Bodies In Motion Quotes

This is what you shall do; Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body.

I can calculate the motion of heavenly bodies but not the madness of people.

I suppose therefore that all things I see are illusions; I believe that nothing has ever existed of everything my lying memory tells me. I think I have no senses. I believe that body, shape, extension, motion, location are functions. What is there then that can be taken as true? Perhaps only this one thing, that nothing at all is certain.

We're fumbling in the dark, but at least we're in motion.

When you don't know where you're going, you drive on the highway.

re-examine all you have been told in school or church or in any book, and dismiss whatever insults your own soul; and your very flesh shall be a great poem, and have the richest fluency, not only in its words, but in the silent lines of its lips and face, and between the lashes of your eyes, and in every motion and joint of your body. [From the preface to Leaves Grass]

Historical fact: People stopped being people in 1913. That was the year Henry Ford put his cars on rollers and made his workers adopt the speed of the assembly line. At first, workers rebelled. They quit in droves, unable to accustom their bodies to the new pace of the age. Since then, however, the adaptation has been passed down: we've all inherited it to some degree, so that we plug right into joy-sticks and remotes, to repetitive motions of a hundred kinds.

The Law of Inertia states that a body in motion will remain in motion, and a body at rest will remain at rest. In life, nothing will happen when no one will make a move

Tis in ourselves that we are thus or thus. Our bodies are our gardens, to the which our wills are gardeners: so that if we will plant nettles, or sow lettuce, set hyssop and weed up thyme, supply it with one gender of herbs, or distract it with many, either to have it sterile with idleness, or manured with industry, why, the power and corrigible authority of this lies in our wills. If the balance of our lives had not one scale of reason to poise another of sensuality, the blood and baseness of our natures would conduct us to most preposterous conclusions: but we have reason to cool our raging motions, our carnal stings, our unbitted lusts, whereof I take this that you call love to be a sect or scion.

All beauty comes from beautiful blood and a beautiful brain. If the greatnesses are in conjunction in a man or woman it is enough...the fact will prevail through the universe...but the gaggery and gilt of a million years will not prevail. Who troubles himself about his ornaments or fluency is lost. This is what you shall so: Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body...

The doctor’s words made me understand what happened to me was a dark, evil, and shameful secret, and by association I too was dark, evil, and shameful. While it may not have been their intention, this was the message my clouded mind received. To escape the confines of the hospital, I once again disassociated myself from my emotions and numbed myself to the pain ravaging my body and mind. I acted as if nothing was wrong and went back to performing the necessary motions to get me from one day to the next. I existed but I did not live.

Reading list (1972 edition)[edit] 1. Homer – Iliad, Odyssey 2. The Old Testament 3. Aeschylus – Tragedies 4. Sophocles – Tragedies 5. Herodotus – Histories 6. Euripides – Tragedies 7. Thucydides – History of the Peloponnesian War 8. Hippocrates – Medical Writings 9. Aristophanes – Comedies 10. Plato – Dialogues 11. Aristotle – Works 12. Epicurus – Letter to Herodotus; Letter to Menoecus 13. Euclid – Elements 14. Archimedes – Works 15. Apollonius of Perga – Conic Sections 16. Cicero – Works 17. Lucretius – On the Nature of Things 18. Virgil – Works 19. Horace – Works 20. Livy – History of Rome 21. Ovid – Works 22. Plutarch – Parallel Lives; Moralia 23. Tacitus – Histories; Annals; Agricola Germania 24. Nicomachus of Gerasa – Introduction to Arithmetic 25. Epictetus – Discourses; Encheiridion 26. Ptolemy – Almagest 27. Lucian – Works 28. Marcus Aurelius – Meditations 29. Galen – On the Natural Faculties 30. The New Testament 31. Plotinus – The Enneads 32. St. Augustine – On the Teacher; Confessions; City of God; On Christian Doctrine 33. The Song of Roland 34. The Nibelungenlied 35. The Saga of Burnt Njál 36. St. Thomas Aquinas – Summa Theologica 37. Dante Alighieri – The Divine Comedy;The New Life; On Monarchy 38. Geoffrey Chaucer – Troilus and Criseyde; The Canterbury Tales 39. Leonardo da Vinci – Notebooks 40. Niccolò Machiavelli – The Prince; Discourses on the First Ten Books of Livy 41. Desiderius Erasmus – The Praise of Folly 42. Nicolaus Copernicus – On the Revolutions of the Heavenly Spheres 43. Thomas More – Utopia 44. Martin Luther – Table Talk; Three Treatises 45. François Rabelais – Gargantua and Pantagruel 46. John Calvin – Institutes of the Christian Religion 47. Michel de Montaigne – Essays 48. William Gilbert – On the Loadstone and Magnetic Bodies 49. Miguel de Cervantes – Don Quixote 50. Edmund Spenser – Prothalamion; The Faerie Queene 51. Francis Bacon – Essays; Advancement of Learning; Novum Organum, New Atlantis 52. William Shakespeare – Poetry and Plays 53. Galileo Galilei – Starry Messenger; Dialogues Concerning Two New Sciences 54. Johannes Kepler – Epitome of Copernican Astronomy; Concerning the Harmonies of the World 55. William Harvey – On the Motion of the Heart and Blood in Animals; On the Circulation of the Blood; On the Generation of Animals 56. Thomas Hobbes – Leviathan 57. René Descartes – Rules for the Direction of the Mind; Discourse on the Method; Geometry; Meditations on First Philosophy 58. John Milton – Works 59. Molière – Comedies 60. Blaise Pascal – The Provincial Letters; Pensees; Scientific Treatises 61. Christiaan Huygens – Treatise on Light 62. Benedict de Spinoza – Ethics 63. John Locke – Letter Concerning Toleration; Of Civil Government; Essay Concerning Human Understanding;Thoughts Concerning Education 64. Jean Baptiste Racine – Tragedies 65. Isaac Newton – Mathematical Principles of Natural Philosophy; Optics 66. Gottfried Wilhelm Leibniz – Discourse on Metaphysics; New Essays Concerning Human Understanding;Monadology 67. Daniel Defoe – Robinson Crusoe 68. Jonathan Swift – A Tale of a Tub; Journal to Stella; Gulliver's Travels; A Modest Proposal 69. William Congreve – The Way of the World 70. George Berkeley – Principles of Human Knowledge 71. Alexander Pope – Essay on Criticism; Rape of the Lock; Essay on Man 72. Charles de Secondat, baron de Montesquieu – Persian Letters; Spirit of Laws 73. Voltaire – Letters on the English; Candide; Philosophical Dictionary 74. Henry Fielding – Joseph Andrews; Tom Jones 75. Samuel Johnson – The Vanity of Human Wishes; Dictionary; Rasselas; The Lives of the Poets

There are times when a feeling of expectancy comes to me, as if something is there, beneath the surface of my understanding, waiting for me to grasp it. It is the same tantalizing sensation when you almost remember a name, but don't quite reach it. I can feel it when I think of human beings, of the hints of evolution suggested by the removal of wisdom teeth, the narrowing of the jaw no longer needed to chew such roughage as it was accustomed to; the gradual disappearance of hair from the human body; the adjustment of the human eye to the fine print, the swift, colored motion of the twentieth century. The feeling comes, vague and nebulous, when I consider the prolonged adolesence of our species; the rites of birth, marriage and death; all the primitive, barbaric ceremonies streamlined to modern times. Almost, I think, the unreasoning, bestial purity was best. Oh, something is there, waiting for me. Perhaps someday the revelation will burst in upon me and I will see the other side of this monumental grotesque joke. And then I'll laugh. And then I'll know what life is.

Except fang. I glared at him. "Go on, try to stop me, I dare you." It was like the old days when we used to wrestle, each trying to get the better of the other. I was ready to take him down, my hands curled into fist. "I was just going to say be careful," Fang told me. He stepped closer and brushed some hair out of my eyes. "And I've got your back." He motioned with his head toward the torpedo chamber. Oh my God. It hit me like a tsunami then, how perfect he was for me, how no one else would ever, could ever, be so perfect for me, how he was everything I could possibly hope for, as a friend, boyfriend, maybe even more. He was it for me. There would be no more looking. I really, really loved him, with a whole new kind of love I'd never felt before, something that made every other kind of love I'd ever felt feel washed out and wimpy in comparison. I loved him with every cell in my body, every thought in my head, every feather in my wings, every breathe in my lungs. and air sacs. Too bad I was going out to face almost certain death. Right there in front of everyone, I threw my arms around his neck and smashed my mouth against his. He was startled for a second, then his strong arms wrapped around me so tightly I could hardly breathe. "ZOMG," I heard Nudge whisper, but still fang and I kissed slanting our heads this way and that to get closer. I could have stood there and kissed him happily for the next millennium, but Angel, or what was left of her was still out there in the could dark ocean. Reluctantly, I ended the kiss, took a step back. Fang's obsidian eyes were glittering brightly and his stoic face had a look of wonder on it."Gotta go," I said quietly. A half smile quirked his mouth. "Yeah. Hurry back." I nodded and he stepped out of the air lock chamber, keeping his eyes fixed on me, memorizing me as he hit the switch that sealed the chamber. The doors hissed shut with a kind of finality, and I realized that my heart was beating so hard it felt like it was going to start snapping ribs. I was scared. I was crazily, deeply, incredibly, joyously, terrifyingly in love. I was on a death mission. Before my head simply exploded from so much emotion, I hit the large button that pressurized the air lock enough for the doors to open to the ocean outside. I really, really hoped that I would prove somewhat uncrushable, like Angel did. The door cracked open below me and I saw the first dark glint of frigid water.

Cath wanted to go back and rewrite every scene she'd ever written about Baz or Simon's chests. She'd written them flat and sharp and hard. Levi was all soft motion and breath, curves and warm hollows. Levi's chest was a living thing.

Dance less in motion and more in spirit; awaken the dreamer within.

We have big plans. Oh yes. We're fumbling in the dark, but at least we're in motion. Everyone is working now; Julie and I are just pausing for a moment to enjoy the view, because it's a beautiful day. The sky is blue. The grass is green. The sun is warm on our skin. We smile, because this is how we save the world. We will not let Earth become a tomb, a mass grave spinning through space. We will exhume ourselves. We will fight the curse and break it. We will cry and bleed and lust and love, and we will cure death. We will be the cure. Because we want it.

