefore let me spread abroad The beautiful cleanness of my God. VI One time in the cool of dawn Angels came and worked with me. The air was soft with many a wing. They laughed amid my solitude And cast bright looks on everything. Sweetly of me did they ask That they might do my common task And all were beautiful—but one With garments whiter than the sun Had such a face Of deep, remembered grace; That when I saw I cried—"Thou art The great Blood-Brother of my heart. Where have I seen thee?"—And he said, "When we are dancing round God's throne, How often thou art there. Beauties from thy hands have flown Like white doves wheeling in mid air. Nay—thy soul remembers not? Work on, and cleanse thy iron pot.

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.

The bird life, was, as ever, of great interest to ship’s surgeon McCormick. On seeing hovering over the ship what he believed to be a new species of Lestris, or Arctic Yager, described by Audubon, the great American bird illustrator, as an ‘indefatigable teaser of the smaller gulls’, he took a pot-shot at it. His shot failed to despatch the bird cleanly and, after descending near the deck, it recovered and flew away with one leg broken. McCormick, unusually, felt compelled to justify himself: ‘For notwithstanding that my duties as ornithologist compel me to take the lives of these most beautiful and interesting creatures . . . I never do so without a sharp sting of pain and qualm of conscience, so fond am I of all the feathered race.’ So fond, indeed, that on the same night he recorded that ‘Between midnight and one a.m. I succeeded in adding two more of the elegant white petrel to my collection, one falling dead on the quarter-deck and the other on the gun-room skylight . . . a third I shot . . . fell overboard into the sea.

Edinburgh is a beautiful town no doubt, but in winter weather there is a waght of misery and wretchedness all about. Princes Street is very pretty & flashy & shoppy, but the grand old High Street is a most depressing place. The tall houses have an air of depressed nobility much more revolting than mere poverty, like a cast off chimney pot hat on an Irish scaffy.

The race across the mountain continued, but the mountains still glowed when it was their time to glow. They still cried when it was time for rain. And they still told you stories, if you only knew how to listen to them. But I was no longer one of those who knew how to listen … who knew how to laugh and cry with them … I was an athlete … I was an alpinist. I spoke of walls and overhangs. I ran and trained and counted my ascents. I fell prey to the folly of categorization, adding up points, comparing myself to others and making myself poorer and poorer. I was turning into a shallow and stupid craftsman. All I saw were numbers, summit heights, sizes of walls, estimations of difficulty. I only saw Roman and Arabic numerals, commas and plus and minus signs. My hands and legs were strong and unstoppable but my head became empty and my heart no longer beat faster because it was being overwhelmed by beauty – only because of physical effort. My path was rapidly turning downhill while the curve of my success continued to rise. One climb became indistinguishable from another. I functioned like a well-oiled machine that will continue to run on empty if no one stops it. And thus the wheels of my machine kept turning without purpose, faster and faster, until my children reminded me that the birds in the forest were still singing.” Excerpt From: Bernadette McDonald. “Alpine Warriors.

The ballroom of Royal Academy might be the most magnificent sight I've ever seen. The enormous room is lit entirely by clouds of fireflies that float near the ceiling. Flowers crawl down the walls like ivy, while dozens of beautiful potted trees give the room the illusion of an enchanted forest.

Everything felt far away, and yet very beautiful: a keening, edged beauty, like a distant iceberg under moonlight. The coffee beans, and the pot of fresh ink, and her own still hand. All of them swaddled by a layer of invisible wool like the ruff of a winter coat. Perhaps she could just sit here a moment. It was warm and dark, and she was surrounded by books.

This is the melting-pot, the seat of a great human experiment. Beautiful words, full of noble, idealistic sentiment. Actually we are a vulgar, pushing mob whose passions are easily mobilized by demagogues, newspaper men, religious quacks, agitators and such like. To call this a society of free peoples is blasphemous

Beauty is more than just pictures on a wall. It is also about colors that bring pleasure, smooth and nubby textures that reward the touch, the wafting fragrance of food in the oven that keeps us sniffing appreciatively, the comfort or excitement of music on the stereo. Beauty is found in the way we light the rooms (we keep a well-stocked shelf of candles and lighters in constant use), the books we open again and again, the way we arrange the furniture and set the table. It is found in natural objects we use for decorating potted plants, shells, autumn leaves, always fresh flowers or pine boughs brought in from our yard and open windows that draw the eye toward the beautiful outdoors.

They roast a pig, four chickens, half a dozen guinea pigs (cuy, Ecuadorian specialty!), set out soups and tamales and empanadas and llapingachos, four pots of beans and rice. Mami has even baked a belated birthday cake for Essy, decorated with jelly beans and Jell-O and mini-marshmallows. And when they sing, feliz cumpleaños, it’s like a full-on chorus

Eventually, he decided to stay in his house where there were fewer things to hate. This was okay for a while but then some noisy neighbours moved in. Guess what? He hated them. In fact, he hated everyone he ever met, so he packed his things and moved far way to a house on a cliff by the seaside where there were hardly any other people to hate. Every day he sat on the cliff, watching the ocean and trying not to hate it. A little girl lived nearby and saw the man sitting by himself every day. She thought he must be lonely and felt sorry for him so she decided to make him a special present. She planted a geranium seed in a pot and watered it and loved it every day for six weeks. As the geranium plant grew, she spoke to it in a kind voice. She told it all about the lonely man who sat everyday on the cliff. When the geranium plant grew a beautiful pink flower, the girl carefully wrapped the pot in soft pink tissue paper. She carried it up to the cliff-top and, smiling shyly, gave it to the man. He hated it and threw it off the cliff. The girl ran home, crying. The end (Well, what did you expect? I told you at the start that he wasn’t

The coffee filling the pot looks beautiful this morning, made from mountain water, then I realize I had forgotten to put any ground beans in, and I start over. I am starting over. I am laying down my ambition—to disguise that I am a creature of narcissus, as if a daughter of narcissus could be anything but a narcissus. I am not seeking a man to love and be loved by, though of course I always am, I am asking to learn to like this large awkward being, flightless dragon damsel fly— Fashion thyself, then others shall thee beare— to pull up my vanity, out of the backyard dirt, where I buried it when I saw that it and I could not both go forth alive from that house.

