Casting Shadows Quotes

Poetry is the shadow cast by our streetlight imaginations.

Power resides only where men believe it resides. [...] A shadow on the wall, yet shadows can kill. And ofttimes a very small man can cast a very large shadow.

The brightest flame casts the darkest shadow.

When you light a candle, you also cast a shadow.

How can I be substantial if I do not cast a shadow? I must have a dark side also If I am to be whole.

But would you kindly ponder this question: What would your good do if evil didn't exist, and what would the earth look like if all the shadows disappeared? After all, shadows are cast by things and people. Here is the shadow of my sword. But shadows also come from trees and living beings. Do you want to strip the earth of all trees and living things just because of your fantasy of enjoying naked light? You're stupid.

The dark does not destroy the light; it defines it. It's our fear of the dark that casts our joy into the shadows.

I was raised among books, making invisible friends in pages that seemed cast from dust and whose smell I carry on my hands to this day.

To light a candle is to cast a shadow...

Put your thoughts to sleep, do not let them cast a shadow over the moon of your heart. Let go of thinking.

We cast a shadow on something wherever we stand, and it is no good moving from place to place to save things; because the shadow always follows. Choose a place where you won't do harm - yes, choose a place where you won't do very much harm, and stand in it for all you are worth, facing the sunshine.

Your absence has not taught me to be alone, it merely has shown that when together we cast a single shadow on the wall.

Farewells can be shattering, but returns are surely worse. Solid flesh can never live up to the bright shadow cast by its absence. Time and distance blur the edges; then suddenly the beloved has arrived, and it's noon with its merciless light, and every spot and pore and wrinkle and bristle stands clear.

Clary, Despite everything, I can't bear the thought of this ring being lost forever, any more then I can bear the thought of leaving you forever. And though I have no choice about the one, at least I can choose about the other. I'm leaving you our family ring because you have as much right to it as I do. I'm writing this watching the sun come up. You're asleep, dreams moving behind your restless eyelids. I wish I knew what you were thinking. I wish I could slip into your head and see the world the way you do. I wish I could see myself the way you do. But maybe I dont want to see that. Maybe it would make me feel even more than I already do that I'm perpetuating some kind of Great Lie on you, and I couldn't stand that. I belong to you. You could do anything you wanted with me and I would let you. You could ask anything of me and I'd break myself trying to make you happy. My heart tells me this is the best and greatest feeling I have ever had. But my mind knows the difference between wanting what you can't have and wanting what you shouldn't want. And I shouldn't want you. All night I've watched you sleeping, watched the moonlight come and go, casting its shadows across your face in black and white. I've never seen anything more beautiful. I think of the life we could have had if things were different, a life where this night is not a singular event, separate from everything else that's real, but every night. But things aren't different, and I can't look at you without feeling like I've tricked you into loving me. The truth no one is willing to say out loud is that no one has a shot against Valentine but me. I can get close to him like no one else can. I can pretend I want to join him and he'll believe me, up until that last moment where I end it all, one way or another. I have something of Sebastian's; I can track him to where my father's hiding, and that's what I'm going to do. So I lied to you last night. I said I just wanted one night with you. But I want every night with you. And that's why I have to slip out of your window now, like a coward. Because if I had to tell you this to your face, I couldn't make myself go. I don't blame you if you hate me, I wish you would. As long as I can still dream, I will dream of you. _Jace

Was it weird having a witch grandma? Scary? Was she always, like, threatening to cast spells if you were bad?" "Most of the time she just threatened to send me to my room." "That doesn't sound so scary to me." "That's because you haven't met her.

In the shadow my father has cast over my entire life, you are the only light I can see anymore. And, whatever the cost, I refuse to let that light be extinguished

So don't be frightened, dear friend, if a sadness confronts you larger than any you have ever known, casting its shadow over all you do. You must think that something is happening within you, and remember that life has not forgotten you; it holds you in its hand and will not let you fall. Why would you want to exclude from your life any uneasiness, any pain, any depression, since you don't know what work they are accomplishing within you?

I’m afraid of love, because it involves things that are beyond our understanding; it sheds such a brilliant light, but the shadow it casts frightens me.

The brightest light casts the darkest shadow.

His hands lay flat on either side of him, his arms at his sides. He seemed barely to be breathing; she wasn't sure she was breathing herself. She slid her own hand across the bedsheet, just far enough that their fingers touched-so lightly that she would have probably hardly been aware of it had she been touching anyone but Jace; as it was, the nerve endings in her fingertips pricked softly, as if she were holding them over a low flame. She felt him tense beside her and then relax. He had shut his eyes, and his lashes cast fine shadows against the curve of his cheekbones. His mouth curled into a smile as if he sensed her watching him, and she wondered how he would look in the morning, with his hair messed and sleep circles under his eyes. Despite everything, the thought gave her a jolt of happiness. She laced her fingers through his. "Good night," she whispered. With their hands clasped like children in a fairy tale, she fell asleep beside him in the dark.

When Small men begin to cast big shadows, it means that the sun is about to set.

Don't let the tall weeds cast a shadow on the beautiful flowers in your garden.

This tower, patched unevenly with black ivy, arose like a mutilated finger from among the fists of knuckled masonry and pointed blasphemously at heaven. At night the owls made of it an echoing throat; by day it stood voiceless and cast its long shadow.

What's that thing you wrote about Simon once, that his eyes followed Baz 'like he was the brightest thing in the room, like he cast everything else into shadow'? That's you. You can't look away from him.

