Beauty In Complexity Quotes

There's nothing more inspiring than the complexity and beauty of the human heart.

There is one purpose to life and one only: to bear witness to and understand as much as possible of the complexity of the world- its beauty, its mysteries, its riddles.

I love you, he thought, looking at Win. I love every part of you, every thought and word... the entire complex, fascinating bundle of all the things you are. I want you with ten different kinds of need at once. I love all the seasons of you, the way you are now, the thought of how much more beautiful you'll be in the decades to come. I love you for being the answer to every question my heart could ask.

If you can approach the world's complexities, both its glories and its horrors, with an attitude of humble curiosity, acknowledging that however deeply you have seen, you have only scratched the surface, you will find worlds within worlds, beauties you could not heretofore imagine, and your own mundane preoccupations will shrink to proper size, not all that important in the greater scheme of things.

What if the meaning of life on earth is not eternal progress toward some unspecified goal—the engineering and production of more and more powerful technologies, the development of more and more complex and abstruse cultural forms? What if these things just rise and recede naturally, like tides, while the meaning of life remains the same always—just to live and be with other people?

That's the beauty of learning a new language. It should feel like an enormous undertaking. It ought to intimidate you. It makes you appreciate the complexity of the ones you know already.

Her complexity is a glorious fire that consumes, while her simplicity goes unapproachable. But if one takes time to understand her, there is something beautiful to find, something simple to be loved. But she goes unloved, for being misunderstood.

I love you, he thought, looking at Win. I love every part of you, every thought and word... the entire complex, fascinating bundle of all the things you are. I want you with ten different kinds of need at once. I love all the seasons of you, the way you are now, the thought of how much more beautiful you'll be in the decades to come. I love you for being the answer to every question my heart could ask. And it seemed so easy, once he capitulated. It seemed natural and right. Kev wasn't certain if he was surrendering to Win or to his own passion for her. Only that there was no more holding back. He would take her. And he would give her everything he had, every part of his soul, even the broken pieces.

She did not know yet how sometimes people keep parts of themselves hidden and secret, sometimes wicked and unkind parts, but often brave or wild or colorful parts, cunning or powerful or even marvelous, beautiful parts, just locked up away at the bottom of their hearts. They do this because they are afraid of the world and of being stared at, or relied upon to do feats of bravery or boldness. And all of those brave and wild and cunning and marvelous and beautiful parts they hid away and left in the dark to grow strange mushrooms—and yes, sometimes those wicked and unkind parts, too—end up in their shadow.

All of life in its complexity and beauty is forever minted in the gold of words.

Whenever I saw her, I felt like I had been living in another country, doing moderately well in another language, and then she showed up speaking English and suddenly I could speak with all the complexity and nuance that I hadn't realized was gone. With Lucy I was a native speaker.

Anyone who has lived through it, or those who are now living through it, knows that caring about an addict is as complex and fraught and debilitating as addiction itself.

An introverted, bookish child, with a mass of complexes and her head full of crazy ideals and a childish faith in the beautiful prince who was searching for and would surely find her.

Preston smirked. “You’re gonna have to stop calling me things like ‘gorgeous’ and ‘beautiful.’ I’m gonna get a complex. Why can’t I be ‘sexy,’ or maybe ‘irresistible’?

Isn’t this enough? Just this world? Just this beautiful, complex wonderfully unfathomable world? How does it so fail to hold our attention that we have to diminish it with the invention of cheap, man-made myths and monsters?

There is nothing more beautiful than living a simple life in this complex universe!

Any intelligent fool can make things bigger, more complex, and more violent. It takes a touch of genius — and a lot of courage — to move in the opposite direction.

It's possible to understand the world from studying a leaf. You can comprehend the laws of aerodynamics, mathematics, poetry and biology through the complex beauty of such a perfect structure. It's also possible to travel the whole globe and learn nothing.

The most exciting rhythms seem unexpected and complex, the most beautiful melodies simple and inevitable.

I hope when people ask what you're going to do with your English degree and/or creative writing degree you'll say: 'Continue my bookish examination of the contradictions and complexities of human motivation and desire;' or maybe just: 'Carry it with me, as I do everything that matters.' And then smile very serenely until they say, 'Oh.

Beauty is not in complexity but it's in simplicity.

How do I love thee? wondered Orion. "Let me see. I love thee passionately and eternally...obviously eternally-that goes without saying." Holly blinked sweat from her eyes. "Is he serious?" she called over her shoulder to Foaly. "Oh, absolutely," said the centaur "If he asks you to look for birthmarks, say no immediately." "Oh, I would never." Orion assured her. "Ladies don't look for birthmarks; that is work for jolly fellows like the Goodly Beast and myself. Ladies, like Miss Short, do enough by simply existing. They exude beauty, and that is enough." "I am not exuding anything." said Holly, through gritted teeth. Orion tapped her shoulder. "I beg to differ. You're exuding right now, a wonderful aura. It's pastel blue with little dolphins." Holly gripped the wheel tightly. "I'm going to be sick. Did he just say pastel blue?" "And dolphins, little ones," said Foaly.

You’re a lot of things, Nell Hawthorne. You’re complex. You’re cute. You’re lovely. You’re funny. You’re strong. You’re beautiful.” She seems to be struggling with words and emotions. I keep going. “You’re tortured. You’re hurting. You’re amazing. You’re talented. You’re sexy as fuck.

There were dozens of papers with complex numerical and alchemial figuring on them, and even a piece of stationary that began My beautiful one in Sebastian's cramped handwriting. She spared a moment to wonder who on earth Sebastian's beautiful one could be--she hadn't thought of him as someone who ever had romantic feelings about anyone.

The beautiful wooden board on a stand in my father’s study. The gleaming ivory pieces. The stern king. The haughty queen. The noble knight. The pious bishop. And the game itself, the way each piece contributed its individual power to the whole. It was simple. It was complex. It was savage; it was elegant. It was a dance; it was a war. It was finite and eternal. It was life.

Not only does my world revolve around her, but she is my world. She's not just my reason for breathing, she's air itself. She's the meaning behind every one of my thoughts, every thrum of my pulse, every whisper of my conscience. She's my entire everything. It's as simple and as complex as that.

That's the thing with a diary, though. In order to record your life, you sort of need to live it. Not at your desk, but beyond it. Out in the world where it's so beautiful and complex and painful that sometimes you just need to sit down and write about it.

I often turn to children’s books at times like these, when I’m yearning to escape into a world that is beautifully rendered and complex, yet soothingly familiar.

Caring about an addict is as complex and fraught and debilitating as addiction itself.

We love films because they make us feel something. They speak to our desires, which are never small. They allow us to escape and to dream and to gaze into eyes that are impossibly beautiful and huge. They fill us with longing. But also. They tell us to remember; they remind us of life. Remember, they say, how much it hurts to have your heart broken. Remember about death and suffering and the complexities of living. Remember what it is like to love someone. Remember how it is to be loved. Remember what you feel in this moment. Remember this. Remember this.

