Echo String With Quotes

How do our lives ravel out into the no-wind, no-sound, the weary gestures wearily recapitulant: echoes of old compulsions with no-hand on no-string: in sunset we fall into furious attitudes, dead gestures of dolls.

So many words get lost. They leave the mouth and lose their courage, wandering aimlessly until they are swept into the gutter like dead leaves. On rainy days, you can hear their chorus rushing past: IwasabeautifulgirlPleasedon’tgoItoobelievemybodyismadeofglass-I’veneverlovedanyoneIthinkofmyselfasfunnyForgiveme…. There was a time when it wasn’t uncommon to use a piece of string to guide words that otherwise might falter on the way to their destinations. Shy people carried a little bunch of string in their pockets, but people considered loudmouths had no less need for it, since those used to being overheard by everyone were often at a loss for how to make themselves heard by someone. The physical distance between two people using a string was often small; sometimes the smaller the distance, the greater the need for the string. The practice of attaching cups to the ends of string came much later. Some say it is related to the irrepressible urge to press shells to our ears, to hear the still-surviving echo of the world’s first expression. Others say it was started by a man who held the end of a string that was unraveled across the ocean by a girl who left for America. When the world grew bigger, and there wasn’t enough string to keep the things people wanted to say from disappearing into the vastness, the telephone was invented. Sometimes no length of string is long enough to say the thing that needs to be said. In such cases all the string can do, in whatever its form, is conduct a person’s silence.

Once, very long ago, Time fell in love with Fate. This, as you might imagine, proved problematic. Their romance disrupted the flow of time. It tangled the strings of fortune into knots.  The stars watched from the heavens nervously, worrying what might occur. What might happen to the days and nights were time to suffer a broken heart? What catastrophes might result if the same fate awaited Fate itself? The stars conspired and separated the two. For a while they breathed easier in the heavens. Time continued to flow as it always had, or perhaps imperceptibly slower. Fate weaved together the paths that were meant to intertwine, though perhaps a string was missed here and there. But eventually, Fate and Time found each other again.  In the heavens, the stars sighed, twinkling and fretting. They asked the Moon her advice. The Moon in turn called upon the parliament of owls to decide how best to proceed. The parliament of owls convened to discuss the matter amongst themselves night after night. They argued and debated while the world slept around them, and the world continued to turn, unaware that such important matters were under discussion while it slumbered.  The parliament of owls came to the logical conclusion that if the problem was in the combination, one of the elements should be removed. They chose to keep the one they felt more important. The parliament of owls told their decision to the stars and the stars agreed. The Moon did not, but on this night she was dark and could not offer her opinion.  So it was decided, and Fate was pulled apart. Ripped into pieces by beaks and claws. Fate’s screams echoed through the deepest corners and the highest heavens but no one dared to intervene save for a small brave mouse who snuck into the fray, creeping unnoticed through the blood and bone and feathers, and took Fate’s heart and kept it safe. When the furor died down there was nothing else left of Fate.  The owl who consumed Fate’s eyes gained great site, greater site then any that had been granted to a mortal creature before. The Parliament crowned him the Owl King. In the heavens the stars sparkled with relief but the moon was full of sorrow. And so time goes as it should and events that were once fated to happen are left instead to chance, and Chance never falls in love with anything for long. But the world is strange and endings are not truly endings no matter how the stars might wish it so.  Occasionally Fate can pull itself together again.  And Time is always waiting.

hills that stand soft and a sky that stands high and blue, and the sun setting behind a windmill, and always, always, hazy strings of mountains that fall and fall away on the horizon.

Finally, she took him in, all wet and sexy beneath her. Every breath and groan echoed over the water. She alternated her gaze from the stars in heaven to the rock star that was currently her heaven.

The real powers at play never take center stage. Don't follow the marionette, follow the strings.

I [Music] was born in the open air, in the breaks of waves and the whistling of sandstorms, the hoots of owls and the cackles of tui birds. I travel in echoes. I ride the breeze. I was forged in nature, rugged and raw. Only man shapes my edges to make me beautiful. [Chapter 2]

You are my life.” Though his words were barely a whisper, they seemed to echo from somewhere deep within him, enveloping my body and infusing me with something unshakable. “There is nothing I would not do to make you happy. Before I met you, my world was a string of days that were gray and empty. I had nothing to look forward to, and I cannot tell you what it was like, facing down eternity alone. Every day I wished for you. Every day I held on in hopes that eventually we would meet. And when I finally found you...” He leaned in and kissed me again, astenderly as before. His hand slid underneath my shirt, splaying across my stomach, but the touch wasn’t sexual. It was as if he were trying to memorize me, just as I was trying to memorize him. “I have existed for more eons than I remember. I have seen the sun rise and fall so many times that the days lost all meaning. For so long, they passed me by in a blur. But that night we met by the river—the night you gave up yourself in order to save a virtual stranger—my heart began to beat again.” He took my hand and pressed it against his chest, and there it was—thump thump, thump thump, strong and beautiful. I would’ve given anything to keep his heart beating. The black abyss that had become my world in those hours I’d thought he was dead had faded, but it was a scar I would always bear. I couldn’t go back to that. Even if I had Milo, I would never have another Henry.

Jazz is the music of the body. The breath comes through brass. It is the body’s breath, and the strings’ wails and moans are echoes of the body’s music. It is the body’s vibrations which ripple from the fingers. And the mystery of the withheld theme, known to jazz musicians alone, is like the mystery of our secret life. We give to others only peripheral improvisations.

It feels as though there is a gaping hole in the middle of everything. The decades of my mother's life here with Thalia, they are dark, vast spaces to me. I have been absent. Absent for all the meals Thalia and Mama have shared at this table, the laughs, the quarrels, the stretches of boredom, the illnesses, the long string of simple rituals that make up a lifetime. Entering my child-hood home is a little disorienting, like reading the end of a novel that I'd started, then abandoned, long ago.

The number two, he thought, was an ominous number. Two is a reflection or duplication of one, the most perfect of the natural numbers. Two is all echo and counterpoise; two is the beginning of multiplicity, the way the universal oneness differentiates itself and breaks apart into strings and quarks and photons, all the separate and component pieces of life. Two is a symbol of becoming as opposed to pure being...

