Drum Dream Quotes

Many have died; you also will die. The drum of death is being beaten. The world has fallen in love with a dream. Only sayings of the wise will remain.

Neil looked down at the key in his hand. "Home," he whispered, needing to hear it aloud. It was a foreign concept to him, an impossible dream. It was frightening and wonderful all at once, and it set his heart racing so fast he thought it'd drum out of his chest. "Welcome home, Neil.

A Psalm of Life Tell me not in mournful numbers, Life is but an empty dream! For the soul is dead that slumbers, And things are not what they seem. Life is real! Life is earnest! And the grave is not its goal; Dust thou are, to dust thou returnest, Was not spoken of the soul. Not enjoyment, and not sorrow, Is our destined end or way; But to act, that each tomorrow Find us farther than today. Art is long, and Time is fleeting, And our hearts, though stout and brave, Still, like muffled drums, are beating Funeral marches to the grave. In the world's broad field of battle, In the bivouac of Life, Be not like dumb, driven cattle! Be a hero in the strife! Trust no Future, howe'er pleasant! Let the dead Past bury its dead! Act, - act in the living Present! Heart within, and God o'erhead! Lives of great men all remind us We can make our lives sublime, And, departing, leave behind us Footprints on the sand of time; Footprints, that perhaps another, Sailing o'er life's solenm main, A forlorn and shipwrecked brother, Seeing, shall take heart again. Let us then be up and doing, With a heart for any fate; Still achieving, still pursuing, Learn to labor and to wait.

Look back, hold a torch to light the recesses of the dark. Listen to the footsteps that echo behind, when you walk alone. All the time the ghosts flit past and through us, hiding in the future. We look in the mirror and see the shades of other faces looking back through the years; we see the shape of memory, standing solid in an empty doorway. By blood and by choice, we make our ghosts; we haunt ourselves. Each ghost comes unbidden from the misty grounds of dream and silence. Our rational minds say, "No, it isn't." But another part, an older part, echoes always softly in the dark, "Yes, but it could be.

Tie your heart at night to mine, love, and both will defeat the darkness like twin drums beating in the forest against the heavy wall of wet leaves. Night crossing: black coal of dream that cuts the thread of earthly orbs with the punctuality of a headlong train that pulls cold stone and shadow endlessly. Love, because of it, tie me to a purer movement, to the grip on life that beats in your breast, with the wings of a submerged swan, So that our dream might reply to the sky's questioning stars with one key, one door closed to shadow.

He ordered Ronan to put on some terrible music--Ronan was always too happy to oblige in this department--and then he abused the Camaro at every stoplight on the way out of town. "Put your back into it!" Gansey shouted breathlessly. He was talking to himself, of course, or to the gearbox. "Don't let it smell fear on you!" Blue wailed each time the engine revved up, but not unhappily. Noah played the drums on the back of Ronan's headrest. Adam, for his part, was not wild, but he did his best not to appear unwild, so as not to ruin it for the others.

I may be a idiot, but most of the time, anyway, I tried to do the right thing, an dreams is just dreams, ain’t they? So whatever else has happened, I am figgerin this: I can always look back an say, at least I ain’t led no hum-drum life.

Imagination is the politics of dreams; imagination turns every word into a bottle rocket. . . . Imagine every day is Independence Day and save us from traveling the river changed; save us from hitchhiking the long road home. Imagine an escape. Imagine that your own shadow on the wall is a perfect door. Imagine a song stronger than penicillin. Imagine a spring with water that mends broken bones. Imagine a drum which wraps itself around your heart. Imagine a story that puts wood in the fireplace.

But let me tell you this: sometimes at night, when I look up at the stars, an see the whole sky jus laid out there, don't you think I ain't rememberin it all. I still got dreams like anybody else, an ever so often, I am thinkin about how things might of been. An then, all of a sudden, I'm forty, fifty, sixty years ole, you know? Well, so what? I may be a idiot, but most of the time, anyway, I tried to do the right thing-- an dreams is jus dreams, ain't they? So whatever else has happened, I am figgerin this: I can always look back an say, at least I ain't led no hum-drum life. You know what I mean?

What I fear most, I think, is the death of the imagination.... If I sit still and don't do anything, the world goes on beating like a slack drum, without meaning. We must be moving, working, making dreams to run toward; the poverty of life without dreams is too horrible to imagine.

You don't notice the dead leaving when they really choose to leave you. You're not meant to. At most you feel them as a whisper or the wave of a whisper undulating down. I would compare it to a woman in the back of a lecture hall or theater whom no one notices until she slips out.Then only those near the door themselves, like Grandma Lynn, notice; to the rest it is like an unexplained breeze in a closed room. Grandma Lynn died several years later, but I have yet to see her here. I imagine her tying it on in her heaven, drinking mint juleps with Tennessee Williams and Dean Martin. She'll be here in her own sweet time, I'm sure. If I'm to be honest with you, I still sneak away to watch my family sometimes. I can't help it, and sometimes they still think of me. They can't help it.... It was a suprise to everyone when Lindsey found out she was pregnant...My father dreamed that one day he might teach another child to love ships in bottles. He knew there would be both sadness and joy in it; that it would always hold an echo of me. I would like to tell you that it is beautiful here, that I am, and you will one day be, forever safe. But this heaven is not about safety just as, in its graciousness, it isn't about gritty reality. We have fun. We do things that leave humans stumped and grateful, like Buckley's garden coming up one year, all of its crazy jumble of plants blooming all at once. I did that for my mother who, having stayed, found herself facing the yard again. Marvel was what she did at all the flowers and herbs and budding weeds. Marveling was what she mostly did after she came back- at the twists life took. And my parents gave my leftover possessions to the Goodwill, along with Grandma Lynn's things. They kept sharing when they felt me. Being together, thinking and talking about the dead, became a perfectly normal part of their life. And I listened to my brother, Buckley, as he beat the drums. Ray became Dr. Singh... And he had more and more moments that he chose not to disbelieve. Even if surrounding him were the serious surgeons and scientists who ruled over a world of black and white, he maintained this possibility: that the ushering strangers that sometimes appeared to the dying were not the results of strokes, that he had called Ruth by my name, and that he had, indeed, made love to me. If he ever doubted, he called Ruth. Ruth, who graduated from a closet to a closet-sized studio on the Lower East Side. Ruth, who was still trying to find a way to write down whom she saw and what she had experienced. Ruth, who wanted everyone to believe what she knew: that the dead truly talk to us, that in the air between the living, spirits bob and weave and laugh with us. They are the oxygen we breathe. Now I am in the place I call this wide wide Heaven because it includes all my simplest desires but also the most humble and grand. The word my grandfather uses is comfort. So there are cakes and pillows and colors galore, but underneath this more obvious patchwork quilt are places like a quiet room where you can go and hold someone's hand and not have to say anything. Give no story. Make no claim. Where you can live at the edge of your skin for as long as you wish. This wide wide Heaven is about flathead nails and the soft down of new leaves, wide roller coaster rides and escaped marbles that fall then hang then take you somewhere you could never have imagined in your small-heaven dreams.

Dreams don’t work unless you do.

Everywhere the air had become a vibrant yellow drum. A heavy sunlight freighted the foliage of the trees. Each leaf was a shutter about to swing back and reveal a miniature sun, one window in the immense advent calendar of nature.

If you want to build a ship, don't drum up people together to collect wood and don't assign them tasks and work, but rather teach them to long for the endless immensity of the sea.

I think that the lady dies not because she leaves the tower for the outside world but because she lets herself float through the world pulled by the current after a dream. Do you mean she should of paddled Cecily asks. Miss Moore laughs. In a manner of speaking yes. Ann stops drumming. But it wouldn't matter whether she paddled or not. She's cursed. No matter what she does she'll die. And she'll die if she stays in the tower too. Perhaps not for a long time but she will die. We all will. Miss Moore says softly.