You know, there's a big world out there filled with desperate orphans who would gladly swim across an ocean of thumbtacks just to be eclipsed by the long shadow that is cast by my accomplishments.

A great nation is like a great man: When he makes a mistake, he realizes it. Having realized it, he admits it. Having admitted it, he corrects it. He considers those who point out his faults as his most benevolent teachers. He thinks of his enemy as the shadow that he himself casts.

Even something very small can cast a large shadow when it is close to the sun.

How do you judge the brightness of a light when you’re the source? A spotlight can never see the shadows it casts.

I write only for my shadow which is cast on the wall in front of the light. I must introduce myself to it.

I'm missing something, aren't I?" "Brains", he snapped. "And survival instinct. The Hawklord's been waiting for you for three hours." "Tell him I'm dead.

Everything comes home, my mother used to say; every word spoken, every shadow cast, every footprint in the sand. It can't be helped; it's part of what makes us who we are.

Maybe." I shrug. "But what I meant was, can't you use the makeup to cover it?" Miles rolls his eyes and scowls. "Oh, so I can sport a huge flesh-colored beacon instead? Would you look at this thing? There's no disguising it. It's got it's own DNA! It's casting shadows!

Isn't it true that it's not people who meet, but rather the shadows cast by their imaginations?

A person's shadow stood for his legacy, his impact on the world. Some people cast hardly any shadow at all. Some cast long, deep shadows that endured for centuries.

When the groundhog casts his shadow And the small birds sing And the pussywillows happen And the sun shines warm And when the peepers peep Then it is Spring

Power resides where men believe it resides. A very small man can cast a very large shadow.

Oh, I think not,” Varys said, swirling the wine in his cup. “Power is a curious thing, my lord. Perchance you have considered the riddle I posed you that day in the inn?” “It has crossed my mind a time or two,” Tyrion admitted. “The king, the priest, the rich man—who lives and who dies? Who will the swordsman obey? It’s a riddle without an answer, or rather, too many answers. All depends on the man with the sword.” “And yet he is no one,” Varys said. “He has neither crown nor gold nor favor of the gods, only a piece of pointed steel.” “That piece of steel is the power of life and death.” “Just so… yet if it is the swordsmen who rule us in truth, why do we pretend our kings hold the power? Why should a strong man with a sword ever obey a child king like Joffrey, or a wine-sodden oaf like his father?” “Because these child kings and drunken oafs can call other strong men, with other swords.” “Then these other swordsmen have the true power. Or do they?” Varys smiled. “Some say knowledge is power. Some tell us that all power comes from the gods. Others say it derives from law. Yet that day on the steps of Baelor’s Sept, our godly High Septon and the lawful Queen Regent and your ever-so-knowledgeable servant were as powerless as any cobbler or cooper in the crowd. Who truly killed Eddard Stark, do you think? Joffrey, who gave the command? Ser Ilyn Payne, who swung the sword? Or… another?” Tyrion cocked his head sideways. “Did you mean to answer your damned riddle, or only to make my head ache worse?” Varys smiled. “Here, then. Power resides where men believe it resides. No more and no less.” “So power is a mummer’s trick?” “A shadow on the wall,” Varys murmured, “yet shadows can kill. And ofttimes a very small man can cast a very large shadow.” Tyrion smiled. “Lord Varys, I am growing strangely fond of you. I may kill you yet, but I think I’d feel sad about it.” “I will take that as high praise.

Fire burned in her heart, and her wounded soul spread out, casting a shadow like wings across her country.

A shadow on the wall,” Varys murmured, “yet shadows can kill. And ofttimes a very small man can cast a very large shadow.” Tyrion smiled. “Lord Varys, I am growing strangely fond of you. I may kill you yet, but I think I’d feel sad about it.” “I will take that as high praise.

Everything that we see is a shadow cast by that which we do not see.

I don't mean to cast a dark shadow on all your hopes and dreams, except of course I do, because that is who I am. I'm a dream ruiner.

read a quote once that said ‘when you light a candle, you also cast a shadow

From the shapes cast by the green paper lantern, you would never know that there were two boys sitting closely to one another trying to find themselves. You would only see shadows hugging, indiscriminate.

Everything that is,casts a shadow

Connie followed the tracks of Daisy’s skidoo, passing giant, rosy pink mountains of snow which cast long grey shadows over the ground ahead of them. The sheer vastness of this multicoloured wilderness was hard to comprehend, and Connie was aware of herself and Daisy, speeding along, mere specks in the landscape.

Maybe, it is just enough to believe with a positive heart that people didn’t let you down. It could be just this: They couldn’t give you the compassion you really wanted based on where their heart is right now. Maybe, not now, but years later they will catch the memory of you in a quiet moment. There on that Sunday morning, a light will shine through the fog of lies, misunderstanding and frustration they built inside their angry mind about your true character. And, when it does, the shadows will be casted out to reveal a scared and hurt little boy or girl that just wanted to be loved, but went about it all wrong. Maybe, on that day, the whisper of their gratitude for your love will find its way back to your heart. And when that day comes, you will find yourself smiling all day long and not know why.

We were trying to make our lives easier, trying, with all our rules, to make life effortless. But a friction began to arise between Nothing and Something, in the morning the Nothing vase cast a Something shadow, like the memory of someone you've lost, what can you say about that, at night the Nothing light spilled from the guest room spilled under the Nothing door and stained the Something hallway, there's nothing to say.

