Broken Vase Quotes

He’s very pretty. For a human.” “He’s very broken,” said Magnus. “Like a lovely vase that someone has smashed. Only luck and skill can put it back together the way it was before.

Doctoring her seemed to her as absurd as putting together the pieces of a broken vase. Her heart was broken. Why would they try to cure her with pills and powders?

A fine glass vase goes from treasure to trash, the moment it is broken. Fortunately, something else happens to you and me. Pick up your pieces. Then, help me gather mine.

Some broken vases can still hold beautiful flowers

No amount of soul searching would fix my past. There was no magical Band-Aid I could stick on my heart, no special glue I could use to make myself whole again. I had shattered to pieces like a fragile vase on concrete; some fragments could be roughly cobbled back together, but many of my vital parts had simply turned to dust, pulverized and scattered by the first gust of wind.

Sometimes when things break, you can hold them together for a while with string or glue or tape. Sometimes, nothing will hold what’s broken, and the pieces fly all over, and though you think you might be able to find them all again, one or two will always be missing. I flew apart. I broke. I shattered like a crystal vase dropped on a concrete floor, and pieces of me scattered all over. Some of them I was glad to see go. Some I never wanted to see again.

In that moment her heart fell out of her chest. Like the glass filled vase he had brought to her, it dropped. It was shattered into a million small pieces.

When I look at you, I see something broken that isn’t worth fixing. And you look at me like I’m a cheap thing to replace the expensive one that’s been stolen from you. See, we’re all vases. And you’re the one scattered on the floor, shattered beyond repair. So I’ll let someone else pick you up. It’s really that simple. Have fun with your temporary glue.

The author squares man's depravity with still being made in the image of God with this word picture. A vase that has held beautiful roses though now broken, will nevertheless hold something of the fragrance it once contained.

They go in a vase. On the nighstand by your bed. Or on the kitchen table. Or on the coffee table in the living room. They go where you can see them most often, and, seeing them, remember that you deserve flowers.

Like a broken vase does not fear of breaking once more, my broken heart is not affected by your hurting words anymore!

In Japanese culture it is said that if a vase is accidently broken and then glued back together, it becomes even more beautiful... regardless of its defects. It can be the same with people.

Through my attachments, I was dependent on my relationships to fulfill my needs. I allowed those relationships to define my happiness or my sadness, my fulfillment or my emptiness, my security, and even my self-worth. And so, like the vase placed where it will inevitably fall, through those dependencies I set myself up for disappointment. I set myself up to be broken.

When You Return Fallen leaves will climb back into trees. Shards of the shattered vase will rise and reassemble on the table. Plastic raincoats will refold into their flat envelopes. The egg, bald yolk and its transparent halo, slide back in the thin, calcium shell. Curses will pour back into mouths, letters un-write themselves, words siphoned up into the pen. My gray hair will darken and become the feathers of a black swan. Bullets will snap back into their chambers, the powder tamped tight in brass casings. Borders will disappear from maps. Rust revert to oxygen and time. The fire return to the log, the log to the tree, the white root curled up in the un-split seed. Birdsong will fly into the lark’s lungs, answers become questions again. When you return, sweaters will unravel and wool grow on the sheep. Rock will go home to mountain, gold to vein. Wine crushed into the grape, oil pressed into the olive. Silk reeled in to the spider’s belly. Night moths tucked close into cocoons, ink drained from the indigo tattoo. Diamonds will be returned to coal, coal to rotting ferns, rain to clouds, light to stars sucked back and back into one timeless point, the way it was before the world was born, that fresh, that whole, nothing broken, nothing torn apart.

Trust is like a vase...once it's broken, though it can be fixed the vase will never be the same

Autobiography is a precious broken vase pieced painstakingly together still showing the chips and cracks. It is a broken truth revealing snapshots of a cracked and chipped life pieced pieced painstakingly together.

Mungojerrie and Rumpleteazer were a very notorious couple of cats. As knockabout clowns, quick-change comedians, Tight-rope walkers and acrobats They had an extensive reputation. [...] When the family assembled for Sunday dinner, With their minds made up that they wouldn’t get thinner On Argentine joint, potatoes and greens, And the cook would appear from behind the scenes And say in a voice that was broken with sorrow "I'm afraid you must wait and have dinner tomorrow! For the joint has gone from the oven like that!" Then the family would say: "It's that horrible cat! It was Mungojerrie – or Rumpleteazer!" - And most of the time they left it at that. Mungojerrie and Rumpleteazer had a wonderful way of working together. And some of the time you would say it was luck And some of the time you would say it was weather. They would go through the house like a hurricane, And no sober person could take his oath Was it Mungojerrie – or Rumpleteazer? Or could you have sworn that it mightn't be both? And when you heard a dining room smash Or up from the pantry there came a loud crash Or down from the library came a loud ping From a vase which was commonly said to be Ming Then the family would say: "Now which was which cat? It was Mungojerrie! And Rumpleteazer!" And there's nothing at all to be done about that!

