Blur Image Quotes

If you take myth and folklore, and these things that speak in symbols, they can be interpreted in so many ways that although the actual image is clear enough, the interpretation is infinitely blurred, a sort of enormous rainbow of every possible colour you could imagine.

At first she beckoned and lured one into her world; then, she blurred the passageways, confused all the images, as if to elude detection.

She looked at him then, but his image blurred behind tears that swelled into her eyes. She must leave. She must leave this room, because she wanted to hit him, as she had sworn she never would do. She wanted to cause him pain for taking a place in her heart that she wouldn't have given him if she'd known the truth. "You lied to me," she said. She turned and ran from the room.

When I pointed to him his palms slipped slightly, leaving greasy sweat streaks on the wall, and he hooked his thumbs in his belt. A strange spasm shook him, as if he heard fingernails scrape slate, but as I gazed at him in wonder the tension slowly drained from his face. His lips parted into a timid smile, and our neighbor’s image blurred with my sudden tears. “Hey, Boo,” I said. “Mr. Arthur, honey,” said Atticus, gently correcting me. “Jean Louise, this is Mr. Arthur Radley. I believe he already knows you.

These are the attributes of Bullshit people; they will...blur your imagination, take your endowments for a piece of debris, make you ridiculous, and most importantly, you got to send them to the recycle bin.

And in the bloodlit dark behind his eyes, silver phosphenes boiled in from the edge of space, hypnagogic images jerking past like a film compiled of random frames. Symbols, figures, faces, a blurred, fragmented mandala of visual information.

f you take myth and folklore, and these things that speak in symbols, they can be interpreted in so many ways that although the actual image is clear enough, the interpretation is infinitely blurred, a sort of enormous rainbow of every possible colour you could imagine.

Lachlain: 'And you must be the soothsayer - ' Nix: 'I prefer predeterminationally abled, thank you.' Her hand shot out, ripping a button from his shirt, so fast it was a blur. She'd taken the one closest to his heart, and for a moment her face turned very cold. She'd made a point - she could have gone for his heart. Then she opened her hand and gasped in surprise. 'A button!' She smiled delightedly. 'You can never have enough of these!' Lachlain: 'How did you find this place?' Regin: 'A phone tap, satellite imaging, and a psychic,' she said, then immediately frowned. 'How do YOU find places?

I was thinking about how disjointedly time seemed to flow in Forks, passing in a blur at times, with single images standing out more clearly than others. And then, at other times, every second was significant, etched in my mind. I knew exactly what caused the difference, and it disturbed me.

Do you ever think about him? About the boy who infected you?" Images flash in the darkness: a crown of auburn hair, like autumn leaves burning; the blur of a body, a shape running next to me; a dream-figure. "I try not to," I say. "Why not?" Julian's voice is quiet. I say, "Because it hurts.

There are times to listen to the people that believe in you during those days you don't believe in yourself. Sometimes you look in the mirror and it's fogged up; the person looking back a blurred image, but those folks that know you and love you see the real you. Sometimes you have to trust the ones that are there for you in your darkest times to find out how much light exists in you. God bless you.

In societies reduced to blur and glut, terror is the only meaningful act. There's too much everything, more things and messages and meanings that we can use in ten thousand lifetimes. Inertia-hysteria. Is history possible? Is anyone serious? Who do we take serious? Only the lethal believer, the person who kills and dies for faith. Everything else is absorbed. The artist is absorbed, the madman in the street is absorbed an processed and incorporated. Give him a dollar, put him in a TV commercial. Only the terrorists stand outside. The culture hasn't figured out how to assimilate him. It's confusing when they kill the innocent. But this is precisely the language of being noticed, the only language the West understands. The way they determine how we see them. The way they dominate the rush of endless streaming images.

Images are inherently fascistic because they overstamp the truth, however dim and blurred, of the real past experience; as if, faced with ruins, we must turn architects, not archeologists.

Procrastination and excuses really have the energy to make your picture small and blurred if you offer them that image!

clung to those faint images that seemed to blur and fade

He saw virus particles shaped like snakes, in negative images. They were white cobras tangled among themselves, like the hair of Medusa. They were the face of nature herself, the obscene goddess revealed naked. This life form thing was breathtakingly beautiful. As he stared at it, he found himself being pulled out of the human world into a world where moral boundaries blur and finally dissolve completely. He was lost in wonder and admiration, even though he knew that he was the prey. (149)

Vision’s mostly a lie anyway,” he continued. “We don’t really see anything except a few hi-res degrees where the eye focuses. Everything else is just peripheral blur, just … light and motion. Motion draws the focus. And your eyes jiggle all the time, did you know that, Keeton? Saccades, they’re called. Blurs the image, the movement’s way too fast for the brain to integrate so your eye just … shuts down between pauses. It only grabs these isolated freeze-frames, but your brain edits out the blanks and stitches an … an illusion of continuity into your head.

The bowl that emerged was one of those gifts whose first impact produces in the recipient's mind a colored image, a blazoned blur, reflecting with such emblematic force the sweet nature of the donor that the tangible attributes of the thing are dissolved, as it were, in this pure inner blaze, but suddenly and forever leap into brilliant being when praised by an outsider to whom the true glory of the object is unknown.

It bombarded her with instant pleasure, instant pain and instant arousal, fact and fiction all mixed up and blurred together to create an Image. 

His lips parted into a timid smile, and our neighbor’s image blurred with my sudden tears. “Hey, Boo,” I said.

Writing is a blurred mirror. Sometimes we work harder to see how we are reflected, but often we avert our gaze from the shadowy image.

Connor strode confidently into the light-filled image. His body blurred for a moment and then there he was, standing among the crates. He paused, stretching his arms and yawning, and then suddenly dropped his pants and mooned us. "Oh God, Connor!" Adne groaned. "Get through there and bite him, Shay." "I'm not coming, remember?" Shay objected, but he laughed. "Even if I was, I wouldn't bite his ass." "Maybe Calla will," Adne grinned. "Not likely," I muttered though on a second glance I had to admit that Connor's ass wasn't that bad to look at.

Reality is water-soluble. What we could see, the rocks, the shore, the trees, the boats on the lake, had lost their usual definition and blurred into the long grey of a week’s rain. Even the house, that we fancied was made of stone, wavered inside a heavy mist and through that mist, sometimes, a door or a window appeared like an image in a dream. Every solid thing had dissolved into its watery equivalent.

The image blurred, and there she was again. That old, weary, face. I hope the Mother will forgive me, Silene said, and the hologram dissolved. “Well, I fucking don’t,” Bryce spat, and flipped off the place where Silene had stood.

Movies are made out of darkness as well as light; it is the surpassingly brief intervals of darkness between each luminous still image that make it possible to assemble the many images into one moving picture. Without that darkness, there would only be a blur. Which is to say that a full-length movie consists of half an hour or an hour of pure darkness that goes unseen. If you could add up all the darkness, you would find the audience in the theater gazing together at a deep imaginative night. It is the terra incognita of film, the dark continent on every map. In a similar way, a runner’s every step is a leap, so that for a moment he or she is entirely off the ground. For those brief instants, shadows no longer spill out from their feet, like leaks, but hover below them like doubles, as they do with birds, whose shadows crawl below them, caressing the surface of the earth, growing and shrinking as their makers move nearer or farther from that surface. For my friends who run long distances, these tiny fragments of levitation add up to something considerable; by their own power they hover above the earth for many minutes, perhaps some significant portion of an hour or perhaps far more for the hundred-mile races. We fly; we dream in darkness; we devour heaven in bites too small to be measured.

If you stand before a canvas, up close, almost to the point where your nose touches paint, you will see nothing but a blurred image; an image composed of thousands of tiny dots of paint. Stand back from the canvas and all those points of color merge to form an image of beauty recognizable to the human heart. Life is composed of thousands of tiny moments of time. Stand back and you will see a life of beauty, capable of touching the human heart.

ate. And what I thought about was how strangely time seemed to flow in Forks, passing in a blur at times, with single images standing out more clearly than others. And then, at other times, every second was significant, etched into my mind. I knew exactly what caused the difference, and it was troubling.

She stood with her back to the antique upright mirror where her image, silhouetted by the slight slice of moonlight that filtered through thin curtains, was a nebulous blur.  She brought a smell with her, like that of upturned old earth, and he breathed deeply as he sat up in bed and drank her strange allure. 

