Draw A Garden Quotes

Sometimes since I've been in the garden I've looked up through the trees at the sky and I have had a strange feeling of being happy as if something was pushing and drawing in my chest and making me breathe fast. Magic is always pushing and drawing and making things out of nothing. Everything is made out of magic, leaves and trees, flowers and birds, badgers and foxes and squirrels and people. So it must be all around us. In this garden - in all the places.

Gardens and flowers have a way of bringing people together, drawing them from their homes.

If you inherently long for something, become it first. If you want gardens, become the gardener. If you want love, embody love. If you want mental stimulation, change the conversation. If you want peace, exude calmness. If you want to fill your world with artists, begin to paint. If you want to be valued, respect your own time. If you want to live ecstatically, find the ecstasy within yourself. This is how to draw it in, day by day, inch by inch.

The trouble with sociopaths, really, is that you never know where they draw their boundaries.

Imagine the clouds dripping Dig a hole in your garden to put them in

Convergence,” Tool said. “Power ever draws other power.

The French called this time of day 'l'heure bleue.' To the English it was 'the gloaming.' The very word 'gloaming' reverberates, echoes - the gloaming, the glimmer, the glitter, the glisten, the glamour - carrying in its consonants the images of houses shuttering, gardens darkening, grass-lined rivers slipping through the shadows. During the blue nights you think the end of the day will never come. As the blue nights draw to a close (and they will, and they do) you experience an actual chill, an apprehension of illness, at the moment you first notice; the blue light is going, the days are already shortening, the summer is gone... Blue nights are the opposite of the dying of the brightness, but they are also its warning.

Magic is always pushing and drawing and making things out of nothing.

No, of course not. The Redemption is nothing like a fairy tale, Miss Prim. Fairy tales and ancient legends arelike the Redemption. Haven’t you ever noticed? It’s like when you copy a tree from the garden on a piece of paper. The tree from the garden doesn’t look like the drawing, does it? It’s the drawing that’s a bit, just a little bit, like the real tree.

Magic is always pushing and drawing and making things out of nothing. Everything is made out of Magic, leaves and trees, flowers and birds, badgers and foxes and squirrels and people. So it must be all around us.

...so I took it out with me into the garden, because the dullest book takes on a certain saving grace if read out of doors, just as bread and butter, devoid of charm in the drawing-room, is ambrosia eaten under a tree.

It taught me that there are three versions of things: the one I see in my mind, and the one that carries onto the paper, and then what it ultimately becomes.

I am very fond of the oyster shell. It is humble and awkward and ugly. It is slate-colored and unsymmetrical. Its form is not primarily beautiful but functional. I make fun of its knobbiness. Sometimes I resent its burdens and excrescences. But its tireless adaptability and tenacity draw my astonished admiration and sometimes even my tears. And it is comfortable in its familiarity, its homeliness, like old garden gloves when have molded themselves perfectly to the shape of the hand. I do not like to put it down. I will not want to leave it.

I open my mouth to, I don't know, apologize again maybe. But he takes my face in his hands and presses his forehead to mine. And he's so close that I can feel his little warm breaths, and all I know is that when he draws his next breath, I want to get sucked in. Our lips touched, almost as soft as not touching at all. Then they press closer to each other, draw back uncertainly, touch again. There is warmth shooting through my broken body where there should be pain, and I put my arms around the back of his neck and I hold on to him. I hold on because you never know in this place when something good will be taken away.

Magic is always pushing and drawing and making things out of nothing. Everything is made out of Magic, leaves and trees, flowers and birds, badgers and foxes and squirrels and people. So it must be all around us. In this garden—in all the places.

Someone, he added, ought to draw up a catalogue of types of buildings listed in order of size, and it would be immediately obvious that domestic buildings of less then normal size – the little cottage in the fields, the hermitage, lockkeepers's lodge, the pavilion for viewing the landscape, the children's bothy in the garden – are those that offer us at least a semblance of peace, whereas no one in his right mind could truthfully say that he liked a vast edifice such as the Palace of Justice in the old Gallows Hill in Brussels. At the most we gaze at it in wonder, a kind of wonder which itself is a form of dawning horror, for somehow we know by instinct that outsize buildings cast the shadow of their own destruction before them, and are designed from the first with an eye to their later existence as ruins.

If God were to make a million lovely flowers in your image and plant them in a garden with you among them, I would still know you by your scent and by the feel of your petals and by the crazy way you lean towards my light whenever I draw near.

The year is done. I spread the past three hundred sixty-five days before me on the living room carpet. Here is the month I decided to shed everything not deeply committed to my dreams. The day I refused to be a victim to the self-pity. Here is the week I slept in the garden. The spring I wrung the self-doubt by its neck. Hung your kindness up. Took down the calendar. The week I danced so hard my heart learned to float above water again. The summer I unscrewed all the mirrors from their walls. No longer needed to see myself to feel seen. Combed the weight out of my hair. I fold the good days up and place them in my back pocket for safekeeping. Draw the match. Cremate the unnecessary. The light of the fire warms my toes. I pour myself a glass of warm water to cleanse myself for january. Here I go. Stronger and wiser into the new.

Life is an island in an ocean of solitude and seclusion. Life is an island, rocks are its desires, trees its dreams, and flowers its loneliness, and it is in the middle of an ocean of solitude and seclusion. Your life, my friend, is an island separated from all other islands and continents. Regardless of how many boats you send to other shores, you yourself are an island separated by its own pains,secluded its happiness and far away in its compassion and hidden in its secrets and mysteries. I saw you, my friend, sitting upon a mound of gold, happy in your wealth and great in your riches and believing that a handful of gold is the secret chain that links the thoughts of the people with your own thoughts and links their feeling with your own. I saw you as a great conqueror leading a conquering army toward the fortress, then destroying and capturing it. On second glance I found beyond the wall of your treasures a heart trembling in its solitude and seclusion like the trembling of a thirsty man within a cage of gold and jewels, but without water. I saw you, my friend, sitting on a throne of glory surrounded by people extolling your charity, enumerating your gifts, gazing upon you as if they were in the presence of a prophet lifting their souls up into the planets and stars. I saw you looking at them, contentment and strength upon your face, as if you were to them as the soul is to the body. On the second look I saw your secluded self standing beside your throne, suffering in its seclusion and quaking in its loneliness. I saw that self stretching its hands as if begging from unseen ghosts. I saw it looking above the shoulders of the people to a far horizon, empty of everything except its solitude and seclusion. I saw you, my friend, passionately in love with a beautiful woman, filling her palms with your kisses as she looked at you with sympathy and affection in her eyes and sweetness of motherhood on her lips; I said, secretly, that love has erased his solitude and removed his seclusion and he is now within the eternal soul which draws toward itself, with love, those who were separated by solitude and seclusion. On the second look I saw behind your soul another lonely soul, like a fog, trying in vain to become a drop of tears in the palm of that woman. Your life, my friend, is a residence far away from any other residence and neighbors. Your inner soul is a home far away from other homes named after you. If this residence is dark, you cannot light it with your neighbor's lamp; if it is empty you cannot fill it with the riches of your neighbor; were it in the middle of a desert, you could not move it to a garden planted by someone else. Your inner soul, my friend, is surrounded with solitude and seclusion. Were it not for this solitude and this seclusion you would not be you and I would not be I. If it were not for that solitude and seclusion, I would, if I heard your voice, think myself to be speaking; yet, if I saw your face, i would imagine that I were looking into a mirror.

Marvel at how she, the patient gardener, the bringer of sleep, she who draws the bath and lights the candles, she who made you someone who could make himself into someone, she made you want to live more than anything else, and now she makes you want to leave the world because you have seen it.

And she wanted to say not one thing, but everything. Little words that broke up the thought and dismembered it said nothing. “About life, about death; about Mrs. Ramsay”—no, she thought, one could say nothing to nobody. The urgency of the moment always missed its mark. Words fluttered sideways and struck the object inches too low. Then one gave it up; then the idea sunk back again; then one became like most middle-aged people, cautious, furtive, with wrinkles between the eyes and a look of perpetual apprehension. For how could one express in words these emotions of the body? express that emptiness there? (She was looking at the drawing-room steps; they looked extraordinarily empty.) It was one’s body feeling, not one’s mind. The physical sensations that went with the bare look of the steps had become suddenly extremely unpleasant. TO want and not to have, sent all up her body a hardness, a hollowness, a strain. And then to want and not to have—to want and want—how that wrung the heart, and wrung it again and again! Oh, Mrs. Ramsay! She called out silently, to that essence which sat by the boat, that abstract one made of her, that woman in grey, as if to abuse her for having gone, and then having gone, come back again. It seemed so safe, thinking of her. Ghost, air, nothingness, a thing you could play with easily and safely at any time of day or night, she had been that, and then suddenly she put her hand out and wrung the heart thus. Suddenly, the empty drawing-room steps, the frill of the chair inside, the puppy tumbling on the terrace, the whole wave and whisper of the garden became like curves and arabesques flourishing around a centre of complete emptiness.

At Bramasole, the first secret spot that draws me outside is a stump and board bench on a high terrace overlooking the lake and valley. Before I sit down, I must bang the board against a tree to knock off all the ants. Then I'm happy. With a stunted oak tree for shelter and a never-ending view, I am hidden. No one knows where I am. The nine-year-old's thrill of the hideout under the hydrangea comes back: My mother is calling me and I am not answering.

A day off meant we could do things we’d always meant to do. Like go to the Botanical Garden, the Frick Collection, or something. Read some fiction. Leisure, the problem with the modern condition was the dearth of leisure. And finally, it took a force of nature to interrupt our routines. We just wanted to hit the reset button. We just wanted to feel flush with time to do things of no quantifiable value, our hopeful side pursuits like writing or drawing or something, something other than what we did for money. Like learn to be a better photographer. And even if we didn’t get around to it on that day, our free day, maybe it was enough just to feel the possibility that we could if we wanted to, which is another way of saying that we wanted to feel young, though many of us were that if nothing else.

In Treasure Island, Savannah is the place where Captain John Flint, the murderous pirate with the blue face, has died of rum before the story begins. It is on his death bed in Savannah that Flint bellows his last command - "Fetch aft the rum, Darby!" - and hands Billy Bones a map of Treasure Island. "He gave it me at Savnnah," says Bones, "when he lay a-dying." The book has a drawing of Flint's map in it with an X marking the location of the buried treasure.

She heard a chirp and a twitter, and when she looked at the bare flower-bed at her left side there he was hopping about and pretending to peck things out of the earth to persuade her that he had not followed her. But she knew he had followed her and the surprise so filled her with delight that she almost trembled a little. "You do remember me!" she cried out. "You do! You are prettier than anything else in the world!" She chirped, and talked, and coaxed and he hopped, and flirted his tail and twittered. It was as if he were talking. His red waistcoat was like satin and he puffed his tiny breast out and was so fine and so grand and so pretty that it was really as if he were showing her how important and like a human person a robin could be. Mistress Mary forgot that she had ever been contrary in her life when he allowed her to draw closer and closer to him, and bend down and talk and try to make something like robin sounds. Oh! to think that he should actually let her come as near to him as that! He knew nothing in the world would make her put out her hand toward him or startle him in the least tiniest way. He knew it because he was a real person—only nicer than any other person in the world. She was so happy that she scarcely dared to breathe.

