Blown Glass Quotes

She tried to fancy what the flame of a candle is like after the candle is blown out, for she could not remember ever having seen such a thing.

Then we had the irises, rising beautiful and cool on their tall stalks, like blown glass, like pastel water momentarily frozen in a splash, light blue, light mauve, and the darker ones, velvet and purple, black cat's ears in the sun, indigo shadow, and the bleeding hearts, so female in shape it was a surprise they'd not long since been rooted out. There is something subversive about this garden of Serena's, a sense of buried things bursting upwards, wordlessly, into the light, as if to point, to say: Whatever is silenced will clamor to be heard, though silently.

Mostly we just add to the piles of rainbow glass that's been blown off the exteriors of the cany-colored buildings.

Once a journey is designed, equipped, and put in process, a new factor enters and takes over. A trip, a safari, an exploration, is an entity, different from all other journeys. It has personality, temperament, individuality, uniqueness. A journey is a person in itself; no two are alike. And all plans, safeguards, policing, and coercion are fruitless. We find after years of struggle that we do not take a trip; a trip takes us. Tour masters, schedules, reservations, brass-bound and inevitable, dash themselves to wreckage on the personality of the trip. Only when this is recognized can the blown-in-the glass bum relax and go along with it. Only then do the frustrations fall away. In this a journey is like marriage. The certain way to be wrong is to think you control it.

Human emotion is beyond comprehension, smooth and uninterrupted, like an orb made of blown glass.

She felt a little nervous about this; 'for it might end, you know,' said Alice to herself, 'in my going out altogether, like a candle. I wonder what I should be like then?' And she tried to fancy what the flame of a candle looks like after the candle is blown out, for she could not remember ever having seen such a thing.

...little creatures they were who seemed to have been blown from glass.

Winds shook me apart piecemeal, flung a bone here, a bone there. My eyes became snow, my hair turned to ice; I heard it chime against my shoulders like wind-blown glass. If I spoke, words would fall from me like snow, pour out of me like black wind.

I got out my jar of ointment. I knew animators who had special containers for the ointment. Crockery, hand-blown glass, mystical symbols carved into the sides. I used an old Mason jar that had once held Grandma Blake's green beans. Larry fished out a peanut butter jar with the label still on it. Extra-crunchy. Yum-Yum.

He was drowning in want, his control shattering like glass blown out of a window by a blast concussion. He could almost imagine he heard the shards raining to the ground beneath them. The broken pieces of his willpower. Of his life.

...I will be no more than a tint of some obscure color, and to their great grandchildren nothing they ever know about, and so what army of strangers and ghosts has shaped and coloured me until back to Adam, until back to when ribs were blown from molten sand into the glass bits that took up the light of this world....

Did A tell you your eyes remind me of blown glass? I can see your soul through those eyes, Amy. They get darker when you’re trying to be sexy and shine when you smile. And when you think you’re in trouble you blink double the amount that you usually do. And when your sad the corners of your eyes turn down. I miss your eyes. And I don’t want the sad ones to be my last memory of you.

May yours be the sparkle of light on the ocean, The whisper of foam on the sea, The warm sand guiding your feet safely home, A pebble in your pocket from me. Some sea glass, a starfish, some driftwood, a whelk, Treasures washed up on the shore. A flower, a feather, an urchin, a pearl, Keep your eyes open for more. May you know yourself held in the palm of Her hand, Blessed by the waves wild and free, Blown by the wind, anointed with salt, Beloved of She of the Sea.

He looked like a kid caught making an angel in the snow, except his glasses had been blown off and one of his hands was bleeding. He breathed heavily; his belly rose and fell. I knelt close. 'George?' A groan, a cough. 'It's too late. Leave me....Let me sleep....' I shook him firmly, slapped the side of his face. 'George, you've got to wake up! George, *please.* Are you okay?' An eye opened. 'Ow. That cheek was the one part of me that *wasn't* sore.' 'Here, look - your glasses.' I scooped them out of the ash, put them on his chest.

And right now he and Douglas were hiking out beyond town on another warm and marble-round day, the sky blue blown-glass reaching high, the creeks bright with mirror waters fanning over white stones. It was a day as perfect as the flame of a candle.

But in the hours that were really minutes, he didn't beg me not to leave. He didn't say he hadn't meant it. When I stood, his gaze just followed me up. Then I was a shattered blown-glass blue rose, and every step away from him made my shards clatter and chime.

Tessa, Will, and Jem had raised James in love, and had surrounded him with love and the goodness it could produce. But they had given him no armor against the evil. They had wrapped his heart in silks and velvet, and then he had given it to Grace Blackthorn, and she had spun for it a cage of razor wire and broken glass, burned it to bits, and blown away the remains, another layer of ashes in this place of beautiful horrors.

And won’t he grow up to be the healthiest of young men, all because she kept him safe? Ready for the world. Ready to one day conquer it. To travel. Get on a train. Go to work. Get blown out of her life. Maybe she should be having that glass of wine and cigarette after all.

One of the creatures in the front circle shook itself all over and, still shaking, moved very, very slowly toward Spock. He didn't move a muscle. The creature put out a long slender pseudopod, gleaming in the sunshine like suddenly blown glass, and poked Spock's boot with it. Then it made the scratchy sound again, more laughter, and said a word: "Gotcha!" It jumped back into place. All the other creatures began to echo the scratch-laughter. Spock looked around him in mild bemusement. "Captain," he said, "I suspect we have found a kindergarten...

You can tell all of us are morphing into full-blown adults, wingtip adults, because all the time now the Big Question is, What are you going to do? After the summer, about your scholarship, about choosing a college, after graduation, with the rest of your life. When you are thirteen, the question is, Smooth or crunchy? That's it. Later, at the onset of full-blown adulthood, the Big Question changes a little bit - instead of, What are you going to do? it turns into, What do you do? I hear it all the time when my parents have parties, all the men standing around. After they talk sports, they always ask, What do you do? It's just part of the code that they mean "for a living" because no one ever answers it by saying, I go for walks and listen to music full-blast and don't care about my hearing thirty years from now, and I drink milk out of the carton, and I cough when someone lights up a cigarette, and I dig rainy days because they make me sad in a way I like, and I read books until I fall asleep holding them, and I put on sock-shoe, sock-shoe instead of sock-sock, shoe-shoe because I think it's better luck. Never that. People are always in something. I'm in advertising. I'm in real estate. I'm in sales and marketing.

But how you feel love and understand love are two different things. Now, so many years down the road, I recognize that I was alone and adrift and that he was lonely in the way that only a ladies’ man can be. He reminded me of Atlanta, and I reminded him of the same. All these were reasons why we were drawn to each other, but standing with him outside of Maroons, we were past reason. Human emotion is beyond comprehension, smooth and uninterrupted, like an orb made of blown glass.

Everything, including your set of hand-blown green glass dishes with the tiny bubbles and imperfections, little bits of sand, proof they were crafted by the honest, simple, hard-working indigenous aboriginal people of wherever, well, these dishes all get blown out by the blast. Picture floor-to-ceiling drapes blown out and flaming to shreds in the hot wind.

But then, the sky! Blue, untainted by a single cloud (the Ancientes had such barbarous tastes given that their poets could have been inspired by such stupid, sloppy, silly-lingering clumps of vapour). I love - and i'm certain that i'm not mistaken if i say we love - skies like this, sterile and flawless! On days like these, the whole world is blown from the same shatterproof, everlasting glass as the glass of the Green Wall and of all our structures. On days like these, you can see to the very blue depths of things, to their unknown surfaces, those marvelous expressions of mathematical equality - which exist in even the most usual and everyday objects.

Yes, I hate blown glass art and I happen to live in the blown glass art capital of the world, Seattle, Washington. Being a part of the Seattle artistic community, I often get invited to galleries that are displaying the latest glass sculptures by some amazing new/old/mid-career glass blower. I never go. Abstract art leaves me feeling stupid and bored. Perhaps it’s because I grew up inside a tribal culture, on a reservation where every song and dance had specific ownership, specific meaning, and specific historical context. Moreover, every work of art had use—art as tool: art to heal; art to honor, art to grieve. I think of the Spanish word carnal, defined as, ‘Of the appetites and passions of the body.’ And I think of Gertrude Stein’s line, ‘Rose is a rose is a rose is a rose.’ When asked what that line meant, Stein said, ‘The poet could use the name of the thing and the thing was really there.’ So when I say drum, the drum is really being pounded in this poem; when I say fancydancer, the fancydancer is really spinning inside this poem; when I say Indian singer, that singer is really wailing inside this poem. But when it comes to abstract art—when it comes to studying an organically shaped giant piece of multi-colored glass—I end up thinking, ‘That looks like my kidney. Anybody’s kidney, really. And frankly, there can be no kidney-shaped art more beautiful—more useful and closer to our Creator—than the kidney itself. And beyond that, this glass isn’t funny. There’s no wit here. An organic shape is not inherently artistic. It doesn’t change my mind about the world. It only exists to be admired. And, frankly, if I wanted to only be in admiration of an organic form, I’m going to watch beach volleyball. I’m always going to prefer the curve of a woman’s hip or a man’s shoulder to a piece of glass that has some curves.

Sometimes I get lonesome for a storm. A full-blown storm where everything changes. The sky goes through four days in an hour, the trees wail, little animals skitter in the mud and everything gets dark and goes completely wild. But its really God — playing music in his favorite cathedral in heaven — shattering stained glass — playing a gigantic organ — thundering on the keys — perfect harmony — perfect joy.

My life is a crystal teardrop. There are snowflakes falling in the teardrop and little figures trudging around in slow motion. If I were to look into the teardrop for the next million years, I might never find out who the people are, and what they are doing. Sometimes I get lonesome for a storm. A full-blown storm where everything changes. The sky goes through four days in an hour, the trees wail, little animals skitter in the mud and everything gets dark and goes completely wild. But it's really God - playing music in his favorite cathedral in heaven - shattering stained glass - playing a gigantic organ - thundering on the keys - perfect harmony - prefect joy.