What is the heart but a spring, and the nerves but so many strings, and the joints but so many wheels, giving motion to the whole body?

Productiveness is your acceptance of morality, your recognition of the fact that you choose to live--that productive work is the process by which man's consciousness controls his existence, a constant process of acquiring knowledge and shaping matter to fit one's purpose, of translating an idea into physical form, of remaking the earth in the image of one's values--that all work is creative work if done by a thinking mind, and no work is creative if done by a blank who repeats in uncritical stupor a routine he has learned from others--that your work is yours to choose, and the choice is as wide as your mind, that nothing more is possible to you and nothing less is human--that to cheat your way into a job bigger than your mind can handle is to become a fear-corroded ape on borrowed motions and borrowed time, and to settle down into a job that requires less than your mind's full capacity is to cut your motor and sentence yourself to another kind of motion: decay--that your work is the process of achieving your values, and to lose your ambition for values is to lose your ambition to live--that your body is a machine, but your mind is its driver, and you must drive as far as your mind will take you, with achievement as the goal of your road--that the man who has no purpose is a machine that coasts downhill at the mercy of any boulder to crash in the first chance ditch, that the man who stifles his mind is a stalled machine slowly going to rust, that the man who lets a leader prescribe his course is a wreck being towed to the scrap heap, and the man who makes another man his goal is a hitchhiker no driver should ever pick up--that your work is the purpose of your life, and you must speed past any killer who assumes the right to stop you, that any value you might find outside your work, any other loyalty or love, can be only travelers you choose to share your journey and must be travelers going on their own power in the same direction.

4. Religion. Your reason is now mature enough to examine this object. In the first place, divest yourself of all bias in favor of novelty & singularity of opinion... shake off all the fears & servile prejudices, under which weak minds are servilely crouched. Fix reason firmly in her seat, and call to her tribunal every fact, every opinion. Question with boldness even the existence of a God; because, if there be one, he must more approve of the homage of reason, than that of blindfolded fear. You will naturally examine first, the religion of your own country. Read the Bible, then as you would read Livy or Tacitus. The facts which are within the ordinary course of nature, you will believe on the authority of the writer, as you do those of the same kind in Livy and Tacitus. The testimony of the writer weighs in their favor, in one scale, and their not being against the laws of nature, does not weigh against them. But those facts in the Bible which contradict the laws of nature, must be examined with more care, and under a variety of faces. Here you must recur to the pretensions of the writer to inspiration from God. Examine upon what evidence his pretensions are founded, and whether that evidence is so strong, as that its falsehood would be more improbable than a change in the laws of nature, in the case he relates. For example in the book of Joshua we are told the sun stood still several hours. Were we to read that fact in Livy or Tacitus we should class it with their showers of blood, speaking of statues, beasts, &c. But it is said that the writer of that book was inspired. Examine therefore candidly what evidence there is of his having been inspired. The pretension is entitled to your inquiry, because millions believe it. On the other hand you are astronomer enough to know how contrary it is to the law of nature that a body revolving on its axis as the earth does, should have stopped, should not by that sudden stoppage have prostrated animals, trees, buildings, and should after a certain time have resumed its revolution, & that without a second general prostration. Is this arrest of the earth's motion, or the evidence which affirms it, most within the law of probabilities? You will next read the New Testament. It is the history of a personage called Jesus. Keep in your eye the opposite pretensions: 1, of those who say he was begotten by God, born of a virgin, suspended & reversed the laws of nature at will, & ascended bodily into heaven; and 2, of those who say he was a man of illegitimate birth, of a benevolent heart, enthusiastic mind, who set out without pretensions to divinity, ended in believing them, and was punished capitally for sedition, by being gibbeted, according to the Roman law, which punished the first commission of that offence by whipping, & the second by exile, or death in fureâ. ...Do not be frightened from this inquiry by any fear of its consequences. If it ends in a belief that there is no God, you will find incitements to virtue in the comfort and pleasantness you feel in its exercise, and the love of others which it will procure you... In fine, I repeat, you must lay aside all prejudice on both sides, and neither believe nor reject anything, because any other persons, or description of persons, have rejected or believed it... I forgot to observe, when speaking of the New Testament, that you should read all the histories of Christ, as well of those whom a council of ecclesiastics have decided for us, to be Pseudo-evangelists, as those they named Evangelists. Because these Pseudo-evangelists pretended to inspiration, as much as the others, and you are to judge their pretensions by your own reason, and not by the reason of those ecclesiastics. Most of these are lost... [Letter to his nephew, Peter Carr, advising him in matters of religion, 1787]

I like my afterglow with you in motion. I measure time by how your body sways.

Our minds, like our bodies, are in continual flux; something is hourly lost, and something acquired... Do not suffer life to stagnate; it will grow muddy for want of motion: commit yourself again to the current of the world.

Grief is the tax we pay on our attachments...

At present, I am mainly observing the physical motion of mountains, water, trees and flowers. One is everywhere reminded of similar movements in the human body, of similar impulses of joy and suffering in plants...

We ought to regard the present state of the universe as the effect of its antecedent state and as the cause of the state that is to follow. An intelligence knowing all the forces acting in nature at a given instant, as well as the momentary positions of all things in the universe, would be able to comprehend in one single formula the motions of the largest bodies as well as the lightest atoms in the world, provided that its intellect were sufficiently powerful to subject all data to analysis; to it nothing would be uncertain, the future as well as the past would be present to its eyes. The perfection that the human mind has been able to give to astronomy affords but a feeble outline of such an intelligence.

The first language humans had was gestures. There was nothing primitive about this language that flowed from people’s hands, nothing we say now that could not be said in the endless array of movements possible with the fine bones of the fingers and wrists. The gestures were complex and subtle, involving a delicacy of motion that has since been lost completely. During the Age of Silence, people communicated more, not less. Basic survival demanded that the hands were almost never still, and so it was only during sleep (and sometimes not even then) that people were not saying something or other. No distinction was made between the gestures of language and the gestures of life. The labor of building a house, say, or preparing a meal was no less an expression than making the sign for I love you or I feel serious. When a hand was used to shield one’s face when frightened by a loud noise something was being said, and when fingers were used to pick up what someone else had dropped something was being said; and even when the hands were at rest, that, too, was saying something. Naturally, there were misunderstandings. There were times when a finger might have been lifted to scratch a nose, and if casual eye contact was made with one’s lover just then, the lover might accidentally take it to be the gesture, not at all dissimilar, for Now I realize I was wrong to love you. These mistakes were heartbreaking. And yet, because people knew how easily they could happen, because they didn’t go round with the illusion that they understood perfectly the things other people said, they were used to interrupting each other to ask if they’d understood correctly. Sometimes these misunderstandings were even desirable, since they gave people a reason to say, Forgive me, I was only scratching my nose. Of course I know I’ve always been right to love you. Because of the frequency of these mistakes, over time the gesture for asking forgiveness evolved into the simplest form. Just to open your palm was to say: Forgive me." "If at large gatherings or parties, or around people with whom you feel distant, your hands sometimes hang awkwardly at the ends of your arms – if you find yourself at a loss for what to do with them, overcome with sadness that comes when you recognize the foreignness of your own body – it’s because your hands remember a time when the division between mind and body, brain and heart, what’s inside and what’s outside, was so much less. It’s not that we’ve forgotten the language of gestures entirely. The habit of moving our hands while we speak is left over from it. Clapping, pointing, giving the thumbs-up, for example, is a way to remember how it feels to say nothing together. And at night, when it’s too dark to see, we find it necessary to gesture on each other’s bodies to make ourselves understood.

I start to daydream about gravity. Sometimes I wonder if gravity is the problem. It keeps us all grounded, gives us this false sense of stability when really we're just all bodies in motion. Gravity keeps us from floating up into space, it keeps us from involuntarily crashing into one another. It saves the human race from being a big hot mess. I wish gravity would go away and just let us all be a big mess.

I can calculate the motion of heavenly bodies, but not the madness of people.

Day drag." Ashley answered simply. "The sun turns vampires into dust and drag queens into this." He motioned with his hand down his body.

I love the sight of his naked body. especially in these quiet, vulnerable moments. These brackets of time stapled between dreams and reality are my favorite. There's a sweetness in this hesitant consciousness - a careful, gentle return of form of function, I've found I love these minutes most for the delicate way in which they unfold. It's tender. Slow motion. Time tying its shoes.

God who gave Animals self motion beyond our understanding is without doubt able to implant other principles of motion in bodies [which] we may understand as little. Some would readily grant this may be a Spiritual one; yet a mechanical one might be showne, did not I think it better to pass it by.

I wrote poetry from the time I could write. That was the only way I could begin to express who I was but the poems didn't make sense to my teachers. They didn't rhyme. They were about the wind sounds, the planets' motions, never about who I was or how I felt. I didn't think I felt anything. I was this mind more than a body or a heart. My mind photographing the stars, hearing the wind.

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

Very few of us can now place ourselves in the mental condition in which even such philosophers as the great Descartes were involved in the days before Newton had announced the true laws of the motion of bodies.

His body was urgent against her, and she didn't have the heart anymore to fight...She saw his eyes, tense and brilliant, fierce, not loving. But her will had left her. A strange weight was on her limbs. She was giving way. She was giving up...she had to lie down there under the boughs of the tree, like an animal, while he waited, standing there in his shirt and breeches, watching her with haunted eyes...He too had bared the front part of his body and she felt his naked flesh against her as he came into her. For a moment he was still inside her, turgid there and quivering. Then as he began to move, in the sudden helpless orgasm, there awoke in her new strange thrills rippling inside her. Rippling, rippling, rippling, like a flapping overlapping of soft flames, soft as feathers, running to points of brilliance, exquisite and melting her all molten inside. It was like bells rippling up and up to a culmination. She lay unconscious of the wild little cries she uttered at the last. But it was over too soon, too soon, and she could no longer force her own conclusion with her own activity. This was different, different. She could do nothing. She could no longer harden and grip for her own satisfaction upon him. She could only wait, wait and moan in spirit and she felt him withdrawing, withdrawing and contracting, coming to the terrible moment when he would slip out of her and be gone. Whilst all her womb was open and soft, and softly clamouring, like a sea anenome under the tide, clamouring for him to come in again and make fulfillment for her. She clung to him unconscious in passion, and he never quite slipped from her, and she felt the soft bud of him within her stirring, and strange rhythms flushing up into her with a strange rhythmic growing motion, swelling and swelling til it filled all her cleaving consciousness, and then began again the unspeakable motion that was not really motion, but pure deepening whirlpools of sensation swirling deeper and deeper through all her tissue and consciousness, til she was one perfect concentric fluid of feeling, and she lay there crying in unconscious inarticulate cries.