I wanted very much to learn to draw, for a reason that I kept to myself: I wanted to convey an emotion I have about the beauty of the world. It's difficult to describe because it's an emotion. It's analogous to the feeling one has in religion that has to do with a god that controls everything in the whole universe: there's a generality aspect that you feel when you think about how things that appear so different and behave so differently are all run "behind the scenes" by the same organization, the same physical laws. It's an appreciation of the mathematical beauty of nature, of how she works inside; a realization that the phenomena we see result from the complexity of the inner workings between atoms; a feeling of how dramatic and wonderful it is. It's a feeling of awe — of scientific awe — which I felt could be communicated through a drawing to someone who had also had this emotion. It could remind him, for a moment, of this feeling about the glories of the universe.

Anything that inspires addiction or obsession - substances, entertainment, beauty, secrecy - is dangerous in that it can lead to isolation, self-absorption, and disconnection, to paralyzed stasis: an immobility that gathers like a force.

We are here to abet creation and to witness it, to notice each thing so each thing gets noticed. Together we notice not only each mountain shadow and each stone on the beach but we notice each other's beautiful face and complex nature so that creation need not play to an empty house.

We love men because they can never fake orgasms, even if they wanted to. Because they write poems, songs, and books in our honor. Because they never understand us, but they never give up. Because they can see beauty in women when women have long ceased to see any beauty in themselves. Because they come from little boys. Because they can churn out long, intricate, Machiavellian, or incredibly complex mathematics and physics equations, but they can be comparably clueless when it comes to women. Because they are incredible lovers and never rest until we’re happy. Because they elevate sports to religion. Because they’re never afraid of the dark. Because they don’t care how they look or if they age. Because they persevere in making and repairing things beyond their abilities, with the naïve self-assurance of the teenage boy who knew everything. Because they never wear or dream of wearing high heels. Because they’re always ready for sex. Because they’re like pomegranates: lots of inedible parts, but the juicy seeds are incredibly tasty and succulent and usually exceed your expectations. Because they’re afraid to go bald. Because you always know what they think and they always mean what they say. Because they love machines, tools, and implements with the same ferocity women love jewelry. Because they go to great lengths to hide, unsuccessfully, that they are frail and human. Because they either speak too much or not at all to that end. Because they always finish the food on their plate. Because they are brave in front of insects and mice. Because a well-spoken four-year old girl can reduce them to silence, and a beautiful 25-year old can reduce them to slobbering idiots. Because they want to be either omnivorous or ascetic, warriors or lovers, artists or generals, but nothing in-between. Because for them there’s no such thing as too much adrenaline. Because when all is said and done, they can’t live without us, no matter how hard they try. Because they’re truly as simple as they claim to be. Because they love extremes and when they go to extremes, we’re there to catch them. Because they are tender they when they cry, and how seldom they do it. Because what they lack in talk, they tend to make up for in action. Because they make excellent companions when driving through rough neighborhoods or walking past dark alleys. Because they really love their moms, and they remind us of our dads. Because they never care what their horoscope, their mother-in-law, nor the neighbors say. Because they don’t lie about their age, their weight, or their clothing size. Because they have an uncanny ability to look deeply into our eyes and connect with our heart, even when we don’t want them to. Because when we say “I love you” they ask for an explanation.

Bear was as beautiful as he was hard. He was as complex as he was simple. He was both the storm and the calm. The fear and the solace. The rage and the peace. My life and my love.

Extrapolated, technology wants what life wants: Increasing efficiency Increasing opportunity Increasing emergence Increasing complexity Increasing diversity Increasing specialization Increasing ubiquity Increasing freedom Increasing mutualism Increasing beauty Increasing sentience Increasing structure Increasing evolvability

I tried to break her before. Now, I just wanted her as she was. I wanted every last beautiful flaw. I wanted the witty one-liners and the coldness that only I knew how to warm. I wanted the fight and the friction and the make-up sex. I wanted her to wake up in my bed every morning. I wanted her shitty cooking and her beautiful, complex mind.

A writer's duty is to draw a picture that expresses more inner beauty, deeper anxiety, and more complex tragedy than a real character ever can.

The whole idea of it makes me feel like I'm coming down with something, something worse than any stomach ache or the headaches I get from reading in bad light-- a kind of measles of the spirit, a mumps of the psyche, a disfiguring chicken pox of the soul. You tell me it is too early to be looking back, but that is because you have forgotten the perfect simplicity of being one and the beautiful complexity introduced by two. But I can lie on my bed and remember every digit. At four I was an Arabian wizard. I could make myself invisible by drinking a glass of milk a certain way. At seven I was a soldier, at nine a prince. But now I am mostly at the window watching the late afternoon light. Back then it never fell so solemnly against the side of my tree house, and my bicycle never leaned against the garage as it does today, all the dark blue speed drained out of it. This is the beginning of sadness, I say to myself, as I walk through the universe in my sneakers. It is time to say good-bye to my imaginary friends, time to turn the first big number. It seems only yesterday I used to believe there was nothing under my skin but light. If you cut me I could shine. But now when I fall upon the sidewalks of life, I skin my knees. I bleed.

The complex human eye harvests light. It perceives seven to ten million colors through a synaptic flash: one-tenth of a second from retina to brain. Homo sapiens gangs up to 70 percent of its sense receptors solely for vision, to anticipate danger and recognize reward, but also—more so—for beauty.

I believe that this example demonstrates how great science and great poetry are both visionary, and may even arrive at the same intuitions. Our culture is foolish to keep science and poetry separated: they are two tools to open our eyes to the complexity and beauty of the world.

The Hitchhiker's Guide to the Galaxy is an indispensable companion to all those who are keen to make sense of life in an infinitely complex and confusing Universe, for though it cannot hope to be useful or informative on all matters, it does at least make the reassuring claim, that where it is inaccurate it is at least definitively inaccurate. In cases of major discrepancy it's always reality that's got it wrong. This was the gist of the notice. It said "The Guide is definitive. Reality is frequently inaccurate." This has led to some interesting consequences. For instance, when the Editors of the Guide were sued by the families of those who had died as a result of taking the entry on the planet Tralal literally (it said "Ravenous Bugblatter Beasts often make a very good meal for visiting tourists: instead of "Ravenous Bugblatter Beasts often make a very good meal of visiting tourists"), they claimed that the first version of the sentence was the more aesthetically pleasing, summoned a qualified poet to testify under oath that beauty was truth, truth beauty and hoped thereby to prove that the guilty party in this case was Life itself for failing to be either beautiful or true. The judges concurred, and in a moving speech held that Life itself was in contempt of court, and duly confiscated it from all those there present before going off to enjoy a pleasant evening's ultragolf.

