Dragonfly Pictures With Quotes

The wind shook some blossoms from the trees, and the heavy lilac blooms, with their clustering stars, moved to and fro in the languid air. A grasshopper began to chirp by the wall, and like a blue thread a long, thin dragonfly floated past on its brown gauze wings. Lord Henry felt as if he could hear Basil Hallward's heart beating, and wondered what was coming.

The first sorrow of autumn is the slow good-bye of the garden that stands so long in the evening—a brown poppy head, the stalk of a lily, and still cannot go. The second sorrow is the empty feet of a pheasant who hangs from a hook with his brothers. The woodland of gold is folded in feathers with its head in a bag. And the third sorrow is the slow good-bye of the sun who has gathered the birds and who gathers the minutes of evening, the golden and holy ground of the picture. The fourth sorrow is the pond gone black, ruined, and sunken the city of water—the beetle's palace, the catacombs of the dragonfly. And the fifth sorrow is the slow good-bye of the woodland that quietly breaks up its camp. One day it's gone. It has only left litter—firewood, tent poles. And the sixth sorrow is the fox's sorrow, the joy of the huntsman, the joy of the hounds, the hooves that pound; till earth closes her ear to the fox's prayer. And the seventh sorrow is the slow good-bye of the face with its wrinkles that looks through the window as the year packs up like a tatty fairground that came for the children.

The wind shook some blossoms from the trees, and the heavy lilac-blooms, with their clustering stars, moved to and fro in the languid air. A grasshopper began to chirrup by the wall, and like a blue thread a long thin dragon-fly floated past on its brown gauze wings.

What made the process still longer was that it was profusely illustrated, not only with pictures, as that of old Queen Elizabeth, laid on her tapestry couch in rose-coloured brocade with an ivory snuff-box in her hand and a gold-hilted sword by her side, but with scents — she was strongly perfumed — and with sounds; the stags were barking in Richmond Park that winter’s day. And so, the thought of love would be all ambered over with snow and winter; with log fires burning; with Russian women, gold swords, and the bark of stags; with old King James’ slobbering and fireworks and sacks of treasure in the holds of Elizabethan sailing ships. Every single thing, once he tried to dislodge it from its place in his mind, he found thus cumbered with other matter like the lump of glass which, after a year at the bottom of the sea, is grown about with bones and dragon-flies, and coins and the tresses of drowned women.

