Dread Wood Quotes

We are as forlorn as children lost in the wood. When you stand in front of me and look at me, what do you know of the griefs that are in me and what do I know of yours? And if I were to cast myself down before you and tell you, what more would you know about me that you know about Hell when someone tells you it is hot and dreadful?

We are as forlorn as children lost in the woods. When you stand in front of me and look at me, what do you know of the griefs that are in me and what do I know of yours. And if I were to cast myself down before you and weep and tell you, what more would you know about me than you know about Hell when someone tells you it is hot and dreadful? For that reason alone we human beings ought to stand before one another as reverently, as reflectively, as lovingly, as we would before the entrance to Hell.

Always in the big woods when you leave familiar ground and step off alone into a new place there will be, along with the feelings of curiosity and excitement, a little nagging of dread. It is the ancient fear of the Unknown, and it is your first bond with the wilderness you are going into.

Fare well we call to hearth and hall Though wind may blow and rain may fall We must away ere break of day Over the wood and mountain tall To Rivendell where Elves yet dwell In glades beneath the misty fell Through moor and waste we ride in haste And wither then we cannot tell With foes ahead behind us dread Beneath the sky shall be our bed Until at last our toil be sped Our journey done, our errand sped We must away! We must away! We ride before the break of day!

Writing from memory like this, I often feel a pang of dread. What if I've forgotten the most important thing? What if somewhere inside me there is a dark limbo where all the the truly important memories are heaped and slowly turning into mud?

And at that moment a wind came out of the northwest, and entered the woods and bared the golden branches, and danced over the downs, and led a company of scarlet and golden leaves, that had dreaded this day but danced now it had come; and away with a riot of dancing and glory of colour, high in the light of the sun that had set from the sight of the fields, went wind and leaves together.

Of course the Man was wild too. He was dreadfully wild. He didn't even begin to be tame till he met the Woman, and she told him that she did not like living in his wild ways. She picked out a nice dry Cave, instead of a heap of wet leaves, to lie down in; and she strewed clean sand on the floor; and she lit a nice fire of wood at the back of the Cave; and she hung a dried wild-horse skin, tail down, across the opening of the Cave; and she said, 'Wipe your feet, dear, when you come in, and now we'll keep house.

My particular dread--the vivid possibility that left me staring at tree shadows on the bedroom ceiling night after night--was having to lie in a small tent, alone in an inky wilderness, listening to a foraging bear outside and wondering what its intentions were. I was especially riveted by an amateur photograph in Herrero's book, taken late at night by a camper with a flash at a campground out West. The photograph caught four black bears as they puzzled over a suspended food bag. The bears were clearly startled but not remotely alarmed by the flash. It was not the size or demeanor of the bears that troubled me--they looked almost comically nonaggressive, like four guys who had gotten a Frisbee caught up a tree--but their numbers. Up to that moment it had not occurred to me that bears might prowl in parties. What on earth would I do if four bears came into my camp? Why, I would die, of course. Literally shit myself lifeless. I would blow my sphincter out my backside like one of those unrolling paper streamers you get at children's parties--I daresay it would even give a merry toot--and bleed to a messy death in my sleeping bag.

The most dreadful part of all," the old stag answered, "is that the dogs believe what the hound just said. They believe it, they pass their lives in fear, they hate Him and themselves and yet they'd die for His sake.

At other times, at the edge of a wood, especially at dusk, the trees themselves would assume strange shapes: sometimes they were arms rising heavenwards, , or else the trunk would twist and turn like a body being bent by the wind. At night, when I woke up and the moon and the stars were out, I would see in the sky things that filled me simultaneously with dread and longing. I remember that once, one Christmas Eve, I saw a great naked women, standing erect, with rolling eyes; she must have been a hundred feet high, but along she drifted, growing ever longer and ever thinner, and finally fell apart, each limb remaining separate, with the head floating away first as the rest of her body continued to waver

About suffering they were never wrong, The Old Masters; how well, they understood Its human position; how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer’s horse Scratches its innocent behind on a tree. In Breughel’s Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water; and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, had somewhere to get to and sailed calmly on.

It was no wonder that they thus questioned one another’s actual and bodily existence, and even doubted of their own. So strangely did they meet in the dim wood, that it was like the first encounter, in the world beyond the grave, of the two spirits who had been intimately connected in their former life, but now stood coldly shuddering, in mutual dread, as not yet familiar with their state, more wonted to the companionship of disembodied beings. Each a ghost, and awe-stricken at the other ghost! They were awe-stricken likewise at themselves; because the crisis flung back to them their consciousness, and revealed to each heart its history and experience, as life never does, except at such breathless epochs. The soul beheld its features in the mirror of the passing moment. It was with fear, and tremulously, and, as it were, by a slow, reluctant necessity, that Arthur Dimmesdale put forth his hand, chill as death, and touched the chill hand of Hester Prynne. The grasp, cold as it was, took away what was the dreariest in the interview. They now felt themselves, at last, inhabitants of the same sphere.

The Wood knew I was here: even now its creatures were moving towards me, stealthy padding feet through the forest, walkers and wolves and worse things still. I suddenly was sure that there were things that never left the Wood at all, things so dreadful no one had ever seen them. And they were coming.

So she set the little creature down, and felt quite relieved to see it trot away quietly into the wood. 'If it had grown up,' she said to herself, 'it would have made a dreadfully ugly child: but it makes rather a handsome pig, I think.

I know that a pretty doll, a fair fool, might do well enough for the honeymoon; but when passion cooled, how dreadful to find a lump of wax and wood laid in my bosom, a half-idiot clasped in my arms, and to remember that I had made of this my equal- nay, my idol- to know that I must pass the rest of my dreary life with a creature incapable of understanding what I said, of appreciating what I thought, or of sympathising with what I felt!

He dreamt that night that he rode through the woods on a low ridge. Below him he could see deer in a meadow where the sun fell on the grass. The grass was still wet and the deer stood in it to their elbows. He could feel the spine of the mule rolling under him and he gripped the mule's barrel with his legs. Each leaf that brushed his face deepened his sadness and dread. Each leaf he passed, he'd never pass again. They rode over his face like veils, already some yellow, their veins slender like bones where the sun shone through them. He had resolved himself to ride on for he could not turn back and the world that day was as lovely as any day ever was and he was riding to his death.

A warm flow of pain was gradually replacing the ice and wood of the anaesthetic in his thawing, still half-dead, abominably martyred mouth. After that, during a few days he was in mourning for an intimate part of himself. It surprised him to realize how fond he had been of his teeth. His tongue, a fat sleek seal, used to flop and slide so happily among the familiar rocks, checking the contours of a battered but still secure kingdom, plunging from cave to cove, climbing this jag, nuzzling that notch, finding a shred of sweet seaweed in the same old cleft; but now not a landmark remained, and all there existed was a great dark wound, a terra incognita of gums which dread and disgust forbade one to investigate. And when the plates were thrust in, it was like a poor fossil skull being fitted with the grinning jaws of a perfect stranger.

I hate the dreadful hollow behind the little wood; Its lips in the field above are dabbled with blood-read heath, The red-ribb'd ledges drip with a silent horror of blood And Echo there, whatever is ask'd her, answers "Death".

Nothing in these woods could be more dreadful, more terrifying, than the selfish cruelty of ordinary people.

After a while, Peter came inside. He was bejewelled with raindrops. They had caught most beautifully in the mold at his throat. He regarded us for a little while, then came over and squatted next to us, his joints popping like green wood in a fire.

When she had arranged her household affairs, she came to the library and bade me follow her. Then, with the mirror still swinging against her knees, she led me through the garden and the wilderness down to a misty wood. It being autumn, the trees were tinted gloriously in dusky bars of colouring. The rowan, with his amber leaves and scarlet berries, stood before the brown black-spotted sycamore; the silver beech flaunted his golden coins against my poverty; firs, green and fawn-hued, slumbered in hazy gossamer. No bird carolled, although the sun was hot. Marina noted the absence of sound, and without prelude of any kind began to sing from the ballad of the Witch Mother: about the nine enchanted knots, and the trouble-comb in the lady's knotted hair, and the master-kid that ran beneath her couch. Every drop of my blood froze in dread, for whilst she sang her face took on the majesty of one who traffics with infernal powers. As the shade of the trees fell over her, and we passed intermittently out of the light, I saw that her eyes glittered like rings of sapphires. ("The Basilisk")

When one thinks,” said Caderousse, letting his hand drop on the paper, “there is here wherewithal to kill a man more sure than if we waited at the corner of a wood to assassinate him! I have always had more dread of a pen, a bottle of ink, and a sheet of paper, than of a sword or pistol.

They talked trees from morning till night. It stirred in her the old subconscious trail of dread, a trail that led ever into the darkness of big woods; and such feelings, as her early evangelical training taught her, were temptings. To regard them in any other way was to play with danger.

Reading two pages apiece of seven books every night, eh? I was young. You bowed to yourself in the mirror, stepping forward to applause earnestly, striking face. Hurray for the Goddamned idiot! Hray! No-one saw: tell no-one. Books you were going to write with letters for titles. Have you read his F? O yes, but I prefer Q. Yes, but W is wonderful. O yes, W. Remember your epiphanies written on green oval leaves, deeply deep, copies to be sent if you died to all the great libraries of the world, including Alexandria? Someone was to read them there after a few thousand years, a mahamanvantara. Pico della Mirandola like. Ay, very like a whale. When one reads these strange pages of one long gone one feels that one is at one with one who once ... The grainy sand had gone from under his feet. His boots trod again a damp crackling mast, razorshells, squeaking pebbles, that on the unnumbered pebbles beats, wood sieved by the shipworm, lost Armada. Unwholesome sandflats waited to suck his treading soles, breathing upward sewage breath, a pocket of seaweed smouldered in seafire under a midden of man's ashes. He coasted them, walking warily. A porterbottle stood up, stogged to its waist, in the cakey sand dough. A sentinel: isle of dreadful thirst. Broken hoops on the shore; at the land a maze of dark cunning nets; farther away chalkscrawled backdoors and on the higher beach a dryingline with two crucified shirts. Ringsend: wigwams of brown steersmen and master mariners. Human shells. He halted. I have passed the way to aunt Sara's. Am I not going there? Seems not.

