Drawn To Water Quotes

I wonder," she said. "Does this castle have a moat?" A group of servants were busy emptying the privy buckets into the moat when they were startled by a sudden drawn-out cry. They looked up in time see a scarlet-and-gold clad figure sail out of a first-story window, turn over once and then land with an enormus splash in the dark, rancid waters. They shrugged and went back to work.

Craftsmanship isn't like water in an earthen pot, to be taken out by the dipperful until it's empty. No, the more drawn out the more remains.

we are drawn to each other like drops of water, like the planets we repulse each other like magnets, like the color of our skin.

I can see you have a great deal of water in your personality. Water never waits. It changes shape and flows around things, and finds the secret paths no one else has thought about -- the tiny hole through the roof or the bottom of the box. There's no doubt it's the most versatile of the five elements. It can wash away earth; it can put out fire; it can wear a piece of metal down and sweep it away. Even wood, which is its natural complement, can't survive without being nurtured by water. And yet, you haven't drawn on those strengths in living your life, have you?

When you throw a rock into the water, it will speed on the fastest course to the bottom of the water. This is how it is when Siddhartha has a goal, a resolution. Siddhartha does nothing, he waits, he thinks, he fasts, but he passes through the things of the world like a rock through water, without doing anything, without stirring; he is drawn, he lets himself fall. His goal attracts him, because he doesn't let anything enter his soul which might oppose the goal. This is what Siddhartha has learned among the Samanas. This is what fools call magic and which they think is effected by demons. Nothing is effected by demons, there are no demons. Everyone can perform magic, everyone can reach his goals, if he is able to think, if he is able to wait, if he is able to fast.

as they die, the ones we love, we lose our witnesses, our watchers, those who know and understand the tiny little meaningless patterns, those words drawn in water with a stick. And there is nothing left but the endless flow.

Now I saw his lifeless state. And that there was no longer any difference between what once had been my father and the table he was lying on, or the floor on which the table stood, or the wall socket beneath the window, or the cable running to the lamp beside him. For humans are merely one form among many, which the world produces over and over again, not only in everything that lives but also in everything that does not live, drawn in sand, stone, and water. And death, which I have always regarded as the greatest dimension of life, dark, compelling, was no more than a pipe that springs a leak, a branch that cracks in the wind, a jacket that slips off a clothes hanger and falls to the floor.

Everything that made Daisy burn, made me burn. Everything I loved about the world, Daisy loved about the world. Everything I struggled with, Daisy struggled with. We were two halves. We were the same. In that way you're only the same with a few other people. In that way that you don't even feel like you have to say your own thoughts because you know the other person is already thinking them. How could I be around Daisy Jones and not be mesmerized by her? Not fall in love with her? I couldn't. I just couldn't. But Camila meant more. That's just the deepest truth. My family meant more to me. Camila meant more to me. Maybe, for a little while there, Camila wasn't the person I was the most drawn to. Or... ... ... Maybe Camila wasn't the person I was the most in love with. At that time, I don't know. You can't...maybe she wasn't. But she was always the person I loved the most. She was always the person I would choose. It is Camila, for me. Always. Passion is...it's fire. And fire is great, man. But we're made of water. Water is how we keep living. Water is what we need to survive. My family was my water. I picked water. I'll pick water every time. And I wanted Daisy to find her water. Because I couldn't be it (288-289).

The great trains howling from track to track all night. The taut and telegraphic murmur of ten thousand city wires, drawn most cruelly against a city sky. The rush of city waters, beneath the city streets. The passionate passing of the night's last El.

She had learnt a painful lesson, she thought – that as they die, the ones we love, we lose our witnesses, our watchers, those who know and understand the tiny little meaningless patterns, those words drawn in water with a stick. And there is nothing left but the endless flow.

O gentle vision in the dawn: My spirit over faint cool water glides, Child of the day, To thee; And thou art drawn By kindred impulse over silver tides The dreamy way To me.

He'd discovered that he liked houses. Maybe mostly because they were understandable. They could be calculated and drawn on paper. They did not leak if they were made water tight, they did not collapse if they were properly supported. Houses were fair, they gave you what you deserved. Which, unfortunately, was more than one could say about people.

Mencheres slid through the water toward her, drawn by the same inexorable compulsion that led moths to dance with flames. He'd had several lifetimes' worth of reason, cold machinations, and, ultimately, emptiness. Perhaps the moths knew what he didn't, that the joy of the flame was worth the price of destruction.

You could see the signs of female aging as diseased, especially if you had a vested interest in making women too see them your way. Or you could see that a woman is healthy if she lives to grow old; as she thrives, she reacts and speaks and shows emotion, and grows into her face. Lines trace her thought and radiate from the corners of her eyes as she smiles. You could call the lines a network of 'serious lesions' or you could see that in a precise calligraphy, thought has etched marks of concentration between her brows, and drawn across her forehead the horizontal creases of surprise, delight, compassion and good talk. A lifetime of kissing, of speaking and weeping, shows expressively around a mouth scored like a leaf in motion. The skin loosens on her face and throat, giving her features a setting of sensual dignity; her features grow stronger as she does. She has looked around in her life and it shows. When gray and white reflect in her hair, you could call it a dirty secret or you could call it silver or moonlight. Her body fills into itself, taking on gravity like a bather breasting water, growing generous with the rest of her. The darkening under her eyes, the weight of her lids, their minute cross-hatching, reveal that what she has been part of has left in her its complexity and richness. She is darker, stronger, looser, tougher, sexier. The maturing of a woman who has continued to grow is a beautiful thing to behold.

I wanted you, nameless Woman of the South, No wraith, but utterly—as still more alone The Southern Cross takes night And lifts her girdles from her, one by one— High, cool, wide from the slowly smoldering fire Of lower heavens,— vaporous scars! Eve! Magdalene! or Mary, you? Whatever call—falls vainly on the wave. O simian Venus, homeless Eve, Unwedded, stumbling gardenless to grieve Windswept guitars on lonely decks forever; Finally to answer all within one grave! And this long wake of phosphor, iridescent Furrow of all our travel—trailed derision! Eyes crumble at its kiss. Its long-drawn spell Incites a yell. Slid on that backward vision The mind is churned to spittle, whispering hell. I wanted you . . . The embers of the Cross Climbed by aslant and huddling aromatically. It is blood to remember; it is fire To stammer back . . . It is God—your namelessness. And the wash— All night the water combed you with black Insolence. You crept out simmering, accomplished. Water rattled that stinging coil, your Rehearsed hair—docile, alas, from many arms. Yes, Eve—wraith of my unloved seed! The Cross, a phantom, buckled—dropped below the dawn. Light drowned the lithic trillions of your spawn.

Immanuel, God with us-that He would leave the spiritual realm and be present in the flesh and blood in such an act of humility is a staggering notion. As it is, He willingly gave His blood, in the flesh, so that others might find life, for it is written: "He did not come by water only, but by blood," and "Without the shedding of blood there is no remission." Now blood is required to give new life to the dead. I tell you, He did not give only a small amount to satisfy this requirement. He was beaten and crushed and pierced until that blood flowed like a river for the sake of love. It was for love, not religion, that He died. There is a fountain filled with blood drawn from Immanuel's veins. And those plunged beneath that watery grave to drink of His blood will never be the same.

Some say the women left something of themselves in the water; some say it retains some of their power, for ever since then it has drawn to its shores the unlucky, the desperate, the unhappy, the lost. They come here to swim with their sisters.

For humans are merely one form among many, which the world produces over and over again, not only in everything that lives but also in everything that does not live, drawn in sand, stone, and water. And death, which I have always regarded as the greatest dimension of life, dark, compelling, was no more than a pipe that springs a leak, a branch that cracks in the wind, a jacket that slips off a clothes hanger and falls to the floor.

Waiting patiently doesn't suit you.I can see you have a great deal of water in your personality. Water never waits. It changes shape and flows around things. There's no doubt it's the most versatile of the five elements. It can wash away earth it can put fire it can wear a piece of metal down and sweep it away. And yet, you haven't drawn on those strengths in living your life, Have you?

The world in which we live is no more real than a moon beam reflected in water drawn from the palm of the hand...

You okay?” Inej asked, and Kaz felt himself drawn towards her voice like water rolling downhill.

Just as a line drawn on water with a stick will quickly vanish and will not last long; even so is human life like a line drawn on water. It is short, limited, and brief; it is full of suffering, full of tribulation. This one should wisely understand, one should do good and live a pure life; for none who is born can escape death.

I have seen it over and over, the same sea, the same, slightly, indifferently swinging above the stones, icily free above the stones, above the stones and then the world. If you should dip your hand in, your wrist would ache immediately, your bones would begin to ache and your hand would burn as if the water were a transmutation of fire that feeds on stones and burns with a dark gray flame. If you tasted it, it would first taste bitter, then briny, then surely burn your tongue. It is like what we imagine knowledge to be: dark, salt, clear, moving, utterly free, drawn form the cold hard mouth of the world, derived from the rocky breasts forever, flowing and drawn, and since our knowledge is historical, flowing, and flown.

You can feel the North. It takes hold of you, marks you. No matter how far you move from its center of gravity, you are invariably drawn to it by an invisible current, like water droplets to the earth, like a needle to a magnet, like blood to blood, desire to desire.

There are people who are drawn to water, who retain some vestigial primal sense of where it flows. I believe that I am one of them. I am most alive when I am near the water, when I am near this water. This is the place where I learned to swim, the place where I learned to inhabit nature and my body in the most joyous and pleasurable way.

But my attention’s elsewhere, drawn to that warm wonderful pull, the familiar loving essence that only belongs to one person—only belongs to him— Watching as Damen cuts through the water, board tucked under his arm, body so sculpted, so bronzed, Rembrandt would weep. Water sluicing behind him like a hot knife through butter, cleanly, fluidly, as though parting the sea. My lips part, desperate to speak, to call out his name and bring him back to me. But just as I’m about to, my eyes meet his and I see what he sees: me—hair tangled and wet—clothes twisted and clinging—frolicking in the ocean on a hot sunny day with Jude’s tanned strong arms still wrapped around me. I release myself from Jude’s grip, but it’s too late. Damen’s already seen me. Already moved on. Leaving me hollow, breathless, as I watch him retreat. No tulips, no telepathic message, just a sad, empty void left behind in his place.

People who are outwardly distant or shy are often better targets than extroverts. They are dying to be drawn out, and still waters run deep.

He thought himself awake when he was already asleep. He saw the stars above his face, whirling on their silent and sleepless axis, and the leaves of the trees rustling against them, and he heard small changes in the grass. These little noises of footsteps and soft-fringed wing-beats and stealthy bellies drawn over the grass blades or rattling against the bracken at first frightened or interested him, so that he moved to see what they were (but never saw), then soothed him, so that he no longer cared to see what they were but trusted them to be themselves, and finally left him altogether as he swam down deeper and deeper, nuzzling into the scented turf, into the warm ground, into the unending waters under the earth.

