Fielding Set Quotes

It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set, uprooting the evil in the fields that we know, so that those who live after may have clean earth to till. What weather they shall have is not ours to rule.

Hair the color of lemons,'" Rudy read. His fingers touched the words. "You told him about me?" At first, Liesel could not talk. Perhaps it was the sudden bumpiness of love she felt for him. Or had she always loved him? It's likely. Restricted as she was from speaking, she wanted him to kiss her. She wanted him to drag her hand across and pull her over. It didn't matter where. Her mouth, her neck, her cheek. Her skin was empty for it, waiting. Years ago, when they'd raced on a muddy field, Rudy was a hastily assembled set of bones, with a jagged, rocky smile. In the trees this afternoon, he was a giver of bread and teddy bears. He was a triple Hitler Youth athletics champion. He was her best friend. And he was a month from his death. Of course I told him about you," Liesel said.

Note, to-day, an instructive, curious spectacle and conflict. Science, (twin, in its fields, of Democracy in its)—Science, testing absolutely all thoughts, all works, has already burst well upon the world—a sun, mounting, most illuminating, most glorious—surely never again to set. But against it, deeply entrench'd, holding possession, yet remains, (not only through the churches and schools, but by imaginative literature, and unregenerate poetry,) the fossil theology of the mythic-materialistic, superstitious, untaught and credulous, fable-loving, primitive ages of humanity.

These people have learned not from books, but in the fields, in the wood, on the river bank. Their teachers have been the birds themselves, when they sang to them, the sun when it left a glow of crimson behind it at setting, the very trees, and wild herbs.

We set down feasts for each other and treated our love with tongues of fire. Our bodies were fields of wonder to us.

The world is... the natural setting of, and field for, all my thoughts and all my explicit perceptions. Truth does not inhabit only the inner man, or more accurately, there is no inner man, man is in the world, and only in the world does he know himself.

A king does not abide within his tent while his men bleed and die upon the field. A king does not dine while his men go hungry, nor sleep when they stand at watch upon the wall. A king does not command his men's loyalty through fear nor purchase it with gold; he earns their love by the sweat of his own back and the pains he endures for their sake. That which comprises the harshest burden, a king lifts first and sets down last. A king does not require service of those he leads but provides it to them...A king does not expend his substance to enslave men, but by his conduct and example makes them free.

Bilbo’s Last Song Day is ended, dim my eyes, But journey long before me lies. Farewell, friends! I hear the call. The ship's beside the stony wall. Foam is white and waves are grey; Beyond the sunset leads my way. Foam is salt, the wind is free; I hear the rising of the Sea. Farewell, friends! The sails are set, The wind is east, the moorings fret. Shadows long before me lie, Beneath the ever-bending sky, But islands lie behind the Sun That I shall raise ere all is done; Lands there are to west of West, Where night is quiet and sleep is rest. Guided by the Lonely Star, Beyond the utmost harbour-bar, I’ll find the heavens fair and free, And beaches of the Starlit Sea. Ship, my ship! I seek the West, And fields and mountains ever blest. Farewell to Middle-earth at last. I see the Star above my mast!

I told him the story of the day I'd been mending pottery with one of the maids in the kitchen at Keramzin, waiting for him to return from one of the hunting trips that had taken him from home more and more frequently. I'd been fifteen, standing at the counter, vainly trying to glue together the jagged pieces of a blue cup. When I saw him crossing the fields, I ran to the doorway and waved. He caught sight of me and broke into a jog. I had crossed the yard to him slowly, watching him draw closer, baffled by the way my heart was skittering around in my chest. Then he'd picked me up and swung me in a circle, and I'd clung to him, breathing in his sweet, familiar smell, shocked by how much I'd missed him. Dimly, I'd been aware that I still had a shard of that blue cup in my hand, that it was digging into my palm, but I didn't want to let go. When he finally set me down and ambled off into the kitchen to find his lunch, I had stood there, my palm dripping in blood, my head still spinning, knowing that everything had changed. Ana Kuya had scolded me for getting blood on the clean kitchen floor. She'd bandaged my hand and told me it would heal. But I knew it would just go on hurting.

In the game of life, we all receive a set of variables and limitations in the field of play. We can either focus on the lack thereof or empower ourselves to create better realities with the pieces we play the game with.

Because I could not stop for Death, He kindly stopped for me; The carriage held but just ourselves And Immortality. We slowly drove, he knew no haste, And I had put away My labour, and my leisure too, For his civility. We passed the school where children played, Their lessons scarcely done; We passed the fields of gazing grain, We passed the setting sun. We paused before a house that seemed A swelling of the ground; The roof was scarcely visible, The cornice but a mound. Since then 'tis centuries; but each Feels shorter than the day I first surmised the horses' heads Were toward eternity.

Beasts of England, beasts of Ireland, Beasts of every land and clime, Hearken to my joyful tidings Of the golden future time. Soon or late the day is coming, Tyrant Man shall be o'erthrown, And the fruitful fields of England Shall be trod by beasts alone. Rings shall vanish from our noses, And the harness from our back, Bit and spur shall rust forever, Cruel whips shall no more crack. Riches more than mind can picture, Wheat and barley, oats and hay, Clover, beans, and mangel-wurzels, Shall be ours upon that day. Bright will shine the fields of England, Purer shall its water be, Sweeter yet shall blow its breezes On the day that sets us free. For that day we all must labour, Though we die before it break; Cows and horses, geese and turkeys, All must toils for freedom's sake. Beasts of England, beasts of Ireland, Beasts of every land and clime, Hearken well and spread my tidings Of the golden future time.

Our role is to widen the field of discussion, not to set limits in accord with the prevailing authority.

And at that moment a wind came out of the northwest, and entered the woods and bared the golden branches, and danced over the downs, and led a company of scarlet and golden leaves, that had dreaded this day but danced now it had come; and away with a riot of dancing and glory of colour, high in the light of the sun that had set from the sight of the fields, went wind and leaves together.

Yet it is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set, uprooting the evil in the fields that we know, so that those who live after may have clean earth to till. What weather they shall have is not ours to rule.

Idiot - A member of a large and powerful tribe whose influence in human affairs has always been dominant and controlling. The Idiot's activity is not confined to any special field of thought or action, but "pervades and regulates the whole." He has the last word in everything; his decision is unappealable. He sets the fashions and opinion of taste, dictates the limitations of speech and circumscribes conduct with a dead-line.

Lost really has two disparate meanings. Losing things is about the familiar falling away, getting lost is about the unfamiliar appearing. There are objects and people that disappear from your sight or knowledge or possession; you lose a bracelet, a friend, the key. You still know where you are. Everything is familiar except that there is one item less, one missing element. Or you get lost, in which case the world has become larger than your knowledge of it. Either way, there is a loss of control. Imagine yourself streaming through time shedding gloves, umbrellas, wrenches, books, friends, homes, names. This is what the view looks like if you take a rear-facing seat on the train. Looking forward you constantly acquire moments of arrival, moments of realization, moments of discovery. The wind blows your hair back and you are greeted by what you have never seen before. The material falls away in onrushing experience. It peels off like skin from a molting snake. Of course to forget the past is to lose the sense of loss that is also memory of an absent richness and a set of clues to navigate the present by; the art is not one of forgetting but letting go. And when everything else is gone, you can be rich in loss.

The first day of spring was once the time for taking the young virgins into the fields, there in dalliance to set an example in fertility for nature to follow. Now we just set the clocks an hour ahead and change the oil in the crankcase.

We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. "No one sees the barn," he said finally. A long silence followed. "Once you've seen the signs about the barn, it becomes impossible to see the barn." He fell silent once more. People with cameras left the elevated site, replaced by others. We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. "Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism." Another silence ensued. "They are taking pictures of taking pictures," he said.

Other evils there are that may come; for Sauron is himself but a servant or emissary. Yet it is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set, uprooting the evil in the fields that we know, so that those who live after may have clean earth to till. What weather they shall have is not ours to rule.

When I go, bury me with nothing but my own skin. I spent far too many days trying to outrun this thing called mine. So, if I set myself into your arms would you hold me like the earth, quietly? I am yours. Give me a field, give me a big sky. A mountain. Give me your mouth. I’m just looking for a quiet place that I could die inside of.

What's up, Hachi?" "Someone......Just slipped through my force-field." "!!!" "A soul reaper?" "No. The Hachigyo Sogai (Twin Cliffs) I set is an original technique I developed after I became a visored. It can't be broken by a soul reaper's kido." "Then who is it? Another visored?" "I don't know. The strange thing is that they didn't break through the force-field. They Slipped through. Not even a visored should be able to do that." "Then, who or what is it?" "...It's coming." "It's a Human?" "Uh...Um...E-excuse me...where's the Bathroom?

Falling in love is like giving another person a loaded gun pointed right at your heart and trusting them to not shoot you.

Apparently, sir you Chinese are far ahead of us in every respect, except that you don’t have entrepreneurs. And our nation, though it has no drinking water, electricity, sewage system, public transportation, sense of hygiene, discipline, courtesy, or punctuality, ‘’does’’ have entrepreneurs. Thousands and thousands of them. Especially in the field of technology. And these entrepreneurs—"we" entrepreneurs—have set up all these outsourcing companies that virtually run America now.

I’ve come to believe that connecting is one of the most important business—and life—skill sets you’ll ever learn. Why? Because, flat out, people do business with people they know and like. Careers—in every imaginable field—work the same

Ay, in the temple, in the town, the field, You do me mischief. Fie, Demetrius! Your wrongs do set a scandal on my sex: We cannot fight for love, as men ay do; We should be woo'd, and were not made to woo. I'll follow thee, and make a heaven of hell, To die upon the hand I love so well.

In America, alas, beauty has become something you drive to, and nature an either/or proposition--either you ruthlessly subjugate it, as at Tocks Dam and a million other places, or you deify it, treat it as something holy and remote, a thing apart, as along the Appalachian Trail. Seldom would it occur to anyone on either side that people and nature could coexist to their mutual benefit--that, say, a more graceful bridge across the Delaware River might actually set off the grandeur around it, or that the AT might be more interesting and rewarding if it wasn't all wilderness, if from time to time it purposely took you past grazing cows and till fields.

First she said we were to keep clear of the Sirens, who sit and sing most beautifully in a field of flowers; but she said I might hear them myself so long as no one else did. Therefore, take me and bind me to the crosspiece half way up the mast; bind me as I stand upright, with a bond so fast that I cannot possibly break away, and lash the rope's ends to the mast itself. If I beg and pray you to set me free, then bind me more tightly still.

Yet it is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set, uprooting the evil in the fields that we know, so that those who live after may have clean earth to till.

Words are to be taken seriously. I try to take seriously acts of language. Words set things in motion. I’ve seen them doing it. Words set up atmospheres, electrical fields, charges. I’ve felt them doing it. Words conjure. I try not to be careless about what I utter, write, sing. I’m careful about what I give voice to.

There are a set of religious, or rather moral writers, who teach that virtue is the certain road to happiness, and vice to misery, in this world. A very wholesome and comfortable doctrine, and to which we have but one objection, namely, that it is not true.

Yes, he is here in this open field, in sunlight, among the few young trees set out to modify the bare facts-- he's here, but only because we are here. When we go, he goes with us to be your hands that never do violence, your eyes that wonder, your lives that daily praise life by living it, by laughter. He is never alone here, never cold in the field of graves.