All he knew was that he was a body in search of motion.

I knew it! I knew you'd hate my body!" She slammed her hands on her hips, marched over to the bed, and glared down at him. "Well, for your information, mister, all those cute little sex kittens in your past might have had perfect bodies, but they don't know a lepton from a proton,and if you think that I'm going to stand here and let you judge me by the size of my hips and because my belly's not flat, then you're in for a rude awakening." She jabbed her finger at him. "This is the way a grown woman looks, buster! This body was designed by God to be functional, not to be stared at by some hormonally imbalanced jock who can only get aroused by women who still own Barbie dolls" "Damn. Now I've got to gag you." With one swift motion, he pulled her down on the bed, rolled on top of her, and covered her lips with his own.

Here is an amazement—once I was twenty years old and in every motion of my body there was a delicious ease, and in every motion of the green earth there was a hint of paradise, and now I am sixty years old, and it is the same.

There is a kind of sleep that steals upon us sometimes, which, while it holds the body prisoner, does not free the mind from a sense of things about it, and enable it to ramble at its pleasure. So far as an overpowering heaviness, a prostration of strength, and an utter inability to control our thoughts or power of motion, can be called sleep, this is it; and yet we have a consciousness of all that is going on about us; and if we dream at such a time, words which are really spoken, or sounds which really exist at the moment, accommodate themselves with surprising readiness to our visions, until reality and imagination become so strangely blended that it is afterwards almost a matter of impossibilty to separate the two. Nor is this, the most striking phenomenon, incidental to such a state. It is an undoubted fact, that although our senses of touch and sight be for the time dead, yet our sleeping thoughts, and the visionary scenes that pass before us, will be influenced, and materially influenced, by the mere silent presence of some external object: which may not have been near us when we closed our eyes: and of whose vicinity we have had no waking consciousness.

Life no argument. - We have arranged for ourselves a world in which we can live - by positing bodies, lines, planes, causes and effects, motion and rest, form and content; without these articles of faith nobody now could endure life. But that does not prove them. Life is no argument. The conditions of life might include error.

Small wins are exactly what they sound like, and are part of how keystone habits create widespread changes. A huge body of research has shown that small wins have enormous power, an influence disproportionate to the accomplishments of the victories themselves. “Small wins are a steady application of a small advantage,” one Cornell professor wrote in 1984. “Once a small win has been accomplished, forces are set in motion that favor another small win.”4.14 Small wins fuel transformative changes by leveraging tiny advantages into patterns that convince people that bigger achievements are within reach.

He carried Paul inside and up the stairs. He gave him a drink of water and the orange chewable aspirin he like and sat with him on the bed, holding his hand...This was what he yearned to capture on film: these rare moments where the world seemed unified, coherent, everything contained in a single fleeting image. A spareness that held beauty and hope and motion - a kind of silvery poetry, just as the body was poetry in blood and flesh and bone.

‎Be thou as a throbbing artery, pulsating in the body of the entire creation, that through the heat generated by this motion there may appear that which will quicken the hearts of those who hesitate.

True sportsmanship is excellence in motion!

Resistance is usually ascribed to bodies at rest, and impulse to those in motion; but motion and rest, as commonly conceived, are only relatively distinguished; nor are those bodies always truly at rest, which commonly are taken to be so.

And back in the spring of 1720, Sir Isaac Newton owned shares in the South Sea Company, the hottest stock in England. Sensing that the market was getting out of hand, the great physicist muttered that he “could calculate the motions of the heavenly bodies, but not the madness of the people.” Newton dumped his South Sea shares, pocketing a 100% profit totaling £7,000. But just months later, swept up in the wild enthusiasm of the market, Newton jumped back in at a much higher price—and lost £20,000 (or more than $3 million in today’s money). For the rest of his life, he forbade anyone to speak the words “South Sea” in his presence. 4

Head held high and lips parted, she breathed in the music, sending it through her torso and arms and legs the way the Tai Chi teacher told us to breath the air, transforming it into energy, motion. Dancing is the body's song, and Bess sang.

I like knowing there’s certain laws in the universe, Ayla’s father had said once, a very long time ago, before everything. You can’t count on much. Can’t trust most things to stay solid. But there is always some sort of force at work. Even way out there past the sky, so far away that we can’t even imagine it, things work the same. Your mother would explain it better. Everything is just bodies in motion, bodies in orbit, just like here. Pushing and pulling. You know what that’s called? The law of falling.

The world yearns. This is its sure gravity: the attraction of bodies. Earth for molten star. Moon for earth. A hand for the orb of a breast. This is its movement too: the motion of desire, of a longing toward.

For by Art is created that great LEVIATHAN called a COMMON-WEALTH, or STATE, (in latine CIVITAS) which is but an Artificiall Man; though of greater stature and strength than the Naturall, for whose protection and defence it was intended; and in which, the Soveraignty is an Artificiall Soul, as giving life and motion to the whole body;

It was a gentle love, a tactile love. It was all hands and lips and hearts in tandem. There was motion in our bodies and emotion in our discourse. We were a symphony of melody and melancholy. When you find peace in another’s presence, there is no mistaken.

Not easy when you can't talk, is it?" I grinned. "Well, not easy for you but I could get used to it." He grumbled, but I could see relif in his eyes, like he was glad to see me smile. "SO i was right, wasn't I? It's still youm even in wolf form." He grunted. "No sudden uncontrollable urges to go kill something?" He rolled his eyes. "Hey, you're the one who was worried." I paused. "And i don't smell like dinner, right?" I got a real look for that one. "Just covering all the bases." He gave a rumbling groul, like a chuckle, and settled in, lowering his head to his front paws, gaze on me. I tried to get comfortable, but the ground was ice-cold through his swearshirt, and i was wearing only my new pajamas, a light jacket, and sneakers. Seeing me shiver, he stretched a front leg toward the swearshirt, pawing the edge and snarling when he realized he couldnt grab it. "The lack of opposanle thumbs is going to take some getting used to, huh?" He motioned me closer with his muzzel. When I pretended not to understand, he twisted and gingerly took the hem of the swearshirt between his teeth, lips curled in discust as he tugged it. "Okay, okay. I'm just trying not to croud you." That wasnt the only reason i was uncomfortanle getting too cozy with him now, but he just grunted, again seeming to say it was fine. i moved over beside himm. He shifted, his torso making a partial wind block, the boddy heat from the change still blasting like a furnace. He grunted. "Yes, thats better.thanks. now get some rest." i had no idea what would happen now. i doubted derek did either. he'd been focused on getting through the change. what i did know was that this was only half the process. he had to change back, and he'd need time and rest for that. and how would it happen? did he have to wait until his body was ready, like he did with the change to a wolf? how long would that be?hours?days? Feeling his gaze on me, i forced a smile and pushed back my worries. it would be okat. he could change. that was the important thing. when i relaxed, he shifted closer, fur brushing my hand. i tentatively touched it, feeling the coarse top layer and soft undercoar. he leaned against my hand, as if to sat it was okaym and i buried my hand in his fur, his skin so hot from the change it was like putting my numb hands on a radiator. my cool fingers must have felt just as good, because he closed his eyes and shifte until i was leaning on him. within minutes he was asleep. i closed my eyes, meaning to rest for just a moment, but the next thing i knew, i was waking up, curled on my side, using derek as a pillow. i jumped. he looked over at me. "S-sorry, I didn't mean-" He cut me short with a growl, telling me off for apologizing.

He holds Willem so close that he can feel muscles from his back to his fingertips come alive, so close that he can feel Willem's heart beating against his, can feel his rib cage against his, and his stomach deflating and inflating with air. 'Harder,' Willem tells him, and he does until his arms grow first fatigued and then numb, until his body is sagging with tiredness, until he feels that he really is falling: first through the mattress, and then the bed frame, and then the floor itself, until he is sinking in slow motion through all the floors of the building, which yield and swallow him like jelly. Down he goes through the fifth floor, where Richard's family is now storing stacks of Moroccan tiles, down through the fourth floor, which is empty, down through Richard and India's apartment, and Richard's studio, and then to the ground floor, and into the pool, and then down and down, farther and farther, past the subway tunnels, past bedrock and silt, through underground lakes and oceans of oil, through layers of fossil and shale, until he is drifting into the fire at the earth's core. And the entire time, Willem is wrapped around him, and as they enter the fire, they aren't burned but melted into one being, their legs and chests and arms and heads fusing into one.

