Evocative Quotes

To handle a language skillfully is to practice a kind of evocative sorcery.

Scent is often underestimated, when it can be the most evocative.

The smell of good bread baking, like the sound of lightly flowing water, is indescribable in its evocation of innocence and delight... [Breadmaking is] one of those almost hypnotic businesses, like a dance from some ancient ceremony. It leaves you filled with one of the world's sweetest smells... there is no chiropractic treatment, no Yoga exercise, no hour of meditation in a music-throbbing chapel. that will leave you emptier of bad thoughts than this homely ceremony of making bread.

He puts it on, and his gaze locks to mine. His jewels flicker between passion and defiance—an evocative and intimidating combination. “Fair warning, I intend to make good use of that time. I will be gentle, but I will not be a gentleman. You will be the center of my world. I’ll show you the wonders of Wonderland, and when you’re drunk on the beauty and chaos that your heart so yearns to know, I will take you under my wings and make you forget the human realm ever existed. You’ll never want to leave Wonderland or me again.

All I know about music is that not many people ever really hear it. And even then, on the rare occasions when something opens within, and the music enters, what we mainly hear, or hear corroborated, are personal, private, vanishing evocations. But the man who creates the music is hearing something else, is dealing with the roar rising from the void and imposing order on it as it hits the air. What is evoked in him, then, is of another order, more terrible because it has no words, and triumphant, too, for that same reason. And his triumph, when he triumphs, is ours.

The streets of Prague were a fantasia scarcely touched by the twenty-first century—or the twentieth or nineteenth, for that matter. It was a city of alchemists and dreamers, its medieval cobbles once trod by golems, mystics, invading armies. Tall houses glowed goldenrod and carmine and eggshell blue, embellished with Rococo plasterwork and capped in roofs of uniform red. Baroque cupolas were the soft green of antique copper, and Gothic steeples stood ready to impale fallen angels. The wind carried the memory of magic, revolution, violins, and the cobbled lanes meandered like creeks. Thugs wore Motzart wigs and pushed chamber music on street corners, and marionettes hung in windows, making the whole city seem like a theater with unseen puppeteers crouched behind velvet.

The word that most perfectly describes the city of Cuzco is evocative. Intangible dust of another era settles on its streets, rising like the disturbed sediment of a muddy lake when you touch its bottom.

I should be terrified. I should be committed. But something about the netherling is sensual and exhilarating, more evocative than anything in my world has ever been.

O: 'The most we can do is to write - intelligently, creatively, critically, evocatively - about what it is like living in the world at this time

Sometimes a scent is more evocative than a photo or an image. It is a primer for the deflagration of sensation, emotions, desires, uncontrollable atmospheres, dejavus that flood and wrap us like honey, until they make us drown in an unrepeatable moment of wellbeing... olfactory hallucinations that lead us anywhere: to the North of any South, to the East of any West...

A few insect skeletons lay scattered on the narrow sill, shiny and precise and sad as broken jewelry.

My head is throbbing. I need coffee. Leaving the marbled papers in a state of controlled chaos, I walk through the office and past the page's desk in the Reading Room. I am halted by Isabelle's voice saying, "Perhaps Mr. DeTamble can help you," by which she means "Henry, you weasel, where are you slinking off to?" and this astoundingly beautiful amber-haired tall slim girl turns around and looks at me as through I am her personal Jesus. My stomach lurches. Obviously she knows me, and I don't know her. Lord only knows what I've said, done, or promised to this luminous creature, so I am forced to say in my best librarianese, "Is there something I can help you with?" The girl sort of breathes "Henry!" in this very evocative way that convinces me that at some point in time we have a really amazing thing together. This makes it worse that I don't know anything about her, not even her name. I say "Have we met?" and Isabelle givs me a look that says You asshole. But the girl says, "I'm Claire Abshire. I knew you when I was a little girl," and invites me out to dinner. I accept, stunned.

if you want witnesses then I am one and I can tell you now, when you say that he redeemed the world, I will say that it was not worth it. It was not worth it.

After searching for it uselessly in the taste of the earth, in the perfumed letters from Pietro Crespi, in the tempestuous bed of her husband, she had found peace in that house where memories materialized through the strength of implacable evocation and walked like human beings through the cloistered rooms.

This was no fantasy. This was death. We could call it, we could cast lots about it, plan for it, gamble with it, welcome it in. But we did not have the power to send it away.

There exists a huge dump of worn-out metaphors which have lost all evocative power and are merely used because they save people the trouble of inventing phrases for themselves.

When I was first aware that I had been laid low by the disease, I felt a need, among other things, to register a strong protest against the word "depression." Depression, most people know, used to be termed "melancholia," a word which appears in English as the year 1303 and crops up more than once in Chaucer, who in his usage seemed to be aware of its pathological nuances. "Melancholia" would still appear to be a far more apt and evocative word for the blacker forms of the disorder, but it was usurped by a noun with a blank tonality and lacking any magisterial presence, used indifferently to describe an economic decline or a rut in the ground, a true wimp of a word for such a major illness. It may be that the scientist generally held responsible for its currency in modern times, a Johns Hopkins Medical School faculty member justly venerated -- the Swiss-born psychiatrist Adolf Meyer -- had a tin ear for the finer rhythms of English and therefore was unaware of the semantic damage he had inflicted for such a dreadful and raging disease. Nonetheless, for over seventy-five years the word has slithered innocuously through the language like a slug, leaving little trace of its intrinsic malevolence and preventing, by its insipidity, a general awareness of the horrible intensity of the disease when out of control.