Deception wasn’t Tricia’s strongpoint. Not when she’d been seven and blamed Angelica for a vase she’d broken, nor when coming up with excuses to avoid dating high school jocks who couldn’t spell, let alone comprehend, Sherlock Holmes.

My body’s been broken, my heart trampled by divine whims, my hopes shattered like a glass vase hit by lightning. And despite all the obstacles the gods threw my way, I collected the debris and fused them back together, turning fragile glass into impenetrable diamond.

We humans have always been in pain. History tells us that in the artifacts civilizations have left behind. Pain is there in the broken vases, the fractured poetry, the overwhelming music we have played for centuries. We belong to grief until the engine goes out. Then we belong to the dirt, our bodies identical to other fallen things.

All things have a soul. A vase, a wall, a chair. And when a vase is broken, it might die in the physical realm, but for a time its soul remembers what it was. So all things die twice. Its final death is when men forget it was a vase, and only think of the pieces. I imagine the vase floating away then, its form dissolving into the nothingness.

Instead of getting the house like Mount Vernon, they had moved into the little house on Greentree Avenue in Westport, and Betsy had become pregnant, and he had thrown the vase against the wall, and the washing machine had broken down. And Grandmother had died and left her house to somebody, and instead of being made vice-president of J. H. Nottersby, Incorporated, he had finally arrived at a job where he tested mattresses, was uneasy when his boss said he wanted to see him without explaining why, and lived in fear of an elevator operator.

Empty—it was utterly empty here. Like a tomb. “Tam?” I called. I bounded up the front steps and into the house. I rushed inside, swearing as I slid on a piece of broken porcelain—the remnants of a vase. Slowly, I turned in the front hall. It looked as if an army had marched through. Tapestries hung in shreds, the marble banister was fractured, and the chandeliers lay broken on the ground, reduced to mounds of shattered crystal. “Tamlin?” I shouted. Nothing. The windows had all been blown out. “Lucien?” No one answered. “Tam?” My voice echoed through the house, mocking me. Alone in the wreckage of the manor, I sank to my knees. He was gone.

When a vase shatters and you try to put the broken pieces back together, they never fit again. Not perfectly. Not in the way they used to. There may be cracks in the new vase, but it’s thanks to those fissures that sunlight filters through.

The large strings hummed like rain, The small strings whispered like a secret, Hummed, whispered—and then were intermingled Like a pouring of large and small pearls into a plate of jade. We heard an oriole, liquid, hidden among flowers. We heard a brook bitterly sob along a bank of sand. . . . By the checking of its cold touch, the very string seemed broken As though it could not pass; and the notes, dying away Into a depth of sorrow and concealment of lament, Told even more in silence than they had told in sound. . . . A silver vase abruptly broke with a gush of water, And out leapt armored horses and weapons that clashed and smote— And before she laid her pick down, she ended with one stroke, And all four strings made one sound, as of rending silk.

Once let down, I never fully recovered. I could never forget, and the break never mended. Like a glass vase that you place on the edge of a table, once broken, the pieces never quite fit again. However the problem wasn’t with the vase, or even that the vases kept breaking. The problem was that I kept putting them on the edge of tables. Through my attachments, I was dependent on my relationships to fulfill my needs. I allowed those relationships to define my happiness or my sadness, my fulfillment or my emptiness, my security, and even my self-worth. And so, like the vase placed where it will inevitably fall, through those dependencies I set myself up for disappointment. I set myself up to be broken. And that’s exactly what I found: one disappointment, one break after another. Yet the people who broke me were not to blame any more than gravity can be blamed for breaking the vase. We can’t blame the laws of physics when a twig snaps because we leaned on it for support. The twig was never created to carry us. Our weight was only meant to be carried by God. We are told in the Qur’an: "…whoever rejects evil and believes in God hath grasped the most trustworthy hand-hold that never breaks. And God hears and knows all things." (Qur’an, 2: 256) There is a crucial lesson in this verse: that there is only one hand-hold that never breaks. There is only one place where we can lay our dependencies. There is only one relationship that should define our self-worth and only one source from which to seek our ultimate happiness, fulfillment, and security. That place is God. However,

He was sooty, muddy, and clearly exhausted, and his clothes reeked of smoke. "Poor old Buster," she said with a frown of concern. Luke had earned the affectionate family nickname as an energetic toddler, mowing down everything in his path and leaving broken teacups and vases in his wake.