Walt Whitman (1819–1892). Leaves of Grass. 1900. To You WHOEVER you are, I fear you are walking the walks of dreams, I fear these supposed realities are to melt from under your feet and hands; Even now, your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from you, Your true Soul and Body appear before me, They stand forth out of affairs—out of commerce, shops, law, science, work, forms, clothes, the house, medicine, print, buying, selling, eating, drinking, suffering, dying. Whoever you are, now I place my hand upon you, that you be my poem; I whisper with my lips close to your ear, I have loved many women and men, but I love none better than you. O I have been dilatory and dumb; I should have made my way straight to you long ago; I should have blabb’d nothing but you, I should have chanted nothing but you. I will leave all, and come and make the hymns of you; None have understood you, but I understand you; None have done justice to you—you have not done justice to yourself; None but have found you imperfect—I only find no imperfection in you; None but would subordinate you—I only am he who will never consent to subordinate you; I only am he who places over you no master, owner, better, God, beyond what waits intrinsically in yourself. Painters have painted their swarming groups, and the centre figure of all; From the head of the centre figure spreading a nimbus of gold-color’d light; But I paint myriads of heads, but paint no head without its nimbus of gold-color’d light; From my hand, from the brain of every man and woman it streams, effulgently flowing forever. O I could sing such grandeurs and glories about you! You have not known what you are—you have slumber’d upon yourself all your life; Your eye-lids have been the same as closed most of the time; What you have done returns already in mockeries; (Your thrift, knowledge, prayers, if they do not return in mockeries, what is their return?) The mockeries are not you; Underneath them, and within them, I see you lurk; I pursue you where none else has pursued you; Silence, the desk, the flippant expression, the night, the accustom’d routine, if these conceal you from others, or from yourself, they do not conceal you from me; The shaved face, the unsteady eye, the impure complexion, if these balk others, they do not balk me, The pert apparel, the deform’d attitude, drunkenness, greed, premature death, all these I part aside. There is no endowment in man or woman that is not tallied in you; There is no virtue, no beauty, in man or woman, but as good is in you; No pluck, no endurance in others, but as good is in you; No pleasure waiting for others, but an equal pleasure waits for you. As for me, I give nothing to any one, except I give the like carefully to you; I sing the songs of the glory of none, not God, sooner than I sing the songs of the glory of you. Whoever you are! claim your own at any hazard! These shows of the east and west are tame, compared to you; These immense meadows—these interminable rivers—you are immense and interminable as they; These furies, elements, storms, motions of Nature, throes of apparent dissolution—you are he or she who is master or mistress over them, Master or mistress in your own right over Nature, elements, pain, passion, dissolution. The hopples fall from your ankles—you find an unfailing sufficiency; Old or young, male or female, rude, low, rejected by the rest, whatever you are promulges itself; Through birth, life, death, burial, the means are provided, nothing is scanted; Through angers, losses, ambition, ignorance, ennui, what you are picks its way.

It may be possible to do without dancing entirely. Instances have been known of young people passing many, many months successively, without being at any ball of any description, and no material injury accrue either to body or mind;-- but when a beginning is made-- when the felicities of rapid motion have once been, though slightly, felt-- it must be a very heavy set that does not ask for more.

to cheat your way into a job bigger than your mind can handle is to become a fear-corroded ape on borrowed motions and borrowed time, and to settle down into a job that requires less than your mind’s full capacity is to cut your motor and sentence yourself to another kind of motion: decay - that your work is the process of achieving your values, and to lose your ambition for values is to lose your ambition to live - that your body is a machine, but your mind is its driver, and you must drive as far as your mind will take you, with achievement as the goal of your road - that the man who has no purpose is a machine that coasts downhill at the mercy of any boulder to crash in the first chance ditch, that the man who stifles his mind is a stalled machine slowly going to rust, that the man who lets a leader prescribe his course is a wreck being towed to the scrap heap, and the man who makes another man his goal is a hitchhiker no driver should ever pick up - that your work is the purpose of your life, and you must speed past any killer who assumes the right to stop you, that any value you might find outside your work, any other loyalty or love, can be only travelers you choose to share your journey and must be travelers going on their own power in the same direction.

Of the not very many ways known of shedding one's body, falling, falling, falling is the supreme method, but you have to select your sill or ledge very carefully so as not to hurt yourself or others. Jumping from a high bridge is not recommended even if you cannot swim, for wind and water abound in weird contingencies, and tragedy ought not to culminate in a record dive or a policeman's promotion. If you rent a cell in the luminous waffle, room 1915 or 1959, in a tall business centre hotel browing the star dust, and pull up the window, and gently - not fall, not jump - but roll out as you should for air comfort, there is always the chance of knocking clean through into your own hell a pacific noctambulator walking his dog; in this respect a back room might be safer, especially if giving on the roof of an old tenacious normal house far below where a cat may be trusted to flash out of the way. Another popular take-off is a mountaintop with a sheer drop of say 500 meters but you must find it, because you will be surprised how easy it is to miscalculate your deflection offset, and have some hidden projection, some fool of a crag, rush forth to catch you, causing you to bounce off it into the brush, thwarted, mangled and unnecessarily alive. The ideal drop is from an aircraft, your muscles relaxed, your pilot puzzled, your packed parachute shuffled off, cast off, shrugged off - farewell, shootka (little chute)! Down you go, but all the while you feel suspended and buoyed as you somersault in slow motion like a somnolent tumbler pigeon, and sprawl supine on the eiderdown of the air, or lazily turn to embrace your pillow, enjoying every last instant of soft, deep, death-padded life, with the earth's green seesaw now above, now below, and the voluptuous crucifixion, as you stretch yourself in the growing rush, in the nearing swish, and then your loved body's obliteration in the Lap of the Lord.

Two hundred miles from the surface of the earth there is no gravity. The laws of motion are suspended. You could turn somersaults slowly slowly, weight into weightlessness, nowhere to fall. As you lay on your back paddling in space you might notice your feet had fled your head. You are stretching slowly slowly, getting longer, your joints are slipping away from their usual places. There is no connection between your shoulder and your arm. You will break up bone by bone, fractured from who you are, drifting away now, the centre cannot hold.

solitude is, more or less, an inevitable circumstance. Sometimes, however, this sense of isolation, like acid spilling out of a bottle, can unconsciously eat away at a person’s heart and dissolve it. You could see it, too, as a kind of double-edged sword. It protects me, but at the same time steadily cuts away at me from the inside. I think in my own way I’m aware of this danger—probably through experience—and that’s why I’ve had to constantly keep my body in motion, in some cases pushing myself to the limit, in order to heal the loneliness I feel inside and to put it in perspective. Not so much as an intentional act, but as an instinctive reaction.

Murphy caught that arm and continued the motion, using her own body as a fulcrum in a classic hip throw - except that Binder was facing in the opposite direction than usual for that technique. You could hear his arm come out of its socket fifty feet away. And then he hit the gravel face-first. Binder got extra points for brains in my book, after that: he lay still and didn't put up a struggle as Murphy dragged his wrists behind his back and cuffed him. I traded a glance with Mouse and said, wisely, 'Hard-core.

...Her body twitched from his magic. "What is this feeling?" She panted as she asked the question. Her body felt pleasantly soft. His motions slowed and became languid. "It's called an orgasm," he replied in that slow, silky way of his. She loved his voice when it got thick like honey. Most of the time he spoke so quickly that she lost track. She liked it when his tone got deep and husky. "You should have one every time a man touches you. If you don't, punch him in the face.

She is oblivious to what I have done to her. She is unaware of the damage I have wrought; the ruin I have set in motion. To this beautiful young woman with the heart-shaped face and lush body-the woman my husband Richard, left me for-I'm as invisible as the pigeon scavenging on the sidewalk next to me. She has no idea what will happen to her if she continues like this. None at all.

When you discover yourself lying on the ground, limp and unresisting, head in the dirt, and helpless, the earth seems to shift forward as a presence; hard, emphatic, not mere surface but a genuine force—there is no other word for it but presence. To keep in motion is to keep in time and to be stopped, stilled, is to be abruptly out of time, in another time-dimension perhaps, an alien one, where human language has no resonance. Nothing to be said about it expresses it, nothing touches it, it’s an absolute against which nothing human can be measured…Moving through space and time by way of your own volition you inhabit an interior consciousness, a hallucinatory consciousness, it might be said, so long as breath, heartbeat, the body’s autonomy hold; when motion is stopped you are jarred out of it. The interior is invaded by the exterior. The outside wants to come in, and only the self’s fragile membrane prevents it.

Once upon a time, there was a bird. He was adorned with two perfect wings and with glossy, colorful, marvelous feathers. One day, a woman saw this bird and fell in love with him. She invited the bird to fly with her, and the two travelled across the sky in perfect harmony. She admired and venerated and celebrated that bird. But then she thought: He might want to visit far-off mountains! And she was afraid, afraid that she would never feel the same way about any other bird. And she thought: “I’m going to set a trap. The next time the bird appears, he will never leave again.” The bird, who was also in love, returned the following day, fell into the trap and was put in a cage. She looked at the bird every day. There he was, the object of her passion, and she showed him to her friends, who said: “Now you have everything you could possibly want.” However, a strange transformation began to take place: now that she had the bird and no longer needed to woo him, she began to lose interest. The bird, unable to fly and express the true meaning of his life, began to waste away and his feathers to lose their gloss; he grew ugly; and the woman no longer paid him any attention, except by feeding him and cleaning out his cage. One day, the bird died. The woman felt terribly sad and spent all her time thinking about him. But she did not remember the cage, she thought only of the day when she had seen him for the first time, flying contentedly amongst the clouds. If she had looked more deeply into herself, she would have realized that what had thrilled her about the bird was his freedom, the energy of his wings in motion, not his physical body. Without the bird, her life too lost all meaning, and Death came knocking at her door. “Why have you come?” she asked Death. “So that you can fly once more with him across the sky,” Death replied. “If you had allowed him to come and go, you would have loved and admired him ever more; alas, you now need me in order to find him again.

He had to hold his body very still, very still, like some vessel about to slosh over from too much motion. Gradually he managed to get control of his breathing. His excited heart beat more steadily; the pounding of the waves inside him subsided slowly. And suddenly solitude fell across his heart like a dusky reflection. He closed his eyes. The dark doors within him opened, and he entered. The next performance in the theatre of his soul was beginning.

I suppose therefore that all things I see are illusions; I believe that nothing has ever existed of everything my lying memory tells me. I think I have no senses. I believe that body, shape, extension, motion, location are functions. What is there then that can be taken as true? Perhaps only this one thing, that nothing at all is certain ... But I cannot forget that, at other times I have been deceived in sleep by similar illusions; and, attentively considering those cases, I perceive so clearly that there exist no certain marks by which the state of waking can ever be distinguished from sleep, that I feel greatly astonished; and in amazement I almost persuade myself that I am now dreaming ... I am accustomed to sleep and in my dreams to imagine the same things that lunatics imagine when awake ... There is nothing more ancient than the truth.

How about a little bet?” I had a feeling I wouldn’t like what he was going to suggest, but I motioned for him to keep talking. “If I manage to give you an orgasm today, then we put the ankle monitor back on. If you manage to resist my skills, we throw that thing in the trash.” “Only one?” “Greedy girl,” he said teasingly, his dark eyes sparkling with excitement. “I thought you weren’t attracted to me? Are you worried your body won’t be able to resist me?