She closed her eyes for a moment and then opened them and gazed at me. 'I wonder if you know how you have changed. It is the one good, perhaps, to come out of this terrible year. Oh, the spark was clear in you when you first came to me - but you covered your light as if you were afraid of what would happen if anybody saw it. You were like a flame blown by the wind until it is almost extinguished. All I had to do was put the glass around you. And now, how you shine!

Old Sparky seems such a thing of perversity when I look back on those days, such a deadly bit of folly. Fragile as blown glass, we are, even under the best of conditions. To kill each other with gas and electricity, and in cold blood? The folly. The horror.

It's a thousand tiny impulses, building on one another. First you decide it's a good idea to check the oatmeal bin for bugs. Next you're going through all the canisters, and before you know it, you're wearing a hazmat suit and examining the frosted flakes for ground-up glass. Each action further enforces the obsessive-compulsive circuit. When the disease is full-blown, sufferers are firmly entrenched in the neural loops that make them repeat thoughts and actions over and over. In other words, your brain keeps getting back in line for the same carnival ride it didn't enjoy in the first place. You lose your sunglasses, you throw up on your shirt, and two minutes later you're back on the Whizzer. Wheeee.

Trixie could feel the weight of her father's worry. Who knew that the words you never got around to saying could settle so heavy? Suddenly, she remembered a blown-glass candy dish she had broken when she was 11, an heirloom that had belonged to her mother's grandmother. She had gathered all the pieces and had glued them together seamlessl and she still hadn't been able to fool her mother. She imagined the same would be true, now, of herself.

The Ware Collection of Blaschka Glass Models of Plants consists of around four thousand painstakingly accurate fire-blown glass and hand-painted specimens. A German father-and-son team had made them, around the turn of the nineteenth century, as a commission from the university. They were the answer to a problem: How do you preserve the impossible to preserve? Or, in other words, how do you stop time and death? Could there have been a more propitious place to begin the company that would become Unfair Games? What, after all, is a video game’s subtextual preoccupation if not the erasure of mortality?

I turn and walk back to the home shore whose tall yellow bluffs still bare of snow I can see nearly half a mile to the north. I find my way as I came, over dusty sandbars and by old channels, through shrubby stands of willows. The cold, late afternoon sun breaks through its cloud cover and streaks the grey sand mixed with snow. As it has fallen steadily in the past weeks, the river has left behind many shallow pools, and these are now roofed with ice. When I am close to the main shore I come upon one of them, not far from the wooded bank. The light snow that fell a few days ago has blown away; the ice is polished and is thick enough to stand on. I can see to the bottom without difficulty, as through heavy dark glass. I bend over, looking at the debris caught there in the clear, black depth of the ice: I see a few small sticks, and many leaves. There are alder leaves, roughly toothed and still half green; the more delicate birch leaves and aspen leaves, the big, smooth poplar leaves, and narrow leaves from the willows. They are massed or scattered, as they fell quietly or as the wind blew them into the freezing water. Some of them are still fresh in color, glowing yellow and orange; others are mottled with grey and brown. A few older leaves lie sunken and black on the silty bottom. Here and there a pebble of quartz is gleaming. But nothing moves there. It is a still, cold world, something like night, with its own fixed planets and stars.

When I was very young and the urge to be someplace else was on me, I was assured by mature people that maturity would cure this itch. When years described me as mature, the remedy prescribed was middle age. In middle age I was assured greater age would calm my fever and now that I am fifty-eight perhaps senility will do the job. Nothing has worked. Four hoarse blasts of a ships's whistle still raise the hair on my neck and set my feet to tapping. The sound of a jet, an engine warming up, even the clopping of shod hooves on pavement brings on the ancient shudder, the dry mouth and vacant eye, the hot palms and the churn of stomach high up under the rib cage. In other words, I don't improve; in further words, once a bum always a bum. I fear the disease is incurable. I set this matter down not to instruct others but to inform myself. When the virus of restlessness begins to take possession of a wayward man, and the road away from Here seems broad and straight and sweet, the victim must first find in himself a good and sufficient reason for going. This to the practical bum is not difficult. He has a built-in garden of reasons to chose from. Next he must plan his trip in time and space, choose a direction and a destination. And last he must implement the journey. How to go, what to take, how long to stay. This part of the process is invariable and immortal. I set it down only so that newcomers to bumdom, like teen-agers in new-hatched sin, will not think they invented it. Once a journey is designed, equipped, and put in process, a new factor enters and takes over. A trip, a safari, an exploration, is an entity, different from all other journeys. It has personality, temperament, individuality, uniqueness. A journey is a person in itself; no two are alike. And all plans, safeguards, policing, and coercion are fruitless. We find after years of struggle that we do not take a trip; a trip takes us. Tour masters, schedules, reservations, brass-bound and inevitable, dash themselves to wreckage on the personality of the trip. Only when this is recognized can the blown-in-the glass bum relax and go along with it. Only then do the frustrations fall away. In this a journey is like marriage. The certain way to be wrong is to think you control it.

You were like a flame blown by the wind until it is almost extinguished. All I had to do was put the glass around you. And now, how you shine!

I don’t know if it’s mine or if it’s hers, but this moment, this perfect glass-blown moment where our bodies unite and our souls intersect, this moment belongs to us.

I took my pill at eleven. An hour and half later I was sitting in my study, looking intently at a small glass vase. The vase contained only three flowers -- a full-blown Belle of Portugal rose, shell pink with a hint at every petal's base of a hotter, flamier hue; a large magenta and cream-coloured carnation; and, pale purple at the end of its broken stalk, the bold heraldic blossom of an iris. Fortuitous and provisional, the little nosegay broke all the rules of traditional good taste. At breakfast that morning I had been struck by the lively dissonance of its colours. But that was no longer the point. I was not looking now at an unusual flower arrangement. I was seeing what Adam had seen on the morning of his creation -- the miracle, moment by moment, of naked existence.

how you feel love and understand love are two different things. Now, so many years down the road, I recognize that I was alone and adrift and that he was lonely in the way that only a ladies’ man can be. He reminded me of Atlanta, and I reminded him of the same. All these were reasons why we were drawn to each other, but standing with him outside of Maroons, we were past reason. Human emotion is beyond comprehension, smooth and uninterrupted, like an orb made of blown glass.

And so this end in confusion, where when things stop I never get to know it, and this moving is the space, is that what is yet to be, which is for others to see filled wherever it may finally be in the frame when the last pieces are fitted and the others stop, and there will be the stopped pattern, the final array, but not even that, because that final finitude will itself be a bit of scrolling, a percent clump of tiles, which will generally stay together but move about within another whole and be mingled, with in endless ways of other people's memories, so that I will remain a set of impressions porous and open to combination with all of the other vitreous squares floating about in whoever else's frames, because there is always the space left in reserve for the rest of their downtime, and to my great-grandchildren, with more space than tiles, I will be no more than the smoky arrangement of a set of rumors, and to their great-grandchildren, I will be no more than a tint of some obscure color, and to their great grandchildren nothing they ever know about, and so what army of strangers and ghosts has shaped and colored me until back to Adam, until back to when ribs were blown from molten sand into the glass bits that took up the light of this world because they were made from this world, even though the fleeting tenants of those bits of colored glass have vacated them before they have had even the remotest understanding of what it is to inhabit them, and if they -- if we are fortunate (yes, I am lucky, lucky), and if we are fortunate, have fleeting instants when we are satisfied that the mystery is ours to ponder, if never to solve, or even just rife personal mysteries, never mind those outside-- are there even mysteries outside? a puzzle itself -- but anyway, personal mysteries, like where is my father, why can't I stop all the moving and look out over the vast arrangements and find by the contours and colors and qualities of light where my father is, not to solve anything but just simple even to see it again one last time, before what, before it ends, before it stops. But it doesn't stop; it simply ends. It is a final pattern scattered without so much as a pause at the end, at the end of what, at the end of this.

Those rose-tinted glasses look good on you, Sunshine.” Sunshine? I was sure he meant that mockingly, but the butterflies in my stomach stirred to life anyway, fanning away my anger. Traitors. “Thanks. You can borrow them. You need them more than I do,” I said pointedly. A low chuckle slipped from his throat, and I almost fell to the floor in shock. Tonight was turning out to be a night of firsts. Alex’s hand trailed up my spine until it rested on the back of my neck, leaving a cascade of tingles in their wake. “I feel it dripping all over me.” He did not—what? An inferno consumed my body. “You’re—you—no, I’m not!” I sputtered, pushing him away and scrambling off him. My core pulsed. Oh my God, what if I was? I couldn’t look, afraid I’d see a telltale wet spot on his jeans. I’d have to move to Antarctica. Build myself an ice cave and learn to speak penguin because I could never show my face in Hazelburg, D.C., or any city where I could run into Alex Volkov again. His chuckle blossomed into a full-blown laugh. The effect of his real smile was so devastating, even amid my mortification, that all I could do was stare at the way his face lit up and the sparkle that transformed his eyes from beautiful to downright breathtaking. Holy crap. Perhaps I should be grateful he never smiled, because if that was what he looked like while doing it…womankind didn’t stand a chance. “I’m talking about your bleeding heart,” he drawled. “What did you think I was talking about?” “I—you—” Forget Antarctica. I had to move to Mars. Alex’s laughter subsided, but the twinkle in his eyes remained.

The Ware Collection of Blaschka Glass Models of Plants consists of around four thousand painstaking accurate fire-blown glass and hand-painted specimens. A German father-and-son team had made them, around the turn of the nineteenth century, as a commission from the university. They were the answer to a problem: How do you preserve the impossible to preserve? Or, in other words, how do you stop time and death? Could there have been a more propitious place to begin the company that would become Unfair Games? What, after all, is a video game's subtextual preoccupation if not the erasure of mortality?

The Ware Collection of Blaschka Glass Models of Plants consists of around four thousand painstakingly accurate fire-blown glass and hand-painted specimens. A German father-and-son team had made them, around the turn of the nineteenth century, as a commission from the university. They were the answer to a problem: How do you preserve the impossible to preserve? Or, in other words, how do you stop time and death? Could there have been a more propitious place to begin the company that would become Unfair Games? What, after all, is a video game's subtextual preoccupation if not the erasure of mortality?

