Carving Stone Quotes

At the temple there is a poem called "Loss" carved into the stone. It has three words, but the poet has scratched them out. You cannot read loss, only feel it.

Like a sculptor, if necessary, carve a friend out of stone. Realize that your inner sight is blind and try to see a treasure in everyone.

Yes, my great villan, my darling god. I will be as sober as a stone carving, just as soon as I can

I found myself grinning until my cheeks hurt, my scalp prickling till I thought it might lift off my head. My tongue ran away from me, giddy with freedom. This, and this, and this, I said to him. I did not have to fear that I spoke too much. I did not have to worry that I was too slender, or too slow. This and this and this! I taught him how to skip stones, and he taught me how to carve wood. I could feel every nerve in my body, every brush of air against my skin.

He took something out of his jacket and handed it to her. It was a long thin dagger in a leather sheath. The hilt of the dagger was set with a single red stone carved in the shape of a rose. She shook her head. "I wouldn't even know how to use that--" He pressed it into her hand, curling her fingers around it. "You'd learn." He dropped his voice. "It's in your blood." She drew her hand back slowly. "All right." "I could give you a thigh sheath to put that in," Isabelle offered. "I've got tons." "CERTAINLY NOT," said Simon.

The staircase that was revealed was lit with a soft red glow. I feel like I'm walking down into a porn movie," V muttered as they took the steps with care. Wouldn't that require more black candles for you," Zsadist cracked. At the bottom of the landing, they looked left and right down a corridor carved out of stone, seeing row after row of...black candles with ruby color flames. I take that back," Z said, eyeing the display. We start hearing chick-a-wow-wow shit," V cut in, "can I start calling you Z-packed?" Not if you want to keep breathing.

I did not lose myself all at once. I rubbed out my face over the years washing away my pain, the same way carvings on stone are worn down by water.

[Julian]"Remember, Mark is in charge.” “Does he know that?” said Livvy. Julian sought Mark in the crowd on the steps. He was standing with his hands behind his back, exchanging a mistrustful look with a carved stone gnome. “Your pretense does not fool me, gnome,” he muttered. “My eye will be upon you.

I didn't know all that was inside of him, either. I thought I did, but people run deep and complicated like rivers, hold their shape and are carved upon like stone.

Maybe I can climb one of those," Simon said, eyeing the fat white pillars that held up the slanted roof of the Hall. Runes were carved on them in overlapping patterns, but otherwise there were no visible handholds. "Work off steam that way." "Oh, come on," Clary said. "You're a vampire, not Spider-Man." Simon's only response was to jog lightly up the steps to the base of a pillar. He eyed it thoughtfully for a moment before putting his hands to it and starting to climb. Clary watched him, open-mouthed, as his fingertips and feet found impossible holds on the ridged stone. "You are Spider-Man!" she exclaimed.

You’re about to be rich, Kaz. What will you do when there’s no more blood to shed or vengeance to take?” “There’s always more.” “More money, more mayhem, more scores to settle. Was there never another dream?” He said nothing. What had carved all the hope from his heart? She might never know. Inej turned to go. Kaz seized her hand, keeping it on the railing. He didn’t look at her. "Stay,” he said, his voice rough stone. “Stay in Ketterdam. Stay with me.” She looked down at his gloved hand clutching hers. Everything in her wanted to say yes, but she would not settle for so little, not after all she’d been through. “What would be the point?” He took a breath. “I want you to stay. I want you to … I want you.” “You want me.” She turned the words over. Gently, she squeezed his hand. “And how will you have me, Kaz?” He looked at her then, eyes fierce, mouth set. It was the face he wore when he was fighting. “How will you have me?” she repeated. “Fully clothed, gloves on, your head turned away so our lips can never touch?” He released her hand, his shoulders bunching, his gaze angry and ashamed as he turned his face to the sea. Maybe it was because his back was to her that she could finally speak the words. “I will have you without armor, Kaz Brekker. Or I will not have you at all.

Can you see air you breathe? Can you see the force that moves the tides or changes the seasons or sends the birds to a winter haven?" Her eyes welled. "Can Rome with all its knowledge be so foolish? Oh Marcus, you can't carve God in stone. You can't limit him to a temple. You can't imprison him on a mountaintop. Heaven is his throne; earth, his footstool. Everything you see is his. Empires will rise and empires will fall. Only God prevails.

Besides, if there were no dragons of flesh and blood and fire, whence would come the idea for these stone carvings?

On the map of you, my fingers could always find the green hills, Wales. Cool waters and a shore of white chalk. The ancient part of you carved out of stone in a prayerful circle, sacrosanct. Your spine's a ridge I'd die climbing. If I could spread it out on my desk, I'd find the corner of your mouth where it pinches with my fingers, and I'd smooth it away and you'd be marked with the names of saints like all the old maps. I get the nomenclature now- saints' names belong to miracles

If we can step back at times and have the guts to carve doubt in the concrete stone of our certainties, we can hear the beat of a thinking heart. While listening to the stirring of our deep selves and striving to squeeze through the thicket of our intentions, we may find an atoning venue of understanding and sympathy. ("Beware of the neighbor")

Yes, my sweet villain, my darling god. I will be as sober as a stone carving, just as soon as I can.” And with that, he kisses me on the mouth.

Dismissed like a dog. Damon groped for his jacket behind him, found it, and wished that his groping for his sense of humor could be as successful. The faces around him were all the same. They could have been carved in stone. But not stone as hard as that that was coming together again around his soul. That rock was remarkably quick to mend—and an extra layer was added, like the layering of a pearl, but not covering anything nearly so pretty.

At the entrance to the original tower, there is a stone into which Jung carved some words with his own hand: 'Cold or not, God is present.

Even water carves monuments of stone, so do our thoughts shape our character.

I felt that my views and philosophies had been changed overnight. The philosophies that i had gladly carved in stone, recited and danced upon.

The imagination of mortals shaped the gods, carving their faces and their myriad forms, just as the water molds the stones in its path, wearing them down through the centuries.

People can have two different mindsets, she says. Those with a “fixed mindset” believe that their talents and abilities are carved in stone. Those with a “growth mindset” believe that their talents and abilities can be developed. Fixed mindsets see every encounter as a test of their worthiness. Growth mindsets see the same encounters as opportunities to improve.

A man inherited a field in which was an accumulation of old stone, part of an older hall. Of the old stone some had already been used in building the house in which he actually lived, not far from the old house of his fathers. Of the rest he took some and built a tower. But his friends coming perceived at once (without troubling to climb the steps) that these stones had formerly belonged to a more ancient building. So they pushed the tower over, with no little labour, and in order to look for hidden carvings and inscriptions, or to discover whence the man's distant forefathers had obtained their building material. Some suspecting a deposit of coal under the soil began to dig for it, and forgot even the stones. They all said: 'This tower is most interesting.' But they also said (after pushing it over): 'What a muddle it is in!' And even the man's own descendants, who might have been expected to consider what he had been about, were heard to murmur: 'He is such an odd fellow! Imagine using these old stones just to build a nonsensical tower! Why did not he restore the old house? he had no sense of proportion.' But from the top of that tower the man had been able to look out upon the sea.

