Cedar Wood Quotes

Give me quiet, he thought, give me forests and ocean and no roads. Give me the walk to the village through the woods in summer, give me the sound of wind in cedar branches, give me mist rising over the water, give me the view of green branches from my bathtub in the mornings. Give me a place with no people in it, because I will never fully trust another person again.

Who knows more of gods than I? Horse gods and fire gods, gods made of gold with gemstone eyes, gods carved of cedar wood, gods chiseled into mountains, gods of empty air... I know them all. I have seen their peoples garland them with flowers, and shed the blood of goats and bulls and children in their names. And I have heard the prayers, in half a hundred tongues. Cure my withered leg, make the maiden love me, grant me a healthy son. Save me, succor me, make me wealthy... protect me! Protect me from mine enemies, protect me from the darkness, protect me from the crabs inside my belly, from the horselords, from the slavers, from the sellswords at my door. Protect me from the Silence." He laughed. "Godless? Why, Aeron, I am the godliest man ever to raise sail! You serve one god, Damphair, but I have served ten thousand. From Ib to Asshai, when men see my sails, they pray.

His body smelled like a precious-wood forest; his hair, like sandalwood, his skin, like cedar. It was as if he had always lived among trees and plants.

Listen to this,” said Maddie. “Cerise Hood. Cedar Wood. Cerise Hood. Cedar Wood. Cedar, you and Cerise have to be friends or your names will get mad and just march right off you!

A bay is a noun only if water is dead. When bay is a noun, it is defined by humans, trapped between its shores and contained by the word. But the verb wiikwegamaa—to be a bay—releases the water from bondage and lets it live. “To be a bay” holds the wonder that, for this moment, the living water has decided to shelter itself between these shores, conversing with cedar roots and a flock of baby mergansers. Because it could do otherwise—become a stream or an ocean or a waterfall, and there are verbs for that, too. To be a hill, to be a sandy beach, to be a Saturday, all are possible verbs in a world where everything is alive. Water, land, and even a day, the language a mirror for seeing the animacy of the world, the life that pulses through all things, through pines and nuthatches and mushrooms. This is the language I hear in the woods; this is the language that lets us speak of what wells up all around us.[…] This is the grammar of animacy.

The spruce and cedar on its shores, hung with gray lichens, looked at a distance like the ghosts of trees. Ducks were sailing here and there on its surface, and a solitary loon, like a more living wave, — a vital spot on the lake's surface, — laughed and frolicked, and showed its straight leg, for our amusement.

To our indigenous ancestors, and to the many aboriginal peoples who still hold fast to their oral traditions, language is less a human possession than it is a property of the animate earth itself, an expressive, telluric power in which we, along with the coyotes and the crickets, all participate. Each creature enacts this expressive magic in its own manner, the honeybee with its waggle dance no less than a bellicose, harrumphing sea lion. Nor is this power restricted solely to animals. The whispered hush of the uncut grasses at dawn, the plaintive moan of trunks rubbing against one another in the deep woods, or the laughter of birch leaves as the wind gusts through their branches all bear a thicket of many-layered meanings for those who listen carefully. In the Pacific Northwest I met a man who had schooled himself in the speech of needled evergreens; on a breezy day you could drive him, blindfolded, to any patch of coastal forest and place him, still blind, beneath a particular tree -- after a few moments he would tell you, by listening, just what species of pine or spruce or fir stood above him (whether he stood beneath a Douglas fir or a grand fir, a Sitka spruce or a western red cedar). His ears were attuned, he said, to the different dialects of the trees.

I breathe in the soft, saturated exhalations of cedar trees and salmonberry bushes, fireweed and wood fern, marsh hawks and meadow voles, marten and harbor seal and blacktail deer. I breathe in the same particles of air that made songs in the throats of hermit thrushes and gave voices to humpback whales, the same particles of air that lifted the wings of bald eagles and buzzed in the flight of hummingbirds, the same particles of air that rushed over the sea in storms, whirled in high mountain snows, whistled across the poles, and whispered through lush equatorial gardens…air that has passed continually through life on earth. I breathe it in, pass it on, share it in equal measure with billions of other living things, endlessly, infinitely.

Aah, woodpecker! Help!” Cedar shouted. “Woodpecker! Girl made of wood! Not a good combo!” “I’ll help you!” Hunter cried. “Here we go,” Cupid said, rubbing her hands together. “It’s shirt-ripping time.” Sure enough, Hunter ripped off his shirt and posed. Invisible horns played a heroic fanfare. Hunter lifted his ax and chased the woodpecker. Which was chasing Cedar. “Aah, ax!” Cedar said, still running. “A woodpecker! And an ax! Aah!

