Book Passages Love Quotes

I love inscriptions on flyleaves and notes in margins, I like the comradely sense of turning pages someone else turned, and reading passages someone long gone has called my attention to.

We love to buy books because we believe we're buying the time to read them. [Inside Out (VH1)]

On July 2, McCandless finished reading Tolstoy's "Family Happiness", having marked several passages that moved him: "He was right in saying that the only certain happiness in life is to live for others... I have lived through much, and now I think I have found what is needed for happiness. A quiet secluded life in the country, with the possibility of being useful to people to whom it is easy to do good, and who are not accustomed to have it done to them; then work which one hopes may be of some use; then rest, nature, books , music, love for one's neighbor - such is my idea of happiness. And then, on top of all that, you for a mate, and children, perhaps - what more can the heart of a man desire?" ...

On Writing: Aphorisms and Ten-Second Essays 1. A beginning ends what an end begins. 2. The despair of the blank page: it is so full. 3. In the head Art’s not democratic. I wait a long time to be a writer good enough even for myself. 4. The best time is stolen time. 5. All work is the avoidance of harder work. 6. When I am trying to write I turn on music so I can hear what is keeping me from hearing. 7. I envy music for being beyond words. But then, every word is beyond music. 8. Why would we write if we’d already heard what we wanted to hear? 9. The poem in the quarterly is sure to fail within two lines: flaccid, rhythmless, hopelessly dutiful. But I read poets from strange languages with freedom and pleasure because I can believe in all that has been lost in translation. Though all works, all acts, all languages are already translation. 10. Writer: how books read each other. 11. Idolaters of the great need to believe that what they love cannot fail them, adorers of camp, kitsch, trash that they cannot fail what they love. 12. If I didn’t spend so much time writing, I’d know a lot more. But I wouldn’t know anything. 13. If you’re Larkin or Bishop, one book a decade is enough. If you’re not? More than enough. 14. Writing is like washing windows in the sun. With every attempt to perfect clarity you make a new smear. 15. There are silences harder to take back than words. 16. Opacity gives way. Transparency is the mystery. 17. I need a much greater vocabulary to talk to you than to talk to myself. 18. Only half of writing is saying what you mean. The other half is preventing people from reading what they expected you to mean. 19. Believe stupid praise, deserve stupid criticism. 20. Writing a book is like doing a huge jigsaw puzzle, unendurably slow at first, almost self-propelled at the end. Actually, it’s more like doing a puzzle from a box in which several puzzles have been mixed. Starting out, you can’t tell whether a piece belongs to the puzzle at hand, or one you’ve already done, or will do in ten years, or will never do. 21. Minds go from intuition to articulation to self-defense, which is what they die of. 22. The dead are still writing. Every morning, somewhere, is a line, a passage, a whole book you are sure wasn’t there yesterday. 23. To feel an end is to discover that there had been a beginning. A parenthesis closes that we hadn’t realized was open). 24. There, all along, was what you wanted to say. But this is not what you wanted, is it, to have said it?

I'll have mine [The Book-Lovers' Anthology] till the day I die - and die happy in the knowledge that I'm leaving it behind for someone else to love. I shall sprinkle pale pencil marks through it pointing out the best passages to some book-lover yet unborn.

I began my studies with eagerness. Before me I saw a new world opening in beauty and light, and I felt within me the capacity to know all things. In the wonderland of Mind I should be as free as another [with sight and hearing]. Its people, scenery, manners, joys, and tragedies should be living tangible interpreters of the real world. The lecture halls seemed filled with the spirit of the great and wise, and I thought the professors were the embodiment of wisdom... But I soon discovered that college was not quite the romantic lyceum I had imagined. Many of the dreams that had delighted my young inexperience became beautifully less and "faded into the light of common day." Gradually I began to find that there were disadvantages in going to college. The one I felt and still feel most is lack of time. I used to have time to think, to reflect, my mind and I. We would sit together of an evening and listen to the inner melodies of the spirit, which one hears only in leisure moments when the words of some loved poet touch a deep, sweet chord in the soul that until then had been silent. But in college there is no time to commune with one's thoughts. One goes to college to learn, it seems, not to think. When one enters the portals of learning, one leaves the dearest pleasures – solitude, books and imagination – outside with the whispering pines. I suppose I ought to find some comfort in the thought that I am laying up treasures for future enjoyment, but I am improvident enough to prefer present joy to hoarding riches against a rainy day.

But in reading all of the passages in which Jesus uses the word "hell," what is so striking is that people believing the right or wrong things isn't his point. He's often not talking about "beliefs" as we think of them--he's talking about anger and lust and indifference. He's talking about the state of his listeners' hearts, about how they conduct themselves, how they interact with their neighbors, about the kind of effect they have on the world.

I like books that fit in pockets, which can lead to love, give, turn a corner, give, buy back preferred to read the passages. For me it is an important event to exchange a book you want, and give your shoes.

I love bookshelves, and stacks of books, spines, typography, and the feel of pages between my fingertips. I love bookmarks, and old bindings, and stars in margins next to beautiful passages. I love exuberant underlinings that recall to me a swoon of language-love from a long-ago reading, something I hoped to remember. I love book plates, and inscriptions in gifts from loved ones, I love author signatures, and I love books sitting around reminding me of them, being present in my life, being. I love books. Not just for what they contain. I love them as objects too, as ever-present reminders of what they contain, and because they are beautiful. They are one of my favorite things in life, really at the tiptop of the list, easily my favorite inanimate things in existence, and ... I am just not cottoning on to this idea of making them ... not exist anymore. Making them cease to take up space in the world, in my life? No, please do not take away the physical reality of my books.

Most helpful, Mr. Caelum," she said. "Very, very useful information. And now, shall we hear from Saint Augustine?" I shrugged. "Why not?" I said Dr. P read from a blood-red leather book. "My soul was a burden, bruised and bleeding. It was tired of the man who carried it, but I found no place to set it down to rest. Neither the charm of the countryside nor the sweet scents of a garden could soothe it. It found no peace in song or laughter, none in the company of friends at table or in the pleasures of love, none even in books or poetry.... Where could my heart find refuge from itself? Where could I go, yet leave myself behind?" She closed the book, then reached across the table and took Maureen's hand in hers. "Does that passage speak to you?" she asked. Mo nodded and began to cry. "And so, Mr. Caelum, good-bye." Because the passage had spoken to me, too, it took me a few seconds to react. "Oh," I said. "You want me to leave?" "I do. Yes, yes.

The famous passage from her book is often erroneously attributed to the inaugural address of Nelson Mandela. About the misattribution Williamson said, "Several years ago, this paragraph from A Return to Love began popping up everywhere, attributed to Nelson Mandela's 1994 inaugural address. As honored as I would be had President Mandela quoted my words, indeed he did not. I have no idea where that story came from, but I am gratified that the paragraph has come to mean so much to so many people.

The books we read help to shape who we are. Reading offers us, as children, our first independence- allowing us to travel far beyond the confines of our immediate world. Books introduce us to great figures in history, narratives that stir our spirit, fictions that tug us out of ourselves and into the lives of a thousand others, and visions of every era through which human beings have lived. And in the process of stretching who we are, books also connect us to all others- of our own or previous times- who have read what we've read. In the community of readers, we instantly become linked to those who share our love for specific characters or passages. A well-composed book,' says Caroline Gordon, 'is a magic carpet on which we are wafted to a world that we cannot enter in any other way.

I'm not referring to books or novels about love, specifically, but rather to passages of writing that have the power to make you feel a little more alive. The paragraph that gives you a tingle of recognition. The lines that feel as if they are directly written for a deep, secret part of you, that you weren't necessarily even aware of until it was woken up by words. Reading such a passage is, I think, a form of love. Like any relationship, that intrinsic recognition is a way of understanding and being understood, of seeing and being seen.

Death gets a bad rap. People think that euthanasia is putting their pets “down” when it really is lifting us up. In the first moment, when we come back to earth, we remember the comfort of the Heaven we came from and this is why we cry when we are born. When we are born in Heaven we come in laughing not crying! In birth we have the passage and then the pain. In death we have the pain and then the passage.

From the beginning I've searched out those writers unafraid to stir up the emotions, who entrust me with their darkest passions, their most indestructible yearnings, and their most soul-killing doubts. I trust the great novelists to teach me how to live, how to feel, how to love and hate. I trust them to show me the dangers I will encounter on the road as I stagger on my own troubled passage through the complicated life of books that try to teach me how to die.

I loved her. I did not know what state of mind I would be in when I got where I was going and I was most worried that in the process I might forget her. I did not ever want to forget her! I held the image of her in my mind so strongly and the eternal love for her so deep within my heart that it could never ever be erased, no matter what. My love for her was stronger than anything that could happen to me.

They say the dead can’t speak, but they can! The people in this book died over sixty years ago, in the middle of the ocean, with no one around them for miles, but they still speak to you. They still send us messages—about love and courage and death! That’s what history is, and science, and art. That’s what literature is. It’s the people who went before us, tapping out messages from the past, from beyond the grave, trying to tell us about life and death! Listen to them!

[Referring to passage by Alice Munro] Finally, the passage contradicts a form of bad advice often given young writers -- namely, that the job of the author is to show, not tell. Needless to say, many great novelists combine "dramatic" showing with long sections of the flat-out authorial narration that is, I guess, what is meant by telling. And the warning against telling leads to a confusion that causes novice writers to think that everything should be acted out -- don't tell us a character is happy, show us how she screams "yay" and jumps up and down for joy -- when in fact the responsibility of showing should be assumed by the energetic and specific use of language.

What if you offered your body love instead of criticism? What if you offered it some compassion instead of insults? What if you saw the decades of abuse, wear-and-tear, and aging as cause for more love instead of less? What if you acknowledged the thousands of miles it has trekked through this rough and wild world and you felt nothing but appreciation and love for all it has withstood for you? What if you offered it more sleep, more hot baths, better foods, healthy exercise, fun activities, and more rest? What if you gave it more love? What if you stopped punishing it for belonging to you?

These included the top of Mount Everest and up the chief’s rear passage.

And yes—scholars might care about the innovative brushwork and use of light, the historical influence and the unique significance in Dutch art. But not me. As my mother said all those years ago, my mother who loved the painting only from seeing it in a book she borrowed from the Comanche County Library as a child: the significance doesn’t matter. The historical significance deadens it. Across those unbridgeable distances—between bird and painter, painting and viewer—I hear only too well what’s being said to me, a psst from an alleyway as Hobie put it, across four hundred years of time, and it’s really very personal and specific. It’s there in the light-rinsed atmosphere, the brush strokes he permits us to see, up close, for exactly what they are—hand worked flashes of pigment, the very passage of the bristles visible—and then, at a distance, the miracle, or the joke as Horst called it, although really it’s both, the slide of transubstantiation where paint is paint and yet also feather and bone. It’s the place where reality strikes the ideal, where a joke becomes serious and anything serious is a joke. The magic point where every idea and its opposite are equally true.

The great thing about you is that you’re still here. You made it through many stormy seas and you’re still ready to get back in the boat. You’re still brave enough to hope. You’re still courageous enough to love. You still give of yourself with the same warmth you did before others tried to extinguish your flame. You’re still filled with kindness even though the world hasn’t given you much to be kind about. You’re still open to great adventures and deep emotions. You’re still here. You’re still living. You’re still you. How great it is that you’re still you.

