Descendants Song Quotes

Ah, make the most of what we yet may spend, Before we too into the Dust descend; Dust into Dust, and under Dust to lie Sans Wine, sans Song, sans Singer, and--sans End! Alike for those who for To-day prepare, And those that after some To-morrow stare, A Muezzin from the Tower of Darkness cries "Fools! your Reward is neither Here nor There.

Only great pain, the long, slow pain that takes its time... compels us to descend to our ultimate depths... I doubt that such pain makes us "better"; but I know it makes us more profound... In the end, lest what is most important remain unsaid: from such abysses, from such severe sickness, one returns newborn, having shed one's skin... with merrier senses, with a second dangerous innocence in joy, more childlike and yet a hundred times subtler than one has ever been before.

Ah, make the most of what we yet may spend, Before we too into Dust descend; Dust into Dust, and under Dust to lie, Sans Wine, sans Song, sans Singer, and - sans End!

I shook again, tasted plum, and suddenly the words were pouring out of me."She said I sang before I spoke. She said when I was just a baby she had the habit of humming when she held me. Nothing like a song. Just a descending third. Just a soothing sound. Then one day she was walking me around the camp, and she heard me echo it back to her. Two octaves higher. A tiny piping third. She said it was my first song. We sang it back and forth to each other. For years."I choked and clenched my teeth. "You can say it,"Auri said softly."It's okay if you say it." "I'm never going to see her again,"I choked out. Then I began to cry in earnest. "It's okay,"Auri said softly."I'm here. You're safe.

My name is Monica, and I am not submissive. I stand six feet tall in heels. I am descended from one of the greatest writers of the twentieth century. I can sing like an angel, and growl like a lion. I am not owned. I am music.

Ah, make the most of what we yet may spend, Before we too into the Dust descend; Dust into Dust, and under Dust to lie, Sans Wine, sans Song, sans Singer, and—sans End!

The more the poet grows, the deeper the level of creative intuition descends into the density of his soul. Where formerly he could be moved to song, he can do nothing now, he must dig deeper.

I am an offspring of the dead. I am descended from the deceased. I am the progeny of phantoms. My ancestors are the illustrious multitudes of the defunct, grand and innumerable. My lineage is longer than time. My name is written in embalming fluid in the book of death. A noble race is mine.

And indeed there will be time To wonder, “Do I dare?” and, “Do I dare?” Time to turn back and descend the stair,

So disasters come not singly; But as if they watched and waited, Scanning one another’s motions, When the first descends, the others Follow, follow, gathering flock-wise Round their victim, sick and wounded, First a shadow, then a sorrow, Till the air is dark with anguish.

When love beckons to you, follow him, Though his ways are hard and steep. And when his wings enfold you yield to him, Though the sword hidden among his pinions may wound you. And when he speaks to you believe in him, Though his voice may shatter your dreams as the north wind lays waste the garden. For even as love crowns you so shall he crucify you. Even as he is for your growth so is he for your pruning. Even as he ascends to your height and caresses your tenderest branches that quiver in the sun, So shall he descend to your roots and shake them in their clinging to the earth. Like sheaves of corn he gathers you unto himself. He threshes you to make you naked. He sifts you to free you from your husks. He grinds you to whiteness. He kneads you until you are pliant; And then he assigns you to his sacred fire, that you may become sacred bread for God's sacred feast. All these things shall love do unto you that you may know the secrets of your heart, and in that knowledge become a fragment of Life's heart. But if in your fear you would seek only love's peace and love's pleasure, Then it is better for you that you cover your nakedness and pass out of love's threshing-floor, Into the seasonless world where you shall laugh, but not all of your laughter, and weep, but not all of your tears. Love gives naught but itself and takes naught but from itself. Love possesses not nor would it be possessed; For love is sufficient unto love. When you love you should not say, "God is in my heart," but rather, "I am in the heart of God." And think not you can direct the course of love, for love, if it finds you worthy, directs your course. Love has no other desire but to fulfill itself. But if you love and must needs have desires, let these be your desires: To melt and be like a running brook that sings its melody to the night. To know the pain of too much tenderness. To be wounded by your own understanding of love; And to bleed willingly and joyfully. To wake at dawn with a winged heart and give thanks for another day of loving; To rest at the noon hour and meditate love's ecstasy; To return home at eventide with gratitude; And then to sleep with a prayer for the beloved in your heart and a song of praise upon your lips.

A Rock, A River, A Tree Hosts to species long since departed, Mark the mastodon. The dinosaur, who left dry tokens Of their sojourn here On our planet floor, Any broad alarm of their of their hastening doom Is lost in the gloom of dust and ages. But today, the Rock cries out to us, clearly, forcefully, Come, you may stand upon my Back and face your distant destiny, But seek no haven in my shadow. I will give you no hiding place down here. You, created only a little lower than The angels, have crouched too long in The bruising darkness, Have lain too long Face down in ignorance. Your mouths spelling words Armed for slaughter. The rock cries out today, you may stand on me, But do not hide your face. Across the wall of the world, A river sings a beautiful song, Come rest here by my side. Each of you a bordered country, Delicate and strangely made proud, Yet thrusting perpetually under siege. Your armed struggles for profit Have left collars of waste upon My shore, currents of debris upon my breast. Yet, today I call you to my riverside, If you will study war no more. Come, clad in peace and I will sing the songs The Creator gave to me when I And the tree and stone were one. Before cynicism was a bloody sear across your brow And when you yet knew you still knew nothing. The river sings and sings on. There is a true yearning to respond to The singing river and the wise rock. So say the Asian, the Hispanic, the Jew, The African and Native American, the Sioux, The Catholic, the Muslim, the French, the Greek, The Irish, the Rabbi, the Priest, the Sheikh, The Gay, the Straight, the Preacher, The privileged, the homeless, the teacher. They hear. They all hear The speaking of the tree. Today, the first and last of every tree Speaks to humankind. Come to me, here beside the river. Plant yourself beside me, here beside the river. Each of you, descendant of some passed on Traveller, has been paid for. You, who gave me my first name, You Pawnee, Apache and Seneca, You Cherokee Nation, who rested with me, Then forced on bloody feet, Left me to the employment of other seekers-- Desperate for gain, starving for gold. You, the Turk, the Swede, the German, the Scot... You the Ashanti, the Yoruba, the Kru, Bought, sold, stolen, arriving on a nightmare Praying for a dream. Here, root yourselves beside me. I am the tree planted by the river, Which will not be moved. I, the rock, I the river, I the tree I am yours--your passages have been paid. Lift up your faces, you have a piercing need For this bright morning dawning for you. History, despite its wrenching pain, Cannot be unlived, and if faced with courage, Need not be lived again. Lift up your eyes upon The day breaking for you. Give birth again To the dream. Women, children, men, Take it into the palms of your hands. Mold it into the shape of your most Private need. Sculpt it into The image of your most public self. Lift up your hearts. Each new hour holds new chances For new beginnings. Do not be wedded forever To fear, yoked eternally To brutishness. The horizon leans forward, Offering you space to place new steps of change. Here, on the pulse of this fine day You may have the courage To look up and out upon me, The rock, the river, the tree, your country. No less to Midas than the mendicant. No less to you now than the mastodon then. Here on the pulse of this new day You may have the grace to look up and out And into your sister's eyes, Into your brother's face, your country And say simply Very simply With hope Good morning.

My friend, I am not what I seem. Seeming is but a garment I wear-a care-woven garment that protects me from thy questionings and thee from my negligence. The “I” in me, my friend, dwells in the house of silence, and therein it shall remain for ever more, unperceived, unapproachable. I would not have thee believe in what I say nor trust in what I do-for my words are naught but thy own thoughts in sound and my deeds thy own hopes in action. When thou sayest, “The wind bloweth eastward,” I say, “Aye it doth blow eastward”; for I would not have thee know that my mind doth not dwell upon the wind but upon the sea. Thou canst not understand my seafaring thoughts, nor would I have thee understand. I would be at sea alone. When it is day with thee, my friend, it is night with me; yet even then I speak of the noontide that dances upon the hills and of the purple shadow that steals its way across the valley; for thou canst not hear the songs of my darkness nor see my wings beating against the stars-and I fain would not have thee hear or see. I would be with night alone. When thou ascendest to thy Heaven I descend to my Hell-even then thou callest to me across the unbridgeable gulf, “My companion, my comrade,” and I call back to thee, “My comrade, my companion”-for I would not have thee see my Hell. The flame would burn thy eyesight and the smoke would crowd thy nostrils. And I love my Hell too well to have thee visit it. I would be in Hell alone. Thou lovest Truth and Beauty and Righteousness; and I for thy sake say it is well and seemly to love these things. But in my heart I laughed at thy love. Yet I would not have thee see my laughter. I would laugh alone. My friend, thou art good and cautious and wise; nay, thou art perfect-and I, too, speak with thee wisely and cautiously. And yet I am mad. But I mask my madness. I would be mad alone. My friend, thou art not my friend, but how shall I make thee understand? My path is not thy path, yet together we walk, hand in hand.

Fasting By Mevlana Jelaluddin Rumi (1207 - 1273) English version by Coleman Barks There's hidden sweetness in the stomach's emptiness. We are lutes, no more, no less. If the soundbox is stuffed full of anything, no music. If the brain and belly are burning clean with fasting, every moment a new song comes out of the fire. The fog clears, and new energy makes you run up the steps in front of you. Be emptier and cry like reed instruments cry. Emptier, write secrets with the reed pen. When you're full of food and drink, Satan sits where your spirit should, an ugly metal statue in place of the Kaaba. When you fast, good habits gather like friends who want to help. Fasting is Solomon's ring. Don't give it to some illusion and lose your power, but even if you have, if you've lost all will and control, they come back when you fast, like soldiers appearing out of the ground, pennants flying above them. A table descends to your tents, Jesus' table. Expect to see it, when you fast, this table spread with other food, better than the broth of cabbages.

Before everything happened I wished i had double voice box like a song bird so I could sing two songs at once, the way a bird can harmonize with itself. I wanted to sing crystal clear notes. I wanted to sing them one after anther in ascending order. And at the same time I wanted to let another fountain of notes descend from my heart.

I On the calm black water where the stars are sleeping White Ophelia floats like a great lily; Floats very slowly, lying in her long veils... - In the far-off woods you can hear them sound the mort. For more than a thousand years sad Ophelia Has passed, a white phantom, down the long black river. For more than a thousand years her sweet madness Has murmured its ballad to the evening breeze. The wind kisses her breasts and unfolds in a wreath Her great veils rising and falling with the waters; The shivering willows weep on her shoulder, The rushes lean over her wide, dreaming brow. The ruffled water-lilies are sighing around her; At times she rouses, in a slumbering alder, Some nest from which escapes a small rustle of wings; - A mysterious anthem falls from the golden stars. II O pale Ophelia! beautiful as snow! Yes child, you died, carried off by a river! - It was the winds descending from the great mountains of Norway That spoke to you in low voices of better freedom. It was a breath of wind, that, twisting your great hair, Brought strange rumors to your dreaming mind; It was your heart listening to the song of Nature In the groans of the tree and the sighs of the nights; It was the voice of mad seas, the great roar, That shattered your child's heart, too human and too soft; It was a handsome pale knight, a poor madman Who one April morning sate mute at your knees! Heaven! Love! Freedom! What a dream, oh poor crazed Girl! You melted to him as snow does to a fire; Your great visions strangled your words - And fearful Infinity terrified your blue eye! III - And the poet says that by starlight You come seeking, in the night, the flowers that you picked And that he has seen on the water, lying in her long veils White Ophelia floating, like a great lily.

