Descriptive Ocean Quotes

When we are sad—at least I am like this—it can be comforting to cling to familiar objects, to the things that don't change. Your descriptions of the desert—that oceanic, endless glare—are terrible but also very beautiful. Maybe there's something to be said for the rawness and emptiness of it all. The light of long ago is different from the light of today and yet here, in this house, I'm reminded of the past at every turn. But when I think of you, it's as if you've gone away to sea on a ship—out in a foreign brightness where there are no paths, only stars and sky.

There is not a name for what I'm feeling. There is no description for it. To call it yearning would be like calling the ocean water. Whatever this thing is, it shoves you inside itself and you can't measure its boundaries because they go too far and you don't have enough time. Or you move toward the boundaries and they move away. There has been an earthquake in my life. Catastrophic, civilization-ending.

As I lay there, listening to the soft slap of the sea, and thinking these sad and strange thoughts, more and more and more stars had gathered, obliterating the separateness of the Milky Way and filling up the whole sky. And far far away in that ocean of gold, stars were silently shooting and falling and finding their fates, among these billions and billions of merging golden lights. And curtain after curtain of gauze was quietly removed, and I saw stars behind stars behind stars, as in the magical Odeons of my youth. And I saw into the vast soft interior of the universe which was slowly and gently turning itself inside out. I went to sleep, and in my sleep I seemed to hear a sound of singing.

I wish I could tell you about the South Pacific. The way it actually was. The endless ocean. The infinite specks of coral we called islands. Coconut palms nodding gracefully toward the ocean. Reefs upon which waves broke into spray, and inner lagoons, lovely beyond description. I wish I could tell you about the sweating jungle, the full moon rising behind the volcanoes, and the waiting. The waiting. The timeless, repetitive waiting.

In front of us, the ocean stretched for eternity. Around us, reggae mussy floated through the air. In our drying clothes and still-damp hair, we ate junk food and talked. At some point we finished and went for a long walk in the sand. We picked up shells, laughed, and talked. Before I knew it, the sun was going down and we went back to the van. We lay side by side, stretched out on the blanket. When the sun dropped completely below the horizon, we let the moon illuminate us.

The salt smell of the ocean, sharp and steady, called to her from the window. Looking out, she saw her sisters, the waves, beckoning her with their white arms.

In the aftermath of the recent wave action in the Indian Ocean, even the archbishop of Canterbury, Dr. Rowan Williamson [sic], proved himself a latter-day Voltairean by whimpering that he could see how this might shake belief in a friendly creator. Williamson is of course a notorious fool, who does an almost perfect imitation of a bleating and frightened sheep, but even so, one is forced to rub one's eyes in astonishment. Is it possible that a grown man could live so long and still have his personal composure, not to mention his lifetime job description, upset by a large ripple of seawater?

A company should never outsource its eyes. There is simply no substitute for seeing for yourself. Great artists don’t paint from other people’s descriptions or even from photographs; they like to see the subject for themselves. The same is true for great strategists.

Swelter, as soon as he saw who it was, stopped dead, and across his face little billows of flesh ran swiftly here and there until, as though they had determined to adhere to the same impulse, they swept up into both oceans of soft cheek, leaving between them a vacuum, a gaping segment like a slice cut from a melon. It was horrible. It was as though nature had lost control. As though the smile, as a concept, as a manifestation of pleasure, had been a mistake, for here on the face of Swelter the idea had been abused.

Dinner was wonderful. There was a joint of beef, with roast potatoes, golden-crisp on the outside and soft and white inside, buttered greens I did not recognize, although I think now that they might have been nettles, toasted carrots all blackened and sweet (I did not think that I liked cooked carrots, so I nearly did not eat one but I was brave, and I tried it, and I liked it, and was disappointed in boiled carrots for the rest of my childhood.) For dessert there was the pie, stuffed with apples and with swollen raisins and crushed nuts, all topped with a thick yellow custard, creamier and richer than anything I had ever tasted at school or at home. The kitten slept on a cushion beside the fire, until the end of the meal, when it joined a fog-colored house cat four times its size in a meal of scraps of meat.