Vishous came up onto the dais, his eyes down. He accepted the silver glove from Z and slipped it over the black leather he already wore on his hand. Then he scored himself with a quick flash of the black blade and stared at the skull as his blood dripped down into the basin, joining the others'. "My flesh," he whispered. He seemed to hesitate before turning to Butch. Then he pivoted and their eyes met. As candlelight flickered over V's hard face and got caught in his diamond irises, Butch felt his breath get tight: At that moment, his roommate looked as powerful as a god...and maybe even as beautiful. Vishous stepped in close and slid his hand from Butch's shoulder to the back of his neck. "Your flesh," V breathed. Then he paused, as if asking for something. Without thinking, Butch titled his chin up, aware that he was offering himself, aware the he...oh, fuck. He stopped his thoughts, completely weirded out by the vibe that had sprung up from God only knew where. In slow motion Vishous's dark head dropped down and there was a silken brush as his goatee moved against Butch's throat. With delicious precision, V's fangs pressed against the vein that ran up from Butch's heart, then slowly, inexorably, punched through skin. Their chests merged. Butch closed his eyes and absorbed the feel of it all, the warmth of their bodies so close, the way V's hair felt soft on his jaw, the slide of a powerful male arm as it slipped around his waist. On their own accord, Butch's hands left the pegs and came to rest on V's hips, squeezing that hard flesh, bringing them together from head to foot. A tremor went through one of them. Or maybe...shit, it was more likely they both shuddered.

Pick,” Emma tells her. Tira’s lip trembles. She tries to back out of sight, but someone pushes her forward. “Pick…Pick what?” Emma motions to the halo of predators above them, around them, everywhere. “Pick two. Any two you want, and I will have them divide Jagen’s body evenly.” “No!” Jagen screams, his face contorted in terror. Emma cocks her head at him. “Jagen, make up your mind. Didn’t you just say you don’t believe I have the Gift? So then why should you care if she points to some harmless sharks?” He clamps his mouth shut, but the look of panic stays. Tira says, “I couldn’t do that, Highness.” Highness! Someone called Emma “Highness!” It’s one of the many names she calls Galen when she’s mad at him. The irony is not lost on Emma. Her death glare cuts off his snickers. She turns back to Tira. “Of course you can. There’s nothing to worry about because Paca has the Gift, remember? Isn’t that what you all believe? She would never let any harm come to her own father, would she? I know I wouldn’t. So go ahead and pick. Paca will save Jagen.” Clever little angelfish. Galen smirks at Jagen, who won’t meet his eyes. Nalia and Grom make their way to the edge of the center. Grom grins at Emma like she’s his own daughter. Which is very weird for Galen.

The more I consider this mighty tail, the more do I deplore my inability to express it. At times there are gestures in it, which, though they would well grace the hand of man, remain wholly inexplicable. In an extensive herd, so remarkable, occasionally, are these mystic gestures, that I have heard hunters who have declared them akin to Free-Mason signs and symbols; that the whale, indeed, by these methods intelligently conversed with the world. Nor are there wanting other motions of the whale in his general body, full of strangeness, and unaccountable to his most experienced assailant. Dissect him how I may, then, I but go skin deep; I know him not, and never will. But if I know not even the tail of this whale, how understand his head? much more, how comprehend his face, when face he has none? Thou shalt see my back parts, my tail, he seems to say, but my face shall not be seen. But I cannot completely make out his back parts; and hint what he will about his face, I say again he has no face.

Then, he angled his large body toward me, eating a big chunk of the distance that had been separating us. The motion had been unexpected, and my breath hitched with surprise. Hyperaware of how close he had come, I stuttered. Suddenly not knowing what to say or if I was expected to say anything at all. Aaron’s arm reached out, the backs of his fingers gracing my temple. My lips parted, tingles spreading down my skin. It was him who lowered his voice then. “Always fighting me.” I looked up at his handsome and stern face, his assessing blue eyes surveying my reaction. “Resisting me.” My heart tripped, making my chest feel like I had just sprinted a mile or two. Aaron’s head dipped, his mouth coming close to where his fingers had been a few seconds ago. Almost as close as it had been when we danced. “It’s like you want me to beg. Is that something you’d enjoy? Me begging?” His voice sounded so … intimate. Hushed. But it was his next words that scattered my thoughts all over the place. “Is that what this is? You like bringing me to my knees?” Whoa.

He has lost his daughters, but he has also lost the memory of losing them. But he has not lost the loss. Pain is as present in his body as his signature is in his hand. He can sign his name perfectly, but he can't print it. W, he tries. But the a is impossible without the cursive tilt, the remembered motion of the letter before. He knows his name but can't see, can't feel, the separate parts, which are only possible from the inertia of his hand. He knows his grief, too, but its source is also lost without its movement. It is a static thing, unrecognizable, disconnected.

You appear to me not to have understood the nature of my body & mind. Partly from ill-health, & partly from an unhealthy & reverie-like vividness of Thoughts, & (pardon the pedantry of the phrase) a diminished Impressibility from Things, my ideas, wishes, & feelings are to a diseased degree disconnected from motion & action. In plain and natural English, I am a dreaming & therefore an indolent man. I am a Starling self-incaged, & always in the Moult, & my whole Note is, Tomorrow, & tomorrow, & tomorrow.

It's only when movement becomes the most natural state in our lives that we can finally begin to enjoy the motion. And it's only when standing still becomes impossible that we can finally embrace the kinds of changes that are inevitable in our lives. We were not designed to stand still. If we were, we'd have at least three legs. We were designed to move. Our bodies are bodies that have walked across vast continents. Our bodies are bodies that have carried objects of art and war over great distances. We are no less mobile than our ancestors. We are athletes. We are warriors. We are human.

The principle of vis inertiae (...) seems to be identical in physics and metaphysics. It is not more true in the former, that a large body is with more difficulty set in motion than a smaller one, and that its subsequent momentum is commensurate with this difficulty, than it is, in the latter, that intellects of the vaster capacity, while more forcible, more constant, and more eventful in their movements than those of inferior grade, are yet the less readily moved, and more embarrassed, and full of hesitation in the first few steps of their progress

Micah knew the power of a look. When two people touched from across a distance, that touch could be frightening, wary, or a stroke of gentleness. He stroked her gently. He never let his eyes dip below her chin; rather, he let himself take in every nuance of expression, every shift of each facial motion, the flicker of her lashes, the shadows in her eyes, the tension in her small body. She was like a bird ready to fly. Poised at the edge of her seat, her body stiff and prepared to run.

For the purposes of science, information had to mean something special. Three centuries earlier, the new discipline of physics could not proceed until Isaac Newton appropriated words that were ancient and vague—force, mass, motion, and even time—and gave them new meanings. Newton made these terms into quantities, suitable for use in mathematical formulas. Until then, motion (for example) had been just as soft and inclusive a term as information. For Aristotelians, motion covered a far-flung family of phenomena: a peach ripening, a stone falling, a child growing, a body decaying. That was too rich. Most varieties of motion had to be tossed out before Newton’s laws could apply and the Scientific Revolution could succeed. In the nineteenth century, energy began to undergo a similar transformation: natural philosophers adapted a word meaning vigor or intensity. They mathematicized it, giving energy its fundamental place in the physicists’ view of nature. It was the same with information. A rite of purification became necessary. And then, when it was made simple, distilled, counted in bits, information was found to be everywhere.

The elk that you glimpse in the summer, those at the forest edge, are survivors of winter, only the strongest. You see one just before dusk that summer, standing at the perimeter of the meadow so it can step back to the forest and vanish. You can't help imagining the still, frozen nights behind it, so cold that the slightest motion is monumental. I have found their bodies, half drifted over in snow, no sign of animal attack or injury. Just toppled over one night with ice working into their lungs. You wouldn't want to stand outside for more than a few minutes in that kind of weather. If you lived through only one of those winters the way this elk has, you would write books about it. You would become a shaman. You would be forever changed. That elk from the winter stands there on the summer evening, watching from beside the forest. It keeps its story to itself.

He stood naked at the edge of a cliff. THe lake lay far below him. A frozen explosion of granite burst in flight to the sky over motionless water. The water seemed immovable, the stone- flowing. The stone had the stillness of one last movement when thrust meets thrust and the currents are held in a pause more dynamic than motion. THe stone glowed wet with sunrays. The lake below was only a thin steel ring that cut the rocks in half. The rocks went on into the depth, unchanged. They began and ended in the sky so that the world seemed suspended in space, an island floating on on nothing, anchored to the feet of the man on the cliff. His body leaned back against the sky. It was a body of long straight lines and angles each curve broken into planes. He stood rigid his hands hanging at his sides, palms out. He felt his shoulder blades drawn tight together. The curve of his neck, and the weight of the blood in his hands. He felt the wind behind him in the hollow of his spine. The wind waved his hair against the sky. His hair was neither blonde nor red, but the exact color or ripe orange rind... He stepped to the edge, raised his arms, and dived down into the sky below.

Is it possible that the Pentateuch could not have been written by uninspired men? that the assistance of God was necessary to produce these books? Is it possible that Galilei ascertained the mechanical principles of 'Virtual Velocity,' the laws of falling bodies and of all motion; that Copernicus ascertained the true position of the earth and accounted for all celestial phenomena; that Kepler discovered his three laws—discoveries of such importance that the 8th of May, 1618, may be called the birth-day of modern science; that Newton gave to the world the Method of Fluxions, the Theory of Universal Gravitation, and the Decomposition of Light; that Euclid, Cavalieri, Descartes, and Leibniz, almost completed the science of mathematics; that all the discoveries in optics, hydrostatics, pneumatics and chemistry, the experiments, discoveries, and inventions of Galvani, Volta, Franklin and Morse, of Trevithick, Watt and Fulton and of all the pioneers of progress—that all this was accomplished by uninspired men, while the writer of the Pentateuch was directed and inspired by an infinite God? Is it possible that the codes of China, India, Egypt, Greece and Rome were made by man, and that the laws recorded in the Pentateuch were alone given by God? Is it possible that Æschylus and Shakespeare, Burns, and Beranger, Goethe and Schiller, and all the poets of the world, and all their wondrous tragedies and songs are but the work of men, while no intelligence except the infinite God could be the author of the Pentateuch? Is it possible that of all the books that crowd the libraries of the world, the books of science, fiction, history and song, that all save only one, have been produced by man? Is it possible that of all these, the bible only is the work of God?