A potato! It was a thing of wonder and beauty. He rummaged further in the soil and discovered that several more were ready. Some were as tiny as pebbles, but others would make a hearty side dish. He gathered them up in a plant pot, took them to the outside tap and rinsed off the earth until their creamy flesh was revealed. They were round parcels of pure nourishment. They were living orbs. They were knobby baubles of glory. They cheered him immensely. He had achieved something.

That’s the beauty of this clay pot! Treasure it and never use it for anything but meen vevichathu, all right? Every year, your curry will get better. If there’s a fire in my house and I must choose between my husband and my clay pot . . . well, all I can say is he’s lived a good life.

The azaleas were so different, foreign creatures entirely, to the Scottish heather and bluebells of his life before. But he was haunted by visions of a black-haired beauty with skin the color of clay and strong, calloused hands bending her nose to the heather, gathering up heaping armfuls of bluebells and putting them in earthen pots around a tiny, seaside cottage. Of that same woman stuffing a mattress with heather so that whenever he’d rolled over, whenever she’d shifted closer, whenever he’d thrust deeply into her body, into her heat, he’d smelled heather. She would love the azaleas. She would love the magnolias and camellias and dogwoods. She would love the sticky heat and the way the air always smelled—Spanish moss and flowers and, underneath it all, decay. She would smell everything—things that no one else could smell. He used to tease her that he needn’t bother with dogs because she could scent dinner for them. And she’d laughed but would go out and come back with a fat rabbit dangling by the ears just the same.

The vital roles that schema and pattern play in Archaic art can be considered symptoms of a larger Greek demand for regularity and order which extends beyond the realms of representational art into architecture, poetry, and philosophy and beyond the limits of the Archaic period itself. The language of Homer is highly ordered: its formulae were originally patterns for the ear. Hesiod's Theogony imposes patterns on gods and heroes by putting each in his genealogical place, and his Works and Days moves from a particular instance of injustice to universal truths and patterns of human activity. Archaic poetry in general is full of literary schemata or conventions, and Archaic poets express thought and meaning through the harmony of opposites. Archilochos detected a rhysmos (pattern) even in the rise and fall of human fortunes. The philosophers of Miletos attempted to fit nature to preconceived patterns and so to extract order from apparent chaos. Pythagoras (or his followers) ordered the world through number. The urge to impose kosmos (order) on the nature of things is not peculiar to the Archaic mind – in Xenophon's Oikonomikos Sokrates reports that all things, even pots and pans, look more beautiful when they are kept in order, and even the space between them looks beautiful – but is nonetheless particularly characteristic of it.

We were on top again. As always, again. We survived. The depths had been icy and dark, but now a bright sun spoke to our souls. I was no longer simply a member of the proud graduating class of 1940; I was a proud member of the wonderful, beautiful Negro race. Oh, Black known and unknown poets, how often have your auctioned pains sustained us? Who will compute the lonely nights made less lonely by your songs, or by the empty pots made less tragic by your tales? If we were a people much given to revealing secrets, we might raise monuments and sacrifice to the memories of our poets, but slavery cured us of that weakness. It may be enough, however, to have it said that we survive in exact relationship to the dedication of our poets (include preachers, musicians and blues singers).

That’s the beauty of this clay pot! Treasure it and never use it for anything but meen vevichathu, all right? Every year, your curry will get better. If there’s a fire in my house and I must choose between my husband and my clay pot . . . well, all I can say is he’s lived a good life. The curries I will make in my pot will ease my widowhood!

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.

That night, I regarded myself in the full-length mirror in my London hotel room and marvelled at how my scars have faded and thought about the pots Eddie would sometimes make, then deliberately and carefully break, before resetting them with molten gold (so that he could sell them for much more money). At the time I thought this practice inauthentic and pretentious, but I am starting to look at some things in life in a different way. Kintsukuroi is the name for this ancient Japanese art, which teaches that broken objects are not something to hide away but should be displayed with pride, for they are stronger and more beautiful for surviving the breakage. I think I, too, am stronger and more beautiful for surviving my travails. The

The brightest rainbows are often found after the roughest storms.

Inside an H Mart complex, there will be some kind of food court, an appliance shop, and a pharmacy. Usually, there's a beauty counter where you can buy Korean makeup and skin-care products with snail mucin or caviar oil, or a face mask that vaguely boasts "placenta." (Whose placenta? Who knows?) There will usually be a pseudo-French bakery with weak coffee, bubble tea, and an array of glowing pastries that always look much better than they taste. My local H Mart these days is in Elkins Park, a town northeast of Philadelphia. My routine is to drive in for lunch on the weekends, stock up on groceries for the week, and cook something for dinner with whatever fresh bounty inspires me. The H Mart in Elkins Park has two stories; the grocery is on the first floor and the food court is above it. Upstairs, there is an array of stalls serving different kinds of food. One is dedicated to sushi, one is strictly Chinese. Another is for traditional Korean jjigaes, bubbling soups served in traditional earthenware pots called ttukbaegis, which act as mini cauldrons to ensure that your soup is still bubbling a good ten minutes past arrival. There's a stall for Korean street food that serves up Korean ramen (basically just Shin Cup noodles with an egg cracked in); giant steamed dumplings full of pork and glass noodles housed in a thick, cakelike dough; and tteokbokki, chewy, bite-sized cylindrical rice cakes boiled in a stock with fish cakes, red pepper, and gochujang, a sweet-and-spicy paste that's one of the three mother sauces used in pretty much all Korean dishes. Last, there's my personal favorite: Korean-Chinese fusion, which serves tangsuyuk---a glossy, sweet-and-sour orange pork---seafood noodle soup, fried rice, and black bean noodles.

Day and night, I was free to explore the house-- and I went everywhere that I could, for my key opened almost half the doors. I found a rose garden under a glass dome; the roses formed a labyrinth in which I always got lost, and yet-- according to the cuckoo clock at the door-- I would always stumble out again in exactly twenty-three minutes. I found a greenhouse full of potted ferns and orange trees. The air was thick with the warm, wet smell of earth. Bees hummed through the air; the glass walls were frosted with condensation. I found a round room whose walls were covered in mosaics of naiads and tossing waves, and the air always smelled of salt, and no matter which way I turned, the door was always directly behind me.

