Electric Forest Quotes

When Great Trees Fall When great trees fall, rocks on distant hills shudder, lions hunker down in tall grasses, and even elephants lumber after safety. When great trees fall in forests, small things recoil into silence, their senses eroded beyond fear. When great souls die, the air around us becomes light, rare, sterile. We breathe, briefly. Our eyes, briefly, see with a hurtful clarity. Our memory, suddenly sharpened, examines, gnaws on kind words unsaid, promised walks never taken. Great souls die and our reality, bound to them, takes leave of us. Our souls, dependent upon their nurture, now shrink, wizened. Our minds, formed and informed by their radiance, fall away. We are not so much maddened as reduced to the unutterable ignorance of dark, cold caves. And when great souls die, after a period peace blooms, slowly and always irregularly. Spaces fill with a kind of soothing electric vibration. Our senses, restored, never to be the same, whisper to us. They existed. They existed. We can be. Be and be better. For they existed.

A Boat O beautiful was the werewolf in his evil forest. We took him to the carnival and he started crying when he saw the Ferris wheel. Electric green and red tears flowed down his furry cheeks. He looked like a boat out on the dark water.

But I'll never see any of those fish," said Maxie."Or those whales. Or any lions or tigers. I'm never going to set foot in a rain forest now, am I? I won't even be able to watch old DVD's about them without electricity. What does the future hold? It's like going back to the middle ages. Nobody knowing what was going on beyond their front doorstep. All I'll ever know is this. This little bit of London.

God left us the world unfinished for man to work his skill upon. He left the electricity in the cloud, the oil in the earth. He left the rivers unbridged and the forests unfelled and the cities unbuilt. God gives to man the challenge of raw materials, not the ease of unfinished things. He leaves the pictures unpainted and the music unsung and the problems unsolved, that man might know the joys and glories of creation.

In this large and fierce world of ours, there are many, many unpleasant places to be. You can be in a river swarming with angry electric eels, or in a supermarket filled with vicious long-distance runners. You can be in a hotel that has no room service, or you can be lost in a forest that is slowly filling up with water. You can be in a hornet's nest or in an abandoned airport or in the office of a pediatric surgeon, but one of the most unpleasant things that can happen is to find yourself in a quandary. Which is where the Baudelaire orphans found themselves that night. Finding yourself in a quandary means that everything seems confusing and dangerous and you don't know what in the world to do about it, and it is one of the worst unpleasantries you can encounter.

Even viewed conservatively, trees are worth far more than they cost to plant and maintain. The U.S. Forest Service's Center for Urban Forest Research found a ten-degree difference between the cool of a shaded park in Tucson and the open Sonoran desert. A tree planted in the right place, the center estimates, reduces the demand for air conditioning and can save 100 kilowatt hours in annual electrical use, about 2 to 8 percent of total use. Strategically planted trees can also shelter homes from wind, and in cold weather they can reduce heating fuel costs by 10 to 12 percent. A million strategically planted trees, the center figures, can save $10 million in energy costs. And trees increase property values, as much as 1 percent for each mature tree. These savings are offset somewhat by the cost of planting and maintaining trees, but on balance, if we had to pay for the services that trees provide, we couldn't afford them. Because trees offer their services in silence, and for free, we take them for granted.

Scientists and shamans alike know that all of life is woven into a web of infinite connections, contributing to the larger whole in a system that is complex beyond our imagining. When we sit quietly at the edge of a lake, or hike through a wildflower-strewn meadow, or walk through a cool, dark forest, we quickly become aware of our unity with the natural world. We fall back into natural rhythms--rhythms we are no longer in synch with as a result of living by the clock and spending much of our time in man-made spaces lit by electricity. Nature has a way of recalibrating us and helping us gain a new perspective on our stressors so that they seem less overwhelming.

Because she looks like a cupcake. Dresses like a cupcake. Gives off a scent of baked lemony sugar. Pretty in a way that reminds you of frosting flourishes. Not the forest green and electric blue horrors in the supermarket, but the pastel kind that is used at weddings or tasteful Easter gatherings. She looks so much like a cupcake that when I first met her at orientation, I had a very real desire to eat her. Bite deeply into her white shoulder. Dig a fork in her cheek.

There was an electric buzzing sound that was constantly on, acting as background music like a million cicadas in the forest. A constant white noise.

Electricity is loud. Did you know? When we had power outages, the peace from the forest would seep in and blanket the house in perfect, beautiful silence.

Okay, I know--my superpower--I'd be able to shoot lightening bolts out from my fingertips--great big knowledge network lightening bolts--and when a person was zapped by one of those bolts, they'd fall down on their knees and once on their knees, they'd be under water, in this place I saw once off the east coast of the Bahamas, a place where a billion electric blue fish swam up to me and made me a part of their school--and then they'd be up in the air, up in Manhattan, above the World Trade Center, with a flock of pigeons, flying amid the skyscrapers, and then--then what? And then they'd go blind, and then they'd be taken away--they'd feel homesick--more homesick than they'd felt in their entire life--so homesick they were throwing up--and they'd be abandoned, I don't know...in the middle of a harvested corn field in Missouri. And then they'd be able to see again, and from the edges of the field people would appear--everybody they'd known--and they'd be carrying Black Forest cakes and burning tiki lamps and boom boxes playing the same song, and they sky would turn into a sunset, the way it does in Walt Disney brochure, and the person I zapped would never be alone or isolated again.

