Cathedral Story Quotes

When a thousand people believe some made-up story for one month, that’s fake news. When a billion people believe it for a thousand years, that’s a religion, and we are admonished not to call it “fake news” in order not to hurt the feelings of the faithful (or incur their wrath). Note, however, that I am not denying the effectiveness or potential benevolence of religion. Just the opposite. For better or worse, fiction is among the most effective tools in humanity’s tool kit. By bringing people together, religious creeds make large-scale human cooperation possible. They inspire people to build hospitals, schools, and bridges in addition to armies and prisons. Adam and Eve never existed, but Chartres Cathedral is still beautiful.

The true Mason is not creed-bound. He realizes with the divine illumination of his lodge that as Mason his religion must be universal: Christ, Buddha or Mohammed, the name means little, for he recognizes only the light and not the bearer. He worships at every shrine, bows before every altar, whether in temple, mosque or cathedral, realizing with his truer understanding the oneness of all spiritual truth. All true Masons know that they only are heathen who, having great ideals, do not live up to them. They know that all religions are but one story told in divers ways for peoples whose ideals differ but whose great purpose is in harmony with Masonic ideals. North, east, south and west stretch the diversities of human thought, and while the ideals of man apparently differ, when all is said and the crystallization of form with its false concepts is swept away, one basic truth remains: all existing things are Temple Builders, laboring for a single end. No true Mason can be narrow, for his Lodge is the divine expression of all broadness. There is no place for little minds in a great work.

In the Middle Ages, cathedrals and convents burned like tinder; imagining a medieval story without a fire is like imagining a World War II movie in the Pacific without a fighter plane shot down in flames.

What is the world? What is it for? It is an art. It is the best of all possible art, a finite picture of the infinite. Assess it like prose, like poetry, like architecture, sculpture, painting, dance, delta blues, opera, tragedy, comedy, romance, epic. Assess it like you would a Faberge egg, like a gunfight, like a musical, like a snowflake, like a death, a birth, a triumph, a love story, a tornado, a smile, a heartbreak, a sweater, a hunger pain, a desire, a fufillment, a desert, a waterfall, a song, a race, a frog, a play, a song, a marriage, a consummation, a thirst quenched. Assess it like that. And when you're done, find an ant and have him assess the cathedrals of Europe.

The library became the cathedral where I would come to worship amd the stories were as precious to me as prayers.

The sun was just coming up over the mountains--blood red and cold. I felt as if I was standing in the mightiest cathedral that had ever been built. There was no end to it, and no beginning. All I could do was look at it and worship.

The priest had been kind but could not draw her out. Instead she chose to tell her story in the greater church, the green cathedral that is nature. For nature too is holy, more holy than the icons, more holy than the relics of saints. These were dead things compared to the most insignificant living thing. The fox knows this, and the deer, and the pine.

If you tell the story you will live the story. If you live the story you have to own the story. If you dont like the story your living, stop telling it.

The preliminaries were out of the way, the creative process was about to begin. The creative process, that mystic life force, that splurge out of which has come the Venus de Milo, the Mona Lisa, the Fantasie Impromptu, the Bayeux tapestries, Romeo and Juliet, the windows of Chartres Cathedral, Paradise Lost - and a pulp murder story by Dan Moody. The process is the same in all; if the results are a little uneven, that doesn't invalidate the basic similarity of origin.

Starting with religion, as the British historian Hugh Thomas noted in his monumental study The Slave Trade: The Story of the Atlantic Slave Trade, 1440–1870, “There is no record in the seventeenth century of any preacher who, in any sermon, whether in the Cathedral of Saint-André in Bordeaux, or in a Presbyterian meeting house in Liverpool, condemned the trade in black slaves.

High up overhead the snow settled among the tracery of the cathedral towers. Many a niche was drifted full; many a statue wore a long white bonnet on its grotesque or sainted head. The gargoyles had been transformed into great false noses, drooping toward the point. The crockets were like upright pillows swollen on one side. In the intervals of the wind there was a dull sound dripping about the precincts of the church.

The English novelist J. B. Priestley once said that if he were an American, he would make the final test of whatever men chose to do in art, business, or politics a comparison with the Grand Canyon. He believed that whatever was false and ephemeral would be exposed for what it was when set against that mass of geology and light. Priestley was British, but he had placed his finger on an abiding American truth: the notion that the canyon stands as one of our most important touchstones—a kind of roofless tabernacle whose significance is both natural and national. It is our cathedral in the desert, and the word our is key because although the canyon belongs to the entire world, we, as Americans, belong particularly to it.

In the Scriptures and the stories, in the stained-glass windows of the cathedral or the paintings that hung from its stone walls, the angels always looked like Leah: golden-haired and blue-eyed, dressed in fine silks and satins, with full cheeks and skin as pale as river pearls. As for the girls like Immanuelle—the ones from the Outskirts, with dark skin and raven-black curls, cheekbones as keen as cut stone—well, the Scriptures never mentioned them at all. There were no statues or paintings rendered in their likeness, no poems or stories penned in their honor. They went unmentioned, unseen.

Being depressed is one thing when your life can be seen by outsiders as justifiably hard, but it is a whole different shameful story when you have everything and still feel like you can't bear to get out of bed in the morning. People can't really be sympathetic to you when they can begin to fathom what you could be so upset about.

It’s the Lord’s space and the Lord’s worlds in space, Father. We must not try to take our cathedrals with us, when all we need is an overnight case.

Picture books build readers, Mr. Leon. Two missing books from our collection is like two missing bricks from a cathedral.

There is a better version of this story where we both leave him. Instead of loving him so much it felt like church. Building a cathedral inside his crooked mouth.

In many ways, the steamships of the late-nineteenth and early-twentieth centuries had become the secular equivalent of medieval cathedrals. They were the source of endless pride to the communities and nations that built them, and were just as much an expression of men's hopes and dreams of technical perfection as the great churches had once been of hopes for spiritual purity.

Stories abound of Waters confirming black and white children together in the Cathedral of the Sacred Heart in Raleigh, of his insisting on having white and black acolytes at masses at which he presided, and of his requiring the diocesan newspaper to cover the activities of black Catholics and their parishes with as much interest as they covered those of white Catholics in the diocese.

A cathedral, like a symphony, has a coherent plan, its windows and arches form rhythms, its decorations have themes and tell stories, but the whole thing is so rich that at first it overwhelms us.

I am not a religious soul, but I must say it does seem a little uncanny that on that morning of all mornings I should have looked over the bridge at such a propitious moment. I mentioned the story at lunch to one of the members of the cathedral, and he nodded sagely and pointed a finger heavenward, as if to say, ‘It was God, of course.’ I nodded and didn’t say anything, but thought: ‘Then why did He push him in?’ Beyond

I entered the City of Books, dark jewels hoarded in temples and cathedrals. In this city I found buried candelabra and stories waiting to be read during nights of sea and moon. I loved the City of Books where lost gazelles wandered in search of signs.

It rarely snows because Antarctica is a desert. An iceberg means it’s tens of millions of years old and has calved from a glacier. (This is why you must love life: one day you’re offering up your social security number to the Russia Mafia; two weeks later you’re using the word calve as a verb.) I saw hundreds of them, cathedrals of ice, rubbed like salt licks; shipwrecks, polished from wear like marble steps at the Vatican; Lincoln Centers capsized and pockmarked; airplane hangars carved by Louise Nevelson; thirty-story buildings, impossibly arched like out of a world’s fair; white, yes, but blue, too, every blue on the color wheel, deep like a navy blazer, incandescent like a neon sign, royal like a Frenchman’s shirt, powder like Peter Rabbit’s cloth coat, these icy monsters roaming the forbidding black.

Here were Catholics of all classes engaged in the violent defense of both the Cathedral and the ghetto, using every weapon short of guns – there were the Protestants and police firing bullets at us. What could law mean from now on, when the guardians of it were the breakers of it?