I was ten when I heard the music that ended the first phase of my life and cast me hurtling towards a new horizon. Drenched to the skin, I stood on Dunoon’s pier peering seawards through diagonal rain, looking for the ferry that would take me home. There, on the everwet west coast of Scotland, I heard it: like sonic scalpels, the sounds of electric guitars sliced through the dreich weather. My body hairs pricked up like antennae. To my young ears these amplified guitars sounded angelic, for surely no man-made instrument could produce that tone. The singer couldn't be human. His voice was too clean, too pure, too resonant, as though a robot larynx were piping words through vocal chords of polished silver. The overall effect was intoxicating - a storm of drums, earthquake bass, razor-sharp guitar riffs, and soaring vocals of astonishing clarity. I knew that I was hearing the future.

What I fear most, I think, is the death of the imagination. When the sky outside is merely pink, and the rooftops merely black: that photographic mind which paradoxically tells the truth, but the worthless truth, about the world. It is that synthesizing spirit, that "shaping" force, which prolifically sprouts and makes up its own worlds with more inventiveness than God which I desire. If I sit still and don't do anything, the world goes on beating like a slack drum, without meaning. We must be moving, working, making dreams to run toward; the poverty of life without dreams is too horrible to imagine.

John Hay, in The Immortal Wilderness, has written: 'There are occasions when you can hear the mysterious language of the Earth, in water, or coming through the trees, emanating from the mosses, seeping through the undercurrents of the soil, but you have to be willing to wait and receive.' Sometimes I hear it talking. The light of the sunflower was one language, but there are others more audible. Once, in the redwood forest, I heard a beat, something like a drum or a heart coming from the ground and trees and wind. That underground current stirred a kind of knowing inside me, a kinship and longing, a dream barely remembered that disappeared back to the body.... Tonight, I walk. I am watching the sky. I think of the people who came before me and how they knew the placement of the stars in the sky, watching the moving sun long and hard enough to witness how a certain angle of light touched a stone only once a year. Without written records, they knew the gods of every night, the small, fine details of the world around them and the immensity above them. Walking, I can almost hear the redwoods beating....It is a world of elemental attention, of all things working together, listening to what speaks in the blood. Whichever road I follow, I walk in the land of many gods, and they love and eat one another. Walking, I am listening to a deeper way. Suddenly all my ancestors are behind me. Be still, they say. Watch and listen. You are the result of the love of thousands.

Imagination is the politics of dreams. Imagine an escape. Imagine that your own shadow on the wall is a perfect door. Imagine a spring with water that mends broken bones. Imagine a drum which wraps itself around your heart. Imagine a story that puts wood in the fireplace.

Sometime [Queen Mab] driveth o'er a soldier's neck, And then dreams he of cutting foreign throats, Of breaches, ambuscadoes, Spanish blades, Of healths five fathom deep; and then anon Drums in his ear, at which he starts and wakes, And being thus frighted, swears a prayer or two And sleeps again

Life is the feel of a coral sunset over a slow-moving river. Memories of jungles and deserts and dark winds from Java. And if you really listen, you can still hear the high plains drums in New Mexico, for deep inside of you is the spirit of your past

For I had come back, and I dreamed once more, in the cool air of the Highlands. And the voice of my dream still echoed through ears and heart, repeated with the sound of Brianna’s sleeping breath. “You are mine,” it had said. “Mine! And I will not let you go.

Dreams and coffee and sunrises make up the rhythms of the road. Music is a part of it, too: the popular music on the jukeboxes and radio stations. You hear it constantly, in diners and on car radios. The music has a rhythm that fits the steady drumming of tires over pavement. It seeps into your bloodstream. After a while it ceases to make any difference whether or not you like the stuff. When you’re traveling alone, a nameless rider with a succession of strangers, it can give you a comforting sense of the familiar to hear the same music over and over. At any given time, a few current hits will be overplayed to exhaustion by the rock & roll stations. In hitching across the continent, you might hear the same song fifty or sixty times. Certain songs become connected in your mind with certain trips.

dropped peacefully into sleep, to dream of kilted Highland men, and the sound of soft-spoken Scots, burring round a fire like the sound of bees in the heather.

Well, so what? I may be a idiot, but most of the time, anyway, I tried to do the right thing—an dreams is jus dreams, ain’t they? So whatever else has happened, I am figgerin this: I can always look back an say, at least I ain’t led no hum-drum life. You know what I mean?

We look in the mirror and see the shades of other faces looking back through the years; we see the shape of memory, standing solid in an empty doorway. By blood and by choice, we make our ghosts; we haunt ourselves. Each ghost comes unbidden from the misty grounds of dream and silence.

[What Rushdie took away from reading Gunter Grass's The Tin Drum]: Go for broke. Always try and do too much. Dispense with safety nets. Take a deep breath before you begin talking. Aim for the stars. Keep grinning. Be ruthless. Argue with the world. And never forget that writing is as close as we get to keeping a hold on the thousand and one things--childhood, certainties, cities, doubts, dreams, instants, phrases, parents, loves--that go on slipping like sand, through our fingers.

Leprechauns, castles, good luck and laughter.Lullabies, dreams and love ever after. Poems and songs with pipes and drums. A thousand welcomes when anyone comes... That's the Irish for you!" - Irish Sayings

Memories of last night manifested slowly from the back of her brain, every new detail hammering her heart like a war drum: the flowers, the vodka, the persistent dream-like sensation, the closet, the outline of a stranger, the sex... and, most gut-wrenching of all, the sudden realization that he might still be here.

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

I roamed alone; O, barren dreams. My echoed voice, what lonely comfort. Here is my salvation: I hear the triumph drum; the rhythm of the rising, the long-awaited sun.

Life is a dream interpreted by death.

the drum is joy and the river is joy, which is why so many songs name the Magdalena.

filmed for broadcast by the BBC, but the film crew became unexpectedly incapacitated. It was rumored that someone—or perhaps some band—dosed them with LSD.

Dreams don't work unless you do.

We're hungry for a blue that will sing like a drum We're lifting our spring feet to dance this death down

March 6, 1961 I remembered a party in a house outside of Ann Arbor. There was a jazz band -- piano, bass, drums, and sax -- playing in one of the large rooms. A heavy odor of marijuana hung in the air. The host appeared now and then looking pleased, as if he liked seeing strangers in every room, the party out of his control. It wasn't wild, but with a constant flow of people, who knows what they're doing. It became late and I was a little drunk, wandering from one part of the house to another. I entered a long hall and was surprised by the silence, as if I had entered another house. A girl at the other end of the hall was walking toward me. I saw large blue eyes and very black hair. She was about average height, doll-like features delicate as cut glass, extremely pretty, maybe the prettiest girl I'd ever seen. When she came up to me I took her in my arms and kissed her. She let it happen. We were like creatures in a dream. Holding her hand, I drew her with me and we passed through rooms where people stood about, and then left the house. As we drove away, she said her name was Margo. She was a freshman at the university, from a town in northern Michigan. I took her home. It was obvious she'd never gone home with a man. She didn't seem fearful, only uncertain, the question in her eyes: "What happens next?" What happened next was nothing much. We fell asleep in our clothes. I wasn't the one to make her no different from everyone.

To spend a night with you would be marvelous. Not for any physical pleasures. Do not get me wrong. Rather to hear your aspirations and goals. What makes you cringe? What makes you smile? I want to know what your childhood was like. What were your troubles? What are you r biggest fears? What do you dream about while you sleep? I want you to talk until the pattern of your voice vibrates my teeth and bones. I want to know every piece, every detail about you. I want your heart. I want the rhythm of my heart to align with the drumming of yours. I want you and I to not be you and I. I want you and I to be us.

May I whisper in your ear from my heart so you'll clearly hear. There are people so dear… They're like children… Naked in a cold world… Beautiful children In an old world. May I take you away from the evils of today to the dreams of tomorrow? You know that Heaven has no sorrow. We know that Heaven has no tomorrow. Hear the sound of the magic drums… Hearts are beating for the Sun, Sending Evil on the run. Now watch the wind…

For the rest, she grew used to the life that she was leading - used to the enormous sleepless nights, the cold, the dirt, the boredom, and the horrible communism of the Square. After a day or two she had ceased to feel even a flicker of surprise at her situation. She had come, like everyone about her, to accept this monstrous existence almost as though it were normal. The dazed, witless feeling that she had known on the way to the hopfields had come back upon her more strongly than before. It is the common effect of sleeplessness and still more of exposure. To live continuously in the open air, never going under a roof for more than an hour or two, blurs your perceptions like a strong light glaring in your eyes or a noise drumming in your ears. You act and plan and suffer, and yet all the while it is as though everything were a little out of focus, a little unreal. The world, inner and outer, grows dimmer till it reaches almost the vagueness of a dream.

