Fishes Inspiring Quotes

A photographer is like a cod, which produces a million eggs in order that one may reach maturity.

My name is Salmon, like the fish; first name, Susie. I was fourteen when I was murdered.

A child fish asks mother fish, 'Mother, why cannot we live on the Earth?' Mother fish replied, 'Dear… it is not the place for fish, it is the place for selfish

This world is full of dragon-slayers. What we need are a few more people who aren't too proud to listen to a few fish.

Can't stand all these poisonous creatures, all these snakes and insects and fish and things. Wretched things, biting everybody. And then people expect me to tell them what to do about it. I'll tell them what to do. Don't get bitten in the first place. (quoting Dr. Struan Sutherland)

They say when you meet the love of your life, time stops, and that's true. What they don't tell you is that when it starts again, it moves extra fast to catch up.

If we were to one day encounter a form of life more powerful and intelligent than our own, and it regarded us as we regard fish, what would be our argument against being eaten?

If you believe in your heart that you are right, then you must fight with all your might to do it your way. Only dead fish swim with the stream all the time.

People who are too optimistic seem annoying. This is an unfortunate misinterpretation of what an optimist really is. An optimist is neither naive, nor blind to the facts, nor in denial of grim reality. An optimist believes in the optimal usage of all options available, no matter how limited. As such, an optimist always sees the big picture. How else to keep track of all that’s out there? An optimist is simply a proactive realist. An idealist focuses only on the best aspects of all things (sometimes in detriment to reality); an optimist strives to find an effective solution. A pessimist sees limited or no choices in dark times; an optimist makes choices. When bobbing for apples, an idealist endlessly reaches for the best apple, a pessimist settles for the first one within reach, while an optimist drains the barrel, fishes out all the apples and makes pie. Annoying? Yes. But, oh-so tasty!

We are here because one odd group of fishes had a peculiar fin anatomy that could transform into legs for terrestrial creatures; because the earth never froze entirely during an ice age; because a small and tenuous species, arising in Africa a quarter of a million years ago, has managed, so far, to survive by hook and by crook. We may yearn for a ‘higher answer’– but none exists

Faith is not like a raincoat, only to be worn on drizzly days.

You might be a big fish in a little pond, Doesn't mean you've won 'Coz along may come a bigger one.

You can understand conflict, but you don'thave to live in it.

The soul is in God and God in the soul, just as the fish is in the sea and the sea in the fish.

Yet, at the same time, as the Eastern sages also knew, man is a worm and food for worms. This is the paradox: he is out of nature and hopelessly in it; he is dual, up in the stars and yet housed in a heart-pumping, breath-gasping body that once belonged to a fish and still carries the gill-marks to prove it. His body is a material fleshy casing that is alien to him in many ways—the strangest and most repugnant way being that it aches and bleeds and will decay and die. Man is literally split in two: he has an awareness of his own splendid uniqueness in that he sticks out of nature with a towering majesty, and yet he goes back into the ground a few feet in order to blindly and dumbly rot and disappear forever. It is a terrifying dilemma to be in and to have to live with. The lower animals are, of course, spared this painful contradiction, as they lack a symbolic identity and the self-consciousness that goes with it. They merely act and move reflexively as they are driven by their instincts. If they pause at all, it is only a physical pause; inside they are anonymous, and even their faces have no name. They live in a world without time, pulsating, as it were, in a state of dumb being. This is what has made it so simple to shoot down whole herds of buffalo or elephants. The animals don't know that death is happening and continue grazing placidly while others drop alongside them. The knowledge of death is reflective and conceptual, and animals are spared it. They live and they disappear with the same thoughtlessness: a few minutes of fear, a few seconds of anguish, and it is over. But to live a whole lifetime with the fate of death haunting one's dreams and even the most sun-filled days—that's something else.

A man who tosses worms in the river isn’t 't necessarily a friend of the fish. All the fish who take him for a friend, who think the worm’s got no hook in it, usually end up in the frying pan.

I am probably in the sky, flying with the fish, or maybe in the ocean, swimming with the pigeons. See, my world is different...

What's the worth of sadness in front of happiness? Like a leaf that's blown away by the wind. What's the worth of despair in front of hope? Like a dirty stone that's thrown in a clean pond. What's the worth of chaos in front of peace? Like a flying kite that's string has been cut down. What's the worth of disunion in front of the union? Like a fish that's breathing but not in water.