For the first time his senses began to register the exotic, heady atmosphere of Mumbai...the odors most insistently demanded his attention. There were layers upon layers of them, all present at once but individually distinct. They shifted in strength and character with the ocean breeze that blew soft, irregular gusts across his face. First came the sharp tang of engine fuel mingled with an even more acrid burning smell, as though something unnatural had been set alight to blanket the city with a smoldering stench. A shift in the air's direction brought a fresher aroma of salt and brine floating in from the sea. It gave way to the hot smell of spices frying in oil, which in turn incongruously merged with the subtle reek of garbage.

Algren’s book opens with one of the best historical descriptions of American white trash ever written.* He traces the Linkhorn ancestry back to the first wave of bonded servants to arrive on these shores. These were the dregs of society from all over the British Isles—misfits, criminals, debtors, social bankrupts of every type and description—all of them willing to sign oppressive work contracts with future employers in exchange for ocean passage to the New World. Once here, they endured a form of slavery for a year or two—during which they were fed and sheltered by the boss—and when their time of bondage ended, they were turned loose to make their own way. In theory and in the context of history the setup was mutually advantageous. Any man desperate enough to sell himself into bondage in the first place had pretty well shot his wad in the old country, so a chance for a foothold on a new continent was not to be taken lightly. After a period of hard labor and wretchedness he would then be free to seize whatever he might in a land of seemingly infinite natural wealth. Thousands of bonded servants came over, but by the time they earned their freedom the coastal strip was already settled. The unclaimed land was west, across the Alleghenies. So they drifted into the new states—Kentucky and Tennessee; their sons drifted on to Missouri, Arkansas and Oklahoma. Drifting became a habit; with dead roots in the Old World and none in the New, the Linkhorns were not of a mind to dig in and cultivate things. Bondage too became a habit, but it was only the temporary kind. They were not pioneers, but sleazy rearguard camp followers of the original westward movement. By the time the Linkhorns arrived anywhere the land was already taken—so they worked for a while and moved on. Their world was a violent, boozing limbo between the pits of despair and the Big Rock Candy Mountain. They kept drifting west, chasing jobs, rumors, homestead grabs or the luck of some front-running kin. They lived off the surface of the land, like army worms, stripping it of whatever they could before moving on. It was a day-to-day existence, and there was always more land to the west. Some stayed behind and their lineal descendants are still there—in the Carolinas, Kentucky, West Virginia and Tennessee. There were dropouts along the way: hillbillies, Okies, Arkies—they’re all the same people. Texas is a living monument to the breed. So is southern California. Algren called them “fierce craving boys” with “a feeling of having been cheated.” Freebooters, armed and drunk—a legion of gamblers, brawlers and whorehoppers. Blowing into town in a junk Model-A with bald tires, no muffler and one headlight … looking for quick work, with no questions asked and preferably no tax deductions. Just get the cash, fill up at a cut-rate gas station and hit the road, with a pint on the seat and Eddy Arnold on the radio moaning good back-country tunes about home sweet home, that Bluegrass sweetheart still waitin, and roses on Mama’s grave. Algren left the Linkhorns in Texas, but anyone who drives the Western highways knows they didn’t stay there either. They kept moving until one day in the late 1930s they stood on the spine of a scrub-oak California hill and looked down on the Pacific Ocean—the end of the road.

You really love him, huh? Not just the sweet ‘oh, we met in high school and just couldn’t seem to find someone else’ sort of love, but the epic, desperate, ‘move mountains and cross oceans’ sort of love.” I chuckled. “I think that would be an apt description. When you realize that someone would do anything for you, even if it means separating themselves from you, risking that you’ll never love them again, just to make sure you’re safe and well . . . There’s no coming back from that. You’ll do whatever it takes to be with them. You might want to kick their ass a few times along the way. But when you find that, you don’t let it go.” Jamie shuddered. “Too mushy?” I asked. “I’ll survive.