Duck Decoy Buckinghamshire In London at low tide it is still possible to find traces of Saxon fish and eel traps in the Thames, and near Brill in Buckinghamshire the National Trust has preserved what might be described as their avian equivalent. Today the word decoy has a wider meaning, but its origins are Dutch and originally described a type of wicker enclosure introduced to Britain from the Netherlands in the seventeenth century.[7] After landing on a lake or pond, waterfowl were encouraged into these enclosures by dogs specially trained for the purpose. The ruse works because ducks can become victims of their own curiosity. Faced with a likely predator, a duck will often keep it under observation rather than fly away. Mistaking a hunter’s dog for a fox, birds could thus be tricked into remaining on the water and gently led along the course of the decoy. Thereafter, the chances of escape would be reduced by narrowing the width of the enclosure as the birds paddled farther into it, and by giving it a curved shape that cut off the view of the pond. Once trapped in this way, the birds could be easily caught and killed; the meat all the better for being free of lead shot. As a source of nutrition, the decoys proved relatively cheap and efficient and soon hundreds were being constructed around the country. By the late nineteenth century, however, the number had slumped to a few dozen and today there are just four which, if they are used at all, play a role in trapping animals for ringing rather than for the pot. Hidden away in woodland, the Boarstall duck decoy is beautifully preserved and fairly typical of the late seventeenth century, although iron hoops suggest it might have been of above-average quality. With three separate enclosures or ‘pipes’, it includes hurdles behind which the decoyman could hide, perhaps throwing grain onto the surface of the water to further tempt the birds to their doom. Originally serving the kitchens of a now-vanished medieval manor house – to which the National Trust’s Boarstall Tower is the old gatehouse – this simple but ingenious device remained in use until the 1940s.

He turns to see an even stranger sight: the silk sari he uses as a backdrop is on the floor, but it is alive, writhing. It is coral and ginger and olive green, and beneath it, he registers at last, is Celeste, fighting to break free. He lunges for the sari, pulling it away even as the burning, melting silk sticks to his flesh, but he refuses to let her go. If he can only peel it off, restore the beautiful cloth to where it sat draped next to the earthen pot, next to the fruit, its folds spilling to the floor, if he can only restore it to the way it was, the way it should be—Still Life with Mangoes—then all will be well. He is sure of it.

I want to tell her more. I want to tell her that I envy my sire’s twin daughters, their soft shoulders, their hair pale and thin as spider’s silk, their lessons, their linens, their cream-colored, paper-thin dresses. I want to tell her that when I listen at their doors, I am taking one thing for myself, one thing that none of them would give. I say the tutor’s words in my head again, trying not to feel guilty at my mother’s worried frown, the way her anxiety makes her stab her spoon into the pot. Wax, honey, bee-bread, combs. How to apologize for wanting some word, some story, some beautiful thing for my own?

I’m convinced that the best things in life are: Red wine, honey, Croatian olive oil, being self-employed, love, old books, the Bialetti Moka pot, sunsets, and living in a neighborhood that wasn’t planned by modernist architects. Anything else is strictly unnecessary.

There are many ways to go home; many are mundane, some are divine. My clients tell me these mundane endeavors constitute a return to home for them[...] Rereading passages of books and single poems that have touched them. Spending even a few minutes near a river, a stream, a creek. Lying on the ground in dappled light. Being with a loved one without kids around. Sitting on the porch shelling something, knitting something, peeling something. Walking or driving for an hour, any direction, then returning. Boarding any bus, destination unknown. Making drums while listening to music. Greeting sunrise. Driving out to where the city lights do not interfere with the night sky. Praying. A special friend. Sitting on abridge with legs dangling over. Holding an infant. Sitting by a window in a café and writing. Sitting in a circle of trees. Drying hair in the sun. Putting hands in a rain barrel. Potting plants,being sure to get hands very muddy. Beholding beauty, grace, the touching frailty of human beings.

The Composition of Death Upon Your Breath" About the Song: The Composition of Death Upon Your Breath delves into the dark and haunting theme of a lover poisoned by a sinister concoction found in the medieval Grand Grimoire. The song narrates the tragic tale of love tainted by the cruel hand of death, where a forbidden potion is meticulously prepared with arcane ingredients. The song's lyrics evoke a gothic atmosphere, intertwining elements of medieval alchemy and romantic tragedy. The potion's ingredients—Red Copper, Nitric Acid, Verdigris, Arsenic, Oak Bark, Rose Water, and Black Soot—are transformed into metaphors for the slow, inevitable demise of the lover. This deadly recipe becomes a symbol of both the destructive power and the twisted beauty of forbidden love. The music captures the essence of gothic black metal with its somber melodies, eerie harmonies, and intense, brooding instrumentals. Each note and lyric serve to illustrate the dark journey of love poisoned by betrayal and malice. The song's atmosphere is thick with melancholy and dread, inviting listeners into a world where passion and death intertwine in a tragic dance. Copyright Notice: The Composition of Death Upon Your Breath © 2024 Umbrae Sortilegium. All rights reserved. Unauthorized copying, reproduction, or distribution of this song or its lyrics is prohibited. The Composition of Death Upon Your Breath. (Verse 1) In an ancient tome of shadowed lore, A secret poison to settle the score, A lover’s whisper, a deadly art, The composition to tear us apart. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Verse 2) A new, glazed pot, the spell's design, A potion brewed, in shadows confined, Your lips, a chalice of cold despair, In each embrace, a whispered prayer. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Bridge) In your gaze, the twilight's fall, A lover's kiss, the end of all, The Grand Grimoire, its secrets told, In every kiss, the poison’s cold. (Breakdown) A potion brewed from darkest sin, Your breath the gateway, let death begin, A recipe of doom, our fates entwined, In your arms, I lose my mind. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Outro) The final breath, a lover's sigh, In your arms, I’m doomed to die, The composition, a lover’s theft, Death upon your breath, my final bequest. Lyrics and ALL Vocals yours truly. Lead Guitar & Symphonics Raz Wolfgang Drums Alexander Novichkov Bass Auron Nightshade Guitarist Kael Thornfield

A watched pot never boils, but if I took my eyes from these negative thoughts for a second they would spill over the edges of my lips, and boil the beautiful moment alive as we lived it.

