Bridge Metaphor Quotes

A bridge is a meeting place . . . a possibility, a metaphor.

We’re coming near to the end of the bridge, and the road is once more bathed in the neon light of the street lamps so his face is intermittently in the light and the dark. And it’s such a fitting metaphor. This man, whom I once thought of as a romantic hero, a brave shining white knight—or the dark knight, as he said. He’s not a hero; he’s a man with serious, deep emotional flaws, and he’s dragging me into the dark. Can I not guide him into the light?

Cities have often been compared to language: you can read a city, it’s said, as you read a book. But the metaphor can be inverted. The journeys we make during the reading of a book trace out, in some way, the private spaces we inhabit. There are texts that will always be our dead-end streets; fragments that will be bridges; words that will be like the scaffolding that protects fragile constructions. T.S. Eliot: a plant growing in the debris of a ruined building; Salvador Novo: a tree-lined street transformed into an expressway; Tomas Segovia: a boulevard, a breath of air; Roberto Bolano: a rooftop terrace; Isabel Allende: a (magically real) shopping mall; Gilles Deleuze: a summit; and Jacques Derrida: a pothole. Robert Walser: a chink in the wall, for looking through to the other side; Charles Baudelaire: a waiting room; Hannah Arendt: a tower, an Archimedean point; Martin Heidegger: a cul-de-sac; Walter Benjamin: a one-way street walked down against the flow.

Maybe we're on the wrong side of some metaphorical bridge where the grass is crusty and not grass at all, but sharp little spines of glass. I dunno, Moritz. But the one little speck of green that I get is your letters, so please never stop writing me. You got that? Never stop. Because you'll never meet me and it's the closest we can get.

Words hurt, but metaphors go between, like bridges, and words are like stone to build bridges, hewn from the earth in agony but making a new thing, a shared thing.

I record my life, sifting and trying to separate what is real from what I’ve dreamed. I have decided not to tell you what is fact versus what is unfact primarily because (a) I am giving you a portrait of the essence of me, and (b) because, living where I do, living in the chasm that cuts through thought, it is lonely… come with me, reader. I am toying with you, yes, but for a real reason. I am asking you to enter the confusion with me, to give up the ground with me, because sometimes that frightening floaty place is really the truest of all. Kierkegaard says, ‘The greatest lie of all is the feeling of firmness beneath our feet. We are most honest when we are lost.’ Enter that lostness with me. Live in the place I am, where the view is murky, where the connecting bridges and orienting maps have been surgically stripped away.

Highly creative people have a gift for connecting supposedly unrelated elements and ideas. They cross borders without regard for customs posts or No Trespassing signs. They throw suspension bridges across great distances. These elegant and unexpected combinations flow together beautifully in the twilight zone, where metaphor and resemblance rules in place of logic and classification.

Metaphorically speaking," she said with a smile, "'if' is the smallest word in the Galactic Standard lexicon, yet it stands between us and our greatest dreams. Let it be a bridge, Shigar. It's time you crossed it. I will be waiting for you on the other side.

In a striking metaphor, Michael Burleigh suggests that the Nazis sought to rebuild German society as engineers rebuild a bridge. They could not demolish it, since that would disrupt traffic, and therefore they replaced each individual part, so that passengers wouldn’t notice.

Words hurt, but metaphors go between, like bridges, and words are like stone to build bridges, hewn from earth in agony but making a new thing, a shared thing, a thing that is more than one Shift

Paranoia is when you begin to suspect that your teeth are lying in wait for your tongue. The problem is not really serious though until you call the police in a muffled voice to report a crime in progress…

A bridge is a meeting place. A neutral place. A casual place. Enemies will choose to meet on a bridge and end their quarrel in that void. One will cross to the other side. The other will not return. For lovers, a bridge is a possibility, a metaphor of their chances. And

Walking a short way back along the embankment, almost to where the cross stood, Smiley took another look at the bridge, as if to establish whether anything had changed, but clearly it had not, and though the wind appeared a little stronger, the snow was still swirling in all directions.

young children standing with arms open to the world. an endless summer tiptoes from their aconite-like feet.

Life is like a handcrafted tapestry and every conscious entity in the entire universe is seated at the loom, tying their knots of experience into the overall design.

The Mind illustrates an intelligence and a sense of persistent continuity, that the brain can only dream of...

We are God's Memory Palace. We are an interactive holographic construct of dynamic memory being visualized by a higher form of consciousness.

Reverence for the natural environment, and experiencing the interconnectedness between all things has long guided me to create watercolor paintings of beauty and spirit. Life's continuing adventure has led me into an exciting exploration into the wisdom and symbolic imagery of Sacred Geometry. These paintings act as a bridge between this reality and a metaphorical world of healing, continuity, and transformation. I use multiple transparent watercolor glazes coupled with image overlapping techniques, and sacred geometry to produce visions of a multi-dimensional reality. It is my intention to create art that embodies the vibration of Universal Love and expresses the joy and gratitude I feel for the honor of being part of this earthwalk." ~Blessings, Francene~

Words hurt, but metaphors go between, like bridges, and words are like stone to build bridges, hewn from the earth in agony but making a new thing, a shared thing, a thing that is more than one Shift

I wanted to say, words hurt, but metaphors go between, like bridges, and words are like stone to build bridges, hewn from the earth in agony but making a new thing, a shared thing, a thing that is more than one Shift.

