Door Metaphor Quotes

Life is a journey. Time is a river. The door is ajar

how can he love me then not? He went,he ran. And I cannot bring him back. Yet I left the door metaphorically wide open, hoping he'd come back and bang on it proclaiming, "I want to be here with you. Always." Soon I'm going to have to shutit. For my safety and my sanity. Let go. I don't want to. Won't letting go be just that - letting go? Giving up? Admitting failure? Admitting that it is really, truly over?

Come on! Don't hold back," Christian said. "I'm not, " Lissa protested. "You are too! I've seen you knock on a door harder than you're hitting me. " "That's a ridiculous metaphor. " "And, " he added, "you aren't aiming for my face. " "I don't want to leave a mark!" "Well, at the rate we're going, there's no danger of that, " he muttered

Do you know, it's really hard to be a parent. I blame it on Santa Claus. You spend so long making sure your kid doesn't know he's fake that you can't tell when you're supposed to stop." "Mom, I found you and Calla wrapping my presents when I was, like, six." "It was a metaphor, Blue." "A metaphor's supposed to clarify by providing an example. That didn't clarify." "Do you know what I mean or not?" "What you mean is that you're sorry you didn't tell me about Butternut." Maura glowered at the door as if Calla stood behind it. "I wish you wouldn't call him that." "If you'd been the one to tell me about him, then I wouldn't be using what Calla told me." "Fair enough.

We cannot be too cautious, Hannelore. Just because someone knocks on the door doesn't mean you have to open it. Sometimes, sweet girl, there are wolves at the door. If we are not careful, they might eat us.

Marginalia Sometimes the notes are ferocious, skirmishes against the author raging along the borders of every page in tiny black script. If I could just get my hands on you, Kierkegaard, or Conor Cruise O'Brien, they seem to say, I would bolt the door and beat some logic into your head. Other comments are more offhand, dismissive - Nonsense." "Please!" "HA!!" - that kind of thing. I remember once looking up from my reading, my thumb as a bookmark, trying to imagine what the person must look like who wrote "Don't be a ninny" alongside a paragraph in The Life of Emily Dickinson. Students are more modest needing to leave only their splayed footprints along the shore of the page. One scrawls "Metaphor" next to a stanza of Eliot's. Another notes the presence of "Irony" fifty times outside the paragraphs of A Modest Proposal. Or they are fans who cheer from the empty bleachers, Hands cupped around their mouths. Absolutely," they shout to Duns Scotus and James Baldwin. Yes." "Bull's-eye." "My man!" Check marks, asterisks, and exclamation points rain down along the sidelines. And if you have managed to graduate from college without ever having written "Man vs. Nature" in a margin, perhaps now is the time to take one step forward. We have all seized the white perimeter as our own and reached for a pen if only to show we did not just laze in an armchair turning pages; we pressed a thought into the wayside, planted an impression along the verge. Even Irish monks in their cold scriptoria jotted along the borders of the Gospels brief asides about the pains of copying, a bird singing near their window, or the sunlight that illuminated their page- anonymous men catching a ride into the future on a vessel more lasting than themselves. And you have not read Joshua Reynolds, they say, until you have read him enwreathed with Blake's furious scribbling. Yet the one I think of most often, the one that dangles from me like a locket, was written in the copy of Catcher in the Rye I borrowed from the local library one slow, hot summer. I was just beginning high school then, reading books on a davenport in my parents' living room, and I cannot tell you how vastly my loneliness was deepened, how poignant and amplified the world before me seemed, when I found on one page A few greasy looking smears and next to them, written in soft pencil- by a beautiful girl, I could tell, whom I would never meet- Pardon the egg salad stains, but I'm in love.

On the whole, we're a murderous race. According to Genesis, it took as few as four people to make the planet too crowded to stand, and the first murder was a fratricide. Genesis says that in a fit of jealous rage, the very first child born to mortal parents, Cain, snapped and popped the first metaphorical cap in another human being. The attack was a bloody, brutal, violent, reprehensible killing. Cain's brother Abel probably never saw it coming. As I opened the door to my apartment, I was filled with a sense of empathic sympathy and intuitive understanding. For freaking Cain.

Every book was a door; every page a new place to hide.

She's fascinating in the same way tornadoes are fascinating. You want to see how much they're going to spin.

The Type Everyone needs a place. It shouldn't be inside of someone else. -Richard Siken If you grow up the type of woman men want to look at, you can let them look at you. But do not mistake eyes for hands. Or windows. Or mirrors. Let them see what a woman looks like. They may not have ever seen one before. If you grow up the type of woman men want to touch, you can let them touch you. Sometimes it is not you they are reaching for. Sometimes it is a bottle. A door. A sandwich. A Pulitzer. Another woman. But their hands found you first. Do not mistake yourself for a guardian. Or a muse. Or a promise. Or a victim. Or a snack. You are a woman. Skin and bones. Veins and nerves. Hair and sweat. You are not made of metaphors. Not apologies. Not excuses. If you grow up the type of woman men want to hold, you can let them hold you. All day they practice keeping their bodies upright-- even after all this evolving, it still feels unnatural, still strains the muscles, holds firm the arms and spine. Only some men will want to learn what it feels like to curl themselves into a question mark around you, admit they do not have the answers they thought they would have by now; some men will want to hold you like The Answer. You are not The Answer. You are not the problem. You are not the poem or the punchline or the riddle or the joke. Woman. If you grow up the type men want to love, You can let them love you. Being loved is not the same thing as loving. When you fall in love, it is discovering the ocean after years of puddle jumping. It is realizing you have hands. It is reaching for the tightrope when the crowds have all gone home. Do not spend time wondering if you are the type of woman men will hurt. If he leaves you with a car alarm heart, you learn to sing along. It is hard to stop loving the ocean. Even after it has left you gasping, salty. Forgive yourself for the decisions you have made, the ones you still call mistakes when you tuck them in at night. And know this: Know you are the type of woman who is searching for a place to call yours. Let the statues crumble. You have always been the place. You are a woman who can build it yourself. You were born to build.

love ridden i searched for you in corridors, open doors and in endless seas of similes and metaphors but we never were on the same page.

As a counterpoint to sociopathy, the condition of narcissism is particularly interesting and instructive. Narcissism is, in a metaphorical sense, one half of what sociopathy is. Even clinical narcissists are able to feel most emotions are strongly as anyone else does, from guilt to sadness to desperate love and passion. The half that is missing is the crucial ability to understand what other people are feeling. Narcissism is a failure not of conscience but of empathy, which is the capacity to perceive emotions in others and so react to them appropriately. The poor narcissist cannot see past his own nose, emotionally speaking, and as with the Pillsbury Doughboy, any input from the outside will spring back as if nothing had happened. Unlike sociopaths, narcissists often are in psychological pain, and may sometimes seek psychotherapy. When a narcissist looks for help, one of the underlying issues is usually that, unbeknownst to him, he is alienating his relationships on account of his lack of empathy with others, and is feeling confused, abandoned, and lonely. He misses the people he loves, and is ill-equipped to get them back. Sociopaths, in contrast, do not care about other people, and so do not miss them when they are alienated or gone, except as one might regret the absence of a useful appliance that one has somehow lost.

Let us not mock God with metaphor, Analogy, sidestepping, transcendence; Making of the event a parable, a sign painted in the Faded credulity of earlier ages: Let us walk through the door.

But in every way, the shared metaphors we use of female access to power - 'knocking on the door', 'storming the citadel', 'smashing the glass ceiling', or just giving them a 'leg up' - underline female exteriority. Women in power are seen as breaking down barriers, or alternatively as taking something to which they are not quite entitled.

Jesus said his Father's House has many rooms. In this metaphor I like to imagine the Presbyterians hanging out in the library, the Baptists running the kitchen, the Anglicans setting the table, the Anabaptists washing feet with the hose in the backyard, the Lutherans making liturgy for the laundry, the Methodists stocking the fire in the hearth, the Catholics keeping the family history, the Pentecostals throwing open all the windows and doors to let more people in.

Firstly,” said Ponder, “Mr Pessimal wants to know what we do here.” “Do? We are the premier college of magic!” said Ridcully. “But do we teach?” “Only if no alternative presents itself,” said the Dean. “We show ‘em where the library is, give ‘em a few little chats, and graduate the survivors. If they run into any problems, my door is always metaphorically open.” “Metaphorically, sir?” said Ponder. “Yes. But technically, of course, it’s locked.” “Explain to him that we don’t do things, Stibbons,” said the Lecturer in Recent Runes. “We are academics.

We got there without being spotted. I pulled her in, then shut the door, pressing my back to it and exhaling like an epileptic pilot who'd just landed a cargo plane full of dynamite.

I suppose she's right. It's like a metaphor for life: No one wants an ornery old goat, but we can't resist opening the door ayway. We can't keep from hoping.

It’s so much easier to shut the refrigerator door, which is totally a metaphor, I realize, for my life

Listen. Look. Desire is a house. Desire needs closed space. Desire runs out of doors or windows, or slats or pinpricks, it can’t fit under the sky, too large. Close the doors. Close the windows. As soon as you laugh from nerves or make a joke or say something just to say something or get all involved with the bushes, then you blow open a window in your house of desire and it can’t heat up as well. Cold draft comes in.