So many words get lost. They leave the mough and lose their courage, wandering aimlessly until they are swept into the gutter like dead leaves. On rainy days you can hear their chorus rushing past: IwasabeautifulgirlPleasedon'tgoItoobelievemybodyismadeofglassI'veneverlovedanyoneIthinkofmyselfasfunnyForgiveme... There was a time when it wasn't uncommon to use a piece of string to guide words that otherwise might falter on the way to their destinations. Shy people carried a little bundle of string in their pockets, but people considered loudmouths had no less need for it, since those used to being overheard my everyone were often at a loss for how to make themselves heard by someone. The physical distance two people using a string was often small; somtimes the smaller the distance, the greater the need for the string. The practice of attaching cups to the ends of the string came much later. Some say it is related to the irrepressible urge to pressshells to our ears, to hear the still-surviving echo of the world's first expression. Others say it was started by a man who held the end of a string that was unraveled across the ocean by a girl who left for America. When the world grew bigger, and there wasn't enough string to keep the things people wanted to say from disappearing into the wastness, the telephone was invented. Sometimes no length of string is long enough to say the thing that needs to be said. In such cases all the string can do, in whatever for, is conduct a person's silence.

Rest you here, enchanter, while the light fades, Vision narrows, and the far Sky-edge is gone with the sun. Be content with the small spark Of the coal, the smell Of food, and the breath Of frost beyond the shut door. Home is here, and familiar things; A cup, a wooden bowl, a blanket, Prayer, a gift for the god, and sleep. (And music, says the harp, And music.) Rest here, enchanter, while the fire dies. In a breath, in an eyelid's fall, You will see them, the dreams; The sword and the young king, The white horse and the running water, The lit lamp and the boy smiling. Dreams, dreams, enchanter! Gone with the harp's echo when the strings Fall mute; with the flame's shadow when the fire Dies. Be still, and listen. Far on the black air Blows the great wind, rises The running tide, flows the clear river. Listen, enchanter, hear Through the black air and the singing air The music….

Robin Hood. To a Friend. No! those days are gone away, And their hours are old and gray, And their minutes buried all Under the down-trodden pall Ofthe leaves of many years: Many times have winter's shears, Frozen North, and chilling East, Sounded tempests to the feast Of the forest's whispering fleeces, Since men knew nor rent nor leases. No, the bugle sounds no more, And the twanging bow no more; Silent is the ivory shrill Past the heath and up the hill; There is no mid-forest laugh, Where lone Echo gives the half To some wight, amaz'd to hear Jesting, deep in forest drear. On the fairest time of June You may go, with sun or moon, Or the seven stars to light you, Or the polar ray to right you; But you never may behold Little John, or Robin bold; Never one, of all the clan, Thrumming on an empty can Some old hunting ditty, while He doth his green way beguile To fair hostess Merriment, Down beside the pasture Trent; For he left the merry tale, Messenger for spicy ale. Gone, the merry morris din; Gone, the song of Gamelyn; Gone, the tough-belted outlaw Idling in the "grene shawe"; All are gone away and past! And if Robin should be cast Sudden from his turfed grave, And if Marian should have Once again her forest days, She would weep, and he would craze: He would swear, for all his oaks, Fall'n beneath the dockyard strokes, Have rotted on the briny seas; She would weep that her wild bees Sang not to her---strange! that honey Can't be got without hard money! So it is; yet let us sing Honour to the old bow-string! Honour to the bugle-horn! Honour to the woods unshorn! Honour to the Lincoln green! Honour to the archer keen! Honour to tight little John, And the horse he rode upon! Honour to bold Robin Hood, Sleeping in the underwood! Honour to maid Marian, And to all the Sherwood clan! Though their days have hurried by Let us two a burden try.

Wish" Just your hot heart, nothing more. My Paradise, a field, no nightingales, no strings, a river, discrete, and a little fountain. Without the spurs, of the wind, in the branches, without the star, that wants to be a leaf. An enormous light that will be the flow of the Other, in a field of broken gazes. A still calm where our kisses, sonorous circles of echoes, will open, far-off. And your hot heart, nothing more.

Agnes shut her eyes, clenched her fists, opened her mouth and screamed. It started low. Plaster dust drifted down from the ceiling. The prisms on the chandelier chimed gently as they shook. It rose, passing quickly through the mysterious pitch at fourteen cycles per second where the human spirit begins to feel distinctly uncomfortable about the universe and the place in it of the bowels. Small items around the Opera House vibrated off shelves and smashed on the floor. The note climbed, rang like a bell, climbed again. In the Pit, all the violin strings snapped, one by one. As the tone rose, the crystal prisms shook in the chandelier. In the bar, champagne corks fired a salvo. Ice jingled and shattered in its bucket. A line of wine-glasses joined in the chorus, blurred around the rims, and then exploded like hazardous thistledown with attitude. There were harmonics and echoes that caused strange effects. In the dressing-rooms the No. 3 greasepaint melted. Mirrors cracked, filling the ballet school with a million fractured images. Dust rose, insects fell. In the stones of the Opera House tiny particles of quartz danced briefly... Then there was silence, broken by the occasional thud and tinkle. Nanny grinned. 'Ah,' she said, 'now the opera's over.

The breathing instruments inspire, Wake into voice each silent string, And sweep the sounding lyre! In a sadly pleasing strain, 2 Let the warbling lute complain: Let the loud trumpet sound, Till the roofs all around The shrill echoes rebound; While in more lengthen'd notes and slow, The deep, majestic, solemn organs blow. Hark! the numbers soft and clear Gently steal upon the

Afghan Girl Ice blue eyes that look to the morning sky as I knit the pieces and remnants of my life. I have No books, no paper, no pencils, and no black boards. I look at the holes in my life as I see the hills of the Appalachians that echo. I think to myself, who will I marry? Is my life-like Pari? These strings please come together. Snowflakes give me hope, and my dreams dance all around me. I‘ll put another log on the fire. I watch the brown paper bag over the broken glass pane letting the cold wind in; I’ll take some of these remnants and stuff it. These strings are come together. Mama told me that life would be hard. I bartered for flour the other day, and the chickens ain’t laying no eggs. I struggle with life and these strings. My hands are worn and tired. Now, I have granny square hands. I am unclean, unblemished, and finished, Afghan girl.

The purpose and theme of the sacred chant was to bind consciousness across the universe in a single string. It extended across universes known and unknown, and echoed in every heart throbbing. The people with intellect enough could grasp to the message being relayed and others lead ephemeral lives without deciphering it. The echoes of chant were immortal and pervaded every knit of space and time, like binding force unseen, like a string holding every pearl in place.

