Coral Glasses Quotes

And, Legolas, when the torches are kindled and men walk on the sandy floors under the echoing domes, ah! Then, Legolas, gems and crystals and veins of precious ore glint in the polished walls; and the light glows through folded marbles, shell-like, translucent as the living hands of Queen Galadriel. There are columns of white and saffron and dawn-rose, Legolas, fluted and twisted into dreamlike forms; they spring up from many-coloured floors to meet the glistening pendants of the roof: wings, ropes, curtains fine as frozen clouds; spears, banners, pinnacles of suspended palaces! Still lakes mirror them: a glimmering world looks up from dark pools covered with clear glass; cities, such as the mind of Durin could scarce have imagined in his sleep, stretch on through avenues and pillared courts, on into the dark recesses where no light can come, And plink! A silver drop falls, and the round wrinkles in the glass make all the towers bend and waver like weeds and corals in a grotto of the sea. Then evening comes:” they fade and twinkle out; the torches pass on into another chamber and another dream. There is chamber after chamber, Legolas; hall opening out of hall, dome after dome, stair beyond stair; and still the winding paths lead on into the mountains’ heart. Caves! The Caverns of Helm’s Deep! Happy was the chance that drove me there! It makes me weep to leave them.

On July 29, six days after I had arrived in Paris, Fin and I moved into the new lodgings on the top floor of the hotel next door, where, beyond the pigeons who occupied the window ledge, you could see the turrets of Notre Dame. The concierge told us not to feed the birds, but we gave them our stale bread just the same, and so our flock became a feathered multitude, pushing and shoving one another behind the cracked glass. In the afternoons the light seemed to have feathers in it.

He turned over towards the light and lay gazing into the glass paperweight. The inexhaustibly interesting thing was not the fragment of coral but the interior of the glass itself. There was such a depth of it, and yet it was almost as transparent as air. It was as though the surface of the glass had been the arch of the sky, enclosing a tiny world with its atmosphere complete. He had the feeling that he could get inside it, and that in fact he was inside it, along with the mahogany bed and the gateleg table, and the clock and the steel engraving and the paperweight itself. The paperweight was the room he was in, and the coral was Julia's life and his own, fixed in a sort of eternity at the heart of the crystal.

A huge deserted beach made up of very round polished white coral gravel, so smooth each piece looks like a glass bead. This beach changes its shape according to the seasons.

Driftglass," I said. "You know all the Coca-Cola bottles and cut-crystal punch bowls and industrial silicon slag that goes into the sea?" I know the Coca-Cola bottles." They break, and the tide pulls the pieces back and forth over the sandy bottom, wearing the edges, changing their shape. Sometimes chemicals in the glass react with chemicals in the ocean to change the color. Sometimes veins work their way through in patterns like snowflakes, regular and geometric; others, irregular and angled like coral. When the pieces dry, they're milky. Put them in water and they become transparent again.

There was a shield in place- a shield of sea glass and coral and the undulating sea. I became the sea, became the whisper of waves against stone, the glimmer of sunlight on a gull's white wings. I became him- became that mental shield.

Nights with bright pivots, departure, matter, uniquely voice, uniquely naked each day. Upon your breasts of still current, upon your legs ofharshness and water, upon the permanence and pride of your naked hair, I want to lie, my love, the tears now cast into the raucous basket where they gather, I want to lie, my love, alone with a syllable of destroyed silver, alone with a tip of your snowy breast.   It is not now possible, at times, to win except by falling, it is not now possible, between two people, to tremble, to touch the river’s flower: man fibers come like needles, transactions, fragments, families of repulsive coral, tempests and hard passages through carpets of winter.   Between lips and lips there are cities of great ash and moist crest, drops of when and how, indefinite traffic: between lips and lips, as if along a coast of sand and glass, the wind passes.   That is why you are endless, gather me up as if you were all solemnity, all nocturnal like a zone, until you merge with the lines of time.   Advance in sweetness, come to my side until the digital leaves of the violins have become silent, until the moss takes root in the thunder, until from the throbbing of hand and hand the roots come down.