Men don’t have a reason any more. No one wants us. Why should they? What can we do? We have no job, no home to go to. It’s been taken away. Small wonder then that all that is left for us is to turn in upon ourselves, to clutch at the few things that give us meaning, hope. Money is one thing. Football is another. Football with money does it big time. But football is made up by men like us now, not like men of my father’s years. They have no idea who they are, where they are meant to go either. Call it sport. There was sport to it once, where sport was the point. The point now? What is the point, exactly, of this beautiful game? See them on the pitch, biting each other, pulling at each other’s shirts, kicking and scratching, flying tackles, jabs in the elbow, feigning injuries, bellowing obscenities at the ref: see them later, off the pitch, urinating in hotel plant pots, wrecking Indian takeaways, abusing shop owners, brawling in night clubs, gang-banging under-age groupies, punching unwilling women in the face; see them beating their wives, breaking their girlfriends’ arms, standing outside their ghastly houses with their Doric columns and Lamborghinis, driving to each other’s hideous celebrity-strewn weddings. Be worthless now, that’s all you can be. The age of the bully is upon us.

Melinda, what are you doing?” he asked, unzipping his jeans to take them off and take a shower of his own. “Nothing,” she said, averting her eyes. He frowned and stepped toward her. He lifted her chin and looked into her eyes. “Were you covering up? In front of me?” he asked, astonished. “Jack, I’m going to pot,” she said, cinching the towel tighter. “What?” he asked, laughter in his voice. “What are you talking about?” She took a deep breath. “My boobs are drooping, my butt fell into my thighs, I have a potbelly, and if that’s not bad enough, I’m so covered with stretch marks, I look like a deflated balloon.” She put a hand against his rock-hard chest. “You’re eight years older than I am and you’re in perfect shape.” He started to laugh. “I thought you were trying to cover a tattoo or something. Mel, I didn’t have two children, a year apart. Emma’s only a few months old. Give yourself a little time, huh?” “I can’t help it. I miss my old body.” “Oh-oh,” he said, putting his arms around her. “If you’re thinking like that, I’m not doing my job.” “But it’s true,” she said, laying her head against the soft mat of hair on his chest. “Mel, you are more beautiful every day. I love your body.” “It’s not what it was…” “Hmm. But it’s better,” he said. He tugged at the towel and she hung on. “Come on,” he said. She let go and he pulled it away. “Ah,” he said, smiling down at her. “This body is amazing to me—incredible. More lush and irresistible every day.” “You can’t mean that,” she said. “But I do.” He leaned down and touched her lips with his, one hand on her breast, the other moving smoothly down her back and over her bottom. “This body has given me so much—I worship this body.” He lifted her breast slightly. “Look,” he said. “I can’t bear it,” she complained. “Look, Mel. Look in the mirror. Sometimes when I see you like this, uncovered, I can’t breathe. Every small change just makes you better, more delicious to me. You can’t think I’d have anything but complete admiration for the body that gave me my children. You give me so much pleasure, sometimes I think I might be losing my mind. Baby, you’re perfect.” “I’m twenty pounds heavier than when you met me,” she said. He laughed at her. “What are you now? A size four?” “You don’t know anything. It’s much more than a four. We’re headed for double digits…” “God above,” he said. “Twenty more pounds for me to gobble up.” “What if I just keep getting fatter and fatter?” “Will you still be in there? Because it’s you I love. I love your body, Mel, because it’s you. You understand that, right?” “But…” “If I had an accident that blew my legs off, would you stop loving me, wanting me?” “Of course not! That’s not the same thing!” “We’re not our bodies. We’ve been lucky with our bodies, but we’re more than that.” “It was my butt in a pair of jeans that got your attention….” “My love for you is a lot deeper than that, and you know it. However—” he grinned “—you still knock me out in those jeans. If you’ve gained twenty pounds, it went to all the right places.” “I’m thinking—tummy tuck,” she said. “What nonsense,” he said, leaning down to cover her mouth in a bold and serious kiss.

Beauty always made a target of its possessor. Every other human quality was hidden easily enough --- intelligence, talent, selfishness, even madness --- but beauty could not be concealed. "Do you ever wish you didn't look the way you did?" Anita asked. "All the time," Misery said. "I hate the way I look." [...] "No, I didn't mean like that. I just meant---" "Having to be afraid," Eliza said. "Yeah." No need to say more. No need to describe all the things you had to do to keep the eyes away. No need to discuss how hard it was to get the attention of the person you wanted attention from without being seen as desperate for everyone's attention. No need to catalog all the walls you had to put up; not just the walls that protected you from physical danger --- though there were plenty of those, too --- but the walls you had to build around your heart. They said no man was an island, and Anita figured that was probably true. But women were; they had to be. And even if someone bothered to sail over ad disembark, he'd soon discover that there was always a castle at the center of the island, surrounded by a deep moat, with a rickety drawbridge and archers manning the battlements and a big pot of oil poised above the gate, ready to boil alive anyone who dared to cross the threshold.

The sky over New York and the will of man made visible. What other religion do we need? And then people tell me about pilgrimages to some dank pesthole in a jungle where they go to do homage to a crumbling temple, to a leering stone monster with a pot belly, created by some leprous savage. Is it beauty and genius they want to see? Do they seek a sense of the sublime? Let them come to New York, stand on the shore of the Hudson, look and kneel. When

St. Lawrence River May 1705 Temperature 48 degrees From the river they walked back to the town, and the boy was taken into the fire circle outside the powwow’s longhouse. Here he was placed on the powwow’s sacred albino furs. A dozen men, those who were now his relatives, sat in a circle around him. The powwow lit a sacred pipe and passed it, and for the first time in his life, the boy smoked. Don’t cough, Mercy prayed for him. Don’t choke. Afterward she found out they diluted the tobacco with dried sumac leaves to make sure he wouldn’t cough on his first pull. Although the women had adopted him, it was the men who filed by to bring gifts. The new Indian son received a tomahawk, knives, a fine bow, a pot of vermilion paint, a beautiful black-and-white-striped pouch made from a skunk and several necklaces. “Watch, watch!” whispered Snow Walker, riveted. “This is his father. Look what his father gives him!” The warrior transferred from his own body to his son’s a wampum belt--hundreds of tiny shell circles linked together like white lace. The belt was so large it had to hang from the neck instead of the waist. To give a man a belt was old-fashioned. Wampum had no value to the French and had not been used as money by the Indians for many years. But it still spoke of power and honor and even Mercy caught her breath to see it on a white boy’s body. But of course, he was not white any longer. “My son,” said the powwow, “now you are flesh of our flesh and bone of our bone.” At last his real name was called aloud, and the name was plain: Annisquam, which just meant “Hilltop.” Perhaps they had caught him at the summit of a mountain. Or considering the honor of the wampum belt, perhaps he kept his eyes on the horizon and was a future leader. Or like Ruth, he might have done some great deed that would be told in story that evening. When the gifts and embraces were over, Annisquam was taken into the powwow’s longhouse to sit alone. He would stay there for many hours and would not be brought out until well into the dancing and feasting in the evening. Not one of Mercy’s questions had been answered. Was he, in his heart, adopted? Had he, in his heart, accepted these new parents? Where, in his heart, had he placed his English parents? How did he excuse himself to his English God and his English dead? The dancing began. Along with ancient percussion instruments that crackled and rattled, rasped and banged, the St. Francis Indians had French bells, whose clear chimes rang, and even a bugle, whose notes trumpeted across the river and over the trees.

