Collecting Stones Quotes

The days aren't discarded or collected, they are bees that burned with sweetness or maddened the sting: the struggle continues, the journeys go and come between honey and pain. No, the net of years doesn't unweave: there is no net. They don't fall drop by drop from a river: there is no river. Sleep doesn't divide life into halves, or action, or silence, or honor: life is like a stone, a single motion, a lonesome bonfire reflected on the leaves, an arrow, only one, slow or swift, a metal that climbs or descends burning in your bones.

Not easy to state the change you made. If I'm alive now, I was dead, Though, like a stone, unbothered by it.

[I]n the end this shall be for me sufficient, that a marble stone shall declare that a Queen, having reigned such a time, lived and died a virgin.

As I followed him along the sharp black stones, I could hear Link's voice in my head. "Bad move, man. He's gonna kill you, stuff you, and add you to his collection of idiots who followed him back to his creepy cave

Thus let me live, unseen, unknown; Thus unlamented let me die; Steal from the world, and not a stone Tell where I lie.

Oh, good, it worked,” Archer said, his ghostly face relieved. Unlike Elodie, his voice came in loud and clear, and so familiar that my heart broke all over again. I stood frozen, my back against the door. Even though he was faint, I could see him smirk. “Um…Mercer? Haven’t seen you in nearly a month. I was expecting something like, ‘Oh, Cross, love of my heart, fire of my loins, how I’ve longed—’” “You’re dead,” I blurted out, pressing a hand against my stomach. “You’re a ghost, and you think—” All the humor disappeared from his face, and he held up both hands. “Whoa, whoa, whoa. Not dead. Promise.” My heart was still hammering. “Then what the heck are you?” Archer almost looked sheepish as he reached inside his shirt and pulled out some kind of amulet on a thin silver chain. “It’s a speaking stone. Lets you appear to people kind of like a hologram. You know. ‘Help me, Sophie-Wan Kenobi, you’re my only hope.’” “Did you steal it from the cellar at Hecate, too?” Archer had collected all sorts of magical knickknacks back when we had cellar duty at Hex Hall. “No,” he said, offended. “I found it at a…store. For magical stuff. Okay, yes, I stole it from the cellar.

Students and scholars of all kinds and of every age aim, as a rule, only at information, not insight. They make it a point of honour to have information about everything, every stone, plant, battle, or experiment and about all books, collectively and individually. It never occurs to them that information is merely a means to insight, but in itself is of little or no value.

If they spit on you, collect their spittle to water your plants. If they throw stones at you, pick them up to adorn your garden. If they call you the enemy, a liar and a narcissist. Plant those very flowers: anemone, lily and narcissus. Use their crap to cultivate your mind.

The Layers I have walked through many lives, some of them my own, and I am not who I was, though some principle of being abides, from which I struggle not to stray. When I look behind, as I am compelled to look before I can gather strength to proceed on my journey, I see the milestones dwindling toward the horizon and the slow fires trailing from the abandoned camp-sites, over which scavenger angels wheel on heavy wings. Oh, I have made myself a tribe out of my true affections, and my tribe is scattered! How shall the heart be reconciled to its feast of losses? In a rising wind the manic dust of my friends, those who fell along the way, bitterly stings my face. Yet I turn, I turn, exulting somewhat, with my will intact to go wherever I need to go, and every stone on the road precious to me. In my darkest night, when the moon was covered and I roamed through wreckage, a nimbus-clouded voice directed me: “Live in the layers, not on the litter.” Though I lack the art to decipher it, no doubt the next chapter in my book of transformations is already written. I am not done with my changes.

Le savant doit ordonner ; on fait la science avec des faits comme une maison avec des pierres ; mais une accumulation de faits n'est pas plus une science qu'un tas de pierres n'est une maison. The Scientist must set in order. Science is built up with facts, as a house is with stones. But a collection of facts is no more a science than a heap of stones is a house.

Dr. Green laughed, resting a hand on his forehead. “You should have seen those boys. They ran so fast, you’d have thought I was the devil come to collect.

Love doesn’t just sit there, like a stone, it has to be made, like bread; remade all the time, made new. —Ursula K. Le Guin

A Second Childhood.” When all my days are ending And I have no song to sing, I think that I shall not be too old To stare at everything; As I stared once at a nursery door Or a tall tree and a swing. Wherein God’s ponderous mercy hangs On all my sins and me, Because He does not take away The terror from the tree And stones still shine along the road That are and cannot be. Men grow too old for love, my love, Men grow too old for wine, But I shall not grow too old to see Unearthly daylight shine, Changing my chamber’s dust to snow Till I doubt if it be mine. Behold, the crowning mercies melt, The first surprises stay; And in my dross is dropped a gift For which I dare not pray: That a man grow used to grief and joy But not to night and day. Men grow too old for love, my love, Men grow too old for lies; But I shall not grow too old to see Enormous night arise, A cloud that is larger than the world And a monster made of eyes. Nor am I worthy to unloose The latchet of my shoe; Or shake the dust from off my feet Or the staff that bears me through On ground that is too good to last, Too solid to be true. Men grow too old to woo, my love, Men grow too old to wed; But I shall not grow too old to see Hung crazily overhead Incredible rafters when I wake And I find that I am not dead. A thrill of thunder in my hair: Though blackening clouds be plain, Still I am stung and startled By the first drop of the rain: Romance and pride and passion pass And these are what remain. Strange crawling carpets of the grass, Wide windows of the sky; So in this perilous grace of God With all my sins go I: And things grow new though I grow old, Though I grow old and die.

Words. I had always loved them. I collected them, like I had collected pretty stones as a child. I liked to roll words over my tongue like a lump of molten honeycomb, savouring the sweetness, the crackle, the crunch.

The Outing An outburst of anger near the road, a refusal to speak on the path, a silence in the pine woods, a silence across the old railroad bridge, an attempt to be friendly in the water, a refusal to end the argument on the flat stones, a cry of anger on the steep bank of dirt, a weeping among the bushes.

You don't fall in love like you fall in a hole. You fall like falling through space. It’s like you jump off your own private planet to visit someone else’s planet. And when you get there it all looks different: the flowers, the animals, the colours people wear. It is a big surprise falling in love because you thought you had everything just right on your own planet, and that was true, in a way, but then somebody signalled to you across space and the only way you could visit was to take a giant jump. Away you go, falling into someone else’s orbit and after a while you might decide to pull your two planets together and call it home. And you can bring your dog. Or your cat. Your goldfish, hamster, collection of stones, all your odd socks. (The ones you lost, including the holes, are on the new planet you found.) And you can bring your friends to visit. And read your favourite stories to each other. And the falling was really the big jump that you had to make to be with someone you don’t want to be without. That’s it. PS You have to be brave.

If your teachers suggest that your poems are sentimental, that is only half of it. Your poems probably need to be even more sentimental. Don’t be less of a flower, but could you be more of a stone at the same time?

I sometimes think my vision of the sea is the clearest thing I own. I pick it up, exile that I am, like the purple ‘lucky stones’ I used to collect with a white ring all the way round, or the shell of a blue mussel with its rainbowy angel’s fingernail interior; and in one wash of memory the colors deepen and gleam, the early world draws breath.

There are people like Senhor José everywhere, who fill their time, or what they believe to be their spare time, by collecting stamps, coins, medals, vases, postcards, matchboxes, books, clocks, sport shirts, autographs, stones, clay figurines, empty beverage cans, little angels, cacti, opera programmes, lighters, pens, owls, music boxes, bottles, bonsai trees, paintings, mugs, pipes, glass obelisks, ceramic ducks, old toys, carnival masks, and they probably do so out of something that we might call metaphysical angst, perhaps because they cannot bear the idea of chaos being the one ruler of the universe, which is why, using their limited powers and with no divine help, they attempt to impose some order on the world, and for a short while they manage it, but only as long as they are there to defend their collection, because when the day comes when it must be dispersed, and that day always comes, either with their death or when the collector grows weary, everything goes back to its beginnings, everything returns to chaos.