There's two dates in time That they'll carve on your stone And everyone knows what they mean What's more important Is the time that is known In that little dash there in between That little dash there in between

¨Yes, my sweet villain, my darling god. I will be as sober as a stone carving, just as soon as I can.¨ And with that, he kisses me on the mouth. I feel a cacophony of things at once. Page 284

I watched her carve her mistakes in stone, and they arranged themselves around her. They became a maze with walls that reached the sky.

I caught you!" he beamed. "See, girls really do throw themselves at me. Hey, guys!" His voice echoed off the carved stone and marble of the empty cavernous space. "Oh, come on. I save the girl and no one's around to see it?" "Sorry about that," I said. "But thanks." "I don't mind. I'm a contact sport kinda guy.

Believing that your qualities are carved in stone—the fixed mindset—creates an urgency to prove yourself over and over.

The great artist Michelangelo claimed that his sculptures were already present in the stone, and all he had to do was carve away everything else. Our understanding of identity is often similar: Beneath the many layers of shoulds and shouldn’ts that cover us, there lies a constant, single, true self that is just waiting to be discovered.

You forgot to cough!” he said. “Sorry.” She coughed. “Your sneakiness is dangerous. Next time that chisel will lodge itself in my head.” “Now, Peder, there’s plenty of stone around here for carving. No need to practice on your own face.” He stroked his chin. “You’re right, my jaw is already chiseled to perfection.” She agreed, but she felt too silly to say so aloud.

The pale pink light of dawn sparkled on branch and leaf and stone. Every blade of grass was carved from emerald, every drip of water turned to diamond. Flowers and mushrooms alike wore coats of glass. Even the mud puddles had a bright brown sheen. Through the shimmering greenery, the black tents of his brothers were encased in a fine glaze of ice. So there is magic beyond the Wall after all.

He leans in, and I smile against his lips, finally give up and let his love flood in and carve the last of my stone heart into a new shape I’m only just discovering. Somehow it doesn’t feel like a surrender. It feels like a victory.

If we fail to realize our full potential as human beings, we live more on an animalistic level. This is fine for dogs, cats, and chimpanzees but doesn’t work quite so well for women and men. Without the capacity to freely shape our own lives, much as a sculptor might carve stone, we inevitably slip into negativity and depression.

Some knitters say that they buy yarn with no project in mind and wait patiently for the yarn to "speak" to them. This reminds me of Michelangelo, who believed that every block of stone he carved had the statue waiting inside and that all he did was reveal it. I think I've had yarn speak to me during the knitting process, and I've definitely spoken to it. Perhaps I'm doing it wrong, or maybe my yarn and I aren't on such good terms, but it really seems to me that all I say is "please" and all it ever says is "no".

It’s loneliness. Even though I’m surrounded by loved ones who care about me and want only the best, it’s possible they try to help only because they feel the same thing—loneliness—and why, in a gesture of solidarity, you’ll find the phrase “I am useful, even if alone” carved in stone. Though the brain says all is well, the soul is lost, confused, doesn’t know why life is being unfair to it. But we still wake up in the morning and take care of our children, our husband, our lover, our boss, our employees, our students, those dozens of people who make an ordinary day come to life. And we often have a smile on our face and a word of encouragement, because no one can explain their loneliness to others, especially when we are always in good company. But this loneliness exists and eats away at the best parts of us because we must use all our energy to appear happy, even though we will never be able to deceive ourselves. But we insist, every morning, on showing only the rose that blooms, and keep the thorny stem that hurts us and makes us bleed hidden within. Even knowing that everyone, at some point, has felt completely and utterly alone, it is humiliating to say, “I’m lonely, I need company. I need to kill this monster that everyone thinks is as imaginary as a fairy-tale dragon, but isn’t.” But it isn’t. I wait for a pure and virtuous knight, in all his glory, to come defeat it and push it into the abyss for good, but that knight never comes. Yet we cannot lose hope. We start doing things we don’t usually do, daring to go beyond what is fair and necessary. The thorns inside us will grow larger and more overwhelming, yet we cannot give up halfway. Everyone is looking to see the final outcome, as though life were a huge game of chess. We pretend it doesn’t matter whether we win or lose, the important thing is to compete. We root for our true feelings to stay opaque and hidden, but then … … instead of looking for companionship, we isolate ourselves even more in order to lick our wounds in silence. Or we go out for dinner or lunch with people who have nothing to do with our lives and spend the whole time talking about things that are of no importance. We even manage to distract ourselves for a while with drink and celebration, but the dragon lives on until the people who are close to us see that something is wrong and begin to blame themselves for not making us happy. They ask what the problem is. We say that everything is fine, but it’s not … Everything is awful. Please, leave me alone, because I have no more tears to cry or heart left to suffer. All I have is insomnia, emptiness, and apathy, and, if you just ask yourselves, you’re feeling the same thing. But they insist that this is just a rough patch or depression because they are afraid to use the real and damning word: loneliness. Meanwhile, we continue to relentlessly pursue the only thing that would make us happy: the knight in shining armor who will slay the dragon, pick the rose, and clip the thorns. Many claim that life is unfair. Others are happy because they believe that this is exactly what we deserve: loneliness, unhappiness. Because we have everything and they don’t. But one day those who are blind begin to see. Those who are sad are comforted. Those who suffer are saved. The knight arrives to rescue us, and life is vindicated once again. Still, you have to lie and cheat, because this time the circumstances are different. Who hasn’t felt the urge to drop everything and go in search of their dream? A dream is always risky, for there is a price to pay. That price is death by stoning in some countries, and in others it could be social ostracism or indifference. But there is always a price to pay. You keep lying and people pretend they still believe, but secretly they are jealous, make comments behind your back, say you’re the very worst, most threatening thing there is. You are not an adulterous man, tolerated and often even admired, but an adulterous woman, one who is ...

Do not carve on stone or wood, He was honest" or "He was good." Write in smoke on a passing breeze Seven words… and the words are these, Telling all that a volume could, He lived, he laughed and… he understood.

the bouquet Between me and the world you are a bay, a sail the faithful ends of a rope you are a fountain, a wind, a shrill childhood cry. Between me and the world you are a picture frame, a window a field covered in wildflowers you are a breath, a bed, a night that keeps the stars company. Between me and the world, you are a calendar, a compass a ray of light that slips through the gloom you are a biographical sketch, a book mark a preface that comes at the end. between me and the world you are a gauze curtain, a mist a lamp shining in my dreams you are a bamboo flute, a song without words a closed eyelid carved in stone. Between me and the world you are a chasm, a pool an abyss plunging down you are a balustrade, a wall a shield’s eternal pattern.