I am not, I regret to say, a discreet and fetching sleeper. Most people when they nod off look as if they could do with a blanket; I look as if I could do with medical attention. I sleep as if injected with a powerful experimental muscle relaxant. My legs fall open in a grotesque come-hither manner; my knuckles brush the floor. Whatever is inside—tongue, uvula, moist bubbles of intestinal air—decides to leak out. From time to time, like one of those nodding-duck toys, my head tips forward to empty a quart or so of viscous drool onto my lap, then falls back to begin loading again with a noise like a toilet cistern filling. And I snore, hugely and helplessly, like a cartoon character, with rubbery flapping lips and prolonged steam-valve exhalations. For long periods I grow unnaturally still, in a way that inclines onlookers to exchange glances and lean forward in concern, then dramatically I stiffen and, after a tantalizing pause, begin to bounce and jostle in a series of whole-body spasms of the sort that bring to mind an electric chair when the switch is thrown. Then I shriek once or twice in a piercing and effeminate manner and wake up to find that all motion within five hundred feet has stopped and all children under eight are clutching their mothers’ hems. It is a terrible burden to bear.

Season late, day late, sun just down, and the sky Cold gunmetal but with a wash of live rose, and she, From water the color of sky except where Her motion has fractured it to shivering splinters of silver, Rises. Stands on the raw grass. Against The new-curdling night of spruces, nakedness Glimmers and, at bosom and flank, drips With fluent silver. The man, Some ten strokes out, but now hanging Motionless in the gunmetal water, feet Cold with the coldness of depth, all History dissolving from him, is Nothing but an eye. Is an eye only. Sees The body that is marked by his use, and Time's, Rise, and in the abrupt and unsustaining element of air, Sway, lean, grapple the pond-bank. Sees How, with that posture of female awkwardness that is, And is the stab of, suddenly perceived grace, breasts bulge down in The pure curve of their weight and buttocks Moon up and, in swelling unity, Are silver and glimmer. Then The body is erect, she is herself, whatever Self she may be, and with an end of the towel grasped in each hand, Slowly draws it back and forth across back and buttocks, but With face lifted toward the high sky, where The over-wash of rose color now fails. Fails, though no star Yet throbs there. The towel, forgotten, Does not move now. The gaze Remains fixed on the sky. The body, Profiled against the darkness of spruces, seems To draw to itself, and condense in its whiteness, what light In the sky yet lingers or, from The metallic and abstract severity of water, lifts. The body, With the towel now trailing loose from one hand, is A white stalk from which the face flowers gravely toward the high sky. This moment is non-sequential and absolute, and admits Of no definition, for it Subsumes all other, and sequential, moments, by which Definition might be possible. The woman, Face yet raised, wraps, With a motion as though standing in sleep, The towel about her body, under her breasts, and, Holding it there hieratic as lost Egypt and erect, Moves up the path that, stair-steep, winds Into the clamber and tangle of growth. Beyond The lattice of dusk-dripping leaves, whiteness Dimly glimmers, goes. Glimmers and is gone, and the man, Suspended in his darkling medium, stares Upward where, though not visible, he knows She moves, and in his heart he cries out that, if only He had such strength, he would put his hand forth And maintain it over her to guard, in all Her out-goings and in-comings, from whatever Inclemency of sky or slur of the world's weather Might ever be. In his heart he cries out. Above Height of the spruce-night and heave of the far mountain, he sees The first star pulse into being. It gleams there. I do not know what promise it makes him.

Make a conscious choice. Decide to move your index finger. Too late! The electricity's already halfway down your arm. Your body began to act a full half-second before your conscious self 'chose' to, for the self chose nothing; something else set your body in motion, sent an executive summary—almost an afterthought— to the homunculus behind your eyes. That little man, that arrogant subroutine that thinks of itself as the person, mistakes correlation for causality: it reads the summary and it sees the hand move, and it thinks that one drove the other. But it's not in charge. You're not in charge. If free will even exists, it doesn't share living space with the likes of you.

Your true soul and body appear before me. Whoever you are, now I place my hand upon you, that you be my poem, I whisper with my lips close to your ear, I have loved many women and men, but I love none better than you. O I have been dilatory and dumb, I should have made my way straight to you long ago, I should h ave blabb'd nothing but you, I should have chanted nothing but you. I will leave all and come and make the hymns of you, none has understood you, but I understand you, none has done justice to you, you have not done justice to yourself, none but has found you imperfect, I only find no imperfection in you, none but would subordinate you, I only am he who will never consent to subordinate you, I only am he who places over you no master, owner, better, God, beyond what waits instrinsically in yourself. O I could sing such grandeurs and glories about you! You have not known what you are, you have slumber'd upon yourself all your life, Your eyelids have been the same as closed most of the time. I pursue you where none else has pursued you. Conceal you from others or from yourself, they do not conceal you from me. I give nothing to any one except I give the like carefully to you. These immense meadows, these interminable rivers, you are immense and interminable as they, these furies, elements, storms, motions of Nature, throes of apparent dissolution, you are he or she who is master or mistress over them, Master or mistress in your own right over Nature, elements, pain, passion, dissolution.

Free! Body and soul free!" she kept whispering. Josephine was kneeling before the closed door with her lips to the keyhole, imploring for admission. "Louise, open the door! I beg; open the door--you will make yourself ill. What are you doing, Louise? For heaven's sake open the door." Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open window. Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long. She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister's waist, and together they descended the stairs. Richards stood waiting for them at the bottom. Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident, and did not even know there had been one. He stood amazed at Josephine's piercing cry; at Richards' quick motion to screen him from the view of his wife. When the doctors came they said she had died of heart disease--of the joy that kills. (last lines)

One night, very late, he rubs Willem's shoulder and when Willem opens his eyes, he apologizes to him. But Willem shakes his head, and then moves on top of him, and holds him so tightly that he finds it difficult to breathe. “You hold me back,” Willem tells him. “Pretend we're falling and we're clinging together from fear.” He holds Willem so close that he can feel muscles from his back to his fingertips come alive, so close that he can feel Willem's heart beating against his, can feel his rib cage against his, and his stomach deflating and inflating with air. “Harder,” Willem tells him, and he does until his arms grow first fatigued and then numb, until his body is sagging with tiredness, until he feels that he really is falling: first through the mattress, and then the bed frame, and then the floor itself, until he is sinking in slow motion through all the floors of the building, which yield and swallow him like jelly. Down he goes…through the fourth floor...and then to the ground floor, and into the pool, and then down and down, farther and farther, past the subway tunnels, past bedrock and silt, through underground lakes and oceans of oil, through layers of fossils and shale, until he is drifting into the fire at the earth's core. And the entire time, Willem is wrapped around him, and as they enter the fire, they aren't burned but melted into one being, their legs and chests and arms and heads fusing into one. When he wakes the next morning, Willem is no longer on top of him but beside him, but they are still intertwined, and he feels slightly drugged, and relieved, for he has not only not cut himself but he has slept, deeply, two things he hasn't done in months. That morning he feels fresh-scrubbed and cleansed, as if he is being given yet another opportunity to live his life correctly.

Hold still baby girl. Hold still. I need you to do something for me,” he said quietly. I opened my mouth and said, “What?” but no words came out. I tried again. Nothing. He smiled. He continued to lick my hip bone. He kissed it and looked me in the eyes. “You listening?” he asked. As I squeezing the countertop with each hand, my arms beside my body, my hands beside my butt, I nodded. “Fuck my tongue. I want you to fuck my mouth, do you hear me?” I opened my mouth and squeaked. My eyes closed. I felt his tongue move from my hip to my clit. His palm slid slowly across my hip, and rested in the depression between my hip and my pussy. His thumb was positioned on the skin above my clit, and pushed upward, exposing my clit totally. As his tongue met my clit, I squirmed. I felt his lip on top of my clit, and his tongue on the bottom. He started a motion with his tongue and lip, with my clit in between. About three seconds into it, I was done…almost to climax. I felt myself begin to cum. No, not yet, not yet, please…make this last. He lifted his head, and looked me in the eye. He must have sensed I was going to cum. “No, don’t stop. Please, Erik, don’t fucking stop.” I begged. “Fuck my mouth. Grind your pussy on my face baby girl, do you hear me?” “Yes sir. Do it. Do that again. Exactly what you were doing, exactly,” I said, hoping he could duplicate what he was doing.

We say it is "explanation" but it is only in "description" that we are in advance of the older stages of knowledge and science. We describe better we explain just as little as our predecessors. We have discovered a manifold succession where the naive man and investigator of older cultures saw only two things "cause" and "effect " as it was said we have perfected the conception of becoming but have not got a knowledge of what is above and behind the conception. The series of "causes" stands before us much more complete in every case we conclude that this and that must first precede in order that that other may follow - but we have not grasped anything thereby. The peculiarity for example in every chemical process seems a "miracle " the same as before just like all locomotion nobody has "explained" impulse. How could we ever explain We operate only with things which do not exist with lines surfaces bodies atoms divisible times divisible spaces - how can explanation ever be possible when we first make everything a conception our conception It is sufficient to regard science as the exactest humanizing of things that is possible we always learn to describe ourselves more accurately by describing things and their successions. Cause and effect: there is probably never any such duality in fact there is a continuum before us from which we isolate a few portions - just as we always observe a motion as isolated points and therefore do not properly see it but infer it. The abruptness with which many effects take place leads us into error it is however only an abruptness for us. There is an infinite multitude of processes in that abrupt moment which escape us. An intellect which could see cause and effect as a continuum which could see the flux of events not according to our mode of perception as things arbitrarily separated and broken - would throw aside the conception of cause and effect and would deny all conditionality.

To regard all things and principles of things as inconstant modes or fashions has more and more become the tendency of modern thought. Let us begin with that which is without - our physical life. Fix upon it in one of its more exquisite intervals, the moment, for instance, of delicious recoil from the flood of water in summer heat. What is the whole physical life in that moment but a combination of natural elements to which science gives their names? But these elements, phosphorus and lime and delicate fibres, are present not in the human body alone: we detect them in places most remote from it. Our physical life is a perpetual motion of them - the passage of the blood, the wasting and repairing of the lenses of the eye, the modification of the tissues of the brain by every ray of light and sound - processes which science reduces to simpler and more elementary forces. Like the elements of which we are composed, the action of these forces extends beyond us; it rusts iron and ripens corn. Far out on every side of us those elements are broadcast, driven by many forces; and birth and gesture and death and the springing of violets from the grave are but a few out of ten thousand resultant combinations. That clear, perpetual outline of face and limb is but an image of ours, under which we group them - a design in a web, the actual threads of which pass out beyond it. This at least of flame-like our life has, that it is but the concurrence, renewed from moment to moment, of forces parting sooner or later on their ways.