There’s a story my father used to tell about the peak. She was a grand old thing, a cathedral of a mountain. The range had other mountains, taller, more imposing, but Buck’s Peak was the most finely crafted. Its base spanned a mile, its dark form swelling out of the earth and rising into a flawless spire. From a distance, you could see the impression of a woman’s body on the mountain face: her legs formed of huge ravines, her hair a spray of pines fanning over the northern ridge. Her stance was commanding, one leg thrust forward in a powerful movement, more stride than step

He thought, in your most secret dreams you cut a niche for yourself, and it is finished early, and then you wait for someone to come along to fill it—but to fill it exactly, every cut, curve, hollow and plane of it. And people do come along, and one covers up the niche, and another rattles around inside it, and another is so surrounded by fog that for the longest time you don’t know if she fits or not; but each of them hits you with a tremendous impact. And then one comes along and slips in so quietly that you don’t know when it happened, and fits so well you almost can’t feel anything at all. And that is it. “What are you thinking about?” she asked him. He told her, immediately and fully. She nodded as if he had been talking about cats or cathedrals or cam-shafts, or anything else beautiful and complex. She said, “That’s right. It isn’t all there, of course. It isn’t even enough. But everything else isn’t enough without it.” “What is ‘everything else’?

As it unfolded, the structure of the story began to remind me of one of those Russian dolls that contain innumerable diminishing replicas of itself inside. Step by step the narrative split into a thousand stories, as if it had entered a gallery of mirrors, its identity fragmented into endless reflections. The minutes and hours glided by as in a dream. When the cathedral bells tolled midnight, I barely heard them. Under the warm light cast by the reading lamp, I was plunged into a new world of images and sensations peopled by characters who seemed as real to me as my surroundings. Page after page I let the spell of the story and its world take me over, until the breath of dawn touched my window and my tired eyes slid over the last page. I lay in the bluish half-light with the book on my chest and listened to the murmur of the sleeping city. My eyes began to close, but I resisted. I did not want to lose the story's spell or bid farewell to its characters just yet.

We don’t have cobblestones and ancient buildings perhaps, but what we do have is the created world, still there, still breathing around us like a friend we haven’t lost touch with just yet. We may not have cathedrals and forums, but we have the cathedrals of the pines and the forums of wildflowers, and we have our own myths.

All around the world, tourist boards advertise trips to Britain with images of the great castles and cathedrals that occupy the commanding heights of our landscape. They seem timeless and typically English. It is rarely mentioned that they are predominately French - proud monuments to the invasion that signals the end of England's 'dark age'.

Learning became her. She loved the smell of the books, the shelves, the type on the pages, the sense that the world was an infinite but knowable place. Every fact she learned seemed to open another question, and for every question there was another book. She learned the card catalog. She never learned more than she needed to know. She read romantic novels and she imagined that the men and women at the reading tables around her were the subject of the books. Happy passionate lives, so simple it seemed for others. She read Jane Austen, Thackeray, Dickens, stories in which the lives of the tattered poor turned out to be blissful in the end. She read about the capitals of the world, the cathedrals and minarets, the broad avenues, and the volatile and ever-expanding world of science.

Human colour is the colour I'm truly interested in, the colour of your humanity. May the size of your heart and the depth of your soul be your currency. welcome aboard my Good Ship. Let us sail to the colourful island of misex identity. You can eat from the cooking pot of mixed culture and bathe in the cool shade of being mixed-race. There is no need for a passport. There are no borders. We are all citizens of the world. Whatever shade you are, bring your light, bring your colour, bring your music and your books, your stories and your histories, and climb aboad. United as a people we are a million majestic colours, together we are a glorious stained-glass window. We are building a cathedral of otherness, brick by brick and book by book. Raise your glass of rum, let's toast to the minorities who are the majority. There's no stopping time, nor the blurring of lines or the blending of shades. With a spirit of hope I leave you now. I drink to our sameness and to our unique differences. This is the twenty-first century and we share this, we live here, in the future. It is a beautiful morning, it is first light on the time of being other, so get out from that shade and feel the warmth of being outside. You tick: Other.

He wandered to the window. In that blast of snow, the shaft of the Plymouth National Bank Building was aspiring as a cathedral; twenty gray stories, with unbroken vertical lines swooping up beyond his vision into the snowy fog. It had nobility, but it seemed cruel, as lone and contemptuous of friendly human efforts as a forgotten tower on the Siberian steppes. How indifferently it would watch him starve and freeze!

Italy still has a provincial sophistication that comes from its long history as a collection of city states. That, combined with a hot climate, means that the Italians occupy their streets and squares with much greater ease than the English. The resultant street life is very rich, even in small towns like Arezzo and Gaiole, fertile ground for the peeping Tom aspect of an actor’s preparation. I took many trips to Siena, and was struck by its beauty, but also by the beauty of the Siennese themselves. They are dark, fierce, and aristocratic, very different to the much paler Venetians or Florentines. They have always looked like this, as the paintings of their ancestors testify. I observed the groups of young people, the lounging grace with which they wore their clothes, their sense of always being on show. I walked the streets, they paraded them. It did not matter that I do not speak a word of Italian; I made up stories about them, and took surreptitious photographs. I was in Siena on the final day of the Palio, a lengthy festival ending in a horse race around the main square. Each district is represented by a horse and jockey and a pair of flag-bearers. The day is spent by teams of supporters with drums, banners, and ceremonial horse and rider processing round the town singing a strange chanting song. Outside the Cathedral, watched from a high window by a smiling Cardinal and a group of nuns, with a huge crowd in the Cathedral Square itself, the supporters passed, and to drum rolls the two flag-bearers hurled their flags high into the air and caught them, the crowd roaring in approval. The winner of the extremely dangerous horse race is presented with a palio, a standard bearing the effigy of the Virgin. In the last few years the jockeys have had to be professional by law, as when they were amateurs, corruption and bribery were rife. The teams wear a curious fancy dress encompassing styles from the twelfth to the eighteenth centuries. They are followed by gangs of young men, supporters, who create an atmosphere or intense rivalry and barely suppressed violence as they run through the narrow streets in the heat of the day. It was perfect. I took many more photographs. At the farmhouse that evening, after far too much Chianti, I and my friends played a bizarre game. In the dark, some of us moved lighted candles from one room to another, whilst others watched the effect of the light on faces and on the rooms from outside. It was like a strange living film of the paintings we had seen. Maybe Derek Jarman was spying on us.

When a thousand people believe some made-up story for one month, that’s fake news. When a billion people believe it for a thousand years, that’s a religion, and we are admonished not to call it “fake news” in order not to hurt the feelings of the faithful (or incur their wrath). Note, however, that I am not denying the effectiveness or potential benevolence of religion. Just the opposite. For better or worse, fiction is among the most effective tools in humanity’s tool kit. By bringing people together, religious creeds make large-scale human cooperation possible. They inspire people to build hospitals, schools, and bridges in addition to armies and prisons. Adam and Eve never existed, but Chartres Cathedral is still beautiful. Much of the Bible may be fictional, but it can still bring joy to billions and can still encourage humans to be compassionate, courageous, and creative—just like other great works of fiction, such as Don Quixote, War and Peace, and the Harry Potter books.

We must come to terms with being of no cosmic significance, and this means jettisoning our personal and collective egos and valuing what we have. We can no longer assume the platform of gods, or dream of a unique place in their hearts. Science has forced us to look fixedly into an infinite universe, and its volume dilutes special pleading to a vanishingly small and pathetic whimper. And yet what’s left is better. No monument to the gods is as magnificent as the story of our planet; of the origin and evolution of life on the rare Earth and the rise of a fledgling civilisation taking its first steps into the dark. We stand related to every one of Darwin’s endless, most beautiful forms, each of us connected at some branch in the unbroken chain of life stretching back 4 billion years. We share more in common with bacteria than we do with any living things out there amongst the stars, should they exist, and they are more worthy of our attention. Build cathedrals in praise of bacteria; we are on our own, and as the dominant intellect we are responsible for our planet in its magnificent and fragile entirety.

A story is told about the medieval stone masons who carved the gargoyles that adorn the great Gothic cathedrals. Sometimes their creations were positioned high upon the cathedral, hidden behind cornices or otherwise blocked from view, invisible from any vantage point on the ground. They sculpted these gargoyles as carefully as any of the others, even knowing that once the cathedral was completed and the scaffolding was taken down, their work would remain forever unseen by any human eye. It was said that they carved for the eye of God. That, written in a thousand variations, is the story of human accomplishment.