Oh, he was just angry, we tell ourselves when someone blurts out something he later apologizes for. But a word, once spoken, lingers forever; to keep peace we pretend to forget, but we never do. Strange that a spoken word can have such lasting power when words carved on stone monuments vanish in spite of all our efforts to preserve them. What we would lose persists, lodged in our minds, and what we would keep is lost to water, moths, moss.

You must start to live your life by the light of what you yourself would want carved on your stone" (302).

An image blasted through her mind. She had seen this before, carved in stone in the lobby of the CCB. A Fae male posed like an avenging god, hammer raised to the sky, a channel for his power

... a living, breathing entity not dissimilar to the interior of a cathedral – one of wood, living wood. Where the cathedral had carved stone, here were trees, ivy, flowers, all working together to form the walls...

When carving stone, the sculptor removes everything that is not the statue. […] The art of revealing beauty lies in removing what conceals it. So, too, Patanjali [in the Yoga Sutras] tells us that wholeness exists within us. Our work is to chisel away at everything that is not essence, not Self.

DO NOT FALL IN LOVE WITH PEOPLE LIKE ME Do not fall in love with people like me. People like me will love you so hard that you turn into stone, into a statue where people come to marvel at how long it must have taken to carve that faraway look into your eyes. Do not fall in love with people like me. We will take you to museums and parks and monuments and kiss you in every beautiful place so that you can never go back to them without tasting us like blood in your mouth. Do not come any closer. People like me are bombs. When our time is up, we will splatter loss all over your walls in angry colors that make you wish your doorway never learned our name. Do not fall in love with people like me. With the lonely ones. We will forget our own names if it means learning yours. We will make you think that hurricanes are gentle, that pain is a gift. You will get lost in the desperation, in the longing for something that is always reaching, but never able to hold. Do not fall in love with people like me. We will destroy your apartment. We will throw apologies at you that shatter on the floor and cut your feet. We will never learn how to be soft. We will leave. We always do.

The immappable world of our journey. A pass in the mountains. A bloodstained stone. The marks of steel upon it. Names carved in the corrosible lime among stone fishes and ancient shells. Things dimmed and dimming. The dry sea floor. The tools of migrant hunters. The dreams encased upon the blades of them. The peregrine bones of a prophet. The silence. The gradual extinction of rain. The coming of night.

The worst prisons were not constructed of warped steel and stone. They were carved out of expectations and lies, judgment and corruption.

Work is a kind of vacuum, an emptiness, where I just switch off everything except the scant intelligence necessary to keep me going. God, the people are awful - great carved monstrosities from the sponge-stone of secondratedness. Hideous.

But this man had set down with a hammer and chisel and carved out a stone water trough to last ten thousand years. Why was that? What was it that he had faith in? It wasn't that nothin' would change. Which is what you might think, I suppose. He had to know better'n that. I've thought about it a good deal. . . And I have to say that the only thing I can think is that there was some sort of promise in his heart. And I don't have no intentions of carvin' a stone water trough. But I would like to be able to make that kind of promise. I think that's what I would like most of all.

No matter what your origin or beliefs, rather adolescent or full grown. Thoughts are scribed in pencil but actions are carved in stone

Know yourself is carved above their doors. But I had been a stranger to myself, turned to stone for no reason I could name.

But she told me I was like water..Water can carve its way through stone. And when trapped, water makes a new path.

Your ribcage never meant to hurt you. Your windpipe doesn’t know how to be pretty, but she knows how to howl— and here, I’d like to take a moment to submit a formal apology to my soft parts because they kept me warm when I was trying to freeze to death, and I hated them for it. An apology for a starvation that went deeper than my skin. One for the strongest skeleton I will ever own and how I kept using the word girl against it. Or how I turned words like beautiful into shapes I could contort myself into. I didn’t mean to compare myself to faces I can’t have. Or spend years trying to carve myself, like Michelangelo’s angels, from the marble— forgetting what it is to be skin instead of stone. I let myself be afraid. I was taught to be. When you learn you are only as good as your beauty routine, you forget how to define yourself by anything else.

I stare at the polished metal, examining my reflection. The girl I see is both familiar and foreign, Mare, Mareena, the lightning girl, the Red Queen, and no one at all. She does not look afraid. She looks carved of stone, with severe features, hair braided tight to her head, and a tangle of scars on her neck. She is not seventeen, but ageless, Silver but not, Red but not, human—but not. A banner of the Scarlet Guard, a face on a wanted poster, a prince’s downfall, a thief... a killer. A doll who can take any form but her own.

You can say anything with a Post-It. I’m not entirely sure why that is. Maybe the friendliness of the squares makes it easier. A square is nicely compact and less intimidating than a full page. And they come in cheerful colors. Non-white paper is kind of inherently festive. Or maybe paper that sticks feels more important than paper that can blow away. (Though you can move them, if you need to put them somewhere else.) They might not be as lasting as words carved in stone, but Post-It thoughts will stay. For awhile, at least.

What is the half-life of information? Does its rate of decay correlate with the medium that conveys it? Pixels need power. Paper is unstable in fire and flood. Letters carved in stone are more durable, although not so easily distributed, but inertia can be a good thing.

Understand this clearly: you can teach a man to draw a straight line, and to carve it; and to copy and carve any number of given lines or forms, with admirable speed and perfect precision; and you find his work perfect of its kind: but if you ask him to think about any of those forms, to consider if he cannot find any better in his own head, he stops; his execution becomes hesitating; he thinks, and ten to one he thinks wrong; ten to one he makes a mistake in the first touch he gives to his work as a thinking being. But you have made a man of him for all that. He was only a machine before, an animated tool.

He rooted for the Mets, he wore Foot of the Loom underwear, and he drove a Buick. His loyalties were carved in stone and he wasn't about to be impressed with some upstart of a toaster salesman who drove a Bonneville.

You must start to live your life by the light of what you yourself want carved on your stone" (302).

The river itself portrays humanity precisely, with its tortuous windings, its accumulation of driftwood, its unsuspected depths, and its crystalline shallows, singing in the Summer sun. Barriers may be built across its path, but they bring only power, as the conquering of an obstacle is always sure to do. Sometimes when the rocks and stone-clad hills loom large ahead, and eternity itself would be needed to carve a passage, there is an easy way around. The discovery of it makes the river sing with gladness and turns the murmurous deeps to living water, bright with ripples and foam.