Oh? I thought you were a soldier. Is it not your purpose, to make endings? Is it not your duty to make these”—she taps the corpse—“from the soldiers of the enemy?” “That’s a gross perversion of the idea of soldiering,” says Mulaghesh. “Then please,” says Rada, looking up. “Enlighten me.” She is not being sarcastic or combative, Mulaghesh realizes. Rather, she is willing to follow any string of conversation down the path it leads, much like she’s willing to follow a damaged vein through a desiccated corpse. The surgery room is quiet as Mulaghesh thinks, the silence broken only by the tinkle of Rada’s utensils and the soft hush of the rain. “The word everyone forgets,” says Mulaghesh, “is ‘serve.’ ” “Serve?” “Yes. Serve. This is the service, and we soldiers are servants. Sure, when people think of a soldier, they think of soldiers taking. They think of us taking territory, taking the enemy, taking a city or a country, taking treasure, or blood. This grand, abstract idea of ‘taking,’ as if we were pirates, swaggering and brandishing our weapons, bullying and intimidating people. But a soldier, a true soldier, I think, does not take. A soldier gives.” “Gives what?” “Anything,” says Mulaghesh. “Everything, if asked of us. We’re servants, as I said. A soldier serves not to take, they don’t strive to have something, but rather they strive so that others might one day have something. And a blade isn’t a happy friend to a soldier, but a burden, a heavy one, to be used scrupulously and carefully. A good soldier does everything they can so they do not have to kill. That’s what training is for. But if we have to, we will. And when we do that we give up some part of ourselves, as we’re asked to do.” “What part do you give up, do you think?” asks Rada. “Peace, maybe. Killing echoes inside you. It never goes away. Maybe some who have killed don’t know that they’ve lost something, but they have.” “That is so,” says Rada quietly. “Deaths of all kinds echo on. And sometimes, it seems, they drown out all of life.

I wonder, sometimes, if the Continentals were like shoals of fish, & the slightest flick of one fish caused dozens of others to follow suit, until the entire shimmering cloud had changed course. And were the Divinities the sum of this cloud? An embodiment, perhaps, of a national subconscious? Or were they empowered by the thoughts & praises of millions of people, yet also yoked to every one of those thoughts – giant, terrible puppets forced to dance by the strings of millions of puppeteers. This knowledge, I think, is incredibly dangerous. The Continentals derive so much pride & so much power from having Divine approval … but were they merely hearing the echoes of their own voices, magnified through strange caverns & tunnels? When they spoke to the Divinities, were they speaking to giant reflections of themselves?

The pieces of Cholly's life could become coherent only in the head of a musician. Only those who talk their talk through the gold of curved metal, or in the touch of black-and-white rectangles and taut skins and strings echoing from wooden corridors, could give true form to his life. Only they would know how to connect the heart of a red watermelon to the asafetida bag to the muscadine to the flashlight on his behind to the fists of money to the lemonade in a Mason jar to a man called Blue and come up with what all of that meant in joy, in pain, in anger, in love, and give it its final and pervading ache of freedom. Only a musician would sense, know, without even knowing that he knew that Cholly was free. Dangerously free. Free to feel whatever he felt--fear, guilt, shame, love, grief, pity. Free to be tender or violent, to whistle or weep.

Sunday Morning V She says, "But in contentment I still feel The need of some imperishable bliss." Death is the mother of beauty; hence from her, Alone, shall come fulfilment to our dreams And our desires. Although she strews the leaves Of sure obliteration on our paths, The path sick sorrow took, the many paths Where triumph rang its brassy phrase, or love Whispered a little out of tenderness, She makes the willow shiver in the sun For maidens who were wont to sit and gaze Upon the grass, relinquished to their feet. She causes boys to pile new plums and pears On disregarded plate. The maidens taste And stray impassioned in the littering leaves. VI Is there no change of death in paradise? Does ripe fruit never fall? Or do the boughs Hang always heavy in that perfect sky, Unchanging, yet so like our perishing earth, With rivers like our own that seek for seas They never find, the same receding shores That never touch with inarticulate pang? Why set the pear upon those river-banks Or spice the shores with odors of the plum? Alas, that they should wear our colors there, The silken weavings of our afternoons, And pick the strings of our insipid lutes! Death is the mother of beauty, mystical, Within whose burning bosom we devise Our earthly mothers waiting, sleeplessly. VII Supple and turbulent, a ring of men Shall chant in orgy on a summer morn Their boisterous devotion to the sun, Not as a god, but as a god might be, Naked among them, like a savage source. Their chant shall be a chant of paradise, Out of their blood, returning to the sky; And in their chant shall enter, voice by voice, The windy lake wherein their lord delights, The trees, like serafin, and echoing hills, That choir among themselves long afterward. They shall know well the heavenly fellowship Of men that perish and of summer morn. And whence they came and whither they shall go The dew upon their feet shall manifest. VIII She hears, upon that water without sound, A voice that cries, "The tomb in Palestine Is not the porch of spirits lingering. It is the grave of Jesus, where he lay." We live in an old chaos of the sun, Or old dependency of day and night, Or island solitude, unsponsored, free, Of that wide water, inescapable. Deer walk upon our mountains, and the quail Whistle about us their spontaneous cries; Sweet berries ripen in the wilderness; And, in the isolation of the sky, At evening, casual flocks of pigeons make Ambiguous undulations as they sink, Downward to darkness, on extended wings

[...]a man and a boy, side by side on a yellow Swedish sofa from the 1950s that the man had bought because it somehow reminded him of a zoot suit, watching the A’s play Baltimore, Rich Harden on the mound working that devious ghost pitch, two pairs of stocking feet, size 11 and size 15, rising from the deck of the coffee table at either end like towers of the Bay Bridge, between the feet the remains in an open pizza box of a bad, cheap, and formerly enormous XL meat lover’s special, sausage, pepperoni, bacon, ground beef, and ham, all of it gone but crumbs and parentheses of crusts left by the boy, brackets for the blankness of his conversation and, for all the man knew, of his thoughts, Titus having said nothing to Archy since Gwen’s departure apart from monosyllables doled out in response to direct yes-or-nos, Do you like baseball? you like pizza? eat meat? pork?, the boy limiting himself whenever possible to a tight little nod, guarding himself at his end of the sofa as if riding on a crowded train with something breakable on his lap, nobody saying anything in the room, the city, or the world except Bill King and Ken Korach calling the plays, the game eventless and yet blessedly slow, player substitutions and deep pitch counts eating up swaths of time during which no one was required to say or to decide anything, to feel what might conceivably be felt, to dread what might be dreaded, the game standing tied at 1 and in theory capable of going on that way forever, or at least until there was not a live arm left in the bullpen, the third-string catcher sent in to pitch the thirty-second inning, batters catnapping slumped against one another on the bench, dead on their feet in the on-deck circle, the stands emptied and echoing, hot dog wrappers rolling like tumbleweeds past the diehards asleep in their seats, inning giving way to inning as the dawn sky glowed blue as the burner on a stove, and busloads of farmhands were brought in under emergency rules to fill out the weary roster, from Sacramento and Stockton and Norfolk, Virginia, entire villages in the Dominican ransacked for the flower of their youth who were loaded into the bellies of C-130s and flown to Oakland to feed the unassuageable appetite of this one game for batsmen and fielders and set-up men, threat after threat giving way to the third out, weak pop flies, called third strikes, inning after inning, week after week, beards growing long, Christmas coming, summer looping back around on itself, wars ending, babies graduating from college, and there’s ball four to load the bases for the 3,211th time, followed by a routine can of corn to left, the commissioner calling in varsity teams and the stars of girls’ softball squads and Little Leaguers, Archy and Titus sustained all that time in their equally infinite silence, nothing between them at all but three feet of sofa;

