Deep Symbolic Quotes

You are lucky to be one of those people who wishes to build sand castles with words, who is willing to create a place where your imagination can wander. We build this place with the sand of memories; these castles are our memories and inventiveness made tangible. So part of us believes that when the tide starts coming in, we won't really have lost anything, because actually only a symbol of it was there in the sand. Another part of us thinks we'll figure out a way to divert the ocean. This is what separates artists from ordinary people: the belief, deep in our hearts, that if we build our castles well enough, somehow the ocean won't wash them away. I think this is a wonderful kind of person to be.

Truth has power. And if we all gravitate toward similar ideas, maybe we do so because those ideas are true...written deep within us. And when we hear the truth, even if we don't understand it, we feel that truth resonate within us...vibrating with our unconscious wisdom. Perhaps the truth is not learned by us, but rather, the truth is re-called...re-membered...-re-cognized...as that which is already inside us.

Stone and sea are deep in life Two unalterable symbols of the world Permanence at rest And permanence in motion Participants in the power that remains

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.

Ara?" She jerked her face up. "Huh? Where were we?" But his expression had grown serious, the lesson forgotten. He interlaced his fingers and said, "We are bound." "Bound?" He collected a piece of rope, knotting it. "Oh, you mean bound?" He gave a nod, then drew in the sand. An infinity symbol? "Clever demon, how did you know that...?" He was gazing at her with a question in his eyes. "Bound forever?" And somehow she met his gaze and lied, "Yes, demon. Bound forever." As if to make her feel guiltier, he gathered her into his arms, cupping her face against his broad chest. His voice a deep rumble, he said, "Carrow is Malkom's." She wanted to sob. "Yes?" "Yes," she answered, wishing that it could be so simple between them. Demon meets girl. Girl might be falling for demon.

TRUTH." "Maybe there is a universal truth embedded in everyone's soul. Maybe we all have the same story hiding inside, like a shared constant in our DNA. Maybe this collective TRUTH is responsible for the similarity in all of our stories." ‎"Truth has power. And if we all gravitate toward similar ideas, mabe we do so because those ideas are true...written deep within us. And when we hear the truth, even if we don't understand it, we feel that truth resonate within us...vibrating with our unconscious wisdom.Perhaps the truth is not learned by us, but rather, the truth is re-called...re-membered...re-cognized...as that which is already inside us.

There are no telegraphs on Tralfamadore. But you're right: each clump of symbols is a brief, urgent message-- describing a situation, a scene. We Tralfamadorians read them all at once, not one after the other. There isn't any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.

Somehow the pain, the losses, the hurt, the bad, God is able to transform these into something they could have never been, icons and monuments of grace and love. It is the deep mystery how wounds and scars can become precious, or a ravaging and terrifying cross the essential symbol of relentless affection.” “Is it worth it?” whispered Tony. “Wrong question, son. There is no ‘it.’ The question is and has always been, ‘Are you worth it?’ and the answer is and always, ‘Yes!’

Because there are times when a person needs a little bitty death and doesn't even know it. As for me, I substitute the act of death for a symbol of it. A symbol that can be summed up in a deep kiss but not on a rough wall but mouth-to-mouth in the agony of pleasure that is death. I, who symbolically die several times just to experience the resurrection

The man now retrieved a linen cloth and stuffed it deep into Katherine’s mouth. “Death,” he whispered to her, “should be a quiet thing.

Diversity” has become a term of art, a symbol, one so powerful that the symbol is now more important than the thing it was supposed to represent. Wokeness sacrifices true diversity, diversity of thought, so that skin-deep symbols of diversity like race and gender can thrive.

The principles underlying propaganda are extremely simple. Find some common desire, some widespread unconscious fear or anxiety; think out some way to relate this wish or fear to the product you have to sell; then build a bridge of verbal or pictorial symbols over which your customer can pass from fact to compensatory dream, and from the dream to the illusion that your product, when purchased, will make the dream come true. They are selling hope. We no longer buy oranges, we buy vitality. We do not just buy an auto, we buy prestige. And so with all the rest. In toothpaste, for example, we buy not a mere cleanser and antiseptic, but release from the fear of being sexually repulsive. In vodka and whisky we are not buying a protoplasmic poison which in small doses, may depress the nervous system in a psychologically valuable way; we are buying friendliness and good fellowship, the warmth of Dingley Dell and the brilliance of the Mermaid Tavern. With our laxatives we buy the health of a Greek god. With the monthly best seller we acquire culture, the envy of our less literate neighbors and the respect of the sophisticated. In every case the motivation analyst has found some deep-seated wish or fear, whose energy can be used to move the customer to part with cash and so, indirectly, to turn the wheels of industry.

The LSD phenomenon, on the other hand, is—to me at least—more interesting. It is an intentionally achieved schizophrenia, with the expectation of a spontaneous remission—which, however, does not always follow. Yoga, too, is intentional schizophrenia: one breaks away from the world, plunging inward, and the ranges of vision experienced are in fact the same as those of a psychosis. But what, then, is the difference? What is the difference between a psychotic or LSD experience and a yogic, or a mystical? The plunges are all into the same deep inward sea; of that there can be no doubt. The symbolic figures encountered are in many instances identical (and I shall have something more to say about those in a moment). But there is an important difference. The difference—to put it sharply—is equivalent simply to that between a diver who can swim and one who cannot. The mystic, endowed with native talents for this sort of thing and following, stage by stage, the instruction of a master, enters the waters and finds he can swim; whereas the schizophrenic, unprepared, unguided, and ungifted, has fallen or has intentionally plunged, and is drowning.

Put bluntly, the struggle that so many companies have to differentiate or communicate their true value to the outside world is not a business problem, it's a biology problem. And just like a person struggling to put her emotions into words, we rely on metaphors, imagery and analogies in an attempt to communicate how we feel. Absent the proper language to share our deep emotions, our purpose, cause or belief, we tell stories. We use symbols. We create tangible things for those who believe what we believe to point to and say, "That's why I'm inspired." If done properly, that's what marketing, branding and products and services become; a way for organizations to communicate to the outside world. Communicate clearly and you shall be understood.

The theme of the diary is always the personal, but it does not mean only a personal story: it means a personal relationship to all things and people. The personal, if it is deep enough, becomes universal, mythical, symbolic; I never generalize, intellectualise. I see, I hear, I feel. These are my primitive elements of discovery. Music, dance, poetry and painting are the channels for emotion. It is through them that experience penetrates our bloodstream.

On a plaque attached to the NASA deep space probe we [human beings] are described in symbols for the benefit of any aliens who might meet the spacecraft as “bilaterly symmetrical, sexually differentiated bipeds, located on one of the outer spiral arms of the Milky Way, capable of recognising the prime numbers and moved by one extraordinary quality that lasts longer than all our other urges—curiosity.

Let no one reduce to tears or reproach This statement of the mastery of God, Who, with magnificent irony, gave Me at once both books and night Of this city of books He pronounced rulers These lightless eyes, who can only Peruse in libraries of dreams The insensible paragraphs that yield With every new dawn. Vainly does the day Lavish on them its infinite books, Arduous as the arduous manuscripts Which at Alexandria did perish. Of hunger and thirst (a Greek story tells us) Dies a king amidst fountains and gardens; I aimlessly weary at the confines Of this tall and deep blind library. Encyclopedias, atlases, the East And the West, centuries, dynasties Symbols, cosmos and cosmogonies Do walls proffer, but pointlessly. Slow in my shadow, I the hollow shade Explore with my indecisive cane; To think I had imagined Paradise In the form of such a library. Something, certainly not termed Fate, rules on such things; Another had received in blurry Afternoons both books and shadow. Wandering through these slow corridors I often feel with a vague and sacred dread That I am another, the dead one, who must Have trodden the same steps at the same time. Which of the two is now writing this poem Of a plural I and of a single shadow? How important is the word that names me If the anathema is one and indivisible? Groussac or Borges, I see this darling World deform and extinguish To a pale, uncertain ash Resembling sleep and oblivion

Clothes are but a symbol of something hid deep beneath.

Sometimes souls don't need words to communicate. They understand each other through signs, symbols, poetry, and deep feelings!

For years I'd written down my dreams, believing, as I still do, that one of the purest sources of knowledge about our lives comes from the symbols and images deep within.

He finally pulled it all back into his heart, sucking in the painful tide of his misery. In the Glade, Chuck had become a symbol for him—a beacon that somehow they could make everything right again in the world. Sleep in beds. Get kissed goodnight. Have bacon and eggs for breakfast, go to a real school. Be happy. But now Chuck was gone. And his limp body, to which Thomas still clung, seemed a cold talisman—that not only would those dreams of a hopeful future never come to pass, but that life had never been that way in the first place. That even in escape, dreary days lay ahead. A life of sorrow. His returning memories were sketchy at best. But not much good floated in the muck. Thomas reeled in the pain, locked it somewhere deep inside him. He did it for Teresa. For Newt and Minho. Whatever darkness awaited them, they’d be together, and that was all that mattered right then.

Nehemia stared at him for a long moment before nodding. "You have power in you, Prince. More power than you realize." She touched his chest, tracing a symbol there, too, and some of the court ladies gasped. But Nehemia's eyes were locked on his. "It sleeps," she whispered, tapping his heart. "In here. When the time comes, when it awakens, do not be afraid." She removed her hand and gave him a sad smile. "When it is time, I will help you." With that, she walked away, the courtiers parting, then swallowing up her wake. He stared after the princess, wondering what her last words had meant. And why, when she had said them, something ancient and slumbering deep inside of him had opened an eye.

Our bodies form a symbol, I think, as powerful as one of Hal's - and it occurs to me that the most meaningful symbols of all must be based on all the different ways two people can embrace.

The tree had become our unspoken symbol of that important Christmas when we had all dug deep and fought for one another--for our survival. For our family. For our happiness. And in the process, discovering the true meaning of Christmas.

Palindrome—a word, number, phrase, or sequence of symbols or elements whose meaning can be interpreted the same way both forward and in reverse. We begin as we end; we end as we begin. That is life. It's the middle we must hold on to.

We all have scars, sweetheart. Some are on the outside, and some are so deep inside us that they never heal. Yours did heal, and they’re a symbol of just how brave and resilient you are. Never be ashamed of them. They’re part of who you are.

In the loudest voice I could muster, I shouted, "As of this moment, you are no longer the armies of China, Macedonia, Myanmar, Tibet or India. You are now warriors of Durga! We have already fought and overcome many fierce creatures. Now we give you the symbol of their power." I borrowed the Scarf and touched it to my Pearl Necklace. The silken material sped down each and every soldier to cloak them in the most brilliant red, blue, green, gold and white. Even the flag bearers were not left out and now held banners depicting Durga riding her tiger into battle. "Red for the heart of a Phoenix that sees through falsehood!" I cheered and raided the trident. "Blue for the Monsters of the Deep that rip apart those who dare to cross their domain! Gold for Metal Birds that cut their enemies with razor beaks! Green for the Horde of Hanuman that comes alive to protect that which is most precious! And white for the Dragons of the Five Oceans, whose cunning and power has no equal!