Most people, looking back at their childhood, see it as a misty country half-forgotten or only to be remembered through an evocative sound or scent, but some episodes of those short years remain clear and brightly coloured like a landscape seen through the wrong end of a telescope.

It was no ape, neither was it a man. It was some shambling horror spawned in the mysterious, nameless jungles of the south, where strange life teemed in the reeking rot without the dominance of man, and drums thundered in temples that had never known the tread of a human foot.

It’s all just coloured water. Of course it is. Don’t you want to taste something real?

History repeats itself, in part because the genome repeats itself. And the genome repeats itself, in part because history does. The impulses, ambitions, fantasies, and desires that drive human history are, at least in part, encoded in the human genome. And human history has, in turn, selected genomes that carry these impulses, ambitions, fantasies, and desires. This self-fulfilling circle of logic is responsible for some of the most magnificent and evocative qualities in our species, but also some of the most reprehensible. It is far too much to ask ourselves to escape the orbit of this logic, but recognizing its inherent circularity, and being skeptical of its overreach, might protect the week from the will of the strong, and the 'mutant' from being annihilated by the 'normal'.

Jeremiah has come to see life as a serious of motions he must enact towards its conclusion.

She liked the analogy not because it was accurate, but because it was evocative. That was what made analogies useful.

In every evocation of a childhood scene, my stepfather's face is the least detailed, the most out of focus; when I think of him my memory's eyes have cataracts.

Music is a complete evocation – like a smell. It can bring an entire memory and feeling back to you in a rush. Much more complete than even a photograph. You allow yourself a certain visual distance with photos – not music. It envelopes you – there’s no way to escape it. It’s a great test of sensitivity – the degree of reaction to music. I use it all the time. I call it my ‘Music Test.’ People today don’t want to hear the truth. They’re really afraid of tranquility and silence – they’re afraid they might begin to understand their own motivations too well. They keep a steady stream of noise going to protect themselves, to build a wall against the truth. Like African natives, beating on their drums, rattling their gourds, shaking the bells to scare off evil spirits. As long as there’s enough noise, there’s nothing to fear – or hear. But they will listen. Times are changing.

For [W. B.] Yeats magic was not so much a kind of poetry as poetry a kind of magic, and the object of both alike was evocation of energies and knowledge from beyond normal consciousness.

The closer things get to nonexistence, the more exquisite and evocative they become. Consequently to experience wabi-wabi means you have to slow way down, be patient, and look very closely.

As a scripture that inspired some of the greatest minds in history, the Qur’an deserves a rich and evocative translation that strives to convey the profound wisdom embodied in its original language. Even on a superficial level, its creative use of words is artistic and ingenious.

I sat down and got out my current project, an extremely bad villanelle in which I was carefully avoiding the word pestilence, which was trying so hard to shove its way into every stanza that I was sure that if I actually wrote it down, the whole thing would turn into a tidy evocation of a new plague. I’m probably the only student who tries to prevent my writing assignments from turning into new spells.

Despite its affective packaging, the disposition to catalogue and aggregate neatly rounded-off identities is in no meaningful way radical. Not only is it evocative of nineteenth-century essentialisms, it also reproduces the mindset of the mass information industry, which, though public opinion and market research, sorts the population into the demographic equivalent of sound bites—market shares, taste communities—all in service to the corporate sales effort and management of the national political agenda.

There is a strange, slow moment. The final page in my inconclusive and fraying thesaurus. And I am floating upwards, I am driftwood between them. The bright, bright blue that is the sky. And the glitter in the tarmac, like a promise of stars.

The cafe door opened. A young man in dusty white leathers entered, and the wind blew in empty crisp packets and newspapers and ice cream wrappers in with him. They danced around his feet like excited children, then fell exhausted to the floor.

This is the voice of a man who’s seen things. I thought it was so evocative to sound broken the way he did. I didn’t have that. I sounded like a cool new pair of jeans and Billy sounded like the pair you’ve had for years.

To the rhythm of my deep delight, my fingers tickled across the fabric of the sheets and of reality in bursts of euphoria, making them rustle softly yet firmly, just like sun-crisped leaves on concrete in a breeze—prime ASMR.

Andrew Lloyd Webber's version of the Kool-Aid jingle is at once chilling and evocative. Donny Osmond is brilliant as James Jones.

The short story form allows evocation, suggestion, implication. Its potency often lies in what it does not say.