I tend the mobile now like an injured bird We text, text, text our significant words. I re-read your first, your second, your third, look for your small xx, feeling absurd. The codes we send arrive with a broken chord. I try to picture your hands, their image is blurred. Nothing my thumbs press will ever be heard. "Text

-On sharing the love story of the Persian prince Khushraw and the niece of the queen of Armenia Shirin (who were looking for each other but in opposite directions): "Both lovers then departed, looking for each other in opposite directions, a theme universal in its pathos, because we all spend our brief lives doing just that, even if we physically share our beds with the same person every night for years. Always we carry an image in our head of a better person, of an ideal person, which blurs our chances of finding happiness.

I closed my eyes, but that didn't blur the images his words had evoked. "Oh, God," I murmured. "God," he said, "had nothing to do with it at all.

My mother died at eighty-three, of cancer, in pain, her spleen enlarged so that her body was misshapen. Is that the person I see when I think of her? Sometimes. I wish it were not. It is a true image, yet it blurs, it clouds, a truer image. It is one memory among fifty years of memories of my mother. It is the last in time. Beneath it, behind it is a deeper, complex, ever-changing image, made from imagination, hearsay, photographs, memories. I see a little red-haired child in the mountains of Colorado, a sad-faced, delicate college girl, a kind, smiling young mother, a brilliantly intellectual woman, a peerless flirt, a serious artist, a splendid cook—I see her rocking, weeding, writing, laughing — I see the turquoise bracelets on her delicate, freckled arm — I see, for a moment, all that at once, I glimpse what no mirror can reflect, the spirit flashing out across the years, beautiful. That must be what the great artists see and paint. That must be why the tired, aged faces in Rembrandt’s portraits give us such delight: they show us beauty not skin-deep but life-deep.

The average woman, unless she is particularly ill-favored, regards loving and being loved as a normal part of life. If a man says he loves her she believes him. Indeed some women are convinced they are adored by men who can be seen by all to be running in the opposite direction. For homosexuals this is not so. Love and admiration have to be won against heavy odds. Any declaration of affection requires proof. So many approaches made to them are insincere - even hostile. What better proof of love can there be than money? A ten-shilling note showed incontrovertibly just how mad about you a man is. Even in the minds of some women a confusion exists between love and money if the quantity is large enough. They evade the charge of mercenariness by using the cash they extort from one man to deal a bludgeoning blow of humiliation upon another. Some homosexuals attempt this gambit, but it is risky. The giving of money is a masculine act and blurs the internal image.

Remembering is my only job and it's hard work. We are natural-born amnesiacs, hardwired to let go of the past, to release ourselves from history; the only way to withstand our pain is to forget our pain. We may think we don't forget, but we do. Time wears down the rough edges of our memory, sure as a stone on the river bank is smoothed by the rushing current. And like the eroding stone, the memory fades so gradually we don't even feel it. We don't notice. Eighteen years fly by, whoosh, and we don't even realize that not long ago, we didn't all drink bottled water, the Soviet Union loomed as a threat, smoking was commonplace in restaurants, and Bono was just a rockstar. What I want... all I want... is not to forget. But it's an uphill battle. Over time, the image blurs, the scent dissipates, the memory fades.

It had been odd to envy their grief, but I had. I envied the explosion and finality of it-- their sobs and tears... Her passing came slowly, over months and years, in the dull bits, pieces, and mundane hours that I worked to stay alive... The memories of her became disconnected blurred images, warm hands cupping my cheeks, a tuneless hum as she worked, words that floated in the air, her finger pressed to my lips.

Agnes shut her eyes, clenched her fists, opened her mouth and screamed. It started low. Plaster dust drifted down from the ceiling. The prisms on the chandelier chimed gently as they shook. It rose, passing quickly through the mysterious pitch at fourteen cycles per second where the human spirit begins to feel distinctly uncomfortable about the universe and the place in it of the bowels. Small items around the Opera House vibrated off shelves and smashed on the floor. The note climbed, rang like a bell, climbed again. In the Pit, all the violin strings snapped, one by one. As the tone rose, the crystal prisms shook in the chandelier. In the bar, champagne corks fired a salvo. Ice jingled and shattered in its bucket. A line of wine-glasses joined in the chorus, blurred around the rims, and then exploded like hazardous thistledown with attitude. There were harmonics and echoes that caused strange effects. In the dressing-rooms the No. 3 greasepaint melted. Mirrors cracked, filling the ballet school with a million fractured images. Dust rose, insects fell. In the stones of the Opera House tiny particles of quartz danced briefly... Then there was silence, broken by the occasional thud and tinkle. Nanny grinned. 'Ah,' she said, 'now the opera's over.

Vladimir Nabokov and George Orwell had quite different gifts, and their self-images were quite different. But, I shall argue, their accomplishment was pretty much the same. Both of them warn the liberal ironist intellectual against temptations to be cruel. Both of them dramatise the tension between private irony and liberal hope. In the following passage, Nabokov helped blur the distinctions which I want to draw: ...'Lolita' has no moral in tow. For me a work of fiction exists only in so far as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm. There are not many such books. All the rest is either topical trash or what some call the Literature of Ideas, which very often is topical trash coming in huge blocks of plaster that are carefully transmitted from age to age until somebody comes along with a hammer and takes a good crack at Balzac, at Gorki, at Mann. Orwell blurred the same distinctions when, in one of his rare descents into rant, "The Frontiers of Art and Propaganda," he wrote exactly the sort of thing Nabokov loathed: You cannot take a purely aesthetic interest in a disease you are dying from; you cannot feel dispassionately about a man who is about to cut your throat. In a world in which Fascism and Socialism were fighting one another, any thinking person had to take sides... This period of ten years or so in which literature, even poetry was mixed up with pamphleteering, did a great service to literary criticism, because it destroyed the illusion of pure aestheticism... It debunked art for art's sake.

I know, it’s a lotto take in. Never thought you’d be this happy, did you? Or this lucky. Blimey, go ahead and envy yourself. Countless other people will, I assure you.” A laugh escaped me even as my eyes became so shiny, his image started to blur. “You might be the most conceited man I’ve ever met, and I’ve met millions of them.” His low, seductive laugh coincided with his hands settling on my hips. “Then I deserve a spanking, don’t I? Here, I’ll start things off.” - Ian and Veritas

New Rule: You don't have to teach both sides of a debate if one side is a load of crap. President Bush recently suggested that public schools should teach "intelligent design" alongside the theory of evolution, because after all, evolution is "just a theory." Then the president renewed his vow to "drive the terrorists straight over the edge of the earth." Here's what I don't get: President Bush is a brilliant scientist. He's the man who proved you could mix two parts booze with one part cocaine and still fly a jet fighter. And yet he just can't seem to accept that we descended from apes. It seems pathetic to be so insecure about your biological superiority to a group of feces-flinging, rouge-buttocked monkeys that you have to make up fairy tales like "We came from Adam and Eve," and then cover stories for Adam and Eve, like intelligent design! Yeah, leaving the earth in the hands of two naked teenagers, that's a real intelligent design. I'm sorry, folks, but it may very well be that life is just a series of random events, and that there is no master plan--but enough about Iraq. There aren't necessarily two sides to every issue. If there were, the Republicans would have an opposition party. And an opposition party would point out that even though there's a debate in schools and government about this, there is no debate among scientists. Evolution is supported by the entire scientific community. Intelligent design is supported by the guys on line to see The Dukes of Hazzard. And the reason there is no real debate is that intelligent design isn't real science. It's the equivalent of saying that the Thermos keeps hot things hot and cold things cold because it's a god. It's so willfully ignorant you might as well worship the U.S. mail. "It came again! Praise Jesus!" Stupidity isn't a form of knowing things. Thunder is high-pressure air meeting low-pressure air--it's not God bowling. "Babies come from storks" is not a competing school of throught in medical school. We shouldn't teach both. The media shouldn't equate both. If Thomas Jefferson knew we were blurring the line this much between Church and State, he would turn over in his slave. As for me, I believe in evolution and intelligent design. I think God designed us in his image, but I also think God is a monkey.