Like ancient honey, a first love remains ever incorruptible despite the passage of time. Though the boy may no longer exist, the memory of him is always pure and sweet. (Book 2, Awakening Power)

Regardless of what you have been through or where you’re going, I hope you’re still able to soar to newer heights. I hope you find what you’re looking for whether it’s in faraway lands or at the base of your feet. I hope you find your joy again and laugh so hard your stomach muscles ache for days. I hope you keep the company of good friends and lovers who are worthy of your radiance. I hope you are finally able to reach that deep inner peace hidden within your bones. Most importantly, I hope you find yourself. And when you do, I hope you find that you were always a miraculous and spectacular being, worthy of the greatest love and the deepest peace. I honor you in hopes that you will one day learn to honor yourself.

Dany "Bring me that book I was reading last night." She wanted to lose herself in the words, in other times and other places. The fat leather-bound volume was full of songs and stories from the Seven Kingdoms. Children's stories, if truth be told; too simple and fanciful to be true history. All the heroes were tall and handsome, and you could tell the traitors by their shifty eyes. Yet she loved reading them all the same. Last night she had been reading of the three princesses in the red tower, locked away by the king for the crime of being beautiful. When her handmaiden brought the book, dany had no trouble finding the page where she had left off, but is was no good. She found herself reading the same passage half a dozen times. "Ser Jorah gave me this book as a bride's gift, the day I we'd Khal Drogo" She played at at being a queen, yet sometimes she felt like a scared little girl.

She had no need in her heart for either book or magazine. She had her own way of escape, her own passage into contentment: her rosary. That string of white beads, the tiny links worn in a dozen places and held together by strands of white thread which in turn broke regularly, was, bead for bead, her quiet flight out of the world. Hail Mary, full of grace, the Lord is with thee. And Maria began to climb. Bead for bead, life and living fell away. Hail Mary, Hail Mary. Dream without sleep encompassed her. Passion without flesh lulled her. Love without death crooned the melody of belief. She was away: she was free; she was no longer Maria, American or Italian, poor or rich, with or without electric washing machines and vacuum cleaners; here was the land of all-possessing. Hail Mary, Hail Mary, over and over, a thousand and a hundred thousand times, prayer upon prayer, the sleep of the body, the escape of the mind, the death of memory, the slipping away of pain, the deep silent reverie of belief. Hail Mary and Hail Mary. It was for this that she lived.

I do think it's a very uneven exchange of Christmas presents. You'll eat yours up in a week and have nothing left to show for it by New Year's Day. I'll have mine till the day I die - and die happy in the knowledge that I'm leaving it behind for someone else to love. I shall sprinkle pale pencil marks through it pointing out the best passages to some book-lover yet unborn.

It's commonplace to say that we 'love' a book, but when we say it, we mean all sorts of things. Sometimes we mean that a book was important to us in out youth, though we haven't picked it up in years; sometimes what we 'love' is an impressionistic idea glimpsed from afar (Combray...madeleins...Tante Leonie...) as apposed to the experience of wallowing and plowing through an actual text, and all too often people claim to love books they haven't read at all. Then there are books we love so much that we read every year or two, and know passages of them by heart; that cheer us up when we are sick or sad and never fail to amuse us when we take them up at random; that we pass on to all our friends and acquaintances; and to which we return again and again with undimmed enthusiasm over the course of a lifetime. I think it goes without saying ghat most books that engage readers on this very high levels are masterpieces; and this is why I believe that True Grit by Charles Portis is a masterpiece.

The revisiting of an especially admired or loved book can become, perhaps, a five-year ritual, marking the passage of time in your life, helping you to see how you have changed, and how you have remained the same. Do not go always rushing after the new. Like the best friendships and wine, the best novels get better over the years.

We deal with love by dealing with the ones we love, with sickness by dealing with the sick, and with death by dealing with the dead. And

You shall not find God through physical worship but through the passage of an enlightened heart.

Do not fall in love with this fleeting world, do not get used to its comforts, because everything here is falling apart, dissolving, and decaying with the passage of time.

Sometimes your words come back to me like a distant echo, like the sound of a bell carried by the wind, and when I read love passages in. books, it seems to me that it is you about whom I am reading.

And those who have read the trilogy tend to number it among the unapproachables—just some of those books that are simply too strange and fantastical and, well, weird to really like. I love this series deeply, but I still relate to those people. On the surface, the Ransom Trilogy bears the marks of a sci-fi adventure. But then there are all those philosophical passages, and there’s an awful lot of time spent just talking on Perelandra, and then Merlin (of all people!) shows up and don’t even get started on Mr. Bultitude… It is for these people—indeed, for my former self—that I have written this book.

inevitable. The characters we’ve come to know and love are no longer part of our lives. This can leave us with a certain longing. Perhaps we’ll open the book again and skim through it, searching out favorite passages to kindle again those powerful emotions. But the passion is never stirred quite as strong the second time around. So it is with life. We rush through the days that we’re given, eager to engage in the conflicts and passions, to push through and conquer and see how it all ends. When suddenly the end is in sight, we’re surprised. We stall, frantically savoring each moment. The sun shines brighter, the smiles appear more tender and we listen for words of love with an urgency that would be poignant if it were

The world can be an unforgiving place; this is why you must learn to forgive yourself. This is why you must learn to give yourself permission to want what you want and to go after it with everything you have. This is why you must learn to give yourself the love you crave, the kindness you yearn for, and the compassion you need. This is why you must fill the lacks you discover with something other than criticism, hate, or anger. This is why you must forgive yourself—because that’s how you become whole again.

Sigils are the means of guiding and uniting the partially free belief[27] with an organic desire, its carriage and retention till its purpose served in the sub-conscious self, and its means of reincarnation in the Ego. All thought can be expressed by form in true relation. Sigils are monograms of thought, for the government of energy (all heraldry, crests, monograms, are Sigils and the Karmas they govern), relating to Karma; a mathematical means of symbolising desire and giving it form that has the virtue of preventing any thought and association on that particular desire (at the magical time), escaping the detection of the Ego, so that it does not restrain or attach such desire to its own transitory images, memories and worries, but allows it free passage to the sub-consciousness.

I know this sounds like quite a pile. I know, too, that some of you will wonder why I don't just buy a Kindle. I see your point, but the trouble is that to do so would be to forgo the pleasure of the moment when, years in the future, sand falls from the pages of an old book, and you suddenly remember the Isle of Wight and A Passage to India, a Greek island and The Map of Love, or whatever. For me, a ghostly trace of Ambre Solaire rising from the pages of a sun-bleached paperback is a way back to the past: to favourite stories as much as to favourite beaches.

Border crossing' is a recurrent theme in all aspects of my work -- editing, writing, and painting. I'm interested in the various ways artists not only cross borders but also subvert them. In mythology, the old Trickster figure Coyote is a champion border crosser, mischievously dashing from the land of the living to the land of the dead, from the wilderness world of magic to the human world. He tears things down so they can be made anew. He's a rascal, but also a culture hero, dancing on borders, ignoring the rules, as many of our most innovative artists do. I'm particularly drawn to art that crosses the borders critics have erected between 'high art' and 'popular culture,' between 'mainstream' and 'genre,' or between one genre and another -- I love that moment of passage between the two; that place on the border where two worlds meet and energize each other, where Coyote enters and shakes things up. But I still have a great love for traditional fantasy, for Imaginary World, center-of-the-genre stories. I'm still excited by series books and trilogies if they're well written and use mythic tropes in interesting ways.

Whether you feel your absolute best or your absolute worst today, you still deserve comfort, care, and love. You still deserve the kindness of strangers and the compassion of good friends. You still deserve hearty belly laughs and a good night’s sleep. You still deserve warm baths and a night out to your favorite restaurant. You still deserve those little moments that make you feel glad you were there to witness them. Regardless of how you feel, you will always remain a deserving being worthy of the best moment that is possible for you right here and right now.

In times of storm and tempest, of indecision and desolation, a book already known and loved makes better reading than something new and untried. The meeting with remembered and well-loved passages is like the continual greeting of old friends; nothing is so warming and companionable.

Gro Rollag was no beauty, but she was a strong capable young woman with a long face, prominent cheekbones, high forehead, and a kindly intelligent look in her rather narrow eyes. According to family lore, she was not the most conscientious housekeeper because she preferred reading to housework. A love of books and reading ran in the family. Of all the possessions they were forced to sell or leave behind in Norway, what the Rollags remembered with deepest regret was the library they inherited from an eighteenth-century ancestor - lovely old books sold to pay for their passage to America.

Nights with bright pivots, departure, matter, uniquely voice, uniquely naked each day. Upon your breasts of still current, upon your legs ofharshness and water, upon the permanence and pride of your naked hair, I want to lie, my love, the tears now cast into the raucous basket where they gather, I want to lie, my love, alone with a syllable of destroyed silver, alone with a tip of your snowy breast.   It is not now possible, at times, to win except by falling, it is not now possible, between two people, to tremble, to touch the river’s flower: man fibers come like needles, transactions, fragments, families of repulsive coral, tempests and hard passages through carpets of winter.   Between lips and lips there are cities of great ash and moist crest, drops of when and how, indefinite traffic: between lips and lips, as if along a coast of sand and glass, the wind passes.   That is why you are endless, gather me up as if you were all solemnity, all nocturnal like a zone, until you merge with the lines of time.   Advance in sweetness, come to my side until the digital leaves of the violins have become silent, until the moss takes root in the thunder, until from the throbbing of hand and hand the roots come down.

Insensibly he formed the most delightful habit in the world, the habit of reading: When you are reconciled to the fact that each is for himself in the world you will ask less from your fellows. (Philip always pretended that he was not lame.) She restored his belief in himself and put healing ointments, as it were, on all the bruises of his soul. ‘Why d’you read then?’ ‘Partly for pleasure, because it’s a habit and I’m just as uncomfortable if I don’t read as if I don’t smoke, and partly to know myself. When I read a book I seem to read it with my eyes only, but now and then I come across a passage, perhaps only a phrase, which has a meaning for ME, and it becomes part of me; I’ve got out of the book all that’s any use to me, and I can’t get anything more if I read it a dozen times. You see, it seems to me, one’s like a closed bud, and most of what one reads and does has no effect at all; but there are certain things that have a peculiar significance for one, and they open a petal; and the petals open one by one; and at last the flower is there.’ ‘It would have interfered with my work,’ he told Philip. ‘What work?’ asked Philip brutally. ‘My inner life,’ he answered. buffeted by the philistines. the love of poetry was dead in England.(its dead everywhere write poem on that idea) My motto is, leave me alone He was thankful not to have to believe in God, for then such a condition of things would be intolerable; one could reconcile oneself to existence only because it was meaningless. Then he saw that the normal was the rarest thing in the world. (the whole world was like a sick-house, and there was no rhyme or reason in it)

One of the remarkable things about Life After Life is the way that this formal experimentation is combined with a consistently involving plot. It is as if the writing of B. S. Johnson had been crossed with the better novels of Anthony Trollope. An entire world emerges but shows itself again and again in different lights. It’s an unusual book in many ways: in part a tribute to England and to the resilience of the English character revealed under the stress of wartime; in part a book about love that doesn’t contain a love story but instead celebrates the bond between siblings. It’s a book full of horror vividly described, as in the repeated image of a dress with human arms still inside it, seen in a bombed building. Yet the most memorable passages are those which describe the prewar English countryside before suburbia encroached upon “the flowers that grew in the meadow beyond the copse—flax and larkspur, buttercups, corn poppies, red campion and oxeye daisies.” Above all, it’s a book about the act of reading itself. As you read it, it asks you to think about your expectations of plot and outcome. The reader desires happiness for certain characters, and Atkinson both challenges and rewards that tendency.

I began to picture my children’s hearts as treasure chests of a different sort, and I vowed to fill them with intrinsic treasures: the best stories, memorized Scripture, priceless images of classical art, excellent books, memories from great feasts enjoyed together and special days celebrated, great Bible stories and wisdom passages, plus heart photographs of love given, holidays cherished, lessons learned.