On the top of my desk there are initials, carved into the wood, and dates...This carving, done with a pencil dug many times into the warn varnish of the desk, has the pathos of all vanished civilizations. It's like a handprint on stone. Whoever made this was once alive.

Well, I would hardly say I do write as yet. But I write because I like words. I suppose if I liked stone I might carve. I like words. I like reading. I notice particular words. That sets me off.

Love is a cliff, A clear, cold curve of stone, mottled by stars, Smirched by the morning, carved by the dark sea Till stars and dawn and waves can slash no more, Till the rock’s heart is found and shaped again.

I watched her carve her mistakes in stone, and they arranged themselves around her. They became a maze with walls that reached the sky. Because she learned from so few of them, she was lost. Because she didn’t have faith in anything, she didn’t try to find a way out. I watched her try to face her fears alone, too proud to ask for help, too stubborn to admit she was afraid, too small to fight them, too tired to fly away.

So she moved away from the carving of the mythical stag, instantly cold as she severed contact with the delightful heat living within the stone. Part of her could have sworn that ancient, strange power was sad to see her go.

The future isn't carved in stone, only your epitaph.

They carved your name into the stone and then they put it in the ground, I run my fingers through the grooves When no one's around

I had forgotten that God, or the world, or whatever carves the rules in stone, doesn't give you time off for good behavior.

Not all knowledge is books. Those out there, they’re history is stone. Men carved them. Men sweated in this sun to put them there, to make their city more beautiful. Who are you to say what’s worthy for men to see today, or tomorrow?

In the small central square of Ljubljana, the statue of the poet stares fixedly at something. If you follow his gaze, you will see, on the other side of the square, the face of a woman carved into the stone of one of the houses. That was where Julia had lived. Even after death, Prešeren gaze for all eternity on his Impossible love.

She wept a river of tears holy water, sent to soften the sharp edges of sorrow a gentle hollowing out, carving new chambers in her heart a hallowed vessel for holding sacred, the tears of others...

Secrets carve us like water carves stone. On the surface nothing will shift, but things we cannot tell anyone chafe and consume us, and slowly our life settles around them, moulds itself into their shape. Secrets gnaw at the bonds between people. Sometimes we believe they can also build them: if we let another person into the silent space a secret has made within us, we are no longer alone there.

The greatest minds and the most advanced engineering went into its creation. They carved the prison out of solid rock from the face of the mountains just north of the lake. They sealed it not only with metal, stone, and wood but also with ancient and powerful enchantments. In the end, when it was finished, it was believed to be the most secure prison in the world.” “They must have had some really nasty criminals back then to go to so much trouble,” Hadrian said. “No,” Myron replied matter-of-factly, “just one.” “One?” Alric asked. “An entire prison designed to hold just one man?” “His name was Esrahaddon.

Although, fanciful's origin circa 1627 made me still love the word, even if I'd ruined its applicability to my connection with Snarl. (I mean DASH!) Like, I could totally see Mrs. Mary Poppencock returning home to her cobblestone hut with the thatched roof in Thamesburyshire, Jolly Olde England, and saying to her husband, "Good sir Bruce, would it not be wonderful to have a roof that doesn't leak when it rains on our green shires, and stuff?" And Sir Bruce Poppencock would have been like, "I say, missus, you're very fanciful with your ideas today." To which Mrs. P. responded, "Why, Master P., you've made up a word! What year is it? I do believe it's circa 1627! Let's carve the year--we think--on a stone so no one forgets. Fanciful! Dear man, you are a genius. I'm so glad my father forced me to marry you and allow you to impregnate me every year.

Nimander wondered if he had discovered the face of the one true god. Naught else but time, this ever changing and yet changeless tyrant against whom no creature could win. Before whom even trees, stone and air must one day bow. There would be a last dawn, a last sunset, each kneeling in final surrender. Yes, time was indeed god, playing the same games with lowly insects as it did with mountains and the fools who would carve fastnesses into them. At peace with every scale, pleased by the rapid patter of a rat’s heart and the slow sighing of devouring wind against stone. Content with a star’s burgeoning light and the swift death of a raindrop on a desert floor.

That was on the pillar stone on Ynys Bainail," I said, indicating the carving. "What does it mean?" "It is Mor Cylch, the maze of life," Tegid told me. "It is trodden with just enough light to see the next step or two ahead, but not more. At each turn the soul must decide whether to journey on or whether to go back the way it came." "What if the soul does not journey on? What if it chooses to go back the way it came?" "Stagnation and death," replied Tegid with mild vehemence. He seemed irritated that anyone would consider retreating. "And if the soul travels on?" "It draws nearer its destination," the bard answered. "The ultimate destination of all souls is the Heart of the Heart.

I have tasted words, I have seen them. Never had her hands reached out in darkness and felt the texture of pure marble, never had her forehead bent forward and, as against a stone altar, felt safety. I am now saved. Her mind could not then so specifically have seen it, could not have said, "Now I will reveal myself in words, words may now supercede a scheme of mathematical-biological definition. Words may be my heritage and with words...A lady will be set back in the sky....there was hope in a block of unsubstantiated marble, words could carve and set up solid altars...Thought followed the wing that beat its silver into seven-branched larch boughs.

If you live in Denver or Austin, or near another Ten Commandments monument on public land, go and examine it. See if the full text of each commandment is carved into the stone. See if slavery is recognized, if women are considered chattel, and if the supposed pinnacle of morality punishes innocent children to the third and fourth generations. If the Ten Commandments were truly moral, there would be no need to edit these displays to fit today’s standards. Morality evolves. These edited monuments undercut the very claim they were set up to make. They are monuments to a lie.

Stone houses, terrace walls, city walls, streets. Plant any rose and you hit four or five big ones. All the Etruscan sarcophagi with likenesses of the dead carved on top in realistic, living poses must have come out of the most natural transference into death they could imagine. After lifetimes of dealing with stone, why not, in death, turn into it?

One day, perhaps, we will have become legends. We'll pass this way outside of space or time, When what they'll know of us will be just questions They'll carve our deeds in stone. Build us in rhyme. The things they'll tell about us will be lies But lies of such a kind as tell a truth Perpetual. Our lives will be revised. Preserved, we'll mouth the epics of our youth. Actors will play us, braver than we are, More funny, deeper, prettier by far. Their lines will be more resonant and wise Than anything we said. Majestic lies. So wait. Such tales might be the truth one day. For now, alive, we huddle, ache and pray.

What more can I say: born beneath light bulbs, interrupted my growth at the age of three, was given a drum, sangshattered glass, smelled vanilla, coughed in churches, stuffed Luzie with food, watched ants as they crawled, decided to grow, buried the drum, moved to the West, lost what was East, learned to carve stone and posed as a model, went back to my drum and inspected concrete, made money and cared for the finger, gave the finger away and fled as I laughed, ascended, arrested, convicted, confined, now soon to be freed, and today is my birthday, I’m thirty years old, and still as afraid of the Black Cook as ever—Amen.