It was in December. I stood in the back of the tram, all the way in the back. It drove through the country and stopped and started again, it took hours, the countryside was endless. And the sky got bluer and bluer and the sun shone until it seemed like flowers would have to start sprouting out of the country bumpkins. And the red roofs in the villages and the black trees and the fields, most of them covered with straw, had it nice and warm, and the dunes sat bareheaded in the sun. And the road lay there, white and smarting, it couldn't bear the sunlight, and the glass panes of the village streetlamp flashed, they had trouble withstanding the glare too. But I got colder and colder. And the tram ran as long as the sun shone. It's a long ride from Hillegom to Leiden and the days are short in December. By the end, a block of ice was standing there on the tram staring into the big stupid cold sun that was flaming red as though the revolution was finally starting, as though offices were being blown up all over Amsterdam, but still it couldn't bring a spark of life back to my cold feet and stiff legs. And it kept getting bigger and colder, the sun, and I got colder and stayed the same size, and the blue sky looked down very disapprovingly: What are you doing on that tram?

And here in Britain the wind moaned through the desolate woods, the skies wept, and wet gale-blown leaves pattered against the windows and stuck there, making little pathetic shadows against the steamy glass. There had been wild weather often enough in his own country, but that had been the wild weather of home; here was the wind and and rain and wet leaves of exile.

The city will be ours.” Cheat rested a hand on Arin’s shoulder and gripped it. “Freedom will be ours.” Those words sliced through the knots tangled within Arin. He slowly nodded. He turned toward the window. “What’re you doing?” Cheat said. “You risked enough coming here, and you’ll risk the same returning to the estate. Stay. I can hide you until the assault.” Why won’t you look at me? Kestrel had said. The hurt in her voice had hurt him. It hurt him still. It made him remember how his father had given him a blown-glass horse for his eighth nameday. Arin remembered its tapered legs, the arched neck: a thing of starlike clarity. He had fumbled, and it had smashed on the tiles below. “No,” Arin told Cheat. “I’m going back. I need to be there when it happens.

She once told me of a night that fumed with escapes and was filled with bedsides reeking of ecstasy; she told me the stars cast not judgments, but blessings, knowing full well the disastrous outcomes of the deeds they cradled with the strings of their young hearts. She’d inhaled the night itself, those around her doing the same, and so all become one. No disharmony. No discordance. Nothing to shatter the cause; nothing to unearth the beauty. So as we together ascended that front porch, allowing the glow behind the blown-out windows and the odious steams plunder us from through the cracks...time forgot to distill us, and our steps became as silver as glass. I could no longer deny the boiling words of my blood: tonight would be the beginning of a very long road indeed.

Spirits flitted through the red-and-orange sky like leaves blown on the October wind. They dipped and darted over the brownstones and housing projects, swooped around the towering glass palaces, and dove into the crooked alleyways. Sierra smiled. The world had become so much more alive once she learned to see the dead. For a few moments, she just stood there, let herself be a spectator to the ever unfolding drama of city lights and spirits.

The lightbulb in my bathroom has blown [...] at night it's dark there in a really weird way, I can stand for ages looking at everything in there, the towels hanging from the hooks, the toothbrush in the glass, the toothpaste, the razor, the shower curtain, and it's like I'm not in the room, like I shouldn't be there, like I'm seeing things how they are when I'm not there, do you understand what I mean? And that I shouldn't be, that somehow I'm a hindrance, but that's almost why I stay there.

Ode, Elegy, Aubade, Pslam" 1 The songbird that escapes from a burning house will build its nest in the shape of a cage. 2 This is one thing we know: song begs for the places that make it grow from seed to starling, 3 places that put the heart’s hemlock in an empty rowboat and heave it from the shore. 4 We only praise what we cannot keep: violin strings berried with rain, teacups overflowing with brandywine, radios sickened with static. 5 Glass tossed out with the tide will come back smoother and stranger, but never to the same person. 6 This is something we want to know. The woman in love never touches her ears. 7 The man in his house is always lost without her. 8 Morning pulls light from the dark like a boy hoisting a trout from the lake by its clean, pink gills. 9 When the woman escapes from a burning house she will know the path of the wind, 10 how it writes its scripture in peach blossoms blown into a baby’s empty pram. 11 She’ll feel it compose its words against her body, against the night, against the water, in an endless, artless psalm.

The world is exactly the same as it was before, except that Americans now realize that they are a part of it. People get blown up every day, but not until Americans started getting blown up within our own borders by people who aren't Americans did it become real to us. The world has not changed, but our attention has been called to it. We are looking directly at the sun now, and it is blinding us. We need the same books we always have; we need our friends and hobbies and meaningful work; and we need them quick, to provide the dark glasses that will let us watch the eclipse, and respond to it usefully, and not go mad.

On this bald hill the new year hones its edge. Faceless and pale as china The round sky goes on minding its business. Your absence is inconspicuous; Nobody can tell what I lack. Gulls have threaded the river’s mud bed back To this crest of grass. Inland, they argue, Settling and stirring like blown paper Or the hands of an invalid. The wan Sun manages to strike such tin glints From the linked ponds that my eyes wince And brim; the city melts like sugar. A crocodile of small girls Knotting and stopping, ill-assorted, in blue uniforms, Opens to swallow me. I’m a stone, a stick, One child drops a carrette of pink plastic; None of them seem to notice. Their shrill, gravelly gossip’s funneled off. Now silence after silence offers itself. The wind stops my breath like a bandage. Southward, over Kentish Town, an ashen smudge Swaddles roof and tree. It could be a snowfield or a cloudbank. I suppose it’s pointless to think of you at all. Already your doll grip lets go. The tumulus, even at noon, guargs its black shadow: You know me less constant, Ghost of a leaf, ghost of a bird. I circle the writhen trees. I am too happy. These faithful dark-boughed cypresses Brood, rooted in their heaped losses. Your cry fades like the cry of a gnat. I lose sight of you on your blind journey, While the heath grass glitters and the spindling rivulets Unpool and spend themselves. My mind runs with them, Pooling in heel-prints, fumbling pebble and stem. The day empties its images Like a cup of a room. The moon’s crook whitens, Thin as the skin seaming a scar. Now, on the nursery wall, The blue night plants, the little pale blue hill In your sister’s birthday picture start to glow. The orange pompons, the Egyptian papyrus Light up. Each rabbit-eared Blue shrub behind the glass Exhales an indigo nimbus, A sort of cellophane balloon. The old dregs, the old difficulties take me to wife. Gulls stiffen to their chill vigil in the drafty half-light; I enter the lit house.

The rain beat against the windows and against the tin roof of the hotel. It came down in hissing roars, then in whispers, then in loud shishes like sandpaper rubbed against wood. She drank the second glassful, climbed off the bed and began undressing, and then we were together, the cheap naked bulb still blazing down on the bed. Thinking back, I remember the stupidest things; the way there was a taut crease just above her hips, in the small of her back. The way she smelled like a baby's breath, a sweet barely there smell that retreated and retreated, so that no matter how close you got to it you weren't sure it was there. The brown speckles in the lavender-gray eyes, floating very close to the surface when I kissed her, the eyes wide open and aware. But not caring. The eyes of a gourmet offered a stale chunk of bread, using it of necessity but not tasting it any more than necessary. I remember getting up and coming back to her, and of throwing a shoe at the light bulb, later, when the whisky was gone. I remember the smell of rain-darkness in the room and her telling me I'd cut my feet on the light-bulb glass on the floor. And how she said I was no better than a tramp myself, that I made love to the cadence of the raingusts on the roof, and it was true I was doing just that, but it seemed the natural thing then. And I felt so marvelously clean and soaped and so in tune with the whole damned universe that I had the feeling I could have clouded up and rained and lightninged myself, and blown that cheese-colored room to smithereens.

Despair could never touch a morning like this. The air was cool, and smelled of sage. It had the clarity that comes to Southern California only after a Santa Ana wind has blown all haze and history out to sea — air like telescopic glass, so that the snowcapped San Gabriela seemed near enough to touch, though they were forty miles away. The flanks of the blue foothills revealed the etching of every ravine, and beneath the foothills, stretching to the sea, the broad coastal plain seemed nothing but treetops: groves of orange, avocado, lemon, olive; windbreaks of eucalyptus and palm; ornamentals of a thousand different varieties, both natural and genetically engineered. It was as if the whole plain were a garden run riot, with the dawn sun flushing the landscape every shade of green.