Jesus does not need books or learned doctors to instruct souls. He who is the doctor of doctors teaches without any need of words. … I have never heard him speak, but I feel that he is in me, that at every moment he is guiding me, inspiring me with what I should say or do. Just when I need it, I discover lights that I had not seen before. It is not usually during my prayer that they are most abundant, but rather amidst my daily occupations.23 I find this passage tremendously significant. That is often the way things happen in our lives. Apparently nothing in particular happens during the actual time of prayer, but because we have been faithful to it, God instructs us in secret, he places things in us without our being aware of it. And when we need to give someone advice or have to make a decision, we receive a light there and then.

I offer the wisdom of Eric Fromm, in his classic book The Art of Loving.1 He says that the healthiest people he has known, and those who very often grow up in the most natural way, are those who, between their two parents and early authority figures, experienced a combination of unconditional love along with very conditional and demanding love! This seems to be true of so many effective and influential people, like St. Francis, John Muir, Eleanor Roosevelt, and Mother Teresa, and you can add your own. I know my siblings and I received conditional love from our mother and unconditional love from our father. We all admit now that she served us very well later in life, although we sure fought Mom when we were young. And we were glad Daddy was there to balance her out. I know this is not the current version of what is psychologically “correct,” because we all seem to think we need nothing but unconditional love. Any law, correction, rule, or limitation is another word for conditional love. It is interesting to me that very clear passages describing both God's conditional love and also God's unconditional love are found in the same Scriptures, like Deuteronomy and John's Gospel. The only real biblical promise is that unconditional love will have the last word!

Blythe's favorite shelf near the coffee area. She'd labeled it W.O.W. (WORDS OF WISDOM) and it was stocked with her perennial favorites with bookmarked passages. Natalie used to love browsing that shelf. A book would never betray you or change its mind or make you feel stupid. She took down The Once and Future King and found a marked passage: "The best thing for being sad," replied Merlyn, beginning to puff and blow, "is to learn something. That is the only thing that never fails."

Books had always been a comfort to her. More than comfort. There were times when reading came close to an addiction. When things had been tough at home, Harriet’s solution had been to remove herself from life and disappear. She’d chosen to be invisible. Sometimes physically, by hiding under the table, but sometimes psychologically by diving into a literary world unlike her own. As a child she’d liked to sink into the pages and lose herself for hours at a time. When she was reading, she didn’t just leave her own life behind, she stepped into someone else’s. There were times when she’d read for hours without noticing the passage of time or the onset of darkness. When it grew too dark to read, she simply switched on her flashlight and read under the covers so that she didn’t disturb her sister, who was sleeping in the next bed. At school, she carried her book around. When things were difficult, the weight of her bag would comfort her. It helped just to know the book was there, waiting for her. At various points in the day she’d feel the edges bump against her thigh, reminding her of its existence. It was like having a friend close by, telling her I’m still here and we can spend time together later. Even now, more than a decade on from that difficult time of her life, she found herself instinctively reaching for a book when she was stressed. Comfort was different things to different people. To some it was a bar of chocolate or a glass of wine, a run in the park or coffee with a friend. To Harriet, it was a book.

I don’t like stories. I like moments. I like night better than day, moon better than sun, and here-and-now better than any sometime-later. I also like birds, mushrooms, the blues, peacock feathers, black cats, blue-eyed people, heraldry, astrology, criminal stories with lots of blood, and ancient epic poems where human heads can hold conversations with former friends and generally have a great time for years after they’ve been cut off. I like good food and good drink, sitting in a hot bath and lounging in a snowbank, wearing everything I own at once, and having everything I need close at hand. I like speed and that special ache in the pit of the stomach when you accelerate to the point of no return. I like to frighten and to be frightened, to amuse and to confound. I like writing on the walls so that no one can guess who did it, and drawing so that no one can guess what it is. I like doing my writing using a ladder or not using it, with a spray can or squeezing the paint from a tube. I like painting with a brush, with a sponge, and with my fingers. I like drawing the outline first and then filling it in completely, so that there’s no empty space left. I like letters as big as myself, but I like very small ones as well. I like directing those who read them here and there by means of arrows, to other places where I also wrote something, but I also like to leave false trails and false signs. I like to tell fortunes with runes, bones, beans, lentils, and I Ching. Hot climates I like in the books and movies; in real life, rain and wind. Generally rain is what I like most of all. Spring rain, summer rain, autumn rain. Any rain, anytime. I like rereading things I’ve read a hundred times over. I like the sound of the harmonica, provided I’m the one playing it. I like lots of pockets, and clothes so worn that they become a kind of second skin instead of something that can be taken off. I like guardian amulets, but specific ones, so that each is responsible for something separate, not the all-inclusive kind. I like drying nettles and garlic and then adding them to anything and everything. I like covering my fingers with rubber cement and then peeling it off in front of everybody. I like sunglasses. Masks, umbrellas, old carved furniture, copper basins, checkered tablecloths, walnut shells, walnuts themselves, wicker chairs, yellowed postcards, gramophones, beads, the faces on triceratopses, yellow dandelions that are orange in the middle, melting snowmen whose carrot noses have fallen off, secret passages, fire-evacuation-route placards; I like fretting when in line at the doctor’s office, and screaming all of a sudden so that everyone around feels bad, and putting my arm or leg on someone when asleep, and scratching mosquito bites, and predicting the weather, keeping small objects behind my ears, receiving letters, playing solitaire, smoking someone else’s cigarettes, and rummaging in old papers and photographs. I like finding something lost so long ago that I’ve forgotten why I needed it in the first place. I like being really loved and being everyone’s last hope, I like my own hands—they are beautiful, I like driving somewhere in the dark using a flashlight, and turning something into something completely different, gluing and attaching things to each other and then being amazed that it actually worked. I like preparing things both edible and not, mixing drinks, tastes, and scents, curing friends of the hiccups by scaring them. There’s an awful lot of stuff I like.

Don’t you see," she would explain, "that when I see anything or do anything there is no joy in keeping it to myself? I want to give everything to you. If I am alone and I see a picture that I love, or I read some passage from a book, I think to myself there is no meaning in this unless he knows it too. You are such a part of me that to stand alone leaves me dumb, without speech, without eyes. A tree with hatched branches, like someone with no hands. Life is valueless unless I can share everything with you – beauty, ugliness, pain. There must be no shadows between us, no quiet corners in our hearts.

Nights with bright pivots, departure, matter, uniquely voice, uniquely naked each day. Upon your breasts of still current, upon your legs ofharshness and water, upon the permanence and pride of your naked hair, I want to lie, my love, the tears now cast into the raucous basket where they gather, I want to lie, my love, alone with a syllable of destroyed silver, alone with a tip of your snowy breast.   It is not now possible, at times, to win except by falling, it is not now possible, between two people, to tremble, to touch the river’s flower: man fibers come like needles, transactions, fragments, families of repulsive coral, tempests and hard passages through carpets of winter.   Between lips and lips there are cities of great ash and moist crest, drops of when and how, indefinite traffic: between lips and lips, as if along a coast of sand and glass, the wind passes.   That is why you are endless, gather me up as if you were all solemnity, all nocturnal like a zone, until you merge with the lines of time.   Advance in sweetness, come to my side until the digital leaves of the violins have become silent, until the moss takes root in the thunder, until from the throbbing of hand and hand the roots come down.   VALS Yo toco el odio como pecho diurno, yo sin cesar, de ropa en ropa, vengo durmiendo lejos.

The Bible is full of evidence that God’s attention is indeed fixed on the little things. But this is not because God is a Great Cosmic Cop, eager to catch us in minor transgressions, but simply because God loves us—loves us so much that the divine presence is revealed even in the meaningless workings of daily life. It is in the ordinary, the here—and—now, that God asks us to recognize that the creation is indeed refreshed like dew—laden grass that is “renewed in the morning” (Ps 90:5), or to put it in more personal and also theological terms, “our inner nature is being renewed every day” (2 Cor 4:16). Seen in this light, what strikes many modern readers as the ludicrous attention to detail in the book of Leviticus, involving God in the minutiae of daily life—all the cooking and cleaning of a people’s domestic life—might be revisioned as the very love of God. A God who cares so much as to desire to be present to us in everything we do. It is this God who speaks to us through the psalmist as he wakes from sleep, amazed, to declare, “I will bless you, Lord, you give me counsel, and even at night direct my heart” (Ps 16:7, GR). It is this God who speaks to us through the prophets, reminding us that by meeting the daily needs of the poor and vulnerable, characterized in the scriptures as the widows and orphans, we prepare the way of the Lord and make our own hearts ready for the day of salvation. When it comes to the nitty—gritty, what ties these threads of biblical narrative together into a revelation of God’s love is that God has commanded us to refrain from grumbling about the dailiness of life. Instead we are meant to accept it gratefully, as a reality that humbles us even as it gives us cause for praise. The rhythm of sunrise and sunset marks a passage of time that makes each day rich with the possibility of salvation, a concept that is beautifully summed up in an ancient saying from the monastic tradition: “Abba Poeman said concerning Abba Pior that every day he made a new beginning.

Well, tell me boy," she said, "what have you been reading?" Craftily he picked his way across the waste land of printery, naming as his favorites those books which he felt would win her approval. As he had read everything, good and bad, that the town library contained, he was able to make an impressive showing. Sometimes she stopped him to question about a book--he rebuilt the story richly with a blazing tenacity of detail that satisfied her wholly. She was excited and eager--she saw at once how abundantly she could feed this ravenous hunger for knowledge, experience, wisdom. And he knew suddenly the joy of obedience: the wild ignorant groping, the blind hunt, the desperate baffled desire was now to be ruddered, guided, controlled. The way through the passage to India, that he had never been able to find, would now be charted for him. Before he went away she had given him a fat volume of nine hundred pages, shot through with spirited engravings of love and battle, of the period he loved best. He was drowned deep at midnight in the destiny of the man who killed the bear, the burner of windmills and the scourge of banditry, in all the life of road and tavern in the Middle Ages, in valiant and beautiful Gerard, the seed of genius, the father of Erasmus. Eugene thought The Cloister and the Hearth the best story he had ever read.

I was just settling into the salons of Austenian Bath when Gabriel muttered, "This is strange." I looked up to see him pulling a long blue-gray thread from between the nearly translucent pages. My jaw dropped, and I was kneeling on the chaise in a flash. "Is the binding coming loose? No, don't pull it! I can take it to my book doctor tomorrow night." "Stop hyperventilating, sweetheart. I think it's a bookmark," he said, pulling on the thread until he stretched it to my hand. "Here." I wound the thread around my finger. "What passage was it marking?" He scanned the page and lifted an eye. "It's an Edward and Jane scene. I know how you love those. Edward's saying, 'I sometimes have a queer feeling with regard to you---especially when you are near me, as now: it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situated in the corresponding quarter of your little frame.'" I was so caught up in watching his lips as they formed the words that I barely noticed the sudden tension on the fiber wound around my finger. I realized now that Gabriel had slipped a ring onto the thread and was sliding it toward me. I watched as the respectable diamond twinkled in the light of the oil lamp. "I'm not Edward, " Gabriel promised. "I'm not afraid the thread will break and leave me bleeding. Our thread's already been tested. And it will hold up. I'm asking you to make the link permanent. Please, marry me.

