Dance With Death Quotes

Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn't something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn't get in, and walk through it, step by step. There's no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones. That's the kind of sandstorm you need to imagine. And you really will have to make it through that violent, metaphysical, symbolic storm. No matter how metaphysical or symbolic it might be, make no mistake about it: it will cut through flesh like a thousand razor blades. People will bleed there, and you will bleed too. Hot, red blood. You'll catch that blood in your hands, your own blood and the blood of others. And once the storm is over you won't remember how you made it through, how you managed to survive. You won't even be sure, in fact, whether the storm is really over. But one thing is certain. When you come out of the storm you won't be the same person who walked in. That's what this storm's all about.

For what is it to die but to stand naked in the wind and to melt into the sun? And when the earth shall claim your limbs, then shall you truly dance.

The field of battle is my temple. The swordpoint is my priest. The dance of death is my prayer. The killing blow is my release.

She laughed and danced with the thought of death in her heart.

No art is possible without a dance with death.

Drink and dance and laugh and lie, Love, the reeling midnight through, For tomorrow we shall die! (But, alas, we never do.)

No art is possible without a dance with death, he wrote.

Do not go gentle into that good night, Old age should burn and rage at close of day; Rage, rage against the dying of the light. Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night. Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light. And you, my father, there on the sad height, Curse, bless me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light.

Do little pink fairies sing and dance in your world, Peabody?" "Sometimes, when it's very quiet and no one else can see.

People die all the time. Life is a lot more fragile than we think. So you should treat others in a way that leaves no regrets. Fairly, and if possible, sincerely. It's too easy not to make the effort, then weep and wring your hands after the person dies.

She'd become a governess. It was one of the few jobs a known lady could do. And she'd taken to it well. She'd sworn that if she did indeed ever find herself dancing on rooftops with chimney sweeps she'd beat herself to death with her own umbrella.

We did not ask for this room or this music. We were invited in. Therefore, because the dark surrounds us, let us turn our faces to the light. Let us endure hardship to be grateful for plenty. We have been given pain to be astounded by joy. We have been given life to deny death. We did not ask for this room or this music. But because we are here, let us dance.

I was sentimental about many things: a woman’s shoes under the bed; one hairpin left behind on the dresser; the way they said, 'I’m going to pee.' hair ribbons; walking down the boulevard with them at 1:30 in the afternoon, just two people walking together; the long nights of drinking and smoking; talking; the arguments; thinking of suicide; eating together and feeling good; the jokes; the laughter out of nowhere; feeling miracles in the air; being in a parked car together; comparing past loves at 3am; being told you snore; hearing her snore; mothers, daughters, sons, cats, dogs; sometimes death and sometimes divorce; but always carring on, always seeing it through; reading a newspaper alone in a sandwich joint and feeling nausea because she’s now married to a dentist with an I.Q. of 95; racetracks, parks, park picnics; even jails; her dull friends; your dull friends; your drinking, her dancing; your flirting, her flirting; her pills, your fucking on the side and her doing the same; sleeping together

Though we tremble before uncertain futures may we meet illness, death and adversity with strength may we dance in the face of our fears.

He never sleeps, the judge. He is dancing, dancing. He says that he will never die.

Do not fear death so much, but rather the inadequate life

Not much music left inside us for life to dance to. Our youth has gone to the ends of the earth to die in the silence of the truth. And where, I ask you, can a man escape to, when he hasn't enough madness left inside him? The truth is an endless death agony. The truth is death. You have to choose: death or lies. I've never been able to kill myself.

The flesh surrenders itself. Eternity takes back its own. Our bodies stirred these waters briefly, danced with a certain intoxication before the love of life and self, dealt with a few strange ideas, then submitted to the instruments of Time. What can we say of this? I occurred. I am not...yet, I occurred.

Men's lives have meaning, not their deaths.

We fear death, we shudder at life's instability, we grieve to see the flowers wilt again and again, and the leaves fall, and in our hearts we know that we, too, are transitory and will soon disappear. When artists create pictures and thinkers search for laws and formulate thoughts, it is in order to salvage something from the great dance of death, to make something last longer than we do.

All around you, people will be tiptoeing through life, just to arrive at death safely. But dear children, do not tiptoe. Run, hop, skip, or dance, just don't tiptoe.

For I dance And drink and sing, Till some blind hand Shall brush my wing. If thought is life And strength and breath And the want Of thought is death Then am I A happy fly If I live Or if I die

The worst part is wondering how you’ll find the strength tomorrow to go on doing what you did today and have been doing for much too long, where you’ll find the strength for all that stupid running around, those projects that come to nothing, those attempts to escape from crushing necessity, which always founder and serve only to convince you one more time that destiny is implacable, that every night will find you down and out, crushed by the dread of more and more sordid and insecure tomorrows. And maybe it’s treacherous old age coming on, threatening the worst. Not much music left inside us for life to dance to. Our youth has gone to the ends of the earth to die in the silence of the truth. And where, I ask you, can a man escape to, when he hasn’t enough madness left inside him? The truth is an endless death agony. The truth is death. You have to choose: death or lies. I’ve never been able to kill myself.

You can live as a ghost, waiting for death to come, or you can dance.

dive for dreams or a slogan may topple you (trees are their roots and wind is wind) trust your heart if the seas catch fire (and live by love though the stars walk backward) honour the past but welcome the future (and dance your death away at this wedding) never mind a world with its villains or heroes (for god likes girls and tomorrow and the earth)

To love means to embrace and at the same time to withstand many endings, and many many beginnings—all in the same relationship.

It wasn't disgust she felt for Karou, not anymore; it was indignation. Incredulity. A man like Akiva crosses worlds to find you, infiltrates the enemy capital just to dance with you, bends heaven and hell to avenge your death, saves your comrade and kin from torture and death, and you send him off looking gut-punched, diminished, carved hollow?

Fine, you do that, and you tell them that at the very first opportunity, I'm coming down there and killing all of them. Mass murder. And after they're all dead, I'm going to kick the bodies around, dance on top of them, and sing a happy song. No jury will convict me.

Susannah continued. "If and when I go off slow dancing in the ever after, I don't want to look like I've been stuck in a hospital room my whole life. I at least want to be tan.

She had no time for sleep, with the weight of the world upon her shoulders. And she feared to dream. Sleep is a little death, dreams the whisperings of the Other, who would drag us all into his eternal night.

Because children grow up, we think a child's purpose is to grow up. But a child's purpose is to be a child. Nature doesn't disdain what lives only for a day. It pours the whole of itself into the each moment. We don't value the lily less for not being made of flint and built to last. Life's bounty is in its flow, later is too late. Where is the song when it's been sung? The dance when it's been danced? It's only we humans who want to own the future, too. We persuade ourselves that the universe is modestly employed in unfolding our destination. We note the haphazard chaos of history by the day, by the hour, but there is something wrong with the picture. Where is the unity, the meaning, of nature's highest creation? Surely those millions of little streams of accident and wilfulness have their correction in the vast underground river which, without a doubt, is carrying us to the place where we're expected! But there is no such place, that's why it's called utopia. The death of a child has no more meaning than the death of armies, of nations. Was the child happy while he lived? That is a proper question, the only question. If we can't arrange our own happiness, it's a conceit beyond vulgarity to arrange the happiness of those who come after us.

Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn't something that has nothing to do with you, This storm is you. Something inside you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn't get in, and walk through it, step by step. There's no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up the sky like pulverized bones.

The field of battle is my temple. I mentally chant a saying my grandfather taught me the day he met me, when I was six. He insists it sharpens the mind the way a whetstone sharpens a blade. The swordpoint is my priest. The dance of death is my prayer. The killing blow is my release.

I like Dancing of Indian girls more than my parents’ prayers . Because they dance with love and passion . But my parents just say their prayers because they got used to it .

You were born together, and together you shall be forevermore. You shall be together when the white wings of death scatter your days. Ay, you shall be together even in the silent memory of God. But let there be spaces in your togetherness, And let the winds of the heavens dance between you. Love one another, but make not a bond of love: Let it rather be a moving sea between the shores of your souls. Fill each other's cup but drink not from one cup. Give one another of your bread but eat not from the same loaf Sing and dance together and be joyous, but let each one of you be alone, Even as the strings of a lute are alone though they quiver with the same music. Give your hearts, but not into each other's keeping. For only the hand of Life can contain your hearts. And stand together yet not too near together: For the pillars of the temple stand apart, And the oak tree and the cypress grow not in each other's shadow.

Blue as the evening sky, blue as cranesbill flowers, blue as the lips of drowned men and the heart of a blaze burning with too hot a flame. Yes, sometimes it was hot in this world, too. Hot and cold, light and dark, terrible and beautiful, it was everything all at once. It wasn't true that you felt nothing in the land of Death. You felt and heard and smelled and saw, but your heart remained strangely calm, as if it were resting before the dance began again. Peace. Was that the word?

My peak? Would I even have one? I hardly had had anything you could call a life. A few ripples. some rises and falls. But that's it. Almost nothing. Nothing born of nothing. I'd loved and been loved, but I had nothing to show. It was a singularly plain, featureless landscape. I felt like I was in a video game. A surrogate Pacman, crunching blindly through a labyrinth of dotted lines. The only certainty was my death.

This is the story of the curse and the kiss, the demon and the girl. It's a love story with dancing and death in it, and singing and souls and shadows reeled out on kite strings.

Why do anything-- why wash my hair, why read Moby Dick, why fall in love, why sit through six hours of Nicholas Nickleby, why care about American intervention in Central America, why spend time trying to get into the right schools, why dance to the music when all of us are just slouching toward the same inevitable conclusion? The shortness of life, I keep saying, makes everything seem pointless when I think about the longness of death.

There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace - these qualities you find always in that the true artist captures. You can find it in the turning of the seasons, the way sand trails along a ridge, in the branch clusters of the creosote bush of the pattern of its leaves. We try to copy these patterns in our lives and in our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the finding of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move towards death.

Gilgamesh, where are you hurrying to? You will never find that life for which you are looking. When the gods created man they allotted to him death, but life they retained in their own keeping. As for you, Gilgamesh, fill your belly with good things; day and night, night and day, dance and be merry, feast and rejoice. Let your clothes be fresh, bathe yourself in water, cherish the little child that holds your hand, and make your wife happy in your embrace; for this too is the lot of man.

Do we not each dream of dreams? Do we not dance on the notes of lost memories? Then are we not each dreamers of tomorrow and yesterday, since dreams play when time is askew? Are we not all adrift in the constant sea of trial and when all is done, do we not all yearn for ships to carry us home?

There is some delight in ale and wine And some in girls with ankles fine But my delight, yes always mine Is to dance with Jak O’ the Shadows We will toss the dice however they fall And snuggle the girls be they short or tall Then follow Lord Mat whenever he calls To dance with Jak O’ the Shadows.

For what is it to die but to stand naked in the wind and to melt into the sun? And what is it to cease breathing but to free the breath from its restless tides, that it may rise and expand and seek God unencumbered? Only when you drink from the river of silence shall you indeed sing. And when you have reached the mountaintop,then you shall begin to climb. And when the earth shal claim your limbs,then shall you truly dance.

Jane,' she said, climbing down from the chair. 'Remember last year when I built that model wind tower for you and you wrote those poems for me?' And you said you'd never switch homework assignments with me again.' For good reason. My teacher had a hard time believing I wrote Tra-la the joy of tulips blooming, Ha-ha the thrill of bumblebees zooming. I'm alive and I dance, I'm alive though death is always looming. When I finally convinced her that I had, she asked me if I needed to talk to the school counselor.

When a Wanderess has been caged, or perched with her wings clipped, She lives like a Stoic, She lives most heroic, smiling with ruby, moistened lips once her cup of Death is welcome sipped.

Dance with me, Death, I am ready.

Little Fly Thy summers play, My thoughtless hand Has brush'd away. Am not I A fly like thee? Or art not thou A man like me? For I dance And drink & sing: Till some blind hand Shall brush my wing. If thought is life And strength & breath: And the want Of thought is death; Then am I A happy fly, If I live, Or if I die

The dying sun will glow on you without burning, as it has done today. The wind will be soft and mellow and your hilltop will tremble. As you reach the end of your dance you will look at the sun, for you will never see it again in waking or in dreaming, and then your death will point to the south. To the vastness.

I have loved in life and I have been loved. I have drunk the bowl of poison from the hands of love as nectar, and have been raised above life's joy and sorrow. My heart, aflame in love, set afire every heart that came in touch with it. My heart has been rent and joined again; My heart has been broken and again made whole; My heart has been wounded and healed again; A thousand deaths my heart has died, and thanks be to love, it lives yet. I went through hell and saw there love's raging fire, and I entered heaven illumined with the light of love. I wept in love and made all weep with me; I mourned in love and pierced the hearts of men; And when my fiery glance fell on the rocks, the rocks burst forth as volcanoes. The whole world sank in the flood caused by my one tear; With my deep sigh the earth trembled, and when I cried aloud the name of my beloved, I shook the throne of God in heaven. I bowed my head low in humility, and on my knees I begged of love, "Disclose to me, I pray thee, O love, thy secret." She took me gently by my arms and lifted me above the earth, and spoke softly in my ear, "My dear one, thou thyself art love, art lover, and thyself art the beloved whom thou hast adored.

She Was A Phantom of Delight She was a Phantom of delight When first she gleam'd upon my sight; A lovely Apparition, sent To be a moment's ornament: Her eyes as stars of twilight fair; Like twilight's, too, her dusky hair; But all things else about her drawn From May-time and the cheerful dawn; A dancing shape, an image gay, To haunt, to startle, and waylay. I saw her upon nearer view, A Spirit, yet a Woman too! Her household motions light and free, And steps of virgin liberty; A countenance in which did meet Sweet records, promises as sweet; A creature not too bright or good For human nature's daily food, For transient sorrows, simple wiles, Praise, blame, love, kisses, tears, and smiles. And now I see with eye serene The very pulse of the machine; A being breathing thoughtful breath, A traveller between life and death: The reason firm, the temperate will, Endurance, foresight, strength, and skill; A perfect Woman, nobly plann'd To warn, to comfort, and command; And yet a Spirit still, and bright With something of an angel light.

I’d never seen anything like it. First a trial, then a few murders, then dancing. Life goes on. Or, in this case, death continues.

