Fallen Leaf Quotes

I wish I could stuff my mouth full of raindrops and fill my pockets full of snow. I wish I could trace the veins in a fallen leaf and the feel the wind pinch my nose.

She felt love, like the love that she had always known existed behind every fallen autumn leaf, behind the gurgling of springs, and behind the kisses of her parents.

Give me a land of boughs in leaf A land of trees that stand; Where trees are fallen there is grief; I love no leafless land.

Only when the last leaf has fallen, the last tree has died, and the last fish been caught will we realize that we cannot eat money.

A number of years ago, when I was a freshly-appointed instructor, I met, for the first time, a certain eminent historian of science. At the time I could only regard him with tolerant condescension. I was sorry of the man who, it seemed to me, was forced to hover about the edges of science. He was compelled to shiver endlessly in the outskirts, getting only feeble warmth from the distant sun of science- in-progress; while I, just beginning my research, was bathed in the heady liquid heat up at the very center of the glow. In a lifetime of being wrong at many a point, I was never more wrong. It was I, not he, who was wandering in the periphery. It was he, not I, who lived in the blaze. I had fallen victim to the fallacy of the 'growing edge;' the belief that only the very frontier of scientific advance counted; that everything that had been left behind by that advance was faded and dead. But is that true? Because a tree in spring buds and comes greenly into leaf, are those leaves therefore the tree? If the newborn twigs and their leaves were all that existed, they would form a vague halo of green suspended in mid-air, but surely that is not the tree. The leaves, by themselves, are no more than trivial fluttering decoration. It is the trunk and limbs that give the tree its grandeur and the leaves themselves their meaning. There is not a discovery in science, however revolutionary, however sparkling with insight, that does not arise out of what went before. 'If I have seen further than other men,' said Isaac Newton, 'it is because I have stood on the shoulders of giants.

Fallen leaves on the ground are the golden song of immortal creativity.

You wonder what I am doing? Well, so do I, in truth. Days seem to dawn, suns to shine, evenings to follow, and then I sleep. What I have done, what I am doing, what I am going to do, puzzle and bewilder me. Have you ever been a leaf and fallen from your tree in autumn and been really puzzled about it? That’s the feeling. (T.E. Lawrence to artist Eric Kennington, May 1935 )

There is almost nothing that has such a keen sense of fun as a fallen leaf.

You are very easily exasperated, my dear. If you're a leaf trembling on a wide, deep river, relax and ride the current. It's always worked for me, I assure you.

I watched as she stretched over the board to flick off a fallen leaf. Underneath her thin cotton shell, I saw how fragile the bones in her back were, far too sliver-prone, far too light to support a pair of wings.

Autumn is a cunning muse who steals by degrees my warmth and light. So distracted by her glorious painting of colors, I scarcely realize my losses until the last fiery leaf has fallen to the ground and the final pumpkin shrinks. Autumn departs with a cold kiss, leaving me to suffer the frigid grasp of winter in prolonged nightfall.

you ask me of my Lilith? I will tell you that she is everything. Every gust of wind, every fallen leaf, each drop of rain.

Breathe like a fallen leaf and think of nothing. Just breathe and let your heart and mind be carried, however briefly, by the spirit you can't quite see.

It is glorious fun racing down the Hump, but you can't do it on windy days because then you are not there, but the fallen leaves do it instead of you. There is almost nothing that has such a keen sense of fun as a fallen leaf.

..I didn't yet understand that I could trust what a fallen leaf or an autumn feast, a lilting song or the coming of spring was speaking to me as true. I didn't see that these small glories had been offered to me as communion with my Maker.

There is almost nothing that has such a keen sense of fun as a fallen leaf.

As I drift through the autumn of my life like a fallen leaf blown about by the winds of time, I sometimes ponder my destiny.

We were in the woods, and not a parent or a friend on earth knew where. At this moment, we were untraceable, this notion an odd pleasure. A patch of fallen leaves glowed in a pool of golden sun, and the dim forest air smelled sweet, of young lilac, invisible sage.

I’ll leave you with a quote that has always resonated with me. And I’m paraphrasing a Native American saying: ‘Only when the last leaf has fallen, the last tree has died, and the last fish been caught will we realize that we cannot eat money.’  

Only when the last leaf has fallen, the last tree has died, and the last fish been caught will we realize that we cannot eat money.’  

I began to understand that the most worthwhile obsession is an obsession that is actually independent of the object of fixation. The object is only borrowed as a pretext, a means, an environment, through which or in which the obsessed person can project his own eternal and essential hunger, thus fulfilling the requirements of death--the dissolution of the ego for something, anything, that exists independently outside of one's self. Perhaps that obsession should be controlled. At some point the most mundane catalyst, a skirt or fallen leaf, is enough to provoke a series of captivating chain reactions, while at another time much more important objects will inspire only an absurd indifference.

Many contemporary composers have been building walls of sounds following their own clever devices. But then, who lives inside those rooms?

If I've learned anything at all from the river it's to let jarring events come and go, that such tiny disruptions have no more weight in the world than fallen leaves on the water. A few ripples, a barely audible splash, and the surface soon returns to order. To swim toward each intrusion, to fish out a leaf and to sling it ashore, only prolongs the disturbance.

Oh Lilith, my sweet, sweet flower.” I can’t see it, but I know that he’s smiling down at me. “Lilith, Adam’s first wife, was banished from the garden of evil for disobeying the orders of men. Ask who Lilith is, and you will receive a different answer: A she-demon, a spirit that brings death, a creature of the night, the deadly sin of lust, a night monster. But if you ask me of my Lilith? I will tell you that she is everything. Every gust of wind, every fallen leaf, each drop of rain.

The flowers have already bloomed to their most beautiful and luxuriant form; if they bloom even longer, they will only start withering away. Sending them off on their journey now will leave their most perfect image imprinted in your heart. Isn’t that a good thing?” His five fingers closed into a fist, and the piece of fallen leaf in his hand was immediately pulverized into a fine powder, rustling as it fell from his fingers. “In this world, if one cannot live vigorously and freely in accordance to their own desires and inclinations, then what is the point? Humans are not that different from flowers.

For lo, all the days of man are as a leaf that is fallen and as the grass that withereth. Thou too shalt be forgotten, like the flowers that falleth on the grass, like the wine that is poured out and soaks into the earth.