He sat on the logs, smoking, drying in the sun, the sun warm on his back the river shallow ahead entering the woods, curving into the woods, shallows light glittering, big water-smooth rocks, cedars along the bank and white birches, the logs warm in the sun, smooth to sit on, without bark, gray to the touch; slowly the feeling of disappointment left him.

The name Kyirong means “the village of happiness,” and it really deserves the name. I shall never cease thinking of this place with yearning, and if I can choose where to pass the evening of my life, it will be in Kyirong. There I would build myself a house of red cedar wood and have one of the rushing mountain streams running through my garden, in which every kind of fruit would grow, for though its altitude is over 9,000 feet, Kyirong lies on the twenty-eighth parallel. When we arrived in January the temperature was just below freezing it seldom falls below -10 degrees Centigrade. The seasons correspond to the Alps, but the vegetation is subtropical. Once can go skiing the whole year round, and in the summer there is a row of 20,000-footers to climb.

On a midsummer night, on a night that was eerie with stars, In a wood too deep for a single star to look through, You led down a path whose turnings you knew in the darkness, But the scent of the dew-dripping cedars was all that I knew. I drank of the darkness, I was fed with the honey of fragrance, I was glad of my life, the drawing of breath was sweet; I heard your voice, you said, 'Look down, see the glow-worm!' It was there before me, a small star white at my feet.

Poetic style, when address'd to the Soul, is less definite form, outline, sculpture, and becomes vista, music, half-tints, and even less than half- tints. True, it may be architecture; but again it may be the forest wild-wood, or the best effects thereof, at twilight, the waving oaks and cedars in the wind, and the impalpable odor.

Cedar groaned and picked up her spoon with her bright blue fingers. While the rest of her was the fiery brown of the cedar wood she’d been carved from, her fingers were covered in blue paint up to her knuckles. You could tell a lot about Cedar’s current art projects by the color of her fingers. She didn’t mind getting messy. She just sanded the paint off.

I poured out a libation on the mountain top … I heaped up wood and cane and cedar and myrtle … When the gods smelled the sweet savour they gathered like flies over the sacrifice

Foragers feast," my father would say, and we'd set out into the woods, cedar bark baskets in our hands. In the summer, we harvested bright red huckleberries, and salal berries so dark blue they looked like night in your hand. In the fall, we found mushrooms hiding under the trees- I was captivated by the convoluted morels, each one a labyrinth of nooks and crannies.

We proaged on thru the woods that was full of magnolia, pine, cedar, oak, cypress, hickory, and many kinds of trees whose names I do not know. It is hard to know all the trees in Florida.

Back out of all this now too much for us, Back in a time made simple by the loss Of detail, burned, dissolved, and broken off Like graveyard marble sculpture in the weather, There is a house that is no more a house Upon a farm that is no more a farm And in a town that is no more a town. The road there, if you’ll let a guide direct you Who only has at heart your getting lost, May seem as if it should have been a quarry— Great monolithic knees the former town Long since gave up pretense of keeping covered. And there’s a story in a book about it: Besides the wear of iron wagon wheels The ledges show lines ruled southeast-northwest, The chisel work of an enormous Glacier That braced his feet against the Arctic Pole. You must not mind a certain coolness from him Still said to haunt this side of Panther Mountain. Nor need you mind the serial ordeal Of being watched from forty cellar holes As if by eye pairs out of forty firkins. As for the woods’ excitement over you That sends light rustle rushes to their leaves, Charge that to upstart inexperience. Where were they all not twenty years ago? They think too much of having shaded out A few old pecker-fretted apple trees. Make yourself up a cheering song of how Someone’s road home from work this once was, Who may be just ahead of you on foot Or creaking with a buggy load of grain. The height of the adventure is the height Of country where two village cultures faded Into each other. Both of them are lost. And if you’re lost enough to find yourself By now, pull in your ladder road behind you And put a sign up CLOSED to all but me. Then make yourself at home. The only field Now left’s no bigger than a harness gall. First there’s the children’s house of make-believe, Some shattered dishes underneath a pine, The playthings in the playhouse of the children. Weep for what little things could make them glad. Then for the house that is no more a house, But only a belilaced cellar hole, Now slowly closing like a dent in dough. This was no playhouse but a house in earnest. Your destination and your destiny’s A brook that was the water of the house, Cold as a spring as yet so near its source, Too lofty and original to rage. (We know the valley streams that when aroused Will leave their tatters hung on barb and thorn.) I have kept hidden in the instep arch Of an old cedar at the waterside A broken drinking goblet like the Grail Under a spell so the wrong ones can’t find it, So can’t get saved, as Saint Mark says they mustn’t. (I stole the goblet from the children’s playhouse.) Here are your waters and your watering place. Drink and be whole again beyond confusion.