The deep, salty, black sea rolls toward us, cold and indifferent, lacking all empathy. Detached, merely itself. This is what the ocean does every day. It doesn't need us for anything. It doesn't care about our hopes and fears, not does it give a damn about our descriptions. The dark weight of the sea is a superior power. Many have been in this situation every since some of our overconfident ancestors set a hollowed out tree trunk in the water and paddled off on languid waves, only to venture out too far where the currents were stronger than their arms or paddles. Or maybe like us, they were surprised by a storm. All of them must have felt the same cold shiver when they realized the sea is truly without sentimentality or memory. Whatever it swallows is gone, becoming food for the fish, crabs and annelid worms. For the lamprey, hag fish, flat worms, ring worms, and all the parasites of the deep. To be drowned and embraced by the eternal, indeterminate all.

SOME GREAT ACTORS are like musicians who just happen to be brilliant at their instrument. They are, in every other way, perfectly normal, but they have this extraordinary ability, and the instrument they’ve learned to play is their own emotions. Sandrine Bonnaire is like that. So is Sandrine Kiberlain. Others are people whose emotional lives are so interesting in themselves that there is no question that they belong on screen. Valeria Bruni Tedeschi falls into this category. Their craft consists of transforming their hypersensitive natures into a kind of instrument, flexible enough to assume the shapes and contours that their various characters require. Karin Viard, who emerged as a major star in 1999, is not in either of those categories. She is not playing an instrument. She is not creating an instrument. It is more as if she is the instrument. Her talent is so huge, and her access to it so immediate that she requires no process to turn Jekyll into Hyde. Obviously, this is too facile a description to be completely accurate or to do justice to the effort that her performances require. But one really does get the impression that Viard could get thrown into any artistic ocean and end up doing an Olympics-worthy butterfly stroke in record time.

Braun the AI took his name from a popular character in Welsh mythology. A great warrior and an intrepid mariner, Braun the Blessed was the high king of the Island of the Mighty. Frequenting the famous ancient stories known as the Welsh Triad, Braun was often portrayed as a giant among mortals and a force of great power. The tales of his ocean navigation and the descriptions of his superhuman size inspired the programmers,

I often refer to the great mythologist and American author Joseph Campbell (1904-1987) in this book. He used the designation of „hero“ to describe individuals who embark on the monumental psychological task of expanding and evolving consciousness and famously charted this journey. This hero‘s journey begins in our inherent state of blindness, separation, and suffering and progresses on a circular (as opposed to linear) route made up of stages shared by myths and legends spanning all cultures and epochs. From Buddha to Christ, Arjuna to Alice in Wonderland, the hero‘s journey is one of passing through a set of trials and phases: seeking adventure, encountering mentors, slaying demons, finding treasure, and returning home to heal others. Tibetan Buddhism‘s and Campbell‘s descriptions of the hero both offer a travel-tested road map of a meaningful life, a path of becoming fully human – we don‘t have to wander blindly, like college kids misguidedly hazed by a fraternity, or spiritual seekers abused in the thrall of a cult leader. The hero archetype is relevant to each of us, irrespective of our background, gender, temperament, or challenges, because we each have a hero gene within us capable of following the path, facing trials, and awakening for the benefit of others. Becoming a hero is what the Lam Rim describes as taking full advantage of our precious human embodiment. It‘s what Campbell saw as answering the call to adventure and following our bliss – not the hedonic bliss of chasing a high or acquiring more stuff, but the bliss of the individual soul, which, like a mountain stream, reaches and merges with the ocean of universal reality. (p. 15)

At last they saw what Strike had felt the need to see: a wide expanse of flat ocean, the color of chalcedony, beneath a periwinkle sky.