Unpacking a Globe I gaze at the Pacific and don’t expect to ever see the heads on Easter Island, though I guess at sunlight rippling the yellow grasses sloping to shore; yesterday a doe ate grass in the orchard: it lifted its ears and stopped eating when it sensed us watching from a glass hallway—in his sleep, a veteran sweats, defusing a land mine. On the globe, I mark the Battle of the Coral Sea—no one frets at that now. A poem can never be too dark, I nod and, staring at the Kenai, hear ice breaking up along an inlet; yesterday a coyote trotted across my headlights and turned his head but didn’t break stride; that’s how I want to live on this planet: alive to a rabbit at a glass door— and flower where there is no flower.

What is the sea for the man who has loved and left her? She is fire-water, whisky, rum, a roric flame. She is a green-eyed witch; she speaks in tongues. Her coral rings are forged of skeletons; her white shoulders glisten with the dust of powdered bones. She is memory, the number of numbers, the eye of the world, the mirror of the sea. What is the ocean for the sailor who has loved and left her? The one lover who dissolves the night. A bottomless glass of moonshine. And sailors? All sea-talkers. The sons of mermen.

They wandered along in the blazing sunshine inspecting the pools and exploring the pot-holes, killing squids and turning over the heaps of coloured fuci left by the outgoing tide. A polished rock would sometimes move, disclose itself as a hawk-bill turtle and plunge into a pool. Shells of crabs and whelks lay everywhere, and great haliotis shells empty of everything but the whisper of the sea. Here, amongst the weeds, you could find the sucker claws of octopi, big as the claws of a tiger, and there, on the slab coral polished like window glass by the washing of the sea, huge sea-slugs the size of parsnips.

Nights with bright pivots, departure, matter, uniquely voice, uniquely naked each day. Upon your breasts of still current, upon your legs ofharshness and water, upon the permanence and pride of your naked hair, I want to lie, my love, the tears now cast into the raucous basket where they gather, I want to lie, my love, alone with a syllable of destroyed silver, alone with a tip of your snowy breast.   It is not now possible, at times, to win except by falling, it is not now possible, between two people, to tremble, to touch the river’s flower: man fibers come like needles, transactions, fragments, families of repulsive coral, tempests and hard passages through carpets of winter.   Between lips and lips there are cities of great ash and moist crest, drops of when and how, indefinite traffic: between lips and lips, as if along a coast of sand and glass, the wind passes.   That is why you are endless, gather me up as if you were all solemnity, all nocturnal like a zone, until you merge with the lines of time.   Advance in sweetness, come to my side until the digital leaves of the violins have become silent, until the moss takes root in the thunder, until from the throbbing of hand and hand the roots come down.   VALS Yo toco el odio como pecho diurno, yo sin cesar, de ropa en ropa, vengo durmiendo lejos.

He carefully poured the juice into a bowl and rinsed the scallops to remove any sand caught between the tender white meat and the firmer coral-colored roe, wrapped around it like a socialite's fur stole. Mayur is the kind of cook (my kind), who thinks the chef should always have a drink in hand. He was making the scallops with champagne custard, so naturally the rest of the bottle would have to disappear before dinner. He poured a cup of champagne into a small pot and set it to reduce on the stove. Then he put a sugar cube in the bottom of a wide champagne coupe (Lalique, service for sixteen, direct from the attic on my mother's last visit). After a bit of a search, he found the crème de violette in one of his shopping bags and poured in just a dash. He topped it up with champagne and gave it a swift stir. "To dinner in Paris," he said, glass aloft. 'To the chef," I answered, dodging swiftly out of the way as he poured the reduced champagne over some egg yolks and began whisking like his life depended on it. "Do you have fish stock?" "Nope." "Chicken?" "Just cubes. Are you sure that will work?" "Sure. This is the Mr. Potato Head School of Cooking," he said. "Interchangeable parts. If you don't have something, think of what that ingredient does, and attach another one." I counted, in addition to the champagne, three other bottles of alcohol open in the kitchen. The boar, rubbed lovingly with a paste of cider vinegar, garlic, thyme, and rosemary, was marinating in olive oil and red wine. It was then to be seared, deglazed with hard cider, roasted with whole apples, and finished with Calvados and a bit of cream. Mayur had his nose in a small glass of the apple liqueur, inhaling like a fugitive breathing the air of the open road. As soon as we were all assembled at the table, Mayur put the raw scallops back in their shells, spooned over some custard, and put them ever so briefly under the broiler- no more than a minute or two. The custard formed a very thin skin with one or two peaks of caramel. It was, quite simply, heaven. The pork was presented neatly sliced, restaurant style, surrounded with the whole apples, baked to juicy, sagging perfection.

