Caves Sayings And Quotes

Some humans would do anything to see if it was possible to do it. If you put a large switch in some cave somewhere, with a sign on it saying 'End-of-the-World Switch. PLEASE DO NOT TOUCH', the paint wouldn't even have time to dry.

I cannot go to school today" Said little Peggy Ann McKay. "I have the measles and the mumps, A gash, a rash and purple bumps. My mouth is wet, my throat is dry. I'm going blind in my right eye. My tonsils are as big as rocks, I've counted sixteen chicken pox. And there's one more - that's seventeen, And don't you think my face looks green? My leg is cut, my eyes are blue, It might be the instamatic flu. I cough and sneeze and gasp and choke, I'm sure that my left leg is broke. My hip hurts when I move my chin, My belly button's caving in. My back is wrenched, my ankle's sprained, My 'pendix pains each time it rains. My toes are cold, my toes are numb, I have a sliver in my thumb. My neck is stiff, my voice is weak, I hardly whisper when I speak. My tongue is filling up my mouth, I think my hair is falling out. My elbow's bent, my spine ain't straight, My temperature is one-o-eight. My brain is shrunk, I cannot hear, There's a hole inside my ear. I have a hangnail, and my heart is ... What? What's that? What's that you say? You say today is .............. Saturday? G'bye, I'm going out to play!

I’m forever near a stereo saying, ‘What the fuck is this garbage?’ And the answer is always the Red Hot Chili Peppers.

Roads Go Ever On Roads go ever ever on, Over rock and under tree, By caves where never sun has shone, By streams that never find the sea; Over snow by winter sown, And through the merry flowers of June, Over grass and over stone, And under mountains in the moon. Roads go ever ever on, Under cloud and under star. Yet feet that wandering have gone Turn at last to home afar. Eyes that fire and sword have seen, And horror in the halls of stone Look at last on meadows green, And trees and hills they long have known. The Road goes ever on and on Down from the door where it began. Now far ahead the Road has gone, And I must follow, if I can, Pursuing it with eager feet, Until it joins some larger way, Where many paths and errands meet. The Road goes ever on and on Down from the door where it began. Now far ahead the Road has gone, And I must follow, if I can, Pursuing it with weary feet, Until it joins some larger way, Where many paths and errands meet. And whither then? I cannot say. The Road goes ever on and on Out from the door where it began. Now far ahead the Road has gone. Let others follow, if they can! Let them a journey new begin. But I at last with weary feet Will turn towards the lighted inn, My evening-rest and sleep to meet.

The worst pain ... isn't the pain you feel at the time, it's the pain you feel later on when there's nothing you can do about it, They say that time heals all wounds, But we never live long enough to test that theory ...

Chiron had said once that nations were the most foolish of mortal inventions. “No man is worth more than another, wherever he is from.” “But what if he is your friend?” Achilles had asked him, feet kicked up on the wall of the rose-quartz cave. “Or your brother? Should you treat him the same as a stranger?” “You ask a question that philosophers argue over,” Chiron had said. “He is worth more to you, perhaps. But the stranger is someone else’s friend and brother. So which life is more important?” We had been silent. We were fourteen, and these things were too hard for us. Now that we are twenty-seven, they still feel too hard. He is half of my soul, as the poets say. He will be dead soon, and his honor is all that will remain. It is his child, his dearest self. Should I reproach him for it? I have saved Briseis. I cannot save them all. I know, now, how I would answer Chiron. I would say: there is no answer. Whichever you choose, you are wrong.

Pitiful is the person who is afraid of taking risks. Perhaps this person will never be disappointed or disillusioned; perhaps she won’t suffer the way people do when they have a dream to follow. But when that person looks back – and at some point everyone looks back – she will hear her heart saying, “What have you done with the miracles that God planted in your days? What have you done with the talents God bestowed on you? You buried yourself in a cave because you were fearful of losing those talents. So this is your heritage; the certainty that you wasted your life.

And now - Plato's words mock me in the shadows on the ledge behind the flames: '...the men of the cave would say of him that up he went and down he came without his eyes.

Daemon: We can go live in a damn cave. Look, I'm a selfish person. You know that. And I don't want you to go through that, so I'm willing to say screw it and we cut our losses. Katy: Really? What kind of life would that give us? Daemon: Don't bring logic into this conversation.

Peeta,” I say lightly. “You said at the interview you’d had a crush on me forever. When did forever start?” “Oh, let’s see. I guess the first day of school. We were five. You had on a red plaid dress and your hair... it was in two braids instead of one. My father pointed you out when we were waiting to line up,” Peeta says. “Your father? Why?” I ask. “He said, ‘See that little girl? I wanted to marry her mother, but she ran off with a coal miner,’” Peeta says. “What? You’re making that up!” I exclaim. “No, true story,” Peeta says. “And I said, ‘A coal miner? Why did she want a coal miner if she could’ve had you?’ And he said, ‘Because when he sings... even the birds stop to listen.’” “That’s true. They do. I mean, they did,” I say. I’m stunned and surprisingly moved, thinking of the baker telling this to Peeta. It strikes me that my own reluctance to sing, my own dismissal of music might not really be that I think it’s a waste of time. It might be because it reminds me too much of my father. “So that day, in music assembly, the teacher asked who knew the valley song. Your hand shot right up in the air. She stood you up on a stool and had you sing it for us. And I swear, every bird outside the windows fell silent,” Peeta says. “Oh, please,” I say, laughing. “No, it happened. And right when your song ended, I knew—just like your mother—I was a goner,” Peeta says. “Then for the next eleven years, I tried to work up the nerve to talk to you.” “Without success,” I add. “Without success. So, in a way, my name being drawn in the reaping was a real piece of luck,” says Peeta. For a moment, I’m almost foolishly happy and then confusion sweeps over me. Because we’re supposed to be making up this stuff, playing at being in love not actually being in love. But Peeta’s story has a ring of truth to it. That part about my father and the birds. And I did sing the first day of school, although I don’t remember the song. And that red plaid dress... there was one, a hand-me-down to Prim that got washed to rags after my father’s death. It would explain another thing, too. Why Peeta took a beating to give me the bread on that awful hollow day. So, if those details are true... could it all be true? “You have a... remarkable memory,” I say haltingly. “I remember everything about you,” says Peeta, tucking a loose strand of hair behind my ear. “You’re the one who wasn’t paying attention.” “I am now,” I say. “Well, I don’t have much competition here,” he says. I want to draw away, to close those shutters again, but I know I can’t. It’s as if I can hear Haymitch whispering in my ear, “Say it! Say it!” I swallow hard and get the words out. “You don’t have much competition anywhere.” And this time, it’s me who leans in.

I just found this world a hard place to be good in,’ says Bunny, then he closes his eyes and, with an expiration of breath, goes still.

LADY LAZARUS I have done it again. One year in every ten I manage it-- A sort of walking miracle, my skin Bright as a Nazi lampshade, My right foot A paperweight, My face a featureless, fine Jew linen. Peel off the napkin O my enemy. Do I terrify?-- The nose, the eye pits, the full set of teeth? The sour breath Will vanish in a day. Soon, soon the flesh The grave cave ate will be At home on me And I a smiling woman. I am only thirty. And like the cat I have nine times to die. This is Number Three. What a trash To annihilate each decade. What a million filaments. The peanut-crunching crowd Shoves in to see Them unwrap me hand and foot-- The big strip tease. Gentlemen, ladies These are my hands My knees. I may be skin and bone, Nevertheless, I am the same, identical woman. The first time it happened I was ten. It was an accident. The second time I meant To last it out and not come back at all. I rocked shut As a seashell. They had to call and call And pick the worms off me like sticky pearls. Dying Is an art, like everything else. I do it exceptionally well. I do it so it feels like hell. I do it so it feels real. I guess you could say I've a call. It's easy enough to do it in a cell. It's easy enough to do it and stay put. It's the theatrical Comeback in broad day To the same place, the same face, the same brute Amused shout: 'A miracle!' That knocks me out. There is a charge For the eyeing of my scars, there is a charge For the hearing of my heart-- It really goes. And there is a charge, a very large charge For a word or a touch Or a bit of blood Or a piece of my hair or my clothes. So, so, Herr Doktor. So, Herr Enemy. I am your opus, I am your valuable, The pure gold baby That melts to a shriek. I turn and burn. Do not think I underestimate your great concern. Ash, ash-- You poke and stir. Flesh, bone, there is nothing there-- A cake of soap, A wedding ring, A gold filling. Herr God, Herr Lucifer Beware Beware. Out of the ash I rise with my red hair And I eat men like air. -- written 23-29 October 1962

When I was young, I forgot how to laugh in the cave of Trophonius; when I was older, I opened my eyes and beheld reality, at which I began to laugh, and since then, I have not stopped laughing. I saw that the meaning of life was to secure a livelihood, and that its goal was to attain a high position; that love’s rich dream was marriage with an heiress; that friendship’s blessing was help in financial difficulties; that wisdom was what the majority assumed it to be; that enthusiasm consisted in making a speech; that it was courage to risk the loss of ten dollars; that kindness consisted in saying, “You are welcome,” at the dinner table; that piety consisted in going to communion once a year. This I saw, and I laughed.

One day, as he slept in a cave, he dreamed that he saw his own body sleeping. He came out of the cave on the night of a new moon. The sky was clear, and he could see millions of stars. Then something happened inside of him that transformed his life forever. He looked at his hands, he felt his body, and he heard his own voice say. "I am made of light, I am made of stars." He looked at the stars again, and he realized that it's not the stars that create the light, but rather the light that creates the stars. "Everything is made of light," he said, "and the space in-between isn't empty." And he knew that everything that exists is one living being, and that light is the messenger of life, because it is alive and contains all information. (xvi)

When I was very young and in the cave of Trophonius I forgot to laugh. Then, when I got older, when I opened my eyes and saw the real world, I began to laugh and I haven’t stopped since. I saw that the meaning of life was to get a livelihood, that the goal of life was to be a High Court judge, that the bright joy of love was to marry a well-off girl, that the blessing of friendship was to help each other out of a financial tight spot, that wisdom was what the majority said it was, that passion was to give a speech, that courage was to risk being fined 10 rix-dollars, that cordiality was to say ‘You’re welcome’ after a meal, and that the fear of God was to go to communion once a year. That’s what I saw. And I laughed.