Black Pearl was the most famous courtesan of all. “She’s descended from the dragons, that one,” the woman had told Cat. “The first Black Pearl was a pirate queen.

Why are there trees I never walk under but large and melodious thoughts descend upon me? (I think they hang there winter and summer on those trees and always drop fruit as I pass;)

My knees shook as they descended upon me like vultures, squeezing the life out of my fragile bones. Never had I witnessed such a loud group of guys who got wound up so high over nothing. All they did was hoot over Ellis’s new apartment and belch the school’s theme song. Joy.

And an old priest said, Speak to us of Religion. And he said: Have I spoken this day of aught else? Is not religion all deeds and all reflection, And that which is neither deed nor reflection, but a wonder and a surprise ever springing in the soul, even while the hands hew the stone or tend the loom? Who can separate his faith from his actions, or his belief from his occupations? Who can spread his hours before him, saying, "This for God and this for myself; This for my soul and this other for my body"? All your hours are wings that beat through space from self to self. He who wears his mortality but as his best garment were better naked. The wind and the sun will tear no holes in his skin. And he who defines his conduct by ethics imprisons his song-bird in a cage. The freest song comes not through bars and wires. And he to whom worshiping is a window, to open but also to shut, has not yet visited the house of his soul whose windows are from dawn to dawn. Your daily life is your temple and your religion. Whenever you enter into it take with you your all. Take the plough and the forge and the mallet and the lute, The things you have fashioned in necessity or for delight. For in reverie you cannot rise above your achievements nor fall lower than your failures. And take with you all men: For in adoration you cannot fly higher than their hopes nor humble yourself lower than their despair. And if you would know God, be not therefore a solver of riddles. Rather look about you and you shall see Him playing with your children. And look into space; you shall see Him walking in the cloud, outstretching His arms in the lightning and descending in rain. You shall see Him smiling in flowers, then rising and waving His hands in trees.

Jesus’ words to his disciples are just as true for us today. We will weep and mourn. We will have sorrow. And our sorrow will turn to joy. Today, in the tension of pain that persists, we are living the reality Jesus named. Here we find the descending, rising rhythm that creates our new life. As Henri Nouwen says, “It is the way in which pain can be embraced, not out of a desire to suffer, but in the knowledge that something new will be born in the pain.”4 In our longing for tension to be relieved, we cannot miss that Jesus said sorrow comes before joy. This is the church’s story: sorrow comes before the song.

she whispered. Robb looked at her as if she’d gone mad. “Mother, stay here. I’ll come back as soon as the fire’s out.” He ran then. She heard him shout to the guards outside the room, heard them descending together in a wild rush, taking the stairs two and three at a time.

Sometimes I dream about it, I’m walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening doors, shouting names. I don’t even know who I’m looking for. Most nights it’s my father, but sometimes it’s Robb instead, or my little sister Arya, or my uncle. Even the ravens are gone from the rookery, and the stables are full of bones. That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It’s black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don’t want to. I’m afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it’s not them I’m afraid of. I scream that I’m not a Stark, that this isn’t my place, but it’s no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream” -Jon Snow

I was not a great man whose history has been recorded for children to study in school. No bells will ring for me, no flags descend upon their mast. For I was an ordinary man, my son, one of many, with ordinary hopes and ordinary dreams and ordinary fears. I, too, dreamed of wealth and riches, health and strength. I, too, feared hunger and poverty, war and weakness. I was the neighbour who lived in the next house. The man standing in the subway on his way to work: who held a match to his cigarette: who walked with his dog. I was the soldier shaking with fear: the man berating the umpire at the ball game: the citizen in the privacy of the voting booth, happily electing the worthless candidate. I was the man who lived a thousand times and died a thousand times in all man’s six thousand years of record. I was the man who sailed with Noah  in his ark, who was the multitude that crossed the sea that Moses held apart, who hung from the cross next to Christ. I was the ordinary man about whom songs are never written, stories are never told, legends are never remembered.

The Idea of Order at Key West She sang beyond the genius of the sea. The water never formed to mind or voice, Like a body wholly body, fluttering Its empty sleeves; and yet its mimic motion Made constant cry, caused constantly a cry, That was not ours although we understood, Inhuman, of the veritable ocean. The sea was not a mask. No more was she. The song and water were not medleyed sound Even if what she sang was what she heard, Since what she sang was uttered word by word. It may be that in all her phrases stirred The grinding water and the gasping wind; But it was she and not the sea we heard. For she was the maker of the song she sang. The ever-hooded, tragic-gestured sea Was merely a place by which she walked to sing. Whose spirit is this? we said, because we knew It was the spirit that we sought and knew That we should ask this often as she sang. If it was only the dark voice of the sea That rose, or even colored by many waves; If it was only the outer voice of sky And cloud, of the sunken coral water-walled, However clear, it would have been deep air, The heaving speech of air, a summer sound Repeated in a summer without end And sound alone. But it was more than that, More even than her voice, and ours, among The meaningless plungings of water and the wind, Theatrical distances, bronze shadows heaped On high horizons, mountainous atmospheres Of sky and sea. It was her voice that made The sky acutest at its vanishing. She measured to the hour its solitude. She was the single artificer of the world In which she sang. And when she sang, the sea, Whatever self it had, became the self That was her song, for she was the maker. Then we, As we beheld her striding there alone, Knew that there never was a world for her Except the one she sang and, singing, made. Ramon Fernandez, tell me, if you know, Why, when the singing ended and we turned Toward the town, tell why the glassy lights, The lights in the fishing boats at anchor there, As the night descended, tilting in the air, Mastered the night and portioned out the sea, Fixing emblazoned zones and fiery poles, Arranging, deepening, enchanting night. Oh! Blessed rage for order, pale Ramon, The maker's rage to order words of the sea, Words of the fragrant portals, dimly-starred, And of ourselves and of our origins, In ghostlier demarcations, keener sounds

Blue Planet Phenomenon. she’s from the pink planet called Constellation he’s from the dark planet beyond under a constant monitor no love a interplanetary phenomenon he’s an interstellar she’s studying astronomy what they have seen sets in motion their biology they will meet on the blue planet they should know better it’s death if they get together interplanetary love is forbidden their passion keep it hidden they should know better but they must be together to the blue planet love velocity interstellar crossing Earth’s longitudes hiding their love in the new years eve multitudes they should know better their love still not allowed under another planets blanketing cloud Planet Earth in unified love new years eve blue planet phenomenon she will fall pregnant their baby conceived at a time of human unity their unborn baby and united humanity become one in harmony interstellar before they’re discovered too late their love uncovered they should know better it’s death for forbidden love together trial on dark planet they will all die today “kill them now” judgment say they plea for their unborn baby’s mercy a reprieve child leniency only for their baby clemency “bring on the birth” authorities say a unpredicted baby delivery conceived in a time of human unity a love descendant of humanity interstellar love racing interplanetary embracing human love emanating from their newborn baby blanketing pink planet with love blanketing dark planet with love two planets authority depleting two planets a love meeting now love not forbidden love never to be hidden interstellar love plea she and he with their baby to go free By R.M.Romarney.

Descending thru your voice like a song, like a cascade of orchids in an afternoon, eternal falls to the Sun.

If there were no shame, would we be freer? Or just descend into chaos?

Every little twerp is descended from Heracles these days, it’s practically a requirement for entry to polite society

The first noble truth, suffering, represents idealism. When you look at things from an idealistic viewpoint everything sucks, as the Descendents said in the song called “Everything Sucks” (from the album Everything Sucks). Nothing can possibly live up to the ideals and fantasies you’ve created. So we suffer because things are not the way we think they ought to be. Rather than face what really is, we prefer to retreat and compare what we’re living through with the way we think it oughta be. Suffering comes from the comparison between the two.

Paris has a child, and the forest has a bird; the bird is called the sparrow; the child is called the gamin. Couple these two ideas which contain, the one all the furnace, the other all the dawn; strike these two sparks together, Paris, childhood; there leaps out from them a little being. Homuncio, Plautus would say. This little being is joyous. He has not food every day, and he goes to the play every evening, if he sees good. He has no shirt on his body, no shoes on his feet, no roof over his head; he is like the flies of heaven, who have none of these things. He is from seven to thirteen years of age, he lives in bands, roams the streets, lodges in the open air, wears an old pair of trousers of his father's, which descend below his heels, an old hat of some other father, which descends below his ears, a single suspender of yellow listing; he runs, lies in wait, rummages about, wastes time, blackens pipes, swears like a convict, haunts the wine-shop, knows thieves, calls gay women thou, talks slang, sings obscene songs, and has no evil in his heart. This is because he has in his heart a pearl, innocence; and pearls are not to be dissolved in mud. So long as man is in his childhood, God wills that he shall be innocent. If one were to ask that enormous city: "What is this?" she would reply: "It is my little one.

I rise. Again. And again. Not as the morning bird whose song springs to sudden glorious life at the dawning of the light, but as the sun who touches the horizon with tender fingertips before reaching open arms across the sky to embrace another day to weather the storms to stand tall and breathe fire and then to descend into rest until it's time to rise again. And again I rise.

Destiny comes suddenly, bringing concern; she stares at you with horrible eyes and clutches you at the throat with sharp fingers and hurls you to the ground and tramples upon you with ironclad feet; then she laughs and walks away, but later regrets her actions and asks you through good fortune to forgive her. She stretches her silky hand and lifts you high and sings to you the Song of Hope and causes you to lose your cares. She creates in you a new zest for confidence and ambition. If your lot in life is a beautiful bird that you love dearly, you gladly feed to him the seeds of your inner self, and make your heart his cage and your soul his nest. But while you are affectionately admiring him and looking upon him with the eyes of love, he escapes from your hands and flies very high; then he descends and enters into another cage and never comes back to you. What can you do? Where can you find patience and condolence? How can you revive your hopes and dreams? What power can still your turbulent heart?

Consider my Lover; the yellow church of his skin, the clean wells of his ears; How the notes of a song come to him like birds descending on a power line; How in his absence I am of two throats--each of them cramped.

But it was the figure you cut as an employee, on an employee's footing with the girls, in work clothes, and being of that tin-tough, creaking, jazzy bazaar of hardware, glassware, chocolate, chickenfeed, jewelry, drygoods, oilcloth, and song hits--that was the big thing; and even being the Atlases of it, under the floor, hearing how the floor bore up under the ambling weight of hundreds, with the fanning, breathing movie organ next door and the rumble descending from the trolleys on Chicago Avenue--the bloody-rinded Saturday gloom of wind-bourne ash, and blackened forms of five-story buildings rising up to a blind Northern dimness from the Christmas blaze of shops.