Family is not the only thing that matters. There are other things: Pachelbel’s Canon in D matters, and fresh-picked corn on the cob, and true friends, and the sound of the ocean, and the poems of William Carlos Williams, and the constellations in the sky, and random acts of kindness, and a garden on the day when all its flowers are at their peak. Fluffy pancakes matter and crisp clean sheets and the guitar riff in “Layla,” and the way clouds look when you are above them in an airplane. Preserving the coral reef matters, and the thirty-four paintings of Johannes Vermeer matter, and kissing matters. Whether or not you register for china, crystal, and silver does not matter. Whether or not you have a full set of Tiffany dessert forks on Thanksgiving does not matter. If you want to register for these things, by all means, go ahead. My Waterford pattern is Lismore, one of the oldest. I do remember one time when I had a harrowing day at the hospital, and Nick had a Rube Goldberg project due and needed my help, and Kevin was playing Quiet Riot at top decibel in his bedroom, and Margot was tying up the house phone, and you had been plunked by the babysitter in front of the TV for five hours, and I came home and took one of my Lismore goblets out of the cabinet. I wanted to smash it against the wall. But instead I filled it with cold white wine and for ten or so minutes I sat in the quiet of the formal living room all by myself and I drank the cold wine out of that beautiful glass crafted by some lovely Irishman, and I felt better. It was probably the wine, not the glass, but you get my meaning. I will remember the impressive heft of the glass in my hand, and the way the cut of the crystal caught the day’s last rays of sunlight, but I will not miss that glass the way I will miss the sound of the ocean, or the taste of fresh-picked corn.

We decorate the heart-shaped snickerdoodles in pink and lilac frosting, topping each one with a tiny rosebud. Roisin brews a pot of passion fruit tea, sweetening it with honey before pouring it over a glass of ice and coconut milk. It turns a cloudy purple color. "This is a specialty at Petals Tea Shop," Roisin says. "Your auntie Laina named it the Midnight Rose Garden. It's one of my favorites." "It's wonderful," I say, taking a sip. It reminds me of family trips I used to take to Hawaii. My parents always said I was such a happy kid and didn't know what went wrong as I grew up. The passion fruit spilling over my tongue transports me back to placid waters--- ones that never whispered. The kind of waves that turtles call home and coral reefs burn bright. The same waves that culled my sunburnt shoulders, kissing my welted flesh and telling me I was okay. I was safe here. The water was safe. With Roisin, I am safe.

He turned over towards the light and lay gazing into the glass paperweight. The inexhaustibly interesting thing was not the fragment of coral but the interior of the glass itself. There was such a depth of it, and yet it was almost as transparent as the air. It was as though the surface of the glass had been the arch of the sky, enclosing a tiny world with it’s atmosphere complete.

Winston did not get up for a few minutes more. The room was darkening. He turned over towards the light and lay gazing into the glass paperweight. The inexhaustibly interesting thing was not the fragment of coral but the interior of the glass itself. There was such a depth of it, and yet it was almost as transparent as air. It was as though the surface of the glass had been the arch of the sky, enclosing a tiny world with its atmosphere complete. He had the feeling that he could get inside it, and that in fact he was inside it, along with the mahogany bed and the gateleg table, and the clock and the steel engraving and the paperweight itself. The paperweight was the room he was in, and the coral was Julia’s life and his own, fixed in a sort of eternity at the heart of the crystal.