Your dreamers. You ridiculous children. You dancing grinning fuckups. Here is your bright future. Your earnest, saccharine hope. How does it taste dripping from the neck of everyone you love?

I love you. I love the way you rub the scar on the back of your hand when you're nervous. I love the way you make a sword into a living part of your body. I love the way you burn your eyes into me, as if you're seeing me fresh every time. I love the black streak in you that wants to kill the world, and the soft streak that is sorry afterward. I love the way you laugh, as if you're surprised that you can laugh at all. I love the way you kiss my breath away. I love the way you breathe and speak and smile. I love the way you take the air out of my lungs when you hold me. I love the way you make a dance out of death. I love the confusion I see in your eyes when you realize you are happy. I love every muscle and bone in your body, every twist and bend in your soul.

I had a long talk with my dear Fat Mary that night, because I had many questions. Could someone actually be beaten to death by such a nun? Did Mother Rufina, the new Superior, know that Sister Clotilda was so cruel? Who let her work with children? Could nuns go to hell? Fat Mary told me she didn’t know the answers to my questions, but she reminded me that it was her role to take my worries and burdens and keep them for me until a time when I could understand them.

I have drunk the night and swallowed the stars. I am dancing with abandon and singing with rapture. There is not a thing I do not love. There is not a person I have not forgiven. I feel a universe of love. I feel a universe of light. Tonight, I am with old friends and we are returning home. The moon is our witness.

I'm not ashamed of heroic ambitions. If man and woman can only dance upon this earth for a few countable turns of the sun... let each of us be an Artemis, Odysseus, or Zeus... Aphrodite to the extent of the will of each one.

Koschei smiled. His pale lips sought hers, crushing her into a kiss like dying. She tasted sweetness there, as though he still kissed her with honey and sugar on his tongue. When he pulled away, his eyes shone. "I don't care, Marya Morevna. Kiss him. Take him to your bed, and the vila, too, for all it matters to me. Do you understand me, wife? There need never be any rules between us. Let us be greedy together; let us hoard. Let us hit each other with birch branches and lock each other in dungeons; let us drink each other's blood in the night and betray each other in the sun. Let us lie and lust and take hundreds of lovers; let us dance until snow melts beneath us. Let us steal and eat until we grow fat and roll in the pleasures of life, clutching each other for purchase. Only leave me my death — let me hold this one thing sacred and unmolested and secret — and I will serve you a meal myself, served on a platter of all the world's bounty. Only do not leave me, swear that you will never leave me, and no empress will stand higher. Forget the girls in the factory. Be selfish and cruel and think nothing of them. I am selfish. I am cruel. My mate cannot be less than I. I will have you in my hoard, Marya Morevna, my black mirror.

Before this war is over,' [Walter] said - or something said through his lips - 'every man and woman and child in Canada will feel it - you, Mary, will feel it - feel it to your heart's core. You will weep tears of blood over it. The Piper has come - and he will pipe until every corner of the world has heard his awful and irresistible music. It will be years before the dance of death is over - years, Mary. And in those years millions of hearts will break.

Eve talking to someone on her computer and having trouble with the language translator. ...."I have two like crimes. Your data and your input on Leclerk would be very helpful" Marie pursed her lips and humor danced in her eyes. "It says you would like to have sex with me. I don't think that is correct" "Oh, for Christ sake" Eve slammed a fist against the machine.....

The beautiful wooden board on a stand in my father’s study. The gleaming ivory pieces. The stern king. The haughty queen. The noble knight. The pious bishop. And the game itself, the way each piece contributed its individual power to the whole. It was simple. It was complex. It was savage; it was elegant. It was a dance; it was a war. It was finite and eternal. It was life.

The symbol of Goddess gives us permission. She teaches us to embrace the holiness of every natural, ordinary, sensual dying moment. Patriarchy may try to negate body and flee earth with its constant heartbeat of death, but Goddess forces us back to embrace them, to take our human life in our arms and clasp it for the divine life it is - the nice, sanitary, harmonious moment as well as the painful, dark, splintered ones. If such a consciousness truly is set loose in the world, nothing will be the same. It will free us to be in a sacred body, on a sacred planet, in sacred communion with all of it. It will infect the universe with holiness. We will discover the Divine deep within the earth and the cells of our bodies, and we will lover her there with all our hearts and all our souls and all our minds.

The universe danced towards life. Life was a remarkably common commodity. Anything sufficiently complicated seemed to get cut in for some, in the same way that anything massive enough got a generous helping of gravity. The universe had a definite tendency towards awareness. This suggested a certain subtle cruelty woven into the very fabric of space-time.

What had Deidameia thought would happen, I wondered, when she had her women dance for me? Had she really thought I would not know him? I could recognize him by touch alone, by smell; I would know him blind, by the way his breaths came and his feet struck the earth. I would know him in death, at the end of the world.

Suffering invites us to place our hurts in larger hands. In Christ we see God suffering – for us. And calling us to share in God’s suffering love for a hurting world. The small and even overpowering pains of our lives are intimately connected with the greater pains of Christ. Our daily sorrows are anchored in a greater sorrow and therefore a larger hope.

Each of the dancers took a partner, the living with the dead, each to each. Bod reached out his hand and found himself touching fingers with, and gazing into the grey eyes of, the lady in the cobweb dress. She smiled at him. “Hello, Bod,” she said. “Hello,” he said, as he danced with her. “I don’t know your name.” “Names aren’t really important,” she said. “I love your horse. He’s so big! I never knew horses could be that big.” “He is gentle enough to bear the mightiest of you away on his broad back, and strong enough for the smallest of you as well.” “Can I ride him?” asked Bod. “One day,” she told him, and her cobweb skirts shimmered. “One day. Everybody does.” “Promise?” I promise.

Do you think you're walking out on me, on your life, because you defended yourself against a monster?" "I killed my father." "You killed a fucking monster. You were a child. Are you going to stand there, look me in the face, and tell me that child was to blame?" She opened her mouth, closed it. "It's not a matter of how I see it, Roarke. The law--" "The law should have protected you!" With visions dancing evilly in his head, he snapped. He could all but hear the tight wire of control break. "Goddamn the law. What good did it do either one of us when we needed it most? You want to chuck your badge because the law's too fucking weak to care for it's innocents, for it's children, be my guest. Throw your career away. But you're not getting rid of me.