What a joy this book is! I love recipe books, but it’s short-lived; I enjoy the pictures for several minutes, read a few pages, and then my eyes glaze over. They are basically books to be used in the kitchen for one recipe at a time. This book, however, is in a different class altogether and designed to be read in its entirety. It’s in its own sui generis category; it has recipes at the end of most of the twenty-one chapters, but it’s a book to be read from cover to cover, yet it could easily be read chapter by chapter, in any order, as they are all self-contained. Every bite-sized chapter is a flowing narrative from a well-stocked brain encompassing Balinese culture, geography and history, while not losing its main focus: food. As you would expect from a scholar with a PhD in history from Columbia University, the subject matter has been meticulously researched, not from books and articles and other people’s work, but from actually being on the ground and in the markets and in the kitchens of Balinese families, where the Balinese themselves learn their culinary skills, hands on, passed down orally, manually and practically from generation to generation. Vivienne Kruger has lived in Bali long enough to get it right. That’s no mean feat, as the subject has not been fully studied before. Yes, there are so-called Balinese recipe books, most, if I’m not mistaken, written by foreigners, and heavily adapted. The dishes have not, until now, been systematically placed in their proper cultural context, which is extremely important for the Balinese, nor has there been any examination of the numerous varieties of each type of recipe, nor have they been given their true Balinese names. This groundbreaking book is a pleasure to read, not just for its fascinating content, which I learnt a lot from, but for the exuberance, enthusiasm and originality of the language. There’s not a dull sentence in the book. You just can’t wait to read the next phrase. There are eye-opening and jaw-dropping passages for the general reader as Kruger describes delicacies from the village of Tengkudak in Tabanan district — grasshoppers, dragonflies, eels and live baby bees — and explains how they are caught and cooked. She does not shy away from controversial subjects, such as eating dog and turtle. Parts of it are not for the faint-hearted, but other parts make you want to go out and join the participants, such as the Nusa Lembongan fishermen, who sail their outriggers at 5.30 a.m. The author quotes Miguel Covarrubias, the great Mexican observer of the 1930s, who wrote “The Island of Bali.” It has inspired all writers since, including myself and my co-author, Ni Wayan Murni, in our book “Secrets of Bali, Fresh Light on the Morning of the World.” There is, however, no bibliography, which I found strange at first. I can only imagine it’s a reflection of how original the subject matter is; there simply are no other sources. Throughout the book Kruger mentions Balinese and Indonesian words and sometimes discusses their derivations. It’s a Herculean task. I was intrigued to read that “satay” comes from the Tamil word for flesh ( sathai ) and that South Indians brought satay to Southeast Asia before Indonesia developed its own tradition. The book is full of interesting tidbits like this. The book contains 47 recipes in all, 11 of which came from Murni’s own restaurant, Murni’s Warung, in Ubud. Mr Dolphin of Warung Dolphin in Lovina also contributed a number of recipes. Kruger adds an introduction to each recipe, with a detailed and usually very personal commentary. I think my favorite, though, is from a village priest (pemangku), I Made Arnila of the Ganesha (Siwa) Temple in Lovina. water. I am sure most will enjoy this book enormously; I certainly did.” Review published in The Jakarta Globe, April 17, 2014. Jonathan Copeland is an author and photographer based in Bali. thejakartaglobe/features/spiritual-journey-culinary-world-bali

Anonymity prods people to do things they wouldn’t do in plain sight. The internet provides that. You can be whomever your picture says you are.

I came back to to the still-warm bed, holding in my mind the picture of the laird of Lallybroch, half-naked in the moonlight, pouring out his heart to an unknown future, holding in his lap the promise of his blood.

He had been fixed in my memory for so long, glowing but static, like an insect frozen in amber. And then had come Roger's brief historical sightings, like peeks through a keyhole; separate pictures like punctuations, alterations; adjustments of memory, each showing the dragonfly's wings raised or lowered at a different angle, like the single frames of a motion picture. Now the time had begun to run again for us, and the dragonfly was in flight before me, flickering from place to place, so I saw little more yet than the glitter of its wings.

He had been fixed in my memory for so long, glowing but static, like an insect frozen in amber. And then had come Roger’s brief historical sightings, like peeks through a keyhole; separate pictures like punctuations, alterations; adjustments of memory, each showing the dragonfly’s wings raised or lowered at a different angle, like the single frames of a motion picture. Now time had begun to run again for us, and the dragonfly was in flight before me, flickering from place to place, so I saw little more yet than the glitter of its wings.

As a child, crisp spring afternoons were spent wading along Reedy Creek just beyond the field. Then came the heavy breeze in the autumn, pushing off the almond, auburn, sugar-yellow and apple-red leaves into the creek, providing rafts for dragonflies. In winter, the snow upon the wood became an eerie deep, and the occasional gliding of an owl would be spotted from our bedroom. Then, to spend an afternoon walking in a snowy wood and find a scarlet red cardinal perched on a white limb, you would think God arranged that picture just for you.

The headline read RETURNED FROM THE DEAD. Beneath was a picture of Claire Randall, twenty years younger, but looking little different than she did now, bar

What I like about this belief is that it makes people look for a big picture, and think more about how they behave in this life and what they achieve, as it might influence their next lives. I also like another aspect of it: that negative experiences teach us as much as positive experiences do; sometimes they teach us more.

What I like about this belief is that it makes people look for a big picture, and think more about how they behave in this life and what they achieve, as it might influence their next lives. I also like another aspect of it: that negative experiences teach us as much as positive experiences do; sometimes they teach us more.