The shadow by my finger cast Divides the future from the past: Before it, sleeps the unborn hour, In darkness, and beyond thy power. Behind its unreturning line, The vanished hour, no longer thine: One hour alone is in thy hands,- The NOW on which the shadow stands.

Is déjà vu actually the specter of false timelines that never happened but did, casting their shadows upon reality?

No matter how hard you fight the darkness, every light casts a shadow, and the closer you get to the light, the darker that shadow becomes.

What would your good be doing if there were no evil, and what would the earth look like if shadows disappeared from it? After all, shadows are cast by objects and people. There is the shadow of my sword. But there are also shadows of trees and living creatures. Would you like to denude the earth of all the trees and all the living beings in order to satisfy your fantasy of rejoicing in the naked light?

All these perfect days, made of glass Put on the shelf where they can cast perfect shadows that stretch and grow on the imperfect days down below. ... perfect shadows that shift and glow... ... perfect shadows that shift and grow..." "Sam singing on page 256 of Linger.

I pray for you, that all your misgivings will be melted to thanksgivings. Remember that the shadow a thing casts often far exceeds the size of the thing itself (especially if the light be low on the horizon) and though some future fear may strut brave darkness as you approach, the thing itself will be but a speck when seen from beyond. Oh that He would restore us often with that 'aspect from beyond,' to see a thing as He sees it, to remember that He dealeth with us as with sons.

Alone in the hallway, Celaena watched the shadows cast by the torches. It hadn't been the mere impossibility of a relationship with Ilias that had made her pull away. No; it was the memory of Sam's face that had stopped her from kissing him.

A friend is not the shadow that mimics you, but the one who casts all shadows away.

We are born, we are shadows, we cast shadows of own, and then we are gone. All anyone can hope for is to be remembered two shadows deep.

It seems to me that we all look at Nature too much, and live with her too little. I discern great sanity in the Greek attitude. They never chattered about sunsets, or discussed whether the shadows on the grass were really mauve or not. But they saw that the sea was for the swimmer, and the sand for the feet of the runner. They loved the trees for the shadow that they cast, and the forest for its silence at noon.

The night is full of mystery. Even when the moon is brightest, secrets hide everywhere. Then the sun rises and its rays cast so many shadows that the day creates more illusion than all the veiled truth of the night.

Well, are you ready, Lada Dragwlya, daughter of the dragon?" Fire burned in her heart, and her wounded soul spread out, casting a shadow like wings across her country. This was hers. Not because of her father. Not because of Mehmed. Because the land itself had claimed her as its own. "Not Dragwlya," she said. "Lada Dracul. I am no longer the daughter of the dragon." She lifted her chin, sights set on the horizon. "I am the dragon.

You are like fire; you will burn wherever you go. If contained, channeled, you can bring light, but you will also always cast a shadow.

The gods where like the weather; sometimes good, sometimes bad, and either way, always beyond her.

You have to be transparent so you no longer cast a shadow but instead let the light pass through you.

Queens cast shadows too.

A man who casts no shadow isn't really a man at all.

The truth casts a shadow over the kitchen—people like us in situations like this become hashtags, but they rarely get justice. I think we all wait for that one time though, that one time when it ends right.

You want to know why I did what I did?" His dark brows drew together as if he were only now allowing himself to consider this question. "Its fairly simple, actually. It's because, without your bravery in the face of all that's happened to you, without your constant scheming behind my back, without that fire of hatred and contempt and hope in your eyes when you look at me..." He hissed out a breath. "In the shadow my father has cast over my entire life, you are the only light I can see anymore. And, whatever the cost, I refuse to let that light be extinguished.

Without the past to cast its long shadow, might you see the future more clearly?

People dread silence because it is transparent; like clear water, which reveals every obstacle—the used, the dead, the drowned, silence reveals the cast-off words and thoughts dropped in to obscure its clear stream. And when people stare too close to silence they sometimes face their own reflections, their magnified shadows in the depths, and that frightens them. I know; I know.

Is that why you insist on carrying about enormous tomes everywhere you go, that you might visit violence upon innocent persons? Done to death by my best friend - my heart's brother - my own dear parabatai-

Hope is like the sun, which, as we journey towards it, casts the shadow of our burden behind us. ...Hope sweetens the memory of experiences well loved. It tempers our troubles to our growth and our strength. It befriends us in the dark hours, excites us in bright ones. It lends promise to the future and purpose to the past. It turns discouragement to determination. Samuel Smiles

There is only a certain amount of kindness in the world…just as there is a certain amount of light. We cast a shadow on something wherever we stand, and it is no good moving from place to place to save things…Choose a place where you won’t do very much harm and stand in it for all you are worth, facing the sunshine.

A person's looking for a simple truth to live by, there it is. CHOICE. To refuse to passively accept what we've been handed by nature or society, but to choose for ourselves. CHOICE. That's the difference between emptiness and substance, between a life actually lived and a wimpy shadow cast on an office wall.

Places do not lose their identity, however far one travels. It is the heart that begins to erode over time. The face in the hotel mirror seems blurred some mornings, as if by too many casual looks. By ten the sheets will be laundered, the carpet swept. The names on the hotel registers change as we pass. We leave no trace as we pass on. Ghostlike, we cast no shadow.