I loved my father, and I wished for him every minute of life that his body could afford him. He didn’t want to die. Still, after his death, I wrote with an openness I had not previously known. I was fifty-one years old. I wrote about California and divorce and police officers, second marriages and stepchildren. I wrote about people who were like my family and nothing like my family. It was time to pull down the fences and let my story go wherever it wanted to go. I had been a good daughter, and my father had been a good father. He had helped me in every way he knew how. I would miss his advice, even the advice that had irritated me. His death marked a passage in my growth as a writer, but if I were able to choose—the book or my father—I would have him back.

There is a time when the soul lives in God, and a time when God lives in the soul. What is appropriate to one state is inconsistent with the other. When God lives in the soul it ought to abandon itself entirely to his providence. When the soul lives in God it is obliged to procure for itself carefully and very regularly, every means it can devise by which to arrive at the divine union. The whole procedure is marked out; the readings, the examinations, the resolutions. The guide is always at hand and everything is by rule, even the hours for conversation. When God lives in the soul it has nothing left of self, but only that which the spirit which actuates it imparts to it at each moment. Nothing is provided for the future, no road is marked out . . . No more books with marked passages for such a soul; often enough it is even deprived of a regular directior, for God allows it no other support than that which he gives it himself. Its dwelling is in darkness, forgetfulness, abandonment, death and nothingness. . . Everything that others discover with great difficulty this soul finds in abandonment, and what they guard with care in order to be able to find it again, this soul receives at the moment there is occasion for it, and afterwards relinquishes so as to admit nothing but exactly what God desires it to have in order to live by him alone. The former soul undertakes an infinity of good works for the glory of God, the latter is often cast aside in a corner of the world like a bit of broken crockery, apparently of no use to anyone. There, this soul, forsaken by creatures but in the enjoyment of God by a very real, true, and active love (active though infused in repose), does not attempt anything by its own impulse; it only knows that it has to abandon itself and to remain in the hands of God to be used by him as he pleases. Often it is ignorant of its use, but God knows well. The world thinks it is useless, and appearances give colour to this judgment, but nevertheless it is very certain that in mysterious ways and by unknown channels, it spreads abroad an infinite amount of grace on persons who often have no idea of it, and of whom it never thinks . . . . . . Often they do not perceive the outflow of this virtue and even contribute nothing by cooperation: it is like a hidden balm, the perfume of which is exhaled without being recognized, and which knows not its own virtue.

The Portal Potion Success! After weeks and weeks of trying, I’ve finally discovered the correct ingredients for the potion I’d hoped to create for my son! With just a few drops, the potion turns any written work into a portal to the world it describes. Even with my ability to create portals to and from the Otherworld, I never thought it would be possible to create a substance that allowed me passage to any world I wished. My son will get to see the places and meet the characters he’s spent his whole childhood dreaming about! And best of all, I’ll get to watch his happiness soar as it happens! The ingredients are much simpler than I imagined, but difficult to obtain. Their purposes are more metaphysical than practical, so it took some imagination to get the concoction right. The first requirement is a branch from the oldest tree in the woods. To bring the pages to life, I figured the potion would need the very thing that brought the paper to life in the first place. And what else has more life than an ancient tree? The second ingredient is a feather from the finest pheasant in the sky. This will guarantee your potion has no limits, like a bird in flight. It will ensure you can travel to lands far and wide, beyond your imagination. The third component is a liquefied lock and key that belonged to a true love. Just as this person unlocked your heart to a life of love, it will open the door of the literary dimensions your heart desires to experience. The fourth ingredient is two weeks of moonlight. Just as the moon causes waves in the ocean, the moonlight will stir your potion to life. Last, but most important, give the potion a spark of magic to activate all the ingredients. Send it a beam of joy straight from your heart. The potion does not work on any biographies or history books, but purely on works that have been imagined. Now, I must warn about the dangers of entering a fictional world: 1. Time only exists as long as the story continues. Be sure to leave the book before the story ends, or you may disappear as the story concludes. 2. Each world is made of only what the author describes. Do not expect the characters to have any knowledge of our world or the Otherworld. 3. Beware of the story’s villains. Unlike people in our world or the Otherworld, most literary villains are created to be heartless and stripped of all morals, so do not expect any mercy should you cross paths with one. 4. The book you choose to enter will act as your entrance and exit. Be certain nothing happens to it; it is your only way out. The

Do not be slow to answer the Lord’s call! From the passage of the Book of Exodus read to us in this Mass we can learn how the Lord acts in every vocation (cf. Ex 3:1–6, 9–12). First, he provokes a new awareness of his presence—the burning bush. When we begin to show an interest he calls us by name. When our answer becomes more specific and like Moses we say: “Here I am” (cf. v. 4), then he reveals more clearly both himself and his compassionate love for his people in need. Gradually he leads us to discover the practical way in which we should serve him: “I will send you.” And usually it is then that fears and doubts come to disturb us and make it more difficult to decide. It is then that we need to hear the Lord’s assurance: “I am with you” (Ex 3:12). Every vocation is a deep personal experience of the truth of these words: “I am with you.”[153]

What to Make a Game About? Your dog, your cat, your child, your boyfriend, your girlfriend, your mother, your father, your grandmother, your friends, your imaginary friends, your summer vacation, your winter in the mountains, your childhood home, your current home, your future home, your first job, your worst job, the job you wish you had. Your first date, your first kiss, your first fuck, your first true love, your second true love, your relationship, your kinks, your deepest secrets, your fantasies, your guilty pleasures, your guiltless pleasures, your break-up, your make-up, your undying love, your dying love. Your hopes, your dreams, your fears, your secrets, the dream you had last night, the thing you were afraid of when you were little, the thing you’re afraid of now, the secret you think will come back and bite you, the secret you were planning to take to your grave, your hope for a better world, your hope for a better you, your hope for a better day. The passage of time, the passage of memory, the experience of forgetting, the experience of remembering, the experience of meeting a close friend from long ago on the street and not recognizing her face, the experience of meeting a close friend from long ago and not being recognized, the experience of aging, the experience of becoming more dependent on the people who love you, the experience of becoming less dependent on the people you hate. The experience of opening a business, the experience of opening the garage, the experience of opening your heart, the experience of opening someone else’s heart via risky surgery, the experience of opening the window, the experience of opening for a famous band at a concert when nobody in the audience knows who you are, the experience of opening your mind, the experience of taking drugs, the experience of your worst trip, the experience of meditation, the experience of learning a language, the experience of writing a book. A silent moment at a pond, a noisy moment in the heart of a city, a moment that caught you unprepared, a moment you spent a long time preparing for, a moment of revelation, a moment of realization, a moment when you realized the universe was not out to get you, a moment when you realized the universe was out to get you, a moment when you were totally unaware of what was going on, a moment of action, a moment of inaction, a moment of regret, a moment of victory, a slow moment, a long moment, a moment you spent in the branches of a tree. The cruelty of children, the brashness of youth, the wisdom of age, the stupidity of age, a fairy tale you heard as a child, a fairy tale you heard as an adult, the lifestyle of an imaginary creature, the lifestyle of yourself, the subtle ways in which we admit authority into our lives, the subtle ways in which we overcome authority, the subtle ways in which we become a little stronger or a little weaker each day. A trip on a boat, a trip on a plane, a trip down a vanishing path through a forest, waking up in a darkened room, waking up in a friend’s room and not knowing how you got there, waking up in a friend’s bed and not knowing how you got there, waking up after twenty years of sleep, a sunset, a sunrise, a lingering smile, a heartfelt greeting, a bittersweet goodbye. Your past lives, your future lives, lies that you’ve told, lies you plan to tell, lies, truths, grim visions, prophecy, wishes, wants, loves, hates, premonitions, warnings, fables, adages, myths, legends, stories, diary entries. Jumping over a pit, jumping into a pool, jumping into the sky and never coming down. Anything. Everything.

All stories come to an end. That moment when we sigh and close the book, perhaps sit back in our chair and rest our palm over the cover, is met with quixotic emotions. On the one hand, we're satisfied if the author successfully tied up loose ends, turned a memorable phrase and rewarded the hero's moral choice with his heart's desire. Yet we're also saddened that the adventure is over. Sometimes when we see that we only have a few pages left we slow down, savoring each word, staving off the inevitable. The characters we've come to know and love are no longer part of our lives. This can leave us with a certain longing. Perhaps we'll open the book again and skim through it, searching our favorite passages to kindle again those powerful emotions. But the passion is never stirred quite as strong the second time around. ...We stall, frantically savoring each moment. The sun shines brighter, the smiles appear more tender and we listen for words of love with an urgency that would be poignant. ...Isn't life grand?

She had no need in her heart for either book or magazine. She had her own way of escape, her own passage into contentment: her rosary. That string of white beads, the tiny links worn in a dozen places and held together by strands of white thread which in turn broke regularly, was, bead for bead, her quiet flight out of the world. Hail Mary, full of grace, the Lord is with thee. And Maria began to climb. Bead for bead, life and living fell away. Hail Mary, Hail Mary. Dream without sleep encompassed her. Passion without flesh lulled her. Love without death crooned the memory of belief. She was away: she was free; she was no longer Maria, American or Italian, poor or rich, with or without electric washing machines and vacuum cleaners; here was the land of all-possessing. Hail Mary, Hail Mary, over and over, a thousand and a hundred thousand times, prayer upon prayer, the sleep of the body, the escape of the mind, the death of memory, the slipping away of pain, the deep silent reverie of belief. Hail Mary and Hail Mary. It was for this that she lived.

Once, on the road, Prim met a meditating sage who had spent most of his life on top of a flat rock. They had black bread and shared some ajash, as was custom. The sage was thankful, as the road was not very frequently traveled in those days and he was very near the point of starvation. During his conversation, he was delighted to learn of Prim’s extensive mastery of Empty Palms and the fifty five earthly purities. Delighted, and as payment for his meal, he taught Prim the meaning of watchfulness. This was the old breathing and cold-atum technique often used by warrior monks in those days. It ran through the following methodology: Build a tower, and make it impregnable. Make every stone so tightly sealed that no insect can squeeze through, no grain of sand can make it inside. Your tower must have no windows or doors. It must not accept passage by friend or foe. No weapon, no act of violence, and not one mote of love may penetrate its stony interior. “Why build the tower this way?” said Prim? “It will make you invincible,” said the sage, “This is the way of Ya-at slave monks. Their skin is like iron, and so are their hearts. They are inured to death and fear. Grief shall never find them, and neither shall weakness.” Prim thought a moment, and came upon a realization, for she was wise, obedient, and an excellent daughter. “If a man built a tower this way, he would quickly starve, no matter how strong he became.” The sage was even more delighted. “Yes,” he said, “There is a better way, and I will teach it to you: Once you have built your tower, you must deconstruct it, brick by brick, stone by stone. You must do it meticulously and carefully, so that while you leave no physical trace of it remaining, your tower is still built in your mind and your heart, ready to spring anew at a moment’s notice. You can enjoy the fresh air, and eat fine meals, and enjoy a good drink with your friends, but all the while your tower remains standing. You are both prisoner and warden. This is the hardest way, but the strongest.” Prim saw the wisdom in this, and quickly made to return to the road, but the sage stopped her before she left. “As you to your earlier remark,” the sage said, “The man who builds his tower but cannot take it apart again – that man is at the pinnacle of his strength. But that man will surely perish.” – Prim Masters the Road