What did she say?” asked Matthias. Nina coughed and took his arm, leading him away. “She said you’re a very nice fellow, and a credit to the Fjerdan race. Ooh, look, blini! I haven’t had proper blini in forever.” “That word she used: babink,” he said. “You’ve called me that before. What does it mean?” Nina directed her attention to a stack of paper-thin buttered pancakes. “It means sweetie pie.” “Nina—” “Barbarian.” “I was just asking, there’s no need to name-call.” “No, babink means barbarian.” Matthias’ gaze snapped back to the old woman, his glower returning to full force. Nina grabbed his arm. It was like trying to hold on to a boulder. “She wasn’t insulting you! I swear!” “Barbarian isn’t an insult?” he asked, voice rising. “No. Well, yes. But not in this context. She wanted to know if you’d like to play Princess and Barbarian.” “It’s a game?” “Not exactly.” “Then what is it?” Nina couldn’t believe she was actually going to attempt to explain this. As they continued up the street, she said, “In Ravka, there’s a popular series of stories about, um, a brave Fjerdan warrior—” “Really?” Matthias asked. “He’s the hero?” “In a manner of speaking. He kidnaps a Ravkan princess—” “That would never happen.” “In the story it does, and”—she cleared her throat—“they spend a long time getting to know each other. In his cave.” “He lives in a cave?” “It’s a very nice cave. Furs. Jeweled cups. Mead.” “Ah,” he said approvingly. “A treasure hoard like Ansgar the Mighty. They become allies, then?” Nina picked up a pair of embroidered gloves from another stand. “Do you like these? Maybe we could get Kaz to wear something with flowers. Liven up his look.” “How does the story end? Do they fight battles?” Nina tossed the gloves back on the pile in defeat. “They get to know each other intimately.” Matthias’ jaw dropped. “In the cave?” “You see, he’s very brooding, very manly,” Nina hurried on. “But he falls in love with the Ravkan princess and that allows her to civilize him—” “To civilize him?” “Yes, but that’s not until the third book.” “There are three?” “Matthias, do you need to sit down?” “This culture is disgusting. The idea that a Ravkan could civilize a Fjerdan—” “Calm down, Matthias.” “Perhaps I’ll write a story about insatiable Ravkans who like to get drunk and take their clothes off and make unseemly advances toward hapless Fjerdans.” “Now that sounds like a party.” Matthias shook his head, but she could see a smile tugging at his lips. She decided to push the advantage. “We could play,” she murmured, quietly enough so that no one around them could hear. “We most certainly could not.” “At one point he bathes her.” Matthias’ steps faltered. “Why would he—” “She’s tied up, so he has to.” “Be silent.” “Already giving orders. That’s very barbarian of you. Or we could mix it up. I’ll be the barbarian and you can be the princess. But you’ll have to do a lot more sighing and trembling and biting your lip.” “How about I bite your lip?” “Now you’re getting the hang of it, Helvar.

We'll earn it all back today," I say, and we both plow into our plates. Even cold, it's one of the things I've ever tasted. I abandon my fork and scrape up the last dabs of gravy with my fingers. "I can feel Effie trinket shuddering at my manners." "Hey, Effie, watch this!" says Peeta. He tosses his fork over his shoulder and literally licks his plate his plate clean with his tongue making loud, satisfied sounds. Then he blows a kiss to her in general, and calls, "We miss you, Effie!" I cover his hand with my mouth. But I am laughing. "Stop! Cato could be right outside our cave." He grabs my hand away."What do I care. I've got you to protect me now," says Peeta, pulling me to him. "Come on," I say in exasperation, extricating myself from his grasp but not before he gets another kiss.

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.’

Television, my dear Daniel, is the Antichrist, and I can assure you that after only three or four generations, people will no longer even know how to fart on their own. Humans will return to living in caves, to medieval savagery, and to the general state of imbecility that slugs overcame back in the Pleistocene era. Our world will not die as a result of the bomb, as the papers say - it will die of laughter, of banality, of making a joke of everything, and a lousy joke at that.

Peeta and I sit on the damp sand, facing away from each other, my right shoulder and hip pressed against his. ... After a while I rest my head against his shoulder. Feel his hand caress my hair. "Katniss... If you die, and I live, there's no life for me at all back in District Twelve. You're my whole life", he says. "I would never be happy again." I start to object but he puts a finger to my lips. "It's different for you. I'm not sayin it wouldn't be hard. But there are other people who'd make your life worth living." ... "Your family needs you, Katniss", Peeta says. My family. My mother. My sister. And my pretend cousin Gale. But Peeta's intension is clear. That Gale really is my family, or will be one day, if I live. That I'll marry him. So Peeta's giving me his life and Gale at the same time. To let me know I shouldn't ever have doubts about it. Everithing. That's what Peeta wants me to take from him. ... "No one really needs me", he says, and there's no self-pity in his voice. It's true his family doesen't need him. They will mourn him, as will a handful of friends. But they will get on. Even Haymitch, with the help of a lot of white liquor, will get on. I realize only one person will be damaged beyond repair if Peeta dies. Me. "I do", I say. "I need you." He looks upset, takes a deep breath as if to begin a long argument, and that's no good, no good at all, because he'll start going on about Prim and my mother and everything and I'll just get confused. So before he can talk, I stop his lips with a kiss. I feel that thing again. The thing I only felt once before. In the cave last year, when I was trying to get Haymitch to send us food. I kissed Peeta about a thousand times during those Games and after. But there was only one kiss that made me feel something stir deep inside. Only one that made me want more. But my head wound started bleeding and he made me lie down. This time, there is nothing but us to interrupt us. And after a few attempts, Peeta gives up on talking. The sensation inside me grows warmer and spreads out from my chest, down through my body, out along my arms and legs, to the tips of my being. Instead of satisfying me, the kisses have the opposite effect, of making my need greater. I thought I was something of an expert on hunger, but this is an entirely new kind.

This house is about two dictionaries away from caving in,' she'd say, 'and you're buying duplicates?

The same thing happened to me that, according to legend, happened to Parmeniscus, who in the Trophonean cave lost the ability to laugh but acquired it again on the island of Delos upon seeing a shapeless block that was said to be the image of the goddess Leto. When I was very young, I forgot in the Trophonean cave how to laugh; when I became an adult, when I opened my eyes and saw actuality, then I started to laugh and have never stopped laughing since that time. I saw that the meaning of life was to make a living, its goal to be- come a councilor, that the rich delight oflove was to acquire a well-to-do girl, that the blessedness of friendship was to help each other in financial difficulties, that wisdom was whatever the majority assumed it to be, that enthusiasm was to give a speech, that courage was to risk being fined ten dollars, that cordiality was to say "May it do you good" after a meal, that piety was to go to communion once a year. This I saw, and I laughed.

And yet we say this. Here is the cave at the end of the world, peace is made between dwarf and troll, and we will march beyond the hand of Death together. For the enemy is not Troll, nor is it Dwarf, but it is the baleful, the malign, the cowardly, the vessels of hatred, those who do a bad thing and call it good...

.. the men of the cave would say of him that up he went and down he came without his eyes...

Sancho, just as you want people to believe what you have seen in the sky, I want you to believe what I saw in the Cave of Montesinos. And that is all I have to say.

Science words,” I warned. “When you say ‘hemoglobin’ I just think of little Irish tricksters who live in caves, or Lord of the Rings.” “You mean ‘goblin’?” “Yes.

Oh, the ongoing love affair between hair and mouths. Hair always goes for the mouth. The mouth opens, and hair says, "I'm going in! I'm going in!" like a manic cave diver.

Full many a gem of purest ray serene The dark unfathomed caves of ocean bear: Full many a flower is born to blush unseen And waste its sweetness on the desert air" A good many flowers bloom and fade away in deserted places, seen by no one. In its context in Thomas Gray's "Elegy" it is actually a metaphor for common folk who do heroic things that are never reported in the news or recorded in history. Like a precious stone unmined at the bottom of the ocean or a beautiful flower blooming in the deep woods, their work may not be seen or known, but it is nevertheless heroic. Rubies and roses are beautiful, Gray would say, whether anyone ever sees them or not.

...we confidently say that it's not worth trying to reach any conclusions merely because we decide to stop halfway along the path that would lead us straight to them.

My adrenaline started pumping anytime I was within a hundred yards of a bookshop. I loved books nearly as much as I loved clothes. And that's saying something. The feel of them and the smell of them. A bookshop was like like an Aladdin's Cave for me. Entire worlds and lives can be found just behind that glossy cover. All you had to do was look.

His chest puffed, and he rumbled, "I breathe danger." "Oh, good God, he did not just say that," Pearl muttered.

So, what you're trying to say is you wouldn't let him fertilize your flower?" Nikki snorted. Zoey made a stupid noise that sounded like a cough and a choke. "You wouldn't let him hide his salami?" "Pump gas into your tank?" "Hibernate in your cave?" "Catch a ride on the Kitty Kat Express?" "Tenderize your meat?

One evening Milarepa returned to his cave after gathering firewood, only to find it filled with demons. They were cooking his food, reading his books, sleeping in his bed. They had taken over the joint. He knew about nonduality of self and other, but he still didn’t quite know how to get these guys out of his cave. Even though he had the sense that they were just a projection of his own mind—all the unwanted parts of himself—he didn’t know how to get rid of them. So first he taught them the dharma. He sat on this seat that was higher than they were and said things to them about how we are all one. He talked about compassion and shunyata and how poison is medicine. Nothing happened. The demons were still there. Then he lost his patience and got angry and ran at them. They just laughed at him. Finally, he gave up and just sat down on the floor, saying, “I’m not going away and it looks like you’re not either, so let’s just live here together.” At that point, all of them left except one. Milarepa said, “Oh, this one is particularly vicious.” (We all know that one. Sometimes we have lots of them like that. Sometimes we feel that’s all we’ve got.) He didn’t know what to do, so he surrendered himself even further. He walked over and put himself right into the mouth of the demon and said, “Just eat me up if you want to.” Then that demon left too.

We say to the confused, Know thyself, as if knowing yourself was not the fifth and most difficult of human arithmetical operations, we say to the apathetic, Where there's a will, there's a way, as if the brute realities of the world did not amuse themselves each day by turning that phrase on its head, we say to the indecisive, Begin at the beginning, as if beginning were the clearly visible point of a loosely wound thread and all we had to do was to keep pulling until we reached the other end, and as if, between the former and the latter, we had held in our hands a smooth, continuous thread with no knots to untie, no snarls to untangle, a complete impossibility in the life of a skein, or indeed, if we may be permitted one more stock phrase, in the skein of life.