Slowly the lights of the torches in front of Merry flicked and went out, and he was walking in a darkness; and he thought: ‘This is a tunnel leading to a tomb; there we shall stay forever.’ But suddenly into his dream there fell a living voice. ‘Well, Merry! Thank goodness I have found you!’ He looked up and the mist before his eyes cleared a little. There was Pippin! They were face to face in a narrow lane, but for themselves it was empty. He rubbed his eyes. ‘Where is the king?’ He said. ‘And Eowyn?’ Then he stumbled and sat down on a doorstep and began to weep again. ‘They must have gone up into the Citadel,’ said Pippin. ‘I think you must have fallen asleep on your feet and taken the wrong turning. When we found out you were not with them, Gandalf sent me to look for you. Poor old Merry! How glad I am to see you again! But you are worn out, and I won’t bother you with any talk. But tell me, are you hurt, or wounded?’ ‘No,’ said Merry. ‘Well, no, I don’t think so. But I can’t use my right arm, Pippin, not since I stabbed him. And my sword burned away like a piece of wood.’ Pippin’s face was anxious. ‘Well, you had better come with me as quick as you can,’ he said. ‘I wish I could carry you. You aren’t fit to walk any further. They shouldn’t have let you walk at all; but you must forgive them. So many dreadful things have happened in the City, Merry, that one poor hobbit coming in from battle is easily overlooked.’ ‘It’s not always a misfortune being overlooked,’ said Merry. ‘I was overlooked just now by—no, no, I can’t speak of it. Help me, Pippin! It’s all going dark again, and my arm is so cold.’ ‘Lean on me, Merry lad!” said Pippin. ‘Come now. Foot by foot. It’s not far.’ ‘Are you going to bury me?’ said Merry. ‘No, indeed!’ said Pippin, trying to sound cheerful, though his heart was wrung with fear and pity. ‘No, we are going to the Houses of Healing.

We are as forlorn as children lost in the wood. When you stand before me and look at me, what do you know of the griefs within me and what do I know of yours? And if I were to cast myself down before you and tell you, what more would you know about me than you know about Hell when someone tells you it is hot and dreadful? For that reason alone we human beings ought to stand before one another as reverently, as reflectively, as lovingly, as we would before the entrance to Hell

My memory has grown increasingly dim, and I have already forgotten any number of things. Writing from memory like this, I often feel a pang of dread. What if I've forgotten the most important thing? What if somewhere inside me I'd a dark limbo where all the truly important memories are heaped and slowly turning into mud?

Love Love can accommodate all sorts of misshapen objects: a door held open for a city dog who runs into the woods; fences down; some role you didn’t ask for, didn’t want. Love allows for betrayal and loss and dread. Love is roomy. Love can change its shape, be known by different names. Love is elastic. And the dog comes back.

Now, what am I to do with this creature when I get it home?" when it grunted again, so violently, that she looked down into its face in some alarm. This time there could be no mistake about it: it was neither more nor less than a pig, and she felt that it would be quite absurd for her to carry it any further. | So she set the little creature down, and felt quite relieved to see it trot away quietly into the wood. "If it had grown up," she said to herself, "it would have made a dreadfully ugly child: but it makes a rather handsome pig, I think." And she began thinking over other children she knew, who might do very well as pigs, and was just saying to herself, "if one only knew the right way to change them--" when she was a little startled by seeing the Cheshire Cat sitting on a bough of a tree a few yards off.

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!

Such was the paradox of love: out of fear of losing it, you willingly relinquished it. You inflicted upon yourself the wound you dreaded most of all.

Night fell long and cool through the woods about him and a spectral quietude set in. As if something were about that crickets and nightbirds held in dread.

She knew that horticulture was a strange passion for a teenage girl, and for all her inherent unconventionality she was not above the adolescent terror of exposure, the dread of never being normal and never fitting in.

WHAT KIND OF TIMES ARE THESE There’s a place between two stands of trees where the grass grows uphill and the old revolutionary road breaks off into shadows near a meeting-house abandoned by the persecuted who disappeared into those shadows. I’ve walked there picking mushrooms at the edge of dread, but don’t be fooled this isn’t a Russian poem, this is not somewhere else but here, our country moving closer to its own truth and dread, its own ways of making people disappear. I won’t tell you where the place is, the dark mesh of the woods meeting the unmarked strip of light — ghost-ridden crossroads, leafmold paradise: I know already who wants to buy it, sell it, make it disappear. And I won’t tell you where it is, so why do I tell you anything? Because you still listen, because in times like these to have you listen at all, it’s necessary to talk about trees.

THE FORTRESS Under the pink quilted covers I hold the pulse that counts your blood. I think the woods outdoors are half asleep, left over from summer like a stack of books after a flood, left over like those promises I never keep. On the right, the scrub pine tree waits like a fruit store holding up bunches of tufted broccoli. We watch the wind from our square bed. I press down my index finger -- half in jest, half in dread -- on the brown mole under your left eye, inherited from my right cheek: a spot of danger where a bewitched worm ate its way through our soul in search of beauty. My child, since July the leaves have been fed secretly from a pool of beet-red dye. And sometimes they are battle green with trunks as wet as hunters' boots, smacked hard by the wind, clean as oilskins. No, the wind's not off the ocean. Yes, it cried in your room like a wolf and your pony tail hurt you. That was a long time ago. The wind rolled the tide like a dying woman. She wouldn't sleep, she rolled there all night, grunting and sighing. Darling, life is not in my hands; life with its terrible changes will take you, bombs or glands, your own child at your breast, your own house on your own land. Outside the bittersweet turns orange. Before she died, my mother and I picked those fat branches, finding orange nipples on the gray wire strands. We weeded the forest, curing trees like cripples. Your feet thump-thump against my back and you whisper to yourself. Child, what are you wishing? What pact are you making? What mouse runs between your eyes? What ark can I fill for you when the world goes wild? The woods are underwater, their weeds are shaking in the tide; birches like zebra fish flash by in a pack. Child, I cannot promise that you will get your wish. I cannot promise very much. I give you the images I know. Lie still with me and watch. A pheasant moves by like a seal, pulled through the mulch by his thick white collar. He's on show like a clown. He drags a beige feather that he removed, one time, from an old lady's hat. We laugh and we touch. I promise you love. Time will not take away that.

It was no wonder that they thus questioned one another's actual and bodily existence, and even doubted of their own. So strangely did they meet in the dim wood that it was like the first encounter in the world beyond the grave of two spirits who had been intimately connected in their former life, but now stood coldly shuddering in mutual dread, as not yet familiar with their state, nor wonted to the companionship of disembodied beings. Each a ghost, and awe-stricken at the other ghost.

But Thorn shook his head ponderously. “It’s a good chance. Look at it this way.” He held out his left hand. “On the one hand, he wants to knight me. On the other hand . . .” He held out the polished wood hook that had taken the place of his right hand and looked at it, feigning surprise. “Well, what do you know? There is no other hand. So I guess it’s a knighting for me.” He smiled at them, pleased with his little performance. They all ignored him. Such a dreadful joke deserved to be ignored.

Belle turned back to Ariadne with her eyes screwed shut in anticipating dread. Ari wore an expression of complete and utter glee. She turned towards the flat and called back to her friend. 'I shall prepare the torture devices to extract the details.

Foreboding” might have been the appropriate word. “Dread.” The PROMISE of fear. It was tangible fear... smellable... the stale odor soaking into the dirt and lingering in the windless jungle of dead branches and train tracks to nowhere; lovelier than angst, kinder than panic.

I believe that to execute a man for murder is to punish him immeasurably more dreadfully than is equivalent to his crime. A murder by sentence is far more dreadful than a murder committed by a criminal. The man who is attacked by robbers at night, in a dark wood, or anywhere, undoubtedly hopes and hopes that he may yet escape until the very moment of his death. There are plenty of instances of a man running away, or imploring for mercy—at all events hoping on in some degree—even after his throat was cut. But in the case of an execution, that last hope—having which it is so immeasurably less dreadful to die,—is taken away from the wretch and certainty substituted in its place! There is his sentence, and with it that terrible certainty that he cannot possibly escape death—which, I consider, must be the most dreadful anguish in the world. You may place a soldier before a cannon’s mouth in battle, and fire upon him—and he will still hope. But read to that same soldier his death-sentence, and he will either go mad or burst into tears. Who dares to say that any man can suffer this without going mad? No, no! it is an abuse, a shame, it is unnecessary—why should such a thing exist? Doubtless there may be men who have been sentenced, who have suffered this mental anguish for a while and then have been reprieved; perhaps such men may have been able to relate their feelings afterwards. Our Lord Christ spoke of this anguish and dread. No! no! no! No man should be treated so, no man, no man!

Stop,” Jesse said. I stared up at him, almost panting with fear. “Stop, beloved,” he said more gently, and took up my clenched fist with both hands. “I’ve upset you, and I shouldn’t have. I don’t want you to dread yourself. I don’t want you to dread what is to come. Like I said, you’re exceptional, so there may be nothing to worry about at all. But whatever happens, whatever you face, I’ll face it with you. Do you hear?” “How can you say it? It nearly happened on the roof today. You can’t know-“ “I will be with you. We’re together now, and the universe knows I won’t let you make your sacrifice alone. Dragon protects star. Star adores dragon. An age-old axiom. Simple as that.” I looked down at our hands, both of his curled over mine. I unclenched my fist. Blood from the thorn smeared my skin. “The universe,” I muttered. “The same universe that has produced the Kaiser and bedbugs and Chloe Pemington. How reassuring.” With the same absolute concentration he might have shown for turning flowers into gold, Jesse Holms smoothed out my fingers between his, wiping away the blood. He turned my hand over and lifted it to his lips. His next words fell soft as velvet into the heart of my palm. “Those nights, in the sweetest dark, we shared our dreams. That’s you answer. I was stitched into yours, and you were stitched into mind, and that was real, I promise you.” I felt his lips curve into a smile. The unbelievably sensual, ticklish scuff of his whiskers. “Very good dreams they were, too,” he added. It was no use trying to cling to mortification or fear. He was holding my hand. He was smiling at me past the cup of my fingers, and although I couldn’t see it, the shape of it against my skin was beyond tantalizing, rough and masculine. I was a creature gone hot and cold and light-headed with pleasure. I wanted to snatch back my hand and I wanted him to go on touching me like this forever. I wanted to walk with him back to his cottage, to his bed, and to hell with the Germans and school and all the rest of the world. But he looked up suddenly. “They’re searching for you,” he said, releasing me at once, moving away. They were. I heard my name being called by a variety of voices in a variety of tones, all of them still inside the castle, none of them sounding happy. “Go on.” With a few quick steps, Jesse was less than a shadow, retreating into the black wall of the woods. “Don’t get into trouble. And, Lora?” “Yes?” There was hushed laughter in his voice. “Until we can see each other again, do us both a favor. Keep away from rooftops.

My muscles are clenched tight against the cold. If a pack of wild dogs were to appear at this moment, the odds of scaling a tree before they attacked are not in my favor. I should get up, move around, and work the stiffness from my limbs. But instead I sit, as motionless as the rock beneath me, while the dawn begins to lighten the woods. I can’t fight the sun. I can only watch helplessly as it drags me into a day that I’ve been dreading for months.