I wanted to say, words hurt, but metaphors go between, like bridges, and words are like stone to build bridges, hewn from the earth in agony but making a new thing, a shared thing, a thing that is more than one Shift.

The Spirit Sports with Time. The Soul is the Light that shines through... And all of our earthly desire and ambition is nothing but shadow play on the cave wall... There is a secret here that we have all sworn not to reveal.

No more kissing beneath bridges?" Her face heated. She turned to go only to have him catch her sleeve. It was a risk, having such long sleeves. "Why don't we both stay back here? No one will miss us and you're the most interesting part of the banquet anyway." "Shameless," she scolded.

Our job is to create a more perfect union. Right here. Right now! This has always been the dream of humankind since the beginning and once it was a reality and people around the world would speak about it to one another in quiet whispers over late night fires and it was called…AMERICA!

At its best, Star Trek appears to function as pop-allegory/ pop metaphor, taking current events and issues (ecology, war, racism) and objectifying them for us to contemplate in a sci-fi setting. The world it presents may make no scientific sense but it is well and truly sufficient to lay out human questions for us to think about. Removed from our immediate neighborhoods, it is refreshing and even intriguing to consider earth matters from the distance of a few light years. Like the best science fiction, Star Trek does not show us other worlds so meaningfully as it shows us our own—for better or worse, in sickness and in health. In truth, Star Trek doesn’t really even pretend to show us other worlds—only humanity refracted in a vaguely hi-tech mirror.

Adam Smith, with his half-baked idea about a hidden hand that works the cotton looms, decides to use that as his central metaphor for unrestrained Free Market capitalism. You don’t need to regulate the banks or the financiers when there’s an invisible five-fingered regulator who’s a bit like God to make sure that the money-looms don’t snare or tangle. That’s the monetarist mystic idol-shit, the voodoo economics Ronald Regan put his faith in, and that middle-class dunce Margaret Thatcher when they cheerily deregulated most of the financial institutions. And that’s why the Boroughs exists, Adam Smith’s idea. That’s why the last fuck knows how many generations of this family are a toilet queue without a pot to piss in, and that’s why everyone we know is broke. It’s all there in the current underneath that bridge down Tanner Street. That was the first one, the first dark, satanic mill.

He has his own games, his own bits of mischief, whose foundation consists of hatred for the bourgeois; his peculiar metaphors: to be dead is to eat dandelions by the root; his own occupations, calling hackney-coaches, letting down carriage-steps, establishing means of transit between the two sides of a street in heavy rains, which he calls making the bridge of arts, crying discourses pronounced by the authorities in favor of the French people, cleaning out the cracks in the pavement; he has his own coinage, which is composed of all the little morsels of worked copper which are found on the public streets.

It comes down to what is language? Up to now, until this age of mass literacy, language has been something spoken. In utterance there’s a minimum of slowness. In trying to treat words as chisel strokes, you run the risk of losing the quality of utterance, the rhythm of utterance, the happiness. A phrase out of Mark Twain—he describes a raft hitting a bridge and says that it “went all to smash and scatteration like a box of matches struck by lightning.” The beauty of “scatteration” could only have occurred to a talkative man, a man who had been brought up among people who were talking and who loved to talk himself. I’m aware myself of a certain dryness of this reservoir, this backlog of spoken talk. A Romanian once said to me that Americans are always telling stories. I’m not sure this is as true as it once was. Where we once used to spin yarns, now we sit in front of the tv and receive pictures. I’m not sure the younger generation even knows how to gossip. But, as for a writer, if he has something to tell, he should perhaps type it almost as fast as he could talk it. We must look to the organic world, not the inorganic world, for metaphors; and just as the organic world has periods of repose and periods of great speed and exercise, so I think the writer’s process should be organically varied. But there’s a kind of tautness that you should feel within yourself no matter how slow or fast you’re spinning out the reel.

The black hole solution of Einstein's equations is also a work of art. The black hole is not as majestic as Godel's proof, but it has the essential features of a work of art: uniqueness, beauty, and unexpectedness. Oppenheimer and Snyder built out of Einstein's equations a structure that Einstein had never imagined. The idea of matter in permanent free fall was hidden in the equations, but nobody saw it until it was revealed in the Oppenheimer-Snyder solution. On a much more humble level, my own activities as a theoretical physicist have a similar quality. When I am working, I feel myself to be practicing a craft rather than following a method. When I did my most important piece of work as a young man, putting together the ideas of Sin-Itiro Tomonaga, Julian Schwinger, and Richard Feynman to obtain a simplified version of quantum electrodynamics, I had consciously in mind a metaphor to describe what I was doing. The metaphor was bridge-building. Tomonaga and Schwinger had built solid foundations on the other side, and my job was to design and build the cantilevers reaching out over the water until they met in the middle. The metaphor was a good one. The bridge that I built is still serviceable and still carrying traffic forty years later. The same metaphor describes well the greater work of unification achieved by Stephen Weinberg and Abdus Salam when they bridged the gap between electrodynamics and the weak interactions. In each case, after the work of unification is done, the whole stands higher than the parts.