The shadows of leaves fall upon their arms, as they spread the branches apart, but their shoulders are in the sun. The skin of their arms is like a blue mist, but their shoulders are white and glowing, as if the light fell not from above, but rose from under their skin. We watch the leaf which has fallen upon their shoulder and it lies at the curve of their neck, and a drop of dew glistens upon it like a jewel.

We have gone far in our public places to push death aside, to consign it to a dusty corner, but in the wilderness it is ever present. It is the lover who makes life. The sensuous, entwined limbs of of predator and prey, the orgasmic death cry, the final spasmodic rush of blood, and even the soundless insemination of the earth by the fallen tree and crumbling leaf; these are the caresses of life's beloved, the indispensable other.

All tales may come true; and yet, at the last, redeemed, they may be as like and as unlike the forms that we give them as Man, finally redeemed, will be like and unlike the fallen that we know

Love was forever, love was not lost when a life was; love did not fall away or weaken a person. Love was strong and people were stronger because of it; love continued, in all forms, in every way, until the end of time and even after that. It was in the glance of gray eyes; it was in the caress of a fallen leaf; a steady heartbeat; it was wholeness and peace and sacrifice, and even tragedy.

Here are the sounds of Wear. It rattles stone on stone. It sucks its teeth. It sings. It hisses like the rain. It roars. It laughs. It claps its hands. Sometimes I think it prays. In winter, through the ice, I've seen it moving swift and black as Tune, without a sound. Here are the sights of Wear. It falls in braids. It parts at rocks and tumbles round them white as down or flashes over them in silver quilts. It tosses fallen trees like bits of straw yet spins a single leaf as gentle as a maid. Sometimes it coils for rest in darkling pools and sometimes it leaps its banks and shatters in the air. In autumn, I've seen it breathe a mist so thick and grey you'd never know old Wear was there at all. Each day, for years and years, I've gone and sat in it. Usually at dusk I clamber down and slowly sink myself to where it laps against my breast. Is it too much to say, in winter, that I die? Something of me dies at least. First there's the fiery sting of cold that almost stops my breath, the aching torment in my limbs. I think I may go mad, my wits so outraged that they seek to flee my skull like rats a ship that's going down. I puff. I gasp. Then inch by inch a blessed numbness comes. I have no legs, no arms. My very heart grows still. These floating hands are not my hands. The ancient flesh I wear is rags for all I feel of it. "Praise, Praise!" I croak. Praise God for all that's holy, cold, and dark. Praise him for all we lose, for all the river of the years bears off. Praise him for stillness in the wake of pain. Praise him for emptiness. And as you race to spill into the sea, praise him yourself, old Wear. Praise him for dying and the peace of death. In the little church I built of wood for Mary, I hollowed out a place for him. Perkin brings him by the pail and pours him in. Now that I can hardly walk, I crawl to meet him there. He takes me in his chilly lap to wash me of my sins. Or I kneel down beside him till within his depths I see a star. Sometimes this star is still. Sometimes she dances. She is Mary's star. Within that little pool of Wear she winks at me. I wink at her. The secret that we share I cannot tell in full. But this much I will tell. What's lost is nothing to what's found, and all the death that ever was, set next to life, would scarcely fill a cup.

How could I tell him that I now wanted what he had once wanted----to travel on trains and fall in love with girls with dark eyes and extravagant lips? It didn't matter to me if at the end of it I had nothing to show but sore thighs. It wasn't my fault that the life of the wanderer, the wayfarer, had fallen out of favor with the world. So what if it was no longer acceptable to drift with the wind, asking for bread and a roof, sleeping on bales of hay and enjoying dalliances with barefooted farmgirls, then running away before the harvest? This was the life I wanted, blowing around like a leaf with appetites.

...by admitting a new perception of space and giving it an active sense, is it not possible to discover a new unexpected, unexplored world?

What am I, at this moment? A flat, silent leaf that has fallen to the ground. No gust of air swaying it.

I saw the danger, yet I passed along the enchanted way, And I said, let grief be a fallen leaf at the dawning of the day.

Even a fallen leaf can shelter a bug from the storm.

Those late August mornings smelt of autumn from day-break till the hour when the sun-baked earth allowed the cool sea breezes to drive back the then less heavy aroma of threshed wheat, open furrows, and reeking manure. A persistent dew clung sparkling to the skirts of the hedgerows, and if, about noon, Vinca came upon a fallen aspen leaf, the white underside of its still green surface would be damp and glistening. Moist mushrooms poked up through the earth and, now that the nights were chillier, garden spiders retired in the evenings to the shed where the playthings were kept, and there wisely took up their abode on the ceiling.

[...] and with the soft violence of the west wind behind her, as she crossed some heath, she seemed to be borne onwards, as lightly and easily as the fallen leaf that was wafted along by the autumnal breeze. (pg 7)

In the specially Christian case we have to react against the heavy bias of fatigue. It is almost impossible to make the facts vivid, because the facts are familiar; and for fallen men it is often true that familiarity is fatigue. I am convinced that if we could tell the supernatural story of Christ word for word as of a Chinese hero, call him the Son of Heaven instead of the Son of God, and trace his rayed nimbus in the gold thread of Chinese embroideries or the gold lacquer of Chinese pottery, instead of in the gold leaf of our own old Catholic paintings, there would be a unanimous testimony to the spiritual purity of the story. We should hear nothing then of the injustice of substitution or the illogicality of atonement, of the superstitious exaggeration of the burden of sin or the impossible insolence of an invasion of the laws of nature. We should admire the chivalry of the Chinese conception of a god who fell from the sky to fight the dragons and save the wicked from being devoured by their own fault and folly. We should admire the subtlety of the Chinese view of life, which perceives that all human imperfection is in very truth a crying imperfection. We should admire the Chinese esoteric and superior wisdom, which said there are higher cosmic laws than the laws we know.

Strip by strip the lash carved into Grace's shuddering flesh. My tears were falling by then, heavy drops, joining in the leaf dust with the blood that had begun to trickle from the table. My limbs were so weak that I could not even raise a hand to wipe the mucus that dripped from my nose. She had been lying with her head faced away from me. She lifted it then, and turned, so that we looked at one another. If an anvil had fallen from the sky at that moment and landed upon me, I could not have felt more crushed.