The dark is generous, and it is patient, and it always wins. It always wins because it is everywhere. It is in the wood that burns in your hearth, and in the kettle on the fire; it is under your chair and under your table and under the sheets on your bed. Walk in the midday sun, and the dark is with you, attached to the soles of your feet. The brightest light casts the darkest shadow.

This is not to say that joy is a compensation for loss, but that each of them, joy and loss, exists in its own right and must be recognised for what it is... So joy can be joy and sorrow can be sorrow, with neither of them casting either light or shadow on the other.

The leaves were long, the grass was green, The hemlock-umbels tall and fair, And in the glade a light was seen Of stars in shadow shimmering. Tinuviel was dancing there To music of a pipe unseen, And light of stars was in her hair, And in her raiment glimmering. There Beren came from mountains cold, And lost he wandered under leaves, And where the Elven-river rolled. He walked along and sorrowing. He peered between the hemlock-leaves And saw in wonder flowers of gold Upon her mantle and her sleeves, And her hair like shadow following. Enchantment healed his weary feet That over hills were doomed to roam; And forth he hastened, strong and fleet, And grasped at moonbeams glistening. Through woven woods in Elvenhome She lightly fled on dancing feet, And left him lonely still to roam In the silent forest listening. He heard there oft the flying sound Of feet as light as linden-leaves, Or music welling underground, In hidden hollows quavering. Now withered lay the hemlock-sheaves, And one by one with sighing sound Whispering fell the beechen leaves In the wintry woodland wavering. He sought her ever, wandering far Where leaves of years were thickly strewn, By light of moon and ray of star In frosty heavens shivering. Her mantle glinted in the moon, As on a hill-top high and far She danced, and at her feet was strewn A mist of silver quivering. When winter passed, she came again, And her song released the sudden spring, Like rising lark, and falling rain, And melting water bubbling. He saw the elven-flowers spring About her feet, and healed again He longed by her to dance and sing Upon the grass untroubling. Again she fled, but swift he came. Tinuviel! Tinuviel! He called her by her elvish name; And there she halted listening. One moment stood she, and a spell His voice laid on her: Beren came, And doom fell on Tinuviel That in his arms lay glistening. As Beren looked into her eyes Within the shadows of her hair, The trembling starlight of the skies He saw there mirrored shimmering. Tinuviel the elven-fair, Immortal maiden elven-wise, About him cast her shadowy hair And arms like silver glimmering. Long was the way that fate them bore, O'er stony mountains cold and grey, Through halls of iron and darkling door, And woods of nightshade morrowless. The Sundering Seas between them lay, And yet at last they met once more, And long ago they passed away In the forest singing sorrowless.

The dark is generous. Its first gift is concealment: our true faces lie in the dark beneath our skins, our true hearts remain shadowed deeper still. But the greatest concealment lies not in protecting our secret truths, but in hiding from the truths of others. The dark protects us from what we dare not know. Its second gift is comforting illusion: the ease of gentle dreams in night’s embrace, the beauty that imagination brings to what would repel in the day’s harsh light. But the greatest of its comforts is the illusion that dark is temporary: that every night brings a new day. Because it’s the day that is temporary. Day is the illusion. Its third gift is the light itself: as days are defined by the nights that divide them, as stars are defined by the infinite black through which they wheel, the dark embraces the light, and brings it forth from the center of its own self. With each victory of the light, it is the dark that wins. The dark is generous, and it is patient. It is the dark that seeds cruelty into justice, that drips contempt into compassion, that poisons love with grains of doubt. The dark can be patient, because the slightest drop of rain will cause those seeds to sprout. The rain will come, and the seeds will sprout, for the dark is the soil in which they grow, and it is the clouds above them, and it waits behind the star that gives them light. The dark’s patience is infinite. Eventually, even stars burn out. The dark is generous, and it is patient, and it always wins. It always wins because it is everywhere. It is in the wood that burns in your hearth, and in the kettle on the fire; it is under your chair and under your table and under the sheets on your bed. Walk in the midday sun, and the dark is with you, attached to the soles of your feet. The brightest light casts the darkest shadow. The dark is generous and it is patient and it always wins – but in the heart of its strength lies its weakness: one lone candle is enough to hold it back. Love is more than a candle. Love can ignite the stars.

Life in this world,” he said, “is, as it were, a sojourn in a cave. What can we know of reality? For all we see of the true nature of existence is, shall we say, no more than bewildering and amusing shadows cast upon the inner wall of the cave by the unseen blinding light of absolute truth, from which we may or may not deduce some glimmer of veracity, and we as troglodyte seekers of wisdom can only lift our voices to the unseen and say, humbly, ‘Go on, do Deformed Rabbit . . . it’s my favorite.’

Alec took a deep breath and let it out. Well, he’d come this far; he might as well go on. The bare lightbulb hanging overhead cast sweeping shadows as he reached forward and pressed the buzzer. A moment later a voice echoed through the stairwell. “WHO CALLS UPON THE HIGH WARLOCK?” “Er,” Alec said. “It’s me. I mean, Alec. Alec Lightwood.” There was a sort of silence, as if even the hallway itself were surprised. Then a ping, and the second door opened, letting him out onto the stairwell. He headed up the rickety stairs into the darkness, which smelled like pizza and dust. The second floor landing was bright, the door at the far end open. Magnus Bane was leaning in the entryway.