When a vase shatters and you try to put the broken pieces back together, they never fit again. Not perfectly. Not in the way they used to. There may be cracks in the new vase, but it’s thanks to those fissures that sunlight filters through. Life thrives under its glow, grows through the cracks, and blooms anew.

From his beach bag the man took an old penknife with a red handle and began to etch the signs of the letters onto nice flat pebbles. At the same time, he spoke to Mondo about everything there was in the letters, about everything you could see in them when you looked and when you listened. He spoke about A, which is like a big fly with its wings pulled back; about B, which is funny, with its two tummies; or C and D, which are like the moon, a crescent moon or a half-full moon; and then there was O, which was the full moon in the black sky. H is high, a ladder to climb up trees or to reach the roofs of houses; E and F look like a rake and a shovel; and G is like a fat man sitting in an armchair. I dances on tiptoes, with a little head popping up each time it bounces, whereas J likes to swing. K is broken like an old man, R takes big strides like a soldier, and Y stands tall, its arms up in the air, and it shouts: help! L is a tree on the river's edge, M is a mountain, N is for names, and people waving their hands, P is asleep on one paw, and Q is sitting on its tail; S is always a snake, Z is always a bolt of lightning, T is beautiful, like the mast on a ship, U is like a vase, V and W are birds, birds in flight; and X is a cross to help you remember.

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

It was astonishing how loudly one laughed at tales of gruesome things, of war’s brutality-I with the rest of them. I think at the bottom of it was a sense of the ironical contrast between the normal ways of civilian life and this hark-back to the caveman code. It made all our old philosophy of life monstrously ridiculous. It played the “hat trick” with the gentility of modern manners. Men who had been brought up to Christian virtues, who had prattled their little prayers at mothers’ knees, who had grown up to a love of poetry, painting, music, the gentle arts, over-sensitized to the subtleties of half-tones, delicate scales of emotion, fastidious in their choice of words, in their sense of beauty, found themselves compelled to live and act like ape-men; and it was abominably funny. They laughed at the most frightful episodes, which revealed this contrast between civilized ethics and the old beast law. The more revolting it was the more, sometimes, they shouted with laughter, especially in reminiscence, when the tale was told in the gilded salon of a French chateau, or at a mess-table. It was, I think, the laughter of mortals at the trick which had been played on them by an ironical fate. They had been taught to believe that the whole object of life was to reach out to beauty and love, and that mankind, in its progress to perfection, had killed the beast instinct, cruelty, blood-lust, the primitive, savage law of survival by tooth and claw and club and ax. All poetry, all art, all religion had preached this gospel and this promise. Now that ideal had broken like a china vase dashed to hard ground. The contrast between That and This was devastating. It was, in an enormous world-shaking way, like a highly dignified man in a silk hat, morning coat, creased trousers, spats, and patent boots suddenly slipping on a piece of orange-peel and sitting, all of a heap, with silk hat flying, in a filthy gutter. The war-time humor of the soul roared with mirth at the sight of all that dignity and elegance despoiled. So we laughed merrily, I remember, when a military chaplain (Eton, Christ Church, and Christian service) described how an English sergeant stood round the traverse of a German trench, in a night raid, and as the Germans came his way, thinking to escape, he cleft one skull after another with a steel-studded bludgeon a weapon which he had made with loving craftsmanship on the model of Blunderbore’s club in the pictures of a fairy-tale. So we laughed at the adventures of a young barrister (a brilliant fellow in the Oxford “Union”) whose pleasure it was to creep out o’ nights into No Man’s Land and lie doggo in a shell-hole close to the enemy’s barbed wire, until presently, after an hour’s waiting or two, a German soldier would crawl out to fetch in a corpse. The English barrister lay with his rifle ready. Where there had been one corpse there were two. Each night he made a notch on his rifle three notches one night to check the number of his victims. Then he came back to breakfast in his dugout with a hearty appetite.

I thought about what would happen if I were to write a novel that does not look, for example, at a vase on its pedestal—finished, polished, tweaked, tightened, cleaned—but rather, took the vase, already broken, its jagged and fractured narratives embedded in dirt, and insisted that, in order to comprehend and engage in this work, one does not have to repair the broken history into fullness, but that the story, in shambles, is complete.