The photo had been taken at the opening of JB's fifth, long-delayed show, 'Frog and Toad,' which had been exclusively images of the two of them, but very blurred, and more abstract than JB's previous work. (They hadn't quite known what to think of the series title, though JB had claimed it was affectionate. 'Arnold Lobel?' he had screeched at them when they asked him about it. 'Hello?!' But neither he nor Willem had read Lobel's books as children, and they'd had to go out and buy them to make sense of the reference.)

He heard a soft voice calling him and turned towards it, trying to focus the vision before him. It wasn't his mother. If he weren't so tired, he would have smiled. He hadn't expected to find an angel in Hell. The angel, her image blurred, a whiteness surrounding her, would understand. The angel would know. "Why couldn't she love me?" he asked. The angel's answer was garbled. He strained to understand the words, not all his senses failed him as he slipped back into the abyss on the edge of Hell. And the angel knelt down beside the bed and wept.

Our group pressed west on what was left of Highway 93, toward the pass leading to Las Vegas. Sand covered the road in loose drifts so deep the horses' hooves sank into them. The metal highway signs were bent low by the strong wind, and above us, billboards that once screamed ads for the casinos were now stripped of their promises of penny slots and large jackpots. The raw boards underneath were exposed, like showgirls without their makeup. Some signs had been blown over completely and lay half-buried under mounds of sand, like sleeping animals. Cars dotted the highway, their paint scoured off and dead tumbleweeds caught underneath them. Their windows were fogged with death, and despite my effort not to look, my eyes were drawn to the blurred images of the still forms inside. I tried to concentrate on the dark road ahead of us instead.

How could anything be the same? The red of blood lay over the market road in slick pools mingled with a yellow spread of dal someone must have brought in anticipation of a picnic after the parade, and there were flies on it, left behind odd slippers, and a sad pair of broken spectacles, even a tooth. It was rather like the government warning about safety that appeared in the cinema before the movie with the image of a man cycling to work, a poor man but with a wife who loved him, and she had sent his lunch with him in a tiffin container; then came a blowing of horns and small, desperate cycle tinkle, and a messy blur clearing into the silent still image of a spread of food mingled with blood. Those mismatched colors, domesticity shuffled with death, sureness running into the unexpected, kindness replaced by the image of violence, always made the cook feel like throwing up and weeping both together.

She surrounded him. Wet, hot. Indescribable. Spasms rocked her, and she lost herself in their rhythm, riding him so fast she was nothing but a blur. But as much as he wished it would never end, no times tables and no images of grungy linoleum floors could keep the flood of her orgasm from inciting his own.

Strong Woman Sometimes I think, that I know her, From a distant past, where images are blur, Her smile, coffee and morning walk, Her questions, songs and random talk, She is from a distant land, Where the sun shines bright, Her attitude, love and courage, makes everything right, - To my friend Grozdana

Almost all divers wear goggles or a face-mask as without them the eyes are unable to focus underwater and everything appears blurred. This is because when a light ray passes from one medium to another – in this case from air (or water) into the eye – it is bent (refracted). This property is used to help focus the light rays on the layer of light-sensitive cells, known as the retina, at the back of the eye. The extent to which a light ray is bent at the surface of the eye is very much less in water than in air, which makes it impossible to focus the image on the retina. Maintaining an air space next to the eye, by wearing goggles or a face-mask, obviates the problem. But because the light rays will now be refracted by the glass/water interface of the mask, objects appear some 30 per cent larger and closer underwater than they do in air. It may be useful to remember this when listening to divers’ tales of giant sharks.

He closed his eyes. Found the ridged face of the power stud. And in the bloodlit dark behind his eyes, silver phosphenes boiled in from the edge of space, hypnagogic images jerking past like a film compiled of random frames. Symbols, figures, faces, a blurred, fragmented mandala of visual information. Please, he prayed, now- A gray disk, the color of Chiba sky. Now- Disk beginning to rotate, faster, becoming a sphere of paler gray. Expanding- And flowed, flowered for him, fluid neon origami trick, the unfolding of distanceless home, his country, transparent 3D chessboard extending to infinity. Inner eye opening to the stepped scarlet pyramid of the Eastern Seaboard Fission Authority burning beyond the green cubes of Mitsubishi Bank of America, and high and very far away he saw the spiral arms of the military systems, forever beyond his reach. And somewhere he was laughing, in a white-painted loft, distant fingers caressing the deck, tears of release streaking his face.

This stretch through the fogbound forest gradually lulled Grange into his favorite daydream; in it he saw an image of his life: all that he had he carried with him; twenty feet away, the world grew dark, perspectives blurred, and there was nothing near him but this close halo of warm consciousness, this nest perched high above the vague earth.

Between the desolate earth and the colorless sky appeared an Image of the ungrateful world in which, for the first time, he came to himself at last. On this earth, restored to the despair of innocence, a traveler lost in a primitive world, he regained contact, and with his list pressed to his chest, his face flattened against the glass, he calculated his hunger for himself and for the certainty of the splendors dormant within him. He wanted to crush himself into that mud, to reenter the earth by immersing himself in that clay, to stand on that limitless plain covered with dirt, stretching his arms to the sooty sponge of the sky, as though confronting the superb and despairing symbol of life itself, to affirm his solidarity with the world at its worst, to declare himself life's accomplice even in its thanklessness and its filth. Then the great impulse that had sustained him collapsed for the first time since he left Prague. Mersault pressed his tears and his lips against the cold pane. Again the glass blurred, the landscape disappeared.

The cold water stung Cassandra’s toes. She thought about everything—a blur of images and sounds: leaving Clarion, driving to the Cape, Noah kissing her, unpacking the car into the cottage, the cello singing out to the sea—and then she sank into the moment and let herself think about nothing. It had been so long since she’d been able to think about nothing. Nothing at all.

But then I looked in the glass and saw the spy beyond the clergyman, the image beyond the image, and beyond the spy was yet another man, the image beyond the image beyond the image. Reality blurred; fantasy and truth became inextricably intertwined. I told myself I had imagined the distant stranger but as I felt my personality begin to divide I covered my face with my hands.

When I pointed to him his palms slipped slightly, leaving greasy sweat streaks on the wall, and he hooked his thumbs in his belt. A strange small spasm shook him, as if he heard fingernails scrape slate, but as I gazed at him in wonder the tension slowly drained from his face. His lips parted into a timid smile, and our neighbor’s image blurred with my sudden tears. “Hey, Boo,” I said.

When was the last time you looked at anything, solely, and concentratedly, and for its own sake? Ordinary life passes in a near blur. If we go to the theatre or the cinema, the images before us change constantly, and there is the distraction of language. Our loved ones are so well known to us that there is no need to look at them, and one of the gentle jokes of married life is that we do not.

No, there was nothing more to be done. They had tried not to go over the precipice, but perhaps the fall was inevitable. And it comforted her to think that the future was certainly inevitable; cause and effect would go jangling forward to some goal doubtless, but to none that she could imagine. At such moments the soul retires within, to float upon the bosom of a deeper stream, and has communion with the dead, and sees the world’s glory not diminished, but different in kind to what she has supposed. She alters her focus until trivial things are blurred. Margaret had been tending this way all the winter. Leonard’s death brought her to the goal. Alas! that Henry should fade away as reality emerged, and only her love for him should remain clear, stamped with his image like the cameos we rescue out of dreams.

Facts are delusion," he said. "They are a delusion of truth as a mirage is a delusion of sight. The real facts lie in people's minds and not in fingerprints and books and photographs and all the other physical things which are only the accidents that occur as a result of what lies in the mind. Truth is a matter of the mind and all else is only a blurred shadow to reconstruct the original image. Bit it is the image we are searching for.

Why, then, did the Americans invest so much in Vietnam when, in comparison with the whole of their interests at the time, so little was at stake there? Thucydidean resemblances, I think, suggest an answer. Megara might look like a trifle, Pericles told the Athenians in 432 B.C.E., but if they yielded on that small matter “you will instantly have to meet some greater demand.” “Without the United States,” John F. Kennedy warned a Texas audience on the morning of November 22, 1963, “South Viet-Nam would collapse overnight,” and American alliances everywhere were equally vulnerable. There was no choice, Pericles insisted, but to “resist our enemies in any way and in every way.” For, as Kennedy added: “We are still the keystone in the arch of freedom.” 58 However distant they may be in time and space, statements like these perch precariously across scale. For if credibility is always in doubt, then capabilities must become infinite or bluffs must become routine. Neither approach is sustainable: that’s why walls exist in the first place. They buffer what’s important from what’s not. When one’s own imprecisions pull walls down—as Pericles and Kennedy did when they dismissed the possibility of giving anything up—then fears become images, images become projections, and projections as they expand blur into indistinctiveness.