Whenever I'm asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one. To be able to recognize a freak, you have to have some conception of the whole man, and in the South the general conception of man is still, in the main, theological. That is a large statement, and it is dangerous to make it, for almost anything you say about Southern belief can be denied in the next breath with equal propriety. But approaching the subject from the standpoint of the writer, I think it is safe to say that while the South is hardly Christ-centered, it is most certainly Christ-haunted. The Southerner, who isn't convinced of it, is very much afraid that he may have been formed in the image and likeness of God. Ghosts can be very fierce and instructive. They cast strange shadows, particularly in our literature. In any case, it is when the freak can be sensed as a figure for our essential displacement that he attains some depth in literature.

Pain isn’t a lot of fun, at least not for most folks, but it is utterly unique to life. Pain — physical, emotional, and otherwise — is the shadow cast by everything you want out of life, the alternative to the result you were hoping for, and the inevitable creator of strength. From the pain of our failures we learn to be better, stronger, greater than what we were before. Pain is there to tell us when we’ve done something badly—it’s a teacher, a guide, one that is always there to both warn us of our limitations and challenge us to overcome them. For something no one likes, pain does us a whole hell of a lot of good.

Fireflies out on a warm summer's night, seeing the urgent, flashing, yellow-white phosphorescence below them, go crazy with desire; moths cast to the winds an enchantment potion that draws the opposite sex, wings beating hurriedly, from kilometers away; peacocks display a devastating corona of blue and green and the peahens are all aflutter; competing pollen grains extrude tiny tubes that race each other down the female flower's orifice to the waiting egg below; luminescent squid present rhapsodic light shows, altering the pattern, brightness and color radiated from their heads, tentacles, and eyeballs; a tapeworm diligently lays a hundred thousand fertilized eggs in a single day; a great whale rumbles through the ocean depths uttering plaintive cries that are understood hundreds of thousands of kilometers away, where another lonely behemoth is attentively listening; bacteria sidle up to one another and merge; cicadas chorus in a collective serenade of love; honeybee couples soar on matrimonial flights from which only one partner returns; male fish spray their spunk over a slimy clutch of eggs laid by God-knows-who; dogs, out cruising, sniff each other's nether parts, seeking erotic stimuli; flowers exude sultry perfumes and decorate their petals with garish ultraviolet advertisements for passing insects, birds, and bats; and men and women sing, dance, dress, adorn, paint, posture, self-mutilate, demand, coerce, dissemble, plead, succumb, and risk their lives. To say that love makes the world go around is to go too far. The Earth spins because it did so as it was formed and there has been nothing to stop it since. But the nearly maniacal devotion to sex and love by most of the plants, animals, and microbes with which we are familiar is a pervasive and striking aspect of life on Earth. It cries out for explanation. What is all this in aid of? What is the torrent of passion and obsession about? Why will organisms go without sleep, without food, gladly put themselves in mortal danger for sex? ... For more than half the history of life on Earth organisms seem to have done perfectly well without it. What good is sex?... Through 4 billion years of natural selection, instructions have been honed and fine-tuned...sequences of As, Cs, Gs, and Ts, manuals written out in the alphabet of life in competition with other similar manuals published by other firms. The organisms become the means through which the instructions flow and copy themselves, by which new instructions are tried out, on which selection operates. 'The hen,' said Samuel Butler, 'is the egg's way of making another egg.' It is on this level that we must understand what sex is for. ... The sockeye salmon exhaust themselves swimming up the mighty Columbia River to spawn, heroically hurdling cataracts, in a single-minded effort that works to propagate their DNA sequences into future generation. The moment their work is done, they fall to pieces. Scales flake off, fins drop, and soon--often within hours of spawning--they are dead and becoming distinctly aromatic. They've served their purpose. Nature is unsentimental. Death is built in.

Suddenly his expression turned to alarm. He sprinted toward us. For a moment I had an absurd vision of myself on the cover of one of Gran’s old romance novels, where the damsel wilts into the arms of one half-dressed beefy guy while another stands by,casting her longing looks. Oh, the horrible choices a girl must make! I wished I’d had a moment to clean up. I was still covered in dried river muck, twine, and grass, like I’d been tarred and feathered. Then Anubis pushed past me and gripped Walt’s shoulders. Well…that was unexpected.

Even revolution, which transforms a concrete situation of oppression by establishing the process of liberation, must confront this phenomenon. Many of the oppressed who directly or indirectly participate in revolution intend - conditioned by the myths of the old order - to make it their private revolution. The shadow of their former oppressor is still cast over them.

There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was a light and high beauty for ever beyond its reach. His song in the Tower had been defiance rather than hope; for then he was thinking of himself. Now, for a moment, his own fate, and even his master’s, ceased to trouble him. He crawled back into the brambles and laid himself by Frodo’s side, and putting away all fear he cast himself into a deep untroubled sleep.

It was golden hour in Tarrytown. An incandescent sun cast long shadows that pointed in unison toward nightfall. Birds sang. But their melodies were drowned out by crescendos of cicadas’ chattering. Not to be outdone, the wind came and went in gusts, rising up and across the hills from the lake below. As it did, it blew through the trees agitating the millions of leaves in the canopy, the rustle and crackle of which drew the eyes upward, where an infinite canvas of burnt orange and purple was visible through the branches of proud oaks.

This light of history is pitiless; it has a strange and divine quality that, luminous as it is, and precisely because it is luminous, often casts a shadow just where we saw a radiance; out of the same man it makes two different phantoms, and the one attacks and punishes the other, the darkness of the despot struggles with the splendor of the captain. Hence a truer measure in the final judgment of the nations. Babylon violated diminishes Alexander; Rome enslaved diminishes Caesar; massacred Jerusalem diminishes Titus. Tyranny follows the tyrant. Woe to the man who leaves behind a shadow that bears his form.

