Evanescence Of Life Quotes

If people make fun of you, that probably means you're doing something right.

Don't be afraid of the shadows, that only means there's a light nearby.

When illness and old age are no longer indulgent and strength is irrevocably seeping away, brightness fades insidiously away from the light of the day and time only betrays reckless evanescence. (“Into a new life”)

Forget the place you're trying to get to and see the beauty in right now...

Let's look at the bright side of life, even if love has only been a long shot and become evanescent, it may still inspire us if we have the gift to savor the fragrance of the treasured moments of togetherness from memorable times that furtively slipped away. ("Waiting for the smoke signals")

Beneath the gore and smoke and loam, this book is about the evanescence of life, and why some men choose to fill their brief allotment of time engaging the impossible, others in the manufacture of sorrow. In the end it is a story of the ineluctable conflict between good and evil, daylight and darkness, the White City and the Black.

How can you see into my eyes like open doors Leading you down into my core Where I've become so numb without a soul My spirit sleeping somewhere cold Until you find it there and lead it back home

The light of memory, or rather the light that memory lends to things, is the palest light of all. I am not quite sure whether I am dreaming or remembering, whether I have lived my life or dreamed it. Just as dreams do, memory makes me profoundly aware of the unreality, the evanescence of the world, a fleeting image in the moving water.

Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions—trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms; and as they fall, as they shape themselves into the life of Monday or Tuesday

Writing sometimes feels frivolous and sometimes sacred, but memory is one of my strongest muses. I serve her with my words. So long as people read, those we love survive however evanescently. As do we writers, saying with our life's work, Remember. Remember us. Remember me.

Writing is a futile attempt to preserve what disappears moment by moment. All that remains of my mother is what I remember and what I have written for and about her. Eventually that is all that will remain of [my husband] and me. Writing sometimes feels frivolous and sometimes sacred, but memory is one of my strongest muses. I serve her with my words. So long as people read, those we love survive however evanescently. As do we writers, saying with our life's work, Remember. Remember us. Remember me.

Life is an isle of sorrow, you live today and die tomorrow!

I feel that from the very beginning life played a terrible conjurer’s trick on me. I lost faith in it. It seems to me that every moment now it is playing tricks on me. So that when I hear love I am not sure it is love, and when I hear gaiety I am not sure it is gaiety, and when I have eaten and loved and I am all warm from wine, I am not sure it is either love or food or wine, but a strange trick being played on me, an illusion, slippery and baffling and malicious, and a magician hangs behind me watching the ecstasy I feel at the things which happen so that I know deep down it is all fluid and escaping and may vanish at any moment. Don’t forget to write me a letter and tell me I was here, and I saw you, and loved you, and ate with you. It is all so evanescent and I love it so much, I love it as you love the change in the days.

That a thing made by hand, the work and thought of a single craftsman, can endure much longer than its maker, through centuries in fact, can survive natural catastrophe, neglect, and even mistreatment, has always filled me with wonder. Sometimes in museums, looking at a humble piece of pottery from ancient Persia or Pompeii, or a finely wrought page from a medieval illuminated manuscript toiled over by a nameless monk, or a primitive tool with a carved handle, I am moved to tears. The unknown life of the maker is evanescent in its brevity, but the work of his or her hands and heart remains.

Truly human life is as evanescent as the morning dew or a flash of lightning.

I'll never give up. Gemma is my soul mate, my other half, the only girl Ive ever loved. Weve been through hell together. Hell, weve died and then came back to life because of our love

Proust so titillates my own desire for expression that I can hardly set out the sentence. Oh if I could write like that! I cry. And at the moment such is the astonishing vibration and saturation and intensification that he procures—there’s something sexual in it—that I feel I can write like that, and seize my pen and then I can’t write like that. Scarcely anyone so stimulates the nerves of language in me: it becomes an obsession. But I must return to Swann. My great adventure is really Proust. Well—what remains to be written after that? I’m only in the first volume, and there are, I suppose, faults to be found, but I am in a state of amazement; as if a miracle were being done before my eyes. How, at last, has someone solidified what has always escaped—and made it too into this beautiful and perfectly enduring substance? One has to put the book down and gasp. The pleasure becomes physical—like sun and wine and grapes and perfect serenity and intense vitality combined. Jacques Raverat...sent me a letter about Mrs Dalloway which gave me one of the happiest moments days of my life. I wonder if this time I have achieved something? Well, nothing anyhow compared with Proust, in whom I am embedded now. The thing about Proust is his combination of the utmost sensibility with the utmost tenacity. He searches out these butterfly shades to the last grain. He is as tough as catgut & as evanescent as a butterfly's bloom. And he will I suppose both influence me & make out of temper with every sentence of my own.

In this life, all is Evanescent. Live for the now

From the night into his high-walled room there came, persistently, that evanescent and dissolving sound - something the city was tossing up and calling back again, like a child playing with a ball. In Harlem, the Bronx, Gramercy Park, and along the water-fronts, in little parlors or on pebble-strewn, moon-flooded roofs, a thousand lovers were making this sound, crying little fragments of it into the air. All the city was playing with this sound out there in the blue summer dark, throwing it up and calling it back, promising that, in a little while, life would be beautiful as a story, promising happiness - and by that promise giving it. It gave love hope in its own survival. It could do no more.

Take fireflies for example. Try to imagine their beauty, the evanescent beauty of their lives, which don't even last a week. Female fireflies flash their lights only to have intercourse with the males; males twinkle just to have intercourse with the females. And once their mating has finished, they die. In short, their reproductive instinct is the single, absolute reason for fireflies to live. In that simple instinct and their simple world, no kind of sadness can intervene. This is precisely why fireflies are so fleetingly beautiful.

There is nothing more beautiful, I think, than the evanescent fleeting images and sentiments presented by a language one is just becoming familiar with—ideas that flit across the mental sky, shaped and tinted by capricious fancy.

Insisting that his writing did not offer a philosophy of life, Hardy claims that each poem was an ‘impression’, intensely subjective and evanescent.

Life is evanescent, but left to itself it rarely fails to offer some consolation.

It didn’t matter what he’d said or done in life, in death he was innocent.

I have nothing to offer you' said Hactar faintly, 'but tricks of the light. It is possible to be comfortable with tricks of the light, though, if that is all you have.' His voice evanesced, and in the dark a long, velvet paisley-covered sofa coalesced into hazy shape. ... At least, if it wasn't real, it did support them, and as that is what sofas are supposed to do, this, by any test that mattered, was a real sofa.

It struck me tonight how music mirrors life. Fleeting ephemeral moments, made up of beauty, sadness, joy, hope and despair. Melodies which are written in both major and minor keys. Flowing and fleeting. You can’t hold onto it, or keep it from changing. Our emotions possess the evanescence of a note.

He is perhaps fifteen—not truly a young man yet, but certainly well on his way—and he walks with the energy and indifference of one who possesses the luxury of youth but not yet the experience to appreciate its value or evanescence.