It was just a story, but in the White Cathedral, people were careful not to stray too far from the passages that curled around the main caverns. Strange sounds echoed through the dim warren of tunnels, groans and unexplained rumblings; cold pockets of silence were broken by low hisses that might be nothing or might be the sinuous movement of a long body, snaking closer through a nearby passage in search of prey. In those moments, it was easy to believe that Izumrud still lived somewhere, waiting to be woken by the call of heroes, dreaming of the fine meal he would have if only some hapless child would walk into his mouth. A beast like that rests; he does not die.

In order to shine that light on work, practice involves examining our habits, the ways we approach things. It’s like the old story of the three masons working on a cathedral: Asked what he was doing, the first mason muttered, “I’m hammering this stupid rock, and I can’t wait ’til 5 when I can go home.” The second mason, asked the same question, sighed with overwhelming boredom and said, “Well, I’m molding this block of rock so that it can be used with others to construct a wall. It’s not bad work, but it’s just the same exact thing, day after day.” The third, with a lively spark in his eye, responded, “Well, kind sir, as you can see, I am building a Sacred Temple!

I have seen a large dog fox several times recently but it was a hot afternoon and no doubt, like most creatures, it was lying low in the shade. The fox has an unfortunate reputation. A crafty thief, often a charming one in fable and fairy story, its name is a byword for low (and occasionally high) cunning. A moral outlaw, a trickster and sometimes downright malevolent. The Christian Church often equated the fox with the devil. In many churches across the land you will find images of the fox in priestly robes preaching to a flock of geese. (There is a fine woodcut in the Cathedral at Ely.) The fox is a subtle outlaw, a devilish predator without conscience, and the geese a flock of innocents …

Ben had the most expressive face I’d ever seen. When he told a story, he dove into it, re-enacting each character with a new set of his jaw and cast of his brow. His eyes shone vibrantly, and every time he laughed, it showed in his whole body. Just watching him made me smile. I felt warm around him, and happy, and comfortable. I felt like flannel pajamas, hot cocoa, a teddy bear, and my favorite comedy on DVD. I felt like home. I loved Ben, that’s what I felt. It popped into my head, and I didn’t doubt it for a second. I loved Ben. Well that was settled then, wasn’t it? Then my eyes darted to Sage, and I noticed he wasn’t focused on Ben’s story either. He was watching me. He was watching me watch Ben, to be precise, leaning back on his elbows and staring so fixedly that I could practically hear him scratching his way into my brain to listen to what I was thinking. And the minute I felt that, I was desperate to take back what I’d thought, and make sure he hadn’t understood. Especially since I had this strong feeling that if he believed I loved Ben, he’d disappear. Maybe not right away, but as soon as he could. And that would be the end of the world. “Okay, Sage, your turn,” Rayna said. “What’s the most embarrassing thing you’ve ever done in the middle of a social function?” Instantly Sage’s intense stare was gone, replaced by a relaxed pose and a charming smile. “Um, I would say doing a spit take in front of Clea’s mom, several senators, and the Israeli foreign minister would probably cover it.” “You did that?” I asked. “Oh yes, he did,” Rayna nodded. “And the minister still offered you his house in Tel Aviv for the honeymoon? That’s shocking.” “Rayna is particularly charming,” Sage noted. “Thank you, darling.” She batted her eyes at him like a Disney princess. “What happened?” Ben asked. “Piri spiked your drink with garlic?” “You say that like it’s a joke,” Sage said. “I’m pretty sure she did.” “She must really have it out for you,” Ben said. “Palinka’s Hungarian holy water. You don’t mess with that.” “Speaking of holy water, I so did not get that on our trip,” Rayna put in. “Clea and I were touring one of the cathedrals in Italy, and in front of the whole tour I go, “That’s too cute! Look, they have birdbaths in the church!

Let us sail to the colourful island of mixed identity. You can eat from the cooking pot of mixed culture and bathe in the cool shade of being mixed-race. There is no need for a passport. There are no borders. We are all citizens of the world. Whatever shade you are, bring your light, bring your colour, bring your music and your books, your stories and your histories, and climb aboard. United as a people we are a million majestic colours, together we are a glorious stained-glass window. We are building a cathedral of otherness, brick by brick and book by book. Raise your glass of rum, let’s toast to the minorities who are the majority. There is no stopping time, nor the blurring of lines or the blending of shades. With a spirit of hope I leave you now.

Seeing oneself as a prophetic minority does not mean retreat, and it certainly does not mean victim status. It also does not confer faithfulness. Marginalization can strip away from us the besetting sins of a majoritarian viewpoint, but it can bring others as well. We must remember our smallness but also our connectedness to a global, and indeed cosmic, reality. The kingdom of God is vast and tiny, universal and exclusive. Our story is that of a little flock and of an army, awesome with banners. Our legacy is a Christianity of persecution and proliferation, of catacombs and cathedrals. If we see ourselves as only a minority, we will be tempted to isolation. If we see ourselves only as a kingdom, we will be tempted toward triumphalism. We are, instead, a church. We are a minority with a message and a mission.

The sun goes down and it's night-time in New Orleans. The moon rises, midnight chimes from St. Louis cathedral, and hardly has the last note died away than a gruesome swampland whistle sounds outside the deathly still house. A fat Negress, basket on arm, comes trudging up the stairs a moment later, opens the door, goes in to the papaloi, closes it again, traces an invisible mark on it with her forefinger and kisses it. Then she turns and her eyes widen with surprise. Papa Benjamin is in bed, covered up to the neck with filthy rags. The familiar candles are all lit, the bowl for the blood, the sacrificial knife, the magic powders, all the paraphernalia of the ritual are laid out in readiness, but they are ranged about the bed instead of at the opposite end of the room as usual. The old man's head, however, is held high above the encumbering rags, his beady eyes gaze back at her unflinchingly, the familiar semicircle of white wool rings his crown, his ceremonial mask is at his side. 'I am a little tired, my daughter,' he tells her. His eyes stray to the tiny wax image of Eddie Bloch under the candles, hairy with pins, and hers follow them. 'A doomed one, nearing his end, came here last night thinking I could be killed like other men. He shot a bullet from a gun at me. I blew my breath at it, it stopped in the air, turned around, and went back in the gun again. But it tired me to blow so hard, strained my voice a little.' A revengeful gleam lights up the woman's broad face. 'And he'll die soon, papaloi?' 'Soon,' cackles the weazened figure in the bed. The woman gnashes her teeth and hugs herself delightedly. ("Papa Benjamin" aka "Dark Melody Of Madness")

Of all the old festivals, however, that of Christmas awakens the strongest and most heartfelt associations. There is a tone of solemn and sacred feeling that blends with our conviviality, and lifts the spirit to a state of hallowed and elevated enjoyment. The services of the church about this season are extremely tender and inspiring. They dwell on the beautiful story of the origin of our faith, and the pastoral scenes that accompanied its announcement. They gradually increase in fervor and pathos during the season of Advent, until they break forth in full jubilee on the morning that brought peace and goodwill to men. I do not know a grander effect of music on the moral feelings than to hear the full choir and the pealing organ performing a Christmas anthem in a cathedral, and filling every part of the vast pile with triumphant harmony.

When Camilla and her husband joined Prince Charles on a holiday in Turkey shortly before his polo accident, she didn’t complain just as she bore, through gritted teeth, Camilla’s regular invitations to Balmoral and Sandringham. When Charles flew to Italy last year on a sketching holiday, Diana’s friends noted that Camilla was staying at another villa a short drive away. On her return Mrs Parker-Bowles made it quite clear that any suggestion of impropriety was absurd. Her protestations of innocence brought a tight smile from the Princess. That changed to scarcely controlled anger during their summer holiday on board a Greek tycoon’s yacht. She quietly simmered as she heard her husband holding forth to dinner-party guests about the virtues of mistresses. Her mood was scarcely helped when, later that evening, she heard him chatting on the telephone to Camilla. They meet socially on occasion but, there is no love lost between these two women locked into an eternal triangle of rivalry. Diana calls her rival “the rotweiller” while Camilla refers to the Princess as that “ridiculous creature”. At social engagements they are at pains to avoid each other. Diana has developed a technique in public of locating Camilla as quickly as possible and then, depending on her mood, she watches Charles when he looks in her direction or simply evades her gaze. “It is a morbid game,” says a friend. Days before the Salisbury Cathedral spire appeal concert Diana knew that Camilla was going. She vented her frustration in conversations with friends so that on the day of the event the Princess was able to watch the eye contact between her husband and Camilla with quiet amusement. Last December all those years of pent-up emotion came flooding out at a memorial service for Leonora Knatchbull, the six-year-old daughter of Lord and Lady Romsey, who tragically died of cancer. As Diana left the service, held at St James’s Palace, she was photographed in tears. She was weeping in sorrow but also in anger. Diana was upset that Camilla Parker Bowles who had only known the Romseys for a short time was also present at such an intimate family service. It was a point she made vigorously to her husband as they travelled back to Kensington Palace in their chauffeur-driven limousine. When they arrived at Kensington Palace the Princess felt so distressed that she ignored the staff Christmas party, which was then in full swing, and went to her sitting-room to recover her composure. Diplomatically, Peter Westmacott, the Wales’s deputy private secretary, sent her avuncular detective Ken Wharfe to help calm her.