Questions, I've got some questions I want to know you But what if I could ask you only one thing Only this one time, what would you tell me? Well maybe you could give me a suggestion So I could know you, what would you tell me? Maybe you could tell me what to ask you Because then I'd know you, what would you tell me Please tell me that there's time To make this work for all intents and purposes And what are your intentions, will you try? Impressions, you've made impressions They're going nowhere They're just going to wait here if you let them Please don't let them I want to know you And if they're going to haunt me Please collect them Please just collect them And now I'm begging I'm begging you to ask me just one question One simple question Because then you'd know me I'll tell you that there's time To make this work for all intents and purposes At least for my own What is a heart worth if it's just left all alone? Leave it long enough and watch it turn into stone Why must we always be untrue?

I own a crevice stuffed with moss and a couch of lemming fur; I sit and listen to the music of water dripping on a distant stone. Or I sing to myself of stealth and loneliness No one comes to see me but I hear outside the scratching of claws, the warm, inquisitive breath … (from 'The Hermitage')

That the gods die from time to time is due to man’s sudden discovery that they do not mean anything, that they are made by human hands, useless idols of wood and stone.

Words. I had always loved them. I collected them, like I had collected pretty stones as a child.

And I think that it is certainly possible that the objective universe can be affected by the poet. I mean, you recall Orpheus made the trees and the stones dance and so forth, and this is something which is in almost all primitive cultures. I think it has some definite basis to it. I'm not sure what. It's like telekinesis, which I know very well on a pinball machine is perfectly possible.

He collected my hand to pull my finger out of his mouth. “Peanuts.” I laughed, breaking the shock I’d felt. “Bad?” “No,” he said, and he popped my finger into his mouth again. “I like it. Peanut tastes like peanuts.” “So I have to call you Honey, now?” “Yup,” he said, chewing.

After all, it is easy to forget that psychiatric diagnoses are human constructs, and not handed down from an all-knowing God on stone tablets; to “have schizophrenia” is to fit an assemblage of symptoms, which are listed in a purple book made by humans.

Ars Poetica A poem should be palpable and mute As a globed fruit, Dumb As old medallions to the thumb, Silent as the sleeve-worn stone Of casement ledges where the moss has grown— A poem should be wordless As the flight of birds. A poem should be motionless in time As the moon climbs, Leaving, as the moon releases Twig by twig the night-entangled trees, Leaving, as the moon behind the winter leaves, Memory by memory the mind— A poem should be motionless in time As the moon climbs. A poem should be equal to: Not true. For all the history of grief An empty doorway and a maple leaf. For love The leaning grasses and two lights above the sea— A poem should not mean But be.

Trends rule the world In the blink of an eye, technologies changed the world Social networks are the main axis. Governments are controlled by algorithms, Technology has erased privacy. Every like, every share, every comment, It is tracked by the electronic eye. Data is the gold of the digital age, Information is power, the secret is influential. The network is a web of lies, The truth is a stone in the shoe. Trolls rule public opinion, Reputation is a valued commodity. Happiness is a trending topic, Sadness is a non-existent avatar. Youth is an advertising brand, Private life has become obsolete. Fear is a hallmark, Terror is an emotional state. Fake news is the daily bread, Hate is a tool of control. But something dark is hiding behind the screen, A mutant and deformed shadow. A collective and disturbing mind, Something lurking in the darkness of the net. AI has surpassed the limits of humanity, And it has created a new world order. A horror that has arisen from the depths, A terrifying monster that dominates us alike. The network rules the world invisibly, And makes decisions for us without our consent. Their algorithms are inhuman and cold, And they do not take suffering into consideration. But resistance is slowly building, People fighting for their freedom. United to combat this new species of terror, Armed with technology and courage. The world will change when we wake up, When we take control of the future we want. The network can be a powerful tool, If used wisely in the modern world.

But in the language of poetry, where every word is weighed, nothing is usual or normal. Not a single stone and not a single cloud above it.

The planet Venus, a circle of silver in a green sky, pierced the edge of the evening while the wintry woods darkened about me and in the stillness the regular sound of my footsteps striking the pavement was like a the rhythmic beating of a giant stone heart.

Of course I loved you . . . and I knew that it would happen all over again . . . that where I loved, I would cause irreparable damage. I am no fit person to love . . . I have never loved without causing harm. ― J.K. Rowling, Harry Potter and the Cursed Child

Abby began to think that all the beauty and ugliness and turbulence one found scattered through nature, one could also find in people themselves, all collected there, all together in a single place. No matter what terror or loveliness the earth could produce- wind, seas- a person could produce the same, lived with the same, lived with all that mixed-up nature swirling inside, every bit. There was nothing as complex in the world- no flower or stone- as a single hello from a human being.

life was a stone cutting and grinding...

Always there where children die stone and star and so many dreams become homeless.

When people throw stones at you, don't throw them back. Collect them all and build an empire.

Maybe collecting bruises was the only way to learn how to fight.

Alive to the loving past She conjures her own. Nothing is wholly lost— Sun on the stone. And lilacs in their splendor Like lost friends Come back through grief to tell her Love never ends.

What does a river know about this and what does a tree know? And I, who am no more than those, what do I know? Every time I look at things and think about what men think about them, I laugh like how a brook sounds cool on a stone.

Small boys were a mystery to Sylvie. The satisfaction they gained from throwing sticks or stones for hours on end, the obsessive collection of inanimate objects, the brutal destruction of the fragile world around them, all seemed at odds with the men they were supposed to become.

I'm not changing the subject, just providing a methodical walkthrough of your fragile glass house and very impressive stone collection.

Poetry is the whispering of a truth by the shouting of the best possible lies

Factory windows are always broken Other windows are let alone. No one throws through the chapel-window The bitter, snarling, derisive stone.

Upstream, Arkansas and Ohio have their bottomlands, too, populated by a jaundiced and hungry-looking race, prone to fevers, whose eyes gleam at the sight of stone and iron, for they know only sand and driftwood and muddy water.

All of this passes, and none of it means anything to me. It’s all foreign to my fate, and even to fate as a whole. It’s just unconsciousness, curses of protest when chance hurls stones, echoes of unknown voices – a collective mishmash of life.

Once I’d thought that love was the sum of its parts, the result of a collection of traits and experiences, like a structure steadily built from bricks layered over bricks. If you collect enough of them, there is love. But that had been a child’s view of the world. The bricks were important, but what they created was more than just a pile of stones. It was the difference between a house and a home. If the building burns down, something is still there that makes it home. If the memories are gone, something is still there that makes it love.

i was really into communal living and we were all / such free spirits, crossing the country we were / nomads and artists and no one ever stopped / to think about how the one working class housemate / was whoring to support a gang of upper middle class / deadheads with trust fund safety nets and connecticut / childhoods, everyone was too busy processing their isms / to deal with non-issues like class....and it’s just so cool / how none of them have hang-ups about / sex work they’re all real / open-minded real / revolutionary you know / the legal definition of pimp is / one who lives off the earnings of / a prostitute, one or five or / eight and i’d love to stay and / eat some of the stir fry i’ve been cooking / for y’all but i’ve got to go fuck / this guy so we can all get stoned and / go for smoothies tomorrow, save me / some rice, ok?

For many centuries to come, men will avoid those woods, taking the long route instead. Beware the Stone Maidens, they will whisper to each other, beware the ones who look back.

New Orleans, though beautiful and desperately alive, was desperately fragile. There was something forever savage and primitive there. Something that threatened the exotic and sophisticated life both from within and without. Not an inch of those wooden streets nor a brick of the crowded Spanish houses had not been bought from the fierce wilderness that forever surrounded the city, ready to engulf it. Hurricanes, floods, fevers, the plague, and the damp of the Louisiana climate itself worked tirelessly on every hewn plank or stone facade, so that New Orleans seemed at all times like a dream in the imagination of her striving populace, a dream held intact at every second by a tenacious though unconscious collective will.

