Circles In Art Quotes

Life has a way of going in circles. Ideally, it would be a straight path forward––we'd always know where we were going, we'd always be able to move on and leave everything else behind. There would be nothing but the present and the future. Instead, we always find ourselves where we started. When we try to move ahead, we end up taking a step back. We carry everything with us, the weight exhausting us until we want to collapse and give up. We forget things we try to remember. We remember things we'd rather forget. The most frightening thing about memory is that it leaves no choice. It has mastered an incomprehensible art of forgetting. It erases, it smudges, it fills in blank spaces with details that don't exist. But however we remember it––or choose to remember it––the past is the foundation that holds our lives in place. Without its support, we'd have nothing for guidance. We spend so much time focused on what lies ahead, when what has fallen behind is just as important. What defines us isn't where we're going, but where we've been. Although there are places and people we will never see again, and although we move on and let them go, they remain a part of who we are. There are things that will never change, things we will carry along with us always. But as we venture into the murky future, we must find our strength by learning to leave things behind.

If you end your story, it's a static work of art, a finite circle. But if you don't, it belongs to anyone's imagination. It stays alive forever.

How do you curb envy? First, stop comparing yourself to others. Second, find your “circle of competence” and fill it on your own. Create a niche where you are the best. It doesn’t matter how small your area of mastery is. The main thing is that you are king of the castle.

Life is a gift that must be given back and joy should arise from its possession. It's too damn short and that's a fact. Hard to accept this earthly procession to final darkness is a journey done, circle completed, work of art sublime, a sweet melodic rhyme. A battle won.

[Wise men] have tried to understand our state of being, by grasping at its stars, or its arts, or its economics. But, if there is an underlying oneness of all things, it does not matter where we begin, whether with stars, or laws of supply and demand, or frogs, or Napoleon Bonaparte. One measures a circle, beginning anywhere.

Reality is made up of circles but we see straight lines.

The loneliness of difference, the loneliness of undesirability, the loneliness of not being admitted into the magic circles of connection and acceptance – the social and professional groupings, the embracing arms.

Who you allow into the circle of your life will make the difference in the quality of your life.

WHO’S GOT A TAMPON? I JUST GOT MY PERIOD, I will announce loudly to nobody in particular in a women’s bathroom in a San Francisco restaurant, or to a co-ed dressing room of a music festival in Prague, or to the unsuspecting gatherers in a kitchen at a party in Sydney, Munich, or Cincinnati. Invariably, across the world, I have seen and heard the rustling of female hands through backpacks and purses, until the triumphant moment when a stranger fishes one out with a kind smile. No money is ever exchanged. The unspoken universal understanding is: Today, it is my turn to take the tampon. Tomorrow, it shall be yours. There is a constant, karmic tampon circle. It also exists, I’ve found, with Kleenex, cigarettes, and ballpoint pens.

Perhaps because my father never got a college degree himself, he continued to view people who had one with a respect that bordered on awe. In most cases they didn’t deserve it. My father could run circles around most academics and he would have done very well in college, if he’d been able to go.

The creative impulse can be killed, but it cannot be taught...What a teacher can do...in working with children, is to give the flame enough oxygen so that it can burn. As far as I'm concerned, this providing of oxygen is one of the noblest of all vocations.

Art directors speak in pictures. If you want an art director to understand what you're saying, you need to draw some lines and circles on a piece of paper.

The misery that oppresses you lies not in your profession but in yourself! What man in the world would not find his situation intolerable if he chooses a craft, an art, indeed any form of life, without experiencing an inner calling? Whoever is born with a talent, or to a talent, must surely find in that the most pleasing of occupations! Everything on this earth has its difficult sides! Only some inner drive—pleasure, love—can help us overcome obstacles, prepare a path, and lift us out of the narrow circle in which others tread out their anguished, miserable existences!

Living in new shapes, reshapes our thinking

Art is distortion but a form of distortion that has the possibility of offering clarification, like a corrective lens. [Adelaide Scott]

Julia had a friend, a man named Dennys, who was as a boy a tremendously gifted artist. They had been friends since they were small, and she once showed me some of the drawings he made when he was ten or twelve: little sketches of birds pecking at the ground, of his face, round and blank, of his father, the local veterinarian, his hand smoothing the fur of a grimacing terrier. Dennys’s father didn’t see the point of drawing lessons, however, and so he was never formally schooled. But when they were older, and Julia went to university, Dennys went to art school to learn how to draw. For the first week, he said, they were allowed to draw whatever they wanted, and it was always Dennys’s sketches that the professor selected to pin up on the wall for praise and critique. But then they were made to learn how to draw: to re-draw, in essence. Week two, they only drew ellipses. Wide ellipses, fat ellipses, skinny ellipses. Week three, they drew circles: three-dimensional circles, two-dimensional circles. Then it was a flower. Then a vase. Then a hand. Then a head. Then a body. And with each week of proper training, Dennys got worse and worse. By the time the term had ended, his pictures were never displayed on the wall. He had grown too self-conscious to draw. When he saw a dog now, its long fur whisking the ground beneath it, he saw not a dog but a circle on a box, and when he tried to draw it, he worried about proportion, not about recording its doggy-ness.

If there is any intelligence guiding this universe, philosophy wishes to know and understand it and reverently work with it; if there is none, philosophy wishes to know that also, and face it without fear. If the stars are but transient coagulations of haphazard nebulae, if life is a colloidal accident, impersonally permanent and individually fleeting, if man is only a compound of chemicals, destined to disintegrate and utterly disappear, if the creative ecstasy of art, and the gentle wisdom of the sage, and the willing martyrdom of saints are but bright incidents in the protoplasmic pullulation of the earth, and death is the answer to every problem and the destiny of every soul--then philosophy will face that too, and try to find within that narrowed circle some significance and nobility for man.

I can't think of one great human being in the arts, or in history generally, who conformed, who succeeded, as educational experts tell us children must succeed, with his peer group...If a child in their classrooms does not succeed with his peer group, then it would seem to many that both child and teacher have failed. Have they? If we ever, God forbid, manage to make each child succeed with his peer group, we will produce a race of bland and faceless nonentities, and all poetry and mystery will vanish from the face of the earth.

A truly great work of art breaks beyond the bounds of the period and culture in which it is created, so final judgement on a current book has to be deferred until it can be seen outside this present moment.

Because when you give too many fucks—when you give a fuck about everyone and everything—you will feel that you’re perpetually entitled to be comfortable and happy at all times, that everything is supposed to be just exactly the fucking way you want it to be. This is a sickness. And it will eat you alive. You will see every adversity as an injustice, every challenge as a failure, every inconvenience as a personal slight, every disagreement as a betrayal. You will be confined to your own petty, skull-sized hell, burning with entitlement and bluster, running circles around your very own personal Feedback Loop from Hell, in constant motion yet arriving nowhere. The

Like a spider in its web, a vibration anywhere is felt everywhere.

This was a face such as I had never seen before, even in the most fanciful of dreams, a face that was, in its way, a work of art. For it was light and dark, night and day, this world and the Otherworld. On the left side, the face of a youngish man, the skin weathered but fair, the eye gray and clear, the mouth well formed if unyielding in character. On all the right side, extending from an undrawn mark down the exact center, an etching of line and curve and feathery pattern, like the mask of some fierce bird of prey. An eagle? A goshawk? No, it was, I thought, a raven, even as far as the circles about the eye and the suggestion of predatory beak around the nostril. The mark of the raven. If I had not been so frightened, I might have laughed at the irony of it. The pattern extended down his neck and under the border of his leather jerkin and the linen shirt he wore beneath it. His head was completely shaven, and the skull, too, was colored the same, half-man, half-wild creature; some great artist of the inks and needle had wrought this over many days, and I imagined the pain must have been considerable.

..joined the circle and prayed with these men [homeless] who seemed on the outside to have nothing to give but had been giving, without our knowing it, the most precious gift of all: compassion.

My neighbourhood has been filled with arts, songs, and dance. The gipsy boys were playing guitars and fiddles Craving emotions at the gates of our blurry days. The gipsy girls taught us how to shift graciously Within music charm, depicting wonderful stories All through ideas and emotions. Their colourful skirts rounding circles in delight Brought love from the gods Straight in our hearts.

The artist gives the beholder increasingly 'more to do,' he draws him into the magic circle of creation and allows him to experience something of the thrill of 'making' which had once been the privilege of the artist

A good salesman, as the old (and politically incorrect) saying goes, can sell a refrigerator to an Eskimo. It's a cliché, but there's some truth to it: Inuit who live above the Arctic Circle use insulated refrigerators to keep their food from freezing in subzero temperatures

You know, if you ain't poor, you might think it's the folks in them big ole fine brick churches that's doin all the carin and the prayin. I wish you coulda seen all them little circles a'homeless folks with their heads bowed and their eyes closed, whisperin what was on their hearts. Seemed like they didn't have nothin to give, but they was givin what they had, taken the time to knock on God's front door and ask Him to heal this woman that loved them.

No idea stays pure. Even the flowering of art isn't pure. And the sun has spots. All geniuses menstruate. On sorrow floats laughter. In the heart of roaring lurks silence. In angles lean compasses. -- But the circle, the circle is pure!

A single outstanding skill trumps a thousand mediocre ones. Every hour invested into your circle of competence is worth a thousand spent elsewhere.

If thou art Hekate of many names, if in the night thou doest shake thy mystic torch in brandcarrying hand, come nightwanderer…”[xliii

I see that life’s uphill From here on out. My tiny art, Circling its grief, will have to grow Joyous the only way it knows how. Frank Steele 6

Leonardo’s Vitruvian Man embodies a moment when art and science combined to allow mortal minds to probe timeless questions about who we are and how we fit into the grand order of the universe. It also symbolizes an ideal of humanism that celebrates the dignity, value, and rational agency of humans as individuals. Inside the square and the circle we can see the essence of Leonardo da Vinci, and the essence of ourselves, standing naked at the intersection of the earthly and the cosmic.

All real art is, in its true sense, is a religious impulse; there is no such thing as a non-religious subject. But much bad or downright sacrilegious art depicts so-called religious subjects…Conversely, much great religious art has been written or painted or composed by people who thought they were atheists.

It is easy to love and sing one’s love. That is something I am extremely good at doing. Indeed, that is my art. But to be loved, that is true greatness. Being loved, letting oneself be loved, entering the magic and dreadful circle of generosity, receiving gifts, finding the right thank-you’s, that is love’s real work.

The cold seemed less relentless now. The small circle of white light from my bedside lamp and its hint of the dawn to come seemed to drive the worst of the chill away and the hot tea did the rest, as I lay and read further into the life of the young woman in the bravado coat.

1. That reason is a gift of God and that we should believe in its ability to comprehend the world. 2. That they have been wrong who undermined confidence in reason by enumerating the forces that want to usurp it: class struggle, libido, will to power. 3. That we should be aware that our being is enclosed within the circle of its perceptions, but not reduce reality to dreams and the phantoms of the mind. 4. That truth is a proof of freedom and that the sign of slavery is the lie. 5. That the proper attitude toward being is respect and that we must, therefore, avoid the company of people who debase being with their sarcasm, and praise nothingness. 6. That, even if we are accused of arrogance, it is the case that in the life of the mind a strict hierarchy is necessary. 7. That intellectuals in the twentieth century were afflicted with the habit of baratin, i.e., irresponsible jabber. 8. That in the hierarchy of human activities the arts stand higher than philosophy, and yet bad philosophy can spoil art. 9. That the objective truth exists; namely, out of two contrary assertions, one is true, one false, except in strictly defined cases when maintaining contradiction is legitimate. 10. That quite independently of the fate of religious denominations we should preserve a "philosophical faith," i.e., a belief in transcendence as a measure of humanity. 11. That time excludes and sentences to oblivion only those works of our hands and minds which prove worthless in raising up, century after century, the huge edifice of civilization. 12. That in our lives we should not succumb to despair because of our errors and our sins, for the past is never closed down and receives the meaning we give it by our subsequent acts.

The task of art is to transform what is continuously happening to us, to transform all these things into symbols, into music, into something which can last in man’s memory. That is our duty. If we don’t fulfill it we feel unhappy. A writer or any artist has the sometimes joyful duty to transform all that into symbols. These symbols could be colors, forms or sounds. For a poet, the symbols are sounds and also words, fables, stories, poetry. The work of a poet never ends. It has nothing to do with working hours. You are continuously receiving things from the external world. These must be transformed and eventually will be transformed. This revelation can appear anytime. A poet never rests. He’s always working even when he dreams. Besides, the life of a writer is a lonely one. You think you are alone as the years go by, if the stars are on your side, you may discover that you are at the center of a vast circle of invisible friends whom you will never get to know but whom love you. And that is an immense reward.

Wait. Like an art museum, or are we talking a history museum? I could tolerate the dinosaur bones and war relics, but modern art will just give me a headache. A red dot on a white canvas isn’t ‘a representation of a woman’s struggle in a male dominated society;’ it’s a red freakin’ circle!” Michael and Ryan nodded their heads in agreement with Jack’s artistic tirade.

Perhaps Hurston saw in her mother, Lucy, a version of Persephone, who is so missed when she's gone that the world literally starts to die. This type of grief, as Toni Morrison writes in Sula, has no top and no bottom, "just circles and circles of sorrow.

Within the dynamic of war, there's only direct and indirect, but their variations are inexhaustible. They are born one from the other within infinite tireless circle.

We shouldn’t abbreviate the truth but rather get a new method of presentation.

SEE what you think.

Detachment and involvement: the artist must have both. The link between them is compassion.

If you end your story, it’s a static work of art, a finite circle. But if you don’t, it belongs to anyone’s imagination. It stays alive forever

Jargon may facilitate technical communication within a field, but it also serves to exclude those who have not been initiated into the inner circle of a discipline.

the art of knowing our own nothingness beyond our own circle,

According to the Stoics, the circle of control contains just one thing: YOUR MIND. That’s right, even your physical body isn’t completely within the circle.

Hanna loved how the pencils and crayons looked, with their pointy unused tips. She liked the quarter-size circles of watercolor paint, like frozen puddles from a dripping rainbow.

[Editorial cartooning] is essentially a destructive art. We are not pontificators, or molders of thought—or at least we shouldn't try to be. Ours is more the role of the lowly gadfly: circle and stab, circle and stab. Roughly put, our credo should be, if it's big, hit it.

At present, however, science, spurred on by its powerful delusion, is hurrying unstoppably to its limits, where the optimism hidden in the essence of logic will founder and break up. For there is an infinite number of points on the periphery of the circle of science, and while we have no way of foreseeing how the circle could ever be completed, a noble and gifted man inevitably encounters, before the mid-point of his existence, boundary points on the periphery like this, where he stares into that which cannot be illuminated. When, to his horror, he sees how logic curls up around itself at these limits and finally bites its own tail, then a new form of knowledge breaks through, tragic knowledge, which, simply to be endured, needs art for protection and as medicine.” Friedrich Nietzsche, “Foreword to Richard Wagner” in The Birth of Tragedy, ed. R. Geuss & R. Speirs, Cambridge, 2007, 163. (p.114)

His hold is tight, our fingers are laced, and he’s occasionally rubbing circles on the top of my hand with his thumb. These small gestures definitely make handholding seem more like an art.

Nothing had been the same; and this slight, all-pervading instability, had given her greater pain than if all had been too entirely changed for her to recognise it. I begin to understand now what heaven must be-and, oh! the grandeur and repose of the words-"The same yesterday, to-day, and for ever." Everlasting! "From everlasting to everlasting, Thou art God." That sky above me looks as though it could not change, and yet it will. I am so tired-so tired of being whirled on through all these phases of my life, in which nothing abides by me, no creature, no place; it is like the circle in which the victims of earthly passion eddy continually. I am in the mood in which women of another religion take the veil. I seek heavenly steadfastness in earthy monotony.

From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion. The sullen murmur of the bees shouldering their way through the long unmown grass, or circling with monotonous insistence round the dusty gilt horns of the straggling woodbine, seemed to make the stillness more oppressive. The dim roar of London was like the bourdon note of a distant organ.

Very few of us understand Honorable Bird, except to acknowledge that without his power and grace nothing would be written, painted, or composed at all. To say anything beyond this about the creative process is like pulling all the petals off a flower in order to analyze it, and ending up having destroyed the flower.

Throughout the slow burning of the day, the silver-skinned boy kissed the air with the ghost of moon-soaked lips, images circling his head and under his jaw, and paint spilled onto paper. He said he was not an artist, but the boy he remembered told him once that the language of art is such a sacred dream. And he believed him.

We artists are often counted as awkward by people who know nothing of how it feels to have another spirit live within you - the muse... Even some artists don't understand us, the mused ones, as our muses have faces and clearly appear to us, while all they have is the inspiration and not the muse. But ancient people knew of them... They said muses were goddesses and ruled upon the arts... It is true. When a muse forms into your mind and splits your spirit in two, you are already seized by it, controlled by it, and so you are bound to serve it and create masterpieces... It is not just we who create muses. They create us too. They form us into who we are.

