Dry Rot Quotes

I would rather be ashes than dust! I would rather that my spark should burn out in a brilliant blaze than it should be stifled by dry-rot. I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy and permanent planet. The function of man is to live, not to exist. I shall not waste my days trying to prolong them. I shall use my time.

The mind of America is seized by a fatal dry rot - and it's only a question of time before all that the mind controls will run amuck in a frenzy of stupid impotent fear. (In a letter dated 9-26-58)

The cliche that sea dry up and rocks rot away, but the heart never changes is nothing but a beautiful fantasy.

I would rather be ashes than dust! I would rather that my spark burn out in a brilliant blaze than it be stifled by dry rot. I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy and permanent planet.

For a long while we just stood there, looking down at the profound and fleshless grin. The body had apparently once lain in the attitude of an embrace, but now the long sleep that outlasts love, that conquers even the grimace of love, had cuckolded him. What was left of him, rotted beneath what was left of the nightshirt, had become inextricable from the bed in which he lay; and upon him and upon the pillow beside him lay that even coating of the patient and biding dust. Then we noticed that in the second pillow was the indentation of a head. One of us lifted something from it, and leaning forward, that faint and invisible dust dry and acrid in the nostrils, we saw a long strand of iron-grey hair.

His world closes in. The sky is endless no longer but pieced into squares of brick and bright cloths hanging down to dry. Underfoot, no longer stone but rubble, earth, the peelings and rotted scraps of the inedible. He smells the smoke of cooking fires, he hears men arguing and babies screaming like seagulls, he sees young women looking shyly down from high windows, exchanging glances. Now, he is no longer the watcher. Watched. Shouts echo in the dark between twisted walls and back alleys. A twisted smile in a doorway. A stranger’s voice. A stranger’s language.

I screamed until my voice dried up in my throat. We all did. All of us in Ward Six, all of us forgotten, left to rot.

Somewhere the saving and putting away had to begin again and someone had to do the saving and keeping, one way or another, in books, in records, in people's heads, any way at all so long as it was safe, free from moths, silverfish, rust and dry rot and men with matches.

And you don’t want to be involved with my people, Max. They’re the type to bleed you dry and leave your corpse to rot. When the reckoning comes”—I lifted my hand and made an arch, pointing across the room—”you’ll want to be way the f*ck over there. Do you feel me?

I would rather that my spark should burn out in a brilliant blaze than it should be stifled by dry-rot. I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy and permanent planet.” - Jack London

She returned many years later. So much time had passed that the smell of musk in the room had blended in with the smell of the dust, with the dry and tiny breath of the insects. I was alone in the house, sitting in the corner, waiting. And I had learned to make out the sound of rotting wood, the flutter of the air becoming old in the closed bedrooms. That was when she came.

Air in the chateau clammy like laundry that won't dry. Door-banging drafts down the passageways. Autumn is leaving its mellowness behind for its spiky, rotted stage. Don't remember summer even saying good-bye.

It's terribly important for everyone, at any age, to live to his full potential. Otherwise a kind of dry rot sets in, a rust, a disintegration of personality,

But mankind is a dead tree, covered with fine brilliant galls of people.[..]And if it is so, why is it? she asked, hostile.They were rousing each other to a fine passion of opposition. Why, why are people all balls of bitter dust?Because they won't fall off the tree when they're ripe.They hang on to their old positions when the position is over-past, till they become infested with little worms and dry-rot.

I would rather be ashes than dust. I would rather be a streaming meteor than a sleepy and permanent planet. I would rather burn out in a blaze of streaming glory than be stifled like dry rot. I shall use my time.

C10 (or the king's carolers – from student times) on the side stairway, we gather in the evening, many the cold cement steps welcome us as if we were the king's carolers we have mulled wine and dry snacks the orange guitar stretches and warps in the candlelight we take another drag from the cigarette, nibble on sticks and salty biscuits happiness pricks our veins with Burmese nails One floor below, behind the door 'Mr. Blues - Don't Disturb' the tasty rot of jazz caresses our toes We sin in thought, our minds dangling from the railing later, the Serbs come to sing with us Golden-haired like gods from a bombed country we scratch the wall with our nails, don’t know what to say they bring us wafers with fruits and chocolate wrapped in green foil the second evening we gather again on the side stairway with the same mulled wine and dry snacks and the same us the old rockers hanging heavy on the guitar’s body at the midnight office.

So there you have it: Nature is a rotten mess. But that's only the beginning. If you take your eyes off it for one second, it will kill you. Thorns, insects, fungus, worms, birds, reptiles, wild animals, raging rivers, bottomless ravines, dry deserts, snow, quicksand, tumbleweeds, sap, and mud. Rot, poison and death. That's Nature." "It's a wonder you even step outside of your cabin," I said. "My bravery exceeds my good sense," he said.

Everything is heavy with dreams when I paint a cave or write to you about one - out of it comes the clatter of dozens of unfettered horses to trample the shadows with dry hooves, and from the friction of the hooves the rejoicing liberates itself in sparks: here I am, the cave and I, in the time that will rot us.

He's like...'I thought you were just friends.' You are my friend. You're my best friend. Why doesn't he get that? Anyway...I think he wants your dad to rally with him. I'm pretty sure he doesn't give a damn about the dry rot in the basement." I quirked the corner of my mouth dubiously. Dad rallying with Gabriel was pretty unlikely, considering the lengths he had gone to in proving his approval. Rafael took one look at me, horrified, and I knew we were on the same wavelength. He whispered: "If your dad gives my uncle the safe sex talk...

Once you’ve held a book and really loved it, you forever remember the feel of it, its specific weight, the way it sits in your hand. My thumb knows the grain of this book’s leather, the dry dust of red rot that’s crept up its spine, each waving leaf of every page that holds a little secret or one of Peabody’s flourishes. A librarian remembers the particular scent of glue and dust, and if we’re so lucky—and I was—the smell of parchment, a quiet tanginess, softer than wood pulp or cotton rag. We would bury ourselves in books until flesh and paper became one and ink and blood at last ran together. So maybe my hand does clench too tightly to the spine. I may never again hold another book this old, or one with such a whisper of me in it.

He had, in fact, already begun to sink into that creeping dry rot of pedagogy which is the worst and ultimate pitfall of the profession; giving the same lessons year after year had formed a groove into which the other affairs of his life adjusted themselves with insidious ease. He worked well; he was conscientious; he was a fixture that gave service, satisfaction, confidence, everything except inspiration.

To learn about and imagine the emotions that I don't understand or immediately empathize with: that is the affection I extend to others, and the only way to ensure that what's inside of us don't dry up or rot

The world rushed in a circle and turned on its axis and time was busy burning the years and the people anyway, without any help from him. So if he burnt things with the firemen and the sun burnt Time, that meant that everything burnt! One of them had to stop burning. The sun wouldn't, certainly. So it looked as if it had to be Montag and the people he had worked with until a few short hours ago. Somewhere the saving and putting away had to begin again and someone had to do the saving and keeping, one way or another, in books, in records, in people's heads, any way at all so long as it was safe, free from moths, silverfish, rust and dry-rot, and men with matches.

She breathed deeply and smelled water-logged books, the perfume of rotting cardboard and paper that had dried beneath the furnace of the July sun. If a single breath could summarize an entire life, she supposed that would do.

...you know what it's like when your friends are all doing something and you're not. Whether it's fingering someone at a party, taking your driving test of dropping hundreds of thousands of pounds on a dungeon with dry rot - nobody wants to be left behind.

Why do insurance companies, when they want to describe an act of God, invariably pick on something which sounds much more like an act of the Devil? One would think that God was exclusively concerned in making hurricanes, smallpox, thunderbolts, and dry rot. They seem to forget that He also manufactures rainbows, apple-blossom, and Siamese kittens. However, that is, perhaps, a diversion.