How I Got That Name Marilyn Chin an essay on assimilation I am Marilyn Mei Ling Chin Oh, how I love the resoluteness of that first person singular followed by that stalwart indicative of “be," without the uncertain i-n-g of “becoming.” Of course, the name had been changed somewhere between Angel Island and the sea, when my father the paperson in the late 1950s obsessed with a bombshell blond transliterated “Mei Ling” to “Marilyn.” And nobody dared question his initial impulse—for we all know lust drove men to greatness, not goodness, not decency. And there I was, a wayward pink baby, named after some tragic white woman swollen with gin and Nembutal. My mother couldn’t pronounce the “r.” She dubbed me “Numba one female offshoot” for brevity: henceforth, she will live and die in sublime ignorance, flanked by loving children and the “kitchen deity.” While my father dithers, a tomcat in Hong Kong trash— a gambler, a petty thug, who bought a chain of chopsuey joints in Piss River, Oregon, with bootlegged Gucci cash. Nobody dared question his integrity given his nice, devout daughters and his bright, industrious sons as if filial piety were the standard by which all earthly men are measured. * Oh, how trustworthy our daughters, how thrifty our sons! How we’ve managed to fool the experts in education, statistic and demography— We’re not very creative but not adverse to rote-learning. Indeed, they can use us. But the “Model Minority” is a tease. We know you are watching now, so we refuse to give you any! Oh, bamboo shoots, bamboo shoots! The further west we go, we’ll hit east; the deeper down we dig, we’ll find China. History has turned its stomach on a black polluted beach— where life doesn’t hinge on that red, red wheelbarrow, but whether or not our new lover in the final episode of “Santa Barbara” will lean over a scented candle and call us a “bitch.” Oh God, where have we gone wrong? We have no inner resources! * Then, one redolent spring morning the Great Patriarch Chin peered down from his kiosk in heaven and saw that his descendants were ugly. One had a squarish head and a nose without a bridge Another’s profile—long and knobbed as a gourd. A third, the sad, brutish one may never, never marry. And I, his least favorite— “not quite boiled, not quite cooked," a plump pomfret simmering in my juices— too listless to fight for my people’s destiny. “To kill without resistance is not slaughter” says the proverb. So, I wait for imminent death. The fact that this death is also metaphorical is testament to my lethargy. * So here lies Marilyn Mei Ling Chin, married once, twice to so-and-so, a Lee and a Wong, granddaughter of Jack “the patriarch” and the brooding Suilin Fong, daughter of the virtuous Yuet Kuen Wong and G.G. Chin the infamous, sister of a dozen, cousin of a million, survived by everbody and forgotten by all. She was neither black nor white, neither cherished nor vanquished, just another squatter in her own bamboo grove minding her poetry— when one day heaven was unmerciful, and a chasm opened where she stood. Like the jowls of a mighty white whale, or the jaws of a metaphysical Godzilla, it swallowed her whole. She did not flinch nor writhe, nor fret about the afterlife, but stayed! Solid as wood, happily a little gnawed, tattered, mesmerized by all that was lavished upon her and all that was taken away!

There are these three approaches, three dimensions, by which one reaches towards reality. Science cannot go beyond the object, because the very approach makes a limitation. Science cannot go beyond the outer, because only with the outer, experiments are possible. Philosophy, logic, cannot go beyond the subjective, because it is a mind-effort, you work it out in your mind. You cannot dissolve the mind; you cannot go beyond it. Science is objective; logic, philosophy, is subjective. Religion goes beyond, poetry goes beyond: it is a golden bridge. It bridges the object with the subject. But then everything becomes chaos – of course, very creative; in fact, there is no creativity if there is no chaos. But everything becomes indiscriminate; divisions disappear. I would like to say it in this way. Science is a day approach. In the full noon, everything is clear: distinct boundaries, and you can see the other well. Logic is a night approach: groping in the dark only with the mind, without any experimental support, just thinking. Poetry and religion are twilight approaches, just in the middle. The day is no longer there, the brightness of the noon has gone; things are not so distinct, clear. The night has not yet come; the darkness has not enveloped all. Darkness and day meet, there is a soft grayness, neither white nor black, boundaries meeting and merging, everything indiscriminate, everything is everything else. This is the metaphorical approach. That’s why poetry talks in metaphors – and religion is the ultimate poetry; religion talks in metaphors. Remember, those metaphors are not to be taken literally; otherwise you will miss the point. When I say the inner light, don’t think in terms of literal understanding, no. When I say, “The inner is like light,” it is a metaphor. Something is indicated, but not demarked, not defined, something of the nature of light, not exactly light; it is a metaphor. And this becomes a problem because religion talks in metaphors; it cannot talk otherwise, there is no other way. If I have been to another world and I have seen flowers which don’t exist on this earth, and I come to you and talk about those flowers, what will I do? I will have to be metaphorical. I will say, “Like roses,” but they are not roses; otherwise why say like roses, simply say roses. But they are not roses; they have a different quality to them.