And I came to a hill that I never saw before. I was in a dismal thicket full of black twisted boughs that tore me as I went through them, and I cried out because I was smarting all over, and then I found that I was climbing, and I went up and up a long way, till at last the thicket stopped and I came out crying just under the top of a big bare place, where there were ugly grey stones lying all about on the grass, and here and there a little, twisted stunted tree came out from under a stone, like a snake. And I went up, right to the top, a long way. I never saw such big ugly stones before; they came out of the earth some of them, and some looked as if they had been rolled to where they were, and they went on and on as far as I could see, a long, long way. I looked out from them and saw the country, but it was strange. It was winter time, and there were black terrible woods hanging from the hills all round; it was like seeing a large room hung with black curtains, and the shape of the trees seemed quite different from any I had ever seen before. I was afraid. Then beyond the woods there were other hills round in a great ring, but I had never seen any of them; it all looked black, and everything had a voor over it. It was all so still and silent, and the sky was heavy and grey and sad, like a wicked voorish dome in Deep Dendo. I went on into the dreadful rocks. There were hundreds and hundreds of them. Some were like horrid-grinning men; I could see their faces as if they would jump at me out of the stone, and catch hold of me, and drag me with them back into the rock, so that I should always be there. And there were other rocks that were like animals, creeping horrible animals, putting out their tongues, and others were like words I could not say, and others were like dead people lying on the grass. I went on among them, though they frightened me, and my heart was full of wicked songs that they put into it; and I wanted to make faces and twist myself about in the way they did, and I went on and on a long way till at last I liked the rocks, and they didn't frighten me any more. I sang the songs I thought of; songs full of words that must not be spoken or written down. Then I made faces like the faces on the rocks, and I twisted myself about like the twisted ones, and I lay down flat on the ground like the dead ones, and I went up to one that was grinning, and put my arms round him and hugged him.

We are like abandoned children lost in the woods. When you stand in front of me and look at me, what do you know of the griefs that are in me and what do I know of yours. And if I were to cast myself down before you and weep and tell you, what more would you know about me than you know about Hell when someone tells you it is hot and dreadful? For that reason alone we human beings ought to stand before one another as reverently, as reflectively, as lovingly, as we would before the Gate of Hell.

Paul Virilio and I, in our different ways, share an intense interest in the changes brought about by technological innovation, by cultural and social upheavals, by natural catastrophes like earthquakes and the social and architectural responses to them. I see these extreme cases as the avant-garde of a coming normality, one that we must engage creatively now, inventing new languages, rules and methods, if we are to preserve what is essential to our humanity, that is, compassion, reason, independence of thought and action.

Every morning they made sure that they had removed all clues to their presence, then set off to find another lonely and secluded spot, traveling by Apparition to more woods, to the shadowy crevices of cliffs, to purple moors, gorse-covered mountainsides, and once a sheltered and pebbly cove. Every twelve hours or so they passed the Horcrux between them as though they were playing some perverse, slow-motion game of pass-the-parcel, where they dreaded the music stopping because the reward was twelve hours of increased fear and anxiety.

The roof of this house is dreadfully dilapidated; the outside shutters are always closed; the balconies are hung with swallows’ nests; the doors are for ever shut. Straggling grasses have outlined the flagstones of the steps with green; the ironwork is rusty. Moon and sun, winter, summer, and snow have eaten into the wood, warped the boards, peeled off the paint. The dreary silence is broken only by birds and cats, polecats, rats, and mice, free to scamper round, and fight, and eat each other. An invisible hand has written over it all: ‘Mystery.

Tell me," replied Faria, "what has hindered you from knocking down your father with a piece of wood torn from your bedstead, dressing yourself in his clothes, and endeavoring to escape?" "Simply the fact that the idea never occurred to me," answered Dantes. "Because," said the old man, "the natural repugnance to the commission of such a crime prevented you from thinking of it; and so it ever is because in simple and allowable things our natural instincts keep us from deviating from the strict line of duty. The tiger, whose nature teaches him to delight in shedding blood, needs but the sense of smell to show him when his prey is within his reach, and by following this instinct he is enabled to measure the leap necessary to permit him to spring on his victim; but man, on the contrary, loathes the idea of blood - it is not alone that the laws of social life inspire him with a shrinking dread of taking life; his natural construction and physiological formation" - Dantes was confused and silent at this explanation of the thoughts which had unconsciously been working in his mind, or rather soul; for there are two distinct sorts of ideas, those that proceed from the head and those that emanate from the heart.

Screams died in them and floated belly up, like dead fish. Cowering on the floor, rocking between dread and disbelief, they realized that the man being beaten was Velutha. Where had he come from? What had he done? Why had the policemen brought him here? They heard the thud of wood on flesh. Boot on bone. On teeth. The muffled grunt when a stomach is kicked in The muted crunch of skull on cement. The gurgle of blood on a man's breath when his lung is torn by the jagged end of a broken rib. Blue-lipped and dinner-plate-eyed, they watched, mesmerized by something that they sensed but didn't understand: the absence of caprice in what the policemen did. The abyss where anger should have been. The sober, steady brutality, the economy of it all. They were opening a bottle. Or shutting a tap. Cracking an egg to make an omelette. The twins were too young to know that these were only history’s henchmen. Sent to square the books and collect the dues from those who broke its laws. Impelled by feelings that were primal yet paradoxically wholly impersonal. Feelings of contempt born of inchoate, unacknowledged fear — civilization’s fear of nature, men’s fear of women, power’s fear of powerlessness. Man’s subliminal urge to destroy what he could neither subdue nor deify. Men’s Needs. What Esthappen and Rahel witnessed that morning, though they didn’t know it then, was a clinical demonstration in controlled conditions (this was not war after all, or genocide) of human nature’s pursuit of ascendancy. Structure. Order Complete monopoly. It was human history, masquerading as God’s Purpose, revealing herself to an under-age audience. There was nothing accidental about what happened that morning. Nothing incidental. It was no stray mugging or personal settling of scores. This was an era imprinting itself on those who lived in it. History in live performance.

Tennessee sergeant from Fry’s brigade, walked forward to the edge of the woods, looked across the wide open valley at the bluecoats standing toylike in the distance on their ridge, and was so startled by the realization of what was about to be required of him that he spoke aloud, asking himself the question: “June Kimble, are you going to do your duty?” The answer, too, was audible. “I’ll do it, so help me God,” he told himself. He felt better then. The dread passed from him, he said later. When he returned to his company, friends asked him how it looked out there, and Kimble replied: “Boys, if we have to go it will be hot for us, and we will have to do our best.

The Dying Man" in memoriam W.B. Yeats 1. His words I heard a dying man Say to his gathered kin, “My soul’s hung out to dry, Like a fresh salted skin; I doubt I’ll use it again. “What’s done is yet to come; The flesh deserts the bone, But a kiss widens the rose I know, as the dying know Eternity is Now. “A man sees, as he dies, Death’s possibilities; My heart sways with the world. I am that final thing, A man learning to sing. 2. What Now? Caught in the dying light, I thought myself reborn. My hand turn into hooves. I wear the leaden weight Of what I did not do. Places great with their dead, The mire, the sodden wood, Remind me to stay alive. I am the clumsy man The instant ages on. I burned the flesh away, In love, in lively May. I turn my look upon Another shape than hers Now, as the casement blurs. In the worst night of my will, I dared to question all, And would the same again. What’s beating at the gate? Who’s come can wait. 3. The Wall A ghost comes out of the unconscious mind To grope my sill: It moans to be reborn! The figure at my back is not my friend; The hand upon my shoulder turns to horn. I found my father when I did my work, Only to lose myself in this small dark. Though it reject dry borders of the seen, What sensual eye can keep and image pure, Leaning across a sill to greet the dawn? A slow growth is a hard thing to endure. When figures our of obscure shadow rave, All sensual love’s but dancing on a grave. The wall has entered: I must love the wall, A madman staring at perpetual night, A spirit raging at the visible. I breathe alone until my dark is bright. Dawn’s where the white is. Who would know the dawn When there’s a dazzling dark behind the sun. 4. The Exulting Once I delighted in a single tree; The loose air sent me running like a child– I love the world; I want more than the world, Or after image of the inner eye. Flesh cries to flesh, and bone cries out to bone; I die into this life, alone yet not alone. Was it a god his suffering renewed?– I saw my father shrinking in his skin; He turned his face: there was another man, Walking the edge, loquacious, unafraid. He quivered like a bird in birdless air, Yet dared to fix his vision anywhere. Fish feed on fish, according to their need: My enemies renew me, and my blood Beats slower in my careless solitude. I bare a wound, and dare myself to bleed. I think a bird, and it begins to fly. By dying daily, I have come to be. All exultation is a dangerous thing. I see you, love, I see you in a dream; I hear a noise of bees, a trellis hum, And that slow humming rises into song. A breath is but a breath: I have the earth; I shall undo all dying with my death. 5. They Sing, They Sing All women loved dance in a dying light– The moon’s my mother: how I love the moon! Out of her place she comes, a dolphin one, Then settles back to shade and the long night. A beast cries out as if its flesh were torn, And that cry takes me back where I was born. Who thought love but a motion in the mind? Am I but nothing, leaning towards a thing? I scare myself with sighing, or I’ll sing; Descend O gentlest light, descend, descend. I sweet field far ahead, I hear your birds, They sing, they sing, but still in minor thirds. I’ve the lark’s word for it, who sings alone: What’s seen recededs; Forever’s what we know!– Eternity defined, and strewn with straw, The fury of the slug beneath the stone. The vision moves, and yet remains the same. In heaven’s praise, I dread the thing I am. The edges of the summit still appall When we brood on the dead or the beloved; Nor can imagination do it all In this last place of light: he dares to live Who stops being a bird, yet beats his wings Against the immense immeasurable emptiness of things.

They went on among the tilted stones and rough grass, the wind coming from the woods cold in the sunlight. A stone angel in her weathered marble robes, the downcast eyes. The old people's voices drift across the lonely space, murmurous above these places of the dead. The lichens on the crumbling stones like a strange green light. The voices fade. Beyond the gentle clash of weeds. He sees them stoop to read some quaint inscription and he pauses by an old vault that a tree has half dismantled with its growing. Inside there is nothing. No bones, no dust. How surely are the dead beyond death. Death is what the living carry with them. A state of dread, like some uncanny foretaste of a bitter memory. But the dead do not remember and nothingness is not a curse. Far from it.

Now then, run along and play.’ I did not want to play. My feet were frozen. My boots were too small. I wanted to sit in the shelter and be warm with them. No use, though. And for some reason Angela was not with me. She must have been doing lessons at home with Miss Torrance. Lessons that were too advanced for me. ‘Run along. Do as you’re told.’ In the Wood of the World, indeed. Out into the cold air, along a wide path, towards a clearing where there was a sandpit. But here was the dread, for the friendly children, who sometimes played there, might be absent, and instead of their smiling faces I would see my enemy, waiting, lurking, his fair hair cropped short, his blue eyes without a gleam. He ran across to me at once and kicked me hard. I did not answer. I did not cry.