EDMUND *Then with alcoholic talkativeness You've just told me some high spots in your memories. Want to hear mine? They're all connected with the sea. Here's one. When I was on the Squarehead square rigger, bound for Buenos Aires. Full moon in the Trades. The old hooker driving fourteen knots. I lay on the bowsprit, facing astern, with the water foaming into spume under me, the masts with every sail white in the moonlight, towering high above me. I became drunk with the beauty and signing rhythm of it, and for a moment I lost myself -- actually lost my life. I was set free! I dissolved in the sea, became white sails and flying spray, became beauty and rhythm, became moonlight and the ship and the high dim-starred sky! I belonged, without past or future, within peace and unity and a wild joy, within something greater than my own life, or the life of Man, to Life itself! To God, if you want to put it that way. Then another time, on the American Line, when I was lookout on the crow's nest in the dawn watch. A calm sea, that time. Only a lazy ground swell and a slow drowsy roll of the ship. The passengers asleep and none of the crew in sight. No sound of man. Black smoke pouring from the funnels behind and beneath me. Dreaming, not keeping looking, feeling alone, and above, and apart, watching the dawn creep like a painted dream over the sky and sea which slept together. Then the moment of ecstatic freedom came. the peace, the end of the quest, the last harbor, the joy of belonging to a fulfillment beyond men's lousy, pitiful, greedy fears and hopes and dreams! And several other times in my life, when I was swimming far out, or lying alone on a beach, I have had the same experience. Became the sun, the hot sand, green seaweed anchored to a rock, swaying in the tide. Like a saint's vision of beatitude. Like a veil of things as they seem drawn back by an unseen hand. For a second you see -- and seeing the secret, are the secret. For a second there is meaning! Then the hand lets the veil fall and you are alone, lost in the fog again, and you stumble on toward nowhere, for no good reason! *He grins wryly. It was a great mistake, my being born a man, I would have been much more successful as a sea gull or a fish. As it is, I will always be a stranger who never feels at home, who does not really want and is not really wanted, who can never belong, who must always be a a little in love with death! TYRONE *Stares at him -- impressed. Yes, there's the makings of a poet in you all right. *Then protesting uneasily. But that's morbid craziness about not being wanted and loving death. EDMUND *Sardonically The *makings of a poet. No, I'm afraid I'm like the guy who is always panhandling for a smoke. He hasn't even got the makings. He's got only the habit. I couldn't touch what I tried to tell you just now. I just stammered. That's the best I'll ever do, I mean, if I live. Well, it will be faithful realism, at least. Stammering is the native eloquence of us fog people.

Where's the king? Gent. Contending with the fretful elements; Bids the wind blow the earth into the sea, Or swell the curled waters 'bove the main, That things might change or cease; tears his white hair, Which the impetuous blasts, with eyeless rage, Catch in their fury and make nothing of; Strives in his little world of man to outscorn The to-and-fro-conflicting wind and rain. This night, wherein the cub-drawn bear would couch, The lion and the belly-pinched wolf Keep their fur dry, unbonneted he runs, And bids what will take all.

Even before Laurent had hit the ground, the man had drawn his sword. Damen was too far away. He was too far to get between the man and Laurent, he knew that, even as he drew his sword--even as he wheeled his horse, felt the powerful bunch of the animal beneath him. There was only one thing he could do. As the spray of water sheared up from under his horse, he hefted his sword, changed his grip, and threw. It was, emphatically, not a throwing weapon. It was six pounds of Rabatian steel, forged for a two-handed grip. And he was on a moving horse, and many feet away, and the man was moving too, towards Laurent. The sword drove through the air and took the man in the chest, ramming into the ground and pinning him there.

I believe that water is the closest thing to a god we have here on Earth. We are in awe of its power and majestic beauty. We are drawn to it as if it’s a magical, healing force. We gestate in water, are made of water, and need to drink water to live. We are living in water.

There was one painting, I remember, that showed a broad, clean sweep of sky and the ocean drawn out to the horizon, and the sand littered with seashells and crabs and mermaid's purses and bits of seaweed. A boy and girl were standing four feet apart, not facing each other, not acknowledging each other in any way, just standing,looking out at the water. I always liked that painting. I liked to think they had a secret.

It’s strange how deserts turn us into believers. I believe in walking in a landscape of mirages, because you learn humility. I believe in living in a land of little water because life is drawn together. And I believe in the gathering of bones as a testament to spirits that have moved on. If the desert is holy, it is because it is a forgotten place that allows us to remember the sacred. Perhaps that is why every pilgrimage to the desert is a pilgrimage to the self.

The flowers need watering the silver needs a shine. Daughter is a magnet drawn back to where she was last safe. She touches the tablecloth like a talisman. Tell me who I was. Tell me what I’ve become.

The ocean is everywhere. Not only does it stretch to the horizon in all directions, it’s under everything as well. I don’t mean underground, I mean — it’s fundamental, you might say. If what’s around us is a picture, then this is what it’s drawn on. Reverend Mapple had a word for it, the subjectile. Lottie said it was like, if you could cut a hole in the air, black water would come pouring out of it.

The next time you stand on a beach at night, watching the moon’s bright path across the water, and the conscious of the moon-drawn tides, remember that the moon itself may have been born of a great tidal wave of earthly substance, torn off into space. And remember if the moon was formed in this fashion, the event may have had much to do with shaping the ocean basins and the continents as we know them.

This book first arose out of a passage in [Jorge Luis] Borges, out of the laughter that shattered, as I read the passage, all the familiar landmarks of my thought—our thought that bears the stamp of our age and our geography—breaking up all the ordered surfaces and all the planes with which we are accustomed to tame the wild profusion of existing things, and continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other. This passage quotes a ‘certain Chinese encyclopaedia’ in which it is written that ‘animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) suckling pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies’. In the wonderment of this taxonomy, the thing we apprehend in one great leap, the thing that, by means of the fable, is demonstrated as the exotic charm of another system of thought, is the limitation of our own, the stark impossibility of thinking that.

She had killed and she had liked it, and he surely would have delighted to see her as she was now. Half-mad and fading fast, every inch the Gothic heroine that he’d envisioned. Ophelia, floating dead in the water and haunted by ghosts. Lilith, crafted from the earth instead of as a subjugate of the flesh, drawn to the fiercely blazing beauty of an angel only to find that the brilliant light singed as cruelly as the fires of hell. A fallen woman, drawn to her Lucifer. A cautionary tale to those who refused to bend to the natural order and fell in love with the wrong kind of man.

I want my life to be a celebration of slowness. Walking through the sage from our front door, I am gradually drawn into the well-worn paths of deer. They lead me to Round Mountain and the bloodred side canyons below Castle Rock. Sometimes I see them, but often I don't. Deer are quiet creatures, who, when left to their own nature, move slowly. Their large black eyes absorb all shadows, especially the flash of predators. And their ears catch each word spoken. But today they walk ahead with their halting prance, one leg raised, then another, and allow me to follow them. I am learning how to not provoke fear and flight among deer. We move into a pink, sandy wash, their black-tipped tails like eagle feathers. I lose sight of them as they disappear around the bend. On the top of the ridge I can see for miles.... Inside this erosional landscape where all colors eventually bleed into the river, it is hard to desire anything but time and space. Time and space. In the desert there is space. Space is the twin sister of time. If we have open space then we have open time to breath, to dream, to dare, to play, to pray to move freely, so freely, in a world our minds have forgotten but our bodies remember. Time and space. This partnership is holy. In these redrock canyons, time creates space--an arch, an eye, this blue eye of sky. We remember why we love the desert; it is our tactile response to light, to silence, and to stillness. Hand on stone -- patience. Hand on water -- music.

And Iluvatar spoke to Ulmo, and said: 'Seest thou not how here in this little realm in the Deeps of Time Melkor hath made war upon thy province? He hath bethought him of bitter cold immoderate, and yet hath not destroyed the beauty of thy fountains, nor of my clear pools. Behold the snow, and the cunning work of frost! Melkor hath devised heats and fire without restraint, and hath not dried up thy desire nor utterly quelled the music of the sea. Behold rather the height and glory of the clouds, and the ever changing mists; and listen to the fall of rain upon the Earth! And in these clouds thou art drawn nearer to Manwe, thy friend, whom thou lovest.' Then Ulmo answered: 'Truly, Water is become now fairer than my heart imagined, neither had my secret thought conceived the snowflake, nor in all my music was contained the falling of the rain. I will seek Manwe, that he and I may make melodies for ever to my delight!' And Manwe and Ulmo have from the beginning been allied, and in all things have served most faithfully the purpose of Iluvatar.

She is magic! A truly adventurous woman with a gypsy soul. Powered by coffee, dark chocolate and wild water. You’ll find her chasing full moons, exploring waterfalls, forests and oceans. Once you meet a woman like this you’ll feel drawn to her alluring energy. She’ll make you feel things you’ve never felt before. Never take a woman like this for granted, they are extraordinary.

On coming out of the chapel, a well can be seen on the left. There are two in this yard. You ask, Why is there no bucket and no pulley to this one? Because no water is drawn from it now. Why is no more water drawn from it? Because it is full of skeletons.

I have a notion that, at big fires, a moment of extreme suspense can sometimes occur, when the jets of water slacken off, the firemen no longer climb, no one moves a muscle. Without a sound, a high black wall of masonry cants over up above, the fire blazing behind it, and, without a sound, leans, about to topple. Everyone stands waiting, shoulders tensed, faces drawn in around their eyes, for the terrible crash. That is how the silence is here.

Mantra to Overcome Depression Vitamin D. Sunlight. Go outside. Get a good night of sleep. Not too good. Not shades drawn forever good. Not like you used to. Open the windows. Buy more houseplants. Breathe. Meditate. One day, you will no longer be afraid of being alone with your thoughts. Exercise. Actually exercise instead of just Googling it. Eat well. Cook for yourself. Organize your closet, the garage. Drink plenty of water and repeat after me: I am not a problem to be solved. Repeat after me: I am worthy I am worthy I am neither the mistake nor the punishment. Forget to take vitamins. Let the houseplant die. Eat spoonfuls of peanut butter. Shave your head. Forget this poem. It doesn't matter. There is no wrong way to remember the grace of your own body; no choice that can unmake itself. There is only now, here look: you are already forgiven.

She tried to keep busy, but each afternoon she was drawn into the courtyard or up into the pavilion, where she sat as still as a pool of water. It was as if she feared she'd fly away into a million pieces if she moved.

Some people are repelled by darkness. Others are drawn to it, to the static crackle of power in a place. To the hum of magic, or the presence of the dead. They can see these forces staining the world like ink in water.

Siddhartha does nothing, he waits, he thinks, he fasts, but he passes through the things of the world like a rock through water, without doing anything, without stirring; he is drawn, he lets himself fall. His goal attracts him, because he doesn’t let anything enter his soul which might oppose the goal.

He stood watching the approaching locamotive, his teeth chattering, his lips drawn away from them in a frightened smile; once or twice he glanced nervously sidewise, as though he were being watched. When the right moment came, he jumped. As he fell, the folly of his haste occurred to him with merciless clearness, the vastness of what he had left undone. There flashed through his brain, clearer than ever before, the blue of Adriatic water, the yellow of Algerian sands.

