English Song Quotes

It's the heart afraid of breaking that never learns to dance.

It's the first line in your book. I always thought there was a lot of truth in that. Or maybe that's what my English teacher said. I can't really remember. I read it last semester." - Your parents must be so proud you can read." - They are. They bought me a pony and everything when I did a book report on Cat in the Hat.

I had to read Wuthering Heights for English and I never enjoyed a book in all my life as much as that one.

Reading list (1972 edition)[edit] 1. Homer – Iliad, Odyssey 2. The Old Testament 3. Aeschylus – Tragedies 4. Sophocles – Tragedies 5. Herodotus – Histories 6. Euripides – Tragedies 7. Thucydides – History of the Peloponnesian War 8. Hippocrates – Medical Writings 9. Aristophanes – Comedies 10. Plato – Dialogues 11. Aristotle – Works 12. Epicurus – Letter to Herodotus; Letter to Menoecus 13. Euclid – Elements 14. Archimedes – Works 15. Apollonius of Perga – Conic Sections 16. Cicero – Works 17. Lucretius – On the Nature of Things 18. Virgil – Works 19. Horace – Works 20. Livy – History of Rome 21. Ovid – Works 22. Plutarch – Parallel Lives; Moralia 23. Tacitus – Histories; Annals; Agricola Germania 24. Nicomachus of Gerasa – Introduction to Arithmetic 25. Epictetus – Discourses; Encheiridion 26. Ptolemy – Almagest 27. Lucian – Works 28. Marcus Aurelius – Meditations 29. Galen – On the Natural Faculties 30. The New Testament 31. Plotinus – The Enneads 32. St. Augustine – On the Teacher; Confessions; City of God; On Christian Doctrine 33. The Song of Roland 34. The Nibelungenlied 35. The Saga of Burnt Njál 36. St. Thomas Aquinas – Summa Theologica 37. Dante Alighieri – The Divine Comedy;The New Life; On Monarchy 38. Geoffrey Chaucer – Troilus and Criseyde; The Canterbury Tales 39. Leonardo da Vinci – Notebooks 40. Niccolò Machiavelli – The Prince; Discourses on the First Ten Books of Livy 41. Desiderius Erasmus – The Praise of Folly 42. Nicolaus Copernicus – On the Revolutions of the Heavenly Spheres 43. Thomas More – Utopia 44. Martin Luther – Table Talk; Three Treatises 45. François Rabelais – Gargantua and Pantagruel 46. John Calvin – Institutes of the Christian Religion 47. Michel de Montaigne – Essays 48. William Gilbert – On the Loadstone and Magnetic Bodies 49. Miguel de Cervantes – Don Quixote 50. Edmund Spenser – Prothalamion; The Faerie Queene 51. Francis Bacon – Essays; Advancement of Learning; Novum Organum, New Atlantis 52. William Shakespeare – Poetry and Plays 53. Galileo Galilei – Starry Messenger; Dialogues Concerning Two New Sciences 54. Johannes Kepler – Epitome of Copernican Astronomy; Concerning the Harmonies of the World 55. William Harvey – On the Motion of the Heart and Blood in Animals; On the Circulation of the Blood; On the Generation of Animals 56. Thomas Hobbes – Leviathan 57. René Descartes – Rules for the Direction of the Mind; Discourse on the Method; Geometry; Meditations on First Philosophy 58. John Milton – Works 59. Molière – Comedies 60. Blaise Pascal – The Provincial Letters; Pensees; Scientific Treatises 61. Christiaan Huygens – Treatise on Light 62. Benedict de Spinoza – Ethics 63. John Locke – Letter Concerning Toleration; Of Civil Government; Essay Concerning Human Understanding;Thoughts Concerning Education 64. Jean Baptiste Racine – Tragedies 65. Isaac Newton – Mathematical Principles of Natural Philosophy; Optics 66. Gottfried Wilhelm Leibniz – Discourse on Metaphysics; New Essays Concerning Human Understanding;Monadology 67. Daniel Defoe – Robinson Crusoe 68. Jonathan Swift – A Tale of a Tub; Journal to Stella; Gulliver's Travels; A Modest Proposal 69. William Congreve – The Way of the World 70. George Berkeley – Principles of Human Knowledge 71. Alexander Pope – Essay on Criticism; Rape of the Lock; Essay on Man 72. Charles de Secondat, baron de Montesquieu – Persian Letters; Spirit of Laws 73. Voltaire – Letters on the English; Candide; Philosophical Dictionary 74. Henry Fielding – Joseph Andrews; Tom Jones 75. Samuel Johnson – The Vanity of Human Wishes; Dictionary; Rasselas; The Lives of the Poets

There are only twenty-six letters in the English alphabet. You would think there would only be so much you could do with twenty-six letters. You would think there were only so many ways those letters could make you feel when mixed up and shoved together to make words. However, there are infinite ways those twenty-six letters can make a person feel, and this song is living proof. I’ll never understand how a few simple words strung together can change a person, but this song, these words, are completely changing me. I feel like my maybe someday just became my right now.

Sometimes when she is able to spend the night with him they are wakened by the three minarets of the city beginning their prayers before dawn. He walks with her through the indigo markets that lie between South Cairo and her home. The beautiful songs of faith enter the air like arrows, one minaret answering another, as if passing on a rumor of the two of them as they walk through the cold morning air, the smell of charcoal and hemp already making the air profound. Sinners in a holy city.

There are countries out there where people speak English. But not like us - we have our own languages hidden in our carry-on luggage, in our cosmetics bags, only ever using English when we travel, and then only in foreign countries, to foreign people. It's hard to imagine, but English is the real language! Oftentimes their only language. They don't have anything to fall back on or to turn to in moments of doubt. How lost they must feel in the world, where all instructions, all the lurics of all the stupidest possible songs, all the menus, all the excruciating pamphlets and brochures - even the buttons in the lift! - are in their private language. They may be understood by anuone at any moment, whenever they open their mouths. They must have to write things down in special codes. Wherever they are, people have unlimited access to them - they are accessible to everyone and everything! I heard there are plans in the works to get them some little language of their own, one of those dead ones no one else is using anyway, just so that for once they can have something just for them.

You will get no poetry from me, nor songs of love. But I will love you, every day for the rest of my life.

I’d always hoped that love would be enough. Otherwise it’s just a Nine Inch Nails song.

It's not right, man,” Jay said, following my stare. “Some guys have all the luck.” “What?” I finally broke my trance to look at Jay. “That guy, the drummer? Get this. He's a killer musician, he gets tons of chicks, his dad's loaded, and as if that wasn't enough, he's got a friggin' English accent!” I had to smile at Jay's mix of envy and admiration. “What's his name?” I hollered as the third song started. “Kaidan Rowe. Oh, and that's another thing. A cool name! Bastard.” “How do you spell it?” I asked. It sounded like Ky-den. Jay spelled it for me. “It's A-I, like Thai food,” he explained. Kai, like Thai, only yummier. Gah! Who was this girl invading my brain?

So it was that she knew she liked him, loved him as they said in the soppy English books, you were shamed and a fool to say that in Scotland.

When she was done whispering in the mike and being cute as hell, they'd sing a song half in English and half in French and drive all the phonies in the place mad with joy.

My heart races and I look away. “Well I care. So, write it down. For nine weekends and eight thousand dollars, what's yours is mine including your friends.” I throw in a little sarcastic eye flutter. “We're going to be so head-over-heels-in-love. I can't wait to see how romantic you are!” “Oh no. I refuse to be your kind of bumper-sticker-romantic. Don't mistake me for Mr. Darcy.” I gasp. “You don't know Hunger Games or Forks, Washington, but you know Mr. Darcy? Start talking.” “Crap! My grandmother's a fan. She's tortured me since birth with Mr. Darcy. Thanks to her DVD collection, I can quote Jane Austen faster than the Elmo song.” I laugh, surprised again. “Prove it.” “Elizabeth, daaarling!” He's launched into a breathless English accent. “I love, love, love you, and I never want to be parted from you from this day forward. Pardon me, whilst I puke…” “No way!” I beam. “Let the contract state that I want the Mr. Darcy accent once a week!” I can't help but laugh again because he's shaking his head and laughing back.

English poetic education should, really, not begin with The Canterbury Tales, not with the Odyssey, not even with Genesis, but with Song of Amergin.

Fasting By Mevlana Jelaluddin Rumi (1207 - 1273) English version by Coleman Barks There's hidden sweetness in the stomach's emptiness. We are lutes, no more, no less. If the soundbox is stuffed full of anything, no music. If the brain and belly are burning clean with fasting, every moment a new song comes out of the fire. The fog clears, and new energy makes you run up the steps in front of you. Be emptier and cry like reed instruments cry. Emptier, write secrets with the reed pen. When you're full of food and drink, Satan sits where your spirit should, an ugly metal statue in place of the Kaaba. When you fast, good habits gather like friends who want to help. Fasting is Solomon's ring. Don't give it to some illusion and lose your power, but even if you have, if you've lost all will and control, they come back when you fast, like soldiers appearing out of the ground, pennants flying above them. A table descends to your tents, Jesus' table. Expect to see it, when you fast, this table spread with other food, better than the broth of cabbages.

There were moments like this that Alix tried to breeze over, but they got stuck somewhere between her heart and ears. She knew Emira had gone to college. She knew Emira had majored in English. But sometimes, after seeing her paused songs with titles like "Dope Bitch" and "Y'all Already Know," then hearing her use words like connoisseur, Alix was filled with feelings that went from confused and highly impressed to low and guilty in response to the first reaction. There was no reason for Emira to be unfamiliar with this word. And there was no reason for Alix to be impressed.

You are here for the headstrong girl who will grow up to be president or something more important, like an English teacher

I broke with the sun and stars. I let the world go. I went far and deep with the knapsack of things I know. I made the journey, bought the useless, found the indefinite, And my heart is the same as it was: a sky and a desert. I failed in what I was, in what I wanted, in what I discovered. I’ve no soul left for light to arouse or darkness to smother. I’m nothing but nausea, nothing but reverie, nothing but longing. I’m something very far removed, and I keep going Just because my I feels cozy and profoundly real, Stuck like a wad of spit to one of the world’s wheels.

There are no English words to describe how one woman walked into that lodge and another walked out. All Clara knew was that it took her back. Back to the birch grove and the angel songs. Back to who she was before Sister Mary, before the school, before they tried to beat her into a little brown white girl. She felt a certainty, from then on, that all the ones who had come before walked with her. Life was no longer just survival. It was about being someone. An Indian someone, with all the truth that was born into her at the moment she was placed in her mother's womb.

Here in the north each night is a whole winter long. Yet the place is fair enough, doubt it not! Thou shalt see sights here such as thou hast not seen in the halls of the English king. We shall be together as sisters whilst thou bidest with me; we shall go down to the sea when the storm begins once more; thou shalt see the billows rushing upon the land like wild, white-maned horses—and then the whales far out in the offing! They dash one against another like steel-clad knights! Ha, what joy to be a witching-wife and ride on the whale's back—to speed before the skiff, and wake the storm, and lure men to the deeps with lovely songs of sorcery!

And then, this she offered to me, my one truth: "Our language," she said, "is not spoken, but sung.... Not simply words... and grammar... but melody. It was hard... thus... to learn English... this language of wood. For the people of your nation, Octavian, all speech is song.

There are only twenty-six letters in the English alphabet. You would think there would only be so much you could do with twenty-six letters. You would think there were only so many ways those letters could make you feel when mixed up and shoved together to make words. However, there are infinite ways those twenty-six letters can make a person feel, and this song is living proof.

And it is true you write in Urdu, Kashmiri, and English?” “My daughter talks too much,” he said, evidently pleased. “But she is correct. I find that different languages are useful for different things. For instance, it is best to write poetry in Urdu. Urdu words are made for poetry and songs. For stories, Kashmiri is the best.” “And English?” “English?” He smiled. “English is excellent for signboards and maps.

But what do I love, when I love You? Not beauty of bodies, nor the fair harmony of time. Not the brightness of the light, so welcome to our eyes, Nor sweet melodies of varied songs, Nor the fragrant smell of flowers, and ointments and spices. Not manna and honey, nor the embrace of arms in fleshly pleasure. None of these I love when I love my God. Yet this love is a kind of light and melody and fragrance and meat and embrace. When I love my God, the light, melody, fragrance, meat, and embrace is experienced by my inner man. Love shines into my soul, where space cannot contain it. Love speaks with sound that does not fade into silence with time. Its smells are not dispersed in breath, and its tastes do not grow stale. Love clings, and its satisfaction does not break my connection to the experience. This is it which I love, when I love my God.

Things You May Find Hidden in My Ear BY MOSAB ABU TOHA For Alicia M. Quesnel, MD i When you open my ear, touch it gently. My mother’s voice lingers somewhere inside. Her voice is the echo that helps recover my equilibrium when I feel dizzy during my attentiveness. You may encounter songs in Arabic, poems in English I recite to myself, or a song I chant to the chirping birds in our backyard. When you stitch the cut, don’t forget to put all these back in my ear. Put them back in order as you would do with books on your shelf.

Quentin Crisp, the English fop, wit, and subject of Sting’s song “Englishman in New York,” said, “Charisma is the ability to influence without logic.

Nostos, yes. The act of homecoming, a safe arrival. Of course, mapping a single English word onto a Greek one is almost always slippery. A nostos also means a song about a homecoming.

Love thou thy dream All base love scorning, Love thou the wind And here take warning That dreams alone can truly be, For 'tis in dream I come to thee. Ezra Pound, The Song trad. Ungaretti: Ama il tuo sogno Ama il tuo sogno Ogni inferiore amore disprezzando, Il vento ama Ed accorgiti qui Che i sogni solo possono veramente essere, Perciò in sogno a raggiungerti m’avvio.

The one that sang, old Janine, was always whispering into the g***** microphone before she sang. She'd say, 'And now we like to geeve you our impression of Vooly Voo Fransay. Eet ees the story of leetle Fransh girl who comes to a beeg ceety, just like New York, and falls een love wees a leetle boy from Brookleen. We hope you like eet.' Then, when she was all done whispering and being cute as hell, she'd sing some dopey song, half in English and half in French, and drive all the phonies in the place mad with joy.

Here is perhaps the most delicious turn that comes out of thinking about politics from the standpoint of place: anyone of any race, language, religion, or origin is welcome, as long as they live well on the land. The great Central Valley region does not prefer English over Spanish or Japanese or Hmong. If it had any preferences at all, it might best like the languages it has heard for thousands of years, such as Maidu or Miwok, simply because it is used to them. Mythically speaking, it will welcome whomever chooses to observe the etiquette, express the gratitude, grasp the tools, and learn the songs that it takes to live there.

She does speak Bengali, doesn't she?" Morrow had asked over the phone. "Sure," I'd said. Actually, Amrita spoke Hindi, Marathi, Tamil, and a little Punjabi as well as German, Russian, and English, but not Bengali.

Renée and I met at a bar called the Eastern Standard in Charlottesville, Virginia. I had just moved there to study English in grad school. Renée was a fiction writer in the MFA program. I was sitting with my poet friend Chris in a table in the back, when I fell under the spell of Renée’s bourbon-baked voice. The bartender put on Big Star’s Radio City. Renée was the only other person in the room who perked up. We started talking about how much we loved Big Star. It turned out we had the same favorite Big Star song – the acoustic ballad Thirteen. She’d never heard their third album, Sister Lovers. So naturally, I told her the same thing I’d told every other woman I’d ever fallen for: “I’ll make you a tape!

Before I met Maria, I was your basic craven hermit. I spent most of my time in my room, in love with my walls, hiding out from the world with my fanzines and my records. I thought I was happier that way. I had developed these monastic habits to protect myself from something, probably, but whatever it was, the monastic habits had turned into the bigger problem. In my headphones, I led a life of romance and incident and intrigue, none of which had anything to do with the world outside my Walkman. I was an English major, obsessed with Oscar Wilde and Walter Pater and Algernon Swinburne, thrilling to the exploits of my decadent aesthete poet idols, even though my only experience with decadence was reading about it.

A man says to her: Inti zay el amar. You are like the moon. Again, translation fails. There is no English equivalent to the lineage of this phrase, a lineage that runs through generations of old movies and love songs and family gatherings. Listen to the sly setting joy and pleading, raw pleading that carries the words as this man tells the girl who lived when so many others died that she is beautiful beyond the bounds of this world.

The only thing that made the music different was that we were taking lyrics to places they had never been before. The thing that makes art interesting is when an artist has incredible pain or incredible rage. The New York bands were much more into their pain, while the English bands were much more into their rage. The Sex Pistols' songs were written out of anger, wheras Johnny was writing songs because he was brokenhearted over Sable...