...the truth of the maxim that beauty lies between the extremities of order and complexity.

f you can approach the world’s complexities, both its glories and its horrors, with an attitude of humble curiosity, acknowledging that however deeply you have seen, you have only just scratched the surface, you will find worlds within worlds, beauties you could not heretofore imagine, and your own mundane preoccupations will shrink to proper size, not all that important in the greater scheme of things.

You could see the signs of female aging as diseased, especially if you had a vested interest in making women too see them your way. Or you could see that a woman is healthy if she lives to grow old; as she thrives, she reacts and speaks and shows emotion, and grows into her face. Lines trace her thought and radiate from the corners of her eyes as she smiles. You could call the lines a network of 'serious lesions' or you could see that in a precise calligraphy, thought has etched marks of concentration between her brows, and drawn across her forehead the horizontal creases of surprise, delight, compassion and good talk. A lifetime of kissing, of speaking and weeping, shows expressively around a mouth scored like a leaf in motion. The skin loosens on her face and throat, giving her features a setting of sensual dignity; her features grow stronger as she does. She has looked around in her life and it shows. When gray and white reflect in her hair, you could call it a dirty secret or you could call it silver or moonlight. Her body fills into itself, taking on gravity like a bather breasting water, growing generous with the rest of her. The darkening under her eyes, the weight of her lids, their minute cross-hatching, reveal that what she has been part of has left in her its complexity and richness. She is darker, stronger, looser, tougher, sexier. The maturing of a woman who has continued to grow is a beautiful thing to behold.

Here was a man who defied all odds, lived by himself, worked, created beautiful art. A complex mind stumped by some of the simplest tasks. If he could, he would keep trying until there was only absolute failure or success. How many people could say that?

Children force parents to go out looking for a specific pulse, a gaze, a rhythm, the right way of telling the story, knowing that stories don't fix anything or save anyone but maybe make the world both more complex and more tolerable. And sometimes, just sometimes, more beautiful. Stories are a way of subtracting the future from the past, the only way of finding clarity in hindsight.

My father did not become the bad guy for me. Not yet. That day I hated my mother for killing my father, but also for all the reasons you cannot say. Part of my child brain hated her because she wasn’t young enough or even beautiful enough. Because she wasn’t strong enough. Or because she was too strong. Because she was so complex where my father was not. I hated my mother, in short, for being a woman.

I saw the whole universe laid out before me, a vast shining machine of indescribable beauty and complexity. Its design was too intricate for me to understand, and I knew I could never begin to grasp more than the smallest idea of its purpose. But I sensed that every part of it, from quark to quasar, was unique and - in some mysterious way - significant.

The whole of life, in all its complexity and beauty, has been etched into the gold of words.

Life has its beauty in its simplicity. Ugliness raises her head with complexity.

It wasn’t because you weren’t beautiful, talented, funny, creative or had everything in common. It was because some men prefer plain vanilla ice cream. It’s predictable and a safe choice. Confident and adventurous men prefer the complexity and layers of a sundae, even the ones sprinkled with a little bit of nuts on top.

Its substance was known to me. The crawling infinity of colours, the chaos of textures that went into each strand of that eternally complex tapestry…each one resonated under the step of the dancing mad god, vibrating and sending little echoes of bravery, or hunger, or architecture, or argument, or cabbage or murder or concrete across the aether. The weft of starlings’ motivations connected to the thick, sticky strand of a young thief’s laugh. The fibres stretched taut and glued themselves solidly to a third line, its silk made from the angles of seven flying buttresses to a cathedral roof. The plait disappeared into the enormity of possible spaces. Every intention, interaction, motivation, every colour, every body, every action and reaction, every piece of physical reality and the thoughts that it engendered, every connection made, every nuanced moment of history and potentiality, every toothache and flagstone, every emotion and birth and banknote, every possible thing ever is woven into that limitless, sprawling web. It is without beginning or end. It is complex to a degree that humbles the mind. It is a work of such beauty that my soul wept... ..I have danced with the spider. I have cut a caper with the dancing mad god.

And the Word that had most recently come from the mouth of God was, “This is my beloved in whom I am well pleased.” Identity. It’s always God’s first move. Before we do anything wrong and before we do anything right, God has named and claimed us as God’s own. But almost immediately, other things try to tell us who we are and to whom we belong: capitalism, the weight-loss industrial complex, our parents, kids at school—they all have a go at telling us who we are. But only God can do that. Everything else is temptation.

If you can approach the world's complexities, both its glories and its horrors, with an attitude of humble curiosity, acknowledging that however deeply you have seen, you have only scratched the surface, you will find worlds within worlds, beauties you could not heretofore imagine, and your own mundane preoccupations will shrink to proper size, not all that important in the greater scheme of things. Keeping that awestruck vision of the world ready to hand while dealing with the demands of daily living is no easy exercise, but it is definitely worth the effort, for if you can stay centered , and engaged , you will find the hard choices easier, the right words will come to you when you need them, and you will indeed be a better person. That, I propose, is the secret to spirituality, and it has nothing at all to do with believing in an immortal soul.

What do I make of all this texture? What does it mean about the kind of world in which I have been set down? The texture of the world, its filigree and scrollwork, means that there is the possibility for beauty here, a beauty inexhaustible in its complexity, which opens to my knock, which answers in me a call I do not remember calling, and which trains me to the wild and extravagant nature of the spirit I seek.

In spite of the complexity of your situation, it's notable that you didn't waver when it came to what you know to be the right thing to do. That's because you know the right thing to do. So do it. It's hard, I know. It's one of the hardest things you'll ever have to do. And you're going to bawl your head off doing it. But I promise you it will be okay. Your tears will be born of grief, but also of relief. You will be better for them. They will make you harder, softer, cleaner, dirtier. Free. A glorious something else awaits.

Books, music, painting are not life, can never be as full, rich, complex, surprising or beautiful, but the best of them can catch an echo of that, can turn you back to look out the window, go out the door aware that you’ve been enriched, that you have been in the company of something alive that has caused you to realise once again how astonishing life is, and you leave the book, gallery or concert hall with that illumination, which feels I’m going to say holy, by which I mean human raptness. So

I guess that sometimes it just takes a long walk through the darkness, a long walk through the darkest shadows and corners of your soul to realize that those are a part of you as well, that you've created through your experiences and thoughts those parts within yourself and as much as you can choose to fear them and repress them, they will require your attention one day, they will need your care and acceptance before you can clean them away and turn the lights on. For you refuse to shine the light on something that is imperfect, because you fear judgement and rejection, but you can always choose to look towards the light as the only source of true beauty and love that can help you in the cleaning process. Healing, after a long time of struggle and mess is a complex process, but a necessary one nevertheless. We are so overwhelmed by the amount of work it requires that we so often choose to run away from the light, hide in our dark corner and hope that we will never be found, hope that we will never be seen, or desperately look outwards for that love and compassion that we can no longer find within ourselves, for our soul's light no longer shines as it used to. And sometimes we just find those people that can see the light beneath all that dust and darkness that's been pilled up, those kind of light workers that understand our broken souls and manage to pick us up and see the beauty within us, when we find it so hard to see it ourselves. Sometimes I get so tired of separation, of division, of groups and different religions and belief systems. Even if you do find the truth, once you've put it into words, books and rules it already becomes distorted by the mind into something that is no longer truth. So I no longer hope for understanding, no longer hope for the opinion of a judgemental mind, but I hope to find the words that touch the soul before the mind, I hope to find the touch that warms the heart from deep inside, and hope to find that far away abandoned part of me which I've left behind.