. I thought that was why, as I stood before a painting of a young girl in half-light, there was something that was both guarded and vulnerable in her gaze. It was not the contradiction of a single instant, but rather it was as if the painter had caught her in two separate states of emotion, two different moods, and managed to contain them within the single image. There would have been a multitude of such instants captured in the canvas, between the time she first sat down before the painter and the time she rose, neck and upper body stiff, from the final sitting. That layering—in effect a kind of temporal blurring, or simultaneity—was perhaps ultimately what distinguished painting from photography. I wondered if that was the reason why contemporary painting seemed to me so much flatter, to lack the mysterious depth of these works, because so many painters now worked from photographs.

At every instant the objects and events in the world around us bombard us with impressions. As they do so they produce a phantasia, a mental impression. From this the mind generates a perception (hypolepsis), which might best be compared to a print made from a photographic negative. Ideally this print will be an accurate and faithful representation of the original. But it may not be. It may be blurred, or it may include shadow images that distort or obscure the original. Chief among these are inappropriate value judgments: the designation as “good” or “evil” of things that in fact are neither good nor evil. For example, my impression that my house has just burned down is simply that—an impression or report conveyed to me by my senses about an event in the outside world. By contrast, my perception that my house has burned down and I have thereby suffered a terrible tragedy includes not only an impression, but also an interpretation imposed upon that initial impression by my powers of hypolepsis. It is by no means the only possible interpretation, and I am not obliged to accept it. I may be a good deal better off if I decline to do so. It is, in other words, not objects and events but the interpretations we place on them that are the problem. Our duty is therefore to exercise stringent control over the faculty of perception, with the aim of protecting our mind from error.

At every instant the objects and events in the world around us bombard us with impressions. As they do so they produce a phantasia, a mental impression. From this the mind generates a perception (hypolepsis), which might best be compared to a print made from a photographic negative. Ideally this print will be an accurate and faithful representation of the original. But it may not be. It may be blurred, or it may include shadow images that distort or obscure the original.

The twin rivulets gleamed on his prison cheeks, and then the image became blurred and she felt a corresponding wetness on her own – tears for Daphne that were also tears for him; for lovers who could never be described as star-crossed because they had had no stars. For them heaven had drawn an implacable band of dark across its constellations and the dark was lit by nothing except the trust they had had in each other not to tell the truth because the truth had seemed too dangerous to tell.

Say you could view a time-lapse film of our planet: what would you see? Transparent images moving through light, “an infinite storm of beauty.” The beginning is swaddled in mists, blasted by random blinding flashes. Lava pours and cools; seas boil and flood. Clouds materialize and shift; now you can see the earth’s face through only random patches of clarity. The land shudders and splits, like pack ice rent by a widening lead. Mountains burst up, jutting and dull and soften before your eyes, clothed in forests like felt. The ice rolls up, grinding green land under water forever; the ice rolls back. Forests erupt and disappear like fairy rings. The ice rolls up-mountains are mowed into lakes, land rises wet from the sea like a surfacing whale- the ice rolls back. A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too swift and intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and then crumble, like patches of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues that roamed the earth’s surface, are a wavering blur whose split second in the light was too brief an exposure to yield any images. The great herds of caribou pour into the valleys and trickle back, and pour, a brown fluid. Slow it down more, come closer still. A dot appears, like a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life.

Around them, from horizon to horizon, several different eras were all happening at once. Transparent trees and buildings overlapped in a delirious rush of images that changed and grew and bled into each other, see-through structures crumbling away and vanishing only to reappear and run through their accelerated lives over again, a boiling blur of black and white as if a mad projectionist were running many different loops of old film through his whirring, flickering contraption at the same time, at the wrong speed. Looking

Now and then the image of the man she has seen only two or three times, and for moments at that, the man who has such a tiny space in the exterior events of her life and such an absorbing space in her mind and her heart, virtually monopolizing them altogether—his image blurs before the weary eyes of her memory. She no longer sees him, no longer recalls his features, his silhouette, barely remembers his eyes. Still, that image is all she has of him. She goes mad at the thought that she might lose that image, that her desire (which, granted, tortures her, but which is entirely herself now, in which she has taken refuge, fleeing everything she values, the way you value your own preservation, your life, good or bad)—that her desire could vanish, leaving nothing but a feeling of malaise, a suffering in dreams, of which she would no longer know the cause, would no longer see it even in her mind or cherish it there. But then Monsieur de Laléande’s image reappears after that momentary blurring of inner vision. Her grief can resume and it is almost a joy.

If depression has a feature that redeems it, it’s that it can sensitize a person to the sorrows of the world. The suffering self, while trapped in its own prison, feels at the same time more porous and connected to the sufferings of others — though never to their joys. Boundaries blur at axes of pain. The image of oneself as a vital, intact object is replaced by something spectral and transpersonal. In the worst time of my sadness, I remember saying to my therapist: “I feel like I don’t have any skin.” The living human is a spirit too.

My son had sons, and I lived long enough to see my grandsons have sons of their own. And then I returned here. To the place that had once been full of light and music, and now housed only terrors. To leave this account for one whose blood will summon it, child of my child, heir of my heir. To you—I leave my story, your story. To you, in this very stone, I leave the inheritance and the burden that my own mother passed to me. The image blurred, and there she was again. That old, weary face. I hope the Mother will forgive me, Silene said, and the hologram dissolved.

We were all grinning and everyone had their eyes open for once. Ian must have been moving - his hand was blurred. It was exactly how I imagined us, right down to Kieran's arm around me and the peace sign he was making above Matty's head. The big carving was behind us, and the other trees leaned into the picture, like giant people. Then a cloud went over the sun and Ian said he had better get going. I wished we had taken five pictures so that we could all have a copy. When I looked at the image again, the colours had already started to fade, as if it was a moment we could never have back.

Confusion is like a delusion, it's like dust covering the mirror of your real potentials and identity followed by your true belief system by turning it out into negative one which makes your self-image blur so you feel low and dull to perform anything bigger, somehow it kills the fruits of all your efforts unexpectedly, it has an ability to blow the flame of your passion..... there are a lot of sources you will find around, stay away from anyone who makes you confuse, anything, person, ideology or belief any source that makes you feel like that, stay away from it, leave it and live your real life.” – Mohsin Ali Shauk

Does being true to one's self mean offering the literal truth or the truth that should have been, the truth of the image of one's self? It hardly matters by this time. By this time the border between seeing straight on and seeing round the corners of solid objects, between the world as smooth and coherent and the world as dissociated skinless particle, is thoroughly blurred. No longer a case of double vision, but of two separate eyes whose separate visions - what happened and what might have happened - come together in what we call the past, which we see with hindsight. Memory is revision. I have just destroyed another piece of my past, to tell a story.

[...] He also used his medical practice as a source of experimental data, but was not above using himself as a test subject. There is something so wonderful - and more than a little ironic - in this image of Snow the teetotaler, arguably the finest medical mind of his generation, performing his research. He sits alone in his cluttered flat, frogs croaking around him, illuminated only by candlelight. After a few minutes tinkering with his latest experimental inhaler, he fastens the mouthpiece over his face and releases the gas. Within seconds, his head hits the desk. Then, minutes later, he wakes, consults his watch through blurred vision. He reaches for his pen, and starts recording the data.