The boy slept well in the woodland nest where he had laid himself down, in that kind of thin but refreshing sleep which people have when they begin to lie out of doors. At first he only dipped below the surface of sleep, and skimmed along like a salmon in shallow water, so close to the surface that he fancied himself in air. He thought himself awake when he was already asleep. He saw the stars above his face, whirling on their silent and sleepless axis, and the leaves of the trees rustling against them, and he heard small changes in the grass. These little noises of footsteps and soft-fringed wing-beats and stealthy bellies drawn over the grass blades or rattling against the bracken at first frightened or interested him, so that he moved to see what they were (but never saw), then soothed him, so that he no longer cared to see what they were but trusted them to be themselves, and finally left him altogether as he swam down deeper and deeper, nuzzling into the scented turf, into the warm ground, into the unending waters under the earth.

He stood naked at the edge of a cliff. THe lake lay far below him. A frozen explosion of granite burst in flight to the sky over motionless water. The water seemed immovable, the stone- flowing. The stone had the stillness of one last movement when thrust meets thrust and the currents are held in a pause more dynamic than motion. THe stone glowed wet with sunrays. The lake below was only a thin steel ring that cut the rocks in half. The rocks went on into the depth, unchanged. They began and ended in the sky so that the world seemed suspended in space, an island floating on on nothing, anchored to the feet of the man on the cliff. His body leaned back against the sky. It was a body of long straight lines and angles each curve broken into planes. He stood rigid his hands hanging at his sides, palms out. He felt his shoulder blades drawn tight together. The curve of his neck, and the weight of the blood in his hands. He felt the wind behind him in the hollow of his spine. The wind waved his hair against the sky. His hair was neither blonde nor red, but the exact color or ripe orange rind... He stepped to the edge, raised his arms, and dived down into the sky below.

You want to work spells,' Ogion said presently, striding along. 'You've drawn too much water from that well. Wait. Manhood is patience. Mastery is nine times patience. What is that herb by the path?' 'Strawflower.' 'And that?' 'I don't know.' 'Fourfoil, they call it.' Ogion had halted, the coppershod foot of his staff near the little weed, so Ged looked closely at the plant, and plucked a dry seedpod from it, and finally asked, since Ogion said nothing more, 'What is its use, Master?' 'None I know of.' Ged kept the seedpod a while as they went on, then tossed it away. 'When you know the fourfoil in all its seasons root and leaf and flower, by sight and scent and seed, then you may learn its true name, knowing its being: which is more than its use. What, after all, is the use of you? or of myself? Is Gont Mountain useful, or the Open Sea?' Ogion went on a half mile or so, and said at last, 'To hear, one must be silent.

And as I walked by the shallow crystal stream I saw unwonted ripples tipped with yellow light, as if those placid waters were drawn on in resistless currents to strange oceans that are not in the world. Silent and sparkling, bright and baleful, those moon-cursed waters hurried I knew not whither; whilst from the embowered banks white lotos-blossoms fluttered one by one in the opiate night-wind and dropped despairingly into the stream, swirling away horribly under the arched, carven bridge, and staring back with the sinister resignation of calm, dead faces.

Help!" This was my last cry. My mouth filled with water, I struggled against being drawn the abyss. Suddenly my clothes were seized by a strong hand, and I felt myself quickly drawn up to the surface of the sea; and I heard, yes, I heard these words pronounced in my ear: "If master would be so good as to lean on my shoulder, master would swim with much greater ease." I seized with one hand my faithful Conseil's arm. "Is it you?" said I, "you?" "Myself," answered Conseil; "and waiting master's orders." "That shock threw you as well as me in the sea?" "No; but, being in my master's service, I followed him." The worthy fellow thought that was but natural.

Magnolias don't look like that," Ignatius said, thrusting his cutlass at the offending pastel magnolia. "You ladies need a course in botany. And perhaps geometry, too." "You don't have to look at our work," an offended voice said from the group, the voice of the lady who had drawn the magnolia in question. "Yes, I do!" Ignatius screamed. "You ladies need a critic with some taste and decency. Good heavens! Which one of you did this camellia? Speak up. The water in this bowl looks like motor oil." "Let us alone," a shrill voice said. "You women had better stop giving teas and brunches and settle down to the bustiness of learning how to draw," Ignatius thundered. "First, you must learn how to handle a brush. I would suggest that you all get together and paint someone's house for a start." "Go away." "Had you 'artists' had a part in the decoration of the Sistine Chapel, it would have ended up looking like a particularly vulgar train terminal," Ignatius snorted.

Originally, the atoms of carbon from which we’re made were floating in the air, part of a carbon dioxide molecule. The only way to recruit these carbon atoms for the molecules necessary to support life—the carbohydrates, amino acids, proteins, and lipids—is by means of photosynthesis. Using sunlight as a catalyst the green cells of plants combine carbon atoms taken from the air with water and elements drawn from the soil to form the simple organic compounds that stand at the base of every food chain. It is more than a figure of speech to say that plants create life out of thin air.

He lowers my hand and untangles his fingers. The noise fades, my chest loosening by degrees until I can breathe, like coming up through water. Again my eyes are drawn to the leather cord around his neck, the charm buried beneath the black fabric of his shirt. My gaze drifts down his arms, past his rolled sleeves, toward the hand that just let go of mine. Even in the twilight I can see a faint scar. “Looks like you’ve lost a couple fights of your own,” I say, running my fingers through the air near his hand, not daring to touch. “How did you get that?” “A stint as a spy. I wasn’t much good.” A crooked line runs down the back of his hand. “And that?” “Scuff with a lion.” Watching Wesley lie is fascinating. “And that?” “Caught a piranha bare-handed.” No matter how absurd the tale, he says it steady and simple, with the ease of truth. A scratch runs along his forearm. “And that?” “Knife fight in a Paris alley.” I search his skin for marks, our bodies drawing closer without touching. “Dove through a window.” “Icicle.” “Wolf.” I reach up, my fingers hovering over a nick on his hairline. “And this?” “A History.

Drink in the heat of an ancient sun held in the cold fire of water rising from earth and rock Spilling over your cupped hands and drawn to lips and tongue Pouring water’s memory of the azure mist it fell from into the chalice of your flesh Turning your eyes skywards with desire for the freedom it was born of

They came there regularly every evening drawn by some need. It was as if the water floated off and set sailing thoughts which had grown stagnant on dry land, and gave to their bodies even some sort of physical relief. First, the pulse of colour flooded the bay with blue, and the heart expanded with it and the body swam, only the next instant to be checked and chilled by the prickly blackness on the ruffled waves. Then, up behind the great black rock, almost every evening spurted irregularly, so that one had to watch for it and it was a delight when it came, a fountain of white water; and then while one waited for that, one watched, on the pale semicircular beach, wave after wave shedding again and again smoothly, a film of mother-of-pearl.

I found myself drawn to biology, with all its frustrating yet fascinating complexities. When I was twelve, I remember reading about axolotls, which are basically a species of salamander that has evolved to remain permanently in the aquatic larval stage. They manage to keep their gills (rather than trading them in for lungs, like salamanders or frogs) by shutting down metamorphosis and becoming sexually mature in the water. I was completely flabbergasted when I read that by simply giving these creatures the “metamorphosis hormone” (thyroid extract) you could make the axolotl revert back into the extinct, land-dwelling, gill-less adult ancestor that it had evolved from. You could go back in time, resurrecting a prehistoric animal that no longer exists anywhere on Earth. I also knew that for some mysterious reason adult salamanders don’t regenerate amputated legs but the tadpoles do. My curiosity took me one step further, to the question of whether an axolotl—which is, after all, an “adult tadpole”—would retain its ability to regenerate a lost leg just as a modern frog tadpole does. And how many other axolotl-like beings exist on Earth, I wondered, that could be restored to their ancestral forms by simply giving them hormones? Could humans—who are after all apes that have evolved to retain many juvenile qualities—be made to revert to an ancestral form, perhaps something resembling Homo erectus, using the appropriate cocktail of hormones? My mind reeled out a stream of questions and speculations, and I was hooked on biology forever. I found mysteries and possibilities everywhere.

I opened my eyes; how could I keep them shut when I could not sleep? The same darkness brooded over me; the same unfathomable black eternity which my thoughts strove against and could not understand. I made the most despairing efforts to find a word black enough to characterize this darkness; a word so horribly black that it would darken my lips if I named it. Lord! how dark it was! and I am carried back in thought to the sea and the dark monsters that lay in wait for me. They would draw me to them, and clutch me tightly and bear me away by land and sea, through dark realms that no soul has seen. I feel myself on board, drawn through waters, hovering in clouds, sinking--sinking.

It was this the palace and the river had been waiting for. She had known it all along. Now it would crash. They would stand out on top, she had drawn them all with her into this horror. Gaping cracks would open beneath their feet, the palace would totter and fall forward under the pressure of the water with all of them on top of it, down into the seething channel, and that would be the end. She had known it all along, ever since the moment the men stood there with their sombre song of sorrow.

There were two things about this particular book (The Golden Book of Fairy Tales) that made it vital to the child I was. First, it contained a remarkable number of stories about courageous, active girls; and second, it portrayed the various evils they faced in unflinching terms. Just below their diamond surface, these were stories of great brutality and anguish, many of which had never been originally intended for children at all. (Although Ponsot included tales from the Brothers Grimm and Andersen, the majority of her selections were drawn from the French contes de fées tradition — stories created as part of the vogue for fairy tales in seventeenth century Paris, recounted in literary salons and published for adult readers.) I hungered for a narrative with which to make some sense of my life, but in schoolbooks and on television all I could find was the sugar water of Dick and Jane, Leave it to Beaver and the happy, wholesome Brady Bunch. Mine was not a Brady Bunch family; it was troubled, fractured, persistently violent, and I needed the stronger meat of wolves and witches, poisons and peril. In fairy tales, I had found a mirror held up to the world I knew — where adults were dangerous creatures, and Good and Evil were not abstract concepts. (…) There were in those days no shelves full of “self–help” books for people with pasts like mine. In retrospect, I’m glad it was myth and folklore I turned to instead. Too many books portray child abuse as though it’s an illness from which one must heal, like cancer . . .or malaria . . .or perhaps a broken leg. Eventually, this kind of book promises, the leg will be strong enough to use, despite a limp betraying deeper wounds that might never mend. Through fairy tales, however, I understood my past in different terms: not as an illness or weakness, but as a hero narrative. It was a story, my story, beginning with birth and ending only with death. Difficult challenges and trials, even those that come at a tender young age, can make us wiser, stronger, and braver; they can serve to transform us, rather than sending us limping into the future.

You were willing. Look, Kamala, when you throw a rock into the water, it will speed on the fastest course to the bottom of the water. This is how it is when Siddhartha has a goal, a resolution. Siddhartha does nothing, he waits, he thinks, he fasts, but he passes through the things of the world like a rock through water, without doing anything, without stirring; he is drawn, he lets himself fall. His goal attracts him, because he doesn’t let anything enter his soul which might oppose the goal. This is what Siddhartha has learned among the Samanas. This is what fools call magic and of which they think it would be effected by means of the demons. Nothing is caused by demons, there are no demons. Everyone can perform magic, everyone can reach his goals, if he is able to think, if he is able to wait, if he is able to fast.