There is, in fact, not much point in writing a novel unless you can show the possibility of moral transformation, or an increase in wisdom, operating in your chief character or characters. Even trashy bestsellers show people changing. When a fictional work fails to show change, when it merely indicates that human character is set, stony, unregenerable, then you are out of field of the novel and into that of the fable or the allegory. - from the introduction of the 1986 Norton edition

We can ask and ask but we can't have again what once seemed ours for ever - the way things looked, that church alone in the fields, a bed on a belfry floor, a remembered voice, the touch of a hand, a loved face. They've gone and you can only wait for the pain to pass. All this happened so long ago. And I never returned, never wrote, never met anyone who might have given me news of Oxgodby. So, in memory, it stays as I left it, a sealed room furnished by the past, airless, still, ink long dry on a put-down pen. But this was something I knew nothing of as I closed the gate and set off across the meadow.

Almost always the men who achieve these fundamental inventions of a new paradigm have been either very young or very new to the field whose paradigm they change.15 And perhaps that point need not have been made explicit, for obviously these are the men who, being little committed by prior practice to the traditional rules of normal science, are particularly likely to see that those rules no longer define a playable game and to conceive another set that can replace them.

Cold air rises from the ground as the sun goes down.  The eye-burning clarity of the light intensifies. The southern rim of the sky glows to a deeper blue, to pale violet, to purple, then thins to grey.  Slowly the wind falls, and the still air begins to freeze.  The solid eastern ridge is black; it has a bloom on it like the dust on the skin of a grape.  The west flares briefly.  The long, cold amber of the afterglow casts clear black lunar shadows.  There is an animal mystery in the light that sets upon the fields like a frozen muscle that will flex and wake at sunrise.

Every time I’m in an airport, I think I should drastically change my life: Kill the kid stuff, start to act my numbers, set fire to the clutter and creep below the radar like an escaped canine sneaking along the fence line. I’d be cable-knitted to the hilt, beautiful beyond buying, believe in the maker and fix my problems with prayer and property. Then, I think of you, home with the dog, the field full of purple pop-ups—we’re small and flawed, but I want to be who I am, going where I’m going, all over again.

I wrote too many poems in a language I did not yet know how to speak But I know now it doesn't matter how well I say grace if I am sitting at a table where I am offering no bread to eat So this is my wheat field you can have every acre, Love this is my garden song this is my fist fight with that bitter frost tonight I begged another stage light to become that back alley street lamp that we danced beneath the night your warm mouth fell on my timid cheek as i sang maybe i need you off key but in tune maybe i need you the way that big moon needs that open sea maybe i didn't even know i was here til i saw you holding me give me one room to come home to give me the palm of your hand every strand of my hair is a kite string and I have been blue in the face with your sky crying a flood over Iowa so you mother will wake to Venice Lover, I smashed my glass slipper to build a stained glass window for every wall inside my chest now my heart is a pressed flower and a tattered bible it is the one verse you can trust so I'm putting all of my words in the collection plate I am setting the table with bread and grace my knees are bent like the corner of a page I am saving your place

The mind must be given relaxation—it will rise improved and sharper after a good break. Just as rich fields must not be forced—for they will quickly lose their fertility if never given a break—so constant work on the anvil will fracture the force of the mind. But it regains its powers if it is set free and relaxed for a while. Constant work gives rise to a certain kind of dullness and feebleness in the rational soul.” —SENECA, ON TRANQUILITY OF MIND,

EVERYONE suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom, Winging wildly across the white Orchards and dark-green fields; on—on—and out of sight. Everyone’s voice was suddenly lifted; And beauty came like the setting sun: My heart was shaken with tears; and horror Drifted away ... O, but Everyone Was a bird; and the song was wordless; the singing will never be done.

In the 1890s, when Freud was in the dawn of his career, he was struck by how many of his female patients were revealing childhood incest victimization to him. Freud concluded that child sexual abuse was one of the major causes of emotional disturbances in adult women and wrote a brilliant and humane paper called “The Aetiology of Hysteria.” However, rather than receiving acclaim from his colleagues for his ground-breaking insights, Freud met with scorn. He was ridiculed for believing that men of excellent reputation (most of his patients came from upstanding homes) could be perpetrators of incest. Within a few years, Freud buckled under this heavy pressure and recanted his conclusions. In their place he proposed the “Oedipus complex,” which became the foundation of modern psychology. According to this theory any young girl actually desires sexual contact with her father, because she wants to compete with her mother to be the most special person in his life. Freud used this construct to conclude that the episodes of incestuous abuse his clients had revealed to him had never taken place; they were simply fantasies of events the women had wished for when they were children and that the women had come to believe were real. This construct started a hundred-year history in the mental health field of blaming victims for the abuse perpetrated on them and outright discrediting of women’s and children’s reports of mistreatment by men. Once abuse was denied in this way, the stage was set for some psychologists to take the view that any violent or sexually exploitative behaviors that couldn’t be denied—because they were simply too obvious—should be considered mutually caused. Psychological literature is thus full of descriptions of young children who “seduce” adults into sexual encounters and of women whose “provocative” behavior causes men to become violent or sexually assaultive toward them. I wish I could say that these theories have long since lost their influence, but I can’t. A psychologist who is currently one of the most influential professionals nationally in the field of custody disputes writes that women provoke men’s violence by “resisting their control” or by “attempting to leave.” She promotes the Oedipus complex theory, including the claim that girls wish for sexual contact with their fathers. In her writing she makes the observation that young girls are often involved in “mutually seductive” relationships with their violent fathers, and it is on the basis of such “research” that some courts have set their protocols. The Freudian legacy thus remains strong.

Even after centuries of human interacting, children still continue to rebel against their parents and siblings. Young marrieds look upon their in-laws and parents as obstacles to their independence and growth. Parents view their children as selfish ingrates. Husbands desert their wives and seek greener fields elsewhere. Wives form relationships with heroes of soap operas who vicariously bring excitement and romance into their empty lives. Workers often hate their bosses and co-workers and spend miserable hours with them, day after day. On a larger scale, management cannot relate with labour. Each accuses the other of unreasonable self-interests and narrow-mindedness. Religious groups often become entrapped, each in a provincial dogma resulting in hate and vindictiveness in the name of God. Nations battle blindly, under the shadow of the world annihilation, for the realization of their personal rights. Members of these groups blame rival groups for their continual sense of frustration, impotence, lack of progress and communication. We have obviously not learned much over the years. We have not paused long enough to consider the simple truth that we humans are not born with particular attitudinal sets regarding other persons, we are taught into them. We are the future generation's teachers. We are, therefore, the perpetrators of the confusion and alienation we abhor and which keeps us impotent in finding new alternatives. It is up to us to diligently discover new solutions and learn new patterns of relating, ways more conducive to growth, peace, hope and loving coexistence. Anything that is learned can be unlearned and relearned. In this process called change lies our real hope.

He looked at my lips. I suddenly found myself wanting to lick his. 'Yes,' he replied, his eyes going molten. My breath caught in my throat as he reached out and brushed a strand of hair where it had flown across my cheek. 'I believe we do have unfinished business.' 'Good.' I gulped, suddenly one big mass of tingling body parts that wanted an immediate introduction to all of his body parts. I tried to slam down a mental barrier between his mind and mine, but it did no good. The cheerleaders in my groin were setting up fundraising car washes to finance a field trip to his groin.

There was nothing left for me to do, but go. Though the things of the world were strong with me still. Such as, for example: a gaggle of children trudging through a side-blown December flurry; a friendly match-share beneath some collision-titled streetlight; a frozen clock, a bird visited within its high tower; cold water from a tin jug; towering off one’s clinging shirt post-June rain. Pearls, rags, buttons, rug-tuft, beer-froth. Someone’s kind wishes for you; someone remembering to write; someone noticing that you are not at all at ease. A bloody ross death-red on a platter; a headgetop under-hand as you flee late to some chalk-and-woodfire-smelling schoolhouse. Geese above, clover below, the sound of one’s own breath when winded. The way a moistness in the eye will blur a field of stars; the sore place on the shoulder a resting toboggan makes; writing one’s beloved’s name upon a frosted window with a gloved finger. Tying a shoe; tying a knot on a package; a mouth on yours; a hand on yours; the ending of the day; the beginning of the day; the feeling that there will always be a day ahead. Goodbye, I must now say goodbye to all of it. Loon-call in the dark; calf-cramp in the spring; neck-rub in the parlour; milk-sip at end of day. Some brandy-legged dog proudly back-ploughs the grass to cover its modest shit; a cloud-mass down-valley breaks apart over the course of a brandy-deepened hour; louvered blinds yield dusty beneath your dragging finger, and it is nearly noon and you must decide; you have seen what you have seen, and it has wounded you, and it seems you have only one choice left. Blood-stained porcelain bowl wobbles face down on wood floor; orange peel not at all stirred by disbelieving last breath there among that fine summer dust-layer, fatal knife set down in pass-panic on familiar wobbly banister, later dropped (thrown) by Mother (dear Mother) (heartsick) into the slow-flowing, chocolate-brown Potomac. None of it was real; nothing was real. Everything was real; inconceivably real, infinitely dear. These and all things started as nothing, latent within a vast energy-broth, but then we named them, and loved them, and in this way, brought them forth. And now we must lose them. I send this out to you, dear friends, before I go, in this instantaneous thought-burst, from a place where time slows and then stops and we may live forever in a single instant. Goodbye goodbye good-

The Trial By Existence Even the bravest that are slain Shall not dissemble their surprise On waking to find valor reign, Even as on earth, in paradise; And where they sought without the sword Wide fields of asphodel fore’er, To find that the utmost reward Of daring should be still to dare. The light of heaven falls whole and white And is not shattered into dyes, The light for ever is morning light; The hills are verdured pasture-wise; The angel hosts with freshness go, And seek with laughter what to brave;— And binding all is the hushed snow Of the far-distant breaking wave. And from a cliff-top is proclaimed The gathering of the souls for birth, The trial by existence named, The obscuration upon earth. And the slant spirits trooping by In streams and cross- and counter-streams Can but give ear to that sweet cry For its suggestion of what dreams! And the more loitering are turned To view once more the sacrifice Of those who for some good discerned Will gladly give up paradise. And a white shimmering concourse rolls Toward the throne to witness there The speeding of devoted souls Which God makes his especial care. And none are taken but who will, Having first heard the life read out That opens earthward, good and ill, Beyond the shadow of a doubt; And very beautifully God limns, And tenderly, life’s little dream, But naught extenuates or dims, Setting the thing that is supreme. Nor is there wanting in the press Some spirit to stand simply forth, Heroic in its nakedness, Against the uttermost of earth. The tale of earth’s unhonored things Sounds nobler there than ’neath the sun; And the mind whirls and the heart sings, And a shout greets the daring one. But always God speaks at the end: ’One thought in agony of strife The bravest would have by for friend, The memory that he chose the life; But the pure fate to which you go Admits no memory of choice, Or the woe were not earthly woe To which you give the assenting voice.’ And so the choice must be again, But the last choice is still the same; And the awe passes wonder then, And a hush falls for all acclaim. And God has taken a flower of gold And broken it, and used therefrom The mystic link to bind and hold Spirit to matter till death come. ‘Tis of the essence of life here, Though we choose greatly, still to lack The lasting memory at all clear, That life has for us on the wrack Nothing but what we somehow chose; Thus are we wholly stripped of pride In the pain that has but one close, Bearing it crushed and mystified.