I think about everything; good and bad. I think about the pain Ive experienced, the fear, the love, the passion, the kisses, the friendships. The way it feels when Alex touches me. I think about what it took to get there and I think about how briefly it stayed before it vanished. Its a moment in my life that Ill remember forever, yet, I wont. Because itll never actually happen. All I do is nod, but its enough that he understands.

Not everyone is born to fulfill an heroic role. The only realistic ambition is to live in the present. And sometimes, quite often in fact, this is more than enough to keep one busy. Time, which was once squandered, must now be given over to the actual, the possible, and perhaps that evanescent hope of a good outcome which never deserts one, and which should never be abandoned.

Beneath the gore and smoke and loam, this book is about the evanescence of life, and why some men choose to fill their brief allotment of time engaging the impossible, others in the manufacture of sorrow.

After our last child left for college, I struggled. The full life it had taken years, decades, to build had vanished, as evanescent as the mist. They all came home for Thanksgiving, and I—who had spent so much of their childhood despairing that I would never again have a moment to myself—followed them around like a girl spurned but loving still, ashamed. They are building their own lives now, and when they left home to return to them, I took myself to the woods. Because sometimes the only cure for homesickness is to enlarge the definition of home.

We must not despair the evanescent nature of time or our brief existence; we must embrace our delectable moment on earth. Life is a fantastic dream where we rejoice in the incomparable beauty of this misty world of ethereal sensations and sentiments. Buddha said, “It is better to travel well than to arrive.” We must swim with the tide and rejoice in life of memory, dreams, and the beauty that is transpiring before our very eyes. Indian Buddhist teacher and philosopher Nagarjuna advises in “The Diamond Sutra,” to enjoy the dream world, “Thus shall you think of this fleeting world: A star at dawn, a bubble in the stream; a flash of lightening in a summer cloud; a flickering lamp, a phantom, and a dream.

But since the downfall of the mythological hypothesis an interpretation of the dream has been wanting. The conditions of its origin; its relationship to our psychical life when we are awake; its independence of disturbances which, during the state of sleep, seem to compel notice; its many peculiarities repugnant to our waking thought; the incongruence between its images and the feelings they engender; then the dream's evanescence, the way in which, on awakening, our thoughts thrust it aside as something bizarre, and our reminiscences mutilating or rejecting it—all these and many other problems have for many hundred years demanded answers which up till now could never have been satisfactory. Before all there is the question as to the meaning of the dream, a question which is in itself double-sided. There is, firstly, the psychical significance of the dream, its position with regard to the psychical processes, as to a possible biological function; secondly, has the dream a meaning—can sense be made of each single dream as of other mental syntheses?

Lose Yourself—Eminem Monsters—Shinedown Dear God—XTC Down with the Sickness—Disturbed Love and War—Fleurie Headstrong—Trapt I Want It That Way—Backstreet Boys Sober—Tool Angels Fall—Breaking Benjamin Black is the Soul—Korn Polyamorous—Breaking Benjamin Best Thing I Never Had—Beyoncé Bed of Lies—Nicki Minaj ft Skylar Grey Apologize—Timbaland ft OneRepublic Spastik—Plastikman Basiel—Amelie Lens Oh Bondage! Up Yours!—X Ray Spex Open Your Eyes—Disturbed Bring Me to Life—Evanescence So What—Pink Light My Fire—The Doors

Life is much more than the evanescent present. We should do all we can to preserve our antiquities, lest we forget who we are.

The East and the West, like two dragons tossed in a sea of ferment, in vain strive to regain the jewel of life. We need a Niuka again to repair the grand devastation; we await the great Avatar. Meanwhile, let us have a sip of tea. The afternoon glow is brightening the bamboos, the fountains are bubbling with delight, the soughing of the pines is heard in our kettle. Let us dream of evanescence and linger in the beautiful foolishness of things.

As we’ve realised, the more our days are filled with new, unpredictable and challenging experiences, the longer they will feel. Conversely, the more one day is exactly like another, the faster it will pass by in an evanescent blur.

Her mind then was filled with tenderness and regret… To cut an overgrown branch saddened her because it had once lived, and life was dear to her. Yes, and at the same time the fall of the branch would suggest to her how she must die herself and all the futility and evanescence of things. And then again quickly catching this thought up, with her instant good sense, she thought life had treated her well; even if fall she must, it was to lie on the earth and moulder sweetly into the roots of violets.

Is it not possible that the accent falls a little differently, that the moment of importance came before or after, that, if one were free and could set down what one chose, there would be no plot,the moment of importance came before or after, that, if one were free and could set down what one chose, there would be no plot, little probability, and a vague general confusion in which the clear-cut features of the tragic, the comic, the passionate, and the lyrical were dissolved beyond the possibility of separate recognition? The mind, exposed to the ordinary course of life, receives upon its surface a myriad impressions--trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms, composing in their sum what we might venture to call life itself; and to figure further as the semi-transparent envelope, or luminous halo, surrounding us from the beginning of consciousness to the end. Is it not perhaps the chief task of the novelist to convey this incessantly varying spirit with whatever stress or sudden deviation it may display, and as little admixture of the alien and external as possible? We are not pleading merely for courage and sincerity; but suggesting that the proper stuff for fiction is a little other than custom would have us believe it.

Let us live, therefore, cheerfully, although there be no lasting joy in mortal things, whose substance is evanescent, inane, and vacuous. But if there is any good thing by which you would adorn this stage of life, we have not of such been cheated - rest, serenity, modesty, self-restraint, orderliness, change, fun, entertainment, society, temperance, sleep, food, drink, riding, sailing, walking, keeping abreast of events, meditation, contemplation, education, piety, marriage, feasting, the satisfaction of recalling an orderly disposition of the past, cleanliness, water, fire, listening to music, looking at all about one, talks, stories, history, liberty, continence, little birds, puppies, cats, consolation of death, and the common flux of time, fate and fortune, over the afflicted and the favoured alike. There is a good hope for things beyond all hope; good in the exercise of some art in which one is skilled; good in meditating upon the manifold transmutation of all nature and upon the magnitude of Earth.

else. They lose self-possession and freedom. The prolific letter-writer and Trappist monk Thomas Merton noticed this was happening to him during his college years at Columbia University. Later in life, he wrote: “The true inner self must be drawn up like a jewel from the bottom of the sea, rescued from confusion, from indistinction, from immersion in the common, the nondescript, the trivial, the sordid, the evanescent.”3

Commenting acidly on a writer whom I perhaps too naively admired, my old classics teacher put on his best sneer to ask: 'Wouldn't you say, Hitchens, that his writing was somewhat journalistic?' This lofty schoolmaster employed my name sarcastically, and stressed the last term as if he meant it to sting, and it rankled even more than he had intended. Later on in life, I found that I still used to mutter and improve my long-meditated reply. Émile Zola—a journalist. Charles Dickens—a journalist. Thomas Paine—another journalist. Mark Twain. Rudyard Kipling. George Orwell—a journalist par excellence. Somewhere in my cortex was the idea to which Orwell himself once gave explicit shape: the idea that 'mere' writing of this sort could aspire to become an art, and that the word 'journalist'—like the ironic modern English usage of the word 'hack'—could lose its association with the trivial and the evanescent.

Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions - trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant show of innumerable atoms; and as they fall, as they shape themselves into the life of Monday or Tuesday, they accent falls differently from of old; the moment of importance came not here but there; so that, if a writer were a free man and not a slave, if he could write what he chose, not what he must, if he could base his work upon his own feeling and not upon convention, there would be no plot, no comedy, no tragedy, no love interest or catastrophe in the accepted style, and perhaps not a single button sewn on as the Bond Street tailors would have it. Life is not a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning to the end.

To expect an addict to give up her drug is like asking the average person to imagine living without all her social skills, support networks, emotional stability and sense of physical and psychological comfort. Those are the qualities that, in their illusory and evanescent way, drugs give the addict. People like Serena and Celia and the others whose portraits have appeared in this book perceive their drugs as their “rock and salvation.” Thus, for all the valid reasons we have for wanting the addict to “just say no,” we first need to offer her something to which she can say “yes.” We must provide an island of relief. We have to demonstrate that esteem, acceptance, love and humane interaction are realities in this world, contrary to what she, the addict, has learned all her life. It is impossible to create that island for people unless they can feel secure that their substance dependency will be satisfied as long as they need it.

Brick's detachment is at last broken through. His heart is accelerated; his forehead sweat-beaded; his breath becomes more rapid and his voice hoarse. The thing they're discussing, timidly and painfully on the side of Big Daddy, fiercely, violently on Brick's side, is the inadmissible thing that Skipper died to disavow between them. The fact that if it existed it had to be disavowed to "keep face" in the world they lived in, may be at the heart of the "mendacity" that Brick drinks to kill his disgust with. It may be the root of his collapse. Or maybe it is only a single manifestation of it, not even the most important. The bird that I hope to catch in the net of this play is not the solution of one man's psychological problem. I'm trying to catch the true quality of experience in a group of people, that cloudy, flickering, evanescent - fiercely charged! - interplay of live human beings in the thundercloud of a common crisis. Some mystery should be left in the revelation of character in a play, just as a great deal of mystery is always left in the revelation of character in life, even in one's own character to himself. This does not absolve the playwright of his duty to observe and probe as clearly and deeply as he legitimately can: but it should steer him away from "pat" conclusions, facile definitions which make a play just a play, not a snare for the truth of human experience.

Only those are fit to live who do not fear to die; and none are fit to die who have shrunk from the joy of life and the duty of life. Both life and death are parts of the same Great Adventure... Never was a country worth living in unless its sons and daughters were of that stern stuff which bade them die for it at need; and never yet was a country worth dying for unless its sons and daughters thought of life not as something concerned only with the selfish evanescence of the individual, but as a link in the great chain of creation and causation, so that each person is seen in his true relations as an essential part of the whole, whose life must be made to serve the larger and continuing life of the whole.

Well, -beauty that you love so much—is an illusion of the remaining part, the excessive part, which has been consigned to knowledge. It is an illusion of the “other way to bear life” which you mentioned. One could say that in fact there is no such thing as beauty. What makes the illusion so strong, what imparts it with such a power of reality, is precisely knowledge. From the point of view of knowledge, beauty is never a consolation. It may be a woman, it may be one's wife, but it's never a consolation. Yet from the marriage between this beautiful thing which is never a consolation, on the one hand, and knowledge, on the other, something is born, It is as evanescent as a bubble and utterly hopeless. Yet something is born. That something is what people call art!

He glanced back at his ship, and a sigh escaped his lips, his heart fraught with the appreciation and melancholy that understanding his own situation must evince. His place as Captain of such a crew was as evanescent as the rest of life, and while they were all collected together now, being of the same character, the same mind, having the same predilections and ambitions, there was no saying when it might be over. He might be called away on urgent business, or his crew might grow anxious for a more settled life, Rannig might wish to return home, or the Director of the Marridon Academy might finally rot, calling Bartleby back to Marridon for the promotion he so richly deserved. He exhaled, reveling in the pining sigh of impermanence which living in such uncertainty must produce.

In essence we are pure desire. That desire is an expression of a moment and that moment becomes a series of moments we call life. Suspended on the hands of an evanescent ticking. Pending on the beat of a vein woven drum. Fragile and fleeting. Ever mysterious and expanding. My outer life was full. My inner life was like rampant Boston ivy and aspects of my soul were more akin to cities than archetypes. Deluged with words and pulses, in poetry I am but the result of all those who came before me. I represent more than I am able to comprehend. My expression is the result of all those who slain me and all those who heal me. Thank you differently and the same, for the hues of my emotional palette only deepened and multiplied like the cells of some thousand galaxies. Pent, it was time for my expression to vent.

I’m drawn to the Jewish notion of the soul, nephesh, which is not something preexistent but emergent—forming in and through physicality and relational experience. This suggests that we need our bodies to claim our souls. The body is where every virtue lives or dies, but more: our bodies are access points to mystery. And in some way that barely makes sense to me, I’m sure that we have to have feet planted on the ground, literally and metaphysically, to reach towards what is beyond and above us. Our bodies tell us the truth of life that our minds can deny: that we are in any moment as much about softness as fortitude. Always in need of care and tenderness. Life is fluid, evanescent, evolving in every cell, in every breath. Never perfect. To be alive is by definition messy, always leaning towards disorder and surprise. How we open or close to the reality that we never arrive at safe enduring stasis is the matter, the raw material, of wisdom.

Let me reason with the supporters of this opinion, who have any knowledge of human nature, do they imagine that marriage can eradicate the habitude of life? The woman who has only been taught to please, will soon find that her charms are oblique sun-beams, and that they cannot have much effect on her husband's heart when they are seen every day, when the summer is past and gone. Will she then have sufficient native energy to look into herself for comfort, and cultivate her dormant faculties? or, is it not more rational to expect, that she will try to please other men; and, in the emotions raised by the expectation of new conquests, endeavour to forget the mortification her love or pride has received? When the husband ceases to be a lover—and the time will inevitably come, her desire of pleasing will then grow languid, or become a spring of bitterness; and love, perhaps, the most evanescent of all passions, gives place to jealousy or vanity.

Our respect for the individual as a unique phenomenon, not to be suppressed in his idiosyncrasies, but to be cultivated and brought to fulfillment as a gift to the world such as never before was seen on earth, nor will ever appear again, is contrary, toto caelo, to the spirit not only of Oriental art but also of Oriental life. And in keeping with this turn of mind, the individual is expected not to innovate or invent, but to perfect himself in the knowledge and rendition of norms. Accordingly, the Oriental artist must not only address himself to standard themes, but also have no interest in any such thing as we understand by self-expression. Accounts, such as abound in the biographies of Western masters, of an artist’s solitary agony in long quest of his own special language to bring forward his personal message, we shall search for long and in vain in the annals of Oriental art. Such ego-oriented thinking is alien completely to Eastern life, thought, and religiosity, which are concerned, on the contrary, precisely with the quenching of ego and of all interest in this evanescent thing that is merely the “I” of a passing dream.