They bear down upon Westminster, the ghost-consecrated Abbey, and the history-crammed Hall, through the arches of the bridge with a rush as the tide swelters round them; the city is buried in a dusky gloom save where the lights begin to gleam and trail with lurid reflections past black velvety- looking hulls - a dusky city of golden gleams. St. Paul's looms up like an immense bowl reversed, squat, un-English, and undignified in spite of its great size; they dart within the sombre shadows of the Bridge of Sighs, and pass the Tower of London, with the rising moon making the sky behind it luminous, and the crowd of shipping in front appear like a dense forest of withered pines, and then mooring their boat at the steps beyond, with a shuddering farewell look at the eel-like shadows and the glittering lights of that writhing river, with its burthen seen and invisible, they plunge into the purlieus of Wapping. ("The Phantom Model")

I am aware that many people might be upset by my equating religion with fake news, but that’s exactly the point. When a thousand people believe some made-up story for one month, that’s fake news. When a billion people believe it for a thousand years, that’s a religion, and we are admonished not to call it “fake news” in order not to hurt the feelings of the faithful (or incur their wrath). Note, however, that I am not denying the effectiveness or potential benevolence of religion. Just the opposite. For better or worse, fiction is among the most effective tools in humanity’s tool kit. By bringing people together, religious creeds make large-scale human cooperation possible. They inspire people to build hospitals, schools, and bridges in addition to armies and prisons. Adam and Eve never existed, but Chartres Cathedral is still beautiful. Much of the Bible may be fictional, but it can still bring joy to billions and can still encourage humans to be compassionate, courageous, and creative—just like other great works of fiction, such as Don Quixote, War and Peace, and the Harry Potter books.

The former South African archbishop Desmond Tutu used to famously say, “We are prisoners of hope.” Such a statement might be taken as merely rhetorical or even eccentric if you hadn’t seen Bishop Tutu stare down the notorious South African Security Police when they broke into the Cathedral of St. George’s during his sermon at an ecumenical service. I was there and have preached about the dramatic story of his response more times than I can count. The incident taught me more about the power of hope than any other moment of my life. Desmond Tutu stopped preaching and just looked at the intruders as they lined the walls of his cathedral, wielding writing pads and tape recorders to record whatever he said and thereby threatening him with consequences for any bold prophetic utterances. They had already arrested Tutu and other church leaders just a few weeks before and kept them in jail for several days to make both a statement and a point: Religious leaders who take on leadership roles in the struggle against apartheid will be treated like any other opponents of the Pretoria regime. After meeting their eyes with his in a steely gaze, the church leader acknowledged their power (“You are powerful, very powerful”) but reminded them that he served a higher power greater than their political authority (“But I serve a God who cannot be mocked!”). Then, in the most extraordinary challenge to political tyranny I have ever witnessed, Archbishop Desmond Tutu told the representatives of South African apartheid, “Since you have already lost, I invite you today to come and join the winning side!” He said it with a smile on his face and enticing warmth in his invitation, but with a clarity and a boldness that took everyone’s breath away. The congregation’s response was electric. The crowd was literally transformed by the bishop’s challenge to power. From a cowering fear of the heavily armed security forces that surrounded the cathedral and greatly outnumbered the band of worshipers, we literally leaped to our feet, shouted the praises of God and began…dancing. (What is it about dancing that enacts and embodies the spirit of hope?) We danced out of the cathedral to meet the awaiting police and military forces of apartheid who hardly expected a confrontation with dancing worshipers. Not knowing what else to do, they backed up to provide the space for the people of faith to dance for freedom in the streets of South Africa.

I suggest you stand slowly and walk out with my men,” Zrakovi said, tapping a napkin against his lying, two-faced mouth and putting a twenty on the table to cover the drinks. “If you make a scene, innocent humans will be injured. I have a Blue Congress cleanup team in place, however, so if you want to fight in public and damage a few humans, knock yourself out. It will only add to your list of crimes.” I stood slowly, gritting my teeth when Squirrel Chin patted me down while feeling me up and making it look like a romantic moment. He’d been so busy feeling the naughty bits that he missed both Charlie, sitting in my bag next to my foot, and the dagger attached to my inner forearm. Idiot. Alex would never have been so sloppy. If Alex had patted me down, he’d have found not only the weapons but also the portable magic kit. From the corner of my eye, I saw a tourist taking mobile phone shots of us. He’d no doubt email them to all his friends back home with stories of those crazy New Orleanians and their public displays of affection. I considered pretending to faint, but I was too badly outnumbered for it to work. Like my friend Jean Lafitte, whose help I could use about now, I didn’t want to try something unless it had a reasonable chance at succeeding. I also didn’t want to pull Charlie out and risk humans getting hurt. “Walk out the door onto Chartres and turn straight toward the cathedral.” Zrakovi pulled his jacket aside enough for me to see a shoulder holster. I hadn’t even known the man could hold a gun, although for all I knew about guns it could be a water pistol. The walk to the cathedral transport was three very long city blocks. My best escape opportunity would be near Jackson Square. When the muscular goons tried to turn me left toward the cathedral, I’d try to break and run right toward the river, where I could get lost among the wharves and docks long enough to draw and power a transport. Of course in order to run, I’d have to get away from the clinch of Dreadlocks and Squirrel Chin. Charlie could take care of that. I slipped the messenger bag over my head slowly, and not even Zrakovi noticed the stick of wood protruding from the top by a couple of inches. Not to be redundant, but . . . idiots. None of us spoke as we proceeded down Chartres Street, where, to our south, the clouds continued to build. The wind had grown stronger and drier. The hurricane was sucking all the humidity out of the air, all the better to gain intensity. I hoped Zrakovi, a Bostonian, would enjoy his first storm. I hoped a live oak landed on his head.

Punishment cells were set up in the two-story cathedral ... Poles the thickness of an arm were set from wall to wall and prisoners were ordered to sit on these poles all day ... one's feet could not reach the ground. And it was not so easy to keep balance ... the prisoner spent the entire day just trying to maintain his perch. If he fell, the jailers jumped in and beat him ... Every little island and every little hillock of the Archipelago had to be encircled by a hostile, stormy Soviet seascape ... Escapes multiplied ... For half a year the sea was frozen over, but not solidly, and in places there was open water, and the snowstorms raged, and the frost bit hard, and things were enveloped in mists and darkness. And in the spring ... there were the long white nights with clear visibility over long distances for the patrolling cutters ... it was only when the nights began to lengthen, in the late summer and the autumn, that the time was right ... for those who were out in work parties, where a prisoner might have freedom of movement and time to build a boat or a raft near the shore ... and to cast off at night ... and strike out at random, hoping above all to encounter a foreign ship ... The whole long history of the Archipelago, about which it has fallen to me to write this home-grown, homemade book, has, in the course of half a century, found in the Soviet Union almost no expression whatever in the printed word. In this a role was played by that same unfortunate happenstance by which camp watchtowers never got into scenes in films nor into landscapes painted by our artists ...