— If love wants you; if you’ve been melted down to stars, you will love with lungs and gills, with warm blood and cold. With feathers and scales. Under the hot gloom of the forest canopy you’ll want to breathe with the spiral calls of birds, while your lashing tail still gropes for the waes. You’ll try to haul your weight from simple sea to gravity of land. Caught by the tide, in the snail-slip of your own path, for moments suffocating in both water and air. If love wants you, suddently your past is obsolete science. Old maps, disproved theories, a diorama. The moment our bodies are set to spring open. The immanence that reassembles matter passes through us then disperses into time and place: the spasm of fur stroked upright; shocked electrons. The mother who hears her child crying upstairs and suddenly feels her dress wet with milk. Among black branches, oyster-coloured fog tongues every corner of loneliness we never knew before we were loved there, the places left fallow when we’re born, waiting for experience to find its way into us. The night crossing, on deck in the dark car. On the beach wehre night reshaped your face. In the lava fields, carbon turned to carpet, moss like velvet spread over splintered forms. The instant spray freezes in air above the falls, a gasp of ice. We rise, hearing our names called home through salmon-blue dusk, the royal moon an escutcheon on the shield of sky. The current that passes through us, radio waves, electric lick. The billions of photons that pass through film emulsion every second, the single submicroscopic crystal struck that becomes the phograph. We look and suddenly the world looks back. A jagged tube of ions pins us to the sky. — But if, like starlings, we continue to navigate by the rear-view mirror of the moon; if we continue to reach both for salt and for the sweet white nibs of grass growing closest to earth; if, in the autumn bog red with sedge we’re also driving through the canyon at night, all around us the hidden glow of limestone erased by darkness; if still we sish we’d waited for morning, we will know ourselves nowhere. Not in the mirrors of waves or in the corrading stream, not in the wavering glass of an apartment building, not in the looming light of night lobbies or on the rainy deck. Not in the autumn kitchen or in the motel where we watched meteors from our bed while your slow film, the shutter open, turned stars to rain. We will become indigestible. Afraid of choking on fur and armour, animals will refuse the divided longings in our foreing blue flesh. — In your hands, all you’ve lost, all you’ve touched. In the angle of your head, every vow and broken vow. In your skin, every time you were disregarded, every time you were received. Sundered, drowsed. A seeded field, mossy cleft, tidal pool, milky stem. The branch that’s released when the bird lifts or lands. In a summer kitchen. On a white winter morning, sunlight across the bed.

Julius didn’t want to use the freezer unnecessarily because it used a hell of a lot of electricity. Julius had of course hot-wired it, and it was Gösta at Forest Cottage farm who unknowingly paid, but it was important to steal electricity in moderation if you wanted to keep taking advantage of the perk for a long time.

In a little while they were kissing. In a little while longer, they made their slow sweet love. The iron bed sounded like a pine forest in an ice storm, like a switch track in a Memphis trainyard, like the sweet electrical thunder of habitual love and the tragical history of the constant heart. Auntee finished first, and then Uncle soon after, and their lips were touching lightly as they did. The rain was still falling and the scritch owl was still asleep and the dragonflies were hidden like jewels somewhere in deep brown wet grasses, nobody knew where. Uncle rolled away from his wife and held onto her hand, never let it go, old friend, old partner, passionate wife.

How many of us took time to mentally cleanse ourselves? To ponder our path in life? We were all too busy with trivial things. Working to make money, to buy a house, to pay off a car. We were working to retire. Why couldn’t we just take some time to really live? Why couldn’t we just stop and go into the forest and sit in a teepee with no electricity or bathrooms and discover ourselves?

4-19-10 Monday 1:00 P.M. Today the gas was turned off – more panic reactions. I’m wondering if the darkest hour is just before the dawn and all those wonderful cliches. I don’t see anyway out of my current situation, at least any quality of life I’m willing to accept. It’s just too much to think about right now. I lost the gas stove, the heat, and the water heater. Hmm cold showers, but found an electric crock pot and frying pan, and I still have the microwave. I don’t know what I’ll do if I lose the water. My mother told me there’s a family who pitched a tent in the forest preserve. Somehow the father’s still working and keeping his two kids in school, with a little help from a local church. And it’s good to know the forest rangers have a heart and have looked the other way. I wouldn’t be surprised to hear that they’ve dropped off some food and supplies. Isn’t that America.

He was the one, however, with whom no one wanted his or her picture taken, the one to whom no one wanted to introduce his son or daughter. Louis and Gage knew him; they had met him and faced him down in New England, some time ago. He was waiting to choke you on a marble, to smother you with a dry-cleaning bag, to sizzle you into eternity with a fast and lethal boggie of electricity—Available at Your Nearest Switchplate or Vacant Light Socket Right Now. There was death in a quarter bag of peanuts, an aspirated piece of steak, the next pack of cigarettes. He was around all the time, he monitored all the checkpoints between the mortal and the eternal. Dirty needles, poison beetles, downed live wires, forest fires. Whirling roller skates that shot nurdy little kids into busy intersections. When you got into the bathtub to take a shower, Oz got right in there too—Shower with a Friend. When you got on an airplane, Oz took your boarding pass. He was in the water you drank, the food you ate. Who’s out there? you howled into the dark when you were frightened and all alone, and it was his answer that came back: Don’t be afraid, it’s just me. Hi, howaya? You got cancer of the bowel, what a bummer, so solly, Cholly! Septicemia! Leukemia! Atherosclerosis! Coronary thrombosis! Encephalitis! Osteomyelitis! Hey-ho, let’s go! Junkie in a doorway with a knife. Phone call in the middle of the night. Blood cooking in battery acid on some exit ramp in North Carolina. Big handfuls of pills, munch em up. That peculiar blue cast of the fingernails following asphyxiation—in its final grim struggle to survive the brain takes all the oxygen that is left, even that in those living cells under the nails. Hi, folks, my name’s Oz the Gweat and Tewwible, but you can call me Oz if you want—hell, we’re old friends by now. Just stopped by to whop you with a little congestive heart failure or a cranial blood clot or something; can’t stay, got to see a woman about a breach birth, then I’ve got a little smoke-inhalation job to do in Omaha. And that thin voice is crying, “I love you, Tigger! I love you! I believe in you, Tigger! I will always love you and believe in you, and I will stay young, and the only Oz to ever live in my heart will be that gentle faker from Nebraska! I love you . . .” We cruise . . . my son and I . . . because the essence of it isn’t war or sex but only that sickening, noble, hopeless battle against Oz the Gweat and Tewwible. He and I, in our white van under this bright Florida sky, we cruise. And the red flasher is hooded, but it is there if we need it . . . and none need know but us because the soil of a man’s heart is stonier; a man grows what he can . . . and tends it.