A number of factors contribute to the development of an individual’s “practiced self-deception.” First, people who live primarily in fantasy confuse fantasy images with real, goal-directed action. They believe that they are actively pursuing their goals, when in fact they are not taking the steps necessary for success. For example, an executive in the business world may only perform the functions that enhance an image of himself as the “boss,” and leave essential management tasks unattended. The distinction between the image of success and its actual achievement is blurred. Retreat from action-oriented behavior is masked by the person’s focus on superficial signs and activities that preserve vanity and the fantasy image. Secondly, involvement in fantasy distorts one’s perception of reality, making self-deception more possible. Kierkegaard (1849/1954) alluded to this power of fantasy to attract and deceive when he observed: Sometimes the inventiveness of the human imagination suffices to procure possibility. Instead of summoning back possibility into necessity, the man pursues the possibility—and at last cannot find his way back to himself. (p. 77, 79) Thirdly, through its assigned roles and its rules for role-designated behavior, including age-appropriate activities, our culture actively supports people’s tendencies to give themselves up to more and more passivity and fantasy as they move through the life process. In addition, the discrepancy between society’s professed values on the one hand, and how society actually operates, on the other, tends to distort a person’s perceptions of reality, further confusing the difference between idealistic fantasies and actual accomplishments. The general level of pretense, duplicity, and deception existing in our society contributes to everyone’s disillusionment, cynicism, resignation, and passivity. The pooling of the individual defenses and fantasies of all society’s members makes it possible for each person to practice self-delusion under the guise of normalcy. Thus chronic self-denial becomes a socially acceptable defense against death anxiety.

The images of communal survival and flourishing our culture feeds us all to easily blur our vision of God‘s new creation – for instance, we think America is a Christian nation, and democracy the only truly Christian political arrangement. Unaware that our culture has subverted our faith, we lose a place from which to judge our own culture. In order to keep our allegiance to Jesus Christ pure, we need to nurture commitment to the multicultural community of Christian churches. We need to see ourselves and our own understanding of God’s future with the eyes of Christians from other cultures, listen to voices of Christians from other cultures so as to make sure that the voice of our culture has not drowned out the voice of Jesus Christ.

And how does a place get spoiled? Well, it is spoiled by people very like us, which reminds us of a further paradox of travel. On the one hand travel is self-enhancing, on the other hand it is rather sneakily demoralizing. We use travel (in vane) to enhance our image: "Yes, sure, I've been to Fiji, but not for years. I hear it's gotten kind of touristy." But though we wear our travels, when they are over, like badges, while we are actually traveling we suffer constant little erosions of self-regard everywhere we go. Because, fond as we may be of the notion of ourselves as "travelers," shrewd as we may be in our choice of destination and lodging and wines, we are aware of ourselves as part of that declassed, identity-blurred worldwide mob.

I picture myself at the surface of an ocean: the course of my life is played out as a descent to the sea bed. As I drop down I clutch at and try to reach blurred but alluring images representing the vocation of writer, actor, comedian, film director, politician or academic, but they all writhe and ripple flirtatiously out of reach, or rather it would be truer to say that I am afraid to leap forward and hug one of them to me. By being afraid to commit to one I commit to none and arrive at the bottom empty and unfulfilled. This is a self-aggrandizing, pitiful and absurd fantasy of regret, I know, but it is a frequent one. I close whatever book I have been reading in bed, and that same film plays out again and again in my mind before I sleep.

I picture myself at the surface of an ocean: the course of my life is played out as a descent to the sea bed. As I drop down I clutch at and try to reach blurred but alluring images representing the vocation of writer, actor, comedian, film director, politician or academic, but they all writhe and ripple flirtatiously out of reach, or rather it would be truer to say that I am afraid to leap forward and hug one of them to me. By being afraid to commit to one I commit to none and arrive at the bottom empty and unfulfilled. This is a self-aggrandizing, pitiful and absurd fantasy of regret, I know, but it is a frequent one. I close whatever book I have been reading in bed, and that same film plays out again and again in my mind before I sleep.

The Dying Man" in memoriam W.B. Yeats 1. His words I heard a dying man Say to his gathered kin, “My soul’s hung out to dry, Like a fresh salted skin; I doubt I’ll use it again. “What’s done is yet to come; The flesh deserts the bone, But a kiss widens the rose I know, as the dying know Eternity is Now. “A man sees, as he dies, Death’s possibilities; My heart sways with the world. I am that final thing, A man learning to sing. 2. What Now? Caught in the dying light, I thought myself reborn. My hand turn into hooves. I wear the leaden weight Of what I did not do. Places great with their dead, The mire, the sodden wood, Remind me to stay alive. I am the clumsy man The instant ages on. I burned the flesh away, In love, in lively May. I turn my look upon Another shape than hers Now, as the casement blurs. In the worst night of my will, I dared to question all, And would the same again. What’s beating at the gate? Who’s come can wait. 3. The Wall A ghost comes out of the unconscious mind To grope my sill: It moans to be reborn! The figure at my back is not my friend; The hand upon my shoulder turns to horn. I found my father when I did my work, Only to lose myself in this small dark. Though it reject dry borders of the seen, What sensual eye can keep and image pure, Leaning across a sill to greet the dawn? A slow growth is a hard thing to endure. When figures our of obscure shadow rave, All sensual love’s but dancing on a grave. The wall has entered: I must love the wall, A madman staring at perpetual night, A spirit raging at the visible. I breathe alone until my dark is bright. Dawn’s where the white is. Who would know the dawn When there’s a dazzling dark behind the sun. 4. The Exulting Once I delighted in a single tree; The loose air sent me running like a child– I love the world; I want more than the world, Or after image of the inner eye. Flesh cries to flesh, and bone cries out to bone; I die into this life, alone yet not alone. Was it a god his suffering renewed?– I saw my father shrinking in his skin; He turned his face: there was another man, Walking the edge, loquacious, unafraid. He quivered like a bird in birdless air, Yet dared to fix his vision anywhere. Fish feed on fish, according to their need: My enemies renew me, and my blood Beats slower in my careless solitude. I bare a wound, and dare myself to bleed. I think a bird, and it begins to fly. By dying daily, I have come to be. All exultation is a dangerous thing. I see you, love, I see you in a dream; I hear a noise of bees, a trellis hum, And that slow humming rises into song. A breath is but a breath: I have the earth; I shall undo all dying with my death. 5. They Sing, They Sing All women loved dance in a dying light– The moon’s my mother: how I love the moon! Out of her place she comes, a dolphin one, Then settles back to shade and the long night. A beast cries out as if its flesh were torn, And that cry takes me back where I was born. Who thought love but a motion in the mind? Am I but nothing, leaning towards a thing? I scare myself with sighing, or I’ll sing; Descend O gentlest light, descend, descend. I sweet field far ahead, I hear your birds, They sing, they sing, but still in minor thirds. I’ve the lark’s word for it, who sings alone: What’s seen recededs; Forever’s what we know!– Eternity defined, and strewn with straw, The fury of the slug beneath the stone. The vision moves, and yet remains the same. In heaven’s praise, I dread the thing I am. The edges of the summit still appall When we brood on the dead or the beloved; Nor can imagination do it all In this last place of light: he dares to live Who stops being a bird, yet beats his wings Against the immense immeasurable emptiness of things.

For Mersault, nothing mattered in those days. And the first time Marthe went limp in his arms and her features blurred as they came closer - the lips that had been as motionless as painted flowers now quivering and extended - Mersault saw in her not the future but all the force of his desire focused upon her and and satisfied by this appearance, this image. The lips she offered him seemed a message from a world without passion and swollen with desire, where his heart would find satisfaction. And this seemed a miracle to him. His heard pounded with an emotion he almost took for love. And when he felt the ripe and resilient flesh under his teeth, it was as though he bit into a kind of fierce liberty, after caressing her a long time with his own lips. She became his mistress that same day.

It’s like taking a photograph of a photograph of a photograph. What’s actually going on gets less clear. Shadows get darker. Faces are blurred. Eventually, it’s all in the interpretation – but the interpretation is being done by people whose job is to look for danger. So they will err on the side of caution. Eventually, a photograph of a child’s birthday party becomes a blurred image of an arms deal. The pixelated face of Guthrie Jones, under-nines balloon-modelling champion, becomes the grizzled visage of Angela Hedergast, infamous uranium seller. Each investigation of the same facts increases the likelihood that something will be found which is frightening – or rather something will be found to be frightening. Eventually, the mere fact that something or someone has been investigated eleven times becomes suspicious.

Both individuals who are manic and those who are writers, when evaluated with neuropsychological tests, tend to combine ideas or images in a way that "blurs, broadens, or shifts conceptual boundaries," a type of thinking known as conceptual overinclusiveness. They vary in this from normal subjects and from patients with schizophrenia. Researchers at the University of Iowa, for example, have shown that "both writers and manics tend to sort in large groups, change dimensions while in the process of sorting, arbitrarily change starting points, or use vague distantly related concepts as categorizing principles." The writers are better able than the manics to maintain control over their patterns of thinking, however, and to use "controlled flights of fancy" rather than the more bizarre sorting systems used by the patients.