Depression is not sadness, not even a state of mind, it is a (neuro)philosophical (dis)position. Beyond Pop’s bipolar oscillation between evanescent thrill and frustrated hedonism, beyond Jagger’s Miltonian Mephistopheleanism, beyond Iggy’s negated carny, beyond Roxy’s lounge lizard reptilian melancholy, beyond the pleasure principle altogether, Joy Division were the most Schopenhauerian of rock groups, so much so that they barely belonged to rock at all. Since they had so thoroughly stripped out rock’s libidinal motor – it would be better to say that they were, libidinally as well as sonically, anti-rock. Or perhaps, as they thought, they were the truth of rock, rock divested of all illusions. (The depressive is always confident of one thing: that he is without illusions.) What makes Joy Division so Schopenhauerian is the disjunction between Curtis’s detachment and the urgency of the music, its implacable drive standing in for the dumb insatiability of the life-Will, the Beckettian ‘I must go on’ not experienced by the depressive as some redemptive positivity, but as the ultimate horror, the life-Will paradoxically assuming all the loathsome properties of the undead (whatever you do, you can’t extinguish it, it keeps coming back).

The temple was in a field of graves suddenly a pitiful-looking skeleton appeared and said: A melancholy autumn wind Blows through the world; the pampas grass waves As we drift to the moor, Drift to the sea. What can be done With the mind of a man That should be clear But though he is dressed up in a monk's robe, Just lets life pass him by? Such deep musings Made me uneasy, I could not sleep. Towards dawn I dozed off... I found myself surrounded by a group of skeletons, acting as they had when they were still alive. One skeleton came over to me and said: Memories Flee and Are no more. All are empty dreams Devoid of meaning. Violate the reality of things And babble about 'God' and 'the Buddha' And you will never find the true Way. Still breathing, You feel animated, So a corpse in a field Seems to be something Apart from you. If chunks of rock Can serve as a memento To the dead A better headstone Would be a simple tea-mortar. Humans are indeed frightful things. A single moon Bright and clear In an unclouded sky; Yet we still stumble In the world's darkness. This world Is but A fleeting dream So why be alarmed At its evanescence? The vagaries of life, Though painful, Teach us Not to cling To this floating world. Why do people Lavish decoration On this set of bones, Destined to disappear Without a trace? The original body Must return to Its original place. Do not search For what cannot be found. No one really knows The nature of birth Nor the true dwelling place. We return to the source And turn to dust. Many paths lead from The foot of the mountain, But at the peak We all gaze at the Single bright moon. If at the end of our journey There is no final Resting place, Then we need not fear Losing our Way. No beginning. No end. Our mind Is born and dies; The emptiness of emptiness! Relax, And the mind Runs wild; Control the world And you can cast it aside. Rain, hail, snow, and ice: All are different But when they fall They become to same water As the valley stream. The ways of proclaiming The Mind all vary, But the same heavenly truth Can be seen In each and every one. Cover your path With fallen pine needles So no one will be able To locate your True dwelling place. How vain, The endless funderals at the Cremation grounds of Mount Toribe! Don't the mourner realize That they will be next? 'Life is fleeeting!' We think at the sight Of smoke drifting from Mount Toribe, But when will we realize That we are in the same boat? All is in vain! This morning, A healthy friend; This evening, A wisp of cremation smoke. What a pity! Evening smoke from Mount Toribe Blown violently To and fro By the wind. When burned We become ashes, and earth when buried. Is it only our sins That remain behind? All the sins Committed In the Three Worlds Will fade away Together with me.

All beauty calls you to me, and you seem, Past twice a thousand miles of shifting sea, To reach me. You are as the wind I breathe Here on the ship's sun-smitten topmost deck, With only light between the heavens and me. I feel your spirit and I close my eyes, Knowing the bright hair blowing in the sun, The eager whisper and the searching eyes. Listen, I love you. Do not turn your face Nor touch me. Only stand and watch awhile The blue unbroken circle of sea. Look far away and let me ease my heart Of words that beat in it with broken wing. Look far away, and if I say too much, Forget that I am speaking. Only watch, How like a gull that sparking sinks to rest, The foam-crest drifts along a happy wave Toward the bright verge, the boundary of the world. I am so weak a thing, praise me for this, That in some strange way I was strong enough To keep my love unuttered and to stand Altho' I longed to kneel to you that night You looked at me with ever-calling eyes. Was I not calm? And if you guessed my love You thought it something delicate and free, Soft as the sound of fir-trees in the wind, Fleeting as phosphorescent stars in foam. Yet in my heart there was a beating storm Bending my thoughts before it, and I strove To say too little lest I say too much, And from my eyes to drive love’s happy shame. Yet when I heard your name the first far time It seemed like other names to me, and I Was all unconscious, as a dreaming river That nears at last its long predestined sea; And when you spoke to me, I did not know That to my life’s high altar came its priest. But now I know between my God and me You stand forever, nearer God than I, And in your hands with faith and utter joy I would that I could lay my woman’s soul. Oh, my love To whom I cannot come with any gift Of body or of soul, I pass and go. But sometimes when you hear blown back to you My wistful, far-off singing touched with tears, Know that I sang for you alone to hear, And that I wondered if the wind would bring To him who tuned my heart its distant song. So might a woman who in loneliness Had borne a child, dreaming of days to come, Wonder if it would please its father’s eyes. But long before I ever heard your name, Always the undertone’s unchanging note In all my singing had prefigured you, Foretold you as a spark foretells a flame. Yet I was free as an untethered cloud In the great space between the sky and sea, And might have blown before the wind of joy Like a bright banner woven by the sun. I did not know the longing in the night– You who have waked me cannot give me sleep. All things in all the world can rest, but I, Even the smooth brief respite of a wave When it gives up its broken crown of foam, Even that little rest I may not have. And yet all quiet loves of friends, all joy In all the piercing beauty of the world I would give up– go blind forevermore, Rather than have God blot from out my soul Remembrance of your voice that said my name. For us no starlight stilled the April fields, No birds awoke in darking trees for us, Yet where we walked the city’s street that night Felt in our feet the singing fire of spring, And in our path we left a trail of light Soft as the phosphorescence of the sea When night submerges in the vessel’s wake A heaven of unborn evanescent stars.