If man made himself the first object of study, he would see how incapable he is of going further. How can a part know the whole? But he may perhaps aspire to know at least the parts to which he bears some proportion. But the parts of the world are all so related and linked to one another, that I believe it impossible to know one without the other and without the whole. Man, for instance, is related to all he knows. He needs a place wherein to abide, time through which to live, motion in order to live, elements to compose him, warmth and food to nourish him, air to breathe. He sees light; he feels bodies; in short, he is in a dependant alliance with everything. To know man, then, it is necessary to know how it happens that he needs air to live, and, to know the air, we must know how it is thus related to the life of man, etc. Flame cannot exist without air; therefore to understand the one, we must understand the other. Since everything then is cause and effect, dependant and supporting, mediate and immediate, and all is held together by a natural though imperceptible chain, which binds together things most distant and most different, I hold it equally impossible to know the parts without knowing the whole, and to know the whole without knowing the parts in detail.

My army cries in protest. They don’t understand. Golds don’t do this. Golds don’t sacrifice for one another. Leaders take; they do not give. My army cries out again. I ask them, how is this worse than the rape they were all so comfortable with? Is not Nyla now one of us? Is she not part of the body? Like Reds are. Like Obsidians are. Like all the Colors are. Pax tries to go light. But it’s Pax, so when he’s done, my back looks like chewed goatmeat. I stand up. Do everything I can to prevent myself from wobbling. I’m seeing stars. I want to wail. Want to cry. Instead, I tell them that anyone who does anything vile—they know what I mean—will have to whip me like this in front of the entire army. I see how they look at Tactus now, how they look at Pax, how they look at my back. “You do not follow me because I am the strongest. Pax is. You do not follow me because I am the brightest. Mustang is. You follow me because you do not know where you are going. I do.” I motion Tactus to come toward me. He wavers, pale, confused as a newborn lamb. Fear marks his face. Fear of the unknown. Fear of the pain I willingly bore. Fear when he realizes how different he is from me. “Don’t be afraid,” I tell him. I pull him forward into a hug. “We are blood brothers, you little shit. Blood brothers.” I’m learning.

The Idea of Order at Key West She sang beyond the genius of the sea. The water never formed to mind or voice, Like a body wholly body, fluttering Its empty sleeves; and yet its mimic motion Made constant cry, caused constantly a cry, That was not ours although we understood, Inhuman, of the veritable ocean. The sea was not a mask. No more was she. The song and water were not medleyed sound Even if what she sang was what she heard, Since what she sang was uttered word by word. It may be that in all her phrases stirred The grinding water and the gasping wind; But it was she and not the sea we heard. For she was the maker of the song she sang. The ever-hooded, tragic-gestured sea Was merely a place by which she walked to sing. Whose spirit is this? we said, because we knew It was the spirit that we sought and knew That we should ask this often as she sang. If it was only the dark voice of the sea That rose, or even colored by many waves; If it was only the outer voice of sky And cloud, of the sunken coral water-walled, However clear, it would have been deep air, The heaving speech of air, a summer sound Repeated in a summer without end And sound alone. But it was more than that, More even than her voice, and ours, among The meaningless plungings of water and the wind, Theatrical distances, bronze shadows heaped On high horizons, mountainous atmospheres Of sky and sea. It was her voice that made The sky acutest at its vanishing. She measured to the hour its solitude. She was the single artificer of the world In which she sang. And when she sang, the sea, Whatever self it had, became the self That was her song, for she was the maker. Then we, As we beheld her striding there alone, Knew that there never was a world for her Except the one she sang and, singing, made. Ramon Fernandez, tell me, if you know, Why, when the singing ended and we turned Toward the town, tell why the glassy lights, The lights in the fishing boats at anchor there, As the night descended, tilting in the air, Mastered the night and portioned out the sea, Fixing emblazoned zones and fiery poles, Arranging, deepening, enchanting night. Oh! Blessed rage for order, pale Ramon, The maker's rage to order words of the sea, Words of the fragrant portals, dimly-starred, And of ourselves and of our origins, In ghostlier demarcations, keener sounds

She looked around the room, glanced over him and Micah waited. Her Gaze passed him, then again. On the third pass she lingered as she continued to watch her, allowing his gaze to memorize those features just before her eyes met his. A jolt od power flashed through him. Her ligth blue eyes flickered with interest, fear, then interest again, as though she wasn't certain which she should feel. He let his gaze continue to hers, let his mind reach out to her, soothe her, ease her. He used his eyes rather than his expression to calm the fear that he knew he would be rising within her. Micah knew the power of a look. When two people touched from across a distance, that touch could be frightening, wary, or a stroke of gentleness. He stroked her gently. He never let his eyes dip below her chin; rather, he let himself take in every nuance of expression, every shift of each facial motion, the flicker of her lashes, the shadows in her eyes, the tension in her small body. She was like a little bird ready to fly. Poised at the edge of her seat.her body stiff and prepared to run. Easy, little bird, he thought, letting his thoughts touch his gaze. There is no pain here; there is no fear.

When an animal dies, another of the same species may cling to the body, eat the body, or look bored. Bees expel dead bodies from the hive or, if that is impossible, embalm them in honey. Elephants "say" a ritualistic good-bye, and touch their dead before slowly walking away. Corvids often accept the death of a companion without much fuss, but they at times have “funerals,” where scores of birds lament over the corpse of a deceased crow. But it is a bit odd that people should investigate whether animals “comprehend death,” as if human beings understood what it means to die. Is death a prelude to reincarnation? A portal to Heaven or Hell? Complete extinction? Union with all life? Or something else? All of these views can at times be comforting, yet people usually fear death, quite regardless of what they claim to believe. In the natural world, killing seems a casual affair. Human beings, of course, kill on a massive scale, but most of us can only kill, if at all, by softening the impact of the deed through rituals such as drink or prayer. The strike of a spider, a heron, or a cat is swift and, seemingly, without inhibition or remorse. They pounce with a confidence that could indicate ignorance, indifference, or else profound knowledge. Could this be, perhaps, because animals cannot conceive of killing, since they are not aware of death? Could it be because they understand death well, far better than do human beings? If animals envision the world not in terms of abstract concepts but sensuous images, the soul might appear as a unique scent, a rhythmic motion, or a tone of voice. Death would be the absence of these, though without that absolute finality that we find so severe. Perhaps the heron that snaps a fish thinks his meal lives on, as he one day will, in the form of currents in the pond.

The avatar smiled silkily as it leaned closer to him, as though imparting a confidence. "Never forget I am not this silver body, Mahrai. I am not an animal brain, I am not even some attempt to produce an AI through software running on a computer. I am a Culture Mind. We are close to gods, and on the far side. "We are quicker; we live faster and more completely than you do, with so many more senses, such a greater store of memories and at such a fine level of detail. We die more slowly, and we die more completely, too. Never forget I have had the chance to compare and contrast the ways of dying. [...] "I have watched people die in exhaustive and penetrative detail," the avatar continued. "I have felt for them. Did you know that true subjective time is measured in the minimum duration of demonstrably separate thoughts? Per second, a human—or a Chelgrian—might have twenty or thirty, even in the heightened state of extreme distress associated with the process of dying in pain." The avatar's eyes seemed to shine. It came forward, close to his face by the breadth of a hand. "Whereas I," it whispered, "have billions." It smiled, and something in its expression made Ziller clench his teeth. "I watched those poor wretches die in the slowest of slow motion and I knew even as I watched that it was I who'd killed them, who at that moment engaged in the process of killing them. For a thing like me to kill one of them or one of you is a very, very easy thing to do, and, as I discovered, absolutely disgusting. Just as I need never wonder what it is like to die, so I need never wonder what it is like to kill, Ziller, because I have done it, and it is a wasteful, graceless, worthless and hateful thing to have to do. "And, as you might imagine, I consider that I have an obligation to discharge. I fully intend to spend the rest of my existence here as Masaq' Hub for as long as I'm needed or until I'm no longer welcome, forever keeping an eye to windward for approaching storms and just generally protecting this quaint circle of fragile little bodies and the vulnerable little brains they house from whatever harm a big dumb mechanical universe or any conscience malevolent force might happen or wish to visit upon them, specifically because I know how appallingly easy they are to destroy. I will give my life to save theirs, if it should ever come to that. And give it gladly, happily, too, knowing that trade was entirely worth the debt I incurred eight hundred years ago, back in Arm One-Six.

Questions of Travel There are too many waterfalls here; the crowded streams hurry too rapidly down to the sea, and the pressure of so many clouds on the mountaintops makes them spill over the sides in soft slow-motion, turning to waterfalls under our very eyes. —For if those streaks, those mile-long, shiny, tearstains, aren't waterfalls yet, in a quick age or so, as ages go here, they probably will be. But if the streams and clouds keep travelling, travelling, the mountains look like the hulls of capsized ships, slime-hung and barnacled. Think of the long trip home. Should we have stayed at home and thought of here? Where should we be today? Is it right to be watching strangers in a play in this strangest of theatres? What childishness is it that while there's a breath of life in our bodies, we are determined to rush to see the sun the other way around? The tiniest green hummingbird in the world? To stare at some inexplicable old stonework, inexplicable and impenetrable, at any view, instantly seen and always, always delightful? Oh, must we dream our dreams and have them, too? And have we room for one more folded sunset, still quite warm? But surely it would have been a pity not to have seen the trees along this road, really exaggerated in their beauty, not to have seen them gesturing like noble pantomimists, robed in pink. —Not to have had to stop for gas and heard the sad, two-noted, wooden tune of disparate wooden clogs carelessly clacking over a grease-stained filling-station floor. (In another country the clogs would all be tested. Each pair there would have identical pitch.) —A pity not to have heard the other, less primitive music of the fat brown bird who sings above the broken gasoline pump in a bamboo church of Jesuit baroque: three towers, five silver crosses. —Yes, a pity not to have pondered, blurredly and inconclusively, on what connection can exist for centuries between the crudest wooden footwear and, careful and finicky, the whittled fantasies of wooden cages. —Never to have studied history in the weak calligraphy of songbirds' cages. —And never to have had to listen to rain so much like politicians' speeches: two hour of unrelenting oratory and then a sudden golden silence in which the traveller takes a notebook, writes: "Is it lack of imagination that makes us come to imagined places, not just stay at home? Or could Pascal have been entirely right about just sitting quietly in one's room? Continent, city, country, society: the choice is never wide and never free. And here, or there...No. Should we have stayed at home, wherever that may be?