The wild is an integral part of who we are as children. Without pausing to consider what or where or how, we gather herbs and flowers, old apples and rose hips, shiny pebbles and dead spiders, poems, tears and raindrops, putting each treasured thing into the cauldron of our souls. We stir our bucket of mud as if it were, every one, a bucket of chocolate cake to be mixed for the baking. Little witches, hag children, we dance our wildness, not afraid of not knowing. But there comes a time when the kiss of acceptance is delayed until the mud is washed from our knees, the chocolate from our faces. Putting down our wooden spoon with a new uncertainty, setting aside our magical wand, we learn another system of values based on familiarity, on avoiding threat and rejection. We are told it is all in the nature of growing up. But it isn't so. Walking forward and facing the shadows, stumbling on fears like litter in the alleyways of our minds, we can find the confidence again. We can let go of the clutter of our creative stagnation, abandoning the chaos of misplaced and outdated assumptions that have been our protection. Then beyond the half light and shadows, we can slip into the dark and find ourselves in a world where horizons stretch forever. Once more we can acknowledge a reality that is unlimited finding our true self, a wild spirit, free and eager to explore the extent of our potential, free to dance like fireflies, free to be the drum, free to love absolutely with every cell of our being, or lie in the grass watching stars and bats and dreams wander by. We can live inspired, stirring the darkness of the cauldron within our souls, the source, the womb temple of our true creativity, brilliant, untamed

To the south, swords flashed and blood watered the trodden earth instead of rain. To the north, armies marched, the pounding of their boots the drum of death, their banners clouding the sky with the shadow of evil. In the west, the races of humanity were smitten as metal is beaten between hammer and anvil. There, in their homeland, they possessed only ruined dreams, gnawing hunger and soul-eating poverty. The east alone offered hope, and thither they fled. But hope burned to ash, and was blown back in their faces as a choking wind.

Already many of the surrounding buildings had disappeared beneath the proliferating vegetation. Huge club mosses and calamites blotted out the white rectangular faces, shading the lizards in their window lairs. Beyond the lagoon, the endless tides of silt had begun to accumulate into enormous glittering banks, here and there overtopping the shoreline like the immense tippings of some distant goldmine. The light drummed against his brain, bathing the submerged levels below his consciousness, carrying him downwards to warm pellucid depths, where the nominal realities of time and space ceased to exist. Guided by his dreams, he was moving back into his emergent past, through a succession of ever stranger landscapes centered on the lagoon, each of which seemed to represent one of his own spinal levels.

I dropped my penny in the well of dreams, Into a deep, dark, distant, delayed splash. The world was everything that thinks and seems When I was twelve years old and dogging off Into a free mind, writing reams and reams— Invisible paper, invisible ink … from “Disenchantments

All at once, in his dangerous position, Ćorkan felt himself separated from his companions. He was now like some gigantic monster above them. His first steps were slow and hesitating. His heavy clogs kept slipping on the stones covered with ice. It seemed to him that his legs were failing him, that the depths below attracted him irresistibly, that he must slip and fall, that he was already falling. But his unusual position and the nearness of great danger gave him strength and hitherto unknown powers. [...] Instead of walking, he began to dance, he himself did not know how, as free as if he had been on a wide green field and not on that narrow and icy edge. All of a sudden he felt himself light and skilful as a man sometimes in dreams. His heavy and exhausted body felt without weight. The drunken Ćorkan danced and floated above the depths as if on wings. [...] His dance bore him onward where his walk would never have borne him- No longer thinking of the danger of the possibility of a fall, he leapt from one leg to the other and sang with outstretched arms as accompanying himself on a drum.

The wind carried the echoes of old tears spilled for those who had passed on. It carried the sound of drums made to sing for gods that predated everything humanity thinks it knows. It carried the debris of shattered souls, lost prayers, childhood dreams abandoned under the weight of reality.

When you are young you believe the world is all yours, glorious and exhilarating and fascinating and full of promise and trumpets and drums and marches and new worlds,” said Charles. “We don’t ask ourselves what we are living for then. We know. But we forget, later, or it all seems a foolish dream.

some of the guys went so far as to shoot up with LSD. Inject it. You can’t do it to yourself because you can’t look at your arm with the needle in it; that’s a heavy thing to see while hallucinating on acid. It comes on that fast. You’re high. There’s no come-on. You’re just there. It’s instantaneous.

To all the dreamers who beat to their own drum… Keep dreaming my friends. We only get one chance at this life, so, dance in the closet, sing in the rain and embrace everything that makes you unique. The brightest lights were never meant to be dimmed. They were meant to light up the room. Hugs & Love, Laura

Raindrops thump my poncho like pebbles falling into a broken drum. Half asleep, my face pressed into my gear, I listen to the sounds of the horror that is everywhere, buried just beneath the surface of the earth. In my dreams of blood I make love to a skeleton. Bones click, the earth moves, my testicles explode.

There are good ships and there are wood ships, the ships that sail the sea. But the best ships are friendships, and may they always be. A toast to your coffin. May it be made of hundred-year-old oak. And may we plant the tree together tomorrow. Here’s to Eve, the mother of us all, and here’s to Adam, who was Johnny-on-the-spot when the leaf began to fall. Give a man a match and he’ll be warm for a minute, but set him on fire and he’ll be warm for the rest of his life. Leprechauns, castles, good luck, and laughter. Lullabies, dreams, and love ever after. Poems and songs with pipes and drums. A thousand welcomes when anyone comes . . . That’s the Irish for you!

The truck looked just like a Civil War truck if they'd had trucks back in those times. But the truck ran, even though it didn't have a gas tank. There was an empty fifty-gallon gasoline drum on the bed of the truck with a smaller gasoline can on top of it, and there was a syphon leading from that can to the fuel line. It worked like this. Lee Mellon drove and I stayed on the back of the truck and made sure everything went all right with the syphon, that it didn't get knocked out of kilter by the motion of the truck. We looked kind of funny going down the highway. I'd never had the heart to ask Lee Mellon what happened to the gas tank. I figured it was best not to know.

PAUL IS SOMEBODY WHO DOES THINGS WITH ENTHUSIASM, which makes people feel appalled and insulted at things he chooses to do. If you’re under thirty, you have never heard of a song called “Spies Like Us,” and I am a horrible person for being the one to tell you. It was the theme for a big-budget Hollywood spy comedy starring Chevy Chase and Dan Aykroyd. Nobody saw the movie, but Paul’s theme was worse than the movie could have been. MTV played it constantly during the 1985 holiday season, though radio wouldn’t touch it. Paul does a rap that goes something like, “Oooh oooh, no one can dance like you.” In the video he plays multiple roles as members of a studio band, mugging and biting his lower lip. The drumming is where his cheeky-chappy act gets profoundly upsetting. You see this video, you’re going to be depressed for at least ten minutes about the existential condition of Paul-dom. His enthusiasm makes you doubt the sincerity of his other public displays. It makes you doubt yourself. You might think it’s a cheap laugh but it will cost you something.

despite andrew’s promises and confidence, chances were good neil was going to leave in a casket before spring. neil thought he would be okay with it. he would spend his last few months as neil josten, starting striker for the palmetto state foxes. he’d be kevin’s protégé, a teenager with a bright future, and his death would be a tragedy. it sounded a lot better than dying scared and alone halfway around the world. neil looked down at the key in his hand. “home,” he whispered, needing to hear it aloud. it was a foreign concept to him, an impossible dream. it was frightening and wonderful all at once, and it set his heart racing so fast he thought it’d drum out of his chest. “welcome home, neil.” - narrator

There is no love without loss. I hear the drums that vibrate to the heartbeat of the earth. They set me dancing. I see the clouds that wreathe the summits. They set me dreaming. I know the wonder of waves that shake the headlands. They awaken my soul. I hear the screams of eagles on the wind. And I ponder, what are these things to me who loves and does not reckon loss? Do I not keep the earth?