University, where she is an adjunct professor of education and serves on the Veterans Committee, among about a thousand other things. That’s heroism. I have taken the kernel of her story and do what I do, which is dramatize, romanticize, exaggerate, and open fire. Hence, Game of Snipers. Now, on to apologies, excuses, and evasions. Let me offer the first to Tel Aviv; Dearborn, Michigan; Greenville, Ohio; Wichita, Kansas; Rock Springs, Wyoming; and Anacostia, D.C. I generally go to places I write about to check the lay of streets, the fall of shadows, the color of police cars, and the taste of local beer. At seventy-three, such ordeals-by-airport are no longer fun, not even the beer part; I only go where there’s beaches. For this book, I worked from maps and Google, and any geographical mistakes emerge out of that practice. Is the cathedral three hundred yards from the courthouse in Wichita? Hmm, seems about right, and that’s good enough for me on this. On the other hand, I finally got Bob’s wife’s name correct. It’s Julie, right? I’ve called her Jen more than once, but I’m pretty sure Jen was Bud Pewtie’s wife in Dirty White Boys. For some reason, this mistake seemed to trigger certain Amazon reviewers into psychotic episodes. Folks, calm down, have a drink, hug someone soft. It’ll be all right. As for the shooting, my account of the difficulties of hitting at over a mile is more or less accurate (snipers have done it at least eight times). I have simplified, because it is so arcane it would put all but the most dedicated in a coma. I have also been quite accurate about the ballistics app FirstShot, because I made it up and can make it do anything I want. The other shot, the three hundred, benefits from the wisdom of Craig Boddington, the great hunter and writer, who looked it over and sent me a detailed email, from which I have borrowed much. Naturally, any errors are mine, not Craig’s. I met Craig when shooting something (on film!) for another boon companion, Michael Bane, and his Outdoor Channel Gun Stories crew. For some reason, he finds it amusing when I start jabbering away and likes to turn the camera on. Don’t ask me why. On the same trip, I also met the great firearms historian and all-around movie guy (he knows more than I do) Garry James, who has become

For a start, most books like this, rich in such expensive pigments, had been made for palaces or cathedrals. But a haggadah is used only at home. The word is from the Hebrew root ngd, “to tell,” and it comes from the biblical command that instructs parents to tell their children the story of the Exodus. This “telling” varies widely, and over the centuries each Jewish community has developed its own variations on this home-based celebration. But no one knew why this haggadah was illustrated with numerous miniature paintings, at a time when most Jews considered figurative art a violation of the commandments. It was unlikely that a Jew would have been in a position to learn the skilled painting techniques evinced here. The style was not unlike the work of Christian illuminators. And yet, most of the miniatures illustrated biblical scenes as interpreted in the Midrash, or Jewish biblical exegesis. I turned the parchment and suddenly found myself gazing at the illustration that had provoked more scholarly speculation than all the others. It was a domestic scene. A family of Jews—Spanish, by their dress—sits at a Passover meal. We see the ritual foods, the matzoh to commemorate the unleavened bread that the Hebrews baked in haste on the night before they fled Egypt, a shank bone to remember the lamb’s blood on the doorposts that had caused the angel of death to “pass over” Jewish homes. The father, reclining as per custom, to show that he is a free man and not a slave, sips wine from a golden goblet as his small son, beside him, raises a cup. The mother sits serenely in the fine gown and jeweled headdress of the day. Probably the scene is a portrait of the family who commissioned this particular haggadah. But there is another woman at the table, ebony-skinned and saffron-robed, holding a piece of matzoh. Too finely dressed to be a servant, and fully participating in the Jewish rite, the identity of that African woman in saffron has perplexed the book’s scholars for a century. Slowly, deliberately, I examined and made notes on the condition of each page. Each time I turned a parchment, I checked and adjusted the position of the supporting forms. Never stress the book—the conservator’s chief commandment. But the people who had owned this book had known unbearable stress: pogrom, Inquisition, exile, genocide, war.

Teodor’s wife. They were planning to spend some of the summer in France, were they not?” France. Luca had studied in France. Cass had to stop thinking of Luca or she would go mad. She forced herself to concentrate on Madalena’s face. “Is that right?” she mustered. “I’ve heard France is lovely.” “Yes. She and her husband have been exploring Paris.” Mada smiled. “Her letter goes on and on about the Notre Dame cathedral. Apparently it has the most breathtaking stained-glass windows.” “Notre Dame,” Marco mused. “Have you seen it, Signore?” He turned to Madalena’s father. “I have, indeed,” Signor Rambaldo said. “A stunning piece of architecture. Though to be fair, Venice has her share of beautitful structures as well.” “Is it true,” Marco went on, “that there are catacombs beneath Notre Dame’s courtyard? Ruins of the original settlement built by the Celts?” “I have heard that. Crumbling walls, broken swords, perhaps some ghosts trolling the place looking for their bones.” Signor Rambaldo rubbed his beard thoughtfully. Madalena flung down her fork. “Both of you ought to be ashamed,” she cried out. “I’ve been trying to distract Cass from morbid thoughts, and you two turn a lovely conversation about Paris into a ghost story.

The central story quality of the forest is that it is a natural cathedral. The tall trees, with their leaves hanging over us and protecting us, seem like the oldest wise men assuring us that whatever the circumstances, it will resolve as time moves on. It is the place where contemplative people go and to which lovers sneak away.

The central story quality of the forest is that it is a natural cathedral. The tall trees, with their leaves hanging over us and protecting us, seem like the oldest wise men assuring us that whatever the circumstances, it will resolve as time moves on. It is the place where contemplative people go and to which lovers sneak away. But this intense inward gaze of the forest also has a sense of foreboding. The forest is where people get lost. It’s the hiding place of ghosts and past lives. It is where hunters stalk their prey, and their prey is often human. The forest is tamer than the jungle; the jungle will kill anything in it at any moment. The forest, when it does its frightening work, causes mental loss first. It is slower than the jungle but still deadly.

Hover through the Fog and Filthy Air Nursery school for demons Getting to know yourself through crime Brain music like a wounded ambulance praying in tongues Telepathic merchandise A rhapsodic interrogation of love Another haunted customer Soothing you to sleep and infesting your dreams with mechanical tarantulas Carnivorous mirage The night that hides inside the night you know The night that knows you The fierce bliss of the holy glint The lethal myth you carried all your life The voice within my voice the only one I listen to was never born Sometimes everything’s my child Emotions are deployed in glassy air Lots of wondering what to do in the empty lobby and the all night laundromat The diamond swimming in the noisy light A little origami holy ghost The rain goes on softly not wanting to know my side of the story Bloodstreams running with whispering stars A loose confederation of feral children without human language living in ruined cathedrals on the moon pledging allegiance to the buildings and how they appear the grey noise of the interstate new understandings of madness and terrible love half buried in leaves The trapeze artist of the abyss Her discipline Her ascetic silhouette The way we never see her face no matter how she twists

Many people (and not just gay men) recognized their lives when they first read A Boy’s Own Story. That was a big part of its importance.

We shiver with pleasure at stories of Pollack pissing into bourgeois fireplaces. What was rare about Edmund’s case, thrilling to me, appalling to Merrill, was that he felt compelled to piss into the intellectual fireplace. Even more important, he did so without ever rejecting conventional intellectual and artistic standards. So, not a revolution, but a coup. And, as if his art were as harmless as a dove’s, it all sounded like cooing.

Our collective memories of these years, and what younger men learn from reading our stories, will shape the narrative for many years to come.

I was suspended in mid- air, clinging to a chandelier, many stories above the ground, directly under the dome of a massive cathedral. The people on the floor below were distant and tiny. There was a great expanse between me and any wall— and even the peak of the dome itself. I have learned to pay attention to dreams, not least because of my training as a clinical psychologist.

Whiskers says that he will believe the stories of German atrocities when he sees them, and that it is a good thing that Rangs Cathedral has been destroyed because it was a Roman Catholic church. Now, I am not a Roman Catholic, Mrs. Dr. dear, being born and bred a good Presbyterian and meaning to live and die one, but I maintain that the Catholics have as good a right to their churches as we have to ours and that the Huns had no kind of business to destroy them.

Martin suggests, let's see Chartres on the way back. The cathedral with its bleached stone and green roofs is visible across miles of flat fields and popular breaks. Approaching it through the dog's leg alleyways of the old town, its proportions are dizzying. Pigeons wheel about its height like cliff birds. The afternoon light begins to go; a battery of floodlights makes an unearthly theatre of spires, pinnacles and buttresses. Martin quotes Ruskin. ' "Trees of stone" '. Inside the cathedral is humbling, it's like walking into the belly of a whale. The glass is a deep rich crimson of blue, eliminating what daylight's left. Furtive figures scurry off into angles of shadow. The medieval darkness is pricked with lighted candles. Martin says it's like Debussy's 'Drowned Cathedral'. 'La Cathédrale Engloutie'. I don't know it, but he's right, exactly right. The weeping wax smells cloyingly sweet. While a priest intones, worshippers kneel and pray in whispers - and it seems to me that what they're begging from the mother of God is hope, and luck, and to be spared this survival game, living from minute to minute to minute. It's what drowning must be like. You find you've somersaulted head-over-heels and upside-down and you're travelling backwards through a vast, lightless place. So much sweet, lulling darkness in the middle of the world, it 'is' a kind of dying...