I wasn’t even thinking, What have I gotten myself into? I was thinking only of moving myself forward. My mind was a crystal vase that contained only that one desire. My body was its opposite: a bag of broken glass. Every time I moved, it hurt. I counted my steps to take my mind off the pain, silently ticking the numbers off in my head to one hundred before starting over again. The blocks of numbers made the walk slightly more bearable, as if I only had to go to the end of each one.

For this boy destined to be the world’s greatest heir, money was so omnipresent as to be invisible—something “there, like air or food or any other element,” he later said—yet it was never easily attainable.11 As if he were a poor, rural boy, he earned pocket change by mending vases and broken fountain pens or by sharpening pencils. Aware of the rich children spoiled by their parents, Senior seized every opportunity to teach his son the value of money. Once, while Rockefeller was being shaved at Forest Hill, Junior entered with a plan to give away his Sunday-school money in one lump sum, for a fixed period, and be done with it. “Let’s figure it out first,” Rockefeller advised and made Junior run through calculations that showed he would lose eleven cents interest while the Sunday school gained nothing in return. Afterward, Rockefeller told his barber, “I don’t care about the boy giving his money in that way. I want him to give it. But I also want him to learn the lesson of being careful of the little things.

... the taxonomic division of animals in a lost Chinese encyclopedia... (a) those that belong to the emperor; (b) embalmed ones; (c) those that are trained; (d) suckling pigs; (e) mermaids; (f) fabulous ones; (g) stray dogs; (h) those that are included in this classification; (i) those that tremble as if they were mad; (j) innumerable ones; (k) those that are drawn with a very fine camel's hair brush; (l) etcetera; (m) those that have just broken the flower vase; (n) those that at a distance resemble flies.

No one pours liquid into a cracked and broken vase which can hold nothing. Your heart is divided into as many pieces representing the cares you hold: each care is a broken piece; and do you think that God will pour his grace into such a useless vessel? Ask the wise man, who says: “The heart of a fool is like a broken vessel, and not all wisdom shall it hold.” [47]   God instills this devout and very sweet wisdom of which we speak into the hearts of the righteous, the golden vessels and cups from which he drinks our good desires, symbolized by the goblets from which King Solomon drank which were all gold. A golden vase cannot easily be broken, neither can the heart of the just be divided between different interests without urgent necessity. However, the hearts of unreflecting men are like the ill-baked clay vessels which David was given in the desert when persecuted by Absalom.[48] This clay vessel is broken because the man's exterior and worldly actions are not referred to God nor performed purely for his sake, but some are done to please men, others by the inspiration of the devil, others for pleasure or vainglory, so that his heart being divided, cannot retain the grace of devotion or the sweetness of the heavenly liquor.

Context is everything in both narrative and real life, and while the accusation is never that these creators deliberately set out to discriminate against gay and female characters, the unavoidable implication is that they should have known better than to add to the sum total of those stories which, en masse, do exactly that. And if the listmakers can identify the trend so thoroughly – if, despite all the individual qualifications, protests and contextualisations of the authors, these problems can still be said to exist – then the onus, however disconnected from the work of any one individual, nonetheless falls to those individuals, in their role as cultural creators, to acknowledge the problem; to do better next time; perhaps even to apologise. This last is a particular sticking point. By and large, human beings tend not to volunteer apologies for things they perceive to be the fault of other people, for the simple reason that apology connotes guilt, and how can we feel guilty – or rather, why should we – if we’re not the ones at fault? But while we might argue over who broke a vase, the vase itself is still broken, and will remain so, its shards ground into the carpet, until someone decides to clean it up. Blog Post: Love Team Freezer