So which theory did Lagos believe in? The relativist or the universalist?" "He did not seem to think there was much of a difference. In the end, they are both somewhat mystical. Lagos believed that both schools of thought had essentially arrived at the same place by different lines of reasoning." "But it seems to me there is a key difference," Hiro says. "The universalists think that we are determined by the prepatterned structure of our brains -- the pathways in the cortex. The relativists don't believe that we have any limits." "Lagos modified the strict Chomskyan theory by supposing that learning a language is like blowing code into PROMs -- an analogy that I cannot interpret." "The analogy is clear. PROMs are Programmable Read-Only Memory chips," Hiro says. "When they come from the factory, they have no content. Once and only once, you can place information into those chips and then freeze it -- the information, the software, becomes frozen into the chip -- it transmutes into hardware. After you have blown the code into the PROMs, you can read it out, but you can't write to them anymore. So Lagos was trying to say that the newborn human brain has no structure -- as the relativists would have it -- and that as the child learns a language, the developing brain structures itself accordingly, the language gets 'blown into the hardware and becomes a permanent part of the brain's deep structure -- as the universalists would have it." "Yes. This was his interpretation." "Okay. So when he talked about Enki being a real person with magical powers, what he meant was that Enki somehow understood the connection between language and the brain, knew how to manipulate it. The same way that a hacker, knowing the secrets of a computer system, can write code to control it -- digital namshubs?" "Lagos said that Enki had the ability to ascend into the universe of language and see it before his eyes. Much as humans go into the Metaverse. That gave him power to create nam-shubs. And nam-shubs had the power to alter the functioning of the brain and of the body." "Why isn't anyone doing this kind of thing nowadays? Why aren't there any namshubs in English?" "Not all languages are the same, as Steiner points out. Some languages are better at metaphor than others. Hebrew, Aramaic, Greek, and Chinese lend themselves to word play and have achieved a lasting grip on reality: Palestine had Qiryat Sefer, the 'City of the Letter,' and Syria had Byblos, the 'Town of the Book.' By contrast other civilizations seem 'speechless' or at least, as may have been the case in Egypt, not entirely cognizant of the creative and transformational powers of language. Lagos believed that Sumerian was an extraordinarily powerful language -- at least it was in Sumer five thousand years ago." "A language that lent itself to Enki's neurolinguistic hacking." "Early linguists, as well as the Kabbalists, believed in a fictional language called the tongue of Eden, the language of Adam. It enabled all men to understand each other, to communicate without misunderstanding. It was the language of the Logos, the moment when God created the world by speaking a word. In the tongue of Eden, naming a thing was the same as creating it. To quote Steiner again, 'Our speech interposes itself between apprehension and truth like a dusty pane or warped mirror. The tongue of Eden was like a flawless glass; a light of total understanding streamed through it. Thus Babel was a second Fall.' And Isaac the Blind, an early Kabbalist, said that, to quote Gershom Scholem's translation, 'The speech of men is connected with divine speech and all language whether heavenly or human derives from one source: the Divine Name.' The practical Kabbalists, the sorcerers, bore the title Ba'al Shem, meaning 'master of the divine name.'" "The machine language of the world," Hiro says.

The school bus didn't actually go all the way out to the edge of Canyon Shadows, where Boris lived. It was a twenty minute walk to his house from the last stop, in blazing heat, through streets awash with sand. Though there were plenty of Foreclosure and "For Sale" signs on my street (at night, the sound of a car radio travelled for miles) — still, I was not aware quite how eerie Canyon Shadows got at its farthest reaches: a toy town, dwindling out at desert's edge, under menacing skies. Most of the houses looked as if they had never been lived in. Others — unfinished — had raw-edged windows without glass in them; they were covered with scaffolding and grayed with blown sand, with piles of concrete and yellowing construction material out front. The boarded-up windows gave them a blind, battered, uneven look, as of faces beaten and bandaged. As we walked, the air of abandonment grew more and more disturbing, as if we were roaming some planet depopulated by radiation or disease.

The school bus didn't actually go all the way out to the edge of Canyon Shadows, where Boris lived. It was a twenty minute walk to his house from the last stop, in blazing heat, through streets awash with sand. Though there were plenty of Foreclosure and "For Sale" signs on my street (at night, the sound of a car radio travelled for miles) -- still, I was not aware quite how eerie Canyon Shadows got at its farthest reaches: a toy town, dwindling out at desert's edge, under menacing skies. Most of the houses looked as if they had never been lived in. Others -- unfinished -- had raw-edged windows without glass in them; they were covered with scaffolding and grayed with blown sand, with piles of concrete and yellowing construction material out front. The boarded-up windows gave them a blind, battered, uneven look, as of faces beaten and bandaged. As we walked, the air of abandonment grew more and more disturbing, as if we were roaming some planet depopulated by radiation or disease.

Mathilde watched as down the street came a little girl in a red snowsuit with purple racing stripes. Mittens, a cap too big for her head. Disoriented, the girl turned around and around and around. She began to climb the snow mountain that blocked her from the street. But she was so weak. Halfway up, she’d slip back down. She’d try again, digging her feet deeper into the drift. Mathilde held her breath each time, let it out when the girl fell. She thought of a cockroach in a wineglass, trying to climb up the smooth sides. When Mathilde looked across the street at a long brick apartment complex taking up the whole block, ornate in its 1920s style, she saw, in scattered windows, three women watching the little girl’s struggles. Mathilde watched the women as they watched the girl. One was laughing over her bare shoulder at someone in the room, flushed with sex. One was elderly, drinking her tea. The third, sallow and pinched, had crossed her skinny arms and was pursing her lips. At last, the girl, exhausted, slid down and rested, her face against the snow. Mathilde was sure she was crying. When Mathilde looked up again, the woman with crossed arms was staring angrily through all the glass and cold and snow directly at her. Mathilde startled, sure she’d been invisible. The woman disappeared. She reappeared on the sidewalk in inside clothes, tweedy and thin. She chucked her body into the snowdrift in front of the apartment building, crossed the street, grabbed the girl by the mittens and swung her over the mountain. Carried her across the street and did it again. Both mother and daughter were powdered with white when they went inside. Long after they were gone, Mathilde thought of the woman. What she was imagining when she saw her little girl fall and fall and fall. She wondered at the kind of anger that would crumple your heart up so hard that you could watch a child struggle and fail and weep for so long, without moving to help. Mothers, Mathilde had always known, were people who abandoned you to struggle alone. It occurred to her then that life was conical in shape, the past broadening beyond the sharp point of the lived moment. The more life you had, the more the base expanded, so that the wounds and treasons that were nearly imperceptible when they happened stretched like tiny dots on a balloon slowly blown up. A speck on the slender child grows into a gross deformity in the adult, inescapable, ragged at the edges. A

Now that I know how birth works-now that I've been talked through labor by that quiet-voiced woman-I feel I've finally been told what my task is. It's simple-so simple I'm amazed I didn't know it before. One morning I am going to wake up, and before I sleep again, I will have to tick off a long list of contractions, one by one. And when I get to the last one, I will have my girl. Each one of these will be a job in itself-a minute-long experience that would alarm anyone suddenly struck by it, without warning-but I know the one fact that makes it easy: there is nothing awry. Everything is as it should be. Unlike some pains, these don't signal something going wrong but something going right. This is what I did not realize the first time, when I prayed wildly for these pains to stop. I didn't know then that these pains were actually the answer, and that their every alternative was much, much worse. Now I know what they are, and what they're for, I greet each one with calm cheer: 60 seconds to breathe through, as limp as a sleeping child, so that there is nowhere for this wash of sensation to snag-no tensed muscle it can get caught on. I am a clear glass of water, leaf-smoke blown sideways in the wind; empty space, for a moon to sail through.

Quote from "The Dish Keepers of Honest House" ....TO TWIST THE COLD is easy when its only water you want. Tapping of the toothbrush echoes into Ella's mind like footsteps clacking a cobbled street on a bitter, dry, cold morning. Her mind pushes through sleep her body craves. It catches her head falling into a warm, soft pillow. "Go back to bed," she tells herself. "You're still asleep," Ella mumbles, pushes the blanket off, and sits up. The urgency to move persuades her to keep routines. Water from the faucet runs through paste foam like a miniature waterfall. Ella rubs sleep-deprieved eyes, then the bridge of her nose and glances into the sink. Ella's eyes astutely fixate for one, brief millisecond. Water becomes the burgundy of soldiers exiting the drain. Her mouth drops in shock. The flow turns green. It is like the bubbling fungus of flockless, fishless, stagnating ponds. Within the iridescent glimmer of her thinking -- like a brain losing blood flow, Ella's focus is the flickering flashing of gray, white dust, coal-black shadows and crows lifting from the ground. A half minute or two trails off before her mind returns to reality. Ella grasps a toothbrush between thumb and index finger. She rests the outer palm against the sink's edge, breathes in and then exhales. Tension in the brow subsides, and her chest and shoulders drop; she sighs. Ella stares at pasty foam. It exits the drain as if in a race to clear the sink of negativity -- of all germs, slimy spit, the burgundy of imagined soldiers and oppressive plaque. GRASPING THE SILKY STRAND between her fingers, Ella tucks, pulls and slides the floss gently through her teeth. Her breath is an inch or so of the mirror. Inspections leave her demeanor more alert. Clouding steam of the image tugs her conscience. She gazes into silver glass. Bits of hair loosen from the bun piled at her head's posterior. What transforms is what she imagines. The mirror becomes a window. The window possesses her Soul and Spirit. These two become concerned -- much like they did when dishonest housekeepers disrupted Ella's world in another story. Before her is a glorious bird -- shining-dark-as-coal, shimmering in hues of purple-black and black-greens. It is likened unto The Raven in Edgar Allan Poe's most famous poem of 1845. Instead of interrupting a cold December night with tapping on a chamber door, it rests its claws in the decorative, carved handle of a backrest on a stiff dining chair. It projects an air of humor and concern. It moves its head to and fro while seeking a clearer understanding. Ella studies the bird. It is surrounded in lofty bends and stretches of leafless, acorn-less, nearly lifeless, oak trees. Like fingers and arms these branches reach below. [Perhaps they are reaching for us? Rest assured; if they had designs on us, I would be someplace else, writing about something more pleasant and less frightening. Of course, you would be asleep.] Balanced in the branches is a chair. It is from Ella's childhood home. The chair sways. Ella imagines modern-day pilgrims of a distant shore. Each step is as if Mother Nature will position them upright like dolls, blown from the stability of their plastic, flat, toe-less feet. These pilgrims take fate by the hand. LIFTING A TOWEL and patting her mouth and hands, Ella pulls the towel through the rack. She walks to the bedroom, sits and picks up the newspaper. Thumbing through pages that leave fingertips black, she reads headlines: "Former Dentist Guilty of Health Care Fraud." She flips the page, pinches the tip of her nose and brushes the edge of her chin -- smearing both with ink. In the middle fold directly affront her eyes is another headline: "Dentist Punished for Misconduct." She turns the page. There is yet another: "Dentist guilty of urinating in surgery sink and using contaminated dental instruments on patients." This world contains those who are simply insane! Every profession has those who stray from goals....