Gardens come and go, but I find myself getting attached to certain perennials. My tulips are bridesmaids, with fat faces and good posture. Hollyhocks are long necked sisters. Daffodils are young girls running out of a white church, sun shining on their heads. Peonies are pink-haired ladies, so full and stooped you have to tie them up with string. And roses are nothing but (I hate to say it) bitches--pretty show-offs who'll draw blood if you don't handle them just right. -Vangie Galliard Nepper, From her "Garden Diary," March 1952

Dear Madam Vorsoisson, I am sorry. This is the eleventh draft of this letter. They’ve all started with those three words, even the horrible version in rhyme, so I guess they stay. You once asked me never to lie to you. All right, so. I’ll tell you the truth now even if it isn’t the best or cleverest thing, and not abject enough either. I tried to be the thief of you, to ambush and take prisoner what I thought I could never earn or be given. You were not a ship to be hijacked, but I couldn’t think of any other plan but subterfuge and surprise. Though not as much of a surprise as what happened at dinner. The revolution started prematurely because the idiot conspirator blew up his secret ammo dump and lit the sky with his intentions. Sometimes these accidents end in new nations, but more often they end badly, in hangings and beheadings. And people running into the night. I can’t be sorry that I asked you to marry me, because that was the one true part in all the smoke and rubble, but I’m sick as hell that I asked you so badly. Even though I’d kept my counsel from you, I should have at least had the courtesy to keep it from others as well, till you’d had the year of grace and rest you’d asked for. But I became terrified that you’d choose another first. So I used the garden as a ploy to get near you. I deliberately and consciously shaped your heart’s desire into a trap. For this I am more than sorry, I am ashamed. You’d earned every chance to grow. I’d like to pretend I didn’t see it would be a conflict of interest for me to be the one to give you some of those chances, but that would be another lie. But it made me crazy to watch you constrained to tiny steps, when you could be outrunning time. There is only a brief moment of apogee to do that, in most lives. I love you. But I lust after and covet so much more than your body. I wanted to possess the power of your eyes, the way they see form and beauty that isn’t even there yet and draw it up out of nothing into the solid world. I wanted to own the honor of your heart, unbowed in the vilest horrors of Komarr. I wanted your courage and your will, your caution and your serenity. I wanted, I suppose, your soul, and that was too much to want. I wanted to give you a victory. But by their essential nature triumphs can’t be given. They must be taken, and the worse the odds and the fiercer the resistance, the greater the honor. Victories can’t be gifts. But gifts can be victories, can’t they. It’s what you said. The garden could have been your gift, a dowry of talent, skill, and vision. I know it’s too late now, but I just wanted to say, it would have been a victory most worthy of our House. Yours to command, Miles Vorkosigan

Queen of Night is as close to black as a flower gets, though in fact it is a dark and glossy maroonish purple. Its hue is so dark, however, that it appears to draw more light into itself than it reflects, a kind of floral black hole. In the garden, depending on the the angle of the sun, the blossoms of a Queen of Night may read as positive or negative space, as flowers or shadows of a flower.

One day, as Sarita tended to the wash, Gemma played in the garden. She was a knight, you see, with a sword fashioned out of wood. Most formidable, she was, though I didn't quite know how formidable. As I sat in my study, I heard screaming from outside. I ran to see what the commotion was. Sarita called to me, wide-eyed with fear, "Oh, Mr. Doyle, look- over there!" The tiger had entered the garden and was making his way toward where our Gemma frolicked with her wooden sword. Beside me, our house servant, Raj, drew his blade so stealthily it seemed to simply appear in his hand by magic. But Sarita stayed his hand. "If you run for him with your life, you will provoke the tiger," she advised. "We must wait."... I must tell you that it was the longest moment of my life. No one dared move. No one dared draw a breath. And all the while, Gemma played on, taking no notice until the great cat was upon her. She stood and faced him. They stared at one another as if each wondered what to make of the other, as if they sensed a kindred spirit. At last, Gemma placed her sword upon the ground. "Dear tiger," she said. "You may pass if you are peaceful." The tiger looked at the sword and back at Gemma, and without a sound, it passed on, dissappearing into the jungle." ... "The tiger had gone. He did not come around a gain. But I was a man possessed. The tiger had come too close, you see. I no longer felt safe. I hired the best tracker in Bombay. We hunted for days, tracking the tiger to the mountains there. We found him taking water from a small watering hole. He looked up but he did not charge. He took no notice of us at all but continued to drink. "Sahib, let us go," the boy said. "This tiger means you no harm." He was right, of course. But we had come all that way. The gun was in my hand. The tiger was before us. I took aim and shot it dead on the spot. I sold the tiger's skin for a fortune to a man in Bombay, and he called me brave for it. But it was not courage that brought me to that; it was fear..."But you," he says, smiling with a mix of sadness and pride, "you faced the tiger and survived." ... "The time has come for me to face my tiger, to look him in the eye and see which of us survives." - Mr. Doyle

The magic in this garden has made me stand up and know I am going to live to be a man. I am going to make the scientific experiment of trying to get some and put it in myself and make it push and draw me and make me strong. I don't know how to do it, but I think that if you keep thinking about it and calling it perhaps it will come.

I draw back,gently step out of his hands that gripped my shoulders and were just edging their way to either side of my throat

and adam rose fearful in the garden without words for the grass his fingers plucked without a tongue to name the taste shimmering in his mouth did they draw blood the blades did it become his early lunge toward language did his astonishment surround him did he shudder did he whisper eve

so I took it out with me into the garden, because the dullest book takes on a certain saving grace if read out of doors, just as bread and butter, devoid of charm in the drawing-room, is ambrosia eaten under a tree.

Fanfare for the Makers A cloud of witnesses. To whom? To what? To the small fire that never leaves the sky. To the great fire that boils the daily pot. To all the things we are not remembered by, Which we remember and bless. To all the things That will not notice when we die, Yet lend the passing moment words and wings. So fanfare for the Makers: who compose A book of words or deeds who runs may write As many who do run, as a family grows At times like sunflowers turning towards the light. As sometimes in the blackout and the raids One joke composed an island in the night. As sometimes one man’s kindness pervades A room or house or village, as sometimes Merely to tighten screws or sharpen blades Can catch a meaning, as to hear the chimes At midnight means to share them, as one man In old age plants an avenue of limes And before they bloom can smell them, before they span The road can walk beneath the perfected arch, The merest greenprint when the lives began Of those who walk there with him, as in default Of coffee men grind acorns, as in despite Of all assaults conscripts counter assault, As mothers sit up late night after night Moulding a life, as miners day by day Descend blind shafts, as a boy may flaunt his kite In an empty nonchalant sky, as anglers play Their fish, as workers work and can take pride In spending sweat before they draw their pay. As horsemen fashion horses while they ride, As climbers climb a peak because it is there, As life can be confirmed even in suicide: To make is such. Let us make. And set the weather fair. Louis Macneice

It is easy to think that the Church has a lot of different objects—education, building, missions, holding services. Just as it is easy to think the State has a lot of different objects—military, political, economic, and what not. But in a way things are much simpler than that. The State exists simply to promote and to protect the ordinary happiness of human beings in this life. A husband and wife chatting over a fire, a couple of friends having a game of darts in a pub, a man reading a book in his own room or digging in his own garden—that is what the State is there for. And unless they are helping to increase and prolong and protect such moments, all the laws, parliaments, armies, courts, police, economics, etc., are simply a waste of time. In the same way the Church exists for nothing else but to draw men into Christ, to make them little Christs. If they are not doing that, all the cathedrals, clergy, missions, sermons, even the Bible itself, are simply a waste of time.

Walt Disney’s brother tells an amusing story about Walt’s budding genius as a fifth grader. The teacher assigned the students to color a flower garden. As she walked among the rows examining the student’s work she stopped by young Walt’s desk. Noting that his drawing was quite unusual, she remarked, “Walt, that’s not right. Flowers don’t have faces on them.” Confidently he replied, “Mine do!” and continued his work. And they still do; flowers at Disneyland and Disney World all have faces. An

You are sauntering along the back streets of Avallon; you step into a tavern for a cup of wine. A great lummox claims that you have molested his wife; he takes up his cutlass and comes at you. So now! With your knife! Draw and throw! All in a single movement! You advance, pull your knife from the villain's neck, wipe it on his sleeve. If in fact you have molested the dead churl's wife, bid her begone! The episode has quite dampened your spirit. But you are attacked from another side by another husband. Quick!

Everything in the kingdom depends upon whether or not we hear the word of God. I will endure months of silence if He will but speak one creative word from His mouth to my spirit. Our devotional life with God is more like the planting of a garden. When we arise from sowing into the secret place, we will not usually be able to point to immediate results or benefits. What we sow today will require an entire season of growth before the results are manifest. The wisest thing you’ll ever do in this life is to draw close to God and to seek Him with all your heart. I never consider time invested in the secret place to be wasteful; and even if it is, I gladly waste it upon my Lord! When you neglect the secret place, He’s not disappointed in you, He’s disappointed for you. One day of exhilaration in the Holy Spirit is worth a thousand days of struggle! The greatest things in life—those things that carry eternal value—always come at the steepest price. The closer you get to God, the more you realize He’s in no hurry. No one can mentor you into an abiding relationship with Christ. We all have to find our own way to abiding in Christ. When all is said and done, we must shut the door, get into the secret place with God, and discover what an abiding relationship with Christ will look like for ourselves.

She looked now at the drawing-room step. She saw, through William’s eyes, the shape of a woman, peaceful and silent, with downcast eyes. She sat musing, pondering (she was in grey that day, Lily thought). Her eyes were bent. She would never lift them. . . . [N]o, she thought, one could say nothing to nobody. The urgency of the moment always missed its mark. Words fluttered sideways and struck the object inches too low. Then one gave it up; then the idea sunk back again; then one became like most middle-aged people, cautious, furtive, with wrinkles between the eyes and a look of perpetual apprehension. For how could one express in words these emotions of the body? Express that emptiness there? (She was looking at the drawing-room steps; they looked extraordinarily empty.) It was one’s body feeling, not one’s mind. The physical sensations that went with the bare look of the steps had become suddenly extremely unpleasant. To want and not to have, sent all up her body a hardness, a hollowness, a strain. And then to want and not to have – to want and want – how that wrung the heart, and wrung again and again! Oh, Mrs. Ramsay! she called out silently, to that essence which sat by the boat, that abstract one made of her, that woman in grey, as if to abuse her for having gone, and then having gone, come back again. It had seemed so safe, thinking of her. Ghost, air, nothingness, a thing you could play with easily and safely at any time of day or night, she had been that, and then suddenly she put her hand out and wrung the heart thus. Suddenly, the empty drawing-room steps, the frill of the chair inside, the puppy tumbling on the terrace, the whole wave and whisper of the garden became like curves and arabesques flourishing round a centre of complete emptiness. . . . A curious notion came to her that he did after all hear the things she could not say. . . . She looked at her picture. That would have been his answer, presumably – how “you” and “I” and “she” pass and vanish; nothing stays; all changes; but not words, not paint. Yet it would be hung in the attics, she thought; it would be rolled up and flung under a sofa; yet even so, even of a picture like that, it was true. One might say, even of this scrawl, not of that actual picture, perhaps, but of what it attempted, that it “remained for ever,” she was going to say, or, for the words spoken sounded even to herself, too boastful, to hint, wordlessly; when, looking at the picture, she was surprised to find that she could not see it. Her eyes were full of a hot liquid (she did not think of tears at first) which, without disturbing the firmness of her lips, made the air thick, rolled down her cheeks. She had perfect control of herself – Oh, yes! – in every other way. Was she crying then for Mrs. Ramsay, without being aware of any unhappiness? She addressed old Mr. Carmichael again. What was it then? What did it mean? Could things thrust their hands up and grip one; could the blade cut; the fist grasp? Was there no safety? No learning by heart of the ways of the world? No guide, no shelter, but all was miracle, and leaping from the pinnacle of a tower into the air? Could it be, even for elderly people, that this was life? – startling, unexpected, unknown? For one moment she felt that if they both got up, here, now on the lawn, and demanded an explanation, why was it so short, why was it so inexplicable, said it with violence, as two fully equipped human beings from whom nothing should be hid might speak, then, beauty would roll itself up; the space would fill; those empty flourishes would form into shape; if they shouted loud enough Mrs. Ramsay would return. “Mrs. Ramsay!” she said aloud, “Mrs. Ramsay!” The tears ran down her face.