Without even thinking about it, I sent Callum an image of a dog hiking his leg at a fire hydrant. And then one of a rebel flag from the Revolutionary War. Callum didn’t respond in my head, but I knew he’d gotten the message, because he met me at the front door, and the first thing he said, with a single arch of his eyebrow, was, “Don’t tread on you?” “More like ‘don’t metaphorically pee on my brainwaves,’ but it’s the same sentiment, really.” “Vulgarity does not become you, Bryn.” “Are you going to lecture, or are we going to run?” He sighed, but I didn’t need a bond with the pack to see that he was thinking that I had always, always been a difficult child. And then, just in case that point wasn’t clear, he verbalized it. “You have always, always been a difficult child.” I smiled sweetly. “I try.

PLEASE BELIEVE that I am falling apart. I am not speaking metaphorically; nor is this the opening gambit of some melodramatic, riddling, grubby appeal for pity. I mean quite simply that I have begun to crack all over like an old jug—that my poor body, singular, unlovely, buffeted by too much history, subjected to drainage above and drainage below, mutilated by doors, brained by spittoons, has started coming apart at the seams. In short, I am literally disintegrating, slowly for the moment, although there are signs of acceleration. I ask you only to accept (as I have accepted) that I shall eventually crumble into (approximately) six hundred and thirty million particles of anonymous, and necessarily oblivious, dust.

Everyday I feel more and more like a full-fledged adult. Even though it was (metaphorically) only yesterday I was sloshing in the door at four a.m. after Dollar Beer Night, I find myself with a mortgage, four types of insurance, and a non-laundry-quarter-based retirement fund.

But I had to admit that maybe the reason I'd had a meltdown wasn't just about the shower. I think the shower door was, like, a metaphor. It represented everything that was bad.

The Door of No Return - real and metaphoric as some places are, mythic to those of us who are scattered in the Americas today. To have one’s belonging lodged in a metaphor is voluptuous intrigue; to inhabit a trope; to be a kind of fiction. To live in the Black Diaspora I think is to live in a fiction - a creation of empires, and also self-creation. It is to be being living inside and outside herself. It is to apprehend the the sign one makes yet to be unable to escape it except in radiant moments of ordinariness made like art. To be a fiction in search of its most resonant metaphor then is even more intriguing.

Tomorrow is but a metaphor to a door that may never open.

The train's doors closed with a matron's shush.

I believe evil is a natural force, like a hungry virus, perpetually swirling through the air and seeking places to infiltrate. Most of us bar the door against it. Others welcome it in.

If you grow up the type of woman men want to look at, You can let them look at you. But do not mistake eyes for hands, Or windows for mirrors. Let them see what a woman looks like. They may not have ever seen one before. If you grow up the type of woman men want to touch, You can let them touch you. Sometimes it is not you they are reaching for. Sometimes it is a bottle, a door, a sandwich, a Pulitzer, another woman – But their hands found you first. Do not mistake yourself for a guardian, or a muse, or a promise, or a victim or a snack. You are a woman – Skin and bones, veins and nerves, hair and sweat You are not made of metaphors, Not apologies, not excuses. If you grow up the type of woman men want to hold, You can let them hold you. All day they practice keeping their bodies upright. Even after all this evolving it still feels unnatural, Still strains the muscles, holds firm the arms and spine. Only some men will want to learn what it feels like to curl themselves into a question mark around you, Admit they don’t have the answers they thought they would by now. Some men will want to hold you like the answer. You are not the answer. You are not the problem. You are not the poem, or the punchline, or the riddle, or the joke. Woman, if you grow up the type of woman men want to love, You can let them love you. Being loved is not the same thing as loving. When you fall in love, It is discovering the ocean after years of puddle jumping. It is realising you have hands. It is reaching for the tightrope after the crowds have all gone home. Do not spend time wondering if you are the type of woman men will hurt. If he leaves you with a car alarm heart. You learn to sing along. It is hard to stop loving the ocean, Even after it’s left you gasping, salty. So forgive yourself for the decisions you’ve made, The ones you still call mistakes when you tuck them in at night, And know this. Know you are the type of woman who is searching for a place to call yours. Let the statues crumble. You have always been the place. You are a woman who can build it yourself. You are born to build.

A stranger came to their door one day. He was singularly unattractive - very little hair covering his hideous, sore-wracked skin, just generally ratty and nasty looking. But as is often said of the unbeautiful of the world, he had a great personality. He came to be known a "Funkdog", because he was, in fact, a dog, and he was funky. And so they started this thing of petting Funkdog with a small stick. That image always just made me want to bawl, and now I know why. I think Funkdog being petted with a stick is a perfect metaphor for what can happen to any of us in this life if we don't pay attention. In any area of our lives, things can go from great to not so hot, to downright unspeakable, and do it so gradually that we keep downshifting our expectations to correspond with our current situation. We settle for less and less and tell ourselves,"It's not so bad", until one day we wake up and we are in effect, hairless and scabby, and just hoping to get petted with a stick for a little while.

I had the illusion of conversing with a fellow being without a barrier, without a steel door, without a black hood over my head . . . I have never, I think, impressed upon you how almost impossible I find it to communicate with anybody.

Freud was fascinated with depression and focused on the issue that we began with—why is it that most of us can have occasional terrible experiences, feel depressed, and then recover, while a few of us collapse into major depression (melancholia)? In his classic essay “Mourning and Melancholia” (1917), Freud began with what the two have in common. In both cases, he felt, there is the loss of a love object. (In Freudian terms, such an “object” is usually a person, but can also be a goal or an ideal.) In Freud’s formulation, in every loving relationship there is ambivalence, mixed feelings—elements of hatred as well as love. In the case of a small, reactive depression—mourning—you are able to deal with those mixed feelings in a healthy manner: you lose, you grieve, and then you recover. In the case of a major melancholic depression, you have become obsessed with the ambivalence—the simultaneity, the irreconcilable nature of the intense love alongside the intense hatred. Melancholia—a major depression—Freud theorized, is the internal conflict generated by this ambivalence. This can begin to explain the intensity of grief experienced in a major depression. If you are obsessed with the intensely mixed feelings, you grieve doubly after a loss—for your loss of the loved individual and for the loss of any chance now to ever resolve the difficulties. “If only I had said the things I needed to, if only we could have worked things out”—for all of time, you have lost the chance to purge yourself of the ambivalence. For the rest of your life, you will be reaching for the door to let you into a place of pure, unsullied love, and you can never reach that door. It also explains the intensity of the guilt often experienced in major depression. If you truly harbored intense anger toward the person along with love, in the aftermath of your loss there must be some facet of you that is celebrating, alongside the grieving. “He’s gone; that’s terrible but…thank god, I can finally live, I can finally grow up, no more of this or that.” Inevitably, a metaphorical instant later, there must come a paralyzing belief that you have become a horrible monster to feel any sense of relief or pleasure at a time like this. Incapacitating guilt. This theory also explains the tendency of major depressives in such circumstances to, oddly, begin to take on some of the traits of the lost loved/hated one—and not just any traits, but invariably the ones that the survivor found most irritating. Psychodynamically, this is wonderfully logical. By taking on a trait, you are being loyal to your lost, beloved opponent. By picking an irritating trait, you are still trying to convince the world you were right to be irritated—you see how you hate it when I do it; can you imagine what it was like to have to put up with that for years? And by picking a trait that, most of all, you find irritating, you are not only still trying to score points in your argument with the departed, but you are punishing yourself for arguing as well. Out of the Freudian school of thought has come one of the more apt descriptions of depression—“aggression turned inward.” Suddenly the loss of pleasure, the psychomotor retardation, the impulse to suicide all make sense. As do the elevated glucocorticoid levels. This does not describe someone too lethargic to function; it is more like the actual state of a patient in depression, exhausted from the most draining emotional conflict of his or her life—one going on entirely within. If that doesn’t count as psychologically stressful, I don’t know what does.

...the sounds next door served as a kind of trip wire: I seemed to stumble and fall on my face, skinning and bruising myself here and there and scattering my emotional and intellectual possessions. There was no point in pretending that I had not fallen, for when we are stretched out in the dirt we must pick ourselves up and brush off our clothes. This then, in a sense, is what I did, reviewing my considered opinions on marriage, constancy, man's nature, and the importance of love. When I had picked up my possessions and repaired my appearance, I fell asleep.

What do you see happening to the idea of dignity to human species if this population growth continues at its present rate? It's going to destroy it all. I use what I call my bathroom metaphor. If two people live in an apartment, and there are two bathrooms, then both have what I call freedom of the bathroom, go to the bathroom any time you want, and stay as long as you want to for whatever you need. And this to my way is ideal. And everyone believes in the freedom of the bathroom. It should be right there in the Constitution. But if you have 20 people in the apartment and two bathrooms, no matter how much every person believes in freedom of the bathroom, there is no such thing. You have to set up, you have to set up times for each person, you have to bang at the door, aren't you through yet, and so on. And in the same way, democracy cannot survive overpopulation. Human dignity cannot survive it. Convenience and decency cannot survive it. As you put more and more people onto the world, the value of life not only declines, but it disappears. It doesn't matter if someone dies.

Idols of the injury, dug in behind the least understood motor plan information. The vile abomination temporal lobes and The four loathsome memory walls and The four reasoning, arithmetic beasts are found for all behind pain and planes. Portrayed as a house, Go in, function, cause blindness from The house's hearing spirit, judgment and The court's four bronze woes and The functioning brain lobe wings, Go in, hearing and perception, I dig under door fronts, pain and plans.