The branches were low with the heavy snow upon them. It was quiet in the woods. The wind did not blow there. The golden cedar needles covered the ground, creating a soft carpet for the grey squirrel and tiny mouse.

The Curse" Cedars and the westward sun. The darkening sky. A man alone Watches beside the fallen wall The evening multitudes of sin Crowd in upon us all. For when the light fails they begin Nocturnal sabotage among The outcast and the loose of tongue, The lax in walk, the murderers: Our twilight universal curse. Children are faultless in the wood, Untouched. If they are later made Scandal and index to their time, It is that twilight brings for bread The faculty of crime. Only the idiot and the dead Stand by, while who were young before Wage insolent and guilty war By night within that ancient house, Immense, black, damned, anonymous.

In a valley shaded with rhododendrons, close to the snow line, where a stream milky with meltwater splashed and where doves and linnets flew among the immense pines, lay a cave, half, hidden by the crag above and the stiff heavy leaves that clustered below. The woods were full of sound: the stream between the rocks, the wind among the needles of the pine branches, the chitter of insects and the cries of small arboreal mammals, as well as the birdsong; and from time to time a stronger gust of wind would make one of the branches of a cedar or a fir move against another and groan like a cello. It was a place of brilliant sunlight, never undappled. Shafts of lemon-gold brilliance lanced down to the forest floor between bars and pools of brown-green shade; and the light was never still, never constant, because drifting mist would often float among the treetops, filtering all the sunlight to a pearly sheen and brushing every pine cone with moisture that glistened when the mist lifted. Sometimes the wetness in the clouds condensed into tiny drops half mist and half rain, which floated downward rather than fell, making a soft rustling patter among the millions of needles. There was a narrow path beside the stream, which led from a village-little more than a cluster of herdsmen's dwellings - at the foot of the valley to a half-ruined shrine near the glacier at its head, a place where faded silken flags streamed out in the Perpetual winds from the high mountains, and offerings of barley cakes and dried tea were placed by pious villagers. An odd effect of the light, the ice, and the vapor enveloped the head of the valley in perpetual rainbows.

I prayed to a mystery. Sometimes I was simply aware of the mystery. I saw a flash of it during a trip to New York that David and I took before we were married. We were walking on a busy sidewalk in Manhattan. I don't remember if it was day or night. A man with a wound on his forehead came toward us. His damp, ragged hair might have been clotted with blood, or maybe it was only dirt. He wore deeply dirty clothes. His red, swollen hands, cupped in half-fists, swung loosely at his sides. His eyes were focused somewhere past my right shoulder. He staggered while he walked. The sidewalk traffic flowed around him and with him. He was strange and frightening, and at the same time he belonged on the Manhattan sidewalk as much as any of us. It was that paradox -- that he could be both alien and resident, both brutalized and human, that he could stand out in the moving mass of people like a sea monster in a school of tuna and at the same time be as much at home as any of us -- that stayed with me. I never saw him again, but I remember him often, and when I do, I am aware of the mystery. Years later, I was out on our property on the Olympic Peninsula, cutting a path through the woods. This was before our house was built. After chopping through dense salal and hacking off ironwood bushes for an hour or so, I stopped, exhausted. I found myself standing motionless, intensely aware of all of the life around me, the breathing moss, the chattering birds, the living earth. I was as much a part of the woods as any millipede or cedar tree. At that moment, too, I was aware of the mystery. Sometimes I wanted to speak to this mystery directly. Out of habit, I began with "Dear God" and ended with "Amen". But I thought to myself, I'm not praying to that old man in the sky. Rather, I'm praying to this thing I can't define. It was sort of like talking into a foggy valley. Praying into a bank of fog requires alot of effort. I wanted an image to focus on when I prayed. I wanted something to pray *to*. but I couldn't go back to that old man. He was too closely associated with all I'd left behind.