To begin with, there is the frightful debauchery of taste that has already been effected by a century of mechanisation. This is almost too obvious and too generally admitted to need pointing out. But as a single instance, take taste in its narrowest sense - the taste for decent food. In the highly mechanical countries, thanks to tinned food, cold storage, synthetic flavouring matters, etc., the palate it almost a dead organ. As you can see by looking at any greengrocer’s shop, what the majority of English people mean by an apple is a lump of highly-coloured cotton wool from America or Australia; they will devour these things, apparently with pleasure, and let the English apples rot under the trees. It is the shiny, standardized, machine-made look of the American apple that appeals to them; the superior taste of the English apple is something they simply do not notice. Or look at the factory-made, foil wrapped cheeses and ‘blended’ butter in an grocer’s; look at the hideous rows of tins which usurp more and more of the space in any food-shop, even a dairy; look at a sixpenny Swiss roll or a twopenny ice-cream; look at the filthy chemical by-product that people will pour down their throats under the name of beer. Wherever you look you will see some slick machine-made article triumphing over the old-fashioned article that still tastes of something other than sawdust. And what applies to food applies also to furniture, houses, clothes, books, amusements and everything else that makes up our environment. These are now millions of people, and they are increasing every year, to whom the blaring of a radio is not only a more acceptable but a more normal background to their thoughts than the lowing of cattle or the song of birds. The mechanisation of the world could never proceed very far while taste, even the taste-buds of the tongue, remained uncorrupted, because in that case most of the products of the machine would be simply unwanted. In a healthy world there would be no demand for tinned food, aspirins, gramophones, gas-pipe chairs, machine guns, daily newspapers, telephones, motor-cars, etc. etc.; and on the other hand there would be a constant demand for the things the machine cannot produce. But meanwhile the machine is here, and its corrupting effects are almost irresistible. One inveighs against it, but one goes on using it. Even a bare-arse savage, given the change, will learn the vices of civilisation within a few months. Mechanisation leads to the decay of taste, the decay of taste leads to demand for machine-made articles and hence to more mechanisation, and so a vicious circle is established.

I never felt Irish. I always felt, ‘I’m English, this is where I come from, and that’s that.’ Because you’d be reminded of that when you went to Ireland: ‘Ye’re not Oirish!’ the locals would say. So it was like, ‘Bloody hell, shot by both sides here.’ I still love that Magazine song – so relevant to me, those lyrics.

The children in my dreams speak in Gujarati turn their trusting faces to the sun say to me care for us nurture us in my dreams I shudder and I run. I am six in a playground of white children Darkie, sing us an Indian song! Eight in a roomful of elders all mock my broken Gujarati English girl! Twelve, I tunnel into books forge an armor of English words. Eighteen, shaved head combat boots - shamed by masis in white saris neon judgments singe my western head. Mother tongue. Matrubhasha tongue of the mother I murder in myself. Through the years I watch Gujarati swell the swaggering egos of men mirror them over and over at twice their natural size. Through the years I watch Gujarati dissolve bones and teeth of women, break them on anvils of duty and service, burn them to skeletal ash. Words that don't exist in Gujarati : Self-expression. Individual. Lesbian. English rises in my throat rapier flashed at yuppie boys who claim their people “civilized” mine. Thunderbolt hurled at cab drivers yelling Dirty black bastard! Force-field against teenage hoods hissing F****ing Paki bitch! Their tongue - or mine? Have I become the enemy? Listen: my father speaks Urdu language of dancing peacocks rosewater fountains even its curses are beautiful. He speaks Hindi suave and melodic earthy Punjabi salty rich as saag paneer coastal Kiswahili laced with Arabic, he speaks Gujarati solid ancestral pride. Five languages five different worlds yet English shrinks him down before white men who think their flat cold spiky words make the only reality. Words that don't exist in English: Najjar Garba Arati. If we cannot name it does it exist? When we lose language does culture die? What happens to a tongue of milk-heavy cows, earthen pots jingling anklets, temple bells, when its children grow up in Silicon Valley to become programmers? Then there's American: Kin'uh get some service? Dontcha have ice? Not: May I have please? Ben, mane madhath karso? Tafadhali nipe rafiki Donnez-moi, s'il vous plait Puedo tener….. Hello, I said can I get some service?! Like, where's the line for Ay-mericans in this goddamn airport? Words that atomized two hundred thousand Iraqis: Didja see how we kicked some major ass in the Gulf? Lit up Bagdad like the fourth a' July! Whupped those sand-niggers into a parking lot! The children in my dreams speak in Gujarati bright as butter succulent cherries sounds I can paint on the air with my breath dance through like a Sufi mystic words I can weep and howl and devour words I can kiss and taste and dream this tongue I take back.

All this is true and certain. But what I do not know is this: which home welcomed him, at the end. Whichever it was—the celestial English heaven of seraphim, cherubim and ophanim, or Kietan’s warm and fertile place away in the southwest, I believe that his song was powerful enough for Joel to hear and to follow him there.

To fill the days up of his dateless year Flame from Queen Helen to Queen Guenevere? For first of all the sphery signs whereby Love severs light from darkness, and most high, In the white front of January there glows The rose-red sign of Helen like a rose: And gold-eyed as the shore-flower shelterless Whereon the sharp-breathed sea blows bitterness, A storm-star that the seafarers of love Strain their wind-wearied eyes for glimpses of, Shoots keen through February's grey frost and damp The lamplike star of Hero for a lamp; The star that Marlowe sang into our skies With mouth of gold, and morning in his eyes; And in clear March across the rough blue sea The signal sapphire of Alcyone Makes bright the blown bross of the wind-foot year; And shining like a sunbeam-smitten tear Full ere it fall, the fair next sign in sight Burns opal-wise with April-coloured light When air is quick with song and rain and flame, My birth-month star that in love's heaven hath name Iseult, a light of blossom and beam and shower, My singing sign that makes the song-tree flower; Next like a pale and burning pearl beyond The rose-white sphere of flower-named Rosamond Signs the sweet head of Maytime; and for June Flares like an angered and storm-reddening moon Her signal sphere, whose Carthaginian pyre Shadowed her traitor's flying sail with fire; Next, glittering as the wine-bright jacinth-stone, A star south-risen that first to music shone, The keen girl-star of golden Juliet bears Light northward to the month whose forehead wears Her name for flower upon it, and his trees Mix their deep English song with Veronese; And like an awful sovereign chrysolite Burning, the supreme fire that blinds the night, The hot gold head of Venus kissed by Mars, A sun-flower among small sphered flowers of stars, The light of Cleopatra fills and burns The hollow of heaven whence ardent August yearns; And fixed and shining as the sister-shed Sweet tears for Phaethon disorbed and dead, The pale bright autumn's amber-coloured sphere, That through September sees the saddening year As love sees change through sorrow, hath to name Francesca's; and the star that watches flame The embers of the harvest overgone Is Thisbe's, slain of love in Babylon, Set in the golden girdle of sweet signs A blood-bright ruby; last save one light shines An eastern wonder of sphery chrysopras, The star that made men mad, Angelica's; And latest named and lordliest, with a sound Of swords and harps in heaven that ring it round, Last love-light and last love-song of the year's, Gleams like a glorious emerald Guenevere's.

The "four angels" were the Beatles, whom Manson considered ""leaders, spokesmen, prophets," according to Gregg. The line "And he opened the bottomless pit...And there came out of the smoke locusts upon the earth; and unto them was given power..." was still another reference to the English group, Gregg said. Locusts - Beatles - one and the same. "Their faces were as the faces of men," yet "they had hair as the hair of women." An obvious reference to the long-haired musicians. Out of the mouths of the four angles "issued fire and brimstone." Gregg: "This referred to the spoken words, the lyrics of the Beatles' songs, the power that came out of their mouths.

So,Batman,eh?" Effing St. Clair. I cross my arms and slouch into one of the plastic seats. I am so not in the mood for this.He takes the chair next to me and drapes a relaxed arm over the back of the empty seat on his other side. The man across from us is engrossed in his laptop,and I pretend to be engrossed in his laptop,too. Well,the back of it. St. Clair hums under his breath. When I don't respond,he sings quietly. "Jingle bells,Batman smells,Robin flew away..." "Yes,great,I get it.Ha ha. Stupid me." "What? It's just a Christmas song." He grins and continues a bit louder. "Batmobile lost a wheel,on the M1 motorway,hey!" "Wait." I frown. "What?" "What what?" "You're singing it wrong." "No,I'm not." He pauses. "How do you sing it?" I pat my coat,double-checking for my passport. Phew. Still there. "It's 'Jingle bells, Batman smells,Robin laid an egg'-" St. Clair snorts. "Laid an egg? Robin didn't lay an egg-" "'Batmobile lost a wheel,and the Joker got away.'" He stares at me for a moment,and then says with perfect conviction. "No." "Yes.I mean,seriously,what's up with the motorway thing?" "M1 motorway. Connects London to Leeds." I smirk. "Batman is American. He doesn't take the M1 motorway." "When he's on holiday he does." "Who says Batman has time to vacation?" "Why are we arguing about Batman?" He leans forward. "You're derailing us from the real topic.The fact that you, Anna Oliphant,slept in today." "Thanks." "You." He prods my leg with a finger. "Slept in." I focus on the guy's laptop again. "Yeah.You mentioned that." He flashes a crooked smile and shrugs, that full-bodied movement that turns him from English to French. "Hey, we made it,didn't we? No harm done." I yank out a book from my backpack, Your Movie Sucks, a collection of Roger Ebert's favorite reviews of bad movies. A visual cue for him to leave me alone. St. Clair takes the hint. He slumps and taps his feet on the ugly blue carpeting. I feel guilty for being so harsh. If it weren't for him,I would've missed the flight. St. Clair's fingers absentmindedly drum his stomach. His dark hair is extra messy this morning. I'm sure he didn't get up that much earlier than me,but,as usual, the bed-head is more attractive on him. With a painful twinge,I recall those other mornings together. Thanksgiving.Which we still haven't talked about.

Válmíki,(2)bird of charming song,(3)   Who mounts on Poesy’s sublimest spray, And sweetly sings with accent clear and strong   Ráma, aye Ráma, in his deathless lay. Where breathes the man can listen to the strain   That flows in music from Válmíki’s tongue, Nor feel his feet the path of bliss attain   When Ráma’s glory by the saint is sung!

Epistrophe is the trope of obsession. It's the trope of emphasizing one point again and again. And it's the trope of not being able to escape that one conclusion, which is one of the reasons that songs are so suited to the idea of obsessive love, political certainty and other such unhealthy ideas. You can't reason in an epistrophic pop song. You can't seriously consider the alternatives, because the structure dictates that you'll always end up at the same point, thinking about the same girl and giving peace a chance.

To English it was amazing how a song will take a whole confused epoch in your life, and fashion it into something sharp and elegant with which to pierce your neck.

Like the stutterer who pronounces their words flawlessly through song, the immigrant writes their English beautifully through poetry.

Behold, God is my salvation;         I will trust, and will not be afraid;     for the LORD GOD [2] is my strength and my song,         and he has become my salvation.

Homo sum humani a me nihil alienum puto

I remember a song we used to sing, "Columbia, Gem of the Ocean." But I thought it was, "Columbus, Jump in the Ocean.

The song which thrills to heaven, and seeks to emulate seraphic strains, hath human discords in it. The prayer which moves the arm of God is still a bruised and battered prayer

She wrote that she must stop herself from identifying too closely with the seasons, “because this English winter will be the death of me.” Why

Behold, God is my salvation; I will trust, and will not be afraid; for w the LORD GOD [2] is my strength and my song, and he has become my salvation.

The Fascist octopus has sung its swan song.

Empty it now and leave me one drop, I’ll make it an ocean, because I’m invincible.

I was a girl, a girl was me. Forgive her, please — she tried to be.

I wrote this song for you — to chase you, till devouring You.

Like a mermaid on a shore I loved you. Abandoned, a bit dead, a bit dreamy, like a mermaid.

All pain — I mean it. All I mean is pain.

I promised me that it will all be poetry. Instead, it was and was and was big nothing, materialized in loss.

Writing became my way to remain sane — and, ultimately, alive. Poetry was my salvation.

I live to write, not write to live. — Felicia Iancu, Song for Life – Poems from the Edge of Being ✅

You earth, you soil, you chewing monster of human hearts in casseroles...

Poetry, just like life, is never what we want it to be.

As painful as it is, it is just as delicious. The book, not the ride!

Take care of yourselves and look after me, till healing through poetry.

On walls I went — no pen, no power left. / My life without you looks like theft.

The moon is just an evil eye — of blue, of sighs.

It is a three-year-old child with a heart worn by three million years of living.

I’ll make you swallow a firing sea.

Poet of nothingness to be... not coming easy, or for free.

The writing style which is most natural for you is bound to echo the speech you heard when a child. English was the novelist Joseph Conrad's third language, and much of that seems piquant in his use of English was no doubt colored by his first language, which was Polish. And lucky indeed is the writer who has grown up in Ireland, for the English spoken there is so amusing and musical. I myself grew up in Indianapolis, where common speech sounds like a band saw cutting galvanized tin, and employs a vocabulary as unornamental as a monkey wrench. In some of the more remote hollows of Appalachia, children still grow up hearing songs and locutions of Elizabethan times. Yes, and many Americans grow up hearing a language other than English, or an English dialect a majority of Americans cannot understand. All these varieties of speech are beautiful, just as the varieties of butterflies are beautiful. No matter what your first language, you should treasure it all your life. If it happens not to be standard English, and if it shows itself when you write standard English, the result is usually delightful, like a very pretty girl with one eye that is green and one that is blue. I myself find that I trust my own writing most, and others seem to trust it most, too, when I sound most like a person from Indianapolis, which is what I am. What alternatives do I have? The one most vehemently recommended by teachers has no doubt been pressed on you, as well: to write like cultivated Englishmen of a century or more ago.

There are only twenty-six letters in the English alphabet. You would think there would only be so much you could do with twenty-six letters. You would think there were only so many ways those letters could make you feel when mixed up and shoved together to make words. However, there are infinite ways those twenty-six letters can make a person feel, and this song is living proof. I’ll never understand how a few simple words strung together can change a person, but this song, these words, are completely changing me. I feel like my maybe someday just became my right now.

I told them this was their language, this English, this most marvellous and expressive cloak of meaning and imagination. This great, exclamatory, illuminating song, it belonged to anyone who found it in their mouths. There was no wrong way to say it, or write it, the language couldn’t be compelled or herded, it couldn’t be tonsured or pruned, pollarded or plaited, it was as hard as oaths and as subtle as rhyme. It couldn’t be forced or bullied or policed by academics; it wasn’t owned by those with flat accents; nobody had the right to tell them how to use it or what to say. There are no rules and nobody speaks incorrectly, because there is no correctly: no high court of syntax. And while everyone can speak with the language, nobody speaks for the language. Not grammars, not dictionaries. They just run along behind, picking up discarded usages. This English doesn’t belong to examiners or teachers. All of you already own the greatest gift, the highest degree this country can bestow. It’s on the tip of your tongue.

English is a language that lives in the middle of the mouth, but Tagalog is more of an open throat song that dances between the tip of the tongue and the teeth. My mouth feels too heavy, too thick, too slow to produce the light, rapid syllables Filipinos spit with such ease. I curse my parents for not teaching me the language when I was young, when the struggle would have seemed more like a fun game than an identity crisis.

One of the countless symbolic or allegorical images of the sexual act is a deer hunt: A detail from a painting by the 16th-century German artist Cranach. The sexual implication of the deer hunt is underlined by a medieval English folk song called “The Keeper”: The first doe that he shot at he missed, And the second doe he trimmed he kissed, And the third ran away in a young man’s heart, She’s amongst the leaves of the green O.

At Camp Don Bosco, there were Bibles all over the place, mostly 1970s hippie versions like Good News for Modern Man. They had groovy titles like The Word or The Way, and translated the Bible into “contemporary English,” which meant Saul yelling at Jonathan, “You son of a bitch!” (I Samuel 20:30). Awesome! The King James version gave this verse as “Thou son of the perverse rebellious woman,” which was bogus in comparison. Maybe these translations went a bit far. I recall one of the Bibles translating the inscription over the cross, “INRI” (Iesus Nazaremus Rex Iudaeorum), as “SSDD” (Same Shit Different Day), and another describing the Last Supper — the night before Jesus’ death, a death he freely accepted — where Jesus breaks the bread, gives it to his disciples, and says, “It’s better to burn out than fade away,” but these memories could be deceptive.