It was freezing, but the cold effortlessly numbed my feet and aching hands. I walked quietly, barefoot, to the end of the block, leaving my shoes behind to remind me how to find my way home. I stood at the end of the street, catching snow in my mouth, and laughed softly to myself as I realized that without my insomnia and anxiety and pain I’d never have been awake to see the city that never sleeps asleep and blanketed up for winter. I smiled and felt silly, but in the best possible way. As I turned and looked back toward the hotel I noticed that my footprints leading out into the city were mismatched. One side was glistening, small and white. The other was misshapen from my limp and each heel was pooled with spots of bright red blood. It struck me as a metaphor for my life. One side light and magical. Always seeing the good. Lucky. The other side bloodied, stumbling. Never quite able to keep up. It was like the Jesus-beach-footprint-in-the-sand poem, except with less Jesus and more bleeding. It was my life, there in white and red. And I was grateful for it. “Um, miss?” It was the man from the front desk leaning tentatively out of the front door with a concerned look on his face. “Coming,” I said. I felt a bit foolish and considered trying to clarify but then thought better of it. There was no way to explain to this stranger how my mental illness had just gifted me with a magical moment. I realized it would have sounded a bit crazy, but that made sense. After all, I was a bit crazy. And I didn’t even have to pretend to be good at it. I was a damn natural.

So. The door was open into the dark and he had but to walk through it.

But at that moment all I could see was the wolf in the white van, so alive, so strong. Hidden from view, unnoticed, concealed. And I thought, maybe he's real, this wolf, and he's really out there in a white van somewhere, riding around. Maybe he's in the far back, pacing back and forth, circling, the pads of his huge paws raw and cracking, his thick, sharp claws dully clicking against the raised rusty steel track ridges on the floor. Maybe he's sound asleep, or maybe he's just pretending. And then the van stops somewhere, maybe, and somebody gets out and walks around the side to the back and grabs hold of the handle and flings the doors open wide. Maybe whoever's kept him wears a mechanic's jumpsuit and some sunglasses, and he hasn't fed the great wolf for weeks, cruising the streets of the city at night, and the wolf's crazy with hunger now; he can't even think. Maybe he's not locked up in the back at all: he could be riding in the passenger seat, like a dog, just sitting and staring out the open window, looking around, checking everybody out. Maybe he's over in the other seat behind the steering wheel. Maybe he's driving.

Paul often spoke of Christ as an archetypal or ideal man who had opened the door to a new path for humanity. Christ was “second man” or “second Adam,” the first member of a new human race that was no longer constrained by the bondage of mortality.

Anonymous > Quotes > Quotable Quote “I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don’t know where it will take me, because I don’t know anything. I could see this inn as a prison, for I’m compelled to wait in it; I could see it as a social centre, for it’s here that I meet others. But I’m neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I’m sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing – for myself alone – wispy songs I compose while waiting.

The reason is that the English language treats a changing entity (a loaded wagon, sprayed roses, a painted door) in the same way that it treats a moving entity (pitched hay, sprayed water, slopped paint). A state is conceived as a location in a space of possible states, and change is equated with moving from one location to another in that state-space. In this way, locative constructions illustrate a second discovery in the hidden world down the rabbit hole, the ubiquity of metaphor in everyday language.

Each triangulation is different, each a different measurement (or number) of distance. There are numerous implications in this. Here are three of them: 1) mathematical relationships that are inherent in Universe can be perceived, and utilized, by more organisms than the human; 2) numbering systems are arbitrary and are only metaphors for those mathematical relationships—they are not foundational; 3) organisms other than the human not only have the capacity to perceive distance but also differentials—they can add and subtract; 4) they possess a sense of congruency—they know when they have the right answer—and the wrong one.

Anyway, it's a pretty good story," I said. "You have to admit." "Yeah?" He crumpled up the Kleenex, having dispatched the solitary tear. "You can have it. I'm giving it to you. After I'm gone, write it down. Explain everything. Make it mean something. Use a lot of those fancy metaphors of yours. Put the whole thing in proper chronological order, not like this mishmash I'm making you. Start with the night I was born. March second, 1915. There was a lunar eclipse that night, you know what that is?" "When the earth's shadow falls across the Moon." "Very significant. I'm sure it's a perfect metaphor for something. Start with that." "Kind of trite." I said. He threw the Kleenex at my head. It bounced off my cheek and fell on the floor. I bent to pick it up. Somewhere in its fibers, it held what may have been the last tear my grandfather ever shed. Out of respect for his insistence on the meaninglessness of life--his, everyone's--I threw it into the wastebasket by the door.

Watching this little scene makes my throat ache. It seems an apt metaphor for the role most men play--even in egalitarian modern marriages--as quasi-outsiders in their own families. Of course, men have always contributed importantly to the family, and our wives and children would miss us if we were gone. But there's also a tacit understanding that we are the expendable ones: if something evil comes through the front door, everyone knows whose job it is to die guarding the family's retreat out the back. Men are a little on the periphery of family life, cut off from the biologically precious mother and children as though by an invisible pane of glass.

A steel door closed and the captain was on his own again. He hummed quietly and mused to himself, lightly fingering his notebook of verses. “Hmmm,” he said, “counterpoint the surrealism of the underlying metaphor …” He considered this for a moment, and then closed the book with a grim smile. “Death’s too good for them,” he said.

Crashing through windows I thought were open doors. Apologizing for the mess. Rationalizing my behavior in metaphors you’ll simply never understand. Learning to accept defeat. Watching you walk away from me, from us, from all of this, using every door I missed. Begging, "Please don’t leave me now, I killed those boys to make you love me.

You see," the tourist went on, "you know that thing you do with seaweed?" Bethan, brought up on the Vortex Plains, had only heard of the sea in stories, and had decided she didn't like it. She looked blank. "Eat it?" "No, what you do is, you hang it up outside your door, and it tells you if it's going to rain." Another thing Bethan had learned was that there was no real point in trying to understand anything Twoflower said, and that all anyone could do was run alongside the conversation and hope to jump on it as it turned a corner. "I see," she said. "Rincewind is like that, you see." "Like seaweed." "Yes. If there was anything at all to be frightened about, he'd be frightened. But he's not. The star is just about the only thing I've ever seen him not frightened of. If he's not worried, then take it from me, there's nothing to be worried about." "It's not going to rain?" said Bethan. "Well, no, metaphorically speaking." "Oh." Bethan decided not to ask what "metaphorically" meant, in case it had something to do with seaweed.

On occasion, it is as if the latches in my mind have gone rusty and worn. The doors fall open and closed at will. A peek inside here. An empty space there. A dark place I’m afraid to peer into. I never know what I will find. There’s no predicting when a barrier will swing wide, or why. Triggers. That’s what the psychologists call them on TV shows. Triggers…as if the strike ignites gunpowder and sends a projectile spinning down a rifle barrel. It’s an appropriate metaphor. Her face triggers something.

How did you even get in here?” I asked him. “Would you believe they leave the door open all night?” Gus asked. “Um, no,” I said. “As well you shouldn’t.” Gus smiled. “Anyway, I know it’s a bit self-aggrandizing.” “Hey, you’re stealing my eulogy,” Isaac said. “My first bit is about how you were a self-aggrandizing bastard.” I laughed. “Okay, okay,” Gus said. “At your leisure.” Isaac cleared his throat. “Augustus Waters was a self-aggrandizing bastard. But we forgive him. We forgive him not because he had a heart as figuratively good as his literal one sucked, or because he knew more about how to hold a cigarette than any nonsmoker in history, or because he got eighteen years when he should have gotten more.” “Seventeen,” Gus corrected. “I’m assuming you’ve got some time, you interrupting bastard. “I’m telling you,” Isaac continued, “Augustus Waters talked so much that he’d interrupt you at his own funeral. And he was pretentious: Sweet Jesus Christ, that kid never took a piss without pondering the abundant metaphorical resonances of human waste production. And he was vain: I do not believe I have ever met a more physically attractive person who was more acutely aware of his own physical attractiveness. “But I will say this: When the scientists of the future show up at my house with robot eyes and they tell me to try them on, I will tell the scientists to screw off, because I do not want to see a world without him.” I was kind of crying by then. “And then, having made my rhetorical point, I will put my robot eyes on, because I mean, with robot eyes you can probably see through girls’ shirts and stuff. Augustus, my friend, Godspeed.” Augustus nodded for a while, his lips pursed, and then gave Isaac a thumbs-up. After he’d recovered his composure, he added, “I would cut the bit about seeing through girls’ shirts.” Isaac was still clinging to the lectern. He started to cry. He pressed his forehead down to the podium and I watched his shoulders shake, and then finally, he said, “Goddamn it, Augustus, editing your own eulogy.” “Don’t swear in the Literal Heart of Jesus,” Gus said. “Goddamn it,” Isaac said again. He raised his head and swallowed. “Hazel, can I get a hand here?” I’d forgotten he couldn’t make his own way back to the circle. I got up, placed his hand on my arm, and walked him slowly back to the chair next to Gus where I’d been sitting. Then I walked up to the podium and unfolded the piece of paper on which I’d printed my eulogy. “My name is Hazel. Augustus Waters was the great star-crossed love of my life. Ours was an epic love story, and I won’t be able to get more than a sentence into it without disappearing into a puddle of tears. Gus knew. Gus knows. I will not tell you our love story, because—like all real love stories—it will die with us, as it should. I’d hoped that he’d be eulogizing me, because there’s no one I’d rather have…” I started crying. “Okay, how not to cry. How am I—okay. Okay.” I took a few breaths and went back to the page. “I can’t talk about our love story, so I will talk about math. I am not a mathematician, but I know this: There are infinite numbers between 0 and 1. There’s .1 and .12 and .112 and an infinite collection of others. Of course, there is a bigger infinite set of numbers between 0 and 2, or between 0 and a million. Some infinities are bigger than other infinities. A writer we used to like taught us that. There are days, many of them, when I resent the size of my unbounded set.