Evil is boring. Right? I kinda believe in the banality and mundaneness of evil. Evil is just selfish impulses, which at the end of the day are really easy to understand. It's easy to understand why people do bad things. It's like "Yeah, okay, you're selfish and scared and cruel, I get it." Being good is complex and beautiful and hard.

Within this Christian vision for marriage, here's what it means to fall in love. It is to look at another person and get a glimpse of the person God is creating, and to say, "I see who God is making you, and it excites me! I want to be part of that. I want to partner with you and God in the journey you are taking to his throne. And when we get there, I will look at your magnificence and say, 'I always knew you could be like this. I got glimpses of it on earth, but now look at you!'" Each spouse should see the great thing that Jesus is doing in the life of their mate through the Word, the gospel. Each spouse then should give him- or herself to be a vehicle for that work and envision the day that you will stand together before God, seeing each other presented in spotless beauty and glory.

Planning complex, beautiful meals and investing one's heart and time in their preparation is the opposite of self-indulgence. Kitchen-based family gatherings are process-oriented, cooperative, and in the best of worlds, nourishing and soulful. A lot of calories get used up before anyone sits down to consume. But more importantly, a lot of talk happens first, news exchanged, secrets revealed across generations, paths cleared with a touch on the arm. I have given and received some of my life's most important hugs with those big oven-mitt potholders on both hands.

Abby began to think that all the beauty and ugliness and turbulence one found scattered through nature, one could also find in people themselves, all collected there, all together in a single place. No matter what terror or loveliness the earth could produce- wind, seas- a person could produce the same, lived with the same, lived with all that mixed-up nature swirling inside, every bit. There was nothing as complex in the world- no flower or stone- as a single hello from a human being.

Their [girls] sexual energy, their evaluation of adolescent boys and other girls goes thwarted, deflected back upon the girls, unspoken, and their searching hungry gazed returned to their own bodies. The questions, Whom do I desire? Why? What will I do about it? are turned around: Would I desire myself? Why?...Why not? What can I do about it? The books and films they see survey from the young boy's point of view his first touch of a girl's thighs, his first glimpse of her breasts. The girls sit listening, absorbing, their familiar breasts estranged as if they were not part of their bodies, their thighs crossed self-consciously, learning how to leave their bodies and watch them from the outside. Since their bodies are seen from the point of view of strangeness and desire, it is no wonder that what should be familiar, felt to be whole, become estranged and divided into parts. What little girls learn is not the desire for the other, but the desire to be desired. Girls learn to watch their sex along with the boys; that takes up the space that should be devoted to finding out about what they are wanting, and reading and writing about it, seeking it and getting it. Sex is held hostage by beauty and its ransom terms are engraved in girls' minds early and deeply with instruments more beautiful that those which advertisers or pornographers know how to use: literature, poetry, painting, and film. This outside-in perspective on their own sexuality leads to the confusion that is at the heart of the myth. Women come to confuse sexual looking with being looked at sexually ("Clairol...it's the look you want"); many confuse sexually feeling with being sexually felt ("Gillete razors...the way a woman wants to feel"); many confuse desiring with being desirable. "My first sexual memory," a woman tells me, "was when I first shaved my legs, and when I ran my hand down the smooth skin I felt how it would feel to someone else's hand." Women say that when they lost weight they "feel sexier" but the nerve endings in the clitoris and nipples don't multiply with weight loss. Women tell me they're jealous of the men who get so much pleasure out of the female body that they imagine being inside the male body that is inside their own so that they can vicariously experience desire. Could it be then that women's famous slowness of arousal to men's, complex fantasy life, the lack of pleasure many experience in intercourse, is related to this cultural negation of sexual imagery that affirms the female point of view, the culture prohibition against seeing men's bodies as instruments of pleasure? Could it be related to the taboo against representing intercourse as an opportunity for a straight woman actively to pursue, grasp, savor, and consume the male body for her satisfaction, as much as she is pursued, grasped, savored, and consumed for his?

This life is so complex that we rarely get to be the people we are truly meant to be. Instead, we wear masks and put up walls to keep from dealing with the fear of rejection, the feeling of regret, the very idea that someone may not love us for who we are deep in our core, that they might not understand the things that drive us. I want to study the realness of life, not the gloss. There is beauty everywhere; even in the dark, there is light, and that is the rarest kind of all.

There is one purpose to life and one only: to bear witness to and understand as much as possible of the complexity of the world -- its beauty, its mysteries, its riddles. The more you understand, the more you look, the greater is your enjoyment of life and your sense of peace. That's all there is to it. Everything else is fun and games. If an activity is not grounded in "to love" or "to learn" it does not have value.

So, time heals. Mostly. Sometimes carelessly. And in unsuspecting moments, the pain catches and reminds one of all that's been missing. The fulcrum of what might have been. But then it passes. Winter moves into spring and swallows return. The proximity of new skin returns to the sheets. Beauty does what is required. Jobs fulfil and conversations inspire. Loneliness becomes a mere Sunday. Scattered clothes. Empty bowls. Rotting fruit. Passing time. But still life in all its beauty and complexity.

Your cruelties and mistakes may look damning to you, but that is not what I see. Every human conversation is more elegant and complex than the entire solar system that contains it. You have no idea how marvelous you are, but I am not only here to protect what you are now, I am here to protect what you will become. I can't tell you what that might be because I don't know. That unknown is a diamond in a universe of dirt. Uncertainty. Unpredictability. It is when you turn your emotions into art. It is BTS and the Sistine Chapel and Rumi's poetry and Ross Geller on the stairs yelling, 'Pivot.' Every creation great and small, they are our diamonds. And what you may be in two hundred years, we can guess with fair accuracy. What you are in two thousand . . . Oh, my friends . . . my best friends, you cannot know.