There's hidden sweeteness in the stomach's emptiness. We are lutes, no more no less. If the soundbox is stuffed full of anything, no music. If the brain and the belly are burning clean with fasting, every moment a new song comes out of the fire. The fog clears, and new energy makes you run up the steps in front of you. Be emptier and cry like reed instruments cry. Emptier, write secrets with the reed pen. When you're full of food and drink, an ugly metal statue sits where your spirit should. When you fast, good habits gather like friends who want to help. Fasting is Solomon's ring. Don't give it to some illusion and lose your power, but even if you have, if you've lost all will and control, they come back when you fast, like soldiers appearing out of the ground, pennants flying above them. A table descends to your tents, Jesus' table. Expect to see it, when you fast, this table spread with other food, better than the broth of cabbages.

And he saw a youth approaching, Dressed in garments green and yellow, Coming through the purple twilight, Through the splendor of the sunset; Plumes of green bent o'er his forehead, And his hair was soft and golden. Standing at the open doorway, Long he looked at Hiawatha, Looked with pity and compassion On his wasted form and features, And, in accents like the sighing Of the South-Wind in the tree-tops, Said he, "O my Hiawatha! All your prayers are heard in heaven, For you pray not like the others, Not for greater skill in hunting, Not for greater craft in fishing, Not for triumph in the battle, Nor renown among the warriors, But for profit of the people, For advantage of the nations. "From the Master of Life descending, I, the friend of man, Mondamin, Come to warn you and instruct you, How by struggle and by labor You shall gain what you have prayed for. Rise up from your bed of branches, Rise, O youth, and wrestle with me!

Roman Centurion's Song" LEGATE, I had the news last night - my cohort ordered home By ships to Portus Itius and thence by road to Rome. I've marched the companies aboard, the arms are stowed below: Now let another take my sword. Command me not to go! I've served in Britain forty years, from Vectis to the Wall, I have none other home than this, nor any life at all. Last night I did not understand, but, now the hour draws near That calls me to my native land, I feel that land is here. Here where men say my name was made, here where my work was done; Here where my dearest dead are laid - my wife - my wife and son; Here where time, custom, grief and toil, age, memory, service, love, Have rooted me in British soil. Ah, how can I remove? For me this land, that sea, these airs, those folk and fields suffice. What purple Southern pomp can match our changeful Northern skies, Black with December snows unshed or pearled with August haze - The clanging arch of steel-grey March, or June's long-lighted days? You'll follow widening Rhodanus till vine and olive lean Aslant before the sunny breeze that sweeps Nemausus clean To Arelate's triple gate; but let me linger on, Here where our stiff-necked British oaks confront Euroclydon! You'll take the old Aurelian Road through shore-descending pines Where, blue as any peacock's neck, the Tyrrhene Ocean shines. You'll go where laurel crowns are won, but -will you e'er forget The scent of hawthorn in the sun, or bracken in the wet? Let me work here for Britain's sake - at any task you will - A marsh to drain, a road to make or native troops to drill. Some Western camp (I know the Pict) or granite Border keep, Mid seas of heather derelict, where our old messmates sleep. Legate, I come to you in tears - My cohort ordered home! I've served in Britain forty years. What should I do in Rome? Here is my heart, my soul, my mind - the only life I know. I cannot leave it all behind. Command me not to go!

For some we loved, the loveliest and the best That from his Vintage rolling Time hath prest, Have drunk their Cup a Round or two before, And one by one crept silently to rest. And we, that now make merry in the Room They left, and Summer dresses in new bloom Ourselves must we beneath the Couch of Earth Descend — ourselves to make a Couch — for whom? Ah, make the most of what we yet may spend, Before we too into the Dust descend; Dust into Dust, and under Dust to lie Sans Wine, sans Song, sans Singer, and — sans End!

It is an effort to descend down the hand-holds of memory to the plain beneath, to recall the lost future, the dusk hovering above the sunken cities, the dim western world of fallen light and broken skies. My life is here, where soon the larks will sing again, and there is a hawk above. One wishes only to go forward, deeper into the summer land, journeying from lark-song to lark-song, passing through the dark realm of the owls, the fox-holdings, the badger-shires, out into the brilliant winter dominion, the sea-bleak world of the hawks.

In this crooked blind alley, as the chill descends, they feed fires with logs of song and poetry. Hazard not a thought: These are strange times, my dear. The man who knocks at your door in the noon of the night has come to kill the light. Let’s hide light in the larder.

Silence descended on us. I turned the music on, my favorite playlist. The pounding bass of “Candy Shop” by 50 Cent filled the car. I drummed my fingers in rhythm to the sound. Gemma frowned. “This song doesn’t make sense. Why does a rapper sing about lollipops and rodeos?

Book, when I close you life itself opens. I hear broken screams in the harbor. The copper slugs cross the sandy areas, descending to Tocopilla. It is night. Between the islands our ocean palpitates with fish. It touches the feet, the thighs, the chalky ribs of my homeland. Night touches the shoreline and rises while singing at daybreak like a guitar awakening. I feel the irresistible force of the ocean's call. I am called by the wind, and called by Rodriguez, José Antonio, I received a telegram from the "Mina" worker's union and the one I love (I won't tell you her name) waits for me in Bucalemu. Book, you haven't been able to enwrap me, you haven't covered me with typography, with celestial impressions, you haven't been able to trap my eyes between covers, I leave you so I can populate groves with the hoarse family of my song, to work burning metals or to eat grilled meat at the fireside in the mountains. I love books that are explorers, books with forest and snow, depth and sky, but I despise the book of spiders that employs thought to weave its venomous wires to trap the young and unsuspecting fly. Book, free me. I don't want to be entombed like a volume, I don't come from a tome, my poems don't eat poems, they devour passionate events, they're nurtured by the open air and fed by the earth and by men. Book, let me wander the road with dust in my low shoes and without mythology: go back to the library while I go into the streets. I've learned to take life from life, to love after a single kiss, and I didn't teach anything to anyone except what I myself lived, what I shared with other men, what I fought along with them: what I expressed from all of us in my song.

It’s love that does it to you,” Jane would reply, in the resigned, ponderous voice of her mother. “You wait and see, my girl. One of these days you’ll come down off your devil-may-care high horse.” As Jane said this, and even though she was making fun, she could picture love, with a capital L, descending out of the sky towards her like a huge foot. Her mother’s life had been a disaster, but in her own view an inevitable disaster, as in songs and movies. It was Love that was responsible, and in the face of Love, what could be done? Love was like a steamroller. There was no avoiding it, it went over you and you came out flat.

She had finished her breakfast, so I permitted her to give a specimen of her accomplishments.  Descending from her chair, she came and placed herself on my knee; then, folding her little hands demurely before her, shaking back her curls and lifting her eyes to the ceiling, she commenced singing a song from some opera.  It was the strain of a forsaken lady, who, after bewailing the perfidy of her lover, calls pride to her aid; desires her attendant to deck her in her brightest jewels and richest robes, and resolves to meet the false one that night at a ball, and prove to him, by the gaiety of her demeanour, how little his desertion has affected her.

The Mad Gardener's Song He thought he saw an Elephant, That practised on a fife: He looked again, and found it was A letter from his wife. 'At length I realise,' he said, 'The bitterness of Life!' He thought he saw a Buffalo Upon the chimney-piece: He looked again, and found it was His Sister's Husband's Niece. 'Unless you leave this house,' he said, 'I'll send for the Police!' He thought he saw a Rattlesnake That questioned him in Greek: He looked again, and found it was The Middle of Next Week. 'The one thing I regret,' he said, 'Is that it cannot speak!' He thought he saw a Banker's Clerk Descending from the bus: He looked again, and found it was A Hippopotamus. 'If this should stay to dine,' he said, 'There won't be much for us!' He thought he saw a Kangaroo That worked a coffee-mill: He looked again, and found it was A Vegetable-Pill. 'Were I to swallow this,' he said, 'I should be very ill!' He thought he saw a Coach-and-Four That stood beside his bed: He looked again, and found it was A Bear without a Head. 'Poor thing,' he said, 'poor silly thing! It's waiting to be fed!' He thought he saw an Albatross That fluttered round the lamp: He looked again, and found it was A Penny-Postage Stamp. 'You'd best be getting home,' he said: 'The nights are very damp!' He thought he saw a Garden-Door That opened with a key: He looked again, and found it was A Double Rule of Three: 'And all its mystery,' he said, 'Is clear as day to me!' He thought he saw a Argument That proved he was the Pope: He looked again, and found it was A Bar of Mottled Soap. 'A fact so dread,' he faintly said, 'Extinguishes all hope!

I look in the jewelry box where Joanie found the drugs. She showed me a miniature Ziploc bag filled with a clear, hard rock. “What is this?” I said. I never did drugs, so I had no idea. Heroin? Cocaine? Crack? Ice? “What is this?” I screamed at Alex, who screamed back, “It’s not like I shoot it!” A plastic ballerina pops up and slowly twirls to a tinkling song whose sound is discordant and deformed. The pink satin liner is dirty, and other than a black pearl necklace, the box holds only rusty paper clips and rubber bands noosed with Alex’s dark hair. I see a note stuck to the mirror and pick up the jewelry box and move the ballerina aside. She twirls against my finger. The note says, I wouldn’t hide them in the same place twice. I let out a short breath through my nose. Good one, Alex. I close the jewelry box and shake my head, missing her tremendously. I wish she never went back to boarding school, and I don’t understand her sudden change of plans. What did they fight about? What could have been so bad?

When I cry the hills laugh; When I humble myself the flowers rejoice; When I bow, all things are elated. The field and the cloud are lovers And between them I am a messenger of mercy. I quench the thirst of one; I cure the ailment of the other. The voice of thunder declares my arrival; The rainbow announces my departure. I am like earthly life, Which begins at the feet of the mad elements And ends under the upraised wings of death. I emerge from the heard of the sea Soar with the breeze. When I see a field in need, I descend and embrace the flowers and the trees in a million little ways. I touch gently at the windows with my soft fingers, And my announcement is a welcome song all can hear But only the sensitive can understand. The heat in the air gives birth to me, But in turn I kill it, As woman overcomes man with the strength she takes from him. I am the sigh of the sea; The laughter of the field; The tears of heaven. So with love— Sighs from the deep sea of affection; Laughter from the colourful field of the spirit; Tears from the endless heaven of memories.

Through pity, then, I can't resist delivering a song of bliss when witnessing the painful trace that love leaves in a young girl's face. I try to teach them, through my song, love of that kind will not last long, because, just as my song relents, love rarely stays when it descends on children's hearts, but meets its death the way that warmth fades on our breath.

In science convictions have no rights of citizenship, as one says with good reason. Only when they decide to descend to the modesty of hypotheses, of a provisional experimental point of view, of a regulative fiction, they may be granted admission and even a certain value in the realm of knowledge—though always with the restriction that they remain under police supervision, under the police of mistrust.