Out of the oven and into the frying pan. It would be Ana’s luck to escape a would-be rapist and end up in some hag’s stew pot.

At the Fishhouses Although it is a cold evening, down by one of the fishhouses an old man sits netting, his net, in the gloaming almost invisible, a dark purple-brown, and his shuttle worn and polished. The air smells so strong of codfish it makes one's nose run and one's eyes water. The five fishhouses have steeply peaked roofs and narrow, cleated gangplanks slant up to storerooms in the gables for the wheelbarrows to be pushed up and down on. All is silver: the heavy surface of the sea, swelling slowly as if considering spilling over, is opaque, but the silver of the benches, the lobster pots, and masts, scattered among the wild jagged rocks, is of an apparent translucence like the small old buildings with an emerald moss growing on their shoreward walls. The big fish tubs are completely lined with layers of beautiful herring scales and the wheelbarrows are similarly plastered with creamy iridescent coats of mail, with small iridescent flies crawling on them. Up on the little slope behind the houses, set in the sparse bright sprinkle of grass, is an ancient wooden capstan, cracked, with two long bleached handles and some melancholy stains, like dried blood, where the ironwork has rusted. The old man accepts a Lucky Strike. He was a friend of my grandfather. We talk of the decline in the population and of codfish and herring while he waits for a herring boat to come in. There are sequins on his vest and on his thumb. He has scraped the scales, the principal beauty, from unnumbered fish with that black old knife, the blade of which is almost worn away. Down at the water's edge, at the place where they haul up the boats, up the long ramp descending into the water, thin silver tree trunks are laid horizontally across the gray stones, down and down at intervals of four or five feet. Cold dark deep and absolutely clear, element bearable to no mortal, to fish and to seals . . . One seal particularly I have seen here evening after evening. He was curious about me. He was interested in music; like me a believer in total immersion, so I used to sing him Baptist hymns. I also sang "A Mighty Fortress Is Our God." He stood up in the water and regarded me steadily, moving his head a little. Then he would disappear, then suddenly emerge almost in the same spot, with a sort of shrug as if it were against his better judgment. Cold dark deep and absolutely clear, the clear gray icy water . . . Back, behind us, the dignified tall firs begin. Bluish, associating with their shadows, a million Christmas trees stand waiting for Christmas. The water seems suspended above the rounded gray and blue-gray stones. I have seen it over and over, the same sea, the same, slightly, indifferently swinging above the stones, icily free above the stones, above the stones and then the world. If you should dip your hand in, your wrist would ache immediately, your bones would begin to ache and your hand would burn as if the water were a transmutation of fire that feeds on stones and burns with a dark gray flame. If you tasted it, it would first taste bitter, then briny, then surely burn your tongue. It is like what we imagine knowledge to be: dark, salt, clear, moving, utterly free, drawn from the cold hard mouth of the world, derived from the rocky breasts forever, flowing and drawn, and since our knowledge is historical, flowing, and flown.

It’s good to have a melting pot of friends. You need a little variety in your life. It’s like music. We’re all different and play our own instruments, but to make music, real, beautiful music, you gotta blend together.

Have you noticed nothing odd about their relationship, Valentine?” “No, and it’s not appropriate for us to discuss it.” Monsieur Broussard regarded Mrs. Pennywhistle with keen interest. “I’m French,” he said. “I have no problem discussing it.” Mrs. Pennywhistle lowered her voice, mindful of the scullery maids who were washing pots in the adjoining room. “There is some doubt as to whether they’ve had conjugal relations yet.” “Now see here—” Jake began, outraged at this violation of his employer’s privacy. “Have some of this, mon ami,” Broussard said, shoving a pastry plate at him. As Jake sat and picked up a spoon, the chef gave Mrs. Pennywhistle an encouraging glance. “What gives you the impression that he has not yet, er . . . sampled the watercress?” “Watercress?” Jake repeated incredulously. “Cresson.” Broussard gave him a superior look. “A metaphor. And much nicer than the metaphors you English use for the same thing.” “I never use metaphors,” Jake muttered. “Bien sur, you have no imagination.” The chef turned back to the housekeeper. “Why is there doubt about the relations between Monsieur and Madame Rutledge?” “The sheets,” she said succinctly. Jake nearly choked on his pastry. “You have the housemaids spying on them?” he asked around a mouthful of custard and cream. “Not at all,” the housekeeper said defensively. “It’s only that we have vigilant maids who tell me everything. And even if they didn’t, one hardly needs great powers of observation to see that they do not behave like a married couple.” The chef looked deeply concerned. “You think there’s a problem with his carrot?” “Watercress, carrot—is everything food to you?” Jake demanded. The chef shrugged. “Oui.” “Well,” Jake said testily, “there is a string of Rutledge’s past mistresses who would undoubtedly testify there is nothing wrong with his carrot.” “Alors, he is a virile man . . . she is a beautiful woman . . . why are they not making salad together?