In the Garden of Eden, Eve wore a fig leaf, not to cover her moist parts, but to draw Adam’s gaze to what lay hidden in the undergrowth. Extending the metaphor, the snake symbolizes Adam’s tongue, the apple the rosy, blood-engorged bundle of nerve endings pulsing within Eve’s clitoris.

There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York--every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour if a little button was pressed two hundred times by a butler's thumb. At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials so long forgotten that most of his female guests were too young to know one from another. By seven o'clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and high drums. The last swimmers have come in from the beach now and are dressing up-stairs; the cars from New York are parked five deep in the drive, and already the halls and salons and verandas are gaudy with primary colors, and hair shorn in strange new ways, and shawls beyond the dreams of Castile. The bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusiastic meetings between women who never knew each other's names. The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath; already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the centre of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light. Suddenly one of the gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvas platform. A momentary hush; the orchestra leader varies his rhythm obligingly for her, and there is a burst of chatter as the erroneous news goes around that she is Gilda Gray's understudy from the FOLLIES. The party has begun.

I sat down in the middle of the garden, where snakes could scarcely approach unseen, and leaned my back against a warm yellow pumpkin. There were some ground-cherry bushes growing along the furrows, full of fruit. I turned back the papery triangular sheaths that protected the berries and ate a few. All about me giant grasshoppers, twice as big as any I had ever seen, were doing acrobatic feats among the dried vines. The gophers scurried up and down the ploughed ground. There in the sheltered draw-bottom the wind did not blow very hard, but I could hear it singing its humming tune up on the level, and I could see the tall grasses wave. The earth was warm under me, and warm as I crumbled it through my fingers. Queer little red bugs came out and moved in slow squadrons around me. Their backs were polished vermilion, with black spots. I kept as still as I could. Nothing happened. I did not expect anything to happen. I was something that lay under the sun and felt it, like the pumpkins, and I did not want to be anything more. I was entirely happy. Perhaps we feel like that when we die and become a part of something entire, whether it is sun and air, or goodness and knowledge. At any rate, that is happiness; to be dissolved into something complete and great. When it comes to one, it comes as naturally as sleep.

Again I waited - oh, but for a brief interval: I presently distinguished an extraordinary shuffling and stamping of feet on the staircase, on the floors, on the carpets; a sound not only of boots and' human shoes, but tapping of crutches, of crutches of wood, and knocking of iron crutches which clanged like cymbals. And behold, I perceived, all at once, on the door sill, an armchair, my large reading chair, which came waddling out. Right into the garden it went, followed by others, the chairs of my drawing room, then the comfortable settee, crawling like crocodiles on their short legs; next, all my chairs bounding like goats,and the small footstools which followed like rabbits. Oh, what a hideous surprise! I stepped back behind the shrubs, where I stayed, crouched and watching this procession of my furniture; for out they all came, one behind the other, quickly or slowly according to their form and weight. My piano - my large grand piano - passed at a canter like a horse, with a faint murmur of music from within; the smallest objects crawled on the gravel like ants - brushes, glasses and cups glistening in the rays of the moon with phosphorescence like glowworms. The curtains, tablecloths and, draperies wriggled along, with their feelers in the puddles like the cuttle-fish in the sea. Suddenly I beheld my pet bureau, a rare specimen of the last century, and which contained all my correspondence, all my love letters, the whole history of my heart, an old history of how much I have suffered! And within, besides, were, above all, certain photographs! ("Who Knows?")

A movement in the vines startled her and an opossum scurried out, looked at Clare and flopped over in fake death. She had seen this twice before in her garden back home and it was difficult not to draw certain parallels, amusing ones, though if you played dead long enough the act of coming back to life was questionable.

Start with something you love. The laughter of your child. Sunlight on the ocean. Your beloved dog. A favorite song, music itself. Perhaps a photo, like my caribou. A favorite spot—your garden, the cliffs at the sea, the family cabin. Someone dear to you. We begin with the things we love; this is the way back, the path home. For we don’t always draw the connection—God made these specifically for you, and he gave you the heart to love them. You’ll be out for a bike ride in the very early morning, cool breeze in your face, all the sweet, fresh aromas it brings, the exhilaration of speed, and your heart spontaneously sings, I love this! The next step is to say, So does God. He made this moment; he made these things. He is the creator of everything I love. Your heart will naturally respond by opening toward him.

He was careful to avoid meeting anyone. There was Stubbs, the gardener, coming along the path. He hid behind a tree till he had passed. He let himself out at a little gate in the garden wall. he skirted all stables, kennels, breweries, carpenters’ shops, wash-houses, places where they make tallow candles, kill oxen, forge horse-shoes, stitch jerkins – for the house was a town ringing with men at work at their various crafts – and gained the ferny path leading uphill through the park unseen. There is perhaps a kinship among qualities; one draws another along with it; and the biographer should here call attention to the fact that this clumsiness is often mated with a love of solitude. Having stumbled over a chest, Orlando naturally loved solitary places, vast views, and to feel himself for ever and ever and ever alone.

In a few minutes, West had pinned Phoebe against a corner wall of the winter garden, in a sheltered space of stone and feathery leaves. He possessed her with passion-roughened kisses, almost eating at her mouth, greedily drawing in the honeysuckle taste of her. Her skin was milk-white with golden flecks, smoothness quivering at the stroke of his tongue.

Gardens are a place of encounter with the God who draws near. In a garden, we find Christ, who is our peace. I

PAINTING FOR THE BURIAL On the night of the full moon, place a canvas in the garden from 1 a.m. till dawn. When the canvas is dyed thoroughly in rose with the morning light, dismember or fold it and bury. The ways of burial: 1) Bury it in the garden and place a marker with a number on it. 2) Sell it to the rag man. 3) )Throw it in the garbage. 1961 summer

I was like everyone else. We all hoped the storm would knock things over, fuck things up enough but not too much. We hoped the damage was bad enough to cancel work the next morning but not so bad that we couldn’t go to brunch instead. Brunch? he echoed skeptically. Okay, maybe not brunch, I conceded. If not brunch, then something else. A day off meant we could do things we’d always meant to do. Like go to the Botanical Garden, the Frick Collection, or something. Read some fiction. Leisure, the problem with the modern condition was the dearth of leisure. And finally, it took a force of nature to interrupt our routines. We just wanted to hit the reset button. We just wanted to feel flush with time to do things of no quantifiable value, our hopeful side pursuits like writing or drawing or something, something other than what we did for money. Like learn to be a better photographer. And even if we didn’t get around to it on that day, our free day, maybe it was enough just to feel the possibility that we could if we wanted to, which is another way of saying that we wanted to feel young, though many of us were that if nothing else.

Six years previously, Miss Brodie had led her new class into the garden for a history lesson underneath the big elm. On the way through the school corridors they passed the headmistress's study. The door was wide open, the room was empty. 'Little girls,' said Miss Brodie, 'come and observe this.' They clustered round the open door while she pointed to a large poster pinned with drawing-pins on the opposite wall within the room. It depicted a man's big face. Underneath were the words 'Safety First'. 'This is Stanley Baldwin who got in as Prime Minister and got out again ere long,' said Miss Brodie. 'Miss Mackay retains him on the wall because she believes in the slogan "Safety First". But Safety does not come first. Goodness, Truth and Beauty come first. Follow me.

The former tenant of our house, a priest, had died in the back drawing room. Air, musty from having been long enclosed, hung in all the rooms, and the waste room behind the kitchen was littered with old useless papers. Among these I found a few paper-covered books, the pages of which were curled and damp. ... The wild garden behind the house contained a central apple-tree and a few straggling bushes under one of which I found the late tenant’s rusty bicycle-pump. He had been a very charitable priest; in his will he had left all his money to institutions and the furniture of his house to his sister.

God wants to be as close to us as a branch is to a vine. One is an extension of the other. It’s impossible to tell where one starts and the other ends. The branch isn’t connected only at the moment of bearing fruit. The gardener doesn’t keep the branches in a box and then, on the day he wants grapes, glue them to the vine. No, the branch constantly draws nutrition from the vine. Separation means certain death.

My eye was caught by movement from behind the automaton. Just a flicker, but my heart clenched with surprise and fear, and I tapped Dean on the arm, pointing. “Something’s over there.” He followed my finger, and we both saw the flicker of red on the unbroken gray brick of the foundry walls. “Son of a bitch,” Dean growled, jamming his hand in his pocket and pulling out his switchblade. “Hey!” he bellowed at the moving shadow. “Hey, you!” “Dean …,” I started, thinking that perhaps shouting at the figure wasn’t the best idea. “I see you!” Dean shouted. “No point in hiding.” “Dean, we don’t know what it is,” I whispered, worried that if he made a move, whoever or whatever lurked beyond the automaton would take it badly. Dean shook his head. “Relax, princess. It’s a kid.” He advanced on the shadow. “Aren’t you?” “Up yours, mister!” the shadow shouted back. I pressed a hand over my mouth, both to stifle a laugh and from relief. To find another person in this wasteland was ten times more unexpected than finding a creature like the nightjars and ghouls that populated Lovecraft’s underground. “Say,” Dean drawled, brows drawing together. “I know you, kid.” “I know your mother!” the kid retorted. “And she has some disappointing things to say about you.

People without fine voices would never sing. Children would never draw pictures because they weren't real artists. Learning an instrument would be illegal unless you were a protege and knew instinctively. You could only ever learn the one language to which you were raised. Poor gardeners would not be permitted to try growing seeds. Only the true athletes would be allowed to jog or play sports. Dancing could be done only by professionals.

To Lucy it was an admirable study, the contrast between the man who threw his whole soul into a certain aim, which he pursued with a savage intensity, knowing that the end was a dreadful, lonely death; and the man who was making up his mind deliberately to gather what was beautiful in life, and to cultivate its graces as though it were a flower garden. “And the worst of it is that it will all be the same in a hundred years,” said Dick. “We shall both be forgotten long before then, you with your strenuousness, and I with my folly.” “And what conclusion do you draw from that?” asked Mrs. Crowley. “Only that the psychological moment has arrived for a whisky and soda.