Her heart pounded as the door lifted and Hunter got out dressed in faded jeans, a gray and black v-neck sweater, and a black leather jacket, the man was drop-dead stunning. And that deadly stagger of his made her weak in the knees. "Oh baby," she heard Tammy whisper as he came around the car. Hunter stopped in front of Amanda and raked a hungry look over her body. "Hi, luscious," he said in that deep, evocative voice. "Sorry I'm late." Before Amanda knew what he was doing, he pulled her into his arms and gave her a sizzling hot kiss. Her body burned in response to his tongue tasting hers as he fisted his hands against her back. Then, he dipped down and picked her up in his arms. "Hunter!" she gasped as he carried her effortlessly toward the car. He gave her that devilish tight-lipped smile. His midnight eyes were warm and alive with humor and hunger. With the toe of his boot, he opened the passenger-side door and set her inside. He retrieved her briefcase and purse from the sidewalk where she had dropped them and handed them to her. Then, he turned and gave a knowing smile to Cliff. "You really have to love a woman who lives to see you naked.

As the actor who played Draco Malfoy, I see myself as a placeholder in people's memories. Seeing me transports them to a different time and place, in the same way that listening to a particular song can be evocative of something else. I've met with fans who have explained that the books and films have helped them through hard times. It's a humbling truth to hear.

Defining itself is a passion for the Qur’an, whose formal name signifies the blossoming of new life. Other evocative terms it employs to describe itself include: • Hayah: a source of life; • Ruh: an inspired fresh breath of life; • Shifa: a source of internal healing; • Furqan: an intelligent being capable of discernment; • Hakim: a wise and self-aware counselor.

One need not believe in Pallas Athena, the virgin goddess, to be overwhelmed by the Parthenon. Similarly, a man who rejects all dogmas, all theologies and all religious formulations of beliefs may still find Genesis the sublime book par excellence. Experiences and aspirations of which intimations may be found in Plato, Nietzsche, and Spinoza have found their most evocative expression in some sacred books. Since the Renaissance, Shakespeare, Rembrandt, Mozart, and a host of others have shown that this religious dimension can be experienced and communicated apart from any religious context. But that is no reason for closing my heart to Job's cry, or to Jeremiah's, or to the Second Isaiah. I do not read them as mere literature; rather, I read Sophocles and Shakespeare with all my being, too.

And as his body thaws into hers, he is no longer sure where her pleasure ends and his begins, for bodies and minds deliquesce into something of a stupor.

And she kisses him with a hunger, using her tongue, and he closes his eyes and sees only the brilliance of pure blinding light. 

she had found peace in that house where memories materialized through the strength of implacable evocation and walked like human beings through the cloistered rooms

I have never been able to use that soap since. Scents are too evocative and the merest whiff jerks me back to that first night away from my wife, and to the feeling I had then.

Lush, evocative, inventive... Livia Dare delights. Fans of Dara Joy will love [ In the Flesh ]!

Evocative is our history but exciting is our future

You fasten your seatbelt. The plane is landing. To fly is the opposite of traveling: you cross a gap in space, you vanish into the void, you accept not being in any place for a duration that is itself a kind of void in time; then you reappear, in a place and in a moment with no relation to the where and the when in which you vanished. Meanwhile, what do you do? How do you occupy this absence of yourself from the world and of the world from you?" You read; you do not raise your eyes from the book between one airport and the other, because beyond the page there is the void, the anonymity of stopovers, of the metallic uterus that contains you and nourishes you, of the passing crowd always different and always the same. You might as well stick with this other abstraction of travel, accomplished by the anonymous uniformity of typographical characters: here, too, it is the evocative power of the names that persuades you that you are flying over something and not nothingness. You realize that it takes considerable heedlessness to entrust yourself to unsure instruments, handled with approximation; or perhaps this demonstrates and invincible tendency to passivity, to regression, to infantile dependence. (But are you reflecting on the air journey or on reading?)

…we can only hope that the evocative Welsh word hiraeth will be preserved. It means ‘distant pain’, and I know all about it…But, and this is important, it always refers to a near-umbilical attachment to a place, not just free-floating nostalgia or a droopy houndlike wistfulness of the longing we associate with human love. No, this is a word about the pain of loving a place.

  'This is, you understand Mr Goode, exceptional for an unknown author and on account of the South Sea Bubble bursting, well, I am no longer given to advancing large copyrights but since you are blessed by good timing - great fortune bestowing you with a cold spell that has made London so terribly sick - I make an exception.' 

Story, as I understood it by reading Faulkner, Hardy, Cather, and Hemingway, was a powerful and clarifying human invention. The language alone, as I discovered it in Gerard Manley Hopkins and Faulkner, was exquisitely beautiful, also weirdly and mysteriously evocative.

Wartime lipstick is necessarily cobbled together from whatever tailings and gristle were left over once all the good stuff was use to grease propeller shafts. A florid and cloying scent is needed to conceal its unspeakable mineral and animal origins. It is the smell of War.

She walked rather quickly; she liked to be active, though at times she gave an impression of repose that was at once static and evocative. This was because she knew few words and believed in none, and in the world she was rather silent, contributing just her share of urbane humor with a precision that approached meagreness. But at the moment when strangers tended to grow uncomfortable in the presence of this economy she would seize the topic and rush off with it, feverishly surprised with herself-- then bring it back and relinquish it abruptly, almost timidly, like an obedient retriever, having been adequate and something more.

Extremism, by its very nature, must always go to its extreme.