about my No. 1 goal and decide which three things I’m going to do on this day to move closer toward reaching it. For example, at the time of this writing, my No. 1 goal is to deepen the love and intimacy in my marriage. Each morning I plan three things I can do to make sure that my wife feels loved, respected, and beautiful. When I get up, I put on a pot of coffee, and while it’s brewing, I do a series of stretches for about ten minutes—something I picked up from Dr. Oz. If you’ve lifted weights your whole life as I have, you get stiff. I realized that the only way I was going to incorporate more stretching into my life was to make it a routine. I had to figure out where in my schedule I could stick it in—and while the coffee’s brewing is as good a time as any. Once I’ve stretched and poured my cup, I sit in my comfy leather recliner, set my iPhone for thirty minutes (no more, no less), and read something positive and instructional. When the alarm sounds, I take my most important project and

None of you children seem to have inherited my love of gardening (unless you count Nick, and the pot plants in the attic),

I looked up at the moon and stars through the glass roof above and gasped at the stunning sight, like a mural painted by a great artist. No wonder Lady Anna had loved this place. I walked to the orchids and plucked a weed from a small terra-cotta pot that held a speckled pink and white flower. "There you are, beautiful," I whispered, releasing a patch of clover roots from the bark near the orchid's stem. "Is that better?" In the quiet of the night, I could almost hear the flower sigh. I walked to the water spigot and filled a green watering can to the brim, then sprinkled the flower and her comrades. I marveled at how the droplets sparkled in the moonlight.

We live in a world that operates according to a few general laws of nature. Everything you do from the moment you get up to the moment you go to bed happens because of the working of one of these laws. This exceedingly beautiful and elegant view of the world is the crowning achievement of centuries of work by scientists. There is intellectual and aesthetic satisfaction to be gained from seeing the unity between a pot of water on a stove and the slow march of the continents, between the colors of the rainbow and the behavior of the fundamental constituents of matter. The scientifically illiterate person has been cut off from an enriching part of life, just as surely as a person who cannot read. Finally,

It was marijuana that drew the line between us and them, that bright generational line between the cool and the uncool. My timidity about pot, as I first encountered it in Hawaii, vanished when, a few months later, during my first year of high school, it hit Woodland Hills. We scored our first joints from a friend of Pete's. The quality of the dope was terrible -- Mexican rag weed, people called it -- but the quality of the high was so wondrous, so nerve-end-opening, so cerebral compared to wine's effects, that I don't think we ever cracked another Purex jug. The laughs were harder and finer. And music that had been merely good, the rock and roll soundtrack of our lives, turned into rapture and prophecy. Jimi Hendrix, Dylan, the Doors, Cream, late Beatles, Janis Joplin, the Stones, Paul Butterfield -- the music they were making, with its impact and beauty amplified a hundredfold by dope, became a sacramental rite, simply inexplicable to noninitiates. And the ceremonial aspects of smoking pot -- scoring from the million-strong network of small-time dealers, cleaning "lids," rolling joints, sneaking off to places (hilltops, beaches, empty fields) where it seemed safe to smoke, in tight little outlaw groups of three or four, and then giggling and grooving together -- all of this took on a strong tribal color. There was the "counterculture" out in the greater world, with all its affinities and inspirations, but there were also, more immediately, the realignments in our personal lives. Kids, including girls, who were "straight" became strangers. What the hell was a debutante, anyway? As for adults -- it became increasingly difficult not to buy that awful Yippie line about not trusting anyone over thirty. How could parents, teachers, coaches, possibly understand the ineluctable weirdness of every moment, fully perceived? None of them had been out on Highway 61.

What was unique about this recovery was that with most carcasses you gag while you’re working because it stinks and looks awful. But this elk had fallen into a hot spring and its carcass literally smelled like a pot roast coming out of the oven.

You can become soft and mushy and lose your strength, like the carrots.” As she removed boiled eggs from the second pot, she warned, “Or, you can lose your fragility and become hard and rubbery when faced with a challenge.” Then, at the third pot, she used the ladle to scoop a magnificent, hot liquid into her cup. She inhaled deeply and smiled. “Or, you can choose to be like the coffee bean and use the stress to create more beauty.

plantings. These are great for decks or entranceways. Miniatures can grow in pots as small as

wide. Containers should have drainage holes. Use a soil-less potting mix and feed and water frequently. In cold climates, container-grown plants

I unhooked the partition and pulled it back, revealing the donkey’s shaggy coat and pot belly. She wouldn’t win any beauty pageants, but she looked to be in fairly good health. I clipped up her lead rope and led her to the top of the ramp where she stopped and looked around, swivelling her huge ears like antennae. Skip and Forbes were in the furthest corner of their paddock, staring in horror at the truck and snorting loudly at each other, clearly not impressed with the newest addition to the family. “What

Uh . . . thank you for the coffee, Meg—you brew a very decent pot.” His nervous compliment seemed to dissolve all the years of ridicule she’d suffered at his hand. Tubby. Four eyes. Wallflower, and more. Hurtful names she now realized were nothing more than the barbs of an insecure little boy. And a bully who would never bully her again. “Why, thank you,” she said with a flash of a perfect smile afforded by three years of braces at great expense to her mother. She felt almost giddy as she gave him a wink. “Not too shabby for somebody long on brains, short on beauty, eh?” And with a toss of her newly hennaed hair, she turned on her heel, the taste of vindication sweet solace, indeed.

In his left hand he was holding aloft the German flag; with his right he was shaking hands in smiling effusion with a bald-headed man whose face looked like a pot of lard that has boiled over and eventually congealed in white, flabby, unhealthy drifts and folds.