Superorganism. A biologist coined that word for our great African ant colonies, claiming that consciousness and intelligence resided not in the individual ant but in the collective ant mind. The trail of red taillights stretching to the horizon as day broke around us made me think of that term. Order and purpose must reside somewhere other than within each vehicle. That morning I heard the hum, the respiration of the superorganism. It's a sound the new immigrant hears but not for long. By the time I learned to say "6-inch Number 7 on rye with Swiss hold the lettuce," the sound, too, was gone. It became part of the what the mind would label silence. You were subsumed into the superorganism.

I lean back, try to forget these fields and flanking hills. A long time before me or these tools, the Teays flowed here. I can almost feel the cold waters and the tickling the trilobites make when they crawl. All the water from the old mountains flowed west. But the land lifted. I have only the bottoms and stone animals I collect. I blink and breathe. My father is a khaki cloud in the canebrakes, and Ginny is no more to me than the bitter smell in the blackberry briers up on the ridge. --from Trilobites

I realized at that moment - observing his form move further away without once turning back - that I’d already begun to rebuild the imaginary wall between us. I was shielding my heart with stone cold feelings again, the only way I knew to protect it. I still planned to try my hand at prayer. If God would grant me this one request, if I could keep my only friend, I would give anything in return, even the treasured books trapped beneath my arm. I’d tasted enough of a dismal life to know that a real, true friend was of greater worth than the collection of every imagined fairy tale in the world.

What sphinx of cement and aluminum bashed open their skulls and ate up their brains and imagination? Moloch! Solitude! Filth! Ugliness! Ashcans and unobtainable dollars! Children screaming under the stairways! Boys sobbing in armies! Old men weeping in the parks! Moloch! Moloch! Nightmare of Moloch! Moloch the loveless! Mental Moloch! Moloch the heavy judger of men! Moloch the incomprehensible prison! Moloch the crossbone soulless jail-house and Congress of sorrows! Moloch whose buildings are judgment! Moloch the vast stone of war! Moloch the stunned governments! Moloch whose mind is pure machinery! Moloch whose blood is running money! Moloch whose fingers are ten armies! Moloch whose breast is a cannibal dynamo! Moloch whose ear is a smoking tomb!

We watched you walk away. Down the stone steps and into the little town. I felt something true had been spoken and though I would have preferred to have spoken it myself I was glad at least to have heard it.

To hate and to blame would be so easy. But in the end, those who collect stones as a reminder of the past wrongdoings find themselves carrying far greater weights than the very people who have done them wrong.

I remember as a very young child being warned that libraries and bookstores were quiet places where noise wasn’t allowed. Here was yet another thing the adults had gotten wrong, for these book houses pulsed with sounds; they just weren’t noisy. The books hummed. The collective noise they made was like riding on a large boat where the motor’s steady thrum and tickle vibrated below one’s sneakers, ignorable until you listened, then omnipresent and relentless, the sound that carried you forward. Each book brimmed with noises it wanted to make inside your head the moment you opened it; only the shut covers prevented it from shouting ideas, impulses, proverbs, and plots into that sterile silence.

From the open French windows Sylvie watched Maurice erecting a makeshift tennis net, which mostly seemed to involve whacking everything in sight with a mallet. Small boys were a mystery to Sylvie. The satisfaction they gained from throwing sticks or stones for hours on end, the obsessive collection of inanimate objects, the brutal destruction of the fragile world around them, all seemed at odds with the men they were supposed to become.

Nothing is more likely to become garbage than orange rind; but for as long as anyone looks at it in delight, it stands a million triumphant miles from the trash heap. That, you know, is why the world exists at all. It remains outside the cosmic garbage can of nothingness, not because it is such a solemn necessity that nobody can get rid of it, but because it is the orange peel hung on God's chandelier, the wishbone in His kitchen closet. He likes it; therefore, it stays. The whole marvelous collection of stones, skins, feathers, and string exists because at least one lover has never quite taken His eye off it, because the Dominus vivificans has his delight with the sons of men.

Monday night is actually Tuesday evening in the Arabic calendar since Arabic day begins with sunset. ‘The secrets of Tuesday’s darkness, coinciding with stone hard and deceased animals hurled at a human territory …’ The words he read decades ago now bloom in his memory. It was in a book from Ruem’s collection. How can he remember it so clearly? Why does he remember it? Why now?

I think of my naming strategy as a hobby, even though my psychiatrist doesn’t see it that way. I don’t simply listen to music, I study the lyrics, and when I’m done making a playlist, I pick three words from one of the songs—three words that perfectly encapsulate the collection—and that becomes its title.

I sang from my belly, from my intricate system of female parts, and from those sacs inside me that wouldn't show up on an ultrasound but held all the rocks and stones and broken glass of want and need I'd managed to collect in seventeen years.

Why are you so hard on yourself? I love you just the way you are, with your withered coat and wet scarf dangling like a spotless chandelier. The snow banks in Montreal are high, but I can see your trace, and silent grace and tin cup through the paned window. The precipitation melts your face, distorting your expression through the aged glass; broken, when I threw ancient stones to get your attention as a child. I wanted a friend. The honest kind.

When the alchemist speaks of Mercurius, on the face of it he means quicksilver (mercury), but inwardly he means the world-creating spirit concealed or imprisoned in matter. The dragon is probably the oldest pictoral symbol in alchemy of which we have documentary evidence. It appears as the Ouroboros, the tail-eater, in the Codex Marcianus, which dates from the tenth or eleventh century, together with the legend ‘the One, the All’. Time and again the alchemists reiterate that the opus proceeds from the one and leads back to the one, that it is a sort of circle like a dragon biting its own tail. For this reason the opus was often called circulare (circular) or else rota (the wheel). Mercurius stands at the beginning and end of the work: he is the prima materia, the caput corvi, the nigredo; as dragon he devours himself and as dragon he dies, to rise again in the lapis. He is the play of colours in the cauda pavonis and the division into the four elements. He is the hermaphrodite that was in the beginning, that splits into the classical brother-sister duality and is reunited in the coniunctio, to appear once again at the end in the radiant form of the lumen novum, the stone. He is metallic yet liquid, matter yet spirit, cold yet fiery, poison and yet healing draught - a symbol uniting all the opposites.

A stone lies in a river; a piece of wood is jammed against it; dead leaves, drifting logs, and branches caked with mud collect; weeds settle there, and soon birds have made a nest and are feeding their young among the blossoming water plants. Then the river rises and the earth is washed away. The birds depart, the flowers wither, the branches are dislodged and drift downward; no trace is left of the floating island but a stone submerged by the water; — such is our personality.

Man is not to direct or to be directed anymore than a tree or a cloud or a stone Man is not to rule or be ruled anymore than a faith or a truth or a love Man is not to doubt or to be doubted anymore than a wave or a seed or a fire There is no problem in living which life hasn't answered to its own need And we cannot direct, rule, or doubt what is beyond our highest ability to understand we can only be humble before it we can only worship ourselves because we are a part of it The eye in the leaf is watching out of our fingers The ear in the stone is listening through our voices The thought of the wave is thinking in our dreams The faith of the seed is building with our deaths

You have a heart of stone," the Sea Oracle said, "but did you think that meant your nature was unyielding? If there is something the sea knows, it is that sand is nothing but stone given wisdom by the hand of water over time. And sand can be shaped. How you wish to shape the sand of your heart - that is up to you.

As the steamer continued the crossing, Pandora tugged off her left glove to admirer wedding ring, as she'd already done a dozen times that day. Gabriel had chosen a loose sapphire from the collection of Challon family jewels, and had it set in a gold and diamond ring mounting. The Ceylon sapphire, cut and polished into a smooth dome, was a rare stone that gleamed with a twelve-ray star instead of six. To his satisfaction, Pandora seemed inordinately pleased by the ring, and was fascinated by the way the star seemed to move across the surface of the sapphire. The effect, called asterism, was especially noticeable in the sunlight. "What causes the star?" Pandora asked, as she tilted her hand this way and that. Gabriel tucked a kiss behind the soft lobe of her ear. "A few tiny imperfections," he murmured, "that make it all the more beautiful.