Mr. Tridden told them how it had been twenty years ago, the band playing on that ornate stand at night, the men pumping air into their brass horns, the plump conductor flinging perspiration from his baton, the children and fireflies running in the deep grass, the ladies with long dresses and high pompadours treading the wooden xylophone walks with men in choking collars. There was the walk now, all softened into a fiber mush by the years. The lake was silent and blue and serene, and fish peacefully threaded the bright reeds, and the motorman murmured on and on, and the children felt it was some other year, with Mr. Tridden looking wonderfully young, his eyes lighted like small bulbs, blue and electric. It was a drifting, easy day, nobody rushing, and the forest all about, the sun held in one position, as Mr. Tridden's voice rose and fell, and a darning needle sewed along the air, stitching, restitching designs both holden and invisible. A bee settled into a flower, humming and humming.

Iam staring into the eyes of the one I call Cupcake. Because she looks like a cupcake. Dresses like a cupcake. Gives off a scent of baked lemony sugar. Pretty in a way that reminds you of frosting flourishes. Not the forest green and electric blue horrors in the supermarket, but the pastel kind that is used at weddings or tasteful Easter gatherings. She looks so much like a cupcake that when I first met her at orientation, I had a very real desire to eat her. Bite deeply into her white shoulder. Dig a fork in her cheek.

We heard the United States had a new president, that she was arranging for a loan from the Commonwealth to bail us out. We heard the White House was burning and the National Guard was fighting the Secret Service in the streets of DC. We heard there was no water left in Los Angeles, that hordes of people were trying to walk north through the drought-ridden Central Valley. We heard that the county to the east of us still had electricity and that the Third World was rallying to send us support. And then we heard that China and Russia were at war and the US had been forgotten. Although the Fundamentalists' predictions of Armageddon grew more intense, and everyone else complained with increasing bitterness about everything from the last of chewing gum to the closure of Redwood General Hospital, still, among most people there was an odd sense of buoyancy, a sort of surreptitious relief, the same feeling Eva and I used to have every few years when the river that flows through Redwood flooded, washing out roads and closing businesses for a day or two. We knew a flood was inconvenient and destructive At the same time we couldn't help but feel a peculiar sort of delight that something beyond us was large enough to destroy the inexorability of our routines.

new; it had been lying there with all the other half-thought, half-chewed, half-dreamed ideas. The third chicken had been killed in the same way as Sylvia, with an electric cutting loop. He went to the place where the floorboards had absorbed the blood and crouched down. If the Snowman had killed the last chicken, why had he used the loop and not the hatchet? Simple. Because the hatchet had disappeared in the depths of the forest somewhere. So this must have happened after the murder. He had come all the way back here and slaughtered a chicken. But why? A kind of voodoo ritual? A sudden inspiration? Bullshit—this killing machine stuck to the

They sat eating ham sandwiches and fresh strawberries and waxy oranges and Mr. Tridden told them how it had been twenty years ago, the band playing on that ornate stand at night, the men pumping air into their brass horns, the plump conductor flinging perspiration from his baton, the children and fireflies running in the deep grass, the ladies with long dresses and high pompadours treading the wooden xylophone walks with men in choking collars. There was the walk now, all softened into a fiber mush by the years. The lake was silent and blue and serene, and fish peacefully threaded the bright reeds, and the motorman murmured on and on, and the children felt it was some other year, with Mr. Tridden looking wonderfully young, his eyes lighted like small bulbs, blue and electric. It was a drifting, easy day, nobody rushing, and the forest all about, the sun held in one position, as Mr. Tridden's voice rose and fell, and a darning needle sewed along the air, stitching, restitching designs both golden and invisible. A bee settled into a flower, humming and humming. The trolley stood like an enchanted calliope, simmering where the sun fell on it. The trolley was on their hands, a brass smell, as they ate ripe cherries. The bright odor of the trolley blew from their clothes on the summer wind.

Step out barefoot and notice that your mind starts to quiet and you feel more present in your body. Walk on the Earth as though each step is a prayer. Studies have shown that earthing, contacting the earth directly with your feet—in the soil, grass, sand, moss, anything—can help reduce inflammation and chronic pain, reduce stress, improve energy, and improve sleep. Earthing is a cure-all. The two hundred thousand nerve endings on the sole of each foot pick up the electrons transferred from the earth. Walking barefoot will calm your nervous system and help your body return to an optimal electrical state, from which you’re better able to self-regulate and self-heal.

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention.

I Won’t Write Your Obituary You asked if you could call to say goodbye if you were ever really gonna kill yourself. Sure, but I won’t write your obituary. I’ll commission it from some dead-end journalist who will say things like: “At peace… Better place… Fought the good fight…” Maybe reference the loving embrace of Capital-G-God at least 4 times. Maybe quote Charles fucking Bukowski. And I won’t stop them because I won’t write your obituary. But if you call me, I will write you a new sky, one you can taste. I will write you a D-I-Y cloud maker so on days when you can’t do anything you can still make clouds in whatever shape you want them. I will write you letters, messages in bottles, in cages, in orange peels, in the distance between here and the moon, in forests and rivers and bird songs. I will write you songs. I can’t write music, but I’ll find Rihanna, and I’ll get her to write you music if it will make you want to dance a little longer. I will write you a body whose veins are electricity because outlets are easier to find than good shrinks, but we will find you a good shrink. I will write you 1-800-273-8255, that’s the suicide hotline; we can call it together. And yeah, you can call me, but I won’t tell you it’s okay, that I forgive you. I won’t say “goodbye” or “I love you” one last time. You won’t leave on good terms with me, Because I will not forgive you. I won’t read you your last rights, absolve you of sin, watch you sail away on a flaming viking ship, my hand glued to my forehead. I will not hold your hand steady around a gun. And after, I won’t come by to pick up the package of body parts you will have left specifically for me. I’ll get a call like “Ma’am, what would you have us do with them?” And I’ll say, “Burn them. Feed them to stray cats. Throw them at school children. Hurl them at the sea. I don’t care. I don’t want them.” I don’t want your heart. It’s not yours anymore, it’s just a heart now and I already have one. I don’t want your lungs, just deflated birthday party balloons that can’t breathe anymore. I don’t want a jar of your teeth as a memento. I don’t want your ripped off skin, a blanket to wrap myself in when I need to feel like your still here. You won’t be there. There’s no blood there, there’s no life there, there’s no you there. I want you. And I will write you so many fucking dead friend poems, that people will confuse my tongue with your tombstone and try to plant daisies in my throat before I ever write you an obituary while you’re still fucking here. So the answer to your question is “yes”. If you’re ever really gonna kill yourself, yes, please, call me.