Harley Diekerhoff looked up from peeling potatoes to glance out the kitchen window. It was still snowing... even harder than it had been this morning. So much white, it dazzled. Hands still, breath catching, she watched the thick, white flakes blow past the ranch house at a dizzying pace, enthralled by the flurry of the lacy snowflakes. So beautiful. Magical A mysterious silent ballet in all white, the snow swirling, twirling just like it did in her favorite scene from the Nutcracker—the one with the Snow Queen and her breathtaking corps in their white tutus with their precision and speed—and then that dazzling snow at the end, the delicate flakes powdering the stage. Harley’s chest ached. She gripped the peeler more tightly, and focused on her breathing. She didn’t want to remember. She wasn’t going to remember. Wasn’t going to go there, not now, not today. Not when she had six hungry men to feed in a little over two hours. She picked up a potato, started peeling. She’d come to Montana to work. She’d taken the temporary job at Copper Mountain Ranch to get some distance from her family this Christmas, and working on the Paradise Valley cattle ranch would give her new memories. Like the snow piling up outside the window. She’d never lived in a place that snowed like this. Where she came from in Central California, they didn’t have snow, they had fog. Thick soupy Tule fog that blanketed the entire valley, socking in airports, making driving nearly impossible. And on the nights when the fog lifted and temperatures dropped beneath the cold clear sky, the citrus growers rushed to light smudge pots to protect their valuable, vulnerable orange crops. Her family didn’t grow oranges. Her family were Dutch dairy people. Harley had been raised on a big dairy farm in Visalia, and she’d marry a dairyman in college, and they’d had their own dairy, too. But that’s the part she needed to forget. That’s why she’d come to Montana, with its jagged mountains and rugged river valleys and long cold winters. She’d arrived here the Sunday following Thanksgiving and would work through mid-January, when Brock Sheenan’s housekeeper returned from a personal leave of absence. In January, Harley would either return to California or look for another job in Crawford County. Harley was tempted to stay, as the Bozeman employment agency assured her they’d have no problem finding her a permanent position if she wanted one.

Yeah, that. Keep the pot. Bweak it. Give it away. You can do what you want, Woan. You can do what you want because you fwee. Wememba that. And you beautiful, too. You should have the best of anything, but all I have to give you is a pot.” He offered one last misshapen smile, or maybe that one was a frown.

Ma indragostisem de ea si ma indragostisem prea tare ca sa-mi pot gasi usor veun punct de sprijin .

I have turned into a pumpkin I am poor The ball is over and I did not dance My heart stops beating I am sad Nothing can ever be so beautiful again Nothing can This is my usual corner I’m at home Here are the pots and spoons and darkness I did not dance and now I am alone My death drops down the chimney My heart stops

Doesn't have to be useful,' my mother pressed. 'Art means not having to be useful! In West Africa, for example, a hundred years ago, there were some village women, they were making these strangely shaped pots, impractical pots, and the anthropologists couldn't understand what they were doing, but that was because, they, the scientists, were expecting a quote unquote "primitive" people to make only useful things, when actually they were making the pots just for their beauty - no different from a sculptor - no to collect water, not to hold grain, just for their beauty, and to say: we were here, at this moment in time, and this is what we made.

Sometimes the form may seem to you like a container for the story—say, a pot. Of course you want the most beautiful pot you can make, as well as one that is the right size and shape for what it is to hold. However, you can’t just go and choose a pot from a pot store. Rather, you must make your own vessel as your material begins to take shape; you must work with it, mould it as the story expands, and let it swell where it wants to, or taper down to a fine mouth when necessary. Other times, the form may seem to come from the inside—more like a skeleton or a tree trunk. When you find that sturdy trunk and some of the main branches, then the foliage shapes itself naturally.

The Sister Bells had neither a sad nor fearful ring. At the core of each chime was a vibrancy, a promise of a better spring, a resonance coloured by beautiful, sustained vibrations. Their sound penetrated deeply, creating mirages in the mind and touching the most hardened of men. With a skilful bell-ringer the Sister Bells could turn doubters into churchgoers, and the explanation for their powerful tone was that they were malmfulle - that silver had been added to the bronze when the church bells were cast. The more silver, the more beautiful and resonant the chime. The skilfully crafted moulds and bronze had already cost Eirik Hekne a fortune, far more than his twin daughters had ever earned with their weaves. In the madness of his grief he went to the melting pot and threw in all his silver cutlery, then shoved his big working hands deep into his pockets and threw two fistfuls of silver dalers into the boiling alloy, coins that stayed on the surface surprisingly long, before they melted and the bubbles rose

Being a mother of young children means you spend a lot of your energy thinking about what other people need. You're always wiping something for somebody or cutting something for somebody. When you finally make your way to the soothing blank bottom of an empty sink, it's almost inevitable that you'll blink and the sink will be full again. It's like some reverse Sorcerer's Apprentice trick, only instead of having the soaring beauty of the Philadelphia Orchestra as backup, your soundtrack is provided by toddlers banging away with spoons on pots and pans.

A house in the country to find out what’s true / a few linen shirts, some good art / and you.” This is intimacy: the trading of stories in the dark. Marriage has a bonsai energy: It’s a tree in a pot with trimmed roots and clipped limbs. Mind you, bonsai can live for centuries, and their unearthly beauty is a direct result of such constriction, but nobody would ever mistake a bonsai for a free-climbing vine. Marriage as an institution has always been terrifically beneficial for men. The really clever trick is this: Can you accept the flaws? Can you look at your partner’s faults honestly and say, ‘I can work around that. I can make something out of that.’? Because the good stuff is always going to be there, and it’s always going to be pretty and sparkly, but the crap underneath can ruin you.” When you become infatuated with somebody, you’re not really looking at that person; you’re just captivated by your own reflection, intoxicated by a dream of completion that you have projected on a virtual stranger. People are far more susceptible to infatuation when they are going through delicate or vulnerable times in their lives. The more unsettled and unbalanced we feel, the more quickly and recklessly we are likely fall in love. Infatuation alters your brain chemistry, as though you were dousing yourself with opiates and stimulants. And infatuation is the most perilous aspect of human desire. Infatuation leads to what psychologists call “intrusive thinking”—that famously distracted state in which you cannot concentrate on anything other than the object of your obsession. An old Polish adage warns: “Before going to war, say one prayer. Before going to sea, say two prayers. Before getting married, say three.” “Sometimes life is too hard to be alone, and sometimes life is too good to be alone.” We derail our life’s journey again and again, backing up to try the doors we neglected on the first round, desperate to get it right this time.

In another life, we might have spent this evening nestled in a corner table at some café, drinking good Bordeaux, listening to Chet Baker, discussing hypothetical trips to the Greek islands or the construction of a backyard greenhouse where we would consider the merits of growing a lemon (or avocado?) tree in a pot and sit under a bougainvillea vine like the one my mom planted the year I turned eleven, before my dad left. Jazz. Santorini. Lemon trees. Beautiful, loving details, none of which matter anymore. Not in this life, anyhow. That chapter has ended. No, the book has.

I'm thoroughly enchanted to meet the world's most beautiful cooking face." Wrong thing to say. My spine went rigid. "Believe me, I can carry my own pots and pans.

She loves me. She's just not one to let that get in the way of decisive action - and stirring the pot every chance she gets.