Say the planet is born at midnight and it runs for one day. First there is nothing. Two hours are lost to lava and meteors. Life doesn’t show up until three or four a.m. Even then, it’s just the barest self-copying bits and pieces. From dawn to late morning—a million million years of branching—nothing more exists than lean and simple cells. Then there is everything. Something wild happens, not long after noon. One kind of simple cell enslaves a couple of others. Nuclei get membranes. Cells evolve organelles. What was once a solo campsite grows into a town. The day is two-thirds done when animals and plants part ways. And still life is only single cells. Dusk falls before compound life takes hold. Every large living thing is a latecomer, showing up after dark. Nine p.m. brings jellyfish and worms. Later that hour comes the breakout—backbones, cartilage, an explosion of body forms. From one instant to the next, countless new stems and twigs in the spreading crown burst open and run. Plants make it up on land just before ten. Then insects, who instantly take to the air. Moments later, tetrapods crawl up from the tidal muck, carrying around on their skin and in their guts whole worlds of earlier creatures. By eleven, dinosaurs have shot their bolt, leaving the mammals and birds in charge for an hour. Somewhere in that last sixty minutes, high up in the phylogenetic canopy, life grows aware. Creatures start to speculate. Animals start teaching their children about the past and the future. Animals learn to hold rituals. Anatomically modern man shows up four seconds before midnight. The first cave paintings appear three seconds later. And in a thousandth of a click of the second hand, life solves the mystery of DNA and starts to map the tree of life itself. By midnight, most of the globe is converted to row crops for the care and feeding of one species. And that’s when the tree of life becomes something else again. That’s when the giant trunk starts to teeter.

I’m the least fanciful guy around, but on nights when I wonder whether there was any point to my day, I think about this: the first thing we ever did, when we started turning into humans, was draw a line across the cave door and say: Wild stays out. What I do is what the first men did. They built walls to keep back the sea. They fought the wolves for the hearth fire.

Seeking happiness outside ourselves is like waiting for sunlight in a cave facing north. —Tibetan saying

Damon,” I whimpered, my chest caving again and again. “Say it again,” he growled. I gasped. “Damon.” “Who’s fucking you?” Oh, God, I was coming. “Damon Torrance,” I breathed out.

My application's not bought,' I am telling them, calling into the darkness of the red cave that opens out before closed eyes. 'I am not just a boy who plays tennis. I have an intricate history. Experiences and feelings. I'm complex. 'I read,' I say. 'I study and read. I bet I've read everything you've read. Don't think I haven't. I consume libraries. I wear out spines and ROM-drives. I do things like get in a taxi and say, "The library, and step on it." My instincts concerning syntax and mechanics are better than your own, I can tell, with due respect. But it transcends the mechanics. I'm not a machine. I feel and believe. I have opinions. Some of them are interesting. I could, if you'd let me, talk and talk. Let's talk about anything. I believe the influence of Kierkegaard on Camus is underestimated. I believe Dennis Gabor may very well have been the Antichrist. I believe Hobbes is just Rousseau in a dark mirror. I believe, with Hegel, that transcendence is absorption. I could interface you guys right under the table,' I say. 'I'm not just a creatus, manufactured, conditioned, bred for a function.' I open my eyes. 'Please don't think I don't care.

The wizard broke out from his mountain grave As his red fire filled the cave The miners ran to escape their doom All in its path red fire would consume The fire would destroy Sparsholt Before cannons at the Alol melt On Tamin Plain the flax would burn And reveal a name… Arin The time of the wizard is here Destruction, death and fear Some say the world will end Others say a child is seeking revenge I am a minstrel and not a seer All I know is… The time of the wizard is here Destruction, death and fear Robert Reid – The Son

I don’t know whether you have ever seen a map of a person’s mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child’s mind, which is not only confused, but keeps going round all the time. There are zigzag lines on it, just like your temperature on a card, and these are probably roads on the island, for the Neverland is always more or less an island, with astonishing splashes of colour here and there, and coral reefs and rakish-looking craft in the offing, and savages and lonely lairs, and gnomes who are mostly tailors, and caves through which a river runs, and princes with sex elder brothers, and a hut fast going to decay, and one very small old lady with a hooked nose. It would be an easy map if that were all, but there is also first day at school, religion, fathers, the round pond, needle-work, murders, hangings, verbs that take the dative, chocolate-pudding day, getting into braces, say ninety-nine threepence for pulling out your tooth yourself, and so on, and either these are part of the island or they are another map showing through, and it is all rather confusing, especially as nothing will stand still. Of course the Neverlands vary a good deal. John’s, for instance, had a lagoon with flamingos flying over it at which John was shooting, while Michael, who was very small, had a flamingo with lagoons flying over it. John lived in a boat turned upside down on the sands, Michael in a wigwam, Wendy in a house of leaves deftly sewn together. John had no friends, Michael had friends at night, Wendy had a pet wolf forsaken by its parents...

Don’t complain about autumn. Walk with grief like a good friend. Listen to what he says. Sometimes the cold and dark of a cave give the opening we most want.

Growing up spoiled a lot of things. It spoiled the nice game they had when there was nothing to eat in the house. When money gave out and food ran low, Katie and the children pretended they were explorers discovering the North Pole and had been trapped by a blizzard in a cave with just a little food. They had to make it last till help came. Mama divided up what food there was in the cupboard and called it rations and when the children were still hungry after a meal, she'd say, 'Courage, my men, help will come soon.' When some money came in and Mama bought a lot of groceries, she bought a little cake as celebration, and she'd stick a penny flag in it and say, 'We made it, men. We got to the North Pole.' One day after one of the 'rescues' Francie asked Mama: 'When explorers get hungry and suffer like that, it's for a reason . Something big comes out of it. They discover the North Pole. But what big things comes out of us being hungry like that?' Katie looked tired all of a sudden. She said something Francie didn't understand at the time. She said, 'You found the catch in it.

This must be what it means to be an animal, to look at another and say, I am so much that other thing that we are part of one another. Here is my skin. Here yours. Beneath the moon, we pile inside the warm cave, becoming one creature to save our warmth. We breathe together and dream together. This is how it has always been and how it will continue to be. We keep each other alive through an unbroken lineage of togetherness.

Do you want to know how to write a song? Songwriting is about counterpoint. Counterpoint is the key. Putting two disparate images beside each other and seeing which way the sparks fly. Like letting a small child in the same room as, I don’t know, a Mongolian psychopath or something, and just sitting back and seeing what happens. Then you send in a clown, say, on a tricycle and again you wait and you watch. And if that doesn’t do it, you shoot the clown.

If you desire the magical powers that led the 808 Tanuki, which are trapped in the old cave of Kumayama, say the words, Look into others' heart of hearts with your own heart to be destined to lead those who are not human.

There was once a lady who was arrogant and proud. Determined to attain enlightenment, she asked all the authorities how to go about it. She was told, "Well, if you climb to the top of this very high mountain, you'll find a cave there. Sitting inside that cave is a wise old woman. She will tell you." Having endured great hardships, the lady finally found this cave. Sure enough, sitting there was a gentle spiritual-looking old woman in white clothing, who smiled beatifically. Overcome with awe and respect, the lady prostrated at the feet of this woman and said, "I want to attain enlightenment. Show me how." This wise woman looked at her and asked sweetly, "Are you sure you want to attain enlightenment?" And the woman said, "Of course I'm sure." Whereupon the smiling woman turned into a demon, stood up brandishing a great big stick, and started chasing her, saying, "Now! Now! Now!" For the rest of her life, that lady could never get away from the demon who was always saying, Now! Now--that's the key. Mindfulness trains us to be awake and alive, fully curious, about now.

He says, "But it is really whatever, you know? You've saved me way more times. And we call ourselves friends." It doesn't matter what we call ourselves, really. "You already saved me," I say. "That was nothing." "I'm not talking about the cave." He wrinkles his nose. "That first day," I say, "When you got up on the rocks to flirt with a human boy." He smiles big, with all his ground-down teeth shining.

I say, "Well then I don't know if it was real, and that makes me feel like I'm going insane again." "Absolutely it was real. It was a real, partial picture. Because it ended preemptively, things you would have learned about him in the relationship, you are instead learning in the breakup. You have learned that he has a desperate desire for intimacy and then a desperate desire for the cave. He will get lonely there eventually and come back." "To me?" He doesn't pause. "To someone new." "And I'll have to watch another girl?" "You will have to, but you will also know what lies ahead for that poor girl.

To Have Without Holding: Learning to love differently is hard, love with the hands wide open, love with the doors banging on their hinges, the cupboard unlocked, the wind roaring and whimpering in the rooms rustling the sheets and snapping the blinds that thwack like rubber bands in an open palm. It hurts to love wide open stretching the muscles that feel as if they are made of wet plaster, then of blunt knives, then of sharp knives. It hurts to thwart the reflexes of grab, of clutch, to love and let go again and again. It pesters to remember the lover who is not in the bed, to hold back what is owed to the work that gutters like a candle in a cave without air, to love consciously, conscientiously, concretely, constructively. I can't do it, you say it's killing me, but you thrive, you glow on the street like a neon raspberry, You float and sail, a helium balloon bright bachelor's buttons blue and bobbing on the cold and hot winds of our breath, as we make and unmake in passionate diastole and systole the rhythm of our unbound bonding, to have and not to hold, to love with minimized malice, hunger and anger moment by moment balanced.

Finally, I’d say to anyone who wants to tell these tales, don’t be afraid to be superstitious. If you have a lucky pen, use it. If you speak with more force and wit when wearing one red sock and one blue one, dress like that. When I’m at work I’m highly superstitious. My own superstition has to do with the voice in which the story comes out. I believe that every story is attended by its own sprite, whose voice we embody when we tell the tale, and that we tell it more successfully if we approach the sprite with a certain degree of respect and courtesy. These sprites are both old and young, male and female, sentimental and cynical, sceptical and credulous, and so on, and what’s more, they’re completely amoral: like the air-spirits who helped Strong Hans escape from the cave, the story-sprites are willing to serve whoever has the ring, whoever is telling the tale. To the accusation that this is nonsense, that all you need to tell a story is a human imagination, I reply, ‘Of course, and this is the way my imagination works.

I was obviously born to draw better than most people, just as the widow Berman and Paul Slazinger were obviously born to tell stories better than most people can. Other people are obviously born to sing and dance or explain the stars in the sky or do magic tricks or be great leaders or athletes, and so on. I think that could go back to the time when people had to live in small groups of relatives -- maybe fifty or a hundred people at the most. And evolution or God or whatever arranged things genetically to keep the little families going, to cheer them up, so that they could all have somebody to tell stories around the campfire at night, and somebody else to paint pictures on the walls of the caves, and somebody else who wasn't afraid of anything and so on. That's what I think. And of course a scheme like that doesn't make sense anymore, because simply moderate giftedness has been made worthless by the printing press and radio and television and satellites and all that. A moderately gifted person who would have been a community treasure a thousand years ago has to give up, has to go into some other line of work, since modern communications put him or her into daily competition with nothing but the world's champions. The entire planet can get along nicely now with maybe a dozen champion performers in each area of human giftedness. A moderately gifted person has to keep his or her gifts all bottled up until, in a manner of speaking, he or she gets drunk at a wedding and tapdances on the coffee table like Fred Astair or Ginger Rogers. We have a name for him or her. We call him or her an 'exhibitionist.' How do we reward such an exhibitionist? We say to him or her the next morning, 'Wow! Were you ever _drunk_ last night!