The jungle bristled with life. There were sloths, pumas, snakes, crocodiles; there were basilisk lizards that could run across the surface of water without sinking. In just a few hectares there lived as many woody plant species as in the whole of Europe. The diversity of the forest was reflected in the rich variety of field biologists who came there to study it. Some climbed trees and observed ants. Some set out at dawn every day to follow the monkeys. Some tracked the lightning that struck trees during tropical storms. Some spent their days suspended from a crane measuring ozone concentrations in the forest canopy. Some warmed up the soil using electrical elements to see how bacteria might respond to global heating. Some studied the way beetles navigate using the stars. Bumblebees, orchids, butterflies—there seemed to be no aspect of life in the forest that someone wasn’t observing.

Of all the plants, trees have the largest surface area covered in leaves. For every square yard of forest, 27 square yards of leaves and needles blanket the crowns. Part of every rainfall is intercepted in the canopy and immediately evaporates again. In addition, each summer, trees use up to 8,500 cubic yards of water per square mile, which they release into the air through transpiration. This water vapor creates new clouds that travel farther inland to release their rain. As the cycle continues, water reaches even the most remote areas. This water pump works so well that the downpours in some large areas of the world, such as the Amazon basin, are almost as heavy thousands of miles inland as they are on the coast. There are a few requirements for the pump to work: from the ocean to the farthest corner, there must be forest. And, most importantly, the coastal forests are the foundations for this system. If they do not exist, the system falls apart. Scientists credit Anastassia Makarieva from Saint Petersburg in Russia for the discovery of these unbelievably important connections. They studied different forests around the world and everywhere the results were the same. It didn't matter if they were studying a rain forest or the Siberian taiga, it was always the trees that were transferring life-giving moisture into land-locked interiors. Researchers also discovered that the whole process breaks down if coastal forests are cleared. It's a bit like if you were using an electrical pump to distribute water and you pulled the intake pipe out of the pond. The fallout is already apparent in Brazil, where the Amazonian rain forest is steadily drying out. Central Europe is within the 400-mile zone and, therefore, close enough to the intake area. Thankfully, there are still forests here, even if they are greatly diminished.

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention. Meanwhile, other hopeful inventors demonstrated various sound-and-image systems—Cinematophone, Cameraphone, Synchroscope—but in every case the only really original thing about them was their name. All produced sounds that were faint or muddy, or required impossibly perfect timing on the part of the projectionist. Getting a projector and sound system to run in perfect tandem was basically impossible. Moving pictures were filmed with hand-cranked cameras, which introduced a slight variability in speed that no sound system could adjust to. Projectionists also commonly repaired damaged film by cutting out a few frames and resplicing what remained, which clearly would throw out any recording. Even perfect film sometimes skipped or momentarily stuttered in the projector. All these things confounded synchronization. De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation. One invention De Forest couldn’t make use of was his own triode detector tube, because the patents now resided with Western Electric, a subsidiary of AT&T. Western Electric had been using the triode to develop public address systems for conveying speeches to large crowds or announcements to fans at baseball stadiums and the like. But in the 1920s it occurred to some forgotten engineer at the company that the triode detector could be used to project sound in theaters as well. The upshot was that in 1925 Warner Bros. bought the system from Western Electric and dubbed it Vitaphone. By the time of The Jazz Singer, it had already featured in theatrical presentations several times. Indeed, the Roxy on its opening night in March 1927 played a Vitaphone feature of songs from Carmen sung by Giovanni Martinelli. “His voice burst from the screen with splendid synchronization with the movements of his lips,” marveled the critic Mordaunt Hall in the Times. “It rang through the great theatre as if he had himself been on the stage.

You may not recognize the name Steven Schussler, CEO of Schussler Creative Inc., but you are probably familiar with his very popular theme restaurant Rainforest Café. Steve is one of the scrappiest people I know, with countless scrappy stories. He is open and honest about his wins and losses. This story about how he launched Rainforest Café is one of my favorites: Steve first envisioned a tropical-themed family restaurant back in the 1980s, but unfortunately, he couldn’t persuade anyone else to buy into the idea at the time. Not willing to give up easily, he decided to get scrappy and be “all in.” To sell his vision, he transformed his own split-level suburban home into a living, mist-enshrouded rain forest to convince potential investors that the concept was viable. Yes, you read that correctly—he converted his own house into a jungle dwelling complete with rock outcroppings, waterfalls, rivers, and layers of fog and mist that rose from the ground. The jungle included a life-size replica of an elephant near the front door, forty tropical birds in cages, and a live baby baboon named Charlie. Steve shared the following details: Every room, every closet, every hallway of my house was set up as a three-dimensional vignette: an attempt to present my idea of what a rain forest restaurant would look like in actual operation. . . . [I]t took me three years and almost $400,000 to get the house developed to the point where I felt comfortable showing it to potential investors. . . . [S]everal of my neighbors weren’t exactly thrilled to be living near a jungle habitat. . . . On one occasion, Steve received a visit from the Drug Enforcement Administration. They wanted to search the premises for drugs, presuming he may have had an illegal drug lab in his home because of his huge residential electric bill. I imagine they were astonished when they discovered the tropical rain forest filled with jungle creatures. Steve’s plan was beautiful, creative, fun, and scrappy, but the results weren’t coming as quickly as he would have liked. It took all of his resources, and he was running out of time and money to make something happen. (It’s important to note that your scrappy efforts may not generate results immediately.) I asked Steve if he ever thought about quitting, how tight was the money really, and if there was a time factor, and he said, “Yes to all three! Of course I thought about quitting. I was running out of money and time.” Ultimately, Steve’s plan succeeded. After many visits and more than two years later, gaming executive and venture capitalist Lyle Berman bought into the concept and raised the funds necessary to get the Rainforest Café up and running. The Rainforest Café chain became one of the most successful themed restaurants ever created, and continues that way under Landry’s Restaurants and Tilman Fertitta’s leadership. Today, Steve creates restaurant concepts in fantastic warehouses far from his residential neighborhood!