Whatever. If I don’t get off, then you don’t get off either. You’ll be suffering as much as I will.” He drops my shoe onto the floor and arches his brow at me. “Is that right?” “Yes,” I state with a clipped tone. My other shoe gets tossed over his shoulder, but I don’t care where because all my attention is drawn down to his hands as he works his cock free and begins stroking it. I gasp and reach out for it, my mouth watering at the sight. “Oh, my God. Let me do that.” “No.” He lets his khakis slide down to mid-thigh as he stares at my body, his hand working his glorious cock. I’ve never seen Reese jerk off before, and I’m kicking myself for never requesting that he do it in front of me. This is insanely hot, probably one of the hottest things to witness. His upper body is flexed completely, every muscle bulging out at me, screaming for my hands. And then there’s his cock.

As you can see,” Daisy said, “one glass is filled with soap water, one with clear, and one with blue laundry water. The other, of course, is empty. The glasses will predict what kind of man you will marry.” They watched as Evie felt carefully for one of the glasses. Dipping her finger into the soap water, Evie waited for her blindfold to be drawn off, and viewed the results with chagrin, while the other girls erupted with giggles. “Choosing the soap water means she will marry a poor man,” Daisy explained. Wiping off her fingers, Evie exclaimed good-naturedly, “I s-suppose the fact that I’m going to be m-married at all is a good thing.” The next girl in line waited with an expectant smile as she was blindfolded, and the glasses were repositioned. She felt for the vessels, nearly overturning one, and dipped her fingers into the blue water. Upon viewing her choice, she seemed quite pleased. “The blue water means she’s going to marry a noted author,” Daisy told Lillian. “You try next!” Lillian gaveher a speaking glance. “You don’t really believe in this, do you?” “Oh, don’t be cynical—have some fun!” Daisy took the blindfold and rose on her toes to tie it firmly around Lillian’s head. Bereft of sight, Lillian allowed herself to be guided to the table. She grinned at the encouraging cries of the young women around her. There was the sound of the glasses being moved in front of her, and she waited with her hands half raised in the air. “What happens if I pick the empty glass?” she asked. Evie’s voice came near her ear. “You die a sp-spinster!” she said, and everyone laughed. “No lifting the glasses to test their weight,” someone warned with a giggle. “You can’t avoid the empty glass, if it’s your fate!” “At the moment I want the empty glass,” Lillian replied, causing another round of laughter. Finding the smooth surface of a glass, she slid her fingers up the side and dipped them into the cool liquid. A general round of applause and cheering, and she asked, “Am I marrying an author, too?” “No, you chose the clear water,” Daisy said. “A rich, handsome husband is coming for you, dear!” “Oh, what a relief,” Lillian said flippantly, lowering the blindfold to peek over the edge. “Is it your turn now?” Her younger sister shook her head. “I was the first to try. I knocked over a glass twice in a row, and made a dreadful mess.” “What does that mean? That you won’t marry at all?” “It means that I’m clumsy,” Daisy replied cheerfully. “Other than that, who knows? Perhaps my fate has yet to be decided. The good news is that your husband seems to be on the way.” “If so, the bastard is late,” Lillian retorted, causing Daisy and Evie to laugh.

Sicarius stood behind them, not bothering to hide his face as the breeze rifled through his short blond hair. He hadn’t drawn a weapon yet, and Amaranthe hurried to catch up, to keep him from doing so. First one security man glanced over his shoulder and jumped, then the second emulated the move. Sespian lifted a hand. “Don’t hurt—”One of the men pointed to the side of Sicarius, cried, “Look, enforcers!” and hurled himself past Sespian and into the river. The second man squeaked, scuttled backward until his shoulders rammed against the railing, then grabbed it and also propelled himself into the water. His lantern caught and dropped to the deck instead of falling overboard. It clanked and highlighted a dubious puddle before tipping over and winking out. Amaranthe had forgotten how much Sicarius’s reputation affected the average person.

Outsong in the Jungle [Baloo:] For the sake of him who showed One wise Frog the Jungle-Road, Keep the Law the Man-Pack make For thy blind old Baloo's sake! Clean or tainted, hot or stale, Hold it as it were the Trail, Through the day and through the night, Questing neither left nor right. For the sake of him who loves Thee beyond all else that moves, When thy Pack would make thee pain, Say: "Tabaqui sings again." When thy Pack would work thee ill, Say: "Shere Khan is yet to kill." When the knife is drawn to slay, Keep the Law and go thy way. (Root and honey, palm and spathe, Guard a cub from harm and scathe!) Wood and Water, Wind and Tree, Jungle-Favour go with thee! [Kaa:] Anger is the egg of Fear-- Only lidless eyes see clear. Cobra-poison none may leech-- Even so with Cobra-speech. Open talk shall call to thee Strength, whose mate is Courtesy. Send no lunge beyond thy length. Lend no rotten bough thy strength. Gauge thy gape with buck or goat, Lest thine eye should choke thy throat. After gorging, wouldst thou sleep ? Look thy den be hid and deep, Lest a wrong, by thee forgot, Draw thy killer to the spot. East and West and North and South, Wash thy hide and close thy mouth. (Pit and rift and blue pool-brim, Middle-Jungle follow him!) Wood and Water, Wind and Tree, Jungle-Favour go with thee! [Bagheera:] In the cage my life began; Well I know the worth of Man. By the Broken Lock that freed-- Man-cub, ware the Man-cub's breed! Scenting-dew or starlight pale, Choose no tangled tree-cat trail. Pack or council, hunt or den, Cry no truce with Jackal-Men. Feed them silence when they say: "Come with us an easy way." Feed them silence when they seek Help of thine to hurt the weak. Make no bandar's boast of skill; Hold thy peace above the kill. Let nor call nor song nor sign Turn thee from thy hunting-line. (Morning mist or twilight clear, Serve him, Wardens of the Deer!) Wood and Water, Wind and Tree, Jungle-Favour go with thee! [The Three:] On the trail that thou must tread To the threshold of our dread, Where the Flower blossoms red; Through the nights when thou shalt lie Prisoned from our Mother-sky, Hearing us, thy loves, go by; In the dawns when thou shalt wake To the toil thou canst not break, Heartsick for the Jungle's sake; Wood and Water, Wind air Tree, Wisdom, Strength, and Courtesy, Jungle-Favour go with thee!

Yet I have reflected on the fact that for most of use, there is a hard, impassable barrier between the most imaginatively detailed depravity and its real-life execution. It's the same solid steel wall that inserts itself between a kinife and my wrist even when I'm at my most disconsolate. So how was Kevin able to raise that crossbow, point it at Laura's breastbone, and then really, actually, in time and space, squeeze the release? I can only assume that he discovered what I never wish to. That there is no barrier. That like my trips abroad or this ludicrous scheme of bike locks and invitations on school stationaery, the very squeezing of that release can be broken down into a series of simple constituent parts. It may be no more miraculous to pull the trigger of a bow or a gun than it is to reach for a glass of water. I fear that crossing into the "unthinkable" turns out to be no more athletic than stepping across the threshold of an ordinary room; and that, if you will, is the trick. The secret. As ever, the secret is that there is no secret. He must almost have wanted to giggle, though that is not his style; those Columbine kids did giggle. And once you have found out that there is nothing to stop you—that the barrier, so seemingly uncrossable, is all in your head—it must be possible to step back and forth across that threshold again and again, shot after shot, as if an unintimidating pipsqueak has drawn a line across the carpet that you must not pass and you launch tauntingly over it, back and over it, in a mocking little dance.

There was something in her black eyes that was as insubstantial as light but at the same time slower and darker than water, slower than anything I had ever seen. It reminded me of one of those moments of sadness that sometimes come when you're waiting for an inconsequential thing, like an elevator or a stop on the subway, and feel a pause that is so still that it seals itself up around you, lifts away from the stream of time, and hangs suspended there. I felt drawn toward her, the way molecules in motion are drawn toward empty spaces.

I had recently read to my dismay that they have started hunting moose again in New England. Goodness knows why anyone would want to shoot an animal as harmless and retiring as the moose, but thousands of people do—so many, in fact, that states now hold lotteries to decide who gets a permit. Maine in 1996 received 82,000 applications for just 1,500 permits. Over 12,000 outof-staters happily parted with a nonrefundable $20 just to be allowed to take part in the draw. Hunters will tell you that a moose is a wily and ferocious forest creature. Nonsense. A moose is a cow drawn by a three-year-old. That’s all there is to it. Without doubt, the moose is the most improbable, endearingly hopeless creature ever to live in the wilds. Every bit of it—its spindly legs, its chronically puzzled expression, its comical oven-mitt antlers—looks like some droll evolutionary joke. It is wondrously ungainly: it runs as if its legs have never been introduced to each other. Above all, what distinguishes the moose is its almost boundless lack of intelligence. If you are driving down a highway and a moose steps from the woods ahead of you, he will stare at you for a long minute (moose are notoriously shortsighted), then abruptly try to run away from you, legs flailing in eight directions at once. Never mind that there are several thousand square miles of forest on either side of the highway. The moose does not think of this. Clueless as to what exactly is going on, he runs halfway to New Brunswick before his peculiar gait inadvertently steers him back into the woods, where he immediately stops and takes on a startled expression that says, “Hey—woods. Now how the heck did I get here?” Moose are so monumentally muddle-headed, in fact, that when they hear a car or truck approaching they will often bolt out of the woods and onto the highway in the curious hope that this will bring them to safety. Amazingly, given the moose’s lack of cunning and peculiarly-blunted survival instincts, it is one of the longest-surviving creatures in North America. Mastodons, saber-toothed tigers, wolves, caribou, wild horses, and even camels all once thrived in eastern North America alongside the moose but gradually stumbled into extinction, while the moose just plodded on. It hasn’t always been so. At the turn of this century, it was estimated that there were no more than a dozen moose in New Hampshire and probably none at all in Vermont. Today New Hampshire has an estimated 5,000 moose, Vermont 1,000, and Maine anywhere up to 30,000. It is because of these robust and growing numbers that hunting has been reintroduced as a way of keeping them from getting out of hand. There are, however, two problems with this that I can think of. First, the numbers are really just guesses. Moose clearly don’t line up for censuses. Some naturalists think the population may have been overstated by as much as 20 percent, which means that the moose aren’t being so much culled as slaughtered. No less pertinent is that there is just something deeply and unquestionably wrong about killing an animal that is so sweetly and dopily unassuming as a moose. I could have slain this one with a slingshot, with a rock or stick—with a folded newspaper, I’d almost bet—and all it wanted was a drink of water. You might as well hunt cows.