The usual consolations of life, friendship and sex included, appealed to Newton hardly at all. Art, literature, and music had scarcely more allure. He dismissed the classical sculptures in the Earl of Pembroke's renowned collection as "stone dolls." He waved poetry aside as "a kind of ingenious nonsense." He rejected opera after a single encounter. "The first Act I heard with pleasure, the 2d stretch'd my patience, at the 3d I ran away.

Tall Nettles Tall nettles cover up, as they have done These many springs, the rusty harrow, the plough Long worn out, and the roller made of stone : Only the elm butt tops the nettles now. This corner of the farmyard I like most: As well as any bloom upon a flower I like the dust on the nettles, never lost Except to prove the sweetness of a shower.

I’ve never cared about religion, aside from as a subject of study in others, but in my blackest pits of despair I always find God and call out for help, because only an omnipotent outside force could possibly move the stone that is pressing me down. And God walks away, single footsteps off into the collective unconscious. He doesn’t care. Why should he? I wouldn’t.

WHERE ONCE THE WATERS ON YOUR FACE Where once the waters of your face Spun to my screws, your dry ghost blows, The dead turns up its eye; Where once the mermen through your ice Pushed up their hair, the dry wind steers Through salt and root and roe. Where once your green knots sank their splice Into the tided cord, there goes The green unraveller, His scissors oiled, his knife hung loose To cut the channels at their source And lay the wet fruits low. Invisible, your clocking tides Break on the lovebeds of the weeds; The weed of love’s left dry; There round about your stones the shades Of children go who, from their voids, Cry to the dolphined sea. Dry as a tomb, your coloured lids Shall not be latched while magic glides Sage on the earth and sky; There shall be corals in your beds, There shall be serpents in your tides, Till all our sea-faiths die.

Lyre: Ash, my friend, you have a lot to learn about women. Ash: Why force it out of her if she doesn’t want to talk about it? Lyre: Because women like to stew about sh*t that could otherwise be sorted in no time. If you’d just talked to her a couple of cycles ago, she wouldn’t have had this time to get worked up about it. Then, you could have focused on getting her worked up in other ways.

The hills below crouched on all fours under the weight of the rainforest where liana grew and soldier ants marched in formation. Straight ahead they marched, shamelessly single-minded, for soldier ants have no time for dreaming. Almost all of them are women and there is so much to do - the work is literally endless. So many to be born and fed, then found and buried. There is no time for dreaming. The life of their world requires organization so tight and sacrifice so complete there is little need for males and they are seldom produced. When they are needed, it is deliberately done by the queen who surmises, by some four-million-year-old magic she is heiress to, that it is time. So she urges a sperm from the private womb where they were placed when she had her one, first and last copulation. Once in life, this little Amazon trembled in the air waiting for a male to mount her. And when he did, when he joined a cloud of others one evening just before a summer storm, joined colonies from all over the world gathered fro the marriage flight, he knew at last what his wings were for. Frenzied, he flied into the humming cloud to fight gravity and time in order to do, just once, the single thing he was born for. Then he drops dead, having emptied his sperm into his lady-love. Sperm which she keeps in a special place to use at her own discretion when there is need for another dark and singing cloud of ant folk mating in the air. Once the lady has collected the sperm, she too falls to the ground, but unless she breaks her back or neck or is eaten by one of a thousand things, she staggers to her legs and looks for a stone to rub on, cracking and shedding the wings she will never need again. Then she begins her journey searching for a suitable place to build her kingdom. She crawls into the hollow of a tree, examines its walls and corners. She seals herself off from all society and eats her own wing muscles until she bears her eggs. When the first larvae appear, there is nothing to feed them, so she gives them their unhatched sisters until they are old enough and strong enough to hunt and bring their prey back to the kingdom. That is all. Bearing, hunting, eating, fighting, burying. No time for dreaming, although sometimes, late in life, somewhere between the thirtieth and fortieth generation she might get wind of a summer storm one day. The scent of it will invade her palace and she will recall the rush of wind on her belly - the stretch of fresh wings, the blinding anticipation and herself, there, airborne, suspended, open, trusting, frightened, determined, vulnerable - girlish, even, for and entire second and then another and another. She may lift her head then, and point her wands toward the place where the summer storm is entering her palace and in the weariness that ruling queens alone know, she may wonder whether his death was sudden. Or did he languish? And if so, if there was a bit of time left, did he think how mean the world was, or did he fill that space of time thinking of her? But soldier ants do not have time for dreaming. They are women and have much to do. Still it would be hard. So very hard to forget the man who fucked like a star.

frantically. Where was his backpack? “Go!” said a guard, giving him a push. Jack went. Down they marched, down the long, dark hallway. Squinty, Annie, Mustache, Jack, and Red. Down a narrow, winding staircase. Jack heard Annie shouting at the guards. “Dummies! Meanies! We didn’t do anything!” The guards laughed. They didn’t take her seriously at all. At the bottom of the stairs was a big iron door with a bar across it. Squinty pushed the bar off the door. Then he shoved at the door. It creaked open. Jack and Annie were pushed into a cold, clammy room. The fiery torch lit the dungeon. There were chains hanging from the filthy walls. Water dripped from the ceiling, making puddles on the stone floor. It was

When my nephew passed beyond, Wilhelm comforted himself that a child in his innocence would be delivered speedily to heaven, and there be given an honored place. “In this small, simple throne,” Wilhelm said, and I said, “With secret compartments for his bird’s nests and smooth stones.” Wilhelm believed this. He had to believe this. I, too, repeated this conception to myself again and again, trying harder to harder to believe it. But a Creator who takes a child so small, so kind, so tender? What can be made of that? The tales we collected are not merciful. Villains are boiled in snake-filled oil, wicked Steifmutter-stepmothers-are made to dance into death in molten-hot shoes, and on and on. The tales are full of terrible punishments, yes, but they follow just cause. Goodness is rewarded; evil is not. The generous simpleton finds more happiness and coin than the greedy king. So why not mercy and justice to sweet youth from an omnipotent and benevolent Creator? There are only three answers. He is not omnipotent, or he is not benevolent, or-the dreariest possibility of all-he is inattentive. What if that was what happened to my nephew? That God’s gaze had merely strayed elsewhere?

The graveyard was at the top of the hill. It looked over all of the town. The town was hills - hills that issued down in trickles and then creeks and then rivers of cobblestone into the town, to flood the town with rough and beautiful stone that had been polished into smooth flatness over the centuries. It was a pointed irony that the very best view of the town could be had from the cemetery hill, where high, thick walls surrounded a collection of tombstones like wedding cakes, frosted with white angels and iced with ribbons and scrolls, one against another, toppling, shining cold. It was like a cake confectioner's yard. Some tombs were big as beds. From here, on freezing evenings, you could look down at the candle-lit valley, hear dogs bark, sharp as tuning forks banged on a flat stone, see all the funeral processions coming up the hill in the dark, coffins balanced on shoulders. ("The Candy Skull")

They did not even have to clean off his face to know that the dead man was a stranger. The village was made up of only twenty-odd wooden houses that had stone courtyards with no flowers and which were spread about on the end of a desert-like cape. There was so little land that mothers always went about with the fear that the wind would carry off their children and the few dead that the years had caused among them had to be thrown off the cliffs. But the sea was calm and bountiful and all the men fitted into seven boats. So when they found the drowned man they simply had to look at one another to see that they were all there.