Sometimes when the Spirit of God was striving and calling so plainly, I would yield and say, 'Yes, Lord; I will go.' The glory of God came upon me like a cloud, and I seemed to be carried away hundreds of miles and set down in a field of wheat, where the sheaves were falling all around me. I was filled with zeal and power, and felt as if I could stand before the whole world and plead with dying sinners. It seemed to me that I must leave all and go at once. Then Satan would come in like a flood and say, 'You would look nice preaching, being a gazing-stock for the people to make sport of. You know you could not do it.' Then I would think of my weakness and say, 'No; of course I cannot do it.' Then I would be in darkness and despair. I wanted to run away from God, or I wished I could die; but when I began to look at the matter in this way, that God knew all about me, and was able and willing to qualify me for the work, I asked Him to qualify me for the work. I ASKED HIM TO QUALIFY ME.

The twenty-first chapter gives the novel the quality of genuine fiction, an art founded on the principle that human beings change. There is, in fact, not much point in writing a novel unless you can show the possibility of moral transformation, or an increase in wisdom, operating in your chief character or characters. Even trashy bestsellers show people changing. When a fictional work fails to show change, when it merely indicates that human character is set, stony, unregenerable, then you are out of the field of the novel and into that of the fable or the allegory.

It was civilization itself which inflicted this wound upon modern man. Once the increase of empirical knowledge, and more exact modes of thought, made sharper divisions between the sciences inevitable, and once the increasingly complex machinery of State necessitated a more rigorous separation of ranks and occupations, then the inner unity of human nature was severed too, and a disastrous conflict set its harmonious powers at variance. The intuitive and the speculative understanding now withdrew in hostility to take up positions in their respective fields, whose frontiers they now began to guard with jealous mistrust; and with this confining of our activity to a particular sphere we have given ourselves a master within, who not infrequently ends by suppressing the rest of our potentialities. While in one a riotous imagination ravages the hard-won fruits of the intellect, in another the spirit of abstraction stifles the fire at which the heart should have warmed itself and the imagination been kindled.

On a dry day fire is set to this combustible refuse, which sweeps over the field, leaving it bare and clean, and ready for the hoes. The earth is loosened about the roots of the old stubble, and in process of time another crop springs up from the last year’s seed. It is the same the year following; but the third year the seed has exhausted its strength, and the field must be ploughed and planted again. The second year the cane is sweeter and yields more than the first, and the third year more than the second.

What is a sigh? That would be another good subject for a field study. Is it just a long, deep, audible exhalation of breath? Rose's sigh was intense but not subdued. It was frustrated but not yet sad. A sigh resets the respiratory system so it was possible that my mother had been holding her breath, which suggests she was more nervous than she appeared to be. A sigh is an emotional response to being set a difficult task.

I will give you a few guarantees of my own, Mukthar. I guarantee that before the sun sets, even if you win, even if my cold, dead body is lying on the field, you will rue the day you ever set foot in the Plains. For every inch you advance I'll exact gallons of Mukthar blood. I guarantee that there will be not one family of the Bear Mukthars or they will mourn at least one of theirs. I guarantee that even if you are triumphant the fruits of victory will taste like dust in your mouth. I guarantee that if you fail to kill me today, you will meet me again. You will meet me at the Ximerionian border. You will meet me at every city, town, village, and hamlet. You will meet me on every Amirathan crossroad, on every hill. I will fight you with every sword at my command, with every arrow, with every dagger. I will fight you with pitchforks. I will fight you with the very rocks of the land you try to conquer. I will never, never, never give up. ~Anaxantis, before the Battle of the Zinchara (May 29th, 1453 aed)

I am not a toy, September! Fairyland cannot just cast me aside when it’s finished playing with me! If this place could steal my life from me, well, I, too, can steal. I know how the world works—the real world. I brought it all back with me—taxes and customs and laws and the Greenlist. If they wanted to just drop me back in the human world, I can drop the human world into theirs, every bit of it. I punished them all! I bound down their wings and I set the lions on them if they squeaked about it. I made Fairyland nice for the children who come over the gears, I made it safe. I did it for every child before me who had a life here, who was happy here! Don’t you see, September? No one should have to go back. Not ever. We can fix this world, you and I. Uncouple the gears and save us both! Let this be a place where no one has to be dragged home, screaming, to a field full of tomatoes and a father’s fists!

Reading these stories, it's tempting to think that the arts to be learned are those of tracking, hunting, navigating, skills of survival and escape. Even in the everyday world of the present, an anxiety to survive manifests itself in cars and clothes for far more rugged occasions than those at hand, as though to express some sense of the toughness of things and of readiness to face them. But the real difficulties, the real arts of survival, seem to lie in more subtle realms. There, what's called for is a kind of resilience of the psyche, a readiness to deal with what comes next. These captives lay out in a stark and dramatic way what goes on in every life: the transitions whereby you cease to be who you were. Seldom is it as dramatic, but nevertheless, something of this journey between the near and the far goes on in every life. Sometimes an old photograph, an old friend, an old letter will remind you that you are not who you once were, for the person who dwelt among them, valued this, chose that, wrote thus, no longer exists. Without noticing it you have traversed a great distance; the strange has become familiar and the familiar if not strange at least awkward or uncomfortable, an outgrown garment. And some people travel far more than others. There are those who receive as birthright an adequate or at least unquestioned sense of self and those who set out to reinvent themselves, for survival or for satisfaction, and travel far. Some people inherit values and practices as a house they inhabit; some of us have to burn down that house, find our own ground, build from scratch, even as a psychological metamorphosis.

Autumn was her happiest season. There was an expectancy about its sounds and shapes: the distant thunk pomp of leather and young bodies on the practice field near her house made her think of bands and cold Coca-Colas, parched peanuts and the sight of people's breath in the air. There was even something to look forward to when school started - renewals of old feuds and friendships, weeks of learning again what one half forgot in the long summer. Fall was hot-supper time with everything to eat one missed in the morning when too sleepy to enjoy it.

Tell me, as a pagan, who do you worship?' 'Worship?' 'That's right. I imagine you must have a pretty wide open field. So to whom do you set up your household altar? To whom do you bow down? To whom do you pray to at dawn and at dusk?' 'The female principle. It's an empowerment thing. You know.' 'Indeed. And this female principle of yours. Does she have a name?' 'She's the goddess within us all. She doesn't need a name.' 'Ah,' said Wednesday, with a wide monkey grin, 'so do you hold mighty bacchanals in her honour? Do you drink blood wine under the full moon, while scarlet candles burn in silver candle holders? Do you step naked into the seafoam, chanting ecstactically to your nameless goddess while the waves lick at your legs, lapping your thighs like the tongues of a thousand leopards?

When I became convinced that the Universe is natural – that all the ghosts and gods are myths, there entered into my brain, into my soul, into every drop of my blood, the sense, the feeling, the joy of freedom. The walls of my prison crumbled and fell, the dungeon was flooded with light and all the bolts, and bars, and manacles became dust. I was no longer a servant, a serf or a slave. There was for me no master in all the wide world -- not even in infinite space. I was free -- free to think, to express my thoughts -- free to live to my own ideal -- free to live for myself and those I loved -- free to use all my faculties, all my senses -- free to spread imagination's wings -- free to investigate, to guess and dream and hope -- free to judge and determine for myself -- free to reject all ignorant and cruel creeds, all the "inspired" books that savages have produced, and all the barbarous legends of the past -- free from popes and priests -- free from all the "called" and "set apart" -- free from sanctified mistakes and holy lies -- free from the fear of eternal pain -- free from the winged monsters of the night -- free from devils, ghosts and gods. For the first time I was free. There were no prohibited places in all the realms of thought -- no air, no space, where fancy could not spread her painted wings -- no chains for my limbs -- no lashes for my back -- no fires for my flesh -- no master's frown or threat – no following another's steps -- no need to bow, or cringe, or crawl, or utter lying words. I was free. I stood erect and fearlessly, joyously, faced all worlds. And then my heart was filled with gratitude, with thankfulness, and went out in love to all the heroes, the thinkers who gave their lives for the liberty of hand and brain -- for the freedom of labor and thought -- to those who fell on the fierce fields of war, to those who died in dungeons bound with chains -- to those who proudly mounted scaffold's stairs -- to those whose bones were crushed, whose flesh was scarred and torn -- to those by fire consumed -- to all the wise, the good, the brave of every land, whose thoughts and deeds have given freedom to the sons of men. And then I vowed to grasp the torch that they had held, and hold it high, that light might conquer darkness still.

How contrary an animal is man, who most treasures what he refuses or abandons! The soldier who has chosen war for his profession in the midst of battle longs for peace, and in the security of peace hungers for the clash of sword and the chaos of the bloody field; the slave who sets himself against his unchosen servitude and by his industry purchases his freedom, then binds himself to a patron more cruel and demanding than his master was; the lover who abandons his mistress lives thereafter in his dream of her imagined perfection.

He saw the sun rise over forest and mountains and set over the distant palm shore. At night he saw the starts in the heavens and the sickle-shaped moon floating like a boat in the blue. He saw trees, stars, animals, clouds, rainbows, rocks, weeds, flowers, brook and river, the sparkle of dew on bushes in the morning, distant high mountains blue and pale; birds sang, bees hummed, the wind blew gently across the rice fields. All this, colored and in a thousand different forms, had always been there.

At times these days I think of the way the sun would set on the farmland around our small house in the autumn. A view of the horizon, the whole entire circle of it, if you turned, the sun setting behind you, the sky in front becoming pink and soft, then slightly blue again, as though it could not stop going on in its beauty, then the land closest to the setting sun would get dark, almost black against the orange line of horizon, but if you turn around, the land is still available to the eye with such softness, the few trees, the quiet fields of cover crops already turned, and the sky lingering, lingering, then finally dark. As though the soul can be quiet for those moments. All life amazes me.

What happens to the leaves after they turn red and golden and fall away? What happens to the singing birds when they can’t sing any longer? What happens to their quick wings? Do you think there is any personal heaven for any of us? Do you think anyone, the other side of that darkness, will call to us, meaning us? Beyond the trees the foxes keep teaching their children to live in the valley. so they never seem to vanish, they are always there in the blossom of light that stands up every morning in the dark sky. And over one more set of hills, along the sea, the last roses have opened their factories of sweetness and are giving it back to the world. If I had another life I would want to spend it all on some unstinting happiness. I would be a fox, or a tree full of waving branches. I wouldn’t mind being a rose in a field full of roses. Fear has not yet occurred to them, nor ambition. Reason they have not yet thought of. Neither do they ask how long they must be roses, and then what. Or any other foolish question.