The two last were in full tide of spirits, and the Baron rallied in his way our hero upon the handsome figure which his new dress displayed to advantage. 'If you have any design upon the heart of a bonny Scottish lassie, I would premonish you when you address her to remember the words of Virgilius: "Nunc insanus amor duri me Martis in armis, Tela inter media atque adversos detinet hostes." Whilk verses Robertson of Struan, Chief of the clan Donnochy, unless the claims of Lude ought to be preferred primo loco, has thus elegantly rendered: "For cruel love has gartan'd low my leg, And clad my hurdies in a philabeg." Although indeed ye wear the trews, a garment whilk I approve most of the two, as more ancient and seemly.' 'Or rather,' said Fergus, 'hear my song: "She wadna hae a Lowland laird, Nor be an English lady; But she's away with Duncan Græme, And he's rowed her in his plaidy.

Poaching?” Granda raised his hand to rake his fingers through his white hair. “That is our land, Irish land. Our stream and our fish. Cunningham, a man who comes once a year, has it all by the terrible might of the English.

No one thought it odd that at her funeral Elton John should perform a reworking of the song he had originally composed as hero-worship to Marilyn Monroe, for she too was an icon for a secular age and in the end icons of that kind are interchangeable.

As children, we are taught what I call Emotional English. This is an emotional language we are taught in our homes, and just like our spoken language, the emotional language we speak most fluently as adults is the one we learned as children. What we are taught about interacting emotionally with each other and the world is modeled for us by our families, and is what we will grow up doing. No matter how frustrating , damaging, and frightening it is, we will perpetuate the examples of our parents and family -- unless we can learn new ones. The tricky thing is that a person can go to school to learn a new language, we can find classes anywhere, in any town, but how do we learn a new emotional way of relating to our lives, loved ones, and most important, to ourselves?

During the late 1910s and early ’20s, immigrant workers at the Ford automotive plant in Dearborn, Michigan, were given free, compulsory “Americanization” classes. In addition to English lessons, there were lectures on work habits, personal hygiene, and table manners. The first sentence they memorized was “I am a good American.” During their graduation ceremony they gathered next to a gigantic wooden pot, which their teachers stirred with ten-foot ladles. The students walked through a door into the pot, wearing traditional costumes from their countries of origin and singing songs in their native languages. A few minutes later, the door in the pot opened, and the students walked out again, wearing suits and ties, waving American flags, and singing “The Star-Spangled Banner.

As we have seen, French culture and language interacted with native English culture for several generations after the Norman Conquest. A common word such as 'castle' is a French loan word, for example; and the whole romance tradition comes from the French. But this sensibility, culture, and language becomes integrated with native culture. As well as the beginnings of what came to be called a courtly love tradition, we can find in Early Middle English (around the time that Layamon was writing Brut) the growth of a local tradition of songs and ballads.

Why do we love nonsense? Why do we love Lewis Carroll with his “‘Twas brillig, and the slithy toves did gyre and gimble in the wabe, all mimsy were the borogoves, and the mome raths outgrabe…”? Why is it that all those old English songs are full of “Fal-de-riddle-eye-do” and “Hey-nonny-nonny” and all those babbling choruses? Why is it that when we get “hep” with jazz we just go “Boody-boody-boop-de-boo” and so on, and enjoy ourselves swinging with it? It is this participation in the essential glorious nonsense that is at the heart of the world, not necessarily going anywhere. It seems that only in moments of unusual insight and illumination that we get the point of this, and find that the true meaning of life is no meaning, that its purpose is no purpose, and that its sense is non-sense. Still, we want to use the word “significant.” Is this significant nonsense? Is this a kind of nonsense that is not just chaos, that is not just blathering balderdash, but rather has in it rhythm, fascinating complexity, and a kind of artistry? It is in this kind of meaninglessness that we come to the profoundest meaning.

Song When I am dead, my dearest, Sing no sad songs for me; Plant thou no roses at my head, Nor shady cypress tree: Be the green grass above me With showers and dewdrops wet; And if thou wilt, remember, And if thou wilt, forget. I shall not see the shadows, I shall not feel the rain; I shall not hear the nightingale Sing on, as if in pain: And dreaming through the twilight That doth not rise nor set, Haply I may remember, And haply may forget. Sir Thomas Wyatt has been credited with introducing the Petrarchan sonnet into the English language. Wyatt's father had been one of Henry VII's Privy Councilors and remained a trusted adviser when Henry VIII came to the throne in 1509. Wyatt followed his father to court, but it seems the young poet may have fallen in love with the king’s mistress, Anne Boleyn. Their acquaintance is certain, although whether or not the two actually shared a romantic relationship remains unknown. But in his poetry, Wyatt called his mistress Anna and there do seem to be correspondences. For instance, this poem might well have been written about the King’s claim on Anne Boleyn:

I feel like I became a zombie Not alive, but I’m still walking And when the sunrise is upon me I’ll be waiting for the day to pass by, oh why? I became a zombie And there's nothing that can cure me So tomorrow I know I'll be just the same You'll see me wishin' to stop and close my eyes

For a while you said nothing, then started to hum the melody to “Happy Birthday.” It was not my birthday but it was the only song you knew in English, and you kept going. And I listened, the phone pressed so hard to my ear that, hours later, a pink rectangle was still imprinted on my cheek.

One night, around the campfire after a dinner of bully-beef stew, someone opened an extra bottle of rum. ‘As it grew darker, the men began to sing, at first slightly self-conscious and shy, but picking up confidence as the song spread.’ Their songs were not the martial chants of warriors, but the schmaltzy romantic popular tunes of the time: ‘I’ll Never Smile Again’, ‘My Melancholy Baby’, ‘I’m Dancing with Tears in My Eyes’. The bigger and burlier the singer, Pleydell noted, the more passionate and heartfelt the singing. Now the French contingent struck up, with a warbling rendition of ‘Madeleine’, the bittersweet song of a man whose lilacs for his lover have been left to wilt in the rain. Then it was the turn of the German prisoners who, after some debate, belted out ‘Lili Marleen’, the unofficial anthem of the Afrika Korps, complete with harmonies: ‘Vor der Kaserne / Vor dem grossen Tor / Stand eine Laterne / Und steht sie noch davor …’ (Usually rendered in English as: Underneath the lantern, by the barrack gate, darling I remember, how you used to wait.) As the last verse died away, the audience broke into loud whistles and applause. To his own astonishment, Pleydell was profoundly moved. ‘There was something special about that night,’ he wrote years later. ‘We had formed a small solitary island of voices; voices which faded and were caught up in the wilderness. A little cluster of men singing in the desert. An expression of feeling that defied the vastness of its surroundings … a strange body of men thrown together for a few days by the fortunes of war.’ The doctor from Lewisham had come in search of authenticity, and he had found it deep in the desert, among hard soldiers singing sentimental songs to imaginary sweethearts in three languages.

When I was a kid and listened to this record, I used to wonder what it was that lay south of the border,” I said. “Me too,” she said. “When I grew up and could read the English lyrics, I was disappointed. It was just a song about Mexico. I’d always thought something great lay south of the border.

No institution of learning of Ingersoll's day had courage enough to confer upon him an honorary degree; not only for his own intellectual accomplishments, but also for his influence upon the minds of the learned men and women of his time and generation. Robert G. Ingersoll never received a prize for literature. The same prejudice and bigotry which prevented his getting an honorary college degree, militated against his being recognized as 'the greatest writer of the English language on the face of the earth,' as Henry Ward Beecher characterized him. Aye, in all the history of literature, Robert G. Ingersoll has never been excelled -- except by only one man, and that man was -- William Shakespeare. And yet there are times when Ingersoll even surpassed the immortal Bard. Yes, there are times when Ingersoll excelled even Shakespeare, in expressing human emotions, and in the use of language to express a thought, or to paint a picture. I say this fully conscious of my own admiration for that 'intellectual ocean, whose waves touched all the shores of thought.' Ingersoll was perfection himself. Every word was properly used. Every sentence was perfectly formed. Every noun, every verb and every object was in its proper place. Every punctuation mark, every comma, every semicolon, and every period was expertly placed to separate and balance each sentence. To read Ingersoll, it seems that every idea came properly clothed from his brain. Something rare indeed in the history of man's use of language in the expression of his thoughts. Every thought came from his brain with all the beauty and perfection of the full blown rose, with the velvety petals delicately touching each other. Thoughts of diamonds and pearls, rubies and sapphires rolled off his tongue as if from an inexhaustible mine of precious stones. Just as the cut of the diamond reveals the splendor of its brilliance, so the words and construction of the sentences gave a charm and beauty and eloquence to Ingersoll's thoughts. Ingersoll had everything: The song of the skylark; the tenderness of the dove; the hiss of the snake; the bite of the tiger; the strength of the lion; and perhaps more significant was the fact that he used each of these qualities and attributes, in their proper place, and at their proper time. He knew when to embrace with the tenderness of affection, and to resist and denounce wickedness and tyranny with that power of denunciation which he, and he alone, knew how to express.

. . .when the album was done I loved it. It was a mixture of electric and acoustic solo performances with dubs. I called it Le Noise, after Dan. It was a French Canadian joke, a very English was of saying Lanois. I was doing a show that introduced a lot of the songs, and things were going great. I was very happy.

The sole aim of a metaphor is to call up a visual image. When these images clash – as in The Fascist octopus has sung its swan song, the jackboot is thrown into the melting-pot – it can be taken as certain that the writer is not seeing a mental image of the objects he is naming; in other words he is not really thinking.

The Renaissance did not break completely with mediaeval history and values. Sir Philip Sidney is often considered the model of the perfect Renaissance gentleman. He embodied the mediaeval virtues of the knight (the noble warrior), the lover (the man of passion), and the scholar (the man of learning). His death in 1586, after the Battle of Zutphen, sacrificing the last of his water supply to a wounded soldier, made him a hero. His great sonnet sequence Astrophel and Stella is one of the key texts of the time, distilling the author's virtues and beliefs into the first of the Renaissance love masterpieces. His other great work, Arcadia, is a prose romance interspersed with many poems and songs.

She knew Emira had gone to college. She knew Emira had majored in English. But sometimes, after seeing her paused songs with titles like "Dope Bitch" and "Y'all Already Know," and then hearing her use words like connoisseur, Alix was filled with feelings that went from confused and highly impressed to low and guilty in response to the first reaction.

The LORD is my strength and my shield;         in him my heart trusts, and I am helped;     my heart exults,         and with my song I give thanks to him.     8 The LORD is the strength of his people; [2]         he is the saving refuge of his anointed.     9 Oh, save your people and bless your heritage!         Be their shepherd and carry them forever.

God shall arise, his enemies shall be scattered;         and those who hate him shall flee before him!     2 As smoke is driven away, so you shall drive them away;         as wax melts before fire,         so the wicked shall perish before God!     3 But the righteous shall be glad;         they shall exult before God;         they shall be jubilant with joy!     4 Sing to God, sing praises to his name;         lift up a song to him who rides through the deserts;     his name is the LORD;         exult before him!     5 Father of the fatherless and protector of widows         is God in his holy habitation.     6 God settles the solitary in a home;         he leads out the prisoners to prosperity,         but the rebellious dwell in a parched land.

No more peeping through keyholes! No more mas turbating in the dark! No more public confessions! Unscrew the doors from their jambs! I want a world where the vagina is represented by a crude, honest slit, a world that has feeling for bone and contour, for raw, primary colors, a world that has fear and respect for its animal origins. I’m sick of looking at cunts all tickled up, disguised, deformed, idealized. Cunts with nerve ends exposed. I don’t want to watch young virgins masturbating in the privacy of their boudoirs or biting their nails or tearing their hair or lying on a bed full of bread crumbs for a whole chapter. I want Madagascan funeral poles, with animal upon animal and at the top Adam and Eve, and Eve with a crude, honest slit between the legs. I want hermaphrodites who are real hermaphrodites, and not make-believes walking around with an atrophied penis or a dried-up cunt. I want a classic purity, where dung is dung and angels are angels. The Bible a la King James, for example. Not the Bible of Wycliffe, not the Vulgate, not the Greek, not the Hebrew, but the glorious, death-dealing Bible that was created when the English language was in flower, when a vocabulary of twenty thousand words sufficed to build a monument for all time. A Bible written in Svenska or Tegalic, a Bible for the Hottentots or the Chinese, a Bible that has to meander through the trickling sands of French is no Bible-it is a counterfeit and a fraud. The King James Version was created by a race of bone-crushers. It revives the primitive mysteries, revives rape, murder, incest, revives epilepsy, sadism, megalomania, revives demons, angels, dragons, leviathans, revives magic, exorcism, contagion, incantation, revives fratricide, regicide, patricide, suicide, revives hypnotism, anarchism, somnambulism, revives the song, the dance, the act, revives the mantic, the chthonian, the arcane, the mysterious, revives the power, the evil, and the glory that is God. All brought into the open on a colossal scale, and so salted and spiced that it will last until the next Ice Age. A classic purity, then-and to hell with the Post Office authorities! For what is it enables the classics to live at all, if indeed they be living on and not dying as we and all about us are dying? What preserves them against the ravages of time if it be not the salt that is in them? When I read Petronius or Apuleius or Rabelais, how close they seem! That salty tang! That odor of the menagerie! The smell of horse piss and lion’s dung, of tiger’s breath and elephant’s hide. Obscenity, lust, cruelty, boredom, wit. Real eunuchs. Real hermaphrodites. Real pricks. Real cunts. Real banquets! Rabelais rebuilds the walls of Paris with human cunts. Trimalchio tickles his own throat, pukes up his own guts, wallows in his own swill. In the amphitheater, where a big, sleepy pervert of a Caesar lolls dejectedly, the lions and the jackals, the hyenas, the tigers, the spotted leopards are crunching real human boneswhilst the coming men, the martyrs and imbeciles, are walking up the golden stairs shouting Hallelujah!

We tried to educate ourselves. I would invite the girls to my rooms, and we took turns reading poetry in English to improve our understanding of the language. One of our favorites was Thomas Hood's "Song of the Shirt," and another . . . Percy Bysshe Shelley's "Mask of Anarchy." . . . "Rise like lions after slumber In unvanquishable number! Which in sleep had fallen on you- Ye are many, they are few!

And as the boat-head wound along The willowy hills and fields among, They heard her singing her last song, The Lady of Shalott. Heard a carol, mournful, holy, Chanted loudly, chanted lowly, Till her blood was frozen slowly, And her eyes were darkened wholly, Turned to towered Camelot; For ere she reached upon the tide The first house by the water-side, Singing in her song she died, The Lady of Shalott.

Vitamin C is the world’s best natural antibiotic, antiviral, antitoxin and antihistamine. This book’s recurring emphasis on vitamin C might suggest that I am offering a song with only one verse. Not so. As English literature concentrates on Shakespeare, so orthomolecular (megavitamin) therapy concentrates on vitamin C. Let the greats be given their due. The importance of vitamin C cannot be overemphasised.

There are countries out there where people speak English. By not like us - we have our own languages hidden in our carry-on luggage, in our cosmetics bags, only ever using English when we travel, and then only in foreign countries, to foreign people. It's hard to imagine, but English is their real language. They don't have anything to fall back on or turn to in moments of doubt. How lost they must feel in the world, where all instructions, all the lyrics of the stupidest possible songs, all the menus, all the excruciating pamphlets and brochures - even the buttons in the lift! - are in their private language. They may be understood by anyone at any moment, whenever they open their mouths. ... Wherever they are, people have unlimited access to them - they are accessible to everyone and everything! (page 182/3)

All illustrate the “theory of courage,” which Tolkien called “the great contribution of early Northern literature,” meaning both Icelandic and Old English literature. It is a “creed of unyielding will”: The heroes refuse to give up even when they know the monsters—evil—will win. For that is the big difference between Snorri’s Ragnarok and the Christian Doomsday. Odin and the human army of Valhalla do not win.

I have learned that there exist a word, onsra, in Bodo, a language spoken by the Bodo people in parts of northeastern India, that is used to describe the poignant emotion a person experiences when that person realizes that the love they have been sharing with another is destined not to endure. This word, which has no equivalent in English, has been translated as "to love for the last time." Misleading. Most English-speaking people would probably take "to love for the last time" to mean to have at long last found one's true love, enduring love. For example, in a song composed by Carole King called "Love for the Last Time." But when I first learned this translation of onsra I thought it meant something else entirely. I thought it meant to have experienced a love so overwhelming, so fierce and deep, that you could never ever ever love again.