What franticke fit (quoth he) hath thus distraught Thee, foolish man, so rash a doome to give? What justice ever other judgement taught, But he should die, who merites not to live? None else to death this man despayring drive, But his owne guiltie mind deserving death. Is then unjust to each his due to give? Or let him die, that loatheth living breath? Or let him die at ease, that liveth here uneath? Who travels by the wearie wandring way, To come unto his wished home in haste, And meetes a flood, that doth his passage stay, Is not great grace to helpe him over past, Or free his feet, that in the myre sticke fast? Most envious man, that grieves at neighbours good, And fond, that joyest in the woe thou hast, Why wilt not let him passe, that long hath stood Upon the banke, yet wilt thy selfe not passe the flood? He there does now enjoy eternall rest And happie ease, which thou doest want and crave, And further from it daily wanderest: What if some litle paine the passage have, That makes fraile flesh to feare the bitter wave? Is not short paine well borne, that brings long ease, And layes the soule to sleepe in quiet grave? Sleepe after toyle, port after stormie seas, Ease after warre, death after life does greatly please. [...] Is not his deed, what ever thing is donne, In heaven and earth? did not he all create To die againe? all ends that was begonne. Their times in his eternall booke of fate Are written sure, and have their certaine date. Who then can strive with strong necessitie, That holds the world in his still chaunging state, Or shunne the death ordaynd by destinie? When houre of death is come, let none aske whence, nor why. The lenger life, I wote the greater sin, The greater sin, the greater punishment: All those great battels, which thou boasts to win, Through strife, and bloud-shed, and avengement, Now praysd, hereafter deare thou shalt repent: For life must life, and bloud must bloud repay. Is not enough thy evill life forespent? For he, that once hath missed the right way, The further he doth goe, the further he doth stray. Then do no further goe, no further stray, But here lie downe, and to thy rest betake, Th'ill to prevent, that life ensewen may. For what hath life, that may it loved make, And gives not rather cause it to forsake? Feare, sicknesse, age, losse, labour, sorrow, strife, Paine, hunger, cold, that makes the hart to quake; And ever fickle fortune rageth rife, All which, and thousands mo do make a loathsome life. Thou wretched man, of death hast greatest need, If in true ballance thou wilt weigh thy state: For never knight, that dared warlike deede, More lucklesse disaventures did amate: Witnesse the dongeon deepe, wherein of late Thy life shut up, for death so oft did call; And though good lucke prolonged hath thy date, Yet death then, would the like mishaps forestall, Into the which hereafter thou maiest happen fall. Why then doest thou, O man of sin, desire To draw thy dayes forth to their last degree? Is not the measure of thy sinfull hire High heaped up with huge iniquitie, Against the day of wrath, to burden thee? Is not enough, that to this Ladie milde Thou falsed hast thy faith with perjurie, And sold thy selfe to serve Duessa vilde, With whom in all abuse thou hast thy selfe defilde? Is not he just, that all this doth behold From highest heaven, and beares an equall eye? Shall he thy sins up in his knowledge fold, And guiltie be of thine impietie? Is not his law, Let every sinner die: Die shall all flesh? what then must needs be donne, Is it not better to doe willinglie, Then linger, till the glasse be all out ronne? Death is the end of woes: die soone, O faeries sonne.

Beside the kit she’d put together were several books, and because he was reluctant to open the sealed plastic container and look at the contents, he browsed through the books. The titles told him a lot about Rose. She planned well for things. One book was on natural childbirth, another focused on nutrition for the pregnant woman. Both books had been read many times. The pages were worn and dog-eared. Another book on parenting caught his attention. He flipped through it and found many passages underlined. There were notes in the margin Rose had made to herself, multiple reminders to find other titles on various subjects. Like Kane, Rose could kill a man with her bare hands without blinking, but diapering a baby was out of their realm of expertise. He closed the book slowly, the revelation hitting him hard. She had to be every bit as scared as he was over the birth of their child. She had no more experience than he did. Just because she was a woman didn’t mean that she understood any of this. She’d never had parents to give her a blueprint. Neither of them had the least idea of what they were doing, but at least Rose was trying. She was determined that their child would have the chance in life she never had—to grow up in a loving home.

In any case, we should expect that in due time we will be moved into our eternal destiny of creative activity with Jesus and his friends and associates in the “many mansions” of “his Father’s house.” Thus, we should not think of ourselves as destined to be celestial bureaucrats, involved eternally in celestial “administrivia.” That would be only slightly better than being caught in an everlasting church service. No, we should think of our destiny as being absorbed in a tremendously creative team effort, with unimaginably splendid leadership, on an inconceivably vast plane of activity, with ever more comprehensive cycles of productivity and enjoyment. This is the “eye hath not seen, neither ear heard” that lies before us in the prophetic vision (Isa. 64:4). This Is Shalom When Saint Augustine comes to the very end of his book The City of God, he attempts to address the question of “how the saints shall be employed when they are clothed in immortal and spiritual bodies.”15 At first he confesses that he is “at a loss to understand the nature of that employment.” But then he settles upon the word peace to describe it, and develops the idea of peace by reference to the vision of God—utilizing, as we too have done, the rich passage from 1 Corinthians 13. Thus he speaks of our “employment” then as being “the beatific vision.” The eternal blessedness of the city of God is presented as a “perpetual Sabbath.” In words so beautiful that everyone should know them by heart, he says, “There we shall rest and see, see and love, love and praise. This is what shall be in the end without end. For what other end do we propose to ourselves than to attain to the kingdom of which there is no end?” And yet, for all their beauty and goodness, these words do not seem to me to capture the blessed condition of the restoration of all things—of the kingdom come in its utter fullness. Repose, yes. But not as quiescence, passivity, eternal fixity. It is, instead, peace as wholeness, as fullness of function, as the restful but unending creativity involved in a cosmoswide, cooperative pursuit of a created order that continuously approaches but never reaches the limitless goodness and greatness of the triune personality of God, its source. This, surely, is the word of Jesus when he says, “Those who overcome will be welcomed to sit with me on my throne, as I too overcame and sat down with my Father on his throne. Those capable of hearing should listen to what the Spirit is saying to my people” (Rev. 3:21

There are perhaps no days of our childhood we lived so fully as those . . . we spent with a favorite book. Everything that filled them for others, so it seemed, and that we dismissed as a vulgar obstacle to a divine pleasure: the game for which a friend would come to fetch us at the most interesting passage; the troublesome bee or sun ray that forced us to lift our eyes from the page or to change position; the provisions for the afternoon snack that we had been made to take along and that we left beside us on the bench without touching, while above our head the sun was diminishing in force in the blue sky; the dinner we had to return home for, and during which we thought only of going up immediately afterward to finish the interrupted chapter, all those things with which reading should have kept us from feeling anything but annoyance, on the contrary they have engraved in us so sweet a memory (so much more precious to our present judgment than what we read then with such love), that if we still happen today to leaf through those books of another time, it is for no other reason than that they are the only calendars we have kept of days that have vanished, and we hope to see reflected on their pages the dwellings and the ponds which no longer exist.

Janie ran to my side, where she tugged at the book eagerly as though she'd seen it before. "Flower book," she said, pointing to the cover. "Where did you find Mummy's book?" Katherine asked, hovering near me. Cautiously, I revealed the book as I sat on the sofa. "Would you like to look at it with me?" I said, avoiding the question. Katherine nodded and the boys gathered round as I cracked the spine and thumbed through page after page of beautiful camellias, pressed and glued onto each page, with handwritten notes next to each. On the page that featured the 'Camellia reticulata,' a large, salmon-colored flower, she had written: 'Edward had this one brought in from China. It's fragile. I've given it the garden's best shade.' On the next page, near the 'Camellia sasanqua,' she wrote: 'A christmas gift from Edward and the children. This one will need extra love. It hardly survived the passage from Japan. I will spend the spring nursing it back to health.' On each page, there were meticulous notes about the care and feeding of the camellias- when she planted them, how often they were watered, fertilized, and pruned. In the right-hand corner of some pages, I noticed an unusual series of numbers. "What does that mean?" I asked the children. Nicholas shrugged. "This one was Mummy's favorite," he said, flipping to the last page in the book. I marveled at the pink-tipped white blossoms as my heart began to beat faster. The Middlebury Pink.

What is it that makes a person the very person that she is, herself alone and not another, an integrity of identity that persists over time, undergoing changes and yet still continuing to be—until she does not continue any longer, at least not unproblematically? I stare at the picture of a small child at a summer’s picnic, clutching her big sister’s hand with one tiny hand while in the other she has a precarious hold on a big slice of watermelon that she appears to be struggling to have intersect with the small o of her mouth. That child is me. But why is she me? I have no memory at all of that summer’s day, no privileged knowledge of whether that child succeeded in getting the watermelon into her mouth. It’s true that a smooth series of contiguous physical events can be traced from her body to mine, so that we would want to say that her body is mine; and perhaps bodily identity is all that our personal identity consists in. But bodily persistence over time, too, presents philosophical dilemmas. The series of contiguous physical events has rendered the child’s body so different from the one I glance down on at this moment; the very atoms that composed her body no longer compose mine. And if our bodies are dissimilar, our points of view are even more so. Mine would be as inaccessible to her—just let her try to figure out [Spinoza’s] Ethics—as hers is now to me. Her thought processes, prelinguistic, would largely elude me. Yet she is me, that tiny determined thing in the frilly white pinafore. She has continued to exist, survived her childhood illnesses, the near-drowning in a rip current on Rockaway Beach at the age of twelve, other dramas. There are presumably adventures that she—that is that I—can’t undergo and still continue to be herself. Would I then be someone else or would I just no longer be? Were I to lose all sense of myself—were schizophrenia or demonic possession, a coma or progressive dementia to remove me from myself—would it be I who would be undergoing those trials, or would I have quit the premises? Would there then be someone else, or would there be no one? Is death one of those adventures from which I can’t emerge as myself? The sister whose hand I am clutching in the picture is dead. I wonder every day whether she still exists. A person whom one has loved seems altogether too significant a thing to simply vanish altogether from the world. A person whom one loves is a world, just as one knows oneself to be a world. How can worlds like these simply cease altogether? But if my sister does exist, then what is she, and what makes that thing that she now is identical with the beautiful girl laughing at her little sister on that forgotten day? In this passage from Betraying Spinoza, the philosopher and novelist Rebecca Newberger Goldstein (to whom I am married) explains the philosophical puzzle of personal identity, one of the problems that engaged the Dutch-Jewish thinker who is the subject of her book.5 Like her fellow humanist Dawkins, Goldstein analyzes the vertiginous enigma of existence and death, but their styles could not be more different—a reminder of the diverse ways that the resources of language can be deployed to illuminate a topic.

The first thing I want to say about Boyfriend is that he’s an extraordinarily decent human being. He’s kind and generous, funny and smart, and when he’s not making you laugh, he’ll drive to the drugstore at two a.m. to get you that antibiotic you just can’t wait until morning for. If he happens to be at Costco, he’ll text to ask if you need anything, and when you reply that you just need some laundry detergent, he’ll bring home your favorite meatballs and twenty jugs of maple syrup for the waffles he makes you from scratch. He’ll carry those twenty jugs from the garage to your kitchen, pack nineteen of them neatly into the tall cabinet you can’t reach, and place one on the counter, accessible for the morning. He’ll also leave love notes on your desk, hold your hand and open doors, and never complain about being dragged to family events because he genuinely enjoys hanging out with your relatives, even the nosy or elderly ones. For no reason at all, he’ll send you Amazon packages full of books (books being the equivalent of flowers to you), and at night you’ll both curl up and read passages from them aloud to each other, pausing only to make out. While you’re binge-watching Netflix, he’ll rub that spot on your back where you have mild scoliosis, and when he stops, and you nudge him, he’ll continue rubbing for exactly sixty more delicious seconds before he tries to weasel out without your noticing (you’ll pretend not to notice). He’ll let you finish his sandwiches and sentences and sunscreen and listen so attentively to the details of your day that, like your personal biographer, he’ll remember more about your life than you will. If this portrait sounds skewed, it is.