This was a freedom essential to the health even of a character so little susceptible of morbid influences as that of Phoebe. The old house [with dry rot in its structure and perhaps also in its inhabitants];...it was not good to breathe no other atmosphere that that.

I jump to my feet in this dream within a dream. Although I am quite dry, I discover that the trees of the forest in which I have slept stand rooted in water. Beyond them, at the forest's edge, stretches a tarn. From the steely face of the tarn rises a mist, and there, where the mist swirls thickest, shimmering like a pale column risen from its depths, dripping tarn water and rotted rose petals, stands Gunther.

Rusted ringer washers. Gas stoves. Dry rotted tires and busted television sets decorated the flat rock hollows. The country yards of rusted trailers and broken-down farmhouses with abandoned red clay tractors. Vehicles on cinder blocks. It was the poor man's fairy tale of rural survival.

Imagine,” Tyler said, "stalking elk past department store windows and stinking racks of beautiful rotting dresses and tuxedos on hangers; you’ll wear leather clothes that will last you the rest of your life, and you’ll climb the wrist-thick kudzu vines that wrap the Sears Tower. Jack and the beanstalk, you’ll climb up through the dripping forest canopy and the air will be so clean you’ll see tiny figures pounding corn and laying strips of venison to dry in the empty car pool lane of an abandoned superhighway stretching eight-lanes-wide and August-hot for a thousand miles.

Suck it up! A foolish grumble of advice. Why would I want to suck it up? Why draw it in to let it fester and rot internally until it cankers my insides? I dare offer wiser words―spit it out! Weep, wail, and raise your voice to the heavens as fresh wounds bleed dry! And then cast it all to the wasteland of dead concerns to be consumed by vultures and maggots.

Nothing is a masterpiece - a real masterpiece - till it's about two hundred years old. A picture is like a tree or a church, you've got to let it grow into a masterpiece. Same with a poem or a new religion. They begin as a lot of funny words. Nobody knows whether they're all nonsense or a gift from heaven. And the only people who think anything of 'em are a lot of cranks or crackpots, or poor devils who don't know enough to know anything. Look at Christianity. Just a lot of floating seeds to start with, all sorts of seeds. It was a long time before one of them grew into a tree big enough to kill the rest and keep the rain off. And it's only when the tree has been cut into planks and built into a house and the house has got pretty old and about fifty generations of ordinary lumpheads who don't know a work of art from a public convenience, have been knocking nails in the kitchen beams to hang hams on, and screwing hooks in the walls for whips and guns and photographs and calendars and measuring the children on the window frames and chopping out a new cupboard under the stairs to keep the cheese and murdering their wives in the back room and burying them under the cellar flags, that it begins even to feel like a religion. And when the whole place is full of dry rot and ghosts and old bones and the shelves are breaking down with old wormy books that no one could read if they tried, and the attic floors are bulging through the servants' ceilings with old trunks and top-boots and gasoliers and dressmaker's dummies and ball frocks and dolls-houses and pony saddles and blunderbusses and parrot cages and uniforms and love letters and jugs without handles and bridal pots decorated with forget-me-nots and a piece out at the bottom, that it grows into a real old faith, a masterpiece which people can really get something out of, each for himself. And then, of course, everybody keeps on saying that it ought to be pulled down at once, because it's an insanitary nuisance.

My hens all died and my plow is broke My well is dry and my yak just croaked My farm’s all rotted straight down to the roots But I don’t care because now I can wearrrrr—! My worldwide, superglide, yellow-dyed, verified, Certified, ratified, justified and dignified, Qualified ironside, fortified and purified, Bona fide, amplified, khernhide boots!

He was completely detached from every thing except the story he was writing and he was living in it as he built it. The difficult parts he had dreaded he now faced one after another and as he did the people, the country, the days and the nights, and the weather were all there as he wrote. He went on working and he felt as tired as if he had spent the night crossing the broken volcanic desert and the sun had caught him and the others with the dry gray lakes still ahead. He could feel the weight of the heavy double-barreled rifle carried over his shoulder, his hand on the muzzle, and he tasted the pebble in his mouth. Across the shimmer of the dry lakes he could see the distant blue of the escarpment. Ahead of him there was no one, and behind was the long line of porters who knew that they had reached this point three hours too late. It was not him, of course, who had stood there that morning, nor had he even worn the patched corduroy jacket faded almost white now, the armpits rotted through by sweat, that he took off then and handed to his Kamba servant and brother who shared with him the guilt and knowledge of the delay, watching him smell the sour, vinegary smell and shake his head in disgust and then grin as he swung the jacket over his black shoulder holding it by the sleeves as they started off across the dry-baked gray, the gun muzzles in their right hands, the barrels balanced on their shoulders, the heavy stocks pointing back toward the line of porters. It was not him, but as he wrote it was and when someone read it, finally, it would be whoever read it and what they found when they should reach the escarpment, if they reached it, and he would make them reach its base by noon of that day; then whoever read it would find what there was there and have it always.

Constitutions and Laws, without Genius and Intellect to govern, will not prevent decay. In that case they have the dry-rot and the life dies out of them by degrees.

Fraud, my children! Fraud and forgery. Dry rot covered with paint and gilded with lies,

We must learn that any person who will not accept what he knows to be truth for the very love of truth alone is very definitely undermining his mental integrity... you have not been a close observer of such men if you have not seen them shrivel, become commonplace, mean without influence, without friends, and without the enthusiasm of youth and growth, like a tree covered with fungus, the foliage deceased, the life gone out of the heart with dry rot and indelibly marked for destruction --- dead, but not yet handed over to the undertaker.

I would rather be ashes than dust! I would rather my sparks should burn out in a blaze than they should be stifled by dry rot. I would rather be a superb meteor, every atom of me in magnificent glow, than asleep and permanent as a planet. The proper function of man is to live, not to exist. I shall not waste my days trying to prolong them. I shall use my time.

The faithful clamoured to be buried alongside the martyrs, as close as possible to the venerable remains, a custom which, in anthropological terms, recalls Neolithic beliefs that certain human remains possessed supernatural properties. It was believed that canonized saints did not rot, like lesser mortals, but that their corpses were miraculously preserved and emanated an odour of sanctity, a sweet, floral smell, for years after death. In forensic terms, such preservation is likely to be a result of natural mummification in hot, dry conditions.

Be careful,” Aunt Blythe said. “The floor’s riddled with dry rot.” Forgetting her own warning, she plunged ahead, opening trunks and boxes, poking and pawing through things, reminiscing.

A child raised with spiritual skills will be able to answer the most basic questions about how the universe works; she will understand the source of creativity both within and outside herself; she will be able to practice nonjudgment, acceptance, and truth, which are the most valuable skills anyone can possess for dealing with other people; and she will be free from the crippling fear and anxiety about the meaning of life that is the secret dry rot inside the hearts of most adults, whether they can admit it or not. The deepest nurturing you can give your child is spiritual nurturing.

Uncle Vernon, Aunt Petunia, and Dudley were Harry’s only living relatives. They were Muggles who hated and despised magic in any form, which meant that Harry was about as welcome in their house as dry rot.

Philosophy has no other root but the principles of common sense.; it grows out from them, and draws its nourishment from them; severed from this root, its honours wither up, its sap is dried up, it dies and rots.

And the air was rent with cries of the living glaring at the rotted bones and rags of their kin and friends just a-swingin in the winds circling about the land, and pulling the bones and rags--some crumbling and dry, some still squirming with the worms eating away at them--from those once mighty roots, and putting them back in the gaping holes.