When you look out across the fields And you both see the same star Pitching its tent on the point of the steeple — That is the time to set out on your journey, With half a loaf and your mother’s blessing. Leave behind the places that you knew: All that you leave behind you will find once more, You will find it in the stories; The sleeping beauty in her high tower With her talking cat asleep Solid beside her feet — you will see her again. When the cat wakes up he will speak in Irish and Russian And every night he will tell you a different tale About the firebird that stole the golden apples, Gone every morning out of the emperor’s garden, And about the King of Ireland’s Son and the Enchanter’s Daughter. The story the cat does not know is the Book of Ruth And I have no time to tell you how she fared When she went out at night and she was afraid, In the beginning of the barley harvest, Or how she trusted to strangers and stood by her word: You will have to trust me, she lived happily ever after.

The time you won your town the race We chaired you through the market-place; Man and boy stood cheering by, And home we brought you shoulder-high. Today, the road all runners come, Shoulder-high we bring you home, And set you at your threshold down, Townsman of a stiller town. Smart lad, to slip betimes away From fields where glory does not stay, And early though the laurel grows It withers quicker than the rose. Eyes the shady night has shut Cannot see the record cut, And silence sounds no worse than cheers After earth has stopped the ears. Now you will not swell the rout Of lads that wore their honours out, Runners whom renown outran And the name died before the man. So set, before its echoes fade, The fleet foot on the sill of shade, And hold to the low lintel up The still-defended challenge-cup. And round that early-laurelled head Will flock to gaze the strengthless dead, And find unwithered on its curls The garland briefer than a girl’s.

Daffy had stopped talking, without her noticing. It was if he'd run out of words. He did a peculiar thing, then; he reached out and touched Mary's cheekbone; lightly, as if he was brushing away a speck of coal dust. She thought of Doll, that first morning, wiping mud out of the lost child's eyes. Her throat hurt, all at once, as if she were swallowing a stone. She wished the two of them could stay forever frozen in this moment, hidden in the grass, as the setting sun slid across the fields of Monmouth. Before any asking, any refusal. While this strange, tame young man was still looking at her as is she were worth any price.

I'm sorry I started all this by trying to fly and I'd take it back if I could but I can't, so please think of it from my point of view: if you die I will have a dead brother and it will be me instead of you who suffers. Justin thought of his brother on that warm summer day, standing up on the windowsill holding both their futures, light and changeable as air, in his outstretched arms. Of course, Justin thought, I'm part of his fate just as he's part of mine. I hadn't considered it from his point of view. Or from the point of view of the universe, either. It's just a playing field crammed full of cause and effect, billions of dominoes, each knocking over billions more, setting off trillions of actions every second. A butterfly flaps its wings in Africa and my brother in Luton thinks he can fly. The child nodded. A piano might fall on your head, he said, but it also might not. And in the meantime you never know. Something nice might happen.

In business, what's required for short term profit and what's required for long term resilience are very often at a juxtaposition. I used to run track and field and any track runner will tell you that winning a 100 meter race requires a completely different skill set than winning a marathon. And the same skills that may win you the 100 meter race may infact cause you to lose a marathon. And the skills that may win you a marathon may cause you to lose a 100 meter race. It's not really about balance. But it's about management asking the question what race is this business in at this moment and what skills are required to win this exact race right now. And then it's about asking that question over and over and over again all of the time with every business that the company is engaged in.

A new concept of god: “something not very different from the sum total of the physical laws of the universe; that is, gravitation plus quantum mechanics plus grand unified field theories plus a few other things equaled god. And by that all they meant was that here were a set of exquisitely powerful physical principles that seemed to explain a great deal that was otherwise inexplicable about the universe. Laws of nature…that apply not just locally, not just in Glasgow, but far beyond: Edinburgh, Moscow…Mars…the center of the Milky Way, and out by the most distant quarters known. That the same laws of physics apply everywhere is quite remarkable. Certainly that represents a power greater than any of us.

Mind control is the process by which individual or collective freedom of choice and action is compromised by agents or agencies that modify or distort perception, motivation, affect, cognition and/or behavioral outcomes. It is neither magical nor mystical, but a process that involves a set of basic social psychological principles. Conformity, compliance, persuasion, dissonance, reactance, guilt and fear arousal, modeling and identification are some of the staple social influence ingredients well studied in psychological experiments and field studies. In some combinations, they create a powerful crucible of extreme mental and behavioral manipulation when synthesized with several other real-world factors, such as charismatic, authoritarian leaders, dominant ideologies, social isolation, physical debilitation, induced phobias, and extreme threats or promised rewards that are typically deceptively orchestrated, over an extended time period in settings where they are applied intensively.

So, there was this beautiful princess. She was locked in a high tower, one whose smart walls had cleaver holes in them that could give her anything: food, a clique of fantastic friends, wonderful clothes. And, best of all, there was this mirror on the wall, so that the princess could look at her beautiful self all day long. The only problem with the tower was that there way no way out. The builders had forgotten to put in an elevator, or even a set of stairs. She was stuck up there. One day, the princess realized that she was bored. The view from the tower--gentle hills, fields of white flowers, and a deep, dark forest--fascinated her. She started spending more time looking out the window than at her own reflection, as is often the case with troublesome girls. And it was pretty clear that no prince was showing up, or at least that he was really late. So the only thing was to jump. The hole in the wall gave her a lovely parasol to catch her when she fell, and a wonderful new dress to wear in the fields and forest, and a brass key to make sure she could get back into the tower if she needed to. But the princess, laughing pridefully, tossed the key into the fireplace, convinced she would never need to return to the tower. Without another glance in the mirror, she strolled out onto the balcony and stepped off into midair. The thing was, it was a long way down, a lot farther than the princess had expected, and the parasol turned out to be total crap. As she fell, the princess realized she should have asked for a bungee jacket or a parachute or something better than a parasol, you know? She struck the ground hard, and lay there in a crumpled heap, smarting and confused, wondering how things had worked out this way. There was no prince around to pick her up, her new dress was ruined, and thanks to her pride, she had no way back into the tower. And the worst thing was, there were no mirrors out there in the wild, so the princess was left wondering whether she in fact was still beautiful . . . or if the fall had changed the story completely.

It is true I have not seen the earth nor men, but in your books I have drunk fragrant wine, I have sung songs, I have hunted stags and wild boars in the forests, have loved women ... Beauties as ethereal as clouds, created by the magic of your poets and geniuses, have visited me at night, and have whispered in my ears wonderful tales that have set my brain in a whirl. In your books I have climbed to the peaks of Elburz and Mont Blanc, and from there I have seen the sun rise and have watched it at evening flood the sky, the ocean, and the mountain-tops with gold and crimson. I have watched from there the lightning flashing over my head and cleaving the storm-clouds. I have seen green forests, fields, rivers, lakes, towns. I have heard the singing of the sirens, and the strains of the shepherds' pipes; I have touched the wings of comely devils who flew down to converse with me of God ... In your books I have flung myself into the bottomless pit, performed miracles, slain, burned towns, preached new religions, conquered whole kingdoms ...

A writer sets out to write science fiction but isn’t familiar with the genre, hasn’t read what’s been written. This is a fairly common situation, because science fiction is known to sell well but, as a subliterary genre, is not supposed to be worth study—what’s to learn? It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does. In the same way, critics who set out to talk about a fantasy novel without having read any fantasy since they were eight, and in ignorance of the history and extensive theory of fantasy literature, will make fools of themselves because they don’t know how to read the book. They have no contextual information to tell them what its tradition is, where it’s coming from, what it’s trying to do, what it does. This was liberally proved when the first Harry Potter book came out and a lot of literary reviewers ran around shrieking about the incredible originality of the book. This originality was an artifact of the reviewers’ blank ignorance of its genres (children’s fantasy and the British boarding-school story), plus the fact that they hadn’t read a fantasy since they were eight. It was pitiful. It was like watching some TV gourmet chef eat a piece of buttered toast and squeal, “But this is delicious! Unheard of! Where has it been all my life?

I picked up an old microscope at a flea market in Verona. In the long evenings, in my imitation of life science, I set up in the courtyard and examined local specimens. Pointless pleasure, stripped of ends. The ancient contadino from across the road, long since convinced that we were mad, could not resist coming over for a look. I showed him where to put his eye. I watched him, thinking, this is how we attach to existence. We look through awareness’s tube and see the swarm at the end of the scope, taking what we come upon there for the full field of sight itself. The old man lifted his eye from the microscope lens, crying. Signore, ho ottantotto anni e non ho mai Saputo prima che cosa ci fosse in una goccia d’acqua. I’m eighty-eight years old and I never knew what was in a droplet of water.

So when we say that Christians work from a gospel worldview, it does not mean that they are constantly speaking about Christian teaching in their work. Some people think of the gospel as something we are principally to “look at” in our work. This would mean that Christian musicians should play Christian music, Christian writers should write stories about conversion, and Christian businessmen and -women should work for companies that make Christian-themed products and services for Christian customers. Yes, some Christians in those fields would sometimes do well to do those things, but it is a mistake to think that the Christian worldview is operating only when we are doing such overtly Christian activities. Instead, think of the gospel as a set of glasses through which you “look” at everything else in the world. Christian artists, when they do this faithfully, will not be completely beholden either to profit or to naked self-expression; and they will tell the widest variety of stories. Christians in business will see profit as only one of several bottom lines; and they will work passionately for any kind of enterprise that serves the common good. The Christian writer can constantly be showing the destructiveness of making something besides God into the central thing, even without mentioning God directly.

There was a slight noise from the direction of the dim corner where the ladder was. It was the king descending. I could see that he was bearing something in one arm, and assisting himself with the other. He came forward into the light; upon his breast lay a slender girl of fifteen. She was but half conscious; she was dying of smallpox. Here was heroism at its last and loftiest possibility, its utmost summit; this was challenging death in the open field unarmed, with all the odds against the challenger, no reward set upon the contest, and no admiring world in silks and cloth of gold to gaze and applaud; and yet the king’s bearing was as serenely brave as it had always been in those cheaper contests where knight meets knight in equal fight and clothed in protecting steel. He was great now; sublimely great. The rude statues of his ancestors in his palace should have an addition—I would see to that; and it would not be a mailed king killing a giant or a dragon, like the rest, it would be a king in commoner’s garb bearing death in his arms that a peasant mother might look her last upon her child and be comforted.

Let us never weary of repeating, that to think first of the disinherited and sorrowful classes; to relieve, ventilate, enlighten, and love them; to enlarge their horizon to a magnificent extent; to lavish upon them education in every shape; to set them an example of labor, and never of indolence; to lessen the weight of the individual burden by increasing the notion of the universal aim; to limit poverty without limiting wealth; to create vast fields of public and popular activity; to have, like Briareus, a hundred hands to stretch out on all sides to the crushed and the weak; to employ the collective power in the grand task of opening workshops for every arm, schools for every aptitude, and laboratories for every intellect; to increase wages, diminish toil, and balance the debit and credit--that is to say, proportion enjoyment to effort, and supply to demand; in a word, to evolve from the social machine, on behalf of those who suffer and those who are ignorant, more light and more comfort, is (and sympathetic souls must not forget it) the first of brotherly obligations, and (let egotistic hearts learn the fact) the first of political necessities.