An immaculate garden is a hostile place to most wildlife. Beautifully weeded borders, with every fallen leaf and twig gathered and disposed of, hedges kept constantly crisp and grass mown to within a fraction of its life may make a certain sort of gardener glow with pride but will provide little comfort for most of our birds, mammals and insects.

It is possible to think of fragrance existing before a flower was created to contain it, and so it is that God created the world to reveal Himself, to reveal Mercy. Once or twice a year, perhaps three times, a woman visits the garden, her face ancient, the eyes calm but not passive as she approaches the rosewood tree and begins to pick and examine each fallen leaf. Whether she is in possession of her full mental faculties, no one is sure. Perhaps she is sane and just pretending madness for self-protection. Many decades ago - long before the house was built, when this place was just an expanse of wild growth - she had discovered the name of God on a rosewood leaf, the green veins curving into sacred calligraphy. She picks each small leaf now, hoping for a repetition of the miracle, holding it in her palms in a gesture identical to prayer. The life of the house continues around her and occasionally she watches them, following the most ordinary human acts with an attention reserved by others for much greater events. If it is autumn, she has to remain in the garden for hours, following the surge and pull of the wind as it takes the dropped foliage to all corners. Afterwards, as the dusk begins to darken the air, they sit together, she and the tree, until only the tree remains. What need her search fulfils in her is not known. Perhaps healing had existed before wounds and bodies were created to be its recipient.

I popped out of a bamboo, fallen from the sky. Leave no leaf ripped, don't you ruin the nature. It makes me bitter, remembering inhuman past.

Now glancing this side, that side, they looked deeper, beneath the flowers, down the dark avenues into the unlit world where the leaf rots and the flower has fallen.

Native American saying: ‘Only when the last leaf has fallen, the last tree has died, and the last fish been caught will we realize that we cannot eat money.

What I have found is that a baby—though she doesn’t know words yet, or information, or the rules of life—is the most reliable judge of feelings. All a baby has with which to take in the world are her five senses. Hold her, sing to her, show her the night sky or a quivering leaf, or a bug. Those are the ways—the only ways—she learns about the world—whether it is a safe and loving place, or a harsh one. What she will register, at least, will be the fact that she is not alone. And it has been my experience that when you do this—slow down, pay attention, follow the simple instincts of love—a person is likely to respond favorably. It is generally true of babies, and most other people too, perhaps. Also dogs. Hamsters even. And people so damaged by life in the world that there might seem no hope for them, only there may be. So I talk to her. Sometimes we dance. When our daughter’s breathing is steady again—maybe she has fallen asleep, maybe not—we buckle her up in her car seat and continue north. I always know, whatever hour it may be when we pull down the long dirt road leading to their house, that the lights will be on, and the door will be open even before we reach it—my mother standing there, with Frank beside her. You brought the baby, she says.

And I’m paraphrasing a Native American saying: ‘Only when the last leaf has fallen, the last tree has died, and the last fish been caught will we realize that we cannot eat money.’  

So I start now to move on, not forgetting, but taking the memories with me in my heart and in ink. The leaf has fallen and it's time for a new one to grow before I let my lie live me to death.

This leaf has fallen from its mother and withered. Yet the tree does not mourn the loss. While barren, it stands tall, ready to bear the burden of winter, for it knows that through hardship comes renewal.

But Mr. Fish was the quintessential neighbor; he was all neighbors—all dog owners, all the friendly faces from familiar backyards, all the hands on your shoulders at your mother’s funeral. I don’t remember if he had a wife. I don’t even remember what he looked like, but he manifested the fussy concentration of a man about to pick up a fallen leaf; he was all rakers of all lawns, all snow-shovelers of all sidewalks.

Do not laugh! But once upon a time (my crest has long since fallen) I had a mind to make a body of more or less connected legend, ranging from the large and cosmogonic, to the level of romantic fairy-story – the larger founded on the lesser in contact with the earth, the lesser drawing splendour from the vast backcloths – which I could dedicate simply to: to England; to my country. It should possess the tone and quality that I desired, somewhat cool and clear, be redolent of our ‘air’ (the clime and soil of the North West, meaning Britain and the hither parts of Europe: not Italy or the Aegean, still less the East), and, while possessing (if I could achieve it) the fair elusive beauty that some call Celtic (though it is rarely found in genuine ancient Celtic things), it should be ‘high’, purged of the gross, and fit for the more adult mind of a land long now steeped in poetry. I would draw some of the great tales in fullness, and leave many only placed in the scheme, and sketched. The cycles should be linked to a majestic whole, and yet leave scope for other minds and hands, wielding paint and music and drama. Absurd. Of course, such an overweening purpose did not develop all at once. The mere stories were the thing. They arose in my mind as ‘given’ things, and as they came, separately, so too the links grew. An absorbing, though continually interrupted labour (especially since, even apart from the necessities of life, the mind would wing to the other pole and spend itself on the linguistics): yet always I had the sense of recording what was already ‘there’, somewhere: not of ‘inventing’. Of course, I made up and even wrote lots of other things (especially for my children). Some escaped from the grasp of this branching acquisitive theme, being ultimately and radically unrelated: Leaf by Niggle and Farmer Giles, for instance, the only two that have been printed. The Hobbit, which has much more essential life in it, was quite independently conceived: I did not know as I began it that it belonged. But it proved to be the discovery of the completion of the whole, its mode of descent to earth, and merging into ‘history’. As the high Legends of the beginning are supposed to look at things through Elvish minds, so the middle tale of the Hobbit takes a virtually human point of view – and the last tale blends them.

A gardener relishes the bloom, and with the same spirit accepts the bareness that comes with winter. There is a time to let go, like the trees, to rejuvenate and prepare for a fresh spring ahead. The withered leaf had fallen away, and life was turning a new one.

I was lying on a soft bed of fallen leaves, their crunch unmistakable beneath me as I twisted and writhed. The air was cool, but he was beside me, keeping me warm. He was as familiar to me as my own breathing, yet I was aware that his was not a simple human touch. His presence was less dense than the human body's but more powerful, and able to engulf me. I took in the ambrosia of his hot scent- wood, leather, and ancient spices- earthy, in contrast to the feel of his being. I opened my eyes and saw that we were lying in a grove of trees with golden leaves beneath unfamiliar stars that blazed across an immense velvet sky. The wind tossed about a single glistening leaf, which rose and fell at the air's will. I watched it dance with the breeze as my lover flooded my senses. Eventually, it fluttered beside us and fell to the earth.