All beauty calls you to me, and you seem” All beauty calls you to me, and you seem, Past twice a thousand miles of shifting sea, To reach me. You are as the wind I breathe Here on the ship's sun-smitten topmost deck, With only light between the heavens and me. I feel your spirit and I close my eyes, Knowing the bright hair blowing in the sun, The eager whisper and the searching eyes. Listen, I love you. Do not turn your face Nor touch me. Only stand and watch awhile The blue unbroken circle of the sea. Look far away and let me ease my heart Of words that beat in it with broken wing. Look far away, and if I say too much, Forget that I am speaking. Only watch, How like a gull that sparkling sinks to rest, The foam-crest drifts along a happy wave Toward the bright verge, the boundary of the world. I am so weak a thing, praise me for this, That in some strange way I was strong enough To keep my love unuttered and to stand Altho' I longed to kneel to you that night You looked at me with ever-calling eyes. Was I not calm? And if you guessed my love You thought it something delicate and free, Soft as the sound of fir-trees in the wind, Fleeting as phosphorescent stars in foam. Yet in my heart there was a beating storm Bending my thoughts before it, and I strove To say too little lest I say too much, And from my eyes to drive love's happy shame. Yet when I heard your name the first far time It seemed like other names to me, and I Was all unconscious, as a dreaming river That nears at last its long predestined sea; And when you spoke to me, I did not know That to my life's high altar came its priest. But now I know between my God and me You stand forever, nearer God than I, And in your hands with faith and utter joy I would that I could lay my woman's soul. Oh, my love To whom I cannot come with any gift Of body or of soul, I pass and go. But sometimes when you hear blown back to you My wistful, far-off singing touched with tears, Know that I sang for you alone to hear, And that I wondered if the wind would bring To him who tuned my heart its distant song. So might a woman who in loneliness Had borne a child, dreaming of days to come, Wonder if it would please its father's eyes. But long before I ever heard your name, Always the undertone's unchanging note In all my singing had prefigured you, Foretold you as a spark foretells a flame. Yet I was free as an untethered cloud In the great space between the sky and sea, And might have blown before the wind of joy Like a bright banner woven by the sun. I did not know the longing in the night-- You who have waked me cannot give me sleep. All things in all the world can rest, but I, Even the smooth brief respite of a wave When it gives up its broken crown of foam, Even that little rest I may not have. And yet all quiet loves of friends, all joy In all the piercing beauty of the world I would give up--go blind forevermore, Rather than have God blot from out my soul Remembrance of your voice that said my name. For us no starlight stilled the April fields, No birds awoke in darkling trees for us, Yet where we walked the city's street that night Felt in our feet the singing fire of spring, And in our path we left a trail of light Soft as the phosphorescence of the sea When night submerges in the vessel's wake A heaven of unborn evanescent stars.

To Tree’s surprise, e could still feel the blade of Univervia that was on the deer’s tongue. And the feelings that came at Tree were fast, intense and surprising. The whole blade lay languid, surrendering as the tongue mashed the strands of grass up to the roof of the doe’s mouth. Then the deer twisted the grass sideways and ground teeth into the grass. As the grass was destroyed, each cell popped and gave shots of grass life-force into the hungry deer, in little pops of ecstatic release. The whole thing happened as swiftly as a string of firecrackers going off into light and smoke, leaving behind a dull residue that gave no sense of the evanescent beauty that had been enchanting the air only moments before. Tree felt this chunk of Univervia embrace willful dissolution and then suddenly all these little pieces that had been integrated into Univervia were separated into something like ananda, the joy which powers the universe and then... then the grass was deer.

Feelings and emotions as well as thoughts and opinions are evanescent; they change over time because they reflect our transient being. Feelings and emotions are judgments that spring from the hidden source of the unconscious mind, and only take on power whenever the conscious mind acknowledges them, and then chooses to convey an idea in some format that shares the rhythm of a person’s own being with another person. Unuttered thoughts and inexpressible feelings experience a short half-life. Without proper nourishment, voiceless thoughts wither and indefinable feelings wane. Lucid thoughts and inexpressible feelings form imperceptible currents that propel us along in our inimitable journey exploring the tributaries of the stream of life.

Zen[FN#195] is neither idealistic nor nihilistic. Zen makes use of the nihilistic idea of Hinayana Buddhism, and calls its students' attention to the change and evanescence of life and of the world, first to destroy the error of immutation, next to dispel the attachment to the sensual objects. [FN#194]

AWARE The great sigh of things. To be aware of aware (pronounced ah-WAH-ray) is to be able to name the previously ineffable sigh of impermanence, the whisper of life flitting by, of time itself, the realization of evanescence. Aware is the shortened version of the crucial Japanese phrase mono-no-aware, which suggested sensitivity or sadness during the Heian period, but with a hint of actually relishing the melancholy of it all. Originally, it was an interjection of surprise, as in the English “Oh!” The reference calls up bittersweet poetic feelings around sunset, long train journeys, looking out at the driving rain, birdsong, the falling of autumn leaves. A held-breath word, it points like a finger to the moon to suggest an unutterable moment, too deep for words to reach. If it can be captured at all, it is by haiku poetry, the brushstroke of calligraphy, the burbling water of the tea ceremony, the slow pull of the bow from the oe. The great 16th-century wandering poet Matsuo Basho caught the sense of aware in his haiku: “By the roadside grew / A rose of Sharon. / My horse / Has just eaten it.” A recent Western equivalent would be the soughing lyric of English poet Henry Shukman, who writes, “This is a day that decides by itself to be beautiful.

Even when it comes to war, historical memory has a sadistically short half-life, horrors and their causes gauzily evanescing into familiar folklore in less than the span of a single generation. But most wars throughout history, it is important to remember, have been conflicts over resources, often ignited by resource scarcity, which is what an earth densely populated and denuded by climate change will yield. Those wars don’t tend to increase those resources; most of the time, they incinerate them.

His junior year at college completed, Jim wrote to his parents: “Seems impossible that I am so near my senior year at this place, and truthfully, it hasn’t the glow about it that I rather expected. There is no such thing as attainment in this life; as soon as one arrives at a long-coveted position he only jacks up his desire another notch or so and looks for higher achievement—a process which is ultimately suspended by the intervention of death. Life is truly likened to a rising vapor, coiling, evanescent, shifting. May the Lord teach us what it means to live in terms of the end, like Paul who said, ‘Neither count I my life dear unto myself, that I might finish my course with joy. . . .’ ” During that summer, after preaching to a group of Indians on a reservation, Jim wrote: “Glad to get the opportunity to preach the Gospel of the matchless grace of our God to stoical, pagan Indians. I only hope that He will let me preach to those who have never heard that name Jesus. What else is worth while in this life? I have heard of nothing better. ‘Lord, send me!

Nothing testified more to the evanescence of position and wealth in Beverly Hills than its architecture. There was money in abundance to put up the settings of the grand life. But land—the one true mark of stable grandeur—was not to be had. The town was an industrial compound of the temporarily well-paid.

The heaven of modern humanity is indeed shattered in the Cyclopean struggle for wealth and power. The world is groping in the shadow of egotism and vulgarity. Knowledge is bought through a bad conscience, benevolence practiced for the sake of utility. The East and West, like two dragons tossed in a sea of ferment, in vain strive to regain the jewel of life.. Meanwhile, let us have a sip of tea. The afternoon glow is brightening the bamboos, the fountains are bubbling with delight, the soughing of the pines is heard in our kettle. Let us dream of evanescence, and linger in the beautiful foolishness of things.