Damn, Mari, it’s cold!” Carrow chafed her arms. “I dig the whole Narnian vibe you’ve got going on, I do. And I’ve been dutifully keeping an eye out for talking beavers wearing armor—but come on, this is getting ridiculous! If you miss the Scot so much, then just break free.” Elianna said, “Do you know he’s bought the property just next door to Andoain so he can scent you the minute you come home. And, well, because his house got blown up.” “Look, Mari, you have to come out of this and do something,” Carrow said. “Put him out of his misery—or—allow me to make him fall in love with dryer lint. You decide.” She shrugged. “I know you’d worried about Bowen not wanting to come near the coven, but we can’t get him to leave. Apparently, some of the witches admitted to him that you’re on a different plane—he can be really dogged with the questions—and now he’s determined to reach you here. Interestingly, he believes the information about the plane’s existence—but not about the fact that he can’t travel to it.” “He returns to Adoain daily, sometimes hourly, researching witchery,” Elianna said. Carrow glared, “Well, maybe if you and the others would stop sneakily setting out food for him, he wouldn’t keep coming back!” Crossing her arms over her chest, Elianna said in a mulish tone, “He wouldn’t eat otherwise.” “Whatever. But seriously, Mari, he’s having such a hard time with all this that even Regin feels sorry for what he’s been through.” Elianna added, “He’s watched your graduation video so many times, I’m sure he’s memorized your school’s alma mater.” “I don’t know what he does with the videos of your college cheerleading he brings back to his place”—Carrow waggled her eyebrows—“but I have suspicions.” Elianna coughed delicately. “Now that you’ve done what you were Awaited to do—well, part one at least—everyone’s grasping about for a new name for you,” Carrow said. “If you don’t kick this enthrallment, then I’m going to campaign for Mariketa the Glass Witch, or ‘Glitch.’ Come kick my ass if you don’t like it, otherwise . . .” Elianna squinted at Mari and sighed. “I think she wants to be called Mariketa MacRieve.

What a lovely day again; were it a new-made world, and made for a summer-house to the angels, and this morning the first of its throwing open to them, a fairer day could not dawn upon that world. Here's food for thought, had Ahab time to think; but Ahab never thinks; he only feels, feels, feels; that's tingling enough for mortal man! to think's audacity. God only has that right and privilege. Thinking is, or ought to be, a coolness and a calmness; and our poor hearts throb, and our poor brains beat too much for that. And yet, I've sometimes thought my brain was very calm—frozen calm, this old skull cracks so, like a glass in which the contents turned to ice, and shiver it. And still this hair is growing now; this moment growing, and heat must breed it; but no, it's like that sort of common grass that will grow anywhere, between the earthy clefts of Greenland ice or in Vesuvius lava. How the wild winds blow it; they whip it about me as the torn shreds of split sails lash the tossed ship they cling to. A vile wind that has no doubt blown ere this through prison corridors and cells, and wards of hospitals, and ventilated them, and now comes blowing hither as innocent as fleeces. Out upon it!—it's tainted. Were I the wind, I'd blow no more on such a wicked, miserable world. I'd crawl somewhere to a cave, and slink there. And yet, 'tis a noble and heroic thing, the wind! who ever conquered it? In every fight it has the last and bitterest blow. Run tilting at it, and you but run through it. Ha! a coward wind that strikes stark naked men, but will not stand to receive a single blow. Even Ahab is a braver thing—a nobler thing that that. Would now the wind but had a body; but all the things that most exasperate and outrage mortal man, all these things are bodiless, but only bodiless as objects, not as agents. There's a most special, a most cunning, oh, a most malicious difference! And yet, I say again, and swear it now, that there's something all glorious and gracious in the wind. These warm Trade Winds, at least, that in the clear heavens blow straight on, in strong and steadfast, vigorous mildness; and veer not from their mark, however the baser currents of the sea may turn and tack, and mightiest Mississippies of the land swift and swerve about, uncertain where to go at last. And by the eternal Poles! these same Trades that so directly blow my good ship on; these Trades, or something like them—something so unchangeable, and full as strong, blow my keeled soul along!

each other. No words were needed, they both felt the same. What a load of bollocks. They’d known each other two minutes. How could they be in love? Joan was just going over the top. The four glasses clinked together. “Tuck in guys. This is one of my better dishes. My mam helped with it too so I know it’s going to be top notch.” Trevor rubbed his hands together and grabbed his fork. There were no flies on him he was tucking in. Food was his comfort and now Joan was off the market he needed it more than ever. Mabel picked at the food on her plate, nibbling, watching everyone else around her. Patrick sat next to Joan and every chance he got he kissed her, held her hand. He knew he was on show here tonight and he was making sure he ticked all the boxes. * Cath and Katrina were chatting in the yard. The winds were blowing with force. They both looked freezing as they marched around the concrete yard. There were high steel fences with barbed wire on the top of it. There was no way out. Katrina needed a friendly ear, some advice, someone to ease her heavy heart. Once she’d filled Cath in on everything that had happened they both sat on a bench not far from the fence.  The screws watched them with caution and never took their eyes from them. They were high-risk prisoners. Cath let out a laboured breath and bit down hard on her bottom lip. “For crying out loud didn’t I tell you to keep away from that prick. Look what’s happened now. You’ve fucking blown it. You were getting out of this shit-hole in a few more months and you’ve gone and fucked it all. Where is your head at woman, you should of steered well clear of any trouble?” Katrina snivelled, her eyes flooding with tears. “I know, I just wanted to hurt him like he’s hurt me. I loved that man with all my heart and he just fucked off and left me. I’ve lost it all Cath. My kids, my home, everything I ever loved. How can I tell my kids I’m not coming home? It will break their hearts. I’ve made promises to them. A better life, no more trouble. Their mother home for good.” “They’ve not charged you yet. Wait until it’s set in stone and then you know what you’re dealing with.” Cath held her in her arms and squeezed her tight. She knew as much as the other person that she wasn’t getting out of jail anytime soon. The crime she’d committed would be all over the news soon and the public would know who she was. She’d seen it so many times before. Once an offender was named, the nation would be all over it. No doubt Norman would be made out to be the hero too. There would be no story about the way he treated this woman, no mention of all the women he’d abused in the past. Maybe someone should have grassed him up. Katrina had warned him if he she got her collar felt there would be repercussions. Why hadn’t she put his name in the picture yet? Now was the time to put her cards on the table and look after number one. Maybe if she turned Queen’s evidence she could get a deal with the prosecution. A lesser sentence, a few years knocked off. Cath was aware of this but to be a Judas was another matter. Katrina would have to

After finishing their main course and dessert, she and Cady prepared her extra dish. Sophia had decided to make the girls' favorite dinner- beef tenderloin with peppercorn sauce. Soon enough they were plating and rushing back and forth to the huge banquet table set up in the courtyard. Pouring wine and adjusting garnishes and offering smiles to the judges. The ambience of this meal was Sophia's idea of romance. The table was draped with ivory linen and topped with glass jars of flowers. Bouquets of Rosa rugosa and Queen Anne's lace were nestled among votives and bottles of wine. The local glassblower had provided an assortment of pottery dishes and hand-blown goblets. Strands of white lights dangled from the surrounding trees. She and Elliott and the girls plated together, having reached some sort of exhausted Zen state. Emilia scooped the risotto, Elliott placed the salmon on top, Sophia added the three tiny sides shaped with a round cookie cutter. Elliott drizzled his sauce onto the final product. He brushed his shoulder against Sophia each time, needing that physical connection. The plates looked exquisite, artistic. Perfect. She tried to ignore the overwhelming stress of the moment and focus on the food. Cady and Emilia added garnishes- fresh herbs and flowers. And Cady had a whole sheet of candied violets ready to sprinkle on their dessert. It made Elliott laugh and tease them all about being a family of garden sprites. When they finally got to the head of the table and faced a sea of critics, Sophia felt confident about their choices. They'd prepared a beautiful meal that successfully showcased Elliott's love for Scottish tradition, local Vermont products, and the Brown family's love of fresh vegetables and herbs. All the components meshed together into one cohesive meal.

Being present at the creation of a full-blown conspiracy theory. It’s like watching a galaxy being born. Lots of random, unconnected bits and pieces of matter whiz past each other, exert a little gravitational pull and bingo, they start forming an organized system. The next thing you know you have a complete, wheels-within-wheels fantasy involving the CIA, Area 51, cosmic energy and a dead guy.

Building with Its Face Blown Off How suddenly the private is revealed in a bombed-out city, how the blue and white striped wallpaper of a second story bedroom is now exposed to the lightly falling snow as if the room had answered the explosion wearing only its striped pajamas. Some neighbors and soldiers poke around in the rubble below and stare up at the hanging staircase, the portrait of a grandfather, a door dangling from a single hinge. And the bathroom looks almost embarrassed by its uncovered ochre walls, the twisted mess of its plumbing, the sink sinking to its knees, the ripped shower curtain, the torn goldfish trailing bubbles. It's like a dollhouse view as if a child on its knees could reach in and pick up the bureau, straighten a picture. Or it might be a room on a stage in a play with no characters, no dialogue or audience, no beginning, middle, and end– just the broken furniture in the street, a shoe among the cinder blocks, a light snow still falling on a distant steeple, and people crossing a bridge that still stands. And beyong that–crows in a tree, the statue of a leader on a horse, and clouds that look like smoke, and even farther on, in another country on a blanket under a shade tree, a man pouring wine into two glasses and a woman sliding out the wooden pegs of a wicker hamper filled with bread, cheese, and several kinds of olives.

Sure enough, five minutes later, a scream pierced through the Vaults. It was more animal than human. She’d heard screams like that before—had witnessed enough torture at the Keep to know that when people screamed like that, it meant that the pain was just beginning. By the end, when that sort of pain happened, the victims had usually blown out their vocal cords and could only emit hoarse, shattered shrieks. Celaena gritted her teeth so hard her jaw hurt.