You stand there, braced. Cloud shadows race over the buff rock stacks as a projected film, casting a queasy, mottled ground rash. The air hisses and it is no local breeze but the great harsh sweep of wind from the turning of the earth. The wild country--indigo jags of mountain, grassy plain everlasting, tumbled stones like fallen cities, the flaring roll of sky--provokes a spiritual shudder. It is like a deep note that cannot be heard but is felt, it is like a claw in the gut... ...Other cultures have camped here a while and disappeared. Only earth and sky matter. Only the endlessly repeated flood of morning light. You begin to see that God does not owe us much beyond that.

(a) Are the skies you sleep under likely to open up for weeks on end? (b) Is the ground you walk on likely to tremble and split? (c) Is there a chance (and please check the box, no matter how small that chance seems) that the ominous mountain casting a midday shadow over your home might one day erupt with no rhyme or reason? Because if the answer is yes to one or all of these questions, then the life you lead is a midnight thing, always a hair's breadth from the witching hour; it is volatile, it is threadbare; it is carefree in the true sense of that term; it is light, losable like a key or a hair clip. And it is lethargy: why not sit all morning, all day, all year, under the same cypress tree drawing the figure eight in the dust? More than that, it is disaster, it is chaos: why not overthrow a government on a whim, why not blind the man you hate, why not go mad, go gibbering through the town like a loon, waving your hands, tearing your hair? There's nothing to stop you---or rather anything could stop you, any hour, any minute. That feeling. That's the real difference in a life.

Paine suffered then, as now he suffers not so much because of what he wrote as from the misinterpretations of others... He disbelieved the ancient myths and miracles taught by established creeds. But the attacks on those creeds - or on persons devoted to them - have served to darken his memory, casting a shadow across the closing years of his life. When Theodore Roosevelt termed Tom Paine a 'dirty little atheist' he surely spoke from lack of understanding. It was a stricture, an inaccurate charge of the sort that has dimmed the greatness of this eminent American. But the true measure of his stature will yet be appreciated. The torch which he handed on will not be extinguished. If Paine had ceased his writings with 'The Rights of Man' he would have been hailed today as one of the two or three outstanding figures of the Revolution. But 'The Age of Reason' cost him glory at the hands of his countrymen - a greater loss to them than to Tom Paine. I was always interested in Paine the inventor. He conceived and designed the iron bridge and the hollow candle; the principle of the modern central draught burner. The man had a sort of universal genius. He was interested in a diversity of things; but his special creed, his first thought, was liberty. Traducers have said that he spent his last days drinking in pothouses. They have pictured him as a wicked old man coming to a sorry end. But I am persuaded that Paine must have looked with magnanimity and sorrow on the attacks of his countrymen. That those attacks have continued down to our day, with scarcely any abatement, is an indication of how strong prejudice, when once aroused, may become. It has been a custom in some quarters to hold up Paine as an example of everything bad. The memory of Tom Paine will outlive all this. No man who helped to lay the foundations of our liberty - who stepped forth as the champion of so difficult a cause - can be permanently obscured by such attacks. Tom Paine should be read by his countrymen. I commend his fame to their hands. {The Philosophy of Paine, June 7, 1925}

Past the flannel plains and blacktop graphs and skylines of canted rust, and past the tobacco-brown river overhung with weeping trees and coins of sunlight through them on the water downriver, to the place beyond the windbreak, where untilled fields simmer shrilly in the A.M. heat: shattercane, lambsquarter, cutgrass, saw brier, nutgrass, jimson-weed, wild mint, dandelion, foxtail, spinecabbage, goldenrod, creeping Charlie, butterprint, nightshade, ragweed, wild oat, vetch, butcher grass, invaginate volunteer beans, all heads nodding in a soft morning breeze like a mother’s hand on your check. An arrow of starlings fired from the windbreak’s thatch. The glitter of dew that stays where it is and steams all day. A Sunflower, four more one bowed, and horses in the distance standing rigid as toys. All nodding. Electric sounds of insects at their business. Ale-colored sunshine and pale sky and whorls of cirrus so high they cast no shadow. Insects all business all the time. Quartz and chert and schist and chondrite iron scabs in granite. Very old land. Look around you. The horizon trembling, shapeless. We are all of us brothers.

I could have screamed, but I didn't. I could have fought, but I didn't. I just lay there and let it happen, wathcing the winter-white sky go gray above me. One wolf prodded his nose into my hand and agianst my cheek, casting a shadow along my face. His yellow eyes looked into mine as the other wolves moved me this way and that. I held onto those eyes for as long as I could. Yellow. And, up close, flecked brillantly with every shade of gold and hazel. I didn't want him to look away, and he didn't. I wanted to reach out and grab a hold of his ruff, but my hands stayed curled to my chest, my arms frozen to my body. I couldn't remember what it felt like to be warm. Then he was gone, without him, the other wolves closed in, too close, sufficating. Something seemed too flutter in my chest. There was no sun; there was no light. I was dying. I couldn't remember what the sky looked like. But I didn't die, I was lost in a sea of cold, and then I was reborn into a sea of warmth. I remember this: his yellow eyes. I thought I would never see them again.