Of course, most of us, in the service of sanity, don’t fixate on the end. We go about the world focused on worldly concerns. We accept the inevitable and direct our energies to other things. Yet the recognition that our time is finite is always with us, helping to shape the choices we make, the challenges we accept, the paths we follow. As cultural anthropologist Ernest Becker maintained, we are under a constant existential tension, pulled toward the sky by a consciousness that can soar to the heights of Shakespeare, Beethoven, and Einstein but tethered to earth by a physical form that will decay to dust. “Man is literally split in two: he has an awareness of his own splendid uniqueness in that he sticks out of nature with a towering majesty, and yet he goes back into the ground a few feet in order blindly and dumbly to rot and disappear forever.”2 According to Becker, we are impelled by such awareness to deny death the capacity to erase us. Some soothe the existential yearning through commitment to family, a team, a movement, a religion, a nation—constructs that will outlast the individual’s allotted time on earth. Others leave behind creative expressions, artifacts that extend the duration of their presence symbolically. “We fly to Beauty,” said Emerson, “as an asylum from the terrors of finite nature.”3 Others still seek to vanquish death by winning or conquering, as if stature, power, and wealth command an immunity unavailable to the common mortal. Across the millennia, one consequence has been a widespread fascination with all things, real or imagined, that touch on the timeless. From prophesies of an afterlife, to teachings of reincarnation, to entreaties of the windswept mandala, we have developed strategies to contend with knowledge of our impermanence and, often with hope, sometimes with resignation, to gesture toward eternity. What’s new in our age is the remarkable power of science to tell a lucid story not only of the past, back to the big bang, but also of the future. Eternity itself may forever lie beyond the reach of our equations, but our analyses have already revealed that the universe we have come to know is transitory. From planets to stars, solar systems to galaxies, black holes to swirling nebulae, nothing is everlasting. Indeed, as far as we can tell, not only is each individual life finite, but so too is life itself. Planet earth, which Carl Sagan described as a “mote of dust suspended on a sunbeam,” is an evanescent bloom in an exquisite cosmos that will ultimately be barren. Motes of dust, nearby or distant, dance on sunbeams for merely a moment. Still, here on earth we have punctuated our moment with astonishing feats of insight, creativity, and ingenuity as each generation has built on the achievements of those who have gone before, seeking clarity on how it all came to be, pursuing coherence in where it is all going, and longing for an answer to why it all matters. Such is the story of this book.

I don’t let a lot of people in. most days I don’t give it a second thought. I’ve been this way since I was little. When I met you, I knew that I had grown. There was something different about your aura. I discovered that you were the love of your life, as I was the love of mine. Evanescent. Even when we don’t see eye to eye. You’re my best friend. My second reflection, the one I told the child in me to reach out to in case I wasn’t around.

I had the feeling that all the “still lifes,” the ikebanas, the “installations”—even the simple window decoration of a cheap Ikea vase housing an inspired two-guilder Xeno “shipwreck”—bore witness to the inhabitants’ subconscious fear of evanescence.

Without knowing this, without having been to the future, there would be no way to situate this vision among the other items in my memory. And since most of our thoughts are as evanescent and hard to remember as dreams, I will be unlikely to remember this vision or notice how it corresponded to an actual event in my life some time afterward. It has often been suggested that déjà vu experiences may reflect this kind of “memory of a premonition,” although neural signals of familiarity may misfire for more mundane reasons, so it would be hard to substantiate such a claim in many, or most, cases. It is the same difficulty that J. B. Priestley identified in the context of his future-influencing-present effect: How often will it occur to people to (a) record their passing thoughts and moods in detail and (b) compare those recorded thoughts and moods to later events? Almost never. Yet as we will see later, when people’s lives, thoughts, and feelings are recorded for some other purpose, such as in psychotherapy, it sometimes does—quite by accident—reveal suggestive evidence for something like the existence of a perturbing influence of future events on prior behavior. “The brain is an illusion factory,” as neurobiologist Dean Buonomano puts it.52 Humans’ ability to vividly and realistically imagine things that haven’t happened (or haven’t happened yet) poses a huge challenge to studying anomalous experiences and ESP phenomena. One of the million functions of the Swiss Army Knife in our skulls is to serve as a powerful all-purpose imaging device, a special effects studio that would put Industrial Light and Magic to shame. It is able to create from scratch, instantly, vivid images to dramatize any piece of information or idea, real or fictitious, as well as translate complex thoughts instantly into pictures. It does this not only in dreams but also in the hypnagogic and hypnopompic states on the edge of sleep, and even in waking reality when we “mentally time travel” or daydream or imagine possible scenarios.

Rubin admits that bureaucracy lacks glamour and charisma, and that queers are prone to live for the moment. But: ‘momentary excitements are intrinsically fragile, evanescent, and unstable. Part of the reason for our impaired memory of the older strata of queer knowledges is that the institutions and organizations that produced them are gone. Queer life is full of examples of fabulous explosions that left little or no detectable trace.’ The question is whether the spark is extinguished when an official story is made of the blast.

Q. But is not eternal life the highest and the best, the greatest good? A. That is to confuse the unconditional with the eternal. [...] Lacking the respiration of time's passing we would expire before our time, simply giving up the ghost and without quite dying live on as un-dead. It is mortality that gives life vitality; immortality is lethal. The fruit of the tree of life is poisonous. Immortality is the really forbidden fruit. That life takes a fleeting and evanescent form does not demolish its meaning; it defines it.

Joy is not simply a fleeting feeling or an evanescent emotion; it is a deep-seated result of of one's connection of God.

evanescent

From the mountains of rubble, slag, rubbish, bones, dust, excrement that bear witness to the works and days of each passing generation, a few milligrams of radioactive mind-energy have in the course of history been extracted, and from them, only a fractional amount has been preserved. That fraction, passing from mind to mind, has the property of irradiating the rest of existence with meaning and value. Like the radioactive elements themselves, these dynamic and formative attributes of mind are extremely powerful, but evanescent: yet their half-life, as with the ancient Egyptian organization of the megamachine, may last for thousands of years.

Writing reflects life and life is a mystery. All any of us can do is press the fleet footed beauty of life close to our flesh and use whatever instruments are within our grasp to express the evanescent spark of mysticism that resides within us.

I'm still waiting for the rain to fall, pouring life down on me.