I am sure you understand," Father began, looking past Violet at the wall, "that I cannot allow you back into my house after what you have done. I have arranged for you to be taken to a finishing school in Scotland. You will stay there for two years, and after that I will decide what is to be done with you." Violet heard Graham clear his throat. "No," she said, before her brother could open his mouth to speak. "That won't be acceptable, I'm afraid, Father." His jowls slackened with shock. He looked as if she had slapped him. "I beg your pardon?" "I won't be going to Scotland. In fact, I won't be going anywhere. I'm staying right here." As she spoke, Violet became aware of a strange simmering sensation, as though electricity was humming beneath her skin. Images flashed in her mind---a crow cutting through the air, wings glittered with snow; the spokes of a wheel spinning. Briefly, she closed her eyes, focusing on the feeling until she could almost see it, glinting gold inside her. "That is not for you to decide," said Father. The window was open, and a bee flitted about the room, wings a silver blur. It flew near Father's cheek and he jerked away from it. "It's been decided." She stood up straight, her dark eyes boring into Father's watery ones. He blinked. The bee hovered about his face, dancing away from his hands, and she saw sweat break out on his nose. Soon it was joined by another, and then another and another, until it seemed like Father---shouting and swearing---had been engulfed in a cloud of tawny, glistening bodies. "I think it would be best if you left now, Father," said Violet softly. "After all, as you said, I'm my mother's daughter.

It took the sun a long while to come over the mountains and until it did my vision was bound to the few gray yards around the trailer. It was day but not day, dim but not night, a fugue of half-thoughts and disconnected images, pulsing with power beyond easy meaning—a crow flapping, glowing black against the gray—a shadow like a man crouched with a knife—parking lots aching with pink blur—so overwhelmed by thought I’d have to sit back, set down the pen, set down my coffee, and it goes on—glass towers gleaming out of gray cityscapes, blinding silver—an old man with a red guitar—the booming flame of rockets trailing smoke—a girl’s face, her freckled cheek downy with fine hairs, fleshy lips spread in a smile over crooked teeth. I sink in reverie—and what, what does it mean?—then scrape a few more lines with my pen. Nothing even approximate. Another failure.

system. At 12:04:03, every screen in the building strobed for eighteen seconds in a frequency that produced seizures in a susceptible segment of Sense/Net employees. Then something only vaguely like a human face filled the screens, its features stretched across asymmetrical expanses of bone like some obscene Mercator projection. Blue lips parted wetly as the twisted, elongated jaw moved. Something, perhaps a hand, a thing like a reddish clump of gnarled roots, fumbled toward the camera, blurred, and vanished. Subliminally rapid images of contamination: graphics of the building’s water supply system, gloved hands manipulating laboratory glassware, something tumbling down into darkness, a pale splash. . . . The audio track, its pitch adjusted to run at just less than twice the standard playback speed, was part of a month-old newscast detailing potential military uses of a substance known as HsG, a biochemical governing the human skeletal growth factor. Overdoses of HsG threw certain bone cells into overdrive, accelerating growth by factors as high as one thousand percent.

Historically, chromosomes were not at all easy to study. They spend most of their existence balled up in an indistinguishable mass in the cell nucleus. The only way to count them was to get fresh samples from living cells at the moment of cell division, and that was a tall order. Cell biologists, according to one report, “literally waited at the foot of the gallows in order to fix the testis of an executed criminal immediately after death before the chromosomes could clump.” Even then the chromosomes tended to overlap and blur, making anything but a rough count difficult. But in 1921, a cytologist at the University of Texas named Theophilus Painter announced that he had secured good images and declared with reassuring confidence that he had counted twenty-four pairs of chromosomes. That number stuck, universally unquestioned, for thirty-five years until a closer examination in 1956 showed that in fact we have just twenty-three pairs—a fact that had been clearly evident in photographs for years (including in at least one popular textbook illustration) had anyone taken the trouble to count.

Darwin singled out the eye as posing a particularly challenging problem: 'To suppose that the eye with all its inimitable contrivances for adjusting the focus to different distances, for admitting different amounts of light, and for the correction of spherical and chromatic aberration, could have been formed by natural selection, seems, I freely confess, absurd in the highest degree.' Creationists gleefully quote this sentence again and again. Needless to say, they never quote what follows. Darwin's fulsomely free confession turned out to be a rhetorical device. He was drawing his opponents towards him so that his punch, when it came, struck the harder. The punch, of course, was Darwin's effortless explanation of exactly how the eye evolved by gradual degrees. Darwin may not have used the phrase 'irreducible complexity', or 'the smooth gradient up Mount Improbable', but he clearly understood the principle of both. 'What is the use of half an eye?' and 'What is the use of half a wing?' are both instances of the argument from 'irreducible complexity'. A functioning unit is said to be irreducibly complex if the removal of one of its parts causes the whole to cease functioning. This has been assumed to be self-evident for both eyes and wings. But as soon as we give these assumptions a moment's thought, we immediately see the fallacy. A cataract patient with the lens of her eye surgically removed can't see clear images without glasses, but can see enough not to bump into a tree or fall over a cliff. Half a wing is indeed not as good as a whole wing, but it is certainly better than no wing at all. Half a wing could save your life by easing your fall from a tree of a certain height. And 51 per cent of a wing could save you if you fall from a slightly taller tree. Whatever fraction of a wing you have, there is a fall from which it will save your life where a slightly smaller winglet would not. The thought experiment of trees of different height, from which one might fall, is just one way to see, in theory, that there must be a smooth gradient of advantage all the way from 1 per cent of a wing to 100 per cent. The forests are replete with gliding or parachuting animals illustrating, in practice, every step of the way up that particular slope of Mount Improbable. By analogy with the trees of different height, it is easy to imagine situations in which half an eye would save the life of an animal where 49 per cent of an eye would not. Smooth gradients are provided by variations in lighting conditions, variations in the distance at which you catch sight of your prey—or your predators. And, as with wings and flight surfaces, plausible intermediates are not only easy to imagine: they are abundant all around the animal kingdom. A flatworm has an eye that, by any sensible measure, is less than half a human eye. Nautilus (and perhaps its extinct ammonite cousins who dominated Paleozoic and Mesozoic seas) has an eye that is intermediate in quality between flatworm and human. Unlike the flatworm eye, which can detect light and shade but see no image, the Nautilus 'pinhole camera' eye makes a real image; but it is a blurred and dim image compared to ours. It would be spurious precision to put numbers on the improvement, but nobody could sanely deny that these invertebrate eyes, and many others, are all better than no eye at all, and all lie on a continuous and shallow slope up Mount Improbable, with our eyes near a peak—not the highest peak but a high one.

In the past, people were vaguely fearful of photographs, believing the camera's exact reproduction of their own image would steal their souls. Not only did these images survive for much longer than their subjects, they were also endowed with an aura of magic the subjects lacked. A superstition, but one whose traces can still be felt today. People sense that the photograph captures an uncanny moment in the interstices of reality, enhancing reality's eeriness, the root of which is unknown, and fixing that moment in place like a death mask. Photography differs from the art of painting in that capturing or exposing such a moment happens neither at the will of the photographer nor the one who is photographed. What is photographed is a ghost moment, clothed in matter. Photography is the dream of comprehensive meaning. Each object has parts of itself that are invisible. This territory, which neither the photographer nor the subject can govern, constitutes the secret kept by the object. Unrelated to the intention of either photographer or subject, within the magic of photography dwells a still, quiet shock. Try to imagine our house one day when we ourselves are no more. Somewhere in that house is the ghost of us, which will pass alone in front of a blind mirror, revealing our own blurred image.