In front of the cave there was a sign saying it was for sale, and the orphans could not imagine who would want to buy such a phantasmagorical - the word 'phantasmagorical' here mean 'all the creepy, scary words you can think of putting together' - place.

In our romantic lives, these moments of jealousy, which scorch our lover’s initials into our flesh and seem to brand us, often vanish into thin air sooner or later. But maybe, if we don’t cave in to them, they’ll vanish sooner, and we’ll be able sooner to try to describe what happened with phrases that fall apart in our hands, meaningless descriptions in voices clouded with scraps of holocaust, memorized episodes that have no context unless you’re inside the story trying to live through it. Once you’re out, all there are are empty spaces strewn in the past where the pain was too great and red-hot jealousy tore through our rooms, or why else would we have painted them all black? Nothing remains, as we look back, but a smile, and “Oh, yes, one night I crouched under a window . . .” But it’s a window too dark to peer through, and you find yourself saying, “I never knew real jealousy. . . .” It elapses into long ago.

Do you want to know how to write a song? Songwriting is about counterpoint. Counterpoint is the key. Putting two disparate images beside each other and seeing which way the sparks fly. Like letting a small child in the same room as… I don’t know, a Mongolian psychopath or something, and just sitting back and seeing what happens. Then you send in a clown, say, on a tricycle and again you wait and you watch. And if that doesn’t do it, you shoot the clown.

This particular brand of tyrant, though. Yikes,” Willa said. “I can’t take him seriously. He’s going to burn out before the first primary.” “Don’t count on it. There’s a lot of white folks out there hanging on to their God-given right to look down on some other class of people. They feel it slipping away and they’re scared. This guy says he’s bringing back yesterday, even if he has to use brass knuckles to do it, and drag women back to the cave by their hair. He’s a bully, everybody knows that. But he’s their bully.

WHY DOES THIS KEEP HAPPENING?" There was a sound of shattering glass, and they both sat up to see Alec glaring at them. He had dropped the empty bottle of wine he had been carrying, and there bits of sparkly glass all over the cave floor. "WHY CAN'T YOU GO SOMEWHERE ELSE TO DO THERE HORRIBLE THINGS? MY EYES." "It's a demon realm Alec, Isabelle said. "There's nowhere for us to go." "And you said I should look after her-" Simon began, then realized that would not be a productive line of conversation, and shut up. Alec flopped down on the opposite side of the fire and glared at them both. "And where have Jace and Clary gone?" "Ah," said Simon delicately. "Who can say...." "Straight people," Alec declared."Why can't they control themselves?" "It's a mystery," Simon agreed laying back down.

Death, so caused, may be mysterious, but what founds these lives is clear enough: the capacity to love, the strength to found a life upon a love. That the love becomes incompatible with that life is tragic, but that it is maintained until the end is heroic. People capable of such love could have removed mountains; instead it has caved in upon them. One moral of such events is obvious: if you would avoid tragedy, avoid love; if you cannot avoid love, avoid integrity; if you cannot avoid integrity, avoid the world; if you cannot avoid the world, destroy it.

Must be frustrating being a scientist. There you are, incrementally discovering how the universe works via a series of complex tests and experiments, for the benefit of all mankind - and what thanks do you get? People call you "egghead" or "boffin" or "heretic", and they cave your face in with a rock and bury you out in the wilderness. Not literally - not in this day and age - but you get the idea. Scientists are mistrusted by huge swathes of the general public, who see them as emotionless lab-coated meddlers-with-nature rather than, say, fellow human beings who've actually bothered getting off their arses to work this shit out.

Human vocabulary is still not capable, and probably never will be, of knowing, recognizing, and communicating everything that can be humanly experienced and felt. Some say that the main cause of this very serious difficulty lies in the fact that human beings are basically made of clay, which, as the encyclopedias helpfully explain, is a detrital sedimentary rock made up of tiny mineral fragments measuring one two hundred and fifty-sixths of a millimeter. Until now, despite long linguistic study, no one has managed to come up with a name for this.

For the enemy is not Troll, nor it is Dwarf, but it is the baleful, the malign, the cowardly, the vessels of hatred, those who do a bad thing and call it good. Those we fought today, but the willful fool is eternal and will say—’” “This is just a trick!” Ardent shouted. “‘—say this is a trick,’” Bashfullsson continued, “‘and so we implore: come to the caves under this valley, where you will find us sharing the peace that cannot be braken.

Do you want to know how to write a song? Songwriting is about counterpoint. Counterpoint is the key - putting two disparate images beside each other and seeing which way the sparks fly. Like letting a small child in the same room as, I don’t know, a Mongolian psychopath or something, and just sitting back and seeing what happens. Then you send in a clown, say, on a tricycle and again you wait and you watch. And if that doesn’t do it, you shoot the clown.

Before she leaves, my new friend tells me to look out of the big picture window at the parking lot. "See that purple Harley out there—that big gorgeous one? That's mine. I used to ride behind my husband, and never took the road on my own. Then after the kids were grown, I put my foot down. It was hard, but we finally got to be partners. Now he says he likes it better this way. He doesn't have to worry about his bike breaking down or getting a heart attach and totaling us both. I even put 'Ms.' on my license plate—and you should see my grandkids' faces when Grandma rides up on her purple Harley!" On my own again, I look out at the barren sand and tortured rocks of the Badlands, stretching for miles. I've walked there, and I know that, close up, the barren sand reveals layers of pale rose and beige and cream, and the rocks turn out to have intricate womblike openings. Even in the distant cliffs, caves of rescue appear. What seems to be one thing from a distance is very different close up. I tell you this story because it's the kind of lesson that can be learned only on the road. And also because I've come to believe that, inside, each of us has a purple motorcycle. We have only to discover it—and ride.

Been thinking of my grandfather, whose wayward brilliance skipped my father’s generation. Once, he showed me an aquatint of a certain Siamese temple. Don’t recall its name, but ever since a disciple of the Buddha preached on the spot centuries ago, every bandit king, tyrant, and monarch of that kingdom has enhanced it with marble towers, scented arboretums, gold-leafed domes, lavished murals on its vaulted ceilings, set emeralds into the eyes of its statuettes. When the temple finally equals its counterpart in the Pure Land, so the story goes, that day humanity shall have fulfilled its purpose, and Time itself shall come to an end. To men like Ayrs, it occurs to me, this temple is civilization. The masses, slaves, peasants, and foot soldiers exist in the cracks of its flagstones, ignorant even of their ignorance. Not so the great statesmen, scientists, artists, and most of all, the composers of the age, any age, who are civilization’s architects, masons, and priests. Ayrs sees our role is to make civilization ever more resplendent. My employer’s profoundest, or only, wish is to create a minaret that inheritors of Progress a thousand years from now will point to and say, “Look, there is Vyvyan Ayrs!” How vulgar, this hankering after immortality, how vain, how false. Composers are merely scribblers of cave paintings. One writes music because winter is eternal and because, if one didn’t, the wolves and blizzards would be at one’s throat all the sooner.

I'll get used to it. Yes, we often hear it said, or we say it ourselves, I'll get used to it, we say or they say, with what seems to be genuine acceptance, because there really isn't any other way, at least none has yet been discovered, of expressing in as dignified a way as possible our sense of resignation, what no one asks is at what cost do we get used to things.

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.

Then we still have time!” I gasp. “It’s not too late. We know what he’s going to do. We’ll return to the cave and fight.” “We?” Kernel says sarcastically. “Yes! I’ll fight to save Dervish and Bill-E. I don’t care what those monsters throw at us. When it’s family, it’s different.” “You really think you can choose not to be a coward if and when it suits you?” Kernel jeers. Beranabus interrupts wearily before I can retort. “It doesn't matter. You're arguing about nothing. The time for heroics has passed.

It feels ridiculous to say it now. For gods’ sake, we just caved into this. But two and a half years is more than enough to know, even if you’ve only been kissing for a microscopic portion of them, so it doesn’t feel shameful in the slightest to whisper, “I love you,” into the inches between us. And it feels a thousand times more ridiculous when Gal whispers, “I love you too,” back.

It was during that journey to Via Orazio that I began to be made unhappy by my own alienness. I had grown up with those boys, I considered their behavior normal, their violent language was mine. But for six years now I had also been following daily a path that they were completely ignorant of and in the end I had confronted it brilliantly. With them I couldn’t use any of what I learned every day, I had to suppress myself, in some way diminish myself. What I was in school I was there obliged to put aside or use treacherously, to intimidate them. I asked myself what I was doing in that car. They were my friends, of course, my boyfriend was there, we were going to Lila’s wedding celebration. But that very celebration confirmed that Lila, the only person I still felt was essential even though our lives had diverged, no longer belonged to us and, without her, every intermediary between me and those youths, that car racing through the streets, was gone. Why then wasn’t I with Alfonso, with whom I shared both origin and flight? Why, above all, hadn’t I stopped to say to Nino, Stay, come to the reception, tell me when the magazine with my article’s coming out, let’s talk, let’s dig ourselves a cave that can protect us from Pasquale’s driving, from his vulgarity, from the violent tones of Carmela and Enzo, and also—yes, also—of Antonio?

Passing through the outskirts of the city, she thought, it's as though everything were traveling so fast that the solid stuff couldn't stand it and were going to pieces under the strain, cornices blowing off and windows caving in. She knew she was afraid to say it truly, afraid to face the knowledge that it was a voluntary neck-breaking speed, a deliberate swirling faster and faster to end in destruction.

You have to take risks. We will only understand the miracle of life fully when we allow the unexpected to happen. Every day, God gives us the sun - and also one moment when we have the ability to change everything that makes us unhappy. Every day, we try to pretend that we haven't perceived that moment, that it doesn't exist - that today is the same as yesterday and will be the same as tomorrow. But if people really pay attention to their everyday lives, they will discover that magic moment. It may arrive in the instant when we are doing something mundane, like putting our front-door key in the lock; it may lie hidden in the quiet that follows the lunch hour or in the thousand and one things that all seem the same to us. But that moment exists - a moment when all the power of the stars becomes a part of us and enables us to perform miracles. Joy is sometimes a blessing, but it is often a conquest. Our magic moment helps us to change and sends us off in search of our dreams. Yes, we are going to suffer, we will have difficult times, and we will experience many disappointments - but all of these are transitory; it leaves no permanent mark. And one day we will look back with pride and faith at the journey we have taken. Pitiful is the person who is afraid of taking risks. Perhaps, this person would never be disappointed or disillusioned; perhaps she won't suffer the way people do when they have a dream to follow. But when the person looks back - she will never hear her heart saying 'What have you done with the miracles that God planted in your days? What have you done with the talents God has bestowed upon you? You buried yourself in a cave because you were fearful of losing those talents. So this is your heritage, the certainty that you wasted your life.' Pitiful are the people who must realize this. Because when they are finally able to believe in miracles, their life's magic moments will have already passed them by.