Ode to the Beloved’s Hips" Bells are they—shaped on the eighth day—silvered percussion in the morning—are the morning. Swing switch sway. Hold the day away a little longer, a little slower, a little easy. Call to me— I wanna rock, I-I wanna rock, I-I wanna rock right now—so to them I come—struck-dumb chime-blind, tolling with a throat full of Hosanna. How many hours bowed against this Infinity of Blessed Trinity? Communion of Pelvis, Sacrum, Femur. My mouth—terrible angel, ever-lasting novena, ecstatic devourer. O, the places I have laid them, knelt and scooped the amber—fast honey—from their openness— Ah Muzen Cab’s hidden Temple of Tulúm—licked smooth the sticky of her hip—heat-thrummed ossa coxae. Lambent slave to ilium and ischium—I never tire to shake this wild hive, split with thumb the sweet- dripped comb—hot hexagonal hole—dark diamond— to its nectar-dervished queen. Meanad tongue— come-drunk hum-tranced honey-puller—for her hips, I am—strummed-song and succubus. They are the sign: hip. And the cosign: a great book— the body’s Bible opened up to its Good News Gospel. Alleluias, Ave Marías, madre mías, ay yay yays, Ay Dios míos, and hip-hip-hooray. Cult of Coccyx. Culto de cadera. Oracle of Orgasm. Rorschach’s riddle: What do I see? Hips: Innominate bone. Wish bone. Orpheus bone. Transubstantiation bone—hips of bread, wine-whet thighs. Say the word and healed I shall be: Bone butterfly. Bone wings. Bone Ferris wheel. Bone basin bone throne bone lamp. Apparition in the bone grotto—6th mystery— slick rosary bead—Déme la gracia of a decade in this garden of carmine flower. Exile me to the enormous orchard of Alcinous—spiced fruit, laden-tree—Imparadise me. Because, God, I am guilty. I am sin-frenzied and full of teeth for pear upon apple upon fig. More than all that are your hips. They are a city. They are Kingdom— Troy, the hollowed horse, an army of desire— thirty soldiers in the belly, two in the mouth. Beloved, your hips are the war. At night your legs, love, are boulevards leading me beggared and hungry to your candy house, your baroque mansion. Even when I am late and the tables have been cleared, in the kitchen of your hips, let me eat cake. O, constellation of pelvic glide—every curve, a luster, a star. More infinite still, your hips are kosmic, are universe—galactic carousel of burning comets and Big Big Bangs. Millennium Falcon, let me be your Solo. O, hot planet, let me circumambulate. O, spiral galaxy, I am coming for your dark matter. Along las calles de tus muslos I wander— follow the parade of pulse like a drum line— descend into your Plaza del Toros— hands throbbing Miura bulls, dark Isleros. Your arched hips—ay, mi torera. Down the long corridor, your wet walls lead me like a traje de luces—all glitter, glowed. I am the animal born to rush your rich red muletas—each breath, each sigh, each groan, a hooked horn of want. My mouth at your inner thigh—here I must enter you—mi pobre Manolete—press and part you like a wound— make the crowd pounding in the grandstand of your iliac crest rise up in you and cheer.

Aslan’s mane!” he exclaimed. “Do you think that the privilege of seeing the last things is to be bought for a song? Why, every man that comes with us shall bequeath the title of Dawn Treader to all his descendants, and when we land at Cair Paravel on the homeward voyage he shall have either gold or land enough to make him rich all his life. Now—scatter over the island, all of you. In half an hour’s time I shall receive the names that Lord Drinian brings me.

He then said something in Arabic to Ali, who made a sign of obedience and withdrew, but not to any distance. As to Franz a strange transformation had taken place in him. All the bodily fatigue of the day, all the preoccupation of mind which the events of the evening had brought on, disappeared as they do at the first approach of sleep, when we are still sufficiently conscious to be aware of the coming of slumber. His body seemed to acquire an airy lightness, his perception brightened in a remarkable manner, his senses seemed to redouble their power, the horizon continued to expand; but it was not the gloomy horizon of vague alarms, and which he had seen before he slept, but a blue, transparent, unbounded horizon, with all the blue of the ocean, all the spangles of the sun, all the perfumes of the summer breeze; then, in the midst of the songs of his sailors, -- songs so clear and sonorous, that they would have made a divine harmony had their notes been taken down, -- he saw the Island of Monte Cristo, no longer as a threatening rock in the midst of the waves, but as an oasis in the desert; then, as his boat drew nearer, the songs became louder, for an enchanting and mysterious harmony rose to heaven, as if some Loreley had decreed to attract a soul thither, or Amphion, the enchanter, intended there to build a city. At length the boat touched the shore, but without effort, without shock, as lips touch lips; and he entered the grotto amidst continued strains of most delicious melody. He descended, or rather seemed to descend, several steps, inhaling the fresh and balmy air, like that which may be supposed to reign around the grotto of Circe, formed from such perfumes as set the mind a dreaming, and such fires as burn the very senses; and he saw again all he had seen before his sleep, from Sinbad, his singular host, to Ali, the mute attendant; then all seemed to fade away and become confused before his eyes, like the last shadows of the magic lantern before it is extinguished, and he was again in the chamber of statues, lighted only by one of those pale and antique lamps which watch in the dead of the night over the sleep of pleasure. They were the same statues, rich in form, in attraction, and poesy, with eyes of fascination, smiles of love, and bright and flowing hair. They were Phryne, Cleopatra, Messalina, those three celebrated courtesans. Then among them glided like a pure ray, like a Christian angel in the midst of Olympus, one of those chaste figures, those calm shadows, those soft visions, which seemed to veil its virgin brow before these marble wantons. Then the three statues advanced towards him with looks of love, and approached the couch on which he was reposing, their feet hidden in their long white tunics, their throats bare, hair flowing like waves, and assuming attitudes which the gods could not resist, but which saints withstood, and looks inflexible and ardent like those with which the serpent charms the bird; and then he gave way before looks that held him in a torturing grasp and delighted his senses as with a voluptuous kiss. It seemed to Franz that he closed his eyes, and in a last look about him saw the vision of modesty completely veiled; and then followed a dream of passion like that promised by the Prophet to the elect. Lips of stone turned to flame, breasts of ice became like heated lava, so that to Franz, yielding for the first time to the sway of the drug, love was a sorrow and voluptuousness a torture, as burning mouths were pressed to his thirsty lips, and he was held in cool serpent-like embraces. The more he strove against this unhallowed passion the more his senses yielded to its thrall, and at length, weary of a struggle that taxed his very soul, he gave way and sank back breathless and exhausted beneath the kisses of these marble goddesses, and the enchantment of his marvellous dream.

Kvothe?” Auri said softly. I clenched my teeth against the sobbing and lay still as I could, hoping she would think I was asleep and leave. “Kvothe?” she called again. “I brought you—” There was a moment of silence, then she said, “Oh.” I heard a soft sound behind me. The moonlight showed her tiny shadow on the wall as she climbed through the window. I felt the bed move as she settled onto it. A small, cool hand brushed the side of my face. “It’s okay,” she said quietly. “Come here.” I began to cry quietly, and she gently uncurled the tight knot of me until my head lay in her lap. She murmured, brushing my hair away from my forehead, her hands cool against my hot face. “I know,” she said sadly. “It’s bad sometimes, isn’t it?” She stroked my hair gently, and it only made me cry harder. I could not remember the last time someone had touched me in a loving way. “I know,” she said. “You have a stone in your heart, and some days it’s so heavy there is nothing to be done. But you don’t have to be alone for it. You should have come to me. I understand.” My body clenched and suddenly the taste of plum filled my mouth again. “I miss her,” I said before I realized I was speaking. Then I bit it off before I could say anything else. I clenched my teeth and shook my head furiously, like a horse fighting its reins. “You can say it,” Auri said gently. I shook again, tasted plum, and suddenly the words were pouring out of me. “She said I sang before I spoke. She said when I was just a baby she had the habit of humming when she held me. Nothing like a song. Just a descending third. Just a soothing sound. Then one day she was walking me around the camp, and she heard me echo it back to her. Two octaves higher. A tiny piping third. She said it was my first song. We sang it back and forth to each other. For years.” I choked and clenched my teeth. “You can say it,” Auri said softly. “It’s okay if you say it.” “I’m never going to see her again,” I choked out. Then I began to cry in earnest. “It’s okay,” Auri said softly. “I’m here. You’re safe.

It is indeed a song of steps. And as I have often said to you, these steps are not made to descend but to ascend. The questioner wishes then to ascend; and where does he wish to ascend if not to heaven? What does this mean—to ascend to heaven? Does he wish to ascend so as to be in the heavens with the sun, the moon, and the stars? Far from that! But there is in heaven an eternal Jerusalem where the angels, our co-citizens, are. From these co-citizens we on earth are estranged. In this exile we sigh; in the city we shall have joy.

Jon: Sometimes I dream about it. I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening door, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle. Sam: Do you ever find anyone in your dream? Jon: No one. The castle is always empty. Even the ravens are gone from the rookery, and the stables are full of bones, That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream. That's when I always wake.

It's love that does it to you," Jane would reply, in the resigned, ponderous voice of her mother. "You wait and see, my girl. One of these days you'll come down off your devil-maycare high horse." As Jane said this, and even though she was making fun, she could picture love, with a capital L, descending out of the sky towards her like a huge foot. Her mother's life had been a disaster, but in her own view an inevitable disaster, as in songs and movies. It was Love that was responsible, and in the face of Love, what could be done? Love was like a steamroller. There was no avoiding it, it went over you and you came out flat.

In science convictions have no rights of citizenship, as one says with good reason. Only when they decide to descend to the modesty of hypotheses, of a provisional experimental point of view, of a regulative fiction, they may be granted admission and even a certain value in the realm of knowledge - though always with the restriction that they remain under police supervision, under the police of mistrust. But does this not mean, if you consider it more precisely, that a conviction may obtain admission to science only when it ceases to be a conviction? Would it not be the first step in the discipline of the scientific spirit that one would not permit oneself any more convictions?

The flower-covered grave of the saint in the inner room could be seen dimly through the narrow doorway. In front of it was a wide vestibule where about two dozen people were seated in a circle. One of them was singing lustily some Persian verses, while others kept the time by clapping their hands; they joined in the refrain which was sung in chorus. Like rising tidal waves, the tempo of the singing was getting faster and faster, the clapping became more frantic and heads rolled from side to side, keeping time with the tempestuous melody. Eyes were closed and everyone was lost in the surging waves of emotion that seemed to flow out of the Sufistic poetry of the great Roomi. Then, to his amazement Anwar saw a man in the centre of the crowd open his eyes and stare vacantly. For a moment this man was silent, ominously silent and motionless in the midst of the emotional storm that raged around him. Then he was caught by a sudden frenzy, his whole body quivered and moved, beating time to the song which by now had reached a weird and frightening crescendo, faster and faster, louder and louder. The man's hands rose high in the air and as if clutching at an unseen rope, he raised himself and started to dance, wildly, ecstatically, tearing his clothes and pulling his hair, completely unselfconscious and unrestrained, oblivious of everything by some mysterious inner urge that demanded expression in this wild manner. And then the song died on the lips of the singer, the waves of emotion receded and in the ghostly silence that descended upon the assembly the standing figure of the man in the centre which looked inspired and hallowed a moment ago, suddenly appeared ridiculous and grotesque. For a few moments he stood as if poised for another outburst of frenzy. Then, deprived of the emotional support of the song, his knees sagged and he collapsed to the ground. For several minutes Anwar was speechless; so great had the effect of this spectacle been on him. His pulse beat faster, his mind was in a whirl and, as the song stopped, he felt a gnawing emptiness in his bowels. This then was Qawwali, the ecastatic ritual of the Persian Sufis.