There was also a dark-haired man of about thirty (BMI approximately twenty) who appeared not to have shaved for several days, and, beside him, the most beautiful woman I had ever seen. In contrast to the complexity of Bianca’s costume, she was wearing a green dress with zero decoration, so minimal that it did not even have straps to hold it in place. It took me a moment to realise that its wearer was Rosie.

Like most things in the story the natural sciences can tell about the world, it’s all so beautiful, so gracefully simple, yet so rewardingly complex, so neatly connected—not to mention true—that I can’t even begin to imagine why anyone would ever want to believe some New Age ‘alternative’ nonsense instead. I would go so far as to say that even if we are all under the control of a benevolent God, and the whole of reality turns out to be down to some flaky spiritual ‘energy’ that only alternative therapists can truly harness, that’s still neither so interesting nor so graceful as the most basic stuff I was taught at school about how plants work.

The scientific creation story has majesty, power and beauty. and is infused with a powerful message capable of lifting our spirits in a way that its multitudinous supernatural counterparts are incapable of matching. It teaches us that we are the products of 13.7 billion years of cosmic evolution and the mechanism by which meaning entered the universe, if only for a fleeting moment in time. Because the universe means something to me, and the fact that we are all agglomerations of quarks and electrons in a complex and fragile pattern that can perceive the beauty of the universe with visceral wonder, is, I think, a thought worth raising a glass to this Christmas.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

The novel’s not dead, it’s not even seriously injured, but I do think we’re working in the margins, working in the shadows of the novel’s greatness and influence. There’s plenty of impressive talent around, and there’s strong evidence that younger writers are moving into history, finding broader themes. But when we talk about the novel we have to consider the culture in which it operates. Everything in the culture argues against the novel, particularly the novel that tries to be equal to the complexities and excesses of the culture. This is why books such as JR and Harlot’s Ghost and Gravity’s Rainbow and The Public Burning are important—to name just four. They offer many pleasures without making concessions to the middle-range reader, and they absorb and incorporate the culture instead of catering to it. And there’s the work of Robert Stone and Joan Didion, who are both writers of conscience and painstaking workers of the sentence and paragraph. I don’t want to list names because lists are a form of cultural hysteria, but I have to mention Blood Meridian for its beauty and its honor. These books and writers show us that the novel is still spacious enough and brave enough to encompass enormous areas of experience. We have a rich literature. But sometimes it’s a literature too ready to be neutralized, to be incorporated into the ambient noise. This is why we need the writer in opposition, the novelist who writes against power, who writes against the corporation or the state or the whole apparatus of assimilation. We’re all one beat away from becoming elevator music.

...[F]ireworks had for her a direct and magical appeal. Their attraction was more complex than that of any other form of art. They had pattern and sequence, colour and sound, brilliance and mobility; they had suspense, surprise, and a faint hint of danger; above all, they had the supreme quality of transience, which puts the keenest edge on beauty and makes it touch some spring in the heart which more enduring excellences cannot reach.

[Man] is the only animal who lives outside of himself, whose drive is in external things—property, houses, money, concepts of power. He lives in his cities and his factories, in his business and job and art. But having projected himself into these external complexities, he is them. His house, his automobile are a part of him and a large part of him. This is beautifully demonstrated by a thing doctors know—that when a man loses his possessions a very common result is sexual impotence.

It was not the sorrowful, lovely piece she had once played for Dorian, and it was not the light, dancing melodies she'd played for sport; it was not the complex and clever pieces she had played for Nehemia and Chaol. This piece was a celebration—a reaffirmation of life, of glory, of the pain and beauty in breathing. Perhaps that was why she'd gone to hear it performed every year, after so much killing and torture and punishment: as a reminder of that she was, of what she struggled to keep. Up and up it built, the sound breaking from the pianoforte like the heart-song of a god, until Rowan drifted over to stand beside the instrument, until she whispered to him, “Now,” and the crescendo shattered into the world, note after note after note. The music crashed around them, roaring through the emptiness of the theater. The hollow silence that had been inside her for so many months now overflowed with sound. She brought the piece home to its final explosive, triumphant chord. When she looked up, panting slightly, Rowan's eyes were lined with silver, his throat bobbing. Somehow, after all this time, her warrior-prince still managed to surprise her. He seemed to struggle for words, but he finally breathed, “Show me—show me how you did that.” So she obliged him.

I’m strangely comforted when I hear from scientists that human beings are the most complex creatures we know of in the universe, still, by far. Black holes are in their way explicable; the simplest living being is not. I lean a bit more confidently into the experience that life is so endlessly perplexing. I love that word. Spiritual life is a way of dwelling with perplexity—taking it seriously, searching for its purpose as well as its perils, its beauty as well as its ravages.

Moreover, knowledge and investigation help promote wonder they do not destroy it. Whatever our tastes, we can generally appreciate such things as music, art or wine better when we understand a bit about them. We read up on our favourite singers or artists because we feel we can appreciate their work better when we know how they think and what they bring to their work. The giddy delight and curiosity that comes from marvelling at the beauty of this universe is deepened, not cheapened, by the laws and facts science gives us to aid our understanding. In a similar way, the psychological tricks at work behind many seemingly paranormal events are truly more fascinating than the explanation of other-worldiness precisely because they are of this world, and say something about how rich and complex and mysterious we are as human beings to be convinced by such trickery, indeed to want to perpetuate it in the first place.

I think that when you consider the beauty of the world and you wonder how it came to be what it is, you are naturally overwhelmed with a feeling of awe, a feeling of admiration and you almost feel a desire to worship something. I feel this, I recognise that other scientists such as Carl Sagan feel this, Einstein felt it. We, all of us, share a kind of religious reverence for the beauties of the universe, for the complexity of life. For the sheer magnitude of the cosmos, the sheer magnitude of geological time. And it’s tempting to translate that feeling of awe and worship into a desire to worship some particular thing, a person, an agent. You want to attribute it to a maker, to a creator. What science has now achieved is an emancipation from that impulse to attribute these things to a creator. -- God Delusion debate Professor Richard Dawkins vs John Lennox

For centuries poets, some poets, have tried to give a voice to the animals, and readers, some readers, have felt empathy and sorrow. If animals did have voices, and they could speak with the tongues of angels--at the very least with the tongues of angels--they would be unable to save themselves from us. What good would language do? Their mysterious otherness has not saved them, nor have their beautiful songs and coats and skins and shells and eyes. We discover the remarkable intelligence of the whale, the wolf, the elephant--it does not save them, nor does our awareness of the complexity of their lives. Their strength, their skills, their swiftness, the beauty of their flights. It matters not, it seems, whether they are large or small, proud or shy, docile or fierce, wild or domesticated, whether they nurse their young or brood patiently on eggs. If they eat meat, we decry their viciousness; if they eat grasses and seeds, we dismiss them as weak. There is not one of them, not even the songbird who cannot, who does not, conflict with man and his perceived needs and desires. St. Francis converted the wolf of Gubbio to reason, but he performed this miracle only once and as miracles go, it didn’t seem to capture the public’s fancy. Humans don’t want animals to reason with them. It would be a disturbing, unnerving, diminishing experience; it would bring about all manner of awkwardness and guilt.