:Paintings are easy to see," he said after a moment. "Open, presented flat to the eye. Words are not easy. Words have to be discovered, deep in their pages, deciphered, translated, read. Words are symbols to be encoded, their letters trees in a forest, enmeshed, their tangled meanings never finally picked apart.

The more I consider this mighty tail, the more do I deplore my inability to express it. At times there are gestures in it, which, though they would well grace the hand of man, remain wholly inexplicable. In an extensive herd, so remarkable, occasionally, are these mystic gestures, that I have heard hunters who have declared them akin to Free-Mason signs and symbols; that the whale, indeed, by these methods intelligently conversed with the world. Nor are there wanting other motions of the whale in his general body, full of strangeness, and unaccountable to his most experienced assailant. Dissect him how I may, then, I but go skin deep; I know him not, and never will. But if I know not even the tail of this whale, how understand his head? much more, how comprehend his face, when face he has none? Thou shalt see my back parts, my tail, he seems to say, but my face shall not be seen. But I cannot completely make out his back parts; and hint what he will about his face, I say again he has no face.

Most Christian holidays were Pagan holidays first. Christmas trees and Easter eggs have absolutely nothing to do with Jesus. They are Pagan symbols. Christianity is thinly disguised Paganism.

You can only see in others what your nature allows you to see. The range of your vision depends on the extent of the personal development. The personal, if it is deep enough, becomes universal, mythical, symbolic; I never generalize, intellectualize. I see, I hear, I feel. These are my primitive instruments of discovery.

Puppets and paintbrushes... Mario was well on his thousandth decapitation when it occurred to him these simple objects were mere symbolic manifestations of his deep-seated phobias: fear of failure and fear of success. The first one had stopped him from following his dream; the second had stopped the dream from following him. “To be simultaneously afraid of success and of failure is like going to bed scared and waking up terrified,” he reflected. “Your mind’s all wooden, your head’s screwed on backwards and before you know it, you’re a vermillion blotch on someone else’s canvas and the entire world is pulling your strings.

Consciousness naturally resists anything unconscious and unknown. I have already pointed out the existence among primitive peoples of what anthropologists call “misoneism,” a deep and superstitious fear of novelty. The primitives manifest all the reactions of the wild animal against untoward events. But “civilized” man reacts to new ideas in much the same way, erecting psychological barriers to protect himself from the shock of facing something new.

I suppose that, so long as the human mind exists, it will not escape its deep-seated instinct to personify its intellectual conceptions. The science of the present day is as full of this particular form of intellectual shadow-worship as is the nescience of ignorant ages. The difference is that the philosopher who is worthy of the name knows that his personified hypotheses, such as law, force and ether, and the like, are merely useful symbols, while the ignorant and the careless take them for adequate expressions of reality.

Here one comes upon an all-important English trait: the respect for constituitionalism and legality, the belief in 'the law' as something above the state and above the individual, something which is cruel and stupid, of course, but at any rate incorruptible. It is not that anyone imagines the law to be just. Everyone knows that there is one law for the rich and another for the poor. But no one accepts the implications of this, everyone takes for granted that the law, such as it is, will be respected, and feels a sense of outrage when it is not. Remarks like 'They can't run me in; I haven't done anything wrong', or 'They can't do that; it's against the law', are part of the atmosphere of England. The professed enemies of society have this feeling as strongly as anyone else. One sees it in prison-books like Wilfred Macartney's Walls Have Mouths or Jim Phelan's Jail Journey, in the solemn idiocies that take places at the trials of conscientious objectors, in letters to the papers from eminent Marxist professors, pointing out that this or that is a 'miscarriage of British justice'. Everyone believes in his heart that the law can be, ought to be, and, on the whole, will be impartially administered. The totalitarian idea that there is no such thing as law, there is only power, has never taken root. Even the intelligentsia have only accepted it in theory. An illusion can become a half-truth, a mask can alter the expression of a face. The familiar arguments to the effect that democracy is 'just the same as' or 'just as bad as' totalitarianism never take account of this fact. All such arguments boil down to saying that half a loaf is the same as no bread. In England such concepts as justice, liberty and objective truth are still believed in. They may be illusions, but they are powerful illusions. The belief in them influences conduct,national life is different because of them. In proof of which, look about you. Where are the rubber truncheons, where is the caster oil? The sword is still in the scabbard, and while it stays corruption cannot go beyond a certain point. The English electoral system, for instance, is an all but open fraud. In a dozen obvious ways it is gerrymandered in the interest of the moneyed class. But until some deep change has occurred in the public mind, it cannot become completely corrupt. You do not arrive at the polling booth to find men with revolvers telling you which way to vote, nor are the votes miscounted, nor is there any direct bribery. Even hypocrisy is powerful safeguard. The hanging judge, that evil old man in scarlet robe and horse-hair wig,whom nothing short of dynamite will ever teach what century he is living in, but who will at any rate interpret the law according to the books and will in no circumstances take a money bribe,is one of the symbolic figures of England. He is a symbol of the strange mixture of reality and illusion, democracy and privilege, humbug and decency, the subtle network of compromises, by which the nation keeps itself in its familiar shape.

Souls do not require human language to communicate. They speak with each other through signs, symbols, deep feelings, and poetry!

Jonathan Safran Foer’s 10 Rules for Writing: 1.Tragedies make great literature; unfathomable catastrophes (the Holocaust, 9/11) are even better – try to construct your books around them for added gravitas but, since those big issues are such bummers, make sure you do it in a way that still focuses on a quirky central character that’s somewhat like Jonathan Safran Foer. 2. You can also name your character Jonathan Safran Foer. 3. If you’re writing a non-fiction book you should still make sure that it has a strong, deep, wise, and relatable central character – someone like Jonathan Safran Foer. 4. If you reach a point in your book where you’re not sure what to do, or how to approach a certain scene, or what the hell you’re doing, just throw in a picture, or a photo, or scribbles, or blank pages, or some illegible text, or maybe even a flipbook. Don’t worry if these things don’t mean anything, that’s what postmodernism is all about. If you’re not sure what to put in, you can’t go wrong with a nice photograph of Jonathan Safran Foer. 5. If you come up with a pun, metaphor, or phrase that you think is really clever and original, don’t just use it once and throw it away, sprinkle it liberally throughout the text. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 6. Don’t worry if you seem to be saying the same thing over and over again, repetition makes the work stronger, repetition is good, it drives the point home. The more you repeat a phrase or an idea, the better it gets. You should not be afraid of repeating ideas or phrases. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 7. Other writers are not your enemies, they are your friends, so you should feel free to borrow some of their ideas, words, techniques, and symbols, and use them completely out of context. They won’t mind, they’re your friends, just like my good friend Paul Auster, with whom I am very good friends. Just make sure you don’t steal anything from Jonathan Safran Foer, it wouldn’t be nice, he is your friend. 8. Make sure you have exactly three plots in your novel, any more and it gets confusing, any less and it’s not postmodern. At least one of those plots should be in a different timeline. It often helps if you name these three plots, I often use “Jonathan,” “Safran,” and “Foer.” 9. Don’t be afraid to make bold statements in you writing, there should always be a strong lesson to be learned, such as “don’t eat animals,” or “the Holocaust was bad,” or “9/11 was really really sad,” or “the world would be a better place if everyone was just a little bit more like Jonathan Safran Foer.” 10. In the end, don’t worry if you’re unsuccessful as a writer, it probably wasn’t meant to be. Not all of us are chosen to become writers. Not all of us can be Jonathan Safran Foer.

You could expect many things of God at night when the campfire burned before the tents. You could look through and beyond the veils of scarlet and see shadows of the world as God first made it and hear the voices of the beasts He put there. It was a world as old as Time, but as new as Creation's hour had left it. In a sense it was formless. When the low stars shone over it and the moon clothed it in silver fog, it was the way the firmament must have been when the waters had gone and the night of the Fifth Day had fallen on creatures still bewildered by the wonder of their being. It was an empty world because no man had yet joined sticks to make a house or scratched the earth to make a road or embedded the transient symbols of his artifice in the clean horizon. But it was not a sterile world. It held the genesis of life and lay deep and anticipant under the sky.

Narratives are subjective and selective. They frame and filter concepts, images, and information according to desirable beliefs, values, symbols, traditions, and preferences. They are motivational tools that reinforce existing social identities and uniqueness. They arouse deep passions and allegiance.

Somehow, in our language and in our psyches, we have come to equate good with light and evil with darkness. The symbolism runs deep. We see it in our poetry, our religion, our songs, and our cultural mythology.

Outside the window the thin moon stood upright in a deep sky, like the paring of a finger-nail for magic, and against the sky the weather vane of the carrion crow with arrow in mouth pointed it's arrow to the south

This is the lesson of all great television commercials: They provide a slogan, a symbol or a focus that creates for viewers a comprehensive and compelling image of themselves. In the shift from party politics to television politics, the same goal is sought. We are not permitted to know who is best at being President or Governor or Senator, but whose image is best in touching and soothing the deep reaches of our discontent. We look at the television screen and ask, in the same voracious way as the Queen in Snow White and the Seven Dwarfs, "Mirror, mirror on the wall, who is the fairest one of all?" We are inclined to vote for those whose personality, family life, and style, as imaged on the screen, give back a better answer than the Queen received. As Xenophanes remarked twenty-five centuries ago, men always make their gods in their own image. But to this, television politics has added a new wrinkle: Those who would be gods refashion themselves into images the viewers would have them be.

Remember that your perception of the world is a reflection of your state of consciousness. You are not separate from it, and there is no objective world out there. Every moment, your consciousness creates the world that you inhabit. One of the greatest insights that has come out of modern physics is that of the unity between the observer and the observed: the person conducting the experiment — the observing consciousness — cannot be separated from the observed phenomena, and a different way of looking causes the observed phenomena to behave differently. If you believe, on a deep level, in separation and the struggle for survival, then you see that belief reflected all around you and your perceptions are governed by fear. You inhabit a world of death and of bodies fighting, killing, and devouring each other. Nothing is what it seems to be. The world that you create and see through the egoic mind may seem a very imperfect place, even a vale of tears. But whatever you perceive is only a kind of symbol, like an image in a dream. It is how your consciousness interprets and interacts with the molecular energy dance of the universe. This energy is the raw material of so-called physical reality. You see it in terms of bodies and birth and death, or as a struggle for survival. An infinite number of completely different interpretations, completely different worlds, is possible and, in fact, exists — all depending on the perceiving consciousness. Every being is a focal point of consciousness, and every such focal point creates its own world, although all those worlds are interconnected. There is a human world, an ant world, a dolphin world, and so on. There are countless beings whose consciousness frequency is so different from yours that you are probably unaware of their existence, as they are of yours. Highly conscious beings who are aware of their connectedness with the Source and with each other would inhabit a world that to you would appear as a heavenly realm — and yet all worlds are ultimately one.