In his book The Life of the Cosmos, which everyone should read, Lee Smolin gives the best description I’ve ever read of how our universe emerged from an uncannily precise balancing of different fundamental constants. The mass of the proton, the strength of gravity, the range of the weak nuclear force, and a few dozen other fundamental constants completely determine what sort of universe will emerge from a Big Bang. If these values had been even slightly different, the universe would have been a vast ocean of tepid gas or a hot knot of plasma or some other basically uninteresting thing—a dud, in other words.

Her heart pounded; her adrenaline rushed. The calm crashing of the ocean waves was completely drowned out by bass-heavy pop mixes pumping out of the stereo systems that seemed to span the coastline. As she tried to take in full, deep breaths to calm her racing mind, things only became worse as the crowds of glitter, loud colors, and bows began spinning all around her. This was cheer world.

The abyss was awake, and its entire population was stirring, some to flee, some to investigate, but many, all too many, to feed. Fishes with fangs came. Bulbous bloated creatures came. Shelled monsters with massive jaws came. Things that defied description came. Every form or shape that stalked the nightmares of a child lurked there in the deep, and they all descended on the Lifemaker, no eyes to see, but many mouths to taste.

In Book XI of the Corpus Hermeticum, Nous explains to Hermes that “within God everything lies in the imagination,” and goes on to give a description of what he can expect from gnosis. Command your soul to go anywhere and it will be there quicker than your command. Bid it to go to the ocean and again it is there at once . . . Order it to fly up to heaven and it will need no wings . . . If you do not make yourself equal to God you cannot understand him. Like is understood by like. Grow to immeasurable size. Be free from every body, transcend all time. Become eternity and thus will you understand God . . . Consider yourself immortal and able to understand everything: all arts, sciences, and the nature of every living creature . . . Sense as one within yourself the entire creation . . . Conceive yourself to be in all places at the same time . . . Conceive all things at once: times, places, actions, qualities and quantities: then you can understand God.26

One of the biggest challenges we face as writers is describing something that almost everyone considers beautiful—a sunset, a rose, a new baby, the ocean. Although we want to write descriptions that are evocative and memorable, we end up filling our stories with phrases like “velvety petals” or “sparkling waves.” When this happens to me, it’s usually because I’ve proceeded, as my uncle used to say, “bass-ackwards.” Rather than beginning with the image itself, I’ve begun with a label, judgment or conclusion about my subject, then merely provided details that back up my label. Let’s say I want to describe a vase of tulips. My first thought is beautiful, springlike, fresh. Already I’ve jumped to conclusions, providing labels before I’ve taken the time to consider my subject, the tulips themselves. My description is bound to fail. It will be no more than a series of clichéd, forgettable details concocted to support my judgment about the tulips. But if I look before I leap, bringing forth the qualities of the tulips rather than merely labeling or explaining them, I might come up with a more memorable description, like Richard Selzer’s description of a vase of tulips delivered to a seriously ill man: …