Undoubtedly, my dear Dick. Just note the progress of events: consider the migrations of races, and you will arrive at the same conclusion assuredly. Asia was the first nurse of the world, was she not? For about four thousand years she travailed, she grew pregnant, she produced, and then, when stones began to cover the soil where the golden harvests sung by Homer had flourished, her children abandoned her exhausted and barren bosom. You next see them precipitating themselves upon young and vigorous Europe, which has nourished them for the last two thousand years. But already her fertility is beginning to die out; her productive powers are diminishing every day. Those new diseases that annually attack the products of the soil, those defective crops, those insufficient resources, are all signs of a vitality that is rapidly wearing out and of an approaching exhaustion. Thus, we already see the millions rushing to the luxuriant bosom of America, as a source of help, not inexhaustible indeed, but not yet exhausted. In its turn, that new continent will grow old; its virgin forests will fall before the axe of industry, and its soil will become weak through having too fully produced what had been demanded of it. Where two harvests bloomed every year, hardly one will be gathered from a soil completely drained of its strength. Then, Africa will be there to offer to new races the treasures that for centuries have been accumulating in her breast. Those climates now so fatal to strangers will be purified by cultivation and by drainage of the soil, and those scattered water supplies will be gathered into one common bed to form an artery of navigation. Then this country over which we are now passing, more fertile, richer, and fuller of vitality than the rest, will become some grand realm where more astonishing discoveries than steam and electricity will be brought to light.

Wherever you go, Provincetown will always take you back, at whatever age and in whatever condition. Because time moves somewhat differently there, it is possible to return after ten years or more and run into an acquaintance, on Commercial or at the A&P, who will ask mildly, as if he’d seen you the day before yesterday, what you’ve been doing with yourself. The streets of Provincetown are not in any way threatening, at least not to those with an appetite for the full range of human passions. If you grow deaf and blind and lame in Provincetown, some younger person with a civic conscience will wheel you wherever you need to go; if you die there, the marshes and dunes are ready to receive your ashes. While you’re alive and healthy, for as long as it lasts, the golden hands of the clock tower at Town Hall will note each hour with an electric bell as we below, on our purchase of land, buy or sell, paint or write or fish for bass, or trade gossip on the post office steps. The old bayfront houses will go on dreaming, at least until the emptiness between their boards proves more durable than the boards themselves. The sands will continue their slow devouring of the forests that were the Pilgrims’ first sight of North America, where man, as Fitzgerald put it, “must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.” The ghost of Dorothy Bradford will walk the ocean floor off Herring Cove, draped in seaweed, surrounded by the fleeting silver lights of fish, and the ghost of Guglielmo Marconi will tap out his messages to those even longer dead than he. The whales will breach and loll in their offshore world, dive deep into black canyons, and swim south when the time comes. Herons will browse the tidal pools; crabs with blue claws tipped in scarlet will scramble sideways over their own shadows. At sunset the dunes will take on their pink-orange light, and just after sunset the boats will go luminous in the harbor. Ashes of the dead, bits of their bones, will mingle with the sand in the salt marsh, and wind and water will further disperse the scraps of wood, shell, and rope I’ve used for Billy’s various memorials. After dark the raccoons and opossums will start on their rounds; the skunks will rouse from their burrows and head into town. In summer music will rise up. The old man with the portable organ will play for passing change in front of the public library. People in finery will sing the anthems of vanished goddesses; people who are still trying to live by fishing will pump quarters into jukeboxes that play the songs of their high school days. As night progresses, people in diminishing numbers will wander the streets (where whaling captains and their wives once promenaded, where O’Neill strode in drunken furies, where Radio Girl—who knows where she is now?—announced the news), hoping for surprises or just hoping for what the night can be counted on to provide, always, in any weather: the smell of water and its sound; the little houses standing square against immensities of ocean and sky; and the shapes of gulls gliding overhead, white as bone china, searching from their high silence for whatever they might be able to eat down there among the dunes and marshes, the black rooftops, the little lights tossing on the water as the tides move out or in.

Such moments – the first glimmer of dawn sunbeams, lengthening shadows, star-glitter permeating the darkening sky, ‘a perilous pagan enchantment haunting the midsummer forest’3 – saturate the music of Arnold Bax, the principal figure in what is sometimes referred to as the Celtic Twilight movement in British music, when the land without music was transformed into a sonorous Neverland.

But it was Ireland’s mercurial folklore that supplied Bax with the dominant voice in his compositions. Beginning with Cathaleen-na-Hoolihan (1905), written three years after encountering Yeats, the list of his tone poems (spanning the years 1909–31) reads like the contents of an Arts and Crafts compendium of decadent fairy tales: In the Faery Hills, Rosc-catha, Spring Fire, Nympholept, The Garden of Fand, November Woods, Tintagel, The Happy Forest, The Tale the Pine Trees Knew. A sensualist and erotic adventurer (in 1910 he pursued a ukrainian girl he was infatuated with from St Petersburg to Kiev), Bax created lush, richly foliated sound-forests that attempted to conjure up a sense of narcotic abandon and the intoxicating conjunction of myth and landscape. In the Faery Hills (1909) takes its cue from a section in Yeats’s Wanderings of Oisin in which the Sídhe force a troubadour to sing them a song. Aware of their reputation as festive types, Oisin launches into his most joyous ditty. To the Sídhe, it still sounds like the most depressing dirge they’ve ever heard, so they toss his harp into a pool and whisk him away to show him how to party like it’s AD 99. Bax claimed to have been ‘possessed by Kerry’s self’5 while writing it.

Increased lightning is causing increased forest fires.