What chatty Madam Shpolyanski mentioned had conjured up Mira's image with unusual force. This was disturbing. Only in the detachment of an incurable complaint, in the sanity of near death, could one cope with this for a moment. In order to exist rationally, Pnin had taught himself...never to remember Mira Belochkin - not because...the evocation of a youthful love affair, banal and brief, threatened his peace of mind...but because, if one were quite sincere with oneself, no conscience, and hence no consciousness, could be expected to subsist in a world where such things as Mira's death were possible. One had to forget - because one could not live with the thought that this graceful, fragile, tender young woman with those eyes, that smile, those gardens and snows in the background, had been brought in a cattle car and killed by an injection of phenol into the heart, into the gentle heart one had heard beating under one's lips in the dusk of the past.

There has not been a day since his sudden and mysterious vanishing that I have not been searching for him, looking in the most unlikely places. Everything and everyone, existence itself, has become an evocation, a possibility for resemblance. Perhaps this is what is meant by that brief and now almost archaic word: elegy

Living the artist’s life, it turns out, is full of surprises. Yes, it is about being sensitive to beauty, about creating exquisite objects and developing a critical eye and drawing inspiration from the rich tapestry of the surrounding world. In some intriguing and evocative way, it is also about delving into the very depths of human perception, into the wellspring of consciousness itself, and living to tell about it. And for John and me, it has also always been about the planning, preparation, and enjoyment of good food. Sixty years later, we’re still following that path.

Not surprisingly, the all-powerful evocation of terrorism is reserved only for those acts that threaten the government-sponsored status quo, but not that perpetrated by the state or corporations against the population. So, for example, the ugly history of white people lynching, bombing, and killing Blacks in the United States is not understood, taught, or remembered as a part of the homeland’s history of terrorism.

Smell is of all senses by far the most evocative: perhaps because we have no vocabulary for it – nothing but a few poverty-stricken approximations to describe the whole vast complexity of odour – and therefore the scent, unnamed and unnamable, remains pure of association; it cannot be called upon again and again, and blunted, by the use of a word; and so it strikes afresh every time, bringing with it all the circumstances of its first perception.

Rhys might not notice anything, but he’s got the intuitive aptitude of a Roomba.

If David was an unstoppable force, Moira was an immoveable object.

The most we can do is to write—intelligently, creatively, critically, evocatively—about what it is like living in the world at this time.

We like to hit all of the senses,” Lainie says. “Some more than others,” Tara adds. “True,” her sister agrees. “Scent is often underestimated, when it can be the most evocative.

But that drummer – the one who could make his drum sound like water dropping into a bucket or like the footfalls of a giant or like rain scattering on a roof – he was the one to watch. He was the one who could make you forget yourself.

As technological civilization diminishes the biotic diversity of the earth, language itself is diminished. As there are fewer and fewer songbirds in the air, due to the destruction of their forests and wetlands, human speech loses more and more of its evocative power. For when we no longer hear the voices of warbler and wren, our own speaking can no longer be nourished by their cadences. As the splashing speech of the rivers is silenced by more and more dams, as we drive more and more of the land’s wild voices into the oblivion of extinction, our own languages become increasingly impoverished and weightless, progressively emptied of their earthly resonance.17

The key experiential approach I now use to induce non-ordinary states of consciousness and gain access to the unconscious and superconscious psyche is Holotropic Breathwork, which I have developed jointly with Christina over the last fifteen years. This seemingly simple process, combining breathing, evocative music and other forms of sound, body work, and artistic expression, has an extraordinary potential for opening the way for exploring the entire spectrum of the inner world.

It was not only the absence of light but the absence of everything. He might be at the core of a black hole, except a black hole has enormous gravity and this place had none. In one sense it was a metaphysical plane of existence, but in another it was not – because nothing existed here. It was simply a ‘place’, but a place in which no God as yet had uttered those wonderful words of evocation, ‘Let there be light!

A sheet of white extends to the lone dark vertical of the elm tree in the centre ... It is too perfect, to inviolate ... The snow is graced with waves written by the wind, the elm raises crooked arms in sleeves of white.

Lyndon Johnson’s sentences were the sentences of a man with a remarkable gift for words, not long words but evocative, of a man with a remarkable gift for images, homey images of a vividness that infused the sentences with drama.

Few things contain and impact the immediacy of cultural impress so evocatively as books, and not only through their ideas. A book is an artifact, and every age establishes upon the basic functional structure its own particular stamp.

His theory stands, however, that a cure operates primarily through the dispensing healer’s understanding of the individual, as well as the nature of plants… And in the interstices where neither cure not hope can reach, there is laudanum. 

He almost looked handsome this way. No, not handsome. Cunning. David had a bad habit of conflating the two.

The river, tonally, does not recede, presenting the same lifeless grey near and far, a depthless plane upon which Schmitt’s dragging oars inscribe parallel lines and Eakins’ oars, rising and falling, leave methodically spaced patches of disturbed water. The canvas is haunting - en evocation of the democracy’s idyllic, isolating spaciousness, present even in the midst of a great Eastern city.