So Japan is allied with Germany and they’re like “Sweet the rest of the world already hates us let’s take their land!” So they start invading China and Malaysia and the Philippines and just whatever else but then they’re like “Hmm what if America tries to stop us? Ooh! Let’s surprise attack Hawaii!” So that’s exactly what they do. The attack is very successful but only in a strictly technical sense. To put it in perspective, let’s try a metaphor. Let’s say you’re having a barbecue but you don’t want to get stung by any bees so you find your local beehive and just go crazy on it with a baseball bat. Make sense? THEN YOU MUST BE JAPAN IN THE ’40s. WHO ELSE WOULD EVER DO THIS? So the U.S. swarms on Japan, obviously but that’s where our bee metaphor breaks down because while bees can sting you they cannot put you in concentration camps (or at least, I haven’t met any bees that can do that). Yeah, after that surprise attack on Pearl Harbor everybody on the West Coast is like “OMG WE’RE AT WAR WITH JAPAN AND THERE ARE JAPANESE DUDES LIVING ALLLL AROUND US.” I mean, they already banned Japanese immigration like a decade before but there are still Japanese dudes all over the coast and what’s more those Japanese dudes are living right next door to all the important aircraft factories and landing strips and shipyards and farmland and forests and bridges almost as if those types of things are EVERYWHERE and thus impossible not to live next door to. Whatever, it’s pretty suspicious. Now, at this point, nothing has been sabotaged and some people think that means they’re safe. But not military geniuses like Earl Warren who points out that the only reason there’s been no sabotage is that the Japanese are waiting for their moment and the fact that there has been no sabotage yet is ALL THE PROOF WE NEED to determine that sabotage is being planned. Frank Roosevelt hears this and he’s like “That’s some pretty shaky logic but I really don’t like Japanese people. Okay, go ahead.” So he passes an executive order that just says “Any enemy ex-patriots can be kicked out of any war zone I designate. P.S.: California, Oregon, and Washington are war zones have fun with that.” So they kick all the Japanese off the coast forcing them to sell everything they own but people are still not satisfied. They’re like “Those guys look funny! We can’t have funny-looking dudes roaming around this is wartime! We gotta lock ’em up.” And FDR is like “Okay, sure.” So they herd all the Japanese into big camps where they are concentrated in large numbers like a hundred and ten thousand people total and then the military is like “Okay, guys we will let you go if you fill out this loyalty questionnaire that says you love the United States and are totally down to be in our army” and some dudes are like “Sweet, free release!” but some dudes are like “Seriously? You just put me in jail for being Asian. This country is just one giant asshole and it’s squatting directly over my head.” And the military is like “Ooh, sorry to hear that buddy looks like you’re gonna stay here for the whole war. Meanwhile your friends get to go fight and die FOR FREEDOM.

Metaphors are valuable because they build a bridge between the known and the unknown. Or, to put it another way, metaphors serve the same purpose as propositional statements: to orient the reader toward reality.

I put my arm around her.  You put your arm around her.  She leans against you. And a long spell of time passes.  "Did you know that I did this exact same thing a long time ago? Right in this same spot?"  "I know," you tell her.  "How do you know that?' Miss Saeki asks, and looks you in the eyes.  "I was there then."  "Blowing up bridges?"  "Yes, I was there, blowing up bridges."  "Metaphorically."  "Of course."  You hold her in your arms, draw her close, kiss her. You can feel the strength deserting her body.  "We're all dreaming, aren't we?" she says.  All of us are dreaming.  "Why did you have to die?"  "I couldn't help it," you reply.  Together you walk along the beach back to the library. You turn off the light in your room, draw the curtains, and without another word climb into bed and make love.   Pretty much the same sort of lovemaking as the night before. But with two differences.   After sex, she starts to cry. That's one. She buries her face in the pillow and silently weeps. You don't know what to do. You gently lay a hand on her bare shoulder. You know you should say something, but don't have any idea what. Words have all died in the hollow of time, piling up soundlessly at the dark bottom of a volcanic lake. And this time as she leaves you can hear the engine of her car. That's number two. She starts the engine, turns it off for a time, like she's thinking about something, then turns the key again and drives out of the parking lot. That blank, silent interval between leaves you sad, so terribly sad. Like fog from the sea, that blankness wends its way into your heart and remains there for a long, long time. Finally it's a part of you.  She leaves behind a damp pillow, wet with her tears. You touch the warmth with your hand and watch the sky outside gradually lighten. Far away a crow caws. The Earth slowly keeps on turning. But beyond any of those details of the real, there are dreams.   And everyone's living in them.