It is wonderful, and rare, being out of the city, being back at their house, and the four of them enjoy one another's company. He even feels well enough to give Andy an abbreviated tour of the property, which Andy has visited only in springtime or summer, but which is different in autumn: raw, sad, lovely, the barn's roof plastered with fallen yellow gingko leaves that make it look as if it's been laid with sheets of gold leaf.

How to begin writing this down? Shall it be a simple inventory? A list of parts. Names. Dates. Genealogies. Sound begetting sound. Endless melody. If I were to say – a robin sings in the trees across the field from this coppice – would that be enough? Could you flesh things out from such a meagre outline? Or should I describe its song? Onomatopoeia. But the bird has long fallen silent before the words begin to form. And what of the other sounds – the constant polyphony? Distant hum of motorway traffic. Delicate rattle of leaf against branch. Everything in between. I fill the page as best I can, replace the diary under a stone, and retrace my steps down the darkening lane. But as I walk back under the eaves of those trees, I ask myself – could any film, recording or photograph tell you this? That whilst I dwelt within that wooded chamber, listening to those brief glimmers of song, I forgot about her, the river and its promise.

Throughout college, my monastic, scholarly study of human meaning would conflict with my urge to forge and strengthen the human relationships that formed that meaning. If the unexamined life was not worth living, was the unlived life worth examining? Heading into my sophomore summer, I applied for two jobs: as an intern at the highly scientific Yerkes Primate Research Center, in Atlanta, and as a prep chef at Sierra Camp, a family vacation spot for Stanford alumni on the pristine shores of Fallen Leaf Lake, abutting the stark beauty of Desolation Wilderness in Eldorado National Forest. The camp’s literature promised, simply, the best summer of your life. I was surprised and flattered to be accepted. Yet I had just learned that macaques had a rudimentary form of culture, and I was eager to go to Yerkes and see what could be the natural origin of meaning itself. In other words, I could either study meaning or I could experience it.

So we are cut and laid in swaths, I said; so we lie side by side on the damp meadows, withered branches and flowering. We have no more to expose ourselves on the bare hedges to the wind and snow; no more to carry ourselves erect when the gale sweeps, to bear our burden upheld; or stay, unmurmuring, on those pallid noondays when the bird creeps close to the bough and the damp whitens the leaf. We are cut, we are fallen. We are become part of that unfeeling universe that sleeps when we are at our quickest and burns red when we lie asleep.

When she rolled over, nestling her back into Daniel’s chest so that he was cradling her with his right wing, her eyelids fluttered shut. Then they flew open. She was face to face with Cam. He was inches away, on his side, head propped on his hand, green eyes holding hers as if they were both in a trance. He opened his mouth as if to say something- BOOM. The room trembled like a leaf. For an instant, the air seemed to take on a strange transparency. Cam’s body shimmered, both there and somehow not there, his very existence seeming to flicker. “Timequake,” Daniel said. “A big mother,” Cam agreed. Luce sprang upright, gaping at her own body in the sleeping bag, at Daniel’s hand on her knee, at Arriane, whose muffled voice called out,” “I’wuzznt me,” until Annabelle’s wing slapped her awake. All of them were flickering before each other’s eyes. Solidly present one moment, as insubstantial as ghosts the next. The timequake had jarred loose a dimension in which they weren’t even there. The cave around them shuddered. Sand sifted down from the walls. But unlike those of Luce and her friends, the physical properties of the red rock remained fixed, as if to prove that only people-souls-were at risk of being erased.

Listen! Do things look in the ten and twelve of noon look as they do in the dark? Is the hand, the face, the foot, the same face and hand and foot seen by the sun? For now the hand lies in a shadow; its beauties and its deformities are in a smoke - there is a sickle of doubt across the cheek bone thrown by the hat's brim, so there is half a face to be peered back into speculation. A leaf of darkness has fallen under the chin and lies deep upon the arches of the eyes; the eyes themselves have changed their colour. The very mother's head you swore by in the dock is a heavier head, crowned with ponderable hair.

A single strum of the strings or even one pluck is too complex, too complete in itself to admit any theory. Between this complex sound—so strong that it can stand alone—and that point of intense silence preceding it, called ma, there is a metaphysical continuity that defies analysis. In its complexity and integrity this single sound can stand alone. To the Japanese listener who appreciates this refined sound, the unique idea of ma—the unsounded part of this experience—has at the same time a deep, powerful, and rich resonance that can stand up to the sound. …the Japanese sound ideal: sound, in its ultimate expressiveness, being constantly refined, approaches the nothingness of that wind in the bamboo grove.

Now glancing this side, that side, they looked deeper, beneath the flowers, down the dark avenues into the unlit world where the leaf rots and the flower has fallen. Then one of them, beautifully darting, accurately alighting, spiked the soft, monstrous body of the defenceless worm, pecked again and yet again, and left it to fester. Down there among the roots where the flowers decayed, gusts of dead smells were wafted; drops formed on the bloated sides of swollen things. The skin of rotten fruit broke, and matter oozed too thick to run. Yellow excretions were exuded by slugs, and now and again an amorphous body with a head at either end swayed slowly from side to side. The gold-eyed birds darting in between the leaves observed that purulence, that wetness, quizzically. Now and then they plunged the tips of their beaks savagely into the sticky mixture.

Golden Gold Vine Part One There was a miser who prized her, this golden gold vine. This sapling so gilded, her leaflings did shine. The moment he saw her, he let out a whisper of, “mine.” He’d found her in rubble, along a plain road. Unburied, he took her, in pocket he stowed. Back to his house, where he stared at her gleam. Hands curled to covet, want stitched to seam. What a chance this was, the chance for much more. So he planted her there, right outside his front door. Kept under secrets and hidden she lay. This old miser did find her, did steal her away. Brought to the yard, he planted her there. Fenced her all in to shelter her glare. Soon she grew tiny buds, glinting with gold. He plucked them by one, went to town to be sold. He paid off his debts, bought whatever he sought. But it wasn’t enough, whatever he got. For greed had been planted beside her thin roots. Want had leafed out, along with her shoots. Yet although he watered, soon she did wilt. Her golden did dull and worry he spilt. For his most prized possession looked right to be culled. She wasted away, while he fretted and mulled. It wasn't til so angry, he pulled out his hair. Brown clumps all fallen on the vine bare, that her color suddenly glistened, her vine did then surge. She grew ever much from his body he'd purged. Ecstatic, he knew, what he must do. So this miser clip-clipped, and gold flowers then bloomed. His hair he snip-snipped, gladly shedding his plume. For she would not grow without sacrifice. Only pieces of him would ever suffice. For her to keep growing, that was her price. This golden gold vine was the miser’s own vice. To be continued…