All the people within reach had suspended their business, or their idleness, to run to the spot and drink the wine. The rough, irregular stones of the street, pointing every way, and designed, one might have thought, expressly to lame all living creatures that approached them, had dammed it into little pools; these were surrounded, each by its own jostling group or crowd, according to its size. Some men kneeled down, made scoops of their two hands joined, and sipped, or tried to help women, who bent over their shoulders, to sip, before the wine had all run out between their fingers. Others, men and women, dipped in the puddles with little mugs of mutilated earthenware, or even with handkerchiefs from women’s heads, which were squeezed dry into infants’ mouths; others made small mud-embankments, to stem the wine as it ran; others, directed by lookers-on up at high windows, darted here and there, to cut off little streams of wine that started away in new directions; others devoted themselves to the sodden and lee-dyed pieces of the cask, licking, and even champing the moister wine-rotted fragments with eager relish. There was no drainage to carry off the wine, and not only did it all get taken up, but so much mud got taken up along with it, that there might have been a scavenger in the street, if anybody acquainted with it could have believed in such a miraculous presence.

This plague... This curse... I have an idea where it came from. I don't think it's from any spell or virus or nuclear rays. I think it's from a deeper place. I think we brought it here. I think we crushed ourselves down over the centuries. Buried ourselves under greed and hate and whatever other sins we could find until our souls finally hit the rock bottom of the universe. And then they scraped a hole through it, into some... dark place. We released it. We poked through the seabed and the oil erupted, painted us black, pulled our inner sickness out for everyone to see. Now here we are in this dry corpse of a world, rotting on our feet till there's nothing left but bones and the buzz of flies.

You. Man at the machine and man in the workshop. If tomorrow they tell you you are to make no more water-pipes and saucepans but are to make steel helmets and machine-guns, then there's only one thing to do: Say NO! You. Woman at the counter and woman in the office. If tomorrow they tell you you are to fill shells and assemble telescopic sights for snipers' rifles, then there's only one thing to do: Say NO! You. Research worker in the laboratory. If tomorrow they tell you you are to invent a new death for the old life, then there's only one thing to do: Say NO! You. Priest in the pulpit. If tomorrow they tell you you are to bless murder and declare war holy, then there's only one thing to do: Say NO! You. Pilot in your aeroplane. If tomorrow they tell you you are to carry bombs over the cities, then there's only one thing to do: Say NO! You. Man of the village and man of the town. If tomorrow they come and give you your call-up papers, then there's only one thing to do: Say NO! You. Mother in Normandy and mother in the Ukraine, mother in Vancouver and in London, you on the Hwangho and on the Mississippi, you in Naples and Hamburg and Cairo and Oslo - mothers in all parts of the earth, mothers of the world, if tomorrow they tell you you are to bear new soldiers for new battles, then there's only one thing to do: Say NO! For if you do not say NO - if YOU do not say no - mothers, then: then! In the bustling hazy harbour towns the big ships will fall silent as corpses against the dead deserted quay walls, their once shimmering bodies overgrown with seaweed and barnacles, smelling of graveyards and rotten fish. The trams will lie like senseless glass-eyed cages beside the twisted steel skeleton of wires and track. The sunny juicy vine will rot on decaying hillsides, rice will dry in the withered earth, potatoes will freeze in the unploughed land and cows will stick their death-still legs into the air like overturned chairs. In the fields beside rusted ploughs the corn will be flattened like a beaten army. Then the last human creature, with mangled entrails and infected lungs, will wander around, unanswered and lonely, under the poisonous glowing sun, among the immense mass graves and devastated cities. The last human creature, withered, mad, cursing, accusing - and the terrible accusation: WHY? will die unheard on the plains, drift through the ruins, seep into the rubble of churches, fall into pools of blood, unheard, unanswered, the last animal scream of the last human animal - All this will happen tomorrow, tomorrow, perhaps, perhaps even tonight, perhaps tonight, if - if - You do not say NO.

The powder in that box feels like it represents so accurately what I am: a thing that is completely and utterly removed from human life, or even animal life; a thing that's been sucked dry of everything that once sustained a real living body; something that is so devoid of life that it doesn't even rot, but just sits in the corner of my studio out of the fridge, in its box, unchanging. The thought of consuming the powder revolts me; the thought of it going into my body, becoming a part of it, makes me feel like I myself am revolting.

Popular success is a palace built for a writer by publishers, journalists, admirers, and professional reputation makers, in which a silent army of termites, rats, dry rot, and death-watch beetles are tunnelling away, till, at the very moment of completion, it is ready to fall down.

There is something about poverty that smells like death. Dead dreams dropping off the heart like leaves in a dry season and rotting around the feet; impulses smothered too long in the fetid air of underground caves. The soul lives in a sickly air. People can be slave-ships in shoes.

There is something about poverty that smells like death. Dead dreams dropping off the heart like leaves in a dry season and rotting around the feet; impulses smothered too long in the fetid air of underground caves. The soul lives in a sickly air. People can be slave-ships in shoes. This

Rather than complaining about inconsequential little irritations, I'm asking God to get right to the root of the problem, to eradicate the dry rot and fix the cracks in my foundation. I need Him to show me how to love Him and how to love His people. Even the ones I don't like - even myself.

Oh. My. God. I am buzzing with sensory overload. With just his mouth and that wicked, wicked tongue, this man has me losing my ever-loving mind. Five years and I’ve only ever been aroused in my dreams – and only because they were of Seb. My body is on fire and I feel like I could come from just this kiss! I can’t believe my parts are still working after all these years. I thought for sure I had dry rot. I can’t stop the sounds coming from my mouth, like a deranged kitten or something. I never would have guessed that he would want me and that confession has completely blown my mind.

I let go of him and remain standing. I promised myself I would do this, if I ever had the chance again.. I promised I would do this the first moment I could. 'I love you,' I say, the words coming out in an unintelligible rush. Cardan looks taken aback. Or possibly I spoke so fast he's not even sure what I said. 'You need not say it out of pity,' he says finally, with great deliberateness. 'Or because I was under a curse. I have asked you to lie to me in the past, in this very room, but I would beg you not to lie now.' My cheeks heat at the memory of those lies. 'I have not made myself easy to love,' he says, and I hear the echo of his mother's words in his. When I imagined telling him, I thought I would say the words, and it would be like pulling off a bandage- painful and swift. But I didn't think he would doubt me. 'I first started liking you when we went to talk to the rulers of the low Courts,' I say. 'You were funny, which was weird. And when we went to Hollow Hall, you were clever. I kept remembering how you'd been the one to get us out of the brugh after Dain's coronation, right before I put the knife to your throat.' He doesn't try to interrupt, so I have to choice but to barrel on. 'After I tricked you into being High King,' I say. 'I thought once you hated me, I could go back to hating you. But I didn't. And I felt so stupid. I thought I would get my heart broken. I thought it was a weakness that you would use against me. But then you saved me from the Undersea when it would have been much more convenient to just leave me to rot. After that, I started to hope my feelings were returned. But then there was the exile-' I take a ragged breath. 'I hid a lot, I guess. I thought if I didn't, if I let myself love you, I would burn up like a match. Like the whole matchbook.' 'But now you've explained it,' he says. 'And you do love me.' 'I love you,' I confirm. 'Because I am clever and funny,' he says, smiling. 'You didn't mention my handsomeness.' 'Or your deliciousness,' I say. 'Although those are both good qualities.' He pulls me to him, so that we're both lying on the couch. I look down at the blackness of his eyes and the softness of his mouth. I wipe a fleck of dried blood from the top of one pointed ear. 'What was it like?' I ask. 'Being a serpent.' He hesitates. 'It was like being trapped in the dark,' he says. 'I was alone, and my instinct was to lash out. I was perhaps not entirely an animal, but neither was I myself. I could not reason. There was only feelings- hatred and terror and the desire to destroy.' I start to speak, but he stops me with a gesture. 'And you.' He looks at me, his lips curving in something that's not quite a smile; it's more and less than that. 'I knew little else, but I always knew you.' And when he kisses me, I feel as though I can finally breathe again.