I had been told that God works in mysterious ways. Now I saw that the Mystery works in Godly ways—you know, spontaneously creating itself and all—and a metaphor was as close as we could get to understanding that. These things, like my mushroom trip, weren’t meant to be labeled and sorted easily in our minds. The word Campbell uses for this type of thinking is “transrational.” It’s not irrational, it’s beyond rationality. It’s not blueprints to build a bridge, it’s crying at a song that doesn’t have any words. We’re like dogs trying to understand the internet. And the best way we can touch the unfathomable mystery is with a myth.

There was not much about the border in her notes, but that white spiral, that enormous space, did not leave him completely. There was an odd synchronicity as he worked that linked the spiral to his mother’s flash of light across the sky, the literal and the metaphoric joined together across an expanse of time and context so vast that only thoughts could bridge the gap.

Managing the Neutral Zone: A Checklist Yes No   ___ ___ Have I done my best to normalize the neutral zone by explaining it as an uncomfortable time that (with careful attention) can be turned to everyone’s advantage? ___ ___ Have I redefined the neutral zone by choosing a new and more affirmative metaphor with which to describe it? ___ ___ Have I reinforced that metaphor with training programs, policy changes, and financial rewards for people to keep doing their jobs during the neutral zone? ___ ___ Am I protecting people adequately from inessential further changes? ___ ___ If I can’t protect them, am I clustering those changes meaningfully? ___ ___ Have I created the temporary policies and procedures that we need to get us through the neutral zone? ___ ___ Have I created the temporary roles, reporting relationships, and organizational groupings that we need to get us through the neutral zone? ___ ___ Have I set short-range goals and checkpoints? ___ ___ Have I set realistic output objectives? ___ ___ Have I found the special training programs we need to deal successfully with the neutral zone? ___ ___ Have I found ways to keep people feeling that they still belong to the organization and are valued by our part of it? And have I taken care that perks and other forms of “privilege” are not undermining the solidarity of the group? ___ ___ Have I set up one or more Transition Monitoring Teams to keep realistic feedback flowing upward during the time in the neutral zone? ___ ___ Are my people willing to experiment and take risks in intelligently conceived ventures—or are we punishing all failures? ___ ___ Have I stepped back and taken stock of how things are being done in my part of the organization? (This is worth doing both for its own sake and as a visible model for others’ similar efforts.) ___ ___ Have I provided others with opportunities to do the same thing? Have I provided them with the resources—facilitators, survey instruments, and so on—that will help them do that? ___ ___ Have I seen to it that people build their skills in creative thinking and innovation? ___ ___ Have I encouraged experimentation and seen to it that people are not punished for failing in intelligent efforts that do not pan out? ___ ___ Have I worked to transform the losses of our organization into opportunities to try doing things a new way? ___ ___ Have I set an example by brainstorming many answers to old problems—the ones that people say we just have to live with? Am I encouraging others to do the same? ___ ___ Am I regularly checking to see that I am not pushing for certainty and closure when it would be more conducive to creativity to live a little longer with uncertainty and questions? ___ ___ Am I using my time in the neutral zone as an opportunity to replace bucket brigades with integrated systems throughout the organization?

Weil supplants these contradictory images of God (the omnipotent willing God versus the good and loving God) with her version of Plato's dual causality. The real dilemma, for Weil, is that God is simultaneously the author of all that is and only that which is good. Her solution is to transpose Plato's dual causality of Reason and Necessity (Timaeus 48a) into two faces of God: (i) love or grace, as God the Son, the eternal self-renouncing sacrificial Lamb and (ii) necessity or gravity, as God the Father's created order of mechanical secondary causes. The distance between necessity and the Good in Plato thus becomes the distance between God the Father and God the Son in Weil, bridged by the Cross. She then offers this hermeneutical key: 'power' is always a metaphor for necessity or natural and supernatural consequences rather than a direct act of miraculous intervention. Thus, the 'power of God' (whether in wrath or deliverance) in the Bible is an existential description of secondary causes. The reality, she says, is that God is impartial (i.e., 'God causes the rain to fall on the just and the unjust' or 'Zeus's golden scales' ). 'Force' as we experience it is the mechanism (necessity) of the world (like gravity )—not arbitrary intervention. Beyond that, force is evil, because it is the opposite of love, which is consent.

They were coming back to his mother's neighborhood now, the eastern boundary of which was a bridge spanning a know of train tracks that cut through the city like a zipper.