I went to interview some of these early Jewish colonial zealots—written off in those days as mere 'fringe' elements—and found that they called themselves Gush Emunim or—it sounded just as bad in English—'The Bloc of the Faithful.' Why not just say 'Party of God' and have done with it? At least they didn't have the nerve to say that they stole other people's land because their own home in Poland or Belarus had been taken from them. They said they took the land because god had given it to them from time immemorial. In the noisome town of Hebron, where all of life is focused on a supposedly sacred boneyard in a dank local cave, one of the world's less pretty sights is that of supposed yeshivah students toting submachine guns and humbling the Arab inhabitants. When I asked one of these charmers where he got his legal authority to be a squatter, he flung his hand, index finger outstretched, toward the sky.

Ian nodded. Do not question her, he told himself. Not when she is in a state like this. Still, it was a pity to attack them with such force. Especially the girl, Amy. He'd never met anyone like her. Shy. Gentle. With an exciting edge of hostility. So unlike the girls back home, who flung themselves at him so often that his chauffeurs traveled with first-aid kits. Doesn't she know better? Isn't she smart enough to stop the hunt? It was the boy and the au pair. He was a pint-sized hothead. She was a collection of piercings and piggishness. If only Amy and Dan had stayed trapped in the cave in Seoul, at least long enough to get discouraged. Why did they antagonize Mother? They don't know what it's like to live with her. "Right you are," Ian said. "They're asking for it. Heaven forbid they listen to the brains of the outfit." "And that would be–?" Isabel asked. Ian looked away. "Well, the sister, I'd say. Amy." He felt a smile inching across his face. "Ian?" His mother grabbed his wrist. "If you are having the inkling of a shadow of a thought..." "Mother!" Ian could feel the blood rushing to his face. "How could you suspect for a moment...?

Now," she said when all was ready and lit the silver sconces on either side of the mirror. What woman would not have kindled to see what Orlando saw then burning in the snow--for all about the looking glass were snowy lawns, and she was like a fire, a burning bush, and the candle flames about her head were silver leaves; or again, the glass was green water, and she a mermaid, slung with pearls, a siren in a cave, singing so that oarsmen leant from their boats and fell down, down to embrace her; so dark, so bright, so hard, so soft, was she, so astonishingly seductive that it was a thousand pities that there was no one there to pt it in plain English, and say outright "Damn it Madam, you are loveliness incarnate," which was the truth.

Every morning, he would bring her a boulder and have her try to cut it in half with the Rippling Sword. Every morning, she failed, and he took the stone away, only to bring a new one the next day. She’d thrown her training sword aside in disgust. “I can’t do it,” she had said. “Been waiting for you to say that,” he’d responded. He had taken her to a cave behind a waterfall, where he had kept all of the stones she had tried and failed to cut. There were the marks of her failure: slashes in the rocks where her madra had cut. The scars started faint, but they got wider and deeper. And the stones got bigger. “This is what you did yesterday,” he’d said, pointing to the largest rock, the one with the deepest cut. “I can’t wait to see what you do tomorrow.

The all-powerful Zahir seemed to be born with every human being and to gain full strength in childhood, imposing rules that would thereafter always be respected: People who are different are dangerous; they belong to another tribe; they want our lands and our women. We must marry, have children, reproduce the species. Love is only a small thing, enough for one person, and any suggestion that the heart might be larger than this may seem perverse. When we are married we are authorised to take possession of the other person, body and soul. We must do jobs we detest because we are part of an organised society, and if everyone did what they wanted to do, the world would come to a standstill. We must buy jewelry; it identifies us with our tribe. We must be amusing at all times and sneer at those who express their real feelings; it's dangerous for a tribe to allow its members to show their feelings. We must at all costs avoid saying no because people prefer those who always say yes, and this allows us to survive in hostile territory. What other people think is more important than what we feel. Never make a fuss--it might attract the attention of an enemy tribe. If you behave differently you will be expelled from the tribe because you could infect others and destroy something that was extremely difficult to organise in the first place. We must always consider the look of our new cave, and if we don't have a clear idea of our own, then we must call a decorator who will do his best to show others what good taste we have. We must eat three meals a day, even if we're not hungry, and when we fail to fit the current ideal of beauty we must fast, even if we're starving. We must dress according to the dictates of fashion, make love whether we feel like it or not, kill in the name of our country, wish time away so that retirement comes more quickly, elect politicians, complain about the cost of living, change our hair-style, criticise anyone who is different, go to a religious service on Sunday, Saturday or Friday, depending on our religion, and there beg forgiveness for our sins and puff ourselves up with pride because we know the truth and despise he other tribe, who worship false gods. Our children must follow in our footsteps; after all we are older and know more about the world. We must have a university degree even if we never get a job in the area of knowledge we were forced to study. We must never make our parents sad, even if this means giving up everything that makes us happy. We must play music quietly, talk quietly, weep in private, because I am the all-powerful Zahir, who lays down the rules and determines the meaning of success, the best way to love, the importance of rewards.

how is a Greek chorus like a lawyer they’re both in the business of searching for a precedent finding an analogy locating a prior example so as to be able to say this terrible thing we’re witnessing now is not unique you know it happened before or something much like it we’re not at a loss how to think about this we’re not without guidance there is a pattern we can find an historically parallel case and file it away under ANTIGONE BURIED ALIVE FRIDAY AFTERNOON COMPARE CASE HISTORIES 7, 17 AND 49 now I could dig up those case histories tell you about Danaos and Lykourgos and the sons of Phineus people locked up in a room or a cave or their own dark mind it wouldn’t help you it doesn’t help me it’s Friday afternoon there goes Antigone to be buried alive

Before your breaths pick up pace and our bodies are aching because everything we're feeling is just making us want more and more and more of each other...until I'm afraid I'll beg you not to ask me to slow down. So instead, I regrettably tear my mouth from yours and force myself away from your bed and you life up unto your elbows and look at me, disappointed, because you kind of wished I would have kept going, but at the same time you're relieved I didn't, because you know you would have given in. So instead of giving in, we just stare. We watch each other silently as my heart rate begins to slow down and your breaths are easier to catch and the insatiable need is still there, but our minds are clearer now that I'm not pressed against you anymore. I turn around and walk to your window and leave without even saying goodbye, because we both know if either of us speaks...it'll be the collective demise of our willpower and we'll cave. We'll cave so hard.

It's like my throat's caving in on itself. But I have to channel my inner New Yorker - cool and nonchalant. I shoot him a tentative grin. Deep Breath. "That's a big package." And... shit. The words tumblr out. "I don't mean package. Just. Your box. Is big." I hold my hands apart to demonstrate. Because apparently that's the way to prove it's not an innuendo. By spreading my hands out dick-measuringly. Box Boy furrows his brow. "Sorry. I don't... I swear I don't usually comment on the size of other guys' boxes." He meets my eyes and smiles, just a little. "Nice tie," he says.

The Stranger Looking as I’ve looked before, straight down the heart of the street to the river walking the rivers of the avenues feeling the shudder of the caves beneath the asphalt watching the lights turn on in the towers walking as I’ve walked before like a man, like a woman, in the city my visionary anger cleansing my sight and the detailed perceptions of mercy flowering from that anger if I come into a room out of the sharp misty light and hear them talking a dead language if they ask me my identity what can I say but I am the androgyne I am the living mind you fail to describe in your dead language the lost noun, the verb surviving only in the infinitive the letters of my name are written under the lids of the newborn child

Invitation to Eternity Say, wilt thou go with me, sweet maid, Say, maiden, wilt thou go with me Through the valley-depths of shade, Of bright and dark obscurity; Where the path has lost its way, Where the sun forgets the day, Where there's nor light nor life to see, Sweet maiden, wilt thou go with me? Where stones will turn to flooding streams, Where plains will rise like ocean's waves, Where life will fade like visioned dreams And darkness darken into caves, Say, maiden, wilt thou go with me Through this sad non-identity Where parents live and are forgot, And sisters live and know us not? Say, maiden, wilt thou go with me In this strange death of life to be, To live in death and be the same, Without this life or home or name, At once to be and not to be— That was and is not—yet to see Things pass like shadows, and the sky Above, below, around us lie? The land of shadows wilt thou trace, Nor look nor know each other's face; The present marred with reason gone, And past and present both as one? Say, maiden, can thy life be led To join the living and the dead? Then trace thy footsteps on with me: We are wed to one eternity.

The theory of positivity teaches us to, "always look on the bright side" and to, "point out the bright side to others". However, any highly empathic individual will know, that this mindset alienates us from other people. What connects us with other people is the ability to identify with what they are feeling and thinking, regardless of whether or not we've actually been in their place before. If you want to point someone out to the light, first you need to get into their dark cave with them, light a candle, and say, "Hey, I'm here with you and look, remember what the light feels like?" That's the kind of positivity that actually bears real change in people, in the world.

It is a mistake to think of the expatriate as someone who abdicates, who withdraws and humbles himself, resigned to his miseries, his outcast state. On a closer look, he turns out to be ambitious, aggressive in his disappointments, his very acrimony qualified by his belligerence. The more we are dispossessed, the more intense our appetites and illusions become. I even discern some relation between misfortune and megalomania. The man who has lost everything preserves as a last resort the hope of glory, or of literary scandal. He consents to abandon everything, except his name. [ . . . ] Let us say a man writes a novel which makes him, overnight, a celebrity. In it he recounts his sufferings. His compatriots in exile envy him: they too have suffered, perhaps more. And the man without a country becomes—or aspires to become—a novelist. The consequence: an accumulation of confusions, an inflation of horrors, of frissons that date. One cannot keep renewing Hell, whose very characteristic is monotony, or the face of exile either. Nothing in literature exasperates a reader so much as The Terrible; in life, it too is tainted with the obvious to rouse our interest. But our author persists; for the time being he buries his novel in a drawer and awaits his hour. The illusion of surprise, of a renown which eludes his grasp but on which he reckons, sustains him; he lives on unreality. Such, however, is the power of this illusion that if, for instance, he works in some factory, it is with the notion of being freed from it one day or another by a fame as sudden as it is inconceivable. * Equally tragic is the case of the poet. Walled up in his own language, he writes for his friends—for ten, for twenty persons at the most. His longing to be read is no less imperious than that of the impoverished novelist. At least he has the advantage over the latter of being able to get his verses published in the little émigré reviews which appear at the cost of almost indecent sacrifices and renunciations. Let us say such a man becomes—transforms himself—into an editor of such a review; to keep his publication alive he risks hunger, abstains from women, buries himself in a windowless room, imposes privations which confound and appall. Tuberculosis and masturbation, that is his fate. No matter how scanty the number of émigrés, they form groups, not to protect their interests but to get up subscriptions, to bleed each other white in order to publish their regrets, their cries, their echoless appeals. One cannot conceive of a more heart rending form of the gratuitous. That they are as good poets as they are bad prose writers is to be accounted for readily enough. Consider the literary production of any "minor" nation which has not been so childish as to make up a past for itself: the abundance of poetry is its most striking characteristic. Prose requires, for its development, a certain rigor, a differentiated social status, and a tradition: it is deliberate, constructed; poetry wells up: it is direct or else totally fabricated; the prerogative of cave men or aesthetes, it flourishes only on the near or far side of civilization, never at the center. Whereas prose demands a premeditated genius and a crystallized language, poetry is perfectly compatible with a barbarous genius and a formless language. To create a literature is to create a prose.