I hate you," Watson said to me, empathetically. "What is it with you and closets?" "They're often quite clean. And if they aren't one can usually find cleaning supplies in them." "Holmes-" "Actually, I booked us a room in an Art Deco hotel," I said, and moments later our car pulled into its circle drive. I'd always prided myself on my timing.

Words accrue and lose meaning through a semantic mobility dependent on the community in which they thrive, and these meanings cannot be divorced from bodily sensation and emotion. Slang emerges among a circle of speakers. Irony requires double consciousness, reading one meaning and understanding another. Elegant prose involves a feeling for the rhythms and the music of sentences, a product of the sensual pleasure a writer takes in the sounds of words and the varying metric beats of sentences. Creative translation must take all this into account. If a meaning is lost in one sentence, it might be gained or added to the next one. Such considerations are not strictly logical. They do not involve a step-by-step plan but come from the translator’s felt understanding of the two languages involved. Rodney

How many Christians there are who cannot pray, and who seek by effort, resolve, joining prayer circles, etc., to cultivate in themselves the ‘‘holy art of intercession,’’ and all to no purpose. Here for them and for all is the only secret of a real prayer life—‘‘Be filled with the Spirit,’’ who is ‘‘the Spirit of grace and supplication.’’ —REV. J. STUART HOLDEN

We use rituals in our Moon Circle in order to set the evening apart as a sacred space. We use it to recentre ourselves, to allow crashing thoughts to melt away. Like music and art, rituals can open our hearts to new possibilities. They allow us to see with a fresh clarity, and bring us to a space of liminality. Liminal space is what we feel when we see a stunning sunset and the world around us drops away. It's when we hear a new song and begin crying at the traffic lights. It's the quiet of Christmas Eve, when everything is done and all the family is asleep, and your mind grows still and full of gladness.

... the new high-class lively evening paper which was expected to meet a want felt in circles increasingly conscious that Conservatism must be made amusing, and unconvinced when assured by those of another political colour that it was already amusing enough.

Back therefore we find ourselves returning. Back to the wisdom of the plough; back to the wisdom of those who follow the sea. It is all a matter of the wheel coming full-circle. For the sophisticated system of mental reactions to which we finally give our adherence is only the intellectualised reproduction of what more happily constituted natures, without knowing what they possess, possess. Thus between true philosophers and the true simple people there is a magnetic understanding; whereas, the clever ones whose bastard culture only divorces them from the wisdom of the earth remain pilloried and paralysed on the prongs of their own conceit".

Try this receipt, O believer, whenever thou art sad of heart and in heaviness of spirit: forget thyself and thy little concerns, and seek the welfare and prosperity of Zion. When thou bendest thy knee in prayer to God, limit not thy petition to the narrow circle of thine own life, tried though it be, but send out thy longing prayers for the church's prosperity, "Pray for the peace of Jerusalem," and thine own soul shall be refreshed.

Diagnoses of the malaise of the humanities rightly point to anti-intellectual trends in our culture and to the commercialization of universities. But an honest appraisal would have to acknowledge that some of the damage is self-inflicted. The humanities have yet to recover from the disaster of postmodernism, with its defiant obscurantism, self-refuting relativism, and suffocating political correctness. Many of its luminaries—Nietzsche, Heidegger, Foucault, Lacan, Derrida, the Critical Theorists—are morose cultural pessimists who declare that modernity is odious, all statements are paradoxical, works of art are tools of oppression, liberal democracy is the same as fascism, and Western civilization is circling the drain.54

There are, broadly speaking, three directly analogous progressions inthe history of art: in Antiquity, from the blockiness of Egyptian art to the loose, painterly handling of Roman landscape frescoes; in the Middle Ages, from the tectonic emphasis of Ottonian art to the flamboyance of late Gothic; and in later times, from early Renaissance linearity to the sparkling web of light spun by the Rococo. The wheel turns full circle, but more rapidly each time.

10.  In battle, there are not more than two methods of attack—the direct and the indirect; yet these two in combination give rise to an endless series of maneuvers. 11.  The direct and the indirect lead on to each other in turn. It is like moving in a circle—you never come to an end. Who can exhaust the possibilities of their combination? 12.  The onset of troops is like the rush of a torrent which will even roll stones along in its course. 13.  The quality of decision is like the well-timed swoop of a falcon which enables it to strike and destroy its victim. [The Chinese here is tricky and a certain key word in

I’ll be honest with you. The variables that construct my existence are confusing. Like handwritten math equations jammed together on a sloppy page of homework. They don’t make any sense. One math problem leads to another, and then another and so it goes. One day you realize that your life is one whole page of problems and nothing ever gets solved. One ongoing equation with no equal sign at the end. But it occurred to me, beneath the canopy of a starlight heaven, that I’d been looking at my life all wrong. It wasn’t a math equation. Things weren’t supposed to add up. There was no solution. In fact, there was no problem. Life’s variables and numbers and pages of chicken scratch weren’t mathematical marks. They were art. A drawing. An abstract painting. It was meant to be beautiful, not sensical. And embedded within the mess of it all were miracles. Small ones. I’d never paid attention to them because I was too busy, but it didn’t make them less real.

It is essential that a work of art should be self-consistent, that an artist should consciously or unconsciously draw a circle beyond which he does not trespass: on the one hand actual life is always the material, and on the other hand an abstraction from actual life is a necessary condition to the creation of the work of art.

The path to true happiness is one of integrating and fully accepting all aspects of our experience. This integration is represented in the Taoist symbol of yin/yang, a circle which is half dark and half light. In the midst of the dark area is a spot of light, and in the midst of the light area is a spot of darkness. Even in the depths of darkness, the light is implicit. Even in the heart of light, the dark is understood, acknowledged, and absorbed. If things are not going well for us in life and we are suffering, we are not defeated by the pain or closed off to the light. If things are going well and we are happy, we are not defensively trying to deny the possibility of suffering. This unity, this integration, comes from deeply accepting darkness and light, and therefore being able to be in both simultaneously.

The twin aspects of genius, the passive and the active, are possessed by the fully realized artist; they also form the necessary equipment of the Adept. Yet in very few people are these twin aspects manifested. Nearly everyone has a capacity for the passive aspect, which involves some sort of appreciation of aesthetic values. There are few people totally unresponsive to the beauties of nature, and none at all that is not responsive to its ferocious manifestations.Fewer are able to respond profoundly to the beauty of natural phenomena, and fewer still to so-called works of art. It takes a degree of genius to respond to such manifestations the whole time. Artists in this category are among the saints, some of whom thrilled with rapture at the constant awareness of the total unity, harmony, and beauty of things. Such were Boehme, Ramakrishna, etc. Some yogis are immersed in an unsullied and vibrant bliss derived from the incessant contemplation of this 'world-bewitching maya'4-the breath-taking wonder of the great and glamorous illusion which surrounds us. On the other side of the fence, on the side of active or creative genius, there are yet fewer. Active or creative genius means nothing less than the ability to translate the wonder or the terror of the great lfla (the great play of life) in terms of visual, tactile, audible, olfactory, or some other sensual presentation of phenomena. But there is a third aspect of genius which is yet more rare. It is the ability to open the door of the theatre and admit the influences from outside, from the swarming gulfs beyond the grasp of the mind, and accessible only to the magical entity whose fantastic feelers can snare the most fugitive impulses as they flash through the holes in space, the kinks in time, to be reflected in the magic mirror of the artist's mind.

It was just too easy to say that adults did not like stories that were simple, and perhaps that was wrong. Perhaps that was what adults really wanted, searched for and rarely found: a simple story in which good triumphs against cynicism and dispair. That was what she wanted, but she was aware of the fact that one did not publicise the fact too widely, certainly not in sophisticated circles. Such circles wanted complexity, dysfunction and irony: there was no room for joy, celebration or pathos. But where was the FUN in that?

People,” said the little prince, “they throw themselves into the rapids but they no longer know what they are looking for. So they get agitated and go around in circles…

We have come to take the dysfunctional aspect of ourselves for granted without realizing that it is possible to free ourselves from the vicious circle that is exhausting us.

The beginning and the end are shared in the circumference of a circle

Often our thinking goes around and around in circles, so we lose all our joy in living.

A mandala (Sanskrit for “circle”) is a circular pattern, considered a sacred geometry, that’s been used in spiritual practice since ancient times as an active visual meditation.

Style is the difference between a circle and the way you draw it.

surmise, arouse no dispute: No one can learn how to speak who does not first speak as best he can. That may seem like a vicious circle in statement, but it will bear examination.

We suicide ourselves for our own survival. Is there any hope of dipping back into the past and circling round it like you can in art?

According to the Stoics, the circle of control contains just one thing: YOUR MIND.

An essential ingredient to hygge is the boundary that marks a place or delineates a moment - a fence, a circle of cushions or a stolen half hour.

When we play with the unself-conscious concentration of a child, this is: art: prayer: love.

But my arts are also pure, as a circle is pure, and in a flawed world purity cannot endure.

This is important enough that it bears repeating: a wise person knows what’s inside their circle of control and what is outside of it.

a wise person knows what’s inside their circle of control and what is outside of it.

wise person knows what’s inside their circle of control and what is outside of it.

Feeling slightly dizzy from going round in circles...

In the circle where I was raised, I knew of no one knowledgeable in the visual arts, no one who regularly attended musical performances, and only two adults other than my teachers who spoke without embarrassment of poetry and literature — both of these being women. As far as I can recall, I never heard a man refer to a good or a great book. I knew no one who had mastered, or even studied, another language from choice. And our articulate, conscious life proceeded without acknowledgement of the preceding civilisations which had produced it.

The great are deceived if they imagine they have appropriated ambition and vanity to themselves. These notable qualities flourish as notably in a country church and churchyard as in the drawing room or in the closet. Schemes have indeed been laid in the vestry, which would hardly disgrace the conclave. Here is a ministry, and here is an opposition. Here are plots and circumventions, parties and factions equal to those which are to be found in courts. Nor are the women here less practiced in the highest feminine arts than their fair superiors in quality and fortune. Here are prudes and coquettes; here are dressing and ogling, falsehood, envy, malice, scandal -- in short everything which is common to the most splendid assembly or politest circle.

MASTER SUN There are only five notes in the musical scale, but their variations are so many that they cannot all be heard. There are only five basic colors, but their variations are so many that they cannot all be seen. There are only five basic flavors, but their variations are so many that they cannot all be tasted. There are only two kinds of charge in battle, the unorthodox surprise attack and the orthodox direct attack, but variations of the unorthodox and the orthodox are endless. The unorthodox and the orthodox give rise to each other, like a beginningless circle—who could exhaust them? M

A modern fad which has gained widespread acceptance amongst the semi-educated who wish to appear secular is the practice of meditation. They proclaim with an air of smug superiority, ‘Main mandir-vandir nahin jaata, meditate karta hoon (I don’t go to temples or other such places, I meditate).’ The exercise involves sitting lotus-pose (padma asana), regulating one’s breathing and making your mind go blank to prevent it from ‘jumping about like monkeys’ from one (thought) branch to another. This intense concentration awakens the kundalini serpent coiled at the base of the spine. It travels upwards through chakras (circles) till it reaches its destination in the cranium. Then the kundalini is fully jaagrit (roused) and the person is assured to have reached his goal. What does meditation achieve? The usual answer is ‘peace of mind’. If you probe further, ‘and what does peace of mind achieve?’, you will get no answer because there is none. Peace of mind is a sterile concept which achieves nothing. The exercise may be justified as therapy for those with disturbed minds or those suffering from hypertension, but there is no evidence to prove that it enhances creativity. On the contrary it can be established by statistical data that all the great works of art, literature, science and music were works of highly agitated minds, at times minds on the verge of collapse. Allama Iqbal’s short prayer is pertinent: Khuda tujhey kisee toofaan say aashna kar dey Keh terey beher kee maujon mein iztiraab naheen (May God bring a storm in your life, There is no agitation in the waves of your life’s ocean.)

Thus he became the archetype of the Renaissance Man, an inspiration to all who believe that the “infinite works of nature,” as he put it, are woven together in a unity filled with marvelous patterns.2 His ability to combine art and science, made iconic by his drawing of a perfectly proportioned man spread-eagle inside a circle and square, known as Vitruvian Man, made him history’s most creative genius.

In analytic circles, assuming that the entity or individual you are assessing might think or act as you would is known as mirror-imaging, and it is among the most common mistakes you will see in analysis.

While endowed with the morose temper of genius, he [Lakes, Arts Professor] lacked originality and was aware of that lack; his own paintings always seemed beautifully clever imitations, although one could never quite tell whose manner he mimicked. His profound knowledge of innumerable techniques, his indifference to 'schools' and 'trends', his detestation of quacks, his conviction that there was no difference whatever between a genteel aquarelle of yesterday and, say, conventional neoplasticism or banal non-objectivism of today, and that nothing but individual talent mattered--these views made of him an unusual teacher. St Bart's was not particularly pleased either with Lake's methods or with their results, but kept him on because it was fashionable to have at least one distinguished freak on the staff. Among the many exhilarating things Lake taught was that the order of the solar spectrum is not a closed circle but a spiral of tints from cadmium red and oranges through a strontian yellow and a pale paradisal green to cobalt blues and violets, at which point the sequence does not grade into red again but passes into another spiral, which starts with a kind of lavender grey and goes on to Cinderella shades transcending human perception. He taught that there is no such thing as the Ashcan School or the Cache Cache School or the Cancan School. That the work of art created with string, stamps, a Leftist newspaper, and the droppings of doves is based on a series of dreary platitudes. That there is nothing more banal and more bourgeois than paranoia. That Dali is really Norman Rockwell's twin brother kidnapped by gipsies in babyhood. That Van Gogh is second-rate and Picasso supreme, despite his commercial foibles; and that if Degas could immortalize a calèche, why could not Victor Wind do the same to a motor car?

Choose a color that reflects how you’re feeling today. 2.Draw a circle with that color. 3.In that circle, use lines and shapes to draw an image or images to identify how you’re feeling today. 4.Name your art.

Most of them, I suspect, come to the mall not because there is something specific that they need to buy. Rather, they come in the hope that doing so will trigger a desire for something that, before going to the mall, they didn't want. It might be a desire for a cashmere sweater, a set of socket wrenches, or the latest cell phone. Why go out of their way to trigger desire? Because if they trigger one, they can enjoy the rush that comes when they extinguish that desire by buying its object. It is a rush, of course, that has little to do with their long-term happiness as taking a hit of heroin has to do with the long-term happiness of a heroin addict. My ability to form desires for consumer goods seems to have atrophied. What brought about this state of affairs? The profound realization, thanks to the practice of Stoicism, that requiring the things that those in my social circle typically crave and work hard to afford will, in the long run, make zero difference in how happy I am and will in no way contribute to my having a good life.

Loneliness is difficult to confess; difficult too to categorise. Like depression, a state with which it often intersects, it can run deep in the fabric of a person, as much a part of one's being as laughing easily or having red hair. Then again, it can be transient, lapping in and out in reaction to external circumstance, like the loneliness that follows on the heels of a bereavement, break-up, or change in social circles.

Neoliberalism insists that if we work hard enough, we can earn as much money as anyone else. Of course, the concept of meritocracy is integral to neoliberalism and erases the reality of capital itself, that capitalism is not just material capital but also, importantly, social and cultural capital. Without these forms of capital, (p. 77) one cannot, in fact, “succeed” in a capitalist culture. One obvious example is the art world, where one can only have their work shown in a gallery if they have connections to that gallery (galleries do not, for the most part, accept unsolicited submissions). All the cash in the world can’t create the generations of social connections of a middle-class family, whose circle might include art collectors, gallerists, critics, and artists. It is also the values and unspoken rules of the ruling class that distinguish who is allowed in and who is not.

Often we can get caught in our own struggles, our own small stories, that we forget our place in the larger story arc – the way that our actions, our choices, our achievements can and will blaze trails for that who come after us, so that they do not have to spend their time and energy re-fighting the same battles. For sure we walk a spiral path, but for generations of women the spirals were so tightly packed that it seemed they were going round in circles – let us blaze trails so that the path we walk takes in wider and wider sweeps of human experience. Trail blazing is what we do when we find ourselves in the wilderness, with no path to guide us but our own intuitive understanding of nature and our destination. At times we must walk through the night, guided only by the stars. We know when to sit and rest, to shelter from storms, when to gather water, and what on the trail will sustain us and what will do us harm. We are courageous and cautious in equal measure, but we are driven forward, not only by our own desire to reach our destination, but also by the desire to leave a viable way for others who follow. Trail blazing is an art-form. It is how we find paths through what before was wilderness. We push aside braches, or cut them back, we tramp down nettles and long grasses, ford rivers and streams, through the inner and outer landscapes.

I have come to the idea of rising below and letting the circle run its course. I will no longer fight the wheel inside me. Now I understand the strength of succumbing to the storm, joining the maelstrom, finding power in its turmoil.