José What now, José? The party’s over, the lights are off, the crowd’s gone, the night’s gone cold, what now, José? what now, you? you without a name, who mocks the others, you who write poetry who love, protest? what now, José? You have no wife, you have no speech you have no affection, you can’t drink, you can’t smoke, you can’t even spit, the night’s gone cold, the day didn’t come, the tram didn’t come, laughter didn’t come utopia didn’t come and everything ended and everything fled and everything rotted what now, José? what now, José? Your sweet words, your instance of fever, your feasting and fasting, your library, your gold mine, your glass suit, your incoherence, your hate—what now? Key in hand you want to open the door, but no door exists; you want to die in the sea, but the sea has dried; you want to go to Minas but Minas is no longer there. José, what now? If you screamed, if you moaned, if you played a Viennese waltz, if you slept, if you tired, if you died… But you don’t die, you’re stubborn, José! Alone in the dark like a wild animal, without tradition, without a naked wall to lean against, without a black horse that flees galloping, you march, José! José, where to?

It was claimed that the Borgias spread arsenic on the entrails of a slaughtered pig, which were then left to rot. The resulting mess was gently dried to a powder which they called La Cantarella, a pale solid that was added to food or drink. If the arsenic did not claim the victim, the toxins from the rotting entrails would probably finish them off.

One day when the Raiders were in Oakland, a reporter visited their locker room to talk to Ken Stabler. Stabler really wasn’t known as an intellectual, but he was a good quarterback. This newspaperman read him some English prose: “I would rather be ashes than dust. I would rather that my spark should burn out in a brilliant blaze than that it should be stifled by dry rot. I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy, impermanent planet. The proper function of man is to live, not to exist. I shall not waste my days in trying to prolong them. I shall use my time.” After reading this to the quarterback, the reporter asked, “What does this mean to you?” Stabler immediately replied, “Throw deep.” Go after it. Go out to win in life.

Lily knew what he meant. She loved places that people had forgotten, like the old gas station rotting on the edge of the forest in Pelt, all gray wood and brown metal. She liked to walk there sometimes and imagine that during tempests the king of the forest, dry leaves swirling around his motorcycle, would skid to a halt and demand unleaded gas from shadowy attendants while a mossy-faced knight sat in his sidecar.

Then Jip went up to the front of the ship and smelt the wind; and he started muttering to himself, "Tar; Spanish onions; kerosene oil; wet raincoats; crushed laurel-leaves; rubber burning; lace-curtains being washed--No, my mistake, lace-curtains hanging out to dry; and foxes--hundreds of 'em--cubs; and--" "Can you really smell all those different things in this one wind?" asked the Doctor. "Why, of course!" said Jip. "And those are only a few of the easy smells--the strong ones. Any mongrel could smell those with a cold in the head. Wait now, and I'll tell you some of the harder scents that are coming on this wind--a few of the dainty ones." Then the dog shut his eyes tight, poked his nose straight up in the air and sniffed hard with his mouth half-open. For a long time he said nothing. He kept as still as a stone. He hardly seemed to be breathing at all. When at last he began to speak, it sounded almost as though he were singing, sadly, in a dream. "Bricks," he whispered, very low--"old yellow bricks, crumbling with age in a garden-wall; the sweet breath of young cows standing in a mountain-stream; the lead roof of a dove-cote--or perhaps a granary--with the mid-day sun on it; black kid gloves lying in a bureau-drawer of walnut-wood; a dusty road with a horses' drinking-trough beneath the sycamores; little mushrooms bursting through the rotting leaves; and--and--and--" "Any parsnips?" asked Gub-Gub. "No," said Jip. "You always think of things to eat. No parsnips whatever.

Asleep was the way Harry liked the Dursleys best; it wasn’t as though they were ever any help to him awake. Uncle Vernon, Aunt Petunia, and Dudley were Harry’s only living relatives. They were Muggles who hated and despised magic in any form, which meant that Harry was about as welcome in their house as dry rot. They had explained away Harry’s long absences at Hogwarts over the last three years by telling everyone that he went to St. Brutus’s Secure Center for Incurably Criminal Boys. They knew perfectly well that, as an underage wizard, Harry wasn’t allowed to use magic outside Hogwarts, but they were still apt to blame him for anything that went wrong about the house. Harry had never been able to confide in them or tell them anything about his life in the Wizarding world. The very idea of going to them when they awoke, and telling them about his scar hurting him, and about his worries about Voldemort, was laughable.

Even her gold-dappled memories of the cloud forest are beginning to rot and decay. When she reaches back in her mind now, it’s not her mother’s voice she remembers, or the scent of drying herbs, or the chorus of the tree frogs at night, or the cool wash of the clouds on her arms and hair. It’s the poverty that drove her father and all the men away to the cities. It’s the advancing threat of the cartels, the want of resources, the ever-present hunger. So it’s only for the sake of her sister that Rebeca nods her head.

Everything is broken," I murmur. "Things have been cracked for so long, Sage, Sky responds. "They needed to break. So now the roots and leave can come out and everything can bloom again." Her metaphor stops me. If a seed cracks open and the plant can't make its way out, it would either rot or dry out from the inside. Is that how my life has been? Cracked. Dried. Rotting. Yes, it's not pleasant to break. But what if it is needed sometimes, like Sky just said? What if sometimes, we have to break things in order to heal them?

a repository sounds like a place for storing furniture when you bash off to some other station. I suppose an Englishman could say that the whole of India is that sort of place. You all went, but left so much behind that you couldn’t carry with you wherever you were going, and these days those of you who come back can more often than not hardly bother to think about it, let alone ask for the key to go in and root about among all the old dust sheets to see that everything worthwhile that you left is still there and isn’t falling to pieces with dry rot.

thumb and forefinger, grimacing at its matted feel. One of those low cellar windows was directly behind it, one pane broken, the other opaque with dirt. He leaned forward, now feeling almost hypnotized. He leaned closer to the window, closer to the cellar-darkness, breathing in that smell of age and must and dry-rot, closer and closer to the black, and surely the leper would have caught him if his asthma hadn’t picked that exact moment to kick up. It cramped his lungs with a weight that was painless yet frightening; his breath at once took on the familiar hateful whistling sound.

            Time stretched to dry on the rooftops I am in Mixcoac                           Letters rot in the mailboxes                         The bougainvillea against the wall’s white lime                                            flattened by the sun a stain a purple                         passionate calligraphy written by the sun I am walking back                             back to what I left or to what left me                              Memory edge of the abyss                             balcony over the void                     I walk and do not move forward from "Return

In this unequal contest betwixt common sense and philosophy, the latter will always come off both with dishonour and loss; nor can she ever thrive till this rivalship is dropped, these encroachments given up, and a cordial friendship restored: for in reality common sense holds nothing of philosophy, nor needs her aid. But, on the other hand, philosophy (if I may be permitted to change the metaphor) has no other root but the principles of common sense; it grows out of them, and draws its nourishment from them: severed from this root, its honours wither, its sap is dried up, it dies and rots.

In this way, as it seems to me, he said: "One might make the same argument about harmony, lyre and strings, that a harmony is something invisible, without body, beautiful and divine in the attuned lyre, whereas the lyre itself and its strings are physical, bodily, composite, earthy and akin to what is mortal. Then if someone breaks the lyre, cuts or breaks the strings and then insists, using the same argument as you, that the harmony must still exist and is not destroyed because it would be impossi- ble for the lyre and the strings, which are mortal, still to exist when the strings are broken, and for the harmony, which is akin and of the same nature as the divine and immortal, to be destroyed before that which is mortal; he would say that the harmony itself still must exist and that the wood and the strings must rot before the harmony can suffer. And indeed Socrates, I think you must have this in mind, that we really do suppose the soul to be something of this kind; as the body is stretched and held together by the hot and the cold, the dry and the moist and other such things, and OUR soul is a mixture and harmony of those things when they are mixed with each other rightly and in due measure.