Load the sailboat with bottles of white wine, olive oil, fishing rods, and yeasty, dark-crusted bread. Work your way carefully out of the narrow channels of the Cabras port on the western shore of Sardinia. Set sail for the open seas. Navigate carefully around the archipelago of small boats fishing for sea bass, bream, squid. Steer clear of the lines of mussel nets swooping in long black arcs off the coastline. When you spot the crumbling stone tower, turn the boat north and nuzzle it gently into the electric blue-green waters along ancient Tharros. Drop anchor. Strip down to your bathing suit. Load into the transport boat and head for shore. After a swim, make for the highest point on the peninsula, the one with the view of land and sea and history that will make your knees buckle. Stay focused. You're not here to admire the sun-baked ruins of one of Sardinia's oldest civilizations, a five-thousand-year-old settlement that wears the footprints of its inhabitants- Phoenicians, Greeks, Romans- like the layers of a cake. You're here to pick herbs growing wildly among the ancient tombs and temples, under shards of broken vases once holding humans' earliest attempts at inebriation. Taste this! Like peppermint, but spicy. And this! A version of wild lemon thyme, perfect with seafood. Pluck a handful of finocchio marino,sea fennel, a bright burst of anise with an undertow of salt. Withfinocchioin fist, reboard the transport vessel and navigate toward the closest buoy. Grab the bright orange plastic, roll it over, and scrape off the thicket of mussels growing beneath. Repeat with the other buoys until you have enough mussels to fill a pot. In the belly of the boat, bring the dish together: Scrub the mussels. Bring a pot of seawater to a raucous boil and drop in the spaghetti- cento grammi a testa. While the pasta cooks, blanch a few handfuls of the wild fennel to take away some of the sting. Remove the mussels from their shells and combine with sliced garlic, a glass of seawater, and a deluge of peppery local olive oil in a pan. Take the pasta constantly, checking for doneness. (Don't you dare overcook it!) When only the faintest resistance remains in the middle, drain and add to the pan of mussels. Move the pasta fast and frequently with a pair of tongs, emulsifying the water and mussel juice with the oil. Keep stirring and drizzling in oil until a glistening sheen forms on the surface of the pasta. This is called la mantecatura, the key to all great seafood pastas, so take the time to do it right.

Hey, what happened to the vase that’s usually here on the hall table?” Ryder calls out. I wince, remembering its fate. I’d saved the broken bits in a bag, but there’s no hope for it. It’s destroyed. It figures he’d notice. What is he, Colonel Mustard? In the conservatory, I want to say. With the candlestick. “Patrick happened to it,” I answer instead, joining him there in the hall. “You know, the other night. On his way back from the bathroom.” I have no idea why I’m offering so many details. It’s not like it’s any of his business. I should have told him that we were having wild sex here in the hall and accidentally knocked it over. Would have served him right for being so nosy.

I don’t love her!” he shouted. His voice echoed through his empty apartment. He stood and toppled his coffee table, its glass top shattering as it hit the floor. He kicked the sofa several times then went on a full rampage through his lavish apartment. Every ornament got a taste of his wrath. Curtains were ripped off the railings. Paintings were hit off the wall. Vases were flung across the room. Nothing was exempt from this riotous frenzy. Loud banging. Damaged furniture. Cracked glass. Everything that was whole and complete needed to be destroyed. Everything needed to feel the same way he did. Broken… Shattered… “I don’t love her.” He collapsed hopelessly into the mess he created, not caring about the jagged pieces of glass that pierced his skin. “I don’t love her.” He shut his eyes but the tears streamed down his cheeks regardless. “Love isn’t this painful.

Four piles of dead were heaped together like broken meat on a butcher’s stall — not a whit more tenderly — and cleared out of the way like carrion; the ground was broken up into great pools of blood, black and noisome; troops of flies were swarming like mimic vultures on bodies still warm, on men still conscious, crowding over the festering wounds (for these men had lain there since Saturday at noon!), buzzing their death-rattle in ears already maddened with torture. That was what we saw in the Malakoff, what we saw a little later in the Great Redan, where among cookhouses, brimful of human blood, English and Russian lay clasped together in a fell embrace, petrified by death; where the British lay in heaps, mangled beyond recognition by their dearest friends, or scorched and blackened by the recent explosions; and where — how strange they looked there! — there stood outside the entrance of one of the houses, a vase of flowers, and a little canary!

Sic Vita I am a parcel of vain strivings tied By a chance bond together, Dangling this way and that, their links Were made so loose and wide, Methinks, For milder weather. A bunch of violets without their roots, And sorrel intermixed, Encircled by a wisp of straw Once coiled about their shoots, The law By which I'm fixed. A nosegay which Time clutched from out Those fair Elysian fields, With weeds and broken stems, in haste, Doth make the rabble rout That waste The day he yields. And here I bloom for a short hour unseen, Drinking my juices up, With no root in the land To keep my branches green, But stand In a bare cup. Some tender buds were left upon my stem In mimicry of life, But ah! the children will not know, Till time has withered them, The woe With which they're rife. But now I see I was not plucked for naught, And after in life's vase Of glass set while I might survive, But by a kind hand brought Alive To a strange place. That stock thus thinned will soon redeem its hours, And by another year, Such as God knows, with freer air, More fruits and fairer flowers Will bear, While I droop here.