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

If I had to hold up the most heavily guarded bank in Europe and I could choose my partners in crime, I’d take a gang of five poets, no question about it. Five real poets, Apollonian or Dionysian, but always real, ready to live and die like poets. No one in the world is as brave as a poet. No one in the world faces disaster with more dignity and understanding. They may seem weak, these readers of Guido Cavalcanti and Arnaut Daniel, these readers of the deserter Archilochus who picked his way across a field of bones. And they work in the void of the word, like astronauts marooned on dead-end planets, in deserts where there are no readers or publishers, just grammatical constructions or stupid songs sung not by men but by ghosts. In the guild of writers they’re the greatest and least sought-after jewel. When some deluded kid decides at sixteen or seventeen to be a poet, it’s a guaranteed family tragedy. Gay Jew, half black, half Bolshevik: the Siberia of the poet’s exile tends to bring shame on his family too. Readers of Baudelaire don’t have it easy in high school, or with their schoolmates, much less with their teachers. But their fragility is deceptive. So is their humor and the fickleness of their declarations of love. Behind these shadowy fronts are probably the toughest people in the world, and definitely the bravest. Not for nothing are they descended from Orpheus, who set the stroke for the Argonauts and who descended into hell and came up again, less alive than before his feat, but still alive. If I had to hold up the most heavily fortified bank in America, I’d take a gang of poets. The attempt would probably end in disaster, but it would be beautiful.

One of the first examples of forensic science solving a murder appears in a book called The Washing Away of Wrongs, published in 1247 by Song Ci, a Chinese coroner and detective. The author relates a story about a peasant found brutally hacked to death with a hand sickle. The local magistrate, unable to make headway in the investigation, calls for all the village men to assemble outside with their sickles; they’re instructed to place their sickles on the ground and then take a few steps back. The hot sun beats down. A buzz is heard. Metallic green flies descend in a chaotic swarm and then, as if collectively alerted, land on one sickle, crawling all over it as the other sickles lie undisturbed. The magistrate knew traces of blood and human tissue attract blowflies. The owner of the fly-covered sickle hung his head in shame. The case was solved.

What was captured on tape sounded apocalyptic. 'Eruption' (first titled 'Guitar Solo,' according to the song’s track sheet), takes flight after a quick drum fill and a power chord. Edward sends notes and harmonics soaring before diving down with some gravity-defying tremolo bar bends. Alex and Michael then fire off a flak burst of three chords. Edward maneuvers again, twisting and turning, strafing and bombing before turning on the jets and heading skyward with a flurry of notes. He recedes again, leaving only a descending low note in his wake. After another pause, he attacks again, faster than ever. He weaves and twists and then unleashes his secret weapon: his two-handed tapping technique that would astound and confound guitarists across the world. Finally, an atomic blast, courtesy of Edward’s Univox echo chamber, concludes this minute and forty-three seconds of open warfare on the guitar world.

The Meaning of Birds Of the genesis of birds we know nothing, save the legend they are descended from reptiles: flying, snap-jawed lizards that have somehow taken to air. Better the story that they were crab-apple blossoms or such, blown along by the wind; time after time finding themselves tossed from perhaps a seaside tree, floated or lifted over the thin blue lazarine waves until something in the snatch of color began to flutter and rise. But what does it matter anyway how they got up high in the trees or over the rusty shoulders of some mountain? There they are, little figments, animated---soaring. And if occasionally a tern washes up greased and stiff, and sometimes a cardinal or a mockingbird slams against the windshield and your soul goes oh God and shivers at the quick and unexpected end to beauty, it is not news that we live in a world where beauty is unexplainable and suddenly ruined and has its own routines. We are often far from home in a dark town, and our griefs are difficult to translate into a language understood by others. We sense the downswing of time and learn, having come of age, that the reluctant concessions made in youth are not sufficient to heat the cold drawn breath of age. Perhaps temperance was not enough, foresight or even wisdom fallacious, not only in conception but in the thin acts themselves. So our lives are difficult, and perhaps unpardonable, and the fey gauds of youth have, as the old men told us they would, faded. But still, it is morning again, this day. In the flowering trees the birds take up their indifferent, elegant cries. Look around. Perhaps it isn't too late to make a fool of yourself again. Perhaps it isn't too late to flap your arms and cry out, to give one more cracked rendition of your singular, aspirant song.

Vous etes comme tout le monde, vous prenez ces braves gens pour une tribu de syndics et de marchands, comptant leurs ecus avec leur cances de vie eternelle, et dont le seul lyrisme consiste a prendre parfois, couverts de larges chapeaux, des lecons d'anatomie? Vous vous trompez. Ils marchent pres de nous, il est vrai, et pourtant, voyez ou se trouvent leurs tetes: dans cette brume de neon, de genievre et de mente qui descend des enseignes rouges et vertes. La Hollande est un songe, monsieur, un songe d'or e te fumee, plus fumeux le jour, plus dore la nuit, et nuit et jour ce songe es peuple de Lohengrin comme ceux-ci, filant reveusement sur leurs noires bicyclettes a hauts guidons, cygnes funebres qui tournent sans treve, dans tout le pays, autour des mers, le long des canaux. Ils revent, la tete dans leur nuees cuivrees, ils roulent en rond, ils prient, somnambules, dans l'encens dore de la brume, ils ne sont plus la.

There is a hidden sweetness in the stomach’s emptiness. We are lutes, no more, no less. If the soundbox is stuffed full of anything, no music comes. But if brain and belly are burning clean with fasting, every moment a new song comes out of the fire. The fog clears and new energy makes you run up the steps in front of you. Be emptier, and cry like reed instruments cry. Emptier, write secrets with the reed pen. When you are full of food and drink, an ugly metal statue sits where your spirit should. When you fast, good habits gather like friends who want to help. Fasting is Solomon’s ring. Don’t give it to some illusion and lose your power, but even if you have, if you have lost all will and control, they come back when you fast, like soldiers appearing out of the ground, pennants flying above them. A table descends to your tents, Jesus’ table. Expect to see it when you fast, this table spread with other food, better than the broth of cabbages.

Samwell Tarly looked at him for a long moment, and his round face seemed to cave in on itself. He sat down on the frost-covered ground and began to cry, huge choking sobs that made his whole body shake. Jon Snow could only stand and watch. Like the snowfall on the barrowlands, it seemed the tears would never end. It was Ghost who knew what to do. Silent as shadow, the pale direwolf moved closer and began to lick the warm tears off Samwell Tarly's face. The fat boy cried out, startled... and somehow, in a heartbeat, his sobs turned to laughter. Jon Snow laughed with him. Afterward they sat on the frozen ground, huddled in their cloaks with Ghost between them. Jon told the story of how he and Robb had found the pups newborn in the late summer snows. It seemed a thousand years ago now. Before long he found himself talking of Winterfell. "Sometimes I dream about it," he said. "I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening doors, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle." The thought of Benjen Stark saddened him; his uncle was still missing. The Old Bear had sent out rangers in search of him. Ser Jaremy Rykker had led two sweeps, and Quorin Halfhand had gone forth from the Shadow Tower, but they'd found nothing aside from a few blazes in the trees that his uncle had left to mark his way. In the stony highlands to the northwest, the marks stopped abruptly and all trace of Ben Stark vanished. "Do you ever find anyone in your dream?" Sam asked. Jon shook his head. "No one. The castle is always empty." He had never told anyone of the dream, and he did not understand why he was telling Sam now, yet somehow it felt good to talk of it. "Even the ravens are gone from the rookery, and the stables are full of bones. That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream." He stopped, frowning, embarrassed. "That's when I always wake." His skin cold and clammy, shivering in the darkness of his cell. Ghost would leap up beside him, his warmth as comforting as daybreak. He would go back to sleep with his face pressed into the direwolf s shaggy white fur.

It came as a gift. A large gray bird flew up with a loud alarm call as he approached. As it gained height and wheeled away over the valley, it gave out a piping sound on three notes, which he recognized as the inversion of a line he had already scored for a piccolo. How elegant, how simple. Turning the sequence round opened up the idea of a plain and beautiful song in common time, which he could almost hear. But not quite. An image came to him of a set of unfolding steps, sliding and descending-from the trap door of a loft, or from the door of a light plane. One note lay over and suggested the next. He heard it, he had it, and then it was gone. There was a glow of a tantalizing afterimage and the fading call of a sad little tune....These notes were perfectly interdependent, little polished hinges swinging the melody through its perfect arc. He could almost hear it again as he reached the top of the angled rock slab and paused to reach into his pocket for notebook and pencil.

Friedrich Rückert wrote 425 poems After his two youngest children Died from scarlet fever Within sixteen days of each other In 1833 and 1834 he could not cope And often thought they had gone out For a while "they'll be home soon" He told himself to tell his wife "They're only taking a long walk" Mahler scored five of those poems In 1901 and 1904 for a vocalist And an orchestra to break your heart As soon as I heard the plaintive oboe And the descending movement of the horn And the lyric baritone entering I felt I should not be listening To Dietrich Fischer-Dieskau singing Kindertotenlieder with the Berlin Philharmonic Mahler's wife was superstitious And thought he was chancing disaster With Songs on the Death of Children "Now the sun wants to rise so brightly As if nothing terrible had happened overnight That tragedy happened to me alone" Mahler knew he could never have written them After his four-year-old daughter died From scarlet fever three years later He said he felt sorry for himself That he needed to write these songs And for the world that would listen to them

Helene Hanff, an aspiring playwright who had been put to work in the Theatre Guild press office, remembered trying to generate some effective publicity for Away We Go! “This was, they told us, the damndest musical ever thought up for a sophisticated Broadway audience,” Hanff wrote. “It was so pure you could put it on at a church social. It opened with a middle-aged farm woman sitting alone on a bare stage churning butter, and from then on it got cleaner.”16 It was the kind of Americana that Larry Hart distrusted. But at the New Haven tryout he tried to keep an open mind. Of the songs in Away We Go!’s first act, five of them—“Oh, What a Beautiful Mornin’,” “The Surrey with the Fringe on Top,” “Many a New Day,” “People Will Say We’re in Love,” and “Out of My Dreams”—were destined to become instant classics, with “All Er Nuthin’” and “Oklahoma!” delighting the audience in the second act. But Larry wasn’t so delighted. He might have regarded “We know we belong to the land” as a professionally crafted line, as resonant to recent immigrants as to Mayflower descendants; but “The land we belong to is grand”?