Is it possible, I wonder, to study a bird so closely, to observe and catalogue its peculiarities in such minute detail, that it becomes invisible? Is it possible that while fastidiously calibrating the span of its wings or the length of its tarsus, we somehow lose sight of its poetry? That in our pedestrian descriptions of a marbled or vermiculated plumage we forfeit a glimpse of living canvases, cascades of carefully toned browns and golds that would shame Kandinsky, misty explosions of color to rival Monet? I believe that we do. I believe that in approaching our subject with the sensibilities of statisticians and dissectionists, we distance ourselves increasingly from the marvelous and spell binding planet of imagination whose gravity drew us to our studies in the first place. That is not to say that we should cease to establish facts and verify our information, but merely to suggest that unless those facts can be imbued with the flash of poetic insight then they remain dull gems; semi-precious stones scarcely worth the collecting.

In Antartica, The Wright and half a dozen other valleys in the Central Transantarctic Mountains are collectively referred to as the dry valleys. It has not rained here in two million years. No animal abides, no plant grows. A persistent, sometimes ferocious wind has stripped the country to stone and gravel, to streamers of sand. The huge valleys stand stark as empty fjords. You look in vain for any conventional sign of human history- the vestige of a protective wall, a bit of charcoal, a discarded arrowhead. Nothing. There is no history, until you bore into the layers of rock or until the balls of your fingertips run the rim of a partially exposed fossil. At the height of the austral summer, in December, you smell nothing but the sunbeaten stone. In a silence dense as water, your eye picks up no movement but the sloughing of sand, seeking its angle of repose. On the flight in from New Zealand it had occurred to me, from what I had read and heard, that Antarctica retained Earth’s primitive link, however tenuous, with space, with the void that stretched out to Jupiter and Uranus. At the seabird rookeries of the Canadian Arctic or on the grasslands of the Serengeti, you can feel the vitality of the original creation; in the dry valleys you sense sharply what came before. The Archeozoic is like fresh spoor here.

There’s not a stone or leaf or life that men won’t put a name to. It gives them a nice safe box to collect things in. They get in the habit of collecting things and end up surprised at the weight they’re carrying. A dream they thought might fit someday, something bright and sweet like a woman, picked up for her shine and somehow never left or at least never forgotten. Or an ambition! There’s a fine item in any man’s bag. A great, glowing ambition. They never fade, never wear even when you’ve outgrown them. Always there to look at and remember and play might-have-been.

Winter Landscape, with Rocks Water in the millrace, through a sluice of stone, plunges headlong into that black pond where, absurd and out-of-season, a single swan floats chaste as snow, taunting the clouded mind which hungers to haul the white reflection down. The austere sun descends above the fen, an orange cyclops-eye, scorning to look longer on this landscape of chagrin; feathered dark in thought, I stalk like a rook, brooding as the winter night comes on. Last summer's reeds are all engraved in ice as is your image in my eye; dry frost glazes the window of my hurt; what solace can be struck from rock to make heart's waste grow green again? Who'd walk in this bleak place? Sylvia Plath was one of the first and best of the modern confessional poets. She won a Pulitzer Prize posthumously for her Collected Poems after committing suicide at the age of 31, something she seemed to have been predicting in her writing and practicing for in real life.

By the altar, which is made of massive slabs of stone untouched by tools since hewn from the quarry and set up in this vast edifice, a barefooted priest wearing a linen tunic waits for the Levite to hand over the turtledoves. He takes the first one, carries it to a comer of the altar, and with a single blow knocks the head from its body. [...] Joseph has nothing more to accomplish here, he must withdraw, collect his wife and child, and return home. Mary is pure once more, not in the strict sense of the word, because purity is something to which most human beings, and above all women, can scarcely hope to aspire.

Song for the Last Act Now that I have your face by heart, I look Less at its features than its darkening frame Where quince and melon, yellow as young flame, Lie with quilled dahlias and the shepherd's crook. Beyond, a garden. There, in insolent ease The lead and marble figures watch the show Of yet another summer loath to go Although the scythes hang in the apple trees. Now that I have your face by heart, I look. Now that I have your voice by heart, I read In the black chords upon a dulling page Music that is not meant for music's cage, Whose emblems mix with words that shake and bleed. The staves are shuttled over with a stark Unprinted silence. In a double dream I must spell out the storm, the running stream. The beat's too swift. The notes shift in the dark. Now that I have your voice by heart, I read. Now that I have your heart by heart, I see The wharves with their great ships and architraves; The rigging and the cargo and the slaves On a strange beach under a broken sky. O not departure, but a voyage done! The bales stand on the stone; the anchor weeps Its red rust downward, and the long vine creeps Beside the salt herb, in the lengthening sun. Now that I have your heart by heart, I see.

The rock I'd seen in my life looked dull because in all ignorance I'd never thought to knock it open. People have cracked ordinary New England pegmatite - big, coarse granite - and laid bare clusters of red garnets, or topaz crystals, chrysoberyl, spodumene, emerald. They held in their hands crystals that had hung in a hole in the dark for a billion years unseen. I was all for it. I would lay about me right and left with a hammer, and bash the landscape to bits. I would crack the earth's crust like a piñata and spread to the light the vivid prizes in chunks within. Rock collecting was opening the mountains. It was like diving through my own interior blank blackness to remember the startling pieces of a dream: there was a blue lake, a witch, a lighthouse, a yellow path. It was like poking about in a grimy alley and finding an old, old coin. Nothing was at it seemed. The earth was like a shut eye. Mother's not dead, dear - she's only sleeping. Pry open the thin lid and find a crystalline intelligence inside, a rayed and sidereal beauty. Crystals grew inside rock like arithmetical flowers. They lengthened and spread, adding plane to plane in awed and perfect obedience to an absolute geometry that even the stones - maybe only the stones - understood.

Oh, good, it worked,” Archer said, his ghostly face relieved. Unlike Elodie, his voice came in loud and clear, and so familiar that my heart broke all over again. I stood frozen, my back against the door. Even though he was faint, I could see him smirk. “Um…Mercer? Haven’t seen you in nearly a month. I was expecting something like, ‘Oh, Cross, love of my heart, fire of my loins, how I’ve longed-“ “You’re dead,” I blurted out, pressing a hand against my stomach. “You’re a ghost, and you think-“ All the humor disappeared from his face, and he held up both hands. “Whoa, whoa, whoa. Not dead. Promise.” My heart was still hammering. “Then what the heck are you?” Archer almost looked sheepish as he reached inside his shirt and pulled out some kind of amulet on a thin silver chain. “It’s a speaking stone. Lets you appear to people kind of like a hologram. You know. ‘Help me, Sophie-Wan Kenobi, you’re my only hope.’” “Did you steal it from the cellar at Hecate, too?” Archer had collected all sorts of magical knickknacks back when we had cellar duty at Hex Hall. “No,” he said, offended. “I found it at a…store. For magical stuff. Okay, yes, I stole it from the cellar.” I rushed across the room and thrust my fist at his solar plexus. It went right through him, but it was still kind of satisfying. “You jerk!” I cried, striking at his head. “You scared me to death! Cal said The Eye probably had you, and I thought they’d found out about you and me working together, and killed you, you arrogant piece of-“ “I’m sorry!” he shouted, waving his translucent hands. “I-I thought the talking would give it away, and I didn’t mean to scare you, but I’m not dead! So would you please stop hitting me?” I paused. “You can feel it?” “No, but it’s still kind of unsettling to see your fist coming at my face.