When I was no longer of the world, I would miss its extravagant beauty. I would miss the complex and charming layers of subterfuge by which the truth of the world’s mysteries were withheld from us even as we were tantalized and enchanted by them. I would miss the kindness of good people who were compassionate when so many were pitiless, who made their way through so much corruption without being corrupted themselves, who eschewed envy in a world of envy, who eschewed greed in a world of greed, who valued truth and could not be drowned in a sea of lies, for they shone and, by the light they cast, they had warmed me all my life.

But after a couple of weeks of listing things I was grateful for, I came to see that the little things were everything. The little things were what I held on to at the end of the day. Single jokes that gave me the giggles. A beautiful flower arrangement, viewed through the window of a café. The fact that my cat came to cuddle me when she saw I was sad. These things gave me hope, pleasure, solace. Together, they added up to a fulfilling life. If a simple flower arrangement could make this world just a little more bearable, then perhaps my own small actions meant more than I was giving them credit for. Maybe when I made dinner, or listened to a friend rant, or complimented a woman on her incredible garden, I was helping make this world survivable for others. Perhaps that evening, when tallying up their own wins and losses for the day, someone would think of something I’d done and smile.

FOR THE DYING May death come gently toward you, Leaving you time to make your way Through the cold embrace of fear To the place of inner tranquillity. May death arrive only after a long life To find you at home among your own With every comfort and care you require. May your leave-taking be gracious, Enabling you to hold dignity Through awkwardness and illness. May you see the reflection Of your life’s kindness and beauty In all the tears that fall for you. As your eyes focus on each face, May your soul take its imprint, Drawing each image within As companions for the journey. May you find for each one you love A different locket of jeweled words To be worn around the heart To warm your absence. May someone who knows and loves The complex village of your heart Be there to echo you back to yourself And create a sure word-raft To carry you to the further shore. May your spirit feel The surge of true delight When the veil of the visible Is raised, and you glimpse again The living faces Of departed family and friends. May there be some beautiful surprise Waiting for you inside death, Something you never knew or felt, Which with one simple touch, Absolves you of all loneliness and loss, As you quicken within the embrace For which your soul was eternally made. May your heart be speechless At the sight of the truth Of all belief had hoped, Your heart breathless In the light and lightness Where each and everything Is at last its true self Within that serene belonging That dwells beside us On the other side Of what we see.

To hear a cultivated person of today joking almost boastfully that they are completely ignorant about science is as depressing as hearing a scientist bragging that they have never read a poem. Poetry and science are both manifestations of the spirit that creates new ways of thinking the world, in order to understand it better. Great science and great poetry are both visionary, and sometimes may arrive at the same insights. The culture of today that keeps science and poetry so far apart is essentially foolish, to my way of thinking, because it makes us less able to see the complexity and the beauty of the world as revealed by both.

After the sureties of youth there sets in a period of intense and intolerable complexity. With the soda-jerker this period is so short as to be almost negligible. Men higher in the scale hold out longer in the attempt to preserve the ultimate niceties of relationship, to retain "impractical" ideas of integrity. But by the late twenties the business has grown too intricate, and what has hitherto been imminent and confusing has become gradually remote and dim. Routine comes down like twilight on a harsh landscape, softening it until it is tolerable. The complexity is too subtle, too varied; the values are changing utterly with each lesion of vitality; it has begun to appear that we can learn nothing from the past with which to face the future - so we cease to be impulsive, convincible men, interested in what is ethically true by fine margins, we substitute rules of conduct for rules of integrity, we value safety above romance, we become, quite unconsciously, pragmatic. It is left to the few to be persistently concerned with the nuances of relationships - and even this few only in certain hours especially set aside for the task.

When I saw you on the stairs before, I’d forgotten how beautiful you are,’ he whispered against her skin. ‘Spotty, not beautiful,’ she corrected gently, running her finger along his crooked nose. ‘Now you, you’re beautiful.’ ‘I even missed your inferiority complex.’ Max smiled and shifted against her. ‘Not being inferior. It’s a point of fact. I’m covered in zits,’ Neve said and she didn’t know why she felt the need to share that with Max but then she was glad that she had because he was kissing each one of the angry red bumps along her forehead and chin and cheeks, even though a few of them were starting to suppurate. ‘Don’t do that, it’s completely unhygienic. Kiss my mouth instead.

Think of a globe, a revolving globe on a stand. Think of a contour globe, whose mountain ranges cast shadows, whose continents rise in bas-relief above the oceans. But then: think of how it really is. These heights are just suggested; they’re there….when I think of walking across a continent I think of all the neighborhood hills, the tiny grades up which children drag their sleds. It is all so sculptured, three-dimensional, casting a shadow. What if you had an enormous globe that was so huge it showed roads and houses- a geological survey globe, a quarter of a mile to an inch- of the whole world, and the ocean floor! Looking at it, you would know what had to be left out: the free-standing sculptural arrangement of furniture in rooms, the jumble of broken rocks in the creek bed, tools in a box, labyrinthine ocean liners, the shape of snapdragons, walrus. Where is the one thing you care about in earth, the molding of one face? The relief globe couldn’t begin to show trees, between whose overlapping boughs birds raise broods, or the furrows in bark, where whole creatures, creatures easily visible, live our their lives and call it world enough. What do I make of all this texture? What does it mean about the kind of world in which I have been set down? The texture of the world, its filigree and scrollwork, means that there is a possibility for beauty here, a beauty inexhaustible in its complexity, which opens to my knock, which answers in me a call I do not remember calling, and which trains me to the wild and extravagant nature of the spirit I seek.

On the whole, it was not the crudest, the simplest, the most animalistic and primitive aspects of the human species that were reflected in the natural phenomena. It was, rather, the more complex, the aesthetic, the intricate, and the elegant aspects of people that reflected nature. It was not my greed, my purposiveness, my so-called 'animal,' so-called 'instincts,' and so forth that I was recognizing on the other side of that mirror, over there in 'nature.' Rather, I was seeing there the roots of human symmetry, beauty and ugliness, aesthetics, the human being's very aliveness and little bit of wisdom. His wisdom, his bodily grace, and even his habit of making beautiful objects are just as 'animal' as his cruelty.