Thick and creamy egg, fragrant roast quail... and the rice! It all makes such a hearty, satisfying combination! Wait, something just crunched? "See, there are five parts to a good chicken-and-egg rice bowl. Chicken... eggs... rice... onions... and warishita. *Warishita is a sauce made from a combination of broth, soy sauce and sugar.* "I seared the quail in oil before putting it in the oven to roast. That made the skin nice and crispy... while leaving the meat inside tender and juicy. For the eggs, I seasoned them with salt and a generous pinch of black pepper to give them some bite and then added cream to make them thick and creamy! It's the creaminess of the soft-boiled egg that makes or breaks a good chicken-and-egg bowl, y'know. Some milk made the risotto extra creamy. I then mixed in onions as well as ground chicken that was browned in butter. I used the Suer technique on the onions. That should have given some body to their natural sweetness. For the sauce, I sweetened some Madeira wine with sugar and honey and then added a dash of soy sauce. Like warishita in a regular chicken-and-egg rice bowl, this sauce ties all the parts of the dish together. Try it with the poached egg. It's seriously delicious! Basically I took the idea of a Japanese chicken-and-egg rice bowl... ... and rebuilt it using only French techniques!" "Yukihira! I wanna try it too!" "Oh, uh, sorry. I only made that one." "Awww! You've gotta make one for me someday!" "There is one thing I still don't understand. When you stuff a bird, out of necessity the filling has to remain firm to stay in place. Something soft and creamy like risotto should have fallen right back out! "How did you make this filling work?!" "I know! The crunch!" "Yep! It's cabbage! I quickly blanched a cabbage leaf, wrapped the risotto in it... ... and then stuffed it inside the quail!" "Aha! Just like during the Camp Shokugeph!" It's the same idea behind the Chou Farci Shinomiya made! The cabbage leaf is blanched perfectly too. He brought out just enough sweetness while still retaining its crispy texture. And it's that very sweetness that softly ties the fragrant quail meat together with the creamy richness of the risotto filling!

He had fallen in love with landscape painting because of that element of chance and grace. He would go out to a field, to a beach, to a hill, and set himself up. As he focused on the scene before him, around him, the scene he was part of and became rooted in, it came more and more intensely alive until every leaf and every fly glinting in the sun and every dust mote demanded his attention. He felt totally open then, connected, vulnerable, better than love and more honest. In order to paint well he had to abandon control. Everything constantly changed before him and everything moved and he stood in a swirl of chaos and humbly addressed it. Whatever he put on canvas was insufficient, as love is insufficient. If he was clear, if he was open, if he was vulnerable and strong enough in his seeing, then he would grasp some spirit present and it would animate what he painted, although his first reaction was always to hate what he had done, because it failed the vast changing thingness he had astonishingly and passionately witnessed. Studio painters could dream of control, but landscape painters knew how they stood before the gods of the place, tiny, hopeful, diddling away. All he could ever paint was a tiny flash of what truly showed itself to him, a seizure on one moment.

So I start now to move on not forgetting, but taking the memories with me in my heart and in ink. The leaf has fallen and it's time for a new one to grow before I let my life live me to death.

He explained that the leaf had fallen over and over from that same tree so I would stop trying to understand.

The Cricket and the Grasshopper The senseless leaf   in the fevered hand Grows hot, near blood-heat, but never grows Green. Weeks ago the dove’s last cooing strain Settled silent in the nest to brood slow Absence from song. The dropped leaf cools On the uncut grass, supple still, still green, Twining still these fingers as they listless pull The tangle straight until the tangle tightens And the hand is caught, another fallen leaf. The poetry of the earth never ceases Ceasing — one blade of grass denies belief Until its mere thread bears the grasshopper’s Whole weight, and the black cricket sings unseen, Desire living in a hole beneath the tangle’s green.

There was life in her gaze once more, a sharpness that went beyond the occasional cutting remark, hinting at a mind finally cleared of durhang’s dulling fog. She still coughed as if her lungs were filled with fluid, although the sage mixed in with the rust-leaf had eased that somewhat. She was returning his regard with an inquisitive—if slightly hard—expression, drawing steadily on the hookah’s mouthpiece, smoke tumbling down from her nostrils. ‘If I could see you,’ Heboric muttered, ‘I’d conclude you’ve improved some.’ ‘I have, Destriant of Treach, though I would have thought those feline eyes of yours could pierce every veil.’ He grunted. ‘It’s more that you no longer slur your words, Scillara.

Even as the leaves are falling, the buds of next year’s crop are already in place, waiting to erupt again in spring. Most trees produce their buds in high summer, and the autumn leaf fall reveals them, neat and expectant, protected from the cold by thick scales. We rarely notice them because we think we’re seeing the skeleton of the tree, a dead thing until the sun returns./ The tree is waiting. It has everything ready. It’s fallen leaves are mulching the forest floor, and its roots are drawing up the extra winter moisture, providing a firm anchor against seasonal storms. Its ripe cones and nuts are providing essential food in this scarce time for mice and squirrels, and its bark is hosting hibernating insects and providing a source of nourishment for hungry deer. It is far from dead. It is in fact the life and soul of the wood. It’s just getting on with it quietly. It will not burst into life in the spring. It will just put on a new coat and face the world again.

A veiled hush had fallen over the world. All the young breezes that had been whispering and rustling so importantly along the Dawlish Road had folded their wings and become motionless and soundless. Not a leaf stirred, not a shadow flickered. The maple leaves at the bend of the road turned wrong side out until the trees looked as if they were turning pale from fear. A huge cool shadow seemed to engulf them like a green wave... the cloud had reached them. Then the rain, with a rush and sweep of wind. The shower pattered sharply down on the leaves, danced along the smoking red road and pelted the roof of the old forge right merrily.