After that first crowded day I retired to one of those green-tiled sanctuaries and lathered myself with a new bar of a famous toilet soap which Helen had put in my bag. I have never been able to use that soap since. Scents are too evocative and the merest whiff jerks me back to that first night away from my wife, and to the feeling I had then. It was a dull, empty ache which never really went away.

She didn't quite share her husband's passion for antiquarian books, but she understood it. She understood that if you cracked Rhys open, he would probably have paperback pages inside him instead of organs.

Se tudo o resto não me basta por que hei-de impedir o efeito paliativo das benzodiazepinas e a volúpia desta evocação alucinatória? If everything else is not enough for me why should I stop the palliative effect of benzodiazepines and the lust of this hallucinatory evocation?

I wanted English to be an instrument on which many kinds of music could be played. I wanted writing that could be lavish, subtle, evocative, that could describe mists and moods and hopes and not just facts and solid objects. I wanted to map how the world is connected by patterns and intuitions and resemblances. I wanted to trace the lost patterns that came before the world is broken and find the new ones we could make out of the shards.

Those who abdicate the empire of reason and permit their wills to wander in pursuit of reflections in the Astral Light, are subject to alternations of mania and melancholy which have originated all the marvels of demoniacal possession, though it is true, at the same time, that by means of these reflections impure spirits can act upon such souls, make use of them as docile instruments and even habitually torment their organism, wherein they enter and reside by obsession, or embryonically. These kabalistic terms are explained in the Hebrew book of the Revolution of Souls, of which our thirteenth chapter will contain a succinct analysis. It is therefore extremely dangerous to make sport of the Mysteries of Magic; it is above all excessively rash to practice its rites from curiosity, by way of experiment and as if to exploit higher forces. The inquisitive who, without being adepts, busy themselves with evocations or occult magnetism, are like children playing with fire in the neighborhood of a cask of gunpowder; sooner or later they will fall victims to some terrible explosion.

I have talents that I'm not supposed to have: I can tell who crushes on who by how they stand, I can read strides, I can hear the tonal differences between an alto and a soprano singing the same line so clearly that to me they sing entirely different notes, and I can read through the lines and tell when a person doesn't need to be writing at all. That, that is what makes me a snob, because I cannot abide a person putting pen to paper or fingers on keys when they don't need to, when word choice is not as relevant and demanding and essential to them as breathing and syntax is about being correct and not about being evocative.

Much popular self-help literature normalizes sexism. Rather than linking habits of being, usually considered innate, to learned behavior that helps maintain and support male domination, they act as those these difference are not value laden or political but are rather inherent and mystical. In these books male inability and/or refusal to honestly express feelings is often talked about as a positive masculine virtue women should learn to accept rather than a learned habit of behavior that creates emotional isolation and alienation.... Self-help books that are anti-gender equality often present women's overinvestment in nurturance as a 'natural,' inherent quality rather than a learned approach to caregiving. Much fancy footwork takes place to make it seem that New Age mystical evocations of yin and yang, masculine and feminine androgyny, and so on, are not just the same old sexist stereotypes wrapped in more alluring and seductive packaging.

Ireland in shades of black and green under the gibbous moon. Ireland under the canopy of grey cloud, under the crow's wing and the helicopter blade. A night ride over the Lagan valley and the bandit country of South Armagh. The music in my head was Mahler's Ninth Symphony, which opens with a hesitant syncopated motif evocative of Mahler's irregular heartbeat.

And perhaps, Mrs. Morgan on Lanypwll Farm put all this much better in the speech of symbolism, when she murmured about the children of the pool. For if there is a landscape of sadness, there is certainly also a landscape of a horror of darkness and evil; and that black and oily depth, overshadowed with twisted woods, with its growth of foul weeds and its dead trees and leprous boughs, was assuredly potent in terror. To Roberts, it was a strong drug, a drug of evocation; the black deep without calling to the black deep within, and summoning the inhabitant thereof to come forth.

If the international response to natural disasters was rational, we would expect a greater amount of funding to be provided to larger disasters and to disasters that occur in poorer countries, which are less able to cope. But that’s not what happens. Funding seems to be allocated in proportion with how evocative and widely publicized the disaster is, rather than on the basis of its scale and severity.

Each word's evocative value or virtue, its individual power of touching springs in the mind and of initiating visions, becomes a treasure to revel in. Besides this hold on affection a word may well have about it the glamorous prestige of high adventures in great company. Think of that the plain word "dust" calls to mind. "Then shall the dust return to the earth as it was." "Dust hath closed Helen's eye." "All follow this and come to dust." "The way to dusty death." So, to the lover of words, each word may be not a precious stone only, but one that has shone on Solomon's temple or in Cleopatra's hair.

Automatic is what I can manage. Isn't there enough to pay attention to OUTSIDE the car? All I want inside a car is music. When a favorite old song comes on the radio, I can never hear it past the first few notes. The song, evocative, will take me to the place and time where I first came to hear it. I'll be taken over for the length of the song, and returned when it stops, having missed it, only knowing it was there because now it ISN'T there. The same thing happens when I think about you. Although the trajectory is different--it is not the past, a past we haven't shared, but the future I am taken to by how quickly you have left. I would like to go for a ride with you, have you take me to stand beside a river in the dark where hundreds of lightning bugs blink this code in sequence: right here, nowhere else! Right now, never again!