Centuries of navel-gazing. Millennia of masturbation. Plato to Descartes to Dawkins to Rhanda. Souls and zombie agents and qualia. Kolmogorov complexity. Consciousness as Divine Spark. Consciousness as electromagnetic field. Consciousness as functional cluster. I explored it all. Wegner thought it was an executive summary. Penrose heard it in the singing of caged electrons. Nirretranders said it was a fraud; Kazim called it leakage from a parallel universe. Metzinger wouldn't even admit it existed. The AIs claimed to have worked it out, then announced they couldn't explain it to us. Gödel was right after all: no system can fully understand itself. Not even the synthesists had been able to rotate it down. The load-bearing beams just couldn't take the strain. All of them, I began to realize, had missed the point. All those theories, all those drugdreams and experiments and models trying to prove what consciousness was: none to explain what it was good for. None needed: obviously, consciousness makes us what we are. It lets us see the beauty and the ugliness. It elevates us into the exalted realm of the spiritual. Oh, a few outsiders—Dawkins, Keogh, the occasional writer of hackwork fiction who barely achieved obscurity—wondered briefly at the why of it: why not soft computers, and no more? Why should nonsentient systems be inherently inferior? But they never really raised their voices above the crowd. The value of what we are was too trivially self-evident to ever call into serious question. Yet the questions persisted, in the minds of the laureates, in the angst of every horny fifteen-year-old on the planet. Am I nothing but sparking chemistry? Am I a magnet in the ether? I am more than my eyes, my ears, my tongue; I am the little thing behind those things, the thing looking out from inside. But who looks out from its eyes? What does it reduce to? Who am I? Who am I? Who am I? What a stupid fucking question. I could have answered it in a second, if Sarasti hadn't forced me to understand it first.

As I discussed in the previous chapter, attachment researchers have shown that our earliest caregivers don't only feed us, dress us, and comfort us when we are upset; they shape the way our rapidly growing brain perceives reality. Our interactions with our caregivers convey what is safe and what is dangerous: whom we can count on and who will let us down; what we need to do to get our needs met. This information is embodied in the warp and woof of our brain circuitry and forms the template of how we think of ourselves and the world around us. These inner maps are remarkably stable across time. This doesn‘t mean, however, that our maps can‘t be modified by experience. A deep love relationship, particularly during adolescence, when the brain once again goes through a period of exponential change, truly can transform us. So can the birth of a child, as our babies often teach us how to love. Adults who were abused or neglected as children can still learn the beauty of intimacy and mutual trust or have a deep spiritual experience that opens them to a larger universe. In contrast, previously uncontaminated childhood maps can become so distorted by an adult rape or assault that all roads are rerouted into terror or despair. These responses are not reasonable and therefore cannot be changed simply by reframing irrational beliefs.

It's a nice big fat philosophical question, about: how do you get through? Sometimes you don't survive whole, you just survive in part. But the grandeur of life is that attempt. It's not about that solution. It is about being as fearless as one can, and behaving as beautifully as one can, under completely impossible circumstances. It's that, that makes it elegant. Good is just more interesting, more complex, more demanding. Evil is silly, it may be horrible, but at the same time it's not a compelling idea. It's predictable. It needs a tuxedo, it needs a headline, it needs blood, it needs fingernails. It needs all that costume in order to get anybody's attention. But the opposite, which is survival, blossoming, endurance, those things are just more compelling intellectually if not spiritually, and they certainly are spiritually. This is a more fascinating job. We are already born, we are going to die. So you have to do something interesting that you respect in between.

So our problem is to explain where symmetry comes from. Why is nature so nearly symmetrical? No one has any idea why. The only thing we might suggest is something like this: There is a gate in Japan, a gate in Neiko, which is sometimes called by the Japanese the most beautiful gate in all Japan; it was built in a time when there was great influence from Chinese art. This gate is very elaborate, with lots of gables and beautiful carving and lots of columns and dragon heads and princes carved into the pillars, and so on. But when one looks closely he sees that in the elaborate and complex design along one of the pillars, one of the small design elements is carved upside down; otherwise the thing is completely symmetrical. If one asks why this is, the story is that it was carved upside down so that the gods will not be jealous of the perfection of man. So they purposely put an error in there, so that the gods would not be jealous and get angry with human beings. We might like to turn the idea around and think that the true explanation of the near symmetry of nature is this: that God made the laws only nearly symmetrical so that we should not be jealous of His perfection!

Ruskin’s interest in beauty and in its possession led him to five central conclusions. First, beauty was the result of a number of complex factors that affected the mind both psychologically and visually. Second, humans had an innate tendency to respond to beauty and to desire to possess it. Third, there were many lower expressions of this desire for possession (including, as we have seen, buying souvenirs and carpets, carving one’s name on a pillar and taking photographs). Fourth, there was only one way to possess beauty properly, and that was by understanding it, by making oneself conscious of the factors (psychological and visual) responsible for it. And last, the most effective means of pursuing this conscious understanding was by attempting to describe beautiful places through art, by writing about or drawing them, irrespective of whether one happened to have any talent for doing so.

Here's the plain truth, at least as it has been shown to me: We are never far from wonders. I remember when my son was about two, we were walking in the woods one November morning. We were along a ridge, looking down at a forest in the valley below, where a cold haze seemed to hug the forest floor. I kept trying to get my oblivious two-year-old to appreciate the landscape. At one point, I picked him up and pointed out toward the horizon and said, "Look at that, Henry, just look at it!" And he said, "Weaf!" I said, "What?" And again he said, "Weaf," and then reached out and grabbed a single brown oak leaf from the little tree next to us. I wanted to explain to him that you can see a brown oak leaf anywhere in the eastern United States in November, that nothing in the forest was less interesting. But after watching him look at it, I began to look as well, and I soon realized it wasn't just a brown leaf. Its veins spidered out red and orange and yellow in a pattern too complex for my brain to synthesize, and the more I looked at that leaf with Henry, the more I was compelled into an aesthetic contemplation I neither understood nor desired, face-to-face with something commensurate to my capacity for wonder. Marveling at the perfection of that leaf, I was reminded that aesthetic beauty is as much about how and whether you look as what you see. From the quark to the supernova, the wonders do not cease. It is our attentiveness that is in short supply, our ability and willingness to do the work that awe requires.