Italy still has a provincial sophistication that comes from its long history as a collection of city states. That, combined with a hot climate, means that the Italians occupy their streets and squares with much greater ease than the English. The resultant street life is very rich, even in small towns like Arezzo and Gaiole, fertile ground for the peeping Tom aspect of an actor’s preparation. I took many trips to Siena, and was struck by its beauty, but also by the beauty of the Siennese themselves. They are dark, fierce, and aristocratic, very different to the much paler Venetians or Florentines. They have always looked like this, as the paintings of their ancestors testify. I observed the groups of young people, the lounging grace with which they wore their clothes, their sense of always being on show. I walked the streets, they paraded them. It did not matter that I do not speak a word of Italian; I made up stories about them, and took surreptitious photographs. I was in Siena on the final day of the Palio, a lengthy festival ending in a horse race around the main square. Each district is represented by a horse and jockey and a pair of flag-bearers. The day is spent by teams of supporters with drums, banners, and ceremonial horse and rider processing round the town singing a strange chanting song. Outside the Cathedral, watched from a high window by a smiling Cardinal and a group of nuns, with a huge crowd in the Cathedral Square itself, the supporters passed, and to drum rolls the two flag-bearers hurled their flags high into the air and caught them, the crowd roaring in approval. The winner of the extremely dangerous horse race is presented with a palio, a standard bearing the effigy of the Virgin. In the last few years the jockeys have had to be professional by law, as when they were amateurs, corruption and bribery were rife. The teams wear a curious fancy dress encompassing styles from the twelfth to the eighteenth centuries. They are followed by gangs of young men, supporters, who create an atmosphere or intense rivalry and barely suppressed violence as they run through the narrow streets in the heat of the day. It was perfect. I took many more photographs. At the farmhouse that evening, after far too much Chianti, I and my friends played a bizarre game. In the dark, some of us moved lighted candles from one room to another, whilst others watched the effect of the light on faces and on the rooms from outside. It was like a strange living film of the paintings we had seen. Maybe Derek Jarman was spying on us.

Words exist. What are they made of? Air under pressure? Ink? Some instances of the word "cat" are made of ink, and some are made of bursts of acoustic energy in the atmosphere, and some are made of patterns of glowing dots on computer screens, and some occur silently in thoughts, and what they have in common is just that they count as "the same" (tokens of the same type, as philosophers say) say in a system of symbols known as a language. Words are such familiar items in our language-drenched world that we tend to think of them as if they were unproblematically tangible things - as real as teacups and raindrops - but they are in fact quite abstract, even more abstract than voices or songs or haircuts or opportunities (and what are they made off?). What are words? Words are basically information packets of some sort, recipes for using one's vocal apparatus and ears (or hands or eyes) - and brains - in quite specific ways. A world is more than a sound or a spelling. For instance, fast sounds the same and is spelled the same in English and German, but has completely different meanings and roles in the two languages. Two different worlds, sharing only some of their surface properties. Words exist. Do memes exist? Yes, because words exist, and words are memes that can be pronounced.

THE MEETING" "Scant rain had fallen and the summer sun Had scorched with waves of heat the ripening corn, That August nightfall, as I crossed the down Work-weary, half in dream. Beside a fence Skirting a penning’s edge, an old man waited Motionless in the mist, with downcast head And clothing weather-worn. I asked his name And why he lingered at so lonely a place. “I was a shepherd here. Two hundred seasons I roamed these windswept downlands with my flock. No fences barred our progress and we’d travel Wherever the bite grew deep. In summer drought I’d climb from flower-banked combe to barrow’d hill-top To find a missing straggler or set snares By wood or turmon-patch. In gales of March I’d crouch nightlong tending my suckling lambs. “I was a ploughman, too. Year upon year I trudged half-doubled, hands clenched to my shafts, Guiding my turning furrow. Overhead, Cloud-patterns built and faded, many a song Of lark and pewit melodied my toil. I durst not pause to heed them, rising at dawn To groom and dress my team: by daylight’s end My boots hung heavy, clodded with chalk and flint. “And then I was a carter. With my skill I built the reeded dew-pond, sliced out hay From the dense-matted rick. At harvest time, My wain piled high with sheaves, I urged the horses Back to the master’s barn with shouts and curses Before the scurrying storm. Through sunlit days On this same slope where you now stand, my friend, I stood till dusk scything the poppied fields. “My cob-built home has crumbled. Hereabouts Few folk remember me: and though you stare Till time’s conclusion you’ll not glimpse me striding The broad, bare down with flock or toiling team. Yet in this landscape still my spirit lingers: Down the long bottom where the tractors rumble, On the steep hanging where wild grasses murmur, In the sparse covert where the dog-fox patters.” My comrade turned aside. From the damp sward Drifted a scent of melilot and thyme; From far across the down a barn owl shouted, Circling the silence of that summer evening: But in an instant, as I stepped towards him Striving to view his face, his contour altered. Before me, in the vaporous gloaming, stood Nothing of flesh, only a post of wood.

Have you heard the songs they sing here in Kilanga?” he asked. “They’re very worshipful. It’s a grand way to begin a church service, singing a Congolese hymn to the rainfall on the seed yams. It’s quite easy to move from there to the parable of the mustard seed. Many parts of the Bible make good sense here, if only you change a few words.” He laughed. “And a lot of whole chapters, sure, you just have to throw away.” “Well, it’s every bit God’s word, isn’t it?” Leah said. “God’s word, brought to you by a crew of romantic idealists in a harsh desert culture eons ago, followed by a chain of translators two thousand years long." Leah stared at him. “Darling, did you think God wrote it all down in the English of King James himself?” “No, I guess not.” “Think of all the duties that were perfectly obvious to Paul or Matthew in that old Arabian desert that are pure nonsense to us now. All that foot washing, for example. Was it really for God’s glory, or just to keep the sand out of the house?” Leah sat narrow-eyed in her chair, for once stumped for the correct answer. “Oh, and the camel. Was it a camel that could pass through the eye of a needle more easily than a rich man? Or a coarse piece of yarn? The Hebrew words are the same, but which one did they mean? If it’s a camel, the rich man might as well not even try. But if it’s the yarn, he might well succeed with a lot of effort, you see?” He leaned forward toward Leah with his hands on his knees. “Och, I shouldn’t be messing about with your thinking this way, with your father out in the garden. But I’ll tell you a secret. “When I want to take God at his word exactly, I take a peep out the window at His Creation. Because that, darling, He makes fresh for us every day, without a lot of dubious middle managers.

1️⃣ I live to write, not write to live. 2️⃣ I died, came back — and all I did was laughing. 3️⃣ On walls I went — no pen, no power left. / My life without you looks like theft. 4️⃣ All pain — I mean it. All I mean is pain. 5️⃣ The moon is just an evil eye — of blue, of sighs. 6️⃣ Stop here, listen, bow, say nothing. / I was adrift — I built myself while aching. 7️⃣ I wish you’d written me — made earth much warmer. 8️⃣ I’m not afraid. Because I want, I can. / This is my mantra, emerging out of pain.

There are only twenty-six letters in the English alphabet. You would think there would only be so much you could do with twenty-six letters. You would think there were only so many ways those letters could make you feel when mixed up and shoved together to make words. However, there are infinite ways those twenty-six letters can make a person feel, and this song is living proof. I’ll never understand how a few simple words strung together can change a person, but this song, these words, are completely changing me.

Who is it that drives the Russians, the English, and the Americans into battle and sacrifices huge numbers of human lives in a hopeless struggle against the German people? The Jews! Their newspapers and radio broadcasts spread the songs of war while the nations they have deceived are led to the slaughter. Who is it that invents new plans of hatred and destruction against us every day, making this war into a dreadful case of self-mutilation and self-destruction of European life and its economy, education and culture? The Jews! Who devised the unnatural marriage between England and the USA on one side and Bolshevism on the other, building it up and jealously ensuring its continuance? Who covers the most perverse political situations with cynical hypocrisy from a trembling fear that a new way could lead the nations to realize the true causes of this terrible human catastrophe? The Jews, only the Jews! They are named Morgenthau and Lehmann and stand behind Roosevelt as a so-called brain trust. They are named Mechett and Sasoon and serve as Churchill’s moneybags and order givers. They are named Kaganovitsch and Ehrenburg and are Stalin’s pacesetters and intellectual spokesmen. Wherever you look, you see Jews. They march as political commissars behind the Red army and organize murder and terror in the areas conquered by the Soviets. They sit behind the lines in Paris and Brussels, Rome and Athens, and fashion their reins from the skin of the unhappy nations that have fallen under their power. “Die Urheber des Unglücks der Welt,” Das Reich, 21 January 1945

Have you ever heard the Hungarian national anthem? No? Good for you! I wouldn’t recommend it at all. Unless you are looking for inspiration for your suicide attempt. If it is not just an attempt but you are deadly serious about your suicide then I strongly recommend you not only read the lyrics but listen to the music too. The most mournful funeral song sounds jolly compared to it. Other nations have inspiring anthems like ‘God Save the Queen’ or the ‘La Marseillaise’ or ‘The StarSpangled Banner’, and their lyrics are about victory and proudness like ‘Russia – our sacred homeland, Russia – our beloved country’ or ‘Germany, Germany above everything, Above everything in the world!’ But what about the Hungarian anthem? It starts with ‘O Lord, bless the Hungarian’ and then follow eight long and painful stanzas about our ‘slave yoke’ and ‘funeral urn’ and ‘the corpses of our defeated army’ and ‘groans of death, weeping’ and finally it finishes with ‘Pity, O Lord, the Hungarians they who have suffered for all sins of the past and of the future!’ Yes, of the future too.

We are hardwired to hear and make music. Yes, we will sigh with pleasure when we hear a favorite theme played by an orchestra, and who hasn’t felt a stab of nostalgia, or even brushed away a tear, when hearing a song reminiscent of youth or a lost love? However, such exquisite moments notwithstanding, the musical experience represents something far deeper. Broadly defined, music is sound in time. Sound is nothing less than our perception of the vibrations, the movement, of the universe around us. Music is an intensification, a crystallization, a celebration, a glorification, of that movement and those vibrations. Pretty heady stuff. Far beyond spoken language—which, with its sounds in time, might rightly be considered a low-end sort of music—music is a universal language; one need not speak Ashanti in order to groove to West African drumming; or German in order to be emotionally flayed by Beethoven; or English to totally freak when listening to Bruce Springsteen. Say it with flowers? Nah. If you really want to get your expressive point across, say it with music. No human activity

The word cod is of unknown origin. For something that began as food for good Catholics on the days they were to abstain from sex, it is not clear why, in several languages, the words for salt cod have come to have sexual connotations. In the English-speaking West Indies, saltfish is the common name for salt cod. In slang, saltfish means "a woman's genitals", and while Caribbeans do love their salt cod, it is this other meaning that is responsible for the frequent appearance of the word saltfish in Caribbean songs such as the Mighty Sparrow's "Saltfish".

15 pLook carefully then how you walk, not as unwise but as wise, 16 pmaking the best use of the time, because  qthe days are evil. 17Therefore do not be foolish, but understand what  rthe will of the Lord is. 18And  sdo not get drunk with wine, for that is  tdebauchery, but  ube filled with the Spirit, 19addressing one another in  vpsalms and hymns and spiritual songs, singing and making melody to the Lord with your heart, 20 wgiving thanks always and for everything to God the Father  xin the name of our Lord Jesus Christ, 21 ysubmitting to one another out of reverence for Christ.

Nor is it again that the novel has killed the play, as some critics would persuade us - the romantic movement of France shows us that. The work of Balzac and of Hugo grew up side by side together; nay, more, were complementary to each other, though neither of them saw it. While all other forms of poetry may flourish in an ignoble age, the splendid individualism of the lyrist, fed by its own passion, and lit by its own power, may pass as a pillar of fire as well across the desert as across places that are pleasant. It is none the less glorious though no man follow it - nay, by the greater sublimity of its loneliness it may be quickened into loftier utterance and intensified into clearer song.

Caleb was a hero, there is no doubt of it. He ventured forth from one world to another with an explorer’s courage, armored by the hope that he could serve his people. He stood shoulder to shoulder with the most learned of his day, ready to take his place with them as a man of affairs. He won the respect of those who had been swiftest to dismiss him. All that is true and certain. But what I do not know is this: which home welcomed him, at the end. Whichever it was—the celestial English heaven of seraphim, cherubim and ophanim, or Kietan’s warm and fertile place away in the southwest, I believe that his song was powerful enough for Joel to hear and to follow him there. X They pulled the Indian College down.

Language is a social energy, and our capacity for articulate speech is the key factor that makes us different from other species. We are not as fast as cheetahs – or even as horses. Nor are we as strong as bulls or as adaptable as bacteria. But our brains are equipped with the facility to produce and process speech, and we are capable of abstract thought. A bee may dance to show other bees the location of a source of food, a green monkey may deliver sophisticated vocal signals, and a sparrow may manage as many as thirteen different types of song, but an animal's system of communication has a limited repertoire; ours, on the other hand, is 'open', and its mechanisms permit a potentially infinite variety of utterances.

In Amsterdam there lives a maid (Mark well what I do say) In Amsterdam there lives a maid. And she is the mistress of her trade: I’ll go no more a-roving with you, fair maid! A-roving, a-roving, since roving’s been my ru-eye-in, I’ll go no more a-roving with you, fair maid!   British seaman’s songearly seventeenth centuryMost seamen’s songs and chanties, from the sixteenthcentury on, were highly “permissive” when read aright.They were much bowdlerised in the nineteenth century,and many lost their original honesty and delight. Thisone, innocent except to the seamen’s ears, survived.(“Torove,” is the sailor’s term for the weft in canvas. It means”to insert”—”to pass through.” “Trade,” in English, hasalways had a sexual connotation.)

I do not mean merely in its adding to enthusiasm that intellectual basis which in its strength, or that more obvious influence about which Wordsworth was thinking when he said very nobly that poetry was merely the impassioned expression in the face of science, and that when science would put on a form of flesh and blood the poet would lend his divine spirit to aid the transfiguration. Nor do I dwell much on the great cosmical emotion and deep pantheism of science to which Shelley has given its first and Swinburne its latest glory of song, but rather on its influence on the artistic spirit in preserving that close observation and the sense of limitation as well as of clearness of vision which are the characteristics of the real artist.

The first time that I went to Tuskegee I was asked to make an address to the school on Sunday evening. I sat upon the platform of the large chapel and looked forth on a thousand coloured faces, and the choir of a hundred or more behind me sang a familiar religious melody, and the whole company joined in the chorus with unction. I was the only white man under the roof, and the scene and the songs made an impression on me that I shall never forget. Mr. Washington arose and asked them to sing one after another of the old melodies that I had heard all my life; but I had never before heard them sung by a thousand voices nor by the voices of educated Negroes. I had associated them with the Negro of the past, not with the Negro who was struggling upward. They brought to my mind the plantation, the cabin, the slave, not the freedman in quest of education. But on the plantation and in the cabin they had never been sung as these thousand students sang them. I saw again all the old plantations that I had ever seen; the whole history of the Negro ran through my mind; and the inexpressible pathos of his life found expression in these songs as I had never before felt it. And the future? These were the ambitious youths of the race, at work with an earnestness that put to shame the conventional student life of most educational institutions. Another song rolled up along the rafters. And as soon as silence came, I found myself in front of this extraordinary mass of faces, thinking not of them, but of that long and unhappy chapter in our country's history which followed the one great structural mistake of the Fathers of the Republic; thinking of the one continuous great problem that generations of statesmen had wrangled over, and a million men fought about, and that had so dwarfed the mass of English men in the Southern States as to hold them back a hundred years behind their fellows in every other part of the world—in England, in Australia, and in the Northern and Western States; I was thinking of this dark shadow that had oppressed every large-minded statesman from Jefferson to Lincoln. These thousand young men and women about me were victims of it. I, too, was an innocent victim of it. The whole Republic was a victim of that fundamental error of importing Africa into America.

PSALM 91 He who dwells in  athe shelter of the Most High will abide in  bthe shadow of the Almighty. 2 I will say [1] to the LORD, “My  crefuge and my  dfortress, my God, in whom I  etrust.” 3 For he will deliver you from  fthe snare of the fowler and from the deadly pestilence. 4 He will  gcover you with his pinions, and under his  hwings you will  ifind refuge; his  jfaithfulness is  ka shield and buckler. 5  lYou will not fear  mthe terror of the night, nor the arrow that flies by day, 6 nor the pestilence that stalks in darkness, nor the destruction that wastes at noonday. 7 A thousand may fall at your side, ten thousand at your right hand, but it will not come near you. 8 You will only look with your eyes and  nsee the recompense of the wicked. 9 Because you have made the LORD your  odwelling place— the Most High, who is my  crefuge [2]— 10  pno evil shall be allowed to befall you, qno plague come near your tent. 11  rFor he will command his  sangels concerning you to  tguard you in all your ways. 12 On their hands they will bear you up, lest you  ustrike your foot against a stone. 13 You will tread on  vthe lion and the  wadder; the young lion and  xthe serpent you will  ytrample underfoot. 14 “Because he  zholds fast to me in love, I will deliver him; I will protect him, because he  aknows my name. 15 When he  bcalls to me, I will answer him; I will be with him in trouble; I will rescue him and  chonor him. 16 With  dlong life I will satisfy him and  eshow him my salvation.” How Great Are Your Works A Psalm. A Song for the Sabbath.