Throw the offerings!" Agnes and her husband had returned--- I could just make them out, clambering unsteadily down the hillside with their lanterns raised. In an act of ill-advised and entirely undeserved kindness, they had gathered up a handful of villagers to ride to the rescue of the idiot scholars who had tangled with the most fearsome of the local Folk, despite their warnings. A strangled sound escaped me, something between a sob and laugh. "Get back!" Eichorn shouted at the villagers. Rose was clambering to his feet, wheezing, for the fauns had released him to snatch at the "offerings" tossed their way by the villagers. I would have expected bloody hunks of meat, but instead, ludicrously, they seemed to be throwing vegetables--- carrots and onions, predominantly. How did it happen? The scene is a blur of noise and movement, to my memory. I believe I was laughing at the time--- yes, laughing. The image of those nightmarish beasts appeased by a hail of carrots was too much for my frayed composure, and for a moment it seemed this would become another story I told at conferences or to rouse a laugh from my students. For the Folk are terrible indeed, monsters or tyrants or both, but are they not also ridiculous? Whether they be violent beasts distracted by vegetables, or creatures powerful enough to spin straw into gold, which they will happily exchange for a simple necklace, or a great king overthrown by his own cloak, there is a thread of the absurd weaving through all faerie stories, to which the Folk themselves are utterly oblivious.

A shudder went through me at the thought of what I should still learn in this hour. How awry, altered and distorted everything and everyone was in these mirrors, how mockingly and unattainably did the face of truth hide itself behind all these reports, counter-reports and legends! What was still truth? What was still credible? And what would remain when I also learned about myself, about my own character and history from the knowledge stored in these archives? I must be prepared for anything. Suddenly I could bear the uncertainty and suspense no longer. I hastened to the section Chattorum res gestas, looked for my sub-division and number and stood in front of the part marked with my name. This was a niche, and when I drew the thin curtains aside I saw that it contained nothing written. It contained nothing but a figure, an old and worn-looking model made from wood or wax, in pale colours. It appeared to be a kind of deity or barbaric idol. At first glance it was entirely incomprehensible to me. It was a figure that really consisted of two; it had a common back. I stared at it for a while, disappointed and surprised. Then I noticed a candle in a metal candlestick fixed to the wall of the niche. A match-box lay there. I lit the candle and the strange double figure was now brightly illuminated. Only slowly did it dawn upon me. Only slowly and gradually did I begin to suspect and then perceive what it was intended to represent. It represented a figure which was myself, and this likeness of myself was unpleasantly weak and half-real; it had blurred features, and in its whole expression there was something unstable, weak, dying or wishing to die, and looked rather like a piece of sculpture which could be called "Transitoriness" or "Decay," or something similar. On the other hand, the other figure which was joined to mine to make one, was strong in colour and form, and just as I began to realise whom it resembled, namely, the servant and President Leo, I discovered a second candle in the wall and lit this also. I now saw the double figure representing Leo and myself, not only becoming clearer and each image more alike, but I also saw that the surface of the figures was transparent and that one could look inside as one can look through the glass of a bottle or vase. Inside the figures I saw something moving, slowly, extremely slowly, in the same way that a snake moves which has fallen asleep. Something was taking place there, something like a very slow, smooth but continuous flowing or melting; indeed, something melted or poured across from my image to that of Leo's. I perceived that my image was in the process of adding to and flowing into Leo's, nourishing and strengthening it. It seemed that, in time, all the substance from one image would flow into the other and only one would remain: Leo. He must grow, I must disappear. As I stood there and looked and tried to understand what I saw, I recalled a short conversation that I had once had with Leo during the festive days at Bremgarten. We had talked about the creations of poetry being more vivid and real than the poets themselves. The candles burned low and went out. I was overcome by an infinite weariness and desire to sleep, and I turned away to find a place where I could lie down and sleep.

The questing, anxious, exacting way that we have of looking at the person we love, our eagerness for the word which shall give us or take from us the hope of an appointment for the morrow, and, until that word is uttered, our alternative if not simultaneous imaginings of joy and of despair, all these make our observation, in the beloved object’s presence, too tremulous to be able to carry away a clear impression of her. Perhaps, also, that activity of all the senses at once which endeavours to learn from the visible aspect alone what lies behind it is over-indulgent to the thousand forms, to the changing fragrance, to the movements of the living person whom as a rule, when we are not in love, we regard as fixed in one permanent position. Whereas the beloved model does not stay still; and our mental photographs of her are always blurred. I did not rightly know how Gilberte’s features were composed, save in the heavenly moments when she disclosed them to me; I could remember nothing but her smile. And not being able to see again that beloved face, despite every effort that I might make to recapture it, I would be disgusted to find, outlined in my memory with a maddening precision of detail, the meaningless, emphatic faces of the man with the wooden horses and of the barley-sugar woman; just as those who have lost a dear friend whom they never see even while they are asleep, are exasperated at meeting incessantly in their dreams any number of insupportable creatures whom it is quite enough to have known in the waking world. In their inability to form any image of the object of their grief they are almost led to assert that they feel no grief.

Ella.” The sound was so quiet, I barely heard it through the blood-rush in my ears. I turned to look down the hallway. A man was coming toward me, his lean form clad in a pair of baggy scrub pants and a loose T-shirt. His arm was bandaged with silver-gray burn wrap. I knew the set of those shoulders, the way he moved. Jack. My eyes blurred, and I felt my pulse escalate to a painful throbbing. I began to shake from the effects of trying to encompass too much feeling, too fast. “Is it you?” I choked. “Yes. Yes. God, Ella . . .” I was breaking down, every breath shattering. I gripped my elbows with my hands, crying harder as Jack drew closer. I couldn’t move. I was terrified that I was hallucinating, conjuring an image of what I wanted most, that if I reached out I would find nothing but empty space. But Jack was there, solid and real, reaching around me with hard, strong arms. The contact with him was electrifying. I flattened against him, unable to get close enough. He murmured as I sobbed against his chest. “Ella . . . sweetheart, it’s all right. Don’t cry. Don’t . . .” But the relief of touching him, being close to him, had caused me to unravel. Not too late. The thought spurred a rush of euphoria. Jack was alive, and whole, and I would take nothing for granted ever again. I fumbled beneath the hem of his T-shirt and found the warm skin of his back. My fingertips encountered the edge of another bandage. He kept his arms firmly around me as if he understood that I needed the confining pressure, the feel of him surrounding me as our bodies relayed silent messages. Don’t let go. I’m right here. Tremors kept running along my entire frame. My teeth chattered, making it hard to talk. “I th-thought you might not come back.” Jack’s mouth, usually so soft, was rough and chapped against my cheek, his jaw scratchy with bristle. “I’ll always come back to you.” His voice was hoarse. I hid my face against his neck, breathing him in. His familiar scent had been obliterated by the antiseptic pungency of antiseptic burn dressings, and heavy saltwater brine. “Where are you hurt?” Sniffling, I reached farther over his back, investigating the extent of the bandage. His fingers tangled in the smooth, soft locks of my hair. “Just a few burns and scrapes. Nothing to worry about.” I felt his cheek tauten with a smile. “All your favorite parts are still there.” We were both quiet for a moment. I realized he was trembling, too. “I love you, Jack,” I said, and that started a whole new rush of tears, because I was so unholy glad to be able to say it to him. “I thought it was too late . . . I thought you’d never know, because I was a coward, and I’m so—” “I knew.” Jack sounded shaken. He drew back to look down at me with glittering bloodshot eyes. “You did?” I sniffled. He nodded. “I figured I couldn’t love you as much as I do, without you feeling something for me, too.” He kissed me roughly, the contact between our mouths too hard for pleasure. I put my fingers to Jack’s bristled jaw and eased his face away to look at him. He was battered and scraped and sun-scorched. I couldn’t begin to imagine how dehydrated he was. I pointed an unsteady finger at the waiting room. “Your family’s in there. Why are you in the hallway?” My bewildered gaze swept down his body to his bare feet. “They’re . . . they’re letting you walk around like this?” Jack shook his head. “They parked me in a room around the corner to wait for a couple more tests. I asked if anyone had told you I was okay, and nobody knew for sure. So I came to find you.” “You just left when you’re supposed to be having more tests?” “I had to find you.” His voice was quiet but unyielding.