I believe benchmarking best practices can open people’s eyes as to what is possible, but it can also do more harm than good, leading to piecemeal copying and playing catch-up. As one seasoned Toyota manager commented after hosting over a hundred tours for visiting executives, “They always say ‘Oh yes, you have a Kan-Ban system, we do also. You have quality circles, we do also. Your people fill out standard work descriptions, ours do also.’ They all see the parts and have copied the parts. What they do not see is the way all the parts work together.” I do not believe great organizations have ever been built by trying to emulate another, any more than individual greatness is achieved by trying to copy another “great person.

The struggle for creative artists throughout times has often been a very real one. Balancing life and art is delicate business. Creating art out of your own life is also very difficult and it is something I have been thinking more and more about.

More personally, my intellect is a stumbling block to much that makes life worth living: laughter, love; a wiling acceptance of being created. The rational intellect doesn't have a great deal to do with love, and it doesn't have a great deal to do with art.

God, O God, where art thou? Thou art as distant to me as the lady combing rice in the Yunnan Province of China or a piece of floating space debris circling Pegasi. In this feeling-dead world of post traumatic stress, skepticism is king, queen, and court jester.

In the end, he drew the same conclusion about my songs that I did. They change meaning the second someone claims them. They belong to every person who listens in specific ways I'll never comprehend. If music is an offering, I'd hold mine out to the world and say, I made this with the best intentions. You can share it with me, if you want, and take a piece of it to keep for good. You can even move it to a different place on the circle and make it into something else, something unrecognizable to my eyes, and that would be an honor. It would be an honor to see where I end and where music keeps going. It would be an honor to see what happens when other people claim pieces of the art I made. And even when that happens, it won't change this, or what it meant to me when I made it.

One of the central tenets of the Western worldview is that one should always be engaged in some kind of outward task. Thus, the Westerner structures his time—including, sometimes, even his leisure time—as a series of discrete programmed activities which he must submit to in order to tick off from an actual or virtual list. One need only observe the expression on his face as he ploughs through yet another family outing, cultural event, or gruelling exercise routine to realise that his aim in life is not so much to live in the present moment as it is to work down a never-ending list. If one asks him how he is doing, he is most likely to respond with an artificial smile, and something along the lines of, ‘Fine, thank you – very busy of course!’ In many cases, he is not fine at all, but confused, exhausted, and fundamentally unhappy. In contrast, most people living in a country such as Kenya in Africa do not share in the Western worldview that it is noble or worthwhile to spend all of one’s time rushing around from one task to the next. When Westerners go to Kenya and do as they are wont to do, they are met with peels of laughter and cries of ‘mzungu’, which is Swahili for ‘Westerner’. The literal translation of ‘mzungu’ is ‘one who moves around’, ‘to go round and round’, or ‘to turn around in circles’.

True story: a friend received a preliminary diagnosis suggesting advanced breast cancer. Normally shy, she took this as license to tell or show everyone in her circle how little she liked or respected them. False alarm. It was cat-scratch fever. She moved overseas.

It’s art because it’s art, which is circular in its way,” she said, and then blinked, that same half-smile lingering at the edges of her mouth when she turned to face him. “A perfect circle, if you will,” she said, “because it is and it was and it will be, all at once.

Draw a circle around the center of a human being. Within this circle lies all physical power. Outside of this circle, even the strongest human being loses his power. If you can pin your partner outside of his sphere of strength, you can control him with just one finger.

The Great Pyramid was a fractal resonator for the entire Earth. It is designed according to the proportions of the cosmic temple, the natural pattern that blends the two fundamental principles of creation. The pyramid has golden ratio, pi, the base of natural logarithms, the precise length of the year and the dimensions of the Earth built into its geometry. It demonstrates.... As John Michell has pointed out in his wonderful little book, City of Revelation, 'Above all, the Great Pyramid is a monument to the art of 'squaring the circle''.

The art depicts duplicity and depravity,” he said, “but its purpose is to counteract the human tendency to fill in the blanks with goodness. We do that instinctively, and in ignorance, to compensate for breaches of the soul so deplorable that we can barely fathom them.” I

The profound realization, thanks to the practice of Stoicism, that acquiring the things that those in my social circle typically crave and work hard to afford will, in the long run, make zero difference in how happy I am and will in no way contribute to my having a good life.

In the Babemba tribe of South Africa, when a person acts irresponsibly or unjustly, he is placed in the center of the village, alone and unfettered. All work ceases, and every man, woman, and child in the village gathers in a large circle around the accused individual. Then each person in the tribe speaks to the accused, one at a time, each recalling the good things the person in the center of the circle has done in his lifetime. Every incident, every experience that can be recalled with any detail and accuracy, is recounted. All his positive attributes, good deeds, strengths, and kindnesses are recited carefully and at length. This tribal ceremony often lasts for several days. At the end, the tribal circle is broken, a joyous celebration takes place, and the person is symbolically and literally welcomed back into the tribe.

January 13th CIRCLE OF CONTROL “We control our reasoned choice and all acts that depend on that moral will. What’s not under our control are the body and any of its parts, our possessions, parents, siblings, children, or country—anything with which we might associate.” —EPICTETUS, DISCOURSES, 1.22.10

The misery that oppresses you lies not in your profession but in yourself! What man in the world would not find his situation intolerable if he chooses a craft, an art, indeed any form of life, without experiencing an inner calling? Whoever is born with a talent, or to a talent, must surely find in that the most pleasing of occupations! Everything on this earth has its difficult sides! Only some inner drive—pleasure, love—can help us overcome obstacles, prepare a path, and lift us out of the narrow circle in which others tread out their anguished, miserable existences! —JOHANN WOLFGANG VON GOETHE

I call this salvation insecurity. My friend Phil calls it control-freak Christianity. We want to measure, define, scrutinize, and secure our place on the “inside.” And then, with that template in place, we go out into all the world to make other people nervous about whether or not they’re in the circle.

The dopamine rush that comes from sex is momentary. So is the pride of an accomplishment or the hearty applause of a crowd. These pleasures are powerful, but they wear off and leave us wanting more. What lasts longer (and remains more within our circle of control)? Wisdom, good character, sobriety, and kindness.

All living things need an atmosphere around them, a secret circle of darkness. If this veil is taken from them, if people condemn a religion, an art, a genius to orbit like a star without an atmosphere, then we should no longer wonder about their rapid decay and the way they become hard and barren. That is the way it is now with all great things which never succeed without some delusion. But every people, indeed every person, who wishes to become mature needs such an enveloping delusion, such a protecting and veiling cloud. But today people generally despise becoming mature, because they honour history more than living. Indeed, people exult over the fact that now 'science is beginning to rule over living'. It is possible that people will attain that goal but it is certain that a life so governed is not worth much, because it is much less living and it establishes a life for the future far less than does the previous life governed not by knowledge but by instinct and powerful illusory images. But, as stated, it is clearly not to be the era of fully developed and mature people, of harmonious personalities, but the era of common work which is as useful as possible. That, however, amounts only to the fact that people are to be trained for the purposes of the time, in order to get to work with their hands as promptly as possible. They are to labour in the factories of the universal utilities before they are mature, that is, so that they really no longer become mature, because this would be a luxury, which would deprive the 'labour market' of a lot of power.

We watch the kites circling, and I imagine them setting fire to the way my life has been before this moment. I imagine the smoke reshaping me. I reimagine myself as my first work, the art that comes before all other art I might one day make, the work I fashion only for myself and for those who have the eyes to see it.

When people enter into an experience of loneliness, they trigger what psychologists call hypervigilance for social threat, a phenomenon Weiss first postulated back in the 1970s. In this state, which is entered into unknowingly, the individual tends to experience the world in increasingly negative terms, and to both expect and remember instances of rudeness, rejection and abrasion, giving them greater weight and prominence than other, more benign or friendly interactions. This creates, of course, a vicious circle, in which the lonely person grows increasingly more isolated, suspicious and withdrawn. And because the hypervigilance hasn’t been consciously perceived, it’s by no means easy to recognise, let alone correct, the bias. What this means is that the lonelier a person gets, the less adept they become at navigating social currents. Loneliness grows around them, like mould or fur, a prophylactic that inhibits contact, no matter how badly contact is desired. Loneliness is accretive, extending and perpetuating itself. Once it becomes impacted, it is by no means easy to dislodge. This is why I was suddenly so hyper-alert to criticism, and why I felt so perpetually exposed, hunching in on myself even as I walked anonymously through the streets, my flip-flops slapping on the ground.

How do you make a profound and heartfelt anti-capitalist work of art, for example, if you've spent the previous evening at a swanky museum dinner sitting next to the head of some investment bank, who also happens to be one of your major collectors/clients? Or how do you make a work about the environment when your own carbon footprint is far larger than most? Can it be possible to produce a painting or sculpture that seeks to illuminate an unfairness in a society from which you are so obviously benefiting? And how do you go about criticizing the establishment, when you are a fully signed-up member of its inner circle? The answer is, you don't.

There is a story in Zen circles about a man and a horse. The horse is galloping quickly, and it appears that the man on the horse is going somewhere important. Another man, standing alongside the road, shouts, "Where are you going?"and the first man replies, "I don't know! Ask the horse!" This is also our story. We are riding a horse, we don't know where we are going, and we can't stop. The horse is our habit energy pulling us along, and we are powerless. We are always running,and it has become a habit. We struggle all the time, even during our sleep. We are at war within ourselves, and we can easily start a war with others. We have to learn the art of stopping.

He led Jess to a painting of a Black woman selling flowers. She leaned in and read the wall plate. “Frédéric Bazille, Young Woman with Peonies. I don’t know this artist.” “He was in the outer circle of the French Impressionists. Look how she offers the bouquet to a potential client, but she doesn’t seem to care if he buys them or not. She’s got that little frown line between her eyes—see, there?—‘Take it or leave it, mister’—as if she’s impatient that he can’t make up his mind. She’s not a bit ingratiating. And the peonies, of course, are Bazille’s bisou to Manet, who was the leader of the French avant-garde at the time. Manet loved peonies, cultivated them. There’s a peony at the center of the bouquet that the Black servant is offering the prostitute in Manet’s Olympia. That painting was at the height of its notoriety when Bazille painted this one. Everyone in the Paris art world would’ve got the reference.” “A Black servant in Olympia? I only remember the scowly White nude, and how upset everyone was that Manet didn’t paint her in a classical style.” Theo pulled out his cell phone and called up the image with a few taps. “Here,” he said, handing it to Jess. “Wow. I’ve looked at that picture dozens of times. How could I not have noticed her?” Theo frowned. “I’d be surprised, I guess, except that I once sat through a forty-minute lecture on that painting and the professor didn’t mention her. He spent more time on the black cat at the nude’s feet than the interesting woman who occupies half the canvas. I call it the Invisible Man effect, or in this case, Invisible Woman. Which is kind of the whole point of my work. To say, Hey, we’re here. We’ve always been here.

all the members of society have a direct interest in the manners of each of its individuals, because each one is a radiating point, the center of a circle which he fills with pleasure or annoyance, not only for those who voluntarily enter it but for those, who, in the promiscuous movements of society, are caught within its circumference.

THE SHEETS & THE LIGHT Sombre echoes that mark the dawning greying on the hill; the steep streets still wet from rain the small buildings look emptier with each day passing on; Thoughts are done passing rounds counting circles inside my head. Pale mirror-faces crossing me on the way back to the place that felt like home - falling back in time.

The Gypsy’S Song* Come, cross my hand! My art surpasses All that did ever Mortal know; Come, Maidens, come! My magic glasses* Your future Husband’s form can show: For ’tis to me the power is given Unclosed the book of Fate to see; To read the fixed resolves of heaven, And dive into futurity. I guide the pale Moon’s silver waggon; The winds in magic bonds I hold; I charm to sleep the crimson Dragon, Who loves to watch o’er buried gold: Fenced round with spells, unhurt I venture Their sabbath strange where Witches keep; Fearless the Sorcerer’s circle enter, And woundless tread on snakes asleep. Lo! Here are charms of mighty power! This makes secure an Husband’s truth; And this composed at midnight hour Will force to love the coldest Youth: If any Maid too much has granted, Her loss this Philtre* will repair; This blooms a cheek where red is wanted, And this will make a brown girl fair! Then silent hear, while I discover What I in Fortune’s mirror view; And each, when many a year is over, Shall own the Gypsy’s sayings true.

What about this, then?” The metal surface rippled at his touch, stretching and splitting into a million thin wires that made it look like a giant version of one of those pin art toys Sophie used to play with as a kid. He tapped his fingers in a quick rhythm, and the pins shifted and sank, forming highs and lows and smooth, flat stretches. Sophie couldn’t figure out what she was seeing until he tapped a few additional beats and tiny pricks of light flared at the ends of each wire, bathing the scene in vibrant colors and marking everything with glowing labels. “It’s a map,” she murmured, making a slow circle around the table. And not just any map. A 3-D map of the Lost Cities. She’d never seen her world like that before, with everything spread out across the planet in relation to everything else. Eternalia, the elvin capital that had likely inspired the human myths of Shangri-la, was much closer to the Sanctuary than she’d realized, nestled into one of the valleys of the Himalayas—while the special animal preserve was hidden inside the hollowed-out mountains. Atlantis was deep under the Mediterranean Sea, just like the human legends described, and it looked like Mysterium was somewhere in the Bermuda Triangle. The Gateway to Exile was in the middle of the Sahara desert—though the prison itself was buried in the center of the earth. And Lumenaria… “Wait. Is Lumenaria one of the Channel Islands?” she asked, trying to compare what she was seeing against the maps she’d memorized in her human geography classes. “Yes and no. It’s technically part of the same archipelago. But we’ve kept that particular island hidden, so humans have no idea it exists—well, beyond the convoluted stories we’ve occasionally leaked to cause confusion.

Any form of giving with no strings attached puts us directly in the flow of abundance, which must come full circle. Likewise, being of service is a priceless gift—a specific form of energy—which, when extended to others unconditionally, places us directly into the flow of the abundance. In short, we cannot serve selflessly without also being served.

It was right then that I realized truly what the theatre is all about, which is that it’s a prayer circle. It’s just a big circle: we tell stories, and maybe we heal a heart or two, and we put something positive into the world, and we just do it—you know, we just create our circle with actors and collaborators and friends who take part in this art form.

For some years now there has been considerable conflict in educational circles about what and how children should be taught. The old system was to serve two purposes: to discipline the mind and to provide young people with a background of knowledge about the past, history, philosophy, and the arts. More recently, the influence of Dewey has been powerful in effecting a change in orientation. It is not so important, according to this school, to provide the child with a background of general culture. The essential thing is to relate every fact learned to the tangible world around him. The purpose of his education is to explain to him the things he can feel and see and touch and experience in his daily life.

EDINBURGH Sombre echoes that mark the dawning that is greying on the hills; the steep streets still wet from rain the small buildings look emptier with each day passing on; thoughts are done passing rounds - counting circles inside my head. pale faces of familiar strangers crossing me on the way back to a place that used to feel like home - falling back in time.

Every generation of children instinctively nests itself in nature, no matter matter how tiny a scrap of it they can grasp. In a tale of one city child, the poet Audre Lord remembers picking tufts of grass which crept up through the paving stones in New York City and giving them as bouquets to her mother. It is a tale of two necessities. The grass must grow, no matter the concrete suppressing it. The child must find her way to the green, no matter the edifice which would crush it. "The Maori word for placenta is the same word for land, so at birth the placenta is buried, put back in the mothering earth. A Hindu baby may receive the sun-showing rite surya-darsana when, with conch shells ringing to the skies, the child is introduced to the sun. A newborn child of the Tonga people 'meets' the moon, dipped in the ocean of Kosi Bay in KwaZulu-Natal. Among some of the tribes of India, the qualities of different aspects of nature are invoked to bless the child, so he or she may have the characteristics of earth, sky and wind, of birds and animals, right down to the earthworm. Nothing is unbelonging to the child. "'My oldest memories have the flavor of earth,' wrote Frederico García Lorca. In the traditions of the Australian deserts, even from its time in the womb, the baby is catscradled in kinship with the world. Born into a sandy hollow, it is cleaned with sand and 'smoked' by fire, and everything -- insects, birds, plants, and animals -- is named to the child, who is told not only what everything is called but also the relationship between the child and each creature. Story and song weave the child into the subtle world of the Dreaming, the nested knowledge of how the child belongs. "The threads which tie the child to the land include its conception site and the significant places of the Dreaming inherited through its parents. Introduced to creatures and land features as to relations, the child is folded into the land, wrapped into country, and the stories press on the child's mind like the making of felt -- soft and often -- storytelling until the feeling of the story of the country is impressed into the landscape of the child's mind. "That the juggernaut of ants belongs to a child, belligerently following its own trail. That the twitch of an animal's tail is part of a child's own tale or storyline, once and now again. That on the papery bark of a tree may be written the songline of a child's name. That the prickles of a thornbush may have dynamic relevance to conscience. That a damp hollow by the riverbank is not an occasional place to visit but a permanent part of who you are. This is the beginning of belonging, the beginning of love. "In the art and myth of Indigenous Australia, the Ancestors seeded the country with its children, so the shimmering, pouring, circling, wheeling, spinning land is lit up with them, cartwheeling into life.... "The human heart's love for nature cannot ultimately be concreted over. Like Audre Lord's tufts of grass, will crack apart paving stones to grasp the sun. Children know they are made of the same stuff as the grass, as Walt Whitman describes nature creating the child who becomes what he sees: There was a child went forth every day And the first object he look'd upon, that object he became... The early lilacs became part of this child... And the song of the phoebe-bird... In Australia, people may talk of the child's conception site as the origin of their selfhood and their picture of themselves. As Whitman wrote of the child becoming aspects of the land, so in Northern Queensland a Kunjen elder describes the conception site as 'the home place for your image.' Land can make someone who they are, giving them fragments of themselves.