When one is much alone one’s vision becomes more extensive; from the tide-wrack rubbish-heap of small bones and dry, crumpled wings, relics of lesser lives, rise images the brighter for being unconfined by the physical eye. From some feathered mummy, stained and thin, soars the spinning lapwing in the white March morning; in the surface crust of rotting weed, where the foot explodes a whirring puff of flies, the withered fins and scales hold still, intrinsically, the sway and dart of glittering shoals among the tide-swung sea-tangle; smothered by the mad parabolic energy of leaping sand-hoppers the broken antlers of a stag re-form and move again high in the bare, stony corries and the October moonlight.

You will encounter a fifth taste. Umami: uni, or sea urchin, anchovies, Parmesan, dry-aged beef with a casing of mold. It’s glutamate. Nothing is a mystery anymore. They make MSG to mimic it. It’s the taste of ripeness that’s about to ferment. Initially, it serves as a warning. But after a familiarity develops, after you learn its name, that precipice of rot becomes the only flavor worth pursuing, the only line worth testing.

But when the time comes to judge, to un­der­stand a be­trayal which will spread like fame across the Web, which will end worlds, I ask you not to think of me—my name was not even writ on wa­ter as your lost poet’s soul said—but to think of Old Earth dy­ing for no rea­son, to think of the dol­phins, their gray flesh dry­ing and rot­ting in the sun, to see—as I have seen—the motile isles with no place to wan­der, their feed­ing grounds de­stroyed, the Equa­to­r­ial Shal­lows scabbed with drilling plat­forms, the is­lands them­selves bur­dened with shout­ing, tram­mel­ing tourists smelling of UV lo­tion and cannabis. Or bet­ter yet, think of none of that. Stand as I did af­ter throw­ing the switch, a mur­derer, a be­trayer, but still proud, feet firmly planted on Hy­pe­r­ion’s shift­ing sand, head held high, fist raised against the sky, cry­ing “A plague on both your houses!

My aching, bloodied fingers dug into dented armour and clammy, stiff flesh as I heaved away the last of the High Fae corpses piled atop the fallen Illyrian soldier. The dark hair, the golden-brown skin... The same as Cassian's. But it was not Cassian's death-grey face that gaped at the sky. My breath whooshed from me, my lungs still raw from roaring, my lips dry and chapped. I needed water- badly. But nearby, another set of Illyrian wings poked up from the piled dead. I mumbled and lurched toward it, letting my mind drift someplace dark and quiet while I righted the twisted neck to peer at the face beneath the simple helm. Not him. I picked my way through the corpses to another Illyrian. Then another. And another. Some I knew. Some I didn't. Still the killing field stretched onward under the sky. Mile after mile. A kingdom of the rotting dead. And still I looked.

He carried the ladder back to the farmhouse. From the corner of his eye he thought he saw something move, and he looked in through the window, into the dark room filled with broken furniture, with the plaster peeling from the walls, and for a moment, in a half-dream, he imagined that he saw three women sitting in the dark parlor. One of them was knitting. One of them was staring directly at him. One of them appeared to be asleep. The woman who was staring at him began to smile, a huge smile that seemed to split her face lengthwise, a smile that crossed from ear to ear. Then she raised a finger and touched it to her neck, and ran it gently from one side of her neck to the other. That was what he thought he saw, all in a moment, in that empty room, which contained, he saw at a second glance, nothing more than old rotting furniture and fly-spotted prints and dry rot. There was nobody there at all.

But when the time comes to judge, to understand a betrayal which will spread like flame across the Web, which will end worlds, I ask you not to think of me—my name was not even writ on water as your lost poet’s soul said—but to think of Old Earth dying for no reason, to think of the dolphins, their gray flesh drying and rotting in the sun, to see—as I have seen—the motile isles with no place to wander, their feeding grounds destroyed, the Equatorial Shallows scabbed with drilling platforms, the islands themselves burdened with shouting, trammeling tourists smelling of UV lotion and cannabis. Or better yet, think of none of that. Stand as I did after throwing the switch, a murderer, a betrayer, but still proud, feet firmly planted on Hyperion’s shifting sand, head held high, fist raised against the sky, crying “A plague on both your houses!” For you see, I remember my grandmother’s dream. I remember the way it could have been. I remember Siri.

A single mud street rutted from the recent rains. A squalid alameda where there stood a rotting brushwood gazebo and a few old iron benches. The trees in the alameda had been freshly whitewashed and the upper trunks were lost in the dark above the light of the few lamps yet burning so that they looked like plaster stagetrees new from the mold. The horses stepped with great weariness among the dried rails of mud in the street and dogs barked at them from behind the wooden gates and doors they passed.

There were six hundred thousand Indian troops in Kashmir but the pogrom of the pandits was not prevented, why was that. Three and a half lakhs of human beings arrived in Jammu as displaced persons and for many months the government did not provide shelters or relief or even register their names, why was that. When the government finally built camps it only allowed for six thousand families to remain in the state, dispersing the others around the country where they would be invisible and impotent, why was that. The camps at Purkhoo, Muthi, Mishriwallah, Nagrota were built on the banks and beds of nullahas, dry seasonal waterways, and when the water came the camps were flooded, why was that. The ministers of the government made speeches about ethnic cleansing but the civil servants wrote one another memos saying that the pandits were simply internal migrants whose displacement had been self-imposed, why was that. The tents provided for the refugees to live in were often uninspected and leaking and the monsoon rains came through, why was that. When the one-room tenements called ORTs were built to replace the tents they too leaked profusely, why was that. There was one bathroom per three hundred persons in many camps why was that and the medical dispensaries lacked basic first-aid materials why was that and thousands of the displaced died because of inadequate food and shelter why was that maybe five thousand deaths because of intense heat and humidity because of snake bites and gastroenteritis and dengue fever and stress diabetes and kidney ailments and tuberculosis and psychoneurosis and there was not a single health survey conducted by the government why was that and the pandits of Kashmir were left to rot in their slum camps, to rot while the army and the insurgency fought over the bloodied and broken valley, to dream of return, to die while dreaming of return, to die after the dream of return died so that they could not even die dreaming of it, why was that why was that why was that why was that why was that.

Every Angel recruit comes to his initiation wearing a new pair of Levis and a matching jacket with the sleeves cut off and a spotless emblem on the back. The ceremony varies from one chapter to another but the main feature is always the defiling of the initiate’s new uniform. A bucket of dung and urine will be collected during the meeting, then poured on the newcomer’s head in a solemn baptismal. Or he will take off his clothes and stand naked while the bucket of slop is poured over them and the others stomp it in. These are his „originals,” to be worn every day until they rot. The Levi’s are dipped in oil, then hung out to dry in the sun – or left under the motorcycle at night to absorb the crankcase drippings. When they become too ragged to be functional, they are worn over other, newer Levi’s. Many of the jackets are so dirty that the colors are barely visible, but they aren’t discarded until they literally fall apart. The condition of the originals is a sign of status. It takes a year or two before they get ripe enough to make a man feel he has really made the grade.

Or one might take the tip of a pencil and magnify it. One reaches the point where a stunning realization strikes home: The pencil-tip is not solid; it is composed of atoms which whirl and revolve like a trillion demon planets. What seems solid to us is actually only a loose net held together by gravity. Viewed at their actual size, the distances between these atoms might become leagues, gulfs, aeons. The atoms themselves are composed of nuclei and revolving protons and electrons. One may step down further to subatomic particles. And then to what? Tachyons? Nothing? Of course not. Everything in the universe denies nothing; to suggest an ending is the one absurdity. [...] “Perhaps you saw what place our universe plays in the scheme of things—as no more than an atom in a blade of grass. Could it be that everything we can perceive, from the microscopic virus to the distant Horsehead Nebula, is contained in one blade of grass that may have existed for only a single season in an alien time-flow? What if that blade should be cut off by a scythe? When it begins to die, would the rot seep into our own universe and our own lives, turning everything yellow and brown and desiccated? Perhaps it’s already begun to happen. We say the world has moved on; maybe we really mean that it has begun to dry up.

but Ben could see the clown’s face clearly. It was deeply lined, the skin a parchment map of wrinkles, tattered cheeks, arid flesh. The skin of its forehead was split but bloodless. Dead lips grinned back from a maw in which teeth leaned like tombstones. Its gums were pitted and black. Ben could see no eyes, but something glittered far back in the charcoal pits of those puckered sockets, something like the cold jewels in the eyes of Egyptian scarab beetles. And although the wind was the wrong way, it seemed to him that he could smell cinnamon and spice, rotting cerements treated with weird drugs, sand, blood so old it had dried to flakes and grains of rust . . .