Girls, I was dead and down in the Underworld, a shade, a shadow of my former self, nowhen. It was a place where language stopped, a black full stop, a black hole Where the words had to come to an end. And end they did there, last words, famous or not. It suited me down to the ground. So imagine me there, unavailable, out of this world, then picture my face in that place of Eternal Repose, in the one place you’d think a girl would be safe from the kind of a man who follows her round writing poems, hovers about while she reads them, calls her His Muse, and once sulked for a night and a day because she remarked on his weakness for abstract nouns. Just picture my face when I heard - Ye Gods - a familiar knock-knock at Death’s door. Him. Big O. Larger than life. With his lyre and a poem to pitch, with me as the prize. Things were different back then. For the men, verse-wise, Big O was the boy. Legendary. The blurb on the back of his books claimed that animals, aardvark to zebra, flocked to his side when he sang, fish leapt in their shoals at the sound of his voice, even the mute, sullen stones at his feet wept wee, silver tears. Bollocks. (I’d done all the typing myself, I should know.) And given my time all over again, rest assured that I’d rather speak for myself than be Dearest, Beloved, Dark Lady, White Goddess etc., etc. In fact girls, I’d rather be dead. But the Gods are like publishers, usually male, and what you doubtless know of my tale is the deal. Orpheus strutted his stuff. The bloodless ghosts were in tears. Sisyphus sat on his rock for the first time in years. Tantalus was permitted a couple of beers. The woman in question could scarcely believe her ears. Like it or not, I must follow him back to our life - Eurydice, Orpheus’ wife - to be trapped in his images, metaphors, similes, octaves and sextets, quatrains and couplets, elegies, limericks, villanelles, histories, myths… He’d been told that he mustn’t look back or turn round, but walk steadily upwards, myself right behind him, out of the Underworld into the upper air that for me was the past. He’d been warned that one look would lose me for ever and ever. So we walked, we walked. Nobody talked. Girls, forget what you’ve read. It happened like this - I did everything in my power to make him look back. What did I have to do, I said, to make him see we were through? I was dead. Deceased. I was Resting in Peace. Passé. Late. Past my sell-by date… I stretched out my hand to touch him once on the back of the neck. Please let me stay. But already the light had saddened from purple to grey. It was an uphill schlep from death to life and with every step I willed him to turn. I was thinking of filching the poem out of his cloak, when inspiration finally struck. I stopped, thrilled. He was a yard in front. My voice shook when I spoke - Orpheus, your poem’s a masterpiece. I’d love to hear it again… He was smiling modestly, when he turned, when he turned and he looked at me. What else? I noticed he hadn’t shaved. I waved once and was gone. The dead are so talented. The living walk by the edge of a vast lake near, the wise, drowned silence of the dead.

Why didn't I feel like this when we were actually together?" "Maybe... maybe your mango wasn't ripe." I squinted at Cat. "I'm not following. You're going to have to take me there." "There's a part in You've Got Mail when Kathleen and Joe have been hanging out together. Joe knows their online identities, but she doesn't. And they go to the farmers' market, and before parting ways she says, 'I hope your mango's ripe,' and he gives her this considering look and tells her that he thinks it is." "That is a very obscure reference." "The point is, the mango was a metaphor for their relationship. He'd waited until she'd grown and softened under the sunlight, and once she'd gotten there, he made his move---both before and after revealing his identity.

There was gray train smoke over the town most days, it smelled of travel, of transcontinental trains about to flash by, of important things about to happen. The train smell sounded the ‘A’ for Lamptown and then a treble chord of frying hamburger and onions and boiling coffee was struck by Hermann Bauer's kitchen, with a sostenuto of stale beer from Delaney's back door. These were all busy smells and seemed a 6 to 6 smell, a working town's smell, to be exchanged at the last factory whistle for the festival night odors of popcorn, Spearmint chewing gum, barber-shop pomades, and the faint smell of far-off damp cloverfields. Mornings the cloverfields retreated when the first Columbus local roared through the town. Bauer’s coffee pot boiled over again, and the factory’s night watchmen filed into Delaney’s for their morning beer.

A meal is sacramental when the rich and poor, powerful and marginalized, sinners and saints share equal status around the table. A local church is sacramental when it is a place where the last are first and the first are last and where those who hunger and thirst are fed. And the church universal is sacramental when it knows no geographic boundaries, no political parties, no single language or culture, and when it advances not through power and might, but through acts of love, joy, and peace and missions of mercy, kindness, humility. In this sense, church gives us the chance to riff on Jesus’ description of the kingdom, to add a few new metaphors of our own. We might say the kingdom is like St. Lydia’s in Brooklyn where strangers come together and remember Jesus when they eat. The kingdom is like the Refuge in Denver, where addicts and academics, single moms and suburban housewives come together to tell each other the truth. The kingdom is like Thistle Farms where women heal from abuse by helping to heal others. The kingdom is like the church that would rather die than cast two of its own out the doors because they are gay. The kingdom is like St. Luke’s Episcopal Church in Cleveland, Tennessee, where you are loved just for showing up. And even still, the kingdom remains a mystery just beyond our grasp. It is here, and not yet, present and still to come. Consummation, whatever that means, awaits us. Until then, all we have are metaphors. All we have are almosts and not quites and wayside shrines. All we have are imperfect people in an imperfect world doing their best to produce outward signs of inward grace and stumbling all along the way. All we have is this church—this lousy, screwed-up, glorious church—which, by God’s grace, is enough.

Running is a form of escapism; few runners would deny that. The metaphor of running away from one’s problems is hardly allegory, and it was certainly the case for me. Though why is that such a bad thing? Having a release valve allows the buildup of toxic fumes to be vented periodically. On untold occasions I ran out the door with the weight of the world on my shoulders and in the course of 5 or 6 strenuous miles these problems somehow dissipated into the ether. Sometimes I just wanted to keep going, to leave the world behind and just run. But that would be irresponsible. Yeah, it would, which made the idea all the more appealing. Odysseus ventured to faraway lands, yet returned home to his responsibilities and familial duties in due course a renewed man. Running could be at once irresponsible and responsible in this regard, a way to escape the madness of modernity and reemerge refreshed and washed clean.

At the Afghan restaurant today I identified in myself a burbling in my reservoir of annoyance when I realized that people were going around the buffet in the wrong direction, which was, the annoyance felt, a kind of wretched incivility, a sign of our imminent plummet into lawlessness and misery. The delight is that I can identify that annoyance quickly now, and poke a finger in its ribs (I have shaken up the metaphor, you are right, how annoying), and so hopped into line with all the other deviants, and somehow we all got our food just fine. Same when Stephanie doesn’t turn on the light over the stove to cook, or leaves the light in her bathroom on, or leaves cabinet or closet doors wide open, or doesn’t tighten the lids all the way, all of which the annoyance regards as, if not an obvious sign of sociopathy, indication of some genuine sketchiness. A problem. But somehow no one ever dies of these things, or is even hurt, aside from my sad little annoyance monster, who, for the record, never smiles and always wears a crooked bow tie.

Here’s what strikes me when I think back to my childhood, particularly those first nine Internet-less years: I can’t account for everything that happened back then, because I have only my memory to rely on. The data just doesn’t exist. When I was a child, “the unforgettable experience” was not yet a threateningly literal technological description, but a passionate metaphorical prescription of significance: my first words, my first steps, my first lost tooth, my first time riding a bicycle. My generation was the last in America and perhaps even in world history for which this is true—the last undigitized generation, whose childhoods aren’t up on the cloud but are mostly trapped in analog formats like handwritten diaries and Polaroids and VHS cassettes, tangible and imperfect artifacts that degrade with age and can be lost irretrievably. My schoolwork was done on paper with pencils and erasers, not on networked tablets that logged my keystrokes. My growth spurts weren’t tracked by smart-home technologies, but notched with a knife into the wood of the door frame of the house in which I grew up.

Viruses, for instance, perform a really irritating function of intermingling the DNA from every species on Earth with every other. As Richard Lewontin puts it . . . It used to be thought that new functions had to arise by mutations of the genes already possessed by a species and that the only way such mutations could spread was by the normal processes of reproduction. It is now clear that genetic material has moved during evolution from species to species by means of retroviruses and other transposable particles. . . . What is so extraordinary in its implications for evolution is that transposition can occur between forms of life that are quite different, between distantly related vertebrates, for example, or even between plants and bacteria. . . . Thus, the assumption that species are on independent evolutionary pathways, once they have diverged from each other and can no longer interbreed, is incorrect. All life-forms are in potential genetic contact and genetic exchanges between them are going on. . . . The evolutionary “tree of life” seems the wrong metaphor. Perhaps we should think of it as an elaborate bit of macramé.16

intellectual imperialism. It has been, and still is, used to denigrate the orientation that many people still experience, that the world, and the other organisms with which we share this Earth, are alive, intelligent, and aware. It has been used to stifle the response of the heart to what has been presented to the senses. This has resulted in the creation of a conceptual monoculture that can’t see outside its limitations. Such imperialists have set out to conquer the superstitious natives inhabiting the dark continent, the place where the general populace lives. Midgley makes the point that arguments such as Day’s rest in a belief in human beings as “an isolated will, guided by an intelligence, arbitrarily connected to a rather unsatisfactory array of feelings, and lodged, by chance, in an equally unsatisfactory human body.”18 Or as Susan Sontag once described it: “consciousness harnessed to flesh,”19 as if there could be consciousness without the emergence of the self-organized system we call the body. This type of dissociation is a common side effect of the materialist and very reductionist view of the world most of us are trained in. But as Midgely notes, this system of thought is not reason, not science, but behavioral examples of, as she puts it, an unexamined, “exuberant power fantasy.” It is bad software, generated out of unexamined psychological frameworks. The evolutionary escalator metaphor and the assumptions of what constitutes intelligence (and value) that are embedded within it create, automatically, behavior that is very dangerous to every other life-form on this planet—in fact to the health of every ecosystem this planet possesses.