Many people approach Tolstoy with mixed feelings. They love the artist in him and are intensely bored by the preacher; but at the same time it is rather difficult to separate Tolstoy the preacher from Tolstoy the artist—it is the same deep slow voice, the same robust shoulder pushing up a cloud of visions or a load of ideas. What one would like to do, would be to kick the glorified soapbox from under his sandalled feet and then lock him up in a stone house on a desert island with gallons of ink and reams of paper—far away from the things, ethical and pedagogical, that diverted his attention from observing the way the dark hair curled above Anna's white neck. But the thing cannot be done : Tolstoy is homogeneous, is one, and the struggle which, especially in the later years, went on between the man who gloated over the beauty of black earth, white flesh, blue snow, green fields, purple thunderclouds, and the man who maintained that fiction is sinful and art immoral—this struggle was still confined within the same man. Whether painting or preaching, Tolstoy was striving, in spite of all obstacles, to get at the truth. As the author of Anna Karenin, he used one method of discovering truth; in his sermons, he used another; but somehow, no matter how subtle his art was and no matter how dull some of his other attitudes were, truth which he was ponderously groping for or magically finding just around the corner, was always the same truth — this truth was he and this he was an art. What troubles one, is merely that he did not always recognize his own self when confronted with truth. I like the story of his picking up a book one dreary day in his old age, many years after he had stopped writing novels, and starting to read in the middle, and getting interested and very much pleased, and then looking at the title—and seeing: Anna Karenin by Leo Tolstoy. What obsessed Tolstoy, what obscured his genius, what now distresses the good reader, was that, somehow, the process of seeking the Truth seemed more important to him than the easy, vivid, brilliant discovery of the illusion of truth through the medium of his artistic genius. Old Russian Truth was never a comfortable companion; it had a violent temper and a heavy tread. It was not simply truth, not merely everyday pravda but immortal istina—not truth but the inner light of truth. When Tolstoy did happen to find it in himself, in the splendor of his creative imagination, then, almost unconsciously, he was on the right path. What does his tussle with the ruling Greek-Catholic Church matter, what importance do his ethical opinions have, in the light of this or that imaginative passage in any of his novels? Essential truth, istina, is one of the few words in the Russian language that cannot be rhymed. It has no verbal mate, no verbal associations, it stands alone and aloof, with only a vague suggestion of the root "to stand" in the dark brilliancy of its immemorial rock. Most Russian writers have been tremendously interested in Truth's exact whereabouts and essential properties. To Pushkin it was of marble under a noble sun ; Dostoevski, a much inferior artist, saw it as a thing of blood and tears and hysterical and topical politics and sweat; and Chekhov kept a quizzical eye upon it, while seemingly engrossed in the hazy scenery all around. Tolstoy marched straight at it, head bent and fists clenched, and found the place where the cross had once stood, or found—the image of his own self.

One could not imagine a process more open to the elephantine logic of the Bible-smasher than this: that the sun should be created after the sunlight. The conception that lies at the back of the phrase is indeed profoundly antagonistic to much of the modern point of view. To many modern people it would sound like saying that foliage existed before the first leaf ; it would sound like saying that childhood existed before a baby was born. The idea is, as I have said, alien to most modern thought, and like many other ideas which are alien to most modern thought, it is a very subtle and a very sound idea. Whatever be the meaning of the passage in the actual primeval poem, there is a very real metaphysical meaning in the idea that light existed before the sun and stars. It is not barbaric; it is rather Platonic. The idea existed before any of the machinery which made manifest the idea. Justice existed when there was no need of judges, and mercy existed before any man was oppressed. The whole difference between construction and creation is exactly this: that a thing constructed can only be loved after it is constructed; but a thing created is loved before it exists, as the mother can love the unborn child. In creative art the essence of a book exists before the book or before even the details or main features of the book; the author enjoys it and lives in it with a kind of prophetic rapture. He wishes to write a comic story before he has thought of a single comic incident. He desires to write a sad story before he has thought of  anything sad. He knows the atmosphere before he knows anything. There is a low priggish maxim sometimes uttered by men so frivolous as to take humour seriously a maxim that a man should not laugh at his own jokes. But the great artist not only laughs at his own jokes; he laughs at his own jokes before he has made them.

Americans struggle with silence.  It seems we must have the radio blaring in the car or a TV on in the house, even if no one is watching.  We can't handle solitude very well.  Yet, solitude is the one thing a deer hunter craves and anticipates.  There are a few times when the woods get so quiet you feel like you are the only living creature around.  It's life-changing!  People are most like themselves in nature.  You can get down to the real you—no veneer, no facade, no masquerade— and it is there that God can do wonders on us.  I like thinking of it as an anesthetic that puts everything to sleep so that surgery can take place. Jesus knew the power of time alone with God, and we also need to know it — by experience.  He would often slip away (Luke 5:16).  The disciples would awaken, look around, and discover that Jesus was gone.  He loved the early morning moments before the world came alive and began buzzing with activity (Mark 1:35-39).  He knew that soon everyone would wipe the sleep out of their eyes, and He would be in high demand.  So, He placed high priority on those private, devoted moments, in order to escape and be alone with His Father.  He didn’t just squeeze in prayer and meditation between all His preaching and miracles.  Someone once said, “Jesus went from place of prayer to place of prayer with teaching and miracles in between.”  I like that.               Those who hunt know the adrenaline rush caused by the crunching leaves as a whitetail slowly approaches.  There is also such a surge when the word of God is read.  I hope you will enjoy both as you read this book.  My greatest satisfaction would be to know that you have found yourself a quiet place to read this book and contemplate the spiritual lessons in it.  When you have even more time, get your Bible and turn to the passages cited and read them more fully.  It will deepen your understanding.

There are some people who throw down a book after having read it, as one leaves a bottle after having drank the wine from it. There are others who read books with a pencil in their hands, and they mark the most striking passages. Afterward, in the hours of rest, in the moments when one needs a stimulant from within and one searches for harmony, sympathy of a thing apparently so dead and strange as a book is, they come back to the marked passages, to their own thoughts, more comprehensible since an author expressed them; to their own sentiments, stronger and more natural since they found them in somebody else's words. Because ofttimes it seems to us—the common readers—that there is no difference between our interior world and the horizon of great authors, and we flatter ourselves by believing that we are 'only less daring, less brave than are thinkers and poets, that some interior lack of courage stopped us from having formulated our impressions. And in this sentiment there is a great deal of truth. But while this expression of our thoughts seems to us to be a daring, to the others it is a need; they even do not suspect how much they are daring and new. They must, according to the words of a poet, "Spin out the love, as the silkworm spins its web." That is their capital distinction from common mortals; we recognize them by it at once; and that is the reason we put them above the common level. On the pages of their books we find not the traces of the accidental, deeper penetrating into the life or more refined feelings, but the whole harvest of thoughts, impressions, dispositions, written skilfully, because studied deeply. We also leave something on these pages. Some people dry flowers on them, the others preserve reminiscences. In every one of Sienkiewicz's volumes people will deposit a great many personal impressions, part of their souls; in every one they will find them again after many years.

Men traveling alone develop a romantic vertigo. Bech had already fallen in love with a freckled embassy wife in Russia, a buck-toothed chanteuse in Rumania, a stolid Mongolian sculptress in Kazakhstan. In the Tretyakov Gallery he had fallen in love with a recumbent statue, and at the Moscow Ballet School with an entire roomful of girls. Entering the room, he had been struck by the aroma, tenderly acrid, of young female sweat. Sixteen and seventeen, wearing patchy practice suits, the girls were twirling so strenuously their slippers were unraveling. Demure student faces crowned the unconscious insolence of their bodies. The room was doubled in depth by a floor-to-ceiling mirror. Bech was seated on a bench at its base. Staring above his head, each girl watched herself with frowning eyes frozen, for an instant in the turn, by the imperious delay and snap of her head. Bech tried to remember the lines of Rilke that expressed it, this snap and delay: did not the drawing remain/that the dark stroke of your eyebrow/swiftly wrote on the wall of its own turning? At one point the teacher, a shapeless old Ukrainian lady with gold canines, a prima of the thirties, had arisen and cried something translated to Bech as, “No, no, the arms free, free!” And in demonstration she had executed a rapid series of pirouettes with such proud effortlessness that all the girls, standing this way and that like deer along the wall, had applauded. Bech had loved them for that. In all his loves, there was an urge to rescue—to rescue the girls from the slavery of their exertions, the statue from the cold grip of its own marble, the embassy wife from her boring and unctuous husband, the chanteuse from her nightly humiliation (she could not sing), the Mongolian from her stolid race. But the Bulgarian poetess presented herself to him as needing nothing, as being complete, poised, satisfied, achieved. He was aroused and curious and, the next day, inquired about her of the man with the vaguely contemptuous mouth of a hare—a novelist turned playwright and scenarist, who accompanied him to the Rila Monastery. “She lives to write,” the playwright said. “I do not think it is healthy.

Driscoll preached a sermon called “Sex: A Study of the Good Bits of Song of Solomon,” which he followed up with a sermon series and an e-book, Porn-again Christian (2008). For Driscoll, the “good bits” amounted to a veritable sex manual. Translating from the Hebrew, he discovered that the woman in the passage was asking for manual stimulation of her clitoris. He assured women that if they thought they were “being dirty,” chances are their husbands were pretty happy. He issued the pronouncement that “all men are breast men. . . . It’s biblical,” as was a wife performing oral sex on her husband. Hearing an “Amen” from the men in his audience, he urged the ladies present to serve their husbands, to “love them well,” with oral sex. He advised one woman to go home and perform oral sex on her husband in Jesus’ name to get him to come to church. Handing out religious tracts was one thing, but there was a better way to bring about Christian revival. 13 Driscoll reveled in his ability to shock people, but it was a series of anonymous blog posts on his church’s online discussion board that laid bare the extent of his misogyny. In 2006, inspired by Braveheart, Driscoll adopted the pseudonym “William Wallace II” to express his unfiltered views. “I love to fight. It’s good to fight. Fighting is what we used to do before we all became pussified,” before America became a “pussified nation.” In that vein, he offered a scathing critique of the earlier iteration of the evangelical men’s movement, of the “pussified James Dobson knock-off crying Promise Keeping homoerotic worship . . .” where men hugged and cried “like damn junior high girls watching Dawson’s Creek.” Real men should steer clear. 14 For Driscoll, the problem went all the way back to the biblical Adam, a man who plunged humanity headlong into “hell/ feminism” by listening to his wife, “who thought Satan was a good theologian.” Failing to exercise “his delegated authority as king of the planet,” Adam was cursed, and “every man since has been pussified.” The result was a nation of men raised “by bitter penis envying burned feministed single mothers who make sure that Johnny grows up to be a very nice woman who sits down to pee.” Women served certain purposes, and not others. In one of his more infamous missives, Driscoll talked of God creating women to serve as penis “homes” for lonely penises. When a woman posted on the church’s discussion board, his response was swift: “I . . . do not answer to women. So, your questions will be ignored.” 15