Religion knew the truth of metaphor and symbol for almost all of history until the past few hundred years, and especially until the wrongly named Enlightenment in the 17th and 18th centuries. Then we started confusing rational and provable with real. We actually regressed and went backward. In trying to defend its ground in the face of rationalism and scientism, religion tried to become "rational" itself and lost its alternative consciousness, which many of us call contemplation. It's as though we tried to deal with Mystery with the entirely wrong "software". We lost access to the higher levels of consciousness, the transrational, the transpersonal, the transcendent itself. Most tragic, we lost most inner experience of our own outer belief systems. That is the heart of religion's problem today, and it is indeed a deep and serious problem for upcoming generations. My generation took the symbols to literally, and now the following generation is just throwing them all out as useless. We are both losing. It might surprise you, but both religious fundamentalism and atheism are similar in that they are self-contained rational systems. Such a system works if you stay inside its chosen logic and territory.

Nathaniel first stared at the vampiric Moses and then at the bizarre door. Numerous symbols had been carved deep in the surface and instead of square edges, they were rounded. Daniel then drew a dagger from his coat and proceeded to stand directly in front of the door. As he neared it, one could swear that the surface rippled like oil in a vat while he grazed it with the dagger. Quite suddenly, he jammed the blade in the very center of the door up to the very hilt. A high-pitched grunt followed and then a series of mechanical noises and clangs chimed and clicked until the door skid back two inches and descended into the ground.

Empty out your mind and concentrate on one card at a time. Guess which symbol is on the card and then flip it over to see if you’re right.” I took a deep breath and concentrated on the first card. “Wavy lines.” I flipped the card over. It was a circle. Some psychic I was.

we’ll have for a president a symbolic Rebel against his own power whose election was underwritten by inhuman soulless profit-machines whose takeover of American civic and spiritual life will convince Americans that rebellion against the soulless inhumanity of corporate life will consist in buying products from corporations that do the best job of representing corporate life as empty and soulless. We’ll have a tyranny of conformist nonconformity presided over by a symbolic outsider whose very election depended on our deep conviction that his persona is utter bullshit. A rule of image, which because it’s so empty makes everyone terrified—they’re small and going to die, after all—

It was on Iona years ago that I first became aware of the need to reclaim some of the features of ancient Christianity in the Celtic world as lost treasure for today. Part of that treasure is the much-cherished image of John the Evangelist, also known as John the Beloved, leaning against Jesus at the Last Supper. Celtic tradition holds that by doing this he heard the heartbeat of God. He became a symbol of the practice of listening—listening deep within ourselves, within one another, and within the body of the earth for the beat of the Sacred Presence.

Those Yankees made one huge mistake.  They couldn’t find a way to kill our resolve.  A Southerner’s pride runs deep, and we found the resolve to rebuild our way of life and Drayton Plantation with it.  This house and this land are symbols of what we have been through and what we have yet to become.

There are no telegrams on Tralfamadore. But you’re right: each clump of symbols is a brief, urgent message—describing a situation, a scene. We Tralfamadorians read them all at once, not one after the other. There isn’t any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.

There are no telegrams on Tralfamadore. But you're right: each clump of symbols is a brief, urgent message - describing a situation, a scene. We Tralfamadorians read them all at once , not one after the other. There isn't any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time

Physiologically, everything ugly weakens and saddens man. It reminds him of decay, danger, impotence; it actually deprives him of strength ... Whenever man is depressed at all, he senses the proximity of something 'ugly.' His feeling of power, his will to power, his courage, his pride - all fall with the ugly and rise with the beautiful ... The ugly is understood as a sign and symptom of degeneration: whatever reminds us in the least of degeneration causes in us the judgement of 'ugly.' Every suggestion of exhaustion, of heaviness, of age, of weariness; every kind of lack of freedom, such as cramps, such as paralysis; and above all, the smell, the color, the form of dissolution, of decomposition - even in the ultimate attenuation into a symbol - all evoke the same reaction, the value judgement 'ugly.' A hatred is aroused ... the decline of his type. Here he hates out of the deepest instinct of the species ... it is the deepest hatred there is. It is because of this that art is deep.

the meaning of life is not exhaustively explained by one’s business life, nor is the deep desire of the human heart answered by a bank account.

The Mysteries are teachings that cannot be grasped by the intellect alone, but only by the deep mind made accessible in trance. They may be conveyed by an object—a shaft of wheat, as in the Eleusinian Mysteries—by a key phrase, or symbol. The secret itself may be meaningless when out of context: only within the framework of the ritual does it take on its illuminating power.

And perhaps, Mrs. Morgan on Lanypwll Farm put all this much better in the speech of symbolism, when she murmured about the children of the pool. For if there is a landscape of sadness, there is certainly also a landscape of a horror of darkness and evil; and that black and oily depth, overshadowed with twisted woods, with its growth of foul weeds and its dead trees and leprous boughs, was assuredly potent in terror. To Roberts, it was a strong drug, a drug of evocation; the black deep without calling to the black deep within, and summoning the inhabitant thereof to come forth.

So the German people clamored for order and leadership. But it was as though in the babble of their clamoring, they had summoned the devil himself, for there now rose up from the deep wound in the national psyche something strange and terrible and compelling. The Führer was no mere man or mere politician. He was something terrifying and authoritarian, self-contained and self-justifying, his own father and his own god. He was a symbol who symbolized himself, who had traded his soul for the zeitgeist. Germany wanted to restore its former glory, but the only means available was the debased language of democracy. So on January 30, 1933, the people democratically elected the man who had vowed to destroy the democratic government they hated. Hitler’s election to office destroyed the office.

To the ancients, bears symbolized resurrection. The creature goes to sleep for a long time, its heartbeat decreases to almost nothing. The male often impregnates the female right before hibernation, but miraculously, egg and sperm do not unite right away. They float separately in her uterine broth until much later. Near the end of hibernation, the egg and sperm unite and cell division begins, so that the cubs will be born in the spring when the mother is awakening, just in time to care for and teach her new offspring. Not only by reason of awakening from hibernation as though from death, but much more so because the she-bear awakens with new young, this creature is a profound metaphor for our lives, for return and increase coming from something that seemed deadened. The bear is associated with many huntress Goddesses: Artemis and Diana in Greece and Rome, and Muerte and Hecoteptl, mud women deities in the Latina cultures. These Goddesses bestowed upon women the power of tracking, knowing, 'digging out' the psychic aspects of all things. To the Japanese the bear is the symbol of loyalty, wisdom, and strength. In northern Japan where the Ainu tribe lives, the bear is one who can talk to God directly and bring messages back for humans. The cresent moon bear is considered a sacred being, one who was given the white mark on his throat by the Buddhist Goddess Kwan-Yin, whose emblem is the crescent moon. Kwan-Yin is the Goddess of Deep Compassion and the bear is her emissary. "In the psyche, the bear can be understood as the ability to regulate one's life, especially one's feeling life. Bearish power is the ability to move in cycles, be fully alert, or quiet down into a hibernative sleep that renews one's energy for the next cycle. The bear image teaches that it is possible to maintain a kind of pressure gauge for one's emotional life, and most especially that one can be fierce and generous at the same time. One can be reticent and valuable. One can protect one's territory, make one's boundaries clear, shake the sky if need be, yet be available, accessible, engendering all the same.

Ultimately, the roast turkey must be regarded as a monument to Boomer's love. Look at it now, plump and glossy, floating across Idaho as if it were a mammoth, mutated seed pod. Hear how it backfires as it passes the silver mines, perhaps in tribute to the origin of the knives and forks of splendid sterling that a roast turkey and a roast turkey alone possesses the charisma to draw forth into festivity from dark cupboards. See how it glides through the potato fields, familiarly at home among potatoes but with an air of expectation, as if waiting for the flood of gravy. The roast turkey carries with it, in its chubby hold, a sizable portion of our primitive and pagan luggage. Primitive and pagan? Us? We of the laser, we of the microchip, we of the Union Theological Seminary and Time magazine? Of course. At least twice a year, do not millions upon millions of us cybernetic Christians and fax machine Jews participate in a ritual, a highly stylized ceremony that takes place around a large dead bird? And is not this animal sacrificed, as in days of yore, to catch the attention of a divine spirit, to show gratitude for blessings bestowed, and to petition for blessings coveted? The turkey, slain, slowly cooked over our gas or electric fires, is the central figure at our holy feast. It is the totem animal that brings our tribe together. And because it is an awkward, intractable creature, the serving of it establishes and reinforces the tribal hierarchy. There are but two legs, two wings, a certain amount of white meat, a given quantity of dark. Who gets which piece; who, in fact, slices the bird and distributes its limbs and organs, underscores quite emphatically the rank of each member in the gathering. Consider that the legs of this bird are called 'drumsticks,' after the ritual objects employed to extract the music from the most aboriginal and sacred of instruments. Our ancestors, kept their drums in public, but the sticks, being more actively magical, usually were stored in places known only to the shaman, the medicine man, the high priest, of the Wise Old Woman. The wing of the fowl gives symbolic flight to the soul, but with the drumstick is evoked the best of the pulse of the heart of the universe. Few of us nowadays participate in the actual hunting and killing of the turkey, but almost all of us watch, frequently with deep emotion, the reenactment of those events. We watch it on TV sets immediately before the communal meal. For what are footballs if not metaphorical turkeys, flying up and down a meadow? And what is a touchdown if not a kill, achieved by one or the other of two opposing tribes? To our applause, great young hungers from Alabama or Notre Dame slay the bird. Then, the Wise Old Woman, in the guise of Grandma, calls us to the table, where we, pretending to be no longer primitive, systematically rip the bird asunder. Was Boomer Petaway aware of the totemic implications when, to impress his beloved, he fabricated an outsize Thanksgiving centerpiece? No, not consciously. If and when the last veil dropped, he might comprehend what he had wrought. For the present, however, he was as ignorant as Can o' Beans, Spoon, and Dirty Sock were, before Painted Stick and Conch Shell drew their attention to similar affairs. Nevertheless, it was Boomer who piloted the gobble-stilled butterball across Idaho, who negotiated it through the natural carving knives of the Sawtooth Mountains, who once or twice parked it in wilderness rest stops, causing adjacent flora to assume the appearance of parsley.

Truth,” Solomon said, addressing the room. “Truth has power. And if we all gravitate toward similar ideas, maybe we do so because those ideas are true . . . written deep within us. And when we hear the truth, even if we don’t understand it, we feel that truth resonate within us . . . vibrating with our unconscious wisdom. Perhaps the truth is not learned by us, but rather, the truth is re-called . . . re-membered . . . re-cognized . . . as that which is already inside us.