Adornment, exoticism, affectation are all willed decadent strategies meant to pervert the texts they made. Decadent texts often live in their descriptive excursions, in their evocation of dreams, mysterious places and states of mind, in their excess of words, not events. The surface of the texts, the sound of the words, point to themselves as manufactured, as illusion. The decadents attempted to create texts that announced themselves as artifice.

It, one suspects, must have had much to do with the evocation of what is called the Oxford spirit—that gentlest spirit, so lingering and searching, so dear to them who as youths were brought into ken of it, so exasperating to them who were not. Yes, certainly, it is this mild, miasmal air, not less than the grey beauty and gravity of the buildings, that has helped Oxford to produce, and foster eternally, her peculiar race of artist-scholars, scholar-artists. The

It is nature also who orders us to obey the gifts she has given us. Mine have led me to dreams; I submitted to the torments of imagination and the surprises she gave me under my pencil; but I directed and led those surprises in accordance with the laws of the organism of art which I know, which I feel, with the single goal of producing in the spectator, by sudden attraction, the whole evocation, and the whole enticement of the uncertain within the confines of thought.

I wanted language that could be simple and clear when the subject required it, but sometimes clarity requires complexity. I believe in the irreducible and in invocation and evocation, and I am fond of sentences less like superhighways than winding paths, with the occasional scenic detour or pause to take in the view, since a footpath can traverse steep and twisting terrain that a paved road cannot. I know that sometimes what gets called digression is pulling in a passenger who fell off the boat.

There is an idea - strange, haunting, evocative - one of the most exquisite conjectures in science and religion. It is entirely undemonstrated; it may never be proved. But it stirs the blood. There is, we are told, an infinite hierarchy of universes, so that an elementary particle, such as an electron, in our universe would, if penetrated, reveal itself to be entire closed universe. Within it, organized into the local equivalent of galaxies and smaller structures, are an immense number of other, much tinier elementary particles, which are themselves universe at the next level, and so on forever - an infinite downward regression, universes within universes, endlessly. And upward as well. Our familiar universe of galaxies and stars, planets and people, would be a single elementary particle in the next universe up, the first step of another infinite regress.

I think it was FR David who sang 'words don't come easy to me'. He clearly wasn't one of my kind. Words are my weapon. I love words. I am a thesaurus able to conjure up so many different ways of saying the same thing. I am able to create the most evocative of pictures as the falsehoods tumble from my lips. The torrent of empty platitudes, hollow promises and banal observations comes thick and fast. I am a triumph of presentation over substance. Unfortunately for you, because of your nature and what you have endured before I came along, my words are honey-covered and you are unable to resist their allure.

Ede had been pregnant not quite the full term: eight months, two weeks, four days. She had lapsed into an extended silence - partly because she was still in mourning - still enraged and afraid of speech. And partly, too, because the child itself had taken up dreaming in her belly - dreaming and, Ede was certain, singing. Not singing songs a person knew, of course. Nothing Ede could recognize. But songs for certain. Music - with a tune to it. Evocative. A song about self. A song about place. As if a bird had sung it, sitting in a tree at the edge of a field. Or high in the air above a field. A hovering song. Of recognition.

Few things in nature can compare to the long, mournful wail of a loon echoing across water and through the forest. It’s an evocative sound that will stick with you for the rest of your life and make you nostalgic for things that never even happened to you. Eerie, yet beautiful, the sound will conjure up images of solitude near mountain lakes and ponds, shrouded in fog during the early morning or late dusk, surrounded by the silhouettes of pine trees. It’s a sound that relaxes and submerges you into the tranquility of nature. I don’t think there is another sound in the world that reminds me of the wilderness more so than the wail of a loon.

He remembered those countless nights staring at the irrevocable concrete and wishing he might will himself beyond the dungeon. Yet, the evocative beseeching for God never reached beyond the guard towers. Mechanistic accretions that eroded in the ether and died shortly after the moment of conception. This world incubated and full of things that you have no control over. Windless air in the tomb that perpetually stank of a milieu of filthy men and toxic bleach. That was now gone. Finally, Ronnie had what he prayed for those many nights. A plan that was based off more than the basic human contingencies. A reason to live that was outside of himself.