-Sometimes I dream about it. I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening door, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle. -Do you ever find anyone in your dream? -No one. The castle is always empty. Even the ravens are gone from the rookery, and the stables are full of bones, That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream. That's when I always wake. Jon and Sam

Blue Planet Phenomenon. she’s from the pink planet called Constellation he’s from the dark planet beyond under a constant monitor no love a interplanetary phenomenon he’s an interstellar she’s studying astronomy what they have seen sets in motion their biology they will meet on the blue planet they should know better it’s death if they get together interplanetary love is forbidden their passion keep it hidden they should know better but they must be together to the blue planet love velocity interstellar crossing Earth’s longitudes hiding their love in the new years eve multitudes they should know better their love still not allowed under another planets blanketing cloud Planet Earth in unified love new years eve blue planet phenomenon she will fall pregnant their baby conceived at a time of human unity their unborn baby and united humanity become one in harmony interstellar before they’re discovered too late their love uncovered they should know better it’s death for forbidden love together trial on dark planet they will all die today “kill them now” judgment say they plea for their unborn baby’s mercy a reprieve child leniency only for their baby clemency “bring on the birth” authorities say a unpredicted baby delivery conceived in a time of human unity a love descendant of humanity interstellar love racing interplanetary embracing human love emanating from their newborn baby blanketing pink planet with love blanketing dark planet with love two planets authority depleting two planets a love meeting now love not forbidden love never to be hidden interstellar love plea she and he with their baby to go free By R.M. Romarney.

HIPP. Ah me! I perceive indeed the power that hath destroyed me. DI. She thought her honor aggrieved, and hated thee for being chaste. HIPP. One Venus hath destroyed us three. DI. Thy father, and thee, and his wife the third. HIPP. I mourn therefore also my father's misery. DI. He was deceived by the devices of the Goddess. HIPP. Oh! unhappy thou, because of this calamity, my father! THES. I perish, my son, nor have I delight in life. HIPP. I lament thee rather than myself on account of thy error. THES. My son, would that I could die in thy stead! HIPP. Oh! the bitter gifts of thy father Neptune! THES. Would that the prayer had never come into my mouth. HIPP. Wherefore this wish? thou wouldst have slain me, so enraged wert thou then. THES. For I was deceived in my notions by the Gods. HIPP. Alas! would that the race of mortals could curse the Gods! DI. Let be; for not even when thou art under the darkness of the earth shall the rage arising from the bent of the Goddess Venus descend upon thy body unrevenged: by reason of thy piety and thy excellent mind. For with these inevitable weapons from mine own hand will I revenge me on another, [52] whoever to her be the dearest of mortals. But to thee, O unhappy one, in recompense for these evils, will I give the greatest honors in the land of Trœzene; for the unwedded virgins before their nuptials shall shear their locks to thee for many an age, owning the greatest sorrow tears can give; but ever among the virgins shall there be a remembrance of thee that shall awake the song, nor dying away without a name shall Phædra's love toward thee pass unrecorded:—But thou, O son of the aged Ægeus, take thy son in thine arms and clasp him to thee; for unwillingly thou didst destroy him, but that men should err, when the Gods dispose events, is but to be expected!—and thee, Hippolytus, I exhort not to remain at enmity with thy father; for thou perceivest the fate, whereby thou wert destroyed. And farewell! for it is not lawful for me to behold the dead, nor to pollute mine eye with the gasps of the dying; but I see that thou art now near this calamity.

The Poised Edge of Chaos Sand sifts down, one grain at a time, forming a small hill. When it grows high enough, a tiny avalanche begins. Let sand continue to sift down, and avalanches will occur irregularly, in no predictable order, until there is a tiny mountain range of sand. Peaks will appear, and valleys, and as sand continues to descend, the relentless sand, piling up and slipping down, piling up and slipping down, piling up - eventually a single grain will cause a catastrophe, all the hills and valleys erased, the whole face of the landscape changed in an instant. Walking yesterday, my heels crushed chamomile and released intoxicating memories of home. Earlier this week, I wrote an old love, flooded with need and desire. Last month I planted new flowers in an old garden bed - one grain at a time, a pattern is formed, one grain at a time, a pattern is destroyed, and there is no way to know which grain will build the tiny mountain higher, which grain will tilt the mountain into avalanche, whether the avalanche will be small or catastrophic, enormous or inconsequential. We are always dancing with chaos, even when we think we move too gracefully to disrupt anything in the careful order of our lives, even when we deny the choreography of passion, hoping to avoid earthquakes and avalanches, turbulence and elemental violence and pain. We are always dancing with chaos, for the grains sift down upon the landscape of our lives, one, then another, one, then another, one then another. Today I rose early and walked by the sea, watching the changing patterns of the light and the otters rising and the gulls descending, and the boats steaming off into the dawn, and the smoke drifting up into the sky, and the waves drumming on the dock, and I sang. An old song came upon me, one with no harbour nor dawn nor dock, no woman walking in the mist, no gulls, no boats departing for the salmon shoals. I sang, but not to make order of the sea nor of the dawn, nor of my life. Not to make order at all. Only to sing, clear notes over sand. Only to walk, footsteps in sand. Only to live.

I want to begin my fight for the future of our world with the sharing of a vision. Everyone has, or should have, a vision. This is mine. It is a simple vision, really. It begins with the creation of a single, sane, planetary civilization. That will have to be very much like a utopia. People will deny the possibility of such a dream. They will say that people have always been at each other's throats, that this is just human nature, the way of the world. That we can never change the world. But that is just silly. That is like saying that two battling brothers, children, will never grow up to be the best of friends who watch each other’s backs. Once, a long time ago, people lost their sons and daughters to the claws of big cats. In classic times, the Greeks and the Romans saw slavery as evil, but as a necessary evil that could never go away. Only seventy years ago, Germany and France came to death blows in the greatest war in history; now they share a common currency, open borders, and a stake in the future of Europe. The Scandinavians once terrorized the world as marauding Vikings gripping bloody axes and swords, while now their descendents refrain from spanking their children, and big blond–haired men turn their hands to the care of babies. We all have a sense of what this new civilization must look like: No war. No hunger. No want. No very wealthy using their money to manipulate laws and lawmakers so that they become ever more wealthy while they cast the poor into the gutters like garbage. The wasteland made green again. Oceans once more teeming with life. The human heart finally healed. A new story that we tell ourselves about ourselves and new songs that we sing to our children. The vast resources once mobilized for war and economic supremacy now poured into a true science of survival and technologies of the soul. I want this to be. But how can it be? How will we get from a world on the brink of destruction to this glorious, golden future? I do not know. It is not for any one person to know, for to create the earth anew we will need to call upon the collective genius and the good will of the entire human race. We will need all our knowledge of history, anthropology, religion, and science, and much else. We will need a deep, deep sympathy for human nature, in both its terrible and angelic aspects.

LXXII In sooth, it was no vulgar sight to see Their barbarous, yet their not indecent, glee, And as the flames along their faces gleam’d, Their gestures nimble, dark eyes flashing free, The long wild locks that to their girdles stream’d, While thus in concert they this lay half sang, half scream’d: Tambourgi! Tambourgi! thy ’larum afar Gives hope to the valiant, and promise of war; All the sons of the mountains arise at the note, Chimariot, Illyrian, and dark Suliote! Oh! who is more brave than a dark Suliote, To his snowy camese and his shaggy capote? To the wolf and the vulture he leaves his wild flock, And descends to the plain like the stream from the rock. Shall the sons of Chimari, who never forgive The fault of a friend, bid an enemy live? Let those guns so unerring such vengeance forego? What mark is so fair as the breast of a foe? Macedonia sends forth her invincible race; For a time they abandon the cave and the chase: But those scarves of blood-red shall be redder, before The sabre is sheathed and the battle is o’er. Then the pirates of Parga that dwell by the waves, And teach the pale Franks what it is to be slaves, Shall leave on the beach the long galley and oar, And track to his covert the captive on shore. I ask not the pleasure that riches supply, My sabre shall win what the feeble must buy; Shall win the young bride with her long flowing hair, And many a maid from her mother shall tear. I love the fair face of the maid in her youth, Her caresses shall lull me, her music shall soothe; Let her bring from her chamber the many-toned lyre, And sing us a song on the fall of her sire. Remember the moment when Previsa fell, The shrieks of the conquer’d, the conquerors’ yell; The roofs that we fired, and the plunder we shared, The wealthy we slaughter’d, the lovely we spared. I talk not of mercy, I talk not of fear; He neither must know who would serve the Vizier: Since the days of our prophet, the Crescent ne’er saw A chief ever glorious like Ali Pasha. Dark Muchtar his son to the Danube is sped, Let the yellow-haired Giaours view his horsetail with dread; When his Delhis come dashing in blood o’er the banks, How few shall escape from the Muscovite ranks! Selictar, unsheath then our chief’s scimitar: Tambourgi! thy ’larum gives promise of war; Ye mountains, that see us descend to the shore, Shall view us as victors, or view us no more!

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

Kim Il-sung understood the power of religion. His maternal uncle was a Protestant minister back in the pre-Communist days when Pyongyang had such a vibrant Christian community that it was called the “Jerusalem of the East.” Once in power, Kim Il-sung closed the churches, banned the Bible, deported believers to the hinterlands, and appropriated Christian imagery and dogma for the purpose of self-promotion. Broadcasters would speak of Kim Il-sung or Kim Jong-il breathlessly, in the manner of Pentecostal preachers. North Korean newspapers carried tales of supernatural phenomena. Stormy seas were said to be calmed when sailors clinging to a sinking ship sang songs in praise of Kim Il-sung. When Kim Jong-il went to the DMZ, a mysterious fog descended to protect him from lurking South Korean snipers. He caused trees to bloom and snow to melt. If Kim Il-sung was God, then Kim Jong-il was the son of God. Like Jesus Christ, Kim Jong-il’s birth was said to have been heralded by a radiant star in the sky and the appearance of a beautiful double rainbow. A swallow descended from heaven to sing of the birth of a “general who will rule the world.

There’s nothing that makes me cry harder than fiction. There’s nothing that makes me weep, nothing that holds my breath and brings tears stinging to my eyes more than fiction. And all those sad realities which filter through my days. They leave no lasting impression. All they serve is small reminders of my busy life. Small purposes: remember the pain of the world. Okay, alright. I remember it all. Then I go watch a movie. I listen to the classical music station in my car at five-thirty pm where they always play that same song. I watch a play, watch the performance. Watch the smoke descend upon the stage. This fiction. It’s the only thing that affects me. Funny, isn’t it?

Blood bears all it has known and seen unto the following generations. Those who tread the earth leave the scent of memory, registered in cells. They live even now, drifting through the dreams of descendants. You can hear them calling. . . .

Descending to the earth, that strange intoxicating beauty of the unseen world, lurks in the elements of Nature. And the soul of man, who has attained the rightful balance, becoming aware of this hidden joy, straight away is enamoured and bewitched. And from this mystic marriage are born the poets' songs, inner knowledge, the language of the heart, virtuous living, and the fair child beauty. And the Great Soul gives to man as dowry, the hidden glory of the world.