Door: So spiritual direction is a slow process that looks idle and inefficient. Peterson: It's subversive. I'm a subversive, really. I gather the people in worship, I pray for them, I engage them often in matters of spiritual correction, and I take them on two really strong retreats a year. I am a true subversive. We live in a culture that we think is Christian. When a congregation gathers in a church, they assume they are among friends in a basically friendly world (with the exception of pornographers, etc.). If I, as their pastor, get up and tell them the world is not friendly and they are really idol worshippers, they think I'm crazy. This culture has twisted all of our metaphors and images and structures of understanding. But I can't say that directly. The only way that you can approach people is indirectly, obliquely. A head-on attack doesn't work. Jesus was the master of indirection. The parables are subversive. His hyperboles are indirect. There is a kind of outrageous quality to them that defies common sense, but later on the understanding comes. The largest poetic piece in the Bible, Revelation, is a subversive piece. Instead of (being) a three-point lecturer, the pastor is instead a storyteller and a pray-er. Prayer and story become the primary means by which you get past people's self-defense mechanisms. In my book, I say it this way: "I must remember that I am a subversive. My long-term effectiveness depends on my not being recognized for who I am as a pastor. If the church member actually realized that the American way of life is doomed to destruction and that another kingdom is right now being formed in secret to take its place, he wouldn't be pleased at all. If he knew what I was really doing and the difference it was making, he would fire me." True subversion requires patience. You slowly get cells of people who are believing in what you are doing, participating in it.

Try as she might, Annabelle could think of no subtle way to ask him. After grappling silently with a variety of phrases, she finally settled for a blunt question. “Were you responsible for the boots?” His expression gave nothing away. “Boots? I’m afraid I don’t take your meaning, Miss Peyton. Are you speaking in metaphor, or are we talking about actual footwear?” “Ankle boots,” Annabelle said, staring at him with open suspicion. “A new pair that was left inside the door of my room yesterday.” “Delighted as I am to discuss any part of your wardrobe, Miss Peyton, I’m afraid I know nothing about a pair of boots. However, I am relieved that you have managed to acquire some. Unless, of course, you wished to continue acting as a strolling buffet to the wildlife of Hampshire.” Annabelle regarded him for a long moment. Despite his denial, there was something lurking behind his neutral facade…some playful spark in his eyes…“Then you deny having given the boots to me?” “Most emphatically I deny it.” “But I wonder…if some one wished to have a pair of boots made up for a lady without her knowledge…how would he be able to learn the precise size of her feet?” “That would be a relatively simple task…” he mused. “I imagine that some enterprising person would simply ask a housemaid to trace the soles of the lady’s discarded slippers. Then he could take the pattern to the local cobbler. And make it worth the cobbler’s while to delay his other work in favor of crafting the new shoes immediately.” “That is quite a lot of trouble for someone to go through,” Annabelle murmured. Hunt’s gaze was lit with sudden mischief. “Rather less trouble than having to haul an injured woman up three flights of stairs every time she goes out walking in her slippers.” Annabelle realized that he would never admit to giving her the boots—which would allow her to keep them, but would also ensure that she would never be able to thank him. And she knew he had—she could see it in his face.

Great writers and my mom never used food as an object. Instead it was a medium, a catalyst to mend hearts, to break down barriers, to build relationships. Mom's cooking fed body and soul. She used to quip, "If the food is good, there's no need to talk about the weather." That was my mantra for years---food as meal and conversation, a total experience. I leaned my forehead against the glass and thought again about Emma and the arrowroot. Mom had highlighted it in my sophomore English class. "Jane Fairfax knew it was given with a selfish heart. Emma didn't care about Jane, she just wanted to appear benevolent." "That girl was stupid. She was poor and should've accepted the gift." The football team had hooted for their spokesman. "That girl's name was Jane Fairfax, and motivation always matters." Mom's glare seared them. I tried to remember the rest of the lesson, but couldn't. I think she assigned a paper, and the football team stopped chuckling. Another memory flashed before my eyes. It was from that same spring; Mom was baking a cake to take to a neighbor who'd had a knee replacement. "We don't have enough chocolate." I shut the cabinet door. "We're making an orange cake, not chocolate." "Chocolate is so much better." "Then we're lucky it's not for you. Mrs. Conner is sad and she hurts and it's spring. The orange cake will not only show we care, it'll bring sunshine and spring to her dinner tonight. She needs that." "It's just a cake." "It's never just a cake, Lizzy." I remembered the end of that lesson: I rolled my eyes----Mom loathed that----and received dish duty. But it turned out okay; the batter was excellent. I shoved the movie reel of scenes from my head. They didn't fit in my world. Food was the object. Arrowroot was arrowroot. Cake was cake. And if it was made with artisan dark chocolate and vanilla harvested by unicorns, all the better. People would crave it, order it, and pay for it. Food wasn't a metaphor---it was the commodity---and to couch it in other terms was fatuous. The one who prepared it best won.

The light changed slightly. Mari looked up and over at one wall. There was now a narrow, roughly door-shaped hole in it. Standing in the hole was Mage Alain. Mari stood up, realizing that her mouth was hanging open. That wall was solid. I felt it. There wasn't any opening. She watched as the Mage took two shaky steps into the cell, then paused, some of the strain leaving his face. She blinked, wondering what she had just seen, as the hole in the wall vanished as if it had never been. One moment it was there, the next it was gone. ... Mari took a long slow breath. 'They use smoke and mirrors and other 'magic' to make commons think they can create temporary holes in walls and things like that. It's all nonsense.' "Mages actually can make real holes in walls." "No." Her head hurting with increased intensity, Mari glowered at the Mage. "You didn't make a hole in the wall?" "I made the illusion of a hole in the illusion of the wall." Mari looked at Mage Alain for what felt like a long time, trying to detect any sign of mockery or lying. But he seemed perfectly sincere. And unless she had completely lost her mind, he had just walked through that solid wall. ... "We can get out the same way that you got in?" Mari asked. "Through imaginary holes in the imaginary wall?" She wondered how her guild would feel about seeing that in her report. Actually, she didn't have to wonder, but she wasn't about to turn down a chance at escape. The Mage took a deep breath and swayed on his feet. "No." "No?" "Unfortunately—" Alain collapsed into a seated position on the cot next to her—"the effort of finding you has exhausted me. There were several walls to get through. I can do no more for some time. I am probably incapable of any major effort until morning." He shook his head. "I did not plan this well. Maybe the elders are right and seventeen is simply too young to be a Mage." Mari stared at him. "Are you telling me that you came to rescue me, following a metaphorical thread through imaginary holes, but now that you're in the same cell with me you can't get us out?" "Yes, that is correct. This one erred." "That one sure did. Now instead of one of us being stuck in here, we're both stuck in here." The Mage gave her a look which actually betrayed a trace of irritation. He must have really been exhausted for such a feeling to show. "I do not have much experience with rescues. Are you always so difficult?

So Japan is allied with Germany and they’re like “Sweet the rest of the world already hates us let’s take their land!” So they start invading China and Malaysia and the Philippines and just whatever else but then they’re like “Hmm what if America tries to stop us? Ooh! Let’s surprise attack Hawaii!” So that’s exactly what they do. The attack is very successful but only in a strictly technical sense. To put it in perspective, let’s try a metaphor. Let’s say you’re having a barbecue but you don’t want to get stung by any bees so you find your local beehive and just go crazy on it with a baseball bat. Make sense? THEN YOU MUST BE JAPAN IN THE ’40s. WHO ELSE WOULD EVER DO THIS? So the U.S. swarms on Japan, obviously but that’s where our bee metaphor breaks down because while bees can sting you they cannot put you in concentration camps (or at least, I haven’t met any bees that can do that). Yeah, after that surprise attack on Pearl Harbor everybody on the West Coast is like “OMG WE’RE AT WAR WITH JAPAN AND THERE ARE JAPANESE DUDES LIVING ALLLL AROUND US.” I mean, they already banned Japanese immigration like a decade before but there are still Japanese dudes all over the coast and what’s more those Japanese dudes are living right next door to all the important aircraft factories and landing strips and shipyards and farmland and forests and bridges almost as if those types of things are EVERYWHERE and thus impossible not to live next door to. Whatever, it’s pretty suspicious. Now, at this point, nothing has been sabotaged and some people think that means they’re safe. But not military geniuses like Earl Warren who points out that the only reason there’s been no sabotage is that the Japanese are waiting for their moment and the fact that there has been no sabotage yet is ALL THE PROOF WE NEED to determine that sabotage is being planned. Frank Roosevelt hears this and he’s like “That’s some pretty shaky logic but I really don’t like Japanese people. Okay, go ahead.” So he passes an executive order that just says “Any enemy ex-patriots can be kicked out of any war zone I designate. P.S.: California, Oregon, and Washington are war zones have fun with that.” So they kick all the Japanese off the coast forcing them to sell everything they own but people are still not satisfied. They’re like “Those guys look funny! We can’t have funny-looking dudes roaming around this is wartime! We gotta lock ’em up.” And FDR is like “Okay, sure.” So they herd all the Japanese into big camps where they are concentrated in large numbers like a hundred and ten thousand people total and then the military is like “Okay, guys we will let you go if you fill out this loyalty questionnaire that says you love the United States and are totally down to be in our army” and some dudes are like “Sweet, free release!” but some dudes are like “Seriously? You just put me in jail for being Asian. This country is just one giant asshole and it’s squatting directly over my head.” And the military is like “Ooh, sorry to hear that buddy looks like you’re gonna stay here for the whole war. Meanwhile your friends get to go fight and die FOR FREEDOM.