I don't want any money for it," he said. "It's a gift." Scarlett's mouth dropped open. The line was so closely, so carefully drawn where gifts from men were concerned. "Candy and flowers, dear," Ellen had said time and again, "and perhaps a book of poetry or an album or a small bottle of Florida water are the only things a lady may accept from a gentleman. Never, never any expensive gift, even from your fiance. And never any gift of jewelry or wearing apparel, not even gloves or handkerchiefs. Should you accept such gifts, men would know you were no lady and would try to take liberties.

fields and land to one side and the other. It finds its way into wells and is drawn up to launder petticoats and be boiled for tea. It is sucked into root membranes, travels up cell by cell to the surface, is held in the leaves of watercress that find themselves in the soup bowls and on the cheeseboards of the county’s diners. From teapot or soup dish, it passes into mouths, irrigates complex internal biological networks that are worlds in themselves, before returning eventually to the earth via a chamber pot. Elsewhere the river water clings to the leaves of the willows that droop to touch its surface and then, when the sun comes up, a droplet appears to vanish into the air, where it travels invisibly and might join a cloud, a vast floating lake, until it falls again as rain. This is the unmappable journey of the Thames.

A Short Story of Falling It is the story of the falling rain to turn into a leaf and fall again it is the secret of a summer shower to steal the light and hide it in a flower and every flower a tiny tributary that from the ground flows green and momentary is one of water's wishes and this tale hangs in a seed-head smaller than my thumbnail if only I a passerby could pass as clear as water through a plume of grass to find the sunlight hidden at the tip turning to seed a kind of lifting rain drip then I might know like water how to balance the weight of hope against the light of patience water which is so raw so earthy-strong and lurks in cast-iron tanks and leaks along drawn under gravity towards my tongue to cool and fill the pipe-work of this song which is the story of the falling rain that rises to the light and falls again

Wild Peaches" When the world turns completely upside down You say we’ll emigrate to the Eastern Shore Aboard a river-boat from Baltimore; We’ll live among wild peach trees, miles from town, You’ll wear a coonskin cap, and I a gown Homespun, dyed butternut’s dark gold color. Lost, like your lotus-eating ancestor, We’ll swim in milk and honey till we drown. The winter will be short, the summer long, The autumn amber-hued, sunny and hot, Tasting of cider and of scuppernong; All seasons sweet, but autumn best of all. The squirrels in their silver fur will fall Like falling leaves, like fruit, before your shot. 2 The autumn frosts will lie upon the grass Like bloom on grapes of purple-brown and gold. The misted early mornings will be cold; The little puddles will be roofed with glass. The sun, which burns from copper into brass, Melts these at noon, and makes the boys unfold Their knitted mufflers; full as they can hold Fat pockets dribble chestnuts as they pass. Peaches grow wild, and pigs can live in clover; A barrel of salted herrings lasts a year; The spring begins before the winter’s over. By February you may find the skins Of garter snakes and water moccasins Dwindled and harsh, dead-white and cloudy-clear. 3 When April pours the colors of a shell Upon the hills, when every little creek Is shot with silver from the Chesapeake In shoals new-minted by the ocean swell, When strawberries go begging, and the sleek Blue plums lie open to the blackbird’s beak, We shall live well — we shall live very well. The months between the cherries and the peaches Are brimming cornucopias which spill Fruits red and purple, sombre-bloomed and black; Then, down rich fields and frosty river beaches We’ll trample bright persimmons, while you kill Bronze partridge, speckled quail, and canvasback. 4 Down to the Puritan marrow of my bones There’s something in this richness that I hate. I love the look, austere, immaculate, Of landscapes drawn in pearly monotones. There’s something in my very blood that owns Bare hills, cold silver on a sky of slate, A thread of water, churned to milky spate Streaming through slanted pastures fenced with stones. I love those skies, thin blue or snowy gray, Those fields sparse-planted, rendering meagre sheaves; That spring, briefer than apple-blossom’s breath, Summer, so much too beautiful to stay, Swift autumn, like a bonfire of leaves, And sleepy winter, like the sleep of death.

This book first arose out of a passage in Borges, out of the laughter that shattered, as I read the passage, all the familiar landmarks of my thought—our thought that bears the stamp of our age and our geography—breaking up all the ordered surfaces and all the planes with which we are accustomed to tame the wild profusion of existing things, and continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other. This passage quotes a ‘certain Chinese encyclopaedia’ in which it is written that ‘animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) suckling pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies’. In the wonderment of this taxonomy, the thing we apprehend in one great leap, the thing that, by means of the fable, is demonstrated as the exotic charm of another system of thought, is the limitation of our own, the stark impossibility of thinking that.

With the gun which was too big for him, the breech-loader which did not even belong to him but to Major de Spain and which he had fired only once, at a stump on the first day to learn the recoil and how to reload it with the paper shells, he stood against a big gum tree beside a little bayou whose black still water crept without motion out of a cane-brake, across a small clearing and into the cane again, where, invisible, a bird, the big woodpecker called Lord-to-God by negroes, clattered at a dead trunk. It was a stand like any other stand, dissimilar only in incidentals to the one where he had stood each morning for two weeks; a territory new to him yet no less familiar than that other one which after two weeks he had come to believe he knew a little--the same solitude, the same loneliness through which frail and timorous man had merely passed without altering it, leaving no mark nor scar, which looked exactly as it must have looked when the first ancestor of Sam fathers' Chickasaw predecessors crept into it and looked about him, club or stone axe or bone arrow drawn and ready, different only because, squatting at the edge of the kitchen, he had smelled the dogs huddled and cringing beneath it and saw the raked ear and side of the bitch that, as Sam had said, had to be brave once in order to keep on calling herself a dog, and saw yesterday in the earth beside the gutted log, the print of the living foot. He heard no dogs at all. He never did certainly hear them. He only heard the drumming of the woodpecker stop short off, and knew that the bear was looking at him. he did not move, holding the useless gun which he knew now he would never fire at it, now or ever, tasting in his saliva that taint of brass which he had smelled in the huddled dogs when he peered under the kitchen.

For a moment we are weightless, eyes open and locked underwater, flowers drawn down with us, swirling around us in a current of white bubbles. My hair floats around us both like black silk. His hands are still around my waist, mine pressed against his bare chest. My lamp drifts between us. Aladdin plants his feet against the bottom of the pool and kicks off, pushing us upward to burst through the surface. He gasps in air and shakes the wet hair from his eyes. Without pulling away, we float in silence, and I cannot take my gaze from him. Water runs down his cheeks and lips, dripping from his jaw. A lock of his hair is stuck to his forehead, and I gently lift it away, curling it around my finger before letting it go. “What are we doing?” he whispers, pulling me closer. I cannot reply. I don’t trust my own voice. He brings his forehead down to rest against mine, and everything outside this pool and this moment ceases to exist. All that matters is the gentle sound of our breathing, our reflections on the water, the feel of his hands around me.

How vivid, still, are the seagoing smells? Oily bilges, fish entrails, a freshly lit cigarette drawn through salt paper? And at night, if you were not diving, the compressor's exhaust fumes, its lethal monoxides, barking and blattering our darkened boat's position for anyone to hear. But a shift of wind might gently lay its hand on a cheek and turn your head like a weathervane, pointing your nostrils into the smell of unseen land: forest and rot and copra, jasmine, mimosa and ylang-ylang. And you may have thought of the strangeness of it, sitting there in night's scented cocoon, propped up by nails and timber in the middle of the water while men you knew like brothers worked away in the fish mines far beneath the boat, their dim torchlight opening up fugitive seams and corridors. Their wooden goggles and floating hair.

I loved my wife. I was faithful to my wife from the very minute I straightened up. I tried desperately to never feel anything else for any other woman. But…[breathes deeply] Everything that made Daisy burn, made me burn. Everything I loved about the world, Daisy loved about the world. Everything I struggled with, Daisy struggled with. We were two halves. We were the same. In that way that you’re only the same with a few other people. In that way that you don’t even feel like you have to say your own thoughts because you know the other person is already thinking them. How could I be around Daisy Jones and not be mesmerized by her? Not fall in love with her? I couldn’t. I just couldn’t. But Camila meant more. That’s just the very deepest truth. My family meant more to me. Camila meant more to me. Maybe, for a little while there, Camila wasn’t the person I was the most drawn to. Or… … … … Maybe Camila wasn’t the person I was the most in love with. At that time. I don’t know. You can’t…Maybe she wasn’t. But she was always the person I loved the most. She was always the person I would choose. It is Camila, for me. Always. Passion is…it’s fire. And fire is great, man. But we’re made of water. Water is how we keep living. Water is what we need to survive. My family was my water. I picked water. I’ll pick water every time. And I wanted Daisy to find her water. Because I couldn’t be it.

If this is hard to understand from a map, the rest is harder. For one thing, the river that flows ever onwards is also seeping sideways, irrigating the fields and land to one side and the other. It finds its way into wells and is drawn up to launder petticoats and be boiled for tea. It is sucked into root membranes, travels up cell by cell to the surface, is held in the leaves of watercress that find themselves in the soup bowls and on the cheeseboards of the county’s diners. From teapot or soup dish, it passes into mouths, irrigates complex internal biological networks that are worlds in themselves, before returning eventually to the earth via a chamber pot. Elsewhere the river water clings to the leaves of the willows that droop to touch its surface and then, when the sun comes up, a droplet appears to vanish into the air, where it travels invisibly and might join a cloud, a vast floating lake, until it falls again as rain. This is the unmappable journey of the Thames. And there is more: what we see on a map is only the half of it. A river no more begins at its source than a story begins with the first page.

As I learned the house, and began to read, and began to see more of the Quality, I saw that just as the fields and its workers were the engine of everything, the house itself would have been lost without those who tasked within it. My father, like all the masters, built an entire apparatus to disguise this weakness, to hide how prostrate they truly were. The tunnel, where I first entered the house, was the only entrance that the Tasked were allowed to use, and this was not only for the masters’ exaltation but to hide us, for the tunnel was but one of the many engineering marvels built into Lockless so as to make it appear powered by some imperceptible energy. There were dumbwaiters that made the sumptuous supper appear from nothing, levers that seemed to magically retrieve the right bottle of wine hidden deep in the manor’s bowels, cots in the sleeping quarters, drawn under the canopy bed, because those charged with emptying the chamber-pot must be hidden even more than the chamber-pot itself. The magic wall that slid away from me that first day and opened the gleaming world of the house hid back stairways that led down into the Warrens, the engine-room of Lockless, where no guest would ever visit. And when we did appear in the polite areas of the house, as we did during the soirées, we were made to appear in such appealing dress and grooming so that one could imagine that we were not slaves at all but mystical ornaments, a portion of the manor’s charm. But I now knew the truth—that Maynard’s folly, though more profane, was unoriginal. The masters could not bring water to boil, harness a horse, nor strap their own drawers without us. We were better than them—we had to be. Sloth was literal death for us, while for them it was the whole ambition of their lives. It occurred to me then that even my own intelligence was unexceptional, for you could not set eyes anywhere on Lockless and not see the genius in its makers—genius in the hands that carved out the columns of the portico, genius in the songs that evoked, even in the whites, the deepest of joys and sorrows, genius in the men who made the fiddle strings whine and trill at their dances, genius in the bouquet of flavors served up from the kitchen, genius in all our lost, genius in Big John. Genius in my mother.