High up, crowning the grassy summit of a swelling mound whose sides are wooded near the base with the gnarled trees of the primeval forest, stands the old chateau of my ancestors. For centuries its lofty battlements have frowned down upon the wild and rugged countryside about, serving as a home and stronghold for the proud house whose honoured line is older even than the moss-grown castle walls. These ancient turrets, stained by the storms of generations and crumbling under the slow yet mighty pressure of time, formed in the ages of feudalism one of the most dreaded and formidable fortresses in all France. From its machicolated parapets and mounted battlements Barons, Counts, and even Kings had been defied, yet never had its spacious halls resounded to the footsteps of the invader.

He kept his distance from the villa. It was too easy to slip in Kestrel’s presence. One day, Lirah came to the forge. Arin was sure that he was being called to serve as Kestrel’s escort somewhere. He felt an eager dread. “Enai would like to see you,” Lirah said. Arin set the hammer on the anvil. “Why?” His interactions with Enai had been limited, and he liked to keep them that way. The woman’s eyes were too keen. “She’s very sick.” Arin considered this, then nodded, following Lirah from the forge. When they entered the cottage, they could hear the sounds of sleep from beyond the open bedroom door. Enai coughed, and Arin heard fluid in her lungs. The coughing subsided, then gave way to ragged breath. “Someone should fetch a doctor,” Arin told Lirah. “Lady Kestrel has gone for one. She was very upset. She’ll return soon, I hope.” Haltingly, Lirah said, “I’d like to stay with you, but I have to get back to the house.” Arin barely noticed her touch his arm before leaving him. Reluctant to wake Enai, Arin studied the cottage. It was snug and well maintained. The floor didn’t creak. There were signs, everywhere, of comfort. Slippers. A stack of dry wood. Arin ran a hand along the smooth mantel of the fireplace until he touched a porcelain box. He opened it. Inside was a small braid of dark blond hair with a reddish tinge, looped in a circle and tied with golden wire. Although he knew he shouldn’t, Arin traced the braid with one fingertip. “That’s not yours,” a voice said. He snatched his hand away. He turned, his face hot. Through the open bedroom door, Arin saw Enai staring at him from where she lay. “I’m sorry.” He set the lid on the box. “I doubt it,” she muttered, and told him to come near. Arid did, slowly. He had the feeling he was not going to like this conversation. “You spend a lot of time with Kestrel,” Enai said. He shrugged. “I do what she asks.” Enai held his gaze. Despite himself, he looked away first. “Don’t hurt her,” the woman said. It was a sin to break a deathbed promise. Arin left without making one.

Fragment of the Elegy on the Death of Adonis Prom the Greek of Bion Published by Forman, "Poetical Works of P. B. S.", 1876. I mourn Adonis dead—loveliest Adonis— Dead, dead Adonis—and the Loves lament. Sleep no more, Venus, wrapped in purple woof— Wake violet-stoled queen, and weave the crown Of Death,—'tis Misery calls,—for he is dead. The lovely one lies wounded in the mountains, His white thigh struck with the white tooth; he scarce Yet breathes; and Venus hangs in agony there. The dark blood wanders o'er his snowy limbs, His eyes beneath their lids are lustreless, The rose has fled from his wan lips, and there That kiss is dead, which Venus gathers yet. A deep, deep wound Adonis... A deeper Venus bears upon her heart. See, his beloved dogs are gathering round— The Oread nymphs are weeping—Aphrodite With hair unbound is wandering through the woods, 'Wildered, ungirt, unsandalled—the thorns pierce Her hastening feet and drink her sacred blood. Bitterly screaming out, she is driven on Through the long vales; and her Assyrian boy, Her love, her husband, calls—the purple blood From his struck thigh stains her white navel now, Her bosom, and her neck before like snow. Alas for Cytherea—the Loves mourn— The lovely, the beloved is gone!—and now Her sacred beauty vanishes away. For Venus whilst Adonis lived was fair— Alas! her loveliness is dead with him. The oaks and mountains cry, Ai! ai! Adonis! The springs their waters change to tears and weep— The flowers are withered up with grief... Ai! ai! ... Adonis is dead Echo resounds ... Adonis dead. Who will weep not thy dreadful woe. O Venus? Soon as she saw and knew the mortal wound Of her Adonis—saw the life-blood flow From his fair thigh, now wasting,—wailing loud She clasped him, and cried ... 'Stay, Adonis! Stay, dearest one,... and mix my lips with thine— Wake yet a while, Adonis—oh, but once, That I may kiss thee now for the last time— But for as long as one short kiss may live— Oh, let thy breath flow from thy dying soul Even to my mouth and heart, that I may suck That...' NOTE: _23 his Rossetti, Dowden, Woodberry; her Boscombe manuscript, Forman

Added to all this is the universal dread of reality. We "pale-faces" have it, all of us, although we are seldom, and most of us never, conscious of it. It is the spiritual weakness of the "Late" man of the higher civilizations, who lives in his cities cut off from the peasant and the soil and thereby from the natural experiencing of destiny, time, and death. He has become too wide awake, too accustomed to ponder perpetually over yesterday and tomorrow, and cannot bear that which he sees and is forced to see: the relentless course of things, senseless chance, and real history striding pitilessly through the centuries into which the individual with his tiny scrap of private life is irrevocably born at the appointed place. That is what he longs to forget, refute, or contest. He takes flight from history into solitude, into imaginary far-away systems, into some faith or another, or into suicide. Like a grotesque ostrich he buries his head in hopes, ideals, and cowardly optimism: it is so, but it ought not to be, therefore it is otherwise. We sing in the woods at night because we are afraid.

Added to all this is the universal dread of reality. We "pale-faces" have it, all of us, although we are seldom, and most of us never, conscious of it. It is the spiritual weakness of the "Late" man of the higher civilizations, who lives in his cities cut off from the peasant and the soil and thereby from the natural experiencing of destiny, time, and death. He has become too wide awake, too accustomed to ponder perpetually over yesterday and tomorrow, and cannot bear that which he sees and is forced to see: the relentless course of things, senseless chance, and real history striding pitilessly through the centuries into which the individual with his tiny scrap of private life is irrevocably born at the appointed place. That is what he longs to forget, refute, or contest. He takes flight from history into solitude, into imaginary far-away systems, into some faith or another, or into suicide. Like a grotesque ostrich he buries his head in hopes, ideals, and cowardly optimism: it is so, but it ought not to be, therefore it is otherwise. We sing in the woods at night because we are afraid.

CUCHULAIN’S FIGHT WITH THE SEA A MAN came slowly from the setting sun, To Emer, raddling raiment in her dun, And said, ‘I am that swineherd whom you bid Go watch the road between the wood and tide, But now I have no need to watch it more.’ Then Emer cast the web upon the floor, And raising arms all raddled with the dye, Parted her lips with a loud sudden cry. That swineherd stared upon her face and said, ‘No man alive, no man among the dead, Has won the gold his cars of battle bring.’ ‘But if your master comes home triumphing Why must you blench and shake from foot to crown?’ Thereon he shook the more and cast him down Upon the web-heaped floor, and cried his word: ‘With him is one sweet-throated like a bird.’ ‘You dare me to my face,’ and thereupon She smote with raddled fist, and where her son Herded the cattle came with stumbling feet, And cried with angry voice, ’It is not meet To idle life away, a common herd.’ ‘I have long waited, mother, for that word: But wherefore now?’ ‘There is a man to die; You have the heaviest arm under the sky.’ ‘Whether under its daylight or its stars My father stands amid his battle-cars.’ ‘But you have grown to be the taller man.’ ‘Yet somewhere under starlight or the sun My father stands.’ ‘Aged, worn out with wars On foot, on horseback or in battle-cars.’ ‘I only ask what way my journey lies, For He who made you bitter made you wise.’ ‘The Red Branch camp in a great company Between wood’s rim and the horses of the sea. Go there, and light a camp-fire at wood’s rim; But tell your name and lineage to him Whose blade compels, and wait till they have found Some feasting man that the same oath has bound.’ Among those feasting men Cuchulain dwelt, And his young sweetheart close beside him knelt, Stared on the mournful wonder of his eyes, Even as Spring upon the ancient skies, And pondered on the glory of his days; And all around the harp-string told his praise, And Conchubar, the Red Branch king of kings, With his own fingers touched the brazen strings. At last Cuchulain spake, ‘Some man has made His evening fire amid the leafy shade. I have often heard him singing to and fro, I have often heard the sweet sound of his bow. Seek out what man he is.’ One went and came. ‘He bade me let all know he gives his name At the sword-point, and waits till we have found Some feasting man that the same oath has bound.’ Cuchulain cried, ‘I am the only man Of all this host so bound from childhood on. After short fighting in the leafy shade, He spake to the young man, ’Is there no maid Who loves you, no white arms to wrap you round, Or do you long for the dim sleepy ground, That you have come and dared me to my face?’ ‘The dooms of men are in God’s hidden place,’ ‘Your head a while seemed like a woman’s head That I loved once.’ Again the fighting sped, But now the war-rage in Cuchulain woke, And through that new blade’s guard the old blade broke, And pierced him. ‘Speak before your breath is done.’ ‘Cuchulain I, mighty Cuchulain’s son.’ ‘I put you from your pain. I can no more.’ While day its burden on to evening bore, With head bowed on his knees Cuchulain stayed; Then Conchubar sent that sweet-throated maid, And she, to win him, his grey hair caressed; In vain her arms, in vain her soft white breast. Then Conchubar, the subtlest of all men, Ranking his Druids round him ten by ten, Spake thus: ‘Cuchulain will dwell there and brood For three days more in dreadful quietude, And then arise, and raving slay us all. Chaunt in his ear delusions magical, That he may fight the horses of the sea.’ The Druids took them to their mystery, And chaunted for three days. Cuchulain stirred, Stared on the horses of the sea, and heard The cars of battle and his own name cried; And fought with the invulnerable tide.

These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee! And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days And their glad animal movements all gone by) To me was all in all.—I cannot paint What then I was. The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, not any interest Unborrowed from the eye.—That time is past, And all its aching joys are now no more, And all its dizzy raptures. Not for this Faint I, nor mourn nor murmur; other gifts Have followed; for such loss, I would believe, Abundant recompense. For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man: A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods And mountains; and of all that we behold From this green earth; of all the mighty world Of eye, and ear,—both what they half create, And what perceive; well pleased to recognise In nature and the language of the sense The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral being.