To have without holding Learning to love differently is hard, love with the hands wide open, love with the doors banging on their hinges, the cupboard unlocked, the wind roaring and whimpering in the rooms rustling the sheets and snapping the blinds that thwack like rubber bands in an open palm. It hurts to love wide open stretching the muscles that feel as if they are made of wet plaster, then of blunt knives, then of sharp knives. It hurts to thwart the reflexes of grab, of clutch ; to love and let go again and again. It pesters to remember the lover who is not in the bed, to hold back what is owed to the work that gutters like a candle in a cave without air, to love consciously, conscientiously, concretely, constructively. I can’t do it, you say it’s killing me, but you thrive, you glow on the street like a neon raspberry, You float and sail, a helium balloon bright bachelor’s button blue and bobbing on the cold and hot winds of our breath, as we make and unmake in passionate diastole and systole the rhythm of our unbound bonding, to have and not to hold, to love with minimized malice, hunger and anger moment by moment balanced.

Sick" "I cannot go to school today," Said little Peggy Ann McKay. "I have the measles and the mumps, A gash, a rash and purple bumps. My mouth is wet, my throat is dry, I'm going blind in my right eye. My tonsils are as big as rocks, I've counted sixteen chicken pox And there's one more--that's seventeen, And don't you think my face looks green? My leg is cut--my eyes are blue-- It might be instamatic flu. I cough and sneeze and gasp and choke, I'm sure that my left leg is broke-- My hip hurts when I move my chin, My belly button's caving in, My back is wrenched, my ankle's sprained, My 'pendix pains each time it rains. My nose is cold, my toes are numb. I have a sliver in my thumb. My neck is stiff, my voice is weak, I hardly whisper when I speak. My tongue is filling up my mouth, I think my hair is falling out. My elbow's bent, my spine ain't straight, My temperature is one-o-eight. My brain is shrunk, I cannot hear, There is a hole inside my ear. I have a hangnail, and my heart is--what? What's that? What's that you say? You say today is. . .Saturday? G'bye, I'm going out to play!

You aren't in love with me." She blinked. "I'm not?" "No," he said emphatically. "You just think you are. You're confused," he explained... She knew where he was headed. "I see." "Transference." "I'm sorry?" "It's called transference. It's kind of like a patient falling in love with a doctor. It's not real," he stressed. "That's what I'm suffering from?" "Not suffering, honey," he said. "But I do think you've confused gratitude for love." She pretended to ponder the possibility for a long minute and then said, "I believe you might be right." "You do?" He sounded a little stunned. "Yes, I do." She said more forcefully. He wanted confirmation. "So you realize you don't love me." "That's exactly what I realize," she told him. "It's that transference thing all right. I was confused, but I am not any longer. Thank you for clearing it up for me." He shot her a hasty glance. "That was pretty damn quick wasn't it?" "When you're right, you're right." "That's it?" He was suddenly furious with her and didn't care that it showed. Damn it, she had told him she loved him, and after a one-minute argument, she caved. What the hell kind of love was that? "That's all you have to say?" "No, actually there is just one more thing I'd like to mention." "Yeah? What's that?" "You're an idiot.

After dinner, I went upstairs and found Ren standing on the veranda again, looking at the sunset. I approached him shyly and stood behind him. “Hello, Ren.” He turned and openly studied my appearance. His gaze drifted ever so slowly down my body. The longer he looked, the wider his smile got. Eventually, his eyes worked their way back up to my bright red face. He sighed and bowed deeply. “Sundari. I was standing here thinking nothing could be more beautiful than this sunset tonight, but I was mistaken. You standing here in the setting sun with your hair and skin aglow is almost more than a man can…fully appreciate.” I tried to change the subject. “What does sundari mean?” “It means ‘most beautiful.’” I blushed again, which made him laugh. He took my hand, tucked it under his arm, and led me to the patio chairs. Just then, the sun dipped below the trees leaving its tangerine glow in the sky for just a few more moments. We sat again, but this time he sat next to me on the swinging patio seat and kept my hand in his. I ventured shyly, “I hope you don’t mind, but I explored your house today, including your room.” “I don’t mind. I’m sure you found my room the least interesting.” “Actually, I was curious about the note I found. Did you write it?” “A note? Ah, yes. I just scribbled a few notes to help me remember what Phet had said. It just says seek Durga’s prophecy, the Cave of Kanheri, Kelsey is Durga’s favored one, that sort of thing.” “Oh. I…also noticed a ribbon. Is it mine?” “Yes. If you’d like it back, you can take it.” “Why would you want it?” He shrugged, looking embarrassed. “I wanted a memento, a token from the girl who saved my life.” “A token? Like a fair maiden giving her handkerchief to a knight in shining armor?” He grinned. “Exactly.” I jested wryly, “Too bad you didn’t wait for Cathleen to get a little older. She’s going to be very pretty.” He frowned. “Cathleen from the circus?” He shook his head. “You were the chosen one, Kelsey. And if I had the option of choosing the girl to save me, I still would have picked you.” “Why?” “A number of reasons. I liked you. You are interesting. I enjoyed listening to your voice. I felt like you saw through the tiger skin to the person underneath. When you spoke, it felt like you were saying exactly the things I needed to hear. You’re smart. You like poetry, and you’re very pretty.” I laughed at his statement. Me, pretty? He can’t be serious. I was average in so many ways. I didn’t really concern myself with current makeup, hairstyles, or fashionable, but uncomfortable, clothes like other teenagers. My complexion was pale, and my eyes were so brown that they were almost black. By far, my best feature was my smile, which my parents paid dearly for and so did I-with three years of metal braces. Still, I was flattered. “Okay, Prince Charming, you can keep your memento.” I hesitated, and then said softly, “I wear those ribbons in memory of my mom. She used to brush out my hair and braid ribbons through it while we talked.” Ren smiled understandingly. “Then it means even more to me.

It's like this, Bunny Boy, if you walk up to an oak tree or a bloody elm or something - you know, one of those big bastards - one with a thick, heavy trunk with giant roots that grow deep in the soil and great branches that are covered in leaves, right, and you walk up to it and give the tree a shake, well, what happens?' (...) 'I really don't know, Dad,' (...) 'Well, nothing bloody happens, of course!' (...) 'You can stand there shaking it till the cows come home and all that will happen is your arms will get tired. Right?' (...) 'Right, Dad,' he says. (...) 'But if you go up to a skinny, dry, fucked-up little tree, with a withered trunk and a few leaves clinging on for dear life, and you put your hands around it and shake the shit out of it - as we say in the trade - those bloody leaves will come flying off! Yeah?' 'OK, Dad,' says the boy (...) 'Now, the big oak tree is the rich bastard, right, and the skinny tree is the poor cunt who hasn't got any money. Are you with me?' Bunny Junior nods. 'Now, that sounds easier than it actually is, Bunny Boy. Do you want to know why?' 'OK, Dad.' 'Because every fucking bastard and his dog has got hold of the little tree and is shaking it for all that it's worth - the government, the bloody landlord, the lottery they don't have a chance in hell of winning, the council, their bloody exes, their hundred snotty-nosed brats running around because they are too bloody stupid to exercise a bit of self-control, all the useless shit they see on TV, fucking Tesco, parking fines, insurance on this and insurance on that, the boozer, the fruit machines, the bookies - every bastard and his three-legged, one-eyed, pox-riden dog are shaking this little tree,' says Bunny, clamping his hands together and making like he is throttling someone. 'So what do you go and do, Dad?' says Bunny Junior. 'Well, you've got to have something they think they need, you know, above all else.' 'And what's that, Dad?' 'Hope... you know... the dream. You've got to sell them the dream.

The sound of thunder awake me, and when I got up, my feet sank into muddy water up to my ankles. Mother took Buster and Helen to high ground to pray, but I stayed behind with Apache and Lupe. We barricaded the door with the rug and started bailing water out the window. Mother came back and begged us to go pray with her on the hilltop. "To heck with praying!" I shouted. "Bail, dammit, bail!" Mom look mortified. I could tell she thought I'd probably doomed us all with my blasphemy, and I was a little shocked at it myself, but with the water rising so fast, the situation was dire. We had lit the kerosene lamp, and we could see the walls of the dugout were beginning to sag inward. If Mom had pitched in and helped, there was a chance we might have been able to save the dugout - not a good chance, but a fighting chance. Apache and Lupe and I couldn't do it on our own, though, and when the ceiling started to cave, we grabbed Mom's walnut headboard and pulled it through the door just as the dugout collapsed in on itself, burying everything. Afterward, I was pretty aggravated with Mom. She kept saying that the flood was God's will and we had to submit to it. But I didn't see things that way. Submitting seemed to me a lot like giving up. If God gave us the strength to bail - the gumption to try to save ourselves - isn't that what he wanted us to do?

Because I live in south Florida I store cans of black beans and gallons of water in my closet in preparation for hurricane season. I throw a hurricane party in January. You’re my only guest. We play Marco Polo in bed. The sheets are wet like the roof caved in. There’s a million of me in you. You try to count me as I taste the sweat on the back of your neck. I call you Sexy Sexy, and we do everything twice. After, still sweating, we drink Crystal Light out of plastic water bottles. We discuss the pros and cons of vasectomies. It’s not invasive you say. I wrap the bedsheet around my waist. Minor surgery you say. You slur the word surgery, like it’s a garnish on a dish you just prepared. I eat your hair until you agree to no longer talk about vasectomies. We agree to have children someday, and that they will be beautiful even if they’re not. As I watch your eyes grow heavy like soggy clothes, I tell you When I grow up I’m going to be a famous writer. When I’m famous I’ll sign autographs on Etch-A-Sketches. I’ll write poems about writing other poems, so other poets will get me. You open your eyes long enough to tell me that when you grow up, you’re going to be a steamboat operator. Your pores can never be too clean you say. I say I like your pores just fine. I say Your pores are tops. I kiss you with my whole mouth, and you fall asleep next to my molars. In the morning, we eat french toast with powdered sugar. I wear the sugar like a mustache. You wear earmuffs and pretend we’re in a silent movie. I mouth Olive juice, but I really do love you. This is an awesome hurricane party you say, but it comes out as a yell because you can’t gauge your own volume with the earmuffs on. You yell I want to make something cute with you. I say Let me kiss the insides of your arms. You have no idea what I just said, but you like the way I smile.