He knew he needed to release her, but once he allowed his physical connection to drop away, he was uncertain if he’d ever have a chance to reconnect. Instinctively, he knew Azami was elusive, like water flowing through fingers, or the wind shifting in the trees. He needed a way to seal her to him. “How does one court a woman in Japan? Do I need your brothers’ permission?” She blinked again. Shocked. A hint of uncertainty crept into her eyes. She frowned, and he bent his head to swallow her protest before she could utter it. Her mouth trembled beneath his, and then she opened to him, like a flower, luring him deeper. Her arms slid around his neck, her body pressing tightly against his. He tightened his fingers in her hair. He was burning, through and through, from the inside out, a hot melting of bone and tissue. He hadn’t known he was lonely or even looking for something. He’d been complete. He loved his wife. He was a man with teammates he trusted implicitly. He lived in wild places of beauty he enjoyed. He hadn’t considered there would be a woman who could ever fit with him, who would ever turn his insides soft and his body hard. Feel the same way, Azami. He didn’t lift his mouth, kissing her again and again because one he’d made the mistake, he was addicted and what was the use fighting it? Not when it felt so damn right. Somewhere along the line, his kiss went from sheer aggression and command, to absolute tenderness. The emotion for her rose like a volcano, encompassing him entirely, drawn from some part of him he’d never known even existed. His mouth was gentle, his hands on her, possessive, yet just as gentle. Another claiming, this coming from that deep unknown well. Feel the same way, Azami, he whispered into her mind. An enticement. A need. He waited, something in him going still, waiting for her answer. Tell me how you’re feeling? She hadn’t pulled away. If anything, her arms had tightened around his neck. He shared every single breath she took, feeling the slight movement of her rib cage and breasts against him, the warm air they exchanged. Like I’m burning alive. Drowning. Like I never want this moment to end. He wasn’t a man to say flowery things to a woman, nor did he even think them, but he shared the honest truth with her. Like we belong. Once he let her go, the world would slip back into kilter. He wanted her to stay with him, to give him a chance with her. She didn’t hesitate, and he loved that about her as well. She gave herself in truth in the same way he did. I feel the same, but one of us has to be sane. She initiated the kiss when he pulled back slightly, chasing after him with her soft mouth, fingers digging tightly into the heavy muscle at his neck, sighing when his lips settled once more over hers. He took his time, kissing her thoroughly, again and again, all the while slipping deeper into her spell and hoping she was falling under his. Is this your idea of sanity? He’d make it his reality. He was falling further down the rabbit hole and he’d make her his sanity if she’d fall with him. Her soft laughter slipped inside his heart, winding there until there was no shaking her loose. Not really, but you have to be the strong one. He kissed her again. And again. Why is that? You started this.

I move like I'm gravity, like it's not a decision. Standing on my toes, on the edge of the high dive, the water looks as clear and blue as the sky. In my head there's the possibility that this moment isn't here yet, that maybe I'm not born. I could be an idea. Or I could be realized, and life is standing still. For this moment, the world has stopped. I have a perfect balance. The wind moves around me. My heart is as light and bright as the sun. I am as light as a sparrow bone, and for one moment I am everything that can't be caught and held. Then I'm passing through the air, turning, arms drawn in, toes pointed. My chin rests on my chest. I believe I have a chance at anything: one full revolution. I spread my wings. I arch my back. I remember why swans are graceful, why someone would name this for something beautiful. I think I'm touching the clouds. For a long time they keep me from breaking the blue. I don't hear the shattering surface. I belong behind this sky, all-silent and calm, and part of the world where butterflies live after they give up their feet and dream of flight. I can stay, if I pretend the fire in my chest doesn't burn, if I pretend the world is upside down, if I pretend water is the air I breathe.

At the edge of the still, dark pool that was the sea, at the brimming edge of freedom where no boat was to be seen, she spoke the first words of the few they were to exchange. ‘I cannot swim. You know it?” In the dark she saw the flash of his smile. ‘Trust me.’ And he drew her with a strong hand until the green phosphorescence beaded her ankles, and deeper, and deeper, until the thick milk-warm water, almost unfelt, was up to her waist. She heard him swear feelingly to himself as the salt water searched out, discovered his burns. Then with a rustle she saw his pale head sink back into the quiet sea and at the same moment she was gripped and drawn after him, her face to the stars, drawn through the tides with the sea lapping like her lost hair at her cheeks, the drive of his body beneath her pulling them both from the shore. They were launched on the long journey towards the slim shape, black against glossy black, which was the brigantine, with Thompson on board.

When we are too functional, we forget the point of hospitality in the home: fellowship, not entertainment. Don't let pride stop you from opening your home. Ignore the cat hair on the couch (or in the mac and cheese). It likely won't kill anyone as decisively as loneliness will. Add as much water to the pot to stretch the soup. If you run out of food, make pancakes, and put the kids in charge of making that meal. See how much fun that is. And know that someone is spared from another humiliating fall into internet pornography because he is instead walking with you and your kids and dogs, as you share the Lord's Day, one model of how the Lord gives you daily grace and a way of escape. Know that someone is spared the fear and darkness of depression because she is needed at your house, always on the Lord's Day, the day she is never alone, but instead safely in community, where her place at the table is needed and necessary and relied upon. Know that someone is drawn into Christ's love because the Bible reading and psalm singing that come at the close of the meal include everyone, and that it reminds us that no one is scapegoated in this Christ-bearing community. Know that host and guest are equally precious and fragile, and that you will play both roles throughout the course of this life. The doors here open wide. They must.

It is at night, especially when the moon is gibbous and waning, that I see the thing. I tried morphine; but the drug has given only transient surcease, and has drawn me into its clutches as a hopeless slave. So now I am to end it all, having written a full account for the information or the contemptuous amusement of my fellow-men. Often I ask myself if it could not all have been a pure phantasm—a mere freak of fever as I lay sun-stricken and raving in the open boat after my escape from the German man-of-war. This I ask myself, but ever does there come before me a hideously vivid vision in reply. I cannot think of the deep sea without shuddering at the nameless things that may at this very moment be crawling and floundering on its slimy bed, worshipping their ancient stone idols and carving their own detestable likenesses on submarine obelisks of water-soaked granite. I dream of a day when they may rise above the billows to drag down in their reeking talons the remnants of puny, war-exhausted mankind—of a day when the land shall sink, and the dark ocean floor shall ascend amidst universal pandemonium.

She’s drawn to me just as I’m drawn to her. She can’t keep away. She circles, forced to keep her distance, afraid of abandoning her husband and, even more, her son for too long. But she keeps coming, like a moth to my candle, staying longer than she should, leaving late for dinners and birthday parties, singeing her wings. She’s risking her marriage for me, her family, her reputation. And I, the moth circling her candle, realize that she’s not just a candle. She’s a moth as well, circling me. I look at her and see myself reflected, my feelings, my desires. And she, looking at me, must see herself. And which of us is moth and which is candle hardly seems to matter. We’re both the same. That’s the secret. What moths never tell us as they whirl in their dances. What Manucci learned at Pak Tea House. What sufis veil in verse. I turn her around and look into her eyes and see the wonder in them that must be in mine as well, the wonder I first saw on our night of ecstasy, and I feel myself explode, expand, fill the universe, then collapse, implode like a detonation under water, become tiny, disappear. I’m hardly aware of myself, of her, when I open my mouth. There is just us, and I speak for us when I speak, and I must be trembling and crying, but I don’t even know if I am or what I’m doing. I just say it. “I love you.” And I lose myself in her eyes and we kiss and I feel myself becoming part of something new, something larger, something I never knew could be. Union. There are no words.

Hume’s philosophy, whether true or false, represents the bankruptcy of eighteenth-century reasonableness. He starts out, like Locke, with the intention of being sensible and empirical, taking nothing on trust, but seeking whatever instruction is to be obtained from experience and observation. But having a better intellect than Locke’s, a greater acuteness in analysis, and a smaller capacity for accepting comfortable inconsistencies, he arrives at the disastrous conclusion that from experience and observation nothing is to be learnt. There is no such thing as a rational belief: “If we believe that fire warms, or water refreshes, ’tis only because it costs us too much pains to think otherwise.” We cannot help believing, but no belief can be grounded in reason. Nor can one line of action be more rational than another, since all alike are based upon irrational convictions. This last conclusion, however, Hume seems not to have drawn. Even in his most sceptical chapter, in which he sums up the conclusions of Book I, he says: “Generally speaking, the errors in religion are dangerous; those in philosophy only ridiculous.” He has no right to say this. “Dangerous” is a causal word, and a sceptic as to causation cannot know that anything is “dangerous.

First a Christian wades in the rivers of God his grace up to the ankles, with some good frame of spirit; yet but weakly, for a man hath strength in his ankle bones... and yet may have but feeble knees.... So farre as you walk in the waters, so far are you healed; why then in the next place, he must wade till he come to the knees, goe a thousand Cubits, a mile further, and get more strenght to pray, and to walk on in your callings with more power and strength. Secondly, but yet a man that wades but to the knees, his loynes are not drenched, for nothing is healed but what is in the water. Now the affections of a man are placed in his loynes, God tries the reines; a man may have many unruly affections, though he be padling in the wayes of grace; he may walk on in some eavennesse, and yet have of the rottennesse of his heart in the sight of God: why then, though hast waded but to the knees, and it is a mercy that thou art come so farre; but yet the loynes want healing, why, wade a mile further then; the grace of God yet comes too shallow in us, our passions are yet unmortified, so as we know not how to grieve in measure, our wrath is vehement and immoderate, you must therefore wade untill the loynes bee girt with a golden girdle; wade an-end, & think all is not well untill you be so deep, & by this you may take a scantling, what measure of grace is poured out upon you. And if thou hast gone so farre, that God hath in some meaure healed thy affections, that thou canst be angry and sin not, &c. it is well, and this we must attain to. But suppose the loyns should be in a good measure healed, yet there is more goes to it then all this; and yet when a man is come thus farre, he may laugh at all temptations, and blesse God in all changes; But yet goe another thousand Cubits, and then you shall swimme; there is such a meaure of grace in which a man may swimme as fish in water, with all readinesse and dexterity, gliding an-end, as if he had water enough to swimme in; such a Christian doth not creep or walk, but he runs the wayes of Gods Commandements; what ever he is to doe or to suffer he is ready for all, so every way drenched in grace, as let God turn him any way, he is never drawn dry.