Load the sailboat with bottles of white wine, olive oil, fishing rods, and yeasty, dark-crusted bread. Work your way carefully out of the narrow channels of the Cabras port on the western shore of Sardinia. Set sail for the open seas. Navigate carefully around the archipelago of small boats fishing for sea bass, bream, squid. Steer clear of the lines of mussel nets swooping in long black arcs off the coastline. When you spot the crumbling stone tower, turn the boat north and nuzzle it gently into the electric blue-green waters along ancient Tharros. Drop anchor. Strip down to your bathing suit. Load into the transport boat and head for shore. After a swim, make for the highest point on the peninsula, the one with the view of land and sea and history that will make your knees buckle. Stay focused. You're not here to admire the sun-baked ruins of one of Sardinia's oldest civilizations, a five-thousand-year-old settlement that wears the footprints of its inhabitants- Phoenicians, Greeks, Romans- like the layers of a cake. You're here to pick herbs growing wildly among the ancient tombs and temples, under shards of broken vases once holding humans' earliest attempts at inebriation. Taste this! Like peppermint, but spicy. And this! A version of wild lemon thyme, perfect with seafood. Pluck a handful of finocchio marino,sea fennel, a bright burst of anise with an undertow of salt. With finocchio in fist, reboard the transport vessel and navigate toward the closest buoy. Grab the bright orange plastic, roll it over, and scrape off the thicket of mussels growing beneath. Repeat with the other buoys until you have enough mussels to fill a pot. In the belly of the boat, bring the dish together: Scrub the mussels. Bring a pot of seawater to a raucous boil and drop in the spaghetti- cento grammi a testa. While the pasta cooks, blanch a few handfuls of the wild fennel to take away some of the sting. Remove the mussels from their shells and combine with sliced garlic, a glass of seawater, and a deluge of peppery local olive oil in a pan. Take the pasta constantly, checking for doneness. (Don't you dare overcook it!) When only the faintest resistance remains in the middle, drain and add to the pan of mussels. Move the pasta fast and frequently with a pair of tongs, emulsifying the water and mussel juice with the oil. Keep stirring and drizzling in oil until a glistening sheen forms on the surface of the pasta. This is called la mantecatura, the key to all great seafood pastas, so take the time to do it right.

One finds oneself surprisingly supplied with information. Outside the undifferentiated forces roar; inside we are very private, very explicit, have a sense indeed, that it is here, in this little room, that we make whatever day of the week it may be. Friday or Saturday. A shell forms upon the soft soul, nacreous, shiny, upon which sensations tap their beaks in vain. On me it formed earlier than on most. Soon I could carve my pear when other people had done dessert. I could bring my sentence to a close in a hush of complete silence. It is at that season too that perfection has a lure. One can learn Spanish, one thinks, by tying a string to the right toe and waking early. One fills up the little compartments of one’s engagement book with dinner at eight; luncheon at one-thirty. One has shirts, socks, ties laid out on one’s bed. But it is a mistake, this extreme precision, this orderly and military progress; a convenience, a lie. There is always deep below it, even when we arrive punctually at the appointed time with our white waistcoats and polite formalities, a rushing stream of broken dreams, nursery rhymes, street cries, half-finished sentences and sights—elm trees, willow trees, gardeners sweeping, women writing—that rise and sink even as we hand a lady down to dinner. While one straightens the fork so precisely on the table-cloth, a thousand faces mop and mow. There is nothing one can fish up in a spoon; nothing one can call an event. Yet it is alive too and deep, this stream. Immersed in it I would stop between one mouthful and the next, and look intently at a vase, perhaps with one red flower, while a reason struck me, a sudden revelation.

It was astonishing how loudly one laughed at tales of gruesome things, of war’s brutality-I with the rest of them. I think at the bottom of it was a sense of the ironical contrast between the normal ways of civilian life and this hark-back to the caveman code. It made all our old philosophy of life monstrously ridiculous. It played the “hat trick” with the gentility of modern manners. Men who had been brought up to Christian virtues, who had prattled their little prayers at mothers’ knees, who had grown up to a love of poetry, painting, music, the gentle arts, over-sensitized to the subtleties of half-tones, delicate scales of emotion, fastidious in their choice of words, in their sense of beauty, found themselves compelled to live and act like ape-men; and it was abominably funny. They laughed at the most frightful episodes, which revealed this contrast between civilized ethics and the old beast law. The more revolting it was the more, sometimes, they shouted with laughter, especially in reminiscence, when the tale was told in the gilded salon of a French chateau, or at a mess-table. It was, I think, the laughter of mortals at the trick which had been played on them by an ironical fate. They had been taught to believe that the whole object of life was to reach out to beauty and love, and that mankind, in its progress to perfection, had killed the beast instinct, cruelty, blood-lust, the primitive, savage law of survival by tooth and claw and club and ax. All poetry, all art, all religion had preached this gospel and this promise. Now that ideal had broken like a china vase dashed to hard ground. The contrast between That and This was devastating.