No one can fail to be impressed by Monreale, ablaze as it is with over an acre and a half of superb mosaics, all completed within five or six years, between 1183 and the end of the decade. It lacks the gemlike perfection of the Palatine Chapel, the Byzantine mystery of the Martorana, or the sheer magic that streams down from the great Pantocrator at Cefalù. Its impact is chiefly due to its size and its splendor. But this impact, like the cathedral itself, is colossal. Wandering slowly through the vast length of the building, one might be forgiven for thinking that virtually every Bible story is here illustrated. Nor would one be very far wrong; but there is one particular mosaic—and not a narrative one either—that should on no account be missed. Look now to the second figure to the right of the central east window. There is no problem of identification: in conformity with the usual canons of the time, the name runs down the side of the halo for all to read: SCS. THOMAS CANTUR. Whether or not it bears any resemblance to the martyred Archbishop we have no idea;*3 it remains, however, the earliest certain representation

The tree of life motif is especially prominent in the medieval poem “The Dream of the Rood.” Probably first written in the late seventh or early eighth century, the extant version of this Anglo-Saxon epic poem was discovered among a collection of other Old English religious literature in the Cathedral library at Vercelli in northern Italy. The text recounts the Passion from the cross’s point of view, making it the chronicler of its own story, starting from its youth as a green sapling, and concluding with its being hewn down and fashioned into the instrument of crucifixion.

There is an old story about three masons who are laying bricks. A man walks up to them and asks them each the same question: “What are you doing?” The first mason spits on the ground and looks up. “I’m laying bricks. What in hell does it look like I’m doing?” The second mason groans and mops his brow. “I’m earning a living.” The third mason looks up with light in his eyes and says, “I’m building a cathedral.” Who do you think feels most refreshed at the end of the day?

Christopher Wren, architect of St. Paul’s Cathedral.

Among the people, it was believed, as late as the present century, that spirits were imprisoned in statues. The statue of Neptune by Ammanati in the fountain of the Piazza della Signoria is called 'Il Biancone' or 'The Great White Man' by the poor people, who used to say that he was the mighty river god of the Arno tuned into statue because, like Michelangelo, he spurned the love of women. When the full moon shines on him, so the story goes, he comes to life and walks about the Piazza conversing with the other statues. Michelangelo's 'David', before it became a statue, used to be known as 'The Giant'. It was a great block of marble eighteen feet high that had been spoiled by Agostino di Duccio; personified by popular fancy, it lay for forty years in the workshops of the Cathedral, until Michelangelo made the Giant-Killer, that is, into a patriotic image of a small country defeating its larger foes. Giants, it was related, had built the great Etruscan stone wall of Fiesole, and many stories were told in Florence of beautiful maidens being turned into pure white marble statues.

A variation of Get Rich Quick schemes was robbing Peter to pay Paul, or benefiting one person at the expense of others. The origin of the phrase is open to dispute, but one account traces it to the 1500s in England, when the lands of Saint Peter’s Church at Westminster were sold to fund repairs at Saint Paul’s Cathedral in London.

Even asleep, the little greyhound trailed after her madame, through a weave of green stars and gas lamps, along the boulevards of Paris. It was a conjured city that no native would recognize—Emma Bovary’s head on the pillow, its architect. Her Paris was assembled from a guidebook with an out-of-date map, and from the novels of Balzac and Sand, and from her vividly disordered recollections of the viscount’s ball at La Vaubyessard, with its odor of dying flowers, burning flambeaux, and truffles. (Many neighborhoods within the city’s quivering boundaries, curiously enough, smelled identical to the viscount’s dining room.) A rose and gold glow obscured the storefront windows, and cathedral bells tolled continuously as they strolled past the same four landmarks: a tremulous bridge over the roaring Seine, a vanilla-white dress shop, the vague façade of the opera house—overlaid in more gold light—and the crude stencil of a theater. All night they walked like that, companions in Emma’s phantasmal labyrinth, suspended by her hopeful mists, and each dawn the dog would wake to the second Madame Bovary, the lightly snoring woman on the mattress, her eyes still hidden beneath a peacock sleep mask. Lumped in the coverlet, Charles’s blocky legs tangled around her in an apprehensive pretzel, a doomed attempt to hold her in their marriage bed.

Looking back over our shoulders, the Cathedral looked so big, so strong, like from some movie.

what are we to say about the Catholic military chaplain who administered mass to the Catholic bomber pilot who dropped the atomic bomb on Nagasaki in 1945? Father George Zabelka, chaplain for the Hiroshima and Nagasaki bomb squadrons, later came to repent of his complicity in the bombing of civilians, but his account of that time is a stunning judgment on the church’s acquiescence in violence. To fail to speak to the utter moral corruption of the mass destruction of civilians was to fail as a Christian and as a priest as 1 see it…. I was there, and I’ll tell you that the operational moral atmosphere in the church in relation to mass bombing of enemy civilians was totally indifferent, silent, and corrupt at best—at worst it was religiously supportive of these activities by blessing those who did them…. Catholics dropped the A-bomb on top of the largest and first Catholic city in Japan. One would have thought that I, as a Catholic priest, would have spoken out against the atomic bombing of nuns. (Three orders of Catholic sisters were destroyed in Nagasaki that day.) One would have thought that I would have suggested that as a minimal standard of Catholic morality, Catholics shouldn’t bomb Catholic children. I didn’t. I, like the Catholic pilot of the Nagasaki plane, “The Great Artiste,” was heir to a Christianity that had for seventeen hundred years engaged in revenge, murder, torture, the pursuit of power, and prerogative violence, all in the name of our Lord. I walked through the ruins of Nagasaki right after the war and visited the place where once stood the Urakami Cathedral. I picked up a piece of censer from the rubble. When I look at it today I pray God forgives us for how we have distorted Christ’s teaching and destroyed his world by the distortion of that teaching. I was the Catholic chaplain who was there when this grotesque process that began with Constantine reached its lowest point—so far.4 It is difficult to read such accounts without recalling the story of Jesus’ weeping over Jerusalem, because “the things that make for peace” were hidden from their eyes (Luke 19:41

She was extremely gentle, very shy, and she was someone that as a young girl you thought was everything a princess should be. Very beautiful, very young, very calm – and yet there was a kind of nervousness about her. But the feeling inside the cathedral was just enormous. It’s a very hollow place but it was filled with so much warmth and excitement. . 

Before considering a geodesic sphere, different design structures were considered for Spaceship Earth including the Roman Parthenon, the dome of Saint Peter’s Cathedral in the Vatican (150 feet high and 107 feet in diameter), and the 125-foot-diameter steel frame supporting a map of the world, like the one at the 1964–65 New York World’s Fair. A golden geodesic dome was also seriously considered, inspired by the Expo ’67 dome in Montreal.

Juan Ponce de León On April 2, 1513, according to legend while searching for the Fountain of Youth, Ponce de León discovered Florida. In actual fact, it was more likely that he was out seeking the gold that the Indians were always talking about. The Indians encouraged this sort of talk, in the high hopes of keeping the conquistadors away from them as far as possible. Returning to Spain in 1514, Ponce de León was recognized for his service to the crown and was knighted. Given his own coat of arms, he became the first conquistador to be honored in this way. Although Ponce de León did bring back a substantial amount of gold, much of it had been stolen from the Indians that he had enslaved. In 1521 Ponce de León set out from Puerto Rico to colonize Florida. He commanded a flotilla of two ships containing about 200 men. In this case his exploratory party was peaceful and included farmers, priests and craftsmen. However he was attacked by Calusa braves, a tribe of Indians who lived on the coast and along the rivers and inner waterways of Florida’s southwestern coast. In the skirmish, Ponce de León was wounded when an arrow, believed to have been dipped into the sap of the “Manchineel Tree,” also called Poison Guava, pierced his thigh. After fending off this attack, he and the colonists retreated to Havana, where in July of 1521, he succumbed to his wound and died. In 1559 his body was moved from Cuba and taken to San Juan, Puerto Rico, where he was interred in the crypt of San José Church. In 1836, his remains were exhumed and transferred to the larger, more impressive Cathedral of San Juan Bautista in San Juan. They have remained at this urban, hillside church until this day. This information is from Captain Hank Bracker’s award winning book “The Exciting Story of Cuba” available from Amazon.com and other fine book vendors. Follow, like and share Captain Hank Bracker’s daily blogs & commentaries.