Beautiful prairies, bordered by lofty hills sparsely scattered with timber, stretch around. The massive fronds of the Pinus Ponderosa replace the elegant leaflets of the Cedar, no longer found save rarely, perchance, in some deep dell moistened by a purling streamlet. Groves of aspen appear here and there. The Balsam Poplar shows itself at intervals only, along the streams. The white racemes of the Service-berry flower, and the chaste flowers of the Mock Orange, load the air with their fragrance. Every copse re-echoes with the low drumming of the ruffed Grouse; the trees resound with the muffled booming of the Cock of the Woods. The Pheasant shirrs past; the scrannel-pipe of the larger Crane -- ever a watchful sentinel -- grates harshly on the ear; and the shrill whistle of the Curlew as it soars aloft aides the general concert of the re-opined year. I speak still of Spring; for the impressions of that jocum season are ever the most vivid, and naturally recur with the greatest force in after years. -- Alexander Caulfield Anderson describing the new brigade trail between Lac la Hache and Kamloops.

I don't want you to be lonely," Cedar couldn't help saying. "Or hungry! You two always forget to go shopping till the cupboards are bare. I'll be right back." She grabbed some baskets and ran out of the house. Old Mother Hubbard's Corner Market was always open early, so Cedar filled her baskets with Pinocchio's and Gepetto's favorite foods: bread, fruitcake, sardines, and humble pie.

The question “Which beer do you want, Mary?” went down at the end. When she puts her nose to a glass, though, something switches on. She sits straighter and her words come out faster, lit by interest and focus. “It smells like a campfire to me also. Smokey, like wood, charred wood. Like a cedar chest, like a cigar, tobacco, dark things, smoking jackets.” She sips from the glass. “Now I’m getting the chocolate in the mouth. Caramel, cocoa nibs . . .

They fasted the rest of the day and breathed in the smoke of a cedar fire. At first light next morning, they blackened their faces with the cedar ash, a sign to the spirits of the deep woods that they had purified themselves. Sam tied back his long black-and-gray hair with a leather cord ornamented with a single eagle feather. They smoked tobacco and red willow leaves mixed with powdered aster root as a hunting charm, then covered themselves with tallow made of various animal fats to disguise their scent from the bear.

Like cold air passing through lips” I shall think of you as my ventriloquist, lying under the cedar trees. Your lips unreadable, my mouth daydreaming: journey, draining, geranium. My head heavy more with rhymes than sleep, resting on your arm, near the shadow’s edge. The fragrance of wood neither green nor brown, but shallow blue. Your compliments lodged in me like harvest mice nesting under leaves, foxgloves at our feet, the north winds singing. My ear as dumb as corn and too far gone, to catch your heart closing like a gate behind me.

I’d forgotten the names of most of the plants, but back in Dana Ramos’s class I’d known them all. I only lived four years in New England, but I noticed more and learned more about what was around me there than I ever had in Indiana, and more than I ever would in LA, where there’s constantly something new and impossibly technicolor blooming on my street. I could still tell you a few of them, the stalwart trees and ephemeral flowers of New Hampshire: painted trillium, bunchberry, hemlock, sheep laurel, white cedar, bloodroot. Below me and above me and in the woods stretching thick and endless, their leaves made sugar out of nothing but light.

The reason I didn’t have a normal, dad-built tree house is that, as I’ve indicated, I didn’t have anything even approaching that kind of dad. He was, and remains, one of the world’s great indoorsmen, a delegator of all conceivable outdoor tasks—lawn mowing, car washing, gutter cleaning, and tree-house building. By the time I was ten, which was when I’d kicked off my campaign for a tree house in the woods behind our ranch, he didn’t even own the tools needed to build one, having “accidentally” nailed his tool chest behind the walls of a cedar closet he’d tried to build for my mother in the basement. Whether consciously or not, my father had clearly wanted to make sure the cedar closet would be his last do-it-yourself project, and it was.

The road climbs curving out of wet ground thick with cedars, and up onto a plateau meadow where Jersey cows, beautiful as deer, watching them with Juno eyes. Along the trail the ferns are dense, drooping with wet, twenty kinds of them. Again he does not know them (in my experience, ferns are an exclusively feminine expertise), and she tells him: hayscented fern, wood fern, sensitive fern, cinnamon fern, ostrich fern, interrupted fern, Christmas fern, bracken, maidenhair - names that are as pleasant to his ear as the woods smells are to his nose. In the intervals between clumps of spruce, the moss spreads a green carpet, inches thick, feather-soft, with candles of ground pine and the domes of spotted orange mushrooms rising out of it... Those aren't toadstools, Those are mushrooms. Deadly Amanita mushrooms. Ne mangez pas. You know everything that grows here. That's wonderful." Not so wonderful. I grew up here. I grew up in Sewickley, Pennsylvania, too, but I couldn't tell you the name of one thing that grows there. One, maybe Lilacs. You didn't grow up with my mother.