[986a] [1] they assumed the elements of numbers to be the elements of everything, and the whole universe to be a proportion1 or number. Whatever analogues to the processes and parts of the heavens and to the whole order of the universe they could exhibit in numbers and proportions, these they collected and correlated;and if there was any deficiency anywhere, they made haste to supply it, in order to make their system a connected whole. For example, since the decad is considered to be a complete thing and to comprise the whole essential nature of the numerical system, they assert that the bodies which revolve in the heavens are ten; and there being only nine2 that are visible, they make the "antichthon"3 the tenth.We have treated this subject in greater detail elsewhere4; but the object of our present review is to discover from these thinkers too what causes they assume and how these coincide with our list of causes.Well, it is obvious that these thinkers too consider number to be a first principle, both as the material5 of things and as constituting their properties and states.6 The elements of number, according to them, are the Even and the Odd. Of these the former is limited and the latter unlimited; Unity consists of both [20] (since it is both odd and even)7; number is derived from Unity; and numbers, as we have said, compose the whole sensible universe.Others8 of this same school hold that there are ten principles, which they enunciate in a series of corresponding pairs: (1.) Limit and the Unlimited; (2.) Odd and Even; (3.) Unity and Plurality; (4.) Right and Left; (5.) Male and Female; (6.) Rest and Motion; (7.) Straight and Crooked; (8.) Light and Darkness; (9.) Good and Evil; (10.) Square and Oblong.

Love, that is first and last of all things made, The light that has the living world for shade, The spirit that for temporal veil has on The souls of all men woven in unison, One fiery raiment with all lives inwrought And lights of sunny and starry deed and thought, And alway through new act and passion new Shines the divine same body and beauty through, The body spiritual of fire and light That is to worldly noon as noon to night; Love, that is flesh upon the spirit of man And spirit within the flesh whence breath began; Love, that keeps all the choir of lives in chime; Love, that is blood within the veins of time; That wrought the whole world without stroke of hand, Shaping the breadth of sea, the length of land, And with the pulse and motion of his breath Through the great heart of the earth strikes life and death, The sweet twain chords that make the sweet tune live Through day and night of things alternative, Through silence and through sound of stress and strife, And ebb and flow of dying death and life: Love, that sounds loud or light in all men's ears, Whence all men's eyes take fire from sparks of tears, That binds on all men's feet or chains or wings; Love that is root and fruit of terrene things; Love, that the whole world's waters shall not drown, The whole world's fiery forces not burn down; Love, that what time his own hands guard his head The whole world's wrath and strength shall not strike dead; Love, that if once his own hands make his grave The whole world's pity and sorrow shall not save; Love, that for very life shall not be sold, Nor bought nor bound with iron nor with gold; So strong that heaven, could love bid heaven farewell, Would turn to fruitless and unflowering hell; So sweet that hell, to hell could love be given, Would turn to splendid and sonorous heaven; Love that is fire within thee and light above, And lives by grace of nothing but of love; Through many and lovely thoughts and much desire Led these twain to the life of tears and fire; Through many and lovely days and much delight Led these twain to the lifeless life of night.

Kate?” Anthony yelled again. He couldn’t see anyone; a dislodged bench was blocking the opening. “Can you hear me?” Still no response. “Try the other side,” came Edwina’s frantic voice. “The opening isn’t as crushed.” Anthony jumped to his feet and ran around the back of the carriage to the other side. The door had already come off its hinges, leaving a hole just large enough for him to stuff his upper body into. “Kate?” he called out, trying not to notice the sharp sound of panic in his voice. Every breath from his lips seemed overloud, reverberating in the tight space, reminding him that he wasn’t hearing the same sounds from Kate. And then, as he carefully moved a seat cushion that had turned sideways, he saw her. She was terrifyingly still, but her head didn’t appear to be stuck in an unnatural position, and he didn’t see any blood. That had to be a good sign. He didn’t know much of medicine, but he held on to that thought like a miracle. “You can’t die, Kate,” he said as his terrified fingers yanked away at the wreckage, desperate to open the hole until it was wide enough to pull her through. “Do you hear me? You can’t die!” A jagged piece of wood sliced open the back of his hand, but Anthony didn’t notice the blood running over his skin as he pulled on another broken beam. “You had better be breathing,” he warned, his voice shaking and precariously close to a sob. “This wasn’t supposed to be you. It was never supposed to be you. It isn’t your time. Do you understand me?” He tore away another broken piece of wood and reached through the newly widened hole to grasp her hand. His fingers found her pulse, which seemed steady enough to him, but it was still impossible to tell if she was bleeding, or had broken her back, or had hit her head, or had . . . His heart shuddered. There were so many ways to die. If a bee could bring down a man in his prime, surely a carriage accident could steal the life of one small woman. Anthony grabbed the last piece of wood that stood in his way and heaved, but it didn’t budge. “Don’t do this to me,” he muttered. “Not now. It isn’t her time. Do you hear me? It isn’t her time!” He felt something wet on his cheeks and dimly realized that it was tears. “It was supposed to be me,” he said, choking on the words. “It was always supposed to be me.” And then, just as he was preparing to give that last piece of wood another desperate yank, Kate’s fingers tightened like a claw around his wrist. His eyes flew to her face, just in time to see her eyes open wide and clear, with nary a blink. “What the devil,” she asked, sounding quite lucid and utterly awake, “are you talking about?” Relief flooded his chest so quickly it was almost painful. “Are you all right?” he asked, his voice wobbling on every syllable. She grimaced, then said, “I’ll be fine.” Anthony paused for the barest of seconds as he considered her choice of words. “But are you fine right now?” She let out a little cough, and he fancied he could hear her wince with pain. “I did something to my leg,” she admitted. “But I don’t think I’m bleeding.” “Are you faint? Dizzy? Weak?” She shook her head. “Just in pain. What are you doing here?” He smiled through his tears. “I came to find you.” “You did?” she whispered. He nodded. “I came to— That is to say, I realized . . .” He swallowed convulsively. He’d never dreamed that the day would come when he’d say these words to a woman, and they’d grown so big in his heart he could barely squeeze them out. “I love you, Kate,” he said chokingly. “It took me a while to figure it out, but I do, and I had to tell you. Today.” Her lips wobbled into a shaky smile as she motioned to the rest of her body with her chin. “You’ve bloody good timing.

Antidepression medication is temperamental. Somewhere around fifty-nine or sixty I noticed the drug I’d been taking seemed to have stopped working. This is not unusual. The drugs interact with your body chemistry in different ways over time and often need to be tweaked. After the death of Dr. Myers, my therapist of twenty-five years, I’d been seeing a new doctor whom I’d been having great success with. Together we decided to stop the medication I’d been on for five years and see what would happen... DEATH TO MY HOMETOWN!! I nose-dived like the diving horse at the old Atlantic City steel pier into a sloshing tub of grief and tears the likes of which I’d never experienced before. Even when this happens to me, not wanting to look too needy, I can be pretty good at hiding the severity of my feelings from most of the folks around me, even my doctor. I was succeeding well with this for a while except for one strange thing: TEARS! Buckets of ’em, oceans of ’em, cold, black tears pouring down my face like tidewater rushing over Niagara during any and all hours of the day. What was this about? It was like somebody opened the floodgates and ran off with the key. There was NO stopping it. 'Bambi' tears... 'Old Yeller' tears... 'Fried Green Tomatoes' tears... rain... tears... sun... tears... I can’t find my keys... tears. Every mundane daily event, any bump in the sentimental road, became a cause to let it all hang out. It would’ve been funny except it wasn’t. Every meaningless thing became the subject of a world-shattering existential crisis filling me with an awful profound foreboding and sadness. All was lost. All... everything... the future was grim... and the only thing that would lift the burden was one-hundred-plus on two wheels or other distressing things. I would be reckless with myself. Extreme physical exertion was the order of the day and one of the few things that helped. I hit the weights harder than ever and paddleboarded the equivalent of the Atlantic, all for a few moments of respite. I would do anything to get Churchill’s black dog’s teeth out of my ass. Through much of this I wasn’t touring. I’d taken off the last year and a half of my youngest son’s high school years to stay close to family and home. It worked and we became closer than ever. But that meant my trustiest form of self-medication, touring, was not at hand. I remember one September day paddleboarding from Sea Bright to Long Branch and back in choppy Atlantic seas. I called Jon and said, “Mr. Landau, book me anywhere, please.” I then of course broke down in tears. Whaaaaaaaaaa. I’m surprised they didn’t hear me in lower Manhattan. A kindly elderly woman walking her dog along the beach on this beautiful fall day saw my distress and came up to see if there was anything she could do. Whaaaaaaaaaa. How kind. I offered her tickets to the show. I’d seen this symptom before in my father after he had a stroke. He’d often mist up. The old man was usually as cool as Robert Mitchum his whole life, so his crying was something I loved and welcomed. He’d cry when I’d arrive. He’d cry when I left. He’d cry when I mentioned our old dog. I thought, “Now it’s me.” I told my doc I could not live like this. I earned my living doing shows, giving interviews and being closely observed. And as soon as someone said “Clarence,” it was going to be all over. So, wisely, off to the psychopharmacologist he sent me. Patti and I walked in and met a vibrant, white-haired, welcoming but professional gentleman in his sixties or so. I sat down and of course, I broke into tears. I motioned to him with my hand; this is it. This is why I’m here. I can’t stop crying! He looked at me and said, “We can fix this.” Three days and a pill later the waterworks stopped, on a dime. Unbelievable. I returned to myself. I no longer needed to paddle, pump, play or challenge fate. I didn’t need to tour. I felt normal.