That night, she was neglecting her pen in favor of rereading one of the most-favored books in her library. It was a small volume that had appeared mysteriously when she was only fifteen. Josephine still had no idea who had gifted her the lovely horror of Carmilla, but she owed her nameless benefactor an enormous debt. Her personal guess was a briefly employed footman who had seen her reading her mother’s well-worn copy of The Mysteries of Udolpho and confessed his own forbidden love of Poe. The slim volume of Le Fanu’s Gothic horror stories had been hidden well into adulthood. As it wasn’t her father’s habit to investigate her reading choices, concealment might have been more for dramatic effect than real fear of discovery. Josephine read by lamplight, curled into an old chaise and basking in the sweet isolation of darkness as she mouthed well-loved passages from her favorite vampire tale. “For some nights I slept profoundly; but still every morning I felt the same lassitude, and a languor weighed upon me all day. I felt myself a changed girl. A strange melancholy was stealing over me, a melancholy that I would not have interrupted. Dim thoughts of death began to open, and an idea that I was slowly sinking took gentle, and, somehow, not unwelcome possession of me.” She slammed the book shut. How had she turned so morbid? For while Josephine had long known she would not live to old age, she thought she had resigned herself to it. She made a point of fighting the melancholy that threatened her. If she had any regret, it was that she would not live long enough to write all the stories she wanted. Sometimes she felt a longing to shout them into the night, offering them up to any wandering soul that they might be heard so they could live. So many voices beating in her chest. So many tales to write and whisper and shout. Her eyes fell to the book she’d slammed shut. ‘“You are afraid to die?” “Yes, everyone is.” Josephine stood and pushed her way out of the glass house, into the garden where the mist enveloped her. She lifted her face to the moon and felt the tears cold on her cheeks. “‘ Girls are caterpillars,” she whispered, “‘ when they live in the world, to be finally butterflies when the summer comes; but in the meantime there are grubs and larvae, don’t you see?’” But the summer would never come for Josephine. She beat back the despair that threatened to envelop her. You are afraid to die? Yes, everyone is. She lifted her face and opened her eyes to the starry night, speaking her secret longing into the night. “‘ But to die as lovers may— to die together, so that they may live together.’” How she longed for love! For passion. How she ached to be seen. To be cherished. To be known. She could pour her soul onto the page and still find loneliness in the dark. She strangled her heart to keep it alive, knowing it was only a matter of time until the palest lover took her to his bosom. Already, she could feel the tightness in her chest. Tomorrow would not be a good day.

From an essay on early reading by Robert Pinsky: My favorite reading for many years was the "Alice" books. The sentences had the same somber, drugged conviction as Sir John Tenniel's illustrations, an inexplicable, shadowy dignity that reminded me of the portraits and symbols engraved on paper money. The books were not made of words and sentences but of that smoky assurance, the insistent solidity of folded, textured, Victorian interiors elaborately barricaded against the doubt and ennui of a dreadfully God-forsaken vision. The drama of resisting some corrosive, enervating loss, some menacing boredom, made itself clear in the matter-of-fact reality of the story. Behind the drawings I felt not merely a tissue of words and sentences but an unquestioned, definite reality. I read the books over and over. Inevitably, at some point, I began trying to see how it was done, to unravel the making--to read the words as words, to peek behind the reality. The loss entailed by such knowledge is immense. Is the romance of "being a writer"--a romance perhaps even created to compensate for this catastrophic loss--worth the price? The process can be epitomized by the episode that goes with one of my favorite illustrations. Alice has entered a dark wood--"much darker than the last wood": [S]he reached the wood: It looked very cool and shady. "Well, at any rate it's a great comfort," she said as she stepped under the trees, "after being so hot, to get into the--into the--into what?" she went on, rather surprised at not being able to think of the word. "I mean to get under the--under the--under this, you know!" putting her hand on the trunk of the tree. "What does it call itself, I wonder? I do believe it's got no name--why to be sure it hasn't!" This is the wood where things have no names, which Alice has been warned about. As she tries to remember her own name ("I know it begins with L!"), a Fawn comes wandering by. In its soft, sweet voice, the Fawn asks Alice, "What do you call yourself?" Alice returns the question, the creature replies, "I'll tell you, if you'll come a little further on . . . . I can't remember here". The Tenniel picture that I still find affecting illustrates the first part of the next sentence: So they walked on together through the wood, Alice with her arms clasped lovingly round the soft neck of the Fawn, till they came out into another open field, and here the Fawn gave a sudden bound into the air, and shook itself free from Alice's arm. "I'm a Fawn!" it cried out in a voice of delight. "And dear me! you're a human child!" A sudden look of alarm came into its beautiful brown eyes, and in another moment it had darted away at full speed. In the illustration, the little girl and the animal walk together with a slightly awkward intimacy, Alice's right arm circled over the Fawn's neck and back so that the fingers of her two hands meet in front of her waist, barely close enough to mesh a little, a space between the thumbs. They both look forward, and the affecting clumsiness of the pose suggests that they are tripping one another. The great-eyed Fawn's legs are breathtakingly thin. Alice's expression is calm, a little melancholy or spaced-out. What an allegory of the fall into language. To imagine a child crossing over from the jubilant, passive experience of such a passage in its physical reality, over into the phrase-by-phrase, conscious analysis of how it is done--all that movement and reversal and feeling and texture in a handful of sentences--is somewhat like imagining a parallel masking of life itself, as if I were to discover, on reflection, that this room where I am writing, the keyboard, the jar of pens, the lamp, the rain outside, were all made out of words. From "Some Notes on Reading," in The Most Wonderful Books (Milkweed Editions)

What a joy this book is! I love recipe books, but it’s short-lived; I enjoy the pictures for several minutes, read a few pages, and then my eyes glaze over. They are basically books to be used in the kitchen for one recipe at a time. This book, however, is in a different class altogether and designed to be read in its entirety. It’s in its own sui generis category; it has recipes at the end of most of the twenty-one chapters, but it’s a book to be read from cover to cover, yet it could easily be read chapter by chapter, in any order, as they are all self-contained. Every bite-sized chapter is a flowing narrative from a well-stocked brain encompassing Balinese culture, geography and history, while not losing its main focus: food. As you would expect from a scholar with a PhD in history from Columbia University, the subject matter has been meticulously researched, not from books and articles and other people’s work, but from actually being on the ground and in the markets and in the kitchens of Balinese families, where the Balinese themselves learn their culinary skills, hands on, passed down orally, manually and practically from generation to generation. Vivienne Kruger has lived in Bali long enough to get it right. That’s no mean feat, as the subject has not been fully studied before. Yes, there are so-called Balinese recipe books, most, if I’m not mistaken, written by foreigners, and heavily adapted. The dishes have not, until now, been systematically placed in their proper cultural context, which is extremely important for the Balinese, nor has there been any examination of the numerous varieties of each type of recipe, nor have they been given their true Balinese names. This groundbreaking book is a pleasure to read, not just for its fascinating content, which I learnt a lot from, but for the exuberance, enthusiasm and originality of the language. There’s not a dull sentence in the book. You just can’t wait to read the next phrase. There are eye-opening and jaw-dropping passages for the general reader as Kruger describes delicacies from the village of Tengkudak in Tabanan district — grasshoppers, dragonflies, eels and live baby bees — and explains how they are caught and cooked. She does not shy away from controversial subjects, such as eating dog and turtle. Parts of it are not for the faint-hearted, but other parts make you want to go out and join the participants, such as the Nusa Lembongan fishermen, who sail their outriggers at 5.30 a.m. The author quotes Miguel Covarrubias, the great Mexican observer of the 1930s, who wrote “The Island of Bali.” It has inspired all writers since, including myself and my co-author, Ni Wayan Murni, in our book “Secrets of Bali, Fresh Light on the Morning of the World.” There is, however, no bibliography, which I found strange at first. I can only imagine it’s a reflection of how original the subject matter is; there simply are no other sources. Throughout the book Kruger mentions Balinese and Indonesian words and sometimes discusses their derivations. It’s a Herculean task. I was intrigued to read that “satay” comes from the Tamil word for flesh ( sathai ) and that South Indians brought satay to Southeast Asia before Indonesia developed its own tradition. The book is full of interesting tidbits like this. The book contains 47 recipes in all, 11 of which came from Murni’s own restaurant, Murni’s Warung, in Ubud. Mr Dolphin of Warung Dolphin in Lovina also contributed a number of recipes. Kruger adds an introduction to each recipe, with a detailed and usually very personal commentary. I think my favorite, though, is from a village priest (pemangku), I Made Arnila of the Ganesha (Siwa) Temple in Lovina. water. I am sure most will enjoy this book enormously; I certainly did.” Review published in The Jakarta Globe, April 17, 2014. Jonathan Copeland is an author and photographer based in Bali. thejakartaglobe/features/spiritual-journey-culinary-world-bali

Even so, all readers make books over in their own image, and according to their own experience. My Middlemarch is not the same as anyone else’s Middlemarch; it is not even the same as my Middlemarch of twenty-five years ago. Sometimes, we find that a book we love has moved another person in the same ways as it has moved ourselves, and one definition of compatibility might be when two people have highlighted the same passages in their editions of a favorite novel. But we each have our own internal version of the book, with lines remembered and resonances felt.

Why didn’t you go after her?” His father’s deep voice confronted his cowardice. Michael stuffed his hands into the pockets of his jeans, slumping his shoulders in the process as a child being scolded. He could not look at his father, he knew all too well the disapproving glare that was bound to chastise him. “Love isn’t easy, Son.” His father’s hand on his shoulder offered understanding and friendship, far from the reprove he expected. “But it is for you and mom.” “No, Son, it isn’t.” His father admitted. “I think we need to talk. How about ordering us a pizza, while I settle in.” Guiding his son back to the house, Joseph felt the prick of thorns from the guilt of past mistakes. “I can’t believe you and mom almost divorced.” Michael shook his head in disbelief at the story his father had shared with him. “We came very close. Thankfully, my father, your grandfather, sat me down and shared his own marital struggles with me. None of us are exempt from them. I know you and Abigail are not talking marriage yet, but I see the way you look at her and I know, that it is just a matter of time. Love is a commitment, Michael, not a contract.” Joseph sat his empty coffee cup down on the table and spoke honestly with his son. “Either you love her enough to fight for her, or you don’t love her at all.” “I do love her.” “Then fight for her, Michael. That includes forgiving her, not just once, but each time she messes up.” Standing, Joseph handed Michael his Bible. “I have marked two passages I want you to read. Start with Isaiah 53 and end with 1 Corinthians 13. I think you will find your answers there.” Reaching his hand down to his boy, Joseph pulled him up into his embrace. “Sleep well, Son. Your mom and I are praying for you.

To be secure everywhere is the mark of sophistication, to be unshakable is the mark of courage, to be permanently in love with every person is the mark of masculinity or femininity, to forgive is the mark of strength, to govern our senses and passions is the mark of freedom.

In a good library how swiftly time melts away! Not merely in the sense of its rapid passage through our absorption in other interests, but as an element in any consideration, it becomes entirely neglected. In practical business the present is our only actuality; the past has been cast down like a ladder whose rounds have helped us up to a height whence we never again expect to descend. Among books, all temporal successions are obliterated; Plato and Coleridge walk arm-in-arm; genial Chaucer and loving Elia shake hands; with them, with all, we stand enraptured upon the same plane of time, in one age, the ceaseless age of the communion of souls. Well did Ileinsius say, as he locked himself into the library of Leyden, Nunc sum in gremio sceculorum! —"Now I am in the lap of eternity!