The course of training of the yogī was divided into eight stages, reminding us of the eightfold path of Buddhism, but far less practical: (1) Self-control (yama), the practice of the five moral rules: non-violence, truthfulness, not stealing, chastity, and the avoidance of greed. (2) Observance (niyama), the regular and complete observance of the above five rules. (3) Posture (āsana), sitting in certain postures, difficult without practice, which are thought to be essential to meditation. The most famous of these is padmāsna, the “Lotus Posture”, in which the feet are placed on the opposite thighs, and in which gods and sages are commonly depicted. (4) Control of the Breath (prānāyāma), whereby the breath is held and controlled and the respiration forced into unusual rhythms, which are believed to be of great physical and spiritual value. (5) Restraint (pratyāhāra), whereby the sense organs are trained to take no note of their perceptions. (6) Steadying the Mind (dhāranā), by concentration on a single object, such as the tip of the nose, the navel, an icon, or a sacred symbol. (7) Meditation (dhyāna), when the object of concentration fills the whole mind. (8) Deep Meditation (samādhi), when the whole personality is temporarily dissolved.

Well, er…it’s…well, it’s…it’s symbolic, Archchancellor.” “Ah?” The Senior Wrangler felt that something more was expected. He groped around in the dusty attics of his education. “Of…the leaves, d’y’see…they’re symbolic of…of green, d’y’see, whereas the berries, in fact, yes, the berries symbolize…symbolize white. Yes. White and green. Very…symbolic.” He waited. He was not, unfortunately, disappointed. “What of?” The Senior Wrangler coughed. “I’m not sure there has to be an of,” he said. “Ah? So,” said the Archchancellor, thoughtfully, “it could be said that the white and green symbolize a small parasitic plant?” “Yes, indeed,” said the Senior Wrangler. “So mistletoe, in fact, symbolizes mistletoe?” “Exactly, Archchancellor,” said the Senior Wrangler, who was now just hanging on. “Funny thing, that,” said Ridcully, in the same thoughtful tone of voice. “That statement is either so deep it would take a lifetime to fully comprehend every particle of its meaning, or it is a load of absolute tosh. Which is it, I wonder?

Creative striving for a goal that is important to you as a result of your own deep-felt needs, aspirations, and talents (and not the symbols which the “Joneses” expect you to display) brings happiness as well as success because you will be functioning as you were meant to function. Man is by nature a goal-striving being. And because man is “built that way,” he is not happy unless he is functioning as he was made to function—as a goal striver. Thus true success and true happiness not only go together but each enhances the other.

If you blink, you might miss it. You might miss the wet floor at the threshold, symbolically cleansing you before the meal begins. You might overlook the flower arrangement in the corner, a spare expression of the passing season. You might miss the scroll on the wall drawn with a single unbroken line, signaling the infinite continuity of nature. You might not detect the gentle current of young ginger rippling through the dashi, the extra sheet of Hokkaido kelp in the soup, the mochi that is made to look like a cherry blossom at midnight. You might miss the water.

If I later came to recognize the valid, ‘traditional’ aspects of Catholicism, this was merely from an intellectual and objective perspective: the essence of Christianity never struck any deep chord in me. And while l recognized the validity of Catholicism as a positive religion, I also personally witnessed the disgraceful effects of its dissolution into emotional, sentimental and moralistic forms in the context of modern bourgeois society, which is marked by Catholicism’s lack of interest in emphasizing true holiness and transcendence, symbols, rites and sacraments.

It is my conviction that, with the spread of true scientific culture, whatever may be the medium, historical, philological, philosophical, or physical, through which that culture is conveyed, and with its necessary concomitant, a constant elevation of the standard of veracity, the end of the evolution of theology will be like its beginning—it will cease to have any relation to ethics. I suppose that, so long as the human mind exists, it will not escape its deep-seated instinct to personify its intellectual conceptions. The science of the present day is as full of this particular form of intellectual shadow-worship as is the nescience of ignorant ages. The difference is that the philosopher who is worthy of the name knows that his personified hypotheses, such as law, and force, and ether, and the like, are merely useful symbols, while the ignorant and the careless take them for adequate expressions of reality. So, it may be, that the majority of mankind may find the practice of morality made easier by the use of theological symbols. And unless these are converted from symbols into idols, I do not see that science has anything to say to the practice, except to give an occasional warning of its dangers. But, when such symbols are dealt with as real existences, I think the highest duty which is laid upon men of science is to show that these dogmatic idols have no greater value than the fabrications of men's hands, the stocks and the stones, which they have replaced.

mind was impure and his moral behavior was gross. But he had in lavish abundance some of the dramatic trappings of holiness. Along with his burning eyes, he had a fluent tongue. His head was filled with Scriptures, and his deep, powerful voice made him a compelling preacher. Besides, he had wandered the length and breadth of Russia and twice made pilgrimages to the Holy Land. He presented himself as a humble penitent, a man who had sinned greatly, been forgiven and commanded to do God’s work. It was a touching symbol of his humility, people said, that he kept the nickname “Rasputin” which he had earned as a young man in his native village. “Rasputin” in Russian means “dissolute.

Her uneasy gaze skittered along the length of his arms, which were exposed by his rolled-up shirtsleeves... and stopped at the astonishing sight of a design that had been inked onto his right forearm. It was a small black horse with wings. Noticing her mesmerized stare, Rohan lowered his arm to give her a better view. "An Irish symbol," he murmured. "A nightmare horse, called a pooka." The absurd-sounding word brought a faint smile to Daisy's lips. "Does it wash off?" she asked hesitantly. He shook his head, his lashes half lowering over his remarkable eyes. "Is a pooka like the Pegasus of the Greek myths?" Daisy asked, flattening herself as close to the wall as possible. Rohan glanced down her body, taking a kind of leisurely inventory that no man ever had before. "No. He's far more dangerous. He has eyes of yellow fire, a stride that clears mountains, and he speaks in a human voice as deep as a cave. At midnight, he may stop in front of your house and call out your name if he wants to take you for a ride. If you go with him, he'll fly you across earth and oceans... and if you ever return, your life will never be the same.

The person is both a self and a body, and from the beginning there is the confusion about where "he" really "is"-in the symbolic inner self or in the physical body. Each phenomenological realm is different. The inner self represents the freedom of thought, imagination, and the infinite reach of symbolism. the body represents determinism and boundness. The child gradually learns that his freedom as a unique being is dragged back by the body and its appendages which dictate "what" he is. For this reason sexuality is as much a problem for the adult as for the child: the physical solution to the problem of who we are and why we have emerged on this planet is no help-in fact, it is a terrible threat. It doesn't tell the person what he is deep down inside, what kind of distinctive gift he is to work upon the world. This is why it is so difficult to have sex without guilt: guilt is there because the body casts a shadow on the person's inner freedom, his "real self" that-through the act of sex-is being forced into a standardized, mechanical, biological role. Even worse, the inner self is not even being called into consideration at all; the body takes over completely for the total person, and this kind of guilt makes the inner self shrink and threaten to disappear. This is why a woman asks for assurance that the man wants "me" and "not only my body"; she is painfully conscious that her own distinctive inner personality can be dispensed with in the sexual act. If it is dispensed with, it doesn't count. The fact is that the man usually does want only the body, and the woman's total personality is reduced to a mere animal role. The existential paradox vanishes, and one has no distinctive humanity to protest. One creative way of coping with this is, of course, to allow it to happen and to go with it: what the psychoanalysts call "regression in the service of the ego." The person becomes, for a time, merely his physical self and so absolves the painfulness of the existential paradox and the guilt that goes with sex. Love is one great key to this kind of sexuality because it allows the collapse of the individual into the animal dimension without fear and guilt, but instead with trust and assurance that his distinctive inner freedom will not be negated by an animal surrender.

To judge from the little we know of Miss Miller, it seems to be more a case of emotional naïveté: she underestimated the possibilities in her and leapt too lightly into dangerously deep waters where some knowledge of the shadow would have been in place. Such people should be given as much psychological knowledge as possible. Even if it doesn’t protect them from the outbreak of psychosis,

I catch sight of Luis with one of my bandannas on his head and my gut tightens. I yank it off him. "Don't ever touch this, Luis." "Why not?" he asks, his deep brown eyes all innocent. To Luis, it's a bandanna. To me, it's a symbol of what is and will never be. How the hell am I supposed to explain it to an eleven-year-old kid? He knows what I am. It's no secret the bandanna has the Latino Blood colors on it. Payback and revenge got me in and now there's no way out. But I'll die before I let one of my brothers get sucked in. I ball the bandanna in my fist. "Luis, don't touch my shit. Especially my Blood stuff." "I like red and black." That's the last thing I need to hear. "If I ever catch you wearin' it again, you'll be sportin' black and blue," I tell him. "Got it, little brother?" He shrugs. "Yeah. I got it.

The collar of Lars of Tassla fell away and clattered onto the tiles. katriana felt unable to breathe. Her neck, so long encased with the symbol of Lars’ ownership of her, seemed paradoxically to be suddenly constricted. She felt naked. Naked and abandoned. Her head sank down to lie across the hardness of the anvil. Her entire body shook uncontrollably as she felt all security evaporate from her world. How many minutes she lay there she could not with any certainty say. Yet, eventually she became aware of one tiny point in the cruel world surrounding her. It was a scent. His scent. It entered her. It stroked inside her. It pulsed against her pain until she acknowledged its presence. Her eyes flicked open. And then she saw him there, sitting quietly beside her, watching her with all the intentness that she loved so much in him. His face was still set in the neutrality he reserved for formal times but his eyes were flashing with…with some emotion kept hidden behind his Master’s mask. katriana struggled to read the look flowing from deep inside his eyes. She awkwardly rose to kneel before her former Master. Her body and her breasts were offered. She could not do otherwise whether or not she wore his collar. (A Master's Dilemma, eXtasy)

To the Greeks, the symbol of sex was the most venerated of symbols, the really deep significance of all the piety of antiquity. All the details of the act of procreation, pregnancy and birth gave rise to the loftiest and most solemn feelings. In the doctrine of mysteries, pain was pronounced holy: the “pains of childbirth” sanctify pain in general, — all becoming and all growth, everything that guarantees the future involves pain .... In order that there may be eternal joy in creating, in order that the will to life may say Yea to itself in all eternity, the “pains of childbirth” must also be eternal. All this is what the word Dionysus signifies: I know of no higher symbolism than this Greek symbolism, this symbolism of the Dionysian phenomenon. In it the profoundest instinct of life, the instinct that guarantees the future of life and life eternal, is understood religiously, — the road to life itself, procreation, is pronounced holy ...