This was before the importance of set and setting was understood. I was brought to a basement room, given an injection, and left alone.” A recipe for a bad trip, surely, but Richards had precisely the opposite experience. “I felt immersed in this incredibly detailed imagery that looked like Islamic architecture, with Arabic script, about which I knew nothing. And then I somehow became these exquisitely intricate patterns, losing my usual identity. And all I can say is that the eternal brilliance of mystical consciousness manifested itself. My awareness was flooded with love, beauty, and peace beyond anything I ever had known or imagined to be possible. ‘Awe,’ ‘glory,’ and ‘gratitude’ were the only words that remained relevant.” Descriptions of such experiences always sound a little thin, at least when compared with the emotional impact people are trying to convey; for a life-transforming event, the words can seem paltry. When I mentioned this to Richards, he smiled. “You have to imagine a caveman transported into the middle of Manhattan. He sees buses, cell phones, skyscrapers, airplanes. Then zap him back to his cave. What does he say about the experience? ‘It was big, it was impressive, it was loud.’ He doesn’t have the vocabulary for ‘skyscraper,’ ‘elevator,’ ‘cell phone.’ Maybe he has an intuitive sense there was some sort of significance or order to the scene. But there are words we need that don’t yet exist. We’ve got five crayons when we need fifty thousand different shades.” In

My own walls caved. Tears trickled from the corner of my eyes. Then strong arms enveloped me. “Don’t cry.” Ben’s hot breath on my cheek. “We’ll find her. And the twins. I promise.” “Don’t make promises you can’t keep,” I hiccupped. “People always do that.” “I mean it.” Firmly spoken. “I won’t let us fail. Not at this.” The sobs broke free. I burrowed into Ben’s chest, letting everything go. I cried and cried and cried, unthinking, releasing a week’s worth of pent-up emotion in a few hot seconds. Ben held me, silent, softly rubbing my back. A thought floated from somewhere far away. This isn’t so bad. I pushed away, gently breaking Ben’s embrace. Looked into his eyes. His face was a whisper from mine. I thought of Ben’s confession during the hurricane. How he’d wanted to be more than just packmates. Emotions swirled in my chest, making me dizzy. Off balance. “Ben . . . I . . .” “Tory?” My father’s voice sent us flying apart as if electroshocked. Kit was descending the steps, an odd look on his face. “Yes?” Discreetly wiping away tears. I saw a thousand questions fill Kitt’s eyes, but, thankfully, he kept them shelved. “I hate to do this, kiddo, but Whitney’s party starts in an hour. She’s trying to be patient, but, frankly, that isn’t her strong suit.” “No. Right.” I stood, smoothing clothes and hair. “Mustn’t keep the Duchess waiting.” Kit frowned. “Say the word, and we cancel right now. No question.” “No, sorry. I was just being flip. It’s really fine.” Forced smile. “Might be just the thing.” “All right, then. We need to get moving.” Kit glanced at Ben, still sitting on the bench, striving for invisible. A smile quirked my father’s lips. “And you, Mr. Blue? Ready for a good ol’-fashioned backyard barbeque? My daughter will be there.” Ben’s uneasy smile was his only response.

Do you know why so many Christians are caving on the issue of homosexuality? Certainly cultural pressure plays a big role. But our failure to really understand the holiness of heaven is another significant factor. If heaven is a place of universal acceptance for all pretty nice people, why should anyone make a big deal about homosexuality here on earth? Many Christians have never been taught that sorcerers and murderers and idolaters and everyone who loves and practices falsehood will be left outside the gates of heaven (Rev. 22:15). So they do not have the guts (or the compassion) to say that the unrepentantly sexually immoral will not be welcomed in either, which is exactly what Revelation 21–22 teaches. Because God’s new world is free from every stain or hint of sin, it’s hard to imagine how we could enjoy heaven without holiness. As J. C. Ryle reminds us, heaven is a holy place. The Lord of heaven is a holy God. The angels are holy creatures. The inhabitants are holy saints. Holiness is written on everything in heaven. And nothing unholy can enter into this heaven (Rev. 21:27; Heb. 12:14). Even if you could enter heaven without holiness, what would you do? What joy would you feel there? What holy man or woman of God would you sit down with for fellowship? Their pleasures are not your pleasures. Their character is not your character. What they love, you do not love. If you dislike a holy God now, why would you want to be with him forever? If worship does not capture your attention at present, what makes you think it will thrill you in some heavenly future? If ungodliness is your delight here on earth, what will please you in heaven, where all is clean and pure? You would not be happy there if you are not holy here.6 Or as Spurgeon put it, “Sooner could a fish live upon a tree than the wicked in Paradise.”7

Forget bringing the troops home from Iraq. We need to get the troops home from World War II. Can anybody tell me why, in 2009, we still have more than sixty thousand troops in Germany and thirty thousand in Japan? At some point, these people are going to have to learn to rape themselves. Our soldiers have been in Germany so long they now wear shorts with black socks. You know that crazy soldier hiding in the cave on Iwo Jima who doesn’t know the war is over? That’s us. Bush and Cheney used to love to keep Americans all sphinctered-up on the notion that terrorists might follow us home. But actually, we’re the people who go to your home and then never leave. Here’s the facts: The Republic of America has more than five hundred thousand military personnel deployed on more than seven hundred bases, with troops in one hundred fifty countries—we’re like McDonald’s with tanks—including thirty-seven European countries—because you never know when Portugal might invade Euro Disney. And this doesn’t even count our secret torture prisons, which are all over the place, but you never really see them until someone brings you there—kinda like IHOP. Of course, Americans would never stand for this in reverse—we can barely stand letting Mexicans in to do the landscaping. Can you imagine if there were twenty thousand armed Guatemalans on a base in San Ber-nardino right now? Lou Dobbs would become a suicide bomber. And why? How did this country get stuck with an empire? I’m not saying we’re Rome. Rome had good infrastructure. But we are an empire, and the reason is because once America lands in a country, there is no exit strategy. We’re like cellulite, herpes, and Irish relatives: We are not going anywhere. We love you long time!

167 It’s one of those days when the monotony of everything oppresses me like being thrown into jail. The monotony of everything is merely the monotony of myself, however. Each face, even if seen just yesterday, is different today, because today isn’t yesterday. Each day is the day it is, and there was never another one like it in the world. Only our soul makes the identification – a genuinely felt but erroneous identification – by which everything becomes similar and simplified. The world is a set of distinct things with varied edges, but if we’re near-sighted, it’s a continual and indecipherable fog. I feel like fleeing. Like fleeing from what I know, fleeing from what’s mine, fleeing from what I love. I want to depart, not for impossible Indias or for the great islands south of everything, but for any place at all – village or wilderness – that isn’t this place. I want to stop seeing these unchanging faces, this routine, these days. I want to rest, far removed, from my inveterate feigning. I want to feel sleep come to me as life, not as rest. A cabin on the seashore or even a cave in a rocky mountainside could give me this, but my will, unfortunately, cannot. Slavery is the law of life, and it is the only law, for it must be observed: there is no revolt possible, no way to escape it. Some are born slaves, others become slaves, and still others are forced to accept slavery. Our faint-hearted love of freedom – which, if we had it, we would all reject, unable to get used to it – is proof of how ingrained our slavery is. I myself, having just said that I’d like a cabin or a cave where I could be free from the monotony of everything, which is the monotony of me – would I dare set out for this cabin or cave, knowing from experience that the monotony, since it stems from me, will always be with me? I myself, suffocating from where I am and because I am – where would I breathe easier, if the sickness is in my lungs rather than in the things that surround me? I myself, who long for pure sunlight and open country, for the ocean in plain view and the unbroken horizon – could I get used to my new bed, the food, not having to descend eight flights of stairs to the street, not entering the tobacco shop on the corner, not saying good-morning to the barber standing outside his shop? Everything that surrounds us becomes part of us, infiltrating our physical sensations and our feeling of life, and like spittle of the great Spider it subtly binds us to whatever is close, tucking us into a soft bed of slow death which is rocked by the wind. Everything is us, and we are everything, but what good is this, if everything is nothing? A ray of sunlight, a cloud whose shadow tells us it is passing, a breeze that rises, the silence that follows when it ceases, one or another face, a few voices, the incidental laughter of the girls who are talking, and then night with the meaningless, fractured hieroglyphs of the stars.

So we call upon the author to explain (Doop doop doop doop dooop) Our myxomatoid kids spraddle the streets, we've shunned them from the greasy-grind The poor little things, they look so sad and old as they mount us from behind I ask them to desist and to refrain And then we call upon the author to explain (Doop doop doop doop dooop)Rosary clutched in his hand, he died with tubes up his nose And a cabal of angels with finger cymbals chanted his name in code We shook our fists at the punishing rain And we call upon the author to explain (Doop doop doop doop dooop) He said everything is messed up around here, everything is banal and jejune There is a planetary conspiracy against the likes of you and me in this idiot constituency of the moon Well, he knew exactly who to blame And we call upon the author to explain (Doop doop doop doop dooop) Prolix! Prolix! Nothing a pair of scissors can't fix! Prolix! Prolix! Nothing a pair of scissors can't fix!(Doop doop doop doop dooop) Well, I go guruing down the street, young people gather round my feet Ask me things, but I don't know where to start They ignite the power-trail ssstraight to my father's heart And once again I call upon the author to explain (Doop doop doop doop dooop ...)We call upon the author to explain Who is this great burdensome slavering dog-thing that mediocres my every thought? I feel like a vacuum cleaner, a complete sucker, it's fucked up and he is a fucker But what an enormous and encyclopaedic brain I call upon the author to explain (Doop doop doop doop dooop ...) Oh rampant discrimination, mass poverty, third world debt, infectious diseease Global inequality and deepening socio-economic divisions Well, it does in your brain And we call upon the author to explain (Doop doop doop doop dooop ...) Now hang on, my friend Doug is tapping on the window (Hey Doug, how you been?) Brings me back a book on holocaust poetry complete with pictures Then tells me to get ready for the rain And we call upon the author to explain (Doop doop doop doop dooop ...) I say prolix! Prolix! Something a pair of scissors can fix Bukowski was a jerk! Berryman was best! He wrote like wet papier mache, went the Heming-way weirdly on wings and with maximum pain We call upon the author to explain (Doop doop doop doop dooop ...) Down in my bolthole I see they've published another volume of unreconstructed rubbish "The waves, the waves were soldiers moving". Well, thank you, thank you, thank you And again I call upon the author to explain Yeah, we call upon the author to explain Prolix! Prolix! There's nothing a pair of scissors can't fix!