Wings of Butterfly - Fallen into Your Lap A lip doesn't tremble, just to chant the prayer. A pair of eyes can't look to try to express the feeling. Even for an instant, but is there still a heartbeat come to your ears, how come my love? The wind rushed between the silence of the tables and benches. Whispering between rolls of maps and stack of books. Jumping up and down between the heads that are scattered contemplating the clear song, melodious sound of your voice. Ouch, how much more I want to trace my longing to miss this to your lap. Trembling strokes of the eyelids and lips that are perfect smiles. Echoed passion in the chest, hide the sound of thunder and also heavy rain. Where do I fret to meet the song Asmaradahana in the glazed of your eyelids. Dream was entangled by a strand of busy hair strands of purple, red, yellow, white and blue orchid strings in silent vases. Where are my tired wings has fallen before drooping surrender in your palm.

I felt I was in the loneliest place in the world, and I was apprehensive. Nothing could be heard except the occasional crash of an unknown creature in the forest, and, once in awhile, a deep thrumming similar to the lowest barely audible sound of a string bass. I was standing alone in 1972 in a semi-ruined lighthouse that my wife, fifteen-year-old daughter, and I had just purchased. The lighthouse was located atop a 200-foot cliff on an island a dozen miles from the Lake Superior shoreline. I was separated from the nearest human being by an unknown but surely great distance, and had hiked several hours through the forest to reach the place, following the path of an old road that once led to the lighthouse but was now no longer passable with a vehicle. The low rumble I occasionally heard, straddling the lowest limit of my auditory range, was caused by an occasional large wave entering a cavern below the lighthouse and resonating in the stony echo chamber.

Our father was a rumor, an echo, something only to be seen out of the corner of your eye. Our father was a woodsman, arms like tree limbs, beard as if born from bear, disappearing for days, for weeks, returning with so many things—tiny bird skulls, beads on a string, flowers for mother with purple blossoms and veiny leaves. The wood was stacked along one side of the cabin as high as it could go, the steady chop, the split of the timber, just part of the day, or so we were told. Our father was the cold creek that ran south of our home, filled with silver-backed fish with blood-orange meat, whispering every time we neared it, quenching our thirst, promises of sleepy peace if only we'd step a bit closer. Our father was the frosty moon that pasted the land with silence as our breath formed clouds of pain, feet bruised and bleeding, his laughter running over the mountain, guiding us down one ravine and up the other, wandering from hill to valley and back, some elusive destination always out of reach. Our father was time, stretched in every direction, elastic as a rubber band, as slow and anchored as a wall of granite, our eyes closing, waking up sore, grey where black had been. All lies. Everything she had ever told us was a lie. She never loved us, or it wouldn't be like this. (from "Asking for Forgiveness.")

I have just spoken of that morbid condition of the auditory nerve which rendered all music intolerable to the sufferer, with the exception of certain effects of stringed instruments. It was, perhaps, the narrow limits to which he thus confined himself upon the guitar which gave birth, in great measure, to the fantastic character of his performances. But the fervid facility of his impromptus could not be so accounted for. They must have been, and were, in the notes, as well as in the words of his wild fantasies (for he not unfrequently accompanied himself with rhymed verbal improvisations), the result of that intense mental collectedness and concentration to which I have previously alluded as observable only in particular moments of the highest artificial excitement. The words of one of these rhapsodies I have easily remembered. I was, perhaps, the more forcibly impressed with it as he gave it, because, in the under or mystic current of its meaning, I fancied that I perceived, and for the first time, a full consciousness on the part of Usher of the tottering of his lofty reason upon her throne. The verses, which were entitled “The Haunted Palace,” ran very nearly, if not accurately, thus:— I. In the greenest of our valleys, By good angels tenanted, Once a fair and stately palace— Radiant palace—reared its head. In the monarch Thought’s dominion— It stood there! Never seraph spread a pinion Over fabric half so fair. II. Banners yellow, glorious, golden, On its roof did float and flow (This—all this—was in the olden Time long ago); And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A winged odor went away. III. Wanderers in that happy valley Through two luminous windows saw Spirits moving musically To a lute’s well-timed law; Round about a throne, where sitting (Porphyrogene!) In state his glory well befitting, The ruler of the realm was seen. IV. And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing And sparkling evermore, A troop of Echoes whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king. V. But evil things, in robes of sorrow, Assailed the monarch’s high estate; (Ah, let us mourn, for never morrow Shall dawn upon him, desolate!) And, round about his home, the glory That blushed and bloomed Is but a dim-remembered story Of the old time entombed. VI. And travellers now within that valley, Through the red-litten windows see Vast forms that move fantastically To a discordant melody; While, like a rapid ghastly river, Through the pale door; A hideous throng rush out forever, And laugh—but smile no more.