The Universe is made of hands; Hands that twist fabric and sizzle in the air. Hands that grasp curls and flick words away Small, smooth fingers pouring gold over gaping wounds Before slicing into soft tissue, Blood mixing with gold. Hands that make it beautiful. The Universe is made of bones; Bones that cut against yards of skin, Warm and yielding and moulded around the wings that splay across his back. Bones that cage the heart and dig into the hollows. Bones that break, Tear the warm, yielding skin. Bones that shred and brush his chin. The Universe is made of lips; Lips that breathe and stutter warm sighs, Caressing the cracks in his broken body, the body that he broke. Lips that carve paths into stone, That leave trails upon gooseflesh, Lips that make incisions, Too delicate to mend. The Universe is made of blood; Blood that runs warm and hot and steady and crimson, Pumping beneath the stone and the gold. Blood that burns with every jerk of limbs. Blood that spills on open palms, Staining the fabric, Filling up his throat. The Universe is made of eyes; Eyes that breach and eyes that splice and eyes that never leave. Eyes that ripple oceans. Eyes that whisper in the dark. Eyes that rip open the seams. Eyes that create wounds, create chaos, create broken shards of blue. Eyes that alight and won’t let go. The Universe was built. The Universe fell. You took it apart, Dragged the chaos from my soul with your hands, Your bones, Your lips, Your blood, Your eyes. And now you’re back. And so is the Universe. And so, I suppose, am I. The Universe is made of five things. The Universe is made of you.

I grow into these mountains like a moss. I am bewitched. The blinding snow peaks and the clarion air, the sound of earth and heaven in the silence, the requiem birds, the mythic beasts, the flags, great horns, and old carved stones, the silver ice in the black river, the Kang, the Crystal Mountain. Also, I love the common miracles-the murmur of my friends at evening, the clay fires of smudgy juniper, the coarse dull food, the hardship and simplicity, the contentment of doing one thing at a time… gradually my mind has cleared itself, and wind and sun pour through my head, as through a bell. Though we talk little here, I am never lonely; I am returned into myself. In another life-this isn’t what I know, but how I feel- these mountains were my home; there is a rising of forgotten knowledge, like a spring from hidden aquifers under the earth. To glimpse one’s own true nature is a kind of homegoing, to a place East of the Sun, West of the Moon- the homegoing that needs no home, like that waterfall on the supper Suli Gad that turns to mist before touching the earth and rises once again to the sky.

The interplay between farmers and the elements was a poem without words, the echo which would always return to him. The air could hold the "breeze of the rain" or the "wind of warmth" to the discerning nose. The stone carved its memory deep into the hands that chiseled it. Fire was life in the hearth which was the center of home. Water introduced itself to us from its most natural source in streams and wells.

Jack was too absorbed in his work to hear the bell. He was mesmerized by the challenge of making soft, round shapes of hard rock. The stone had a will of its own, and if he tried to make it do something it did not want to do, it would fight him, and his chisel would slip, or dig in too deeply, spoiling the shapes. But once he had got to know the lump of rock in front of him he could transform it. The more difficult the task, the more fascinated he was. He was beginning to feel that the decorative carving demanded by Tom was too easy. Zigzags, lozenges, dogtooth, spirals and plain roll moldings bored him, and even these leaves were rather stiff and repetitive. He wanted to curve natural-looking foliage, pliable and irregular, and copy the different shapes of real leaves, oak and ash and birch.

But after all the years, her husband and children have come to accept that, once every few weeks, their usually warmhearted and approachable Camisha will get into her Honda Accord at the beginning of a seemingly random day, and disppear until well after supper, when she will return home and go directly to bed. Her family has learned never top ask her where she had been on such a day, because the most she will ever say is, "Out. I just went out for a bit." Also, they learned long ago never to express irritation or anger of any kind against Camisha, because when they do, her reaction is to become mute and exit to the garden, where for several hours she will sit cross-legged on a favourite flat stone, her back to the house. Slender, straight-backed, and unmoving, at these times she resembles nothing so much as an elegant ebony carving, exquisite but not quite alive. Watching her is almost unberable, and so is the guilt. Or if the weather is not suitable for the garden, she will simpily go to her bedroom and lock the door. Then as a matter of course, without comment during or after, her husband sleeps on the sofa in the den. In the morning, Camisha is usually her old self again, just as if nothing had happened.

Our eyes are always pointing at things we are interested in approaching, or investigating, or looking for, or having. We must see, but to see, we must aim, so we are always aiming. Our minds are built on the hunting-and-gathering platforms of our bodies. To hunt is to specify a target, track it, and throw at it. To gather is to specify and to grasp. We fling stones, and spears, and boomerangs. We toss balls through hoops, and hit pucks into nets, and curl carved granite rocks down the ice onto horizontal bull’s-eyes. We launch projectiles at targets with bows, guns, rifles and rockets. We hurl insults, launch plans, and pitch ideas. We succeed when we score a goal or hit a target. We fail, or sin, when we do not (as the word sin means to miss the mark70). We cannot navigate, without something to aim at and, while we are in this world, we must always navigate.

Piece by Piece Piece by piece They tear at you: Peeling away layers of being, Lying about who you are, Speaking for your dreams. In the squalor of their eyes You are an outlaw. Dressing you in a jacket of lies —tailor-made in steel— You fit their perfect picture. Take it off! Make your own mantle. Question the interrogators. Eyeball the death in their gaze. Say you won’t succumb. Say you won’t believe them When they rename you. Say you won’t accept their codes, Their colors, their putrid morals. Here you have a way. Here you can sing victory. Here you are not a conquered race Perpetual victim —the sullen face in a thunderstorm. Hands/minds, they are carving out A sanctuary. Use these weapons Against them. Use your given gifts —they are not stone.

My Father, the Age I Am Now Time, which diminishes all things, increases understanding for the aging. —PLUTARCH My mother was the star: Smart and funny and warm, A patient listener and an easy laugher. My father was . . . an accountant: Not one to look up to, Ask advice from, Confide in. A man of few words. We faulted him—my mother, my sister, and I, For being this dutiful, uninspiring guy Who never missed a day of work, Or wondered what our dreams were. Just . . . an accountant. Decades later, My mother dead, my sister dead, My father, the age I am now, Planning ahead in his so-accountant way, Sent me, for my records, Copies of his will, his insurance policies, And assorted other documents, including The paid receipt for his cemetery plot, The paid receipt for his tombstone, And the words that he had chosen for his stone. And for the first time, shame on me, I saw my father: Our family’s prime provider, only provider. A barely-out-of-boyhood married man Working without a safety net through the Depression years That marked him forever, Terrified that maybe he wouldn’t make it, Terrified he would fall and drag us down with him, His only goal, his life-consuming goal, To put bread on our table, a roof over our head. With no time for anyone’s secrets, With no time for anyone’s dreams, He quietly earned the words that made me weep, The words that were carved, the following year, On his tombstone: HE TOOK CARE OF HIS FAMILY.