Blue jeans, white shirt Walked into the room you know you made my eyes burn It was like, James Dean, for sure You're so fresh to death and sick as ca-cancer You were sorta punk rock, I grew up on hip hop But you fit me better than my favourite sweater, and I know That love is mean, and love hurts But I still remember that day we met in december, oh baby! I will love you 'til the end of time I would wait a million years Promise you'll remember that you're mine Baby can you see through the tears Love you more Than those bitches before Say you'll remember, oh baby, say you'll remember I will love you 'til the end of time Big dreams, gangster Said you had to leave to start your life over I was like, “No please, stay here, We don't need no money we can make it all work,” But he headed out on sunday, said he'd come home monday I stayed up waitin', anticipatin', and pacin' But he was chasing paper "Caught up in the game" ‒ that was the last I heard I will love you 'til the end of time I would wait a million years Promise you'll remember that you're mine Baby can you see through the tears Love you more Than those bitches before Say you'll remember, oh baby, say you'll remember I will love you 'til the end of time You went out every night And baby that's alright I told you that no matter what you did I'd be by your side Cause Imma ride or die Whether you fail or fly Well shit at least you tried. But when you walked out that door, a piece of me died I told you I wanted more-but that's not what I had in mind I just want it like before We were dancing all night Then they took you away-stole you out of my life You just need to remember.... I will love you 'til the end of time I would wait a million years Promise you'll remember that you're mine Baby can you see through the tears Love you more Than those bitches before Say you'll remember, oh baby, say you'll remember I will love you 'til the end of time

Fireflies out on a warm summer's night, seeing the urgent, flashing, yellow-white phosphorescence below them, go crazy with desire; moths cast to the winds an enchantment potion that draws the opposite sex, wings beating hurriedly, from kilometers away; peacocks display a devastating corona of blue and green and the peahens are all aflutter; competing pollen grains extrude tiny tubes that race each other down the female flower's orifice to the waiting egg below; luminescent squid present rhapsodic light shows, altering the pattern, brightness and color radiated from their heads, tentacles, and eyeballs; a tapeworm diligently lays a hundred thousand fertilized eggs in a single day; a great whale rumbles through the ocean depths uttering plaintive cries that are understood hundreds of thousands of kilometers away, where another lonely behemoth is attentively listening; bacteria sidle up to one another and merge; cicadas chorus in a collective serenade of love; honeybee couples soar on matrimonial flights from which only one partner returns; male fish spray their spunk over a slimy clutch of eggs laid by God-knows-who; dogs, out cruising, sniff each other's nether parts, seeking erotic stimuli; flowers exude sultry perfumes and decorate their petals with garish ultraviolet advertisements for passing insects, birds, and bats; and men and women sing, dance, dress, adorn, paint, posture, self-mutilate, demand, coerce, dissemble, plead, succumb, and risk their lives. To say that love makes the world go around is to go too far. The Earth spins because it did so as it was formed and there has been nothing to stop it since. But the nearly maniacal devotion to sex and love by most of the plants, animals, and microbes with which we are familiar is a pervasive and striking aspect of life on Earth. It cries out for explanation. What is all this in aid of? What is the torrent of passion and obsession about? Why will organisms go without sleep, without food, gladly put themselves in mortal danger for sex? ... For more than half the history of life on Earth organisms seem to have done perfectly well without it. What good is sex?... Through 4 billion years of natural selection, instructions have been honed and fine-tuned...sequences of As, Cs, Gs, and Ts, manuals written out in the alphabet of life in competition with other similar manuals published by other firms. The organisms become the means through which the instructions flow and copy themselves, by which new instructions are tried out, on which selection operates. 'The hen,' said Samuel Butler, 'is the egg's way of making another egg.' It is on this level that we must understand what sex is for. ... The sockeye salmon exhaust themselves swimming up the mighty Columbia River to spawn, heroically hurdling cataracts, in a single-minded effort that works to propagate their DNA sequences into future generation. The moment their work is done, they fall to pieces. Scales flake off, fins drop, and soon--often within hours of spawning--they are dead and becoming distinctly aromatic. They've served their purpose. Nature is unsentimental. Death is built in.

On the seashore of endless worlds children meet. The infinite sky is motionless overhead and the restless water is boisterous. On the seashore of endless worlds the children meet with shouts and dances. They build their houses with sand, and they play with empty shells. With withered leaves they weave their boats and smilingly float them on the vast deep. Children have their play on the seashore of worlds. They know not how to swim, they know not how to cast nets. Pearl-fishers dive for pearls, merchants sail in their ships, while children gather pebbles and scatter them again. They seek not for hidden treasures, they know not how to cast nets. The sea surges up with laughter, and pale gleams the smile of the sea-beach. Death-dealing waves sing meaningless ballads to the children, even like a mother while rocking her baby’s cradle. The sea plays with children, and pale gleams the smile of the sea-beach. On the seashore of endless worlds children meet. Tempest roams in the pathless sky, ships are wrecked in the trackless water, death is abroad and children play. On the seashore of endless worlds is the great meeting of children.

I am Death and no one defeats or escapes Death. (Thanatos) You know, I’ll bet most people shit their pants in terror when you hand them that line. But you know what, Mr. I-want-to-be-scary-and-am-failing-miserably? I’m not a person. I’m a Dark-Hunter and in the grand scheme of things you don’t mean shit to me. Now I can sit here and play with you, but I'd rather just put you out of both our miseries. (Zarek)

That is when I understood the magical meaning of the circle. If you go away from a row, you can still come back into it. A row is an open formation. But a circle closes up, and if you go away from it, there is no way back. It is not by chance that the planets move in circles and that a rock coming loose from one of them goes inexorably away, carried off by centrifugal force. Like a meteorite broken off from a planet, I left the circle and have not stopped falling. Some people are granted their death as they are whirling around, and others are smashed at the end of their fall. And these others (I am one of them) always retain a kind of faint yearning for that lost ring dance, because we are all inhabitants of a universe where everything turns in circles.

Remember this, my darling—remember this. What you achieve on earth is only a small part of the deal. If there's a secret I could whisper, and that you could keep, it would be that it's all inside you already. Every single thing you need. Earth is just a stopover. A kind of game. Make it a star game. If I could give you a gift, it would be to teach you how to stay free inside that game, to find the glory inside yourself, beyond the roles and the drama, so you can dance the dance of the game of life with a little more rhythm, a little more abandon, a little more shaking-those-hips.

I could do it. I could stand here amid the flames, let them lap at my skin, and laugh in a death-defying haze—because they belong to me. I could watch the world crumble and then dance, triumphant, in the snowfall of ash left behind. All I have to do is set the power free. Escape the chains of my humanity, let madness be my guide. If I forget everything but Wonderland, I can become beautiful pandemonium.

You cut me,” he said. His voice was pleasant. British. Very ordinary. He looked at his hand with critical interest. “It might be fatal.” Tessa looked at him with wide eyes. “Are you the Magister?” He tilted his hand to the side. Blood ran down it, spattering the floor. “Dear me, massive blood loss. Death could be imminent.” “Are you the Magister?” “Magister?” He looked mildly surprised by her vehemence. “That means ‘master’ in Latin, doesn’t it?” “I…” Tessa was feeling increasingly as if she were trapped in a strange dream. “I suppose it does.” “I’ve mastered many things in life. Navigating the streets of London, dancing the quadrille, the Japanese art of flower arranging, lying at charades, concealing a highly intoxicated state, delighting young women with my charms…” Tessa stared. “Alas,” he went on, “no one has ever actually referred to me as ‘the master’, or ‘the magister’, either. More’s the pity…

The bed we loved in was a spinning world of forests, castles, torchlight, clifftops, seas where we would dive for pearls. My lover’s words were shooting stars which fell to earth as kisses on these lips; my body now a softer rhyme to his, now echo, assonance; his touch a verb dancing in the centre of a noun. Some nights, I dreamed he’d written me, the bed a page beneath his writer’s hands. Romance and drama played by touch, by scent, by taste. In the other bed, the best, our guests dozed on, dribbling their prose. My living laughing love - I hold him in the casket of my widow’s head as he held me upon that next best bed. - Anne Hathaway

He thought the fear of death was perhaps the root of all art, perhaps also of all things of the mind. We fear death, we shudder at life's instability, we grieve to see the flowers wilt again and again, and the leaves fall, and in our hearts we know that we, too, as transitory and will soon disappear. When artists create pictures and thinkers search for laws and formulate thoughts, it is in order to salvage something from the great dance of death, to make something that lasts longer than we do.