For a six-year-old, she’s got some talent, and this drawing is among her better ones, in a way. The six figures actually resemble us—Patrick, Steven, the twins, me, and Sonia. We’re all standing in our garden, holding hands under a tree that’s blooming with white stars. She’s got the twins in matching outfits and she’s drawn something that looks more like a suitcase than a briefcase in Patrick’s free hand. Steven wears his new pin; my hair is pulled back into a ponytail. Around my wrist and Sonia’s are bracelets: red for her and black for me. We’re all smiling under a sun she’s decorated with orange hearts. “Beautiful,” I say, taking the drawing. But I don’t think it’s beautiful. I think it’s the ugliest fucking thing I’ve ever seen.

In every era there comes a moment when the collective thoughts, whims, and motivations of a people become so self-absorbed, so malignant, so unheeding that nature itself revolts. Man scars the land such that it finally rebels against him. As thoughts can spread despair and death like seedlings of weeds strewn by the wind, so they eventually draw the Gardener to pluck them out. The vetches must be pulled, roots and all. When this happens, the Medium ceases to bless, and instead, it curses. Instead of healing, it spews poison. It happens swiftly and terribly. The ancients gave it a name, this culling process that blackens the world. They named it after a wasting disease that occurs in once-healthy groves of trees. They called it the Blight.

The episcopal palace was a huge and beautiful house, built of stone at the beginning of the last century by M. Henri Puget, Doctor of Theology of the Faculty of Paris, Abbe of Simore, who had been Bishop of D—— in 1712. This palace was a genuine seignorial residence. Everything about it had a grand air,—the apartments of the Bishop, the drawing-rooms, the chambers, the principal courtyard, which was very large, with walks encircling it under arcades in the old Florentine fashion, and gardens planted with magnificent trees. In the dining-room, a long and superb gallery which was situated on the ground-floor and opened on the gardens, M. Henri Puget had entertained in state, on July 29, 1714, My Lords Charles Brulart de Genlis, archbishop; Prince

Our industries, our trade, and our way of life generally have been based first on the exploitation of the earth's surface and then on the oppression of one another--on banditry pure and simple. The inevitable result is now upon us. The unsuccessful bandits are trying to despoil their more successful competitors. The world is divided into two hostile camps: at the root of this vast conflict lies the evil of spoliation which has destroyed the moral integrity of our generation. While this contest marches to its inevitable conclusion, it will not be amiss to draw attention to a forgotten factor which may perhaps help to restore peace and harmony to a tortured world. We must in our future planning pay great attention to food--the product of sun, soil, plant, and livestock--in other words, to farming and gardening.

But I say, really, you know, I am an old friend of the family. Why, by Jove, now I remember, there's a photograph of me in the drawing-room. Well, I mean, that shows you!" "If there is," said the policeman. "I've never seen it," said the parlourmaid. I absolutely hated this girl. "You would have seen it if you had done your dusting more conscientiously," I said severely. And I meant it to sting, by Jove! "It is not a parlourmaid's place to dust the drawing-room," she sniffed haughtily. "No," I said bitterly. "It seems to be a parlourmaid's place to lurk about and hang about and - er - waste her time fooling about in the garden with policemen who ought to be busy about their duties elsewhere." "It's a parlourmaid's place to open the front door to visitors. Them that don't come in through windows." I perceived that I was getting the loser's end of the thing.

The teaching practice is a success, largely because Mr. Sturridge seems to like me, so much so as to offer me a permanent job there in the autumn term. He tells me that the kids like me too. I’m very flattered and I thank him for the compliment, but ask for some time to consider the offer. That evening I climb up to the top of Clough Head. On the crest of the high ridge I turn back and I can see my life spread out like the valley below me: growing old like Mr. Sturridge, a village teacher, gray-headed and stooped, with worn leather patches on the elbows of my jacket, going home each night to a stone cottage on the hillside with an older Megan standing in the garden, roses in a trellis around the front door, a wood fire in the hearth, my books and my music, idealized, peaceful, devoid of complexity or worry or the vanity of ambition. Whatever is comforting about this image of a possible future, however different it is from the harsh industrial landscape of my childhood, it holds me for no more than a moment and then it is gone. I know the answer I shall give the headmaster, and as the evening draws in I make my way at a brisker pace down the mountain to my digs in the village.

The clouds crossed the sky, country rains washed the gardens, moons shone on the lake and the hillsides, cicadas sang in the August grass, boys and girls fell in love. In the early October of that year, in the cathedral hush of a Quebec Indian summer with the lake drawing into its mirror the fire of the maples, it came to me that to be able to love the mystery surrounding us is the final and only sanction of human existence. What else is left but that, in the end? All our lives we had wanted to belong to something larger than ourselves. We belonged consciously to nothing now except to the pattern of our lives and fates. To God, possibly. I am chary of using that much-misused word, but I say honestly that at least I was conscious of His power. Whatever the spirit might be I did not know, but I knew it was there. Life was a gift; I knew that now. And so, much more consciously, did she.

I have never watched anything before and it made me feel very curious. Scientific people are always curious, and I am going to be scientific. I keep saying to myself, ‘What is it? What is it?’ It’s something. it can’t be nothing! I don’t know its name so I call it Magic. I have never seen the sun rise but Mary and Dickon have and from what they tell me i’m sure that is magic too. Something pushes it up and draws it. Sometimes since I’ve been in the garden, I’ve looked up through the trees at the sky and I have a strange feeling of being happy as if something were pushing and drawing in my chest and making me breathe fast. Magic is always pushing and drawing and making things out of nothing. Everything is made out of Magic, leaves and trees, flowers and birds, badgers and foxes and squirrels and people. So it must be all around us… I don’t know how to do it but I think that if you keep thinking about it and calling it, perhaps it will come.

There must always remain, however, from the standpoint of normal waking consciousness, a certain baffling inconsistency between the wisdom brought forth from the deep, and the prudence usually found to be effective in the light world. Hence the common divorce of opportunism from virtue and the resultant degeneration of human existence. Martyrdom is for saints, but the common people have their institutions, and these cannot be left to grow like lilies of the field; Peter keeps drawing his sword, as in the garden, to defend the creator and sustainer of the world. The boon brought from the transcendent deep becomes quickly rationalized into nonentity, and the need becomes great for another hero to refresh the word. How teach again, however, what has been taught correctly and incorrectly learned a thousand thousand times, throughout the millenniums of mankind’s prudent folly? That is the hero’s ultimate difficult task. How render back into light-world language the speech-defying pronouncements of the dark? How represent on a two-dimensional surface a three-dimensional form, or in a three-dimensional image a multi-dimensional meaning? How translate into terms of “yes” and “no” revelations that shatter into meaninglessness every attempt to define the pairs of opposites? How communicate to people who insist on the exclusive evidence of their senses the message of the all-generating void?

Who are you? She asked silently, as she laid away the collector's quotations, his drawings, his scraps of famous poetry: "Come live with me and be my love..." interleaved with menus: 'oysters, fish stew, tortoise in its shell, bread from the oven, honey from the honeycomb.' The books were unsplattered but much fingered, their pages soft with turning and re-turning, like collections of old fairy tales. Often Jess thought of Rapunzel and golden apples and enchanted gardens. She thought of Ovid, and Dante, and Cervantes, and the Pre-Raphaelites, for sometimes McClintock pictured his beloved eating, and sometimes sleeping in fields of poppies, and once throned like Persephone, with strawberry vines entwined in her long hair.

The desk in front of Frasier was littered with sketchbooks and colored pencils. Drawing was a medium he'd taken up later in life and all he drew was birds, over and over, usually in the heat of the day when it was too hot to be in the garden. The wall in front of him was covered in sketches of the dellawisps, so many of them the papers overlapped, forming a decoupage of turquoise birds.

It had seemed so safe, thinking of her. Ghost, air, nothingness, a thing you could play with easily and safely at any time of day or night, she had been that...Suddenly, the empty drawing-room steps, the frill of the chair inside, the puppy tumbling on the terrace, the whole wave and whisper of the garden became like curves and arabesques flourishing round a centre of complete nothingness.

It's something, it can be nothing. I don't know its name, so I call it magic. I've never seen a sunrise, but Mary and Dickon have, and for what they tell me, I'm sure that is magic, too. Something pushes it up and draws it. Sometimes since I've been in the garden I've looked I've looked up through the trees at the sky and I have had a strange feeling of being happy as if something were pushing and drawing in my chest and making me breathe fast. Magic is always pushing and drawing and making things out of nothing. Everything is made out of Magic, leaves and trees, flowers and birds, badgers and foxes and squirrels and people. So it must be all around us. In this garden--in all the places. The Magic in this garden has made me stand up and know I am going to live to be a man. I am going to make the scientific experiment of trying to get some and put it in myself and make it push and draw me and make me strong. I don't know how to do it but I think that if you keep thinking about it and calling it perhaps it will come. Perhaps that is the first baby way to get it. When I was going to try to stand that first time Mary kept saying to herself as fast as she could, `You can do it! You can do it!' and I did. I had to try myself at the same time, of course, but her Magic helped me-and so did Dickon's. Every morning and evening and as often in the daytime as I can remember I am going to say, 'Magic is in me! Magic is making me well! I am going to be as strong as Dickon, as strong as Dickon!' And you must all do it, too. That is my experiment Will you help, Ben Weatherstaff?

Christ is all in the entire work of salvation. Let me just take you back to the period before this world was made. There was a time when this great world, the sun, the moon, the stars, and all which now exist throughout the whole of the vast universe, lay in the mind of God, like unborn forests in an acorn cup. There was a time when the Great Creator lived alone, and yet he could foresee that he would make a world, and that men would be born to people it; and in that vast eternity a great scheme was devised, whereby he might save a fallen race. Do you know who devised it? God planned it from first to last. Neither Gabriel nor any of the holy angels had anything to do with it. I question whether they were even told how God might be just, and yet save the transgressors. God was all in the drawing up of the scheme, and Christ was all in carrying it out. There was a dark and doleful night! Jesus was in the garden, sweating great drops of blood, which fell to the ground; nobody then came to bear the load that had been laid upon him. An angel stood there to strengthen him, but not to bear the sentence. The cup was put into his hands, and Jesus said, "Father, must I drink it?" and his Father replied, "If thou dost not drink, sinners cannot be saved"; and he took the cup and drained it to its very dregs. No man helped him. And when he hung upon that accursed tree of Calvary, when his precious hands were pierced, when: "From his head, his hands, his feet, Sorrow and love flowed mingled down," there was nobody to help him. He was "all" in the work of salvation. And, my friends, if any of you shall be saved, it must be by Christ alone. There must be no patchwork; Christ did it all, and will not be helped in the matter. Christ will not allow you, as some say, to do what you can, and leave him to make up the rest. What can you do that is not sinful? Christ has done all for us; the work of redemption is all finished. Christ planned it all, and worked out all; and we, therefore, preach a full salvation through Jesus Christ.