I do know that the gardens of the first lands are still lying there, right under the skin of the world- pulsing the way our heartbeat drums under our own skin. And I believe that there's a connectedness between everything that gives some people a deep and abiding affinity to a certain kind of place or creature." "Like totems?" "Maybe. Or maybe something even more personal- something that's impossible to articulate with the vocabulary we have at the moment." "This is too weird." Annie shrugged. "What can I say? It's getting late, the stars are out. Once the sun sets, I tend to embrace whatever wild spirits are running around in the darkness, talking away to each other. I leave the logic of streets and pavement and cars and tall buildings behind and buy into the old magics that they're whispering about. Sometimes those little mysteries and bits of wisdom stick to the bones of my head and I carry them right out into the sunlight again. They're like Jack's stories, true and not true, all at the same time. They don't exactly shape my life, but they certainly colour it." She glanced at him, "I wouldn't like to live in a world where everything's as cut-and-dried as most people think it is

My older brother, Nodin, remembers more than I do. But I have something he doesn’t. I have the dream. A snippet of life before our adoption; a single event played over and over while I sleep. Hundreds of times, I’ve woken up with a scream in my throat and a name on my lips. The dream is always the same. Pounding drums. A tribe surrounding a fire. A night that starts as a celebration but ends in panic and chaos.

I kept havin’ terrible lewd dreams about ye, all the night long,” he explained, twitching his breeks into better adjustment. “Every time I rolled over, I’d lie on my cock and wake up. It was awful.” I burst out laughing, and he affected to look injured, though I could see reluctant amusement behind it. “Well, you can laugh, Sassenach,” he said. “Ye havena got one to trouble ye.” “Yes, and a great relief it is, too,” I assured him.

I look forward to seeing you in the “jungle” as our warriors meet and join the battle drum that calls for unity in the struggle for breaking the chains of modern slavery—like the butterflies flying the skies and the birds over the seas, all are welcomed for both ear and eye—promises of victory are high, for even if unattainable today, tomorrow still holds the torch and dream, like fire of paradise, glory of life, glory of eternity!

But the intimate candor of their voices, the wit of the guitars and drums—it all makes Rubber Soul my favorite story they had to tell. Even the American version—this is the only case where the shamefully butchered U.S. LP might top the U.K. original, if only because it opens with the magnificent one-two punch of “I’ve Just Seen a Face” and “Norwegian Wood.” I still can’t decide which Rubber Soul is my favorite, having had a mere lifetime to make up my mind.

God, the Artist Allah is the only artist here And He prefers the darkest night to be his canvas He paints the past in broad strokes, bright hues And the memories dance all over my mind in living color He paints in words and voices, rhymes and rhythm And every whisper, every conversation beats a drum in my mind at full blast He paints in wrong choices, regrets, and broken dreams And every acquaintance, friend, and enemy laughs at me in my mind really, really loud

Carl Franzoni perhaps summed it up best when he declared rather bluntly that, “the Byrds’ records were manufactured.” The first album in particular was an entirely engineered affair created by taking a collection of songs by outside songwriters and having them performed by a group of nameless studio musicians (for the record, the actual musicians were Glen Campbell on guitar, Hal Blaine on drums, Larry Knechtel on bass, Leon Russell on electric piano, and Jerry Cole on rhythm guitar), after which the band’s trademark vocal harmonies, entirely a studio creation, were added to the mix. As would be expected, the Byrds’ live performances, according to Barney Hoskyns’ Waiting for the Sun, “weren’t terribly good.” But that didn’t matter much; the band got a lot of assistance from the media, with Time being among the first to champion the new band. And they also got a tremendous assist from Vito and the Freaks and from the Young Turks, as previously discussed.

In the campaign of 1876, Robert G. Ingersoll came to Madison to speak. I had heard of him for years; when I was a boy on the farm a relative of ours had testified in a case in which Ingersoll had appeared as an attorney and he had told the glowing stories of the plea that Ingersoll had made. Then, in the spring of 1876, Ingersoll delivered the Memorial Day address at Indianapolis. It was widely published shortly after it was delivered and it startled and enthralled the whole country. I remember that it was printed on a poster as large as a door and hung in the post-office at Madison. I can scarcely convey now, or even understand, the emotional effect the reading of it produced upon me. Oblivious of my surroundings, I read it with tears streaming down my face. It began, I remember: "The past rises before me like a dream. Again we are in the great struggle for national life.We hear the sounds of preparation--the music of boisterous drums--the silver voices of heroic bugles. We see the pale cheeks of women and the flushed faces of men; and in those assemblages we see all the dead whose dust we have covered with flowers..." I was fairly entranced. he pictured the recruiting of the troops, the husbands and fathers with their families on the last evening, the lover under the trees and the stars; then the beat of drums, the waving flags, the marching away; the wife at the turn of the lane holds her baby aloft in her arms--a wave of the hand and he has gone; then you see him again in the heat of the charge. It was wonderful how it seized upon my youthful imagination. When he came to Madison I crowded myself into the assembly chamber to hear him: I would not have missed it for every worldly thing I possessed. And he did not disappoint me. A large handsome man of perfect build, with a face as round as a child's and a compelling smile--all the arts of the old-time oratory were his in high degree. He was witty, he was droll, he was eloquent: he was as full of sentiment as an old violin. Often, while speaking, he would pause, break into a smile, and the audience, in anticipation of what was to come, would follow him in irresistible peals of laughter. I cannot remember much that he said, but the impression he made upon me was indelible. After that I got Ingersoll's books and never afterward lost an opportunity to hear him speak. He was the greatest orater, I think, that I have ever heard; and the greatest of his lectures, I have always thought, was the one on Shakespeare. Ingersoll had a tremendous influence upon me, as indeed he had upon many young men of that time. It was not that he changed my beliefs, but that he liberated my mind. Freedom was what he preached: he wanted the shackles off everywhere. He wanted men to think boldly about all things: he demanded intellectual and moral courage. He wanted men to follow wherever truth might lead them. He was a rare, bold, heroic figure.

But for “The Eleven,” we took 12/8 and subtracted an eighth note to make it 11/8—hence the name of the song. Right after we came out with that, the Allman Brothers did the same thing on the intro to a tune that would become one of their biggest songs—“Whipping Post.” The key is different, the changes are different, and when the vocals kick in, they slide it into a 12/8 blues. But the intro cheats that one beat, too. It’s 11/8. I wonder where that came from? Of course, I can’t say for sure. That’s for their story. Not mine.

People do meditation to find psychic alignment. That’s why people do psychotherapy and analysis. That’s why people analyze their dreams and make art. That is why some contemplate tarot cards, cast I Ching, dance, drum, make theater, pry out the poem, and fire up their prayers. That’s why we do all the things we do. It is the work of gathering all the bones together. Then we must sit at the fire and think about which song we will use to sing over the bones, which creation hymn, which re-creation hymn. And the truths we tell will make the song.

I felt a Funeral, in my Brain, And Mourners to and fro Kept treading - treading - till it seemed That Sense was breaking through - And when they all were seated, A Service, like a Drum - Kept beating - beating - till I thought My mind was going numb - And then I heard them lift a Box And creak across my Soul With those same Boots of Lead, again, Then Space - began to toll, As all the Heavens were a Bell, And Being, but an Ear, And I, and Silence, some strange Race, Wrecked, solitary, here - And then a Plank in Reason, broke, And I dropped down, and down - And hit a World, at every plunge, And Finished knowing - then -

Wind plays the drums of snow... staccato taps, crescendo off the roofs, flourish of shuddering branches. Ice snaps its castanets, its daggers. Atonal music of the darkest days needs the most fearless, subtle listeners. * Those strumming flamenco fingers of sunlight are a long time away from now. Now we go comforted in dreams and ceremonies, flaming our star-speck candles, raising our voices against that other music, drowning out the forever at night’s heart. * Look up! The wheel is turning. The spectacular crowd of stars, the tangle of dimensions jostle for our attention. Salute the birth of everything holy. "At the Winter Solstice

All the time the ghosts flit past and through us, hiding in the future. We look in the mirror and see the shades of other faces looking back through the years; we see the shape of memory, standing solid in an empty doorway. By blood and by choice, we make our ghosts; we haunt ourselves. Each ghost comes unbidden from the misty grounds of dream and silence. Our rational minds say, “No, it isn’t.” But another part, an older part, echoes always softly in the dark, “Yes, but it could be.” We come and go from mystery and, in between, we try to forget. But a breeze passing in a still room stirs my hair now and then in soft affection. I think it is my mother.