We are all gastropods, soft, sticky creatures pulling ourselves along the earth from which we came and leaving a trail of silvery drool behind. But the snail, a worm that eternally slides along the horizon, lifts into the air, from its soft bivalve back, the geometrical wonder of its spiral shell, seemingly unrelated to the body that produced it in fear and loneliness. We secrete our shell in the sweat and mucous of our skin, in the transparent, scaly flesh of the foot we use to drag ourselves along. Through an alchemical transmutation, our drool turns to ivory and the spasms of our flesh into an undisturbed stillness. We curl around our central pilaster of rose-colored kaolin, we add, in our desperate drive to persist, spiral after spiral, each one wider, asymptotic, and translucid, until the miracle comes to pass: the revolting worm—existing in the life it lives, fermenting in its sins, irrigated by hormones and blood and sperm and lymph—rots and dies, leaving behind the ceramic filigree of its shell, a triumph of symmetry, the deathless icon in the platonic world of the mind. We all secrete, as we live, poems and pictures, ideas and hope, glistening palaces of music and faith, shells which begin by protecting our soft abdomen but after our disappearance live in the golden air of pure forms. Geometry always appears out of the amorphous, serenity out of pain and torture, just as dry tears leave behind the most wondrous crystals of salt.

No, they were not real. TV monsters and movie monsters and comic-book monsters were not real. Not until you went to bed and couldn’t sleep; not until the last four pieces of candy, wrapped in tissues and kept under your pillow against the evils of the night, were gobbled up; not until the bed itself turned into a lake of rancid dreams and the wind screamed outside and you were afraid to look at the window because there might be a face there, an ancient grinning face that had not rotted but simply dried like an old leaf, its eyes sunken diamonds pushed deep into dark sockets; not until you saw one ripped and clawlike hand holding out a bunch of balloons: See the sights, have a balloon, feed the elephants, ride the Chute-the-Chutes! Ben, oh, Ben, how you’ll float—

MH: In an early letter to William Kennedy you spoke of the "dry rot" of American journalism. Tell me what you think. What's the state of the American press currently? HST: The press today is like the rest of the country. Maybe you need a war. Wars tend to bring out out the best in them. War was everywhere you looked in the sixties, extending into the seventies. Now there are no wars to fight. You know, it's the old argument about why doesn't the press report the good news? Well, now the press is reporting the good news, and it's not as much fun. The press has been taken in by Clinton. And by the amalgamation of politics. Nobody denies that the parties are more alike than they are different. No, the press has failed, failed utterly -- they've turned into slovenly rotters. Particularly The New York Times, which has come to be a bastion of political correctness. I think my place in history as defined by the PC people would be pretty radically wrong. Maybe I could be set up as a target at the other end of the spectrum. I feel more out of place now than I did under Nixon. Yeah, that's weird. There's something going on here, Mr. Jones, and you don't know what it is, do you? Yeah, Clinton has been a much more successfully deviant president than Nixon was. You can bet if the stock market fell to 4,000 and if four million people lost their jobs there'd be a lot of hell to pay, but so what? He's already re-elected. Democracy as a system has evolved into something that Thomas Jefferson didn't anticipate. Or maybe he did, at the end of his life. He got very bitter about the press. And what is it he said? "I tremble for my nation when I reflect that God is just"? That's a guy who's seen the darker side. Yeah, we've become a nation of swine. - HST - The Atlantic , August 26, 1997

Cutting Board Maintenance Moisturize! Once a month I spend some quality time, just me and my cutting board family. Wood is porous and kind of alive—it expands and contracts, absorbs moisture and dries out. Without any TLC even the best wooden cutting board can crack, warp, or even rot from the inside. Luckily, all you need to prevent all of that is monthly moisturization. 1. Start with a clean and dry board: Using a soft dish sponge, scrub clean with dish soap. Remove any tough stains with a mixture of baking soda and water. Never use any harsh abrasives like bleach or steel wool. Rinse and then dry the board with a towel and leave it standing on its edge to fully dry. (If you can, it’s best to store your board standing on its edge when not in use so moisture doesn’t fester underneath.) When washing your board, be sure to wet both sides. This ensures that both sides are equally moist and dry at the same rate to prevent warping. 2. Apply a generous layer of food-grade mineral oil: Lay the board flat so excess oil doesn’t run off, and use your hands to spread a thick layer of mineral oil all over one side, rubbing into the edges and any grooves. Why mineral oil? Unlike most other oils, such as canola, olive, or coconut, mineral oil is totally flavorless and won’t grow rancid 3. Give it time to soak in: Let it sit for a few hours and preferably overnight to drink in as much oil as possible. 4. Buff and repeat: Use a towel to rub away any excess oil the board didn’t soak up. Next, buff the board, rubbing in any last remnants of oil. It should not feel slick or greasy when you’re done. Flip and repeat on the other side. • Level up: To give your board an almost velvety feel, after oiling both sides, rub them down with board cream. Board cream is a mixture of food-grade mineral oil and beeswax that you can purchase or make yourself. Using a towel, rub a thin, even layer all over the board. No need to wipe it off after.

This is life seen by life. I may not have meaning but it is the same lack of meaning that the pulsing vein has. I want to write to you like someone learning. I deepen the words as if I were painting, more than an object, its shadow. I don’t want to ask why, you can always ask why and always get no answer—could I manage to surrender to the expectant silence that follows a question without an answer? Though I sense that some place or time the great answer for me does exist. And then I shall know how to paint and write, after the strange but intimate answer. Listen to me, listen to the silence. What I say to you is never what I say to you but something else instead. It captures the thing that escapes me and yet I live from it and am above a shining darkness. One instant athematic theme unfurls without a plan but geometric like the successive shapes in a kaleidoscope. I slowly enter my gift to myself, splendor ripped open by the final song that seems to be the first. I enter the writing slowly as I once entered painting. It is a world tangled up in creepers, syllables, woodbine, colors and words—threshold of an ancestral cavern that is the womb of the world and from it I shall be born. And if I often paint caves that is because they are my plunge into the earth, dark but haloed with brightness, and I, blood of nature— extravagant and dangerous caves, talisman of the Earth, where stalactites, fossils and rocks come together, and where the animals mad by their own malign nature seek refuge. The caves are my hell. Forever dreaming cave with its fogs, memory or longing? eerie, eerie, esoteric greenish with the slime of time. All is weighted with sleep when I paint a cave or write to you about it—from outside it comes the clatter of dozens of wild horses stamping with dry hoofs the darkness, and from the friction of the hoofs the rejoicing is freed in sparks: here I am, I and the cave, in the very time that will rot us. I want to put into words but without description the existence of the cave that some time ago I painted—and I don’t know how. Only by repeating its sweet horror, cavern of terror and wonders, place of afflicted souls, winter and hell, unpredictable substratum of the evil that is inside an earth that is not fertile. I call the cave by its name and it begins to live with its miasma. I then fear myself who knows how to paint the horror, I, creature of echoing caverns that I am, and I suffocate because I am word and also its echo.