The centre of the conception of wisdom in the Bible is the Book of Ecclesiastes, whose author, or rather, chief editor, is sometimes called Koheleth, the teacher or preacher. Koheleth transforms the conservatism of popular wisdom into a program of continuous mental energy. Those who have unconsciously identified a religious attitude either with illusion or with mental indolence are not safe guides to this book, although their tradition is a long one. Some editor with a “you’d better watch out” attitude seems to have tacked a few verses on the end suggesting that God trusts only the anti-intellectual, but the main author’s courage and honesty are not to be defused in this way. He is “disillusioned” only in the sense that he has realized that an illusion is a self-constructed prison. He is not a weary pessimist tired of life: he is a vigorous realist determined to smash his way through every locked door of repression in his mind. Being tired of life is in fact the only mental handicap for which he has no remedy to suggest. Like other wise men, he is a collector of proverbs, but he applies to all of them his touchstone and key word, translated in the AV [the Authorized Version] as “vanity.” This word (hebel) has a metaphorical kernel of fog, mist, or vapour, a metaphor that recurs in the New Testament (James 4:14). It this acquires a derived sense of “emptiness,” the root meaning of the Vulgate’s vanitas. To put Koheleth’s central intuition into the form of its essential paradox: all things are full of emptiness. We should not apply a ready-made disapproving moral ambience to this word “vanity,” much less associate it with conceit. It is a conception more like the shunyata or “void” of Buddhist though: the world as everything within nothingness. As nothing is certain or permanent in the world, nothing either real or unreal, the secret of wisdom is detachment without withdrawal. All goals and aims may cheat us, but if we run away from them we shall find ourselves bumping into them. We may feel that saint is a “better” man than a sinner, and that all of our religious and moral standards would crumble into dust if we did not think so; but the saint himself is most unlikely to take such a view. Similarly Koheleth went through a stage in which he saw that wisdom was “better” than folly, then a stage in which he saw that there was really no difference between them as death lies in wait for both and finally realized that both views were equally “vanity”. As soon as we renounce the expectation of reward, in however, refined a guise, for virtue or wisdom, we relax and our real energies begin to flow into the soul. Even the great elegy at the end over the failing bodily powers of old age ceases to become “pessimistic” when we see it as part of the detachment with which the wise man sees his life in the context of vanity. We take what comes: there is no choice in the matter, hence no point in saying “we should take what comes.” We soon realize by doing so that there is a cyclical rhythm in nature. But, like other wheels, this is a machine to be understood and used by man. If it is true that the sun, the seasons, the waters, and human life itself go in cycles, the inference is that “there is a time for all things,” something different to be done at each stage of the cycle. The statement “There is nothing new under the sun” applies to wisdom but not to experience , to theory but not to practice. Only when we realize that nothing is new can we live with an intensity in which everything becomes new.

To be spared God’s tenth plague, the Israelites have to take specific action—anyone failing to apply blood to his doorframe would meet the fate of the Egyptians. Thus, the Passover also teaches that in order to avail oneself of God’s saving work, you have to appropriate it for yourself—you have to smear the blood on your door, metaphorically, by placing your saving faith in Jesus Christ. “The provision must be applied personally,” Dr. Roy Matheson writes. “It is not enough that the provision was made at Calvary for my sins. I must appropriate and apply this provision by trusting Christ in a personal way.”21 This points to God’s requirement that Christ’s blood, in order to effect our individual salvation, must be appropriated by each of us and applied personally by our faith, trusting in Him and His redemptive shedding of blood. The late Pastor Ray Stedman put it well: “The Passover is a beautiful picture of the cross of Christ. . . . But the Israelites—those who, by a simple act of faith, took the blood of a lamb and sprinkled it on the doorposts and lintels of their houses—were perfectly safe. Then and now, salvation is accomplished by the simple act of faith, a trusting response to God’s loving provision of a Savior who has settled our guilt before God. Then and now, the angel of death passes over those who are covered by the blood of the Lamb.”22

You said the god spoke to you. What did He say?" "That I was sent here, in answer to prayers, Illvin's among others, probably. The Bastard dared me, by my own son's god-neglected death, not to turn aside." She frowned fiercely in memory, and dy Cabon edged a little back from her. "I asked Him what the gods, having taken Teidez, could give me that I would trade spit for. He answered, Work. His blandishments were all decorated about with annoying endear merits that would have bought a human suitor a short trip to the nearest mud puddle by the hands of my servants. His kiss on my brow burned like a brand. His kiss on my mouth"—she hesitated, went on doggedly—"aroused me like a lover, which I most certainly am not." Dy Cabon edged farther back, smiling in anxious placation, and made little agreeing-denying motions, his hands like flippers. "Indeed not, Royina. No one could mistake you for such." She glowered at him, then went on. "Then He disappeared, leaving you holding the sack. So to speak. If this was prophecy, it bodes you ill, Learned." He signed himself. "Right, right. Um. If the first kiss was a spiritual gift, so ought the second to be. Yes, I quite see that." "Yes, but He didn't say what it was. Bastard. One of his little jokes, it seems." Dy Cabon glanced up as if trying to decide if that were prayer or expletive, guessed correctly, and took a breath, marshaling his thoughts. "All right. But He did say. He said, Work. If it sounds like a joke, it was probably quite serious." He added more cautiously, "It seems you are made saint again, will or nil." "Oh, I can still nil." She scowled. "That's what we all are, you know. Hybrids, of both matter and spirit. The gods' agents in the world of matter, to which they have no other entree. Doorways. He knocks on my door, demanding entry. He probes with his tongue like a lover, mimicking above what is desired below. Nothing so simple as a lover, he, yet he desires that I open myself and surrender as if to one. And let me tell you, I despise his choice of metaphors!" Dy Cabon flippered frantically at her again. It made her want to bite him. "You are a very fortress of a woman, it is true!" She stifled a growl, ashamed to have let her rage with his god spill over onto his humble head. "If you don't know the other half of the riddle, why were you put there?" "Royina, I know not!" He hesitated. "Maybe we should all sleep on it." He cringed at her blistering look, and tried again. "I will endeavor to think." "Do.

A lot of the early jazz artists, of course, couldn't even walk through the front door of the hotels and clubs they were playing in and had to enter through back doors and kitchens, and I think Jean felt this was a metaphor for his place in the art world: he had entered through the back door. He broke into the white art world in a way that had never been done before by any black.

It’s just so typical. I’ve had writer’s block for days now− I literally couldn’t write a coherent sentence− then about a minute before Travis walks through the door it’s like the sea parted and Moses was on the other side looking relieved and waving at me. It’s pretty depressing when your mental metaphors are better than the crap you managed to put on paper that week. They say when you have writer’s block you should clear your mind and the ‘inspiration’ will just come. But my mind doesn’t go blank, and I’ve spent the last three hours staring at the wall and wondering if you want French toast in France, do you ask for French toast, or just toast? And now, because I’ve thought about it so much, I actually care what the answer is. Obviously not one of my better days.

I closed my eyes, suddenly impossibly dizzy. And Finn reached out and touched my face. “Where did you go, Bonnie Rae?” he said softly. “What do you mean?” I liked the way his fingers felt on my skin and leaned into his palm. The dizziness abated instantly. “Sometimes you’re right there, right on the surface, full of life and so crazy and beautiful that it makes me ache.” His deep voice was melancholy, and I hated that I had caused it. “Then there are times, days like today,” he continued softly, “when you’re buried deep, and your beautiful face is just a house where you live. But the lights aren’t on, and the windows and doors are locked down tight. I know you’re in there, but I’m not with you. Maybe Minnie’s with you. But I don’t think so. You’re alone. And I wish you would let me in.” I climbed over the space between our seats and slid into his lap, laying my head on his shoulder, wrapping my arms around him as tightly as I could, breathing him in. I lifted the blinds on my metaphorical house, the one he described so well, and I gave him a glimpse inside. He continued driving, left arm wrapped around me, right arm on the wheel, and he settled his lips on my forehead.

For Tom she was a bit like the dishes from the food joint next door. A huge plate full of flavor, and tasting it, you'd hunger for more. But too much of it affects your stomach. You cannot really have it more often than once a month, because even though you actually love every bite of it, you can't digest it very well.