They were thinking of these big mycelial networks in the forest sending electric signals around themselves. They imagined that maybe they were just big brains lying there.” I admit that I hadn’t been able to ignore the superficial resemblance either. Olsson’s findings suggested that mycelium might form fantastically complex networks of electrically excitable cells. Brains, too, are fantastically complex networks of electrically excitable cells.

The Volk’s playground was the Wald: the forest that looms with such powerful, murky force in so many European myths and fairy tales. The Teutonic root word of ‘Wald’ – ‘walthus’ – is an ancestor of both ‘wood’ and ‘wild’. Seen from its Germanic perspective, then, the word ‘folk’ feels inextricably wedded to Northern Europe’s barbarous, wooded interior. The Roman Empire cleared away much of the forest during its European campaigns, but the Nordic wildness survives in any English place name ending with ‘-wald’, ‘-wold’ or ‘-weald’. Other curiosities survive, too; things of which we have only a limited understanding.

A bit more than that, I expect.” For the first time, the young man took his eyes off Roger, shifting his glance to one side. Following the direction of his gaze, Roger felt a jolt like an electric shock. He hadn’t seen the man at the edge of the clearing, though he must have been there all the time, standing motionless. He wore a faded hunting kilt whose browns and greens blended into the grass and brush, as his flaming hair blended with the brilliant leaves. He looked as if he’d grown out of the forest. Beyond

When my sons asked the reason for my trip, I said that I needed to conduct research for my book. What is it about? the younger one asked. He was constantly writing stories, as many as three a day, and would not have been troubled by such a question concerning his own writing. For a long time he’d spelled the words as he thought they might be spelled, without any spaces between them, which, like the Torah’s unbroken string of letters, opened his writing to infinite interpretations. He had only begun to ask us how things were spelled once he’d started to use the electric typewriter he was given for his birthday, as if it were the machine that had demanded it of him—the machine, with its air of professionalism and the reproach of its giant space bar, that required that what was written on it be understood. But my son himself remained ambivalent about the matter. When he wrote by hand, he returned to his old habits.

He stiffened and she realized that she'd pulled him close. She could feel the heat of his body against her skin, draw in his scent of cool dark forests and fresh mountain air. His pulse beat strong and steady beneath her fingertips, sending a current of electricity arcing through her veins.

Outside, the forest was alive with invisible things, nighttime critters and near-winter winds and tree-siblings breathing staccato breaths, reaching out for one another, seeking touch. Nico listened for their words of comfort… We are here. You are not alone. She felt her place among them, felt them calling her home.

Do/Do Not I sniff the blooming tiger lily, two tongues sprung open from one mouth. I poison the river unintentionally. I walk on the designated paths. I splice the mountain, its body and mouth gaping. I collect rainwater in a wheelbarrow. I line the whale’s belly with gifts until they rupture its stomach. I water the strawberries. Again I fill my gas tank with dead things, generations spun together until shiny. I feed the ducks fresh lettuce. I maneuver the dead squirrel on the road, mark the moment when creature becomes meat. I accept that my love is a poisonous flower, routinely fatal. I calculate the force of loving in each glittering death. All day on this land, in the deep forest, the electric greens and still-wet mud writhe with life. The pond gurgles and whispers. Everyone here knows to shudder when they see me coming. The mangos arrive unbruised at the grocery store. The wolves should start running.

Earth, for gravity; Water, for motion; Fire, for hot and cold; Forest, for flesh and blood; Metal, for electricity. Everything else is extra.

The walls were pure white; the warm oak floor, the dove-colored armchairs, and the pale blue curtains were bright and without stains. When Morgaine turned on the electric lights, the effect was like being inside a winter sunbeam. Even the books lining the shelves around the fireplace were new, with soft covers in sea blue and forest green and lilac grey.

Mrs. Hale seemed like the pure concentration of all the light and air and earth and people of Enon, from every lap it had ever taken around the sun, not merely from its relatively brief and no doubt fleeting career as a village of colonists but from its centuries as home to more original souls and a tract of forest, and its millennia under glaciers and at the bottoms of unnamed oceans, all taken in by her ancestral house and focused through the precisely configured windows, aligned and coordinated with the clocks and orrery and rendered into the small, prim, neatly dressed figure sitting on a plain wooden settle beneath an electric candle, in the middle of the room, the temple, the dim penetralia, everything else shrouded in darkness, as if she were an artifact in a museum or a prophet in a pew.

The moment his fingers closed around hers, the electricity arced sharply and cleanly between them. He pulled her out of the chamber and into the tunnel. To her horror, instead of going back up toward the forest, Jacques drew her down toward the very bowels of the earth. The tunnel was wide enough that they could walk together, but she didn’t move fast enough to suit him. With every step he took, Jacques’ body became tighter and more painful. His breath was coming in hoarse gasps. He swung her into his arms and raced down the tunnel’s twists and turns. “What are you doing, Jacques?” Half laughing, half concerned, Shea held on tightly, her slender arms around his neck. “I am getting us to a place where we can be alone.” He was decisive about it. He had wanted her for hours, for days, for a lifetime. He had to have her this minute. Shea buried her face in the hollow of his shoulder, her body responding to the urgency in his voice, to his labored breathing and rapid heartbeat. Her mouth touched his pulse, her breath warming his skin. She felt him shiver with awareness and gently probed the spot with the tip of her tongue. “Mmm, you taste good.” “Damn it, Shea, I swear if you keep that up, we will not make it to the springs.” “I never heard of any springs,” she murmured absently, stroking the beating pulse again, her teeth playfully nipping. Her mouth wandered farther up his neck to his ear. “Hot springs. It is only a little way farther,” he groaned, but he leaned his head toward her attentions. Her hand slipped down the front of his shirt, played with his buttons, slowly sliding them open so that her palm could rest on his hot skin. “I think you’re hot enough, Jacques,” she whispered wickedly into his ear, caressing his earlobe with her tongue. “I know I am.