Land and Sea The brilliant colors are the first thing that strike a visitor to the Greek Isles. From the stunning azure waters and blindingly white houses to the deep green-black of cypresses and the sky-blue domes of a thousand churches, saturated hues dominate the landscape. A strong, constant sun brings out all of nature’s colors with great intensity. Basking in sunshine, the Greek Isles enjoy a year-round temperate climate. Lemons grow to the size of grapefruits and grapes hang in heavy clusters from the vines of arbors that shade tables outside the tavernas. The silver leaves of olive trees shiver in the least sea breezes. The Greek Isles boast some of the most spectacular and diverse geography on Earth. From natural hot springs to arcs of soft-sand beaches and secret valleys, the scenery is characterized by dramatic beauty. Volcanic formations send craggy cliffsides plummeting to the sea, cause lone rock formations to emerge from blue waters, and carve beaches of black pebbles. In the Valley of the Butterflies on Rhodes, thousands of radiant winged creatures blanket the sky in summer. Crete’s Samaria Gorge is the longest in Europe, a magnificent natural wonder rife with local flora and fauna. Corfu bursts with lush greenery and wildflowers, nurtured by heavy rainfall and a sultry sun. The mountain ranges, gorges, and riverbeds on Andros recall the mainland more than the islands. Both golden beaches and rocky countrysides make Mykonos distinctive. Around Mount Olympus, in central Cyprus, timeless villages emerge from the morning mist of craggy peaks and scrub vegetation. On Evia and Ikaria, natural hot springs draw those seeking the therapeutic power of healing waters. Caves abound in the Greek Isles; there are some three thousand on Crete alone. The Minoans gathered to worship their gods in the shallow caves that pepper the remotest hilltops and mountain ranges. A cave near the town of Amnissos, a shrine to Eileithyia, goddess of childbirth, once revealed a treasure trove of small idols dedicated to her. Some caves were later transformed into monasteries. On the islands of Halki and Cyprus, wall paintings on the interiors of such natural monasteries survive from the Middle Ages. Above ground, trees and other flora abound on the islands in a stunning variety. ON Crete, a veritable forest of palm trees shades the beaches at Vai and Preveli, while the high, desolate plateaus of the interior gleam in the sunlight. Forest meets sea on the island of Poros, and on Thasos, many species of pine coexist. Cedars, cypress, oak, and chestnut trees blanket the mountainous interiors of Crete, Cyprus, and other large islands. Rhodes overflows with wildflowers during the summer months. Even a single island can be home to disparate natural wonders. Amorgos’ steep, rocky coastline gives way to tranquil bays. The scenery of Crete--the largest of the Greek Isles--ranges from majestic mountains and barren plateaus to expansive coves, fertile valleys, and wooded thickets.

13 The carpenter stretcheth out his rule; he marketh it [the idol he is making] out with a line; he fitteth it with planes, and he marketh it out with the compass [your craftsmen exercise great care and skill in manufacturing your idols], and maketh it after the figure of a man, according to the beauty of a man; that it may remain in the house [your craftsmen put great care into making your idols; implication: if you were as careful worshipping God as you are in making idols . . .]. 14 He heweth him down cedars, and taketh the cypress and the oak, which he strengtheneth [cultivates and grows] for himself among the trees of the forest: he planteth an ash [tree], and the rain doth nourish it. 15 Then shall it be for a man to burn: for he will take thereof, and warm himself; yea, he kindleth it, and baketh bread; yea, he maketh a god, and worshippeth it [you use most of the tree’s wood for normal daily needs; how can you possibly turn around and worship wood from the same tree in the form of idols!]; he maketh it a graven image, and falleth down thereto. 16 He burneth part thereof in the fire; with part thereof he eateth flesh; he roasteth roast, and is satisfied: yea, he warmeth himself, and saith, Aha, I am warm, I have seen the fire [normal uses]: 17 And the residue thereof [with the rest of the tree] he maketh a god, even his graven image: he falleth down unto it, and worshippeth it, and prayeth unto it, and saith, Deliver [save] me; for thou art my god [Isaiah is saying how utterly ridiculous it is to assign part of a tree to have powers over yourselves]. 18 They [idol worshipers; see 45:20] have not known [German: know nothing] nor understood [German: understand nothing]: for he hath shut their eyes [German: they are blind], that they cannot see [are spiritually blind]; and their hearts, that they cannot understand [they are as blind and unfeeling, insensitive, as the idols they make and worship]. 19 And none considereth in his heart [if idol worshipers would just stop and think], neither is there knowledge nor understanding [they don’t have enough common sense] to say, I have burned part of it [the tree spoken of in verse 44] in the fire; yea, also I have baked bread upon the coals thereof; I have roasted flesh, and eaten it: and shall I make the residue thereof an abomination [is it reasonable to make the leftover portion into an abominable idol]? shall I fall down to the stock of a tree [is it rational to worship a chunk of wood]? 20 He [the idol worshiper] feedeth on ashes [German: takes pleasure in ashes, perhaps referring to ashes left over from some forms of idol worship]: a [German: his own] deceived heart hath turned him aside [German: leads him astray], that he cannot deliver [save] his soul, nor say [wake up and think], Is there not a lie in my right hand [covenant hand—am I not making covenants with false gods]? 21 ¶ Remember these, O Jacob and Israel; for thou art my servant: I have formed thee [the exact opposite of idol worshipers who form their gods]; thou art my servant: O Israel, thou shalt not be forgotten of me.