Against a set of desolate scenery, amid spectral crags and livid mountains of ash, beneath the funereal daylight of slopes illuminated in blue, she personified the spirit of the witches' sabbat. Morbid and voluptuous, sometimes with extenuated grace and infinite lassitude, she seemed to carry the burden of a criminal beauty, a beauty charged with all the sins cf the multitude. She fell again and again upon her pliant legs, and as she outlined the symbolic gestures of her two beautiful dead arms she seemed to be towing them behind her. Then, the vertigo of the abyss took hold of her again, and like one possessed she stood on point, holding herself fully erect from top to toe, like a spike of flesh and shadows. Her arms, weighed down just a few moments earlier, became menacing, demoniac, and audacious. Twisting like a screw, she whirled around, like a winnowing-machine - no, like a great lily stirred by a storm-wind. Clownish and macabre, a nacreous gleam showed between her lips... oh, that cruel and sardonic smile, and the two deep pools of her terrible eyes! Ize Kranile!

The bugle call of a bull elk in a high mountain basin, the haunting voice of a screech owl on a moonlit night, the song of a white-throated sparrow on a cold winter's morning, or the resounding call of a wild turkey gobbler in spring - there are a certain few sounds in nature that seem to symbolize true wilderness. A gentle north wind moving through a remote forest of longleaf pine on a clear winter's day is one of those voices that stirs something deep inside of us. The grandest organ in the greatest cathedral is but a moan in the darkness by comparison.

CONTEMPLATION is the highest expression of man’s intellectual and spiritual life. It is that life itself, fully awake, fully active, fully aware that it is alive. It is spiritual wonder. It is spontaneous awe at the sacredness of life, of being. It is gratitude for life, for awareness and for being. It is a vivid realization of the fact that life and being in us proceed from an invisible, transcendent and infinitely abundant Source. Contemplation is, above all, awareness of the reality of that Source. It knows the Source, obscurely, inexplicably, but with a certitude that goes both beyond reason and beyond simple faith. For contemplation is a kind of spiritual vision to which both reason and faith aspire, by their very nature, because without it they must always remain incomplete. Yet contemplation is not vision because it sees “without seeing” and knows “without knowing.” It is a more profound depth of faith, a knowledge too deep to be grasped in images, in words or even in clear concepts. It can be suggested by words, by symbols, but in the very moment of trying to indicate what it knows the contemplative mind takes back what it has said, and denies what it has affirmed. For in contemplation we know by “unknowing.” Or, better, we know beyond all knowing or “unknowing.

Calf-deep in the soothing water I indulge myself in the wishful vision. I am not unaware of what such daydreams signify, dreams of becoming an unthinking savage, of taking the cold road back to the capital, of groping my way out to the ruins in the desert, of returning to the confinement of my cell, of seeking out the barbarians and offering myself to them to use as they wish. Without exception they are dreams of ends: dreams not of how to live but of how to die. And everyone, I know, in that walled town sinking now into darkness (I hear the two thin trumpet calls that announce the closing of the gates) is similarly preoccupied. What has made it impossible for us to live in time like fish in the water, like birds in air, like children? It is the fault of Empire! Empire has created the time of history. Empire has located its existence not in the smooth recurrent spinning time of the cycle of the seasons but in the jagged time of rise and fall, of beginning and end, of catastrophe. Empire dooms itself to live in history and plot against history. One thought alone preoccupies the submerged mind of Empire: how not to end, how not to die, how to prolong its era. By day it pursues its enemies. It is cunning and ruthless, it sends its bloodhounds everywhere. By night it feeds on images of disaster: the sack of cities, the rape of populations, pyramids of bones, acres of desolation. A mad vision yet a virulent one: I, wading in the ooze, am no less infected with it than the faithful Colonel Joll as he tracks the enemies of Empire through the boundless desert, sword unsheathed to cut down barbarian after barbarian until at last he finds and slays the one whose destiny it should be (or if not his then his son's or unborn grandson's) to climb the bronze gateway to the Summer Palace and topple the globe surmounted by the tiger rampant that symbolizes eternal domination, while his comrades below cheer and fire their muskets in the air.

It seems to us that there are four great collective sociological assumptions in the modern world. By this we mean not only the Western world, but all the world that shares a modern technology and is structured into nations…. That man’s aim in life is happiness, that man is naturally good, that history develops in endless progress, and that everything is matter. The other great psychological reflection of social reality is the myth. The myth expresses the deep inclinations of a society. Without it, the masses would not cling to a certain civilization, or its process of development and crisis. It is a vigorous impulse, strongly colored, irrational, and charged with all of man’s power to believe… In our society the two great fundamentals myths on which all other myths rest are Science and History. And based on them are the collective myths that are man’s principal orientations: the myth of Work, the myth of Happiness (which is not the same thing as presupposition of happiness), the myth of the Nation, the myth of Youth, the myth of Hero. Propaganda is forced to build on those presuppositions and to express these myths, for without them nobody would listen to it. And in so building it must always go in the same direction as society; it can only reinforce society. A propaganda that stresses virtue over happiness and presents man’s future as one dominated by austerity and contemplation would have no audience at all. A propaganda that questions progress or work would arouse distain and reach nobody; it would immediately be branded as an ideology of the intellectuals, since most people feel that the serious things are material things because they are related to labor, and so on. It is remarkable how the various presuppositions and aspects of myths complement each other, support each other, mutually defend each other: If the propagandist attacks the network at one point, all myths react to the attack. Propaganda must be based on current beliefs and symbols to reach man and win him over.

he’s disastrously hot, wearing a goddamn corset vest. The satiny black vest has vertical ribs that taper his chest into his waist in the very definition of a perfect V. I want nothing more than to drop to my knees and weep, good lord how I have never seen a corset vest before—I mean, I’ve seen one, but I’ve never seen one, not on someone whose body looks physically sculpted to fill out this apex of human fashion. He’s got the only pop of color in the entire group, a scarlet silk button-up under the vest, the color such a deep red that there’s no question it’s meant to symbolize gore and darkness rather than Christmas’s cherry brightness. Tight black pants taper into calf-high combat boots and the tips of his black hair now brush his shoulders, half the strands pulled behind his head, showing—displaying—the blade-edge sharpness of his jaw and cheekbones and the array of piercings up the shell of his left ear. Wide, observant dark eyes rimmed with black liner go from the floor up to my dad and Iris, no emotion at all on his face, but that lack of emotion is reaction enough—I get the distinct feeling he’s pissed to be here. His hands hang at his sides, loosely clenched in fists, most of his fingers set with thick silver rings. “The royal house of Halloween,” an announcer bellows. “King Ichabod Hallow. Queen Carina Hallow. And their son Prince Hex Hallow.

Nothing is beautiful, except man alone: all aesthetics rests upon this naïveté, which is its first truth. Let us immediately add the second: nothing is ugly except the degenerating man — and with this the realm of aesthetic judgment is circumscribed. Physiologically, everything ugly weakens and saddens man. It reminds him of decay, danger, impotence; it actually deprives him of strength. One can measure the effect of the ugly with a dynamometer. Wherever man is depressed at all, he senses the proximity of something "ugly." His feeling of power, his will to power, his courage, his pride — all fall with the ugly and rise with the beautiful. In both cases we draw an inference: the premises for it are piled up in the greatest abundance in instinct. The ugly is understood as a sign and symptom of degeneration: whatever reminds us in the least of degeneration causes in us the judgment of "ugly." Every suggestion of exhaustion, of heaviness, of age, of weariness; every kind of lack of freedom, such as cramps, such as paralysis; and above all, the smell, the color, the form of dissolution, of decomposition — even in the ultimate attenuation into a symbol — all evoke the same reaction, the value judgment, "ugly." A hatred is aroused — but whom does man hate then? There is no doubt: the decline of his type. Here he hates out of the deepest instinct of the species; in this hatred there is a shudder, caution, depth, farsightedness — it is the deepest hatred there is. It is because of this that art is deep.

A peculiar use is made of the cross symbol by the Muyscas Indians, of Peru; two ropes are stretched crosswise over the surface of the water (pool or stream), and fruits, oil, and precious stones are thrown in as a sacrifice at the point of intersection.145 Here the divinity is evidently the water, not the cross, which only signifies the place of sacrifice. The symbolism is somewhat obscure. Water, and particularly deep water, usually has a maternal significance, roughly corresponding to “womb.” The point of intersection of the two ropes is the point of union where the “crossing” takes place. (Note the double meaning of this word! According to all the analogies, the aim of fertility magic is to bring about the increase of the things marked for sacrifice.)

Thinking of Christ as nonblack in the twentieth century is as theologically impossible as thinking of him as non-Jewish in the first century. God's Word in Christ not only fulfills his purposes for man through his elected people, but also inaugurates a new age in which all oppressed people become his people. In America, that people is a black people. In order to remain faithful to his Word in Christ, his present manifestation must be the very essence of blackness. It is the job of the Church to become black with him and accept the shame that white society places on blacks. But the Church knows that what is shame to the world is holiness to God. Black is holy, that is, it is a symbol of God's presence in history on behalf of the oppressed man. Where there is black, there is oppression; but blacks can be assured that where there is blackness, there is Christ who has taken on blackness so that what is evil in men's eyes might become good. Therefore Christ is black because he is oppressed, and oppressed because he is black. And if the Church is to join Christ by following his opening, it too must go where suffering is and become black also. This is what the New Testament means by the service of reconciliation. It is not smoothing things over by ignoring the deep-seated racism in white society. It is freeing the racist of racism by making him confront blacks as men. Reconciliation has nothing to do with the “let's talk about it” attitude, or “it takes time” attitude. It merely says, “Look man, the revolution is on. Whose side are you on?

We've got two kinds of language in our heads. The kind we're using now is acquired. It patterns our brains as we're learning it. But there's also a tongue that's based in the deep structures of the brain, that everyone shares. These structures consist of basic neural circuits that have to exist in order to allow our brains to acquire higher languages." "Linguistic infrastructure," Uncle Enzo says. "Yeah. I guess 'deep structure' and 'infrastructure' mean the same thing. Anyway, we can access those parts of the brain under the right conditions. Glossolalia -- speaking in tongues -- is the output side of it, where the deep linguistic structures hook into our tongues and speak, bypassing all the higher, acquired languages. Everyone's known that for some time." "You're saying there's an input side, too?" Ng says. "Exactly. It works in reverse. Under the right conditions, your ears -- or eyes -- can tie into the deep structures, bypassing the higher language functions. Which is to say, someone who knows the right words can speak words, or show you visual symbols, that go past all your defenses and sink right into your brainstem. Like a cracker who breaks into a computer system, bypasses all the security precautions, and plugs himself into the core, enabling him to exert absolute control over the machine." "In that situation, the people who own the computer are helpless," Ng says. "Right. Because they access the machine at a higher level, which has now been overridden. In the same sense, once a neurolinguistic hacker plugs into the deep structures of our brain, we can't get him out -- because we can't even control our own brain at such a basic level.