8 ETHIOPIA Lucy Welcomes You Home —National Museum of Ethiopia poster Many things come from Ethiopia—for example, humans. A long time ago, in the Awash Valley, a humanlike ape hominin lived. She could walk on two legs but also hung out in trees; indeed, a fall from one may have caused her demise. Some 3.2 million years later, in 1974, one of her descendants, the paleoanthropologist Donald Johanson, came across her skeleton, and subsequent research suggested that this may be the region from where we all originated. Our ancestor was named Lucy due to the Beatles song “Lucy in the Sky with Diamonds,” which played at Johanson’s campsite that night. It certainly catches our imagination better than her scientific name: AL 288-1. The National Museum of Ethiopia’s poster “Lucy Welcomes You Home” is a clever piece of marketing, as is the national tourism slogan “Land of Origins,” which has helped boost visitor numbers in a country putting itself on the map in many ways. Tourism accounts for almost 10 percent of Ethiopia’s GDP, with close to 1 million people a year venturing into an epic landscape of high mountains, tropical forests, burning deserts, nine World Heritage sites, including thousand-year-old churches hewn out of solid rock, and breathtaking waterfalls.

That peculiar light just before sunset, before gloaming: it is then that Essa sees for the first time the famous dunes at Avanue, which roll like fat people in their sleep, and shift restlessly forever. “They cast long shadows, these sleeping giants, and Essa shivers. She has walked too far—after the trip north she was so grateful to be out of hospital—her hands and feet are cold, and she is dizzy with exhaustion. She sits down on the ragged grass at the edge of the bluff which overlooks the dunes, and tries not to hate them. “Her mother’s words, remembered in a dream, sound like water flowing in her thoughts. There is no water here. The grasses under her are dry and stiff, and they grow in sand so fine it grits through her clothing against the skin of her ass. The sea is too far away to see or smell. But at least she is alone. “Though she is shivering, it is still a hot day, and the sun has warmed the sand. The ground radiates heat into her body. She lies down flat on her belly, her head to one side so that she can still see the dunes, and puts her hands beneath her; gradually they warm. “Gradually her body comes back into balance and she starts to see an eerie beauty before her. The sun is fully down when she sits up, brushes the sand away as well as she can, and hugs her knees to her chest. She puts her chin on her knees and watches darkness descend over the low rolling landscape. “This is unlike any cliff on which she has rested yet. It is low and gives no perspective. The dunes come up almost to her feet. Yet the demarcation is quite abrupt: there is no grass growing anywhere after this brief crumbling drop-off, and she can see as the land-breeze begins to quicken that ahead of her the sand is moving. In fact, she realizes, she can hear it, a low sweeping sound which has mounted from inaudibility until it inexorably backs every other sound: sounds of grasses moving, insects scraping, birds calling from the invisible sea far beyond her viewpoint are all subsumed in one great sand-song. “It is a sound so relentlessly sad that Essa can hardly bear to listen, but so persistent that she cannot ignore it now that she has become aware of its susurration. She pulls her sweater—the one her mother made by her knitting—around her and waits. “When it is fully dark and the wind has died again, she rises and begins the long walk back to town in the dim light of stars and crescent moon.

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

When looking at the big picture of life, I find myself the weaver and the woven, the artist and the canvas. A symphony of creation plays within my soul, coaxing forth an insatiable yearning to explore the unfathomable depths of human experience. I am a vessel, filled to the brim with the intoxicating brew of inspiration, a force as elusive as a springtime breeze yet as powerful as the wildest storm. It strikes unbidden, a siren's song that lures me towards the uncharted waters of creativity and innovation, fanning the embers of my spirit into a blaze that illuminates my existence. Yet, of late, I perceive a disquieting shift within my innermost self. A pall of ordinariness has descended upon my world, casting its dreary shadow upon the vibrant tapestry that once spoke to me in hues of myriad emotions. The world, which once shimmered with the uncaptured beauty of a million sunsets, now lies barren and cold, bereft of the inspirational light that once guided my every step. The colors have dimmed, the music has faded, and I stand at the precipice, yearning for the spark that will reignite the fire within. I am Jonathan Harnisch, and this is my cry into the void.

Every little twerp is descended from Heracles these days, it’s practically a requirement for entry to polite society.

I rolled around and hit my face to wake myself up, but the pain proved that everything was real - because pain is another word for reality. The surfaces were hard, indeed. My eyes were wide open and lucid, but fear had deformed everything, it had driven me into the hallucination and delirium. I stood up, shook the industrial refuse from my clothes, and went back, my heart beating more strongly than it should have, to the door gaping open in the great building's wall. I knew full well that on the outside, the building was perfectly rectangular, that there was no way for the door to open into a room, and yet it led into a virtual depth, as inexplicable as the depth of a photograph, or the depths of perspective that create a third, and false, dimension in paintings on a wall. If you could go inside a trompe l'oeil mural, you wouldn't descend into its fraudulent depths, you would only get smaller as you moved along unseen lines of perspective. You wouldn't move through constantly changing spaces, with porphyry arches and columns and unintelligible Biblical images opening and closing behind you; rather, they would change their shapes constantly, rectangles would become parallelograms and trapezoids, the arcs of circles would change into hyperbolas, and circle into ellipses, becoming thinner and thinner as they tried to look deeper and farther away. I often thought that the world, along its three dimensions, is an equally deceiving trompe l'oeil for the infinitely more complex eye of our mind, with its two cerebral hemispheres taking in the world at slightly different angles, such that, by combining rational analysis and mystical sensibility, speech and song, happiness and depression, the abject and the sublime, it will make the amazing rosebud of the fourth dimension open before us, with its pearly petals, with its full depth, with its cubic surface, with its hypercubic volume. As though an embryo didn't grow in its mother's womb but arrived, from far away, and only the illusion of perspective made it seem to grow, like a wayfarer approaching along an empty road. A wayfarer who, after he passes through the iliac portal, continues his illusory rise, first an infant, then a child, then an adolescent, and in the end, when he is face-to-face with you and looks you in the eyes, he smiles at you like a friend from the other side of the mirror, having found you again, at last.

Laughing, I stood up and got her a Coke from the fridge. When I handed it to her, Raven stared at my flat belly then leaned her face against it. “You’re so lucky,” she whispered. “Your mommy will make you laugh and kiss away the tears. She’ll read you books about self esteem then sing you awful songs until you sleep out of boredom. You’re going to grow up so loved and you won’t know any other way.” When Raven looked up at me, she smiled at my tears. “I wish I had a mom like you, Lark. Everyone does. You’re going to love the shit out of this kid and you’ll make it look easy. No worries, okay?” “Okay,” I whispered, caressing her face. “I’m so glad you came home.” “Me too.” The sound of dogs’ claws on the wood floors ended the quiet moment. “Thank goodness we have company,” Raven said. “I was gonna start bawling.” Startled by a new person in the house, Pollack descended into a barking fit while Professor played tough guy by growling. Raven barked back at Pollack who decided she couldn’t argue with crazy and ran away. Already laughing before he turned the corner, Aaron took a minute to realize who was sitting with me. “Raven came home,” I told him and he smiled wider. “She speaks dog too.” “Pollack has never met a challenge she couldn’t run from,” he said then glanced down at a growling Professor. “Hush.” The dog grudgingly quieted, but kept an eye on Raven who stood up and shook Aaron’s hand. “You planning to make an honest woman out of my sister?” she asked in a voice more suiting of a protective dad. “Yes, sir.

But let us read the words of one, who was no mean scientist, the words of one whose wisdom was the wonder of his day in the whole world. A man to whom God Himself said, “Lo, I have given thee a wise and an understanding heart; so that there was none like thee before thee, neither after thee shall any arise like unto thee.” I Kings 3.12. A man of whom the inspired word of God says, “He was wiser than all men; and his fame was in all nations round about. And he spake three thousand proverbs: and his songs were a thousand and five. And he spake of threes, from the cedar tree that is in Lebanon even unto the hyssop that springeth out of the wall: he spake also of beasts, and of fowl, and of creeping things, and of fishes. And there came of all people to hear the Wisdom of Solomon, from all kings of the earth, which had heard of his wisdom.” I Kings 4.31-34 In His proverbs he speaks much of the wonderful works of God, and in one of them he refers directly to the work that was done on the second day of creation week, and connects it with the word of God by which it was accomplished. Thus, “Who hath ascended up into heaven or descended? Who hath fathered the wind in his fists? Who hath bound the waters in garment? Who hath established all the ends of the earth? What is His name, and what is His Son’s name, if thou canst tell? Every word of God is pure: He is a shield unto them that put their trust in him. Add thou not unto His word, lest He reprove thee, and thou be found a liar.” Proverbs 30.4-6 The rain which God has bound up in His thick clouds, and which His voice - the same voice that speaks peace and righteousness - causes to fall upon the earth, is a pledge to us of God’s willingness to forgive. Listen to the holy boldness of the prophet Jeremiah: “We acknowledge, O Lord, our wickedness, and the iniquity of our fathers: for we have sinned against Thee. Do not abhor us, for Thy name’s sake, do not disgrace the throne of Thy glory: remember; break not thy covenant with us. Are there any among the vanities of the Gentiles that can cause rain? Or can the heavens give showers? Art not Thou He, O Lord our God? Therefore we will wait upon Thee: for Thou hast made all these things.” Jeremiah 14.20-22. The Lord is the One who causes rain; therefore we will wait upon Him, in confidence that He will not abhor us, even though we have grievously sinned; but that He will, for the sake of His own word, pardon our iniquity.

The Binding of Isaac and the Binding of You and Me With Rosh Hashanah coming in a few weeks, it is a good time to think about some of its important lessons. The High Holy Days are a time to evaluate our relationship with important people in our lives. We ask their forgiveness, they ask ours, and if there is regret for past faults and insensitive acts (Tradition calls them “sins”), we lend forgiveness to others, and they to us. Rosh Hashanah is also a time to think about our relation with our Tradition, with Judaism. It is the Jewish New Year, and a time to reexamine where we stand with regard to the faith/culture/civilization we call Judaism. Those hearing these words have already taken significant steps toward solidifying their Jewish connections by joining a synagogue, coming to religious worship, and doing many other Jewish things in our lives. Take a few moments—even a few hours—to think about and discuss your Jewish values and priorities with your loved ones and intellectual sparring partners. How can you deepen and strengthen your Jewish ties and commitments in the coming year? Perhaps that is why we are bidden to hear the sound of the Shofar each morning for thirty days during the month of Elul, before Rosh Hashanah, as well as on the New Year itself. The Talmud, in tractate “Rosh Hashanah” (16a), tells us: “Rabbi Abahu said: Why do we use the horn of a ram on Rosh Hashanah? Because the Blessed Holy One is saying to us: If you blow a horn from a ram before Me on Rosh Hashanah, I will be reminded of the act of ultimate faith performed by Avraham when he was ready to carry out my demand, even though a ram was eventually sacrificed in place of Yitzhak. The merit of Avraham will reflect merit on you, his descendants. In fact, when you blow the Shofar, and I remember the Binding (Hebrew: Akedah) of Yitzhak I will attribute to you the merit of having bound (Hebrew: akad-tem) yourselves to me. As we begin to blow the Shofar each morning, from the first day of the Hebrew month of Elul, let’s begin to think about how we bind ourselves to God. About our Jewish boundaries, the ties that bind us to our Jewish past. Let’s think of how our ritual lives can be enriched and enhanced with more song, custom, prayer and ceremony. Let’s think of how we can give ourselves to more Jewish causes (Israel, Jewish education, the synagogue), and how being Jewish can help bind and tie us to the needs of humanity (the environment, the needs of our community, the eradication of poverty and injustice). Rabbi Dov Peretz Elkins