Félicité knew neither father nor mother, and was her own mistress from childhood. . . . Chance thrust her into the fields of science and the imagination and the world of literature, instead of loaving her in the small, tight circle of frivolous education traced for women - a mother's instruction in how to dress, in the hypocritical proprieties of society, in the arts of hunting a man.

All living things need an atmosphere around them, a secret circle of darkness. If this veil is taken from them, if people condemn a religion, an art, a genius to orbit like a star without an atmosphere, then we should no longer wonder about their rapid decay and the way they become hard and barren. That is the way it is now with all great things which never succeed without some delusion.

What man in the world would not find his situation intolerable if he chooses a craft, an art, indeed any form of life, without experiencing an inner calling?… Everything on this earth has its difficult sides! Only some inner drive—pleasure, love—can help us overcome obstacles, prepare a path, and lift us out of the narrow circle in which others tread out their anguished, miserable existences!

She had never been staying there before, without being struck by it, or without wishing that other Elliots could have her advantage in seeing how unknown, or unconsidered there, were the affairs which at Kellynch Hall were treated as of such general publicity and pervading interest; yet, with all this experience, she believed she must now submit to feel that another lesson, in the art of knowing our own nothingness beyond our own circle, was become necessary for her; for certainly, coming as she did, with a heart full of the subject which had been completely occupying both houses in Kellynch for many weeks, she had expected rather more curiosity and sympathy than she found in the separate but very similar remark of Mr and Mrs Musgrove: “So, Miss Anne, Sir Walter and your sister are gone; and what part of Bath do you think they will settle in?” and this, without much waiting for an answer; or in the young ladies’ addition of, “I hope we shall be in Bath in the winter; but remember, papa, if we do go, we must be in a good situation: none of your Queen Squares for us!” or in the anxious supplement from Mary, of—“Upon my word, I shall be pretty well off, when you are all gone away to be happy at Bath!

I am finding it very difficult; it is almost beyond my powers of presentation; the paper will probably be intelligible to no one outside our immediate circle. How bungled our reproductions are, how wretchedly we dissect the great art works of psychic nature! Unfortunately this paper in turn is becoming too bulky. It just pours out of me, and even so it's inadequate, incomplete and therefore untrue. A wretched business.

pitfall. The root of the problem lies in the fact that people often store the same type of item in more than one place. When we tidy each place separately, we fail to see that we’re repeating the same work in many locations and become locked into a vicious circle of tidying. To avoid this, I recommend tidying by category. For example, instead of deciding that today you’ll tidy a particular room, set goals like “clothes today, books tomorrow.

tear. Short and nebbishy, he had a charmingly awkward persona that concealed a big ambition: to establish Condé Nast as the most prestigious magazine company in the world. Within a year of his father’s death in 1979, Si, in rapid succession, bought the most important publishing house in America, Random House, whose imprints included Alfred A. Knopf, the prestige literary house; oversaw the successful start-up of a pioneering health and fitness magazine, Self; and bought and revamped Gentleman’s Quarterly, better known as GQ. And he was always on the lookout for more. Si was the aesthete in the Newhouse family. He combined an eye for business opportunity with a passion for art, design, and high gloss. Intellectually insecure, he relied on the self-confident baron of taste and flair he had inherited from his father’s circle: Alexander Liberman, Condé Nast’s editorial director. Liberman—Russian-born, like Alexey Brodovitch, his

We ache for this feeling, but it’s everywhere. Booze, drugs, sex, sport, art, prayer, music, meditation, virtual reality. Kids, hyperventilating, spinning in circles, feel oneness. Why William James called it the basic lesson of expanded consciousness—just tweak a few knobs and levers in the brain and bam. So the drop, the comedown, it’s not that we miss oneness once it’s gone; it’s that we suddenly can’t feel what we actually know is there. Phantom limb syndrome for the soul.

The water of the Spirit of God fills you up to the point of overflowing, but that does not mean that it is time to quit digging. In Pentecostal circles, people use the terms “tarry” and “press in.” Don’t stop. Keep seeking. Keep pursuing. Stay there, relating to God until you become so full of Him that it’s impossible to continue being the old you. Let your thirst for the water of His presence drive you closer. In His presence, you become exactly the way He designed you to be.

The mood is on me to-night only becuase I have listened to several hours of intelligent conversation and I am not a very brilliant person. Sometimes here on Pequod Island and back again on Beacon Street, I have the most curious delusion that our world may be a little narrow. I cannot avoid the impression that something has gone out of it (what, I do not know), and that our little world moves in an orbit of its own, a gain one of those confounded circles, or possibly an ellipse. Do you suppose that it moves without any relation to anything else? That it is broken off from some greater planet like the moon? We talk of life, we talk of art, but do we actually know anything about either? Have any of us really lived? Sometimes I am not entirely sure; sometimes I am afraid that we are all amazing people, placed in an ancestral mould. There is no spring, there is no force. Of course you know better than this, you who plunge every day in the operating room of the Massachusetts General, into life itself. Come up here and tell me I am wrong.

To what end do we sit together under the moon? Why circle in together? We sit to be heard. To speak without being judged. To share our stories without having to make an articulate point. We sit to listen. To rekindle the ancient art of listening with open hearts. To know other women on a heart to heart level. We sit to spill tears and laughter, and to hold on to a strong thread of silent solidarity. We sit to see truth. To have parts of ourselves revealed to us. To have the stories of others laid bare. To hear words spoken that shoot into the heart like a lightning strike. To come to understand a wisdom unveiled in silence. We sit to dig our toes into the cosmos. To be pulled into the expansive river of consciousness that we didn't know existed. To experience a oneness with humankind and the universe that feels like floating along on gentle rapids. We meet together to have our cynical minds opened by a shooting star's approving appearance, or to watch the clouds pass over the face of the moon and be flushed with the deep sense of belonging.

As Dilys Evans writes in Show and Tell, a book about illustration for young readers, picture books “are often the first place children discover poetry and art, honor and loyalty, right and wrong, sadness and hope.” And it’s true: a child sitting on a lap at home or in the friendly security of circle time at school or at the library has a chance to witness the emotions of others and experiment with his own without consequence. He can try out big ideas, find consolation for his secret worries, and risk a glimpse at what scares him. I

The practice of faith and courage begins with the small details of daily life. The first step is to notice where and when one loses faith, to look through the rationalizations which are used to cover up this loss of faith, to recognize where one acts in a cowardly way, and again how one rationalizes it. To recognize how every betrayal of faith weakens one, and how increased weakness leads to new betrayal, and so on, in a vicious circle. Then one will also recognize that while one is consciously afraid of not being loved, the real, though usually unconscious fear is that of loving. To love means to commit oneself without guarantee, to give oneself completely in the hope that our love will produce love in the loved person. Love is an act of faith, and whoever is of little faith is also of little love. Can one say more about the practice of faith? Someone else might; if I were a poet or a preacher, I might try. But since I am not either of these, I cannot even try to say more about the practice of faith, but am sure that anyone who is really concerned can learn to have faith as a child learns to walk.

The ascent of the soul through love, which Plato describes in the Phaedrus, is symbolized in the figure of Aphrodite Urania, and this was the Venus painted by Botticelli, who was incidentally an ardent Platonist, and member of the Platonist circle around Pico della Mirandola. Botticelli’s Venus is not erotic: she is a vision of heavenly beauty, a visitation from other and higher spheres, and a call to transcendence. Indeed, she is self-evidently both the ancestor and the descendant of the Virgins of Fra Filippo Lippi: the ancestor in her pre-Christian meaning, the descendant in absorbing all that had been achieved through the artistic representation of the Virgin Mary as the symbol of untainted flesh. The post-Renaissance rehabilitation of sexual desire laid the foundations for a genuinely erotic art, an art that would display the human being as both subject and object of desire, but also as a free individual whose desire is a favour consciously bestowed. But this rehabilitation of sex leads us to raise what has become one of the most important questions confronting art and the criticism of art in our time: that of the difference, if there is one, between erotic art and pornography. Art can be erotic and also beautiful, like a Titian Venus. But it cannot be beautiful and also pornographic—so we believe, at least. And it is important to see why. In distinguishing the erotic and the pornographic we are really distinguishing two kinds of interest: interest in the embodied person and interest in the body—and, in the sense that I intend, these interests are incompatible. (See the discussion in Chapter 2.) Normal desire is an inter-personal emotion. Its aim is a free and mutual surrender, which is also a uniting of two individuals, of you and me—through our bodies, certainly, but not merely as our bodies. Normal desire is a person to person response, one that seeks the selfhood that it gives. Objects can be substituted for each other, subjects not. Subjects, as Kant persuasively argued, are free individuals; their non-substitutability belongs to what they essentially are. Pornography, like slavery, is a denial of the human subject, a way of negating the moral demand that free beings must treat each other as ends in themselves.

I think you've figured out how to change yourself to make other people happy. I've seen you tailor your facial expressions , your actions , even what you say, to be what you think I prefer. And now, I suspect, you're trying , unconsciously perhaps, to change your music to be what people like. But that's impossible Anna. Because it's art. You can't please everyone . The second you change it so one person likes it, you'll lose someone who liked it the way it was before.Isn't that what you've been doing as you go in circles? You have to learn how to listen to yourself again, so be yourself.

Worthy Andronicus, ill art thou repaid For that good hand thou sent’st the Emperor. Here are the heads of thy two noble sons, And here’s thy hand in scorn to thee sent back. Thy grief their sports! thy resolution mock'd, That woe is me to think upon thy woes More than remembrance of my father’s death. [Exit.] Marc. Now let hot Aetna cool in Sicily, And be my heart an ever-burning hell! These miseries are more than may be borne. To weep with them that weep doth ease some deal, But sorrow flouted at is double death. Luc. Ah, that this sight should make so deep a wound And yet detested life not shrink thereat! That ever death should let life bear his name, Where life hath no more interest but to breathe. [Lavinia kisses Titus.] Marc. Alas, poor heart, that kiss is comfortless As frozen water to a starvèd snake. Tit. When will this fearful slumber have an end? Marc. Now farewell, flatt’ry; die, Andronicus. Thou dost not slumber. See thy two sons’ heads, Thy warlike hand, thy mangled daughter here, Thy other banished son with this dear sight Struck pale and bloodless; and thy brother, I, Even like a stony image cold and numb. Ah, now no more will I control thy griefs. Rent off thy silver hair, thy other hand, Gnawing with thy teeth, and be this dismal sight The closing up of our most wretched eyes. Now is a time to storm. Why art thou still? Tit. Ha, ha, ha! Marc. Why dost thou laugh? It fits not with this hour. Tit. Why, I have not another tear to shed. Besides, this sorrow is an enemy And would usurp upon my wat’ry eyes And make them blind with tributary tears. Then which way shall I find Revenge’s cave? For these two heads do seem to speak to me And threat me I shall never come to bliss Till all these mischiefs be returned again Even in their throats that hath committed them. Come, let me see what task I have to do. You heavy people, circle me about That I may turn me to each one of you And swear unto my soul to right your wrongs. The vow is made. Come, brother, take a head, And in this hand the other will I bear. And, Lavinia, thou shalt be employed in these arms. Bear thou my hand, sweet wench, between thy teeth. As for thee, boy, go get thee from my sight. Thou art an exile, and thou must not stay. Hie to the Goths and raise an army there. And if you love me, as I think you do, Let’s kiss and part, for we have much to do. Exeunt.

Keats captures both ecstasy and its link with death in his ‘Ode to a Nightingale’. Darkling I listen; and for many a time I have been half in love with easeful Death, Call’d him soft names in many a mused rhyme, To take into the air my quiet breath; Now more than ever seems it rich to die, To cease upon the midnight with no pain, While thou art pouring forth thy soul abroad In such an ecstasy!16 The association of ecstatic states of mind with death is understandable. These rare moments are of such perfection that it is hard to return to the commonplace, and tempting to end life before tensions, anxieties, sorrows, and irritations intrude once more. For Freud, dissolution of the ego is nothing but a backward look at an infantile condition which may indeed have been blissful, but which represents a paradise lost which no adult can, or should wish to, regain. For Jung, the attainment of such states are high achievements; numinous experiences which may be the fruit of long struggles to understand oneself and to make sense out of existence. At a later point in this book, Jung’s concept of individuation, of the union of opposites within the circle of the individual psyche, will be further explored.

BLUE HEAVENS It could make a person dizzy, those spinning, circling heavens filled with knots of stars, swirling blue stars approaching, blue-shadow stars fading away. It’s a mayhem of reeling, a scattering blue dust of star clouds circling the circling centers of spiraling galaxies wheeling forever toward no known horizon. Someone, immersed in the deep beauty of these blue celestials, could get lost while waiting for hands to deliver perhaps an orange, perhaps an apple, scarlet or gold, a sprig of green, a blossom, pink dogwood, spring plum. Inspired by “Golden Horn” Tondino The Museum of Fine Arts, Houston, Texas

For every one actor who makes it to fame there are fifty thousand more who did exactly the same things, yet didn't make it. Most of the actors I went with to Juilliard Rhode Island College, Circle in the Square Theatre, the Arts Recognition Talent Search competition are not in the business anymore. I think I can name six, and many, you wouldn't even know. It doesn't speak to their talent, it speaks to the nature of the business. Trust me when I say most were beautiful and talented, and some has incredible agents. It's an eenie, meenie, miny, mo game of luck, relationships, chance, how long you've been out there, and sometimes talent.

Medicine Woman is the soul of healing. The deep feminine that will heal you. And will in turn heal the world. She connects us to the wisdom of nature, the wisdom that has been tapped and held by indigenous cultures and the healers who came before. She who has walked this path for a hundred thousand years, before the gleam of steel and the coming of machines and oil. She is the feminine principle in healing that has been lost in our technocratic war on disease. Medicine Woman is our native, our inner ability to heal. She brings with her visions of healing of community – circles of support, healing through arts, connected communities, health giving foods.

Because when you give too many f*cks—when you give a f*ck about everyone and everything—you will feel that you’re perpetually entitled to be comfortable and happy at all times, that everything is supposed to be just exactly the fucking way you want it to be. This is a sickness. And it will eat you alive. You will see every adversity as an injustice, every challenge as a failure, every inconvenience as a personal slight, every disagreement as a betrayal. You will be confined to your own petty, skull-sized hell, burning with entitlement and bluster, running circles around your very own personal Feedback Loop from Hell, in constant motion yet arriving nowhere.

I hate the Fourth of July. The early middle age of summer. Everything is alive and kicking for now, but the eventual decline into fall has already set itself in motion. Some of the lesser shrubs and bushes, seared by the heat, are starting to resemble a bad peroxide job. The heat reaches a blazing peak, but summer is lying to itself, burning out like some alcoholic genius. And you start to wonder - what have I done with June? The poorest of the lot - the Vladeck House project dwellers who live beneath my co-op - seem to take summer in stride; they groan and sweat, drink the wrong kind of lager, make love, the squat children completing mad circles around them by foot or mountain bike. But for the more competitive of New Yorkers, even for me, the summer is there to be slurped up. We know summer is the height of being alive. We don’t believe in God or the prospect of an afterlife mostly, so we know that we’re only given eighty summers or so per lifetime, and each one has to be better than the last, has to encompass a trip to that arts center up at Bard, a seemingly mellow game of badminton over at some yahoo’s Vermont cottage, and a cool, wet, slightly dangerous kayak trip down an unforgiving river. Otherwise, how would you know that you have lived summertime best? What if you missed out on some morsel of shaded nirvana?