I said to my soul, be still, and wait without hope For hope would be hope for the wrong thing; wait without love For love would be love of the wrong thing; there is yet faith But the faith and the love and the hope are all in the waiting. Wait without thought, for you are not ready for thought: So the darkness shall be the light, and the stillness the dancing. Whisper of running streams, and winter lightning. The wild thyme unseen and the wild strawberry, The laughter in the garden, echoed ecstasy Not lost, but requiring, pointing to the agony Of death and birth.

The Chorus Line: A Rope-Jumping Rhyme we are the maids the ones you killed the ones you failed we danced in air our bare feet twitched it was not fair with every goddess, queen, and bitch from there to here you scratched your itch we did much less than what you did you judged us bad you had the spear you had the word at your command we scrubbed the blood of our dead paramours from floors, from chairs from stairs, from doors, we knelt in water while you stared at our bare feet it was not fair you licked our fear it gave you pleasure you raised your hand you watched us fall we danced on air the ones you failed the ones you killed

I want to live forever in a land where summer lasts a thousand years. I want a castle in the clouds where I can look down over the world. I want to be six-and-twenty again. When I was six-and-twenty I could fight all day and fuck all night. What men want does not matter. Winter is almost upon us, boy. And winter is death. I would sooner my men die fighting for the Ned's little girl than alone and hungry in the snow, weeping tears that freeze upon their cheeks. No one sings songs of men who die like that. As for me, I am old. This will be my last winter. Let me bathe in Bolton blood before I die. I want to feel it spatter across my face when my axe bites deep into a Bolton skull. I want to lick it off my lips and die with the taste of it on my tongue.

Man wasn't made to share the universe with gods. Their ways are not meant for the humble likes of us. But we've decoded some of their secrets regardless. Like worms, we've grabbed on to the talons of eagles and learnt some small truths and means of flight. But we can never really fly. We try, and succeed to a certain extent, but the fall is always—will always be—there. To be a druid is to embrace death, dance with it a while and finally fall prey to it. That is why we'll never rule this world. We have the power to bend all men to our whim, but are forever pushing ourselves further, trying to fly higher… and falling.

Don't cry for the horses That life has set free A million white horses Forever to be Don't cry for the horses Now in God's hands As they dance and they prance To a heavenly band They were ours as a gift But never to keep As they close their eyes Forever to sleep Their spirits unbound On silver wings they fly A million white horses Against the blue sky Look up into heaven You'll see them above The horses we lost The horses we loved Manes and tails flowing They Gallop through time They were never yours They were never mine Don't cry for the horses They will be back someday When our time has come They will show us the way

The battle fever. He had never thought to experience it himself, though Jamie had told him of it often enough. How time seemed to blur and slow and evenstop, how the past and the future vanished until there was nothing but the instant, how fear fled, and thought fled, and even you body. "You don't feel your wounds then, or the ache in your back from the weight of the armor, or the sweat running down into your eyes. You stop feeling you stop thinking, you stop being you, there is only the fight , the foe, this man and then the next and the next and the next, and you know they are afraid and tired but you're not, you're alive, and death is all around you but their swords move so slowly, you can dance through them laughing." Battle fever. I am half a man and drunk with slaughter, let them kill me if they can!

They play in the Meadow. The dancing girl with the dark hair and blue eyes. The boy with blond curls and gray eyes, struggling to keep up with her on his chubby toddler legs. It took five, ten, fifteen years for me to agree. But Peeta wanted them so badly. When I first felt her stiring inside of me, I was consumed with a terror that felt as old as life itself. Only the joy of holding her in my arms could tame it. Carrying him was easier, but not much. The questions are just beginning. The arenas have been completely destroyed, the memorials have been built, there are no more Hunger Games. But they still teach about them at school, and the girl knows we played a role in them. The boy will know in a few years. how can I tell them about that world without frightning them to death? My children, who take the words of the song for granted: Deep in the meadow, under the willow A bed of grass, a soft green pillow Lay down your head, and close your eyes And when again they open, the sun will rise Here it's safe, here it's warm Here the daisies guard you from every harm Here your dreams are sweet snd tomorrow brings them true Here is the place where I love you.

Under the seeming disorder of the old city, wherever the old city is working successfully, is a marvelous order for maintaining the safety of the streets and the freedom of the city. It is a complex order. Its essence is intricacy of sidewalk use, bringing with it a constant succession of eyes. This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance — not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any once place is always replete with new improvisations.

She was tired in her bones, but she rallied her energy one last time and told him of they years in Rifthold, of stealing Asterion horses and racing across the desert, of dancing until dawn with the courtesans and thieves and all the beautiful, wicked creatures in the world. And then she told him about losing Sam, and of that first whipping in Endovier, when she'd spat blood in the Chief Overseer's face, and what she had seen and endured in the following year. She spoke of the day she had snapped and sprinted for her own death. Her heart grew heavy when at last she got to the evening when the Captain of the Royal Guard prowled into her life, and a tyrant's son had offered her a shot at freedom. She told him what she could about the competition and how she'd won it, until her words slurred and her eyelids drooped.

The Voyager We are all lonely voyagers sailing on life's ebb tide, To a far off place were all stripling warriors have died, Sometime at eve when the tide is low, The voices call us back to the rippling water's flow, Even though our boat sailed with love in our hearts, Neither our dreams or plans would keep heaven far apart, We drift through the hush of God's twilight pale, With no response to our friendly hail, We raise our sails and search for majestic light, While finding company on this journey to the brighten our night, Then suddenly he pulls us through the reef's cutting sea, Back to the place that he asked us to be, Friendly barges that were anchored so sweetly near, In silent sorrow they drop their salted tears, Shall our soul be a feast of kelp and brine, The wasted tales of wishful time, Are we a fish on a line lured with bait, Is life the grind, a heartless fate, Suddenly, "HUSH", said the wind from afar, Have you not looked to the heavens and seen the new star, It danced on the abyss of the evening sky, The sparkle of heaven shining on high, Its whisper echoed on the ocean's spray, From the bow to the mast they heard him say, "Hope is above, not found in the deep, I am alive in your memories and dreams when you sleep, I will greet you at sunset and with the moon's evening smile, I will light your path home.. every last lonely mile, My friends, have no fear, my work was done well, In this life I broke the waves and rode the swell, I found faith in those that I called my crew, My love will be the compass that will see you through, So don't look for me on the ocean's floor to find, I've never left the weathered docks of your loving mind, For I am in the moon, the wind and the whale's evening song, I am the sailor of eternity whose voyage is not gone.

Birthdays were wretched, delicious things when you lived in Beau Rivage. The clock stuck midnight, and presents gave way to magic. Curses bloomed. Girls bit into sharp apples instead of birthday cake, chocked on the ruby-and-white slivers, and collapsed into enchanted sleep. Unconscious beneath cobweb canopies, frozen in coffins of glass, they waited for their princes to come. Or they tricked ogres, traded their voices for love, danced until their glass slippers cracked. A prince would awaken, roused by the promise of true love, and find he had a witch to destroy. A heart to steal. To tear from the rib cage, where it was cushioned by bloody velvet, and deliver it to the queen who demanded the princess's death. Girls became victims and heroines. Boys became lovers and murderers. And sometimes... they became both.