A WHILE BACK, a game designer friend of mine named Phil Fish made a plea on Twitter, “Hey bloggers, no more ‘blank rebuilt in Minecraft’ posts, please. We get it. You can make things in Minecraft. Thanks.” Fish was referring to the popular online game Minecraft, in which players hunt for resources that are used to construct models and apparatuses with the game’s characteristic, cubical visual style. The Internet being what it is, given such tools extreme fans do insane things, like elaborately reconstructing the city King’s Landing from Game of Thrones using nothing but this square matter mined from Minecraft. Seeing Fish’s tweet, an enterprising ironoiac recreated the form of the embedded tweet itself inside Minecraft, a fact that the tech blog VentureBeat then dutifully blogged about, thus completing not one but two cycles of an ironoia self-treatment the environmental philosopher Timothy Morton names “anything you can do I can do meta.”14 In a futile attempt to prevent further metastasis, the blogger concluded his post with the line, “Yes, we’re fully aware of the irony of this post.”15 But rather than satisfying anyone, such a provocation only further irritated the ironoiac itch. Fish tweeted a link to the blog post covering the Minecraft construction of a model of Fish’s tweet protesting blog posts about Minecraft constructions, which one of his followers one-upped by observing the fact that Fish had in fact “tweeted about somebody blogging about somebody making [his] tweet about Minecraft in Minecraft.” Another chimed in, “How long ’til someone recreates that blog post in Minecraft?” Each step represents an attempt to overcome the absurdity of the last by fixing it in a new voice, even though each ironic gesture was evanescent, quickly replaced by yet another layer of buffer from yet another desperate ironoiac. Why do we do it, then? Today, satisfaction is more elusive than ever. In part, the precarity of life after the 2008 global financial collapse and the Great Recession that followed it (and whose effects still linger) makes every transaction with the world feel suspect and risky. We fear that things might turn on us, because we have good evidence that they can, and do. But

All statistics consist of our attempts to represent statistically what is in motion; and in the process things assume a weight in our mind which they have not in reality. For this reason a man, who by his profession is concerned with any particular aspect of life, is apt to magnify its proportions; in laying undue stress upon facts he loses his hold upon truth. A detective may have the opportunity of studying crimes in detail, but he loses his sense of their relative places in the whole social economy. When science collects facts to illustrate the struggle for existence that is going on in the kingdom of life, it raises a picture in our minds of "nature red in tooth and claw." But in these mental pictures we give a fixity to colours and forms which are really evanescent.

That’s what life is about, having the right to choose, to make decisions that have the ability to span your entire existence, especially when it comes to matters of the heart. Sometimes love doesn’t give the easy answer. It doesn’t make it wrong though. Good things are worth fighting for.” Like

Stieglitz solidified the commitment first inspired in Ansel by Edward Carpenter, to reveal the greater reality that surrounds us, but of which too few are conscious. Ansel now believed that he, too, could capture this evanescence on film, as a proof for all to see, a glimpse of the intrinsic beauty that is life’s foundation.

Fireworks are beautiful because they are so ephemeral. They're precious because they're evanescent, and because they're evanescent, we have to remember them. We knew everything would one day disappear, but we are all gathered here together under the fireworks. When we are together, a moment is transformed into an eternity. I decided to believe that something is left behind even after all the fireworks are gone. And for now, just believing that was enough

Alienation is inevitable when our inner sense of value becomes status-driven, hinging on externally imposed standards of competitive achievement and acquisition, and a highly conditional acceptance — I should say "acceptability" — in others' eyes. With the erosion of the middle class in recent decades, people who judged themselves in terms of wordly success have sustained a perceived loss of worth. The promise of the middle-class dream has largely evaporated, to the distress and deep anger of many. But even people perched atop the economic pyramid can experience a devaluation of self, for the simple reason that materialistic values run counter to the need for meaning, for purpose beyond self-serving endeavors. There are no moral fingers to wag here. Objectively, it is the case that centering on the self's evanescent desires to the exclusion of communal needs results in a diminished connection to our deepest selves, which is to say the parts of us that generate and sustain true well-being. Whatever "wins" our personality can rack up, whatever momentary sense of security we gain through our various identities, however much we burnish our image or self-image with material gains — these are a flimsy replacement for the rewards (and challenges) of being alive to one's humanity. An investor dabbling daily in millions told Pulitzer Prize-winning journalist Charles Duhigg, "I feel like I'm wasting my life. When I die, is anyone going to care that I earned an extra percentage point on my return? My work feels totally meaningless." That loss of meaning, Duhigg says, afflicts "even professionals given to lofty self-images, like those in medicine and law." Why would this be? the author wondered. The answer: "Oppresive hours, political infighting, increased competition sparked by globalization, an 'always-on culture' bred by the internet — but also something that's hard for these professionals to put their finger on, an underlying sense that their work isn't worth the grueling effort they're putting into it." It's simple economics, really: artificial inflation (of self-concept, of identity, of material ambition) is bound to lead to a downturn or even a crash when the bubble inevitable burts.

Life is a nefarious hoax cloaking sanity with the delinquent want and the reticent need. The reality is evanescent in the holographic light of success.

He was alive, but life felt over. He reminded himself that these mountains had saved him once before. Outwardly he was himself, even going to the club now and then. But new scars constricted his heart. The nature of the happiness that came from love was that it was fleeting, evanescent. Nothing lasted but the land—the soil—and it would outlast them all.

It’s Already Broken Everything in this world is subject to change and renewal. We are a flow of yin and yang, of sense experiences and dreams, an ever-changing river of feelings and thoughts. Consistency is the realm of the press release; inconsistency is the stuff of life. Relax. Hold the paradox of change and eternity with grace rather than judgment or fear. Then you will see that in this imperfect world, there is another kind of joy. We have the ability to be perfectly ourselves. We have the laughter of the wise, the freedom to choose our spirit no matter the circumstances. We have the freedom to love anyway. To love amid the glorious, terrifying, and unshakable beauty of it all. We have the wisdom and courage to care sweetly in this fleeting, evanescent play of days.

You wear a crown of roses. You’ve fully entered the next phase of your life: a crone and member of the wise council of women. You will be a part of the shift of ages. You will keep the flame of women’s work and women’s stories alive. You will change the world by doing so. It turns out, you’ve been a fire-walker your whole life. Now, you will teach others.

What we have. Material goods are a will-o'-the-wisp. Schopenhauer argues elegantly that the accumulation of wealth and goods is endless and unsatisfying; the more we possess, the more our claims multiply. Wealth is like seawater: the more we drink, the thirstier we become. In the end, we don't have our goods-they have us. 2. What we represent in the eyes of others. Reputation is as evanescent as material wealth. Schopenhauer writes, "Half our worries and anxieties have arisen from our concern about the opinions of others ... we must extract this thorn from our flesh." So powerful is the urge to create a good appearance that some prisoners have gone to their execution with their clothing and final gestures foremost in their thoughts. The opinion of others is a phantasm that may alter at any moment. Opinions hang by a thread and make us slaves to what others think or, worse, to what they appear to think-for we can never know what they actually think. 3. What we are. It is only what we are that truly matters. A good conscience, Schopenhauer says, means more than a good reputation. Our greatest goal should be good health and intellectual wealth, which lead to an inexhaustible supply of ideas, independence, and a moral life. Inner equanimity stems from knowing that it is not things that disturb us, but our interpretations of things.

In Chinese or Japanese artistic tradition, there is nothing wrong with cliches as such. The true test of skill is to redefine the familiar. The paradigm of the Japanese Buddhist belief that beauty is rooted in the evanescence of life and therefore its sadness.