The remaining chain swung down, he wrenched the door out and he was free. The last thing he heard behind him was the oncoming stomp of running feet. Now began flight, that excruciating accompaniment to both the sleep-dream and the drug-dream as well. Down endless flights of stairs that seemed to have increased decimally since he had come up them so many days before. Four, fourteen, forty - there seemed no end to them, no bottom. Round and round he went, hand slapping at the worn guard-rail only at the turns to keep from bulleting head-on into the wall each time. The clamor had come out onto a landing high above him now, endless miles above him; a thin voice came shouting down the stair-well, "There he is! See him down there?" raising the hue and cry to the rest of the pack. Footsteps started cannonading down after him, like avenging thunder from on high. They only added wings to his effortless, almost cascading waterlike flight. Like a drunk, he was incapable of hurting himself. At one turning he went off his feet and rippled down the whole succeeding flight of stair-ribs like a wriggling snake. Then he got up again and plunged ahead, without consciousness of pain or smart. The whole staircase-structure seemed to hitch crazily from side to side with the velocity of his descent, but it was really he that was hitching. But behind him the oncoming thunder kept gaining. Then suddenly, after they'd kept on for hours, the stairs suddenly ended, he'd reached bottom at last. He tore out through a square of blackness at the end of the entrance-hall, and the kindly night received him, took him to itself - along with countless other things that stalk and kill and are dangerous if crossed. He had no knowledge of where he was; if he'd ever had, he'd lost it long ago. The drums of pursuit were still beating a rolling tattoo inside the tenement. He chose a direction at random, fled down the deserted street, the wand of light from a wan street-lamp flicking him in passing, so fast did he scurry by beneath it.

Stacy smiled proudly and he filed the image of her sweet face in the section of his heart he shared with no one else ~ Brian, Song of the Snowman "Mom said if you put ears on your snowman, he’ll hear the music of the angels and sing songs to you.” ~ Stacy, Song of the Snowman The sweet promise of her embrace cured the loneliness in him. In her arms, he was whole. ~ Brian, Song of the Snowman He composed music, dreamed of the future, and kept the situations he couldn’t change at bay to the rhythm of his feet drumming on the concrete. Brian, Song of the Snowman This was as simple as his life got  rhythm, rhyme, and fingertips on cool keys. ~ Brian, Song of the Snowman

That you cannot distinguish between the able and the incompetent shows that your eyes are corrupt. Your failure to chant the Odes and the Documents shows that your mouth is corrupt. Your rejection of loyal advice shows that your ears are corrupt. Your ignorance of past and present shows that your whole being is corrupt. Your conflicts with the lords of the realm show that your stomach is corrupt. Your dream of usurpation shows that your mind is corrupt. To make a renowned scholar like me serve as drum master is a poor imitation of the tricks of such villains of old as Yang Huo who slighted Confucius, or Zang Cang who tried to ruin Mencius. Do you think you can hold men in such contempt and still become the leader of the lords of the realm?

I wonder if Jack and Diane ever made it After the drums and the guitars all faded Was the best they could do good enough Or did the heartland just swallow 'em up How did my mom and my dad ever do it If there were troubles then we never knew it I guess they had each other and that was enough You know you can't keep the ground from shaking, no matter how hard you try, You can't keep the sunsets from fading, you gotta treat you love like You're jumping off a rope swing maybe 'cause the whole thing is really just a shot in the dark You gotta love like there's no such thing as a broken heart You gotta love like there's no such thing as a broken heart What am I gonna tell my kids when they see All of this bull that goes down on TV When the whole world is down on its luck I gotta make sure they keep that chin up Cry when it hurts, laugh when it's funny Chase after the dream, don't chase after the money And know we got each other, that's what's up 'Cause you can't keep the ground from shaking, no matter how hard you try You can't keep the sunsets from fading, you gotta treat you love like You're jumping off a rope swing maybe cause the whole thing is really just a shot in the dark You gotta love like there's no such thing as a broken heart You gotta love like there's no such thing as a broken heart You gotta love like there's no such thing as a broken heart 'Cause you can't keep the ground from shaking, no matter how hard you try You can't keep the sunsets from fading, you gotta treat you love like You're jumping off a rope swing maybe 'cause the whole thing is really just a shot in the dark You gotta love like there's no such thing as a broken heart You gotta love, love, love, love You gotta love, love, love, love You gotta love like there's no such thing as a broken heart

Ballad of the Moon" For Conchita García Lorca Moon came to the forge in her petticoat of nard The boy looks and looks the boy looks at the Moon In the turbulent air Moon lifts up her arms showing — pure and sexy —  her beaten-tin breasts Run Moon run Moon Moon If the gypsies came white rings and white necklaces they would beat from your heart Boy will you let me dance —  when the gypsies come they’ll find you on the anvil with your little eyes shut Run Moon run Moon Moon I hear the horses’ hoofs Leave me boy! Don’t walk on my lane of white starch The horseman came beating the drum of the plains The boy at the forge has his little eyes shut Through the olive groves in bronze and in dreams here the gypsies come their heads riding high their eyelids hanging low How the night heron sings how it sings in the tree Moon crosses the sky with a boy by the hand At the forge the gypsies cry and then scream The wind watches watches the wind watches the Moon Poetry (July/August 2016)

The two girls descended the slope of the little mountain. A few steps round a turn in the pathway which skirted the foot of it took them to the pavilion. Near the water's edge, linking it with Lotus Pavilion farther along the shore, was a bamboo railing. The two old women who were on night watch in it, little imagining that an overspill from the hilltop party would come their way, had long since put their light out and gone to sleep. Dai-yu and Xiang-yun laughed when they saw that the pavilion was in darkness. "They've gone to sleep. Never mind. All the better. Let's sit outside here on the covered verandah and look at the moonlight on the water." They found a couple of drum shaped bamboo stools to sit down on. A great white moon in the water reflected the great white moon above, competing with it in brightness. The girls felt like mermaids sitting in a shining crystal palace beneath the sea. A little wind that brushed over the surface of the water making tiny ripples seemed to cleanse their souls and fill them with buoyant lightness.