The Garden of Proserpine" Here, where the world is quiet; Here, where all trouble seems Dead winds' and spent waves' riot In doubtful dreams of dreams; I watch the green field growing For reaping folk and sowing, For harvest-time and mowing, A sleepy world of streams. I am tired of tears and laughter, And men that laugh and weep; Of what may come hereafter For men that sow to reap: I am weary of days and hours, Blown buds of barren flowers, Desires and dreams and powers And everything but sleep. Here life has death for neighbour, And far from eye or ear Wan waves and wet winds labour, Weak ships and spirits steer; They drive adrift, and whither They wot not who make thither; But no such winds blow hither, And no such things grow here. No growth of moor or coppice, No heather-flower or vine, But bloomless buds of poppies, Green grapes of Proserpine, Pale beds of blowing rushes Where no leaf blooms or blushes Save this whereout she crushes For dead men deadly wine. Pale, without name or number, In fruitless fields of corn, They bow themselves and slumber All night till light is born; And like a soul belated, In hell and heaven unmated, By cloud and mist abated Comes out of darkness morn. Though one were strong as seven, He too with death shall dwell, Nor wake with wings in heaven, Nor weep for pains in hell; Though one were fair as roses, His beauty clouds and closes; And well though love reposes, In the end it is not well. Pale, beyond porch and portal, Crowned with calm leaves, she stands Who gathers all things mortal With cold immortal hands; Her languid lips are sweeter Than love's who fears to greet her To men that mix and meet her From many times and lands. She waits for each and other, She waits for all men born; Forgets the earth her mother, The life of fruits and corn; And spring and seed and swallow Take wing for her and follow Where summer song rings hollow And flowers are put to scorn. There go the loves that wither, The old loves with wearier wings; And all dead years draw thither, And all disastrous things; Dead dreams of days forsaken, Blind buds that snows have shaken, Wild leaves that winds have taken, Red strays of ruined springs. We are not sure of sorrow, And joy was never sure; To-day will die to-morrow; Time stoops to no man's lure; And love, grown faint and fretful, With lips but half regretful Sighs, and with eyes forgetful Weeps that no loves endure. From too much love of living, From hope and fear set free, We thank with brief thanksgiving Whatever gods may be That no life lives for ever; That dead men rise up never; That even the weariest river Winds somewhere safe to sea. Then star nor sun shall waken, Nor any change of light: Nor sound of waters shaken, Nor any sound or sight: Nor wintry leaves nor vernal, Nor days nor things diurnal; Only the sleep eternal In an eternal night.

Tell me the story of the locket.' 'Once upon a time, my lord, in the best and the worst of all possible words, a princess fell in love with a young man who loved to draw pictures.' 'Like Ducon.' 'Very like your cousin. Every day for a year, she gave him a rose. She would pick it at dawn from her father's gardens and then take it to the highest place in the castle, a place so high that everyone had forgotten about it except for the doves that nested beneath the broken roof. There, she had found a secret door between the best and the worst of the worlds. Every day, they would meet on the threshold of that door. She would give him a rose, and he would give her a drawing of the city he lived in. They loved each other very much, but of course they could never marry, because they were from different worlds: she was a princess and he an artist who had to paint tavern signs to keep himself fed.

The large drawing-room was an immense, long room, with a sort of gallery that ran from one pavilion to the other, taking up the whole of the façade on the garden side. A large French window opened on to the steps. This gallery glittered with gold. The ceiling, gently arched, had fanciful scrolls winding round great gilt medallions, that shone like bucklers. Bosses and dazzling garlands encircled the arch; fillets of gold, resembling threads of molten metal, ran round the walls, framing the panels, which were hung with red silk; festoons of roses, topped with tufts of full-blown blossoms, hung down along the sides of the mirrors. An Aubusson carpet spread its purple flowers over the polished flooring. The furniture of red silk damask, the door-hangings and window-curtains of the same material, the huge ormolu clock on the mantel-piece, the porcelain vases standing on the consoles, the legs of the two long tables

Unlike many at court, who tried to spend as much time in front of the king as they could, Destin valued his privacy. So, in addition to his apartment within the palace, he kept a suite of rooms at the Cup and Comfort Inn on the riverfront. Any kind of pleasure could be had at the Cup and Comfort for a price, but what Destin treasured most was anonymity. This was a place where he could be himself. So it was with not a little alarm that he unlocked the door to his rooms at the inn to find Lila Barrowhill sleeping in his fireside chair. He froze in the doorway, but she must have heard him, because she opened her eyes and smiled at him sleepily. “I hope you don’t mind that I let myself in. I didn’t want to draw attention by sitting outside your door.” Destin stepped inside and shut and locked the door behind him. Then turned to glare at her, his arms folded. Lila grinned when she saw his expression. “Blood and bones, Karn, I’m so glad you’re still alive. It always seems that I’m a lot happier to see you than you are to see me. Well, except for that time you came to Oden’s Ford. Then there was that time in King Gerard’s garden—” “How did you find this place?” “I needed a cup and some comfort, and this place was recommended,” she said. She held up a cup she’d no doubt filled down in the taproom. “It’s truly amazing. You really can get anything you want here.” She winked at him.

We’re image bearers, created to rule, to partner with God in pushing and pulling the creation project forward, to work it, to draw out the earth’s potential and unleash it for human flourishing — to cooperate with God in building a civilization where his people can thrive in his presence. And in this cosmic agenda, each of us has a vocation, a calling from God, a way that God wired us, somebody to be and something to do — because the two merge in perfect symmetry.

unlike birds, for instance, who keep building the same nest over thousands of years, we tend to forge ahead with our projects far beyond any reasonable bounds. Someone, he added, ought to draw up a catalogue of types buildings listed in order of size, and it would be immediately obvious that domestic buildings of less than normal size—the little cottage in the fields, the hermitage, the lockkeeper’s lodge, the pavilion for viewing the landscape, the children’s bothy in the garden—are those that offer us at least a semblance of peace, whereas no one in his right mind could truthfully say that he liked a vast edifice such as the Palace of Justice on the old Gallows Hill in Brussels. At the most we gaze at it in wonder, a kind of wonder which in itself is a form of dawning horror, for somehow we know by instinct that outsize buildings cast the shadow of their own destruction before them, and are designed from the first with an eye to their later existence as ruins.

Here in the labyrinth, I struggle to find words to describe what I feel. Up on the mountaintop, I knew the language to describe God: majestic, transcendent, all-powerful, heavenly Father, Lord, and King. In this vocabulary, God remains stubbornly located in a few select places, mostly in external realms above or beyond: heaven, the church, doctrine, or the sacraments. What happens in the labyrinth seems vague, perhaps even theologically elusive. Like countless others, I have been schooled in vertical theology. Western culture, especially Western Christianity, has imprinted a certain theological template upon the spiritual imagination: God exists far off from the world and does humankind a favor when choosing to draw close. Sermons declared that God’s holiness was foreign to us and sin separated us from God. Yes, humanity was made in God’s image, but we had so messed things up in the Garden of Eden that any trace of God in us was obscured, if not destroyed. Whether conservative or liberal, most American churches teach some form of the idea that God exists in holy isolation, untouched by the messiness of creation, and that we, God’s children, are morally and spiritually filthy, bereft of all goodness, utterly unworthy to stand before the Divine Presence. In its crudest form, the role of religion (whether through revivals, priesthood, ritual, story, sacraments, personal conversion, or morality) is to act as a holy elevator between God above and those muddling around down below in the world.

THE ANTHEM OF HOPE Tiny footprints in mud, metal scraps among thistles Child who ambles barefooted through humanity’s war An Elderflower in mud, landmines hidden in bristles Blood clings to your feet, your wee hands stiff and sore You who walk among trenches, midst our filth and our gore Box of crayons in hand, your tears tumble like crystals Gentle, scared little boy, at the heel of Hope Valley, The grassy heel of Hope Valley. And the bombs fall-fall-fall Down the slopes of Hope Valley Bayonets cut-cut-cut Through the ranks of Hope Valley Napalm clouds burn-burn-burn All who fight in Hope Valley, All who fall in Hope Valley. Bullets fly past your shoulder, fireflies light the sky Child who digs through the trenches for his long sleeping father You plant a kiss on his forehead, and you whisper goodbye Vain corpses, brave soldiers, offered as cannon fodder Nothing is left but a wall; near its pallor you gather Crayon ready, you draw: the memory of a lie Kind, sad little boy, sketching your dream of Hope Valley Your little dream of Hope Valley. Missiles fly-fly-fly Over the fields of Hope Valley Carabines shoot-shoot-shoot The brave souls of Hope Valley And the tanks shell-shell-shell Those who toiled for Hope Valley, Those who died for Hope Valley. In the light of gunfire, the little child draws the valley Every trench is a creek; every bloodstain a flower No battlefield, but a garden with large fields ripe with barley Ideations of peace in his dark, final hour And so the child drew his future, on the wall of that tower Memories of times past; your tiny village lush alley Great, brave little boy, the future hope of Hope Valley The only hope of Hope Valley. And the grass grows-grows-grows On the knolls of Hope Valley Daffodils bloom-bloom-bloom Across the hills of Hope Valley The midday sun shines-shines-shines On the folk of Hope Valley On the dead of Hope Valley From his Aerodyne fleet The soldier faces the carnage Uttering words to the fallen He commends their great courage Across a wrecked, tower wall A child’s hand limns the valley And this drawing speaks volumes Words of hope, not of bally He wipes his tears and marvels The miracle of Hope Valley The only miracle of Hope Valley And the grass grows-grows-grows Midst all the dead of Hope Valley Daffodils bloom-bloom-bloom For all the dead of Hope Valley The evening sun sets-sets-sets On the miracle of Hope Valley The only miracle of Hope Valley (lyrics to "the Anthem of Hope", a fictional song featured in Louise Blackwick's Neon Science-Fiction novel "5 Stars".

I love the way the rain melts the colors together, like a chalk drawing on the sidewalk. There is a moment, just after sunset, when the shops turn on their lights and steam starts to fog up the windows of the cafés. In French, this twilight time implies a hint of danger. It's called entre chien et loup, between the dog and the wolf. It was just beginning to get dark as we walked through the small garden of Palais Royal. We watched as carefully dressed children in toggled peacoats and striped woolen mittens finished the same game of improvised soccer we had seen in the Place Sainte Marthe. Behind the Palais Royal the wide avenues around the Louvre gave way to narrow streets, small boutiques, and bistros. It started to drizzle. Gwendal turned a corner, and tucked in between two storefronts, barely wider than a set of double doors, I found myself staring down a corridor of fairy lights. A series of arches stretched into the distance, topped with panes of glass, like a greenhouse, that echoed the plip-plop of the rain. It was as if we'd stepped through the witch's wardrobe, the phantom tollbooth, what have you, into another era. The Passage Vivienne was nineteenth-century Paris's answer to a shopping mall, a small interior street lined with boutiques and tearooms where ladies could browse at their leisure without wetting the bustles of their long dresses or the plumes of their new hats. It was certainly a far cry from the shopping malls of my youth, with their piped-in Muzak and neon food courts. Plaster reliefs of Greek goddesses in diaphanous tunics lined the walls. Three-pronged brass lamps hung from the ceiling on long chains. About halfway down, there was an antique store selling nothing but old kitchenware- ridged ceramic bowls for hot chocolate, burnished copper molds in the shape of fish, and a pewter mold for madeleines, so worn around the edges it might have belonged to Proust himself. At the end of the gallery, underneath a clock held aloft by two busty angels, was a bookstore. There were gold stencils on the glass door. Maison fondée en 1826.