In one picture, ten loggers sat side by side in a wedge-shaped cut sawed out of a massive cedar. James could almost hear the thunderous, splintering crash that giant must have made when it fell. The thought filled him with a strangely intimate sort of woe.  On

The Indian tribes living along the river valleys and on the offshore islands from northern Washington to Alaska are called the Northwest Coast tribes. They are noted for their wood-carving, particularly for their totem poles. These carved cedar poles were originally corner posts for the Indian houses. Later the custom of erecting one large pole in front of the house was adopted. There are several different types of totem poles. Some were erected to the memory of the dead. Others portrayed the owner’s family tree or illustrated some mythological adventure. The poles varied in height from about 40 to 70 feet. The larger ones were as much as 3 feet in diameter. The carver was an important person in his tribe. For his work he might be paid from one hundred to two hundred and fifty blankets, each worth about three dollars. The early poles were painted black, white, and red. Other colors were used when the traders brought in factory-made paints.

The air blowing in through the open window is surprisingly cool. Sam rolls down her own window, breathing in the fresh air tinged with the smell of warm cedar. Pulling some stray hairs across her forehead, she gazes happily at the beautiful scenery rushing past. These woods are different than the ones back home. The trees are bigger and the forest appears denser. Instead of moss hanging off the branches, sweet smelling pine needles cover the dry ground. Sighing,

The air blowing in through the open window is surprisingly cool. Sam rolls down her own window, breathing in the fresh air tinged with the smell of warm cedar. Pulling some stray hairs across her forehead, she gazes happily at the beautiful scenery rushing past. These woods are different than the ones back home. The trees are bigger, and the forest appears denser. Instead of moss hanging off the branches, sweet-smelling pine needles cover the dry ground.

Habitat. The environmental niche occupied by a plant reflects stresses and conditions which it has had to adapt to, and these often correspond to conditions in the organism. Plants which grow in wet situations often relate to organ systems which handle dampness in the body, such as the lymphatics and kidneys. They correspond to diseases produced by an excess of dampness—respiratory problems, mucus, lymphatic stagnation, swollen glands, kidney and bladder problems, intermittent fever and rheumatic complaints (rheuma = dampness in Greek). Here we think of Horsetail (low, wet sands/kidneys), Eryngo (salty, sandy seashores/kidneys), Gravel Root (swamps/kidneys), Swamp Milkweed (swamps/kidneys), Hydrangea (sides of streams/kidneys), Boneset (wet soils/joints and fever), Willow (low ground/joints and fever), Meadowsweet (low ground/rheumatic pains, intermittent fever), Northern White Cedar (cedar swamps and margins of lakes/lymphatics), Labrador Tea (cedar swamps and margins of lakes/lymphatics), various Knotweeds (low ground/kidneys), Sweet Flag (swamps/mucus, lungs and joints), Angelica (damp, shady, cool valleys/damp, cold rheumatic and respiratory conditions). It is interesting to note that sandy, gravely soils are also a signature for kidney remedies (Horsetail, Eryngo, Gravel Root, Gromwell, False Gromwell, Uva ursi, etc.)