The true blessing of the mountains is not that they provide a challenge or a contest, something to be overcome and dominated (although this is how many people have approached them). It is that they offer something gentler and infinitely more powerful: they make us ready to credit marvels - whether it is the dark swirl which water makes beneath a plate of ice, or the feel of the soft pelts of moss which form on the lee sides of boulders and trees. Being in the mountains reignites our astonishment at the simplest transactions of the physical world: a snowflake a millionth of an ounce in weight falling on to one's outstretched palm, water patiently carving a runnel in a face of granite, the apparently motiveless shift of a stone in a scree-filled gully. Tu put a hand down and feel the ridges and score in a rock where a glaciers has passed, to hear how a hillside comes alive with moving water after a rain shower, to see late summer light filling miles of landscape like an inexhaustible liquid - none of these is a trivial experience. Mountains returns to us priceless capacity for wonder which can so insensibly be leached away by modern existence, and they urge us to apply that wonder to our own everyday lives.

Silence. Montag sat like a carved white stone. The echo of the final hammer on his skull died slowly away into the black cavern where Faber waited for the echoes to subside. And then when the startled dust had settled down about Montag's mind, Faber began, softly, "All right, he's had his say. You must take it in. I'll say my say, too, in the next hours. And you'll take it in. And you'll try to judge them and make your decisions as to which way to jump, or fall. But I want it to be your decision, not mine, and not the Captain's. But remember that the Captain belongs to the most dangerous enemy to truth and freedom, the solid unmoving cattle of the majority. We all have our harps to play. And it's up to you now to know with which ear you'll listen.

Why, then, do you go there at such a season?" my editor asked me once, sitting in a Chinese restaurant in New York, with his gay English charges. "Yes, why do you ?" they echoed their prospective benefactor. "What is it like there in winter ?" I thought of telling them about acqua alta; about the various shades of gray in the window as one sits for breakfast in one's hotel, enveloped by silence and the mealy morning pall of newlyweds' faces; about pigeons accentuating every curve and cornice of the local Baroque in their dormant affinity for architecture; about a lonely monument to Francesco Querini and his two huskies carved out of Istrian stone, similar, I think, in its hue, to what he saw last, dying, on his ill-fated journey to the North Pole, now listening to the Giardini's rustle of evergreens in the company of Wagner and Carducci; about a brave sparrow perching on the bobbing blade of a gondola against the backdrop of a sirocco-roiled damp infinity. No, I thought, looking at their effete but eager faces; no, they won't do. "Well, I said, "it's like Greta Garbo swimming.

These things matter to me, Daniel, says the man with six days to live. They are sitting on the porch in the last light. These things matter to me, son. The way the hawks huddle their shoulders angrily against hissing snow. Wrens whirring in the bare bones of bushes in winter. The way swallows and swifts veer and whirl and swim and slice and carve and curve and swerve. The way that frozen dew outlines every blade of grass. Salmonberries thimbleberries cloudberries snowberries elderberries salalberries gooseberries. My children learning to read. My wife's voice velvet in my ear at night in the dark under the covers. Her hair in my nose as we slept curled like spoons. The sinuous pace of rivers and minks and cats. Fresh bread with too much butter. My children's hands when they cup my face in their hands. Toys. Exuberance. Mowing the lawn. Tiny wrenches and screwdrivers. Tears of sorrow, which are the salt sea of the heart. Sleep in every form from doze to bone-weary. Pay stubs. Trains. The shivering ache of a saxophone and the yearning of a soprano. Folding laundry hot from the dryer. A spotless kitchen floor. The sound of bagpipes. The way horses smell in spring. Red wines. Furnaces. Stone walls. Sweat. Postcards on which the sender has written so much that he or she can barely squeeze in the signature. Opera on the radio. Bathrobes, back rubs. Potatoes. Mink oil on boots. The bands at wedding receptions. Box-elder bugs. The postman's grin. Linen table napkins. Tent flaps. The green sifting powdery snow of cedar pollen on my porch every year. Raccoons. The way a heron labors through the sky with such a vast elderly dignity. The cheerful ears of dogs. Smoked fish and the smokehouses where fish are smoked. The way barbers sweep up circles of hair after a haircut. Handkerchiefs. Poems read aloud by poets. Cigar-scissors. Book marginalia written with the lightest possible pencil as if the reader is whispering to the writer. People who keep dead languages alive. Fresh-mown lawns. First-basemen's mitts. Dish-racks. My wife's breasts. Lumber. Newspapers folded under arms. Hats. The way my children smelled after their baths when they were little. Sneakers. The way my father's face shone right after he shaved. Pants that fit. Soap half gone. Weeds forcing their way through sidewalks. Worms. The sound of ice shaken in drinks. Nutcrackers. Boxing matches. Diapers. Rain in every form from mist to sluice. The sound of my daughters typing their papers for school. My wife's eyes, as blue and green and gray as the sea. The sea, as blue and green and gray as her eyes. Her eyes. Her.

The Ilhalmiut do not fill canvases with their paintings, or inscribe figures on rocks, or carve figurines in clay or in stone, because in the lives of the People there is no room for the creation of objects of no practical value. What purpose is there in creating beautiful things if these must be abandoned when the family treks out over the Barrens? But the artistic sense is present and strongly developed. It is strongly alive in their stories and songs, and in the string-figures, but they also use it on the construction of things which assist in their living and in these cases it is no less an art. The pleasure of abstract creation is largely denied to them by the nature of the land, but still they know how to make beauty. They know how to make beauty, and they also know how to enjoy it-- for it is no uncommon thing to see an Ilhalmio man squatting silently on a hill crest and watching, for hours at a time, the swift interplay of colors that sweep the sky at sunset and dawn. It is not unusual to see an Ilhalmio pause for long minutes to watch the sleek beauty of a weasel or to stare into the brilliant heart of some minuscule flower. And these things are done quite unconsciously, too. There is no word for 'beauty'--as such--in their language; it needs no words in their hearts.