My dad always told me that there are three types of humans on this planet. First there’s the Sheep. The everyday types who live in denial—spoon-fed by the morning news, chewed up by another monotonous workday, and spit back out across the urban streets of the world like a mouthful of funky meatloaf that’s been rotting in the back of the fridge. Basically, the Sheep are the defenseless majority who are completely unwilling to acknowledge the inevitability of real danger, and trust the system to take care of them. Next you’ve got your Wolves. The bad guys who abide by no societal laws whatsoever but are good at pretending when it suits them. These are the thieves, murderers, rapists, and politicians, who feed on the Sheep until they’re thrown in prison, or better yet, belly up in a landfill alongside sheaves of your grandma’s itchy hand-knit Christmas socks. The ones you ritualistically blow up every year with an M80. And lastly, you have people like us. The McCrackens. The Herders of the world. Sure, our kind may look a lot like Wolves—large fangs, sharp claws, and the capacity for violence—but what sets us apart from the rest is that we represent the balance between the two. We can navigate the flock freely, with the ability to protect or disown as we see fit. My dad says that we’re the select few with the power of choice, and when real danger arises, we’ll be the ones who survive—and not just because we own a 357 Magnum, three glock G19’s, and a Mossberg pump-action shotgun, but because we’ve been prepping, in every possible badass way, since as long as I can remember, for the inevitable collapse of society as we know it.

He tired to reconstruct in his imagination the annihilated splendor of the banana company town, whose dry swimming pool was filled to the brim with rotting men's and woman's shoes, and in the houses of which, destroyed by rye grass, he found the skeleton of a German shepherd dog still tied to a ring by a steel chain and a telephone that was ringing, ringing, ringing until he picked it up and an anguished and distant woman spoke in English, and he said yes, that the strike was over, that three thousand dead people had been thrown into the sea, that the banana company had left, and that Macondo finally had peace after many years.

Dragged from her bed, Queen Alys saw her sisters killed before her eyes as they tried to protect her. Her father, inspecting the Tower of the Hand, was flung from its roof to smash upon the stones below. Harroway’s sons, brothers, and nephews were taken as well. Thrown onto the spikes that lined the dry moat around Maegor’s Holdfast, some took hours to die; the simpleminded Horas Harroway lingered for days. The twenty names on Queen Tyanna’s list soon joined them, and then another dozen men, named by the first twenty. The worst death was reserved for Queen Alys herself, who was given over to her sister-wife Tyanna for torment. Of her death we will not speak, for some things are best buried and forgotten. Suffice it to say that her dying took the best part of a fortnight, and that Maegor himself was present for all of it, a witness to her agony. After her death, the queen’s body was cut into seven parts, and her pieces mounted on spikes above the seven gates of the city, where they remained until they rotted. King Maegor himself departed King’s Landing, assembling a strong force of knights and men-at-arms and marching on Harrenhal to complete the destruction of House Harroway. The great castle on the Gods Eye was lightly held, and its castellan, a nephew of Lord Lucas and cousin to the late queen, opened his gates at the king’s approach. Surrender did not save him; His Grace put the entire garrison to the sword, along with every man, woman, and child he found to have any drop of Harroway blood. Then he marched to Lord Harroway’s Town on the Trident and did the same there. In the aftermath of the bloodletting, men began to say that Harrenhal was cursed, for every lordly house to hold it had come to a bad and bloody end.

It is a southern river town with some pretensions of being a city... And like every southern river town it has its canker.... The capital has its own orneriness, as pervading as the others, but it isn't the same sort. It never was a fun town. It is not a robust sin town. Its fleshpots have no real juice in them. Its vices are effete and heterodox, and its moral rot is a dry one. Though its people have come from all parts, yet they are not all sorts of people. They are very much of one sort. The ethic climate here nurtures an ancient, evil, shriveled thing. It is of the inhabitants of this city that the prophet spoke: Of those who do not have the faith And will not have the fun.

In an old house,' he said, 'there is sometimes an atmosphere of evil.' 'That's it, sir,' said Ellen, eagerly. 'Evil. Bad thoughts and bad deeds too. It's like dry rot in a house, sir, you can't get it out. It's a sort of feeling in the air. I always knew something bad would happen in this house, someday.

sad-faced mourners, who each day are wending Through churchyard paths of cypress and of yew, Leave for today the low graves you are tending, And lift your eyes to God’s eternal blue! It is no time for bitterness or sadness; Choose Easter lilies, not pale asphodels; Let your souls thrill to the caress of gladness, And answer the sweet chime of Easter bells. If Christ were still within the grave’s low prison, A captive of the Enemy we dread; If from that rotting cell He had not risen, Who then could dry the gloomy tears you shed? If Christ were dead there would be need to sorrow, But He has risen and vanquished death today; Hush, then your sighs, if only till tomorrow, At Easter give your grief a holiday. May Riley Smith

warlords battled constantly for supremacy and the possibility of attack was ever present. The castle itself was squat and powerful, with thick walls and heavy towers at each of the four corners. It had none of the soaring grace of Redmont or Castle Araluen. Rather, it was a dark, brooding and forbidding structure, built for war and for no other reason. Halt had told Horace that the word Montsombre translated to mean “dark mountain.” It seemed an appropriate name for the thick-walled building at the end of the winding, tortuous pathway. The name became even more meaningful as they climbed higher. There were poles lining the side of the road, with strange, square structures hanging from them. As they drew closer, Horace could make out, to his horror, that the structures were iron cages, only an arm span wide, containing the remains of what used to be men. They hung high above the roadway, swaying gently in the wind that keened around the upper reaches of the path. Some had obviously been there for many months. The figures inside were dried-out husks, blackened and shriveled by their long exposure, and festooned in fluttering rags of rotting cloth. But others were newer and the men inside were recognizable. The cages were constructed from iron bars arranged in squares, leaving room for ravens and crows to enter and tear at the men’s flesh. The eyes of most of the bodies had been plucked out by the birds. He glanced, sickened, at Halt’s grim face. Deparnieux saw the movement and smiled at him, delighted with the impression his roadside horrors were having on the boy. “Just the occasional criminal,” he said easily. “They’ve all been tried and convicted, of course. I insist on a strict rule of law in Montsombre.” “What were their crimes?” the boy asked. His throat was thick and constricted and it was difficult to form the words. Again, Deparnieux gave him that unconcerned smile. He made a pretense of trying to think. “Let’s say ‘various,’” he replied. “In short, they displeased me.” Horace held the other man’s amused gaze for a few seconds, then,

sunset. When Smith awoke it was if he had awakened from something like dying and was unsure that he hadn’t, and if you died would you take the violence you’ve committed with you or would it remain as a scar upon the earth. And if the physical manifestation of it meant a thing, he knew that if he survived and made it back home and lived a long life that his body would rot into moss and dissolve centuries before the dried out bones of those he’d felled in the desert started to decay.

How to Plant a Container-Grown Fruit Tree or Shrub 1. Use a shovel or marking paint to mark the area for the hole. The planting hole should be at least twice as wide as the tree’s rootball. 2. Dig the planting hole. This hole should be just as deep as the rootball—no deeper! If you sharpen the spade before digging, this step will go faster. GROWING TIP Have you heard the saying, “plant ’em high”? Well, that refers to trees. Trees will settle a bit after planting. Always make sure that you finish the job with the top of the tree’s rootball about 3 inches above the soil line. If you plant a tree too deep, the place where the tree trunk and the tree roots meet can rot, which will kill the tree. 3. Set the tree in the planting hole to check the depth. If the top of the rootball is lower than the soil line around the edge of the planting hole, add some soil back into the hole, pull the tree out of the pot, and replace the tree in the hole. You never want the crown of the tree (the part where the tree trunk meets the tree roots) to be below the soil line. In clay soils, set the rootball so it is a few inches above the soil line. 4. Fill in around the tree with the same soil that you removed from the planting hole. Do not add fertilizer or new topsoil. Water will move more easily and the tree will root properly if the soil in and around the planting hole is the same. 5. Mulch around the tree, taking care to pull the mulch away from the tree trunk. Do not create a mulch “volcano” around the tree (by piling mulch up high around the trunk)—that just encourages insects and creatures that snack on tree bark to take up residence next to your delicious young tree. 6. Water the tree. Plan to water newly planted trees every three days (every other day if it is hot and dry). New trees don’t need to be staked unless they’re in areas prone to heavy rains and frequent winds. It can take a couple of years for newly planted trees to root into the surrounding soil, so continue to monitor your tree for signs that it needs water.