And Caravaggio when he had heard it in the last few years of the war never really liked it, never liked to listen to it. In his heart he had Hana’s version from many years before. Now he listened with a pleasure because she was singing again, but this was quickly altered by the way she sang. Not the passion of her at sixteen but echoing the tentative circle of light around her in the darkness. She was singing it as if it was something scarred, as if one couldn’t ever again bring all the hope of the song together. It had been altered by the five years leading to this night of her twenty-first birthday in the forty-fifth year of the twentieth century. Singing in the voice of a tired traveller, alone against everything. A new testament. There was no certainty to the song anymore, the singer could only be one voice against all the mountains of power. That was the only sureness. The one voice was the single unspoiled thing.

by the end of his indenture, Gideon had gained weight, and had forgotten his outrage at men in power, for he was now a white Georgian with property of his own, instead of a hungry lad gaping at the well-fed rich. And the people—our people—whom the English called Indians were now beneath Gideon. Finally, Gideon Franklin could look down on someone else, instead of being the most despised himself. As a landowner, Gideon was no longer close to power, he possessed it, and even more so when Oglethorpe’s wish of a colony without slavery was violated. And as the years passed, and enslaved Negroes were brought into the colony, though Gideon remained poor, he had pride in his freedom. His optimism grew, as well as his belief that God had blessed him with special grace. And why not? On our land, which the English had stolen from our people, Gideon was a white man. And even the poorest of white men was better than the Indian and the slave.

Great Britain, for instance, is too big and too diverse to be home to a small-island civilization, but in modern times the English—though not, I think, other peoples of the island—have cultivated what might be called a small-island mentality: all their most tiresome history books stress, sometimes in their opening words, that their history is a function of their insularity. They still write and read histories with such titles as Our Island Story and The Offshore Islanders.4The conviction that their island “arose from the azure main” and is like a gem “set in the silver sea” resounds in national songs and scraps of verse which they hear repeatedly. In the eighteenth and nineteenth centuries, the English invested heavily in naval security. They created the cult of the “English eccentric”—which is a way of idealizing the outcome of isolation. They have projected an image as “a singular race, one which prides itself on being a little mad.

THE SOLITARY REAPER. Behold her, single in the field, Yon solitary highland lass! Reaping and singing by herself; Stop here, or gently pass! Alone she cuts and binds the grain, And sings a melancholy strain; O listen! for the vale profound Is overflowing with the sound. No nightingale did ever chaunt More welcome notes to weary bands Of travellers in some shady haunt Among Arabian sands: A voice so thrilling ne'er was heard In spring-time from a cuckoo-bird, Breaking the silence of the seas Among the farthest Hebrides. Will no one tell me what she sings?— Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago: Or is it some more humble lay, Familiar matter of to-day? Some natural sorrow, loss, or pain, That has been, or may be again? Whate'er the theme, the maiden sang As if her song could have no ending; I saw her singing at her work, And o'er the sickle bending;— I listened, motionless and still; And, as I mounted up the hill, The music in my heart I bore, Long after it was heard no more.

I had no idea what they sang. I guessed it was all in Latin, but some words could have been French. I didn't need to understand the words to have them touch me. I don't know whether it was the acoustics, the song, the beauty of the singing or the conviction behind it, but there was grandeur and hope in every note. The frescos flickered in candlelight and stained-glass men looked down upon me benevolently as the monks' singing brought pieces of me apart. Maybe this was why I had come, why I was meant to be here. I saw tears running down Fabiana's cheeks. Brother Rocher asked in French and English for those wishing to be blessed to come forward. I sat and watched the three Brazilians and half a dozen others move forward in turn. There was a final chant and everyone filed out. Except me. Centuries of singing, service to others and dedication to something bigger than twenty-first-century materialism had created a peace that permeated the walls. Whatever issues I had with religion were not relevant here. The stillness and austerity gave me a strange sense of comfort, and I seemed to be moving toward some sort of clarity.

It doesn't take ten years of study, you don't need to go to the University, to find out that this is a damned good world gone wrong. Gone wrong, because it is being monkeyed with by people too greedy and mean and wrong-hearted altogether to do the right thing by our common world. They've grabbed it and they won't let go. They might lose their importance; they might lose their pull. Everywhere it's the same. Beware of the men you make your masters. Beware of the men you trust. We've only got to be clear-headed to sing the same song and play the same game all over the world, we common men. We don't want Power monkeyed with, we don't want Work and Goods monkeyed with, and, above all, we don't want Money monkeyed with. That's the elements of politics everywhere. When these things go wrong, we go wrong. That's how people begin to feel it and see it in America. That's how we feel it here -- when we look into our minds. That's what common people feel everywhere. That's what our brother whites -- "poor whites" they call them -- in those towns in South Carolina are fighting for now. Fighting our battle. Why aren't we with them? We speak the same language; we share the same blood. Who has been keeping us apart from them for a hundred and fifty-odd years? Ruling classes. Politicians. Dear old flag and all that stuff! Our school-books never tell us a word about the American common man; and his school-books never tell him a word about us. They flutter flags between us to keep us apart. Split us up for a century and a half because of some fuss about taxing tea. And what are our wonderful Labour and Socialist and Communist leaders doing to change that? What are they doing to unite us English-speaking common men together and give us our plain desire? Are they doing anything more for us than the land barons and the factory barons and the money barons? Not a bit of it! These labour leaders of to-day mean to be lords to-morrow. They are just a fresh set of dishonest trustees. Look at these twenty-odd platforms here! Mark their needless contradictions! Their marvellous differences on minor issues. 'Manoeuvres!' 'Intrigue.' 'Personalities.' 'Monkeying.' 'Don't trust him, trust me!' All of them at it. Mark how we common men are distracted, how we are set hunting first after one red herring and then after another, for the want of simple, honest interpretation...

The LORD Is My Strength and My Shield Of David.     PSALM 28 To you, O LORD, I call;          j my rock, be not deaf to me,     lest, if you  k be silent to me,         I become like those who  l go down to the pit.     2  m Hear the voice of my pleas for mercy,         when I cry to you for help,     when I  n lift up my hands          o toward your most holy sanctuary. [1]     3 Do not  p drag me off with the wicked,         with the workers of evil,      q who speak peace with their neighbors         while evil is in their hearts.     4  r Give to them according to their work         and according to the evil of their deeds;     give to them according to the work of their hands;          s render them their due reward.     5 Because they  t do not regard the works of the LORD         or the work of his hands,     he will tear them down and build them up no more.     6 Blessed be the LORD!         For he has  u heard the voice of my pleas for mercy.     7 The LORD is my strength and  v my shield;         in him my heart  w trusts, and I am helped;     my heart exults,         and with my  x song I give thanks to him.     8 The LORD is the strength of his people; [2]         he is  y the saving refuge of his anointed.     9 Oh, save your people and bless  z your heritage!          a Be their shepherd and  b carry them forever.

The LORD Is My Rock and My Fortress To the choirmaster. A Psalm of David,  f the servant of the LORD,  g who addressed the words of this  h song to the LORD on the day when the LORD delivered him from the hand of all his enemies, and from the hand of Saul. He said: PSALM 18 I love you, O LORD, my strength. 2 The LORD is my  i rock and my  j fortress and my deliverer, my God, my i rock, in k whom I take refuge, my l shield, and m the horn of my salvation, my n stronghold. 3 I call upon the LORD, who is  o worthy to be praised, and I am saved from my enemies. 4  p The cords of death encompassed me; q the torrents of destruction assailed me; [1] 5  p the cords of Sheol entangled me; the snares of death confronted me. 6  r In my distress I called upon the LORD; to my God I cried for help. From his  s temple he heard my voice, and my cry to him reached his ears. 7 Then the earth  t reeled and rocked; the foundations also of the mountains trembled and quaked, because he was angry. 8 Smoke went up from his nostrils, [2] and devouring  u fire from his mouth; glowing coals flamed forth from him. 9 He v bowed the heavens and w came down;  x thick darkness was under his feet. 10 He rode on a cherub and flew; he came swiftly on  z the wings of the wind. 11 He made darkness his covering, his  a canopy around him, thick clouds b dark with water.

O Come, O Come, Emmanuel “T hey shall call his name Immanuel” (which means, God with us)” (Matthew 1:23 ESV). This is perhaps our oldest Christmas carol. Historians say its roots go back to the 8th century. In its earliest form, it was a “plain song” or a chant and the monks sang it a cappella. It was sung or chanted in Latin during the seven days leading up to Christmas. Translated into English by John Mason Neale in 1851, we sing it to the tune “Veni, Emmanuel,” a 15th-century melody. Many churches sing it early in the Advent season because of its plaintive tone of expectant waiting. Traditionally Advent centers on the Old Testament preparation for the coming of the Messiah who will establish his kingdom on the earth. When the words form a prayer that Christ will come and “ransom captive Israel,” we ought to remember the long years of Babylonian captivity. Each verse of this carol features a different Old Testament name or title of the coming Messiah: “O come, O come, Emmanuel.” “O come, Thou Wisdom from on high.” “O come, Thou Rod of Jesse.” “O come, Thou Day-spring.” “O come, Thou Key of David.” “O come, Thou Lord of Might.” “O come, Desire of Nations.” This carol assumes a high level of biblical literacy. That fact might argue against singing it today because so many churchgoers don’t have any idea what “Day-spring” means or they think Jesse refers to a wrestler or maybe to a reality TV star. But that argument works both ways. We ought to sing this carol and we ought to use it as a teaching tool. Sing it—and explain it! We can see the Jewish roots of this carol in the refrain: Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel. But Israel’s Messiah is also our Savior and Lord. What Israel was waiting for turns out to be the long-expected Jesus. So this carol rightly belongs to us as well. The first verse suggests the longing of the Jewish people waiting for Messiah to come: O come, O come, Emmanuel And ransom captive Israel That mourns in lonely exile here Until the Son of God appears The second verse pictures Christ redeeming us from hell and death: O come, Thou Rod of Jesse, free Thine own from Satan’s tyranny From depths of Hell Thy people save And give them victory o’er the grave This verse reminds us only Christ can take us home to heaven: O come, Thou Key of David, come, And open wide our heavenly home; Make safe the way that leads on high, And close the path to misery. Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel. Let’s listen as Selah captures the Jewish flavor of this carol. Lord, we pray today for all those lost in the darkness of sin. We pray for those who feel there is no hope. May the light of Jesus shine in their hearts today. Amen.

Susannah smiled at them nervously, then looked up at the route-map. "Hello, Blaine." "HOWDY, SUSANNAH OF NEW YORK." Her heart was pounding, her armpits were damp, and here was something she had first discovered way back in the first grade: it was hard to begin. It was hard to stand up in front of the class and be first with your song, your joke, your report on how you spent your summer vacation ... or your riddle, for that matter. The one she had decided upon was one from Jake Chambers's crazed English essay, which he had recited to them almost verbatim during their long palaver after leaving the old people of River Crossing. The essay, titled "My Understanding of Truth," had contained two riddles, one of which Eddie had already used on Blaine. "SUSANNAH? ARE YOU THERE, L'IL COWGIRL?" Teasing again, but this time the teasing sounded light, good-natured. Good-humored. Blaine could be charming when he got what he wanted. Like certain spoiled children she had known. "Yes, Blaine, I am, and here is my riddle. What has four wheels and flies?" There was a peculiar click, as if Blaine were mimicking the sound of a man popping his tongue against the roof of his mouth. It was followed by a brief pause. When Blaine replied, most of the jocularity had gone out of his voice. "THE TOWN GARBAGE WAGON, OF COURSE. A CHILD'S RIDDLE. IF THE REST OF YOUR RIDDLES ARE NO BETTER, I WILL BE EXTREMELY SORRY I SAVED YOUR LIVES FOR EVEN A SHORT WHILE.

Wishing only to preserve oneself is the expression of distress, or of a restriction on the proper, fundamental impulse of life which aims at the extension of power, and with this intention often enough calls into question and sacrifices self-preservation. We regard it as symptomatic when an individual philosopher, as, for example, the consumptive Spinoza, sees and has to see the decisive factor precisely in the so-called impulse towards self-preservation – they were merely men in distress. The fact that our modern natural sciences have entangled themselves to such an extent in Spinoza’s dogma (most recently and in the crudest manner in Darwinism, with its incredibly one-sided doctrine of the ‘struggle for existence’), is probably due to the origin of most naturalists: they belong in this respect to the ‘people’, their ancestors were poor and humble folk who were intimately acquainted with the difficulty of making ends meet. The whole of English Darwinism is reminiscent of the stifling air of English overpopulation, like the vulgar smell of hardship and overcrowding. But as a naturalist, one should emerge from one’s human corner; and in nature distress does not hold sway, but rather abundance, even an absurd extravagance. The struggle for existence is but an exception, a temporary restriction on the life-will; the struggle whether great or small everywhere turns on predominance, on growth and expansion, on power, in accordance with the will to power, which is precisely the will of life.

David's Song of Thanks     8  f Oh give thanks to the LORD;  g call upon his name;          h make known his deeds among the peoples!     9 Sing to him, sing praises to him;         tell of all his wondrous works!     10 Glory in his holy name;         let the hearts of those who seek the LORD rejoice!     11  i Seek the LORD and his strength;         seek his presence continually!     12  j Remember the wondrous works that he has done,          k his miracles and the judgments he uttered,     13 O offspring of Israel his servant,         children of Jacob, his chosen ones!     14 He is the LORD our God;          l his judgments are in all the earth.     15 Remember his covenant forever,         the word that he commanded, for a thousand generations,     16 the covenant  m that he made with Abraham,         his sworn promise to Isaac,     17 which  n he confirmed to Jacob as a statute,         to Israel as an everlasting covenant,     18 saying,  o “To you I will give the land of Canaan,         as your portion for an inheritance.”     19 When you were  p few in number,         of little account, and  q sojourners in it,     20 wandering from nation to nation,         from one kingdom to another people,     21 he allowed no one to oppress them;         he  r rebuked kings on their account,     22 saying, “Touch not my anointed ones,         do my  s prophets no harm!”     23  t Sing to the LORD, all the earth!         Tell of his salvation from day to day.     24 Declare his glory among the nations,         his marvelous works among all the peoples!     25 For  u great is the LORD, and greatly to be praised,         and he is to be feared  v above all gods.     26 For all the gods of the peoples are worthless idols,          w but the LORD made the heavens.     27 Splendor and majesty are before him;         strength and joy are in his place.     28 Ascribe to the LORD, O families of the peoples,          x ascribe to the LORD glory and strength!     29 Ascribe to the LORD the glory due his name;         bring an offering and come before him!      y Worship the LORD in the splendor of holiness; [2]         30 tremble before him, all the earth;         yes, the world is established; it shall never be moved.     31  z Let the heavens be glad, and let the earth rejoice,         and let them say among the nations,  a “The LORD reigns!”     32  b Let the sea roar, and all that fills it;         let the field exult, and everything in it!     33 Then shall the trees of the forest sing for joy         before the LORD, for he comes to judge the earth.     34 Oh give thanks to the LORD, for he is good;         for his steadfast love endures forever! 35 c Say also:     “Save us, O God of our salvation,         and gather and deliver us from among the nations,     that we may give thanks to your holy name         and glory in your praise.     36  d Blessed be the LORD, the God of Israel,         from everlasting to everlasting!”  e Then all the people said, “Amen!” and praised the LORD.

But this isn't standard Japanese picnic fare: not a grain of rice or a pickled plum in sight. Instead, they fill the varnished wooden tables with thick slices of crusty bread, wedges of weeping cheese, batons of hard salamis, and slices of cured ham. To drink, bottles of local white wine, covered in condensation, and high-alcohol microbews rich in hops and local iconography. From the coastline we begin our slow, dramatic ascent into the mountains of Hokkaido. The colors bleed from broccoli to banana to butternut to beet as we climb, inching ever closer to the heart of autumn. My neighbors, an increasingly jovial group of thirtysomethings with a few words of English to spare, pass me a glass of wine and a plate of cheese, and I begin to feel the fog dissipate. We stop at a small train station in the foothills outside of Ginzan, and my entire car suddenly empties. A husband-and-wife team has set up a small stand on the train platform, selling warm apple hand pies made with layers of flaky pastry and apples from their orchard just outside of town. I buy one, take a bite, then immediately buy there more. Back on the train, young uniformed women flood the cars with samples of Hokkaido ice cream. The group behind me breaks out in song, a ballad, I'm later told, dedicated to the beauty of the season. Everywhere we go, from the golden fields of empty cornstalks to the dense forest thickets to the rushing rivers that carve up this land like the fat of a Wagyu steak, groups of camouflaged photographers lie in wait, tripods and shutter releases ready, hoping to capture the perfect photo of the SL Niseko steaming its way through the hills of Hokkaido.