As ingenious as this explanation is, it seems to me to miss entirely the emotional significance of the text- its beautiful and beautifully economical evocation of certain difficult feelings that most ordinary people, at least, are all too familiar with: searing regret for the past we must abandon, tragic longing for what must be left behind. (...) Still, perhaps that's the pagan, the Hellenist in me talking. (Rabbi Friedman, by contrast, cannot bring himself even to contemplate that what the people of Sodom intend to do to the two male angels, as they crowd around Lot's house at the beginning of the narrative, is to rape them, and interpretation blandly accepted by Rashi, who blithely points out thta if the Sodomites hadn't wanted sexual pleasure from the angels, Lot wouldn't have suggested, as he rather startingly does, that the Sodomites take his two daughter as subsitutes. But then, Rashi was French.) It is this temperamental failure to understand Sodom in its own context, as an ancient metropolis of the Near East, as a site of sophisticated, even decadent delights and hyper-civilized beauties, that results in the commentator's inability to see the true meaning of the two crucial elements of this story: the angel's command to Lot's family not to turn and look back at the city they are fleeing, and the transformation of Lot's wife into a pillar of salt. For if you see Sodom as beautiful -which it will seem to be all the more so, no doubt, for having to be abandoned and lost forever, precisely the way in which, say, relatives who are dead are always somehow more beautiful and good than those who still live- then it seems clear that Lot and his family are commanded not to look back at it not as a punishment, but for a practical reason: because regret for what we have lost, for the pasts we have to abandon, often poisons any attempts to make a new life, which is what Lot and his family now must do, as Noah and his family once had to do, as indeed all those who survive awful annihilations must somehow do. This explanation, in turn, helps explain the form that the punishment of Lot's wife took- if indeed it was a punishment to begin with, which I personally do not believe it was, since to me it seems far more like a natural process, the inevitable outcome of her character. For those who are compelled by their natures always to be looking back at what has been, rather than forward into the future, the great danger is tears, the unstoppable weeping that the Greeks, if not the author of Genesis, knew was not only a pain but a narcotic pleasure, too: a mournful contemplation so flawless, so crystalline, that it can, in the end, immobilize you.

Valentine’s concept of introversion includes traits that contemporary psychology would classify as openness to experience (“thinker, dreamer”), conscientiousness (“idealist”), and neuroticism (“shy individual”). A long line of poets, scientists, and philosophers have also tended to group these traits together. All the way back in Genesis, the earliest book of the Bible, we had cerebral Jacob (a “quiet man dwelling in tents” who later becomes “Israel,” meaning one who wrestles inwardly with God) squaring off in sibling rivalry with his brother, the swashbuckling Esau (a “skillful hunter” and “man of the field”). In classical antiquity, the physicians Hippocrates and Galen famously proposed that our temperaments—and destinies—were a function of our bodily fluids, with extra blood and “yellow bile” making us sanguine or choleric (stable or neurotic extroversion), and an excess of phlegm and “black bile” making us calm or melancholic (stable or neurotic introversion). Aristotle noted that the melancholic temperament was associated with eminence in philosophy, poetry, and the arts (today we might classify this as opennessto experience). The seventeenth-century English poet John Milton wrote Il Penseroso (“The Thinker”) and L’Allegro (“The Merry One”), comparing “the happy person” who frolics in the countryside and revels in the city with “the thoughtful person” who walks meditatively through the nighttime woods and studies in a “lonely Towr.” (Again, today the description of Il Penseroso would apply not only to introversion but also to openness to experience and neuroticism.) The nineteenth-century German philosopher Schopenhauer contrasted “good-spirited” people (energetic, active, and easily bored) with his preferred type, “intelligent people” (sensitive, imaginative, and melancholic). “Mark this well, ye proud men of action!” declared his countryman Heinrich Heine. “Ye are, after all, nothing but unconscious instruments of the men of thought.” Because of this definitional complexity, I originally planned to invent my own terms for these constellations of traits. I decided against this, again for cultural reasons: the words introvert and extrovert have the advantage of being well known and highly evocative. Every time I uttered them at a dinner party or to a seatmate on an airplane, they elicited a torrent of confessions and reflections. For similar reasons, I’ve used the layperson’s spelling of extrovert rather than the extravert one finds throughout the research literature.

The setting, concerns, and mood of The Woodlanders are consonant with the Wessex of the earlier novels. There is an element of nostalgia in Hardy’s treatment of the woodlands of Little Hintock. Although such rural economies were very much alive in Hardy’s day, he strikes an elegiac note in his evocation of a world that will inevitably pass away. However, the woodlands do not form the backdrop to an idyllic pastoral of humanity living in tranquil harmony with nature. The trees, which are such a dominant presence in the novel, compete with each other for nourishment and light, are vulnerable to disease and damage, and are frightening in their moaning under the lash of the storm. The woodlands represent the Darwinian struggle for existence that Hardy sees as extending not only to the inhabitants of this little world but also beyond ...