Perjuangan Remaja Bontang Menggapai 12 menit sebagai Sejarah. Melihat judul buku 12 menit. Tentu kita sudah dibawa pertanyaan, apakah maksud dari 12 menit itu. Tentu banyak arti dengan 12 menit ini. Tapi dalam novel ini digambarkan 12 menit harus diraih dengan syarat yang tidak mudah, melalui pengorbanan yang tidak sedikit. Perjuangan keras para generasi remaja bontang untuk meraih kesuksean. Bisa dibilang, 12 menit ini awal dari sejarah besar untuk kota kecil di Kalimantan Timur. Sebuah novel fiksi yang syarat dengan makna, yang patut di miliki oleh semua golongan usia. Novel karya Oka Aorora dengan tebal 343 halaman menggambarkan bagaimana sebuah kesuksesan tidak dapat diraih dengan instan, tetapi harus dengan perjuangan yang sangat keras. Apapun resiko yang dihadapi, menyulutkan semangat baja yang tidak mengenal rasa takut, lelah, dan tekat harus terus di pupuk agar lebih subur. Cara pengarang mendiskripsikan tokoh dalam cerita ini sungguh unik. Terdapat 4 tokoh yang digambarkan dalam novel ini. Seperti Rene, pelatih alumni sebuah universitas di Amerika memiliki karakter yang sangat kuat, disiplin tinggi, keras, tapi juga lembut hatinya, ini digambarkan bagaimana dia mempertahankan satu persatu tim nya yang mengalami down dan masalah pelik dalam latihan. Dia juga tidak segan-segan meminta maaf kepada anak dididiknya ketika dia merasa bersalah. Tokoh kedua adalah Elaine. Putri semata wayang dari bos besar sebuah perusahaan yang dikenal sangat cerdas, berbakat dan dianugrahi perawakan yang elok. Dia mempunyai sifat ramah, yang pada akhirnya bagaimana dia harus bisa meyakinkan ayahnya untuk ikut menyutujui pilihan hidupnya. Tara gadis berjilbab yang pawai bermain drum ini memiliki keterbatasan pada pendengarannya. Sehingga untuk mendengar diperlukan alat bantu khusus. Bagaimana perjuangannya untuk bisa bangkit dari trauma masa lalu saat terjadi kecelakaan yang mengakibatkan ayah yang dicintainya pergi untuk selamanya, selain itu akibat lain dia harus kehilangan 80% dari pendengarannya. Lahang, seorang pemuda dari pesisir pantai yang berusaha mewujudkan mimipi almh. Ibunya untuk bisa melihat monas, tetapi dia dihadapakan pada pilihan paling sulit antara mimpinya atau menemani ayahnya yang sakit kanker otak stadium lanjut. Semua tokoh dalam novel ini dikemas dengan sangat apik dan ringan, sehingga ketika kita membacanya, pembaca seolah-olah ikut merasakan beban dan sulitnya hidup yang dialami oleh tokoh-tokoh tersebut. Bahasa yang digunakan pun sangat sederhana, dan mudah di pahami oleh pembaca, tidak njilmet, tetapi bisa memberi kobaran api yang menyala besar. Kelebihan dalam novel ini ke 4 tokoh memiliki karakter yang sama, yaitu keinginan yang kuat untuk membawa marching band bontang pupuk Kalimantan timur menjadi juara umum di GMPB. Terwujudkah mimpi anak negeri terpencil itu?Dreaming is believing. Meski harus dilalui dengan jerih payah tim yang luar biasa. Perbedaan masalah setiap tokoh membawa mereka pada jalan keberhasilan, penulis menggambarkan bagaimana seorang rene yang tidak hanya menjadi pelatih di lapangan. Tetapi dia bisa sebagai sahabat, saudara untuk tempat bercerita. Semisal ketika dia membantu Elaine mengalami dilema diantara dua pilhan antara mengikuti olimpiade fisika, atau terus berjuang dimarching band, dan perjuangannya menghadapi larangan keras dari ayahnya. Tara seorang gadis pendiam yang hampir berputus asa dan sempat keluar dari tim inti. Tetapi rene sebagai pelatih tidak tinggal diam, di semangati tara dan dibantu kakek neneknya, akhirnya membawa tara kembali dan meraih keberhasilan. Lahang pemuda dengan persolan pelik, ayahnya menderita sakit yang parah. Rene sempat menawarkan bantuan tetapi ditolaknya, ketika perjuangan tinggal selangkah lagi dia hampir putus asa karena ayahnya telah pergi ke Rahmatulloh. Kata-kata dari Rene meyakinkan lahang utnuk terus berjuang meski peri

Sovereign King of Detachment and Renunciation, Emperor of Death and Shipwreck, living dream that gradually wanders among the worlds ruins and wastes! Sovereign King of Despair amid splendours, grieving lord of palaces that don't satisfy, master of processions and pageants that never succeed in blotting out life! Sovereign King risen from the tombs, who came in the night by the light of the moon to tell your life to the living, royal page of lilies that have lost their petals, imperial herald of the coldness of ivory! Sovereign King Shepard of the Watches, knight errant of Anxieties traveling on moonlit roads without glory and without even a lady to serve, lord in the forest and on the slopes, a silent silhouette with visor drawn shut, passing through valleys, misunderstood in villages, ridiculed in towns, scorned in the cities! Sovereign King consecrated by Death to be her own, pale and absurd, forgotten and unrecognized, reigning amid worn-out velvets and tarnished marble on his throne at the limits of the Possible, surrounded by the shadows of his unreal court and guarded by the fantasy of his mysterious, solidierless army. (...) Your love for things dreamed was your contempt for things lived. Virgin King who disdained love, Shadow King who disdained light, Dream King who denied life! Amid the muffled racket of cymbals and drums, Darkness acclaims you Emperor!

Straight off, we were in the country. It was most lovely and pleasant in those sylvan solitudes in the early cool morning in the first freshness of autumn. From hilltops we saw fair green valleys lying spread out below, with streams winding through them, and island groves of trees here and there, and huge lonely oaks scattered about and casting black blots of shade; and beyond the valleys we saw the ranges of hills, blue with haze, stretching away in billowy perspective to the horizon, with at wide intervals a dim fleck of white or gray on a wave-summit, which we knew was a castle. We crossed broad natural lawns sparkling with dew, and we moved like spirits, the cushioned turf giving out no sound of footfall; we dreamed along through glades in a mist of green light that got its tint from the sun-drenched roof of leaves overhead, and by our feet the clearest and coldest of runlets went frisking and gossiping over its reefs and making a sort of whispering music, comfortable to hear; and at times we left the world behind and entered into the solemn great deeps and rich gloom of the forest, where furtive wild things whisked and scurried by and were gone before you could even get your eye on the place where the noise was; and where only the earliest birds were turning out and getting to business with a song here and a quarrel yonder and a mysterious far-off hammering and drumming for worms on a tree trunk away somewhere in the impenetrable remotenesses of the woods. And by and by out we would swing again into the glare.

that night she dreamed of employing an army of women cleaners who would set forth across the planet on a mission to clean up all the damage done to the environment they came from all over Africa and from North and South and South America, they came from India and China and all over Asia, they came from Europe and the Middle East, from Oceania, and from the Antarctic, too she imagined them all descending in their millions on the Niger Delta and driving out the oil companies with their mop and broom handles transformed into spears and poison-tipped swords and machine guns she imagined them demolishing al the equipment used for oil production, including the flare stacks that rose into the skies to burn the natural gas, her cleaners setting charges underneath each one, detonating from a safe distance and watching them being blown up she imagined the local people cheering and celebrating with dancing, drumming and roasted fish she imagined the international media filming it- CNN, BBC, NBC she imagined the government unable to mobilize the poorly paid local militia because they were terrified by the sheer numbers of her Worldwide Army of Women Cleaners who could vaporize them with their superhuman powers afterwards, she imagined legions of singing women sifting the rivers and creeks to remove the thick slicks of grease that had polluted them and digging up the land until they'd removed the toxic sublayers of soil she imagined the skies opening when the job was fone and the pouring of pure water from the now hygienic clouds for as long as it took for the region to be thoroughly cleansed and replenished

It is raining.  The clock ticks.  I am leaning on my elbow.  The wind blows through the cracks.  The door rattles in its frame.  My arm is tired of staying in one position.  There is a pressure on the wrist.  My temple burns on one side.  I wonder what will happen next.  Someone laughs.  If he had heard the rain, the clock, and the door, he would have kept silent.  Had I been laughing, I would not have heard these things. Gaze into a cat's eye or a gorilla's.  You will notice a peculiar thing that will make you shudder.  sometimes cats claw at human eyes.  Some- times gorillas enrage. Telepathy and death are wound inextricably together.  To see why this is so, you must understand consciousness.  When, late at night in your bed, you hear a distant automobile, you and the driver are parts of yourself.  When you speak, you are alone and the listener is both you and himself.  Two men, one on the mountain and the other in the village, cannot communicate.  Each is looking into a mirror.  Wave, and *he* waves - shout, and *he* replies.  All of us see the same moon and feel the same heartbeat, but we can never admit it.  One says the moon is a pale disc, another that it is a satellite of the Earth, a third that it is a silver world.  My heart thumps, yours clatters, and his booms.  Consciousness is distortion. But much telepathy passes unnoticed.  Dogs in the night, a dream of Mabel, Dr. Rhines' dice games - these are self-conscious tricks that mean nothing.  What of the more obvious examples?  You know when another is lying.  You know who is going down the stair.  You know emotion without seeing it.  You know the intelligence of others.  Some sign gives them away.  It is coincidence?  Guessing games again?   Then think of what you could not possibly know, what no one could tell you.  Is there any doubt you do not know that fellow on the gibbet or the thought of that girl on the stake?  Watch someone die and you may read his mind at ease. You need not got so far.  We human beings understand one another better than we think.  Argue, deny, shout, denounce, destroy.  Nothing alters truth.  You, reader, see my flaws and concentrate on them.  You wonder why I choose this word and not that. My arguments are weak and you can drum up stronger ones against them.  But we are eye to eye for all of that.