Newton Pulsifer had never had a cause in his life. Nor had he, as far as he knew, ever believed in anything. It had been embarrassing, because he quite wanted to believe in something, since he recognized that belief was the lifebelt that got most people through the choppy waters of Life. He’d have liked to believe in a supreme God, although he’d have preferred a half-hour’s chat with Him before committing himself, to clear up one or two points. He’d sat in all sorts of churches, waiting for that single flash of blue light, and it hadn’t come. And then he’d tried to become an official Atheist and hadn’t got the rock-hard, self-satisfied strength of belief even for that. And every single political party had seemed to him equally dishonest. And he’d given up on ecology when the ecology magazine he’d been subscribing to had shown its readers a plan of a self-sufficient garden, and had drawn the ecological goat tethered within three feet of the ecological beehive. Newt had spent a lot of time at his grandmother’s house in the country and thought he knew something about the habits of both goats and bees, and concluded therefore that the magazine was run by a bunch of bib-overalled maniacs. Besides, it used the word “community” too often; Newt had always suspected that people who regularly used the word “community” were using it in a very specific sense that excluded him and everyone he knew. Then he’d tried believing in the Universe, which seemed sound enough until he’d innocently started reading new books with words like Chaos and Time and Quantum in the titles. He’d found that even the people whose job of work was, so to speak, the Universe, didn’t really believe in it and were actually quite proud of not knowing what it really was or even if it could theoretically exist. To Newt’s straightforward mind this was intolerable. Newt had not believed in the Cub Scouts and then, when he was old enough, not in the Scouts either. He was prepared to believe, though, that the job of wages clerk at United Holdings [Holdings] PLC, was possibly the most boring in the world. This is how Newton Pulsifer looked as a man: if he went into a phone booth and changed, he might manage to come out looking like Clark Kent.

He knew he needed to release her, but once he allowed his physical connection to drop away, he was uncertain if he’d ever have a chance to reconnect. Instinctively, he knew Azami was elusive, like water flowing through fingers, or the wind shifting in the trees. He needed a way to seal her to him. “How does one court a woman in Japan? Do I need your brothers’ permission?” She blinked again. Shocked. A hint of uncertainty crept into her eyes. She frowned, and he bent his head to swallow her protest before she could utter it. Her mouth trembled beneath his, and then she opened to him, like a flower, luring him deeper. Her arms slid around his neck, her body pressing tightly against his. He tightened his fingers in her hair. He was burning, through and through, from the inside out, a hot melting of bone and tissue. He hadn’t known he was lonely or even looking for something. He’d been complete. He loved his life. He was a man with teammates he trusted implicitly. He lived in wild places of beauty he enjoyed. He hadn’t considered there would be a woman who could ever fit with him, who would ever turn his insides soft and his body hard. Feel the same way, Azami. He didn’t lift his mouth, kissing her again and again because one he’d made the mistake, he was addicted and what was the use fighting it? Not when it felt so damn right. Somewhere along the line, his kiss went from sheer aggression and command, to absolute tenderness. The emotion for her rose like a volcano, encompassing him entirely, drawn from some part of him he’d never known even existed. His mouth was gentle, his hands on her, possessive, yet just as gentle. Another claiming, this coming from that deep unknown well. Feel the same way, Azami, he whispered into her mind. An enticement. A need. He waited, something in him going still, waiting for her answer.

The fields, the lakes, the forests, and the streams, ocean, and all the living things that dwell within the daedal earth; lightning, and rain, earthquake, and fiery flood, and hurricane, the torpor of the year when feeble dreams visit the hidden buds, or dreamless sleep holds every future leaf and flower; the bound with which from that detested trance they leap; the works and ways of man, their death and birth, and that of him and all that his may be; all things that move and breathe with toil and sound are born and die; revolve, subside, and swell. Power dwells apart in its tranquillity, remote, serene, and inaccessible: and this, the naked countenance of earth, on which I gaze, even these primeval mountains teach the adverting mind. The glaciers creep like snakes that watch their prey, from their far fountains, slow rolling on; there, many a precipice frost and the sun in scorn of mortal power have pil'd: dome, pyramid, and pinnacle, a city of death, distinct with many a tower and wall impregnable of beaming ice. Yet not a city, but a flood of ruin is there, that from the boundaries of the sky rolls its perpetual stream; vast pines are strewing its destin'd path, or in the mangled soil branchless and shatter'd stand; the rocks, drawn down from yon remotest waste, have overthrown the limits of the dead and living world, never to be reclaim'd. The dwelling-place of insects, beasts, and birds, becomes its spoil; their food and their retreat for ever gone, so much of life and joy is lost. The race of man flies far in dread; his work and dwelling vanish, like smoke before the tempest's stream, and their place is not known. Below, vast caves shine in the rushing torrents' restless gleam, which from those secret chasms in tumult welling meet in the vale, and one majestic river, the breath and blood of distant lands, for ever rolls its loud waters to the ocean-waves, breathes its swift vapours to the circling air.

This was no coincidence. The best short stories and the most successful jokes have a lot in common. Each form relies on suggestion and economy. Characters have to be drawn in a few deft strokes. There's generally a setup, a reveal, a reversal, and a release. The structure is delicate. If one element fails, the edifice crumbles. In a novel you might get away with a loose line or two, a saggy paragraph, even a limp chapter. But in the joke and in the short story, the beginning and end are precisely anchored tent poles, and what lies between must pull so taut it twangs. I'm not sure if there is any pattern to these selections. I did not spend a lot of time with those that seemed afraid to tell stories, that handled plot as if it were a hair in the soup, unwelcome and embarrassing. I also tended not to revisit stories that seemed bleak without having earned it, where the emotional notes were false, or where the writing was tricked out or primped up with fashionable devices stressing form over content. I do know that the easiest and the first choices were the stories to which I had a physical response. I read Jennifer Egan's "Out of Body" clenched from head to toe by tension as her suicidal, drug-addled protagonist moves through the Manhattan night toward an unforgivable betrayal. I shed tears over two stories of childhood shadowed by unbearable memory: "The Hare's Mask," by Mark Slouka, with its piercing ending, and Claire Keegan's Irishinflected tale of neglect and rescue, "Foster." Elizabeth McCracken's "Property" also moved me, with its sudden perception shift along the wavering sightlines of loss and grief. Nathan Englander's "Free Fruit for Young Widows" opened with a gasp-inducing act of unexpected violence and evolved into an ethical Rubik's cube. A couple of stories made me laugh: Tom Bissell's "A Bridge Under Water," even as it foreshadows the dissolution of a marriage and probes what religion does for us, and to us; and Richard Powers's "To the Measures Fall," a deftly comic meditation on the uses of literature in the course of a life, and a lifetime. Some stories didn't call forth such a strong immediate response but had instead a lingering resonance. Of these, many dealt with love and its costs, leaving behind indelible images. In Megan Mayhew Bergman's "Housewifely Arts," a bereaved daughter drives miles to visit her dead mother's parrot because she yearns to hear the bird mimic her mother's voice. In Allegra Goodman's "La Vita Nuova," a jilted fiancée lets her art class paint all over her wedding dress. In Ehud Havazelet's spare and tender story, "Gurov in Manhattan," an ailing man and his aging dog must confront life's necessary losses. A complicated, only partly welcome romance blossoms between a Korean woman and her demented

Computational models of the mind would make sense if what a computer actually does could be characterized as an elementary version of what the mind does, or at least as something remotely like thinking. In fact, though, there is not even a useful analogy to be drawn here. A computer does not even really compute. We compute, using it as a tool. We can set a program in motion to calculate the square root of pi, but the stream of digits that will appear on the screen will have mathematical content only because of our intentions, and because we—not the computer—are running algorithms. The computer, in itself, as an object or a series of physical events, does not contain or produce any symbols at all; its operations are not determined by any semantic content but only by binary sequences that mean nothing in themselves. The visible figures that appear on the computer’s screen are only the electronic traces of sets of binary correlates, and they serve as symbols only when we represent them as such, and assign them intelligible significances. The computer could just as well be programmed so that it would respond to the request for the square root of pi with the result “Rupert Bear”; nor would it be wrong to do so, because an ensemble of merely material components and purely physical events can be neither wrong nor right about anything—in fact, it cannot be about anything at all. Software no more “thinks” than a minute hand knows the time or the printed word “pelican” knows what a pelican is. We might just as well liken the mind to an abacus, a typewriter, or a library. No computer has ever used language, or responded to a question, or assigned a meaning to anything. No computer has ever so much as added two numbers together, let alone entertained a thought, and none ever will. The only intelligence or consciousness or even illusion of consciousness in the whole computational process is situated, quite incommutably, in us; everything seemingly analogous to our minds in our machines is reducible, when analyzed correctly, only back to our own minds once again, and we end where we began, immersed in the same mystery as ever. We believe otherwise only when, like Narcissus bent above the waters, we look down at our creations and, captivated by what we see reflected in them, imagine that another gaze has met our own.

Does God get what God wants? That’s a good question. An interesting question. And it’s an important question that has given us much to discuss. But there’s a better question. One that we actually can answer. One that takes all of the speculation about the future, which no one has been to and returned with hard empirical evidence, and brings it back to one absolute we can depend on in the midst of all of this which turns out to be another question. It’s not, “Does God get what God wants?” but “Do we get what we want?” and the answer to that is a resounding, affirming, sure and certain yes. Yes, we get what we want, God is that loving. If we want isolation, despair, and the right to be our own god, God graciously grants us that option. If we insist on using our God-given power and strength to make the world in our own image, God allows us that freedom and we have that kind of license to do that. If we want nothing to do with light, love, hope, grace, and peace God respects that desire on our part and we are given a life free from any of those realities. The more we want nothing to do with what God is, the more distance and space is created. If we want nothing to do with love, we are given a reality free from love. If, however, we crave light, we’re drawn to truth, we’re desperate for grace, we’ve come to the end of our plots and schemes and we want someone else’s path, God gives us what we want. If we have this sense that we have wandered far from home and we want to return, God is there standing in the driveway arms open, ready to invite us in. If we thirst for Shalom and we long for the peace that transcends all understanding, God doesn’t just give, they are poured out on us lavishly, heaped until we are overwhelmed. It’s like a feast where the food and wine do not run out. These desires can start with the planting of an infinitesimally small seed in our heart, or a yearning for life to be better, or a gnawing sense that we are missing out, or an awareness that beyond the routine and grind of life there is something more, or the quiet hunch that this isn’t all there is. It often has it’s birth in the most unexpected ways, arising out of our need for something we know we do not have, for someone we know we are not. And to that, that impulse, craving, yearning, longing, desire God says, “Yes!”. Yes there is water for that thirst, food for that hunger, light for that darkness, relief for that burden. If we want hell, if we want heaven then they are ours. that’s how love works, it can’t be forced, manipulated, or coerced. It always leaves room for the other to decide. God says, “yes”, we can have what we want because love wins.