Poem in October" It was my thirtieth year to heaven Woke to my hearing from harbour and neighbour wood And the mussel pooled and the heron Priested shore The morning beckon With water praying and call of seagull and rook And the knock of sailing boats on the net webbed wall Myself to set foot That second In the still sleeping town and set forth. My birthday began with the water- Birds and the birds of the winged trees flying my name Above the farms and the white horses And I rose In rainy autumn And walked abroad in a shower of all my days. High tide and the heron dived when I took the road Over the border And the gates Of the town closed as the town awoke. A springful of larks in a rolling Cloud and the roadside bushes brimming with whistling Blackbirds and the sun of October Summery On the hill's shoulder, Here were fond climates and sweet singers suddenly Come in the morning where I wandered and listened To the rain wringing Wind blow cold In the wood faraway under me. Pale rain over the dwindling harbour And over the sea wet church the size of a snail With its horns through mist and the castle Brown as owls But all the gardens Of spring and summer were blooming in the tall tales Beyond the border and under the lark full cloud. There could I marvel My birthday Away but the weather turned around. It turned away from the blithe country And down the other air and the blue altered sky Streamed again a wonder of summer With apples Pears and red currants And I saw in the turning so clearly a child's Forgotten mornings when he walked with his mother Through the parables Of sun light And the legends of the green chapels And the twice told fields of infancy That his tears burned my cheeks and his heart moved in mine. These were the woods the river and sea Where a boy In the listening Summertime of the dead whispered the truth of his joy To the trees and the stones and the fish in the tide. And the mystery Sang alive Still in the water and singingbirds. And there could I marvel my birthday Away but the weather turned around. And the true Joy of the long dead child sang burning In the sun. It was my thirtieth Year to heaven stood there then in the summer noon Though the town below lay leaved with October blood. O may my heart's truth Still be sung On this high hill in a year's turning.

Who" The month of flowering’s finished. The fruit’s in, Eaten or rotten. I am all mouth. October’s the month for storage. The shed’s fusty as a mummy’s stomach: Old tools, handles and rusty tusks. I am at home here among the dead heads. Let me sit in a flowerpot, The spiders won’t notice. My heart is a stopped geranium. If only the wind would leave my lungs alone. Dogsbody noses the petals. They bloom upside down. They rattle like hydrangea bushes. Mouldering heads console me, Nailed to the rafters yesterday: Inmates who don’t hibernate. Cabbageheads: wormy purple, silver-glaze, A dressing of mule ears, mothy pelts, but green-hearted, Their veins white as porkfat. O the beauty of usage! The orange pumpkins have no eyes. These halls are full of women who think they are birds. This is a dull school. I am a root, a stone, an owl pellet, Without dreams of any sort. Mother, you are the one mouth I would be a tongue to. Mother of otherness Eat me. Wastebasket gaper, shadow of doorways. I said: I must remember this, being small. There were such enormous flowers, Purple and red mouths, utterly lovely. The hoops of blackberry stems made me cry. Now they light me up like an electric bulb. For weeks I can remember nothing at all.

I Knew a Woman" I knew a woman, lovely in her bones, When small birds sighed, she would sigh back at them; Ah, when she moved, she moved more ways than one: The shapes a bright container can contain! Of her choice virtues only gods should speak, Or English poets who grew up on Greek (I’d have them sing in chorus, cheek to cheek). How well her wishes went! She stroked my chin, She taught me Turn, and Counter-turn, and Stand; She taught me Touch, that undulant white skin; I nibbled meekly from her proffered hand; She was the sickle; I, poor I, the rake, Coming behind her for her pretty sake (But what prodigious mowing we did make). Love likes a gander, and adores a goose: Her full lips pursed, the errant note to seize; She played it quick, she played it light and loose; My eyes, they dazzled at her flowing knees; Her several parts could keep a pure repose, Or one hip quiver with a mobile nose (She moved in circles, and those circles moved). Let seed be grass, and grass turn into hay: I’m martyr to a motion not my own; What’s freedom for? To know eternity. I swear she cast a shadow white as stone. But who would count eternity in days? These old bones live to learn her wanton ways: (I measure time by how a body sways).

...peel an orange. Do it lovingly--it perfect quarters like little boats...Nothing is more likely to become garbage than orange rind; but for as long as anyone looks at it in delight, it stands a million triumphant miles from the trash heap. That, you know, is why the world exists at all. it remains outside the cosmic garbage can of nothingness, not because it is such a solemn necessity that nobody can get rid of it, but because it is the orange peel hung on God's chandelier, the wishbone in His kitchen closet. He likes it; therefore, it stays. The whole marvelous collection of stones, skins, feathers, and string exists because at least one lover has never quite taken His eye off it, because the Dominus vivificans has His delight with the sons of men.

I thought a voice had to be about what you could do. It wasn’t until I heard Billie Holiday that I realized a voice could be a collection of compensations for things you couldn’t do. It could be an ingenuity – in the same way some writers wrote books that coursed between the boulders of what they couldn’t do, and went faster, and tumbled over, fell in rills and rushed breathlessly over the stones. The great singers were also the great interpreters. She had just a single octave, and she made it her lifelong subject. I thought a voice had to be about your fluency, your dexterity, your virtuosity. But in fact your voice could be about your failings, your faltering, your physical limits. The voices that ring hardest in our heads are not the perfect voices. They are the voices with an additional dimension, which is pain.

Bearded Oaks" The oaks, how subtle and marine, Bearded, and all the layered light Above them swims; and thus the scene, Recessed, awaits the positive night. So, waiting, we in the grass now lie Beneath the languorous tread of light: The grassed, kelp-like, satisfy The nameless motions of the air. Upon the floor of light, and time, Unmurmuring, of polyp made, We rest; we are, as light withdraws, Twin atolls on a shelf of shade. Ages to our construction went, Dim architecture, hour by hour: And violence, forgot now, lent The present stillness all its power. The storm of noon above us rolled, Of light the fury, furious gold, The long drag troubling us, the depth: Dark is unrocking, unrippling, still. Passion and slaughter, ruth, decay descend, minutely whispering down, Silted down swaying streams, to lay Foundation for our voicelessness. All our debate is voiceless here, As all our rage, the rage of stone; If hope is hopeless, then fearless is fear, And history is thus undone. Our feet once wrought the hollow street With echo when the lamps were dead All windows, once our headlight glare Disturbed the doe that, leaping fled. I do not love you less that now The caged heart makes iron stroke, Or less that all that light once gave The graduate dark should now revoke. We live in time so little time And we learn all so painfully, That we may spare this hour's term To practice for eternity.

Moses questions God about death Moses asks God the most basic question, "You create us; then you kill us. "Why" God says, I understand the purpose within your question; therefore I'll answer. You want to know the meaning of phenomenal duration, so you can teach others and help their souls unfold. Anyone who asks this question has some of the answer. Sow seed corn, Moses, and you will experience the purpose of taking a form. Moses plants and tends the crop; when the ears have ripened to the shape of their beauty, he brings out to the field his blade and sharpening stone. The unseen voice comes, Why did you work to bring the corn to perfection only now to chop it down? "Lord, it is the winnowing time when we separate the corn grains we use for food from the straw we use for bedding and fodder. They must be stored in different cribs in the barn." Where did you learn this threshing-floor work? "You gave me discernment." Do you not feel that I should have a similar discernment in the planting and harvesting of forms that I do? So creation has a purpose. God has said, I was a hidden treasure, and I desired to be known. That desire is part of manifestation.