Tricks with Mirrors i It's no coincidence this is a used furniture warehouse. I enter with you and become a mirror. Mirrors are the perfect lovers, that's it, carry me up the stairs by the edges, don't drop me, that would be back luck, throw me on the bed reflecting side up, fall into me, it will be your own mouth you hit, firm and glassy, your own eyes you find you are up against closed closed ii There is more to a mirror than you looking at your full-length body flawless but reversed, there is more than this dead blue oblong eye turned outwards to you. Think about the frame. The frame is carved, it is important, it exists, it does not reflect you, it does not recede and recede, it has limits and reflections of its own. There's a nail in the back to hang it with; there are several nails, think about the nails, pay attention to the nail marks in the wood, they are important too. iii Don't assume it is passive or easy, this clarity with which I give you yourself. Consider what restraint it takes: breath withheld, no anger or joy disturbing the surface of the ice. You are suspended in me beautiful and frozen, I preserve you, in me you are safe. It is not a trick either, it is a craft: mirrors are crafty. iv I wanted to stop this, this life flattened against the wall, mute and devoid of colour, built of pure light, this life of vision only, split and remote, a lucid impasse. I confess: this is not a mirror, it is a door I am trapped behind. I wanted you to see me here, say the releasing word, whatever that may be, open the wall. Instead you stand in front of me combing your hair. v You don't like these metaphors. All right: Perhaps I am not a mirror. Perhaps I am a pool. Think about pools.

Suddenly, everything I'd ever read made sense. All of the cliches about electricity and drowning and falling and other sinister metaphors for a kiss all swept over me. It was nuclear fusion. It was the door to Narnia.

4.02 You Have It or You Don’t A King was watching a great magician perform his act. The crowd were enthralled and so was the King. At the end the audience roared with approval. And the King said: “What a gift this man has. A God-given talent.” But a Wise Counsellor said to the King, “My Lord, genius is made, not born. This magician’s skill is the result of discipline and practice. These talents have been learned and honed over time with determination and discipline.” The King was troubled by this message. The Counsellor’s challenge had spoiled his pleasure in the magician’s arts. “Limited and spiteful swine. How dare you criticise true genius. As I said, you either have it or you don’t. And you most certainly don’t.” The King turned to his bodyguard and said, “Throw this man into the deepest dungeon. And,” he added for the Counsellor’s benefit, “so you won’t be lonely you can have two of your kind to keep you company. You shall have two piglets as cellmates.” From the very first day of his imprisonment, the Wise Counsellor practised running up the steps of his cell to the prison door carrying in each hand a piglet. As the days turned into weeks, and the weeks into months, the piglets steadily grew into sturdy wild boars. And with every day of practice the Wise Counsellor increased his power and strength. One day the King remembered the Wise Counsellor and was curious to see how imprisonment had humbled him. He had the Wise Counsellor summoned. When the prisoner appeared, a man of powerful physique, carrying a wild boar on each arm, the King exclaimed, “What a gift this man has. A God-given talent.” The Wise Counsellor replied, “My Lord, genius is made, not born. My skill is the result of discipline and practice. These talents have been learned and honed over time with determination and discipline.

In the old machine metaphor of organizations, staff functions are like levers that the C-suite leaders use to steer the ship—levers that are conveniently close at hand, just a few doors down the hall at headquarters. Yet it is often an illusion of control: from the perspective of headquarters, rules and procedures always make sense; one must be in the field to experience the counterproductive and dispiriting results they often produce and to realize how often people find creative ways around them or simply ignore them.

schedule. “I need to get back to work. You settling up today? I’ll get tomorrow?” he suggested. “Sure, buddy. Have a good one.” “Until tomorrow,” he said as he put on his hat then walked away toward the door. “Same bat-time. Same bat-channel,” he added as he made his exit behind my back. I shook my head, smiled, and chuckled at his foolishness. I then swiveled my position to look around the restaurant once again. At one table, I noticed a man and a woman that I assumed had entered while we were facing the brick wall behind the bar. I watched them sign to one another with such vigor and beauty. It was something that amazed me every time I witnessed it, always wishing that I had taken that American Sign Language class in college. They sat there, completely silent, but communicating with their hands more effectively than most hearing people could with their voices. No sound passed from one to the next, no sound passed between anyone in the restaurant. It was very quiet. My mind moved toward the metaphorical silence is deafening. I guiltily chuckled to myself when I realized how completely inappropriate that unintentional pun would have been had it been said aloud, or signed. My thoughts then brought me to the words of Mark Twain. “Kindness is

I didn't know what to say. I knew I had a big choice to make. I could let it all go and try to love him, try to trust him, try to make something lasting and good. He obviously had strong feelings for me or about me. And he wasn't being so bad right now. We could build something sturdy, beautiful. Or I could try to make a dash for the door by crawling under the dining room table. There was a good chance that he would kill me later either way.

She cannot relax. The world around her is a living, breathing metaphor. The boat is her mother’s frail body, groaning under Eleanor’s weight. The sea is the poison that waits below, ready to consume her when she stumbles. The island is death, and she carves a resolute path—“a straight shot,” as Jack said—to death’s very door. Eleanor

I often use the metaphor of the ‘doorway’: this path is a doorway to Consciousness; this practice is a doorway to Shiva; this attitude is a doorway to the Absolute; the Guru is the doorway to God. I realised that I unconsciously held this metaphoric vision of life. Shiva is close at hand just behind the veil, just behind the door. So the Shaivite, in his life as in his yoga, should act courageously, knowing that everything that he needs will come. At the same time, he must be sensitive and aware and accept the feedback that comes from the world, which is nothing but Chiti. Do the yoga that you understand at the level that you understand it and do it with full conviction.

When the storms of life knock at your door, when grief attacks you at your core, when despair tries to steer your course, and when the pain seems too hard to endure, do not lose hope. Find the courage to go out there and search for your purpose, like a miner searching for gold.

Your purpose serves as a key, crafted uniquely for you to unlock closed doors and explore new horizons.

I couldn’t shake the idea that I, too, was probably one conversation away from changing my own mind about something, maybe a lot of things. But I also recalled how many conversations I’d had that only made my convictions stronger. I thought about the truthers and all the conversations they had in New York. I wondered what made these interactions different. In the training, after the videos, Laura handed things over to Steve, and I got my first clue. He opened by telling the crowd that facts don’t work. A serene man with a gentle and patient spirit, Steve put away his persistent smile and raised his voice to address the audience on this point. “There is no superior argument, no piece of information that we can offer, that is going to change their mind,” he said, taking a long pause before continuing. “The only way they are going to change their mind is by changing their own mind—by talking themselves through their own thinking, by processing things they’ve never thought about before, things from their own life that are going to help them see things differently.” He stood by a paper easel on which Laura had drawn a cartoon layer cake. Steve pointed to the smallest portion at the top with a candle sticking out. It was labeled “rapport,” the next smallest layer was “our story,” and the huge base was “their story.” He said to keep that image in mind while standing in front of someone, to remember to spend as little time as possible talking about yourself, just enough to show that you are friendly, that you aren’t selling anything. Show you are genuinely interested in what they have to say. That, he said, keeps them from assuming a defensive position. You should share your story, he said, pointing to the portion of the cake that sat on top of the biggest layer, but it’s their story that should take up most of the conversation. You want them to think about their own thinking. The team tossed out lots of metaphors like these. For instance, Steve later said to think of questions as keys on a giant ring. If you keep asking and listening, he told the crowd, one of those keys was bound to unlock the door to a personal experience related to the topic. Once that real, lived memory was out in the open, you could (if done correctly) steer the conversation away from the world of conclusions with their facts googled for support, away from ideological abstractions and into the world of concrete details from that individual’s personal experiences. It was there, and only there, he said, that a single conversation could change someone’s mind.

If words are dead ends, then metaphors are doors that I can try to open up. When you compare pain to another thing, those that are listening can fill in the abstraction with their own interpretations. My friend’s pain was a bowling ball and mine is something like a tarantula who’s using my body as her nest. I can feel her pulling up my oesophagus, the lump of her body balancing at the edge of my throat. I swallow her down, but eight legs means she works her way back up again quickly. Fighting the pain is tiring, so eventually I fall asleep and when I wake up there are a few delicious seconds of quiet when I’ve forgotten what’s happened. But then I feel the bristle of her legs scraping against the pink smoothness of my gut and I remember. It seems like a fault of nature that my unconscious mind could be so cruel. Maybe now that I can explain the pain a bit more, those who hear me will share in that feeling? Take some of it away with them?” Excerpt From Notes on Heartbreak: The must-read book of 2022 Annie Lord This material may be protected by copyright.

some argue that, whereas the Eastern tendency has typically been to read certain New Testament metaphors for sin and salvation almost strictly in terms of civil law concerning slavery - the "debt" of the bondsman who is enslaved in the house of death, but who is "redeemed" from slavery by the "ransonf' required for manumission - the Western tendency has been to read those same metaphors in terms of criminal law as well, with its concern for forensic culpability and retribution.

It was as though she had reached some state of acceptance about life – that if there was a bad experience, there wouldn’t only be bad experiences. She realised that she hadn’t tried to end her life because she was miserable, but because she had managed to convince herself that there was no way out of her misery. That, she supposed, was the basis of depression as well as the difference between fear and despair. Fear was when you wandered into a cellar and worried that the door would close shut. Despair was when the door closed and locked behind you. But with every life she saw that metaphorical door widen a little further as she grew better at using her imagination.