There is a sort of subdued pandemonium in the air, a note of repressed violence, as if the awaited explosion required the advent of some utterly minute detail, something microscopic but thoroughly unpremeditated, completely unexpected. In that sort of half-reverie which permits one to participate in an event and yet remain quite aloof, the little detail which was lacking began obscurely but insistently to coagulate, to assume a freakish, crystalline form, like the frost which gathers on the windowpane. And like those frost patterns which seem so bizarre, so utterly free and fantastic in design, but which are nevertheless determined by the most rigid laws, so this sensation which commenced to take form inside me seemed also to be giving obedience to ineluctable laws. My whole being was responding to the dictates of an ambience which it had never before experienced; that which I could call myself seemed to be contracting, condensing, shrinking from the stale, customary boundaries of the flesh whose perimeter knew only the modulations of the nerve ends. And the more substantial, the more solid the core of me became, the more delicate and extravagant appeared the close, palpable reality out of which I was being squeezed. In the measure that I became more and more metallic, in the same measure the scene before my eyes became inflated. The state of tension was so finely drawn now that the introduction of a single foreign particle, even a microscopic particle, as I say, would have shattered everything. For the fraction of a second perhaps I experienced that utter clarity which the epileptic, it is said, is given to know. In that moment I lost completely the illusion of time and space: the world unfurled its drama simultaneously along a meridian which had no axis. In this sort of hair-trigger eternity I felt that everything was justified, supremely justified; I felt the wars inside me that had left behind this pulp and wrack; I felt the crimes that were seething here to emerge tomorrow in blatant screamers; I felt the misery that was grinding itself out with pestle and mortar, the long dull misery that dribbles away in dirty handkerchiefs. On the meridian of time there is no injustice: there is only the poetry of motion creating the illusion of truth and drama. If at any moment anywhere one comes face to face with the absolute, that great sympathy which makes men like Gautama and Jesus seem divine freezes away; the monstrous thing is not that men have created roses out of this dung heap, but that, for some reason or other, they should want roses. For some reason or other man looks for the miracle, and to accomplish it he will wade through blood. He will debauch himself with ideas, he will reduce himself to a shadow if for only one second of his life he can close his eyes to the hideousness of reality. Everything is endured – disgrace, humiliation, poverty, war, crime, ennui – in the belief that overnight something will occur, a miracle, which will render life tolerable. And all the while a meter is running inside and there is no hand that can reach in there and shut it off. All the while someone is eating the bread of life and drinking the wine, some dirty fat cockroach of a priest who hides away in the cellar guzzling it, while up above in the light of the street a phantom host touches the lips and the blood is pale as water. And out of the endless torment and misery no miracle comes forth, no microscopic vestige of relief. Only ideas, pale, attenuated ideas which have to be fattened by slaughter; ideas which come forth like bile, like the guts of a pig when the carcass is ripped open.

A while back a young woman from another state came to live with some of her relatives in the Salt Lake City area for a few weeks. On her first Sunday she came to church dressed in a simple, nice blouse and knee-length skirt set off with a light, button-up sweater. She wore hose and dress shoes, and her hair was combed simply but with care. Her overall appearance created an impression of youthful grace. Unfortunately, she immediately felt out of place. It seemed like all the other young women her age or near her age were dressed in casual skirts, some rather distant from the knee; tight T-shirt-like tops that barely met the top of their skirts at the waist (some bare instead of barely); no socks or stockings; and clunky sneakers or flip-flops. One would have hoped that seeing the new girl, the other girls would have realized how inappropriate their manner of dress was for a chapel and for the Sabbath day and immediately changed for the better. Sad to say, however, they did not, and it was the visitor who, in order to fit in, adopted the fashion (if you can call it that) of her host ward. It is troubling to see this growing trend that is not limited to young women but extends to older women, to men, and to young men as well. . . . I was shocked to see what the people of this other congregation wore to church. There was not a suit or tie among the men. They appeared to have come from or to be on their way to the golf course. It was hard to spot a woman wearing a dress or anything other than very casual pants or even shorts. Had I not known that they were coming to the school for church meetings, I would have assumed that there was some kind of sporting event taking place. The dress of our ward members compared very favorably to this bad example, but I am beginning to think that we are no longer quite so different as more and more we seem to slide toward that lower standard. We used to use the phrase “Sunday best.” People understood that to mean the nicest clothes they had. The specific clothing would vary according to different cultures and economic circumstances, but it would be their best. It is an affront to God to come into His house, especially on His holy day, not groomed and dressed in the most careful and modest manner that our circumstances permit. Where a poor member from the hills of Peru must ford a river to get to church, the Lord surely will not be offended by the stain of muddy water on his white shirt. But how can God not be pained at the sight of one who, with all the clothes he needs and more and with easy access to the chapel, nevertheless appears in church in rumpled cargo pants and a T-shirt? Ironically, it has been my experience as I travel around the world that members of the Church with the least means somehow find a way to arrive at Sabbath meetings neatly dressed in clean, nice clothes, the best they have, while those who have more than enough are the ones who may appear in casual, even slovenly clothing. Some say dress and hair don’t matter—it’s what’s inside that counts. I believe that truly it is what’s inside a person that counts, but that’s what worries me. Casual dress at holy places and events is a message about what is inside a person. It may be pride or rebellion or something else, but at a minimum it says, “I don’t get it. I don’t understand the difference between the sacred and the profane.” In that condition they are easily drawn away from the Lord. They do not appreciate the value of what they have. I worry about them. Unless they can gain some understanding and capture some feeling for sacred things, they are at risk of eventually losing all that matters most. You are Saints of the great latter-day dispensation—look the part.

You weren’t supposed to choose me,” he said. Behind them, Ira approached, stunned and speechless for what must have been the first time in his life. He helped lift Samuel, whose cheeks had blanched as well. Camille prodded Oscar’s arms and stomach and face. It was truly him. The unbearable grief over losing him flipped inside out. Her joy ran so deep and strong she thought she might burst from it. “The night the Christina went down, you rowed to me,” she answered, her throat knotted as she thought of her father. She forced it down. “This time, I must have needed to row to you.” Oscar kissed her, his lips still cold but filled with life. She leaned into him and hung on as though he might disappear. Ira let out a playful high-pitched whistle. Samuel coughed. Oscar and Camille reluctantly pulled apart and blushed. “Holy gallnipper,” Ira said. Camille grinned, not minding in the least that he was using that annoying turn of phrase again. “I can’t believe that little rock…I mean you were dead, mate. Dead as this bloke right here.” Ira kicked McGreenery in the leg. Oscar nodded, rubbing his hand over the fading red mark, as if to feel for himself that the deadly wound was gone. “I was in the dory,” he whispered. Ira cocked his head. “Say again?” Camille lifted her ear from his chest, where she’d wanted to listen to the smooth rhythm of his heart. She looked up at him before hearing its strong beat. “The dory?” Oscar nodded again, eyebrows creased. “I heard your voice. At the cave,” he said to Camille. “This force kept pulling me backward, away from you, like I was being sucked into the ground.” So this was how it had felt for him to die. She remembered the way he’d looked right through her and how it had chilled her to the marrow. Her own brush with death had been different, and somehow better, if death could even be measured in levels of bad or good. The image of her father had drawn her to safety, making her forget her yearning for air. He had been there for her, but she hadn’t been able to do the same for him. All this time, all this trouble, and all she’d wanted was to bring him back, make him proud of the lengths to which she’d gone for him. In the end, she’d failed him miserably. “And then you were gone. Your voice faded, and I was in the dory, adrift in the Tasman, the dawn after the Christina went down,” Oscar continued. Samuel and Ira glanced at each other with marked expressions of doubt and confusion. “But I wasn’t alone.” He gently pulled Camille away from him and gripped her arms. “Your father was with me. He was sitting there, smiling. It all seemed so real. I could taste the salt air, and…and I remember touching the water, and it was cold. It wasn’t like in a dream, when you can’t do those things.” Camille sucked in a deep breath, trying to inflate her crushing lungs. Oscar had seen him, too. She’d give anything to see her father again, to hear his voice, to feel at home by just being in his presence. At least, that’s what she’d once believed. But Camille hadn’t been willing to give up Oscar. Did that mean she loved her father less? Never. She could never love her fatherless. So then why hadn’t her heart chosen him? "Did he say anything?" she asked, anxious to know yet afraid to hear. "It's all jumbled," Oscar said, again shaking his head and rubbing his chest. "I remember him saying a few things. Bits and pieces." Camille looked to Ira and Samuel. Their parted mouths and bugged eyes hung on Oscar's every word. Oscar squinted at the ground and seemed to be working hard to piece together what her father had said on the other side. "I'm still here to guide her?" he said, questioning his own memory. "It doesn't make any sense, I'm sorry." She shook her head, eyes tearing up again. It had been real. He really had come to her in the black water of the underground pool. "No, don't be sorry," she said, tears spilling. "It does make sense. It makes sense to me.

The men who had inhabited prehistoric Egypt, who had carved the Sphinx and founded the world‘s oldest civilization, were men who had made their exodus from Atlantis to settle on this strip of land that bordered the Nile. And they had left before their ill-fated continent sank to the bottom of the Atlantic Ocean, a catastrophe which had drained the Sahara and turned it into a desert. The shells which to-day litter the surface of the Sahara in places, as well as the fossil fish which are found among its sands, prove that it was once covered by the waters of a vast ocean. It was a tremendous and astonishing thought that the Sphinx provided a solid, visible and enduring link between the people of to-day and the people of a lost world, the unknown Atlanteans. This great symbol has lost its meaning for the modern world, for whom it is now but an object of local curiosity. What did it mean to the Atlanteans? We must look for some hint of an answer in the few remnants of culture still surviving from peoples whose own histories claimed Atlantean origin. We must probe behind the degenerate rituals of races like the Incas and the Mayas, mounting to the purer worship of their distant ancestors, and we shall find that the loftiest object of their worship was Light, represented by the Sun. Hence they build pyramidal Temples of the Sun throughout ancient America. Such temples were either variants or slightly distorted copies of similar temples which had existed in Atlantis. After Plato went to Egypt and settled for a while in the ancient School of Heliopolis, where he lived and studied during thirteen years, the priest-teachers, usually very guarded with foreigners, favoured the earnest young Greek enquirer with information drawn from their well-preserved secret records. Among other things they told him that a great flat-topped pyramid had stood in the centre of the island of Atlantis, and that on this top there had been build the chief temple of the continent – a sun temple. […] The Sphinx was the revered emblem in stone of a race which looked upon Light as the nearest thing to God in this dense material world. Light is the subtlest, most intangible of things which man can register by means of one of his five senses. It is the most ethereal kind of matter which he knows. It is the most ethereal element science can handle, and even the various kind of invisible rays are but variants of light which vibrate beyond the power of our retinas to grasp. So in the Book of Genesis the first created element was Light, without which nothing else could be created. „The Spirit of God moved upon the face of the Deep,“ wrote Egyptian-trained Moses. „And God said, Let there be Light: and there was Light.“ Not only that, it is also a perfect symbol of that heavenly Light which dawns within the deep places of man‘s soul when he yields heart and mind to God; it is a magnificent memorial to that divine illumination which awaits him secretly even amid the blackest despairs. Man, in turning instinctively to the face and presence of the Sun, turns to the body of his Creator. And from the sun, light is born: from the sun it comes streaming into our world. Without the sun we should remain perpetually in horrible darkness; crops would not grow: mankind would starve, die, and disappear from the face of this planet. If this reverence for Light and for its agent, the sun, was the central tenet of Atlantean religion, so also was it the central tenet of early Egyptian religion. Ra, the sun-god, was first, the father and creator of all the other gods, the Maker of all things, the One, the self-born [...] If the Sphinx were connected with this religion of Light, it would surely have some relationship with the sun.