Lilith, Adam’s first wife, was banished from the garden of evil for disobeying the orders of men. Ask who Lilith is, and you will receive a different answer: A she-demon, a spirit that brings death, a creature of the night, the deadly sin of lust, a night monster. But if you ask me of my Lilith? I will tell you that she is everything. Every gust of wind, every fallen leaf, each drop of rain.

Like a fragile leaf refusing to dance with the breeze, those who cling to the fallen branches of their past fail to embrace the blossoming gardens of the present, revealing a barren soul devoid of self-esteem.

But if you ask me of my Lilith? I will tell you that she is everything. Every gust of wind, every fallen leaf, each drop of rain.

[Oh, of course, yes. Not idiots. There are two more schools of non-idiots: here at the Fallen Leaf School—] A light shone on the north mountain. [—and the Heaven’s Glory School. The most…wisdom-challenged…of them all. Then, of course, we have the three clans.]

Mind without heart The leaf had fallen, The branch still stood there intact, It was a gradual event and not at all sudden, The fallen leaf, the still existing branch was an undeniable fact, But why did the branch still hang on, waiting for something? As the leaf from the floor looked at it while time consumed it, Maybe the branch wanted to see the leaf on the floor dying, And with its shadow touch it, and feel it; and whisper to it, “There where you grew you shall grow again next season, I will wait for you here throughout the winter, And to do so, I need no motivation because I have my reason, I have loved you and I do not wish to be a quitter,” And finally there was nothing left of the leaf, the fallen and dead leaf, There was only its trace, a faint impression on the soil, This added to the branch’s anguish and grief, For time had robbed her of its every moment of toil, People passed by and trampled the leaf’s almost fossilised impression, Until there was nothing left of the leaf neither on the branch nor on the soil, The branch chided the fate’s paucity and time’s baseless aggression, For they even erased the leaf’s last impression that was as thin as silver foil, By the time winter entered its prime, The branch stood there waiting for it to pass, Not because it wanted to feel the joys of summer time, But it wanted the leaf to re-appear and re-grow so that it could undo time’s act so crass, Time passed by, spring arrived, the branch was filled with leaves, But that leaf never grew again, the same leaf, the fallen one, So the branch misses him and it continuously grieves, But she shows it to no one, because no leaf compares to her dear leaf, the fallen one, Maybe that is why it is beginning to bend, Though it is converted in thousands of fresh leaves, The branch has been unable to cope with the dear leaf’s premature end, So she keeps peeping into time’s graves, To find the grave of the leaf that she lost prematurely, And lie there beside him, and finally fall, Then be together with him timelessly, And say, “For you I too had to fall afterall!” Today the sun has risen but the branch has fallen forever, Exactly where the leaf had fallen, It is a love of different kind, and the branch is a special lover, Who would never let go of what time from her had stolen, After a year the branch too disappeared from the floor, Now there is neither the branch nor the leaf, Time knows it, fate planned it, but I witnessed it; and this I cannot ignore, But knowing they are somewhere together now, even if that be the graveyard of time, is a relief, Time and fate are never obsequious, Because they neither love nor hate, But they are masquerading and pretentious, And they never know how it feels when the branch lies naked in a leafless state, That is time’s and fate’s irony of which they may never know, But you and I who have minds and hearts, Yet become part of a fake and grotesque show, Where either mind thinks without the heart or the heart from mind’s innocence departs!

{64:6} And we have all become like the unclean. And all our justices are like a rag of menstruation. And we have all fallen away, like a leaf. And our iniquities have carried us away, like the wind. {64:7}

making his own plans for Michal when he returned to the court. He was best friends with Jonathan, but he had fallen in love with Michal. They stole every moment they could to be together. They would sing praises and hymns to Yahweh. She was enamored with his playing, and he was mesmerized by her voice. They felt as if their souls were one. Their bodies craved to consummate that oneness of spirit. The only problem was that David was a palace servant without noble status and would never be allowed to marry her. They were simply in two different worlds. And it was driving him crazy. He would do anything, anything to win her hand. This time, he had decided to wait on the Lord. He had made so many mistakes with young women in the past. He wanted to turn over a new leaf, and this time do it right. It made him seek Yahweh more earnestly. He would spend so much time and effort trying to seek Yahweh’s face that his knees would become bloody from scraping the ground, and his legs would lose their circulation.

Being a woman is just be a leaf in the wind is perpetual search and verse is a fallen flower petal on the table one evening rain and restless hands of a drop of water that filters the perfume of a rock that emerges from a balcony with geraniums and roses is looking to be root moisture to keep the cup simply being woman is being land and seed is being tree branch and be eternally girl in the depths of the soul is the daughter and mother friend, sister, girlfriend, wife joy and tear being woman is simply being star rainbow and hot breakfast in the mornings and evenings is expected to be entangled balm and comfort to the bone meat scented with musk and eternal love.

As a boy, I sometimes sat down from my wandering only to wake up an hour later, surprised to find I had fallen asleep in a warm patch of grass. That wouldn’t happen in bear country. When I walk in a place like Yellowstone, it’s always with a slight but solemn recognition of the slender possibility that I will die, that some wild animal will kill me. My senses come alive: I taste the air, listen for sounds beneath the wind. Suddenly, nature is not the backdrop to life, it is life itself, and I am no longer myself, but myself in nature. I note and classify even small changes: a shrew darting across the path, an updraft twisting a fern frond, a hummingbird gathering spiderweb for its nest. Light and form take on greater clarity, and given enough time to sink into these sensations , visual tricks will arise that are somewhere between vigilance and hallucination, such as seeing clearly every trembling leaf on a tree while in the same moment watching a bumblebee pass by in slow motion. As my senses reach outward, I spread away from myself. The world expands. It’s the closest a person can feel, I think, to being a flock of birds. The naturalist John Livingston described this perspective as a participatory state of mind, and speculated that among wild animals it is the ordinary form of consciousness. It would seem to have to be.

The fallen Leaf flies Like a Young Icarus And Then Disintegrates

There was nothing but mist to his left and behind him, but to his right, he made out two or three large, bulky shapes, standing upright. Making his way slowly across the lumpy ground, he found that they were stones. Remnants of one of those prehistoric sites that littered the ground in northern Britain. Only three of the big stones were still standing, but he could see a few more, fallen or pushed over, lying like bodies in the darkening fog. He paused to vomit, holding on to one of the stones. Christ, his head was like to split! And he had a terrible buzzing in his ears 

Ask who Lilith is, and you will receive a different answer: A she-demon, a spirit that brings death, a creature of the night, the deadly sin of lust, a night monster. But if you ask me of my Lilith? I will tell you that she is everything. Every gust of wind, every fallen leaf, each drop of rain.