Her rhythms pulse regular and sinusoidal—a freak show in caravan, travelling over thousands of little hills. A serpent hypnotic and undulant, bearing on her back like infinitesimal fleas such hunchbacks, dwarves, prodigies, centaurs, poltergeists! Two-headed, three-eyed, hopelessly in love; satyrs with the skin of werewolves, werewolves with the eyes of young girls and perhaps even an old man with a navel of glass, through which can be seen goldfish nuzzling the coral country of his guts.

is a sure source of silver, a place where gold is refined. 2Iron is taken from the earth; rock is smelted into copper. 3Humansx put an end to darkness, dig for ore to the farthest depths, into stone in utter darkness, 4open a shaft away from any inhabitant, places forgotten by those on foot, apart from any human they hang and sway. 5Earth--from it comes food-- is turned over below ground as by fire.y 6Its rocks are the source for lapis lazuli; there is gold dust in it. 7A path-- no bird of prey knows it; a hawk's eye hasn't seen it; 8proud beasts haven't trodden on it; a lion hasn't crossed over it. 9Humans thrust their hands into flint, pull up mountains from their roots, 10cut channels into rocks; their eyes see everything precious. 11They dam up the sources of rivers; hidden things come to light. Wisdom's value 12But wisdom, where can it be found; where is the place of understanding? 13Humankind doesn't know its value; it isn't found in the land of the living. 14The Deepz says, "It's not with me"; the Seaa says, "Not alongside me!" 15It can't be bought with gold; its price can't be measured in silver, 16can't be weighed against gold from Ophir, with precious onyx or lapis lazuli. 17Neither gold nor glass can compare with it; she can't be acquired with gold jewelry. 18Coral and jasper shouldn't be mentioned; the price of wisdom is more than rubies. 19Cushite topaz won't compare with her; she can't be set alongside pure gold. 20But wisdom, where does she come from? Where is the place of understanding? 21She's hidden from the eyes of all the living, concealed from birds of the sky. 22Destructionb and Death have said, "We've heard a report of her." 23God understands her way; he knows her place; 24for he looks to the ends of the earth and surveys everything beneath the heavens. 25In order to weigh the wind, to prepare a measure for waters, 26when he made a decree for the rain, a path for thunderbolts, 27then he observed it, spoke of it, established it, searched it out, 28and said to humankind: "Look, the fear of the LORD is wisdom; turning from evil is understanding.

Burch’s description is a masterpiece of understatement: “As you go up to high altitudes, as you should be able to do, the glass becomes very cold. Then, if you come down through a layer of warm air with any moisture in it at all, the windshield, sight and everything fogs up. It’s like putting a white sheet in front of you and you have to bomb from memory. If you start down, watching anti-aircraft fire, with your sight well fixed, and then hit 8,000 feet and somebody puts a sheet in front of you, you feel sort of bad about it. You try to stick your head out over the side of the cockpit, and aim down the side at the target ship. That’s not very accurate bombing.

Some days later, the Thracian goat rhyton rested regally atop a glass table beside the swimming pool of Hugh Bascomb’s home in Coral Gables. Hugh Bascomb himself lounged in a chair nearby, sipping a dry martini and gazing with unrestrained admiration and

DECEMBER 22 Parallel Universes Doubt, for me, tends to come in an overwhelming package, all at once. I don’t worry much about nuances of particular doctrines, but every so often I catch myself wondering about the whole grand scheme of faith. I stand in the futuristic airport in Denver, for example, watching important-looking people in business suits, briefcases clutched to their sides like weapons, pause at an espresso bar before scurrying off to another concourse. Do any of them ever think about God? I wonder. Christians share an odd belief in parallel universes. One universe consists of glass and steel and wool clothes and leather briefcases and the smell of freshly ground coffee. The other consists of angels and sinister spiritual forces and somewhere out there places called Heaven and Hell. We palpably inhabit the material world; it takes faith to consider oneself a citizen of the other, invisible world. Occasionally the two worlds merge for me, and these rare moments are anchors for my faith. The time I snorkeled on a coral reef and suddenly the flashes of color and abstract design flitting around me became a window to a Creator who exults in life and beauty. The time my wife forgave me for something that did not merit forgiveness—that too became a window, allowing a startling glimpse of divine grace. I have these moments, but soon toxic fumes from the material world seep in. Sex appeal! Power! Money! Military might! These are what matter most in life, I’m told, not the simpering platitudes of Jesus’ teachings in the Sermon on the Mount. For me, living in a fallen world, doubt seems more like forgetfulness than disbelief. I, a citizen of the visible world, know well the struggle involved in clinging to belief in another, invisible world. Christmas turns the tables and hints at the struggle involved when the Lord of both worlds descends to live by the rules of the one. In Bethlehem, the two worlds came together, realigned; what Jesus went on to accomplish on planet Earth made it possible for God someday to resolve all disharmonies in both worlds. No wonder a choir of angels broke out in spontaneous song, disturbing not only a few shepherds but the entire universe. Finding God in Unexpected Places (34 – 35)