Maybe we're just falling stars, we once danced in the same skyline looking down at the world. And we've fallen like all others, from near and far, we've gathered together, but separated by time and space, keeping a part of that light that we've came with and spreading it in this dark world that we've chosen to live in, in order to shine some light and love around. Maybe we've chosen to believe one truth today, and find it to be false tomorrow. Maybe we're trying to not get attached to the idea that we now know it all. At night, we see the truth of where we've fallen from, gazing in that night sky full of distant stars, constellations, planets, the reflection of the sun on the moon, all with their own stories to tell. Sometimes we wonder why would we leave such a mysterious place, with an infinite amount of stories and wonders. Maybe it's because as stars we could've only seen each other's light from afar, but here we can listen more carefully to each other's story, embrace each other and kiss, discover more and more of what can be seen when infinite star dust potential is put into one body and given freedom to walk the Earth and wander, love and enjoy every moment until coming back. Maybe in the morning, we'll only see one star shining up there and forget the others. Maybe that is also how life and death is, and the beauty of the sunrise and sunset that come in between, our childhood years and old years, when we reflect on the stars that we once were and that we will once again be. Maybe, just maybe.

All the towering materialism which dominates the modern mind rests ultimately upon one assumption; a false assumption. It is supposed that if a thing goes on repeating itself it is probably dead; a piece of clockwork. People feel that if the universe was personal it would vary; if the sun were alive it would dance. This is a fallacy even in relation to known fact. For the variation in human affairs is generally brought into them, not by life, but by death; by the dying down or breaking off of their strength or desire. A man varies his movements because of some slight element of failure or fatigue. He gets into an omnibus because he is tired of walking; or he walks because he is tired of sitting still. But if his life and joy were so gigantic that he never tired of going to Islington, he might go to Islington as regularly as the Thames goes to Sheerness. The very speed and ecstacy of his life would have the stillness of death. The sun rises every morning. I do not rise every morning; but the variation is due not to my activity, but to my inaction. Now, to put the matter in a popular phrase, it might be true that the sun rises regularly because he never gets tired of rising. His routine might be due, not to a lifelessness, but to a rush of life. The thing I mean can be seen, for instance, in children, when they find some game or joke that they specially enjoy. A child kicks his legs rhythmically through excess, not absence, of life. Because children have abounding vitality, because they are in spirit fierce and free, therefore they want things repeated and unchanged. They always say, “Do it again”; and the grown-up person does it again until he is nearly dead. For grown-up people are not strong enough to exult in monotony. But perhaps God is strong enough to exult in monotony. It is possible that God says every morning, “Do it again” to the sun; and every evening, “Do it again” to the moon. It may not be automatic necessity that makes all daisies alike; it may be that God makes every daisy separately, but has never got tired of making them. It may be that He has the eternal appetite of infancy; for we have sinned and grown old, and our Father is younger than we. The repetition in Nature may not be a mere recurrence; it may be a theatrical ENCORE. Heaven may ENCORE the bird who laid an egg. If the human being conceives and brings forth a human child instead of bringing forth a fish, or a bat, or a griffin, the reason may not be that we are fixed in an animal fate without life or purpose. It may be that our little tragedy has touched the gods, that they admire it from their starry galleries, and that at the end of every human drama man is called again and again before the curtain. Repetition may go on for millions of years, by mere choice, and at any instant it may stop. Man may stand on the earth generation after generation, and yet each birth be his positively last appearance.

Live or die, but don't poison everything... Well, death's been here for a long time -- it has a hell of a lot to do with hell and suspicion of the eye and the religious objects and how I mourned them when they were made obscene by my dwarf-heart's doodle. The chief ingredient is mutilation. And mud, day after day, mud like a ritual, and the baby on the platter, cooked but still human, cooked also with little maggots, sewn onto it maybe by somebody's mother, the damn bitch! Even so, I kept right on going on, a sort of human statement, lugging myself as if I were a sawed-off body in the trunk, the steamer trunk. This became perjury of the soul. It became an outright lie and even though I dressed the body it was still naked, still killed. It was caught in the first place at birth, like a fish. But I play it, dressed it up, dressed it up like somebody's doll. Is life something you play? And all the time wanting to get rid of it? And further, everyone yelling at you to shut up. And no wonder! People don't like to be told that you're sick and then be forced to watch you come down with the hammer. Today life opened inside me like an egg and there inside after considerable digging I found the answer. What a bargain! There was the sun, her yolk moving feverishly, tumbling her prize -- and you realize she does this daily! I'd known she was a purifier but I hadn't thought she was solid, hadn't known she was an answer. God! It's a dream, lovers sprouting in the yard like celery stalks and better, a husband straight as a redwood, two daughters, two sea urchings, picking roses off my hackles. If I'm on fire they dance around it and cook marshmallows. And if I'm ice they simply skate on me in little ballet costumes. Here, all along, thinking I was a killer, anointing myself daily with my little poisons. But no. I'm an empress. I wear an apron. My typewriter writes. It didn't break the way it warned. Even crazy, I'm as nice as a chocolate bar. Even with the witches' gymnastics they trust my incalculable city, my corruptible bed. O dearest three, I make a soft reply. The witch comes on and you paint her pink. I come with kisses in my hood and the sun, the smart one, rolling in my arms. So I say Live and turn my shadow three times round to feed our puppies as they come, the eight Dalmatians we didn't drown, despite the warnings: The abort! The destroy! Despite the pails of water that waited, to drown them, to pull them down like stones, they came, each one headfirst, blowing bubbles the color of cataract-blue and fumbling for the tiny tits. Just last week, eight Dalmatians, 3/4 of a lb., lined up like cord wood each like a birch tree. I promise to love more if they come, because in spite of cruelty and the stuffed railroad cars for the ovens, I am not what I expected. Not an Eichmann. The poison just didn't take. So I won't hang around in my hospital shift, repeating The Black Mass and all of it. I say Live, Live because of the sun, the dream, the excitable gift.

I have lived in the shadow of loss—the kind of loss that can paralyze you forever. I have grieved like a professional mourner—in every waking moment, draining every ounce of my life force. I died—without leaving my body. But I came back, and now it’s your turn. I have learned to remember my past—without living in it. I am strong, electric, and alive, because I chose to dance, to laugh, to love, and to live again. I have learned that you can’t re-create the life you once had—you have to reinvent a life for yourself. And that reinvention is a gift, not a curse. I believe your future self is a work of art and that science can help you create it. If you’re lost . . . if you’re gone . . . if you can barely absorb the words on this page . . . I want you to hold this truth in your heart: when it’s your time to go, you won’t wish you had spent more time grieving; you’ll wish you had spent more time living. That’s why I’m here. And why you are, too. Let’s live like our lives depend on it.