How they pile the poor little craft mast-high with fine clothes and big houses; with useless servants, and a host of swell friends that do not care twopence for them, and that they do not care three ha’pence for; with expensive entertainments that nobody enjoys, with formalities and fashions, with pretence and ostentation, and with—oh, heaviest, maddest lumber of all!—the dread of what will my neighbour think, with luxuries that only cloy, with pleasures that bore, with empty show that, like the criminal’s iron crown of yore, makes to bleed and swoon the aching head that wears it! It is lumber, man—all lumber! Throw it overboard. It makes the boat so heavy to pull, you nearly faint at the oars. It makes it so cumbersome and dangerous to manage, you never know a moment’s freedom from anxiety and care, never gain a moment’s rest for dreamy laziness—no time to watch the windy shadows skimming lightly o’er the shallows, or the glittering sunbeams flitting in and out among the ripples, or the great trees by the margin looking down at their own image, or the woods all green and golden, or the lilies white and yellow, or the sombre-waving rushes, or the sedges, or the orchis, or the blue forget-me-nots. Throw the lumber over, man! Let your boat of life be light, packed with only what you need—a homely home and simple pleasures, one or two friends, worth the name, someone to love and someone to love you, a cat, a dog, and a pipe or two, enough to eat and enough to wear, and a little more than enough to drink; for thirst is a dangerous thing. You will find the boat easier to pull then, and it will not be so liable to upset, and it will not matter so much if it does upset; good, plain merchandise will stand water. You will have time to think as well as to work. Time to drink in life’s sunshine—time to listen to the Æolian music that the wind of God draws from the human heart-strings around us—time to—

When you lived in the human world, you had legends of the dread beasts and faeries who would slaughter you if they ever breached the wall, didn’t you? Things that slithered through open windows to drink the blood of children? Things that were so wicked, so cruel there was no hope against their evil?” The hair on her neck rose. “Yes.” Those stories had always unnerved and petrified her. “They were based on truth. Based on ancient, near-primordial beings who existed here before the High Fae split into courts, before the High Lords. Some call them the First Gods. They were beings with almost no physical form, but a keen, vicious intelligence. Humans and Fae alike were their prey. Most were hunted and driven into hiding or imprisonment ages ago. But some remained, lurking in forgotten corners of the land.” He swallowed another mouthful. “When I was nearing three hundred years old, one of them appeared again, crawling out of the roots of a mountain. Before he went into the Prison and confinement weakened him, Lanthys could turn into wind and rip the air from your lungs, or turn into rain and drown you on dry land; he could peel your skin from your body with a few movements. He never revealed his true form, but when I faced him, he chose to appear as swirling mist. He fathered a race of faeries that still plague us, who thrived under Amarantha’s reign—the Bogge. But the Bogge are lesser, mere shadows compared to Lanthys. If there is such a thing as evil incarnate, it is him. He has no mercy, no sense of right or wrong. There is him, and there is everyone else, and we are all his prey. His methods of killing are creative and slow. He feasts on fear and pain as much as the flesh itself.” Her blood chilled. “How did you trap such a thing?” Cassian tapped a spot on his neck where a scar slashed beneath his ear. “I quickly learned I could never beat him in combat or magic. Still have the scar here to prove it.” Cassian smiled faintly. “So I used his arrogance against him. Flattered and taunted him into trapping himself in a mirror bound with ash wood. I bet him the mirror would contain him—and Lanthys bet wrong. He got out of the mirror, of course, but by that time, I’d dumped his miserable self into the Prison.

My blood froze as a creeping, leeching cold lurched by. I couldn't see anything, just a vague shimmering in the corner of my vision, but my horse stiffened beneath me. I willed my face in to blackness. Even the balmy spring woods seemed to recoil, to wither and freeze. The cold thing whispered past, circling. I could see nothing, but I could feel it. And in the back of my mind, an ancient hollow voice whispered: I will grind your bones between my claws; I will drink your marrow; I will feast on your flesh. I am what you fear; I am what you dread... Look at me. Look at me. I tried to swallow, but my throat had closed up. I kept my eyes on the trees, on the canopy, on anything but the cold mass circling us again and again. Look at me. I wanted to look- I needed to see what it was. Look at me. I stared at the coarse trunk of a distant elm, thinking of pleasant things. Like hot bread and full bellies- I will fill my belly with you. I will devour you. Look at me. A starry, unclouded night sky, peaceful and glittering and endless Summer sunrise. A refreshing bath in a forest pool. Meetings with Issac, losing myself for an hour or two in his body, in our shared breaths. It was all around us, so cold that my teeth chattered. Look at me. I stared and stared at the ever-nearing tree trunk, not daring to blink. My eyes strained, filling with tears, and I let them fall, refusing to acknowledge the thing that lurked around us. Look at me. And just as I thought I would give in, when my eyes so much from not looking, the cold disappeared in to the brush, leaving a trail of still, recoiling plants behind. Only after Lucien exhaled and our horses shook their heads did I dare sag in my seat. Even the crocuses seemed to straighten. 'What was that?' I asked, brushing the tears from my face. Lucien's face was still pale. 'You don't want to know.' 'Please. Was it that... Suriel you mentioned?' Lucien's russet eye was dark as he answered hoarsely. 'No. It was a creature that should not be in these lands. We call it the Bogge. You can not hunt it, and you cannot kill it. Even with your beloved ash arrows.' 'Why can't I look at it?' 'Because when you look at it- when you acknowledge it- that's when it becomes real. That's when it can kill you.

Line of AuNor, dragon bold Flows to me from days of old, And through years lost in the mist My blood names a famous list. By Air, by Water, by Fire, by Earth In pride I claim a noble birth. From EmLar Gray, a deadly deed By his flame Urlant was freed, Of fearsome hosts of blighters dark And took his reward: a golden ark! My Mother’s sire knew battle well Before him nine-score villages fell. When AuRye Red coursed the sky Elven arrows in vain would fly, He broke the ranks of men at will In glittering mines dwarves he’d kill. Grandsire he is through Father’s blood A river of strength in fullest flood. My egg was one of Irelia’s Clutch Her wisdom passed in mental touch. Mother took up before ever I woke The parent dragon’s heavy yoke; For me, her son, she lost her life Murderous dwarves brought blackened knife. A father I had in the Bronze AuRel Hunter of renown upon wood and fell He gave his clutch through lessons hard A chance at life beyond his guard. Father taught me where, and when, and how To fight or flee, so I sing now. Wistala, sibling, brilliant green Escaped with me the axes keen We hunted as pair, made our kill From stormy raindrops drank our fill When elves and dwarves took after us I told her “Run,” and lost her thus. Bound by ropes; by Hazeleye freed And dolphin-rescued in time of need I hid among men with fishing boats On island thick with blown sea-oats I became a drake and breathed first fire When dolphin-slaughter aroused my ire. I ran with wolves of Blackhard’s pack Killed three hunters on my track The Dragonblade’s men sought my hide But I escaped through a fangèd tide Of canine friends, assembled Thing Then met young Djer, who cut collar-ring. I crossed the steppes with dwarves of trade On the banks of the Vhydic Ironriders slayed Then sought out NooMoahk, dragon black And took my Hieba daughter back To find her kind; then took first flight Saw NooMoahk buried in honor right. When war came to friends I long had known My path was set, my heart was stone I sought the source of dreadful hate And on this Isle I met my fate Found Natasatch in a cavern deep So I had one more promise to keep. To claim this day my life’s sole mate In future years to share my fate A dragon’s troth is this day pledged To she who’ll see me fully fledged. Through this dragon’s life, as dragon-dame shall add your blood to my family’s fame.

The renegade strand of hair nipped her eyes once more. With a swift, steady hand, Oscar pushed it away from her face. His fingertip left a trail of fire along her cheek. Camille reached up to help him tuck the strand back, and their fingers met. She knew for certain the flush had returned to her ears. Oscar dropped his arm and walked to the rail, wrapping his strong hands around the carved wood. “He is used to having things go his way,” Oscar said, his voice low and only for her ears. Camille moved to stand beside hm. “Have you always done everything he’s asked of you?” She was cautious not to come off sounding snide. His knuckles whitened as he gripped the rail tighter, as if to hold something back. Hold something in. “No.” She hadn’t expected him to give her an answer, and certainly not that one. “No? I don’t believe it. What have you done that’s gone against his wishes?” Oscar had been her father’s shadow since day one. He’d watched and obeyed William Rowen with the kind of devotion any eager apprentice would show his teacher. Oscar had been staring at the water, at the mounting churn of the waves. Now he shifted his eyes to her and fixed her with a look so strong and deep, she felt helpless beneath it. “He asked me to stop associating with you,” he answered, still hushed. Camille’s eyes watered with mortification and dread. Her father had spoken to Oscar, too. She wiped her sweaty palms on the hips of her trousers. “But clearly,” Oscar continued, leaning toward her, “I didn’t listen.” His gaze revolved out to the ocean again, releasing Camille. Air flowed back down her windpipe. This was beyond humiliation. Her father couldn’t do this. He couldn’t order people to stop speaking to her. “Why not?” she asked, her breath uneven from a cross of fury and the steadfast way Oscar had looked at her. “He could fire you.” He moved away from the rail. “If he wants to fire me for speaking to you, for looking at you…” He turned back to her on his way to the quarterdeck and held her gaze again. “Then I’ll risk it.” She watched in awe as Oscar took the helm from a sailor and placed himself behind the great spoked wheel. He’d risk everything he had to be able to speak with her, to just look at her. His bravery made her feel no taller than a hermit crab. She’d so quickly, dutifully, accepted her father’s request to set her focus solely on Randall. But she mattered to Oscar. She mattered, and that one truth made her wish she was brave enough to risk everything, too.

These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind, With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee! And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days, And their glad animal movements all gone by) To me was all in all.—I cannot paint What then I was. The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, nor any interest Unborrowed from the eye.—That time is past, And all its aching joys are now no more, And all its dizzy raptures. Not for this Faint I, nor mourn nor murmur, other gifts Have followed; for such loss, I would believe, Abundant recompence. For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still, sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man; A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods, And mountains; and of all that we behold From this green earth; of all the mighty world Of eye, and ear,—both what they half create, And what perceive; well pleased to recognise In nature and the language of the sense, The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral being.