He held the dipper out to Jake. When Jake reached for it, Tick-Tock pulled it back. "First, cully, tell me what you know about dipolar computers and transitive circuits," he said coldly. "What..." Jake looked toward the ventilator grille, but the golden eyes were still gone. He was beginning to think he had imagined them after all. He shifted his gaze back to the Tick-Tock Man, understanding one thing clearly: he wasn't going to get any water. He had been stupid to even dream he might. "What are dipolar computers?" The Tick-Tock Man's face contorted with rage; he threw the remainder of the watter into Jake's bruised, puffy face. "DON'T YOU PLAY IT LIGHT WITH ME!" he shrieked. He stripped off the Seiko watch and shook it in front of Jake. "WHEN I ASKED YOU IF THIS RAN ON A DIPOLAR CIRCUIT, YOU SAID IT DIDN'T! SO DON'T TELL ME YOU DON'T KNOW WHAT I'M TLAKING ABOUT WHEN YOU ALREADY MADE IT CLEAR THAT YOU DO!" "But...but..." Jake couldn't go on. His head was whirling with fear and confusion. He was aware, in some far-off fashion, that he was licking as much water as he could off his lips. "THERE'S A THOUSAND OF THOSE EVER-FUCKING DIPOLAR COMPUTERS RIGHT UNDER THE EVER-FUCKING CITY, MAYBE A HUNDRED THOUSAND, AND THE ONLY ONE THAT STILL WORKS DON'T DO A THING EXCEPT PLAY WATCH ME AND RUN THOSE DRUMS! I WANT THOSE COMPUTERS! I WANT THEM WORKING FOR ME!" The Tick-Tock Man bolted forward on his throne, seized Jake, shook him back and forth, and then threw him to the floor. Jake struck one of the lamps, knocking it over, and the bulb blew with a hollow coughing sound. Tilly gave a little shriek and stepped backward, her eyes wide and frightened. Copperhead and Brandon looked at each other uneasily. Tick-Tock leaned forward, elbows on his thighs, and screamed into Jake's face: "I WANT THEM AND I MEAN TO HAVE THEM!" Silence fell in the room, broken only by the soft whoosh of warm air pouring from the ventilators. Then the twisted rage on the Tick-Tock Man's face disappeared so suddenly it might never have existed at all. It was replaced by another charming smile. He leaned further forward and helped Jake to his feet. "Sorry. I get thinking about the potential of this place and sometimes I get carried away. Please accept my apology, cully." He picked up the overturned dipper and threw it at Tilly. "Fill this up, you useless bitch! What's the matter with you?" He turned his attention back to Jake, still smiling his TV game-show host smile. "All right; you've had your little joke and I've had mine. Now tell me everything you know about dipolar computers and transitive circuits. Then you can have a drink.

And the ladies dressed in red for my pain and with my pain latched onto my breath, clinging like the fetuses of scorpions in the deepest crook of my neck, the mothers in red who sucked out the last bit of heat that my barely beating heart could give me — I always had to learn on my own the steps you take to drink and eat and breathe, I was never taught to cry and now will never learn to do this, least of all from the great ladies latched onto the lining of my breath with reddish spit and floating veils of blood, my blood, mine alone, which I drew myself and which they drink from now after murdering the king whose body is listing in the river and who moves his eyes and smiles, though he’s dead and when you’re dead, you’re dead, for all the smiling you do, and the great ladies, the tragic ladies in red have murdered the one who is floating down the river and I stay behind like a hostage in their eternal custody. I want to die to the letter of the law of the commonplace, where we are assured that dying is the same as dreaming. The light, the forbidden wine, the vertigo. Who is it you write for? The ruins of an abandoned temple. If only celebration were possible. A mournful vision, splintered, of a garden of broken statues. Numb time, time like a glove upon a drum. The three who compete in me remain on a shifting point and we neither are nor is. My eyes used to find rest in humiliated, forsaken things. Nowadays I see with them; I’ve seen and approved of nothing. Seated at the bottom of a lake. She has lost her shadow, but not the desire to be, to lose. She is alone with her images. Dressed in red, and unseeing. Who has reached this place that no one ever reaches? The lord of those dead who are dressed in red. The man who is masked in a faceless face. The one who came for her takes her without him. Dressed in black, and seeing. The one who didn’t know how to die of love and so couldn’t learn a thing. She is sad because she is not there. There are words with hands; barely written, they search my heart. There are words condemned like the lilac in a tempest. There are words resembling some among the dead, and from these I prefer the ones that evoke the doll of some unhappy girl. Ward 18 when I think of occupational therapy I think of poking out my eyes in a house in ruin then eating them while thinking of all my years of continuous writing, 15 or 20 hours writing without a break, whetted by the demon of analogies, trying to configure my terrible wandering verbal matter, because — oh dear old Sigmund Freud — psychoanalytic science forgot its key somewhere: to open it opens but how to close the wound? for other imponderables lovelier than the smile of the Virgin of the Rocks the shadows strike blows the black shadows of the dead nothing but blows and there were cries nothing but blows

There had been comments in the press on my physical appearance from the moment our career started. As a woman in the male-dominated world of rock ’n’ roll, I knew it came with job, but it wasn’t easy to live with. Whether it was criticism of how much I weighed, or lustful comments about how “sexy” I was, they were always disturbing because they weren’t about our music. When I was the thinnest in my life, during the first few years of Heart, there were times I was still called “chubby” in the press. You couldn’t be too thin, too young, or too good-looking if you were a woman in music. The standards were entirely different for any man in rock ’n’ roll. John Bonham could go onstage with a three-month beard, unshowered for weeks, fucked up, shirtless, and have the confidence that the only thing that would be written about him was how he played the drums. As a woman, I lived in a different world. It was a world where I was judged constantly, on and offstage. Patrick MacDonald was right. I had gained weight, although not much at that point, but the show he reviewed was often cited by fans as our most energetic that year. He had the right to think our show sucked, but even if it did, was it fair for him to blame it on my “tight-fitting black dress”?

I had fallen into the pages of the book. Time stood still and I lost sense of my surroundings. Siddharth’s words were all that I was aware of. They were a drum beat in my being. A part of me understood instinctively then that the purpose of this adventure had been to bring me to this book. I did not doubt for a moment that it was addressed to anyone but me, and it was not only because it bore my name on the title page. The surreal dream, the kidnapping, the rescue, my saviour’s easy familiarity … It all seemed to fall into place somehow. I sensed this book held all my answers. Even so, the words in the book frightened me like nothing had ever done before. Anu and Sabi were laughing, their heads bent together over a page. I tried to say something but my voice was stuck in my throat. I felt like a hook was being pulled through my heart. I tried to breathe. Then, out of sheer habit formed over fifteen years of my life, I did what came naturally to me when I was scared, upset or unhappy. I turned to the book in my lap and began to read.

I didn’t know what to do, so I called Ken Kesey and laid out the situation. “Hey Ken, funniest thing happened … Shelley accidentally put LSD in her right eye.” He didn’t miss a beat: “Right on, Bill. Put it in your left eye and have a good time. Bye.

He looked up from the paper he was scribbling on and offered her a lopsided grin. “Hey, sweet pea. You bring me anything special?” The lopsided bit wasn’t odd, but there was something forced about it. “Got a fresh bag of cat food outside.” Cat food that she’d bought with the twenty he’d left to pay for his ice cream. He pushed his makeshift drum set aside and rose with a stretch. “Words every man dreams of hearing. Make my night if you say you got catnip too.” She tried not to giggle. She tried hard. But she couldn’t help herself. “Extra strength,” she said. This time, his grin came out bigger, less forced. “Woman of my dreams.” “In your dreams,” she said.