Dove, Cannery Row, The Godfather, Fear and Loathing in Las Vegas, The Odd Sea, The World According to Garp, Siddhartha. Thirties: Rabbit Is Rich, The Golden Notebook, In Cold Blood, Crime and Punishment, The Last Boy, The Professional, Roots, Great Heart, Tropic of Cancer, King of the World, Judgment Ridge, Islands in the Stream, The Devil’s Teeth. Forties: The Islandman, Autobiography of Malcolm X, The Right Stuff, The Last Duel, War and Peace, The Orchard, The Secret History, Of Human Bondage, A River Runs Through It, Death Comes for the Archbishop, A Moveable Feast, We Took to the Woods, Nine Mile Bridge, A Fine Balance. Fifties: Miriam at Thirty-Four, The Hair of Harold Roux, The Horsemen, Give Me My Father’s Body (reissued in a revised and updated edition as Minik), Endurance, As I Lay Dying, Snow Falling on Cedars, Emma, The Long Lavender Look, Shadow Divers, The Devil’s Candy, Moriarty, The Last Place on Earth, The Power and the Glory. Sixties: Bleak House; The Sound and the Fury; Catherine the Great; Last Train to Memphis; The

Take an observing walk. Find a safe and pleasant place to walk, such as a quiet street, a park, or a trail in the woods, and practice observing for about twenty minutes. As you walk, look around at everything you see in the present moment. Notice the trees, the sidewalk, cars passing by, the sounds, smells, and the breeze on your face. Notice everything but don’t comment to yourself on any of it. When you start to comment, bring your attention back to observing. Notice how you feel as you walk and observe sights, sounds, and smells. When your mind wanders, simply bring it back to the present moment, the feeling of your body moving through space, and all that you see, hear, smell, and touch.

Listen to ambient sounds. Go outside to a natural spot, in your backyard, in the park, or in some woods, and find a safe place to sit. Allow your gaze to rest quietly on the ground in front of you and listen to the ambient sounds around you. You may hear traffic, birds, people talking, dogs barking, wind in the trees. It doesn’t matter what the sounds are or whether you like them or find them annoying. Simply sit and listen without commenting to yourself, without judgment, for at least five minutes.

The people of Mosquitia, even though they left behind impressive stone sculptures, did not erect great buildings or monuments in stone, the kind of structures that become dramatic ruins wowing people five centuries in the future. Instead, they constructed their pyramids, temples, and public buildings out of river cobbles, adobe, wattle and daub, and probably tropical hardwoods. They had gorgeous woods at their disposal such as mahogany, purple rosewood, aromatic cedar, and sweet gum. We have reasons to believe their weaving and fiber technology was truly spectacular. Imagine a temple made out of highly polished tropical hardwoods, with adobe walls that had been skillfully plastered, painted, incised, and decorated, the interiors draped in richly woven and colored textiles. Such temples might well have been just as magnificent as those of the Maya. But once abandoned, they dissolved in the rain and rotted away, leaving behind unimpressive mounds of dirt and rubble that were quickly swallowed by vegetation. In the acidic rainforest soils, no organic remains survive—not even the bones of the dead.

When your chicks first arrive, prepare a special place for them in the hen house. Depending on how many chicks you have, this can be a large cardboard box or a set of boards to partition the hen house floor. Cover the floor with least 1 inch (2.5 centimeters) of wood shavings, rice hulls, sand, or straw. Don’t use cedar shavings, fine sawdust, or treated wood chips. Cover the floor with newspapers the first day so the chicks will eat the feed and not the litter.

The ex acid-heads from the cities Converted to Guru or Swami, Do penance with shiny Dopey eyes, and quit eating meat. In the forests of North America, The land of Coyote and Eagle, They dream of India, of forever blissful sexless highs. And sleep in oil-heated Geodesic domes, that Were stuck like warts In the woods. And the Coyote singing is shut away for they fear the call of the wild. And they sold their virgin cedar trees, the tallest trees in miles, To a logger Who told them, “Trees are full of bugs.

The menu was full of classic American cuisine—bone-in ribeyes with garlic mashed potatoes, cedar plank salmon served with risotto and drizzled with lemon butter, smoked sausage, venison medallions, and game hens served with grilled vegetables and wild rice. Free-range herb roasted chicken with roasted potatoes. Porterhouse steaks, seared and served with steak fries and creamed spinach. Sweet corn soup topped with fresh herbs. To finish it off, dark chocolate cake layered with velvety ganache and served with a side of vanilla ice cream. Rustic wood beams

Redwood costs more but doesn’t need to be treated for insects or weather; pine does. Cedar is another weather- and pest-resistant wood, but it is also expensive.