{There are powers that are beyond you. There are even powers that are beyond me. She is already dead, like a withered leaf clinging to the vine. She is just waiting for one gust of wind.} Still… I reached out with a single tendril of my mind, reaching into hers. Deeper — and I nearly gasped. There it was. It was impossible to miss. I felt the sickness, like an open wound, gushing blood. It was so noxious that everything in my magic recoiled from it. It was everywhere. Every drop of Eslyn’s mind and magic was consumed with it. Even if she lives now, she’ll wish she hadn’t, Sammerin had said, and now I understood. There was nothing of Eslyn left, anymore.

have one second to breathe before he’s spinning me around and bending me over the table. His left hand presses at the back of my head, driving my face to the wooden table. His other hand bunches my skirt around my waist and yanks down my panties. I gasp out, sending a fallen leaf skittering over the table. “If you want to fuck the Lost Boys,” Peter Pan says, “why not start at the top?” He kicks my legs apart, baring me and I hear the rasp of a zipper opening. “Maybe I will,” I say.

Modern science says that it wants to know the laws of Nature in all their minute ramifications and yet pays no attention whatever to the universal and fundamental law from which all these ramifications spring. Thus science resembles an insect crawling over a fallen leaf and imagining, thereby learning the qualities of the tree.

I sat under my cedar tree. My mate, the mother of them, was taken- I sat under my cedar tree, Till ninety years were tolled. O maternal Earth, which rocks the fallen leaf to sleep!

I am me, in this ocean of people trying to fit in. I am a straw in the ocean, floating without aim. I am fallen leaf carried by the wind, flying, flying, flying, never finding solid ground. I am always winter, snowing in crystals, touching the ground, dissolving.

The Tiger King’s Gift Long ago, in the days of the ancient Pandya kings of South India, a father and his two sons lived in a village near Madura. The father was an astrologer, but he had never become famous, and so was very poor. The elder son was called Chellan; the younger Gangan. When the time came for the father to put off his earthly body, he gave his few fields to Chellan, and a palm leaf with some words scratched on it to Gangan. These were the words that Gangan read: ‘From birth, poverty; For ten years, captivity; On the seashore, death. For a little while happiness shall follow.’ ‘This must be my fortune,’ said Gangan to himself, ‘and it doesn’t seem to be much of a fortune. I must have done something terrible in a former birth. But I will go as a pilgrim to Papanasam and do penance. If I can expiate my sin, I may have better luck.’ His only possession was a water jar of hammered copper, which had belonged to his grandfather. He coiled a rope round the jar, in case he needed to draw water from a well. Then he put a little rice into a bundle, said farewell to his brother, and set out. As he journeyed, he had to pass through a great forest. Soon he had eaten all his food and drunk all the water in his jar. In the heat of the day he became very thirsty. At last he came to an old, disused well. As he looked down into it, he could see that a winding stairway had once gone round it down to the water’s edge, and that there had been four landing places at different heights down this stairway, so that those who wanted to fetch water might descend the stairway to the level of the water and fill their water pots with ease, regardless of whether the well was full, or three-quarters full, or half full or only one-quarter full. Now the well was nearly empty. The stairway had fallen away. Gangan could not go down to fill his water jar so he uncoiled his rope, tied his jar to it and slowly let it down. To his amazement, as it was going down past the first landing place, a huge striped paw shot out and caught it, and a growling voice called out: ‘Oh Lord of Charity, have mercy! The stair is fallen. I die unless you save me! Fear me not.

What the fuck is this?” Bryce whispered as she knelt in the ruins of her coffee table and leafed through the stack of papers that had apparently been hidden inside. “It’s not only college papers,” Ithan said, fanning out the pages beside her. “These are documents and images of newspaper clippings.” He peered at them. “They all seem like they’re regarding firstlight’s uses—mostly how it was made into weapons.” Bryce’s hands shook. She sifted through a few academic articles—all full of redactions—theorizing on the origin of worlds and what the Asteri even were. “She never mentioned any of this,” Bryce said. “Think this is what Sofie Renast discovered?” he asked. “Like, maybe Danika sniffed something out about the Asteri with her …” He trailed off, then added, “Gifts?” Bryce lifted her gaze to his carefully neutral face as he tried to recover from a stumble. “You knew about her bloodhound gift?” Ithan shifted on his knees. “It wasn’t ever talked about, but … yeah. Connor and I knew.” Bryce flipped another page, tucking that factoid away. “Well, why would it even matter if Danika had sniffed out something regarding the Asteri? They’re holy stars.” Beings that possessed the force of an entire star within them, unaging and undying. But as Bryce skimmed article after article, Ithan doing the same beside her, she began to see that they challenged that fact. She made herself keep breathing steadily. Danika had been a history major at CCU. None of this stuff was out of the ordinary—except that it had been hidden. Here. All we have as proof of their so-called sacred power is their word, Bryce read. Who has ever seen such a star manifest itself? If they are stars from the heavens, then they are fallen stars.

The House had a taste for romance novels. Nesta stayed up later than she should have to finish the one it had left the day before, and when she returned to her room that evening, another was waiting. 'Don't tell me you somehow read these?' She leafed through the volume on her nightstand. In answer, two more books thumped on the surface. Each one utterly filthy. Nesta let out a small chuckle. 'It must get awfully dull up here.' A third book plopped atop the others. Nesta laughed again, a rusty, hoarse sound. She couldn't remember the last time she'd laughed. A true, belly-deep laugh. Maybe before her mother had died. She'd certainly had nothing to laugh about once they'd fallen into poverty. Nesta nodded toward the desk. 'No dinner tonight?' Her bedroom door only swung open to reveal the dimly lit hallway. 'I've had enough of him for one day.' She'd barely been able to speak to Cassian for the rest of their lesson, unable to stop thinking of how he'd put up a wall without her so much as saying a word, anticipating that she would go after him, assuming that she was so awful she couldn't have a normal conversation. That she'd mock him about his mother and their pain. 'I'd rather stay here.' The door opened wider. Nesta sighed. Her stomach ached with hunger. 'You're as much a busybody as the rest of them,' she muttered, and aimed for the dining room.