Douglas’s work. And the first time Mrs. Caperdeen showed us a slide from his series Aspects of Negro Life, I knew the kind of art I wanted to start making. And so I did. The only difference was that I framed mine in a circle, like The Family Circus. And that’s why I needed Ma to make sure she brought me my sketch pad and pencils. I woke up early, and before doing anything else, before getting up and having a morning pee, or brushing my teeth, or spirometering, I turned the TV on, muted it, then grabbed my stuff and starting sketching on a fresh page. I wasn’t sure what I was drawing. That’s not true. I knew exactly what I was drawing. The only thing I could. I was

Not that I am totally obsessed with merchantry!” said Glasswort Groof as she led them in an artful circle round the Market. “Goblins are well-rounded, though you’d never think it from the dastard tales folk tell of us. For example, I enjoy stamp collecting as well as haggling. The stamps that pay our letters’ way Above are works of art, practically bigger than the envelope! I’ve an early Mallow three-kisser with a rampant rhinocentaur on it in pewter paint. Pride of my collection. And it goes without saying I’m quite the gardener. Goblin vegetables pack twice the punch of fruit with half the delicacy of a simpering little apricot. Soon turnips will be all the rage!

There are other noteworthy characteristics of this rock art style: Anthropomorphs without headdresses instead sport horns, or antennae, or a series of concentric circles. Also prominent in many of the figures' hands are scepters--each one an expression of something significant in the natural world. Some look like lightning bolts, some like snakes; other burst from the fingers like stalks of ricegrass. Colorado Plateau rock-art expert Polly Schaafsma has interpreted these figures as otherworldly--drawn by shamans in isolated and special locations, seemingly as part of a ceremonial retreat. Schaafsma and others believe that the style reflects a spirituality common to all hunter-gatherer societies across the globe--a way of life that appreciates the natural world and employs the use of visions to gain understanding and appreciation of the human relationship to the earth. Typically, Schaafsma says, it is a spirituality that identifies strongly with animals and other aspects of nature--and one that does so with an interdependent rather than dominant perspective. To underscore the importance of art in such a culture, Schaafsma points to Aboriginal Australians, noting how, in a so-called primitive society, where forms of written and oral communication are considered (at least by our standards) to be limited, making art is "one means of defining the mystic tenets of one's faith.

At the beginning we have to learn the art of listening, the art of being present, attentive, and empty. We have to learn to catch the still, small voice of our Beloved, and not interrupt, not ask too many questions. We have to learn to be silent, because listening is born from silence. But the listening of the heart is always an act of love, a coming together, even when nothing is heard. Listening is a wisdom so easily overlooked, because it is feminine, receptive, hidden, and our culture values only what is visible. But Rûmî knew how central a part it plays in our loving, in our wordless relationship with our Beloved: 'Make everything in you an ear, each atom of your being, and you will hear at every moment what the Source is whispering to you, just to you and for you, without any need for my words or anyone else’s. You are--we all are--the beloved of the Beloved, and in every moment, in every event of your life, the Beloved is whispering to you exactly what you need to hear and know. Who can ever explain this miracle? It simply is. Listen and you will discover it every passing moment. Listen, and your whole life will become a conversation in thought and act between you and Him, directly, wordlessly, now and always.' How can we learn this art of listening? How can we learn to hear what He says? How can we learn to be a part of His silence when nothing is said? How does the heart listen?

As an artistic style, mannerism conformed to a divided outlook on life which was, nevertheless, spread uniformly all over Western Europe; the baroque is the expression of an intrinsically more homogeneous world-view, but one which assumes a variety of shapes in the different European countries. Mannerism, like Gothic, was a universal European phenomenon, even if it was restricted to much narrower circles than the Christian art of the Middle Ages; the baroque, on the other hand, embraces so many ramifications of artistic endeavor, appears in so many different forms in the individual countries and spheres of culture, that it seems doubtful at first sight whether it is possible to reduce them all to a common denominator.

FV: Hasn't all art, in a way, submitted to words - reduced itself to the literary...admitted its failure through all the catalogues and criticism, monographs and manifestos — ML: Explanations? FV: Exactly. All the artistry, now, seems expended in the rhetoric and sophistry used to differentiate, to justify its own existence now that so little is left to do. And who's to say how much of it ever needed doing in the first place? [...] Nothing's been done here but the re-writing of rules, in denial that the game was already won, long ago, by the likes of Duchamp, Arp, or Malevich. I mean, what's more, or, what's less to be said than a single black square? ML: Well, a triangle has fewer sides, I suppose. FV: Then a circle, a line, a dot. The rest is academic; obvious variations on an unnecessary theme, until you're left with just an empty canvas - which I'm sure has been done, too. ML: Franz Kline, wasn't it? Or, Yves Klein - didn't he once exhibit a completely empty gallery? No canvases at all. FV: I guess, from there, to not exhibit anything - to do absolutely nothing at all - would be the next "conceptual" act; the ultimate multimedia performance, where all artforms converge in negation and silence. And someone's probably already put their signature to that, as well. But even this should be too much, to involve an artist, a name. Surely nothing, done by no-one, is the greatest possible artistic achievement. Yet, that too has been done. Long, long ago. Before the very first artists ever walked the earth.

And what does he feel?" "He feels uneasy. A little afaid. Angry. Oddly, a hint of pride." "Good," Henry said. "ANd where are you?" "Backstage." Henry shook his head gravely. "THere's no such thing as backstage. The play begins, and there's only the world it dramatizes. Now, where are you?" "With my father, the president. In his chambers." "Right. With me. Your father. And now--this is important--do you love me?" Nelson considered this; or rather, Nelson, as Alejo, considered this. "Yes," he said after a moment. "I do." "Good. Remember that. In every scene--even when you hate me, you also love me. That's why it hurts. Got it?" Nelson said that he did. "Are you sure?" "Yes." "Good. Because it does hurt," Henry said. "DOn't forget that. It's supposed to. Always.

A boy throws stones into the stream, and then looks with wonder at the circles which follow in the water, regarding them as a result in which he sees something of his own doing. This human need runs through the most varied phenomena up to that particular form of self-reproduction in the external fact which is presented us in human art. And it is not merely in relation to external objects that man acts thus. He treats himself, that is, his natural form, in similar manner: he will not permit it to remain as he finds it; he alters it deliberately. This is the rational grounds of all ornament and decoration, though it may be as barbarous, tasteless, entirely disfiguring, nay, as injurious as the crushing of the feet of Chinese ladies, or the slitting of ears and lips.

But, sceptic that he was, he had one fanatical devotion, not for an idea, a creed, an art or a science, but for a man — for Enjolras. Grantaire admired, loved, and venerated Enjolras. The anarchic questioner of all beliefs had attached himself to the most absolute of all that circle of believers. Enjolras had conquered him not by any force of reason but by character. It is a not uncommon phenomenon. The sceptic clinging to a believer is something as elementary as the law of complementary colours. We are drawn to what we lack. No one loves daylight more than a blind man. The dwarf adores the drum-major. The toad has its eyes upturned to Heaven, and for what? — to watch the flight of the birds. Grantaire, earthbound in doubt, loved to watch Enjolras soaring in the upper air of faith. He needed Enjolras. Without being fully aware of it, or seeking to account for it himself, he was charmed by that chaste, upright, inflexible, and candid nature. Instinctively he was attracted to his opposite. His flabby, incoherent, and shapeless thinking attached itself to Enjolras as to a spinal column. He was in any case a compound of apparently incompatible elements, at once ironical and friendly, affectionate beneath his seeming indifference. His mind could do without faith, but his heart could not do without friendship: a profound contradiction, for affection in itself is faith. Such was his nature. There are men who seem born to be two-sided. They are Pollux, Patrocles, Nisus, Ephestion. They can live only in union with the other who is their reverse side; their name is one of a pair, always preceded by the conjunction "and"; their lives are not their own; they are the other side of a destiny which is not theirs. Grantaire was one of those, the reverse side of Enjolras. Truly the satellite of Enjolras, he formed one of that circle of young men, went everywhere with them and was only happy in their company. His delight was to see those figures moving amid the mists of wine, and they bore with him because of his good humour. Enjolras, the believer, despised the sceptic and soberly deplored the drunkard. His attitude towards him was one of pitying disdain. Grantaire was an unwelcome Ephestion. But, roughly treated though he was by Enjolras, harshly repulsed and rejected, he always came back, saying of him: "What a splendid statue!

In every age a general misdirection of what may be called sexual "taste"... [is] produce[d by the devil and his angels]. This they do bu working through the small circle of artists, dressmakers, actresses, and advertisers who determine the fashionable type. The aim is to guide each sex away from those members of the other with whom spiritually helpful, happy, and fertile marriages are most likely. Thus [they] have now for many centuries triumphed over nature to the extent of making certain secondary characteristics of the male (such as the beard) disagreeable to nearly all the females-and there is more in that than you might suppose. As regards the male taste [they] have varied a good deal. At one time [they] have directed it to the statuesque and aristocratic type of beauty, mixing men's vanity with their desires and encouraging the race to breed chiefly from the most arrogant and prodigal women. At another, [they] have selected an exaggeratedly feminine type, faint and languishing, so that folly and cowardice, and all the general falseness and littleness of mind which go with them, shall be at a premium. At present [they] are on the opposite tack. The age of jazz has succeeded the age of the waltz, and [they] now teach men to like women whose bodies are scarcely distinguishable from those of boys. Since this is a kind of beauty even more transitory than most, [they] thus aggravate the female's chronic horror of growing old (with many [successful] results) and render her less willing and less able to bear children. And that is not all. [They] have engineered a great increase in the license which society allows to the representation of the apparent nude (not the real nude) in art, and its exhibition on the stage or the bathing beach. It is all a fake, or course; the figures in the popular art are falsely drawn; the real women in bathing suits or tights are actually pinched in and propped up to make them to appear firmer and more slender and more boyish than nature allows a full-grown woman to be. Yet at the same time, the modern world is taught to believe that it is being "frank" and "healthy" and getting back to nature. As a result [they] are more and more directing the desires of men to something which does not exist-making the role of the eye in sexuality more and more important and at the same time making its demands more and more impossible.

THE BOOK OF A MONK’S LIFE I live my life in circles that grow wide And endlessly unroll, I may not reach the last, but on I glide Strong pinioned toward my goal. About the old tower, dark against the sky, The beat of my wings hums, I circle about God, sweep far and high On through milleniums. Am I a bird that skims the clouds along, Or am I a wild storm, or a great song? Many have painted her. But there was one Who drew his radiant colours from the sun. My God is dark- like woven texture flowing, A hundred drinking roots, all intertwined; I only know that from His warmth I'm growing. More I know not: my roots lie hidden deep My branches only are swayed by the wind. Dost thou not see, before thee stands my soul In silence wrapt my Springtime's prayer to pray? But when thy glance rests on me then my whole Being quickens and blooms like trees in May. When thou art dreaming then I am thy Dream, But when thou art awake I am thy Will Potent with splendour, radiant and sublime, Expanding like far space star-lit and still Into the distant mystic realm of Time. I love my life's dark hours In which my senses quicken and grow deep, While, as from faint incense of faded flowers Or letters old, I magically steep Myself in days gone by: again I give Myself unto the past:- again I live. Out of my dark hours wisdom dawns apace, Infinite Life unrolls its boundless space ... Then I am shaken as a sweeping storm Shakes a ripe tree that grows above a grave ' Round whose cold clay the roots twine fast and warm- And Youth's fair visions that glowed bright and brave, Dreams that were closely cherished and for long, Are lost once more in sadness and in song.

The overhead lights hit the Serch Bythol sculpture on the utmost tier, the sugar crystals shimmering and dancing like a cascade of diamonds. The planes of the cake beneath were clean and crisp, and the sugar-stained glass panels caught every light on the ceiling, throwing back shimmering rainbow rays. Sylvie was most proud of the silhouette that circled the middle stained-glass tiers--the skylines of London and Johnny's family estate in Lancashire. Only when viewed at close range did a second, hidden skyline emerge from within the reflective depths---the fantasy lands of I, Slayer, complete with a tiny, flying dragon. It was a work of art---and even now, she was taken aback by the level of harmony they had achieved, twinning together two very different styles. In honor of the union of two very different people, whose lives would hopefully interlock just as successfully.

Imagine standing on the very edge of the Grand Canyon. The bloodred gorge stretches as far as you can see in every direction. The canyon floor drops precipitously below your feet. You feel dizzy and step back from the edge. Hawks circle through rock crevasses so barren and stripped of vegetation you could as well be on the moon. You are amazed. You are humbled. You feel elevated. This is awe. According to psychologists Dacher Keltner and Jonathan Haidt, awe is the sense of wonder and amazement that occurs when someone is inspired by great knowledge, beauty, sublimity, or might. It’s the experience of confronting something greater than yourself. Awe expands one’s frame of reference and drives self-transcendence. It encompasses admiration and inspiration and can be evoked by everything from great works of art or music to religious transformations, from breathtaking natural landscapes to human feats of daring and discovery.

It is untrue that I or anybody else in Germany wanted war in 1939. It was desired and instigated exclusively by those international statesmen who were either of Jewish origin or working for Jewish interests. I have made so many offers for the reduction and elimination of armaments, which posterity cannot explain away for all eternity, that the responsibility for the outbreak of this war cannot rest on me. Furthermore, I never desired that after the first terrible World War a second war should arise against England or even against America. Centuries may pass, but out of the ruins of our cities and monuments of art there will arise anew the hatred for the people who alone are ultimately responsible: International Jewry and its helpers! As late as three days before the outbreak of the German-Polish War, I proposed to the British Ambassador in Berlin a solution for the German-Polish problem -- similar to the problem of the Saar area, under international control. This offer cannot be explained away, either. It was only rejected because the responsible circles in English politics wanted the war, partly in the expectation of business advantages, partly driven by propaganda promoted by international Jewry. But I left no doubt about the fact that if the peoples of Europe were again only regarded as so many packages of stock shares by these international money and finance conspirators, then that race, too, which is the truly guilty party in this murderous struggle would also have to be held to account: the Jews! I further left no doubt that this time we would not permit millions of European children of Aryan descent to die of hunger, nor millions of grown-up men to suffer death, nor hundreds of thousands of women and children to be burned and bombed to death in their cities, without the truly guilty party having to atone for its guilt, even if through more humane means.

Your wanderer is a phantom from the boy's shore. Mark you, he does not go; he sends his narrator; he plays tricks with time because there are two journeys in every odyssey, one on worried water, the other crouched and motionless, without noise. For both, the 'I' is a mast; a desk is a raft for one, foaming with paper, and dipping the beak of a pen in its foam, while an actual craft carries the other to cities where people speak a different language, or look at him differently, while the sun rises from the other direction with its unsettling shadows, but the right journey is motionless; as the sea moves round an island that appears to be moving, Jove moves round the heart with encircling salt, and the slowly travelling hand knows it returns to the port from which it must start. Therefore, this is what this island has meant to you, why my bust spoke, why the sea-swift was sent to you: to circle yourself and your island with this art.

But without Emily, Greg would feel—paradoxically for such a social creature—alone. Before they met, most of Greg’s girlfriends were extroverts. He says he enjoyed those relationships, but never got to know his girlfriends well, because they were always “plotting how to be with groups of people.” He speaks of Emily with a kind of awe, as if she has access to a deeper state of being. He also describes her as “the anchor” around which his world revolves. Emily, for her part, treasures Greg’s ebullient nature; he makes her feel happy and alive. She has always been attracted to extroverts, who she says “do all the work of making conversation. For them, it’s not work at all.” The trouble is that for most of the five years they’ve been together, Greg and Emily have been having one version or another of the same fight. Greg, a music promoter with a large circle of friends, wants to host dinner parties every Friday—casual, animated get-togethers with heaping bowls of pasta and flowing bottles of wine. He’s been giving Friday-night dinners since he was a senior in college, and they’ve become a highlight of his week and a treasured piece of his identity. Emily has come to dread these weekly events. A hardworking staff attorney for an art museum and a very private person, the last thing she wants to do when she gets home from work is entertain. Her idea of a perfect start to the weekend is a quiet evening at the movies, just her and Greg. It seems an irreconcilable difference: Greg wants fifty-two dinner parties a year, Emily wants zero. Greg says that Emily should make more of an effort. He accuses her of being antisocial. “I am social,” she says. “I love you, I love my family, I love my close friends. I just don’t love dinner parties. People don’t really relate at those parties—they just socialize. You’re lucky because I devote all my energy to you. You spread yours around to everyone.” But Emily soon backs off, partly because she hates fighting, but also because she doubts herself. Maybe I am antisocial, she

The law of harmonic sounds reappears in the harmonic colors. The granite is differenced in its laws only by the more or less of heat from the river that wears it away. The river, as it flows, resembles the air that flows over it; the air resembles the light which traverses it with more subtile currents; the light resembles the heat which rides with it through Space. Each creature is only a modification of the other; the likeness in them is more than the difference, and their radical law is one and the same. A rule of one art, or a law of one organization, holds true throughout nature. So intimate is this Unity, that, it is easily seen, it lies under the undermost garment of Nature, and betrays its source in Universal Spirit. For it pervades Thought also. Every universal truth which we express in words, implies or supposes every other truth. Omne verum vero consonat. It is like a great circle on a sphere, comprising all possible circles; which, however, may be drawn and comprise it in like manner. Every such truth is the absolute Ens seen from one side. But it has innumerable sides.