There is a wonderful story of a group of American car executives who went to Japan to see a Japanese assembly line. At the end of the line, the doors were put on the hinges, the same as in America. But something was missing. In the United States, a line worker would take a rubber mallet and tap the edges of the door to ensure that it fit perfectly. In Japan, that job didn’t seem to exist. Confused, the American auto executives asked at what point they made sure the door fit perfectly. Their Japanese guide looked at them and smiled sheepishly. “We make sure it fits when we design it.” In the Japanese auto plant, they didn’t examine the problem and accumulate data to figure out the best solution—they engineered the outcome they wanted from the beginning. If they didn’t achieve their desired outcome, they understood it was because of a decision they made at the start of the process. At the end of the day, the doors on the American-made and Japanese-made cars appeared to fit when each rolled off the assembly line. Except the Japanese didn’t need to employ someone to hammer doors, nor did they need to buy any mallets. More importantly, the Japanese doors are likely to last longer and maybe even be more structurally sound in an accident. All this for no other reason than they ensured the pieces fit from the start. What the American automakers did with their rubber mallets is a metaphor for how so many people and organizations lead. When faced with a result that doesn’t go according to plan, a series of perfectly effective short-term tactics are used until the desired outcome is achieved. But how structurally sound are those solutions? So many organizations function in a world of tangible goals and the mallets to achieve them. The ones that achieve more, the ones that get more out of fewer people and fewer resources, the ones with an outsized amount of influence, however, build products and companies and even recruit people that all fit based on the original intention. Even though the outcome may look the same, great leaders understand the value in the things we cannot see. Every instruction we give, every course of action we set, every result we desire, starts with the same thing: a decision. There are those who decide to manipulate the door to fit to achieve the desired result and there are those who start from somewhere very different. Though both courses of action may yield similar short-term results, it is what we can’t see that makes long-term success more predictable for only one. The one that understood why the doors need to fit by design and not by default.

[...] Abandon controversy that I may consecrate my talents exclusively to the Muses. And my soul, then, to the Devil? No, though opposition is a hopeless task, acquiescence would be worse. Consider Youngerman's case: He acquiesced, he left well enough alone, he muzzled conscience. Did irony sustain him? Or the Muses? When you rise to deliver a commencement address and half the audience walks out, where is your lofty indifference then, O poet? And his last book-- so bad, so bad! But Youngerman at least knew the meaning of his silence. When I speak to R.M. the language itself seems to alter. I grasp at meanings and they flit away, like minnows in a mountain stream. Or, a better metaphor, it is like one of those secret doors that one used to see in horror movies. It appears to be part of the bookcase, but when the hidden spring is released it turns around and its reverse side is a rough stone face. Must try and develop that image. The last word on R.M.: We do not, and I fear we cannot, understand each other. I sometimes wonder if the reason isn't simply that he's very stupid.

A great soul like Buddha or Jesus wasn't just a lamp at the door; they were beacons. You and I may feel smaller than Buddha or Jesus, yet that is an opinion formed by out own egos. Spirituality, all the light being expressed through a human begin is equal, at least in terms of quantity. Why? Because light is a metaphor for the power of consciousness. Everyone's consciousness draws from the same underlying reality.

The Surly Caller by Stewart Stafford Pain - stalker at my door; Resigned admission inside, Drags a chair, fills teary ducts, Drapes tingling spider's webs. Grey vista of a dreaded visit, Common or garden victim by force, Pain is the barb to candied joy; Twin-horned teasing tormentor. In rapid eye movement, we dream, It sleepwalks in my creaking room, I hear stumbling footsteps stir, Claws retract in numbing slumber. © Stewart Stafford, 2023. All rights reserved.

We may have slammed shut the metaphorical door on each other but we hadn’t locked it.

Of course one feel san done knows what one feel sand at the same time is a master of feeling, not slave; feeling is the archive upon which we draw, but the archive has doors or perhaps it has drawers, it's got storage, an index, the metaphor for the archive of feelings has been lost on Sarah but she gets the idea. You're fucked if it isn't in order.

What I am saying is that it takes time to understand humans because they don’t understand themselves. They have been wearing clothes for so long. Metaphorical clothes. That is what I am talking about. That was the price of human civilization—to create it, they had to close the door on their true selves. And so they are lost, that is how I understand it. And that is why they invented art: books, music, films, plays, painting, sculpture. They invented them as bridges back to themselves, back to who they are. But however close they get, they are forever removed.

Many of us worry today about a growing gap between the great mass of mere mortals and an internationalised and (metaphorically) incestuous elite, flitting between the luxury hotels and Michelin-starred restaurants of London, New York and Singapore or gathering for closed-door festivals of self-congratulation in the picture-book-perfect Alpine resort of Davos.

The basic truth is that men who lack status become losers in the game of mating. Other men abuse them with impunity, take their metaphorical lunch money, and poach their partners.

dating question -What do you want from this world? -To have a wardrobe. In his first meeting with Katrina, she asked him a dating question, and his answer was unconventional, he wished he could buy a wardrobe, in which he put his belongings, a metaphor for the instability in his life, so how does he do this, while he is without a homeland, without a home, moving from place to another, carrying a bag containing a few of his personal belongings. About to cheat on Khadija, the curiosity in the intelligence man’s mind overpowered him, the desire for knowledge, exploration, information, and a thirst for more details, the smallest details. Plan the process with the mentality of a computer programmer, “I will leave them a loophole in the system, they will hack me through it, and to do this they have to open their doors to send their code, and at this very moment, I am sending my code in the opposite direction. The most vulnerable account devices to hack are the hackers themselves. They enter the systems through special ports, which are opened to them by the so-called Trojan horse, a type of virus, with which they target the victim, open loopholes for them, infiltrate through them, and in both cases, they, in turn, have to open ports on their devices to complete the connection, from which they can be hacked backward. Katrina is a Trojan horse, he will not close the ports in front of her, she must succeed in penetrating him, and she will be his bridge connecting them, he will sneak through her, to the most secret and terrifying place in the world, a journey that leads him to the island of Malta, to enter the inevitable den. This is how the minds of investigators and intelligence men work, they must open the outlets of their minds to the fullest, to collect information, receive it, and deal with it, and that is why their minds are the most vulnerable to penetration, manipulation, and passing misleading information to them. It is almost impossible to convince a simple man, that there is life outside the planet, the outlets of his mind are closed, he is not interested in knowledge, nor is he collecting information, and the task of entering him is difficult, they call him the mind of the crocodile, a mind that is solid, closed, does not affect anything and is not affected by anything, He has his own convictions, he never changes them. While scientists, curious, intellectuals, investigators, and intelligence men, the ports of their minds are always open. And just as hackers can penetrate websites by injecting their URL addresses with programming phrases, they can implant their code into the website’s database, and pull information from it. The minds of such people can also be injected, with special codes, some of them have their minds ready for injection, and one or two injections are sufficient to prepare for the next stage, and for some, dozens of injections are not enough, and some of them injected their minds themselves, by meditation, thinking, and focusing on details, as Ruslan did. Khadija did not need more than three injections, but he trusted the love that brought them together, there is no need, she knew a lot about him in advance, and she will trust him and believe him. Her mind would not be able to get her away, or so he wished, the woman’s madness had not been given its due. What he is about to do now, and the revenge videos that she is going to receive will remain in her head forever, and will be her brain’s weapon to escape, when he tries to get her out of the box. From an early age, he did not enjoy safety and stability, he lived in the midst of hurricanes of chaos, and the heart of randomness. He became the son of shadows and their master. He deserved the nickname he called himself “Son of Chaos.

An ivory ripple of faces had turned toward me, their eyes plucking like fingers at every seam and pearl.

On my mad sprint to the bathroom, I leave red splatters on the floor, like a morbid little nod to Hansel and Gretel’s breadcrumbs. Only … if I were in the tale, I’d probably be the witch, so maybe that’s not an apt metaphor? With a groan, I sit down on the toilet and try my best to remedy the situation. When Oscar opens the door, I’m sitting there with my fingers and legs covered in blood.

We hid under our covers, blankets pulled over our heads, and some of us yelled rudely. The parents retreated, possibly offended. A sign went up on the door, PARENT FREE ZONE, and we spoke to them sternly in the morning. “You have the run of the mansion,” said Terry, calmly but forcefully. “Your own private bedrooms. Your own private attached baths.” He wore glasses and was squat and very pretentious. Still, he looked commanding as he stood there, his short arms crossed, at the head of the table. The parents sipped their coffee. It made sucking noises. “We have one room. For all of us. One single room!” intoned Terry. “For pity’s sake. Give us our blessed space. In that minuscule scrap of territory. Think of the attic as a reservation. Imagine you’re the white conquerors who brutally massacred our people. And we’re the Indians.” “Native Americans,” said a mother. “Insensitive metaphor,” said another. “Culturally.

Vidocq turns in a slow circle. “My God. It really is a room full of doors.” “Thirteen. What did you expect?” “I assumed the doors were a metaphor. Each door would be a way to describe a different state of being.” “No. It’s just a lot of doors.

The train’s doors closed with a matron’s shush.

In this instance, the point of showing you the king’s funeral was primarily that it provided Lord John with his moment of enlightenment regarding Jamie’s motive for remaining at Helwater. Secondarily, it shows a historical turning point that a) anchors the reader in time, b) metaphorically underlines the conclusion of the Grey brothers’ quest, c) marks a turning point in Lord John’s relationship with Jamie Fraser, and d) opens the door to a new phase of both personal and public history—for George III (who was the grandson, not the son, of George II) is, of course, the king from whom the American colonies revolted, and we see in the later books of the Outlander series just how that affects the lives of Lord John, Jamie Fraser, and William.