Christopher came up behind her. As Beatrix turned to face him, he searched her face with a gently quizzical gaze. “If you like, we can spend our first night together here,” he said. “But if this doesn’t suit you, we’ll go to Phelan House.” Beatrix could hardly speak. “You did this for me?” He nodded. “I asked Lord Westcliff if we might stay the night here. And he had no objections to a little redecorating. Do you--” He was interrupted as Beatrix flung herself at him and wrapped her arms tightly around his neck. Christopher held her, his hands coursing slowly over her back and hips. His lips found the tender skin of her cheeks, her chin, the yielding softness of her mouth. Through the descending diaphanous layers of pleasure, Beatrix answered him blindly, taking a shivering breath as his long fingers curved beneath her jaw. He shaped her lips with his own, his tongue questing gently. The taste of him was smooth and subtle and masculine. Intoxicating. Needing more of him, she struggled to draw him deeper, to kiss him harder, and he resisted with a quiet laugh. “Wait. Easy…love, there’s another part of the surprise that I don’t want you to miss.” “Where?” Beatrix asked drowsily, her hand searching over his front. Christopher gave a muffled laugh, taking her by the shoulders and easing her away. He stared down at her, his gray eyes glowing. “Listen,” he whispered. As the thrumming of her own heart quieted, Beatrix heard music. Not instruments, but human voices joined in harmony. Bemused, she went to the window and looked out. A smile lit her face. A small group of officers from Christopher’s regiment, still in uniform, were standing in a row and singing a slow, haunting ballad. Were I laid on Greenland’s coast, And in my arms embrac’d my lass; Warm amidst eternal frost, Too soon the half year’s night would pass. And I would love you all the day. Ev’ry night would kiss and play, If with me you’d fondly stray. Over the hills and far away… “Our song,” Beatrix whispered, as the sweet strains floated up to them. “Yes.

What’s my big beef with capitalism? That it desacralizes everything, robs the world of wonder, and leaves it as nothing more than a vulgar market. The fastest way to cheapen anything—be it a woman, a favor, or a work of art—is to put a price tag on it. And that’s what capitalism is, a busy greengrocer going through his store with a price-sticker machine—ka-CHUNK! ka-CHUNK!—$4.10 for eggs, $5 for coffee at Sightglass, $5,000 per month for a run-down one-bedroom in the Mission. Think I’m exaggerating? Stop and think for a moment what this whole IPO ritual was about. For the first time, Facebook shares would have a public price. For all the pageantry and cheering, this was Mr. Market coming along with his price-sticker machine and—ka-CHUNK!—putting one on Facebook for $38 per share. And everyone was ecstatic about it. It was one of the highlights of the technology industry, and one of the “once in a lifetime” moments of our age. In pre-postmodern times, only a divine ritual of ancient origin, victory in war, or the direct experience of meaningful culture via shared songs, dances, or art would cause anybody such revelry. Now we’re driven to ecstasies of delirium because we have a price tag, and our life’s labors are validated by the fact it does. That’s the smoldering ambition of every entrepreneur: to one day create an organization that society deems worthy of a price tag. These are the only real values we have left in the twilight of history, the tired dead end of liberal democratic capitalism, at least here in the California fringes of Western civilization. Clap at the clever people getting rich, and hope you’re among them. Is it a wonder that the inhabitants of such a world clamor for contrived rituals of artificial significance like Burning Man, given the utter bankruptcy of meaning in their corporatized culture? Should we be surprised that they cling to identities, clusters of consumption patterns, that seem lifted from the ads-targeting system at Facebook: “hipster millennials,” “urban mommies,” “affluent suburbanites”? Ortega y Gasset wrote: “Men play at tragedy because they do not believe in the reality of the tragedy which is actually being staged in the civilized world.” Tragedy plays like the IPO were bound to pale for those who felt the call of real tragedy, the tragedy that poets once captured in verse, and that fathers once passed on to sons. Would the inevitable descendants of that cheering courtyard crowd one day gather with their forebears, perhaps in front of a fireplace, and ask, “Hey, Grandpa, what was it like to be at the Facebook IPO?” the way previous generations asked about Normandy or the settling of the Western frontier? I doubt it. Even as a participant in this false Mass, the temporary thrill giving way quickly to fatigue and a budding hangover, I wondered what would happen to the culture when it couldn’t even produce spectacles like this anymore.

The hour that was for them, for us, for all who had awakened one morning to see their fields covered with blood rather than harvest, who didn't seek to change the world but lived in good faith and prayer offered to an imposing God, for the young women who mended their men's clothing and held their sons' mouths to the purple nipples of sweet breasts, for the man who watched the suns descend behind the mountain every evening and dreamed and when his sons were grown, passed on his dreams, for the black nights when guitars harmonized with the wind's song, to the bottle of regional brew, and a hand-rolled cigarette, to the baptism and a dance of celebration, to the aroma of soups simmering on wood-burning stoves and filled the bellies of those who worked the fields, to a candle that burned in vigil while a hungry mind gulped the printed truth of another's legacy, to the owl that called from between the moon and earth while lovers enwrapped their passion on silver tinted grass, to the history of the world and to its future, to all that had lived and died and had been born again in that moment as i approached am opaque window and pointed my weapon.

The Future Glory of Zion 1“Sing, O barren woman, you who never bore a child; burst into song, shout for joy, you who were never in labor; because more are the children of the desolate woman than of her who has a husband,” says the LORD. 2“Enlarge the place of your tent, stretch your tent curtains wide, do not hold back; lengthen your cords, strengthen your stakes. 3For you will spread out to the right and to the left; your descendants will dispossess nations and settle in their desolate cities. 4“Do not be afraid; you will not suffer shame. Do not fear disgrace; you will not be humiliated. You will forget the shame of your youth and remember no more the reproach of your widowhood. 5For your Maker is your husband— the LORD Almighty is his name— the Holy One of Israel is your Redeemer; he is called the God of all the earth. 6The LORD will call you back as if you were a wife deserted and distressed in spirit— a wife who married young, only to be rejected,” says your God. 7“For a brief moment I abandoned you, but with deep compassion I will bring you back. 8In a surge of anger I hid my face from you for a moment, but with everlasting kindness I will have compassion on you,” says the LORD your Redeemer. 9“To me this is like the days of Noah, when I swore that the waters of Noah would never again cover the earth. So now I have sworn not to be angry with you, never to rebuke you again. 10Though the mountains be shaken and the hills be removed, yet my unfailing love for you will not be shaken nor my covenant of peace be removed,” says the LORD, who has compassion on you. 11“O afflicted city, lashed by storms and not comforted, I will build you with stones of turquoise,† your foundations with sapphires.† 12I will make your battlements of rubies, your gates of sparkling jewels, and all your walls of precious stones. 13All your sons will be taught by the LORD, and great will be your children’s peace. 14In righteousness you will be established: Tyranny will be far from you; you will have nothing to fear. Terror will be far removed; it will not come near you. 15If anyone does attack you, it will not be my doing; whoever attacks you will surrender to you. 16“See, it is I who created the blacksmith who fans the coals into flame and forges a weapon fit for its work. And it is I who have created the destroyer to work havoc; 17no weapon forged against you will prevail, and you will refute every tongue that accuses you. This is the heritage of the servants of the LORD, and this is their vindication from me,” declares the LORD.

human nature of their origins runs counter to the prevailing cultural view of the ancient Near East. In the Genesis narrative, we see man becoming a contributor under God in the ongoing work of creation, through the development of culture. We learn that city life is not to be seen as simply a punishment for humanity after the banishment from the garden. Rather the city has inherent capacities for bringing human beings together in such a way that enhances both security and culture making. However, as can be seen in the line of Cain, these capacities, under the influence of sin and rebellion against God, can be generators of great evil. The song of Lamech, Cain’s descendant, shows the Cainite city dwellers using all their advances to form a culture of death (Gen 4:23 – 24). Here is the first clear indicator of the dual nature of the city. Its capability for enormous good — for the culture-making creation of art, science, and technology — can be used to produce tremendous evil. Henri Blocher does not consider it a coincidence that the first mention of anti-God culture making is tied to the first instance of city building, but he warns against drawing the wrong conclusion: It is no doubt significant that [in Genesis 4] progress in arts and in engineering comes from the “city” of the Cainites. Nevertheless, we are not to conclude from this that civilization as such is… the fruit of sin. Such a conclusion would lead us to Manichaeism or to the views of Jean-Jacques Rousseau… The Bible condemns neither the city (for it concludes with the vision of the City of God) nor art and engineering.14 Blocher may be responding to writers such as Geerhardus Vos, who in his Biblical Theology points to “the problem

In school, this explicit teaching of facts and procedures is rampant in almost every subject area. In science, it’s called “the scientific method” and often includes steps such as: Observe something and/or do research. Construct a hypothesis. Make a prediction based on your hypothesis. Test your hypothesis by doing an experiment. Analyze the results of your experiment. Determine if your hypothesis was correct. The steps vary slightly between models. However, no matter the actual words on the checklist, or how many steps are included, we teach them to children as if they descended on stone tablets. Teachers devise songs or mnemonic devices to help students memorize the rigid steps. Then students memorize the vocabulary words that go along with the scientific method: hypothesis, fair test, variables, control groups, reliability, validity, etc. Finally, students fill out worksheets to match the vocabulary words with the correct definitions and put the steps in order. This is not science. Science is about wonder and risk and imagination, not checklists or vocabulary memorization. Alan Kay laments that much of what schools teach isn’t science at all, it’s science appreciation. (Kay, 2007)

And he knew he came from addict blood. His mom’s brain had been wired wrong, and her parents’ brains and their parents’ brains all the way back a long descending line of Indian heads figuring it out as best they could. Past family members and the ancestors were constantly sending their blessings and curses down through time from that beyond before, that gave his present its particular bent, its dimness, its light, its scream, and its song, but also its sometimes dead silence.

These bluebells must have been the direct descendants of flowers that had been the background of many a Druidic May Day ritual round those great oaks. They brought with them in their oozy stalks and in their drooping heads the feeling of a thousand springs of English history. They brought too the sense of masses of hazel-branches darkly clustering around these blue spaces in the deep wood and hiding the fluttering chaffinches and blackcaps whose songs issued forth from their entanglement.

NIGHT The sun descending in the West, The evening star does shine; The birds are silent in their nest, And I must seek for mine.

I set out on my trip, imbued with the spirit of old Omar: Ah, make the most of what we yet may spend, Before we too into the Dust descend; Dust into Dust, and under Dust, to lie, Sans Wine, sans Song, sans Singer, and—sans End!