John Durham, while he waited for Madame de Malrive to draw on her gloves, stood in the hotel doorway looking out across the Rue de Rivoli at the afternoon brightness of the Tuileries gardens. His European visits were infrequent enough to have kept unimpaired the freshness of his eye, and he was always struck anew by the vast and consummately ordered spectacle of Paris: by its look of having been boldly and deliberately planned as a background for the enjoyment of life, instead of being forced into grudging concessions to the festive instincts, or barricading itself

Nothing, again, could be more prosaic and impenetrable than the domestic energies of Miss Diana Duke. But Innocent had somehow blundered on the discovery that her thrifty dressmaking went with a considerable feminine care for dress--the one feminine thing that had never failed her solitary self-respect. In consequence Smith pestered her with a theory (which he really seemed to take seriously) that ladies might combine economy with magnificence if they would draw light chalk patterns on a plain dress and then dust them off again. He set up "Smith's Lightning Dressmaking Company," with two screens, a cardboard placard, and box of bright soft crayons; and Miss Diana actually threw him an abandoned black overall or working dress on which to exercise the talents of a modiste. He promptly produced for her a garment aflame with red and gold sunflowers; she held it up an instant to her shoulders, and looked like an empress. And Arthur Inglewood, some hours afterwards cleaning his bicycle (with his usual air of being inextricably hidden in it), glanced up; and his hot face grew hotter, for Diana stood laughing for one flash in the doorway, and her dark robe was rich with the green and purple of great decorative peacocks, like a secret garden in the "Arabian Nights." A pang too swift to be named pain or pleasure went through his heart like an old-world rapier. He remembered how pretty he thought her years ago, when he was ready to fall in love with anybody; but it was like remembering a worship of some Babylonian princess in some previous existence. At his next glimpse of her (and he caught himself awaiting it) the purple and green chalk was dusted off, and she went by quickly in her working clothes.

Well," he asked, "whaddya expect?" It was so obviously a rhetorical question that of course I answered it. My truth impulse seemed stronger around this boy,my impulse control way under par. "I would expect you to be dancing." His expression was unreadable in the limited light. "Is that an invitation?" "No. An observation." He shrugged. "Okay. I needed a break. It was either keep an eye on Chase while he pukes up a fifth of cheap rum in the guys' bathroom or follow the girls into the ladies' room." I almost smiled and told him about Willing's bathrooms and me. Instead, some truly horrific and irresistible impulse had me announcing, "Amanda looks really pretty tonight." "So do you." Bizarrely, I felt my breath catch in my chest, and for a long, awful second, I thought I might cry. I gripped the top of my pad tightly, concentrated on the spiral metal binding where it dug into my skin. "It's a cool costume," he said. "Water nymph?" "Sea goddess," I answered quietly. "Roman." "Hmm." Alex was staring out toward the garden now,looking so at ease that I went from pretzel to knot. Could it really be that easy for him? To say things like he did without thinking? Without meaning them at all? "Too many mermaids tonight. Not that I have anything against mermaids.Mermaids are hot. I mean,you saw my drawing." I nodded. "You know," he went on, "that day in the hall,you compared my stuff to two Japanese artists-" I nodded again,even though he was looking out into the darkened gardens now and not at me. "Suzuki Harunobu and Utagawa Kuniyoshi. They were eighteenth and nineteeth-century woodblock print masters-" "Ella," he interrupted. "I know who they are." "Oh." "In fact, I have a couple original Kuniyoshi prints." "Oh.Wow.Wow.

His ignorance was as remarkable as his knowledge. Of contemporary literature, philosophy and politics he appeared to know next to nothing. Upon my quoting Thomas Carlyle, he inquired in the naivest way who he might be and what he had done. My surprise reached a climax, however, when I found incidentally that he was ignorant of the Copernican Theory and of the composition of the Solar System. That any civilized human being in this nineteenth century should not be aware that the earth travelled round the sun appeared to be to me such an extraordinary fact that I could hardly realize it. “You appear to be astonished,” he said, smiling at my expression of surprise. “Now that I do know it I shall do my best to forget it.” “To forget it!” “You see,” he explained, “I consider that a man’s brain originally is like a little empty attic, and you have to stock it with such furniture as you choose. A fool takes in all the lumber of every sort that he comes across, so that the knowledge which might be useful to him gets crowded out, or at best is jumbled up with a lot of other things so that he has a difficulty in laying his hands upon it. Now the skilful workman is very careful indeed as to what he takes into his brain-attic. He will have nothing but the tools which may help him in doing his work, but of these he has a large assortment, and all in the most perfect order. It is a mistake to think that that little room has elastic walls and can distend to any extent. Depend upon it there comes a time when for every addition of knowledge you forget something that you knew before. It is of the highest importance, therefore, not to have useless facts elbowing out the useful ones.” “But the Solar System!” I protested. “What the deuce is it to me?” he interrupted impatiently; “you say that we go round the sun. If we went round the moon it would not make a pennyworth of difference to me or to my work.” I was on the point of asking him what that work might be, but something in his manner showed me that the question would be an unwelcome one. I pondered over our short conversation, however, and endeavoured to draw my deductions from it. He said that he would acquire no knowledge which did not bear upon his object. Therefore all the knowledge which he possessed was such as would be useful to him. I enumerated in my own mind all the various points upon which he had shown me that he was exceptionally well-informed. I even took a pencil and jotted them down. I could not help smiling at the document when I had completed it. It ran in this way— SHERLOCK HOLMES—his limits. 1. Knowledge of Literature.—Nil. 2. Philosophy.—Nil. 3. Astronomy.—Nil. 4. Politics.—Feeble. 5. Botany.—Variable. Well up in belladonna, opium, and poisons generally. Knows nothing of practical gardening. 6. Geology.—Practical, but limited. Tells at a glance different soils from each other. After walks has shown me splashes upon his trousers, and told me by their colour and consistence in what part of London he had received them. 7. Chemistry.—Profound. 8. Anatomy.—Accurate, but unsystematic. 9. Sensational Literature.—Immense. He appears to know every detail of every horror perpetrated in the century. 10. Plays the violin well. 11. Is an expert singlestick player, boxer, and swordsman. 12. Has a good practical knowledge of British law.

...I drag the kids to the farmers' market and fill out the week's cheap supermarket haul with a few vivid bunches of organic produce...Once home, I set out fresh flowers and put the fruit in a jadeite bowl. A jam jar of garden growth even adorns the chartreuse kids' table...I found some used toddler-sized chairs to go around it...It sits right in front of the tall bookcases...When the kids are eating or coloring there, with the cluster or mismatched picture frames hanging just to their left, my son with his mop of sandy hair, my daughter just growing out of babyhood...they look like they could be in a Scandinavian design magazine. I think to myself that maybe motherhood is just this, creating these frames, the little vistas you can take in that look like pictures from magazines, like any number of images that could be filed under familial happiness. They reflect back to you that you're doing it - doing something - right. In my case, these scenes are like a momentary vacation from the actual circumstances of my current life. Children, clean and clad in brightly striped clothing, snacking on slices of organic plum. My son drawing happy gel pen houses, the flourishing clump of smiley-faced flowers beneath a yellow flat sun. To counter the creeping worry that I am a no-good person, I must collect a lot of these images, postage-stamp moments I can gaze upon and think, I can't be fucking up that bad. Can I?

No one who had ever seen Catherine Morland in her infancy would have supposed her born to be an heroine. Her situation in life, the character of her father and mother, her own person and disposition, were all equally against her. Her father was a clergyman, without being neglected, or poor, and a very respectable man, though his name was Richard — and he had never been handsome. He had a considerable independence besides two good livings — and he was not in the least addicted to locking up his daughters. Her mother was a woman of useful plain sense, with a good temper, and, what is more remarkable, with a good constitution. She had three sons before Catherine was born; and instead of dying in bringing the latter into the world, as anybody might expect, she still lived on — lived to have six children more — to see them growing up around her, and to enjoy excellent health herself. A family of ten children will be always called a fine family, where there are heads and arms and legs enough for the number; but the Morlands had little other right to the word, for they were in general very plain, and Catherine, for many years of her life, as plain as any. She had a thin awkward figure, a sallow skin without colour, dark lank hair, and strong features — so much for her person; and not less unpropitious for heroism seemed her mind. She was fond of all boy's plays, and greatly preferred cricket not merely to dolls, but to the more heroic enjoyments of infancy, nursing a dormouse, feeding a canary-bird, or watering a rose-bush. Indeed she had no taste for a garden; and if she gathered flowers at all, it was chiefly for the pleasure of mischief — at least so it was conjectured from her always preferring those which she was forbidden to take. Such were her propensities — her abilities were quite as extraordinary. She never could learn or understand anything before she was taught; and sometimes not even then, for she was often inattentive, and occasionally stupid. Her mother was three months in teaching her only to repeat the "Beggar's Petition"; and after all, her next sister, Sally, could say it better than she did. Not that Catherine was always stupid — by no means; she learnt the fable of "The Hare and Many Friends" as quickly as any girl in England. Her mother wished her to learn music; and Catherine was sure she should like it, for she was very fond of tinkling the keys of the old forlorn spinner; so, at eight years old she began. She learnt a year, and could not bear it; and Mrs. Morland, who did not insist on her daughters being accomplished in spite of incapacity or distaste, allowed her to leave off. The day which dismissed the music-master was one of the happiest of Catherine's life. Her taste for drawing was not superior; though whenever she could obtain the outside of a letter from her mother or seize upon any other odd piece of paper, she did what she could in that way, by drawing houses and trees, hens and chickens, all very much like one another. Writing and accounts she was taught by her father; French by her mother: her proficiency in either was not remarkable, and she shirked her lessons in both whenever she could. What a strange, unaccountable character! — for with all these symptoms of profligacy at ten years old, she had neither a bad heart nor a bad temper, was seldom stubborn, scarcely ever quarrelsome, and very kind to the little ones, with few interruptions of tyranny; she was moreover noisy and wild, hated confinement and cleanliness, and loved nothing so well in the world as rolling down the green slope at the back of the house.

Night fell. The full moon shone sweetly and tremulously, bewitching and foreboding with rays which were cold and funereally silent. The heart of the Youth was filled with an apprehensive fear as he went up to his window. His hand, clutching the edge of the yellow curtain, hesitated and vacillated for a long time before he resolved to draw the curtain slowly aside. The yellow linen rustled as it slowly gathered, and its rustle was like the barely audible hissing of a serpent in the forest's undergrowth; and the thin brass rings jingled and scraped against the brass curtain rod. The Beauty stood beneath the window and looked at the window and waited. And the heart of the Youth shuddered, and he could not make out whether his heart was seized by ecstasy or terror. The black braids of the Beauty were undone and fell on her naked shoulders. A sharply outlined shadow lay on the ground beside her. Illuminated from the side by the moon, she stood like some distinct and well-defined spectre. That half of her face which was illuminated by the moon, as well as her shoulders and her arms, were deathly white, as white as her robe. The folds of her white robe were severe and dark. Dark was the azure of her eyes, mysterious her frozen smile. A smooth, burnished clasp, fastened at the shoulder, gleamed dully against the strange tranquility of her body and garments. She began to speak softly, and her words, ringing like the fine silver chains of a lighted censer, gave forth a fragrance of ambergris, musk and lily. ("The Poison Garden

As I walked, I became aware of the strong odor of peonies and jasmine. I inhaled deeply to draw in the lovely bouquet. The scent was from the fresh flowers of a lush garden. The path opened into a courtyard, a tangle of peonies and jasmine framing the entrance, blooming in spectacular fashion. Silky petals brushed against my skin. The tension building in my neck and shoulders melted away as I entered a fairyland. The rustle of the night breeze joined the familiar voice of Teresa Teng echoing from invisible speakers. Beneath my feet, a path of moss-covered stones led to a circular platform surrounded by a large, shallow pond. The night garden was bursting with a palette of muted greens, starlit ivories, and sparkling golds: the verdant lichen and waxy lily pads in the pond, the snowy white peonies and jasmine flowers, and the metallic tones of the fireflies suspended in the air, the square-holed coins lining the floor of the pond, and the special golden three-legged creatures resting on the floating fronds. I knew these creatures from my childhood. The feng shui symbol of prosperity, Jin Chan was transformed into a golden toad for stealing the peaches of immortality. Jin Chan's three legs represented heave, earth, and humanity. Statues of him graced every Chinese home I had ever been in, for fortune was a visitor always in demand. Ma-ma had placed one near the stairs leading to the front door. The pond before me held eight fabled toads, each biting on a coin. If not for the subtle rise and fall of their vocal sacs, I would have thought them statues.