Beauty, she realised as her heart hammered, was not social or subjective. True beauty was catastrophic, irresistible as the rushing tides, crashing over and through all feeble attempts to say what was fair and what was not. Like the woodland vista that made the breath catch and the spirit soar, beauty was an irresistible force of nature, and to try to tell which particular branch – which particular leaf – was most appealing was to miss the forest for the trees. No single thing she saw in Lady Ceistyl was more beautiful than any other. Nor could the fey be reduced to separate features, complimented on any one part. And even were Elly to try, no words were rich enough, no paint held hues that could capture the colour Lady Ceistyl brought with her as she appeared beside the watching wolf atop the fallen log.

Around me, trees let go of their leaves, and I let go of my tears, In every fallen leaf, I see the end of trust, it sears.

I wish I could stuff my mouth full of raindrops and fill my pockets full of snow. I wish I could trace the veins in a fallen leaf and feel the wind pinch my nose.

The French poet Jacques Prévert wrote the "Song of the Snails on Their Way to a Funeral" about two snails that plan to attend a service for an autumn leaf that has fallen to the ground. They travel toward their destination, and when they finally arrive for the funeral, spring has come and all is happy again.

You are but a withered leaf, That once danced with every breeze, Though it has now fallen from the tree. So I sweep you aside, and then move on.

Fallen like a dew drop to the petals of a rose. Fallen like a snowflake to the river of dreams. Fallen like an autumn leaf to the bosom of soil. Fallen to be one and never to part again. - Poem 'Fallen

I love the autumn season, not just for its vibrant colours but also for the given intimate love. The trees, having loved me from a distance throughout spring and summer with their full crowns, reach out in autumn with intimate love on my feet. When I walk upon the fallen leaves, I feel the kisses on my feet. When I pick a fallen leaf, I feel a lover's hand. I go home feeling loved and wanted.

DIALOGUE BETWEEN THE GROUND AND A FALLEN LEAF Fallen Leaf: “I have fallen, softly, Without harm, to find my root Yet people continue to walk upon me as they please And I suffer as I am destroyed” “Just look, all things grow upon me Yet I,” said the earth, “become less fertile by the day It would seem you know little about true happiness Otherwise what you said to me would not cut so deeply” The fallen leaf spoke no more But I had come to understand

It is satisfying, of course, to build up a supply of winter warmth, free except for the labor. But there is also something heady about becoming a part of the forest process. It sounds straightforward enough to say that when I cut firewood I cull and thin my woods, but that puts me in the business of deciding which trees should be encouraged and which should be taken. I like my great tall black walnut, so I have cut the trees around it to give it the space and light it needs to grow generously. Dogwoods don’t care. They frost the woods with white blossoms in the spring, and grow extravagantly in close company. If I clear a patch, within a year or two pine seedlings move in, grow up exuberantly, compete and thin themselves to tolerable spacing. If I don’t cut a diseased tree, its neighbors may sicken and die. If I cut away one half of a forked white oak, the remaining trunk will grow straight and sturdy. Sap gone, a standing dead tree like the one I cut today will make good firewood, and so invites cutting. But if I leave it, it will make a home for woodpeckers, and later for flying squirrels and screech owls. Where I leave a brush pile of top branches, rabbits make a home. If I leave a fallen tree, others will benefit: ants, spiders, beetles and wood roaches will use it for shelter and food, and lovely delicate fungi will grow out of it before it mixes with leaf mold to become a part of a new layer of soil. One person with a chain saw makes a difference in the woods, and by making a difference becomes part of the woodland cycle, a part of the abstraction that is the forest community.

With tinny drumbeats, the rain pounds the roof My teary eyes compete They can't keep up Breathe Let it go Breathe The vice on my chest tightens its razoring grip I gasp No relief If only tears could soothe the pain Then, I would look upon the tidal waves against these walls without fear Crush and roll me, I'd plead, Mold my body anew But with these tears come no healing, Just death, slow and determined This old girl, this old woman, this old soul lives here inside A tortoise outgrowing this hare's body This youthful skin encasing a crumbling frame I smooth the matted web of curls off my sweaty neck And roll my eyes at the clock How slowly the time squeaks by here in this room, In this comfortless bed I abandon the warmth from under my blanket tower and shiver The draft rattles my spine One by one, striking my vertebrae Like a spoon chiming empty wine glasses, Hitting the same fragile note till my neck shakes the chill away I swipe along the naked floor with a toe for the slippers beneath the bed Plush fabric caresses my feet Stand! Get up With both hands, Gravity jerks me back down Ugh! This cursed bed! No more, I want no more of it I try again My legs quiver in search of my former strength Come on, old girl, Come on, old woman, Come on, old soul, Don't quit now The floor shakes beneath me, Hoping I trip and fall To the living room window, I trudge My joints grind like gravel under tires More pain no amount of tears can soothe away Pinching the embroidered curtain between my knuckles, I find solace in the gloom The wind humming against the window, Makes the house creak and groan Years ago, the cold numbed my pain But can it numb me again, This wretched body and fractured soul? Outside I venture with chants fluttering my lips, Desperate solemn pleas For comfort, For mercy For ease, For health I open the plush throw spiraled around my shoulders And tiptoe around the porch's rain-soaked boards The chilly air moves through me like Death on a mission, My body, an empty gorge with no barriers to stop him, No flesh or bone My highest and lowest extremities grow numb But my feeble knees and crippling bones turn half-stone, half-bone Half-alive, half-dead No better, just worse The merciless wind freezes my tears My chin tumbles in despair I cover myself and sniffle Earth’s scent funnels up my nose: Decay with traces of life in its perfume The treetops and their slender branches sway, Defying the bitter gusts As I turn to seek shelter, the last browned leaf breaks away It drifts, it floats At the weary tree’s feet, it makes its bed alongside the others Like a pile of corpses, they lie Furled and crinkled with age No one mourns their death Or hurries to honor the fallen with thoughtful burials No rage-filled cries echo their protests at the paws trampling their fragile bodies, Or at the desecration by the animals seeking morning relief And new boundaries to mark Soon, the stark canopy stretching over the pitiful sight Will replace them with vibrant buds and leaves Until the wasting season again returns For now, more misery will barricade my bones as winter creeps in Unless Death meets me first to end it