Runach didn't consider himself particularly dull, but he had to admit he was baffled. "Then what now?" "What do you mean, what now?" Weger echoed in disbelief. "Do what is necessary! Bloody hell, man, must I instruct you in every bloody step? Take your mighty magic and heal her!" Runach blinked. "What in the world are you talking about?" Weger threw up his hands in frustration. "Heal her, you fool! Use Fadaire or whatever elvish rot comes first to mind." "I have no magic." "Of course you have magic--" Weger stopped suddenly. "You what?" "I have no magic," Runach repeated, through gritted teeth. "My father took it at the well." Weger looked suddenly as if he needed to sit down. "Bloody hell," he said faintly. He sagged back against the door. "I had no idea" Weger rubbed his hands over his face and indulged in a selection of very vile curses. "Damn it," he said, finally. He looked at Runach. "What are we to do now?" "If magic will work here" Runach said, "why don't you use yours?" Weger folded his arms over his chest. "I haven't used a word of magic in over three hundred years!" "No time like the present to dust it off then, is there?" Weger hesitated. Runach suspected it was the first time in those same three centuries the man had done so. He considered, then looked at Runach. "I could," he said, sounding as if the words had been dragged from him by a thousand irresistible spells, "but I have no elegant magic." Runach shrugged. "Then use Wexham." "It will leave a scar." "I don't think she'll care." "It will leave a very large, ugly scar," Weger amended. "Then use Camanae or Fadaire," Runach suggested. "And have my mouth catch on fire? You ask too much." Runach looked at him seriously. "I honestly don't care what you use, as long as you save her life. Whilst you still can." Weger looked as if his fondest wish was to turn and flee. But he apparently wasn't the master of Gobhann because he was a coward. He took a deep breath, cursed fluently, then knelt down. Runach listened to him spit out an eminently useful spell of Croxteth, then follow that bit of healing with a very long string of curses in which Lothar of Wychweald and Runach's own father figured prominently.

With the relief of knowing I had passed through a crisis, I sighed because there was nothing to hold me back. It was no time for fear or pretense, because it could never be this way with anyone else. All the barriers were gone. I had unwound the string she had given me, and found my way out of the labyrinth to where she was waiting. I loved her with more than my body. I don’t pretend to understand the mystery of love, but this time it was more than sex, more than using a woman’s body. It was being lifted off the earth, outside fear and torment, being part of something greater than myself. I was lifted out of the dark cell of my own mind, to become part of someone else—just as I had experienced it that day on the couch in therapy. It was the first step outward to the universe—beyond the universe—because in it and with it we merged to recreate and perpetuate the human spirit. Expanding and bursting outward, and contracting and forming inward, it was the rhythm of being—of breathing, of heartbeat, of day and night—and the rhythm of our bodies set off an echo in my mind. It was the way it had been back there in that strange vision. The gray murk lifted from my mind, and through it the light pierced into my brain (how strange that light should blind!), and my body was absorbed back into a great sea of space, washed under in a strange baptism. My body shuddered with giving, and her body shuddered its acceptance. This was the way we loved, until the night became a silent day. And as I lay there with her I could see how important physical love was, how necessary it was for us to be in each other’s arms, giving and taking. The universe was exploding, each particle away from the next, hurtling us into dark and lonely space, eternally tearing us away from each other—child out of the womb, friend away from friend, moving from each other, each through his own pathway toward the goal-box of solitary death. But this was the counterweight, the act of binding and holding. As when men to keep from being swept overboard in the storm clutch at each other’s hands to resist being torn apart, so our bodies fused a link in the human chain that kept us from being swept into nothing. And in the moment before I fell off into sleep, I remembered the way it had been between Fay and myself, and I smiled. No wonder that had been easy. It had been only physical. This with Alice was a mystery. I leaned over and kissed her eyes. Alice knows everything about me now, and accepts the fact that we can be together for only a short while. She has agreed to go away when I tell her to go. It’s painful to think about that, but what we have, I suspect, is more than most people find in a lifetime.

Similarly, we look for echoes from the tenth and eleventh dimension. Perhaps evidence for string theory is hidden all around us, but we have to listen for its echoes, rather than try to observe it directly. For example, one possible signal from hyperspace is the existence of dark matter. Until recently, it was widely believed that the universe is mainly made of atoms. Astronomers have been shocked to find that only 4.9 percent of the universe is made of atoms like hydrogen and helium. Actually, most of the universe is hidden from us, in the form of dark matter and dark energy. (We recall that dark matter and dark energy are two distinct things. Twenty-six point eight percent of the universe is made of dark matter, which is invisible matter that surrounds the galaxies and keep them from flying apart. And 68.3 percent of the universe is made of dark energy, which is even more mysterious, the energy of empty space that is driving the galaxies apart.) Perhaps evidence for the theory of everything lies hidden in this invisible universe. Search for Dark Matter Dark matter is strange, it is invisible, yet it holds the Milky Way galaxy together. But since it has weight and no charge, if you tried to hold dark matter in your hand it would sift through your fingers as if they weren’t there. It would fall right through the floor, through the core of the Earth, and then to the other side of the Earth, where gravity would eventually cause it to reverse course and fall back to your location. It would then oscillate between you and the other side of the planet, as if the Earth weren’t there. As strange as dark matter is, we know it must exist. If we analyze the spin of the Milky Way galaxy and use Newton’s laws, we find that there is not enough mass to counteract the centrifugal force. Given the amount of mass we see, the galaxies in the universe should be unstable and they should fly apart, but they have been stable for billions of years. So we have two choices: either Newton’s equations are incorrect when applied to galaxies, or else there is an unseen object that is keeping the galaxies intact. (We recall that the planet Neptune was found in the same way, by postulating a new planet that explained Uranus’s deviations from a perfect ellipse.) At present, one leading candidate for dark matter is called the weakly interacting massive particles (WIMPs). Among them, one likely possibility is the photino, the supersymmetric partner of the photon. The photino is stable, has mass, is invisible, and has no charge, which fits precisely the characteristics of dark matter. Physicists believe the Earth moves in an invisible wind of dark matter that is probably passing through your body right now. If a photino collides with a proton, it may cause the proton to shatter into a shower of subatomic particles that can then be detected.

In his Dialogue "Timaeus" Plato had a demiurge to create the globe-shaped world according to musical laws, including the human soul. Fifteen hundred years later, that still found an echo in the Renaissance. And in those days the architects realized that the musical harmonies had spatial expressions -- namely, the relationships of the length of strings, and spatial relationships were precisely their only concerns. Because both the world and the body and soul were composed according to musical harmonies by the demiurge architect, both the macrocosm and the microcosm, they must therefore be guided in their own architectural designs by the laws of music.

My secret name for the annex was "the hen-coop". Glued to the nesting boxes of their favorite wicker chairs, the inmates sat click-clacking knitting needles, hatching balls of wool, their silence pierced only by an occasional frail voice of meaningless conversation. Flapping imaginary wings, "Cock-a-doodle-dooing," and "Chook-chooking", I ran through crowing, but not so loudly as to frighten them or be rude. I see now the old women's pinched faces, stiff and severe as the potted aspidistras beside them, only masked despair. With nothing to do but breathe, they knitted and crocheted memories and lost dreams into tangible objects. On the hour as though on cue, the old chickens roused, froze suddenly still, before exchanging smiles and nodding some shared secret to one another as the wild music from Bruges' church bells rang out the time from the many belfries, rattling teh panes and vibrating through the "hen house" with deep echoes. And I'd leap to the wild music - a dancing puppet pulled by unseen strings.