Ritual characterizes every aspect of life here, and even mundane, daily activities take on an ageless quality. The daily rhythm begins at dawn, as the fishermen launch boats from countless harbors, an event that has taken place for centuries. The women go to market, exchanging greetings and comments. Ritual rules the care and time taken with every detail of the midday meal, from the hearty seafood appetizers to the strong, syrupy coffee that marks the end of the feast. The day winds down with the evening stroll, a tradition thoroughly ingrained in the culture of the Greek Isles. In villages and towns throughout the islands, sunset brings cooler air and draws people from their homes and the beaches for an enjoyable evening walk through town squares, portside promenades, and narrow streets. Ancient crafts still flourish in the artisans’ studios and in tidy homes of countless mountain villages and ports. Embroidery--traditionally the province of Greek women--is created by hand to adorn the regional costumes worn during festivals. Artists craft delicate silver utensils, engraved gems, blown glass, and gold jewelry. Potters create ceramic pieces featuring some of the same decorative patterns and mythological subjects that captured their ancestors’ imagination. Weddings, festivals, saints’ days. And other celebrations with family and friends provide a backdrop for grave and energetic Greek dancing. For centuries--probably ever since people have lived on the islands--Greek islanders have seized every opportunity to play music, sing, and dance. Dancing in Greece is always a group activity, a way to create and reinforce bonds among families, friends, and communities, and island men have been dancing circle dances like the Kalamatianos and the Tsamikos since antiquity. Musicians accompany revelers on stringed instruments like the bouzouki--the modern equivalent of the lyre. While traditional attire is reserved mainly for festive occasions, on some islands people still sport these garments daily. On Lefkada and Crete, it is not unusual to find men wearing vraka, or baggy trousers, and vests, along with the high boots known as stivania. Women wear long, dark, pleated skirts woven on a traditional loom, and long silk scarves or kerchiefs adorn their heads. All the garments are ornamented by hand with rich brocades and elaborate embroidery. All over the Greek Isles, Orthodox priests dress in long black robes, their shadowy figures contrasting with the bright whites, blues, and greens of Greek village architecture.

They’d left behind their stone houses in Caer Luel and beautiful white fountains, their red-tile roofs and straight roads, their perfectly round red bowls with pictures of dogs hunting deer around the rim, their exact corners and glass cups. And now the marble statues had lost their paint and stood melancholy white streaked with moss; tiles had blown off in storms and been patched with reed; men built fire sands directly on the cracked and broken remnants of once-brilliant mosaics.

Staring into the naked orange flames of the firepit, naked flesh, naked Carrie Donaldson on the bare rug in exhausted, sated semi-sleep beside him, Jack Barron felt a carapace of image-history-skin encysting him like steel walls of a TV set, a creature imprisoned in the electronic circuitry of his own head perceiving through promptboard vidphone fleshless electronic speed of light ersatz senses, separated from the girl beside him by the phosphor-dot impenetrable glass TV screen Great Wall of China of his own image. First time I remember being blown feeling like wet put-down ugliness, he brooded. Ugly, he told himself, is a thing you feel — truth is ugly when it's a weapon, lie is beautiful when an act of love ugly when it's one-sided fuck is beautiful when it's simple, mutual, nobullshit balling, ugly when chick gets her kicks off you that really isn't there, is why you feel like a rotten lump of shit, man. Getting blown Sara go down being dug by woman's a pure gas; being sucked off, image-statue living lie, someone else's lie being eaten (Let me eat you, let me eat you, baby!) is a dirty act of plastic cannibalism, her dirtiness, not mine. Whole world's full of plastic cannibals feeding their own little bags off meals of my goddamned image-flesh, eating Jack Barron ghost that isn't there. And now Morris and my so-called friend Luke are hot to package my living-color bod into TV dinners, sell to hundred million viewer-voter cannibals for thirty pieces of power silver.

the sufferer. What distinguishes them from tension headache is some sort of neurological phenomenon, usually visual, preceding the onset of the headache. I had a jagged, curved line that occupied varying parts of my visual field. It looked like cracked glass, and it “scintillated”—that is, it flashed on and off very rapidly. For some reason they are called “lights.” They usually started with a small dot that obscured a part of the visual field and over a period of minutes developed into the full-blown pattern described above. The phenomenon lasted about fifteen minutes, gradually faded out, and was then followed by the headache, which could go on to become very severe. What is a little scary about migraine is that it has been well established that it is due to constriction of a blood vessel within the substance of the brain. Once I had an episode during which my speech was incoherent for about an hour, something called aphasia, the result of the temporary constriction of a vital artery in the speech area of the brain. But the good news about migraine is that it, too, is an equivalent of TMS and can be stopped in precisely the same manner,

to my great-grandchildren, with more space than tiles, I will be no more than the smoky arrangement of a set of rumors, and to their great-grandchildren I will be no more than a tint of some obscure color, and to their great grandchildren nothing they ever know about, and so what army of strangers and ghosts has shaped and colored me until back to Adam, until back to when ribs were blown from molten sand into the glass bits that took up the light of this world because they were made from this world,

Other items bought included cloths from Tripoli, Venetian vases (possibly Murano-type blown glass), tapestries from Cologne and enamel caskets from Limoges.

She'd discreetly asked a few of her customers today and found out, much to her dismay, that everyone was under the impression Jack was back, and not just for a visit. She let her head fall back and sighed heavily. Damn him. Damn him and my sister both. She knew it wasn't fair to be mad at Jack just for coming home, but she couldn't help it. After everything she'd sacrificed to keep Amanda's secret, it was ready to be blown to bits by his arrival. She was going to drive herself crazy if she didn't stop dwelling on it. Cassie picked up her phone and slid her finger across the screen. With a couple taps on the glass, it was ringing. Time to call in the reinforcements. "Hey girl, what's shaking?" came the sound of Lissa's voice. "Hey." She sat there, unsure what to say to her best friend, just knowing she needed her support. "Uh oh. What's going on?" "Jack came in my shop this morning." "I'll be right there." The line went dead. Cassie smiled. Of course she would. She closed her eyes and rested while she waited. She and Melissa Winters had been through everything side by side, so why should this be any different? Lissa was the only person in the world besides Cassie that knew the secret about Sarah. She had helped her adjust to a new baby, teaching her everything she had learned from growing up the oldest sister of five. It was always in times like those that Cassie wished she had her mother around, but Lissa had stepped up. Caroline Powell would have loved helping with Sarah, but as it was, she often didn't even remember who Sarah was when Cassie would take her for visits to the full-time care facility she lived at in The city. Footsteps on the porch stairs shook her out of her reverie, and she opened her eyes to see Lissa walking up, Chinese takeout bags in hand. "General Tso to the rescue," she proclaimed, dropping into the rocker next to Cassie. "And some sweet and sour chicken for Miss Priss, of course." "Of course," Cassie smiled. "You're the best." They sat in silence for a few moments, Cassie turning her glass round and round in her hands until Lissa couldn't take it any longer. "Okay, spill. You can't drop a bomb on me like that and then just sit there in silence," Lissa chided. "I just don't know what to say. I'm terrified, Liss." "Let's think rationally. There is no reason for him to suspect anything." "He seemed really confused about Sarah. Surprised. He kept asking about her.

Birds of the Western Front Your mess-tin cover's lost. Kestrels hover above the shelling. They don't turn a feather when hunting-ground explodes in yellow earth, flickering star-shells and flares from the Revelation of St John. You look away from artillery lobbing roar and suck and snap against one corner of a thicket to the partridge of the war zone making its nest in shattered clods. History floods into subsoil to be blown apart. You cling to the hard dry stars of observation. How you survive. They were all at it: Orchids of the Crimea nature notes from the trench leaving everything unsaid - hell's cauldron with souls pushed in, demons stoking flames beneath - for the pink-flecked wings of a chaffinch flashed like mediaeval glass. You replace gangrene and gas mask with a dream of alchemy: language of the birds translating human earth to abstract and divine. While machine-gun tracery gutted that stricken wood you watched the chaffinch flutter to and fro through splintered branches, breaking buds and never a green bough left. Hundreds lay in there wounded. If any, you say, spotted one bird they may have wondered why a thing with wings would stay in such a place. She must have, sure, had chicks she was too terrified to feed, too loyal to desert. Like roots clutching at air you stick to the lark singing fit to burst at dawn sounding insincere above the burning bush: plough-land latticed like folds of brain with shell-ravines where nothing stirs but black rats, jittery sentries and the lice sliding across your faces every night. Where every elixir's gone wrong you hold to what you know. A little nature study. A solitary magpie blue and white spearing a strand of willow. One for sorrow. One for Babylon, Ninevah and Northern France, for mice and desolation, the burgeoning barn-owl population and never a green bough left.

But this morning would be anything but quiet and routine. At 6:22—soon after I returned to my quarters/office, which I shared with Lt. Col. Harry Slacum, to review the daily schedule and reports—a massive explosion rocked our headquarters, followed by enormous shock waves. Shards of glass from blown-out windows, equipment, manuals, and papers flew across my office. Fortunately, we had put duct tape on all the windows for such an eventuality, but a large section of the sandbag wall, built on the outside ledge, was blasted away. The entry door to my office, which was on the far side away from the explosion, had been blown off its hinges, and the door frame was bent. The force of the blast had cracked the reinforced concrete foundation of my headquarters. Other than superficial cuts, neither Harry nor I was injured. With

Going by Dr. Marriott's description, Zoe imagined it to be small and elegant as she peered into dozens of shelves, rummaging through the contents. There were globes and charts and atlases, pocket watches and hand-painted Indian silk, gold-plated cutlery, litter coffers of spice, inlaid combs, silver fasteners, trinket boxes, blown-glass figurines, turn-of-the-century postcards with foreign stamps, and portraits of Victorian authors in elaborate frames. But nowhere did she discover a stone of any kind, with or without runes.