COUNT. What’s to stop you taking her with you to London? FIGARO. A man who was married and had to be away so much? I’d never hear the end of it. COUNT. But with your qualities and brains you could climb the ladder and end up with an important government post one of these days. FIGARO. Brains? Climb the ladder? Your Lordship must think I’m stupid. Second-rate and grovelling, that’s the thing to be, and then the world’s your oyster. COUNT. All you’d have to do is take a few lessons in politics from me. FIGARO. I know what politics is. COUNT. Like you know the key to the English language? FIGARO. Not that it’s anything to boast about. It means pretending you don’t know what you do know and knowing what you don’t, listening to what you don’t understand and not hearing what you do, and especially, claiming you can do more than you have the ability to deliver. More often that not, it means making a great secret of the fact that there are no secrets; locking yourself in your inner sanctum where you sharpen pens and give the impression of being profound and wise, whereas you are, as they say, hollow and shallow; playing a role well or badly; sending spies everywhere and rewarding the traitors; tampering with seals, intercepting letters, and trying to dignify your sordid means by stressing your glorious ends. That’s all there is to politics, and you can have me shot if it’s not. COUNT. But what you’ve defined is intrigue. FIGARO. Call it politics, intrigue, whatever you want. But since to me the two things are as alike as peas in a pod, I say good luck to whoever has anything to do with either. ‘Truly, I love my sweetheart more’, as old King Henry’s song goes.

Then Strathcona discussed literature. He paid his tribute to the "Fleurs de Mal" and the "Songs before Sunrise"; but most, he said, he owed to "the divine Oscar." This English poet of many poses and some vices the law had seized and flung into jail; and since the law is a thing so brutal and wicked that whoever is touched by it is made thereby a martyr and a hero, there had grown up quite a cult about the memory of "Oscar." All up-to-date poets imitated his style and his attitude to life; and so the most revolting of vices had the cloak of romance flung about them—were given long Greek and Latin names, and discussed with parade of learning as revivals of Hellenic ideals. The young men in Strathcona's set referred to each other as their "lovers"; and if one showed any perplexity over this, he was regarded, not with contempt—for it was not aesthetic to feel contempt—but with a slight lifting of the eyebrows, intended to annihilate. One must not forget, of course, that these young people were poets, and to that extent were protected from their own doctrines. They were interested, not in life, but in making pretty verses about life; there were some among them who lived as cheerful ascetics in garret rooms, and gave melodious expression to devilish emotions. But, on the other hand, for every poet, there were thousands who were not poets, but people to whom life was real. And these lived out the creed, and wrecked their lives; and with the aid of the poet's magic, the glamour of melody and the fire divine, they wrecked the lives with which they came into contact. The new generation of boys and girls were deriving their spiritual sustenance from the poetry of Baudelaire and Wilde; and rushing with the hot impulsiveness of youth into the dreadful traps which the traders in vice prepared for them. One's heart bled to see them, pink-cheeked and bright-eyed, pursuing the hem of the Muse's robe in brothels and dens of infamy!

We dare not be original; our American Pine must be cut to the trim pattern of the English Yew, though the Pine bleed at every clip. This poet tunes his lyre at the harp of Goethe, Milton, Pope, or Tennyson. His songs might better be sung on the Rhine than the Kennebec. They are not American in form or feeling; they have not the breath of our air; the smell of our ground is not in them. Hence our poet seems cold and poor. He loves the old mythology; talks about Pluto—the Greek devil,—— the Fates and Furies—witches of old time in Greece,—-but would blush to use our mythology, or breathe the name in verse of our Devil, or our own Witches, lest he should be thought to believe what he wrote. The mother and sisters, who with many a pinch and pain sent the hopeful boyto college, must turn over the Classical Dictionary before they can find out what the youth would be at in his rhymes. Our Poet is not deep enough to see that Aphrodite came from the ordinary waters, that Homer only hitched into rhythm and furnished the accomplishment of verse to street talk, nursery tales, and old men’s gossip, in the Ionian towns; he thinks what is common is unclean. So he sings of Corinth and Athens, which he never saw, but has not a word to say of Boston, and Fall River, and Baltimore, and New York, which are just as meet for song. He raves of Thermopylae and Marathon, with never a word for Lexington and Bunkerhill, for Cowpens, and Lundy’s Lane, and Bemis’s Heights. He loves to tell of the Ilyssus, of “ smooth sliding Mincius, crowned with vocal reeds,” yet sings not of the Petapsco, the Susquehannah, the Aroostook, and the Willimantick. He prates of the narcissus, and the daisy, never of American dandelions andbue-eyed grass; he dwells on the lark and the nightingale, but has not a thought for the brown thrasher and the bobolink, who every morning in June rain down such showers of melody on his affected head. What a lesson Burns teaches us addressing his “rough bur thistle,” his daisy, “wee crimson tippit thing,” and finding marvellous poetry in the mouse whose nest his plough turned over! Nay, how beautifully has even our sweet Poet sung of our own Green river, our waterfowl,of the blue and fringed gentian, the glory of autumnal days.

Between 2003 and 2008, Iceland’s three main banks, Glitnir, Kaupthing and Landsbanki, borrowed over $140 billion, a figure equal to ten times the country’s GDP, dwarfing its central bank’s $2.5 billion reserves. A handful of entrepreneurs, egged on by their then government, embarked on an unprecedented international spending binge, buying everything from Danish department stores to West Ham Football Club, while a sizeable proportion of the rest of the adult population enthusiastically embraced the kind of cockamamie financial strategies usually only mooted in Nigerian spam emails – taking out loans in Japanese Yen, for example, or mortgaging their houses in Swiss francs. One minute the Icelanders were up to their waists in fish guts, the next they they were weighing up the options lists on their new Porsche Cayennes. The tales of un-Nordic excess are legion: Elton John was flown in to sing one song at a birthday party; private jets were booked like they were taxis; people thought nothing of spending £5,000 on bottles of single malt whisky, or £100,000 on hunting weekends in the English countryside. The chief executive of the London arm of Kaupthing hired the Natural History Museum for a party, with Tom Jones providing the entertainment, and, by all accounts, Reykjavik’s actual snow was augmented by a blizzard of the Colombian variety. The collapse of Lehman Brothers in late 2008 exposed Iceland’s debts which, at one point, were said to be around 850 per cent of GDP (compared with the US’s 350 per cent), and set off a chain reaction which resulted in the krona plummeting to almost half its value. By this stage Iceland’s banks were lending money to their own shareholders so that they could buy shares in . . . those very same Icelandic banks. I am no Paul Krugman, but even I can see that this was hardly a sustainable business model. The government didn’t have the money to cover its banks’ debts. It was forced to withdraw the krona from currency markets and accept loans totalling £4 billion from the IMF, and from other countries. Even the little Faroe Islands forked out £33 million, which must have been especially humiliating for the Icelanders. Interest rates peaked at 18 per cent. The stock market dropped 77 per cent; inflation hit 20 per cent; and the krona dropped 80 per cent. Depending who you listen to, the country’s total debt ended up somewhere between £13 billion and £63 billion, or, to put it another way, anything from £38,000 to £210,000 for each and every Icelander.

It was a story no one could tell me when I was child. The story of Russian Jewry had been told in English, by American Jews; to them, it was a story that began with antiquity, culminated with the pogroms, and ended with emigration. For those who remained in Russia, there had been a time before the pogroms and a time after: a period of home, then a period of fear and even greater fear and then brief hope again, and then a different kind of fear, when one no longer feared for one's life but fear never having hope again. This story did not end; it faded into a picture of my parents sitting at the kitchen table poring over an atlas of the world, or of me sitting on the bedroom floor talking at my best friend. The history of the Soviet Union itself remains a story without an narrative; every attempt to tell this story in Russia has stopped short, giving way to the resolve to turn away from the decades of pain and suffering and bloodshed. With every telling, stories of Stalinism and the Second World War become more mythologized. And with so few Jew left in Russia, with so little uniting them, the Russian Jewish world is one of absences and silences. I had no words for this when I was twelve, but what I felt more strongly that anything, more strongly even than the desire to go to Israel, was this absence of a story. My Jewishness consisted of the experience of being ostracized and beaten up and the specter of not being allowed into university. Once I found my people milling outside the synagogue (we never went inside, where old men in strange clothes sang in an unfamiliar language), a few old Yiddish songs and a couple of newer Hebrew ones were added to my non-story. Finally, I had read the stories of Sholem Aleichem, which were certainly of a different world, as distant from my modern urban Russian-speaking childhood as anything could be. In the end, my Jewish identity was entirely negative: it consisted of non-belonging. How had I and other late-Soviet Jews been so impoverished? Prior to the Russian Revolution, most of the world's Jews lived in the Russian Empire. Following the Second World War, Russia was the only European country whose Jewish population numbered not in the hundreds or even thousands but in the millions. How did this country rid itself of Jewish culture altogether? How did the Jews of Russia lose their home? Much later, as I tried to find the answers to these questions, I kept circling back tot he story of Birobidzhan, which, in its concentrated tragic absurdity seemed to tell it all.

I glanced over and saw Wyatt glaring at me. Journey’s “Lovin’ Touchin’, Squeezin’” was playing on the radio. “What?” I asked. “You secretly hate me, don’t you.” He gestured toward the radio. “You can’t stand the thought of me taking a much needed nap and leaving you to drive without conversation. You’re torturing me with this sappy stuff.” “It’s Journey. I love this song.” Wyatt mumbled something under his breath, picked up the CD case, and started looking through it. He paused with a choked noise, his eyes growing huge. “You’re joking, Sam. Justin Bieber? What are you, a twelve-year old girl?” There’s gonna be one less lonely girl, I sang in my head. That was a great song. How could he not like that song? Still, I squirmed a bit in embarrassment. “A twelve-year old girl gave me that CD,” I lied. “For my birthday.” Wyatt snorted. “It’s a good thing you’re a terrible liar. Otherwise, I’d be horrified at the thought that a demon has been hanging out with a bunch of giggling pre-teens.” He continued to thumb through the CDs. “Air Supply Greatest Hits? No, no, I’m wrong here. It’s an Air Supply cover band in Spanish.” He waved the offending CD in my face. “Sam, what on earth are you thinking? How did you even get this thing?” “Some tenant left it behind,” I told him. “We evicted him, and there were all these CDs. Most were in Spanish, but I’ve got a Barry Manilow in there, too. That one’s in English.” Wyatt looked at me a moment, and with the fastest movement I’ve ever seen, rolled down the window and tossed the case of CDs out onto the highway. It barely hit the road before a semi plowed over it. I was pissed. “You asshole. I liked those CDs. I don’t come over to your house and trash your video games, or drive over your controllers. If you think that will make me listen to that Dubstep crap for the next two hours, then you better fucking think again.” “I’m sorry Sam, but it’s past time for a musical intervention here. You can’t keep listening to this stuff. It wasn’t even remotely good when it was popular, and it certainly hasn’t gained anything over time. You need to pull yourself together and try to expand your musical interests a bit. You’re on a downward spiral, and if you keep this up, you’ll find yourself friendless, living in a box in a back alley, stinking of your own excrement, and covered in track marks.” I looked at him in surprise. I had no idea Air Supply led to lack of bowel control and hard core drug usage. I wondered if it was something subliminal, a kind of compulsion programmed into the lyrics. Was Russell Hitchcock a sorcerer? He didn’t look that menacing to me, but sorcerers were pretty sneaky. Even so, I was sure Justin Bieber was okay. As soon as we hit a rest stop, I was ordering a replacement from my iPhone.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget.

Davy, ever the daring one, bought a jumbo peppermint milk shake and got fifty cents back. He talked me out of getting plain vanilla. “You can get plain vanilla anytime!” he said. “Try…” He scanned the chalkboard that listed all the flavors. “Try peanut butter!” I did. I have never been sorry, because it was the best milk shake I ever tasted, like a melted and frozen Reese’s cup. And then it happened. We were walking across the parking lot, under the burning sun, with our shakes freezing our hands in the big white paper cups that had Spinnin’ Wheel in red across the sides. A sound began: music, first from a few car radios and then others as teenaged fingers turned the dial to that station. The volume dials were cranked up, and the music flooded out from the tinny speakers into the bright summer air. In a few seconds the same song was being played from every radio on the lot, and as it played, some of the car engines started and revved up and young laughter flew like sparks. I stopped. Just couldn’t walk anymore. That music was unlike anything I’d ever heard: guys’ voices, intertwining, breaking apart, merging again in fantastic, otherworldly harmony. The voices soared up and up like happy birds, and underneath the harmony was a driving drumbeat and a twanging, gritty guitar that made cold chills skitter up and down my sunburned back. “What’s that, Davy?” I said. “What’s that song?” …Round…round…get around…wha wha wha-oooooo… “What’s that song?” I asked him, close to panic that I might never know. “Haven’t you heard that yet? All the high-school guys are singin’ it.” …Gettin’ bugged drivin’ up and down the same ol’ strip…I gotta find a new place where the kids are hip… “What’s the name of it?” I demanded, standing at the center of ecstasy. “It’s on the radio all the time. It’s called—” Right then the high-school kids in the lot started singing along with the music, some of them rocking their cars back and forth, and I stood with a peanut butter milk shake in my hand and the sun on my face and the clean chlorine smell of the swimming pool coming to me from across the street. “—by the Beach Boys,” Davy Ray finished. “What?” “The Beach Boys. That’s who’s singin’ it.” “Man!” I said. “That sounds…that sounds…” What would describe it? What word in the English language would speak of youth and hope and freedom and desire, of sweet wanderlust and burning blood? What word describes the brotherhood of buddies, and the feeling that as long as the music plays, you are part of that tough, rambling breed who will inherit the earth? “Cool,” Davy Ray supplied. It would have to do. …Yeah the bad guys know us and they leave us alone…I get arounnnnddddd… I was amazed. I was transported. Those soaring voices lifted me off the hot pavement, and I flew with them to a land unknown. I had never been to the beach before. I’d never seen the ocean, except for pictures in magazines and on TV and movies. The Beach Boys. Those harmonies thrilled my soul, and for a moment I wore a letter jacket and owned a red hotrod and had beautiful blondes begging for my attention and I got around.

The mixture of a solidly established Romance aristocracy with the Old English grassroots produced a new language, a “French of England,” which came to be known as Anglo-Norman. It was perfectly intelligible to the speakers of other langues d’oïl and also gave French its first anglicisms, words such as bateau (boat) and the four points of the compass, nord, sud, est and ouest. The most famous Romance chanson de geste, the Song of Roland, was written in Anglo-Norman. The first verse shows how “French” this language was: Carles li reis, nostre emperere magnes, set anz tuz pleins ad estéd en Espaigne, Tresqu’en la mer cunquist la tere altaigne… King Charles, our great emperor, stayed in Spain a full seven years: and he conquered the high lands up to the sea… Francophones are probably not aware of how much England contributed to the development of French. England’s court was an important production centre for Romance literature, and most of the early legends of King Arthur were written in Anglo-Norman. Robert Wace, who came from the Channel Island of Jersey, first evoked the mythical Round Table in his Roman de Brut, written in French in 1155. An Englishman, William Caxton, even produced the first “vocabulary” of French and English (a precursor of the dictionary) in 1480. But for four centuries after William seized the English crown, the exchange between Old English and Romance was pretty much the other way around—from Romance to English. Linguists dispute whether a quarter or a half of the basic English vocabulary comes from French. Part of the argument has to do with the fact that some borrowings are referred to as Latinates, a term that tends to obscure the fact that they actually come from French (as we explain later, the English worked hard to push away or hide the influence of French). Words such as charge, council, court, debt, judge, justice, merchant and parliament are straight borrowings from eleventh-century Romance, often with no modification in spelling. In her book Honni soit qui mal y pense, Henriette Walter points out that the historical developments of French and English are so closely related that anglophone students find it easier to read Old French than francophones do. The reason is simple: Words such as acointance, chalenge, plege, estriver, remaindre and esquier disappeared from the French vocabulary but remained in English as acquaintance, challenge, pledge, strive, remain and squire—with their original meanings. The word bacon, which francophones today decry as an English import, is an old Frankish term that took root in English. Words that people think are totally English, such as foreign, pedigree, budget, proud and view, are actually Romance terms pronounced with an English accent: forain, pied-de-grue (crane’s foot—a symbol used in genealogical trees to mark a line of succession), bougette (purse), prud (valiant) and vëue. Like all other Romance vernaculars, Anglo-Norman evolved quickly. English became the expression of a profound brand of nationalism long before French did. As early as the thirteenth century, the English were struggling to define their nation in opposition to the French, a phenomenon that is no doubt the root of the peculiar mixture of attraction and repulsion most anglophones feel towards the French today, whether they admit it or not. When Norman kings tried to add their French territory to England and unify their kingdom under the English Crown, the French of course resisted. The situation led to the first, lesser-known Hundred Years War (1159–1299). This long quarrel forced the Anglo-Norman aristocracy to take sides. Those who chose England got closer to the local grassroots, setting the Anglo-Norman aristocracy on the road to assimilation into English.