Looking at him like he’d grown another head, she raised her hands up as she asked, “Don’t you have some other girl you want to harass? Maybe a girl who would actually appreciate it?” “Nope. You are the only girl I want to harass.” Which was the truth. Since he’d met Deanna, no other woman had existed for him. If he wasn’t with her, he was thinking about her. When he was with her, he wanted to stay with her, get to know her—and not only in the biblical sense, but that was definitely on top of his list. More attendees started filing out of the double doors, and Deanna’s head fell back as she let out a small groan. She might not have meant for the gesture to be or sound sexual, but that’s exactly what it’d been. He wanted to lean forward and press his lips to the soft skin on her neck, slide his hands up her dress and find out if she was wearing lace panties, silk panties, or no panties… “You win.You can drive me home.” She sounded anything but happy at her acquiescence, but Lucky was happy…Very happy. Well, this night had gone from bad, to worse, to horrible, to just plain humiliating. As Lucky opened the passenger side door to his SUV and held her hand while she got in, she immediately sent up a silent prayer that he didn’t notice the way a shiver ran up her arm from the touch of his large, rough hands. Deanna took a deep breath and pushed down the frustration and panic that was battling inside of her for top billing. Once he shut the door, she tugged her skirt down. When he got in, the entire left side of her body broke out in goosebumps from the intense stare he directed at her, but she kept her eyes trained ahead, looking out the windshield. She sat with her jaw set, her hands folded in her lap, and her back straight, hoping to convey that she just wanted to go home. “You’re quiet,” Lucky observed as they drove out of the parking lot. Proving his point, Deanna continued focusing out the window, at the moonlight dancing off the river. She knew she was being rude. She was a little too emotional and didn’t trust herself to speak. Especially considering the six glasses of wine she’d had this evening. Loose lips sank ships, and alcohol made her one Chatty Cathy capable of taking down an armada of ocean liners. “How was your evening tonight, Lucky?” he asked himself before answering his own question. “Oh, it was great, actually. Thanks for asking.” Deanna bit her lips to keep from smiling. She should’ve been annoyed at his adolescent behavior, and if it were any other guy, she was sure she would’ve been. But this was Lucky. And, whether she liked it or not (which, for the record, she didn’t), what should’ve been annoying or irritating on him always landed in the charming and amusing columns. “Of course!” he replied enthusiastically, still talking to himself. “I’m so glad you had a good time! What was the highlight of your evening, if you don’t mind me asking?” If he kept going, she was going to start cracking up, so she worked to maintain her composure. She didn’t want to give him the satisfaction. Which she was fully aware made her behavior even more adolescent than his. She was being ridiculous. Still, trying to disguise her amusement, Deanna sighed. “Fine. You win again. What do you want to talk about?” Lucky shook his head as he clicked his tongue. “Sorry, Pop-Tart. You had your chance.” Pop-Tart? Had he seriously just called her Pop-Tart!? Before she was able to form an appropriately indignant response, he continued the conversation he was having with himself. “Wow. Highlight of my evening…” He hissed through his teeth. “That’s a tough one. I’m going to have to go with the dance that I had with this smokin’-hot brunette.” Her cheeks burned at his description. Then she tried to remind herself that he was joking around, but the message got to her head and, she feared, her heart too late.

Consciousness is an ocean where we swim without knowing its significance, existence, depth, dimension, or vastness. If we go out of this ocean, we will not exist anymore.

Description:  You have learned to tap into your city’s water mana well using your affinity’s relic.   Your absence from the Sea’s Edge – your extended acceptance of Fluffy’s rule in your stead, of the Hippie’s insanity, of your place in this world – has only amplified the power collected by your well, providing a bottomless well of power, deeper and wider than any ocean. Well Level:  23 (43% to level 24) Current “Fucks Given:”  -1500/400 “Fucking” Income:  -8 every two days (average).

D. Donovan, Senior Reviewer, Midwest Book Review writes: "Sea Creatures and Poems: Plus Some Other Fish Rhymes illustrates the fun that poetry can embrace, providing a zany collection for all ages that is both ocean-focused and whimsical. The operative description for both poems and pictures is "silly," and the book fulfills this promise with a series of engaging observations that belay the usual staid approaches of too many poetry books. Art combined with poetry is "a delicious combination," as Richard Merritts reflects in the collection's introduction. The poems inspired the author to add illustrations which are just as whimsically touched...and, also, quite artistically rendered. These aren't demanding works. Take "Pompano Pompano Pompano," for example. Its very short observation concludes with an ironic twist after identifying the "flat fish from Florida" outside of its normal sea environment. Succinct? Yes. But the poem really...snags readers, landing a winning insight on both the pompano and its ultimate fate. Readers trawling for humor will find plenty in this book. Even the poetry titles present original, fun observations, as in "By Jove, I Hooked a Snook." Aside from its delightful observations, the poems represent diverse structures, from free verse to rhyme: "From the depths of the sea;/Came a fish that could be;/From a prison did flee;/Dressed in stripes, so you see..." From redfish and ahi to the anglers who long for them, Sea Creatures and Poems will appeal to a wide audience, especially those who do not view poetry as an opportunity for philosophical and psychological analysis alone. Its blend of natural history info, inviting color illustrations, and accompanying fun insights is recommended for those who fish to those who enjoy eating or studying them, as well as poetry lovers who will appreciate the very different approaches, poetic variety, and whimsical inspections within. Libraries catering to these audiences will want to include it in their collections, but Sea Creatures and Poems will prove a delightful choice for adults who seek to instill in the young an appreciation for poetry's capability for fun and its diverse structural representations.