Justify my soul, O God, but also from Your fountains fill my will with fire. Shine in my mind, although perhaps this means “be darkness to my experience,” but occupy my heart with Your tremendous Life. Let my eyes see nothing in the world but Your glory, and let my hands touch nothing that is not for Your service. Let my tongue taste no bread that does not strengthen me to praise Your great mercy. I will hear Your voice and I will hear all harmonies You have created, singing Your hymns. Sheep’s wool and cotton from the field shall warm me enough that I may live in Your service; I will give the rest to Your poor. Let me use all things for one sole reason: to find my joy in giving You glory. Therefore keep me, above all things, from sin. Keep me from the death of deadly sin which puts hell in my soul. Keep me from the murder of lust that blinds and poisons my heart. Keep me from the sins that eat a man’s flesh with irresistible fire until he is devoured. Keep me from loving money in which is hatred, from avarice and ambition that suffocate my life. Keep me from the dead works of vanity and the thankless labor in which artists destroy themselves for pride and money and reputation, and saints are smothered under the avalanche of their own importunate zeal. Stanch in me the rank wound of covetousness and the hungers that exhaust my nature with their bleeding. Stamp out the serpent envy that stings love with poison and kills all joy. Untie my hands and deliver my heart from sloth. Set me free from the laziness that goes about disguised as activity when activity is not required of me, and from the cowardice that does what is not demanded, in order to escape sacrifice. But give me the strength that waits upon You in silence and peace. Give me humility in which alone is rest, and deliver me from pride which is the heaviest of burdens. And possess my whole heart and soul with the simplicity of love. Occupy my whole life with the one thought and the one desire of love, that I may love not for the sake of merit, not for the sake of perfection, not for the sake of virtue, not for the sake of sanctity, but for You alone. For there is only one thing that can satisfy love and reward it, and that is You alone.

David had been photographing endangered species in the Hawaiian rainforest and elsewhere for years, and his collections of photographs and Suzie's tarot cards seemed somehow related. Because species disappear when their habitat does, he photographed them against the nowhere of a black backdrop (which sometimes meant propping up a black velvet cloth in the most unlikely places and discouraging climates), and so each creature, each plant, stood as though for a formal portrait alone against the darkness. The photographs looked like cards too, card from the deck of the world in which each creature describes a history, a way of being in the world, a set of possibilities, a deck from which cards are being thrown away, one after another. Plants and animals are a language, even in our reduced, domesticated English, where children grow like weeds or come out smelling like roses, the market is made up of bulls and bears, politics of hawks and doves. Like cards, flora and fauna could be read again and again, not only alone but in combination, in the endlessly shifting combinations of a nature that tells its own stories and colors ours, a nature we are losing without even knowing the extent of that loss.

A change in direction was required. The story you finished was perhaps never the one you began. Yes! He would take charge of his life anew, binding his breaking selves together. Those changes in himself that he sought, he himself would initiate and make them. No more of this miasmic, absent drift. How had he ever persuaded himself that his money-mad burg would rescue him all by itself, this Gotham in which Jokers and Penguins were running riot with no Batman (or even Robin) to frustrate their schemes, this Metropolis built of Kryptonite in which no Superman dared set foot, where wealth was mistaken for riches and the joy of possession for happiness, where people lived such polished lives that the great rough truths of raw existence had been rubbed and buffed away, and in which human souls had wandered so separately for so long that they barely remembered how to touch; this city whose fabled electricity powered the electric fences that were being erected between men and men, and men and women, too? Rome did not fall because her armies weakened but because Romans forgot what being Roman meant. Might this new Rome actually be more provincial than its provinces; might these new Romans have forgotten what and how to value, or had they never known? Were all empires so undeserving, or was this one particularly crass? Was nobody in all this bustling endeavor and material plenitude engaged, any longer, on the deep quarry-work of the mind and heart? O Dream-America, was civilization's quest to end in obesity and trivia, at Roy Rogers and Planet Hollywood, in USA Today and on E!; or in million-dollar-game-show greed or fly-on-the-wall voyeurism; or in the eternal confessional booth of Ricki and Oprah and Jerry, whose guests murdered each other after the show; or in a spurt of gross-out dumb-and-dumber comedies designed for young people who sat in darkness howling their ignorance at the silver screen; or even at the unattainable tables of Jean-Georges Vongerichten and Alain Ducasse? What of the search for the hidden keys that unlock the doors of exaltation? Who demolished the City on the Hill and put in its place a row of electric chairs, those dealers in death's democracy, where everyone, the innocent, the mentally deficient, the guilty, could come to die side by side? Who paved Paradise and put up a parking lot? Who settled for George W. Gush's boredom and Al Bore's gush? Who let Charlton Heston out of his cage and then asked why children were getting shot? What, America, of the Grail? O ye Yankee Galahads, ye Hoosier Lancelots, O Parsifals of the stockyards, what of the Table Round? He felt a flood bursting in him and did not hold back. Yes, it had seduced him, America; yes, its brilliance aroused him, and its vast potency too, and he was compromised by this seduction. What he opposed in it he must also attack in himself. It made him want what it promised and eternally withheld. Everyone was an American now, or at least Americanized: Indians, Uzbeks, Japanese, Lilliputians, all. America was the world's playing field, its rule book, umpire, and ball. Even anti-Americanism was Americanism in disguise, conceding, as it did, that America was the only game in town and the matter of America the only business at hand; and so, like everyone, Malik Solanka now walked its high corridors cap in hand, a supplicant at its feast; but that did not mean he could not look it in the eye. Arthur had fallen, Excalibur was lost and dark Mordred was king. Beside him on the throne of Camelot sat the queen, his sister, the witch Morgan le Fay.

The answer to all questions of life and death, "the absolute solution" was written all over the world he had known: it was like a traveller realising that the wild country he surveys is not an accidental assembly of natural phenomena, but the page in a book where these mountains and forests, and fields, and rivers are disposed in such a way as to form a coherent sentence; the vowel of a lake fusing with the consonant of a sibilant slope; the windings of a road writing its message in a round hand, as clear as that of one's father; trees conversing in dumb-show, making sense to one who has learnt the gestures of their language... Thus the traveller spells the landscape and its sense is disclosed, and likewise, the intricate pattern of human life turns out to be monogrammatic, now quite clear to the inner eye disentangling the interwoven letters. And the word, the meaning which appears is astounding in its simplicity: the greatest surprise being perhaps that in the course of one's earthly existence, with one's brain encompassed by an iron ring, by the close-fitting dream of one's own personality - one had not made by chance that simple mental jerk, which would have set free imprisoned thought and granted it the great understanding.

One night he sits up. In cots around him are a few dozen sick or wounded. A warm September wind pours across the countryside and sets the walls of the tent rippling. Werner’s head swivels lightly on his neck. The wind is strong and gusting stronger, and the corners of the tent strain against their guy ropes, and where the flaps at the two ends come up, he can see trees buck and sway. Everything rustles. Werner zips his old notebook and the little house into his duffel and the man beside him murmurs questions to himself and the rest of the ruined company sleeps. Even Werner’s thirst has faded. He feels only the raw, impassive surge of the moonlight as it strikes the tent above him and scatters. Out there, through the open flaps of the tent, clouds hurtle above treetops. Toward Germany, toward home. Silver and blue, blue and silver. Sheets of paper tumble down the rows of cots, and in Werner’s chest comes a quickening. He sees Frau Elena kneel beside the coal stove and bank up the fire. Children in their beds. Baby Jutta sleeps in her cradle. His father lights a lamp, steps into an elevator, and disappears. The voice of Volkheimer: What you could be. Werner’s body seems to have gone weightless under his blanket, and beyond the flapping tent doors, the trees dance and the clouds keep up their huge billowing march, and he swings first one leg and then the other off the edge of the bed. “Ernst,” says the man beside him. “Ernst.” But there is no Ernst; the men in the cots do not reply; the American soldier at the door of the tent sleeps. Werner walks past him into the grass. The wind moves through his undershirt. He is a kite, a balloon. Once, he and Jutta built a little sailboat from scraps of wood and carried it to the river. Jutta painted the vessel in ecstatic purples and greens, and she set it on the water with great formality. But the boat sagged as soon as the current got hold of it. It floated downstream, out of reach, and the flat black water swallowed it. Jutta blinked at Werner with wet eyes, pulling at the battered loops of yarn in her sweater. “It’s all right,” he told her. “Things hardly ever work on the first try. We’ll make another, a better one.” Did they? He hopes they did. He seems to remember a little boat—a more seaworthy one—gliding down a river. It sailed around a bend and left them behind. Didn’t it? The moonlight shines and billows; the broken clouds scud above the trees. Leaves fly everywhere. But the moonlight stays unmoved by the wind, passing through clouds, through air, in what seems to Werner like impossibly slow, imperturbable rays. They hang across the buckling grass. Why doesn’t the wind move the light? Across the field, an American watches a boy leave the sick tent and move against the background of the trees. He sits up. He raises his hand. “Stop,” he calls. “Halt,” he calls. But Werner has crossed the edge of the field, where he steps on a trigger land mine set there by his own army three months before, and disappears in a fountain of earth.

Instructions for Dad. I don't want to go into a fridge at an undertaker's. I want you to keep me at home until the funeral. Please can someone sit with me in case I got lonely? I promise not to scare you. I want to be buried in my butterfly dress, my lilac bra and knicker set and my black zip boots (all still in the suitcase that I packed for Sicily). I also want to wear the bracelet Adam gave me. Don't put make-up on me. It looks stupid on dead people. I do NOT want to be cremated. Cremations pollute the atmosphere with dioxins,k hydrochloric acid, hydrofluoric acid, sulphur dioxide and carbon dioxide. They also have those spooky curtains in crematoriums. I want a biodegradable willow coffin and a woodland burial. The people at the Natural Death Centre helped me pick a site not for from where we live, and they'll help you with all the arrangements. I want a native tree planted on or near my grave. I'd like an oak, but I don't mind a sweet chestnut or even a willow. I want a wooden plaque with my name on. I want wild plants and flowers growing on my grave. I want the service to be simple. Tell Zoey to bring Lauren (if she's born by then). Invite Philippa and her husband Andy (if he wants to come), also James from the hospital (though he might be busy). I don't want anyone who doesn't know my saying anything about me. THe Natural Death Centre people will stay with you, but should also stay out of it. I want the people I love to get up and speak about me, and even if you cry it'll be OK. I want you to say honest things. Say I was a monster if you like, say how I made you all run around after me. If you can think of anything good, say that too! Write it down first, because apparently people often forget what they mean to say at funerals. Don't under any circumstances read that poem by Auden. It's been done to death (ha, ha) and it's too sad. Get someone to read Sonnet 12 by Shakespeare. Music- "Blackbird" by the Beatles. "Plainsong" by The Cure. "Live Like You Were Dying" by Tim McGraw. "All the Trees of the Field Will Clap Their Hands" by Sufian Stevens. There may not be time for all of them, but make sure you play the last one. Zoey helped me choose them and she's got them all on her iPod (it's got speakers if you need to borrow it). Afterwards, go to a pub for lunch. I've got £260 in my savings account and I really want you to use it for that. Really, I mean it-lunch is on me. Make sure you have pudding-sticky toffee, chocolate fudge cake, ice-cream sundae, something really bad for you. Get drunk too if you like (but don't scare Cal). Spend all the money. And after that, when days have gone by, keep an eye out for me. I might write on the steam in the mirror when you're having a bath, or play with the leaves on the apple tree when you're out in the garden. I might slip into a dream. Visit my grave when you can, but don't kick yourself if you can't, or if you move house and it's suddenly too far away. It looks pretty there in the summer (check out the website). You could bring a picnic and sit with me. I'd like that. OK. That's it. I love you. Tessa xxx

Santiago The road seen, then not seen, the hillside hiding then revealing the way you should take, the road dropping away from you as if leaving you to walk on thin air, then catching you, holding you up, when you thought you would fall, and the way forward always in the end the way that you followed, the way that carried you into your future, that brought you to this place, no matter that it sometimes took your promise from you, no matter that it had to break your heart along the way: the sense of having walked from far inside yourself out into the revelation, to have risked yourself for something that seemed to stand both inside you and far beyond you, that called you back to the only road in the end you could follow, walking as you did, in your rags of love and speaking in the voice that by night became a prayer for safe arrival, so that one day you realized that what you wanted had already happened long ago and in the dwelling place you had lived in before you began, and that every step along the way, you had carried the heart and the mind and the promise that first set you off and drew you on and that you were more marvelous in your simple wish to find a way than the gilded roofs of any destination you could reach: as if, all along, you had thought the end point might be a city with golden towers, and cheering crowds, and turning the corner at what you thought was the end of the road, you found just a simple reflection, and a clear revelation beneath the face looking back and beneath it another invitation, all in one glimpse: like a person and a place you had sought forever, like a broad field of freedom that beckoned you beyond; like another life, and the road still stretching on.