Oh, Matthew," she whispered, moved to tears. "I called it Grace. I hope you don't mind." For the first time, his manner held a hint of shyness, disconcerting in a man who had just made love to her without hesitation or reticence. Gently, she curled her hand around what was inside the box and lifted it to the light. "It's your rose." "No, it's your rose." A heady fragrance filled the air. With one shaking finger, Grace touched a flawless pink petal. The color was unforgettable. It was the most beautiful rose she'd ever seen. Impossible to credit that those unpromising stalks in his courtyard had produced this exquisite bloom. "It's perfect," she whispered. "It's a miracle." He was a miracle. How could she not love the man who conjured this beauty with hands and imagination? The faint smile broadened. Had he worried that she'd reject his gift? Foolish, darling Matthew. The question was whether the rose was a promise of a future or a token of parting. "I worked on it whenever I could. This last year has been busy." An understatement, she knew. The Marquess of Sheene had been a ubiquitous presence in London since his release. Everywhere he went, society feted him as a hero. She'd read of the string of honors he'd received, the friendship with the king, the invitations to join scientific boards and societies. Echoing her gesture, he reached out to touch the petals. The sensitivity of his fingers on the flower reminded her of his hands on her skin. "I did most of the basic experiments when I was a prisoner, but I couldn't get it right." He glanced up with an expression that combined pride and diffidence in a breathtakingly attractive mixture. "This is the first bud, Grace. It appeared almost a year to the day after I promised to wait. It seemed a sign." "And you brought it to me," she said softly, staring at the flower. The anniversary of his release didn't occur for two more days. That date was etched on her longing heart. Then she noticed something else. "My glove," she said blankly. With unsteady hands, she reached in and withdrew a light green kidskin glove from a recess carved away from the damp. The buttery leather was crushed and worn from incessant handling. "Have you kept it all this time?" "Of course." He wasn't smiling anymore and his eyes deepened to a rich, rare gold. Beautiful, unwavering, somber. "You make me want to cry." Her voice emerged so thickly, she didn't sound like herself. She laid the box on the bench and tightened her grip on the soft leather until her knuckles whitened. What was he trying to tell her? What did the rose mean? The glove? Had he carried her glove into his new life like a knight wore his lady's favor into battle? The thought sent choking emotion to her throat.

“Oh, Kelly, you make my legs weak like jelly. Oh, Kelly… I get butterflies in my belly. Oh, Kelly, uh, your perfume is so sweet and smelly, Kelly…” She’s giggling now. “Sorry,” Evan says, plucking a final chord. “Turns out even I can’t make smelly into a compliment.” “Two out of three isn’t bad,” I point out, very impressed with Evan’s skills. He can sketch out a tune really fast, and switch between styles; one moment he’s doing a blues song, then pop, and the one he made up for me was like something from a musical. As if he’s reading my mind, he echoes, turning to look at me, drawing out the syllables: “Don’t forget, Vio-let--Dive in!” This time he ends the line low and gentle, and it isn’t a musical number anymore. It’s almost a love song. “You mind if I work on that?” he asks, leaning on the guitar, looking at me. “That’s kinda nice. I could do something with that.” “Oh!” I don’t quite know what to say. “Sure,” I add. “Ooh! Evan’s writing Violet a love song!” Paige whoops, coming over and retrieving her magazine. “Evan and Violet sitting in a tree, K-I-S-S-I-N-G!” I expect Evan to look embarrassed, or to tell Paige to shut up, but he just grins again, bending over his guitar, starting to strum it again, quite unaffected by his sister. “Paige,” he sings to me, “needs to act her age… Such a shame She’s such a pain It’s a terrible strain…” I laugh and settle back on the lounger, watching him play, his hands moving with surprising lightness and dexterity on the strings.

While this signifier can be difficult to pin down with precision, it can clearly be heard in the records of Duane Eddy and many other guitarists of the period. It usually involves a relatively nondistorted electric guitar timbre articulated with a strong attack and a melody played on the lower strings. Reverberation is ubiquitous, and almost equally common were echo, amplifier tremolo, and use of the guitar’s vibrato bar. This overall guitar sound is often called a Fender sound, but that is a bit misleading, since Gretsch guitars were equally specialized for the purpose, and many other brands were also used. What makes the twang guitar interesting in topical terms is that it not only signified the western topic but also was key to a linked set of genres that intersect one another in complex ways: western, spy, and surf. Because these were all signified by overlapping musical features and in turn resemble one another in some of their broader connotations, we could speak of a twang guitar continuum: a range of topics that coalesced only shortly before psychedelia and were cognate with it in a variety of ways. Philip Tagg and Bob Clarida point out that the twang guitar, often in a minor mode with a flat seventh, was a common factor between spaghetti western and Bond/spy scores in the late 1950s and early 1960s. I would add surf guitar to the list, with its sonic experimentation and general relationship to fun, escape, and exoticism: “[The twang guitar] probably owes some of its immediate success as a spy sound to its similarity with various pre-rock ‘Viennese intrigue’ sounds like Anton Karas’s Third Man zither licks (1949). But in the 1962–64 period that produced The Virginian (1962), Dr. No (1963) and Leone’s A Fistful of Dollars (1964), steely Fender guitar was well on its way to becoming an all-purpose excitement/adventure timbre” (Tagg and Clarida 2003, 367).

To break the mummified silence, Reyha says, "Thank you, Mom, it is delicious." A gold-rimmed china bowl filled with lettuce, wheat sprouts, and beans. I have requested a massacre of plants for lunch. The sound of the lettuce crunching between my teeth echoes in my ears... "Lettuce and carrots love human teeth," I say. They don't know that they should laugh. Mother's skin is so fair. Her lips bitterly curved downward, just like Reyhaneh's, show no sign of her usual naive smile. "It's great that you all eat meat. If everyone was a vegetarian, the sheep would die of hunger." I laugh at my own inane joke, dig out the unchewable lettuce string stuck between my teeth, and I put it on the side of the bowl. "At the front they used to tell us that if we were martyred, we would go to heaven. I have heard that in heaven, the instant you crave grapes or apples, the tree branches bend down to you. But the Quran doesn't say if there are carrots in heaven or not. Our house is better than heaven. It has lettuce, it has carrots. And I crave these every day...

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

reached out and yanked on it. The string

She climbed, and climbed. The tower vibrated slightly, perhaps because its height made the wind a stroking hand upon its string. Half-heard cries, ragged whispers, soft slithering sounds echoed from the stone walls. The Speaking Tower, it was called, for here Summer could listen to the voices of her subjects, their wishes and fears seeping from rough mauve rock. The outside was white-and-greenstone, but the inside of the Speaking was a pink throat.