The second inexpensive material is wood lath, which is sold in home improvement centers. Believe it or not, they already come 4 feet long with square ends. Sometimes they’re a little crooked, filled with knots, or break easily, so sort through them. But they’re very, very inexpensive—less than a quarter each. Once you lay them out and drill holes at the 12-inch intersections, they’re very easy to connect together with a nut and bolt or some other type of fastener. Because the wood lath is rigid, it can span from one side of the box to the other side in case your Mel’s Mix is not level with the top of the box. Otherwise, it can just lie on top of the soil. If your grid spans across the box sides, keep the grid from moving about by drilling a hole in the ends of the two center slats and screwing them to your wooden box. Some people like to take the wood lath grid up for the winter so it doesn’t get wet and rot as easily. Unscrew the four screws, fold the grid, and hang it on the garage wall. Put the screws in a plastic bag and hang it up with the grid to keep the screws safe and dry over the winter. Attach Your SFG Grid JOINING Drill holes at the intersections of all the grid lath pieces. Next, insert a pin or bolt to hold the grid together. SECURING Drill holes at ends of each lath piece, into the sides of the box. Secure the lath strips to the box with screws driven through the holes. Once the grid is attached, your SFG is ready for planting.

You will encounter a fifth taste. Umami: uni, or sea urchin, anchovies, Parmesan, dry-aged beef with a casing of mold. It's glutamate. Nothing is a mystery anymore. They make MSG to mimic it. It's the taste of ripeness that's about to ferment. Initially, it serves as a warning. But after a familiarity develops, after you learn its name, that precipice of rot becomes the only flavor worth pursuing, the only line worth testing.

Only the tips of cut stalks remain. In two weeks I will return to this spot and prepare them for their winter burial. I will dig up my dahlias with a garden fork and take them inside where I will lay them out to dry, dirt and mud intact, so a protective skin forms on the outer layers of the tubers. I will trim the roots, wrap them in newspaper, top side down, and put them in plastic grocery bags, which I will label—very important at my age!—so I know what variety is enclosed come spring. I will haul the bags to my basement and place them in a cardboard box, checking on them every month or so to remove any rot. In April I will move them to a warmer area to come back to life, and bring their eyes to the surface.

November The month of the drowned dog. After long rain the land Was sodden as the bed of an ancient lake, Treed with iron and bridles. In the sunk lane The ditch - a seep silent all summer - Made brown foam with a big voice: that, and my boots On the lane's scrubbed stones, in the gulleyed leaves, Against the hill's hanging silence; Mist silvering the droplets on bare thorns Slower than the change of daylight. In a let of the ditch a tramp was bundled asleep; Face tucked down into beard, drawn in Under his hair like a hedgehog's. I took him for dead, But his stillness separated from the death Of the rotting grass on the ground. A wind chilled, And a fresh comfort tightened through him, Each hand stuffed deeper into the other sleeve. His ankles, bound with sacking and hairy band, Rubbed each other, resettling. The wind hardened; A puff shook a glittering from the thorns, And against the rains' dragging grey columns Smudged the farms. In a moment The fields were jumping and smoking; the thorns Quivered, riddled with the glassy verticals. I stayed on under the welding cold Watching the tramp's face glisten and the drops on his coat Flash and darken. I thought what strong trust Slept in him - as the trickling furrows slept, And the thorn-roots in their grip on darkness; And the buried stones, taking the weight of winter; The hill where the hare crouched with clenched teeth. Rain plastered the land till it was shining Like hammered lead, and I ran, and in the rushing wood Shuttered by a black oak leaned. The keeper's gibbet had owls and hawks By the neck, weasels, a gang of cats, crows: Some stiff, weightless, twirled like dry bark bits In the drilling rain. Some still had their shape, Had their pride with it; hung, chins on chests Patient to outwait these worst days that beat Their crowns bare and dripped from their feat.

November The month of the drowned dog. After long rain the land Was sodden as the bed of an ancient lake, Treed with iron and bridles. In the sunk lane The ditch - a seep silent all summer - Made brown foam with a big voice: that, and my boots On the lane's scrubbed stones, in the gulleyed leaves, Against the hill's hanging silence; Mist silvering the droplets on bare thorns Slower than the change of daylight. In a let of the ditch a tramp was bundled asleep; Face tucked down into beard, drawn in Under his hair like a hedgehog's. I took him for dead, But his stillness separated from the death Of the rotting grass on the ground. A wind chilled, And a fresh comfort tightened through him, Each hand stuffed deeper into the other sleeve. His ankles, bound with sacking and hairy band, Rubbed each other, resettling. The wind hardened; A puff shook a glittering from the thorns, And against the rains' dragging grey columns Smudged the farms. In a moment The fields were jumping and smoking; the thorns Quivered, riddled with the glassy verticals. I stayed on under the welding cold Watching the tramp's face glisten and the drops on his coat Flash and darken. I thought what strong trust Slept in him - as the trickling furrows slept, And the thorn-roots in their grip on darkness; And the buried stones, taking the weight of winter; The hill where the hare crouched with clenched teeth. Rain plastered the land till it was shining Like hammered lead, and I ran, and in the rushing wood Shuttered by a black oak leaned. The keeper's gibbet had owls and hawks By the neck, weasels, a gang of cats, crows: Some stiff, weightless, twirled like dry bark bits In the drilling rain. Some still had their shape, Had their pride with it; hung, chins on chests Patient to outwait these worst days that beat Their crowns bare and dripped from their feet.

Requin,’ said Gallardine with a long, dry sigh, ‘set that man inside a wooden frame, chained there, on his left side. The frame was filled with alchemical cement, which was allowed to harden. The frame was tipped up - so you see, the man was half-sealed into a stone wall, all along his left side, from his feet to the top of his head. He was tipped up and left standing in Requin’s vault to die. Requin would go in himself and force water down the man’s throat each day. His trapped limbs rotted, festered, made him sick. He died slowly, starving and gangrenous, sealed into the most perfectly hideous physical torture I have ever heard of in all my long years.

Some 200 miles south of Gadau, where the climate is less severe, morsitans still has to vacate log sites in the dry season and breeds in the riverine vegetation of stream-beds together with tachinoides and palpalis. Still farther south, and approaching the forest belt, morsitans breeds under small, deciduous, umbrella-like Gardenia erubescens bushes in the savannah, until the grass fires destroy the leaves when the female larviposits under small thickets of evergreen Combretrum micranthum in eroded, waterless gullies. This seasonal shifting of the breeding grounds is not confined to West Africa. Recently Glasgow found that in a hot part of Tanzania morsitans breeds under logs in the wet season, but after the fires prefers rot holes in trees, returning to logs when the rains break. Burtt has found that pallipides breeds in the early dry season in deciduous thickets, but moves after the fires to evergreen thicket along the main watercourse. The wet-season site defeated him. When investigating a strange area, forget past experience; instead, consider the climatic conditions prevailing and the vegetation available, and remember the basic principles. The tsetse is a most adaptable insect: pupae have even been found on the floors of native huts.

I would rather be ashes than dust! I would rather that my spark should burn out in a brilliant blaze than it should be stifled by dry rot. I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy and permanent planet. The proper function of a man is to live, not to exist. I shall not waste my days in trying to prolong them. I shall use my time.