When we were little, Scarlett and I were utterly convinced that we'd originally been one person in our mother's belly. We believed that somehow, half of us wanted to be born and half wanted to stay. So our heart had to be broken in two so that Scarlett could be born first, and then I finally braved the outside world a few years later. It made sense, in our little pigtailed heads--it explained why, when we ran through grass or danced or spun in circles long enough, we would lose track of who was who and it started to feel as if there were some organic, elegant link between us, our single heart holding the same tempo and pumping the same blood. That was before the attack, though. Now our hearts link only when we're hunting, when Scarlett looks at me with a sort of beautiful excitement that's more powerful than her scars and then tears after a Fenris as though her life depends on its death. I follow, always, because it's the only time when our hearts beat in perfect harmony, the only time when I'm certain, beyond a shadow of a doubt, that we are one person broken in two.

Some things in life are bad They can really make you mad Other things just make you swear and curse. When you're chewing on life's gristle Don't grumble, give a whistle And this'll help things turn out for the best... And...always look on the bright side of life... Always look on the light side of life... If life seems jolly rotten There's something you've forgotten And that's to laugh and smile and dance and sing. When you're feeling in the dumps Don't be silly chumps Just purse your lips and whistle - that's the thing. And...always look on the bright side of life... Always look on the light side of life... For life is quite absurd And death's the final word You must always face the curtain with a bow. Forget about your sin - give the audience a grin Enjoy it - it's your last chance anyhow. So always look on the bright side of death Just before you draw your terminal breath Life's a piece of shit When you look at it Life's a laugh and death's a joke, it's true. You'll see it's all a show Keep 'em laughing as you go Just remember that the last laugh is on you. And always look on the bright side of life... Always look on the right side of life... (Come on guys, cheer up!) Always look on the bright side of life... Always look on the bright side of life... (Worse things happen at sea, you know.) Always look on the bright side of life... (I mean - what have you got to lose?) (You know, you come from nothing - you're going back to nothing. What have you lost? Nothing!) Always look on the right side of life...

I am made to sow the thistle for wheat; the nettle for a nourishing dainty I have planted a false oath in the earth, it has brought forth a poison tree I have chosen the serpent for a councellor & the dog for a schoolmaster to my children I have blotted out from light & living the dove & the nightingale And I have caused the earthworm to beg from door to door I have taught the thief a secret path into the house of the just I have taught pale artifice to spread his nets upon the morning My heavens are brass my earth is iron my moon a clod of clay My sun a pestilence burning at noon & a vapor of death in night What is the price of Experience do men buy it for a song Or wisdom for a dance in the street? No it is bought with the price Of all that a man hath his house his wife his children Wisdom is sold in the desolate market where none come to buy And in the withered field where the farmer plows for bread in vain It is an easy thing to triumph in the summers sun And in the vintage & to sing on the waggon loaded with corn It is an easy thing to talk of patience to the afflicted To speak the laws of prudence to the houseless wanderer To listen to the hungry ravens cry in wintry season When the red blood is filled with wine & with the marrow of lambs It is an easy thing to laugh at wrathful elements To hear a dog howl at the wintry door, the ox in the slaughter house moan To see a god on every wind & a blessing on every blast To hear the sounds of love in the thunder storm that destroys our enemies house To rejoice in the blight that covers his field, & the sickness that cuts off his children While our olive & vine sing & laugh round our door & our children bring fruits and flowers Then the groans & the dolor are quite forgotten & the slave grinding at the mill And the captive in chains & the poor in the prison, & the soldier in the field When the shattered bone hath laid him groaning among the happier dead It is an easy thing to rejoice in the tents of prosperity Thus could I sing & thus rejoice, but it is not so with me!

Life is like the big wheel at Luna Park. You pay five francs and go into a room with tiers of seats all around, and in the centre the floor is made of a great disc of polished wood that revolves quickly. At first you sit down and watch the others. They are all trying to sit in the wheel, and they keep getting flung off, and that makes them laugh too. It's great fun. You see, the nearer you can get to the hub of the wheel the slower it is moving and the easier it is to stay on. There's generally someone in the centre who stands up and sometimes does a sort of dance. Often he's paid by the management, though, or, at any rate, he's allowed in free. Of course at the very centre there's a point completely at rest, if one could only find it; I'm not very near that point myself. Of course the professional men get in the way. Lots of people just enjoy scrambling on and being whisked off and scrambling on again. How they all shriek and giggle! Then there are others, like Margot, who sit as far out as they can and hold on for dear life and enjoy that. But the whole point about the wheel is that you needn't get on it at all, if you don't want to. People get hold of ideas about life, and that makes them think they've got to join in the game, even if they don't enjoy it. It doesn't suit everyone. People don't see that when they say "life" they mean two different things. They can mean simply existence, with its physiological implications of growth and organic change. They can't escape that - even by death, but because that's inevitable they think the other idea of life is too - the scrambling and excitement and bumps and the effort to get to the middle, and when we do get to the middle, it's just as if we never started. It's so odd. Now you're a person who was clearly meant to stay in the seats and sit still and if you get bored watch the others. Somehow you got on to the wheel, and you got thrown off again at once with a hard bump. It's all right for Margot, who can cling on, and for me, at the centre, but you're static. Instead of this absurd division into sexes they ought to class people as static and dynamic. There's a real distinction there, though I can't tell you how it comes. I think we're probably two quite different species spiritually.

Here are the sounds of Wear. It rattles stone on stone. It sucks its teeth. It sings. It hisses like the rain. It roars. It laughs. It claps its hands. Sometimes I think it prays. In winter, through the ice, I've seen it moving swift and black as Tune, without a sound. Here are the sights of Wear. It falls in braids. It parts at rocks and tumbles round them white as down or flashes over them in silver quilts. It tosses fallen trees like bits of straw yet spins a single leaf as gentle as a maid. Sometimes it coils for rest in darkling pools and sometimes it leaps its banks and shatters in the air. In autumn, I've seen it breathe a mist so thick and grey you'd never know old Wear was there at all. Each day, for years and years, I've gone and sat in it. Usually at dusk I clamber down and slowly sink myself to where it laps against my breast. Is it too much to say, in winter, that I die? Something of me dies at least. First there's the fiery sting of cold that almost stops my breath, the aching torment in my limbs. I think I may go mad, my wits so outraged that they seek to flee my skull like rats a ship that's going down. I puff. I gasp. Then inch by inch a blessed numbness comes. I have no legs, no arms. My very heart grows still. These floating hands are not my hands. The ancient flesh I wear is rags for all I feel of it. "Praise, Praise!" I croak. Praise God for all that's holy, cold, and dark. Praise him for all we lose, for all the river of the years bears off. Praise him for stillness in the wake of pain. Praise him for emptiness. And as you race to spill into the sea, praise him yourself, old Wear. Praise him for dying and the peace of death. In the little church I built of wood for Mary, I hollowed out a place for him. Perkin brings him by the pail and pours him in. Now that I can hardly walk, I crawl to meet him there. He takes me in his chilly lap to wash me of my sins. Or I kneel down beside him till within his depths I see a star. Sometimes this star is still. Sometimes she dances. She is Mary's star. Within that little pool of Wear she winks at me. I wink at her. The secret that we share I cannot tell in full. But this much I will tell. What's lost is nothing to what's found, and all the death that ever was, set next to life, would scarcely fill a cup.