Private listening really took off in 1979, with the popularity of the Walkman portable cassette player. Listening to music on a Walkman is a variation of the “sitting very still in a concert hall” experience (there are no acoustic distractions), combined with the virtual space (achieved by adding reverb and echo to the vocals and instruments) that studio recording allows. With headphones on, you can hear and appreciate extreme detail and subtlety, and the lack of uncontrollable reverb inherent in hearing music in a live room means that rhythmic material survives beautifully and completely intact; it doesn’t get blurred or turned into sonic mush as it often does in a concert hall. You, and only you, the audience of one, can hear a million tiny details, even with the compression that MP3 technology adds to recordings. You can hear the singer’s breath intake, their fingers on a guitar string. That said, extreme and sudden dynamic changes can be painful on a personal music player. As

And yet, as I drop my suitcase, it feels as though there is a gaping hole in the middle of everything. The decades of my mother’s life here with Thalia, they are dark, vast spaces to me. I have been absent. Absent for all the meals Thalia and Mamá have shared at this table, the laughs, the quarrels, the stretches of boredom, the illnesses, the long string of simple rituals that make up a lifetime. Entering my childhood home is a little disorienting, like reading the end of a novel that I’d started, then abandoned, long ago.

Ain't Lookin' Back" (Verse 1) City lights, country nights, blending in a perfect flow, I'm hitting this life full throttle, ready for the show. You're yesterday's echo, fading in the track, When you take out the trash, ain't no sense in looking back. (Chorus) 'Cause I'm living loud, in the here and now, No rearview glances, I've made my vow. I won't be a part of letting you destroy me, I'm all about the future, that's where you'll see me. (Verse 2) Got my heart tuned up, like a guitar's string, Every lesson learned, is a song I'll sing. I'm done with the digging, done with the old hack, When you take out the trash, you don't unpack. (Bridge) I'm a modern rebel, with an old soul's wisdom, Cutting ties with the past, like a sharp incision. I'm not just surviving, I'm on the attack, When you take out the trash, you don't look back. (Chorus) 'Cause I'm living loud, in the here and now, No rearview glances, I've made my vow. I won't be a part of letting you destroy me, I'm all about the future, that's where you'll see me. (Outro) So here's to the bright days, and the starlit nights, To the new beginnings, and the soaring heights. I'm stepping forward, on a one-way track, 'Cause when you take out the trash, you ain't lookin' back.

Pleasure zinged through her like the echo of a plucked lute string.

let me help you carry those bags now and then. No pressure. No strings.” He reached for her hand. “You don’t even have to give me an answer. Just stick around long enough to give me a chance.

Sometimes, on Sundays, I heard the bells, the Lincoln, Acton, Bedford, or Concord bell, when the wind was favorable, a faint, sweet, and, as it were, natural melody, worth importing into the wilderness. At a sufficient distance over the woods this sound acquires a certain vibratory hum, as if the pine needles in the horizon were the strings of a harp which it swept. All sound heard at the greatest possible distance produces one and the same effect, a vibration of the universal lyre, just as the intervening atmosphere makes a distant ridge of earth interesting to our eyes by the azure tint it imparts to it. There came to me in this case a melody which the air had strained, and which had conversed with every leaf and needle of the wood, that portion of the sound which the elements had taken up and modulated and echoed from vale to vale. The echo is, to some extent, an original sound, and therein is the magic and charm of it. It is not merely a repetition of what was worth repeating in the bell, but partly the voice of the wood; the same trivial words and notes sung by a wood-nymph.

larynx (pp. 352–354), and (2) smaller intrinsic muscles that control tension in the glottal vocal folds or that open and close the glottis. These smaller muscles insert on the thyroid, arytenoid, and corniculate cartilages. The opening or closing of the glottis involves rotational movements of the arytenoid cartilages. When you swallow, both sets of muscles work together to prevent food or drink from entering the glottis. Food is crushed and chewed into a pasty mass, known as a bolus, before being swallowed. Muscles of the neck and pharynx then elevate the larynx, bending the epiglottis over the glottis, so that the bolus can glide across the epiglottis rather than falling into the larynx. While this movement is under way, the glottis is closed. Foods or liquids that touch the vestibular folds or glottis trigger the coughing reflex. In a cough, the glottis is kept closed while the chest and abdominal muscles contract, compressing the lungs. When the glottis is opened suddenly, a blast of air from the trachea ejects material that blocks the entrance to the glottis. Sound Production How do you produce sounds? Air passing through your open glottis vibrates its vocal folds and produces sound waves. The pitch of the sound depends on the diameter, length, and tension in your vocal folds. The diameter and length are directly related to the size of your larynx. You control the tension by contracting voluntary muscles that reposition the arytenoid cartilages relative to the thyroid cartilage. When the distance increases, your vocal folds tense and the pitch rises. When the distance decreases, your vocal folds relax and the pitch falls. Children have slender, short vocal folds, so their voices tend to be high pitched. At puberty, the larynx of males enlarges much more than that of females. The vocal cords of an adult male are thicker and longer, so they produce lower tones than those of an adult female. Sound production at the larynx is called phonation (fo.-NA .-shun; phone, voice). Phonation is one part of speech production. Clear speech also requires articulation, the modification of those sounds by voluntary movements of other structures, such as the tongue, teeth, and lips to form words. In a stringed instrument, such as a guitar, the quality of the sound produced does not depend solely on the nature of the vibrating string. Rather, the entire instrument becomes involved as the walls vibrate and the composite sound echoes within the hollow body. Similar amplification and resonance take place within your pharynx, oral cavity, nasal cavity, and paranasal sinuses. The combination gives you the particular and distinctive sound of your voice. That sound changes when you have a sinus infection and your nasal cavity and paranasal sinuses are filled with mucus rather than air.

The wood was the color of dark coffee, of freshly turned earth. The curve of the bowl was perfect as a woman’s hip. It was hushed echo and bright string and thrum. My lute. My tangible soul.

In the ebb and flow of the present's embrace, Hidden truths emerge, weaving tales in grace. Do we craft stories or in narratives abide? Uncertainty's pulse, our existence as a guide. Like particles entwined in a cosmic ballet, Are we oceans within a droplet, or droplets in a bay? Strings of existence dance in quantum trance, As rain merges with rivers, do we merge in the cosmic expanse? Observer and observed, in stories we immerse, As cosmic dancers, are we waves or the universe? The melody of existence, an intricate weave, Echoing through verses, our shared tapestry perceived. Sometimes, truths half-revealed, whispers of depth, Half-scripted life cascades like rain's soft breath. Do we fathom the depths or simply float? A droplet or the sea, in life's rhythmic boat.