Breadcrumbs And your doubt can become Your ally, your fierce reminder Of every blackened backroad Every barren stream and Every long moment you stumbled through life in red shoes the size of thimbles Shoes that cut the arches Of your white feet and Told you to accept only breadcrumbs. Never to gulp the hungry air Or open the shutters in your chest To reveal your lionheart Your doubts used to be the tales You spoke into dark stars under The bright gaze of Venus No more, dear heart. No more.

The Eclipse ofAchievement In a society in which the dream of success has been drained of any meaning beyond itself, men have nothing against which to measure their achievements except the achievements of others. Self-approval depends on public recognition and acclaim, and the quality of this approval has undergone important changes in its own right. The good opinion of friends and neighbors, which formerly informed a man that he had lived a useful life, rested on appreciation of his accomplishments. Today men seek the kind of approval that applauds not their actions but their personal attributes. They wish to be not so much esteemed as admired. They crave not fame but the glamour and excitement of celebrity. They want to be envied rather than respected. Pride and acquisitiveness, the sins of an ascendant capitalism, have given way to vanity. Most Americans would still define success as riches, fame, and power, but their actions show that they have little interest in the substance of these attainments. What a man does matters less than the fact that he has "made it." Whereas fame depends on the performance of notable deeds acclaimed in biography and works of history, celebrity-the reward of those who project a vivid or pleasing exterior or have otherwise attracted attention to themselves-is acclaimed in the news media, in gossip columns, on talk shows, in magazines devoted to "personalities." Accordingly it is evanescent, like news itself, which loses its interest when it loses its novelty. Worldly success has always carried with it a certain poignancy, an awareness that "you can't take it with you"; but in our time, when success is so largely a function of youth, glamour, and novelty, glory is more fleeting than ever, and those who win the attention of the public worry incessantly about losing it.

Cats continue to teach me a lot of what is important in my life, and also, how short it is, how we need to express our love to those for whom we feel it, daily, nightly, in every way we can. With everyone we love, we have only a limited time so we must learn to celebrate it body and soul. They have taught me how precious every moment we can enjoy can be with whatever we love, because it all passes and so do we. Writing is a futile attempt to preserve what disappears moment by moment. All that remains of my mother is what I remember and what I have written for and about her. Eventually that is all that will remain of Ira and of me. Writing sometimes feels frivolous and sometimes sacred, but memory is one of my strongest muses. I serve her with my words. So long as people read, those we loved survive however evanescently. As do we writers, saying with our life's work, Remember. Remember us. Remember me.

a mechanical cosmos: There is a – let us say – a machine. It evolved itself (I am severely scientific) out of a chaos of scraps of iron and behold! – it knits. I am horrified at the horrible work and stand appalled. I feel it ought to embroider – but it goes on knitting … And the most withering thought is that the infamous thing has made itself; made itself without thought, without conscience, without foresight, without heart. It is a tragic accident … It knits us in and it knits us out. It has knitted time, space, pain, death, corruption, despair and all the illusions – and nothing matters. I’ll admit however that to look at the remorseless process is sometimes amusing.35 Later he wrote: The machine is thinner than air and as evanescent as a flash of lightning … The ardour for reform, improvement, for virtue, for knowledge, and even for beauty is only a vain sticking up for appearances … Life knows us not and we do not know life – we don’t even know our own thoughts … Faith is a myth and belief shifts like mists on the shore.

The light of memory, or rather the light that memory lends to things, is the palest light of all…I am not quite sure whether I am dreaming or remembering, whether I have lived my life or dreamed it. Just as dreams do, memory makes me profoundly aware of the unreality, the evanescence of the world, a fleeting image in the moving water

Electrons are as evanescent as thoughts. History begins with the written word.

31st December is a reminder of Evanescence and Mortality. The Indomitable and Invincible Time tastes Death.

The fervour accompanying these events may be deceptive. If it expresses nothing more than the zeal with which the countries of the East are casting aside the bonds of ideology, or if it is a mimetic fervour - a tribute, as it were, to those liberal countries where all liberty has already been traded in for a technically easy life - then we shall have found out definitively what freedom is worth, and that it is probably never to be discovered a second time. History offers no second helpings. On the other hand, it could be that the present thaw in the East may be as disastrous in the long term as the excess of carbon dioxide in the upper atmosphere, that it may bring about a political greenhouse effect, and so overheat human relations on the planet that the melting of the Communist ice-sheet will cause Western seaboards to be submerged. Odd that we should be in such absolute fear of the melting of the polar ice, and look upon it as a climatic catastrophe, while we aspire with every democratic bone in our bodies to the occurrence of just such an event on the political plane. If in the old days the USSR had released its gold reserves onto the world market, that market would have been completely destabilized. Today, by putting back into circulation their vast accumulated store of freedom, the Eastern countries could quite easily destabilize that very fragile balance of Western values which strives to ensure that freedom no longer emerges as action but only as a virtual and consensual form of interaction; no longer as a drama but merely as the universal psychodrama of liberalism. A sudden infusion of freedom as a real currency, as violent and active transcendence, as Idea, would be in every way catastrophic for our present air-conditioned redistribution of values. Yet this is precisely what we are asking of the East: freedom, the image of freedom, in exchange for the material signs of freedom. This is an absolutely diabolical contract, by virtue of which one signatory is in danger of losing their soul, and the other of losing their creature comforts. But perhaps - who knows? - this may, after all, be the best thing for both sides. Those societies that were formerly masked - Communist societies - have been unmasked. What is their face like? As for us, we dropped the mask long ago and have for a long time been without either mask or face. We are also without memory. We have reached the point of searching the water for signs of a memory that has left no traces, hoping against hope that something might remain when even the water's molecular memory has faded away. So it goes for our freedom: we would be hard put to it to produce a single sign of it, and we have been reduced to postulating its infinitesimal, intangible, undetectable existence in a (programmatic, operational) environment so highly dilute that in truth only a spectre of freedom floats there still, in a memory every bit as evanescent as water's.

What does being on earth ask of us? The world wants to be rescued from evanescence, to be translated into an immaterial realm that does not perish because it was never exactly alive. To become, in other words, poetry--either in the poem the poet writes out of engagement with things, or in the interior "poem" of anyone who loves the world, the never-said words we come, over time, to carry within us.

See? Totally worked. Now, how to get the rest of them to try on the glasses? You could lead a horse to Evanescence but you couldn’t always bring them to life. To use my favorite malaphor.

The list of paradoxes is endless: the relentless pursuit of pleasure brings pain; the greatest risk is not taking any. My personal favorite is the truth that everything in life is a good news/bad news story. The long-sought promotion brings more money and more headaches; our dream vacation puts us in debt; experience has taught us well, but now we are too old to use the knowledge; youth is wasted on the young. Impermanence mocks us. Our efforts—to learn, to acquire, to hold on to what we have—all eventually come to naught. This is the final and controlling paradox: Only by embracing our mortality can we be happy in the time we have. The intensity of our connections to those we love is a function of our knowledge that everything and everyone is evanescent. Our ability to experience any pleasure requires either a healthy denial or courageous acceptance of the weight of time and the prospect of ultimate defeat.

the earth is eternal and prevailing against the evanescence of each mortal life