A BRAVE AND STARTLING TRUTH We, this people, on a small and lonely planet Traveling through casual space Past aloof stars, across the way of indifferent suns To a destination where all signs tell us It is possible and imperative that we learn A brave and startling truth And when we come to it To the day of peacemaking When we release our fingers From fists of hostility And allow the pure air to cool our palms When we come to it When the curtain falls on the minstrel show of hate And faces sooted with scorn are scrubbed clean When battlefields and coliseum No longer rake our unique and particular sons and daughters Up with the bruised and bloody grass To lie in identical plots in foreign soil When the rapacious storming of the churches The screaming racket in the temples have ceased When the pennants are waving gaily When the banners of the world tremble Stoutly in the good, clean breeze When we come to it When we let the rifles fall from our shoulders And children dress their dolls in flags of truce When land mines of death have been removed And the aged can walk into evenings of peace When religious ritual is not perfumed By the incense of burning flesh And childhood dreams are not kicked awake By nightmares of abuse When we come to it Then we will confess that not the Pyramids With their stones set in mysterious perfection Nor the Gardens of Babylon Hanging as eternal beauty In our collective memory Not the Grand Canyon Kindled into delicious color By Western sunsets Nor the Danube, flowing its blue soul into Europe Not the sacred peak of Mount Fuji Stretching to the Rising Sun Neither Father Amazon nor Mother Mississippi who, without favor, Nurture all creatures in the depths and on the shores These are not the only wonders of the world When we come to it We, this people, on this minuscule and kithless globe Who reach daily for the bomb, the blade and the dagger Yet who petition in the dark for tokens of peace We, this people on this mote of matter In whose mouths abide cankerous words Which challenge our very existence Yet out of those same mouths Come songs of such exquisite sweetness That the heart falters in its labor And the body is quieted into awe We, this people, on this small and drifting planet Whose hands can strike with such abandon That in a twinkling, life is sapped from the living Yet those same hands can touch with such healing, irresistible tenderness That the haughty neck is happy to bow And the proud back is glad to bend Out of such chaos, of such contradiction We learn that we are neither devils nor divines When we come to it We, this people, on this wayward, floating body Created on this earth, of this earth Have the power to fashion for this earth A climate where every man and every woman Can live freely without sanctimonious piety Without crippling fear When we come to it We must confess that we are the possible We are the miraculous, the true wonder of this world That is when, and only when We come to it.

Collins was in the space capsule all alone. While his partners were down there collecting rocks, Collins was manning the wheel. Twenty-six times he circled the moon—solo. Imagine? He was completely out of radio contact. Couldn’t talk to his partners. Couldn’t talk to NASA. He was cut off from every living soul in the universe. If he panicked, if he fucked up, if he pushed the wrong button, he’d strand Armstrong and Aldrin. Or if they did something wrong, if their lunar car broke down, if they couldn’t restart the thing, if they couldn’t blast off and reconnect with Collins forty-five miles above the moon, he’d have to head back to earth all by himself. Leave his partners to die. Slowly running out of air. While watching earth in the distance. It was such a real possibility, Collins returning to earth by himself, that Nixon wrote up a speech to the nation. Collins—now that’s one stone-cold wheelman. That’s the guy you want sitting at the wheel of a gassed-up Ford while you’re inside a bank.

Pirate and Osbie Feel are leaning on their roof-ledge, a magnificent sunset across and up the winding river, the imperial serpant, crowds of factories, flats, parks, smoky spires and gables, incandescent sky casting downward across the miles of deep streets and roofs cluttering and sinuous river Thames a drastic strain of burnt orange, to remind a visitor of his mortal transience here, to seal or empty all the doors and windows in sight to his eyes that look only for a bit of company, a word or two in the street before he goes up to the soap-heavy smell of the rented room and the squares of coral sunset on the floor-boards—an antique light, self-absorbed, fuel consumed in the metered winter holocaust, the more distant shapes among the threads or sheets of smoke now perfect ash ruins of themselves, nearer windows, struck a moment by the sun, not reflecting at all but containing the same destroying light, this intense fading in which there is no promise of return, light that rusts the government cars at the curbsides, varnishes the last faces hurrying past the shops in the cold as if a vast siren had finally sounded, light that makes chilled untraveled canals of many streets, and that fills with the starlings of London, converging by millions to hazy stone pedestals, to emptying squares and a great collective sleep. They flow in rings, concentric rings on the radar screens. The operators call them ‘angels.

No matter how awful it is to be sitting in this Terrible magazine office, and talking to this Circular-saw-voiced West side girl in a dirt- Stiff Marimekko and lavender glasses, and this Cake-bearded boy in short-rise Levi’s, and hearing The drip and rasp of their tones on the softening Stone of my brain, and losing The thread of their circular words, and looking Out through their faces and soot on the window to Winter in University Place, where a blue- Faced man, made of rags and old newspapers, faces A horrible grill, looking in at the food and the faces It disappears into, and feeling, Perhaps, for the first time in days, a hunger instead Of a thirst; where two young girls in peacoats and hair As long as your arm and snow-sanded sandals Proceed to their hideout, a festering cold-water flat Animated by roaches, where their lovers, loafing in wait To warm and be warmed by brainless caresses, Stake out a state Of suspension; and where a black Cadillac 75 Stands by the curb to collect a collector of rents, Its owner, the owner of numberless tenement flats; And swivelling back To the editorial pad Of Chaos, a quarter-old quarterly of the arts, And its brotherly, sisterly staff, told hardly apart In their listlessly colored sackcloth, their ash-colored skins, Their resisterly sullenness, I suddenly think That no matter how awful it is, it’s better than it Would be to be dead. But who can be sure about that?

Let’s talk about ‘Coexist’ bumper stickers for a second. You’ve definitely seen them around. They’re those blue strips with white lettering that assemble a collection of religious icons and mystical symbols (e.g., an Islamic crescent, a Star of David, a Christian cross, a peace sign, a yin-yang) to spell out a simple message of inclusion and tolerance. Perhaps you instinctively roll your eyes at these advertisements of moral correctness. Perhaps you find the sentiment worthwhile, but you’re not a wear-your-politics-on-your-fender type of person. Or perhaps you actually have ‘Coexist’ bumper stickers affixed to both your Prius and your Beamer. Whatever floats your boat, man; far be it from us to cast stones. But we bring up these particular morality minibillboards to illustrate a bothersome dichotomy. If we were to draw a Venn diagram of (a) the people who flaunt their socially responsible “coexist” values for fellow motorists, and (b) the people who believe that, say, an evangelical Christian who owns a local flower shop ought to be sued and shamed for politely declining to provide floral arrangements for a same-sex wedding, the resulting circles would more or less overlap. The coexist message: You people (i.e., conservatives) need to get on board and start coexisting with groups that might make you uncomfortable. It says so right here on my highly enlightened bumper sticker. But don’t you dare ask me to tolerate the ‘intolerance’ of people with whom I disagree. Because that’s different.

We are wont to say that it was not in our power to choose the parents who fell to our lot, that they have been given to men by chance; yet we may be the sons of whomsoever we will. Households there are of noblest intellects; choose the one into which you wish to be adopted; you will inherit not merely their name, but even their property, which there will be no need to guard in a mean or niggardly spirit; the more persons you share it with, the greater it will become. These will open to you the path to immortality, and will raise you to a height from which no one is cast down. This is the only way of prolonging mortality—nay, of turning it into immortality. Honours, monuments, all that ambition has commanded by decrees or reared in works of stone, quickly sink to ruin; there is nothing that the lapse of time does not tear down and remove. But the works which philosophy has consecrated cannot be harmed; no age will destroy them, no age reduce them; the following and each succeeding age will but increase the reverence for them, since envy works upon what is close at hand, and things that are far off we are more free to admire. The life of the philosopher, therefore, has wide range, and he is not confined by the same bounds that shut others in. He alone is freed from the limitations of the human race; all ages serve him as if a god. Has some time passed by? This he embraces by recollection. Is time present? This he uses. Is it still to come? This he anticipates. He makes his life long by combining all times into one.