Everything okay, my angel?” “Things could be worse,” I say, which is the only true way I know of answering his question. And things will probably get worse, I echo in my mind.

Landon’s words echo in my head. Just moving parts. I’m a puppet on a string. I’m as good as a prostitute. It’s a sick sort of validation. I’ve been right all along. They only want me for the meat on my bones. Everybody, from Mamere on down, thinks this is it for me. Twirl and dance, little doll. There’s nothing else for you. Who needs a brain when you can let your arms hang in first position and the master will make the moves?

I do not know if my mother broke off her studies at Charles University only because her parents’ money had run out. How far was she pushed to emigrate to Palestine by the violent hatred of Jews that filled the streets of Europe in the mid-1930s and spread to the universities, or to what extent did she come here as the result of her education in a Tar-buth school and her membership in a Zionist youth movement? What did she hope to find here, what did she find, what did she not find? What did Tel Aviv and Jerusalem look like to someone who had grown up in a mansion in Rovno and arrived straight from the Gothic beauty of Prague? What did spoken Hebrew sound like to the sensitive ears of a young lady coming with the refined, booklearned Hebrew of the Tar-buth school and possessing a finely tuned linguistic sensibility? How did my young mother respond to the sand dunes, the motor pumps in the citrus groves, the rocky hillsides, the archaeology field trips, the biblical ruins and remains of the Second Temple period, the headlines in the newspapers and the cooperative dairy produce, the wadis, the hamsins, the domes of the walled convents, the ice-cold water from the jarra, the cultural evenings with accordion and harmonica music, the cooperative bus drivers in their khaki shorts, the sounds of English (the language of the rulers of the country), the dark orchards, the minarets, strings of camels carrying building sand, Hebrew watchmen, suntanned pioneers from the kibbutz, construction workers in shabby caps? How much was she repelled, or attracted, by tempestuous nights of arguments, ideological conflicts, and courtships, Saturday afternoon outings, the fire of party politics, the secret intrigues of the various underground groups and their sympathizers, the enlisting of volunteers for agricultural tasks, the dark blue nights punctuated by howls of jackals and echoes of distant gunfire?

The war is a series of divine feuds. The gods play puppets with people. There is always someone more powerful pulling the strings.

In a curious parallel to Warlock and Moeran’s rowdy tenure at Eynsford, on the other side of the country in North Devon the village of Georgeham had been intruded upon by another outside artistic presence. Novelist Henry Williamson moved to a cottage there in 1921 and proceeded to outrage local decency with a string of louche girlfriends, naked swimming displays, throwing apples at neighbouring farmers, dressing like a proto-hippy in loose clothing and bare feet. Best known as author of the children’s book Tarka the Otter, Williamson’s many books, including his fifteen-volume fictionalised memoir A Chronicle of Ancient Sunlight, testify to a quasi-mystical relationship with nature and the English landscape, while his reputation was later severely tarnished because of his vocal support of the Hitler Youth and Oswald Mosley’s British fascist movement. His son Harry, born in 1950, was destined to become an associate of hippy progressive rockers Gong in the early 1970s, and was part of the collective that organised the earliest free festivals at Stonehenge (see Chapter 16). Already, in the unconventional lifestyle choices of the likes of Warlock, Moeran and Williamson, the pre-echoes of a later British counter-cultural pattern are faintly detectable.

Several of the filmʼs key sound effects were accomplished musically, the most famous being the monsterʼs roars, which went beyond the sound departmentʼs capabilities.  Various animal noises were recorded and modified but nothing worked until Ifukube came to the rescue by using a contrabass (basically a large bass fiddle); however the only one in existence in all Japan was at the prestigious Tokyo Music Conservatoryʼs Music Department which was not about to loan-out their precious instrument for the purpose of making a monster movie.  So one night Ifukube “borrowedˮ it, removed its lowest string, then had pupil Sei Ikuno stroke the remaining strings with a coarse leather glove coated with resin.  The sound was then tape-recorded before being played backwards at a slower speed supplemented with echo-chamber mixing, and the different roars were achieved by changing the playback speeds, giving the monster a melodic quality (the sound of the monster using its radioactive ray was a sped-up cymbal roll).

Writer Miroslav Volf explains this more poetically. We experience time, he says, the way we hear a beautiful note from cello. It may sound like a single pitch, but in reality it is a complete tone, including other voices from the string’s half-length, eighth-length, and so on. “It is similar with the music of our lives,” says Volf. “At any given time we do not hear only the simple, solitary tone of the present; rather, in that present resonate many sounds of past actualities and future possibilities. This is how our present acquires depth.” In other words, our present-day lives are constantly echoing those of others. (p. 113)

Gorgeous place to live! I tell you I got a fright one night. That jolly piano up there is rusted all to glory, most of the strings bust, but one of the remaining bass strings took it into its head to snap just after I’d turned the lights off. It was uncanny. First a report which sounded as loud as a pistol shot, then the quiver and hum of the string springing back, and that woke the echo of every remaining string—the dampers have all rotted to glory—and the whole thing seemed to sing. Then a cat began to howl in accompaniment and the owls woke up and hooted. Very pretty! A sort of diabolic concert.

Writer Miroslav Volf explains this more poetically. We experience time, he says, the way we hear a beautiful note from cello. It may sound like a single pitch, but in reality it is a complete tone, including other voices from the string’s half-length, eighth-length, and so on. “It is similar with the music of our lives,” says Volf. “At any given time we do not year only the simple, solitary tone of the present; rather, in that present resonate many sounds of past actualities and future possibilities. This is how our present acquires depth.” In other words, our present-day lives are constantly echoing those of others. (p. 113)

JULY 20. I've just walked into the opera house. I have no programme. Strange new players are premiering a piece by a flamboyant new composer. Front and centre, three, maybe four, whales begin — a swelling string section — discordant, irresolute harmonies fill the concert hall. Then two more whales, stage right, come in, playing eight octave clarinets, counterpointing the string section. And then they, too, are counterpointed by occasional glissando slurs and passages played pizzicato by whales at the rear of the stage. But suddenly, a programme change: The orchestra members switch clothes and pull new instruments from their cases. The French horn players begin wailing on shiny, sleazy saxophones. The trumpeters spit rapid-fire bursts into an underwater echo chamber — the deep, rocky corridor of Johnstone Strait.