Her body clenched with hot desire, and without thinking she bathed Jacques’ mind in her heat. She saw his body hunch, as if someone had physically punched him. Guilt stirred for a moment, but then he was stroking her throat, his mental touch every bit as exciting in her state of arousal as his physical one. Gregori straightened up slowly and inhaled sharply, turned to glare at Jacques. Take your woman and find a place away from us. You know how dangerous Carpathian men can be at such a time. See to your needs, Jacques. I have little memory of these parts. If you recall, our home was invaded, and the vampire knows where it is. Go deeper into the earth. The cave continues until you find the very core, the hot springs. You will be safe there. And alone. And Byron? He cannot speak. As yours was, his voice is paralyzed. I doubt if he can recall his betrayer. I will put him in the ground to heal. And I will seek out Rand. Our prince has passed sentence upon such a betrayer. Make no mistake--I will make certain he is the one before I destroy him. Jacques reached down and touched Byron’s shoulder. “Go to the sleep of our earth, Byron. I will return each day to see that you are fed and your wounds are healing. Do you trust me to do this?” Byron nodded wearily and closed his eyes. He welcomed the solace of the healing earth. Already the blood was flowing through his veins, giving him strength to heal. He felt better knowing he had somehow warned the others of the trap the vampire had set. He had been used to lure the men away from the women. The vampire had even whispered to him of the plan to sacrifice Smith while Slovensky and his nephew killed Raven and took Shea. The earth opened, and his weightless body floated into the cradle. All around him the rich soil reached out for him, welcomed him. He gave himself up to sleep and earth. Jacques nodded in a slight salute to Gregori and reached out to Shea. The moment his fingers closed around hers, the electricity arced sharply and cleanly between them. He pulled her out of the chamber and into the tunnel. To her horror, instead of going back up toward the forest, Jacques drew her down toward the very bowels of the earth. The tunnel was wide enough that they could walk together, but she didn’t move fast enough to suit him. With every step he took, Jacques’ body became tighter and more painful. His breath was coming in hoarse gasps. He swung her into his arms and raced down the tunnel’s twists and turns.

Seen in its ugliest light, the aluminium industry come out like this: an ecologically sensitive forest is stripped away in Jamaica, clear forest pools are filled with red sludge and caustic soda, a shop sails off to Iceland, in Iceland a dam blocks off a valley, the land sinks under the weight of the water, clay is whipped up winds from the mudflats beside a reservoir, electricity is sold at give-away prices by the people that sacrificed their land. There are always two sides to a story: there are some very pretty flowers on the website.

A new spirit had taken hold of Eastern Europe by 1900. It might be most easily characterized as a violent disjuncture between the heart and the head. Materially, things had never been better. Europe was nearing the end of almost a half-century of (barely) interrupted peace. Most adults had never heard a shot fired in anger. That same half-century witnessed an unprecedented burst of economic growth and technical innovation. When steamships were dropping passengers off at Dereszewicze, citizens of Budapest were already riding the city's first underground metro line, which had opened in 1896. Cities, for the first time, were illuminated at night, something Eastern Europe took an unexpected lead in: Lviv was the first city to use modern kerosene lamps, and Timişoara, in present-day Romania, was the first city in Europe to be lilt by electricity. Railways now crisscrossed the continent, reaching even Janina's home in the forgotten Lithuanian hamlet of Bieniakonie. Grain from Ukraine flooded the American market, while wood from the remotest forests of Lithuania could be shipped all the way to Liverpool and beyond. Buoyed by these new connections, landowners grew suddenly and unexpectedly rich. . . . But however prosperous things might have seemed, spiritually there was a feeling of mounting crisis. Everywhere people put their trust in progress and scientific discovery, to the detriment of older faiths. In politics, nationalism still held sway -- indeed its influence had never been greater -- but in the arts, its primacy had begun to wane. The great national bards were still being celebrated, ut more as icons of struggle than as writers to be read. Young people especially craved something new.

on a daily basis. To create is to bring something into existence that wasn’t there before. It could be a conversation, the solution to a problem, a note to a friend, the rearrangement of furniture in a room, a new route home to avoid a traffic jam. What you make doesn’t have to be witnessed, recorded, sold, or encased in glass for it to be a work of art. Through the ordinary state of being, we’re already creators in the most profound way, creating our experience of reality and composing the world we perceive. In each moment, we are immersed in a field of undifferentiated matter from which our senses gather bits of information. The outside universe we perceive doesn’t exist as such. Through a series of electrical and chemical reactions, we generate a reality internally. We create forests and oceans, warmth and cold. We read words, hear voices, and form interpretations. Then, in an instant, we produce a response. All of this in a world of our own creation.

of glittering armor and the forest of battle pennants, the main part of the emperors’ army was concentrated on Highway 24, forcing its way toward the Caldecott Tunnel. Enemy catapults hurled projectiles toward the legion’s positions, but most disappeared in bursts of purple light as soon as they got close. I assumed that was the work of Terminus, doing his part to defend the camp’s borders. Meanwhile, at the base of the tunnel, flashes of lightning pinpointed the location of the legion’s standard. Tendrils of electricity zigzagged down the hillsides, arcing through enemy lines and frying them to dust. Camp Jupiter’s ballistae launched giant flaming spears at the invaders, raking through their lines and starting more forest fires. The emperors’ troops kept coming. The ones making the best progress were huddled behind large armored vehicles that crawled on eight legs and…Oh, gods. My guts felt like they’d gotten tangled in my bike chain. Those weren’t vehicles. “Myrmekes,” I said. “Meg, those are myr—” “I see them.” She didn’t even slow down. “It doesn’t change anything. Come on!” How could it not change anything? We’d faced a nest of those giant ants at Camp Half-Blood and barely survived. Meg had nearly been pulped into Gerber’s larvae purée. Now we were confronting myrmekes trained for war, snapping trees in half with their pincers and spraying acid to melt through the camp’s defensive pickets. This was a brand-new flavor of horrible. “We’ll never get through their lines!” I protested. “Lavinia’s secret tunnel.