Very sexy, babe,” Sierra says, eyeing Doug’s Speedo. Doug is walking like a penguin, waddling while trying to get comfortable. “I swear to God I’m taking these off as soon as I get in the hot tub. They’re choking my balls.” “TMI,” Brittany chimes in, covering her ears with her palms. She’s wearing a yellow bikini, leaving very little to the imagination. Does she realize she looks like a sunflower, ready to rain sunshine on all who look down upon her? Doug and Sierra climb into the tub. I hop into the tub and sit beside Brittany. I’ve never been in a hot tub before, and am not sure about hot-tub protocol. Are we going to sit here and talk, or do we break off into couples and make out? I like the second option, but Brittany looks nervous. Especially when Doug tosses his Speedo out of the tub. I wince. “Come on, man.” “What? I want to be able to have kids one day, Fuentes. That thing was cutting off my circulation.” Brittany hops out of the tub and pulls a towel around her. “Let’s go inside, Alex.” “You guys can stay in here,” Sierra says. “I’ll make him put the marble bag back on.” “Forget it. You two enjoy the tub. We’ll be inside,” Brittany says. When I’m out of the tub, Brittany hands me an extra towel. I put my arm around her as we walk to the cabin. “You okay?” “Absolutely. I was thinking you were upset.” “I’m cool. But…” Inside, I pick up a blown-glass figurine and study it. “Seein’ this house, this life…I want to be here with you, but I look around and realize this will never be me.” “You’re thinking too much.” She kneels on the carpet and pats the floor. “Come here and lie on your stomach. I know how to give Swedish massages. It’ll relax you.” “You’re not Swedish,” I say. “Yeah, well, neither are you. So if I do it wrong you’ll never know the difference.” I lie next to her. “I thought we were gonna take this relationship slow.” “A back rub is harmless.” My eyes roam over her kick-ass bikini-covered bod. “I’ll have you know I’ve been intimate with girls wearin’ a lot more.” She slaps me on the butt. “Behave yourself.

Rylan!" Melanie squeals, high-pitched enough to break glass. "I'm, like, so sorry I haven't talked to you all night. Being a hostess is hard work." She dramatically wipes imaginary sweat off her forehead. "Anyway, I finally have some free time. So why don't we go dance, hmm?" Gripping my waist a little too tightly for my taste, she tries to pull me back to the house. I stand strong., jerking Melanie back when I don't move. "No thanks, Melanie." My free arm tightens around Ivy's waist. "I already am dancing with someone." Melanie's sight flickers to Ivy, and for a moment contempt skews her big grin. But it's gone in an instant as Melanie stretches her fake smile to the point she's showing gums and asks, through gritted teeth, "Hi. What's your name?" Ivy can tell there's something off with the girl in front of her, but she still gives her a polite greeting. "Hello. My name is Ivy. How do you do?" Melanie completely ignores the question and turns back to me. "You never told me you invited someone else, Rylan." Melanie's smile goes harsh. "I'm sorry, but unless I give the okay, no one outside of school is invited." She glares at Ivy. "I'll have to ask you to leave." Ivy tilts her head, befuddled at the sudden hostility. "You want me to go?" Melanie rolls her eyes. "Uh, yeah. I just said that." Ivy stares down at her feet, ashamed and no doubt guilty for the wrong reason. She nods. "Okay." She begins to leave but I grab her wrist and pull her back against me. I glare at Melanie. "What if I don't want her to go?" I growl. "Yeah, Melanie!" To my relief, I see Aidan and Nadia wiggle through the crowd. Neither of them look very happy; Nadia's downright fuming. Despite the whole "my liking Ivy" case, she's still there for me. "Don't go telling people they can't be here," Nadia growls, her eyes flashing dangerously. "Who died and made you think you can boss everyone around?" "Last time I checked, this is my party, and therefore I choose who I invite or not," declares Melanie with an obvious edge in her voice. "That's no excuse! The only reason you want her gone is so you can make Rylan your new boy toy, which he doesn't want!" "Oh, like you know him so well?" "I'm his best friend, bitch!" " Excuse me!?" "ENOUGH!" With one word, I bring the argument to an end and all attention back on me. "Nadia's right," I state, glowering at Melanie. "Nadia's always been right. You know one of the reasons I came, other than to show Ivy a good time? It was to tell you to leave me alone, okay? I. Don't. Like. You. So leave me alone!" It was like I announced I farted. Everyone starts whispering with disbelief. No one has ever turned down the advances of Melanie Sweet—until now. It's turning into a night of first for them. Melanie obviously isn't used to this, as her face reddens like a tomato, her beautifully manicured hands clench into fists, and her usually angelic face morphs into a full-blown snarl. How sweet.

The glass wall behind must have blown out as well, four stories of lethal shards surfing the roar of air and fire.

Elegy" Wind buffs the waterstained stone cupids and shakes Old rain from the pines’ low branches, small change Spilling over the graves the years have smashed With a hammer— forget this, forget that, leave no Stone unturned. The grass grows high, sweet-smelling, Many-footed, ever-running. No one tends it. No One comes....And where am I now?.... Is this a beginning, A middle, or an end?.... Before I knew you I stood middle, or an end?.... Before I knew you I stood In this place. Now I forsake the past as I knew it To feed you into it. But that is not right. You step Into it. I find you here, in the shifting grass, In the late light, as if you had always been here. Behind you two torn black cedars flame white Against the darkening fields.... If you turn to me, Quiet man? If you turn? If I speak softly? If I say, Take off, take off your glasses.... Let me see Your sightless eyes?.... I will be beautiful then.... Look, the heart moves as the moths do, scuttering Like a child’s thoughts above this broken stone And that. And I lie down. I lie down in the long grass, Something I am not given to doing, and I feel The weight of your hand on my belly, and the wind Parts the grasses, and the distance spills through— The glassy fields, the black black earth, the pale air Streaming headlong toward the abbey’s far stones And streaming back again.... The drowned scent of lilacs By the abbey, it is a drug. It drives one senseless. It drives one blind. You can cup the enormous lilac cones In your hands— ripened, weightless, and taut— And it is like holding someone’s heart in your hands, Or holding a cloud of moths. I lift them up, my hands. Grave man, bend toward me. Lay your face.... here.... Rest....! took the stalks of the dead wisteria From the glass jar propped against the open grave And put in the shell-shaped yellow wildflowers I picked along the road. I cannot name them. Bread and butter, perhaps. I am not good With names. But nameless you walked toward me And I knew you, a swelling in the heart, A silence in the heart, the wild wind-blown grass Burning— as the sun falls below the earth— Brighter than a bed of lilies struck by snow. — Brigit Pegeen Kelly, The Orchard: Poems (BOA Editions Ltd., 2004)

Final cause is cause based on purpose or design: a wheel is round because that shape makes transportation possible. Physical cause is mechanical: the earth is round because gravity pulls a spinning fluid into a spheroid. The distinction is not always so obvious. A drinking glass is round because that is the most comfortable shape to hold or drink from. A drinking glass is round because that is the shape naturally assumed by spun pottery or blown glass.

You never saw such a wild thing as my mother, her hat seized by the winds and blown out to sea so that her hair was her white mane, her black lisle legs exposed to the thigh, her skirts tucked round her waist, one hand on the reins of the rearing horse while the other clasped my father's service revolver and, behind her, the breakers of the savage, indifferent sea, like the witnesses of a furious justice. And my husband stood stock-still, as if she had been Medusa, the sword still raised over his head as in those clockwork tableaux of Bluebeard that you see in glass cases at fairs. And then it was as though a curious child pushed his centime into the slot and set all in motion. The heavy, bearded figure roared out aloud, braying with fury, and, wielding the honourable sword as if it were a matter of death or glory, charged us, all three. On her eighteenth birthday, my mother had disposed of a man-eating tiger that had ravaged the villages in the hills north of Hanoi. Now, without a moment's hesitation, she raised my father's gun, took aim and put a single, irreproachable bullet through my husband's head.

The odour that pervaded the room was sickening. The sinister-looking man with the scar came in again and sniffed. I sniffed. Then the proprietor came in and sniffed. “Say,” I said in the toughest voice I could assume, “you got a leak. Wait. I seen the gas company wagon on the next block when I came in. I’ll get the man.” I dashed out and hurried up the street to the place where Kennedy was waiting impatiently. Rattling his tools, he followed me with apparent reluctance. As he entered the wine-shop he snorted, after the manner of gas-men, “Where’s de leak?” “You find-a da leak,” grunted Albano. “What-a you get-a you pay for? You want-a me do your work?” “Well, half a dozen o’ you wops get out o’ here, that’s all. D’youse all wanter be blown ter pieces wid dem pipes and cigarettes? Clear out,” growled Kennedy. They retreated precipitately, and Craig hastily opened his bag of tools. “Quick, Walter, shut the door and hold it,” exclaimed Craig, working rapidly. He unwrapped a little package and took out a round, flat disc-like thing of black vulcanised rubber. Jumping up on a table, he fixed it to the top of the reflector over the gas-jet. “Can you see that from the floor, Walter?” he asked under his breath. “No,” I replied, “not even when I know it is there.” Then he attached a couple of wires to it and led them across the ceiling toward the window, concealing them carefully by sticking them in the shadow of a beam. At the window he quickly attached the wires to the two that were dangling down from the roof and shoved them around out of sight. “We’ll have to trust that no one sees them,” he said. “That’s the best I can do at such short notice. I never saw a room so bare as this, anyway. There isn’t another place I could put that thing without its being seen.” We gathered up the broken glass of the gas drippings bottle, and I opened the door.

Final cause is cause based on purpose or design: a wheel is round because that shape makes transportation possible. Physical cause is mechanical: the earth is round because gravity pulls a spinning fluid into a spheroid. The distinction is not always so obvious. A drinking glass is round because that is the most comfortable shape to hold or drink from. A drinking glass is round because that is the shape naturally assumed by spun pottery or blown glass.

I’m watching the day through a breeze blown slice in my curtains, obscuring nothing but my hour, summer and wind making peace, moving the leaves in the trees standing guard by my window, nervous after my attempts, the sun stroking fronds but leaving others in shadows, seeing the movement of the branches but hearing nothing but the serene sound of cars beyond the garden, limbs waving to me as a bird perches, maybe scouting for a house, onto the bough scratching the glass, knocking to bring me out into contentment while tiny flies shoot in and out of view, their quick existence something I could argue as I smell the fresh air through the dour scent of a depression that hasn’t left my room in days, then swiftly feeling like I’m outside, alive and welcoming the wind to raise the hairs on my arms, a contrast that blossoms into hope.