By the time the draft constitution for the expanded European Union was finished and ready to be submitted for ratification by the member states, "Europe" as a political entity resembled nothing so much as a teenager who had just gone through a tremendous physical growth spurt but without a parallel growth in intellectual and moral maturity: physically an adult but spiritually stuck in adolescence. . . . Connoisseurs of political texts will note that the European constitution approved in June 2004 contains some 70,000 words (almost ten times the length of the U.S. Constitution). Yet the one word that could not be fit into the constitution for the new Europe--"Christianity"--is the embodiment of a story that has arguably had more to do with "constituting" Europe than anything else. What is going on when this story can't be acknowledged? Is it a case, as suggested above, of an adolescent engaging in a typically adolescent rebellion against parents? Is that rebellion in service of a particular (and particularly adolescent) understanding of the freedom that Europe's new constitution is meant to celebrate and advance?

I suggest you stand slowly and walk out with my men,” Zrakovi said, tapping a napkin against his lying, two-faced mouth and putting a twenty on the table to cover the drinks. “If you make a scene, innocent humans will be injured. I have a Blue Congress cleanup team in place, however, so if you want to fight in public and damage a few humans, knock yourself out. It will only add to your list of crimes.” I stood slowly, gritting my teeth when Squirrel Chin patted me down while feeling me up and making it look like a romantic moment. He’d been so busy feeling the naughty bits that he missed both Charlie, sitting in my bag next to my foot, and the dagger attached to my inner forearm. Idiot. Alex would never have been so sloppy. If Alex had patted me down, he’d have found not only the weapons but also the portable magic kit. From the corner of my eye, I saw a tourist taking mobile phone shots of us. He’d no doubt email them to all his friends back home with stories of those crazy New Orleanians and their public displays of affection. I considered pretending to faint, but I was too badly outnumbered for it to work. Like my friend Jean Lafitte, whose help I could use about now, I didn’t want to try something unless it had a reasonable chance at succeeding. I also didn’t want to pull Charlie out and risk humans getting hurt. “Walk out the door onto Chartres and turn straight toward the cathedral.” Zrakovi pulled his jacket aside enough for me to see a shoulder holster. I hadn’t even known the man could hold a gun, although for all I knew about guns it could be a water pistol. The walk to the cathedral transport was three very long city blocks. My best escape opportunity would be near Jackson Square. When the muscular goons tried to turn me left toward the cathedral, I’d try to break and run right toward the river, where I could get lost among the wharves and docks long enough to draw and power a transport. Of course in order to run, I’d have to get away from the clinch of Dreadlocks and Squirrel Chin. Charlie could take care of that. I slipped the messenger bag over my head slowly, and not even Zrakovi noticed the stick of wood protruding from the top by a couple of inches. Not to be redundant, but . . . idiots. None of us spoke as we proceeded down Chartres Street, where, to our south, the clouds continued to build. The wind had grown stronger and drier. The hurricane was sucking all the humidity out of the air, all the better to gain intensity. I hoped Zrakovi, a Bostonian, would enjoy his first storm. I hoped a live oak landed on his head.

knew. And his ex had seemed so kind on those first few dates, so infatuated with his Navy uniform, so enthusiastic in tearing up his bed. His ex-wife, a former stripper named Trish Bardoe, had married on the rebound a fellow by the name of Eddie Stipowicz, an unemployed engineer with a drinking problem. Lee thought she was heading for disaster and had tried to get custody of Renee on the grounds that her mom and stepfather could not provide for her. Well, about that time, Eddie, a sneaky runt Lee despised, invented, mostly by accident, some microchip piece of crap that had made him a gazillionaire. Lee’s custody battle had lost its juice after that. To add insult to injury, there had been stories on Eddie in the Wall Street Journal, Time, Newsweek and a number of other publications. He was famous. Their house had even been featured in Architectural Digest. Lee had gotten that issue of the Digest. Trish’s new home was grossly huge, mostly crimson red or eggplant so dark it made Lee think of the inside of a coffin. The windows were cathedral-size, the furniture large enough to become lost in and there were enough wood moldings, paneling and staircases to heat a typical midwestern town for an entire year. There were also stone fountains sculpted

Stan Ulam visited whenever he could. “He never complained about pain, but the change in his attitude, his utterances, his relations with Klári, in fact his whole mood at the end of his life were heartbreaking,” he remembers. “At one point he became a strict Catholic. A Benedictine monk visited and talked to him. Later he asked for a Jesuit. It was obvious that there was a great gap between what he would discuss verbally and logically with others, and what his inner thoughts and worries about himself were.” Von Neumann’s scientific curiosity and his memory were the last things he let go. “A few days before he died,” adds Ulam, “I was reading to him in Greek from his worn copy of Thucydides a story he liked especially about the Athenians’ attack on Melos, and also the speech of Pericles. He remembered enough to correct an occasional mistake or mispronunciation on my part.”26

There is another kind of skill not normally associated with software development which I think is as important as design cleverness to bazaar projects — and it may be more important. A bazaar project coordinator or leader must have good people and communications skills. This should be obvious. In order to build a development community, you need to attract people, interest them in what you’re doing, and keep them happy about the amount of work they’re doing. Technical sizzle will go a long way towards accomplishing this, but it’s far from the whole story. The personality you project matters, too. It is not a coincidence that Linus is a nice guy who makes people like him and want to help him. It’s not a coincidence that I’m an energetic extrovert who enjoys working a crowd and has some of the delivery and instincts of a stand-up comic. To make the bazaar model work, it helps enormously if you have at least a little skill at charming people.

The New Tower of Babel and its fellow houses stretched their somber heights high above the cathedral spire, that the young girls in the work-rooms and wireless stations gazed down just as deep from the thirtieth story windows on the star-crowned virgin as she, in earlier days, had looked down on the pious red roofs.  In place of doves, flying machines swarmed over the cathedral roof and over the city, resting on the roofs, from which, at night glaring pillars and circles indicated the course of flight and landing points. The Master of Metropolis had already considered, more than once, having the cathedral pulled down, as being pointless and an obstruction to the traffic in the town of fifty million inhabitants. But the small, eager sect of Gothics, whose leader was Desertus, half monk, half one enraptured, had sworn the solemn oath: If one hand from the wicked city of Metropolis were to dare to touch just one stone of the cathedral, then they would neither repose nor rest until the wicked city of Metropolis should lie, a heap of ruins, at the foot of her cathedral.

One thing I understood from the beginning is that the press almost completely tunes out abstractions. They won’t write about ideas without larger-than-life personalities fronting them. Everything has to be story, drama, conflict, sound bites. Otherwise, most reporters will simply go to sleep — and even if they don’t, their editors will.

Death is nothing at all, I have only slipped away into the next room, I am I and you are you; Whatever we were to each other, That we still are. Call me by my old familiar name, Speak to me in the easy way which you always used, Put no difference in your tone, Wear no forced air of solemnity or sorrow. Laugh as we always laughed at the little jokes we shared together. Let my name ever be the household word that it always was. Let it be spoken without effect, without the trace of a shadow on it. Life means all that it ever meant, It is the same as it ever was, there is unbroken continuity. Why should I be out of mind because I am out of sight? I am waiting for you, for an interval, somewhere very near, just around the corner. All is well.” Henry Scott Holland Canon of St. Paul’s Cathedral London, England

The story of numbers in the West begins in 1202, when the cathedral of Chartres was nearing completion and King John was finishing his third year on the throne of England. In that year, a book titled Liber Abaci, or Book of the Abacus, appeared in Italy. The fifteen chapters of the book were entirely handwritten; almost three hundred years would pass before the invention of printing. The author, Leonardo Pisano, was only 27 years old but a very lucky man: his book would receive the endorsement of the Holy Roman Emperor, Frederick II. No author could have done much better than that.1 Leonardo Pisano was known for most of his life as Fibonacci, the name by which he is known today. His father’s first name was Bonacio, and Fibonacci is a contraction of son-of-Bonacio. Bonacio means “simpleton” and Fibonacci means “blockhead.” Bonacio must have been something less than-a simpleton, however, for he represented Pisa as consul in a number of different cities, and his son Leonardo was certainly no blockhead.