The problem is that we who are badly wounded in our relation to the feminine usually have a fairly successful persona, a good public image. We have grown up as docile, often intellectual, daughters of the patriarchy, with what I call ‘animus-egos.’ We strive to keep up the virtues and aesthetic ideals which the patriarchal superego has presented to us. But we are filled with self-loathing and a deep sense of personal ugliness and failure when we can neither meet nor mitigate the superego’s standards of perfection. But we also feel unseen because there are no images alive to reflect our wholeness and variety. But where shall we look for symbols to suggest the full mystery and potency of the feminine and to provide images as models for personal life. The later Greek goddesses and Mary, Virgin Mother, and Mediator, have not struck me to the core as have Innana-Ereshkigal, Kali, and Isis. An image for the goddess as Self needs to have a full-bodied coherence. So I have had to see the female Greek deities as partial aspects of one wholeness pattern and to look always for the darker powers hidden i their stories—the gorgon aspect of Athena, the underworld Aphrodite-Urania, the Black Demeter, etc. Even in the tales of Inanna and other early Sumerian, Semitic, and Egyptian writings there is evidence that the original potencies of the feminine have been ‘demoted.' As Kramer tells us, the goddesses ‘that held top rank in the Sumerian pantheon were gradually forced down the ladder by male theologians’ and ‘their powers turned over to male deities. This permitted cerebral-intellectual-Apollonian, left brain consciousness, with its ethical and conceptual discriminations, to be born and to grow.

Down every aisle a single thought follows me like a shadow: Brand Italy is strong. When it comes to cultural currency, there is no brand more valuable than this one. From lipstick-red sports cars to svelte runway figures to enigmatic opera singers, Italian culture means something to everyone in the world. But nowhere does the name Italy mean more than in and around the kitchen. Peruse a pantry in London, Osaka, or Kalamazoo, and you're likely to find it spilling over with the fruits of this country: dried pasta, San Marzano tomatoes, olive oil, balsamic vinegar, jars of pesto, Nutella. Tucked into the northwest corner of Italy, sharing a border with France and Switzerland, Piedmont may be as far from the country's political and geographical center as possible, but it is ground zero for Brand Italy. This is the land of Slow Food. Of white truffles. Barolo. Vermouth. Campari. Breadsticks. Nutella. Fittingly, it's also the home of Eataly, the supermarket juggernaut delivering a taste of the entire country to domestic and international shoppers alike. This is the Eataly mother ship, the first and most symbolically important store for a company with plans for covering the globe in peppery Umbrian oil, and shavings of Parmigiano-Reggiano Vacche Rosse. We start with the essentials: bottle opener, mini wooden cutting board, hard-plastic wineglasses. From there, we move on to more exciting terrain: a wild-boar sausage from Tuscany. A semiaged goat's-milk cheese from Molise. A tray of lacy, pistachio-pocked mortadella. Some soft, spicy spreadable 'nduja from Calabria. A jar of gianduja, the hazelnut-chocolate spread that inspired Nutella- just in case we have any sudden blood sugar crashes on the trail.

Visual images of the Goddesses stand in stark contrast to the image of God as an old white man, jarring us to question our culture's view that all legitimate power is male and that female power is dangerous and evil. The image of the naked Eve brazenly taking the apple from the serpent, then cowering in shame before a wrathful male God, tells us not only that female will is the source of all the evil in the universe, but also that the naked female body is part of the problem. This image communicates to the deep mind the message that female will and female nakedness must be controlled and punished by male authority. In contrast, the Goddesses show us that the female can be symbolic of all that is creative and powerful in the universe. The simplest and most profound meaning of the image of the Goddess is the legitimacy and goodness of female power, the female body, and female will.

During the latter part of my medical studies I had an opportunity of gaining, through long observation, a deep insight into the soul of a fifteen-year-old girl. I then discovered, to my astonishment, what the contents of unconscious fantasies are like, and how far removed they are from what a girl of this age shows in her outward demeanour and from what an outsider would suspect. They were far-reaching fantasies of a positively mythical nature: the girl saw herself, in her split-off fantasy, as the racial mother of uncounted generations of men.14 Even allowing for the markedly poetic cast of her imagination, there still remained elements that are probably common to all girls of her age, for the unconscious is infinitely more common to all men than are the contents of their individual consciousnesses. The unconscious is, in fact, the condensation of the average run of historical experience.

When sometimes a true sea-serpent, complete and undecayed, is found or caught, a shout of triumph will go through the world. "There, you see," men will say, "I knew they were there all the time. I just had a feeling they were there." Men really need sea-monsters in their personal oceans. And the Old Man of the Sea is one of these. [...] For this reason we rather hope he is never photographed, for if the Man of the Sea should turn out to be some great malformed sealion, a lot of people would feel a sharp personal loss—a Santa Claus loss. And the ocean would be none the better for it. For the ocean, deep and black in the depths, is like the low dark levels of our minds in which the dream symbols incubate and sometimes rise up to sight like the Old Man of the Sea. And even if the symbol vision be horrible, it is there and it is ours. An ocean without its unnamed monsters would be like a completely dreamless sleep.

In 1998, he helped organize the first “advanced chess” tournament, in which each human player, including Kasparov himself, paired with a computer. Years of pattern study were obviated. The machine partner could handle tactics so the human could focus on strategy. It was like Tiger Woods facing off in a golf video game against the best gamers. His years of repetition would be neutralized, and the contest would shift to one of strategy rather than tactical execution. In chess, it changed the pecking order instantly. “Human creativity was even more paramount under these conditions, not less,” according to Kasparov. Kasparov settled for a 3–3 draw with a player he had trounced four games to zero just a month earlier in a traditional match. “My advantage in calculating tactics had been nullified by the machine.” The primary benefit of years of experience with specialized training was outsourced, and in a contest where humans focused on strategy, he suddenly had peers. A few years later, the first “freestyle chess” tournament was held. Teams could be made up of multiple humans and computers. The lifetime-of-specialized-practice advantage that had been diluted in advanced chess was obliterated in freestyle. A duo of amateur players with three normal computers not only destroyed Hydra, the best chess supercomputer, they also crushed teams of grandmasters using computers. Kasparov concluded that the humans on the winning team were the best at “coaching” multiple computers on what to examine, and then synthesizing that information for an overall strategy. Human/Computer combo teams—known as “centaurs”—were playing the highest level of chess ever seen. If Deep Blue’s victory over Kasparov signaled the transfer of chess power from humans to computers, the victory of centaurs over Hydra symbolized something more interesting still: humans empowered to do what they do best without the prerequisite of years of specialized pattern recognition.

Art, as we have known it, stands on the threshold of the transcendental. It points beyond this world of accidental and disconnected things to another realm, in which human life is endowed with an emotional logic that makes suffering noble and love worthwhile. Nobody who is alert to beauty, therefore, is without the concept of redemption—of a final transcendence of mortal disorder into a ‘kingdom of ends’. In an age of declining faith art bears enduring witness to the spiritual hunger and immortal longings of our species. Hence aesthetic education matters more today than at any previous period in history. As Wagner expressed the point:‘It is reserved to art to salvage the kernel of religion, inasmuch as the mythical images which religion would wish to be believed as true are apprehended in art for their symbolic value, and through ideal representation of those symbols art reveals the concealed deep truth within them.’ Even for the unbeliever, therefore the ‘real presence’ of the sacred is now one of the highest gifts of art.

IN ADDITION TO having become a distinctly Christian party, the GOP is more than ever America’s self-consciously white party. The nationalization of its Southern Strategy from the 1960s worked partly because it rode demographic change. In 1960, 90 percent of Americans were white and non-Hispanic. Only a few states had white populations of less than 70 percent—specifically Mississippi, South Carolina, Louisiana, and Alabama. Today the white majority in the whole country is down nearly to 60 percent; in other words, America’s racial makeup is now more “Southern” than the Deep South’s was in the 1960s. For a while, the party’s leaders were careful to clear their deck of explicit racism. It was reasonable, wasn’t it, to be concerned about violent crime spiraling upward from the 1960s through the ’80s? We don’t want social welfare programs to encourage cultures of poverty and dependency, do we? Although the dog-whistled resentment of new policies disfavoring or seeming to disfavor white people became more audible, Republican leaders publicly stuck to not-entirely-unreasonable arguments: affirmative action is an imperfect solution; too much multiculturalism might Balkanize America; we shouldn’t let immigrants pour into the U.S. helter-skelter. But in this century, more Republican leaders started cozying up to the ugliest fantasists, unapologetic racists. When Congressman Ron Paul ran for the 2008 GOP nomination, he appeared repeatedly with the neo-Nazi Richard Spencer, who was just coining the term “alt-right” for his movement. Senator Rand Paul employed as an aide and wrote a book with a former leader of the League of the South, an organization devoted to a twenty-first-century do-over of Confederate secession. After we elected a black president, more regular whistles joined the kind only dogs can hear. Even thoughtful Ross Douthat, one of the Times’s conservative columnists, admitted to a weakness for the Old South fantasy. During the debate about governments displaying Confederate symbols after nine black people were shot dead by a white supremacist in Charleston, he discussed “the temptation…to regard the Confederate States of America as the political and historical champion of all…attractive Southern distinctives….Even a secession-hating Yankee like myself has felt, at certain moments the pull of that idea, the lure of that fantasy.