Dear Jeff, I happened to see the Channel 7 TV program "Hooray for Hollywood" tonight with the segment on Blade Runner. (Well, to be honest, I didn't happen to see it; someone tipped me off that Blade Runner was going to be a part of the show, and to be sure to watch.) Jeff, after looking—and especially after listening to Harrison Ford discuss the film—I came to the conclusion that this indeed is not science fiction; it is not fantasy; it is exactly what Harrison said: futurism. The impact of Blade Runner is simply going to be overwhelming, both on the public and on creative people—and, I believe, on science fiction as a field. Since I have been writing and selling science fiction works for thirty years, this is a matter of some importance to me. In all candor I must say that our field has gradually and steadily been deteriorating for the last few years. Nothing that we have done, individually or collectively, matches Blade Runner. This is not escapism; it is super realism, so gritty and detailed and authentic and goddam convincing that, well, after the segment I found my normal present-day "reality" pallid by comparison. What I am saying is that all of you collectively may have created a unique new form of graphic, artistic expression, never before seen. And, I think, Blade Runner is going to revolutionize our conceptions of what science fiction is and, more, can be. Let me sum it up this way. Science fiction has slowly and ineluctably settled into a monotonous death: it has become inbred, derivative, stale. Suddenly you people have come in, some of the greatest talents currently in existence, and now we have a new life, a new start. As for my own role in the Blade Runner project, I can only say that I did not know that a work of mine or a set of ideas of mine could be escalated into such stunning dimensions. My life and creative work are justified and completed by Blade Runner. Thank you...and it is going to be one hell of a commercial success. It will prove invincible. Cordially, Philip K. Dick

Spring had come early that year, with warm quick rains and sudden frothing of pink peach blossoms and dogwood dappling with white stars the dark river swamp and far-off hills. Already the plowing was nearly finished, and the bloody glory of the sunset colored the fresh-cut furrows of red Georgia clay to even redder hues. The moist hungry earth, waiting upturned for the cotton seeds, showed pinkish on the sandy tops of furrows, vermilion and scarlet and maroon where shadows lay along the sides of the trenches. The whitewashed brick plantation house seemed an island set in a wild red sea, a sea of spiraling, curving, crescent billows petrified suddenly at the moment when the pink-tipped waves were breaking into surf. For here were no long, straight furrows, such as could be seen in the yellow clay fields of the flat middle Georgia country or in the lush black earth of the coastal plantations. The rolling foothill country of north Georgia was plowed in a million curves to keep the rich earth from washing down into the river bottoms. It was a savagely red land, blood-colored after rains, brick dust in droughts, the best cotton land in the world. It was a pleasant land of white houses, peaceful plowed fields and sluggish yellow rivers, but a land of contrasts, of brightest sun glare and densest shade. The plantation clearings and miles of cotton fields smiled up to a warm sun, placid, complacent. At their edges rose the virgin forests, dark and cool even in the hottest noons, mysterious, a little sinister, the soughing pines seeming to wait with an age-old patience, to threaten with soft sighs: "Be careful! Be careful! We had you once. We can take you back again.

Call me Ishmael. Some years ago--never mind how long precisely--having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people's hats off--then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me. There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs--commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there. Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see?--Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster--tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here? But look! here come more crowds, pacing straight for the water, and seemingly bound for a dive. Strange! Nothing will content them but the extremest limit of the land; loitering under the shady lee of yonder warehouses will not suffice. No. They must get just as nigh the water as they possibly can without falling in. And there they stand--miles of them--leagues. Inlanders all, they come from lanes and alleys, streets and avenues--north, east, south, and west. Yet here they all unite. Tell me, does the magnetic virtue of the needles of the compasses of all those ships attract them thither? Once more. Say you are in the country; in some high land of lakes. Take almost any path you please, and ten to one it carries you down in a dale, and leaves you there by a pool in the stream. There is magic in it. Let the most absent-minded of men be plunged in his deepest reveries--stand that man on his legs, set his feet a-going, and he will infallibly lead you to water, if water there be in all that region. Should you ever be athirst in the great American desert, try this experiment, if your caravan happen to be supplied with a metaphysical professor. Yes, as every one knows, meditation and water are wedded for ever.

21.  If he is secure at all points, be prepared for him. If he is in superior strength, evade him. 22.  If your opponent is of choleric temper, seek to irritate him. Pretend to be weak, that he may grow arrogant. [Wang Tzu, quoted by Tu Yu, says that the good tactician plays with his adversary as a cat plays with a mouse, first feigning weakness and immobility, and then suddenly pouncing upon him.] 23.  If he is taking his ease, give him no rest. [This is probably the meaning though Mei Yao-ch’en has the note: “while we are taking our ease, wait for the enemy to tire himself out.” The YU LAN has “Lure him on and tire him out.”] If his forces are united, separate them. [Less plausible is the interpretation favored by most of the commentators: “If sovereign and subject are in accord, put division between them.”] 24.  Attack him where he is unprepared, appear where you are not expected. 25.  These military devices, leading to victory, must not be divulged beforehand. 26.  Now the general who wins a battle makes many calculations in his temple ere the battle is fought. [Chang Yu tells us that in ancient times it was customary for a temple to be set apart for the use of a general who was about to take the field, in order that he might there elaborate his plan of campaign.] The general who loses a battle makes but few calculations beforehand. Thus do many calculations lead to victory, and few calculations to defeat: how much more no calculation at all! It is by attention to this point that I can foresee who is likely to win or lose.

Poem in October" It was my thirtieth year to heaven Woke to my hearing from harbour and neighbour wood And the mussel pooled and the heron Priested shore The morning beckon With water praying and call of seagull and rook And the knock of sailing boats on the net webbed wall Myself to set foot That second In the still sleeping town and set forth. My birthday began with the water- Birds and the birds of the winged trees flying my name Above the farms and the white horses And I rose In rainy autumn And walked abroad in a shower of all my days. High tide and the heron dived when I took the road Over the border And the gates Of the town closed as the town awoke. A springful of larks in a rolling Cloud and the roadside bushes brimming with whistling Blackbirds and the sun of October Summery On the hill's shoulder, Here were fond climates and sweet singers suddenly Come in the morning where I wandered and listened To the rain wringing Wind blow cold In the wood faraway under me. Pale rain over the dwindling harbour And over the sea wet church the size of a snail With its horns through mist and the castle Brown as owls But all the gardens Of spring and summer were blooming in the tall tales Beyond the border and under the lark full cloud. There could I marvel My birthday Away but the weather turned around. It turned away from the blithe country And down the other air and the blue altered sky Streamed again a wonder of summer With apples Pears and red currants And I saw in the turning so clearly a child's Forgotten mornings when he walked with his mother Through the parables Of sun light And the legends of the green chapels And the twice told fields of infancy That his tears burned my cheeks and his heart moved in mine. These were the woods the river and sea Where a boy In the listening Summertime of the dead whispered the truth of his joy To the trees and the stones and the fish in the tide. And the mystery Sang alive Still in the water and singingbirds. And there could I marvel my birthday Away but the weather turned around. And the true Joy of the long dead child sang burning In the sun. It was my thirtieth Year to heaven stood there then in the summer noon Though the town below lay leaved with October blood. O may my heart's truth Still be sung On this high hill in a year's turning.

The sun is setting, Ona reminds us, and our light is fading. We should light the kerosene lamp. But what of your question? asks Greta. Should we consider asking the men to leave? None of us have ever asked the men for anything, Agatha states. Not a single thing, not even for the salt to be passed, not even for a penny or a moment alone or to take the washing in or to open a curtain or to go easy on the small yearlings or to put your hand on the small of my back as I try, again, for the twelfth or thirteenth time, to push a baby out of my body. Isn't it interesting, she says, that the one and only request the women would make of the men would be to leave? The women break out laughing again. They simply can't stop laughing, and if one of them stops for a moment she will quickly resume laughing with a loud burst, and off they'll all go again. It's not an option, says Agata, at last. No, the others (finally in complete accord!) agree. Asking the men to leave is not an option. Greta asks the women to imagine her team, Ruth and Cheryl (Agata yelps in exasperation at the mention of their names), requesting that Greta leave them alone for the day to graze in the field and do nothing. Imagine my hens, adds Agata, telling me to turn around and leave the premises when I show up to gather the eggs. Ona begs the women to stop making her laugh, she's afraid she'll go into premature labour. This makes them laugh harder! They even find it uproariously funny that I continue to write during all of this. Ona's laughter is the finest, the most exquisite sound in all of nature, filled with breath and promise, and the only sound she releases into the world that she doesn't also try to retrieve.

My mother delayed my enrollment in the Fascist scouts, the Balilla, as long as possible, firstly because she did not want me to learn how to handle weapons, but also because the meetings that were then held on Sunday mornings (before the Fascist Saturday was instituted) consisted mostly of a Mass in the scouts' chapel. When I had to be enrolled as part of my school duties, she asked that I be excused from the Mass; this was impossible for disciplinary reasons, but my mother saw to it that the chaplain and the commander were aware that I was not a Catholic and that I should not be asked to perform any external acts of devotion in church. In short, I often found myself in situations different from others, looked on as if I were some strange animal. I do not think this harmed me: one gets used to persisting in one's habits, to finding oneself isolated for good reasons, to putting up with the discomfort that this causes, to finding the right way to hold on to positions which are not shared by the majority. But above all I grew up tolerant of others' opinions, particularly in the field of religion, remembering how irksome it was to hear myself mocked because I did not follow the majority's beliefs. And at the same time I have remained totally devoid of that taste for anticlericalism which is so common in those who are educated surrounded by religion. I have insisted on setting down these memories because I see that many non-believing friends let their children have a religious education 'so as not to give them complexes', 'so that they don't feel different from the others.' I believe that this behavior displays a lack of courage which is totally damaging pedagogically. Why should a young child not begin to understand that you can face a small amount of discomfort in order to stay faithful to an idea? And in any case, who said that young people should not have complexes? Complexes arise through a natural attrition with the reality that surrounds us, and when you have complexes you try to overcome them. Life is in fact nothing but this triumphing over one's own complexes, without which the formation of a character and personality does not happen.