Getting It Right" Your ankles make me want to party, want to sit and beg and roll over under a pair of riding boots with your ankles hidden inside, sweating beneath the black tooled leather; they make me wish it was my birthday so I could blow out their candles, have them hung over my shoulders like two bags full of money. Your ankles are two monster-truck engines but smaller and lighter and sexier than a saucer with warm milk licking the outside edge; they make me want to sing, make me want to take them home and feed them pasta, I want to punish them for being bad and then hold them all night long and say I’m sorry, sugar, darling, it will never happen again, not in a million years. Your thighs make me quiet. Make me want to be hurled into the air like a cannonball and pulled down again like someone being pulled into a van. Your thighs are two boats burned out of redwood trees. I want to go sailing. Your thighs, the long breath of them under the blue denim of your high-end jeans, could starve me to death, could make me cry and cry. Your ass is a shopping mall at Christmas, a holy place, a hill I fell in love with once when I was falling in love with hills. Your ass is a string quartet, the northern lights tucked tightly into bed between a high-count-of-cotton sheets. Your back is the back of a river full of fish; I have my tackle and tackle box. You only have to say the word. Your back, a letter I have been writing for fifteen years, a smooth stone, a moan someone makes when his hair is pulled, your back like a warm tongue at rest, a tongue with a tab of acid on top; your spine is an alphabet, a ladder of celestial proportions. I am navigating the North and South of it. Your armpits are beehives, they make me want to spin wool, want to pour a glass of whiskey, your armpits dripping their honey, their heat, their inexhaustible love-making dark. I am bright yellow for them. I am always thinking about them, resting at your side or high in the air when I’m pulling off your shirt. Your arms of blue and ice with the blood running to make them believe in God. Your shoulders make me want to raise an arm and burn down the Capitol. They sing to each other underneath your turquoise slope-neck blouse. Each is a separate bowl of rice steaming and covered in soy sauce. Your neck is a skyscraper of erotic adult videos, a swan and a ballet and a throaty elevator made of light. Your neck is a scrim of wet silk that guides the dead into the hours of Heaven. It makes me want to die, your mouth, which is the mouth of everything worth saying. It’s abalone and coral reef. Your mouth, which opens like the legs of astronauts who disconnect their safety lines and ride their stars into the billion and one voting districts of the Milky Way. Darling, you’re my President; I want to get this right! Matthew Dickman, The New Yorker: Poems | August 29, 2011 Issue

As Mom clicks and clucks and coos, I know that one of these shots will wind up in a gallery frame on the wall upstairs. Long after the continuing saga of Kate and Ben reaches its next chapter, I will find her in the hallway, gazing at the glass with shiny eyes and a full heart. These will be her fossils in bedrock, her coral clues to a bygone era. A strange lump forms in my throat as Mom gently tucks a strand of my loose updo behind my ear. I was once your little girl. Iowa was once an ocean.

Mauve cream Kabuki actors use conceal dark circles under my eyes. I brush soothing sable bristles of coral blush across high cheekbones, smudge taupe color on eye lids, darken thick lashes, dot ash rose gloss across my lips. Heavy red frame glasses and rose lenses cover grey eyes. I rip the telephone from the wall and stumble, drunk and crying, to the door, batter the facing with the phone handle, counting arrhythmic phlegmatic beats. Splinters and fragments of wood fall to the floor, a lingering catarrh lying among pale turquoise and gold threads. The scent of roses and jasmine lingers. The sky and dot and window refracture. I look into the gold leaf mirror, pleased with the effect: A perfect face reflects no inner turmoil.