From the Bridge” by Captain Hank Bracker Pebbles, Rocks & Mountains Rocks can be formed in many different ways and are found in just about every corner of our planet, the Moon, up in space and who knows where else. Now pebbles are the mini-me’s of rocks and generally are about one to three inches in size. Geologists will tell you that they are about 5 millimeters in diameter, but who’s counting? In fact there are two beaches that are made up entirely of pebbles such as the Shingle Beach in Somerset, England. Generally pebbles are found along rivers, streams and creeks whereas mountains are usually a part of a chain that was created along geothermal fault lines. The process of Mountain formation is associated with movements of the earth's crust, which is referred to as plate tectonics. See; now that I looked it up, I know these things! What I’m about to say has absolutely nothing to do with geology and everything to do about human nature. In the course of events we never trip over mountains and seldom over rocks, but tripping over pebbles is another thing. Marilyn French, a writer and feminist scholar is credited with saying, “Men (she should have included Women) stumble over pebbles, never over mountains.” She was the lady (I should have said woman) whose provocative 1977 novel, “The Women's Room” captured the frustration and fury of a generation of women fed up with society's traditional conceptions of their roles (and this is true). However, this has nothing to do with the feminist movement and is simply a metaphor. Of course we’re not going to trip over mountains, not unless we are bigger than the “Jolly Green Giant!” and so it’s usually the little things that trip us up and cause us problems. What comes to mind is found on page 466 of The Exciting Story of Cuba. This is a book that won two awards by the “Florida Authors & Publishers Association” and yet there are small mistakes. They weren’t even caused by me or my team and yet there they are, getting bigger and bigger every time I look at them. Now I’m not about to tell you what they are, since that would take the fun out of it, but if you look hard enough in the book, you’ll succeed in discovering them! I will however tell you that one of these mistakes was caused by a computer program called “Word.” It’s wonderful that this program has a spell check and can even correct my grammar, but it can’t read my mind. In its infernal wisdom, the program was so insistent that it was right and that I was wrong that it changed the spelling of, in this case, the name of a person in the middle of the night. It happened while I was sleeping! I would have seen it if it had been as big as a mountain, however being just a little pebble it escaped my review and even escaped the eagle eyes of Lucy who still remains the best proof reader and copy editor that I know. When you discover what I missed please refrain from emailing me, although, normally, I would really enjoy hearing from you! I unfortunately already know most of the errors in the book, for which I take full responsibility. The truth of it is that my mistakes leave me feeling stupid and frustrated. Now, you may disagree with me however I don’t think that I am really all that stupid, but when you write hundreds of thousands of words, a few of them might just slip between the cracks. None of us are infallible and we all make mistakes. I sometimes like to say that “I once thought that I had made a mistake, but then found out that I was mistaken.” And so it is; if you think about it, it’s the pebbles that create most of our problems, not the rocks and certainly not the mountains. I’ll let you know as soon as my other books, Suppressed I Rise – Revised Edition; Seawater One…. And Words of Wisdom, “From the Bridge” are available. It’s Seawater One that has the naughty bits in it… but that just spices it up. Now with that book you can really tell me what you think….

we need to know culturally what Paul knew – some letters he was writing to Jews, and others to former Gentiles – and there are hints in the epistles if one knows what to look for.  But assumption and an ill-knowledge of first century history has really kept us at a disadvantage.  Paul writes as a first century Jew.  He was well versed in the laws of God and the laws of the Jews, he expertly writes in allusions and metaphor, he takes this and that from the scripture and links them together in a markedly rabbinical way, not in a Christian way.  He uses Hebraic rules of interpretation to open up the scriptures in order to show that Jesus is the Messiah – and unfortunately, he isn’t usually very clear about it.  And the fact that ancient Greek had no punctuation, and only one word for law (when many types of laws are referred to) – well, it really doesn’t assist him in being crystal clear to us, let alone his own contemporaries.

Nothing can be more important than what Jesus says about something.  Some of the ancient sages of Judaism claimed that all of Creation was made for Messiah, and by Messiah!  Therefore, He will be the ultimate source of truth.  His words, like Himself, will be eternal.  Can I get an amen to that?  Can we agree that He would never lie to or mislead anyone?  Sometimes (like all rabbis of that day and age) He taught in parables that were confusing or metaphorical, but He never lied or said anything He did not mean. In fact, can we agree that He never once broke the law in any way? 

THE BRIDGE TO TOTAL FREEDOM is a journey that goes on and on (although confoundingly, in the Scientology metaphor, one moves “higher and higher”—up the Bridge rather than across it).

The Composition of Death Upon Your Breath" About the Song: The Composition of Death Upon Your Breath delves into the dark and haunting theme of a lover poisoned by a sinister concoction found in the medieval Grand Grimoire. The song narrates the tragic tale of love tainted by the cruel hand of death, where a forbidden potion is meticulously prepared with arcane ingredients. The song's lyrics evoke a gothic atmosphere, intertwining elements of medieval alchemy and romantic tragedy. The potion's ingredients—Red Copper, Nitric Acid, Verdigris, Arsenic, Oak Bark, Rose Water, and Black Soot—are transformed into metaphors for the slow, inevitable demise of the lover. This deadly recipe becomes a symbol of both the destructive power and the twisted beauty of forbidden love. The music captures the essence of gothic black metal with its somber melodies, eerie harmonies, and intense, brooding instrumentals. Each note and lyric serve to illustrate the dark journey of love poisoned by betrayal and malice. The song's atmosphere is thick with melancholy and dread, inviting listeners into a world where passion and death intertwine in a tragic dance. Copyright Notice: The Composition of Death Upon Your Breath © 2024 Umbrae Sortilegium. All rights reserved. Unauthorized copying, reproduction, or distribution of this song or its lyrics is prohibited. The Composition of Death Upon Your Breath. (Verse 1) In an ancient tome of shadowed lore, A secret poison to settle the score, A lover’s whisper, a deadly art, The composition to tear us apart. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Verse 2) A new, glazed pot, the spell's design, A potion brewed, in shadows confined, Your lips, a chalice of cold despair, In each embrace, a whispered prayer. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Bridge) In your gaze, the twilight's fall, A lover's kiss, the end of all, The Grand Grimoire, its secrets told, In every kiss, the poison’s cold. (Breakdown) A potion brewed from darkest sin, Your breath the gateway, let death begin, A recipe of doom, our fates entwined, In your arms, I lose my mind. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Outro) The final breath, a lover's sigh, In your arms, I’m doomed to die, The composition, a lover’s theft, Death upon your breath, my final bequest. Lyrics and ALL Vocals yours truly. Lead Guitar & Symphonics Raz Wolfgang Drums Alexander Novichkov Bass Auron Nightshade Guitarist Kael Thornfield