There are a few consolations. First and foremost, a ravaged incensed defiance, a fuck you to the universe and all those who peddle sentimental nonsense that doesn’t fit our reality. A certain kind of art works too, the sort created by unflinching genius realists who went through as much loneliness as we have, who understood our sadness ahead of time, grief-stricken masters like Baudelaire and Leopardi, Pessoa and Pascal, who can express our petty domestic sorrow in mighty transcendental terms and induct us to the most dignified kind of regret. They were there too and, in the most abstract accomplished ways, tell us ‘I know’. And we have friendship, not the kind that obliterates the loneliness, but that allows us to commune around it. We can’t help each other directly, we’re more like a group of the dying in a hospice talking circle who won’t be able to eradicate the end but know they are at least not alone with it. We get better too at understanding statistics: that this is normal for a benighted group of us. We belong to an important minority party in the parliament of human suffering.

... The influence of the Pre-Raphaelites was felt less through their paintings than through a book, The Poems of Tennyson, edited by Moxon and wonderfully illustrated by Rossetti and Millais. The influence on Maeterlinck stems less from the poems themselves than from the illustrations. The revival of illustrated books in the last two years of the century derives from this Tennyson, the books printed at William Morris' press, the albums of Walter Crane. These last two and the ravishing little books for children by Kate Greenaway were heralded by Huysmans as early as 1881. Generally speaking, it is the English Aesthetic Movement rather than the Pre-Raphaelites which influenced the Symbolists, a new life-style rather than a school of painting. The Continent, passing through the Industrial Revolution some fifty years after England, found valuable advice on how to escape from materialism on the other side of the Channel. Everything that one heard about the refinements practised in Chelsea enchanted Frenchmen of taste: furniture by Godwin, open-air theatricals by Lady Archibald Campbell, the Peacock Room by Whistler, Liberty prints. As the pressure of morality was much less pronounced in France than in England, the ideal of Aestheticism was not a revolt but a retreat towards an exquisite world which left hearty good living to the readers of the magazine La Vie Parisienne ('Paris Life') and success to the readers of Zola. If one could not write a beautiful poem or paint a beautiful picture, one could always choose materials or arrange bouquets of flowers. Aesthetic ardour smothered the anglophobia in the Symbolist circle. The ideal of a harmonious life suggested in Baudelaire's poem L' Invitation au Voyage seemed capable of realization in England, whose fashions were brought back by celebrated travellers: Mallarmé after 1862, Verlaine in 1872. Carrière spent a long time in London, as did Khnopff later on. People read books by Gabriel Mourey on Swinburne, and his Passé le Détroit ('Beyond the Channel') is particularly important for the artistic way of life ... Thus England is represented in this hall of visual influences by the works of Burne-Jones and Watts, by illustrated books, and by objets d'art ...

Look, nobody’s parents are perfect,” he says finally. “I mean, Niko’s parents let him transition when he was like nine, and they’ve always been super cool about it, but his mom still won’t let him tell his grandpa. And she’s constantly bugging him to move back to Long Island because she wants him to be closer to the family, but he likes it in the city, and they fight about it all the time.” “I didn’t know that.” “Yeah, but at least she’s trying, you know? People like my parents, though, like your mom’s parents—that’s another level. I mean, I wanted to go to art school, and my parents were like, great, you can sketch buildings, and then you can take over the firm one day, and no, we’re not paying for therapy. And when I couldn’t do what they wanted, that was just it. They cut off the money and told me not to come home. They care about how it looks. They care about what they can circle jerk about with their idiot fucking Ivy League friends. But the minute you need something—like, actually need something—they’ll let you know just how much of a disappointment you are for asking.” August has never thought of it quite that way.

Thank you for checking on me. You even wore your sword.” Alric looked down. “I didn’t know what beast or scoundrel might be attacking the princess. I had to come prepared to do battle.” “Can you even draw that thing?” He frowned at her again. “Oh, quit it, will you? They say I fought masterfully in the Battle of Medford.” “Masterfully?” He struggled to stop himself from smiling. “Yes, some might even say heroically. In fact, I believe some did say heroically.” “You’ve watched that silly play too many times.” “It’s good theater, and I like to support the arts.” “The arts.” She rolled her eyes. “You just like it because it makes all the girls swoon and you love all the attention.” “Well…” He shrugged guiltily. “Don’t deny it! I’ve seen you with a crowd of them circling like vultures and you grinning and strutting around like the prize bull at the fair. Do you make a list? Does Julian send them to your chambers by hair color, height, or merely in alphabetical order?” “It’s not like that.” “You know, you do have to get married, and the sooner, the better. You have a lineage to protect. Kings who don’t produce heirs cause civil wars.

This photo is classic aestheticism. The engaging expression, the loose dress and fluid posture. Early to mid-1860's, if I had to guess." "It reminded me of the Pre-Raphaelites." "Related, definitely; and of course the artists of the time were all inspired by one another. They obsessed over things like nature and truth; color, composition, and the meaning of beauty. But where the Pre-Raphaelites strove for realism and detail, the painters and photographers of the Magenta Brotherhood were devoted to sensuality and motion." "There's something moving about the quality of light, don't you think?" "The photographer would be thrilled to hear you say so. Light was of principal concern to them: they took their name from Goethe's color wheel theories, the interplay of light and dark, the idea that there was a hidden color in the spectrum, between red and violet, that closed the circle. You have to remember, it was right in the middle of a period when science and art were exploding in all directions. Photographers were able to use technology in ways they hadn't before, to manipulate light and experiment with exposure times to create completely new effects.

Know about ' Main Shabana' Mein Shabana by Yusuf Rais Book Description The novel Mein Shabana will touch the hearts of many people because even though being a novel, this is a story of you, every woman. Despite being an episode of a particular environment and family, it seems very up close and personal to you. Many of the characters in this novel are familiar to even though they seem fictional to you; the actions of these characters and its repercussions are universal in nature and not restricted to just Shabana, the protagonist of this novel. ABOUT THE AUTHOR- Yusuf Rais The author was born in 1975 in a little town of Rajasthan. He pursued his education in Arts, and completed MA from Rajasthan University, Jaipur. He is currently put up at Pirawa, a town situated in the district of Jhalawar, Rajasthan. He has been an avid lover of language since the age of six and has continued his oration and writing since then. He is currently working as a reporter and has published articles in Dainik Bhaskar and Navjyoti. He has previously published two ghazal books — Ek Tanha Safar and Chehara Rishton Ka — which have been critically acclaimed by his circle of book lovers. Copied

Della & I are drunk at the top of Mont-Royal. We have an open blue plastic thermos of red wine at our feet. It's the first day of spring & it's midnight & we've been peeling off layers of winter all day. We stand facing each other, as if to exchange vows, chests heaving from racing up & down the mountain to the sky. My face is hurting from smiling so much, aching at the edges of my words. She reaches out to hold my face in her hands, dirty palms form a bowl to rest my chin. I’m standing on a tree stump so we’re eye to eye. It’s hard to stay steady. I worry I may start to drool or laugh, I feel so unhinged from my body. It’s been one of those days I don’t want to end. Our goal was to shirk all responsibility merely to enjoy the lack of everyday obligations, to create fullness & purpose out of each other. Our knees are the colour of the ground-in grass. Our boots are caked in mud caskets. Under our nails is a mixture of minerals & organic matter, knuckles scraped by tree bark. We are the thaw embodied. She says, You have changed me, Eve, you are the single most important person in my life. If you were to leave me, I would die. At that moment, our breath circling from my lungs & into hers, I am changed. Perhaps before this I could describe our relationship as an experiment, a happy accident, but this was irrefutable. I was completely consumed & consuming. It was as though we created some sort of object between us that we could see & almost hold. I would risk everything I’ve ever known to know only this. I wanted to honour her in a way that was understandable to every part of me. It was as though I could distill the meaning of us into something I could pour into a porcelain cup. Our bodies on top of this city, rulers of love. Originally, we were celebrating the fact that I got into Concordia’s visual arts program. But the congratulatory brunch she took me to at Café Santropol had turned into wine, which had turned into a day for declarations. I had a sense of spring in my body, that this season would meld into summer like a running-jump movie kiss. There would be days & days like this. XXXX gone away on a sojurn I didn’t care to note the details of, she simply ceased to be. Summer in Montreal in love is almost too much emotion to hold in an open mouth, it spills over, it causes me to not need any sleep. I don’t think I will ever feel as awake as I did in the summer of 1995.

The social function of court life is to enlist the support and adherence of the public for the ruling house. The Renaissance princes want to delude not only the people, they also want to make an impression o the nobility and bind it to the court. But they are not dependent on either its services or its company; they can use anyone, of whatever descent, provided he is useful. Consequently, the Italian courts of Renaissance differ from the medieval courts in their very constitution; they accept into their circle upstart adventurers and merchants who have made money, plebeian humanists and ill-bred artists - entirely as if they had all the traditional social qualifications. In contrast to the exclusive moral community of court chivalry, a comparatively free, fundamentally intellectual type of salon life develops at these courts which is, on the one hand the continuation of the aesthetic social culture of middle-class circles, such as described in the Decamerone and in the Paradiso degli Alberti, and represents, on the other, the preparatory stage in the development of those literary salons which play such an important part in the intellectual life of Europe in the seventeenth and eighteenth centuries.

So at last Ilar Sant came to this wood, which people now call St. Hilary's wood because they have forgotten all about Ilar. And he was weary with his wandering, and the day was very hot; so he stayed by this well and began to drink. And there on that great stone he saw the shining fish, and so he rested, and built an altar and a church of willow boughs, and offered the sacrifice not only for the quick and the dead, but for all the wild beasts of the woods and the streams. "And when this blessed Ilar rang his holy bell and began to offer, there came not only the Prince and his servants, but all the creatures of the wood. There, under the hazel boughs, you might see the hare, which flies so swiftly from men, come gently and fall down, weeping greatly on account of the Passion of the Son of Mary. And, beside the hare, the weasel and the pole-cat would lament grievously in the manner of penitent sinners; and wolves and lambs together adored the saint's hierurgy; and men have beheld tears streaming from the eyes of venomous serpents when Ilar Agios uttered 'Curiluson' with a loud voice—since the serpent is not ignorant that by its wickedness sorrow came to the whole world. And when, in the time of the holy ministry, it is necessary that frequent Alleluyas should be chanted and vociferated, the saint wondered what should be done, for as yet none in that place was skilled in the art of song. Then was a great miracle, since from all the boughs of the wood, from every bush and from every green tree, there resounded Alleluyas in enchanting and prolonged harmony; never did the Bishop of Rome listen to so sweet a singing in his church as was heard in this wood. For the nightingale and thrush and blackbird and blackcap, and all their companions, are gathered together and sing praises to the Lord, chanting distinct notes and yet concluding in a melody of most ravishing sweetness; such was the mass of the Fisherman. Nor was this all, for one day as the saint prayed beside the well he became aware that a bee circled round and round his head, uttering loud buzzing sounds, but not endeavouring to sting him. To be short; the bee went before Ilar, and led him to a hollow tree not far off, and straightway a swarm of bees issued forth, leaving a vast store of wax behind them. This was their oblation to the Most High, for from their wax Ilar Sant made goodly candles to burn at the Offering; and from that time the bee is holy, because his wax makes light to shine upon the Gifts.

inbox. It was from Ogden Morrow. The subject line read “We Can Dance If We Want To.” There was no text in the body of the e-mail. Just a file attachment—an invitation to one of the most exclusive gatherings in the OASIS: Ogden Morrow’s birthday party. In the real world, Morrow almost never made public appearances, and in the OASIS, he came out of hiding only once a year, to host this event. The invitation featured a photo of Morrow’s world-famous avatar, the Great and Powerful Og. The gray-bearded wizard was hunched over an elaborate DJ mixing board, one headphone pressed to his ear, biting his lower lip in auditory ecstasy as his fingers scratched ancient vinyl on a set of silver turntables. His record crate bore a DON’T PANIC sticker and an anti-Sixer logo—a yellow number six with a red circle-and-slash over it. The text at the bottom read Ogden Morrow’s ’80s Dance Party in celebration of his 73rd birthday! Tonight—10pm OST at the Distracted Globe ADMIT ONE I was flabbergasted. Ogden Morrow had actually taken the time to invite me to his birthday party. It felt like the greatest honor I’d ever received. I called Art3mis, and she confirmed that she’d received the same e-mail. She said she couldn’t pass up an invitation from Og himself

Compare with Greek art, modern classical art is lacking in warmth and immediacy; it has a derived, retrospective, and, even in the Renaissance, a more or less classicistic character. It It is the reflection of a society which, filled with reminiscences of Roman heroism and medieval chivalry, tries to appear to be something which it is not, by following an artificially produced social and moral code, and which stylizes the whole pattern of its life in accordance with this fictitious scheme. Classical art describes this society as it wants to see itself and as it wants to be seen. There is hardly a feature in this art which would not, on closer examination, prove to be anything more than the translation into artistic terms of the aristocratic, conservative ideals cherished by this society striving for permanence and continuity. The whole artistic fromalism of the Cinquecento merely corresponds to the formalized system of moral conceptions and decorum which the upper class of the period imposes on itself. Just as the aristocracy and the aristocratically minded circles of society subject life to the rule of a formal code, in order to preserve it from the anarchy of the emotions, so they also submit the expression of the emotions in art to the censorship of definite, abstract, and impersonal forms.

Tomoe Akagi is known in artistic circles for having beat Nam June Paik to be the first person to perform a work of art inside a whale. Though, I don't think Paik actually wanted to create work inside a whale. His work, Creep into the Vagina of a Live Whale, was about creating an impossible piece of performance art, one that wasn't to be attempted, and could exist only in the minds of the audience. As readers of that instruction, we inevitably imagine ourselves parting the soft flesh of a whale without her noticing, a corridor opening up, stepping inside, breaking through her hymen, creeping into her uterus. I couldn't work out how I felt about this work when I read it for the first time; I remember her thinking, Ugh, of course he has chosen a female animal, and of course he has us enter her without her realizing. I couldn't tell what the point of the work was. It seemed to only exist to be shocking. Akagi had sewn himself into the stomach of a deceased beached whale somewhere in Scandinavia, where whale meat is eaten, and, after that, he was known as the artist who beat Nam June Paik. Unlike that of the other Fluxus artists, Akagi's work wasn't completely nihilistic; he wrote a long letter to the whale, apologizing for his generation's mistreatment of the environment, and sewed it into the whale's stomach with himself.

My bisnonno is such a man...Fine, you laugh again. Not so handsome,I think,but just as proud. He struts through the square with his new shoes. He buys a carriage. But he gives to the poor,too, to the Church.He is kind to his siters; he is a friend to many.He is raffinato, a gentleman. And the girl he chooses? Hmm? Hmm?" "I don't know, Nonna. Elizabeth Benedetto?" "Hah!" Nonna slapped her hand hard against her knee. It bounced soundlessly off the leopard plush. "Elisabetta. Elisabetta, daughter of a man who works on another's boat. Elisabetta who has many sisters and who is intended for the Church if she does not marry. I don't remember her family name, if I ever knew. Maybe Benedetto.Why not? It does not matter.What matters is that no one understands why Michelangelo Costa chooses this girl. No one can...oh,the word...to say a picture of: descrivere." "Describe?" "Si. Describe.No one can describe her.Small,they think. Brown, maybe. Maybe not so pretty, not so ugly. Just a girl. She sits by the seawall mending nets her family does not own. She is odd,too,her neighbors think.They think it is she who leaves little bit of shell and rock when she is done with the nets, little mosaico on the wall. So why? the piu bella girls ask, the ones with long,long necks, and long black hair, and noses that turn up at the end. Why this odd, nobody girl in her ugly dresses, with her dirty feet? "Michelangelo sends his cousins to her with gifts. A cameo, silk handkerchiefs, a fine pair of gloves. Again,the laugh.Then, you would not have laughed at a gift of gloves, piccola. Oh,you girls now. You want what? E-mails and ePods?" "That's iPods,Nonna." "Whatever. See,that word I know. Now, Elisabetta sends back the little girst. So my bisnonno sends bigger: pearls, meters of silk cloth, a horse. These,too,she will not take. And the people begin to look,and ask: Who is she, this nobody girl,to refuse him? No money,no beauty,no family name.You are a fool,they tell her. Accept. Accept! "And my proud bisnonno does not understand. He can have any girl in the town.So again,he gathers the gifts, he carries them himself, leads the horse. But Elisabetta is not to be found. She is not at her papa's house or in the square or at the seawall. Michelangelo fears she has gone to the convent. But no. As he stands at the seawall, a seabird,a gull, lands on his shoulder and says-" "Nonna-" "Shh! The girl tells him to follow the delfino....delfin? Dolphin! So he looks, and there, a dolphin with its head above the water says, 'Follow!' So he follows,the sack with gifts for Elisabetta on his back,like a peddler, the horse trailing behind.The dolphin leads him around the bay to a beach, and there is Elisabetta, old dress covered in sand,feet bare, just drawing circles in the sand. She starts to run, but Michelangelo calls to her. 'Why,' he asks her. 'Why do you hide? Why will you not take my gifts?' And she says..." I'd been fighting a losing battle with yawning for a while. I was failing fast. "I have no idea. 'I'm in love with someone else.'?