The men who had inhabited prehistoric Egypt, who had carved the Sphinx and founded the world‘s oldest civilization, were men who had made their exodus from Atlantis to settle on this strip of land that bordered the Nile. And they had left before their ill-fated continent sank to the bottom of the Atlantic Ocean, a catastrophe which had drained the Sahara and turned it into a desert. The shells which to-day litter the surface of the Sahara in places, as well as the fossil fish which are found among its sands, prove that it was once covered by the waters of a vast ocean. It was a tremendous and astonishing thought that the Sphinx provided a solid, visible and enduring link between the people of to-day and the people of a lost world, the unknown Atlanteans. This great symbol has lost its meaning for the modern world, for whom it is now but an object of local curiosity. What did it mean to the Atlanteans? We must look for some hint of an answer in the few remnants of culture still surviving from peoples whose own histories claimed Atlantean origin. We must probe behind the degenerate rituals of races like the Incas and the Mayas, mounting to the purer worship of their distant ancestors, and we shall find that the loftiest object of their worship was Light, represented by the Sun. Hence they build pyramidal Temples of the Sun throughout ancient America. Such temples were either variants or slightly distorted copies of similar temples which had existed in Atlantis. After Plato went to Egypt and settled for a while in the ancient School of Heliopolis, where he lived and studied during thirteen years, the priest-teachers, usually very guarded with foreigners, favoured the earnest young Greek enquirer with information drawn from their well-preserved secret records. Among other things they told him that a great flat-topped pyramid had stood in the centre of the island of Atlantis, and that on this top there had been build the chief temple of the continent – a sun temple. […] The Sphinx was the revered emblem in stone of a race which looked upon Light as the nearest thing to God in this dense material world. Light is the subtlest, most intangible of things which man can register by means of one of his five senses. It is the most ethereal kind of matter which he knows. It is the most ethereal element science can handle, and even the various kind of invisible rays are but variants of light which vibrate beyond the power of our retinas to grasp. So in the Book of Genesis the first created element was Light, without which nothing else could be created. „The Spirit of God moved upon the face of the Deep,“ wrote Egyptian-trained Moses. „And God said, Let there be Light: and there was Light.“ Not only that, it is also a perfect symbol of that heavenly Light which dawns within the deep places of man‘s soul when he yields heart and mind to God; it is a magnificent memorial to that divine illumination which awaits him secretly even amid the blackest despairs. Man, in turning instinctively to the face and presence of the Sun, turns to the body of his Creator. And from the sun, light is born: from the sun it comes streaming into our world. Without the sun we should remain perpetually in horrible darkness; crops would not grow: mankind would starve, die, and disappear from the face of this planet. If this reverence for Light and for its agent, the sun, was the central tenet of Atlantean religion, so also was it the central tenet of early Egyptian religion. Ra, the sun-god, was first, the father and creator of all the other gods, the Maker of all things, the One, the self-born [...] If the Sphinx were connected with this religion of Light, it would surely have some relationship with the sun.

Then Faust descends into the realm of the Mothers — the spiritual world; he succeeds in bringing up with him the spirit of Helena. But he is not ripe enough to unite this spirit with his own soul. Hence the scene where desire stirs in Faust, where he wishes to embrace the archetype of Helena with sensual passion. He is therefore thrust back. That is the fate of everyone who seeks to approach the Spiritual World harboring personal, egotistical feelings; he is repelled like Faust. He must first mature; must learn the real relationship between the three members of man's nature: the immortal spirit which goes on from life to life, from incarnation to incarnation; the body, commencing and ending its existence between birth and death, and the soul between the two of them. Body, soul and spirit — how they unite, how they mutually react — that is the lesson Faust must learn. The archetype of Helena, the immortal, the eternal, that passes from life to life, from one incarnation to the other, Faust has already tried to find, but was then immature. Now he is to become ripe so that he is worthy to truly penetrate into the spirit realm. For this purpose he had to learn that this immortality comes to man only when he can be re-embodied repeatedly within physical existence — have new lives extending from birth to death. Therefore must Goethe show how the soul lives between spirit and body, how the soul is placed between the immortal spirit and the body which exists only between birth and death. The second part of Faust shows us this. Now can Goethe compress all that Faust has achieved since the time of premonitory striving, the time when he despaired of science and turned away from it, till he gained his highest degree of spiritual perception. This he does in the chorus mysticus which, by its name alone, indicates that it contains something very deep. Here, in this chorus, is to be condensed in few words — paradigmatically — that which offers the key to all the world mysteries: how everything temporal is only a symbolism for the eternal. What the physical eye can see is only a symbol for the spiritual, the immortal of which Goethe has shown that he, when entering into this spiritual realm, even gains the knowledge of reincarnation. He will finally show man's entrance into the spiritual kingdom coincides with the knowledge that what was premonition and hope in the physical is truth in the spiritual; what was aspiration in the physical becomes attainment in the spiritual world.

From the bonny bells of heather, They brewed a drink long syne, Was sweeter far than honey, Was stronger far than wine. They brewed it and they drank it, And lay in blessed swound, For days and days together, In their dwellings underground. There rose a King in Scotland, A fell man to his foes, He smote the Picts in battle, He hunted them like roes. Over miles of the red mountain He hunted as they fled, And strewed the dwarfish bodies Of the dying and the dead. Summer came in the country, Red was the heather bell, But the manner of the brewing, Was none alive to tell. In graves that were like children’s On many a mountain’s head, The Brewsters of the Heather Lay numbered with the dead. The king in the red moorland Rode on a summer’s day; And the bees hummed and the curlews Cried beside the way. The King rode and was angry, Black was his brow and pale, To rule in a land of heather, And lack the Heather Ale. It fortuned that his vassals, Riding free upon the heath, Came on a stone that was fallen And vermin hid beneath. Roughly plucked from their hiding, Never a word they spoke: A son and his aged father – Last of the dwarfish folk. The king sat high on his charger, He looked down on the little men; And the dwarfish and swarthy couple Looked at the king again. Down by the shore he had them: And there on the giddy brink – “I will give thee life ye vermin, For the secret of the drink.” There stood the son and father And they looked high and low; The heather was red around them, The sea rumbled below. And up spoke the father, Shrill was his voice to hear: “I have a word in private, A word for the royal ear. “Life is dear to the aged, And honour a little thing; I would gladly sell the secret”, Quoth the Pict to the King. His voice was small as a sparrow’s, And shrill and wonderful clear: “I would gladly sell my secret, Only my son I fear. “For life is a little matter, And death is nought to the young; And I dare not sell my honour, Under the eye of my son. Take him, O king, and bind him, And cast him far in the deep; And it’s I will tell the secret That I have sworn to keep.” They took the son and bound him, Neck and heels in a thong, And a lad took him and swung him, And flung him far and strong And the sea swallowed his body, Like that of a child of ten; And there on the cliff stood the father, Last of the dwarfish men. “True was the word I told you: Only my son I feared; For I doubt the sapling courage, That goes without the beard. But now in vain is the torture, Fire shall not avail: Here dies in my bosom The secret of the Heather Ale.

A great deal of effort has been devoted to explaining Babel. Not the Babel event -- which most people consider to be a myth -- but the fact that languages tend to diverge. A number of linguistic theories have been developed in an effort to tie all languages together." "Theories Lagos tried to apply to his virus hypothesis." "Yes. There are two schools: relativists and universalists. As George Steiner summarizes it, relativists tend to believe that language is not the vehicle of thought but its determining medium. It is the framework of cognition. Our perceptions of everything are organized by the flux of sensations passing over that framework. Hence, the study of the evolution of language is the study of the evolution of the human mind itself." "Okay, I can see the significance of that. What about the universalists?" "In contrast with the relativists, who believe that languages need not have anything in common with each other, the universalists believe that if you can analyze languages enough, you can find that all of them have certain traits in common. So they analyze languages, looking for such traits." "Have they found any?" "No. There seems to be an exception to every rule." "Which blows universalism out of the water." "Not necessarily. They explain this problem by saying that the shared traits are too deeply buried to be analyzable." "Which is a cop out." "Their point is that at some level, language has to happen inside the human brain. Since all human brains are more or less the same --" "The hardware's the same. Not the software." "You are using some kind of metaphor that I cannot understand." "Well, a French-speaker's brain starts out the same as an English-speaker's brain. As they grow up, they get programmed with different software -- they learn different languages." "Yes. Therefore, according to the universalists, French and English -- or any other languages -- must share certain traits that have their roots in the 'deep structures' of the human brain. According to Chomskyan theory, the deep structures are innate components of the brain that enable it to carry out certain formal kinds of operations on strings of symbols. Or, as Steiner paraphrases Emmon Bach: These deep structures eventually lead to the actual patterning of the cortex with its immensely ramified yet, at the same time, 'programmed' network of electrochemical and neurophysiological channels." "But these deep structures are so deep we can't even see them?" "The universalists place the active nodes of linguistic life -- the deep structures -- so deep as to defy observation and description. Or to use Steiner's analogy: Try to draw up the creature from the depths of the sea, and it will disintegrate or change form grotesquely.

Dreams in which the dead interact with the living are typically so powerful and lucid that there is no denying contact was real. They also fill us with renewed life and break up grief or depression. In chapter 16, on communicating with the dead, you will learn how to make such dreams come about. Another set of dreams in which the dead appear can be the stuff of horror. If you have had a nightmare concerning someone who has recently passed, know that you are looking into the face of personal inner conflict. You might dream, for instance, that your dead mother is buried alive or comes out of her grave in a corrupted body in search of you. What you are looking at here is the clash of two sets of ideas about death. On the one hand, a person is dead and rotting; on the other hand, that same person is still alive. The inner self uses the appropriate symbols to try to come to terms with the contradiction of being alive and dead at the same time. I am not sure to what extent people on the other side actually participate in these dreams. My private experience has given me the impression that the dreams are triggered by attempts of the departed for contact. The macabre images we use to deal with the contradiction, however, are ours alone and stem from cultural attitudes about death and the body. The conflict could lie in a different direction altogether. As a demonstration of how complex such dreams can be, I offer a simple one I had shortly after the death of my cat Twyla. It was a nightmare constructed out of human guilt. Even though I loved Twyla, for a combination of reasons she was only second best in the hierarchy of house pets. I had never done anything to hurt her, and her death was natural. Still I felt guilt, as though not giving her the full measure of my love was the direct cause of her death. She came to me in a dream skinned alive, a bloody mass of muscle, sinew, veins, and arteries. I looked at her, horror-struck at what I had done. Given her condition, I could not understand why she seemed perfectly healthy and happy and full of affection for me. I’m ashamed to admit that it took me over a week to understand what this nightmare was about. The skinning depicted the ugly fate of many animals in human hands. For Twyla, the picture was particularly apt because we used to joke about selling her for her fur, which was gorgeous, like the coat of a gray seal. My subconscious had also incorporated the callous adage “There is more than one way to skin a cat.” This multivalent graphic, typical of dreams, brought my feelings of guilt to the surface. But the real meaning was more profound and once discovered assuaged my conscience. Twyla’s coat represented her mortal body, her outer shell. What she showed me was more than “skin deep” — the real Twyla underneath,