Thus my peripatetic starving-artist years passed without hunger. The always-unpopular chicken tights and pork shoulder, combined with an untranslated pantry and daily effort, made me richer, though unemployed, than an assistant professor. Tofu, ruined for most by baking, quadrupled the meat in stir-fries. No. 9 thin spaghetti could be lo mein, otherwise found in undersized pouches under "Ethnic." Peeled broccoli stems, cut on the diagonal, had the crispness of water chestnuts, minus the can. Picked animal bones could be simmered into broth; to discard them was a crime. Yesterday's rice, fried with frozen peas, an egg, and yesterday's ham, made lunchtime new. Ugly leaves could hide in pot stickers, on whose beauty many held forth, with none left over. Scallion whites would not be privileged over greens. Rice bowls had to be emptied. Thus my freedom--provided I made semi-annual trips to gather basics, from whatever Asian grocery store could be found. In some towns the shop would be Mexican; each helped the other out. In any cased I could never get everything. Items were regionals, names slightly off. Neither I nor the owner nor the food being local, no one could explain. I'm reticent anyway in these contests, speaking too little of what might be the wrong language, knowing only the look and taste of the finished dish, not what to call it. But what I kept going back, wish list in hand, never thinking of starvation, only of creativity: that which I wanted to make, and that which had made me.

Write down your intention on a small piece of paper. Make sure that it is a direct statement. Take the paper in your hands, close your eyes, and visualize what you wish to manifest. Imagine it right in front of you. What does your life look like if you have it? Focus on all the details. Fold the piece of paper three times and imagine that it is a seed. Bury the paper in your backyard, or in a potted plant in your home. As you nurture that plant, you will be nurturing what you wish to manifest. Think about that intention every time you see that plant or tend to your backyard. Imagine your intention blooming like a beautiful flower over time.

I focus my attention on the cloth and I can breathe evenly again until the panic dissipates. There's a velvet blue-green, reminding me of the lake at dusk. I find an amazing, fantastical fabric embroidered with moths and butterflies and ferns and flowers. I lift it up, and underneath is a bolt of beautiful fog-gray cloth that ripples like smoke. They're so very pretty. The kind of fabrics that princesses in fairy tales wear. Of course, Taryn is right about stories. Bad things happen to those princesses. They are pricked with thorns, poisoned by apples, married to their own fathers. They have their hands cut off and their brothers turned in to swans, their loves chopped up and planted in basil pots. They vomit up diamonds. When they walk, it feels as though they're walking on knives. They still manage to look nice.

Prep time: 8 hours. Cook time: 3 minutes a batch. Makes 18 raised donuts. Hint: Make the dough the night before and let it rise in the fridge overnight. Ingredients: 1 cup plus 2 tablespoons of whole milk, warmed to 105 degrees ¼ cup sugar One package active dry yeast (2½ teaspoons) 10 tablespoons butter (1¼ sticks), melted 2 eggs, lightly beaten 4 cups all-purpose flour ¼ teaspoon salt Oil for frying (using a neutral flavored oil will get better results, like corn, safflower, peanut, or canola) Directions: Warm the milk in a small saucepan until it reaches 105 degrees, or is warm to the touch. Stir in sugar. Next, add the yeast and stir until dissolved. Let yeast mixture sit for 5 minutes until the yeast starts to bubble on the surface. Pour into the bowl of mixer. Add melted butter and beaten eggs. Using the paddle attachment, beat ingredients together. With mixer on slow, add the flour and salt, stirring until the dough comes together. Mix for five more minutes to activate the yeast. Turn sticky dough into a lightly oiled bowl and turn once to coat both sides. Cover with plastic wrap and place in the refrigerator for at least 8 hours. Remove dough from the fridge and turn out onto a lightly floured surface. Roll dough out until it is ½-inch thick. Using a 3-inch donut cutter, cut out the donuts. Line baking sheets with parchment paper. Lightly spray the parchment paper with oil to keep donuts from sticking. Place donuts and holes on parchment paper, cover, and let rise in a warm place until doubled in size, about one hour. Donuts will be very light and delicate. Line a baking sheet with paper towels. This is where the fried donuts will go immediately after the fryer to absorb the excess grease. Keep plenty of paper towels on hand for replacements! To fry the donuts: Using a deep pot, Dutch oven, or home fryer, heat two to three inches of oil to 375 degrees. Use a thermometer to hit the right temperature. Carefully add the donuts to the hot oil in small batches, usually three at a time. Once donuts reach a nice golden brown (about 1½ minutes), turn over and cook the other side. I use chopsticks for this part, but you can use a slotted spoon. When donuts are a beautiful light brown, remove from fryer and place on paper towels. Cool slightly, then dip in your favorite donut glaze. *See Donut Glazes below.

wabi sabi pots are not perfection, but in fact, they have gone a step further, for they have relinquished the desire for perfection to reveal a truer and more beautiful view of life.

The emptiness is the wholeness. That’s where the beauty lies. What makes the pot, a pot? The emptiness! What makes the sentence, a sentence? The space between the words! Take anything in life and it will be the space that brings meaning to it, not the content that is being populated into it, or perceived from it.

The theme of this exhibition is folk art, and the building, which is usually a typical white-cube space, has been dressed up to look like a circus. The walls are covered in strange murals; level with my head are alligators eating trapeze artists who are, in turn, eating small alligators. In large display cases are arrangements by the famous Victorian taxidermist and artist, Walter Potter. There's a feast being had by little ginger kittens that look like they were once---before dying and being stuffed with hay and then seated on miniature dining chairs and put in front of tiny cakes, pots of tea, and samovars---from the same litter. Their eyes are beautiful, black, glistening marbles. Next to the cat feast is another Walter Potter---rabbits diligently working at desks in a miniature classroom. It's thrilling seeing these works. I've known them for years; I studied them for my A-levels. In photographs, they seem clean and unreal. Up close, I can see the little dimples in the animals' skin where their muscles used to attach; I can smell the tiny, microscopic traces of hundred-year-old-blood inside them.

Yanagi, a philosopher, art historian and poet, had evolved a theory of why some objects – pots, baskets, cloth made by unknown craftsmen – were so beautiful. In his view, they expressed unconscious beauty because they had been made in such numbers that the craftsman had been liberated from his ego.