I start with the title first. From this title I work out the psychology of the tune. Next I write the lyric backward, and in this way build it up to a climax. In the lyric I work first for the climax, and if I can’t find a good climactic line I throw out the tune . . . I consult rhyme dictionaries. I swear by them. For long, easy rhymes I use Andrew Loring’s Lexicon. Other books I have in constant use are Roget’s ‘Thesaurus,’ and atlas, Fowler’s ‘Modern English Usage’ and a dictionary.

The English had an army, and souls of vinegar, and they had killed and killed, and we were still not free.

Cunningham, the English lord, owned all our land, all our houses; he could put any of us out if he wanted.

Scotland's contribution to American balladry is a subject which was either glossed over or neglected entirely by Cecil Sharp, the English folklorist and ballad collector, when he came over to the United States in search of traditional song poetry. Over here we are indebted to Sharp and to Miss Maud Karpeles for exploring the back country and helping us find what we had. Their visits were fruitful and their English Folk Songs from the Southern Appalachians is an exemplary work. But it is regrettable that a Scottish folklorist, familiar and in tune with Lowland traditions, was not close at hand to make a few claims of his own. Somebody needed to suggest that Scotland had as good a claim to half the British ballads Sharp collected in Tennessee, Virginia and North Carolina as England has. Somebody might have suggested that English Folk Songs from the Southern Appalachians is a misleading title - that British Folk Songs would have been more accurate. For, after all, the most authoritative editor in the business, Francis J. Child, had clearly recognised two national traditions in his monumental English and Scottish Popular Ballads, which is the keystone work on which all subsequent studies have been based.

I made a statue of the two of us, you know? And I put it on top of a mountain. Tourists came and took pictures, but none of you came to see it. So I made a song, and none of you heard it. And while I was recommended for special classes, you were the only one to get diamonds. So I took a photograph that you could put inside that necklace you got when you were sixteen... but I never saw it even close to your chest, where I should have been. You didn't even bother to open it… I lived, and none of you were there to celebrate my life.

In phantom father's shadow, I still roam, A love unwritten, a yearning for home. First male touch, a myth my heart craves, His absence echoes in unspoken graves. I search for him in faces passing by, A familiar line, a flicker in their eye. His name a whisper on the wind's soft sigh, A ghost I chase, a tear that won't dry. But love, it blooms in unexpected ways, In mentors' wisdom, friends' unwavering gaze. In echoes of kindness, hands that hold me tight, In lessons learned from shadows and from light. So father, phantom, wherever you may be, Though you left me wanting, I set myself free. From the chains of longing, the hunger for your face, I build my own fortress, in this heart's embrace. With threads of resilience, I weave my own song, A tapestry of strength, where I belong. No longer searching in the empty air, My love blooms within, a flame I dare to share. And though the echo of your absence may remain, It no longer defines me, a dance in the rain. I rise above the loss, with spirit bright and bold, My own story unfolds, in colors yet untold. So let the phantom father fade into the mist, His memory a whisper, a lesson I've kissed. For I am the daughter, of courage and grace, And love, my own compass, lights up this space.

He turned to his side, with the kind of creepily glazed look our eyeballs make when we’re alone in a room, brushing our teeth, chewing, or wiping our ass. His blanket was still wet with warm semen. He thought about his father. Then he remembered he needed to wash the clothes in the laundromat. His semen dripped and he thought about bird feeding. There was one bird who loved his safflower seeds. He ground his teeth and imagined what it was like to be born in Africa. He reflected on his most recent online English tutor lesson learning from a native speaker. He was fluent, but it paid to feel like you had a friend somewhere. Then he thought of peanut butter. The thoughts of the human mind transition so quickly that it only ever seems strange when we say it aloud to someone else. Otherwise, we’re all secretly freaks with our mouths shut. He laid there ugly.

I’d Love You To Want Me” was the theme song of the bachelors and unhappily married males of my generation, whether in the English original or the equally superb French and Vietnamese renditions. What the song expressed so perfectly from lyric to melody was unrequited love, and we men of the south loved nothing more than unrequited love, cracked hearts our primary weakness after cigarettes, coffee, and cognac.

Do we not have something to sing about at this moment? Can we not weave a song out of our present joys or our past deliverances or our future hopes?

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget. When Lana was finished, the audience clapped, whistled, and stomped, but I sat silent and stunned as she bowed and gracefully withdrew, so disarmed I could not even applaud.

The Meaning of Democracy.” The request got White thinking. “Surely the Board knows what democracy is,” he wrote in the magazine. “It is the line that forms on the right. It is the don’t in don’t shove. It is the hole in the stuffed shirt through which the sawdust slowly trickles; it is the dent in the high hat. Democracy is the recurrent suspicion that more than half the people are right more than half of the time. It is the feeling of privacy in the voting booths, the feeling of communion in the libraries, the feeling of vitality everywhere. Democracy is a letter to the editor. Democracy is the score at the beginning of the ninth. It is an idea which hasn’t been disproved yet, a song the words of which have not gone bad. It’s the mustard on the hot dog and the cream in the rationed coffee.” “I love it!” Roosevelt said when he read the piece, which he would later quote, adding happily: “Them’s my sentiments exactly.” They were Churchill’s, too, though he would have phrased the point in a more ornate way. The Americans and the British, he said at Fulton in 1946, “must never cease to proclaim in fearless tones the great principles of freedom and the rights of man which are the joint inheritance of the English-speaking world and which through Magna Carta, the Bill of Rights, the Habeas Corpus, trial by jury, and the English common law find their most famous expression in the American Declaration of Independence

You might as well try to translate dolphin song without a dolphin-to-English dictionary.

Mollie Carter would sing the hymns she loved best: “The Land of the Uncloudy Day,” “Amazing Grace,” or “The Gospel Ship.” But she also sang traditional ballads, known as “English” songs, because the form—if not the songs themselves—had crossed the Atlantic with the English and Scotch-Irish who settled the southern mountains.

The Christian feels that he may delight himself not only in what God is, but also in all that God has done in the past. The Psalms show us that God’s people in olden times were keen to make much of God’s actions and to have a song concerning each of them. So let God’s people now rehearse the deeds of the Lord! Let them tell of His mighty acts and “sing to the LORD, for he has triumphed gloriously.”2 Let them never cease to sing, for as new mercies flow to them day by day, so their gladness in the Lord’s loving acts of providence and grace should display itself in continued thanksgiving.

The music starts again. Two bars, then four. The song is “I’ll Melt with You” by Modern English. Nicole and Louisa scream. They were both babies when this song came out, but that doesn’t matter: they recognize it for the happy high school dancing romantic anthem that it has been forever and ever. They take over the dance floor at the Myrtle Street Tavern on the last night in July, as summer turns the corner in Rockland, Maine, and they dance like two friends with everything ahead of them and nothing behind.

intricate patterns on the pavement. Her enormous brown eyes glittered with happiness at the attention she had attracted. Sarah wasn’t the only passerby who had stopped to watch, entranced. Then the song ended, and the gathered crowd applauded. The girl bobbed a curtsey and looked around expectantly. In a moment, coins appeared, fished from pockets and purses and offered in tribute. The coins disappeared again as if by magic, spirited away by little fingers as nimble as the little feet had been and deposited into the pocket of her dress. While the crowd disbursed, the girl turned and hurried back to the man who had produced the music. That was when Sarah recalled her purpose in being here. The child was emptying her pocket and giving the coins to a handsome youth who sat on a small stool with his back against the building. He held the organ between his knees, resting on a small stand. He wore a dark shirt and trousers and had a red bandanna tied rakishly at his throat. He looked so perfect that Sarah almost didn’t notice the wooden crutches tucked discreetly between his stool and the wall. Finally, she saw the pant leg pinned up at the ankle. She’d never expected Georgio to have a child, which was why she’d been so slow to realize she’d found him. Taking advantage of this lull, she stepped over to where the man and the girl were conversing in Italian. There seemed to be some question about whether she’d given him all the coins she’d collected. “Georgio?” Sarah tried. He looked up from beneath the bill of his small cap. His eyes were dark and liquid, his smile big and bright and charming. “Si, Signorina, do you want to see the little one dance?” His English was very good, probably honed from conversing with his customers. “No, although she dances very well,” Sarah added, giving the child an approving smile, in case she didn’t understand the compliment. “I wanted to ask you about your sister Emilia.” His charming smile vanished, and the dark eyes grew wary. “She is dead,” he said very carefully. “I know. I’m very sorry.” “Who are you and what do you want?” he asked suspiciously. When he frowned, Sarah realized how much he looked like his mother. “My name is Sarah Brandt, and I met Emilia at the Prodigal Son Mission.” His expression hardened from wariness into anger. Plainly, none of the Donato family had any love for the mission. “She was such a lovely girl, and she was trying very hard to become a respectable young woman,” Sarah hurried on, wishing she had some idea how Georgio felt about his sister. Seeing that the grown-ups were going to talk a bit, the little girl sank down onto the pavement with a weary sigh and leaned back against the wall. Sarah wondered vaguely how many times she

In this I follow the early English writers who suffered from the Danes, and who rarely used the word Viking, which, anyway, describes an activity rather than a people or a tribe. To go viking meant to go raiding, and the Danes who fought against England in the ninth century, though undoubtedly raiders, were preeminently invaders and occupiers

We know 1662 and the words set down in the Virginia colony: partus sequitur ventrem, Latin for “that which is brought forth from the belly.” And so African—now Negro—women’s children would no longer follow the status of their fathers, as had been English common law for centuries.

When I left home, I faithfully carried my copy of Sunset Song onward into life. Each reading brought a new layer and deeper understanding, but it was the notion of Two Chrisses that always echoed in my soul. Through Chris Guthrie, I understood the inferiority complex I felt as a working-class Scot as I began to move in different circles. I remember arriving at drama school with Doric words in my mouth, as other students looked blankly at my attempts to find an English equivalent. I'd then return home and feel 'posh' amongst my Scots speaking family. I was part of two worlds, but felt like I belonged in neither. The feeling persistently lingered but surfaced in earnest during the pandemic. At that time, I was working with the Scots Language Centre on their 'Scots Wark' project, and I was asked to deliver a creative learning resource. My offering was called 'The Twa Chrisses: A Love Letter to Sunset Song', a cathartic and empowering story to scrieve, but it also made my fingers itch to write a full theatrical adaptation. Somehow, gorgeous synchronicity ensued when Andrew Panton, Artistic Director of Dundee Rep, and Finn den Hertog contacted me with this very idea.

in Yiddish or Hebrew-Russian-English or whatever: the word’s nudnik. The best definition I’ve ever heard came from an Israeli professor of archaeology: “It’s a person who is like a woodpecker sitting on your head, all the time pecking you.

Sing unto the Lord a new song’, we are told, but we sing Monsell and Heber and Prudentius, of course. It is the best we can do. Their rich language boosts the interior glow.

नैनं छिन्दन्ति शस्त्राणि नैनं दहति पावकः । न चैनं क्लेदयन्त्यापो न शोषयति मारुतः ॥ In the Bhagwad Gita, Lord Krishna expounds the nature of the atma and tells Arjuna – The atma cannot be shattered by weapons, it cannot be burnt by fires, it cannot be drenched by the waters and it cannot be rendered dry by the winds. |2.23

But Moses also mentioned or quoted the following potential sources: The Book of the Generations of Adam (Gn 5:1) The Saying about Nimrod (Gn 10:9) The Saying about the Mount of the LORD (Gn 22:14) The Tradition of the Sinew (Gn 32:32) The Statute of Joseph (Gn 47:26) The Song of Moses (Ex 15:1–18) The Song of Miriam (Ex 15:20–21) The Memorial for Joshua (Ex 17:14) The Book of the Covenant (Ex 24:7) The Tablets of the Testimony (Ex 24:12; 25:16) The Registration of Elders (Nu 11:26) The Book of the Wars of the LORD (Nu 21:14–15) The Song of the Well (Nu 21:17–18) The Song of Heshbon (Nu 21:27–30) The Book of the Law (Dt 29:21; 30:10; 31:26)

I made a statement at that time in an interview that is worth recording here. “Up until the mid-1970s, Mick and I were inseparable. We made every decision for the group. We’d get together and kick things around, write all our songs. But once we were split up, I started going my way, which was the downhill road to dopesville, and Mick ascended to jet land. We were dealing with a load of problems that built up, being who we were and what the sixties had been.” Mick would come and visit me occasionally in Switzerland and talk about “economic restructuring.” We’re sitting around half the time talking about tax lawyers! The intricacies of Dutch tax laws vis-à-vis the English tax law and the French tax law. All of these tax thieves were snapping at our heels. I was trying to wish it away. Mick was a bit more practical on that point: “The decisions we make now will affect blah blah blah.” Mick picked up the slack; I picked up the smack. The cures didn’t always stick through the periods off the road, when I wasn’t working.

She considers saying, I’ve written a screenplay. And when Bull Richardson quips, Hasn’t everyone? Coco will tell him that her screenplay is based on a true story. Is there a more seductive phrase in the English language?

What were they playing? All agree that the band featured light, cheerful music—ragtime, waltzes, and the comic songs that were then so popular in the London music halls. Survivors specifically recalled Irving Berlin’s “Alexander’s Ragtime Band” and a pretty English melody called “In the Shadows,” the big London hit of 1911. Colonel Gracie couldn’t remember the name of any tune, but he was sure the beat was lively to the end. Nevertheless, the Carpathia had no sooner reached New York than the story spread that the band went down playing “Nearer, My God, to Thee.” The idea was so appealing that it instantly became part of the Titanic saga—as imperishable as the enduring love of the Strauses and the courage of the engineers who kept the lights burning to the final plunge. Yet doubts persist. In the first place, the whole point of the band playing was to keep the passengers’ spirits up, and light music seems best suited to that. As Colonel Gracie observed, “If ‘Nearer, My God, to Thee’ was one of the selections, I assuredly would have noticed it and regarded it as a tactless warning of immediate death, and more likely to create a panic that our special efforts were directed towards avoiding….

The idea behind "let you go" is pleasant; there's even something reassuring about it. It's a fiction that I, too, would like to believe in. Absorbed in my translation, I wonder if that expression, so difficult to translate into French, testifies to the fact that English-speakers love differently than us. Do they make more effort? For them, is it possible to make love last? To reignite a desire that's been extinguished? How do they do it? What tender song, new outfit, irresistible perfume, or vacation to the other ends of the earth allows them to hold on to someone on the verge of leaving?

But he remembered also the many unamiable characteristics of his quarry, and deliberately stifled that pity for the defeated which springs up infallibly in the English mind.

Whom I Desired (Chimadeti) SONG OF SOLOMON 2:3: “As the apple tree among the trees of the wood, so is my beloved among the sons. I sat down under his shadow with great delight, and his fruit was sweet to my taste.” As I was reading this passage in my Hebrew Bible I was struck by the word chimadeti (great delight). That word was strangely out of place in this sweet romantic verse. I was intrigued as to how our English translators had handled this word. I first went to your friend and mine, the King James Version which rendered it as “great delight.” This seemed to be the good cowardly way out. Other modern translations said the same. Some simply rendered it as “delight.” One translation was a little braver and said “with whom I desired”. But the version with the most guts rendered this word as have I raptured. What caught my attention in the use of the word chimadeti is that it is used only once in the Song of Solomon and its rooted in the same word that is used in Exodus 20:17: “Thou shalt not covet.” If you ever go to a synagogue and glance at the Ten Commandments above the ark and scroll down to the 10th commandment you will see in Hebrew Script the words “Lo

MAINTAINING DOCTRINAL PURITY IS good, but it is not the whole picture for a New Testament church. The apostles wanted to do much more than simply “hold the fort,” as the old gospel song says. They asked God to empower them to move out and impact an entire culture. In too many places where the Bible is being thumped and doctrine is being argued until three in the morning, the Spirit of that doctrine is missing. William Law, an English devotional writer of the early 1700s, wrote, “Read whatever chapter of Scripture you will, and be ever so delighted with it—yet it will leave you as poor, as empty and unchanged as it found you unless it has turned you wholly and solely to the Spirit of God, and brought you into full union with and dependence upon him.”1

They wanted to manipulate our songs—our fantastic, well-written songs with a soulful drive—beautiful English R&B—and turn them into pop rubbish. We might as well have been writing children's lullabies for all that did for me. We had to get away from that asshole.