She could just distinguish his features, as he slept the perfect sleep. In this darkness, she seemed to see him so distinctly. But he was far off, in another world. Ah, she could shriek with torment, he was so far off, and perfected, in another world. She seemed to look at him as at a pebble far away under clear dark water. And here was she, left with all the anguish of consciousness, whilst he was sunk deep into the other element of mindless, remote, living shadow-gleam. He was beautiful, far-off, and perfected. They would never be together. Ah, this awful, inhuman distance which would always be interposed between her and the other being! There was nothing to do but to lie still and endure. She felt an overwhelming tenderness for him, and a dark, under-stirring of jealous hatred, that he should lie so perfect and immune, in an other-world, whilst she was tormented with violent wakefulness, cast out in the outer darkness.

Someone, he added, ought to draw up a catalogue of types of buildings listed in order of size, and it would be immediately obvious that domestic buildings of less then normal size – the little cottage in the fields, the hermitage, lockkeepers's lodge, the pavilion for viewing the landscape, the children's bothy in the garden – are those that offer us at least a semblance of peace, whereas no one in his right mind could truthfully say that he liked a vast edifice such as the Palace of Justice in the old Gallows Hill in Brussels. At the most we gaze at it in wonder, a kind of wonder which itself is a form of dawning horror, for somehow we know by instinct that outsize buildings cast the shadow of their own destruction before them, and are designed from the first with an eye to their later existence as ruins.

Gormenghast, that is, the main massing of the original stone, taken by itself would have displayed a certain ponderous architectural quality were it possible to have ignored the circumfusion of those mean dwellings that swarmed like an epidemic around its outer walls. They sprawled over the sloping arch, each one half way over its neighbour until, held back by the castle ramparts, the innermost of these hovels laid hold on the great walls, clamping themselves thereto like limpets to a rock. These dwellings, by ancient law, were granted this chill intimacy with the stronghold that loomed above them. Over their irregular roofs would fall throughout the seasons, the shadows of time-eaten buttresses, of broken and lofty turrets, and, most enormous of all, the shadow of the Tower of Flints. This tower, patched unevenly with black ivy, arose like a mutilated finger from among the fists of knuckled masonry and pointed blasphemously at heaven. At night the owls made of it an echoing throat; by day it stood voiceless and cast its long shadow.

Encounters between people, it often seems to me, are like trains passing at breakneck speed in the night. We cast fleeting looks at the passengers sitting behind dull glass in dim light, who disappear from our field of vision almost before we perceive them. Was it really a man and a woman who flashed past like phantoms, who came out of nothing into the empty dark, without meaning or purpose? Did they know each other? Did they talk? Laugh? Cry? People will say: That's how it is when strangers pass one another in rain and wind and there might be something in the comparison. But we sit opposite people for longer, we eat and work together, lie next to each other, live under the same roof. Where is the haste? Yet everything that gives the illusion of permanence, familiarity, and intimate knowledge: isn't it a deception invented to reassure, with which we try to conceal and ward off the flickering, disturbing haste because it could be impossible to live with all the time. Isn't every exchange of looks between people like the ghostly brief meeting of eyes between travellers passing one another, intoxicated by the inhuman speed and the shock of air pressure that makes everything shudder and clatter? Don't our looks bounce off others, as in the hasty encounter of the night, and leave us with nothing but conjectures, slivers of thoughts and imagined qualities? Isn't it true that it's not people who meet, but rather the shadows cast by their imaginations?

Shall I tell you a story? A new and terrible one? A ghost story?" The voice, a faint echo in the cave, belongs to Felicity. She turns around on the rock, faces us, wraps her arms across bent knees, hugging them close. "Are you ready? Shall I begin? Once upon a time there were four girls. One was pretty. One was clever. One charming, and one..." She glances at me. "One was mysterious. But they were all damaged, you see. Something not right about the lot of them. Bad blood. Big dreams. Oh, I left that part out. Sorry, that should have come before. They were all dreamers, these girls." Felicity...," I start, because it's her and not the story that's beginning to frighten me. You wanted a story, and I'm going to give you one." Lightning shoots across the cave walls, bathing half her face in light, the other in shadows. "One by one, night after night, the girls came together. And they sinned. Do you know what that sin was? No one? Pippa? Ann?" Felicity." Pippa sounds anxious. "Let's go back and have a nice cup of tea. It's too cold out here." Felicity's voice expands, fills the space around us, a bell tolling. "Their sin was that they believed. Believed they could be different. Special. They believed they could change what they were--damaged, unloved. Cast-off things. They would be alive, adored, needed. Necessary. But it wasn't true. This is a ghost story, remember? A tragedy." The lightning's back, a big one, two, three of light that lets me see Felicity's face, slick with tears, nose running. "They were mislead. Betrayed by their own stupid hopes. Things couldn't be different for them, because they weren't special after all. So life took them, led them, and they went along, you see? They faded before their own eyes, till they were nothing more than living ghosts, haunting each other with what could be. What can't be.