... the sky like polished silver, the ocean sinewy and muscular, crackling as it reached the stones at the edge of the causeway.

I went outside, taking in the sight of the grey ocean swaying beyond the cliffs, a mackerel sky troubled by seabirds swooping and screaming beneath the clap of the waves.

Cardan is wearing his usual scowl, accessorised with kohl under his eyes and a circlet of gold in his midnight hair. He has on a long black coat with a high, jagged collar, the whole thing stitched with a pattern of constellations. Valerian is in deep red, cabochon rubies sparkling on his cuffs, each like a drop of frozen blood. Nicasia's hair is the blue-green of the ocean, crowned with a diadem of pearls. A glittering cobweb net covers her braids. Locke brings up the rear, looking bored, his hair the precise colour of fox fur.

As for what has been said in the Vedas and the Purānas, do you know what it is like? Suppose a man has seen the ocean, and somebody asks him, ‘Well, what is the ocean like?’ The first man opens his mouth as wide as he can and says: ‘What a sight! What tremendous waves and sounds!’ The description of Brahman in the sacred books is like that. It is said in the Vedas that Brahman is of the nature of Bliss—It is Satchidānanda.

Description: A man walks into a bar. Instruction: Walk into a bar. Exclamation (onomatopoeia): Sigh. Most fiction consists of only description, but good storytelling can mix all three forms. For instance, “A man walks into a bar and orders a margarita. Easy enough. Mix three parts tequila and two parts triple sec with one part lime juice, pour it over ice, and—voilà—that’s a margarita.” Using all three forms of communication creates a natural, conversational style. Description combined with occasional instruction, and punctuated with sound effects or exclamations: It’s how people talk. Instruction addresses the reader, breaking the fourth wall. The verbs are active and punchy. “Walk this way.” Or, “Look for the red house near Ocean Avenue.” And they imply useful, factual information—thus building your authority.

Of the early founders, the most eminent proponent of physical geography as a scientific entity was undoubtedly the German polymath Alexander von Humboldt. On his many travels, he combined observations with measurements of temperature, pressure, and the Earth’s magnetic field, and made generalizations about the geographical distribution of vegetation, global-scale patterns of temperature (depicted by isotherms on maps), the ways in which temperature falls and vegetation varies with increasing altitude (on Tenerife in the Canary Islands, for example), the alignment of volcanoes, and the course of ocean currents. In his major works, written around the middle of the 19th century, such as Cosmos: A Sketch of a Physical Description of the Universe , published in 1849, he emphasized not only relationships within the natural geo-ecosphere but also linkages to human societies. A year earlier, Mary Somerville, based at the University of Oxford, published Physical Geography and defined the subject as ‘a description of the Earth, the sea and the air, with their inhabitants animal and vegetable, of the distribution of these organized beings and the causes of that distribution’.

As a nonbeliever, I knew I couldn’t replicate Akram’s ecstasy. As an English speaker without classical Arabic, I knew I’d lose the poetry of the original words. But a bit like the nun who, while drifting off to sleep, allows herself a few seconds of wondering about sex, I found that Akram’s description suggested the limitations of my own cozy secularism.