The scent, though, is its own feast. In the cutting and cubing of it, more of its hard-to-pin-down ambrosial smell is dispensed, rising up like fresh-cut grass melding with cool iris. Batting away the temptation to eat a few coral-red wedges over the sink, I indulge, instead, in the anticipation of pleasure, imagining how, when I finally get to it, the melon's singular watery crunchiness-- it is a cousin of the cucumber-- and its copious juiciness will be sorbet-like on the tongue, as fresh and awakening as a glass of soda.

What is the sea for the man who has loved and left her? She is fire-water, whisky, rum, a roric flame. She is a green-eyed witch; she speaks in tongues. Her coral rings are forged of skeletons; her white shoulders glisten with the dust of powdered bones. She is memory, the number of numbers, the eye of the world, the mirror of the sea. What is the ocean for the sailor who has loved and left her? The one lover who dissolves the night. A bottomless glass of moonshine. And sailors? All sea-talkers. The sons of mermen.

Strange are the ways of Men, Legolas! Here they have one of the marvels of the Northern World, and what do they say of it? Caves, they say! Caves! Holes to fly to in time of war, to store fodder in! My good Legolas, do you know that the caverns of Helm’s Deep are vast and beautiful? There would be an endless pilgrimage of Dwarves, merely to gaze at them, if such things were known to be. Aye indeed, they would pay pure gold for a brief glance!’ ‘And I would give gold to be excused,’ said Legolas; ‘and double to be let out, if I strayed in!’ ‘You have not seen, so I forgive your jest,’ said Gimli. ‘But you speak like a fool. Do you think those halls are fair, where your King dwells under the hill in Mirkwood, and Dwarves helped in their making long ago? They are but hovels compared with the caverns I have seen here: immeasurable halls, filled with an everlasting music of water that tinkles into pools, as fair as Kheled-zâram in the starlight. ‘And, Legolas, when the torches are kindled and men walk on the sandy floors under the echoing domes, ah! then, Legolas, gems and crystals and veins of precious ore glint in the polished walls; and the light glows through folded marbles, shell-like, translucent as the living hands of Queen Galadriel. There are columns of white and saffron and dawn-rose, Legolas, fluted and twisted into dreamlike forms; they spring up from many-coloured floors to meet the glistening pendants of the roof: wings, ropes, curtains fine as frozen clouds; spears, banners, pinnacles of suspended palaces! Still lakes mirror them: a glimmering world looks up from dark pools covered with clear glass; cities. such as the mind of Durin could scarce have imagined in his sleep, stretch on through avenues and pillared courts, on into the dark recesses where no light can come. And plink! a silver drop falls, and the round wrinkles in the glass make all the towers bend and waver like weeds and corals in a grotto of the sea. Then evening comes: they fade and twinkle out; the torches pass on into another chamber and another dream. There is chamber after chamber, Legolas; hall opening out of hall, dome after dome, stair beyond stair; and still the winding paths lead on into the mountains’ heart. Caves! The Caverns of Helm’s Deep! Happy was the chance that drove me there! It makes me weep to leave them.’ ‘Then I will wish you this fortune for your comfort, Gimli,’ said the Elf, ‘that you may come safe from war and return to see them again. But do not tell all your kindred! There seems little left for them to do, from your account. Maybe the men of this land are wise to say little: one family of busy dwarves with hammer and chisel might mar more than they made.’ ‘No, you do not understand,’ said Gimli. ‘No dwarf could be unmoved by such loveliness. None of Durin’s race would mine those caves for stones or ore, not if diamonds and gold could be got there. Do you cut down groves of blossoming trees in the spring-time for firewood? We would tend these glades of flowering stone, not quarry them. With cautious skill, tap by tap – a small chip of rock and no more, perhaps, in a whole anxious day – so we could work, and as the years went by, we should open up new ways, and display far chambers that are still dark, glimpsed only as a void beyond fissures in the rock. And lights, Legolas! We should make lights, such lamps as once shone in Khazaddûm; and when we wished we would drive away the night that has lain there since the hills were made; and when we desired rest, we would let the night return.