Sit comfortably, either on a chair with your feet on the ground, or cross-legged. You can rest your hands on your legs or in your lap. Close your eyes and take several long breaths through your nose. Feel your stomach rise and fall as you breathe into your belly. Pay attention to what you hear around you. Notice how the world is alive with sound. As thoughts about these noises arise—judgments, assessments, irritations—let these observations and evaluations drift away. Release your focus on your breath and, while staying in the present moment, notice as any thoughts or feelings arise. Perhaps you will notice some discomfort in your body or have a feeling arise, or you may have a thought about what you need to accomplish or remember to do today. As the thoughts come up, let them float away without judging them or getting caught up in them. Begin to start seeing thoughts as thoughts without identifying with them. Just observe each moment without judgment. Think of a situation that you are having a hard time accepting. Perhaps it is your difficulty finding a job or a life partner, or it may be a friend’s illness or a collective reality such as war. Remind yourself that this is the nature of reality. These painful realities do happen to us, to those we love, and in our world. Acknowledge the fact that you cannot know all the factors that have led to this event. Accept that what has happened has already happened. There is nothing you can do to change the past. Remind yourself: “In order to make the most positive contribution to this situation, I must accept the reality of its existence.” You can also choose to recite or reflect on one of the following two passages, one from the Buddhist tradition, the other from the Christian tradition:

In the book of Philippians, Paul writes, “Therefore, my beloved, as you have always obeyed, so now, not only as in my presence but much more in my absence, work out your own salvation with fear and trembling, for it is God who works in you, both to will and to work for his good pleasure” (2:12–13). I love the apparent contradiction in this passage. Paul says in one breath, “Work out your own salvation,” and in the next, “It is God who works in you.” The both-ness here doesn’t allow us to escape with a simple conclusion. Yes, it is God who works in you. And, yes, there is work for you to do. Yes, the Spirit empowers you to do the work. And, yes, you do the work.

Midrash is not some private, original, subjective, “creative” interpretation. It is not an exegesis, or “reading into the text” of one’s own thoughts, but it is an attempt at exegesis, or “reading out of the text” what is there already; an “unpacking” of the gift of many-layered spiritual riches that lie there. Midrash is not scientific scholarship, or the historical-critical method of understanding a text by what we know of its history and the culture that produced it, although it does not contradict that method. Nor is midrash a reductionistic, debunking “deconstruction.” It is faithful, not skeptical; it assumes that God knew exactly what he was doing when he inspired each part of it, and it lingers lovingly over each word out of respect for the divine economy of words. It assumes that there is always more, not less, in the text than we see. It is neither a fundamentalistic literalism nor a “liberal” or “modernist” allegorizing-away of the literal meaning, but a kind of probing or deep-sea diving. It assumes that Scripture, like the sea, is vast and deep and rewarding on many levels. One of its methods is to interpret Scripture by Scripture, to shed light on one passage by using others. It also respects and uses the traditional wisdom of past saints and mystics.

Editing a dictionary isn’t like editing any other book or magazine,” the professor pointed out. “It’s a peculiar world. You need extreme patience, a capacity for endless minutiae, a love of words bordering on obsession, and a broad enough outlook to stay sane.

Khalil Gibran’s The Prophet. Randomly again, I opened the book to this passage, which Majid and I had read the night we learned that our child grew in my womb. Your children are not your children. They are the sons and daughters of Life’s longing for itself. They come through you but not from you, and though they are with you yet they belong not to you. You may give them your love but not your thoughts, For they have their own thoughts. You may house their bodies but not their souls, For their souls dwell in the house of tomorrow, which you cannot visit, not even in your dreams. You may strive to be like them, but seek not to make them like you. For life goes not backward nor tarries with yesterday. You are the bows from which your children as living arrows are sent forth. The archer sees the mark upon the path of the infinite, and he bends you with his might that his arrows may go swift and far. Let your bending in the archer’s hand be for gladness; For even as he loves the arrow that flies, so he loves also the bow that is stable.

This is done through allowance. “Let my eyes be opened to see the truth in all things. Let my heart be opened so that I may be in love with all things. And let my experience be that of the one who has come, who has seen, who is in love and claims all things anew.” Restoration is a passage one undergoes.

      •   Feature an excerpt from your novel, and explain why you love that passage or scene.

[The message of listening to and wrestling with God] is conveyed in a series of passages whose meaning does not lie on the surface of the text, but discloses itself only to those who listen to what is going on beneath the words: the unspoken cry, the implicit appeal, the unheard tears, the unarticulated pain. Those who wish to learn to listen to God must learn to listen to other people – to the kol demama daka, “the still, small voice” of those who need our love.

I may tell you it is not a small token that a woman loveth when she giveth unto her lover her beauty, which is so precious a matter; and by the ways that be a passage to the soul (that is to say, the sight and the hearing) sendeth the looks of her eyes, the image of her countenance, and the voice of her words, that pierce into the lover's heart and give a witness of her love.

This development—moving away from the view that God causes evil (rape, famine, sickness, war), towards a view that such evil is demonic—can be seen much earlier within Judaism in the intertestamental book of Jubilees (ca. 100 BCE) which revises the biblical narratives found in Genesis and the beginning of Exodus. The book of Jubilees takes many passages, which in the Old Testament books are attributed to God, and instead states that these were in fact the work of “Mastema,” the prince of demons. For example, while Exodus says that God killed the firstborn children in Egypt (Exod 11:4), the later book of Jubilees instead attributes this to “the powers of Mastema” which literally means in Hebrew “the powers of Hate” (Jubilees 49:2). This illustrates the shift in thinking that was occurring within Judaism at the time which recognized the obvious moral difficulty in attributing acts of evil to God. We can see a similar revisionism as well in the canonical books of the Old Testament itself. 2 Samuel describes God telling David to take a census, and then punishing him for it: “Again the anger of the Lord burned against Israel, and he incited David against them, saying, ‘Go and take a census of Israel and Judah’” (2 Sam 24:1). David then subsequently recognizes that this was a sin: “David was conscience-stricken after he had counted the fighting men, and he said to the Lord, ‘I have sinned greatly in what I have done’” (v. 10). God then punishes David for this: “So the Lord sent a plague on Israel from that morning until the end of the time designated, and seventy thousand of the people from Dan to Beersheba died” (v. 15). This obviously paints a morally problematic picture of God, which is revised in the parallel account in the later book of 1 Chronicles, which instead states, “Satan rose up against Israel and incited David to take a census of Israel” (1 Chron 21:1). Instead of God deceiving David and inciting him to sin, this is now presented as the work of Satan.

And you know, while I’m at it, I don’t care what arcane passage you pull out of the Old Testament and run through your Jeremiah-begat-Jedediah Decoder Ring, one of the definitive tenets of Christianity is tolerance. Trust me, there’s no version of the Bible that says Love thy neighbor unless he’s a Peter Allen fan. Any supposedly Christian doctrine must have at the core a belief in the concept of unqualified love for your fellow man. Unless of course he proves himself to be a total asshole. Then you can ditch him. Sure, God understands that, who do you think booked Satan’s flight? What he can’t understand is turning against someone because you don’t happen to agree with their sexual preference. Forget your linear, biblical interpretation that tells you to ostracize gays, and follow your heart. It’s like when your driving test instructor would tell you to run the stop sign. And you would, and then he’d flunk you. And you’d say, “But you told me to.” And he’d say, “Sorry, but you never run a stop sign.” And you never carpet bomb a group of people with hate because they’re different from you. Case closed, Tail-gunner Joe.

There also has to be a lot of meditation. We ought to learn to live in our Bibles. Get one with print big enough to read so it does not punish your eyes. Look around until you find a good one, and then learn to love it. Begin with the Gospel of John, then read the Psalms. Isaiah is another great book to help you and lift you. When you feel you want to do it, go on to Romans and Hebrews and some of the deeper theological books. But get into the Bible. Do not just read the little passages you like, but in the course of a year or two see that you read it through. Your thoughts will one day come up before God’s judgment. We are responsible for our premeditative thoughts. They make our mind a temple where God can dwell with pleasure, or they make our mind a stable where Christ is angry, ties a rope and drives out the cattle. It is all up to us.

But are challenge and love enough? Not quite. All great teachers teach students how to reach the high standards. Collins and Esquith didn’t hand their students a reading list and wish them bon voyage. Collins’s students read and discussed every line of Macbeth in class. Esquith spent hours planning what chapters they would read in class. “I know which child will handle the challenge of the most difficult paragraphs, and carefully plan a passage for the shy youngster … who will begin his journey as a good reader. Nothing is left to chance.… It takes enormous energy, but to be in a room with young minds who hang on every word of a classic book and beg for more if I stop makes all the planning worthwhile.” What are they teaching the students en route? To love learning. To eventually learn and think for themselves. And to work hard on the fundamentals. Esquith’s class often met before school, after school, and on school vacations to master the fundamentals of English and math, especially as the work got harder. His motto: “There are no shortcuts.” Collins echoes that idea as she tells her class, “There is no magic here. Mrs. Collins is no miracle worker. I do not walk on water, I do not part the sea. I just love children and work harder than a lot of people, and so will you.” DeLay expected a lot from her students, but she, too, guided them there. Most students are intimidated by the idea of talent, and it keeps them in a fixed mindset. But DeLay demystified talent. One student was sure he couldn’t play a piece as fast as Itzhak Perlman. So she didn’t let him see the metronome until he had achieved it. “I know so surely that if he had been handling that metronome, as he approached that number he would have said to himself, I can never do this as fast as Itzhak Perlman, and he would have stopped himself.” Another student was intimidated by the beautiful sound made by talented violinists. “We were working on my sound, and there was this one note I played, and Miss DeLay stopped me and said, ‘Now that is a beautiful sound.’ ” She then explained how every note has to have a beautiful beginning, middle, and end, leading into the next note. And he thought, “Wow! If I can do it there, I can do it everywhere.” Suddenly the beautiful sound of Perlman made sense and was not just an overwhelming concept. When students don’t know how to do something and others do, the gap seems unbridgeable. Some educators try to reassure their students that they’re just fine as they are. Growth-minded teachers tell students the truth and then give them the tools to close the gap. As Marva Collins said to a boy who was clowning around in class, “You are in sixth grade and your reading score is 1.1. I don’t hide your scores in a folder. I tell them to you so you know what you have to do. Now your clowning days are over.” Then they got down to work.

To me, love looks like golden light flooding through curtains as the sun peeks over the horizon to paint the sky with watercolors. It looks like the distorted version of a city that you know like the back of your hand through a window blurred with rain. It looks like receipts and clothing tags marking pages and passages that remind you of your memories with them in one of your favourite books.

And I read a book that figured the part about the virgins is a mistranslation. The word is ambiguous. It comes in a passage full of food imagery. Milk and honey. It probably means raisins. Plump, and possibly candied or sugared.” “They kill themselves for raisins?” “I’d love to see their faces.

This book has been about community . . . But when all is said and done, each of us, and in the deepest part of our self, has to learn to accept our own essential solitude. In each of our hearts, there is a wound - the wound of our own loneliness, which hurts at moments of setback and can be even more painful at the time of our death. Death is a passage which cannot be made in community. It has to be made completely alone. And all suffering, sadness and depression is a foretaste of that death, a manifestation of our deep wound which is part of the human condition. . . . We can experience moments of communion and love, of prayer and ecstasy - but they are only moments. We quickly find ourselves back in the incompleteness which is the result of our immortality and limitations and those of others. . . Even the most beautiful community can never heal the wound of loneliness that we carry. It is only when we discover that this loneliness can become a sacrament that we touch wisdom, for this sacrament is purification and presence of God. If we stop fleeing from our own solitude, and if we accept our wound, we will discover that this is the way to meet Jesus Christ. It is when we stop fleeing into work and activity, noise and illusion, and when we remain conscious of our wound, that we will meet God. . . . Those who enter marriage believing that it will slake their thirst for communion and heal their wound will not find happiness. In the same way, those who enter community hoping that it will totally fulfil and heal them, will be disappointed. We will only find the true meaning of marriage or community when we have understood and accepted our wound. It is only when we stand up, with all our failings and sufferings, and try to support others rather than withdraw into ourselves, that we can fully live the life of marriage or community. It is only when we stop seeing others as a refuge that we will become, despite our wound, a source of life and comfort. It is only then that we will discover peace.