If you lose your ego, you lose the thread of that narrative you call your Self. Humans, however, can't live very long without some sense of a continuing story. Such stories go beyond the limited rational system (or the systematic rationality) with which you surround yourself; they are crucial keys to sharing time-experience with others. Now a narrative is a story, not a logic, nor ethics, nor philosophy. It is a dream you keep having, whether you realize it or not. Just as surely as you breathe, you go on ceaselessly dreaming your story. And in these stories you wear two faces. You are simultaneously subject and object. You are a whole and you are a part. You are real and you are shadow. "Storyteller" and at the same time "character". It is through such multilayering of roles in our stories that we heal the loneliness of being an isolated individual in the world. Yet without a proper ego nobody can create a personal narrative, any more than you can drive a car without an engine, or cast a shadow without a real physical object. But once you've consigned your ego to someone else, where on earth do you go from there? At this point you receive a new narrative from the person to whom you have entrusted your ego. You've handed over the real thing, so what comes back is a shadow. And once your ego has merged with another ego, your narrative will necessarily take on the narrative created by that ego. Just what kind of narrative? It needn't be anything particularly fancy, nothing complicated or refined. You don't need to have literary ambitions. In fact, the sketchier and simpler the better. Junk, a leftover rehash will do. Anyway, most people are tired of complex, multilayered scenarios-they are a potential letdown. It's precisely because people can't find any fixed point within their own multilayered schemes that they're tossing aside their own self-identity.

Past the flannel plains and blacktop graphs and skylines of canted rust, and past the tobacco-brown river overhung with weeping trees and coins of sunlight through them on the water downriver, to the place beyond the windbreak, where untilled fields simmer shrilly in the A.M. heat: shattercane, lamb's-quarter, cutgrass, sawbrier, nutgrass, jimsonweed, wild mint, dandelion, foxtail, muscadine, spinecabbage, goldenrod, creeping charlie, butter-print, nightshade, ragweed, wild oat, vetch, butcher grass, invaginate volunteer beans, all heads gently nodding in a morning breeze like a mother's soft hand on your cheek. An arrow of starlings fired from the windbreak's thatch. The glitter of dew that stays where it is and steams all day. A sunflower, four more, one bowed, and horses in the distance standing rigid and still as toys. All nodding. Electric sounds of insects at their business. Ale-colored sunshine and pale sky and whorls of cirrus so high they cast no shadow. Insects all business all the time. Quartz and chert and schist and chondrite iron scabs in granite. Very old land. Look around you. The horizon trembling, shapeless. We are all of us brothers. Some crows come overhead then, three or four, not a murder, on the wing, silent with intent, corn-bound for the pasture's wire beyond which one horse smells at the other's behind, the lead horse's tail obligingly lifted. Your shoes' brand incised in the dew. An alfalfa breeze. Socks' burrs. Dry scratching inside a culvert. Rusted wire and tilted posts more a symbol of restraint than a fence per se. NO HUNTING. The shush of the interstate off past the windbreak. The pasture's crows standing at angles, turning up patties to get at the worms underneath, the shapes of the worms incised in the overturned dung and baked by the sun all day until hardened, there to stay, tiny vacant lines in rows and inset curls that do not close because head never quite touches tail. Read these.

Commala-come-come There’s a young man with a gun. Young man lost his honey When she took it on the run. Commala-come-one! She took it on the run! Left her baby lonely But he baby ain’t done. Commala-come-coo The wind’ll blow ya through. Ya gotta go where ka’s wind blows ya Cause there’s nothin else to do. Commala-come-two! Nothin else to do! Gotta go where ka’s wind blows ya Cause there’s nothin else to do. Commala-come-key Can you tell me what ya see? Is it ghosts or just the mirror That makes ya wanna flee? Commala-come-three! I beg ya, tell me! Is it ghosts or just your darker self That makes ya wanna flee? Commala-come-ko Whatcha doin at my do’? If ya doan tell me now, my friend I’ll lay ya on de flo’. Commala-come-fo’! I can lay ya low! The things I’ve do to such as you You never wanna know. Commala-gin-jive Ain’t it grand to be alive? To look out on Discordia When the Demon Moon arrives. Commala-come-five! Even when the shadows rise! To see the world and walk the world Makes ya glad to be alive. Commala-mox-nix! You’re in a nasty fix! To take a hand in traitor’s glove Is to grasp a sheaf of sticks! Commala-come-six! Nothing there but thorns and sticks! When your find your hand in traitor’s glove You’re in a nasty fix. Commala-loaf-leaven! They go to hell or up to heaven! The the guns are shot and the fires hot, You got to poke em in the oven. Commala-come-seven! Salt and yow’ for leaven! Heat em up and knock em down And poke em in the oven. Commala-ka-kate You’re in the hands of fate. No matter if it’s real or not, The hour groweth late. Commala-come-eight! The hour groweth late! No matter what shade ya cast You’re in the hands of fate. Commala-me-mine You have to walk the line. When you finally get the thing you need It makes you feel so fine. Commala-come-nine! It makes ya feel fine! But if you’d have the thing you need You have to walk the line. Commala-come-ken It’s the other one again. You may know her name and face But that don’t make her your friend. Commala-come-ten! She is not your friend! If you let her get too close She’ll cut you up again! Commala-come-call We hail the one who made us all, Who made the men and made the maids, Who made the great and small. Commala-come-call! He made us great and small! And yet how great the hand of fate That rules us one and all. Commala-come-ki, There’s a time to live and one to die. With your back against the final wall Ya gotta let the bullets fly. Commala-come-ki! Let the bullets fly! Don’t ‘ee mourn for me, my lads When it comes my day to die. Commala-come-kass! The child has come at last! Sing your song, O sing it well, The child has come to pass. Commala-come-kass, The worst has come to pass. The Tower trembles on its ground; The child has come at last. Commala-come-come, The battle’s now begun! And all the foes of men and rose Rise with the setting sun.