The 20th Siddhi also relates to the eighth plane of reality, the true ground of our Divinity known as the Logoic plane. As consciousness expands through each of the seven layers or sheaths that surround the human being (see the 22nd Gene Key for a full description of each) — the eternal cosmic ocean of consciousness in which we swim — the body of the logos or divine word is finally revealed in all its glory. This logoic sphere, the eighth transcendent plane, is beyond humanity, beyond words and beyond form. THE SEVEN SACRED BODIES OF HUMANITY 1. Physical 2. Astral 3. Mental 4. Causal 5. Buddhic 6. Atmic 7. Monadic 8. Logoic

Lewis’s eloquent descriptions of his experience of “Joy” clearly fit into James’s characterisation. Lewis’s experiences were perceived as deeply meaningful, throwing open the doors of another world, which then shut almost immediately, leaving him exhilarated at what had happened, yet longing to recover it. They are like momentary and transient epiphanies, when things suddenly seem to come acutely and sharply into focus, only for the light to fade and the vision to recede, leaving nothing but a memory and a longing. Lewis was left with a sense of loss, even of betrayal, in the aftermath of such experiences. Yet as frustrating and disconcerting as they may have been, they suggested to him that the visible world might be only a curtain that concealed vast, uncharted realms of mysterious oceans and islands. It was an idea that, once planted, never lost its imaginative appeal or its emotional power. Yet, as we shall see, Lewis would soon come to believe it was illusory, a childhood dream which the dawning of adult rationality exposed as a cruel delusion. Ideas of a transcendent realm or of a God might be “lies breathed through silver,”[35] but they remained lies nevertheless.

There was no mistaking it, throughout the 1950’s, Liberia proudly brandished its American roots by flaunting the palatial homes overlooking the Atlantic Ocean near Monrovia or the antebellum style mansions dominating rubber plantations owned by wealth Americo Liberians who considered themselves privileged. Their homes were closely modeled after the affluent homes of the pre-civil war era in the Confederacy. These beautiful homes stood out when compared to the dirt floor, thatch roofed village homes most Liberians lived in. The best visual description of Liberian architecture,would be in film clips taken from the movie Gone With The Wind.. In the 1950's, Liberia had all the trappings of an American colony stuck in the past. To a great extent it was this great social divide between the indigenous natives and the Americo-Liberians that brought on the two civil wars in Liberia. This aspect of life in Liberia is highlighted in Seawater Two and will be covered in my upcoming book about the history of West Africa. Many of the Americo Liberians including President Talbert, have been killed of displaced. Because of the fierce civil wars in Liberia the coastal ships of the Farrell Lines fleet were sunk in “The Port of Monrovia” and much of Liberia’s antebellum architecture has been destroyed .

There was no mistaking it, in the 1950’s Liberia proudly, reflected its American roots. Flaunting their power, the palatial homes near Monrovia, owned by the wealthy Americo-Liberians, stood out when compared to the hovels most Liberians had to live in. Although they showed their wear, they were direct copies of the many antebellum Southern Mansions of the Deep South in America. Overlooking the Atlantic Ocean, these somewhat rundown but grand buildings looked strangely out of place. The best visual description of Liberia would be a low-priced remake of the film Gone With The Wind, having the lead parts taken by Americo-Liberians and the rest played by the indigenous tribal natives. The upper-crust of Liberian society continued imitating the attire and gentile customs of the pre-Civil War era in the American South. In the mid 1950's, Liberia had all the trappings of an American colony stuck in the distant past.

Failed Love *** Once upon a time The two souls Across the ocean The one with high IQ And the other one, With its description In the waiting process To merge Into the body of the body To stream the breaths To become complete For the new love history But they also failed As Romeo and Juliet.

This is one of the most tender appellations that could be given to God, and conveys one of the most striking descriptions that can be given of his character. We see his greatness, his majesty, his power, in the worlds that he has made - in the storm, the tempest, the rolling ocean; but it is in such expressions as this that we learn, what we most desire to know, and what we cannot elsewhere learn, that he is a Father; that he is to be loved as well as feared.