By 1937 the whole of the intelligentsia was mentally at war. Left-wing thought had narrowed down to “anti-Fascism,” i.e., to a negative, and a torrent of hate-literature directed against Germany and the politicians supposedly friendly to Germany was pouring from the Press. The thing that, to me, was truly frightening about the war in Spain was not such violence as I witnessed, nor even the party feuds behind the lines, but the immediate reappearance in left-wing circles of the mental atmosphere of the Great War. The very people who for twenty years had sniggered over their own superiority to war hysteria were the ones who rushed straight back into the mental slum of 1915. All the familiar war-time idiocies, spy-hunting, orthodoxy-sniffing (Sniff, sniff. Are you a good anti-Fascist?), the retailing of incredible atrocity-stories, came back into vogue as though the intervening years had never happened. Before the end of the Spanish war, and even before Munich, some of the better of the left-wing writers were beginning to squirm. Neither Auden nor, on the whole, Spender wrote about the Spanish war in quite the vein that was expected of them. Since then there has been a change of feeling and much dismay and confusion, because the actual course of events has made nonsense of the left-wing orthodoxy of the last few years. But then it did not need very great acuteness to see that much of it was nonsense from the start. There is no certainty, therefore, that the next orthodoxy to emerge will be any better than the last. On

All living things need an atmosphere around them, a secret circle of darkness. If this veil is taken from them, if people condemn a religion, an art, a genius to orbit like a star without an atmosphere, then we should no longer wonder about their rapid decay and the way they become hard and barren. That is the way it is now with all great things which never succeed without some delusion. But every people, indeed every person, who wishes to become mature needs such an enveloping delusion, such a protecting and veiling cloud. But today people generally despise becoming mature, because they honor history more than living. Indeed, people exult over the fact that now 'science is beginning to rule over living'. It is possible that people will attain that goal but it is certain that a life so governed is not worth much, because it is much less living and it establishes a life for the future far less than does the previous life governed not by knowledge but by instinct and powerful illusory images. But, as stated, it is clearly not to be the era of fully developed and mature people, of harmonious personalities, but the era of common work which is as useful as possible. That, however, amounts only to the fact that people are to be trained for the purposes of the time, in order to get to work with their hands as promptly as possible. They are to labor in the factories of the universal utilities before they are mature, that is, so that they really no longer become mature, because this would be a luxury, which would deprive the 'labor market' of a lot of power.

Are his letters to Diana downstairs?" She sighed. "What is it about girls and letters? My husband left me messages in soap on the bathroom mirror. Utterly impermanent.Really wonderful-" She broke off and scowled. I would have thought she looked a little embarrassed, but I didn't think embarrassment was in her repertoire. "Anyway. Most of the correspondence between the Willings is in private collections. He had their letters with him in Paris when he died. In a noble but ultimately misguided act, his attorney sent them to his neice. Who put them all in a ghastly book that she illustrated. Her son sold them to finance the publication of six even more ghastly books of poetry. I trust there is a circle of hell for terrible poets who desecrate art." "I've seen the poetry books in the library," I told her. "The ones with Edward's paintings on the covers. I couldn't bring myself to read them." "Smart girl. I suppose worse things have been done, but not many.Of course, there was that god-awful children's television show that made one of his landscapes move.They put kangaroos in it. Kangaroos. In eastern Pennsylvania." "I've seen that,too," I admitted. I'd hated it. "Hated it.Not quite as much as the still life where Tastykakes replaced one orange with a cupcake, or the portrait of Diana dressed in a Playtex sports bra, but close." "Oh,God. I try to forget about the bra." Dr. Rothaus shuddered. "Well, I suppose they do far worse to the really famous painters.Poor van Gogh. All those hearing-aid ads." "Yeah." We shared a moment of quiet respect for van Gogh's ear.

Although Zolla no longer associated with Julius Evola, he nevertheless arranged for me to meet Italy’s most famous crypto-traditionalist writer who was a very controversial figure because of his espousal of the cause of Mussolini during the Second World War. I had already read some of Evola’s works, many of which are now being translated into English and are attracting some attention in philosophical circles. But based on the image I had of him as an expositor of traditional doctrines including Yoga, I was surprised to see him, now crippled as a result of a bomb explosion in 1945, living in the center of Rome in a large old apartment which was severe and fairly dark and without works of traditional art which I had expected to see around him. He had piercing eyes and gazed directly at me as we spoke about knightly initiation, myths and symbols of ancient Persia, traditional alchemy and Hermeticism and similar subjects. While he extolled the ancient Romans and their virtues, he spoke pejoratively about his contemporary Italians. When I asked him what happened to those Roman virtues, he said they traveled north to Germany and we were left with Italian waiters singing o sole mio! He also seemed to have little knowledge or interest in esoteric Christianity and refuse to acknowledge the presence of a sapiental current in Christianity. It was surprising for me to see an Italian sitting a few minutes from the Vatican, with his immense knowledge of various esoteric philosophies from the Greek to the Indian, being so impervious to the inner realities of the tradition so close to his home.

Hymn to Mercury : Continued 71. Sudden he changed his plan, and with strange skill Subdued the strong Latonian, by the might Of winning music, to his mightier will; His left hand held the lyre, and in his right The plectrum struck the chords—unconquerable Up from beneath his hand in circling flight The gathering music rose—and sweet as Love The penetrating notes did live and move 72. Within the heart of great Apollo—he Listened with all his soul, and laughed for pleasure. Close to his side stood harping fearlessly The unabashed boy; and to the measure Of the sweet lyre, there followed loud and free His joyous voice; for he unlocked the treasure Of his deep song, illustrating the birth Of the bright Gods, and the dark desert Earth: 73. And how to the Immortals every one A portion was assigned of all that is; But chief Mnemosyne did Maia's son Clothe in the light of his loud melodies;— And, as each God was born or had begun, He in their order due and fit degrees Sung of his birth and being—and did move Apollo to unutterable love. 74. These words were winged with his swift delight: 'You heifer-stealing schemer, well do you Deserve that fifty oxen should requite Such minstrelsies as I have heard even now. Comrade of feasts, little contriving wight, One of your secrets I would gladly know, Whether the glorious power you now show forth Was folded up within you at your birth, 75. 'Or whether mortal taught or God inspired The power of unpremeditated song? Many divinest sounds have I admired, The Olympian Gods and mortal men among; But such a strain of wondrous, strange, untired, And soul-awakening music, sweet and strong, Yet did I never hear except from thee, Offspring of May, impostor Mercury! 76. 'What Muse, what skill, what unimagined use, What exercise of subtlest art, has given Thy songs such power?—for those who hear may choose From three, the choicest of the gifts of Heaven, Delight, and love, and sleep,—sweet sleep, whose dews Are sweeter than the balmy tears of even:— And I, who speak this praise, am that Apollo Whom the Olympian Muses ever follow: 77. 'And their delight is dance, and the blithe noise Of song and overflowing poesy; And sweet, even as desire, the liquid voice Of pipes, that fills the clear air thrillingly; But never did my inmost soul rejoice In this dear work of youthful revelry As now. I wonder at thee, son of Jove; Thy harpings and thy song are soft as love. 78. 'Now since thou hast, although so very small, Science of arts so glorious, thus I swear,— And let this cornel javelin, keen and tall, Witness between us what I promise here,— That I will lead thee to the Olympian Hall, Honoured and mighty, with thy mother dear, And many glorious gifts in joy will give thee, And even at the end will ne'er deceive thee.' 79. To whom thus Mercury with prudent speech:— 'Wisely hast thou inquired of my skill: I envy thee no thing I know to teach Even this day:—for both in word and will I would be gentle with thee; thou canst reach All things in thy wise spirit, and thy sill Is highest in Heaven among the sons of Jove, Who loves thee in the fulness of his love. 80. 'The Counsellor Supreme has given to thee Divinest gifts, out of the amplitude Of his profuse exhaustless treasury; By thee, 'tis said, the depths are understood Of his far voice; by thee the mystery Of all oracular fates,—and the dread mood Of the diviner is breathed up; even I— A child—perceive thy might and majesty.

Beauty Void lay the world, in nothingness concealed, Without a trace of light or life revealed, Save one existence which second knew- Unknown the pleasant words of We and You. Then Beauty shone, from stranger glances free, Seen of herself, with naught beside to see, With garments pure of stain, the fairest flower Of virgin loveliness in bridal bower. No combing hand had smoothed a flowing tress, No mirror shown her eyes their loveliness No surma dust those cloudless orbs had known, To the bright rose her cheek no bulbul flown. No heightening hand had decked the rose with green, No patch or spot upon that cheek was seen. No zephyr from her brow had fliched a hair, No eye in thought had seen the splendour there. Her witching snares in solitude she laid, And love's sweet game without a partner played. But when bright Beauty reigns and knows her power She springs indignant from her curtained bower. She scorns seclusion and eludes the guard, And from the window looks if doors be barred. See how the tulip on the mountain grown Soon as the breath of genial Spring has blown, Bursts from the rock, impatient to display Her nascent beauty to the eye of day. When sudden to thy soul reflection brings The precious meaning of mysterious things, Thou canst not drive the thought from out thy brain; Speak, hear thou must, for silence is such pain. So beauty ne'er will quit the urgent claim Whose motive first from heavenly beauty came When from her blessed bower she fondly strayed, And to the world and man her charms displayed. In every mirror then her face was shown, Her praise in every place was heard and known. Touched by her light, the hearts of angels burned, And, like the circling spheres, their heads were turned, While saintly bands, whom purest at the sight of her, And those who bathe them in the ocean sky Cries out enraptured, "Laud to God on high!" Rays of her splendour lit the rose's breast And stirred the bulbul's heart with sweet unrest. From her bright glow its cheek the flambeau fired, And myriad moths around the flame expired. Her glory lent the very sun the ray Which wakes the lotus on the flood to-day. Her loveliness made Laila's face look fair To Majnún, fettered by her every hair. She opened Shírín's sugared lips, and stole From Parvíz' breast and brave Farhád's the soul. Through her his head the Moon of Canaan raised, And fond Zulaikha perished as she gazed. Yes, though she shrinks from earthly lovers' call, Eternal Beauty is the queen of all; In every curtained bower the screen she holds, About each captured heart her bonds enfolds. Through her sweet love the heart its life retains, The soul through love of her its object gains. The heart which maidens' gentle witcheries stir Is, though unconscious, fired with love of her. Refrain from idle speech; mistake no more: She brings her chains and we, her slaves, adore. Fair and approved of Love, thou still must own That gift of beauty comes from her alone. Thou art concealed: she meets all lifted eyes; Thou art the mirror which she beautifies. She is that mirror, if we closely view The truth- the treasure and the treasury too. But thou and I- our serious work is naught; We waste our days unmoved by earnest thought. Cease, or my task will never end, for her Sweet beauties lack a meet interpreter. Then let us still the slaves of love remain For without love we live in vain, in vain. Jámí, "Yúsuf and Zulaikha". trans. Ralph T. H. Griffith. Ballantyne Press 1882. London. p.19-22

The belief in oneself, pride in oneself, a fundamental hostility and irony against “selflessness” belong to noble morality, just as much as an easy contempt and caution before feelings of pity and the “warm heart.” Powerful men are the ones who understand how to honour; that is their art, their realm of invention. The profound reverence for age and for ancestral tradition — all justice stands on this double reverence — the belief and the prejudice favouring forefathers and working against newcomers are typical in the morality of the powerful, and when, by contrast, the men of “modern ideas” believe almost instinctively in “progress” and the “future” and increasingly lack any respect for age, then in that attitude the ignoble origin of these “ideas” already reveals itself well enough. However, a morality of the rulers is most alien and embarrassing to present taste because of the severity of its basic principle that man has duties only with respect to those like him, that man should act towards those beings of lower rank, towards everything foreign, at his own discretion, or “as his heart dictates,” and, in any case, “beyond good and evil.” Here pity and things like that may belong. The capacity for and obligation to a long gratitude and a long revenge — both only within the circle of one’s peers — the sophistication in paying back again, the refined idea in friendship, a certain necessity to have enemies (as, so to speak, drainage ditches for the feelings of envy, quarrelsomeness, and high spirits — basically in order to be capable of being a good friend): all those are typical characteristics of a noble morality, which, as indicated, is not the morality of “modern ideas” and which is thus nowadays difficult to sympathize with, as well as difficult to dig up and expose.

One of the fundamental conditions of happiness is to know that everything that one does has a meaning in eternity; but who in these days can still conceive of a civilization within which all vital manifestations would be developed "in the likeness of Heaven"? In a theocentric society the humblest activity participates in this heavenly benediction. The words of a street singer heard by the author in Morocco are worth quoting here. The singer was asked why the little Arab guitar which he used to accompany his chanting of legends had only two strings. He gave this answer: "To add a third string to this instrument would be to take the first step towards heresy. When God created the soul of Adam it did not want to enter into his body, and circled like a bird round about its cage. Then God commanded the angels to play on the two strings that are called the male and the female, and the soul, thinking that the melody resided in the instrument- which is the body- entered it and remained within it. For this reason two strings, which are always called the male and the female, are enough to deliver the soul from the body." This legend holds more meaning than appears at first sight, for it summarizes the whole traditional doctrine of sacred art. The ultimate objective of sacred art is not the evocation of feelings nor the communication of impressions; it is a symbol, and as such it finds simple -and primordial means sufficient; it could not in any case be anything more than allusive, its real object being ineffable. It is of angelic origin, because its models reflect supra-formal realities. It recapitulates the creation- the "Divine Art"- in parables, thus demonstrating the symbolical nature of the world, and delivering the human spirit from its attachment to crude and ephemeral "facts

In this simple observation about the nature of human consciousness lies a challenge that was taken up sometime in the course of Hinduism’s long development: focus the mind so that the tumble of extraneous thoughts is slowed, then stilled altogether. The practice that developed, which we know as meditation, is of unknown antiquity. It was certainly already in use when the Upanishads were put into writing circa –6C. An archaic form may be inferred from the Rig Veda, which takes the practice back at least to –1200. If recent arguments that the Rig Veda dates to the Indus-Sarasvati civilization hold up, then we must think in terms of an additional millennium or two during which some form of meditation was practiced. I have dated the culmination of the development of meditation to –2C because that is the most popular dating for the life of Patanjali, the Hindu sage who is seen as the progenitor of classical Yoga, an advanced system of meditation. Since its initial development in India, forms of meditation have become part of most religions and of a wide range of secular schools as well. In the West, despite the importance of forms of meditation in Catholicism and some Protestant Christian churches, the word meditation has become identified with some of the flamboyant sects that attracted publicity in the 1960s and 1970s. In some circles, meditation is seen as part of Asian mysticism, not a cognitive tool. This is one instance in which Eurocentrism is a genuine problem. The nature of meditation is coordinate with ways of perceiving the world that are distinctively Asian. But to say that the cognitive tool called meditation is peculiarly useful to Asians is like saying that logic—my next meta-invention—is useful only to Europeans. Meditation and logic found homes in different parts of the world, but meditation, like logic, is a flexible, powerful extension of human cognitive capacity.

They came in to look. I watched them. Most people go through museums like they do Macy's: eyes sweeping the display, stopping only if something really grabs their attention. These two looked at everything. They both clearly liked the bicycle picture. Yup, Dutch, I decided. He was a few steps ahead when he got to my favorite painting there. Diana and the Moon. It was-surprise surprise-of Diana, framed by a big open window, the moon dominating the sky outside. She was perched on the windowsill, dressed in a gauzy wrap that could have been nightclothes or a nod to her goddess namesake. She looked beautiful, of course, and happy, but if you looked for more than a second, you could see that her smile had a teasing curve to it and one of her hands was actually wrapped around the outside frame. I thought she looked like she might swing her legs over the sill and jump, turning into a moth or owl or breath of wind even before she was completely out of the room. I thought she looked, too, like she was daring the viewer to come along. Or at least to try. The Dutch guy didn't say anything. He just reached out a hand. His girlfriend stepped in, folding herself into the circle of his outsretched arm. They stood like that, in front of the painting, for a full minute. Then he sneezed. She reached into her pocket and pulled out a tissue.He took in and, without letting go of her, did a surprisingly graceful one-handed blow. Then he crumpled the tissue and looked around for a trash can. There wasn't one in sight. She held out her free hand; he passed over the tissue, and she stuck it right back into her pocket. I wanted to be grossed out. Instead, I had the surprising thought that I really really wanted someone who would do that: put my used Kleenex in his pocket. It seemed like a declaration of something pretty big. Finally,they finished their examination of Diana and moved on.There wasn't much else, just the arrogant Willings and the overblown sunrise. They came over to examine the bronzes. She saw my book. "Excuse me. You know this artist?" Intimately just didn't seem as true anymore. "Pretty well," I answered. "He is famous here?" "Not very." "I like him." she said thoughtfully. "He has...oh, the word...personism?" "Personality?" I offered. "Yes!" she said, delighted. "Personality." She reached behind her without looking. Her boyfriend immediately twined his fingers with hers. They left, unfolding the map again as they went, she chattering cheerfully. I think she was telling him he had personality. They might as well have had exhibit information plaques on their backs: "COUPLE." CONTEMPORARY DUTCH. COURTESY OF THE ESTATE OF LOVE, FOR THE VIEWING PLEASURE (OR NOT) OF ANYONE AND EVERYONE.