A morning-flowered dalliance demured and dulcet-sweet with ebullience and efflorescence admiring, cozy cottages and elixirs of eloquence lie waiting at our feet - We'll dance through fetching pleasantries as we walk ephemeral roads evocative epiphanies ethereal, though we know our hearts are linked with gossamer halcyon our day a harbinger of pretty things infused with whispers longing still and gamboling in sultry ways to feelings, all ineffable screaming with insouciance masking labyrinthine paths where, in our nonchalance, we walk through the lilt of love’s new morning rays. Mellifluous murmurings from a babbling brook that soothes our heated passion-songs and panoplies perplexed with thought of shadows carried off with clouds in stormy summer rains… My dear, and that I can call you 'dear' after ripples turned to crashing waves after pyrrhic wins, emotions drained we find our palace sunned and rayed with quintessential moments lit with wildflower lanterns arrayed on verandahs lush with mutual love, the softest love – our preferred décor of life's lilly-blossom gate in white-fenced serendipity… Twilight sunlit heavens cross our gardens, graced with perseverance, bliss, and thee, and thou, so splendid, delicate as a morning dove of charm and mirth – at least with me; our misty mornings glide through air... So with whippoorwill’d sweet poetry - of moonstones, triumphs, wonder-woven in chandliers of winglet cherubs wrought with time immemorial, crafted with innocence, stowed away and brought to light upon our day in hallelujah tapestries of ocean-windswept galleries in breaths of ballet kisses, light, skipping to the breakfast room cascading chrysalis's love in diaphanous imaginings delightful, fleeting, celestial-viewed as in our eyes which come to rest evocative, exuberant on one another’s moon-stowed dreams idyllic, in quiescent ways, peaceful in their radiance resplendent with a myriad of thought soothing muse, rhapsodic song until the somnolence of night spreads out again its shaded truss of luminescent fantasies waiting to be loved by us… Oh, love! Your sincerest pardons begged! I’ve gone too long, I’ve rambled, dear, and on and on and on and on - as if our hours were endless here… A morning toast, with orange-juiced lips exalting transcendent minds suffused with sunrise symphonies organic-born tranquilities sublimed sonorous assemblages with scintillas of eternity beating at our breasts – their embraces but a blushing, longing glance away… I’ll end my charms this enraptured morn' before cacophony and chafe coarse in crude and rough abrade when cynical distrust is laid by hoarse and leeching parasites, distaste fraught with smug disgust by hairy, smelly maladroit mediocrities born of poisoned wells grotesque with selfish lies - shrill and shrieking, biting, creeping around our love, as if they rose from Edgar Allen’s own immortal rumpled decomposing clothes… Oh me, oh my! I am so sorry! can you forgive me? I gone and kissed you for so long, in my morning imaginings, through these words, through this song - ‘twas supposed to be "a trifle treat," but little treats do sometimes last a little longer; and, oh, but oh, but if I could, I surly would keep you just a little longer tarrying here, tarrying here with me this pleasant morn

It was Christmas night in the Castle of the Forest Sauvage, and all around length. It hung on the boughs of the forest trees in rounded lumps, even better than apple-blossom, and occasionally slid off the roofs of the village when it saw the chance of falling on some amusing character and giving pleasure to all. The boys made snowballs with it, but never put stones in them to hurt each other, and the dogs, when they were taken out to scombre, bit it and rolled in it, and looked surprised but delighted when they vanished into the bigger drifts. There was skating on the moat, which roared with the gliding bones which they used for skates, while hot chestnuts and spiced mead were served on the bank to all and sundry. The owls hooted. The cooks put out plenty of crumbs for the small birds. The villagers brought out their red mufflers. Sir Ector’s face shone redder even than these. And reddest of all shone the cottage fires down the main street of an evening,

If I could sum up my poetry in a few well-chosen words, the result might be a poem. Several years ago, when I was asked to say something on this topic, I came up with the notion that for me the making of poems is both a commemoration (a moment captured) and an evocation (the archaeologist manqué side of me digging into something buried and bringing it to light). But I also said that I find the processes that bring poems into being mysterious, and I wouldn't really wish to know them; the thread that links the first unwilled impulse to the object I acknowledge as the completed poem is a tenuous one, easily broken. If I knew the answers to these riddles, I would write more poems, and better ones. "Simple Poem" is as close as I can get to a credo': Simple Poem I shall make it simple so you understand. Making it simple will make it clear for me. When you have read it, take me by the hand As children do, loving simplicity. This is the simple poem I have made. Tell me you understand. But when you do Don't ask me in return if I have said All that I meant, or whether it is true.

If the weakness of mainstream fiction is its deliberate smallness, the weakness of sf is its puffed-up size, its gauzy immensities. SF often pays so much attention to cosmic ideas that the story's surface is vague. Too much sf suffers from a lack of tangible reality. Muzzy settings, generic characters concocted merely for the sake of the idea, improbable action plots tidily wrapped up at the end. Too much preaching, not enough concrete, credible detail. An sf writer can get published without mastering certain things that most mainstream writers can’t evade: evocative prose style, naturalistic dialogue, attention to detail. Refraining from editorializing, over-explaining, or pat resolutions. To us, the contents of The Best American Short Stories seem paltry and timebound. To them, the contents of Asimov’s are overblown and underrealized. It’s no wonder that sf never makes the Ravenel collection. SF is habitually strong in areas considered unessential to good mainstream fiction, and weak in those areas that are considered essential. It doesn't matter that to the sf reader most contemporary fiction is so interested in "how things really are" in tight focus that it missed "how things really are" in the big picture. SF’s different standards make it invisible to mainstream readers, not in the literal way of H.G. Wells's invisible man, but in the cultural way of Ralph Ellison's. It's not that they can’t see us, it's that they don't know what to make of what they see. What they don't know about sf, and worse still, what they think they do know, make it impossible for them to appreciate our virtues. We are like a Harlem poet attempting to find a seat at the Algonquin round table in 1925. Our clothes are outlandish . Our accent is uncouth. The subjects we are interested in are uninteresting or incomprehensible. Our history and culture are unknown. Our reasons for being there are inadmissible. The result is embarrassment, condescension, or silence.