It is her mother’s exhausted face leaning over the crib, relieved the colicky screams have stopped at last, such a good girl, both of them happy now as she sucks her sugar water, swallows, sucks, gulps. It is her hopscotch-scraped knee with its grid of blood, her little girl tears, the kiss-it-better not working and so the butterscotch candies uncellophaned fast from grandma’s purse, it is the sticky butter-sweet glowing her blood, and all is fine now, all is good. It is the big girl finishing her glass of milk and so the reward of Whoppers Malted Milk Balls mumping her cheeks, smiles all around. It is look she’s finished her homework cleaned her room eaten her glazed carrots at dinner, and so now the nipple’d sweet of a Hershey’s Kiss poking out her cheek, the tiny crunch of M&M’s candy coatings, and how long can she hold the creamy brown melt in her mouth. It is the Halloween bounty, the season of candy corn and Tootsie Pops, the gritty sweet sand of Pixy Stix, the plastic orange pumpkin weighted with mini Mounds and Snickers and Milky Ways and Baby Ruths, all careful-parent examined for razor blades, for evil tamperings, then given back for sock-drawer hoarding that lasts only days, not the promised months. Fruits are the lab-made, ascorbic-acid flavors of Skittles and Starbursts and Jelly Bellies, raisins are Raisinets, almonds mean marzipan and Almond Joys, milk is a vehicle for Nesquik strawberry or chocolate syrups, sucked through red licorice Twizzler straws. It is the quivering anticipation of birthday cakes with the biggest pinkest prettiest sugar rose for the birthday girl, the backyard piñata attacked and attacked and attacked with baseball bat frenzy until she is showered with manna. Easter is creamy Cadbury Eggs, Thanksgiving is candied yam casserole peaked with marshmallow crust, Christmas is the faux-minty red-and-white swirl of candy canes sucked into spears, the pot of melting caramel meant to golden the popcorn garlands and shellac the apples, instead mouth-spooned away at the stove. It is the zoo the circus the carnival, all ballet-pink gossamer puffs of cotton candy crunched to hard coral between her teeth. It is the bloodbeat rush, the delirium, sailing soar into bliss, and then the plummet and bitter crash, the jitters and shakes. It is acidic pantings and acrid sweatings and belly flesh bulging around the elastic of panties and training bras, it is claiming a stomachache to duck the bleachers-running or rope-climbing or naked locker room of gym, it is the yearly mouthful of Novocain needle and new silver-filling glints rewarded with a gleaming, jewel-colored lollipop. It is the terror of beach parties or swim parties and the mumbled, towel-mummied excuses of sunburning so easily. It is her teenage Saturday nights baking Betty Crocker brownies alchemized into bigger higher happiness soars with added bags of Reese’s Pieces and Nestlé chocolate chips. It is the sweet boy, the cute kind caring boy in English lit who smiles, compliments her understanding of Shakespearean metaphor, comes to her house after school for quiz study, sits on her bed and eats half a pan of her offered brownies while she chatters away, then sweet-mouth kisses her silent, once, the chocolate masking the breath going sour, then nudges her head to his lap, to his opening fly, to the hard sucking candy and sweat and come filling her mouth, her throat, her belly, even as she suspects, knows, this is all she will get, all she deserves, but let me have it now, this sweetness, more and more and more, give it to me, it is so good.

Winston did not get up for a few minutes more. The room was darkening. He turned over toward the light and lay gazing into the glass paperweight. The inexhaustibly interesting thing was not the fragment of coral but the interior of the glass itself. There was such a depth of it, and yet it was almost as transparent as air. It was as though the surface of the glass had been the arch of the sky, enclosing a tiny world with its atmosphere complete. He had the feeling that he could get inside it, and that in fact he was inside it, along with the mahogany bed and the gateleg table and the clock and the steel engraving and the paperweight itself. The paperweight was the room he was in, and the coral was Julia's life and his own, fixed in a sort of eternity at the heart of the crystal.

Sunlight filtered through the glass panes from the waters above, waking the feathery tube worms clustered around the room. They burst into bloom, daubing the walls yellow, cobalt blue, and magenta. The golden rays warmed fronds of seaweed anchored to the floor. They shimmered in the glass of a tall gilt mirror and glinted off the polished coral walls. A