Nestled into a bed of shiny cream satin lay a heart-shaped pendant on a simple gold chain. The heart itself was created from over a dozen delicate round amethyst stones, while the center held a miniature painted on porcelain. Done in a series of fine, delicate strokes, the artist's rendering depicted a tiny garden, alive with masses of yellow and white hollyhocks. Right away, they reminded her of the flowers she'd been drawing that long-ago day in Bath. The day of her and Jack's very first kiss. Her gaze went to his, breath stilled in her chest. "Oh, Jack. It's Sydney Gardens, isn't it?" "That's right, with those stalky, puff-headed flowers." He gave her a gentle smile. "Do you like it?" "I love it." "I chose amethyst, since you said it's your favorite stone. I hope I remembered right?" "You did. It's so lovely. Thank you. I'll wear it each and every day," she promised. "Your heart tucked against my own." A peculiar shadow flickered momentarily across his eyes before he reached for the necklace. "Here, let me help you put it on." "Yes. Please," she said, relieved he'd offered. Her hands were trembling with so much emotion that she doubted she could have managed the task on her own. Turning slightly, she angled herself so he could place the chain around her neck and fasten the clasp. The slight weight of the gold and stones grew instantly warm against her skin. "There. How does it look?" she asked as she moved to face him again. "Beautiful," he said. But when she glanced up, she realized he wasn't looking at the pendant. Instead, he was looking at her.

The great day dawned misty and overcast, but the glass was high and we had no fears. The mist was a good sign. It cleared about eleven, as Maxim had foretold, and we had a glorious still summer’s day without a cloud in the blue sky. All the morning the gardeners were bringing flowers into the house, the last of the white lilac, and great lupins and delphiniums, five foot high, roses in hundreds, and every sort of lily. Mrs. Danvers showed herself at last; quietly, calmly, she told the gardeners where to put the flowers, and she herself arranged them, stacking the vases with quick, deft fingers. I watched her in fascination, the way she did vase after vase, carrying them herself through the flower room to the drawing room and the various corners of the house, massing them in just the right numbers and profusion, putting color where color was needed, leaving the walls bare where severity paid.

I’d have Lee too, and Jackson and Albert Sidney Johnston, walking around the midway. Hire some people with beards, you know, to do that. I wouldn’t have Braxton Bragg or Joseph E. Johnston. Every afternoon at three Lee would take off his gray coat and wrestle an alligator in a mud hole. Prize drawings. A lot of T-shirts and maybe a few black-and-white portables. If you don’t like that, how about a stock-car track? Year-round racing with hardly any rules. Deadly curves right on the water. The Symes 500 on Christmas day. Get a promotional tie-in with the Sugar Bowl. How about an industrial park? How about a high-rise condominium with a roof garden? How about a baseball clinic? How about a monkey island? I don’t say it would be cheap. Nobody’s going to pay to see one or two monkeys these days. People want to see a lot of monkeys. I’ve got plenty of ideas but first I have to get my hands on the island.

I dial her mum's number, then sit down cross-legged, facing the wall. When she comes on the line, she sounds uncertain, hesitant. 'Hey! Guess where I am?' I ask, my voice loud with false cheer. 'Rami told me. The Wellesly Hospital in Worthing. What's it like?' 'For a loony-bin it's actually quite decent,' I reply. 'I don't have Sky or an en-suite, and the menu isn't exactly à la carte, but you know...' I tail off. There is a silence. 'Do you have your own room?' Jenna asks, 'Oh yeah, yeah. I have a lovely view of the sea between the bars of my window.' She doesn't laugh. 'Have you started' -there is a pause as she searches for the right word -'threatment?' 'Yeah, yeah. We had group therapy today. Tomorrow we'll probably have art therapy - maybe I'll draw you a hourse and a garden. I know, perhaps they'll teach us to make baskets! Isn't that why they call us basket cases?' 'Flynn, stop,' Jennah softly implores. 'And we'll probably have music therapy the day after. Maybe I'll get to play the tambourine. Or the triangle. I've always wanted to play the triangle!' 'Flynn-' 'No, I'm serious! I'll ask for some manuscript paper and see if I can write a composition for tambourine and triangle. Then I can post if off to you to hand in for my next composition assignment.' 'Flynn, listen-' 'Hold on, hold on! I'm making a note to myself now: Find fellow insane musician and start composing the Flynn Laukonen Sonata for Tambourine and Triangle.' 'Flynn-' 'And then, when they let me out, if they ever let me out, perhaps you could pull a few strigns and organize for me and my tambourine buddy to give a recital. I'm not sure where though -how about the subway at Marble Arch tube? Nice and central, good acoustics-' 'What are the other people like?' Jennah cuts in, an edge to her voice. I notice she doesn't use the word patients. Clever Jennah. For a moment there you almost made me forget I was locked up in a mental institution. 'Round the bend, just like me,' I reply. 'I'm in excellent company. We'll be swapping suicide tips in no time at all!' I give a harsh laugh.

Why can't we sit together? What's the point of seat reservations,anyway? The bored woman calls my section next,and I think terrible thoughts about her as she slides my ticket through her machine. At least I have a window seat. The middle and aisle are occupied with more businessmen. I'm reaching for my book again-it's going to be a long flight-when a polite English accent speaks to the man beside me. "Pardon me,but I wonder if you wouldn't mind switching seats.You see,that's my girlfriend there,and she's pregnant. And since she gets a bit ill on airplanes,I thought she might need someone to hold back her hair when...well..." St. Clair holds up the courtesy barf bag and shakes it around. The paper crinkles dramatically. The man sprints off the seat as my face flames. His pregnant girlfriend? "Thank you.I was in forty-five G." He slides into the vacated chair and waits for the man to disappear before speaking again. The guy onhis other side stares at us in horror,but St. Clair doesn't care. "They had me next to some horrible couple in matching Hawaiian shirts. There's no reason to suffer this flight alone when we can suffer it together." "That's flattering,thanks." But I laugh,and he looks pleased-until takeoff, when he claws the armrest and turns a color disturbingy similar to key lime pie. I distract him with a story about the time I broke my arm playing Peter Pan. It turned out there was more to flying than thinking happy thoughts and jumping out a window. St. Clair relaxes once we're above the clouds. Time passes quickly for an eight-hour flight. We don't talk about what waits on the other side of the ocean. Not his mother. Not Toph.Instead,we browse Skymall. We play the if-you-had-to-buy-one-thing-off-each-page game. He laughs when I choose the hot-dog toaster, and I tease him about the fogless shower mirror and the world's largest crossword puzzle. "At least they're practical," he says. "What are you gonna do with a giant crossword poster? 'Oh,I'm sorry Anna. I can't go to the movies tonight. I'm working on two thousand across, Norwegian Birdcall." "At least I'm not buying a Large Plastic Rock for hiding "unsightly utility posts.' You realize you have no lawn?" "I could hide other stuff.Like...failed French tests.Or illegal moonshining equipment." He doubles over with that wonderful boyish laughter, and I grin. "But what will you do with a motorized swimming-pool snack float?" "Use it in the bathtub." He wipes a tear from his cheek. "Ooo,look! A Mount Rushmore garden statue. Just what you need,Anna.And only forty dollars! A bargain!" We get stumped on the page of golfing accessories, so we switch to drawing rude pictures of the other people on the plane,followed by rude pictures of Euro Disney Guy. St. Clair's eyes glint as he sketches the man falling down the Pantheon's spiral staircase. There's a lot of blood. And Mickey Mouse ears. After a few hours,he grows sleepy.His head sinks against my shoulder. I don't dare move.The sun is coming up,and the sky is pink and orange and makes me think of sherbet.I siff his hair. Not out of weirdness.It's just...there. He must have woken earlier than I thought,because it smells shower-fresh. Clean. Healthy.Mmm.I doze in and out of a peaceful dream,and the next thing I know,the captain's voice is crackling over the airplane.We're here. I'm home.

After a careful look up and down the corridor, James ushered Cordelia down the stairs. But their covert escape was not to be: Will appeared suddenly on the landing, in the midst of fixing his cuff links, and beamed with delight to see Cordelia. “My dear,” he said. “A pleasure to see you. Have you come from Cornwall Gardens? How is your mother?” “Oh, very well, thank you,” Cordelia said, then realized that if her mother really were in peak condition, she had little excuse for staying away from James and the Institute. “Well, she has been very tired, and of course we are all concerned that she get her energy back. Risa has been trying to build her back up again with many…soups.” Soups? Cordelia was not at all sure why she’d said that. Perhaps because her mother had always told her that ash-e jo, a sour barley soup, could cure anything. “Soups?” “Soups,” Cordelia said firmly. “Risa’s caretaking is very thorough, though of course, my mother wishes me to be by her side as much as possible. I have been reading to her—” “Oh, anything interesting? I’m always seeking a new book,” said Will, having finished with the cuff links. They were studded with yellow topaz. The color of James’s eyes. “Ah—no,” said Cordelia. “Only very boring things, really. Books about…ornithology.” Will’s eyebrows went up, but James had already thrown himself into the fray. “I really must get Cordelia back home,” he said, laying a hand on her back. It was an entirely ordinary husbandly gesture, not at all remarkable. It felt to Cordelia like being struck by lightning between her shoulder blades. “I’ll see you in a moment, Father.” “Well Cordelia, we all hope you’ll be back before too long,” Will said. “James is positively pining away without you here. Incomplete without his better half, eh, James?” He went away up the stairs and down the corridor, whistling. “Well,” said James after a long silence. “I thought, when I was ten years old and my father showed everyone the drawings I’d made of myself as Jonathan Shadowhunter, slaying a dragon, that was the most my parents would ever humiliate me. But that is no longer the case. There is a new champion.” “Your father is something of a romantic, that’s all.” “So you’ve noticed?

Before reaching it, we would meet the smell of his lilacs, coming out to greet the strangers. From among the fresh green little hearts of their leaves, the flowers would curiously lift above the gate of the park their tufts of mauve or white feathers, glazed, even in the shade, by the sun in which they had bathed. A few, half hidden by the little tiled lodge called the Archers’ House, where the caretaker lived, overtopped its Gothic gable with their pink minarets. The Nymphs of Spring would have seemed vulgar compared to these young houris, which preserved within this French garden the pure and vivid tones of Persian miniatures. Despite my desire to entwine their supple waists and draw down to me the starry curls of their fragrant heads, we would pass by without stopping because my parents had ceased to visit Tansonville since Swann’s marriage… We stopped for a moment in front of the gate. Lilac time was nearly over; a few, still, poured forth in tall mauve chandeliers the delicate bubbles of their flowers, but in many places among the leaves where only a week before they had still been breaking in waves of fragrant foam, a hollow scum now withered, shrunken and dark, dry and odorless.