From an essay on early reading by Robert Pinsky: My favorite reading for many years was the "Alice" books. The sentences had the same somber, drugged conviction as Sir John Tenniel's illustrations, an inexplicable, shadowy dignity that reminded me of the portraits and symbols engraved on paper money. The books were not made of words and sentences but of that smoky assurance, the insistent solidity of folded, textured, Victorian interiors elaborately barricaded against the doubt and ennui of a dreadfully God-forsaken vision. The drama of resisting some corrosive, enervating loss, some menacing boredom, made itself clear in the matter-of-fact reality of the story. Behind the drawings I felt not merely a tissue of words and sentences but an unquestioned, definite reality. I read the books over and over. Inevitably, at some point, I began trying to see how it was done, to unravel the making--to read the words as words, to peek behind the reality. The loss entailed by such knowledge is immense. Is the romance of "being a writer"--a romance perhaps even created to compensate for this catastrophic loss--worth the price? The process can be epitomized by the episode that goes with one of my favorite illustrations. Alice has entered a dark wood--"much darker than the last wood": [S]he reached the wood: It looked very cool and shady. "Well, at any rate it's a great comfort," she said as she stepped under the trees, "after being so hot, to get into the--into the--into what?" she went on, rather surprised at not being able to think of the word. "I mean to get under the--under the--under this, you know!" putting her hand on the trunk of the tree. "What does it call itself, I wonder? I do believe it's got no name--why to be sure it hasn't!" This is the wood where things have no names, which Alice has been warned about. As she tries to remember her own name ("I know it begins with L!"), a Fawn comes wandering by. In its soft, sweet voice, the Fawn asks Alice, "What do you call yourself?" Alice returns the question, the creature replies, "I'll tell you, if you'll come a little further on . . . . I can't remember here". The Tenniel picture that I still find affecting illustrates the first part of the next sentence: So they walked on together through the wood, Alice with her arms clasped lovingly round the soft neck of the Fawn, till they came out into another open field, and here the Fawn gave a sudden bound into the air, and shook itself free from Alice's arm. "I'm a Fawn!" it cried out in a voice of delight. "And dear me! you're a human child!" A sudden look of alarm came into its beautiful brown eyes, and in another moment it had darted away at full speed. In the illustration, the little girl and the animal walk together with a slightly awkward intimacy, Alice's right arm circled over the Fawn's neck and back so that the fingers of her two hands meet in front of her waist, barely close enough to mesh a little, a space between the thumbs. They both look forward, and the affecting clumsiness of the pose suggests that they are tripping one another. The great-eyed Fawn's legs are breathtakingly thin. Alice's expression is calm, a little melancholy or spaced-out. What an allegory of the fall into language. To imagine a child crossing over from the jubilant, passive experience of such a passage in its physical reality, over into the phrase-by-phrase, conscious analysis of how it is done--all that movement and reversal and feeling and texture in a handful of sentences--is somewhat like imagining a parallel masking of life itself, as if I were to discover, on reflection, that this room where I am writing, the keyboard, the jar of pens, the lamp, the rain outside, were all made out of words. From "Some Notes on Reading," in The Most Wonderful Books (Milkweed Editions)

This saying good-bye on the edge of the dark And cold to an orchard so young in the bark Reminds me of all that can happen to harm An orchard away at the end of the farm All winter, cut off by a hill from the house. I don't want it girdled by rabbit and mouse, I don't want it dreamily nibbled for browse By deer, and I don't want it budded by grouse. (If certain it wouldn't be idle to call I'd summon grouse, rabbit, and deer to the wall And warn them away with a stick for a gun.) I don't want it stirred by the heat of the sun. (We made it secure against being, I hope, By setting it out on a northerly slope.) No orchard's the worse for the wintriest storm; But one thing about it, it mustn't get warm. "How often already you've had to be told, Keep cold, young orchard. Good-bye and keep cold. Dread fifty above more than fifty below." I have to be gone for a season or so. My business awhile is with different trees, Less carefully nourished, less fruitful than these, And such as is done to their wood with an axe-- Maples and birches and tamaracks. I wish I could promise to lie in the night And think of an orchard's arboreal plight When slowly (and nobody comes with a light) Its heart sinks lower under the sod. But something has to be left to God.

Venetian visiting in the 1470s described it as ‘plain and poor’.13 Catherine the Great, passing through on her way to Crimea in 1787, could hardly believe that this was Kiev the City of Glory, Kiev the New Jerusalem. ‘From the time I arrived,’ she complained, ‘I have looked around for a city, but so far I have found only two fortresses and some outlying settlements.’14 On into the 1800s, visitors bemoaned its wood-paved streets, crowds of crippled beggars, frequent floods and fires, lack of good stone buildings and dreadful drinking water – so bad, apparently, that even horses wouldn’t touch it. The city only began to revive mid-century, with the arrival of the railways and the sugar boom.

Twould take me half a lifetime to describe to you the wonders and the horrors of the future world. The garderobe, what they call the ODEC, is housed within a large chamber—a strange room with mechanical monstrosities and a dreadful buzz in the air as if lightning were always just about to strike, a sound they are all indifferent to, much as I became indifferent to the odors of Southwark. And this chamber in turn is inside a vast building, which is on a street full of vast buildings, in a city of streets with vast buildings. Larger than cathedrals some of them, but without ornament or even shape. Like building blocks for giants, so they are. No imagination or love of beauty at all. Everything functions without human or magical assistance, but I confess most breathlessly that whatever power keeps humanity and its many mechanical servants humming . . . it is far more dazzling than any magic I have ever seen performed. And I tell you straight out: suspicious this makes me, for what is the cause to bring magic back when it has been replaced by something clearly more serviceable? So the first riddle I put my mind to was this: in a world where carriages travel without beasts to pull them, and food is effortlessly abundant, and there is ample light to sunder any darkness, from all manner of peculiar torches, none of them given to burning down a place even if it is all wood, and where all and sundry wear grander clothes than most anyone in London and an astonishing variety what’s more . . . something there must be, some commodity or advantage, that magic can attain but mankind cannot yet. Nothing material can it be, for no magic I ever knew summoned such luxuries for royalty as everyday folk here take as commonplace.

Would he have the courage to face the dreadful Highland charge? He couldn’t bring himself to mention his fears even to Hector. Hector loved him, but Hector was twenty, tall and muscular and fearless, with a lieutenant’s commission and dashing stories of battles fought in France. He didn’t know, even now, whether it had been an urge to emulate Hector, or merely to impress him, that had led him to do it. In either case, when he saw the Highlander in the wood, and recognized him from the broadsheets as the notorious Red Jamie Fraser, he had determined to kill or capture him.

Sir!" he called out. "The Great Chaffalo! My name's Touch, and I brought a bundle of straw. I'd be much obliged if you'd turn it into a horse." Nearby, the tall weeds rasped a little in the breeze. But that was all. He picked up the straw and hurried past broken windows to the rear of the house. "You there, Mr. Chaffalo? It's me, Touch, and I'm in a dreadful hurry. My great-uncle aims to cart me off to the orphan house, but that don't take my fancy. I ain't asking for a fine, high-stepping horse, sir. Just any four legs'll do, as long as one ain't lame. I'd be proper grateful, Mr. Great Chaffalo." Undiscouraged, Touch moved his bundle of straw back to the front of the house to try again. And he noticed the rocking chair was pitching as if someone had just got up. Touch's hair went stiff as needles. But he was determined not to be scared off. He caught his breath. "If you were dozing, I don't mean to rile you up, sir. Maybe you heard of my great-uncle. Judge Wigglesforth? Crosscut saws don't come any meaner. I know I don't amount to much, for a boy, but I'm not shifty-eyed, the way he says. I hope you can see that, Great Chaffalo." Suddenly, Touch thought he could feel a pair of eyes watching him. The eyes in the poster! he thought. His hopes took a leap. "I aim to ride through the woods until I'm long out of reach, sir. He won't know where to look. I'll thank you everlastingly if you'll oblige me with a horse." A snarl burst out of the tall weeds. It wasn't a horse. It was a scruffy wild dog, its teeth looking like rusty nails. And it was coming straight for Touch. Touch began to shinny up a porch column, but he knew that hound was going to get its rusty teeth into his leg. Then he heard a snap of fingers and a voice in the air. "Hey! Hey!" The bundle of straw changed into a horse.

Maybe then you’ll see me the way you seem inclined to pretend you do.” The smile drifted off my face slowly, leaving me to gape up at him as the meaning of the words struck me in the chest. That guilt resumed its grip on me, and it was only through a careful mask that I brightened my smile all over again even as I dreaded what his admission might mean of what I’d suspected to be interest. Correctly, it seemed. Iban leaned in, touching his lips to my cheek sweetly and lingering just a moment past what was appropriate. “Enjoy your games, Willow, but just know I play to win.

We must endure, Alyosha." That was the only thing she could say in response to my accounts of the ugliness and dreariness of life, of the suffering of the people — of everything against which I protested so vehemently. I was not made for endurance, and if occasionally I exhibited this virtue of cattle, wood, and stone, I did so only to test myself, to try my strength and my stability. Sometimes young people, in the foolishness of immaturity, or in envy of the strength of their elders, strive, even successfully, to lift weights that overtax their bones and muscles; in their vanity they attempt to cross themselves with two-pood weights, like mature athletes. I too did this, in the literal and figurative sense, physically and spiritually, and only good fortune kept me from injuring myself fatally or crippling myself for life. For nothing cripples a person so dreadfully as endurance, as a humble submission to the forces of circumstance.

Tapping rubber was hazardous work, Soldado explained, rife with danger. There were índios bravos in the woods, not to mention aggressive, venomous snakes. And jaguars. One time he went to visit the station of a fellow rubber tapper and found it vacant. “His ladder was kicked over,” Soldado said in his low, deadpan voice. “His bucket was turned over. Latex was splashed on the ground like spilled milk.” Jaguar paw prints the size of a human hand led away into the forest, where he and his neighbors found the beast seated triumphantly on the body, the man’s throat ripped open, head devoured, stomach spilling innards. The animal bolted, and when the men tracked it down and finally shot it, they found their friend’s hair lodged in its teeth. “That jaguar came right up into the tree after him,” Soldado said, dread seeming to strangle his voice, as though it’d happened only yesterday.