On September 16, in defiance of the cease-fire, Ariel Sharon’s army circled the refugee camps of Sabra and Shatila, where Fatima and Falasteen slept defenselessly without Yousef. Israeli soldiers set up checkpoints, barring the exit of refugees, and allowed their Lebanese Phalange allies into the camp. Israeli soldiers, perched on rooftops, watched through their binoculars during the day and at night lit the sky with flares to guide the path of the Phalange, who went from shelter to shelter in the refugee camps. Two days later, the first western journalists entered the camp and bore witness. Robert Fisk wrote of it in Pity the Nation: They were everywhere, in the road, the laneways, in the back yards and broken rooms, beneath crumpled masonry and across the top of garbage tips. When we had seen a hundred bodies, we stopped counting. Down every alleyway, there were corpses—women, young men, babies and grandparents—lying together in lazy and terrible profusion where they had been knifed or machine-gunned to death. Each corridor through the rubble produced more bodies. The patients at the Palestinian hospital had disappeared after gunmen ordered the doctors to leave. Everywhere, we found signs of hastily dug mass graves. Even while we were there, amid the evidence of such savagery, we could see the Israelis watching us. From the top of the tower block to the west, we could see them staring at us through field-glasses, scanning back and forth across the streets of corpses, the lenses of the binoculars sometimes flashing in the sun as their gaze ranged through the camp. Loren Jenkins [of the Washington Post] cursed a lot. Jenkins immediately realized that the Israeli defense minister would have to bear some responsibility for this horror. “Sharon!” he shouted. “That fucker [Ariel] Sharon! This is Deir Yassin all over again.

There was once a town in the heart of America where all life seemed to live in harmony with its surroundings. The town lay in the midst of a checkerboard of prosperous farms, with fields of grain and hillsides of orchards where, in spring, white clouds of bloom drifted above the green fields. In autumn, oak and maple and birch set up a blaze of color that flamed and flickered across a backdrop of pines. Then foxes barked in the hills and deer silently crossed the fields, half hidden in the mists of the fall mornings. Along the roads, laurel, viburnum, and alder, great ferns and wildflowers delighted the traveler's eye through much of the year. Even in winter the roadsides were places of beauty, where countless birds came to feed on the berries and on the seed heads of the dried weeds rising above the snow. The countryside was, in fact, famous for the abundance and variety of its bird life, and when the flood of migrants was pouring through in spring and fall people traveled from great distances to observe them. Others came to fish the streams, which flowed clear and cold out of the hills and contained shady pools where trout lay. So it had been from the days many years ago when the first settlers raised their homes, sank their wells, and built their barns. Then a strange blight crept over the area and everything began to change. Some evil spell had settled on the community: mysterious maladies swept the flocks of chickens, the cattle, and sheep sickened and died. Everywhere was a shadow of death. The farmers spoke of much illness among their families. In the town the doctors had become more and more puzzled by new kinds of sickness appearing among their patients. There had been sudden and unexplained deaths, not only among adults but even among children whoe would be stricken suddently while at play and die within a few hours. There was a strange stillness. The birds, for example--where had they gone? Many people spoke of them, puzzled and disturbed. The feeding stations in the backyards were deserted. The few birds seen anywhere were moribund; they trembled violently and could not fly. It was a spring without voices. On the mornings that had once throbbed with the dawn chorus of robins, catbirds, doves, jays, wrens, and scores of other bird voices there was no sound; only silence lay over the fields and woods and marsh. On the farms the hens brooded, but no chicks hatched. The farmers complained that they were unable to raise any pigs--the litters were small and the young survived only a few days. The apple trees were coming into bloom but no bees droned among the blossoms, so there was no pollination and there would be no fruit. The roadsides, once so attractive, were now lined with browned and withered vegetation as though swept by fire. These, too, were silent, deserted by all living things. Even the streams were not lifeless. Anglers no longer visited them, for all the fish had died. In the gutters under the eaves and between the shingles of the roofs, a white granular powder still showed a few patches; some weeks before it had fallen like snow upon the roofs and the lawns, the fields and streams. No witchcraft, no enemy action had silenced the rebirth of life in this stricken world. The people had done it to themselves.

The breakdown of the neighborhoods also meant the end of what was essentially an extended family....With the breakdown of the extended family, too much pressure was put on the single family. Mom had no one to stay with Granny, who couldn't be depended on to set the house on fire while Mom was off grocery shopping. The people in the neighborhood weren't there to keep an idle eye out for the fourteen-year-old kid who was the local idiot, and treated with affection as well as tormented....So we came up with the idea of putting everybody in separate places. We lock them up in prisons, mental hospitals, geriatric housing projects, old-age homes, nursery schools, cheap suburbs that keep women and the kids of f the streets, expensive suburbs where everybody has their own yard and a front lawn that is tended by a gardener so all the front lawns look alike and nobody uses them anyway....the faster we lock them up, the higher up goes the crime rate, the suicide rate, the rate of mental breakdown. The way it's going, there'll be more of them than us pretty soon. Then you'll have to start asking questions about the percentage of the population that's not locked up, those that claim that the other fifty-five per cent is crazy, criminal, or senile. WE have to find some other way....So I started imagining....Suppose we built houses in a circle, or a square, or whatever, connected houses of varying sizes, but beautiful, simple. And outside, behind the houses, all the space usually given over to front and back lawns, would be common too. And there could be vegetable gardens, and fields and woods for the kids to play in. There's be problems about somebody picking the tomatoes somebody else planted, or the roses, or the kids trampling through the pea patch, but the fifty groups or individuals who lived in the houses would have complete charge and complete responsibility for what went on in their little enclave. At the other side of the houses, facing the, would be a little community center. It would have a community laundry -- why does everybody have to own a washing machine?-- and some playrooms and a little cafe and a communal kitchen. The cafe would be an outdoor one, with sliding glass panels to close it in in winter, like the ones in Paris. This wouldn't be a full commune: everybody would have their own way of earning a living, everybody would retain their own income, and the dwellings would be priced according to size. Each would have a little kitchen, in case people wanted to eat alone, a good-sized living space, but not enormous, because the community center would be there. Maybe the community center would be beautiful, lush even. With playrooms for the kids and the adults, and sitting rooms with books. But everyone in the community, from the smallest walking child, would have a job in it.

Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting.

The difference between the Platonic theory and the morphic-resonance hypothesis can be illustrated by analogy with a television set. The pictures on the screen depend on the material components of the set and the energy that powers it, and also on the invisible transmissions it receives through the electromagnetic field. A sceptic who rejected the idea of invisible influences might try to explain everything about the pictures and sounds in terms of the components of the set – the wires, transistors, and so on – and the electrical interactions between them. Through careful research he would find that damaging or removing some of these components affected the pictures or sounds the set produced, and did so in a repeatable, predictable way. This discovery would reinforce his materialist belief. He would be unable to explain exactly how the set produced the pictures and sounds, but he would hope that a more detailed analysis of the components and more complex mathematical models of their interactions would eventually provide the answer. Some mutations in the components – for example, by a defect in some of the transistors – affect the pictures by changing their colours or distorting their shapes; while mutations of components in the tuning circuit cause the set to jump from one channel to another, leading to a completely different set of sounds and pictures. But this does not prove that the evening news report is produced by interactions among the TV set’s components. Likewise, genetic mutations may affect an animal’s form and behaviour, but this does not prove that form and behaviour are programmed in the genes. They are inherited by morphic resonance, an invisible influence on the organism coming from outside it, just as TV sets are resonantly tuned to transmissions that originate elsewhere.

An asteroid or comet traveling at cosmic velocities would enter the Earth’s atmosphere at such a speed that the air beneath it couldn’t get out of the way and would be compressed, as in a bicycle pump. As anyone who has used such a pump knows, compressed air grows swiftly hot, and the temperature below it would rise to some 60,000 Kelvin, or ten times the surface temperature of the Sun. In this instant of its arrival in our atmosphere, everything in the meteor’s path—people, houses, factories, cars—would crinkle and vanish like cellophane in a flame. One second after entering the atmosphere, the meteorite would slam into the Earth’s surface, where the people of Manson had a moment before been going about their business. The meteorite itself would vaporize instantly, but the blast would blow out a thousand cubic kilometers of rock, earth, and superheated gases. Every living thing within 150 miles that hadn’t been killed by the heat of entry would now be killed by the blast. Radiating outward at almost the speed of light would be the initial shock wave, sweeping everything before it. For those outside the zone of immediate devastation, the first inkling of catastrophe would be a flash of blinding light—the brightest ever seen by human eyes—followed an instant to a minute or two later by an apocalyptic sight of unimaginable grandeur: a roiling wall of darkness reaching high into the heavens, filling an entire field of view and traveling at thousands of miles an hour. Its approach would be eerily silent since it would be moving far beyond the speed of sound. Anyone in a tall building in Omaha or Des Moines, say, who chanced to look in the right direction would see a bewildering veil of turmoil followed by instantaneous oblivion. Within minutes, over an area stretching from Denver to Detroit and encompassing what had once been Chicago, St. Louis, Kansas City, the Twin Cities—the whole of the Midwest, in short—nearly every standing thing would be flattened or on fire, and nearly every living thing would be dead. People up to a thousand miles away would be knocked off their feet and sliced or clobbered by a blizzard of flying projectiles. Beyond a thousand miles the devastation from the blast would gradually diminish. But that’s just the initial shockwave. No one can do more than guess what the associated damage would be, other than that it would be brisk and global. The impact would almost certainly set off a chain of devastating earthquakes. Volcanoes across the globe would begin to rumble and spew. Tsunamis would rise up and head devastatingly for distant shores. Within an hour, a cloud of blackness would cover the planet, and burning rock and other debris would be pelting down everywhere, setting much of the planet ablaze. It has been estimated that at least a billion and a half people would be dead by the end of the first day. The massive disturbances to the ionosphere would knock out communications systems everywhere, so survivors would have no idea what was happening elsewhere or where to turn. It would hardly matter. As one commentator has put it, fleeing would mean “selecting a slow death over a quick one. The death toll would be very little affected by any plausible relocation effort, since Earth’s ability to support life would be universally diminished.