In the arts terms frequently cross boundaries, as when the concept of metaphor transfers from literature to architecture. The strict definition of metaphor is that it describes a link between disparate concepts that avoids ‘like’ or ‘as’. There is no point-to-point correspondence, the association being on the level of suggestion rather than simile – ‘I see a cloud that’s dragonish . . .’ // A metaphor creates a bridge across unexplored territory, connecting two unlikely entities. The aesthetic ‘spark’ is generated by the novelty or poignancy of the association; the arcing across conceptual space. The emotional reward comes from the recognition of a new pattern of relationship. The phenomenon of metaphor operates in parallel with the formal aesthetic qualities of a building being a variation on the theme of binary aesthetics, introducing the poetic element into architecture.

Yes, there’s an Aster elephant in the room. Now let’s all build a bridge and get over it.” Aunt Tamar huffs. “You mix your metaphors so freely . . .

As the subtleties of nature unfold, they are found to be further and further removed from simple mechanisms so that mind no longer appears to be alien to the universe. Likewise the synchronicities that form a bridge between matter and mind can not be be reduced to a single level of description. Rather, complementary descriptions, approaches, and metaphors are necessary so that synchronicity appears as through the facets of a rotating crystal, constantly displaying new forms and colors that are the reflections of an underlying ground.

What I am saying is that it takes time to understand humans because they don’t understand themselves. They have been wearing clothes for so long. Metaphorical clothes. That is what I am talking about. That was the price of human civilization—to create it, they had to close the door on their true selves. And so they are lost, that is how I understand it. And that is why they invented art: books, music, films, plays, painting, sculpture. They invented them as bridges back to themselves, back to who they are. But however close they get, they are forever removed.

This idea is extremely clever and highlights that there is exclusivity even around the use of violence. The state can legitimately use force to impose its will and increasingly so can the rich. Take away that facility and societies will begin to equalize. If that hotel in India that I went to was stripped of its security, they’d have to address the complex issues that led to them requiring it. “These systems can be very expensive. America employs more private security guards than high school teachers. States and countries with high inequality tend to hire proportionally more guard labor. If you’ve ever spent time in a radically unequal city in South Africa, you’ll see that both the rich and the poor live surrounded by private security contractors, barbed wire, and electrified fencing. Some people have nice prison cages, and others have not-so-nice ones. But when there’s inequality, there’s got to be someone making sure, with force, that it stays that way.” Matt here, metaphorically, broaches the notion that the rich too are impeded by inequality, imprisoned in their own way. Much like with my earlier plea for you to bypass the charge of hypocrisy, I now find myself in the unenviable position of urging you, like some weird, bizarro Jesus, to take pity on the rich. It’s not an easy concept to grasp, and I’m not suggesting it’s a priority. Faced with a choice between empathizing with “the rich” and “the homeless,” by all means go with the homeless. It is reductive, though, not to acknowledge that all are encompassed by this system and none of us are free while it endures. I’m not saying it’s worse to be one of Bernie Ecclestone’s kids than Jason, the homeless bloke who lives under the bridge at the end of my street; I’m saying that the two are connected and everyone will benefit from change. I should also point out that empathy, sympathy, and love are limitless resources, energies that never deplete, and at this time of dwindling fuels we should cherish and explore these inexhaustible inner resources more than ever.