But all this is by no means wonderful, if we consider that two-fold ignorance is the disease of the iimnij. For the^^ are not only ignorant Avith respect to the sublimest knowledge, but they are even ignorant of their ignorance. Hence they never suspect their want of understanding ; but innnediately reject a doctrine which appears at first sight absurd, because it is too splendid for their bat-like eyes to behold. Or if they even yield their assent to its truth, their very assent is the result of the same most dreadful disease of the soul. For they will fancy, says Plato, that they understand the highest truths, when the very contrary is really the case. I earnestly therefore entreat men of this description, not to meddle with any of the profound speculations of the Platonic philosophy; for it is more dangerous to urge them to such an employment, than to advise them to follow their sordid avocations with unwearied assiduity, and toil for wealth with increasing alacrity and vigour; as they will by this mean give free scope to the base habits of their soul, and sooner suffer that punishment which in snch as these must always precede mental illumination, and be the inevitable consequence of guilt. It is well said indeed by Lysis', the Pythagorean, that to inculcate liberal speculations and discourses to those whose morals are turbid and confused, is just as absurd as to pour pure and transparent water into a deep well full of mire and clay ; for he who does this will only disturb the mud, and cause the pure water to become defded. The woods of such, as the same author beautifully observes (that is the irrational or corporeal life), in which these dire passions are nourished, must first be purified with fire

While most of the town were settling down to their dinners that evening, Hannah, a raven-haired servant girl, hurried across the marketplace and up the path to the ordinary, where she knocked on the door. Candlelight gleamed through the cracks in the closed shutter after a second knock; the door opened and she slipped inside. Tears started down her cheeks as soon as she tried to speak. “What is it?” said the widow Jennison, keeper of the establish¬ment. “What on earth is wrong?” “Tobias is in trouble.” Hannah sat at one of the trestle tables. Sniffing back her tears, she told the story of her lover’s misadventure. They’d been planning for several months to break away from their servitude and look for a better situation in the West Indies. He’d taken to theft to raise money for the trip, but his master, the tallow chandler Aaron Tuck, discovered his transgressions, and Tobias went into hiding. “There’s men a-lookin’ for him now,” Hannah said as tears came to her eyes again. “We can’t stay here another week. People are sayin’ dreadful things about us that just ain’t true.” “Where is Tobias now?” Nancy asked. “On the neck somewheres. I’m supposed to meet him at midnight.” The widow touched her friend’s hand. She herself had been in trouble years before, so she understood the errors to which the girl’s turbulent feelings were likely to bring her. “Yes, life must seem a prison to you. I can see why you want to leave.” “We’ve gut to leave!” Hannah said. “Just tonight they arrested Marthy Hubbard. Mr. Ridley may want to use us for an example, too.” Nancy went to the cupboard for a pitcher of cider. “I don’t like what’s happened to Martha either. I’ll help you, but you’ll have to promise to be patient and not make things worse.” “What do you mean?” Hannah looked around the dusky room with a frightened glance. Experience had taught her that her elders often resorted to compromise when they meant to help. “I’m going to talk with Governor Willoughby. Now don’t fret, child. He’ll be more sympathetic than you think. Besides, you don’t have any choice but to wait unless you want to live in the woods. There won’t be a ship headed south till next month.” Hannah frowned and took a quick swallow of cider. The two friends talked for a while longer by the light of an iron betty lamp, then Hannah went outside to look for Tobias. But all her hopes went for naught. The constable’s men found him just before midnight on the slender strip of marsh and pasture that connected the Botolph peninsula to the mainland. Now happy that they would get to bed at a decent hour, the men in the search party brought Tobias to the guard-house on the edge of town, where he sat till dawn on a slat bench, dozing or clutching his head in his hands.

I get a little obsessive, it was my hallmark as a coach. I'm more effective when it gets personal and I tend to stick with a thing until it gets personal. I haven't been doing this that long but so far, knock on wood, I've never had to give up. There's something rewarding about it—when you grab that first slender thread that unravels the whole web. I just can't stand seeing anyone get away with something, and I'm dreading the first time I have to walk away from a case knowing who did it and why, but that there's nothing I can do about it. Amy's right to worry, I'm the world's worst loser, as several generations of junior high teams could tell you. I still mourn games I lost 10 years ago. I swear, I wake up sweating and angry over a pass-action I should have known not to call, I'm not kidding. It's not healthy.

The gelding had a broad back, making for a comfortable ride. Yedan rode at a canter. Ahead, the hills thickened with scrub, and beyond was a forest of white trees, branches like twisted bones, leaves so dark as to be almost black. Just before them and running the length of the wooded fringe rose dolmens of grey granite, their edges grooved and faces pitted with cup-shaped, ground-out depressions. Each stone was massive, twice the height of a grown man, and crowding the foot of each one that he could see were skulls. He slowed his mount, reined in a half-dozen paces from the nearest standing stone. Sat motionless, flies buzzing round the horse’s flickering ears, and studied those grisly offerings. Cold judgement was never short of pilgrims. Alas, true justice had no reason to respect secrets, as those close-fisted pilgrims had clearly discovered. A final and fatal revelation. Minute popping sounds in the air announced the approach of dread power, as the buzzing flies ignited in mid-flight, black bodies bursting like acorns in a fire. The horse shied slightly, muscles growing taut beneath Yedan, and then snorted in sudden fear. ‘Hold,’ Yedan murmured, his voice calming the beast. Those of the royal line among the Shake possessed ancient knowledge, memories thick as blood. Tales of ancient foes, sworn enemies of the uncertain Shore. More perhaps than most, the Shake rulers understood that a thing could be both one and the other, or indeed neither. Sides possessed undersides and even those terms were suspect. Language itself stuttered in the face of such complexities, such rampant subtleties of nature. In this place, however, the blended flavours of compassion were anathema to the powers that ruled. Yet the lone figure that strode out from the forest was so unexpected that Yedan Derryg grunted as if he had been punched in the chest. ‘This realm is not yours,’ he said, fighting to control his horse. ‘This land is consecrated for adjudication,’ the Forkrul Assail said. ‘I am named Repose. Give me your name, seeker, that I may know you—’ ‘Before delivering judgement upon me?’ The tall, ungainly creature, naked and weaponless, cocked his head. ‘You are not alone. You and your followers have brought discord to this land. Do not delay me—you cannot evade what hides within you. I shall be your truth.’ ‘I am Yedan Derryg.’ The Forkrul Assail frowned. ‘This yields me no ingress—why is that? How is it you block me, mortal?’ ‘I will give you that answer,’ Yedan replied, slipping down from the horse. He drew his sword. Repose stared at him. ‘Your defiance is useless.’ Yedan advanced on him. ‘Is it? But, how can you know for certain? My name yields you no purchase upon my soul. Why is that?’ ‘Explain this, mortal.’ ‘My name is meaningless. It is my title that holds my truth. My title, and my blood.’ The Forkrul Assail shifted his stance, lifting his hands. ‘One way or another, I will know you, mortal.’ ‘Yes, you will.’ Repose attacked, his hands a blur. But those deadly weapons cut empty air, as Yedan was suddenly behind the Forkrul Assail, sword chopping into the back of the creature’s elongated legs, the iron edge cutting between each leg’s two hinged knees, severing the buried tendons—Repose toppled forward, arms flailing. Yedan chopped down a second time, cutting off the Assail’s left arm. Blue, thin blood sprayed on to the ground. ‘I am Shake,’ Yedan said, raising his sword once more. ‘I am the Watch.’ The sudden hiss from Repose was shortlived, as Yedan’s sword took off the top of the Forkrul Assail’s head.

Horseman is the haunting sequel to the 1820 novel The Legend of Sleepy Hollow by Washington Irving and takes place two decades after the events that unfolded in the original. We are introduced to 14-year-old trans boy Bente “Ben” Van Brunt, who has been raised by his idiosyncratic grandparents - lively Brom “Bones” Van Brunt and prim Kristina Van Tassel - in the small town of Sleepy Hollow, New York, where gossip and rumour run rife and people are exceedingly closed-minded. He has lived with them on their farm ever since he was orphaned when his parents, Bendix and Fenna, died in suspicious and enigmatic circumstances. Ben and his only friend, Sander, head into the woodland one Autumn day to play a game known as Sleepy Hollow Boys, but they are both a little startled when they witness a group of men they recognise from the village discussing the headless, handless body of a local boy that has just been found. But this isn't the end; it is only the beginning. From that moment on, Ben feels an otherworldly presence following him wherever he ventures, and one day while scanning his grandfather’s fields he catches a fleeting glimpse of a weird creature seemingly sucking blood from a victim. An evil of an altogether different nature. But Ben knows this is not the elusive Horseman who has been the primary focus of folkloric tales in the area for many years because he can both feel and hear his presence. However, unlike others who fear the Headless Horseman, Ben can hear whispers in the woods at the end of a forbidden path, and he has visions of the Horseman who says he is there to protect him. Ben soon discovers connections between the recent murders and the death of his parents and realises he has been shaded from the truth about them his whole life. Thus begins a journey to unravel the mystery and establish his identity in the process. This is an enthralling and compulsively readable piece of horror fiction building on Irvings’ solid ground. Evoking such feelings as horror, terror, dread and claustrophobic oppressiveness, this tale invites you to immerse yourself in its sinister, creepy and disturbing narrative. The staggering beauty of the remote village location is juxtaposed with the darkness of the demons and devilish spirits that lurk there, and the village residents aren't exactly welcoming to outsiders or accepting of anyone different from their norm. What I love the most is that it is subtle and full of nuance, instead of the usual cheap thrills with which the genre is often pervaded, meaning the feeling of sheer panic creeps up on you when you least expect, and you come to the sudden realisation that the story has managed to get under your skin, into your psyche and even into your dreams (or should that be nightmares?) Published at a time when the nights are closing in and the light diminishes ever more rapidly, not to mention with Halloween around the corner, this is the perfect autumnal read for the spooky season full of both supernatural and real-world horrors. It begins innocuously enough to lull you into a false sense of security but soon becomes bleak and hauntingly atmospheric as well as frightening before descending into true nightmare-inducing territory. A chilling and eerie romp, and a story full of superstition, secrets, folklore and old wives’ tales and with messages about love, loss, belonging, family, grief, being unapologetically you and becoming more accepting and tolerant of those who are different. Highly recommended.

Jacques has everything he’s ever wanted – heaven, within his grasp – and only the tiniest seed of dread that his happiness is too extraordinary to last, that the gods who’ve been so unexpectedly smiling on him will change their minds.

While sexual conditioning is the principal brain change responsible for porn-induced ED, it alone cannot account for all the symptoms men experience. Two of the most common, yet hard to explain, symptoms are the loss of morning wood (nocturnal erections) and the dreaded flatline. The absence of nocturnal erections generally occurs prior to quitting porn. It’s important to note that urologists often use the absence of nocturnal erections to distinguish psychological ED from organic ED (i.e. blood vessel or nerve problems). It’s possible that some men with porn-induced ED, accompanied by no morning wood, are incorrectly diagnosed as having organic ED. In contrast, the temporary flatline occurs after eliminating porn use. It typically manifests as lifeless genitals, no libido and the loss of attraction to real people.

Around the new mother, three deities mounted guard against the dreaded violence of Silvanus, that 'fierce, terrifying, rough' demon of the woods (Aug., CG, 6, 9, 2): they were Intercidona (for without the blade of the axe one cannot cut trees intercidere); Pilumnus (for without the pestle one cannot make flour), and Deverra (for without the broom one cannot pile up the grain).