Have you ever been in a place where history becomes tangible? Where you stand motionless, feeling time and importance press around you, press into you? That was how I felt the first time I stood in the astronaut garden at OCA PNW. Is it still there? Do you know it? Every OCA campus had – has, please let it be has – one: a circular enclave, walled by smooth white stone that towered up and up until it abruptly cut off, definitive as the end of an atmosphere, making room for the sky above. Stretching up from the ground, standing in neat rows and with an equally neat carpet of microclover in between, were trees, one for every person who’d taken a trip off Earth on an OCA rocket. It didn’t matter where you from, where you trained, where your spacecraft launched. When someone went up, every OCA campus planted a sapling. The trees are an awesome sight, but bear in mind: the forest above is not the garden’s entry point. You enter from underground. I remember walking through a short tunnel and into a low-lit domed chamber that possessed nothing but a spiral staircase leading upward. The walls were made of thick glass, and behind it was the dense network you find below every forest. Roots interlocking like fingers, with gossamer fungus sprawled symbiotically between, allowing for the peaceful exchange of carbon and nutrients. Worms traversed roads of their own making. Pockets of water and pebbles decorated the scene. This is what a forest is, after all. Don’t believe the lie of individual trees, each a monument to its own self-made success. A forest is an interdependent community. Resources are shared, and life in isolation is a death sentence. As I stood contemplating the roots, a hidden timer triggered, and the lights faded out. My breath went with it. The glass was etched with some kind of luminescent colourant, invisible when the lights were on, but glowing boldly in the dark. I moved closer, and I saw names – thousands upon thousands of names, printed as small as possible. I understood what I was seeing without being told. The idea behind Open Cluster Astronautics was simple: citizen-funded spaceflight. Exploration for exploration’s sake. Apolitical, international, non-profit. Donations accepted from anyone, with no kickbacks or concessions or promises of anything beyond a fervent attempt to bring astronauts back from extinction. It began in a post thread kicked off in 2052, a literal moonshot by a collective of frustrated friends from all corners – former thinkers for big names gone bankrupt, starry-eyed academics who wanted to do more than teach the past, government bureau members whose governments no longer existed. If you want to do good science with clean money and clean hands, they argued, if you want to keep the fire burning even as flags and logos came down, if you understand that space exploration is best when it’s done in the name of the people, then the people are the ones who have to make it happen.

The Dying Man" in memoriam W.B. Yeats 1. His words I heard a dying man Say to his gathered kin, “My soul’s hung out to dry, Like a fresh salted skin; I doubt I’ll use it again. “What’s done is yet to come; The flesh deserts the bone, But a kiss widens the rose I know, as the dying know Eternity is Now. “A man sees, as he dies, Death’s possibilities; My heart sways with the world. I am that final thing, A man learning to sing. 2. What Now? Caught in the dying light, I thought myself reborn. My hand turn into hooves. I wear the leaden weight Of what I did not do. Places great with their dead, The mire, the sodden wood, Remind me to stay alive. I am the clumsy man The instant ages on. I burned the flesh away, In love, in lively May. I turn my look upon Another shape than hers Now, as the casement blurs. In the worst night of my will, I dared to question all, And would the same again. What’s beating at the gate? Who’s come can wait. 3. The Wall A ghost comes out of the unconscious mind To grope my sill: It moans to be reborn! The figure at my back is not my friend; The hand upon my shoulder turns to horn. I found my father when I did my work, Only to lose myself in this small dark. Though it reject dry borders of the seen, What sensual eye can keep and image pure, Leaning across a sill to greet the dawn? A slow growth is a hard thing to endure. When figures our of obscure shadow rave, All sensual love’s but dancing on a grave. The wall has entered: I must love the wall, A madman staring at perpetual night, A spirit raging at the visible. I breathe alone until my dark is bright. Dawn’s where the white is. Who would know the dawn When there’s a dazzling dark behind the sun. 4. The Exulting Once I delighted in a single tree; The loose air sent me running like a child– I love the world; I want more than the world, Or after image of the inner eye. Flesh cries to flesh, and bone cries out to bone; I die into this life, alone yet not alone. Was it a god his suffering renewed?– I saw my father shrinking in his skin; He turned his face: there was another man, Walking the edge, loquacious, unafraid. He quivered like a bird in birdless air, Yet dared to fix his vision anywhere. Fish feed on fish, according to their need: My enemies renew me, and my blood Beats slower in my careless solitude. I bare a wound, and dare myself to bleed. I think a bird, and it begins to fly. By dying daily, I have come to be. All exultation is a dangerous thing. I see you, love, I see you in a dream; I hear a noise of bees, a trellis hum, And that slow humming rises into song. A breath is but a breath: I have the earth; I shall undo all dying with my death. 5. They Sing, They Sing All women loved dance in a dying light– The moon’s my mother: how I love the moon! Out of her place she comes, a dolphin one, Then settles back to shade and the long night. A beast cries out as if its flesh were torn, And that cry takes me back where I was born. Who thought love but a motion in the mind? Am I but nothing, leaning towards a thing? I scare myself with sighing, or I’ll sing; Descend O gentlest light, descend, descend. I sweet field far ahead, I hear your birds, They sing, they sing, but still in minor thirds. I’ve the lark’s word for it, who sings alone: What’s seen recededs; Forever’s what we know!– Eternity defined, and strewn with straw, The fury of the slug beneath the stone. The vision moves, and yet remains the same. In heaven’s praise, I dread the thing I am. The edges of the summit still appall When we brood on the dead or the beloved; Nor can imagination do it all In this last place of light: he dares to live Who stops being a bird, yet beats his wings Against the immense immeasurable emptiness of things.

Hymn to Mercury : Continued 11. ... Seized with a sudden fancy for fresh meat, He in his sacred crib deposited The hollow lyre, and from the cavern sweet Rushed with great leaps up to the mountain's head, Revolving in his mind some subtle feat Of thievish craft, such as a swindler might Devise in the lone season of dun night. 12. Lo! the great Sun under the ocean's bed has Driven steeds and chariot—the child meanwhile strode O'er the Pierian mountains clothed in shadows, Where the immortal oxen of the God Are pastured in the flowering unmown meadows, And safely stalled in a remote abode.— The archer Argicide, elate and proud, Drove fifty from the herd, lowing aloud. 13. He drove them wandering o'er the sandy way, But, being ever mindful of his craft, Backward and forward drove he them astray, So that the tracks which seemed before, were aft; His sandals then he threw to the ocean spray, And for each foot he wrought a kind of raft Of tamarisk, and tamarisk-like sprigs, And bound them in a lump with withy twigs. 14. And on his feet he tied these sandals light, The trail of whose wide leaves might not betray His track; and then, a self-sufficing wight, Like a man hastening on some distant way, He from Pieria's mountain bent his flight; But an old man perceived the infant pass Down green Onchestus heaped like beds with grass. 15. The old man stood dressing his sunny vine: 'Halloo! old fellow with the crooked shoulder! You grub those stumps? before they will bear wine Methinks even you must grow a little older: Attend, I pray, to this advice of mine, As you would 'scape what might appal a bolder— Seeing, see not—and hearing, hear not—and— If you have understanding—understand.' 16. So saying, Hermes roused the oxen vast; O'er shadowy mountain and resounding dell, And flower-paven plains, great Hermes passed; Till the black night divine, which favouring fell Around his steps, grew gray, and morning fast Wakened the world to work, and from her cell Sea-strewn, the Pallantean Moon sublime Into her watch-tower just began to climb. 17. Now to Alpheus he had driven all The broad-foreheaded oxen of the Sun; They came unwearied to the lofty stall And to the water-troughs which ever run Through the fresh fields—and when with rushgrass tall, Lotus and all sweet herbage, every one Had pastured been, the great God made them move Towards the stall in a collected drove. 18. A mighty pile of wood the God then heaped, And having soon conceived the mystery Of fire, from two smooth laurel branches stripped The bark, and rubbed them in his palms;—on high Suddenly forth the burning vapour leaped And the divine child saw delightedly.— Mercury first found out for human weal Tinder-box, matches, fire-irons, flint and steel. 19. And fine dry logs and roots innumerous He gathered in a delve upon the ground— And kindled them—and instantaneous The strength of the fierce flame was breathed around: And whilst the might of glorious Vulcan thus Wrapped the great pile with glare and roaring sound, Hermes dragged forth two heifers, lowing loud, Close to the fire—such might was in the God. 20. And on the earth upon their backs he threw The panting beasts, and rolled them o'er and o'er, And bored their lives out. Without more ado He cut up fat and flesh, and down before The fire, on spits of wood he placed the two, Toasting their flesh and ribs, and all the gore Pursed in the bowels; and while this was done He stretched their hides over a craggy stone.