Now, who and what is this minstrel in reality? Where does he come from? In what respects does he differ from his predecessors? He has been described as a cross between the early medieval court-singer and the ancient mime of classical times. The mime had never ceased to flourish since the days of classical antiquity; when even the last traces of classical culture disappeared, the descendants of the old mimes still continued to travel about the Empire, entertaining the masses with their unpretentious, unsophisticated and unliterary art. The Germanic countries were flooded out with mimes in the early Middle Ages; but until the ninth century the poets and singers at the courts kept themselves strictly apart from them. Not until they lost their cultured audience, as a result of the Carolingian Renaissance and the clericalism of the following generation, and came up against the competition of the mimes in the lower classes, did they have, to a certain extent, to become mimes themselves in order to be able to compete with their rivals. Thus both singers and comedians now move in the same circles, intermingle and influence each other so much that they soon become indistinguishable from one another. The mime and the scop both become the minstrel. The most striking characteristic of the minstrel is his versatility. The place of the cultured, highly specialized heroic ballad poet is now taken by the Jack of all trades, who is no longer merely a poet and singer, but also a musician and dancer, dramatist and actor, clown and acrobat, juggler and bear-leader, in a word, the universal jester and maître de plaisir of the age. Specialization, distinction and solemn dignity are now finished with; the court poet has become everybody’s fool and his social degradation has such a revolutionary and shattering effect on himself that he never entirely recovers from the shock. From now on he is one of the déclassés, in the same class as tramps and prostitutes, runaway clerics and sent-down students, charlatans and beggars. He has been called the ‘journalist of the age’, but he really goes in for entertainment of every kind: the dancing song as well as the satirical song, the fairy story as well as the mime, the legend of saints as well as the heroic epic. In this context, however, the epic takes on quite new features: it acquires in places a more pointed character with a new straining after effect, which was absolutely foreign to the spirit of the old heroic ballad. The minstrel no longer strikes the gloomy, solemn, tragi-heroic note of the ‘Hildebrandslied’, for he wants to make even the epic sound entertaining; he tries to provide sensations, effective climaxes and lively epigrams. Compared with the monuments of the older heroic poetry, the ‘Chanson de Roland’ never fails to reveal this popular minstrel taste for the piquant.

We are living now, not in the delicious intoxication induced by the early successes of science, but in a rather grisly morning-after, when it has become apparent that what triumphant science has done hitherto is to improve the means for achieving unimproved or actually deteriorated ends. In this condition of apprehensive sobriety we are able to see that the contents of literature, art, music—even in some measure of divinity and school metaphysics—are not sophistry and illusion, but simply those elements of experience which scientists chose to leave out of account, for the good reason that they had no intellectual methods for dealing with them. In the arts, in philosophy, in religion men are trying—doubtless, without complete success—to describe and explain the non-measurable, purely qualitative aspects of reality. Since the time of Galileo, scientists have admitted, sometimes explicitly but much more often by implication, that they are incompetent to discuss such matters. The scientific picture of the world is what it is because men of science combine this incompetence with certain special competences. They have no right to claim that this product of incompetence and specialization is a complete picture of reality. As a matter of historical fact, however, this claim has constantly been made. The successive steps in the process of identifying an arbitrary abstraction from reality with reality itself have been described, very fully and lucidly, in Burtt’s excellent “Metaphysical Foundations of Modern Science"; and it is therefore unnecessary for me to develop the theme any further. All that I need add is the fact that, in recent years, many men of science have come to realize that the scientific picture of the world is a partial one—the product of their special competence in mathematics and their special incompetence to deal systematically with aesthetic and moral values, religious experiences and intuitions of significance. Unhappily, novel ideas become acceptable to the less intelligent members of society only with a very considerable time-lag. Sixty or seventy years ago the majority of scientists believed—and the belief often caused them considerable distress—that the product of their special incompetence was identical with reality as a whole. Today this belief has begun to give way, in scientific circles, to a different and obviously truer conception of the relation between science and total experience. The masses, on the contrary, have just reached the point where the ancestors of today’s scientists were standing two generations back. They are convinced that the scientific picture of an arbitrary abstraction from reality is a picture of reality as a whole and that therefore the world is without meaning or value. But nobody likes living in such a world. To satisfy their hunger for meaning and value, they turn to such doctrines as nationalism, fascism and revolutionary communism. Philosophically and scientifically, these doctrines are absurd; but for the masses in every community, they have this great merit: they attribute the meaning and value that have been taken away from the world as a whole to the particular part of the world in which the believers happen to be living.

But…but that’s tragic! To go through life without color? Unable to appreciate art, or beauty?” He laughed. “Now, sweet-hold your brush before you paint me a martyr’s halo. It’s not as though I’m blind. I have a great appreciation for art, as I believe we’ve discussed. And as for beauty…I don’t need to know whether your eyes are blue or green or lavender to know that they’re uncommonly lovely.” “No one has lavender eyes.” “Don’t they?” His gaze caught hers and refused to let go. Leaning forward, he continued, “Did that tutor of yours ever tell you this? That your eyes are ringed with a perfect circle a few shades darker than the rest of the…don’t they call it the iris?” Sophia nodded. “The iris.” He propped his elbow on the table and leaned forward, his gaze searching hers intently. “An apt term it is, too. There are these lighter rays that fan out from the center, like petals. And when your pupils widen-like that, right there-your eyes are like two flowers just coming into bloom. Fresh. Innocent.” She bowed her head, mixing a touch of lead white into the sea-green paint on her palette. He leaned closer still, his voice a hypnotic whisper. “But when you take delight in teasing me, looking up through those thick lashes, so saucy and self-satisfied…” She gave him a sharp look. He snapped his fingers. “There! Just like that. Oh, sweet-then those eyes are like two opera dancers smiling from behind big, feathered fans. Coy. Beckoning.” Sophia felt a hot blush spreading from her bosom to her throat. He smiled and reclined in his chair. “I don’t need to know the color of your hair to see that it’s smooth and shiny as silk. I don’t need to know whether it’s yellow or orange or red to spend an inordinate amount of time wondering how it would feel brushing against my bare skin.” Opening his book to the marked page, he continued, “And don’t get me started on your lips, sweet. If I endeavored to discover the precise shade of red or pink or violet they are, I might never muster the concentration for anything else.” He turned a leaf of his book, then fell silent. Sophia stared at her canvas. Her pulse pounded in her ears. A bead of sweat trickled down the back of her neck, channeling down between her shoulder blades, and a hot, itchy longing pooled at the cleft of her legs. Drat him. He’d known she was taunting him with her stories. And now he sat there in an attitude of near-boredom, making love to her with his teasing, colorless words in a blatant attempt to fluster her. It was as though they were playing a game of cards, and he’d just raised the stakes. Sophia smiled. She always won at cards. “Balderdash,” she said calmly. He looked up at her, eyebrow raised. “No one has violet lips.” “Don’t they?” She laid aside her palette and crossed her arms on the table. “The slope of your nose is quite distinctive.” His lips quirked in a lopsided grin. “Really.” “Yes.” She leaned forward, allowing her bosom to spill against her stacked arms. His gaze dipped, but quickly returned to hers. “The way you have that little bump at the ridge…It’s proving quite a challenge.” “Is that so?” He bent his head and studied his book. Sophie stared at him, waiting one…two…three beats before he raised his hand to rub the bridge of his nose. Quite satisfactory progress, that. Definite beginnings of fluster.

In many fields—literature, music, architecture—the label ‘Modern’ stretches back to the early 20th century. Philosophy is odd in starting its Modern period almost 400 years earlier. This oddity is explained in large measure by a radical 16th century shift in our understanding of nature, a shift that also transformed our understanding of knowledge itself. On our Modern side of this line, thinkers as far back as Galileo Galilei (1564–1642) are engaged in research projects recognizably similar to our own. If we look back to the Pre-Modern era, we see something alien: this era features very different ways of thinking about how nature worked, and how it could be known. To sample the strange flavour of pre-Modern thinking, try the following passage from the Renaissance thinker Paracelsus (1493–1541): The whole world surrounds man as a circle surrounds one point. From this it follows that all things are related to this one point, no differently from an apple seed which is surrounded and preserved by the fruit … Everything that astronomical theory has profoundly fathomed by studying the planetary aspects and the stars … can also be applied to the firmament of the body. Thinkers in this tradition took the universe to revolve around humanity, and sought to gain knowledge of nature by finding parallels between us and the heavens, seeing reality as a symbolic work of art composed with us in mind (see Figure 3). By the 16th century, the idea that everything revolved around and reflected humanity was in danger, threatened by a number of unsettling discoveries, not least the proposal, advanced by Nicolaus Copernicus (1473–1543), that the earth was not actually at the centre of the universe. The old tradition struggled against the rise of the new. Faced with the news that Galileo’s telescopes had detected moons orbiting Jupiter, the traditionally minded scholar Francesco Sizzi argued that such observations were obviously mistaken. According to Sizzi, there could not possibly be more than seven ‘roving planets’ (or heavenly bodies other than the stars), given that there are seven holes in an animal’s head (two eyes, two ears, two nostrils and a mouth), seven metals, and seven days in a week. Sizzi didn’t win that battle. It’s not just that we agree with Galileo that there are more than seven things moving around in the solar system. More fundamentally, we have a different way of thinking about nature and knowledge. We no longer expect there to be any special human significance to natural facts (‘Why seven planets as opposed to eight or 15?’) and we think knowledge will be gained by systematic and open-minded observations of nature rather than the sorts of analogies and patterns to which Sizzi appeals. However, the transition into the Modern era was not an easy one. The pattern-oriented ways of thinking characteristic of pre-Modern thought naturally appeal to meaning-hungry creatures like us. These ways of thinking are found in a great variety of cultures: in classical Chinese thought, for example, the five traditional elements (wood, water, fire, earth, and metal) are matched up with the five senses in a similar correspondence between the inner and the outer. As a further attraction, pre-Modern views often fit more smoothly with our everyday sense experience: naively, the earth looks to be stable and fixed while the sun moves across the sky, and it takes some serious discipline to convince oneself that the mathematically more simple models (like the sun-centred model of the solar system) are right.

Dear KDP Author, Just ahead of World War II, there was a radical invention that shook the foundations of book publishing. It was the paperback book. This was a time when movie tickets cost 10 or 20 cents, and books cost $2.50. The new paperback cost 25 cents – it was ten times cheaper. Readers loved the paperback and millions of copies were sold in just the first year. With it being so inexpensive and with so many more people able to afford to buy and read books, you would think the literary establishment of the day would have celebrated the invention of the paperback, yes? Nope. Instead, they dug in and circled the wagons. They believed low cost paperbacks would destroy literary culture and harm the industry (not to mention their own bank accounts). Many bookstores refused to stock them, and the early paperback publishers had to use unconventional methods of distribution – places like newsstands and drugstores. The famous author George Orwell came out publicly and said about the new paperback format, if “publishers had any sense, they would combine against them and suppress them.” Yes, George Orwell was suggesting collusion. Well… history doesn’t repeat itself, but it does rhyme. Fast forward to today, and it’s the e-book’s turn to be opposed by the literary establishment. Amazon and Hachette – a big US publisher and part of a $10 billion media conglomerate – are in the middle of a business dispute about e-books. We want lower e-book prices. Hachette does not. Many e-books are being released at $14.99 and even $19.99. That is unjustifiably high for an e-book. With an e-book, there’s no printing, no over-printing, no need to forecast, no returns, no lost sales due to out of stock, no warehousing costs, no transportation costs, and there is no secondary market – e-books cannot be resold as used books. E-books can and should be less expensive. Perhaps channeling Orwell’s decades old suggestion, Hachette has already been caught illegally colluding with its competitors to raise e-book prices. So far those parties have paid $166 million in penalties and restitution. Colluding with its competitors to raise prices wasn’t only illegal, it was also highly disrespectful to Hachette’s readers. The fact is many established incumbents in the industry have taken the position that lower e-book prices will “devalue books” and hurt “Arts and Letters.” They’re wrong. Just as paperbacks did not destroy book culture despite being ten times cheaper, neither will e-books. On the contrary, paperbacks ended up rejuvenating the book industry and making it stronger. The same will happen with e-books. Many inside the echo-chamber of the industry often draw the box too small. They think books only compete against books. But in reality, books compete against mobile games, television, movies, Facebook, blogs, free news sites and more. If we want a healthy reading culture, we have to work hard to be sure books actually are competitive against these other media types, and a big part of that is working hard to make books less expensive. Moreover, e-books are highly price elastic. This means that when the price goes down, customers buy much more. We've quantified the price elasticity of e-books from repeated measurements across many titles. For every copy an e-book would sell at $14.99, it would sell 1.74 copies if priced at $9.99. So, for example, if customers would buy 100,000 copies of a particular e-book at $14.99, then customers would buy 174,000 copies of that same e-book at $9.99. Total revenue at $14.99 would be $1,499,000. Total revenue at $9.99 is $1,738,000. The important thing to note here is that the lower price is good for all parties involved: the customer is paying 33% less and the author is getting a royalty check 16% larger and being read by an audience that’s 74% larger. The pie is simply bigger.

My darling son: depression at your age is more common than you might think. I remember it very strongly in Minneapolis, Minnesota, when I was about twenty-six and felt like killing myself. I think the winter, the cold, the lack of sunshine, for us tropical creatures, is a trigger. And to tell you the truth, the idea that you might soon unpack your bags here, having chucked in all your European plans, makes your mother and me as happy as could be. You have more than earned the equivalent of any university 'degree' and you have used your time so well to educate yourself culturally and personally that if university bores you, it is only natural. Whatever you do from here on in, whether you write or don't write, whether you get a degree or not, whether you work for your mother, or at El Mundo, or at La Ines, or teaching at a high school, or giving lectures like Estanislao Zuleta, or as a psychoanalyst to your parents, sisters and relatives, or simply being Hector Abad Faciolince, will be fine. What matters is that you don't stop being what you have been up till now, a person, who simply by virtue of being the way you are, not for what you write or don't write, or for being brilliant or prominent, but just for being the way you are, has earned the affection, the respect, the acceptance, the trust, the love, of the vast majority of those who know you. So we want to keep seeing you in this way, not as a future great author, or journalist or communicator or professor or poet, but as the son, brother, relative, friend, humanist, who understands others and does not aspire to be understood. It does not matter what people think of you, and gaudy decoration doesn't matter, for those of us who know you are. For goodness' sake, dear Quinquin, how can you think 'we support you (...) because 'that boy could go far'? You have already gone very far, further than all our dreams, better than everything we imagined for any of our children. You should know very well that your mother's and my ambitions are not for glory, or for money, or even for happiness, that word that sounds so pretty but is attained so infrequently and for such short intervals (and maybe for that very reason is so valued), for all our children, but that they might at least achieve well-being, that more solid, more durable, more possible, more attainable word. We have often talked of the anguish of Carlos Castro Saavedra, Manuel Meija Vallejo, Rodrigo Arenas Betancourt, and so many quasi-geniuses we know. Or Sabato or Rulfo, or even Garcia Marquez. That does not matter. Remember Goethe: 'All theory (I would add, and all art), dear friend, is grey, but only the golden tree of life springs ever green.' What we want for you is to 'live'. And living means many better things than being famous, gaining qualifications or winning prizes. I think I too had boundless political ambitions when I was young and that's why I wasn't happy. I think I too had boundless political ambitions when I was young and that's why I wasn't happy. Only now, when all that has passed, have I felt really happy. And part of that happiness is Cecilia, you, and all my children and grandchildren. Only the memory of Marta Cecilia tarnishes it. I believe things are that simple, after having gone round and round in circles, complicating them so much. We should do away with this love for things as ethereal as fame, glory, success... Well, my Quinquin, now you know what I think of you and your future. There's no need for you to worry. You are doing just fine and you'll do better, and when you get to my age or your grandfather's age and you can enjoy the scenery around La Ines that I intend to leave to all of you, with the sunshine, heat and lush greenery, and you'll see I was right. Don't stay there longer than you feel you can. If you want to come back I'll welcome you with open arms. And if you regret it and want to go back again, we can buy you another return flight. A kiss from your father.