I believe in Free Will, the Force Almighty by which we conduct ourselves as if we were the sons and daughters of a just and wise God, even if there is no such Supreme Being. And by free will, we can choose to do good on this earth, no matter that we all die, and do not know where we go when we die, or if a justice or explanation awaits us. I believe that we can, through our reason, know what good is, and in the communion of men and women, in which the forgiveness of wrongs will always be more significant than the avenging of them, and that in the beautiful natural world that surrounds us, we represent the best and the finest of beings, for we alone can see that natural beauty, appreciate it, learn from it, weep for it, and seek to conserve it and protect it. I believe finally that we are the only true moral force in the physical world, the makers of, ethics and moral ideas, and that we must be as good as the gods we created in the past to guide us. I believe that through our finest efforts, we will succeed finally in creating heaven on earth, and we do it every time that we love, every time that we embrace, every time that we commit to create rather than destroy, every time that we place life over death, and the natural over what is unnatural, insofar as we are able to define it. And I suppose I do believe in the final analysis that a peace of mind can be obtained in the face of the worst horrors and the worst losses. It can be obtained by faith in change and in will and in accident and by faith in ourselves, that we will do the right thing, more often than not, in the face of adversity. For ours is the power and the glory, because we are capable of visions and ideas which are ultimately stronger and more enduring than we are. That is my credo. That is my belief, for what it's worth, and it sustains me. And if I were to die right now, I wouldn't be afraid. Because I can't believe that horror or chaos awaits us. If any revelation awaits us at all, it must be as good as our ideals and our philosophy. For surely nature must embrace the visible and the invisible, and it couldn't fall short of us. The thing that makes the flowers open and the snowflakes fall must contain a wisdom and a final secret as intricate and beautiful as the blooming camellia or the clouds gathering above, so white and so pure in the blackness. If that isn't so, then we are in the grip of a staggering irony. And all the spooks of hell might as well dance. There could be a devil. People who burn other people to death are fine. There could be anything. But the world is simply to beautiful for that. At least it seems that way to me.

We have gone sick by following a path of untrammelled rationalism, male dominance, attention to the visible surface of things, practicality, bottom-line-ism. We have gone very, very sick. And the body politic, like any body, when it feels itself to be sick, it begins to produce antibodies, or strategies for overcoming the condition of dis-ease. And the 20th century is an enormous effort at self-healing. Phenomena as diverse as surrealism, body piercing, psychedelic drug use, sexual permissiveness, jazz, experimental dance, rave culture, tattooing, the list is endless. What do all these things have in common? They represent various styles of rejection of linear values. The society is trying to cure itself by an archaic revival, by a reversion to archaic values. So when I see people manifesting sexual ambiguity, or scarifying themselves, or showing a lot of flesh, or dancing to syncopated music, or getting loaded, or violating ordinary canons of sexual behaviour, I applaud all of this; because it's an impulse to return to what is felt by the body -- what is authentic, what is archaic -- and when you tease apart these archaic impulses, at the very centre of all these impulses is the desire to return to a world of magical empowerment of feeling. And at the centre of that impulse is the shaman: stoned, intoxicated on plants, speaking with the spirit helpers, dancing in the moonlight, and vivifying and invoking a world of conscious, living mystery. That's what the world is. The world is not an unsolved problem for scientists or sociologists. The world is a living mystery: our birth, our death, our being in the moment -- these are mysteries. They are doorways opening on to unimaginable vistas of self-exploration, empowerment and hope for the human enterprise. And our culture has killed that, taken it away from us, made us consumers of shoddy products and shoddier ideals. We have to get away from that; and the way to get away from it is by a return to the authentic experience of the body -- and that means sexually empowering ourselves, and it means getting loaded, exploring the mind as a tool for personal and social transformation. The hour is late; the clock is ticking; we will be judged very harshly if we fumble the ball. We are the inheritors of millions and millions of years of successfully lived lives and successful adaptations to changing conditions in the natural world. Now the challenge passes to us, the living, that the yet-to-be-born may have a place to put their feet and a sky to walk under; and that's what the psychedelic experience is about, is caring for, empowering, and building a future that honours the past, honours the planet and honours the power of the human imagination. There is nothing as powerful, as capable of transforming itself and the planet, as the human imagination. Let's not sell it straight. Let's not whore ourselves to nitwit ideologies. Let's not give our control over to the least among us. Rather, you know, claim your place in the sun and go forward into the light. The tools are there; the path is known; you simply have to turn your back on a culture that has gone sterile and dead, and get with the programme of a living world and a re-empowerment of the imagination. Thank you very, very much.

My little brother's greatest fear was that the one person who meant so much to him would go away. He loved Lindsey and Grandma Lynn and Samuel and Hal, but my father kept him stepping lightly, son gingerly monitoring father every morning and every evening as if, without such vigilance, he would lose him. We stood- the dead child and the living- on either side of my father, both wanting the same thing. To have him to ourselves forver. To please us both was an impossibility. ... 'Please don't let Daddy die, Susie,' he whispered. 'I need him.' When I left my brother, I walked out past the gazebo and under the lights hanging down like berries, and I saw the brick paths branching out as I advanced. I walked until the bricks turned to flat stones and then to small, sharp rocks and then to nothing but churned earth for miles adn miles around me. I stood there. I had been in heaven long enough to know that something would be revealed. And as the light began to fade and the sky to turn a dark, sweet blue as it had on the night of my death, I saw something walking into view, so far away I could not at first make out if it was man or woman, child or adult. But as moonlight reached this figure I could make out a man and, frightened now, my breathing shallow, I raced just far enough to see. Was it my father? Was it what I had wanted all this time so deperately? 'Susie,' the man said as I approached and then stopped a few feet from where he stood. He raised his arms up toward me. 'Remember?' he said. I found myself small again, age six and in a living room in Illinois. Now, as I had done then, I placed my feet on top of his feet. 'Granddaddy,' I said. And because we were all alone and both in heaven, I was light enough to move as I had moved when I was six and in a living room in Illinois. Now, as I had done then, I placed my feet on top of his feet. 'Granddaddy,' I said. And because we were all alone and both in heaven, I was light enough to move as I had moved when I was six and he was fifty-six and my father had taken us to visit. We danced so slowly to a song that on Earth had always made my grandfather cry. 'Do you remember?' he asked. 'Barber!' 'Adagio for Strings,' he said. But as we danced and spun- none of the herky-jerky awkwardness of Earth- what I remembered was how I'd found him crying to this music and asked him why. 'Sometimes you cry,' Susie, even when someone you love has been gone a long time.' He had held me against him then, just briefly, and then I had run outside to play again with Lindsey in what seemed like my grandfather's huge backyard. We didn't speak any more that night, but we danced for hours in that timeless blue light. I knew as we danced that something was happening on Earth and in heaven. A shifting. The sort of slow-to-sudden movement that we'd read about in science class one year. Seismic, impossible, a rending and tearing of time and space. I pressed myself into my grandfather's chest and smelled the old-man smell of him, the mothball version of my own father, the blood on Earth, the sky in heaven. The kumquat, skunk, grade-A tobacco. When the music stopped, it cold have been forever since we'd begun. My grandfateher took a step back, and the light grew yellow at his back. 'I'm going,' he said. 'Where?' I asked. 'Don't worry, sweetheart. You're so close.' He turned and walked away, disappearing rapidly into spots and dust. Infinity.