Now, the last one was that the demon king can’t stand either in heaven or on the earth. Urga set the demon on his lap, which means I guess I’ll have to…sit on your back.” Awkward. Even though Ren was a big tiger and it would be like riding a small pony, I was still conscious that he was a man, and I didn’t feel right about turning him into a pack animal. I took off my backpack and set it down wondering what I could do to make this a bit less embarrassing. Mustering the courage to sit on his back, I’d just decided that it wouldn’t be too bad if I sat sidesaddle, when my feet flew out from under me. Ren had changed into a man and swept me up into his arms. I wiggled for a minute, protesting, but he just gave me a look-the don’t-even-bother-coming-up-with-an-argument look. I shut my mouth. He leaned over to pick up the backpack, let it dangle from his fingers, and then said, “What’s next?” “I don’t know. That’s all that Mr. Kadam told me.” He shifted me in his arms, walked over to stand in the doorway again, then peered up at the statue. He murmured, “I don’t see any changes.” He held me securely while looking at the statue and, I have to admit, I totally stopped caring about what we were doing. The scratches on my arm that had been throbbing a moment ago didn’t bother me at all. I let myself enjoy the feeling of being cuddled up close to his muscular chest. What girl didn’t want to be swept up in the arms of a drop-dead gorgeous man? I allowed my gaze to drift up to his beautiful face. The thought occurred to me that if I were to carve a stone god, I’d pick Ren as my subject. This Urga half-lion and half-man guy had nothing on Ren. Eventually, he realized I was watching him, and said, “Hello? Kells? Breaking a curse here, remember?” I just smiled back stupidly. He quirked an eyebrow at me. “What were you thinking about just now?” “Nothing important.” He grinned. “May I remind you that you are in prime tickling position, and there’s no escape. Tell me.” Gads. His smile was brilliant, even in the fog. I laughed nervously. “If you tickle me, I’ll protest and struggle violently, which will cause you to drop me and ruin everything that we are trying to accomplish.” He grunted, leaned close to my ear, and then whispered, “That sounds like an interesting challenge, rajkumari. Perhaps we shall experiment with it later. And just for the record, Kelsey, I wouldn’t drop you.” The way he said my name made goose bumps rise all over my arms. When I looked down to quickly rub them, I noticed the flashlight had been turned off. I switched it on, but the statue remained the same. Giving up, I suggested, “Nothing’s happening. Maybe we need to wait till dawn.” He laughed throatily while nuzzling my ear and declared softly, “I’d say that something is happening, but not the something that will open the doorway.” He trailed soft, slow kisses from my ear down my neck. I sighed faintly and arched my neck to give him better access. With a last kiss, he groaned and reluctantly raised his head. Disappointed that he’d stopped, I asked, “What does rajkumari mean?” He laughed quietly, carefully set me down, and said, “It means princess.

It doesn't talk back,' he said ruefully as I approached, without looking round. I glanced up at the griffin. 'No,' I said. Then something, an impulse of gaiety perhaps, made me add, 'Perhaps you need to stroke it between the ears. Timothy likes that.' Timothy is my cat. Although the Doctor was evidently an eccentric man - who else talks to a statue - I was nonetheless taken aback when he jumped up into the air like a circus performer and, holding on to the iron standard of a lamp, swung himself on to the narrow sill above the carving. There he teetered for a moment, arms extended flat against the wall, his shoes dislodging small pieces of debris which clattered on to the yard. He somehow found a secure foothold, then reached down and petted the stone animal between the ears, or what would have been the ears if it hadn't been a relief carving. 'Hello, Timothy. Would you care for a stick of liquorice?' There was a brief silence, and I was struck by the puzzled, almost grief-stricken expression that crossed the Doctor's face when the carving made no reply. It could have been drollery, but it seemed genuine. Then he looked down at me, and grinned, as if it had been a joke. 'He still doesn't talk! Did you say he was called Timothy?' I decided it was time to inject some sanity into the conversation. 'Timothy.' I said, precisely and quietly, ' is the name of my cat.

The Last Leaf I saw him once before, As he passed by the door, And again The pavement stones resound, As he totters o'er the ground With his cane. They say that in his prime, Ere the pruning-knife of Time Cut him down, Not a better man was found By the Crier on his round Through the town. But now he walks the streets, And looks at all he meets Sad and wan, And he shakes his feeble head, That it seems as if he said, "They are gone." The mossy marbles rest On the lips that he has prest In their bloom, And the names he loved to hear Have been carved for many a year On the tomb. My grandmamma has said Poor old lady, she is dead Long ago That he had a Roman nose, And his cheek was like a rose In the snow; But now his nose is thin, And it rests upon his chin Like a staff, And a crook is in his back, And a melancholy crack In his laugh. I know it is a sin For me to sit and grin At him here; But the old three-cornered hat, And the breeches, and all that, Are so queer! And if I should live to be The last leaf upon the tree In the spring, Let them smile, as I do now, At the old forsaken bough Where I cling.

You wanted a demonstration,” Celaena said quietly. Sweat trickled down her back, but she gripped the magic with everything she had. “One thought from me, and your city will burn.” “It is stone,” Maeve snapped. Celaena smiled. “Your people aren’t.” Maeve’s nostrils flared delicately. “Would you murder innocents, Aelin? Perhaps. You did it for years, didn’t you?” Celaena’s smile didn’t falter. “Try me. Just try to push me, Aunt, and see what comes of it. This was what you wanted, wasn’t it? Not for me to master my magic, but for you to learn just how powerful I am. Not how much of your sister’s blood flows in my veins—no, you’ve known from the start that I have very little of Mab’s power. You wanted to know how much I got from Brannon.” The flames rose higher, and the shouts—of fright, not pain—rose with them. The flames would not hurt anyone unless she willed it. She could sense other magics fighting against her own, tearing holes into her power, but the conflagration surrounding the veranda burned strong. “You never gave the keys to Brannon. And you didn’t journey with Brannon and Athril to retrieve the keys from the Valg,” Celaena went on, a crown of fire wreathing her head. “You went to steal them for yourself. You wanted to keep them. Once Brannon and Athril realized that, they fought you. And Athril…” Celaena drew Goldryn, its hilt glowing bloodred. “Your beloved Athril, dearest friend of Brannon … when Athril fought you, you killed him. You, not the Valg. And in your grief and shame, you were weakened enough that Brannon took the keys from you. It wasn’t some enemy force who sacked the Sun Goddess’s temple. It was Brannon. He burned any last trace of himself, any clue of where he was going so you would not find him. He left only Athril’s sword to honor his friend—in the cave where Athril had first carved out the eye of that poor lake creature—and never told you. After Brannon left these shores, you did not dare follow him, not when he had the keys, not when his magic—my magic—was so strong.