That was the whole trouble with police work. You come plunging in. a jagged Stone Age knife, to probe the delicate tissues of people's relationships, and of course you destroy far more than you discover. And even what you discover will never be the same as it was before you came; the nubbly scars of your passage will remain. At the very least. you have asked questions that expose to the destroying air fibers that can only exist and fulfill their function in coddling darkness. Cousin Amy, now, mousing about in back passages or trilling with feverish shyness at sherry parties—was she really made all the way through of dust and fluff and unused ends of cotton and rusty needles and unmatching buttons and all the detritus at the bottom of God's sewing basket? Or did He put a machine in there to tick away and keep her will stern and her back straight as she picks out of a vase of brown-at-the-edges dahlias the few blooms that have another day's life in them? Or another machine, one of His chemistry sets, that slowly mixes itself into an apparently uncaused explosion, poof!, and there the survivors are sitting covered with plaster dust among the rubble of their lives. It's always been the explosion by the time the police come stamping in with ignorant heels on the last unbroken bit of Bristol glass; with luck they can trace the explosion back to harmless little Amy, but as to what set her off—what were the ingredients of the chemistry set and what joggled them together—it was like trying to reconstruct a civilization from three broken pots and a seven-inch lump of baked clay which might, if you looked at its swellings and hollows the right way, have been the Great Earth Mother. What's more. people who've always lived together think that they are still the same—oh, older of course and a bit more snappish, but underneath still the same laughing lad of thirty years gone by. "My Jim couldn't have done that." they say. "I know him. Course he's been a bit depressed lately, funny like. but he sometimes goes that way for a bit and then it passes off. But setting fire to the lingerie department at the Army and Navy, Inspector—such a thought wouldn't enter into my Jim's head. I know him." Tears diminishing into hiccuping snivels as doubt spreads like a coffee stain across the threadbare warp of decades. A different Jim? Different as a Martian, growing inside the ever-shedding skin? A whole lot of different Jims. a new one every seven years? "Course not. I'm the same. aren't I, same as I always was—that holiday we took hiking in the Peak District in August thirty-eight—the same inside?" Pibble sighed and shook himself. You couldn't build a court case out of delicate tissues. Facts were the one foundation.

Even when I was a young boy, trouble latched onto me like a magnet. I pounded through life at volume eleven, leaving a trail of broken things: vases, noses, cars, hearts, brain cells. Side effects of reckless living.

the concept of wabi sabi30—or the ability to find beauty in imperfection. If a vase is accidentally broken, for example, they don’t throw the pieces away or try to patch it up to hide the accident. Instead, they take golden glue and painstakingly reassemble the vessel, so its unique flaws make the piece more beautiful.

My Broken Pieces A few weeks back, a longtime friend asked if I would meet her for lunch to discuss a new job offer. We sat in the restaurant for forty-five minutes discussing her new job opportunity when her face grew solemn. She sighed, staring down into her plate. I asked, “is everything all right,” knowing she did not ask me to meet to discuss a job offer. She said, “everything is fine, but I cannot get your story or quote about the broken pieces out of my mind.” She took a deep breath raised her head and, in half whisper, said, “it really described the broken pieces in my marriage? I answered, “when promises, borders and commitment are broken, and especially betrayal, the relationship may be repaired but never return to what it once was or could have been.” Before she left, she thanked me for giving her a copy. I refer to the story, as “The Broken Vase.

Trust is fragile. You have to be careful with it. It’s easy to break someone’s trust, even if you love them. I’m not saying it’s not an important component of a relationship, but it can’t be everything. I was an ornery child, who occasionally got into fights and told many white lies. My parents didn’t always trust me, but they always loved me. They forgave my mistakes and my lies. You have to treat trust like modeling clay that can be broken and repaired a million times, not like a priceless vase that belonged to your dead grandmother.

As usual there was no silence. Silence belonged to cities. He dreamt of a girl whom he had once known and thought he loved. She came to him in tears because she had broken a vase which she valued, and she became angry with him because he didn’t share her suffering. She struck him in the face, but he felt the blow no more than a dab of butter against his cheek. He said, ‘I am sorry, I am too far gone, I can’t feel at all, I am a leper.’ As he explained his sickness to her he awoke.

Believing that everything happens for a reason does not invalidate tragedy, nor does it justify rough times. If life were a broken vase, the pieces would not be disqualified from being parts of a whole for being incomplete. Trust the journey, and you will eventually find peace in the pieces. Find peace in the pieces.