I’ve been queen for ages and ages,” Sunny went on. She strutted across the cave floor. “No one dares challenge me for my throne! I am the strongest SandWing queen who ever lived!” “Don’t forget the treasure,” Tsunami hissed, pointing at a pile of loose rocks. “Oh, right,” Sunny said. “It’s probably because of all my treasure! I have so much treasure because I’m such an important queen!” She swept the rocks toward her and gathered them between her talons. “Did someone say treasure?” Clay bellowed, leaping out from behind a large rock formation. Sunny yelped with fright. “No!” Tsunami called. “You’re not scared! You’re Queen Oasis, the big, bad queen of the sand dragons.” “R-right,” Sunny said. “Rargh! What is this tiny scavenger doing in the Kingdom of Sand? I am not afraid of tiny scavengers! I shall go out there and eat him in one bite!” Glory started giggling so hard she had to lie down and cover her face with her wings. Even Tsunami was making faces like she was trying not to laugh. Clay swung his stalagmite in a circle. “Squeak squeak squeak!” he shouted. “And other annoying scavenger noises! I’m here to steal treasure away from a magnificent dragon!” “Not from me, you won’t,” Sunny said, bristling. She stamped forward, spread her wings, and raised her tail threateningly. Without the poisonous barb other SandWings had, Sunny’s tail was not very menacing. But nobody pointed that out. “Yaaaaaaah!” Clay shouted, lunging forward with his rock claw. Sunny darted out of the way, and they circled each other, feinting and jabbing. This was Clay’s favorite part. When Sunny forgot about trying to act queenly and focused on the battle, she was fun to fight. Her small size made it easy for her to dodge and slip under his defenses. But in the end Queen Oasis had to lose — that was how the story went. Clay drove Sunny back against the wall of the cave and thrust the fake claw between her neck and her wing, pretending it went right through her heart. “Aaaaaaaargh,” Sunny howled. “Impossible! A queen defeated by a lowly scavenger! The kingdom will fall apart! Oh, my treasure … my lovely treasure . . .” She collapsed to the ground and let her wings flop lifelessly on either side of her. “Ha ha ha!” Clay said. “And squeak squeak! The treasure is mine!” He scooped up all the rocks and paraded away, lashing his tail proudly.

Last year I had a very unusual experience. I was awake, with my eyes closed, when I had a dream. It was a small dream about time. I was dead, I guess, in deep black space high up among many white stars. My own consciousness had been disclosed to me, and I was happy. Then I saw far below me a long, curved band of color. As I came closer, I saw that it stretched endlessly in either direction, and I understood that I was seeing all the time of the planet where I had lived. It looked like a woman’s tweed scarf; the longer I studied any one spot, the more dots of color I saw. There was no end to the deepness and variety of the dots. At length, I started to look for my time, but, although more and more specks of color and deeper and more intricate textures appeared in the fabric, I couldn’t find my time, or any time at all that I recognized as being near my time. I couldn’t make out so much as a pyramid. Yet as I looked at the band of time, all the individual people, I understood with special clarity, were living at the very moment with great emotion, in intricate detail, in their individual times and places, and they were dying and being replaced by ever more people, one by one, like stitches in which whole worlds of feeling and energy were wrapped, in a never-ending cloth. I remembered suddenly the color and texture of our life as we knew it- these things had been utterly forgotten- and I thought as I searched for it on the limitless band, “that was a good time then, a good time to be living.” And I began to remember our time. I recalled green fields with carrots growing, one by one, in slender rows. Men and women in bright vests and scarves came and pulled the carrots out of the soil and carried them in baskets to shaded kitchens, where they scrubbed them with yellow brushes under running water…I saw may apples in forest, erupting through leaf-strewn paths. Cells on the root hairs of sycamores split and divided and apples grew striped and spotted in the fall. Mountains kept their cool caves, and squirrels raced home to their nests through sunlight and shade. I remembered the ocean, and I seemed to be in the ocean myself, swimming over orange crabs that looked like coral, or off the deep Atlantic banks where whitefish school. Or again I saw the tops of poplars, and the whole sky brushed with clouds in pallid streaks, under which wilds ducks flew, and called, one by one, and flew on. All these things I saw. Scenes grew in depth and sunlit detail before my eyes, and were replaced by ever more scenes, as I remembered the life of my time with increasing feeling. At last I saw the earth as a globe in space, and I recalled the ocean’s shape and the form of continents, saying to myself with surprise as I looked at the planet, “Yes, that’s how it was then, that part there we called ‘France’”. I was filled with the deep affection of nostalgia- and then I opened my eyes.

This seat taken?" My eyes grazing over the only other occupant, a guy with long glossy dark hair with his head bent over a book. "It's all yours," he says. And when he lifts his head and smiles,my heart just about leaps from my chest. It's the boy from my dreams. The boy from the Rabbit Hole,the gas station,and the cave-sitting before me with those same amazing,icy-blue eues, those same alluring lips I've kissed multiple times-but only in slumber, never in waking life. I scold my heart to settle,but it doesn't obey. I admonish myself to sit,to act normal, casual-and I just barely succeed. Stealing a series of surreptitious looks as I search through my backpack, taking in his square chin,wide generous lips,strong brow,defined cheekbones, and smooth brown skin-the exact same features as Cade. "You're the new girl,right?" He abandons his book,tilting his head in a way that causes his hair to stream over his shoulder,so glossy and inviting it takes all of my will not to lean across the table and touch it. I nod in reply,or at least I think I do.I can't be too sure.I'm too stricken by his gaze-the way it mirrors mine-trying to determine if he knows me, recognizes me,if he's surprised to find me here.Wishing Paloma had better prepared me-focused more on him and less on his brother. I force my gaze from his.Bang my knee hard against the table as I swivel in my seat.Feeling so odd and unsettled,I wish I'd picked another place to sit, though it's pretty clear no other table would have me. He buries his smile and returns to the book.Allowing a few minutes to pass,not nearly enough time for me to get a grip on myself,when he looks up and says, "Are you staring at me because you've seen my doppelganer roaming the halls,playing king of the cafeteria? Or because you need to borrow a pencil and you're too shy to ask?" I clear the lump from my throat, push the words past my lips when I say, "No one's ever accused me of being shy." A statement that,while steeped in truth, stands at direct odds with the way I feel now,sitting so close to him. "So I guess it's your twin-or doppelganer,as you say." I keep my voice light, as though I'm not at all affected by his presence,but the trill note at the end gives me away.Every part of me now vibrating with the most intense surge of energy-like I've been plugged into the wall and switched on-and it's all I can do to keep from grabbing hold of his shirt, demanding to know if he dreamed the dreams too. He nods,allowing an easy,cool smile to widen his lips. "We're identical," he says. "As I'm sure you've guessed. Though it's easy enough to tell us apart. For one thing,he keeps his hair short.For another-" "The eyes-" I blurt,regretting the words the instant they're out.From the look on his face,he has no idea what I'm talking about. "Yours are...kinder." My cheeks burn so hot I force myself to look away,as words of reproach stampede my brain. Why am I acting like such an inept loser? Why do I insist on embarrassing myself-in front of him-of all people? I have to pull it together.I have to remember who I am-what I am-and what I was born to do.Which is basically to crush him and his kind-or,at the very least,to temper the damage they do.

Others may not notice it, because an angry Toraf is truly a rare thing to behold, but Galen can practically feel the animosity emanating from his friend. Which is why he casually bumps into him, taking care to be overly apologetic. “Oh, sorry about that, minnow. I didn’t even see you there.” Galen mimics Toraf’s demeanor, crossing his arms and staring ahead of them. What they’re supposed to be staring at, he’s not sure. His effort is rewarded with a slight upward curve of his friend’s mouth. “Oh, don’t think twice about it, tadpole. I know it must be difficult to swim straight with a whale’s tail.” Galen scowls, taking care not to glance down at his fin. Ever since they went to retrieve Grom, he’s been sore all below the waist, but he’d just attributed it to tension from finding Nalia, and then the whole tribunal mess-not to mention, hovering in place for hours at a time. Still, he did examine his fin the evening before, hoping to massage out any knots he found, but was a bit shocked to see that his fin span seemed to have widened. He decided that he was letting his imagination get the better of him. Now he’s not so sure. “What do you mean?” he says lightly. Toraf nods down toward the sand. “You know what I mean. Looks like you have the red fever.” “The red fever bloats you all over, idiot. Right before it kills you. It doesn’t make your fin grow wider. Besides, the red tide hasn’t been bad for years now.” But Toraf already knows what the red fever looks like. Not long after he first became a Tracker, Toraf was commissioned to find an older Syrena who had gone off on his own to die after he’d been caught in what the humans call the red tide. Toraf was forced to tie seaweed around the old one’s fin and pull his body to the Cave of Memories. No, he doesn’t think I have the red fever. Toraf allows himself a long look at Galen’s fin. If it were anyone else, Galen would consider it rude. “Does it hurt?” “It’s sore.” “Have you asked anyone about it?” “I’ve had other things on my mind.” Which is the truth. Galen really hadn’t given it much thought until right now. Now that it has been noticed by someone else. Toraf pulls his own fin around and after a few seconds of twisting and bending, he’s able to measure it against his torso. It spans from his neck to where his waist turns into velvety tail. He nods to Galen to do the same. Galen is horrified to find that his fin now spans from the top of his head to well below his waist. It really does look like a whale tail. “I don’t know how I feel about that,” Toraf says, thoughtful. “I’ve gotten used to having the most impressive fin out of the two of us.” Galen grins, letting his tail fall. “For a minute there I thought you really cared.” Toraf shrugs. “Being self-conscious doesn’t suit you.” Galen follows his gaze back out into the sea ahead of them. “So what do you think about yesterday’s tribunal?” “I think I know where Nalia and Emma get their temper.” Galen laughs. “I thought Jagen was going to pass out when Antonis grabbed him.” “He’s not very good at interacting with others anymore, is he?” “I wonder if he ever was. I told you how crazy Nalia always acted. Could be a family trait.” It looks like Toraf might actually smile but instead his gaze jerks back out to sea, a new scowl on his face. “Oh, no,” Galen groans. “What is it?” Please don’t say Emma. Please don’t say Emma. “Rayna,” Toraf says through clenched teeth. “She’s heading straight for us.” That’s almost as bad.