Do you have vows?” Freeman asked. Zane nodded, but he didn’t move to take out a piece of paper or any notes. He licked his lips instead and took a deep breath. “Ty,” he said, and the sound was almost lost in the night. “Some roads to love aren’t easy, and I’ve never been more thankful for being forced to fight for something. I started this journey with a partner I hated, and a man in the mirror I hated even more. The road took me from the streets of New York to the mountaintops of West Virginia, from the place I born to the place I found a home. It forced me to let go of my past and face my future. And I had to be made blind before I could see.” Zane swallowed hard and looked down, obviously fighting to finish without choking on the words or tearing up. Ty realized his own eyes were burning, and it wasn’t because of the cold wind. Zane squeezed Ty’s fingers with one hand, and he met Ty’s eyes as he reached into his lapel with his other. “I promise to love you until I die,” he said, his voice strong again. He held up a Sharpie he’d had in his suit, and pulled Ty’s hand closer to draw on his ring finger. With several sweeping motions, he created an infinity sign that looped all the way around the finger. When he was satisfied with the ring he’d drawn, he kissed Ty’s knuckles and let him go, handing him the Sharpie. Ty grasped the pen, but he couldn’t take his eyes off Zane. He ran his thumb over Zane’s palm. He had a set of vows he’d jotted down on a note card, folded up in his pocket, but he left them where they were and gazed into Zane’s eyes, their past flashing in front of him, their future opening up in his mind. He took a deep breath. “I promise to never leave you alone in the dark,” he whispered. He pulled Zane’s hand closer and pressed the tip of the Sharpie against Zane’s skin, curving the symbol for forever around it. When he was satisfied, he kissed the tip of Zane’s finger and slid the pen back into his lapel pocket. Freeman coughed and turned a page in his book. “Do you, Zane Zachary Garrett, take this man to be your lawful wedded husband?” Zane’s lips curved into a warm smile. “I do.” Freeman turned toward Ty. “Do you, Beaumont Tyler Grady, take this man to be your lawful wedded husband?” “I do,” Ty said, almost before the question was finished. “Then by the power vested in me by the state of Maryland, I pronounce you legally wed.” Freeman slapped his little book closed. “You may now share the first kiss of the rest of your lives.” Ty had fully expected to have the urge to grab Zane and plant one on him out of sheer impatience and joy, but as he stood staring at his brand-new husband, it was as if they were moving underwater. He touched the tips of his fingers to Zane’s cheek, then stepped closer and used both hands to cup his face with the utmost care. Zane was still smiling when they kissed, and it was slow and gentle, Zane’s hands at Ty’s ribs pulling them flush. “Okay, now,” Livi whispered somewhere to their side, and a moment later they were both pelted with handfuls of heart-shaped confetti. Zane laughed and finally wrapped his arms around Ty, squeezing him tight. The others continued to toss the confetti at them, even handing out bits to people passing by so they’d be sure to get covered from all sides. They laughed into the kiss, not caring. They were still locked in their happy embrace when Deuce turned the box over above them and rained little, bitty hearts down on their heads.

In your war, the first, how did you endure?" asked Sebastian. "My war was nothing," said Hilary hastily, "nothing at all compared with yours, or even David's. Yet I had a way, then, that helped with other things later. For there is always the Thing, you know, the hidden Thing, some fear or pain or shame, temptation or bit of self-knowledge that you can never explain to another. . . . And even in those very few healthy insensitives who do not seem to suffer, a love of something—of their work, perhaps—that they would not want to talk about and could not if they would. For it is the essence of it that it is, humanly speaking, a lonely thing. . . . Returning to the sensitives, if you just endure it simply because you must, like a boil on the neck, or fret yourself to pieces trying to get rid of it, or cadge sympathy for it, then it can break you. But if you accept it as a secret burden borne secretly for the love of Christ, it can become your hidden treasure. For it is your point of contact with Him, your point of contact with that fountain of refreshment down at the root of things. "Oh Lord, thou fountain of living waters.' That fountain of life is what Christians mean by grace. That is all. Nothing new, for it brings us back to where we were before. In those deep green pastures where cool waters are there is no separation. Our point of contact with the suffering Christ is our point of contact with every other suffering man and woman, and is the source of our life. " "You could put it another way," said Sebastian. "We are all the branches of the vine, and the wine runs red for the cleansing of the world." "The symbols are endless," agreed Hilary. "Too many, perhaps. They complicate the simplicity of that one act of secret acceptance and dedication.

The fear of death is fear of time, and the fear of time is, deeply, fear of unlived moments, unlived life. So what to do? Live more, and live more intensely. It is your life, live it. Don't sacrifice it for words, theories... It is your life, LIVE IT! Live it! And don't think that it is a courage to die. The only courage is to live life totally, there is no other courage. And live in total freedom so intensely that every moment is transformed into eternity. If you live a moment intensely it is transformed into eternity. There are two ways of being related with time: one is just to swim on the surface of the ocean, another is to dive deep, to go to the depths. If you are just swimming on the ocean of time you will be always afraid because the surface is not the reality. The surface is not really the ocean, it is just the boundary, it is just the periphery. Go to the depth, move towards the depth. When you live a moment deeply you are no more part of time. If you have been in love, and deeply in love, time disappears. When you are with your beloved or your lover or your friend suddenly there is no time. You are moving in depth. If you have loved music, if you have a musical heart, you know time stops. If you have the sense of beauty, aesthetic sensibility and sensitiveness - look at a rose and time disappears, look at the moon and where is time? The clock immediately stops. The hands go on moving but time stops. If you have loved anything deeply you know that you transcend time. The secret has been revealed to you many times. Life itself reveals it to you. Life would like you to enjoy. Life would like you to celebrate. Life would like you to participate so deeply that there is no repentance for the past, that you don't remember the past, because every moment you go more and more deep - every moment life becomes more and more beautiful, more orgasmic, a peak experience, and by and by, when you become attuned to the peak, that becomes your abode. That's how an enlightened man lives, he lives totally and moment to moment. Time is a problem because you have not been living rightly - it is symbolic, it is symptomatic. If you live rightly the problem of time disappears, the fear of time disappears. So, what to do? Each moment, whatsoever you are doing, do it totally. Simple things - taking a bath; take it totally, forget the whole world; sitting, sit; walking, walk, above all don't wobble; sit under the shower and let the whole existence fall on you. Be merged with those beautiful drops of water falling on you. Small things: cleaning the house, preparing food, washing clothes, going for a morning walk - do them totally, then there is no need for any meditation. Meditation is nothing but a way to learn how to do a thing totally - once you have learnt, make your whole life a meditation, forget all about meditations, let the life be the only law, let the life be the only meditation. And then time disappears. And remember, when time disappears, death disappears. Then you are not afraid of death. In fact you wait. Just think of the phenomenon. When you wait for death how can death exist? This waiting is not suicidal. This waiting is not pathological. You lived your life. If you have lived your life death becomes the very peak of it all. Death is the climax of life, the pinnacle, the crescendo. You lived all small waves of eating, drinking, sleeping, walking, making love, small waves, great waves, you lived - then comes the greatest wave. You die! You have to live that too in its totality. And then one is ready to die. That very readiness is the death of death itself. That's how people have come to know that nothing dies. Death is impotent if you are ready to live it, death is very powerful if you are afraid. Unlived life gives power to death. A totally lived life takes all power from death. Death is not.

When players study all those patterns, they are mastering tactics. Bigger-picture planning in chess—how to manage the little battles to win the war—is called strategy. As Susan Polgar has written, “you can get a lot further by being very good in tactics”—that is, knowing a lot of patterns—“and have only a basic understanding of strategy.” Thanks to their calculation power, computers are tactically flawless compared to humans. Grandmasters predict the near future, but computers do it better. What if, Kasparov wondered, computer tactical prowess were combined with human big-picture, strategic thinking? In 1998, he helped organize the first “advanced chess” tournament, in which each human player, including Kasparov himself, paired with a computer. Years of pattern study were obviated. The machine partner could handle tactics so the human could focus on strategy. It was like Tiger Woods facing off in a golf video game against the best gamers. His years of repetition would be neutralized, and the contest would shift to one of strategy rather than tactical execution. In chess, it changed the pecking order instantly. “Human creativity was even more paramount under these conditions, not less,” according to Kasparov. Kasparov settled for a 3–3 draw with a player he had trounced four games to zero just a month earlier in a traditional match. “My advantage in calculating tactics had been nullified by the machine.” The primary benefit of years of experience with specialized training was outsourced, and in a contest where humans focused on strategy, he suddenly had peers. A few years later, the first “freestyle chess” tournament was held. Teams could be made up of multiple humans and computers. The lifetime-of-specialized-practice advantage that had been diluted in advanced chess was obliterated in freestyle. A duo of amateur players with three normal computers not only destroyed Hydra, the best chess supercomputer, they also crushed teams of grandmasters using computers. Kasparov concluded that the humans on the winning team were the best at “coaching” multiple computers on what to examine, and then synthesizing that information for an overall strategy. Human/Computer combo teams—known as “centaurs”—were playing the highest level of chess ever seen. If Deep Blue’s victory over Kasparov signaled the transfer of chess power from humans to computers, the victory of centaurs over Hydra symbolized something more interesting still: humans empowered to do what they do best without the prerequisite of years of specialized pattern recognition.

I’m sure we can manage to tolerate each other’s company for one meal.” “I won’t say anything about farming. We can discuss other subjects. I have a vast and complex array of interests.” “Such as?” Mr. Ravenel considered that. “Never mind, I don’t have a vast array of interests. But I feel like the kind of man who does.” Amused despite herself, Phoebe smiled reluctantly. “Aside from my children, I have no interests.” “Thank God. I hate stimulating conversation. My mind isn’t deep enough to float a straw.” Phoebe did enjoy a man with a sense of humor. Perhaps this dinner wouldn’t be as dreadful as she’d thought. “You’ll be glad to hear, then, that I haven’t read a book in months.” “I haven’t gone to a classical music concert in years,” he said. “Too many moments of ‘clap here, not there.’ It makes me nervous.” “I’m afraid we can’t discuss art, either. I find symbolism exhausting.” “Then I assume you don’t like poetry.” “No . . . unless it rhymes.” “I happen to write poetry,” Ravenel said gravely. Heaven help me, Phoebe thought, the momentary fun vanishing. Years ago, when she’d first entered society, it had seemed as if every young man she met at a ball or dinner was an amateur poet. They had insisted on quoting their own poems, filled with bombast about starlight and dewdrops and lost love, in the hopes of impressing her with how sensitive they were. Apparently, the fad had not ended yet. “Do you?” she asked without enthusiasm, praying silently that he wouldn’t offer to recite any of it. “Yes. Shall I recite a line or two?” Repressing a sigh, Phoebe shaped her mouth into a polite curve. “By all means.” “It’s from an unfinished work.” Looking solemn, Mr. Ravenel began, “There once was a young man named Bruce . . . whose trousers were always too loose.” Phoebe willed herself not to encourage him by laughing. She heard a quiet cough of amusement behind her and deduced that one of the footmen had overheard. “Mr. Ravenel,” she asked, “have you forgotten this is a formal dinner?” His eyes glinted with mischief. “Help me with the next line.” “Absolutely not.” “I dare you.” Phoebe ignored him, meticulously spreading her napkin over her lap. “I double dare you,” he persisted. “Really, you are the most . . . oh, very well.” Phoebe took a sip of water while mulling over words. After setting down the glass, she said, “One day he bent over, while picking a clover.” Ravenel absently fingered the stem of an empty crystal goblet. After a moment, he said triumphantly, “. . . and a bee stung him on the caboose.” Phoebe almost choked on a laugh. “Could we at least pretend to be dignified?” she begged. “But it’s going to be such a long dinner.