dating question -What do you want from this world? -To have a wardrobe. In his first meeting with Katrina, she asked him a dating question, and his answer was unconventional, he wished he could buy a wardrobe, in which he put his belongings, a metaphor for the instability in his life, so how does he do this, while he is without a homeland, without a home, moving from place to another, carrying a bag containing a few of his personal belongings. About to cheat on Khadija, the curiosity in the intelligence man’s mind overpowered him, the desire for knowledge, exploration, information, and a thirst for more details, the smallest details. Plan the process with the mentality of a computer programmer, “I will leave them a loophole in the system, they will hack me through it, and to do this they have to open their doors to send their code, and at this very moment, I am sending my code in the opposite direction. The most vulnerable account devices to hack are the hackers themselves. They enter the systems through special ports, which are opened to them by the so-called Trojan horse, a type of virus, with which they target the victim, open loopholes for them, infiltrate through them, and in both cases, they, in turn, have to open ports on their devices to complete the connection, from which they can be hacked backward. Katrina is a Trojan horse, he will not close the ports in front of her, she must succeed in penetrating him, and she will be his bridge connecting them, he will sneak through her, to the most secret and terrifying place in the world, a journey that leads him to the island of Malta, to enter the inevitable den. This is how the minds of investigators and intelligence men work, they must open the outlets of their minds to the fullest, to collect information, receive it, and deal with it, and that is why their minds are the most vulnerable to penetration, manipulation, and passing misleading information to them. It is almost impossible to convince a simple man, that there is life outside the planet, the outlets of his mind are closed, he is not interested in knowledge, nor is he collecting information, and the task of entering him is difficult, they call him the mind of the crocodile, a mind that is solid, closed, does not affect anything and is not affected by anything, He has his own convictions, he never changes them. While scientists, curious, intellectuals, investigators, and intelligence men, the ports of their minds are always open. And just as hackers can penetrate websites by injecting their URL addresses with programming phrases, they can implant their code into the website’s database, and pull information from it. The minds of such people can also be injected, with special codes, some of them have their minds ready for injection, and one or two injections are sufficient to prepare for the next stage, and for some, dozens of injections are not enough, and some of them injected their minds themselves, by meditation, thinking, and focusing on details, as Ruslan did. Khadija did not need more than three injections, but he trusted the love that brought them together, there is no need, she knew a lot about him in advance, and she will trust him and believe him. Her mind would not be able to get her away, or so he wished, the woman’s madness had not been given its due. What he is about to do now, and the revenge videos that she is going to receive will remain in her head forever, and will be her brain’s weapon to escape, when he tries to get her out of the box. From an early age, he did not enjoy safety and stability, he lived in the midst of hurricanes of chaos, and the heart of randomness. He became the son of shadows and their master. He deserved the nickname he called himself “Son of Chaos.

Metaphor is not only an implicit comparison, it is also (to use another architectural metaphor) a bridge – between our inner and outer worlds – which not only mediates but explains and stimulates too.

In the neutral zone, be wary of any arrangement or activity that shows a preference for one group over others. During this middle phase of transition, people want to feel that “we are all in this boat together”—another good metaphor. They will put up with a lot of discomfort if everyone must do so as well.

Before they present themselves to mankind, most prophets spend years gathering metaphors in the desert, which is like an orchard where metaphors flourish without a trace of rain. — David Shumate, from “Metaphors,” The Floating Bridge: Prose Poems (University of Pittsburgh Press, 2008)

People write programs. That statement is worth pausing over. People write programs. Despite the field’s infatuation with metaphors like architecture and bridge-building and its dabbling in alternative models from biology or physics, the act of programming today remains an act of writing—of typing character after character, word after word, line after line.

Broken cities and bridges can be rebuilt, Lindy, but a building without power will eventually become derelict and fall into a state of decay. If left too long it will be earmarked for demolition.

Translators build the bridges. The chasm between languages is a deep ravine of silence. So what can we do but trust that the translators' bridges are sturdy, will carry the weight of meaning from one side of the ravine to the other? But all these bridges are faulty. Hitches and chinks because one language cannot cross over to another language unaltered and unflawed.

Robert crossed Pulteney Bridge with a light step. He grinned at the boy raking odiferous horse manure to the curb and tipped him well for his service. He nodded—with a grin—to the puzzled driver of a hack heading into the city. And he bowed—with a grin—as he stepped aside to allow the weary-looking woman with two toddlers to pass. None to see him would realize that Robert had fallen under the hooves of a racing carriage and risen from the other side unscathed—metaphorically speaking, of course.

Jim was the one who told me that my emotional life made him dangle his stethoscope like a snake charmer: my moods weren’t hard to see but they were hard to read, and even harder to diagnose. It was ostensibly a complaint, but I think he liked his metaphor, and liked that our moments of distance were subtle enough to require this kind of formulation. Meaning that I was a complex creature and so was he; that he became even more complex in his attempt to bridge the gap between our complexities; that he could create a complicated image to house this complex of complications. This is how writers fall in love: they feel complicated together and then they talk about it.

People use spatial metaphors to describe human experience, such as being “trapped” in a relationship, or “running away from truth,” as if truth were a physical place. People grow up in different moral spaces (for example, the community where everyone goes to Bible study). In northern Canada, the Athabaskan and Tlingit people, who are surrounded by glaciers, believe that the glaciers “listen, pay attention, and respond to human behavior—especially to indiscretion.” [4] The spaces in which we live contribute to our sense of the world. Conversely, people also shape space, as evidenced in the wide variety of houses that people build around the world. Asking your parent or grandparent to describe their childhood home and neighborhood can open up many conversations about what growing up was like for them.