To begin with, it has nothing to do with archaism, with the salvaging of obsolete words and turns of speech, or with the setting-up of a "standard English" which must never be departed from. On the contrary, it is especially concerned with the scrapping of every word or idiom which has outworn its usefulness. It has nothing to do with correct grammar and syntax, which are of no importance so long as one makes one's meaning clear, or with the avoidance of Americanisms, or with having what is called "good prose style." On the other hand it is not concerned with fake simplicity and the attempt to make written English colloquial. Nor does it even imply in every case preferring the Saxon word to the Latin one, though it does imply using the fewest and shortest words that will cover one's meaning. What is above all needed is to let the meaning choose the word, and not the other way about. In prose the worst thing one can do with words is to surrender to them. When you think of a concrete object, you think wordlessly, and then, if you want to describe the thing you have been visualizing, you probably hunt about till you find the exact words that seem to fit it. When you think of something abstract you are more inclined to use words from the start, and unless you make a conscious effort to prevent it, the existing dialect will come rushing in and do the job for you, at the expense of blurring or even changing your meaning. Probably it is better to put off using words as long as possible and get one's meaning as clear as one can through pictures or sensations. Afterwards one can choose--not simply accept--the phrases that will best cover the meaning, and then switch round and decide what impression one's words are likely to make on another person. This last effort of the mind cuts out all stale or mixed images, all prefabricated phrases, needless repetitions, and humbug and vagueness generally.

What is the use of half an eye?’ and ‘What is the use of half a wing?’ are both instances of the argument from ‘irreducible complexity’. A functioning unit is said to be irreducibly complex if the removal of one of its parts causes the whole to cease functioning. This has been assumed to be self-evident for both eyes and wings. But as soon as we give these assumptions a moment’s thought, we immediately see the fallacy. A cataract patient with the lens of her eye surgically removed can’t see clear images without glasses, but can see enough not to bump into a tree or fall over a cliff. Half a wing is indeed not as good as a whole wing, but it is certainly better than no wing at all. Half a wing could save your life by easing your fall from a tree of a certain height. And 51 per cent of a wing could save you if you fall from a slightly taller tree. Whatever fraction of a wing you have, there is a fall from which it will save your life where a slightly smaller winglet would not. The thought experiment of trees of different height, from which one might fall, is just one way to see, in theory, that there must be a smooth gradient of advantage all the way from 1 per cent of a wing to 100 per cent. The forests are replete with gliding or parachuting animals illustrating, in practice, every step of the way up that particular slope of Mount Improbable. By analogy with the trees of different height, it is easy to imagine situations in which half an eye would save the life of an animal where 49 per cent of an eye would not. Smooth gradients are provided by variations in lighting conditions, variations in the distance at which you catch sight of your prey – or your predators. And, as with wings and flight surfaces, plausible intermediates are not only easy to imagine: they are abundant all around the animal kingdom. A flatworm has an eye that, by any sensible measure, is less than half a human eye. Nautilus (and perhaps its extinct ammonite cousins who dominated Paleozoic and Mesozoic seas) has an eye that is intermediate in quality between flatworm and human. Unlike the flatworm eye, which can detect light and shade but see no image, the Nautilus ‘pinhole camera’ eye makes a real image; but it is a blurred and dim image compared to ours. It would be spurious precision to put numbers on the improvement, but nobody could sanely deny that these invertebrate eyes, and many others, are all better than no eye at all, and all lie on a continuous and shallow slope up Mount Improbable, with our eyes near a peak – not the highest peak but a high one.

As the lines on the palm and forehead … turned darker and thicker, as he matured along the highs and lows of life-wave, the hazy and blurred phrases shook off the dust of time and dried the moisture of pain, thus being vivid like an image on a carved glass. The incidences in his life ahead sharpened the blunt edges of diamond and the hitherto blurred prophecies found meaning… found reflection… like that in a mirror.

But, memory paints impressionistic portraits of the past, enhancing some images and blurring others. To her,

No living creature lives without mistakes, Leo.” As it spoke, the flightsuit played videos in the visor, showing diapered babies sitting down hard as they learned to walk, tiger cubs rolling with each other and a blur of dozens of different moments captured from Earth. Everything man and Explorer creates is designed from mistakes, learned and corrected, to improve subsequent designs. I am the product of millions of mistakes, adjustments made to original concepts and plans.” The images in the visor displayed bridges swaying wildly, buildings crumbling to the ground, the blackened interior of a space capsule through a charred open door. “Every device you've ever used-so familiar you may have never considered their creation. Every device is the product of mistakes, hundreds or thousands of previous mistakes. You see the results, but you do not see the mistakes.” The flightsuit paused. “You see yourself in the mirror and see the results, and you do not see the millions of shaping events that made you. You survived these challenges. There are millions more shaping events ahead of you. You have not yet survived these, and so they feel dangerous and uncertain. If you were able to precisely recall, at will, the feelings of fear and uncertainty you experienced in the past or the moments you long ago overcame and survived would you discourage your past self from trying?

There was not much interest in Sarah's life to draw researchers to the Berlin archives. Sarah, aware that she had something to hide, had led the way in shaping an image of herself as the most devoted of wives, and before her death she weeded out letters that friends, according to the custom of the day, returned to her. Her immediate survivors outdid her. They destroyed letters that even Sarah had preserved, perhaps to blur the intense unhappiness of the first decades of her marriage.

I closed my eyes. I dragged the memory of that day out of the darkness of time. I stepped through it, in my head, blurred image by blurred image, until finally, I saw it.

Gavin focused on the first rune, and as he stared, its image blurred. “Faroryn,” he whispered. The symbol represented strength, dependability, a sense of purpose. He had no idea how he knew this; it had come to him as though he’d simply remembered.

Reggie leaped backward, which might have allowed her a graceful escape—she wasn’t sure whether the shape had seen her yet—except that fear had narrowed her perception and skewed her sense of direction. In short, she ran into a tree. Her head hit the bark with an audible whack and a jolt of dull pain. She bit back a curse, then froze as the creature, alert now, turned to take another look at her. Hitting one’s head was not a recipe for improved vision. She saw a dark shape, blurred around the edges, with those huge silver eyes. She managed not to shriek when it moved closer. Then she saw a hint of blue in the eyes, and the outlines of the creature became clearer. Reggie saw a long neck—curved horns—wings— Fairy tales had been long ago for her, but a few images had stuck. She thought dragon, with, possibly, the first sense of relief any human being had ever felt on making that identification. “Colin?” She whispered the name, partly because she wanted to be discreet but mostly because she didn’t think she had enough air in her lungs to speak louder. Even as the massive head moved in what she could only assume was a dragonish attempt to nod, Reggie squirmed inwardly, embarrassed to have asked. As though there were many dragons around Whitehill—as though any sinister third cousin of Colin’s would actually bother to correct any mistaken identity. “What are you doing out here?” The mouth began to open, disclosing extremely large, extremely sharp teeth. Then Colin stopped and looked down at Reggie. She wasn’t sure what his expression meant—not until he sighed and lowered his head toward her. Ah. He couldn’t speak English in this form. She couldn’t speak Dragon, if that was even a language.

If depression has a feature that redeems it, it’s that it can sensitize a person to the sorrows of the world. The suffering self, while trapped in its own prison, feels at the same time more porous and connected to the sufferings of others — though never to their joys. Boundaries blur at axes of pain. The image of oneself as a vital, intact object is replaced by something spectral and transpersonal. In the worst time of my sadness, I remember saying to my therapist: “I feel like I don’t have any skin.” The living human is a spirit too. * Or am I simply describing the more mundane feeling that everything makes me want to cry?

In the daylight that followed my arrival, the pale grey Trappe resembled not so much an abbey as a hospital, an asylum or a reformatory. It dwindled off into farm buildings, and came to an end in the fields where thousands of turnips led their secret lives and reared into the air their little frostbitten banners. Among the furrows an image mouldered on its pedestal; and, under a sky of clouded steel, the rooks cawed and wheeled and settled. Across the December landscape, flat and waterlogged with its clumps of drizzling coppice and barren-looking pasture-land, ran a rutted path which disappeared beneath an avenue of elm-trees. Willows, blurred and colourless as the detail of an aquatint, receded in the mist; and, here and there, the pallor of the woods was interrupted by funereal clumps of pine. Isolated monks, all of them hooded and clogged, at work in the fields, ploughing or chopping wood, dotted this sodden panorama and the report of their falling axes reached the ear long seconds after the visual impact. Others were driving slow herds of cattle to graze.

As She Passes" When I am sitting at the window, Through the panes, which the snow blurs, I see the lovely images, hers, as She passes ... passes ... passes by ... Over me grief has thrown its veil:- Less a creature in this world And one more angel in the sky. When I am sitting at the window, Through the panes, which the snow blurs, I think I see the image, hers, That's not now passing ... not passing by ...