The people who broke me were not to blame any more than gravity can be blamed for breaking the vase. We can’t blame the laws of physics when a twig snaps because we leaned on it for support. The twig was never created to carry us.

He felt like a shard from a broken vase; forever cut off from the shape he could have been a part of, unable to find his place in the great puzzle, his edges dangerously sharp.

God only uses broken vases, otherwise man will claim credit

He loves to stop on the corner and watch the ceramics fixer write numbers on the insides of the shards of a broken vase, drill tiny holes, brush the edges with egg white and secure them with wire, an act that gives him hope that anything shattered might, with enough skill and patience, be repaired. He loves the workshop of his music teacher, Oktay, on a narrow street deep in a Muslim quarter, the shop like a birdcage, hung with drying lengths of cane that Oktay fashions into neys, woodwind flutes whose sound—it was Rumi who said it—is not wind but fire.

She told me to stop writing this book. She told me to imagine a glass vase filled with blue marbles and to put all my sickness and fear into a single green marble. Then she told me to push that green marble all the way down into the middle of that vase and asked me if I could still see it. I couldn’t.

I don’t want to be broken, but I don’t know how to be whole. How can I embrace new people into my life when I’m a shattered vase with shards threatening to stab anyone who tries to get close?

I feel shattered and pulverized, like a broken vase that’s too far gone to glue the pieces back together.

This was stress cardiomyopathy, also called “broken heart syndrome.” First described by the Japanese in 1990, this disease occurs when an emotional trauma causes the brain to release high doses of stress hormones. This hormonal blast paralyzes the muscle cells of the heart, preventing them from working to pump the blood. Typically only one section of the heart is spared this devastating paralysis—the part closest to the aorta so that with each heartbeat only the upper portion contracts and the heart looks like a narrow-necked vase. The Japanese called it takotsubo, after a type of trap that is used to capture octopus and has the same vase-like shape. For reasons that no one understands, this mostly affects postmenopausal women. There is no cure. There is no clot to bust, no bugs to kill. Like its metaphorical counterpart, the only treatment is support and the passage of time. The initial burst of hormones subsides and the patient must be kept alive until the heart recovers. For those who survive long enough to reach the hospital, the prognosis is good.

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

I had always allowed myself to cry in private. But outside my doors, I was a rock. A machine. Holding myself rigid so as not to break. Any cracks or flaws at all and I would be done. Broken. I refused to be broken at work, or with my family. Only alone. Only at home. But now I started to wonder if maybe being broken wasn’t a flaw. Maybe it was a beautiful shard of glass that could one day be made into a vase again. Maybe the flaw gave it character. It couldn’t be whole again, but it could be pieced back together—each unique shard helping to press and hold the others into place, some glue around the edges. Almost like new.

ALL THINGS HAVE A SOUL. A VASE, A WALL, A CHAIR. AND WHEN A VASE IS BROKEN, IT MIGHT DIE IN THE PHYSICAL REALM, BUT FOR A TIME ITS SOUL REMEMBERS WHAT IT WAS. SO ALL THINGS DIE TWICE. ITS FINAL DEATH IS WHEN MEN FORGET IT WAS A VASE, AND THINK ONLY OF THE PIECES. I IMAGINE THE VASE FLOATING AWAY THEN, ITS FORM DISSOLVING INTO THE NOTHINGNESS.

All things have a soul. A vase, a wall, a chair. And when a vase is broken, it might die in the physical realm, but for a time its soul remembers what it was. So all things die twice. Its final death is when men forget it was a vase, and think only of the pieces.

I could never forget, and the break never mended. Like a glass vase that you place on the edge of a table, once broken, the pieces never quite fit again. However the problem wasn't with the vase, or even that the vases kept breaking. The problem was that I kept putting them on the edge of tables.

And even when we eventually collapsed on the rug, barely avoiding the broken pictures and vase shards, unable to move for a good long while, that image of my gift remained between us, shimmering as bright as any star. That beautiful, blue-eyed, dark-haired boy that the Bone Carver had once shown me. That promise of the future.

She was a broken vase surrounded by broken glass: damaged and dangerous at the same time.

Imagine you have a beautiful crystal vase. Then imagine that you accidentally knock it off the table and it shatters into pieces on the floor. We all understand it isn’t the vase’s fault that it was pushed off the table and shattered. But still, it is broken. It is worthless. You don’t want it anymore, so you sweep it up and throw away the pieces. That is how I felt. It wasn’t my fault, but I was broken. No one would want me anymore.

Trust is like a vase; once it’s broken, you can fix it, but the vase will never be the same again.