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

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless. OSCAR WILDE

The story of the rapper and the story of the hustler are like rap itself, two kinds of rhythm working together, having a conversation with each other, doing more together than they could do apart. It's been said that the thing that makes rap special, that makes it different both from pop music and from written poetry, is that it's built around two kinds of rhythm. The first kind of rhythm is the meter. In poetry, the meter is abstract, but in rap, the meter is something you literally hear: it's the beat. The beat in a song never stops, it never varies. No matter what other sounds are on the track, even if it's a Timbaland production with all kinds of offbeat fills and electronics, a rap song is usually built bar by bar, four-beat measure by four-beat measure. It's like time itself, ticking off relentlessly in a rhythm that never varies and never stops. When you think about it like that, you realize the beat is everywhere, you just have to tap into it. You can bang it out on a project wall or an 808 drum machine or just use your hands. You can beatbox it with your mouth. But the beat is only one half of a rap song's rhythm. The other is the flow. When a rapper jumps on a beat, he adds his own rhythm. Sometimes you stay in the pocket of the beat and just let the rhymes land on the square so that the beat and flow become one. But sometimes the flow cops up the beat, breaks the beat into smaller units, forces in multiple syllables and repeated sounds and internal rhymes, or hangs a drunken leg over the last bap and keeps going, sneaks out of that bitch. The flow isn't like time, it's like life. It's like a heartbeat or the way you breathe, it can jump, speed up, slow down, stop, or pound right through like a machine. If the beat is time, flow is what we do with that time, how we live through it. The beat is everywhere, but every life has to find its own flow. Just like beats and flows work together, rapping and hustling, for me at least, live through each other. Those early raps were beautiful in their way and a whole generation of us felt represented for the first time when we heard them. But there's a reason the culture evolved beyond that playful, partying lyrical style. Even when we recognized the voices, and recognized the style, and even personally knew the cats who were on the records, the content didn't always reflect the lives we were leading. There was a distance between what was becoming rap's signature style - the relentlessness, the swagger, the complex wordplay - and the substance of the songs. The culture had to go somewhere else to grow. It had to come home.

As always when he worked with this much concentration he began to feel a sense of introverting pressure. There was no way out once he was in, no genuine rest, no one to talk to who was capable of understanding the complexity (simplicity) of the problem or the approaches to a tentative solution. There came a time in every prolonged effort when he had a moment of near panic, or "terror in a lonely place," the original semantic content of the word. The lonely place was his own mind. As a mathematician he was free from subjection to reality, free to impose his ideas and designs on his own test environment. The only valid standard for his work, its critical point (zero or infinity), was the beauty it possessed, the deft strength of his mathematical reasoning. THe work's ultimate value was simply what it revealed about the nature of his intellect. What was at stake, in effect, was his own principle of intelligence or individual consciousness; his identity, in short. This was the infalling trap, the source of art's private involvement with obsession and despair, neither more nor less than the artist's self-containment, a mental state that led to storms of overwork and extended stretches of depression, that brought on indifference to life and at times the need to regurgitate it, to seek the level of expelled matter. Of course, the sense at the end of a serious effort, if the end is reached successfully, is one of lyrical exhilaration. There is air to breathe and a place to stand. The work gradually reveals its attachment to the charged particles of other minds, men now historical, the rediscovered dead; to the main structure of mathematical thought; perhaps even to reality itself, the so-called sum of things. It is possible to stand in time's pinewood dust and admire one's own veronicas and pavanes.

Who is he?” Eleanor lowered her voice, the name rolling off her tongue like a dark secret. “Dante Berlin.” I laughed. “Dante? Like the Dante who wrote the Inferno? Did he pick that name just to cultivate his ‘dark and mysterious’ persona?” Eleanor shook her head in disapproval. “Just wait till you see him. You won’t be laughing then.” I rolled my eyes. “I bet his real name is something boring like Eugene or Dwayne.” I expected Eleanor to laugh or say something in return, but instead she gave me a concerned look. I ignored it. “He sounds like a snob to me. I bet he’s one of those guys who know they’re good-looking. He probably hasn’t even read the Inferno. It’s easy to pretend you’re smart when you don’t to anyone.” Eleanor still didn’t respond. “Shh . . .” she muttered under her breath. But before I could say “What?” I heard a cough behind me. Oh God, I thought to myself, and slowly turned around. “Hi,” he said with a half grin that seemed to be mocking me. And that’s how I met Dante Berlin. So how do you describe someone who leaves you speechless? He was beautiful. Not Monet beautiful or white sandy beach beautiful or even Grand Canyon beautiful. It was both more overwhelming and more delicate. Like gazing into the night sky and feeling incredibly small in comparison. Like holding a shell in your hand and wondering how nature was able to make something so complex yet to perfect: his eyes, dark and pensive; his messy brown hair tucked behind one ear; his arms, strong and lean beneath the cuffs of his collared shirt. I wanted to say something witty or charming, but all I could muster up was a timid “Hi.” He studied me with what looked like a mix of disgust and curiosity. “You must be Eugene,” I said. “I am.” He smiled, then leaned in and added, “I hope I can trust you to keep my true identity a secret. A name like Eugene could do real damage to my mysterious persona.” I blushed at the sound of my words coming from his lips. He didn’t seem anything like the person Eleanor had described. “And you are—” “Renee,” I interjected. “I was going to say, ‘in my seat,’ but Renee will do.” My face went red. “Oh, right. Sorry.” “Renee like the philosopher Rene Descartes? How esoteric of you. No wonder you think you know everything. You probably picked that name just to cultivate your overly analytical persona.” I glared at him. I knew he was just dishing back my own insults, but it still stung. “Well, it was nice meeting you,” I said curtly, and pushed past him before he could respond, waving a quick good-bye to Eleanor, who looked too stunned to move. I turned and walked to the last row, using all of my self-control to resist looking back.

As the leader of the international Human Genome Project, which had labored mightily over more than a decade to reveal this DNA sequence, I stood beside President Bill Clinton in the East Room of the White House... Clinton's speech began by comparing this human sequence map to the map that Meriwether Lewis had unfolded in front of President Thomas Jefferson in that very room nearly two hundred years earlier. Clinton said, "Without a doubt, this is the most important, most wondrous map ever produced by humankind." But the part of his speech that most attracted public attention jumped from the scientific perspective to the spiritual. "Today," he said, "we are learning the language in which God created life. We are gaining ever more awe for the complexity, the beauty, and the wonder of God's most divine and sacred gift." Was I, a rigorously trained scientist, taken aback at such a blatantly religious reference by the leader of the free world at a moment such as this? Was I tempted to scowl or look at the floor in embarrassment? No, not at all. In fact I had worked closely with the president's speechwriter in the frantic days just prior to this announcement, and had strongly endorsed the inclusion of this paragraph. When it came time for me to add a few words of my own, I echoed this sentiment: "It's a happy day for the world. It is humbling for me, and awe-inspiring, to realize that we have caught the first glimpse of our own instruction book, previously known only to God." What was going on here? Why would a president and a scientist, charged with announcing a milestone in biology and medicine, feel compelled to invoke a connection with God? Aren't the scientific and spiritual worldviews antithetical, or shouldn't they at least avoid appearing in the East Room together? What were the reasons for invoking God in these two speeches? Was this poetry? Hypocrisy? A cynical attempt to curry favor from believers, or to disarm those who might criticize this study of the human genome as reducing humankind to machinery? No. Not for me. Quite the contrary, for me the experience of sequencing the human genome, and uncovering this most remarkable of all texts, was both a stunning scientific achievement and an occasion of worship.