Back then, come July, and the blazers would again make their way out of the steel trunks and evenings would be spent looking at snow-capped mountains from our terrace and spotting the first few lights on the hills above. It was the time for radishes and mulberries in the garden and violets on the slopes. The wind carried with it the comforting fragrance of eucalyptus. It was in fact all about the fragrances, like you know, in a Sherlock Holmes story. Even if you walked with your eyes closed, you could tell at a whiff, when you had arrived at the place, deduce it just by its scent. So, the oranges denoted the start of the fruit-bazaar near Prakash ji’s book shop, and the smell of freshly baked plum cake meant you had arrived opposite Air Force school and the burnt lingering aroma of coffee connoted Mayfair. But when they carved a new state out of the land and Dehra was made its capital, we watched besotted as that little town sprouted new buildings, high-rise apartments, restaurant chains, shopping malls and traffic jams, and eventually it spilled over here. I can’t help noticing now that the fragrances have changed; the Mogra is tinged with a hint of smoke and will be on the market tomorrow. The Church has remained and so has everything old that was cast in brick and stone, but they seem so much more alien that I almost wish they had been ruined.’ ('Left from Dhakeshwari')

None of these men will bring about your death any time sooner, but rather they will teach you how to die. None of them will shorten your lifespan, but each will add the wisdom of his years to yours. In other words, there is nothing dangerous about talking to these people and it won’t cost you a penny. Take from them as much as you wish. It’s up to you to squeeze the most you can from their wisdom. What bliss, what a glorious old age awaits the man who has offered himself as a mate to these intellects! He will have mentors and colleagues from whom he may seek advice on the smallest of matters, companions ever ready with counsel for his daily life, from whom he may hear truth without judgment, praise without flattery, and after whose likeness he may fashion himself. They say ‘you can’t choose your parents,’ that they have been given to us by chance; but the good news is we can choose to be the sons of whomever we desire. There are many respectable fathers scattered across the centuries to choose from. Select a genius and make yourself their adopted son. You could even inherit their name and make claim to be a true descendant and then go forth and share this wealth of knowledge with others. These men will show you the way to immortality, and raise you to heights from which no man can be cast down. This is the only way to extend mortality – truly, by transforming time into immortality. Honors, statues and all other mighty monuments to man’s ambition carved in stone will crumble but the wisdom of the past is indestructible. Age cannot wither nor destroy philosophy which serves all generations. Its vitality is strengthened by each new generation’s contribution to it. The Philosopher alone is unfettered by the confines of humanity. He lives forever, like a god. He embraces memory, utilizes the present and anticipates with relish what is to come. He makes his time on Earth longer by merging past, present and future into one.

There was just enough room for the tonga to get through among the bullock-carts, rickshaws, cycles and pedestrians who thronged both the road and the pavement--which they shared with barbers plying their trade out of doors, fortune-tellers, flimsy tea-stalls, vegetable-stands, monkey-trainers, ear-cleaners, pickpockets, stray cattle, the odd sleepy policeman sauntering along in faded khaki, sweat-soaked men carrying impossible loads of copper, steel rods, glass or scrap paper on their backs as they yelled 'Look out! Look out!' in voices that somehow pierced though the din, shops of brassware and cloth (the owners attempting with shouts and gestures to entice uncertain shoppers in), the small carved stone entrance of the Tinny Tots (English Medium) School which opened out onto the courtyard of the reconverted haveli of a bankrupt aristocrat, and beggars--young and old, aggressive and meek, leprous, maimed or blinded--who would quietly invade Nabiganj as evening fell, attempting to avoid the police as they worked the queues in front of the cinema-halls. Crows cawed, small boys in rags rushed around on errands (one balancing six small dirty glasses of tea on a cheap tin tray as he weaved through the crowd) monkeys chattered in and bounded about a great shivering-leafed pipal tree and tried to raid unwary customers as they left the well-guarded fruit-stand, women shuffled along in anonymous burqas or bright saris, with or without their menfolk, a few students from the university lounging around a chaat-stand shouted at each other from a foot away either out of habit or in order to be heard, mangy dogs snapped and were kicked, skeletal cats mewed and were stoned, and flies settled everywhere: on heaps of foetid, rotting rubbish, on the uncovered sweets at the sweetseller's in whose huge curved pans of ghee sizzled delicioius jalebis, on the faces of the sari-clad but not the burqa-clad women, and on the horse's nostrils as he shook his blinkered head and tried to forge his way through Old Brahmpur in the direction of the Barsaat Mahal.

Julius explained that the palace rooms where they stood were called Wunderkammers, or wonder rooms. Souvenirs of nature, of travels across continents and seas; jewels and skulls. A show of wealth, intellect, power. The first room had rose-colored glass walls, with rubies and garnets and bloodred drapes of damask. Bowls of blush quartz; semiprecious stone roses running the spectrum of red down to pink, a hard, glittering garden. The vaulted ceiling, a feature of all the ten rooms Julius and Cymbeline visited, was a trompe l'oeil of a rosy sky at down, golden light edging the morning clouds. The next room was of sapphire and sea and sky; lapis lazuli, turquoise and gold and silver. A silver mermaid lounged on the edge of a lapis lazuli bowl fashioned in the shape of an ocean. Venus stood aloft on the waves draped in pearls. There were gold fish and diamond fish and faceted sterling silver starfish. Silvered mirrors edged in silvered mirror. There were opals and aquamarines and tanzanite and amethyst. Seaweed bloomed in shades of blue-green marble. The ceiling was a dome of endless, pale blue. A jungle room of mica and marble followed, with its rain forest of cats made from tiger's-eye, yellow topaz birds, tortoiseshell giraffes with stubby horns of spun gold. Carved clouds of smoky quartz hovered over a herd of obsidian and ivory zebras. Javelinas of spotted pony hide charged tiny, life-sized dik-diks with velvet hides, and dazzling diamond antlers mingled with miniature stuffed sable minks. Agate columns painted a medley of dark greens were strung with faceted ropes of green gold. A room of ivory: bone, teeth, skulls, and velvet. A room crowded with columns all sheathed in mirrors, reflecting world maps and globes and atlases inlaid with silver, platinum, and white gold; the rubies and diamonds that were sometimes set to mark the location of a city or a town of conquest resembled blood and tears. A room dominated by a fireplace large enough to hold several people, upholstered in velvets and silks the colors of flame. Snakes of gold with orange sapphire and yellow topaz eyes coiled around the room's columns. Statues of smiling black men in turbans offering trays of every gem imaginable-emerald, sapphire, ruby, topaz, diamond-stood at the entrance to a room upholstered in pistachio velvet, accented with malachite, called the Green Vault. Peridot wood nymphs attended to a Diana carved from a single pure crystal of quartz studded with tiny tourmalines. Jade tables, and jade lanterns. The royal jewels, blinding in their sparkling excess: crowns, tiaras, coronets, diadems, heavy ceremonial necklaces, rings, and bracelets that could span a forearm, surrounding the world's largest and most perfect green diamond. Above it all was a night sky of painted stars, with inlaid cut crystal set in a serious of constellations.