The title of this work in Hebrew begins with “The Song of Songs,” which means “the best song” or “the sublime song.”  The title continues with “The Song of Songs, which is ‘to/of’ Solomon” that produces the English title “Song of Solomon.”  The Hebrew of the book, much like the Psalms and the book of Job, does not allow for precise dating (Murphy, 1992, 150).  The book is a collection of Hebrew love songs and Solomon’s many wives, and the mention of his name in the book accounts for his association with this book. 

Born on March 20, 1971, she celebrated her 100th birthday this past March. During the war she toured the battle zones, where British forces were fighting by giving concerts for the troops. The songs most remembered from that era are We'll Meet Again, The White Cliffs of Dover, A Nightingale Sang in Berkeley Square and There'll Always Be an England. During the Second World War she earned the title of “the Allied Forces Sweetheart.” And in 1945 she was awarded the British War Medal and the Burma Star for her untiring devotion to the Crown and the men in uniform. As a songwriter and actress, her recordings and performances were enormously popular. This popularity remained solid after the war with recording of Auf Wiedersehen Sweetheart, My Son, My Son and I Love This Land, which was released to mark the end of the Falklands War. In 2009, at age 92, she became the oldest living artist to top the UK Albums Chart, with We'll Meet Again, The Very Best of Vera Lynn. Commemorating her 100th birthday she released the album Vera Lynn 100, in 2017, which number 3 on the charts, making her the oldest recording artist in the world and the first centenarian performer to have an album in the charts. Vera Lynn devoted much time working with wounded ex-servicemen, disabled children, and breast cancer. She is held in great affection by veterans of the Second World War and in 2000 was named the Briton who best exemplified the spirit of the 20th century.

I'd been told that Catholic masses were stable and cold with dull organ music so I was surprised when the choir broke into song. They sang in Shona, with African drums and rattles, ngoma ne bosho. The women;s voices merged with men's bass producing an effect that was confusing but beautiful. At Forward with Faith Ministries we only used guitars, western drums and a keyboard, because Pastor Mavumba preached against using African Traditional instruments. He said that before the missionaries came, our people engaged in devil worship, so the instruments they used were the devil's instruments. We sang in English and he preached in English too, when he was not speaking in tongues. I was a bit confused; maybe the Catholic Church was the devil's church after all, but I couldn't stop my foot from tapping along to the music. [88]

I should probably head back for Luca’s birthday dinner. They want me to lead the ‘Happy Birthday’ song to him in English for some reason.” “Oh, right. Yeah, it’s getting late.” He lets go of my hand and reaches for his T-shirt. I watch his abs disappear, then pull my tank top over my head. “I’m sure you could come if you want.” He frowns. “Won’t Bruno be there?” “It’s his brother, he’d better be.” “Uh, I’ll pass.” I grab his shirt near the hem and tug him toward me. “Even though I’ll be there?” I bat my eyelashes intentionally fast. “Tempting.” He leans in for a kiss, letting it linger. “But I can’t crash a birthday party for a kid I’ve never met. And I don’t feel much like getting into a fight with a ripped-up Italian tonight. You go ahead, have fun. I’ll see you in the morning, right? Before I leave?” “That,” I say, pecking his lips again, “is a necessity.

If AP English via Miss Sweeney had taught Flannery anything, it was that life was brimming with various traumas and tragedies—the great novels didn’t lie—and that there was no need to court sorrow by writing Goth poetry in a black spiral notebook or listening to death-rock because sorrow was always, always looming, sorrow would be thrust upon you, and, as the foot-stomping song from the junior year musical went—everyone was a girl who couldn’t say no, everyone was in a terrible fix. But

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Tommorow Call you call me that night when you were alone and crying, but I am only an outcast, and it all blast in my mind, in my heart, an ocean of tears falling let me dream cause I feel so deprim, don't wake me up I won't get up cause I always chose to never give up, but lately it all fall apart like a castle of card let me go back to my fortress cause its the only place I can be a mess without distress and when love don't love you back make some step back even if you don't no where to go keep going even if you don't know what you doing cause you know you have a blessing and never let go cause you never know what can be made of tomorrow even when in a sorrow don't let it go you never know what can be made of tomorrow He was like a brother. He never showed it but he was broken and at some point he couldn't handle it anymore. Whitout the strength to get out of this pain Full of life i remember him crossing the door for the last time He was sad inside He was lost He was my friend He was my brother Sometimes the hardest thing to do is to live if I have time I would tell him that love and the time that goes by also makes mistakes Now he's gone and people finally realize how amazing he was but now it's to late. Maybe a little love and a hand to hold it wouldn't have come to this But I had been the pillar and now the base is broke. Walking in the street wearing masks of the lie, faded soul in disguise only an entity, invisible, intangible never let go cause you never know what can be made of tomorrow even when in a sorrow don't let it go

The Present Vocabulary certain obligations blocks my perception another dimension a vision without alteration without wall of illusion blocking my perception forget the presentations no prescription or medication in the creation phase I but all my emotions no intention to tell you about my mistakes pass I represent the present vocabulary be indulgent learn from your mistakes of your misfortune and obliterate your fear be indulgent to guard what is being dissipated is impossible if you do not want to sink you must learn to swim and take strength because his world and become far too fierce I have no intention of being for you a recreation attention to any division of concentration as a vision of illusion the exclusion of all perceptions of emotions without any understanding of good and bad intentions concentration mode, watch out for reverberation, bad reaction, a pawn you want action, go back do your preparation without any interaction no need for explanation no need for presentations no prescription or medication in the creation phase I but all my emotions all these voices a place of disarray in the middle of all these voices the fights are without faith or law in the middle of all these voices no odds to escape and auctanperer you can forget my mind and there to create prisoner never I'm here to show you with the thinking of passing moments and the vocabulary of the present moment for a decent future absent not writing insistent on days much more clement for my present and the mind filled with writing he is not stupid by technology Develop my thoughts often full of words store no time to rest I will not give up no prescription or medication in the creation phase I but all my emotions enclose between two dimensions no need for presentation or tell you about my intentions errors are passed and now I represent the vocabulary present.

Two Iranians lectured him in broken English about the Bill of Rights, followed by an indignant Sri Lankan couple who scolded him for ruining their honeymoon. Brandon stepped into the woods to pee later that night and nine Venezuelans surrendered. The shit-magnet razzing roared to new heights.

It was in this environment of entrenched racism that America’s first minstrel shows appeared, and they began attracting large audiences of European immigrants, native Whites, and sometimes even Blacks. By 1830, Thomas “Daddy” Rice, who learned to mimic African American English (today called “Ebonics”), was touring the South, perfecting the character that thrust him into international prominence: Jim Crow. Appearing in blackface, and dressed in rags, torn shoes, and a weathered hat, Jim Crow sang and danced as a stupid, childlike, cheerful Black field hand. Other minstrel characters included “Old darky,” the thoughtless, musical head of an enslaved family, and “Mammy,” the hefty asexual devoted caretaker of Whites. The biracial, beautiful, sexually promiscuous “yaller gal” titillated White men. “Dandy,” or “Zip Coon,” was an upwardly mobile northern Black male who mimicked—outrageously—White elites. Typically, minstrel shows included a song-and-dance portion, a variety show, and a plantation skit. In the decades leading up to the Civil War, blackface minstrelsy became the first American theatrical form, the incubator of the American entertainment industry. Exported to excited European audiences, minstrel shows remained mainstream in the United States until around 1920 (when the rise of racist films took their place).15

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Michael Bushell’s Songs of Zion: A Contemporary Case for Exclusive Psalmody and Brian M. Schwertley’s Sola Scriptura and the Regulative Principle of Worship.

desperately needed to practice her German, because she couldn’t sing Schubert’s songs in English for

Sunday's Best Times are tough for English babies Send the army and the navy Beat up strangers who talk funny Take their greasy foreign money Skin shop, red leather, hot line Be prepared for the engaged sign Bridal books, engagement rings And other wicked little things Chorus: Standing in your socks and vest Better get it off your chest Every day is just like the rest But Sunday's best Stylish slacks to suit your pocket Back supports and picture lockets Sleepy towns and sleeper trains To the dogs and down the drains Major roads and ladies smalls Hearts of oak and long trunk calls Continental interference At death's door with life insurance Chorus Sunday's best, Sunday's finest When your money's in the minus And you suffer from your shyness You can listen to us whiners Don't look now under the bed An arm, a leg and a severed head Read about the private lives The songs of praise, the readers' wives Listen to the decent people Though you treat them just like sheep Put them all in boots and khaki Blame it all upon the darkies

Without new life, death is simply sad. Without death, new life is without magic--the magic of wise voices of the past, now gone, but still urging us on, urging us to write a new song.

As for the other central vowels, do you know the song “Better Man” by Pearl Jam? (No judgment if not; they’ve done better.) See if you can find it on YouTube. Listen to the part of the chorus where Eddie Vedder sings “Can’t find a better man.” Hear how his voices changes—how it kind of sounds huskier? This is something you heard a lot in the nineties (Scott Weiland did it; Shakira does it a lot; Dave Matthews did a lot [or Dave, as his true fans call him]). What Eddie Vedder is actually doing is centralizing all the front vowels. His typical pronunciation of “can’t find a better” is something I’d transcribe as . Naturally, he doesn’t always sing this way. Every so often he simply feels the need to kick it into overdrive, and so he centralizes all the vowels. It’s a noticeably different sound. As for why, the only thing I can come up with is that it obscures a lot of the vocalic variety of English (there are fewer distinctions for central vowels than for front vowels), and makes it easier to hold a tone. It’s also why baby comes out babay a lot of times ([e] is lower than [i], which means your mouth is open wider). Anyway, if you’re trying to nail central vowels, remember Eddie Vedder (but hopefully for “Corduroy,” “Yellow Ledbetter,” “Black,” “Guaranteed,” “Oceans,” and “I Got Id” rather than “Better Man”).

She presses play and Andrea listens to the song. A guitar starts playing, then another and then drums; it’s an unusual sound; it seems like rock music but is strange, somewhat gothic and punk. It’s a melodic song, though, and his foot taps the beat without him realizing. A man’s voice, full of sadness, sings the first words:   "When routine bites hard And ambitions are low And resentment rides high But emotions won’t grow And we're changing our ways Taking different roads..."   Andrea knows it! He hears the song arrive from his distant past with a suitcase full of memories. He sees himself as a child, sitting in the living room, his little legs dangling from a chair. His father has just received a new CD from abroad and couldn’t wait to receive it so Gina the caretaker has sent it on to him in Clusone. He’s really excited and tells mom all about it. She’s happy too. Barbara has pigtails and is eating a piece of focaccia with olives, sticking her fingers inside to take them out one by one. She’s tiny, five years old or maybe younger. Andrea sees the CD on the table and wonders what is so special about it. There's a very pale guy on the front, with dark hair and a strange fringe. His mouth is right up to the microphone and everything else is black. It’s written in a language that he can’t read, though he knows that it’s English. His parents are so happy that he decides to take it and have a listen. He snatches the disc and CD player and runs off. He runs very fast...   "Then love, love will tear us apart again" sings Ian Curtis, the voice of Joy Division, his parents’ favorite band. It’s a compilation that came out in 2000, containing a special song, "Love will tear us apart again." Andrea runs to a little girl that he loves very much. He has fun all day long with her in the mountains. He runs to his inseparable friend, his dear... "Susy!" he exclaims, eyes open wide. She smiles and nods. He

Here are ten prominent things I want to do before I die: I want to spend about one year in different osho camps across the world. I want to experience luxury of best hotels and resorts across the world. I want to write at least twenty books on English, communication skills, and career development. I want to live last ten year of my life doing meditation and teaching English. I want to learn playing drums and singing songs. I want to run multibillion dollar Education Company, where I want to hire best talent in Industry. I want to hire a fitness coach and makeover coach because my dressing style is too bad. I want to attend seminars and training programs of best leader including Darren Hardy around the world. I want to cook 1000 dishes. I want to take Jacuzzi bath every single day before I die.

jāvaḷi in Four Languages (caturbhāṣā jāvaḷi)28 Pallavi (refrain): my dear come [English] varuvai [Tamil] ī veḷa [Telugu] Caraṇam (stanza): ninnujūci cāla [Telugu] divasa āyite manna [Kannada] nī nā manasu impaina [Telugu] kālaharaṇamiñca [Telugu] for me now [English] beḷatiṅgaḷu bisallavāyite [Kannada] kuḷuku taḷakugaḷa [Telugu] come [English] birāna [Telugu] well I shall sing [English] Śivarāmuni [Telugu] songs [English]

Weak hearts will be strengthened, and drooping saints will be revived as they listen to our "songs of deliverance." Their doubts and fears will be rebuked, as we teach and admonish one another in psalms and hymns and spiritual songs.

To talk of improving upon our perfect Saviour is to insult him. He is God’s propitiation: what would you want more? . . . There is but one Saviour, and that one Saviour is the same forever. His doctrine is the same in every age and is not yea and nay. . . . What a strange result we should obtain in the general assembly of heaven if some were saved by the gospel of the first century, and others by the gospel of the second, and others by the gospel of the seventeenth, and others by the gospel of the nineteenth century! . . . We should need a different song of praise for the clients of these various periods, and the mingled chorus would be rather to the glory of man’s culture than to the praise of the one Lord. No such mottled heaven, and no such discordant song, shall ever be produced. . . . To eternal glory there is but one way; to walk therein we must hold fast to one truth, and be quickened by one life. We stand fast by the unaltered, unalterable, eternal name of Jesus Christ our Lord. Excerpted from Charles H. Spurgeon, “Holding Fast the Faith” (1888).

She sings in deeply accented English, a song about a caged bird’s longing for freedom. Her voice soars and dips like a swallow in flight. Suddenly, or so it seems, the song is over.

It was dusk when Rick led Amelia and Sam toward the Old Town plaza. "Come with me. You're going to love this." Amelia could hear music in the distance. She recognized the delicate strumming of a few guitars and the faint sound of singing. As they approached the plaza, Amelia could see four men playing and singing folk songs. It was beautiful. The music was coming straight from their soul and it held her spellbound. She stood in awe and watched, loving every note that drifted toward her. "Come here," said Rick as he motioned toward some benches. "Let's sit down." After the three of them got comfortable, Rick put his arm around Amelia's shoulders. "If you think this is beautiful, wait until Christmas. They have Luminarias and sing Christmas songs in both English and Spanish.

is the strength of the songwriting. Dark Side contained strong, powerful songs. The overall idea that linked those songs together – the pressures of modern life – found a universal response, and continues to capture people’s imagination. The lyrics had depth, and had a resonance people could easily relate to, and were clear and simple enough for non-native-English speakers to understand, which must have been a factor in its international success. And the musical quality spearheaded by David’s guitar and voice and Rick’s keyboards established a fundamental Pink Floyd sound. We were comfortable with the music, which had had time to mature and gestate, and evolve through live performances – later on we had to stop previewing work live as the quality of the recording equipment being smuggled into gigs reached near-studio standards. The additional singers and Dick Parry’s sax gave the whole record an extra commercial sheen. In addition, the sonic quality of the album was state of the art – courtesy of the skills of Alan Parsons and Chris Thomas. This is particularly important, because at the time the album came out, hi-fi stereo equipment had only recently become a mainstream consumer item, an essential fashion accessory for the 1970s home. As a result, record buyers were particularly aware of the effects of stereo and able to appreciate any album that made the most of its possibilities. Dark Side had the good fortune to become one of the definitive test records that people could use to show off the quality of their hi-fi system. The packaging for the album by Storm and Po at Hipgnosis was clean, simple, and immediately striking, with a memorable icon in the shape of the prism.

baallad FW 593.15 n. A poem, song, or ballad that tells a story about young sheep or a lamb. The nursery rhyme about Mary’s little lamb that broke the rules by following her to school is perhaps the most famous “baallad” of them all, although the “baallad” about the black sheep that had three bags full of wool is equally well known. An English expression for a nice, sweet young person is a “baa-lamb.”(“And let Billey Feghin be baallad out of his hummuluation.”)

Behind my words are my hopes And behind my hopes is an angel singing my death and yours I said to her "It's the ending of a cycle and the ending of me in your life" She is now awake to the sound of nature and the angel's voice We are soaring in the approaching stars I am dreaming and cannot comprehend it I have seen the stars Dear stars: the awakening and the loss, we are born and fall Dear stars, you too are above and lost and hanging like a booklet unread yet open for us all Behind my eyes is a secret I vouched to never share it I see the selfsame eyes of my mother and my grand mother And the eyes of my great grandmother, whom I never knew but felt And so this line unto the Alef and the omega point at infinity With my eye still I see the light, the crow that sees everything and smiles And knows everything and smile We comprehend a moment through him and smile I see all around my skin and beyond I have sung one thousand songs on the electric body I have invented my self I have killed my self I am just a form of English words written by an Algerian spirit