I drink only vodka,” Levett said, pouring clear liquid from a crystal decanter. “And only Russian vodka. It is by far the most healthful of liquors. Colorless and pure—do you know what goes into Scotch?” “No,” McGregor said. He was handed a glass of vodka without ice. “Fusel oil, wood extracts, formalin, a little benzene. That is what gives it its color. Bourbon is worse. Rum, though colorless, is wildly impure and exerts a dreadful effect upon the nervous system. It contains paranitrophenol. Quite nasty.

Infinitely The hounds of despair, the hounds of the autumnal wind, Gnaw with their howling the black echoes of evenings. The darkness, immensely, gropes in the emptiness For the moon, seen by the light of water. From point to point, over there, the distant lights, And in the sky, above, dreadful voices Coming and going from the infinity of the marshes and planes To the infinity of the valleys and the woods. And roadways that stretch out like sails And pass each other, coming unfolded in the distance, soundlessly, While lengthening beneath the stars, Through the shadows and the terror of the night.

But in the north Melkor built his strength, and he slept not, but watched, and laboured; and the evil things that he had perverted walked abroad, and the dark and slumbering woods were haunted by monsters and shapes of dread.

I am addicted to comfort,” I thought as I tumbled into the wood chips. I have become divorced from nature; I don’t know what the names of the trees and birds are. I don’t know what berries to eat or which stars will guide me home. I don’t know how to sleep outside in a wood or skin a rabbit. We have become like living cutlets, sanitized into cellular ineptitude. They say that supermarkets have three days’ worth of food. That if there was a power cut, in three days the food would spoil. That if cash machines stopped working, if cars couldn’t be filled with fuel, if homes were denied warmth, within three days we’d be roaming the streets like pampered savages, like urban zebras with nowhere to graze. The comfort has become a prison; we’ve allowed them to turn us into waddling pipkins. What is civilization but dependency? Now, I’m not suggesting we need to become supermen; that solution has been averred before and did not end well. Prisoners of comfort, we dread the Apocalypse. What will we do without our pre-packed meals and cozy jails and soporific glowing screens rocking us comatose? The Apocalypse may not arrive in a bright white instant; it may creep into the present like a fog. All about us we may see the shipwrecked harbingers foraging in the midsts of our excess. What have we become that we can tolerate adjacent destitution? That we can amble by ragged despair at every corner? We have allowed them to sever us from God, and until we take our brothers by the hand we will find no peace.

away. “We both know he hasn’t got the skills to make a wand, never mind the funds.” Wands were ridiculously expensive, the small pointy wood able to concentrate a spell a lot easier for the caster, resulting in fewer accidents. “He even told everyone how he is going to be given a special recognition for it from the Magicka!” Rose continued with a snort. “Yeah, maybe recognition for the worst witch in town. He has one of the worst track records in Paladin history.” “Yeah, you’re right.” Alice said, not quite believing it herself. “Come on blondie.” Rose put her arm around her again. “Let’s get you to your meeting. Don’t want you to piss off Grayson any more than he already is.” “I’m sure I can manage it.” Adjusting her neatly pressed collar, Alice stared at the clock on her grey cubicle wall, it was one of those Chinese novelty cats that every minute or so looked in the other direction. The realisation that something could go very wrong in the meeting was dawning on her. Not once in the last five years working under Dread had she been called into an official disciplinary meeting. Yes, she had had more than one warning over the years, but nothing as official as an actual meeting. The cat’s eyes moved to the left, its tail swinging beneath it. Swatting the blue ball floating lazily around her head she continued to stare at the cat, the eyes swapping to the right once more. Stupid bloody thing. She swatted at the blue flame again,

Shit, it’s time. I’ve been dreading this day for the last two years, since I learned what was expected of me on my sixteenth birthday.

Once, I had dreaded that first snow, had lived in terror of long, brutal winters. But it had been a long, brutal winter that had brought me so deep into the woods that day nearly two years ago. A long, brutal winter that had made me desperate enough to kill a wolf, that had eventually led me here- to this life, this... happiness.

Always in the Big Woods when you step off alone into a new place, there will be along with...curiosity and excitement, a little nagging of dread. It is the ancient fear of the Unknown.

Past the woodshed, past the creek that ran behind our inn, deep in the wild heart of the forest, was a circle of alder trees we called the Goblin Grove. The trees grew in such a way as to suggest twisted arms and monstrous limbs frozen in an eternal dance, and Constanze liked to tell us that the trees had once been humans- naughty young women- who displeased Der Erlkönig. As children we had played here, Josef and me, played and sang and danced, offering our music to the Lord of Mischief. The Goblin King was the silhouette around which my music was composed, and the Goblin Grove was the place my shadows came to life. I spied a scarlet shape in the woods ahead of me. Käthe in my cloak, walking to my sacred space. An irrational, petty slash of irritation cut through my dread and unease. The Goblin Grove was my haunt, my refuge, my sanctuary. Why must she take everything that was mine? My sister had a gift for turning the extraordinary into the ordinary. Unlike my brother and me- who lived in the ether of magic and music- Käthe lived in the world of the real, the tangible, the mundane. Unlike us, she never had faith.

Then leave Complaints: Fools only strive To make a Great an honest Hive. T' enjoy the World's Conveniencies, Be famed in War, Yet live in Ease Without great Vices, is a vain Eutopia seated in the Brain. Fraud, Luxury, and Pride must live Whilst we the Benefits recieve. Hunger's a dreadful Plague, no doubt, Yet who digests or strives without? Do we not owe the Growth of Wine To the dry shabby crooked Vine? Which, whilst its Shutes neglected stood, Choak'd other Plants, and ran to Wood; But blest us with its Noble Fruit; As soon as it was tied, and cut: So Vice is Beneficial found, When it's by Justice lopt, and bound; Nay, where the People would be great, As necessary to the State As hunger is to make 'em eat. Bare Vertue can't make Nations live In Splendour; they, that would revive A Golden Age, must be free, For Acorns, as for Honesty.

I hate the dreadful hollow behind the little wood, Its lips in the field above are dabbled with blood-red heath, The red-ribb’d ledges drip with a silent horror of blood, And Echo there, whatever is ask’d her, answers ‘Death.’ –Alfred Tennyson, Maud

The one where I was insanely jealous and didn't handle it very well," he told her quietly, not taking his eyes off the ground. Kira forced herself to shut up so he could let whatever he was holding inside, out. "The truth is, I know I've been a little mean sometimes, but I told myself it was justified. You and Tristan were wrong for each other, and it was only a matter of time before you broke up. I was just doing my part to move the process along." "But?" Kira said, making him continue. "But, I realize now that it's something you need to see on your own." "And why do you care so much?" Kira asked. They had avoided this conversation for so long, it was inevitable they would need to talk about it. Maybe in the woods, alone, waiting to charge a house full of powerful vampires wasn't the ideal time, but it was all the two of them had. There was no going back now. "Because you're my best friend." He shrugged, still not looking at her. Kira watched him, watched as he finally met her gaze. His fiery eyes were so like her own, but she didn't recognize them now, not when they were so filled with hope and pain. "Because I'm in love with you," he finally said, letting the words float up and fill the empty space of the forest, making it feel both cramped and vast at the same time. There it was. The six words that Kira had been dreading since graduation. The six words that could never be taken back. The six words that would change their friendship forever. "I love you too," Kira said, hating the pity in her voice. "But you're not in love with me," Luke finished the sentence for her, visibly deflated.

grief, that most dreaded of teachers, does not come empty-handed. Though she may violently be sweeping away much of what you’ve known and loved, she also comes bearing precious gifts. As she offers to carve greater depths of kindness, compassion, wisdom, and courage into the core of who you are, it’s sometimes best to just surrender yourself to her agenda. You might even invite her to stay for a while and at least try to become friends, recognizing that something beautiful is seeking to wake up in your life as a result of her presence. When you are walking through the blackest of nights, and journeying through the thick of the woods, all there is to do, really, is to learn to love the silent softness of the moonlight, as Life miraculously finds a way to light your way home one step at a time.

Hasidic men aren’t allowed to masturbate, Eli repeatedly tells me. As a result of this rule, he explains to me, I am obligated to satisfy him so that his sexual frustration doesn’t build up. If I refuse, I would be forcing him to sin, thereby carrying the burden of his wrongdoing. Whenever Eli feels libidinous, which is quite often lately, he approaches me much in the same way I imagine a dog pounces on a leg of furniture, rubbing himself insistently against my body as if I were a lump of wood to be used for the pleasurable sensation of friction. I can’t explain to him why I tense like a taut guitar string at his fumbling attempts at release, because he can’t understand why I would want to deny him pleasure. But I dread his humping sessions more than actual attempts at penetration; in the moments that I cringe motionless beneath the scraping movements of his body, I feel my dignity and sense of self-worth slip away.

Beside the barrel lay a skeleton, round which lay a few rags of cloth. The skull had fallen to one side, and the lower jaw had fallen from the skull; the bones of the hands and feet were still articulated, and the ribs had not fallen in. It was all white and bleached, and the sun shone on it as indifferently as on the coral, this shell and framework that had once been a man. There was nothing dreadful about it, but a whole world of wonder. To Dick, who had not been broken into the idea of death, who had not learned to associate it with graves and funerals, sorrow, eternity, and hell, the thing spoke as it never could have spoken to you or me. Looking at it, things linked themselves together in his mind: the skeletons of birds he had found in the woods, the fish he had slain, even trees lying dead and rotten—even the shells of crabs. If you had asked him what lay before him, and if he could have expressed the thought in his mind, he would have answered you “change.” All the philosophy in the world could not have told him more than he knew just then about death—he, who even did not know its name. He was held spellbound by the marvel and miracle of the thing and the thoughts that suddenly crowded his mind like a host of spectres for whom a door has just been opened. Just as a child by unanswerable logic knows that a fire which has burned him once will burn him again, or will burn another person, he knew that just as the form before him was, his form would be some day—and Emmeline’s. Then came the vague question which is born not of the brain, but the heart, and which is the basis of all religions—where shall I be then?

Their conversation gets drowned out by ringing in my ears. I’m already out of my seat. “What did the gardener look like?” “Female. Ginger. I can’t remember much more than that.” A sickening dread sinks into my blood. “Fuck.” They all stand in unison. “What?” “He’s her stalker.” I bolt out of the library and through the front door of the mansion, flying toward the castle.

when you write, you are creating words (whether on the physical page or in a digital document). The same creativity is operating when you paint, play a musical instrument, turn wood on a lathe, or engage in any other activity that has the effect of breaking the bonds that the Big Three hold over you. Why is it so hard to live in these creative moments? If we focus on an unwanted past or a dreaded future, that means that we live mostly in stress—in survival mode. Whether we’re obsessing over our health (the survival of the body), paying our mortgage (the survival need for shelter from our external environment), or not having enough time to do what we need to do to survive, most of us are much more familiar with the addictive state of mind we’ll call “survival” than we are with living as creators.