They had shared much of their pasts, most of their fears, and all of their tenuous and fragile hopes, but Deborah had noticed over the years that whenever she mentioned her art, or something on which she was working, a subtle change would come over Carla. Her face would harden almost imperceptibly; her manner would edge toward coolness. Because it was a subtle emotion in a world of erratic oscillations of feeling, of violence, and of lies told by every sense of perception, Deborah had not noticed it in their sick times. But one day the world had cleared enough so that she realised that at any mention of her art, her friend drew back. In their new eagerness for experience and reality, the strange aloofness stood out clearly. [...] She had a dream. In the dream it was winter and night. The sky was thick blue-black and the stars were frozen in it, so that they glimmered. Over the clean white and windswept hills the shadows of snowdrifts drew long. She was walking on the crust of snow, watching the star-glimmer and the snow-glimmer and the cold tear-glimmer in her own eyes. A deep voice said to her, "You know, don't you, that the stars are sound as well as light?" She listened and heard a lullaby made by the voices of the stars, sounding so beautiful together that she began to cry with it. The voice said, "Look out there." She looked toward the horizon. "See, it is a sweep, a curve." Then the voice said, "This night is a curve of darkness and the space beyond it is a curve of human history, with every single life an arch from birth to death. The apex of all of these single curves determines the curve of history and, at last, of man." "I cannot show you yours," the voice said, "but I can show you Carla's. Dig here, deep in the snow. It is buried and frozen - Dig deep." Deborah pushed the snow aside with her hands. It was very cold, but she worked with a great intensity as if there were salvation in it. At last her hand struck something and she tore it up from burial. It was a piece of bone, thick and very strong and curved in a long, high, steady curve. "Is this Carla's life?" she asked. "Her creativity?" "It is bone-deep with her, though buried and frozen." The voice paused a moment and then said, "It's a fine one - a fine solid one!" [...] "Please don't be angry," she said, and then told Carla the dream. [...] She wiped her eyes. "It was only a dream, your dream..." "It's true anyway," Deborah said. "The one place I could never go..." Carla said musing, "...the one hunger I could never admit." When Deborah finished, Furii said, "You always took your art for granted, didn't you? I used to read in the ward reports all the time how you managed to do your drawing in spite of every sort of inconvenience and restriction.

They won’t do it, Ian,” Jordan Townsende said the night after Ian was released on his own recognizance. Pacing back and forth across Ian’s drawing room, he said again, “They will not do it.” “They’ll do it,” Ian said dispassionately. The words were devoid of concern; not even his eyes showed interest. Days ago Ian had passed the point of caring about the investigation. Elizabeth was gone; there had been no ransom note, nothing whatever-no reason in the world to continue believing that she’d been taken against her will. Since Ian knew damned well he hadn’t killed her or had her abducted, the only remaining conclusion was that Elizabeth had left him for someone else. The authorities were still vacillating about the other man she’d allegedly met in the arbor because the gardener’s eyesight had been proven to be extremely poor, and even he admitted that it “might have been tree limbs moving around her in the dim light, instead of a man’s arms.” Ian, however, did not doubt it. The existence of a lover was the only thing that made sense; he had even suspected it the night before she disappeared. She hadn’t wanted him in her bed; if anything but a lover had been worrying her that night, she’d have sought the protection of his arms, even if she didn’t confide in him. But he had been the last thing she’d wanted. No, he hadn’t actually suspected it-that would have been more pain than he could have endured then. Now, however, he not only suspected it, he knew it, and the pain was beyond anything he’d ever imagined existed. “I tell you they won’t bring you to trial,” Jordan repeated. “Do you honestly think they will?” he demanded, looking first to Duncan and then to the Duke of Stanhope, who were seated in the drawing room. In answer, both men raised dazed, pain-filled eyes to Jordan’s, shook their heads in an effort to seem decisive, then looked back down at their hands. Under English law Ian was entitled to a trial before his peers; since he was a British lord, that meant he could only be tried in the House of Lords, and Jordan was clinging to that as if it were Ian’s lifeline. “You aren’t the first man among us to have a spoiled wife turn missish on him and vanish for a while in hopes of bringing him to heel,” Jordan continued, desperately trying to make it seem as if Elizabeth were merely sulking somewhere-no doubt unaware that her husband’s reputation had been demolished and that his very life was going to be in jeopardy. “They aren’t going to convene the whole damn House of Lords just to try a beleaguered husband whose wife has taken a start,” he continued fiercely. “Hell, half the lords in the House can’t control their wives. Why should you be any different?” Alexandra looked up at him, her eyes filled with misery and disbelief. Like Ian, she knew Elizabeth wasn’t indulging in a fit of the sullens. Unlike Ian, however, she could not and would not believe her friend had taken a lover and run away. Ian’s butler appeared in the doorway, a sealed message in his hand, which he handed to Jordan. “Who knows?” Jordan tried to joke as he opened it. “Maybe this is from Elizabeth-a note asking me to intercede with you before she dares present herself to you.” His smile faded abruptly. “What is it?” Alex cried, seeing his haggard expression. Jordan crumpled the summons in his hand and turned to Ian with angry regret. “They’re convening the House of Lords.” “It’s good to know,” Ian said with cold indifference as he pushed out of his chair and started for his study, “that I’ll have one friend and one relative there.

It could be said that Borluut was in love with the town. But we only have one heart for all our loves, consequently his love was somewhat like the affection one feels for a woman, the devotion one entertains for a work of art, for a religion. He loved Bruges for its beauty and, like a lover, he would have loved it the more, the more beautiful it was. His passion had nothing to do with the local patriotism which unites those living in a town through habits, shared tastes, alliances, parochial pride. On the contrary, Borluut was almost solitary, kept himself apart, mingled little with the slow-witted inhabitants. Even out in the streets he scarcely saw the passers-by. As a solitary wanderer, he began to favour the canals, the weeping trees, the tunnel bridges, the bells he could sense in the air, the old walls of the old districts. Instead of living beings, his interest focused on things. The town took on a personality, became almost human. He loved It, wished to embellish it, to adorn its beauty, a beauty mysterious in its sadness. And, above all, so unostentatious. Other towns are showy, amassing palaces, terraced gardens, fine geometrical monuments. Here everything was muted, nuanced. Storiated architecture, facades like reliquaries, stepped gables, trefoil doors and windows, ridges crowned with finials, mouldings, gargoyles, bas-reliefs - incessant surprises making the town into a kind of complex landscape of stone. It was a mixture of Gothic and Renaissance, that sinuous transition which suddenly draws out forms that are too rigid and too bare in supple, flowing lines. It was if an unexpected spring had sprouted on the walls, as if they had been transubstantiated by a dream - all at once there were faces and bunches of flowers on them. This blossoming on the facades had lasted until the present, blackened by the ravages of time, abiding but already blurred.

Animals are the lower intelligent of creatures, yet God illustrates man as one of them. Why? To demonstrate to us how careless, how thoughtless, and sometimes how cruel and low-life we can be without him. Without God, we go through a hard, disappointing, and dreadful life. We are like fearful, untrained, and bitter children that have played all day and are afraid to go to sleep at night, thinking we are going to miss out or be left out of things. A sailor out on a stormy sea needs a strong sail and anchor for the days and a lighthouse for the nights to survive. This is a good illustration of witnessing. We draw from one another’s strength for the day and mediate on it in the nights in accordance with God’s Word. God has faded out of the mind of this generation, we like immature children, believe that the Toyland of material wealth is a sufficient world. Yet houses, cars, and money really do not fulfill. Abraham begot Isaac, and Isaac begot Jacob – a generation of God-fearing men. But in the next generation, God was not the God of Isaac. He had faded and became second place in their lives. Even in the mother’s womb, there was a struggle for honor and success. Jacob stole his brother’s birthright. Morals were decaying, rottenness appeared. The same things have happened with us. Our whole nation is reaping the results of a fading faith and trust, which is producing decaying morals and a decaying country. We are morally out of control. Unless we, like Jacob, who when frightened for his life desired a moral renewal, acknowledge that we are wrong and find God in the process. We must seek God with our whole hearts. The future of this world is in the hands of the believers. God has left everything in the hands of the church. Therefore, we must witness. An evangelical team must go out and bring the people back to the Garden of Eden as God had originally planned. Grace is always available!

Although parents and teachers are forever telling children to “grow up,” maturation cannot be commanded. One cannot teach a child to be an individual or train a child to be his own person. This is the work of maturation and maturation alone. We can nurture the process, provide the right conditions, remove the impediments, but we can no more make a child grow up than we can order the plants in our garden to grow. Dealing with immature children, we may need to show them how to act, draw the boundaries of what is acceptable, and articulate what our expectations are. Children who do not understand fairness have to be taught to take turns. Children not yet mature enough to appreciate the impact of their actions must be provided with rules and prescriptions for acceptable conduct. But such scripted behavior mustn't be confused with the real thing. One cannot be any more mature than one truly is, only act that way when appropriately cued. To take turns because it is right to do so is certainly civil, but to take turns out of a genuine sense of fairness can only come from maturity. To say sorry may be appropriate to the situation, but to assume responsibility for one's actions can come only from the process of individuation. There is no substitute for genuine maturation, no shortcut to getting there. Behavior can be prescribed or imposed, but maturity comes from the heart and mind. The real challenge for parents is to help kids grow up, not simply to look like grownups. If discipline is no cure for immaturity and if scripting is helpful but insufficient, how can we help our children mature? For years, develop-mentalists puzzled over the conditions that activated maturation. The breakthrough came only when researchers discovered the fundamental importance of attachment. Surprising as it may be to say, the story of maturation is quite straightforward and self-evident. Like so much else in child development, it begins with attachment.

The unhappy priest was breathing hard; sincere horror at the foreseen dispersal of Church property was linked with regret at his having lost control of himself again, with fear of offending the Prince, whom he genuinely liked and whose blustering rages as well as disinterested kindness he knew well. So he sat down warily, glancing every now and again at Don Fabrizio, who had taken up a little brush and was cleaning the knobs of a telescope, apparently absorbed. A little later he got up and cleaned his hands thoroughly with a rag; his face was quite expressionless, his light eyes seemed intent only on finding any remaining stain of oil in the cuticles of his nails. Down below, around the villa, all was luminous and grandiose silence, emphasised rather than disturbed by the distant barking of Bendicò baiting the gardener’s dog at the far end of the lemon-grove, and by the dull rhythmic beat from the kitchen of a cook’s knife chopping meat for the approaching meal. The sun had absorbed the turbulence of men as well as the harshness of earth. The Prince moved towards the priest’s table, sat down and began drawing pointed little Bourbon lilies with a carefully sharpened pencil which the Jesuit had left behind in his anger. He looked serious but so serene that Father Pirrone no longer felt on tenterhooks. “We’re not blind, my dear Father, we’re just human beings. We live in a changing reality to which we try to adapt ourselves like seaweed bending under the pressure of water. Holy Church has been granted an explicit promise of immortality; we, as a social class, have not. Any palliative which may give us another hundred years of life is like eternity to us. We may worry about our children and perhaps our grandchildren; but beyond what we can hope to stroke with these hands of ours we have no obligations. I cannot worry myself about what will happen to any possible descendants in the year 1960. The Church, yes, She must worry for She is destined not to die. Solace is implicit in Her desperation. Don’t you think that if now or in the future She could save herself by sacrificing us She wouldn’t do so? Of course She would, and rightly.