Ultimately, the roast turkey must be regarded as a monument to Boomer's love. Look at it now, plump and glossy, floating across Idaho as if it were a mammoth, mutated seed pod. Hear how it backfires as it passes the silver mines, perhaps in tribute to the origin of the knives and forks of splendid sterling that a roast turkey and a roast turkey alone possesses the charisma to draw forth into festivity from dark cupboards. See how it glides through the potato fields, familiarly at home among potatoes but with an air of expectation, as if waiting for the flood of gravy. The roast turkey carries with it, in its chubby hold, a sizable portion of our primitive and pagan luggage. Primitive and pagan? Us? We of the laser, we of the microchip, we of the Union Theological Seminary and Time magazine? Of course. At least twice a year, do not millions upon millions of us cybernetic Christians and fax machine Jews participate in a ritual, a highly stylized ceremony that takes place around a large dead bird? And is not this animal sacrificed, as in days of yore, to catch the attention of a divine spirit, to show gratitude for blessings bestowed, and to petition for blessings coveted? The turkey, slain, slowly cooked over our gas or electric fires, is the central figure at our holy feast. It is the totem animal that brings our tribe together. And because it is an awkward, intractable creature, the serving of it establishes and reinforces the tribal hierarchy. There are but two legs, two wings, a certain amount of white meat, a given quantity of dark. Who gets which piece; who, in fact, slices the bird and distributes its limbs and organs, underscores quite emphatically the rank of each member in the gathering. Consider that the legs of this bird are called 'drumsticks,' after the ritual objects employed to extract the music from the most aboriginal and sacred of instruments. Our ancestors, kept their drums in public, but the sticks, being more actively magical, usually were stored in places known only to the shaman, the medicine man, the high priest, of the Wise Old Woman. The wing of the fowl gives symbolic flight to the soul, but with the drumstick is evoked the best of the pulse of the heart of the universe. Few of us nowadays participate in the actual hunting and killing of the turkey, but almost all of us watch, frequently with deep emotion, the reenactment of those events. We watch it on TV sets immediately before the communal meal. For what are footballs if not metaphorical turkeys, flying up and down a meadow? And what is a touchdown if not a kill, achieved by one or the other of two opposing tribes? To our applause, great young hungers from Alabama or Notre Dame slay the bird. Then, the Wise Old Woman, in the guise of Grandma, calls us to the table, where we, pretending to be no longer primitive, systematically rip the bird asunder. Was Boomer Petaway aware of the totemic implications when, to impress his beloved, he fabricated an outsize Thanksgiving centerpiece? No, not consciously. If and when the last veil dropped, he might comprehend what he had wrought. For the present, however, he was as ignorant as Can o' Beans, Spoon, and Dirty Sock were, before Painted Stick and Conch Shell drew their attention to similar affairs. Nevertheless, it was Boomer who piloted the gobble-stilled butterball across Idaho, who negotiated it through the natural carving knives of the Sawtooth Mountains, who once or twice parked it in wilderness rest stops, causing adjacent flora to assume the appearance of parsley.

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

As I learned the house, and began to read, and began to see more of the Quality, I saw that just as the fields and its workers were the engine of everything, the house itself would have been lost without those who tasked within it. My father, like all the masters, built an entire apparatus to disguise this weakness, to hide how prostrate they truly were. The tunnel, where I first entered the house, was the only entrance that the Tasked were allowed to use, and this was not only for the masters’ exaltation but to hide us, for the tunnel was but one of the many engineering marvels built into Lockless so as to make it appear powered by some imperceptible energy. There were dumbwaiters that made the sumptuous supper appear from nothing, levers that seemed to magically retrieve the right bottle of wine hidden deep in the manor’s bowels, cots in the sleeping quarters, drawn under the canopy bed, because those charged with emptying the chamber-pot must be hidden even more than the chamber-pot itself. The magic wall that slid away from me that first day and opened the gleaming world of the house hid back stairways that led down into the Warrens, the engine-room of Lockless, where no guest would ever visit. And when we did appear in the polite areas of the house, as we did during the soirées, we were made to appear in such appealing dress and grooming so that one could imagine that we were not slaves at all but mystical ornaments, a portion of the manor’s charm. But I now knew the truth—that Maynard’s folly, though more profane, was unoriginal. The masters could not bring water to boil, harness a horse, nor strap their own drawers without us. We were better than them—we had to be. Sloth was literal death for us, while for them it was the whole ambition of their lives. It occurred to me then that even my own intelligence was unexceptional, for you could not set eyes anywhere on Lockless and not see the genius in its makers—genius in the hands that carved out the columns of the portico, genius in the songs that evoked, even in the whites, the deepest of joys and sorrows, genius in the men who made the fiddle strings whine and trill at their dances, genius in the bouquet of flavors served up from the kitchen, genius in all our lost, genius in Big John. Genius in my mother.

My heart has been broken a million times by the same hand, yet I would let it happen a million times again if it meant it was by you. I was weaker than I thought / my heart sagging like the stems of uncut, unkempt flowers because of the sunlight you held in your faraway heart / Maybe you weren't mine to love / I think I'm falling The wallpaper above her bed frame was glued in my brain the way it was glued against her walls / I got so close to running my fingers against it / I wish I felt the confidence to tell you the truth, as strongly as I felt stubborn to hide it Do you hear that? That's my heart knocking against my chest at the sight of you / I've never heard anything more terrifying / how could you provide me air and suffocate me at the same time? Blue hydrangeas, pink tulips, red bleeding hearts / it's all you ever loved, but never yourself / I never understood why anyone spoke poorly of the color brown, it was a dream on you And that kiss... I think about it all the time / was it wrong of me to think of you when you were never mine? / I feel lucky to have had you, but dismayed to know what life is like without you Don't worry if the flowers pass, I'll be right there to plant you more / and when the soil grows old, I'll comfort it in the chaos of the storm Am I a ghost in your story? / because you look at me with conviction when I don't even know the crime I committed Burden me with your secrets / so I can carry the weight you're so fearful of letting go To be close to you was to be haunted by what I couldn't have and to be reminded of how much I truly wanted you / and I'd be lying if I said I never thought about where my hands would take me across your body Midnights and daydreaming hours of retracing steps to how we possibly got here / how did I ever let time pass this long without seeing you? / my heart was so full of our memories that painted my body like a scrapbook I tried to stop loving you, but along the way, you found your way into the sound of my laugh, the style of my writing, and the threads of my clothes / I would've gone down on my knees just to hear you say yes Neck stiff, legs weak, eyes set on what we could've looked like if you hadn't left / 'moving on' was a broken record that I never had the strength to lift the needle off of / If hearts were meant to love then why did mine feel so empty? / and suddenly, I fell Glances, gazes, eyes following places they shouldn't have seen / intimacy was to be seen by you; free falling was to be touched by you / there was no such thing as a crowded room where you stood She lives in between the pinks and yellows of the world / where a beautiful color is unknown to others / and when she speaks, I become a bee enthralled in a field of daisies

The Garden of Proserpine" Here, where the world is quiet; Here, where all trouble seems Dead winds' and spent waves' riot In doubtful dreams of dreams; I watch the green field growing For reaping folk and sowing, For harvest-time and mowing, A sleepy world of streams. I am tired of tears and laughter, And men that laugh and weep; Of what may come hereafter For men that sow to reap: I am weary of days and hours, Blown buds of barren flowers, Desires and dreams and powers And everything but sleep. Here life has death for neighbour, And far from eye or ear Wan waves and wet winds labour, Weak ships and spirits steer; They drive adrift, and whither They wot not who make thither; But no such winds blow hither, And no such things grow here. No growth of moor or coppice, No heather-flower or vine, But bloomless buds of poppies, Green grapes of Proserpine, Pale beds of blowing rushes Where no leaf blooms or blushes Save this whereout she crushes For dead men deadly wine. Pale, without name or number, In fruitless fields of corn, They bow themselves and slumber All night till light is born; And like a soul belated, In hell and heaven unmated, By cloud and mist abated Comes out of darkness morn. Though one were strong as seven, He too with death shall dwell, Nor wake with wings in heaven, Nor weep for pains in hell; Though one were fair as roses, His beauty clouds and closes; And well though love reposes, In the end it is not well. Pale, beyond porch and portal, Crowned with calm leaves, she stands Who gathers all things mortal With cold immortal hands; Her languid lips are sweeter Than love's who fears to greet her To men that mix and meet her From many times and lands. She waits for each and other, She waits for all men born; Forgets the earth her mother, The life of fruits and corn; And spring and seed and swallow Take wing for her and follow Where summer song rings hollow And flowers are put to scorn. There go the loves that wither, The old loves with wearier wings; And all dead years draw thither, And all disastrous things; Dead dreams of days forsaken, Blind buds that snows have shaken, Wild leaves that winds have taken, Red strays of ruined springs. We are not sure of sorrow, And joy was never sure; To-day will die to-morrow; Time stoops to no man's lure; And love, grown faint and fretful, With lips but half regretful Sighs, and with eyes forgetful Weeps that no loves endure. From too much love of living, From hope and fear set free, We thank with brief thanksgiving Whatever gods may be That no life lives for ever; That dead men rise up never; That even the weariest river Winds somewhere safe to sea. Then star nor sun shall waken, Nor any change of light: Nor sound of waters shaken, Nor any sound or sight: Nor wintry leaves nor vernal, Nor days nor things diurnal; Only the sleep eternal In an eternal night.

Todd wrapped his arm around her. They stood together in silent awe, watching the sunset. All Christy could think of was how this was what she had always wanted, to be held in Todd's arms as well as in his heart. Just as the last golden drop of sun melted into the ocean, Christy closed her eyes and drew in a deep draught of the sea air. "Did you know," Todd said softly, "that the setting sun looks so huge from the island of Papua New Guinea that it almost looks like you're on another planet? I've seen pictures." Then, as had happened with her reflection in her cup of tea and in her disturbing dream, Christy heard those two piercing words, "Let go." She knew what she had to do. Turning to face Todd, she said, "Pictures aren't enough for you, Todd. You have to go." "I will. Someday. Lord willing," he said casually. "Don't you see, Todd? The Lord is willing. This is your 'someday.' Your opportunity to go on the mission field is now. You have to go." Their eyes locked in silent communion. "God has been telling me something, Todd. He's been telling me to let you go. I don't want to, but I need to obey Him." Todd paused. "Maybe I should tell them I can only go for the summer. That way I'll only be gone a few months. A few weeks, really. We'll be back together in the fall." Christy shook her head. "It can't be like that, Todd. You have to go for as long as God tells you to go. And as long as I've known you, God has been telling you to go. His mark is on your life, Todd. It's obvious. You need to obey Him." "Kilikina," Todd said, grasping Christy by the shoulders, "do you realize what you're saying? If I go, I may never come back." "I know." Christy's reply was barely a whisper. She reached for the bracelet on her right wrist and released the lock. Then taking Todd's hand, she placed the "Forever" bracelet in his palm and closed his fingers around it. "Todd," she whispered, forcing the words out, "the Lord bless you and keep you. The Lord make His face to shine upon you and give you His peace. And may you always love Jesus more than anything else. Even more than me." Todd crumbled to the sand like a man who had been run through with a sword. Burying his face in his hands, he wept. Christy stood on wobbly legs. What have I done? Oh, Father God, why do I have to let him go? Slowly lowering her quivering body to the sand beside Todd, Christy cried until all she could taste was the salty tears on her lips. They drove the rest of the way home in silence. A thick mantle hung over them, entwining them even in their separation. To Christy it seemed like a bad dream. Someone else had let go of Todd. Not her! He wasn't really going to go. They pulled into Christy's driveway, and Todd turned off the motor. Without saying anything, he got out of Gus and came around to Christy's side to open the door for her. She stepped down and waited while he grabbed her luggage from the backseat. They walked to the front door. Todd stopped her under the trellis of wildly fragrant white jasmine. With tears in his eyes, he said in a hoarse voice, "I'm keeping this." He lifted his hand to reveal the "Forever" bracelet looped between his fingers. "If God ever brings us together again in this world, I'm putting this back on your wrist, and that time, my Kilikina, it will stay on forever." He stared at her through blurry eyes for a long minute, and then without a hug, a kiss, or even a good-bye, Todd turned to go. He walked away and never looked back.