Cathedral of St. Sophia still stands

...I didn’t want to write books myself, but I loved the idea of some long-dead or long-forgotten travel guide waxing about cathedrals of old and shrines of forgotten gods. I loved how a book, a story, a set of words in asentence organized in the exact right order, made you miss places you’ve never visited, and people you’ve never met.

Perhaps it is worth nothing at all. How can I tell?” he thought, with the heartsickness of a great timidity. Now that he had left it there, it seemed to him so hazardous, so vain, so foolish, to dream that he, a little lad with bare feet, who barely knew his letters, could do anything at which great painters, real artists, could ever deign to look. Yet he took heart as he went by the cathedral: the lordly form of Rubens seemed to rise from the fog and the darkness, and to loom in its magnificence before him, whilst the lips, with their kindly smile, seemed to him to murmur, “Nay, have courage! It was not by a weak heart and by faint fear that I wrote my name for all time upon Antwerp.

Once I arrived in Moscow, I set up a makeshift office in a room at the Baltschug Kempinski Hotel on the south bank of the Moscow River, across from Saint Basil’s Cathedral.

the bushes no more. I stare up at the looming, lit, downtown skyscrapers, the Transamerica Building, Grace Cathedral and Coit Tower spearing black skies beyond crooked hills, the Bay Bridge’s running lights behind me like an airport landing strip, Alcatraz and the Golden Gate, the roaring Pacific leading to the Great Highway’s abandoned beachheads where the Boys of Belvedere and I used to stay up all night building giant driftwood sculptures and setting them on fire at dawn, dancing like Indians, and I know nowhere I go can compare to this place, because nowhere else can offer me what this city has, standing on 22nd and Mission, two o’clock on some random Sunday afternoon, fat, orange sun splashing, the mango, melon, and papaya peddlers on rolling carts camped beneath the giant Woolworth’s sign, the Mexican panadarias baking empanadas, rich, wheat breads, taquerias stewing al pastor and grilling carne asada, onions and avocado and horchata, greasy spoons carved into alley walls and indie beaneries brewing pungent coffees, the bead and trinket stores with their Jesus and Mary candles for 99 cents, the outlandish drag queen fashions in the Foxy Lady display window,

In August 2020, when he passed, I wrote a micro eulogy for the service in St. Eugene’s Cathedral in Derry: We were looking for a giant and found a man who made all our lives bigger. We were looking for some superpowers and found clarity of thought, kindness, and persistence. We were looking for revolution and found it in parish halls with tea and biscuits and late-night meetings under fluorescence. We were looking for a negotiator who understood that no one wins unless everyone wins and loses something and that peace is the only victory.

The Street of Booksellers, Via dei Librai, ran through the heart of Florence, midway between the town hall to the south and the cathedral to the north.

the story of two stonecutters. Each is asked what they’re doing. One responds, “I am cutting this stone in a perfectly square shape.” The other responds, “I am building a cathedral.”29

The priests in Maryland, who relied on the proceeds derived from slave labor and slavery, built the nation's first Catholic college, the first archdiocese, and the first Catholic cathedral and helped establish two of the earliest Catholic monasteries. Even the clergymen who established the first Catholic seminary operated a plantation and relied on enslaved laborers. ... Yet enslaved Black men, women, and children remain invisible in the origin story traditionally told about the emergence of Catholicism in the United States.

Like the stonemasons we encountered in Wenger’s story in chapter 5, we Christian teachers sometimes have to be reminded, amid the workaday pressures of class prep and grading, that we are building cathedrals. One of the most important practices we can undertake as Christian educators is to cultivate time and space to renarrate to one another just what we’re doing together.

Monastic schools located in the countryside provided most of the education in Europe. With the urban boom of the eleventh century and the growing strictness of the monasteries brought about by church reform, cathedrals once again began opening schools (or, in a few cases, expanding existing schools) in the cities.

Even before the universities, however, a new worldview emerged in the cathedral schools that had been anticipated in many ways by the movement away from reliance on supernatural intervention in law. Labeled “Platonic humanism” by historian R. W. Southern, this worldview was based on the idea that the world came from God and thus can lead us back to God. Without going as far as the ancient Platonic hierarchy of being, twelfth-century scholars believed that the world reflected the God who created it — the “Platonic” part of the worldview — and therefore that studying the world can tell us about God. God created the world separate from himself, and since he is rational, the world he created is also rational and subject to rational analysis. Since human beings are created in the image of God, we also are rational and thus understand the world. Though miracles can and do happen, both the world and human nature have their own integrity apart from God and can be studied and understood without recourse to divine intervention — the “humanist” part of Platonic humanism.

people seemed to seek her out at times of pain and despair. It was hard for her to understand why this was. As a young person and later as a doctor, she had been there for them, had comforted and stood with them. They had thought her heart was whole, had trusted in it. She touched the pinecone in her lap. “I have hidden this all of my life, Rachel,” she said, speaking to me from across the room. We all sat in silence for a few minutes: there was nothing anyone could say. Our retreat center has a labyrinth exactly the dimensions of the one in the cathedral at Chartres in France. The Chartres labyrinth is a walking meditation that has roots in the fourteenth century, a path enclosed in a circle inscribed on the floor. The path inside the circle is long and convoluted and eventually leads into the center; it is more than a third of a mile into the center of the circle and out again. The following afternoon, during the period of meditation, Glory decided to walk this path alone. At the beginning, she had clasped her hands behind her back and started walking slowly and deliberately, looking down, trying to keep her balance on the narrow path. She had been walking step by step by step for about ten minutes or so and was becoming a little bored when she began to experience an urge to hold her hands out, palms up. She fought this impulse for a while, telling herself it was irrational. Finally, she had surrendered to it, and walked on with her hands held out before her. Within a minute or two she had the distinct impression that her pinecone was resting on her upturned palms. She knew she had left it on the bed in her room, but with her eyes on the floor she could feel the weight of it quite clearly in her hands. She felt as if she was being told to offer it to others, just as it was. It was a strange and puzzling thought, but it somehow seemed the right thing to do. She walked on in this way for several more minutes and at last came to a place in the labyrinth close to the circumference of the circle where the path unexpectedly turns sharply to the right. As you turn, you discover that you have reached the end of the path and a few more steps will take you to the center of the circle. Turning to the right, Glory suddenly felt the

Try to imagine being a destitute beet farmer in 1700. All of your life you hear only the birds in the sky, the sounds of hammers on wood and iron, and shovels digging in fields. The closest thing to music you get is a rowdy chorus once or twice a month at the local commons, more often during a harvest. At some point during your simple life, you have occasion to travel to a great city with a grand cathedral. It is the largest building you've ever seen, adorned by previously unimaginable wealth and splendor. It is God's house. And there is music. It is a haunting, terrible melody that fills your chest with something that you cannot describe. The sound is so loud that it simply can't be real. The pipe organ creating the noise is a device that you have heard stories about, but it is more impressive than you could ever guess. It is a colossus, a sparkling gilded tribute to God and truly must be the greatest creation of man. What a world we live in.

could try to tell you the story, but it would be like describing a cathedral by saying it’s a pile of stones ending in a spire.

Sterling Memorial, the main library at Yale, had been built to resemble a Gothic cathedral, replete with stained glass, carved stonework, and a crenellated tower. Completed in 1930, the structure was "as near to modern Gothic as we dared" according to its architect, James Gamble Rogers. The use of the word "dare" always intrigued me. It suggested boundaries and infractions. There was, as I had come to expect at Yale, a scandalous story attached to the library's design. The benefactress, an old woman with failing eyesight, wanted a place of worship, and Yale wanted a library. Flouting its own motto, Lux et Veritas, Yale presented her with a structural trompe l'oeil. A cathedral in its outlines, but in its details a pantheon to books, where King Lear was a demigod and Huckleberry Finn a mischievous angel. The visual world had already become a greasy smudge to the benefactress, so the old biddy died never knowing the difference. Light and Truth, indeed.

I could try to tell you the story, but it would be like describing a cathedral by saying it’s a pile of stones ending in a spire.