Once, when his father was alive, Langdon had heard his mom begging his father to “stop and smell the roses.” That year, Langdon bought his father a tiny blown-glass rose for Christmas. It was the most beautiful thing Langdon had ever seen . . . the way the sun caught it, throwing a rainbow of colors on the wall. “It’s lovely,” his father had said when he opened it, kissing Robert on the forehead. “Let’s find a safe spot for it.” Then his father had carefully placed the rose on a high dusty shelf in the darkest corner of the living room. A few days later, Langdon got a stool, retrieved the rose, and took it back to the store. His father never noticed it was gone.

Are all perpetrators alike? No; not everyone feels the need to reduce dissonance by denigrating the victim. Who do you imagine would be most likely to blame the victim: perpetrators who think highly of themselves and have strong feelings of self-worth, or those who are insecure and have low self-worth? Dissonance theory makes the nonobvious prediction that it will be the former. For people who have low self-esteem, treating others badly or going along mindlessly with what others tell them to do is not terribly dissonant with their self-concept. Moreover, they are more likely to be self-deprecating and modest, because they don't think they are especially wonderful. It is the people who think the most of themselves who, if they cause someone pain, must convince themselves the other guy is a rat. Because terrific guys like me don't hurt innocent people, that guy must deserve every nasty thing I did to him. An experiment by David Glass confirmed this prediction: The higher the perpetrators' self-esteem, the greater their denigration of their victims. Are all victims alike in the eyes of the perpetrator? No; they differ in their degree of helplessness. Suppose you are a marine in a hand-to-hand struggle with an armed enemy soldier. You kill him. Do you feel much dissonance? Probably not. The experience may be unpleasant, but it does not generate dissonance and needs no additional justification: "It was him or me ... I killed an enemy ... We are in this to win ... I have no choice here." But now suppose that you are on a mission to firebomb a house that you were told contains enemy troops. You and your team destroy the place, and then discover you have blown up a household of old men, children, and women. Under these circumstances, most soldiers will try to find additional self-justifications to reduce the dissonance they feel about killing innocent civilians, and the leading one will be to denigrate and dehumanize their victims: "Stupid jerks, they shouldn't have been there ... they were probably aiding the enemy ... All those people are vermin, gooks, subhuman." Or, as General William Westmoreland famously said of the high number of civilian casualties during the Vietnam War, "The Oriental doesn't put the same high price on life as does a Westerner. Life is plentiful. Life is cheap in the Orient.

I run my eyes over the picture, take in all the details: clear water and sunset-gold light, velvety-looking sand, and a lonely bottle washed up on the shore. It's what the bottle contains that gets me. Inside its clear glass sits a deep-red, blown-glass heart. The sun shines through it at just the right angle so that it throws a small red shadow on the sand in front of it. I've never seen anything like it. The heart is beautiful, and fragile, and safe inside its bottle, like the old notes that supposedly traveled over distance and time, through storms and lulls, to finally find a shore. And then to be found.

You made the Cascade of Dreams. Words and glass, spun flutes and verse. Waterfalls of language in fire-blown claws.

A special session of the legislature of the People’s State of Chile had been called for ten o’clock this morning, to pass an act of utmost importance to the people of Chile, Argentina and other South American People’s States. In line with the enlightened policy of Señor Ramirez, the new Head of the Chilean State—who came to power on the moral slogan that man is his brother’s keeper—the legislature was to nationalize the Chilean properties of d’Anconia Copper, thus opening the way for the People’s State of Argentina to nationalize the rest of the d’Anconia properties the world over. This, however, was known only to a very few of the top-level leaders of both nations. The measure had been kept secret in order to avoid debate and reactionary opposition. The seizure of the multibillion dollar d’Anconia Copper was to come as a munificent surprise to the country. “On the stroke of ten, in the exact moment when the chairman’s gavel struck the rostrum, opening the session—almost as if the gavel’s blow had set it off—the sound of a tremendous explosion rocked the hall, shattering the glass of its windows. It came from the harbor, a few streets away—and when the legislators rushed to the windows, they saw a long column of flame where once there had risen the familiar silhouette of the ore docks of d’Anconia Copper. The ore docks had been blown to bits. “The chairman averted panic and called the session to order. The act of nationalization was read to the assembly, to the sound of fire-alarm sirens and distant cries. It was a gray morning, dark with rain clouds, the explosion had broken an electric transmitter—so that the assembly voted on the measure by the light of candles, while the red glow of the fire kept sweeping over the great vaulted ceiling above their heads. “But more terrible a shock came later, when the legislators called a hasty recess to announce to the nation the good news that the people now owned d’Anconia Copper. While they were voting, word had come from the closest and farthest points of the globe that there was no d’Anconia Copper left on earth. Ladies and gentlemen, not anywhere. In that same instant, on the stroke of ten, by an infernal marvel of synchronization, every property of d’Anconia Copper on the face of the globe, from Chile to Siam to Spain to Pottsville, Montana, had been blown up and swept away.

Simon came stealing out of the shadows by the shelters. Ralph ignored Jack’s question. He pointed to the touch of yellow above the sea. ‘As long as there’s light we’re brave enough. But then? And now that thing squats by the fire as though it didn’t want us to be rescued—’ He was twisting his hands now, unconsciously. His voice rose. ‘So we can’t have a signal fire…. We’re beaten.’ A point of gold appeared above the sea and at once all the sky lightened. ‘What above my hunters?’ ‘Boys armed with sticks.’ Jack got to his feet. His face was red as he marched away. Piggy put on his one glass and looked at Ralph. ‘Now you done it. You been rude about his hunters.’ ‘Oh shut up!’ The sound of the inexpertly blown conch interrupted them.

Sometimes I get lonesome for a storm. A full-blown storm where everything changes. The sky goes through four days in an hour, the trees wail, little animals skitter in the mud and everything gets dark and goes completely wild. But it’s really God—playing music in his favorite cathedral in heaven—shattering stained glass—playing a gigantic organ—thundering on the keys—perfect harmony—perfect joy.

Blood rushes to my ears, and I can feel the tips turning red. “You what?” The lethality in my voice draws Cal’s eyes back to mine. “It was a mistake.” “It sure as fuck better be.” The glass tumbler beneath my hand shakes from how hard I grip the cylinder. His lips curve at the corners. “I knew you were jealous.” “As if I could ever be jealous of someone like you.” He winks. “The way you look like you want to murder me says otherwise.” “Torture is my preferred method of revenge, just so you’re aware.” He breaks out into a full-blown smile. “If it makes you feel better, the kiss was terrible.” How the fuck is that supposed to make me feel better? I can’t get the image of them

sometimes I get lonesome for a storm, a full blown storm where everything changes. the sky goes through four days in an hour, the trees wail, little animal scatter in the mud and everything gets dark and goes completely wild. but it’s really God- playing music in his favourite cathedral in heaven- shattering stained glass- playing a gigantic organ- thundering on the keys- perfect harmony- perfect joy .

They swept down into a great V, sentinels at watch withdrawing, gray swirls and curves of mountains reaching upwards in carefully-shaded lines of chalk and silhouette that overlooked the enormity of a sun-kissed world dreamt in glass-blown shapes. There was a deep, pervading serenity, quiet and solitary, in this sanctuary of branch and water, drifting across in far-reaching swells, and I breathed it in—breathed it in as if it could purge any poison from my heart.

We know that energy cannot be destroyed, but goes shape-shifting through the world. What was once in some portion that star is me now, and later I may be some strong supporting cells in the neck of an August lily, or the glint in the stem of a new-blown piece of glass. If our lot is mutability of form, then why be surprised that our energies might not be refracted and recurrent in the world.

Already vetted. Would you listen to yourself, Aly? You’re not shopping for plumbers for fuck sake.” A sly grin crept over her face. “Well, you could say I’m looking for a man to take care of my ‘pipes’ soooooo…” Stunned. That’s what he was, and not in a good way. More like tasered-in-the-nuts kind of stunned. That third glass of wine had blown holes in her inhibitions, and now she was speaking in innuendo. If he thought she was even remotely referring to him, he’d be as hard as a plumber’s wrench. But she wasn’t. She was talking about some stranger who wouldn’t give two shits about her and would get to know what it felt like to sink into her heat and hear her moan in pleasure.

...If you are never to see yourself depicted... Not in story nor song nor poem nor painting nor prose... No shred of a tale by some distant kindred soul who saw and knew and felt then as you do now, and else another who loved and bore witness... Never see yourself except as crude caricature, mythical beast, or Magdalene penitent... You believe no other like you ever existed. You begin to wonder if you even exist at all. Unquiet women, defiant women--we live invisible lives, and if we are seen and seen by strangers, we are reduced to monsters. Vampires, who have no reflection in a looking glass. Mermaids, who die and become sea foam, blown away by the wind. We will take up and take back the tools to tell our stories as our own. Civilizations may rise and fall and rewrite the history of the dead, as so often they do. But we were here... and we lived, and loved, and mattered.

Lawrence took hold of Georgie’s hand and trapped it on his chest, partly so Georgie could feel the way his heart pounded, partly because he hadn’t the faintest idea how else to respond. All he knew was that he needed to hold Georgie close and keep him safe and spend the rest of eternity enumerating his every quality. He realized with disorienting certainty that this was love. Judging by the bleak tenderness in Georgie’s dark eyes, he knew it too. But what they had felt so fragile and out of place, built of blown glass on unstable ground in the middle of a hurricane. Beautiful, but never meant to last.

It's evident which drawing came from which mind," Johnny said with a small grin, and certainly, the pâte de verre flowers and spiraling tiers of Sylvie's cake said "Sugar Fair" as distinctly as the clean lines and elegant piping pointed to De Vere's. "But..." But at the essential level, the cakes were remarkably similar. They had both chosen a stained-glass effect, constructed entirely from blown sugar, each tier designed to catch the light and cast a shimmering cascade of color. Peony poppies, primroses, and petunias glittered within the sugar glass. And on the highest tier, the Midnight Elixir cake, they had both incorporated a trinity knot.

The road is a river of ice, slick and unforgiving. A harsh sweep of white iron, smooth as glass and cold enough to freeze any uncovered inch of flesh to the surface. Hillocks and haystacks rise up, isles in a smoking brume. Here and there snow has blown aside, revealing the line of the great white stone road that slices through the hills.