Soon, I found myself criss-crossing the country with Steve, in what we called our “dog and pony show,” trying to drum up interest in our initial public offering. As we traveled from one investment house to another, Steve (in a costume he rarely wore: suit and tie) pushed to secure early commitments, while I added a professorial presence by donning, at Steve’s insistence, a tweed jacket with elbow patches. I was supposed to embody the image of what a “technical genius” looks like—though, frankly, I don’t know anyone in computer science who dresses that way. Steve, as pitch man, was on fire. Pixar was a movie studio the likes of which no one had ever seen, he said, built on a foundation of cutting-edge technology and original storytelling. We would go public one week after Toy Story opened, when no one would question that Pixar was for real. Steve turned out to be right. As our first movie broke records at the box office and as all our dreams seemed to be coming true, our initial public offering raised nearly $140 million for the company—the biggest IPO of 1995. And a few months later, as if on cue, Eisner called, saying that he wanted to renegotiate the deal and keep us as a partner. He accepted Steve’s offer of a 50/50 split. I was amazed; Steve had called this exactly right. His clarity and execution were stunning. For me, this moment was the culmination of such a lengthy series of pursuits, it was almost impossible to take in. I had spent twenty years inventing new technological tools, helping to found a company, and working hard to make all the facets of this company communicate and work well together. All of this had been in the service of a single goal: making a computer-animated feature film. And now, we’d not only done it; thanks to Steve, we were on steadier financial ground than we’d ever been before. For the first time since our founding, our jobs were safe. I

He’d stopped talking about bonding her to him forever and had apparently decided to concentrate on being charming instead. Liv never would have believed that such an intensely alpha male could be light and playful but she had been seeing an entirely different side of Baird lately. Aside from the sushi class, he’d also taken her to an alien petting zoo where she was able to see and touch animals that were native to the three home worlds of the Kindred and they’d been twice to the Kindred version of a movie theater where the seats were wired to make the viewer feel whatever was happening on the screen. He’d also taken her to a musical performance where the musicians played giant drums bigger than themselves and tiny flutes smaller than her pinky finger. The music had been surprisingly beautiful—the melodies sweet and haunting and Liv had been moved. But it was the evenings they spent alone together in the suite that made Liv really believe she was in danger of feeling too much. Baird cooked for her—sometimes strange but delicious alien dishes and once Earth food, when she’d taught him how to make cheeseburgers. They ate in the dim, romantic light of some candle-like glow sticks he’d placed on the table and there was always very good wine or the potent fireflower juice to go with the meal. Liv was very careful not to over-imbibe because she needed every ounce of willpower she had to remember why she was holding out. For dessert Baird always made sure there was some kind of chocolate because he’d learned from his dreams how much she loved it. Liv had been thinking lately that she might really be in trouble if she didn’t get away from him soon. If all he’d had going for him was his muscular good looks she could have resisted easily enough. But he was thoughtful too and endlessly interested in her—asking her all kinds of questions about her past and friends and family as well as people he’d seen while they were “dream-sharing” as he called it. Liv found herself talking to him like an old friend, actually feeling comfortable with him instead of being constantly on her guard. She knew that Baird was actively wooing her, doing everything he could to earn her affection, but even knowing that couldn’t stop her from liking him. She had never been so ardently pursued in her life and she was finding that she actually liked it. Baird had taken her more places and paid her more attention in the past week than Mitch had for their entire relationship. It was intoxicating to always be the center of the big warrior’s attention, to know that he was focused exclusively on her needs and wants. But attention and attraction aside, there was another factor that was making Liv desperate to get away. Just as he had predicted, the physical attraction she felt for Baird seemed to be growing exponentially. She only had to be in the same room with him for a minute or two, breathing in his warm, spicy scent, and she was instantly ready to jump his bones. The need was growing every day and Liv didn’t know how much longer she could fight it.

demolished to make room for the Moscone Center—in a sign of the times, tech companies like Apple, Google, and Facebook now hold conferences on the same corner where the Mars Hotel once housed winos and junkies.

The Doors were a good example of the Southern California scene. They wore that outfit well, what with the leather pants and the affected swagger and all. But the Grateful Dead were ambassadors from the north.

Danny Rifkin—who would soon start co-managing us with a guy named Rock Scully for many, many years—first stumbled into our world as a visitor at the Pink House. Danny came there with Harry Shearer,

Like the Pink House and Olompali, Lagunitas was really far-out. But in 1995, Jerry died at a facility that’s a stone’s throw from our old camp, and when I think of Lagunitas, I can’t help but think of that.

At some point, Phil actually snuck into Kesey’s house and read part of the manuscript Kesey had been working on, One Flew Over the Cuckoos Nest, before it was published. He came back and said, “Kesey’s a really good writer.

Jann Wenner was there, in the audience. Two years later, he founded Rolling Stone Magazine—with a feature on the Grateful Dead in the very first issue.

But his guest didn’t mind. He prodded the headmaster in the side with his elbow. “No, tell him to keep playing. I’ve never heard anything like that.” I liked that guy. It turns out, that guy was Aldous Huxley, the author.

But the coolest thing about my serendipitous encounter with Huxley is that Huxley was also an acid head. A few years later, so was I. In fact, in different ways, we’re both now famous for our love of acid. And because of it.

But when I first picked up On the Road, it was my boarding pass out of Palo Alto and into destinations unknown—my life’s great adventure.

Technically, we played our first show at Menlo College in Menlo Park, one town over from Palo Alto. That was on April Fool’s Day, ’65.

Will Bates was drummed out of Carter and reassigned to teach industrial arts in a middle school. He was given an unsatisfactory evaluation rating, placed on probation for a year, and had his salary frozen. And, of course, he was forbidden to teach math to prevent further threats to the sanctity of football.

Well, I, ah, could not help but be impressed with her ladyship’s medical knowledge and I can hardly quell my outrage at the injustice of such a brilliant mind being barred from serving the community.” “Yes, it is an injustice indeed. A fact I am certain she is well aware of. Have you a point in reminding her?” Rafe drummed the fingers of his good hand on the side table. Ignoring his warning tone, Wakley nodded. “Though it is not in my power to make her a real doctor, I can give her the same examination that is received at Oxford and perhaps offer her some training, so that she may at least gain some sense of vindication.” Rafe opened his mouth to refuse, yet the words caught in his throat at the man’s logic and consideration. However, he couldn’t risk further involvement with mortals, for him or Cassandra. Not until her fate was decided. And he still had no notion how he would resolve his predicament. Hell, he hadn’t even told her about the letter from the Elders yet. He coughed. “I—” “Oh, Mr. Wakley!” Cassandra gasped in unabashed delight as she rushed down the stairs. “Would you?” The surgeon nodded. “As long as you understand that it is only a ceremonial gesture.” “I understand.” Cassandra’s voice quavered with hope and gratitude. Rafe hid the wrapped parcel by holding the microscope behind his back before she met his gaze. Slowly, she approached him, her eyes deep pools of abject longing. “Rafael…?” The question hung in the air, tangible as an embrace. He closed his eyes as his mind warred with his heart. She stood so close that her hair brushed his sleeve and he could smell her intoxicating scent. Taking a deep breath, he uttered an impractical reply. “I am certain you shall pass with alacrity.” She could be dead within the month. The least he could do was allow her to touch her dream. Cassandra rose on her toes and kissed him on the cheek. Her lips felt like a healing balm on his scars. “Thank you.

The door opened in a well-oiled arc. She saw the shadows change, felt a presence in the room. Turning with a start, she saw Cam Rohan standing just inside the door. Her heart began to drum with furious force. He looked like something from a dream, a dark enigmatic ghost. He approached her slowly. The closer he came, the more it seemed everything around her was unraveling, falling away, leaving her exposed and vulnerable. Cam’s breathing wasn’t quite steady. Neither was hers. After a long pause, he finally spoke. “The Rom believe you should take the road that calls to you, and never turn back. Because you never know what adventures await.” He reached for her slowly, giving her every opportunity to object. Through the cottony gauze of her nightgown, he touched the curve of her hips. He brought her close, into his hard weight. “So we’re going to take this road,” he murmured, “and see where it leads.