Pivot Cedar Fencing of Maple Ridge has installed cedar fences for over 10 years for homes and businesses. Providing excellent craftsmanship at affordable prices, we excel in replacing existing fences and putting in new cedar fences. As we only do cedar wood fences including cedar fence panels, this has allowed to take on projects of any size and it has allowed us handle any type of challenges that involve wood fences. We are your #1 cedar fencing contractors offering free quotes.

Habitat. The environmental niche occupied by a plant reflects stresses and conditions which it has had to adapt to, and these often correspond to conditions in the organism. Plants which grow in wet situations often relate to organ systems which handle dampness in the body, such as the lymphatics and kidneys. They correspond to diseases produced by an excess of dampness—respiratory problems, mucus, lymphatic stagnation, swollen glands, kidney and bladder problems, intermittent fever and rheumatic complaints (rheuma = dampness in Greek). Here we think of Horsetail (low, wet sands/kidneys), Eryngo (salty, sandy seashores/kidneys), Gravel Root (swamps/kidneys), Swamp Milkweed (swamps/kidneys), Hydrangea (sides of streams/kidneys), Boneset (wet soils/joints and fever), Willow (low ground/joints and fever), Meadowsweet (low ground/rheumatic pains, intermittent fever), Northern White Cedar (cedar swamps and margins of lakes/lymphatics), Labrador Tea (cedar swamps and margins of lakes/lymphatics), various Knotweeds (low ground/kidneys), Sweet Flag (swamps/mucus, lungs and joints), Angelica (damp, shady, cool valleys/damp, cold rheumatic and respiratory conditions).

Western red cedar (Thuja plicata) is a kind of wonder wood. Its low density makes it easy to shape, whether with a chisel, a plane, or a handsaw. Its open cell structure makes it light and buoyant, and in rowing lightness means speed. Its tight, even grain makes it strong but flexible, easy to bend yet disinclined to twist, warp, or cup. It is free of pitch or sap, but its fibers contain chemicals called thujaplicins that act as natural preservatives, making it highly resistant to rot while at the same time lending it its lovely scent. It is beautiful to look at, it takes a finish well, and it can be polished to a high degree of luster, essential for providing the smooth, friction-free racing bottom a good shell requires.

The Akitu New Year Festival was a twelve-day celebration. The first day would involve the final arrival of the people into the temple district and city streets. The second day brought elaborate purification rituals and washings for both priests and temple. On the third day, statues of the gods were carved out of cedar and tamarisk wood. The fourth day was considered the true starting point, because it was the actual first day of the year. After recitations, prayers and rituals, the priests would recite their creation epic to the people. The story would connect their past with their future and reinforce the kingdom of the gods.

Carpentry, too, as a sacred process, belongs to this canon. Wood, like milk and wine, was thought to be a life-principle of Horus-Osiris (cf. Blackman, op. cit., p. 30), and cedar oil with its preservative and hardening qualities played an important part in embalming.

The sweet smell of baking crust rolled under her nose from the Four-and-Twenty Blackbird Pie Shop, though Cedar knew for a fact that the pies were made from pumpkin, apple, or pomegranate meringue and not birds. If you bought a pie, stuck in your thumb, and pulled out a plum, you won a tinsel crown.

Orpheus, Gathering the Trees" The Metamorphoses of Ovid, Book X, Lines 86-110. When love died the second time, he sang at dawn in the empty field and the bees came to listen. A little song for the tag alder, the rue cherry the withe-willow— the simple-hearted ones that come quickly to loneliness. Then he sang for the mulberry with its purple fruit, for the cedar and the tamarack. He sang, bel canto. for the quaking aspen and the stave oak; something lovely for the white pine, the fever tree, the black ash. From the air, he called the sparrows and the varieties of wrens. Then he sang for a bit of pestilence— for the green caterpillars, for the leaf worms and bark beetles. Food to suit the flickers and the crows. So that, in the wood lot, there would always be empty places. So he would still know loss.

Turmeric to repair brain cells, cinnamon to increase cognitive functioning, ground sage for boosting memory recall, and cedar wood oil for purification of the spirit.

Twenty-two hours, forty-seven minutes, and eighteen seconds to go!” she said to herself. Not long until her best friends till The End, Raven Queen and Cedar Wood, would return to Ever After High. At last! They both lived far, far away, and calls on the MirrorPhone just weren’t the same as a friend by your side.

You smell like wood, like cedar and sunshine and I love the way you smell, and I would hate it if I couldn’t smell you anymore.