The mountains remained the masters, though. Even in the age of electricity and technology and automobiles and tourism, the Adirondacks dictated the landscape of this stretch of northern New York. So there are a lot of lonesome stretches in the midst of all those forests. Heading up I-87, a.k.a. the Northway, the exits get farther and farther apart until you can go five miles, ten miles, fifteen miles without having a way off the road. And even if you do put your blinker on and ease onto a ramp that takes you to the right, all you’ll find is a couple of stores and a gas station and two or three houses. People can hide in the Adirondacks. Vampires can hide in the Adirondacks.

President Thomas S. Monson has said: “God left the world unfinished for man to work his skill upon. He left the electricity in the cloud, the oil in the earth. He left the rivers unbridged and the forests unfelled and the cities unbuilt. God gives to man the challenge of raw materials, not the ease of finished things. He leaves the pictures unpainted and the music unsung and the problems unsolved, that man might know the joys and glories of creation.” (in Quest of the Abundant Life, Ensign, March 1988) Put simply, the exhilaration of being creative and the feeling of accomplishment that often accompany hard work bring happiness. (Hank Smith, Be Happy)

Your laptop is a note in a symphony currently being played by an orchestra of incalculable size. It’s a very small part of a much greater whole. Most of its capacity resides beyond its hard shell. It maintains its function only because a vast array of other technologies are currently and harmoniously at play. It is fed, for example, by a power grid whose function is invisibly dependent on the stability of a myriad of complex physical, biological, economic and interpersonal systems. The factories that make its parts are still in operation. The operating system that enables its function is based on those parts, and not on others yet to be created. Its video hardware runs the technology expected by the creative people who post their content on the web. Your laptop is in communication with a certain, specified ecosystem of other devices and web servers. And, finally, all this is made possible by an even less visible element: the social contract of trust—the interconnected and fundamentally honest political and economic systems that make the reliable electrical grid a reality. This interdependency of part on whole, invisible in systems that work, becomes starkly evident in systems that don’t. The higher-order, surrounding systems that enable personal computing hardly exist at all in corrupt, third-world countries, so that the power lines, electrical switches, outlets, and all the other entities so hopefully and concretely indicative of such a grid are absent or compromised, and in fact make little contribution to the practical delivery of electricity to people’s homes and factories. This makes perceiving the electronic and other devices that electricity theoretically enables as separate, functional units frustrating, at minimum, and impossible, at worst. This is partly because of technical insufficiency: the systems simply don’t work. But it is also in no small part because of the lack of trust characteristic of systemically corrupt societies. To put it another way: What you perceive as your computer is like a single leaf, on a tree, in a forest—or, even more accurately, like your fingers rubbing briefly across that leaf. A single leaf can be plucked from a branch. It can be perceived, briefly, as a single, self-contained entity—but that perception misleads more than clarifies. In a few weeks, the leaf will crumble and dissolve. It would not have been there at all, without the tree. It cannot continue to exist, in the absence of the tree. This is the position of our laptops in relation to the world. So much of what they are resides outside their boundaries that the screened devices we hold on our laps can only maintain their computer-like façade for a few short years. Almost everything we see and hold is like that, although often not so evidently

The diet and lifestyle changes for the Tokelauans who immigrated to New Zealand were abrupt and even more dramatic. Bread and potatoes replaced breadfruit in their diets; meat replaced fish; they hardly ate any coconuts. Sugar consumption skyrocketed, as did physical activity: the men went to work as manual laborers in the forest service or on the railway, and the women got jobs in electrical assembly plants or clothing factories, or they cleaned offices during the evening hours, walking miles to and from work. In both populations, a similar pattern of chronic diseases erupted with the Westernization of the diet. Between the late 1960s and early 1980s, diabetes prevalence shot upward, particularly among the immigrants. By 1982, almost 20 percent of the immigrant women and 11 percent of the immigrant men—one in five and one in nine, respectively—were diabetic. Hypertension, heart disease, and gout also increased significantly, particularly in the migrant population (the migrants were nine times as likely to get gout as those remaining behind on the atolls). Obesity, unsurprisingly, also increased: Both men and women gained, on average, between twenty and thirty pounds. Children, too, got fatter.

To Her Steady Lover - Poem by Jibanananda Das There is no meaning in living—I don't say this. There is meaning for some, may be for all—may be a perfect meaning. Yet I hear the white sound of wind-driven birds In the water of the distant seas beneath the burning summer sun. The candle burns slowly, very slowly, on my table; The books of intellect are more still—unwavering— lost in meditation; Yet when you go out on to the streets or even while sitting by the window side Will you sense the frenzied dance of violent waters; Right beside that a book of your cheeks; no more like a lantern, Perhaps like a conch-shell lying on the beach as if ocean's father It is also a music by his own merit—like Nature: caustic—lovable—finally like the most favourite entity. So I get the taste of expansive wind in the airing of maddening grievances; Otherwise in the mind's forest the python coils up around the doe: I feel the pitiable hint of a life like that in the Sceptre of protest. Some glacier-cold still flock of Cormorants will realize my words; When the electric-compass of life will cease They will eat up snow-grey sleep like polar seas in endless grasp.

The invention of the Audion sounds like a classic story of ingenuity and persistence: a maverick inventor holed up in his bedroom lab notices a striking pattern and tinkers with it for years as a slow hunch, until he hits upon a contraption that changes the world. But telling the story that way misses one crucial fact: that at almost every step of the way, de Forest was flat-out wrong about what he was inventing. The Audion was not so much an invention as it was the steady, persistent accumulation of error. The strange communication between the spark gap transmitter and the Wersbach gas burner flame turned out to have nothing to do with the electromagnetic spectrum. (The flame was responding to ordinary sound waves emitted by the spark gap transmitter.) But because de Forest had begun with this erroneous notion that the gas flame was detecting the radio signals, all his iterations of the Audion involved some low-pressure gas inside the device, which severely limited their reliability. It took another decade for researchers at General Electric and other firms to realize that the triode performed far more effectively in a true vacuum. (Hence the term “vacuum tube.”) Even de Forest himself willingly admitted that he didn’t understand the device he had invented. “I didn’t know why it worked,” he remarked. “It just did.

For her part, the black-haired woman seemed to have been dipped into a black and starry night, into the starry night of space itself. The dress described her body, made love to it, and the stars were phosphor diamonds.