Any rapist would feel pretty dang upset to see his car packed full with rotting fish heads and limburger cheese...Also, if the 542 women responsible were crowded onto the street where he lived, insisting that he move himself and his stinky car to another locale. Nobody likes to be pelted with 2060 bloody tampons.

God would not bring you through a Red Sea and turn around and allow you to perish in a fish pond.

Any creature, even one as unassuming as a fish, can become something mighty. When they courageously endure their trials, they meet their destiny.

Formerly I believed books were made like this: a poet came, lightly opened his lips, and the inspired fool burst into song – if you please! But it seems, before they can launch a song, poets must tramp for days with callused feet, and the sluggish fish of the imagination flounders softly in the slush of the heart. And while, with twittering rhymes, they boil a broth of loves and nightingales, the tongueless street merely writhes for lack of something to shout or say

One of the strangest things is the act of creation. You are faced with a blank slate—a page, a canvas, a block of stone or wood, a silent musical instrument. You then look inside yourself. You pull and tug and squeeze and fish around for slippery raw shapeless things that swim like fish made of cloud vapor and fill you with living clamor. You latch onto something. And you bring it forth out of your head like Zeus giving birth to Athena. And as it comes out, it takes shape and tangible form. It drips on the canvas, and slides through your pen, it springs forth and resonates into the musical strings, and slips along the edge of the sculptor’s tool onto the surface of the wood or marble. You have given it cohesion. You have brought forth something ordered and beautiful out of nothing. You have glimpsed the divine.

In shallow men the fish of little thoughts cause much commotion. In oceanic minds the whales of inspiration make hardly a ruffle.

Every fish you throw back into the ocean is a triumph of the idea that human beings can be better. I do my best, every day, to throw at least one fish back into the ocean. I hope that you will join me.

I have never seen or heard of such a fish. But I must kill him. I am glad we do not have to try to kill the stars.” Imagine if each day a man must try to kill the moon, he thought. The moon runs away. . . . Then he was sorry for the great fish that had nothing to eat and his determination to kill him never relaxed in his sorrow for him. . . . There is no one worthy of eating him from the manner of his behavior and his great dignity. I do not understand these things, he thought. But it is good that we do not have to try to kill the sun or the moon or the stars. It is enough to live on the sea and kill our true brothers.

This idea comes to you, you can see it, but to accomplish it you need what I call a "setup." For example, you may need a working shop or a working painting studio. You may beed a working music studio. Or a computer room where you can write something. It's crucial to have a setup, so that, at any given moment, when you get an idea, you have the place and the tools to make it happen. If you don't have a setup, there are many times when you get the inspiration, the idea, but you have no tools, no place to put it together. And the idea just sits there and festers. Overtime, it will go away. You didn't filfill it--and that's just a heartache.

Intuition is seeing the solution.....its emotion and intellect going together.

I might face death any minute now! But I should try not to put myself in harms' way as long as I can live. Of course it is not important if I die, because this is going to happen anyway. I know my purpose, my purpose is: How will my life or death impact the lives of others?

As an Odd-Fish, it is not my job to be right,' said Sir Oort. 'It is my job to be wrong in new and exciting ways.

Goes to show you can’t judge a fish by the hook in it’s mouth.

Well, the plenty of fish in the sea thing is bullshit," I said. "The other fish are weird, smell funny, or hooked on someone else's fishing line.

One who fishes in shallow waters limits the kind of fish he can catch.

Birds can sing and fish can swim and I can do this.

Are you born again?" he asked, as we taxied down the runway. He was rather prim and tense, maybe a little like David Eisenhower with a spastic colon. I did not know how to answer for a moment. "Yes," I said. "I am." My friends like to tell each other that I am not really a born-again Christian. They think of me more along the lines of that old Jonathan Miller routine, where he said, "I'm not really a Jew -- I'm Jew-ish." They think I am Christian-ish. But I'm not. I'm just a bad Christian. A bad born-again Christian. And certainly, like the apostle Peter, I am capable of denying it, of presenting myself as a sort of leftist liberation-theology enthusiast and maybe sort of a vaguely Jesusy bon vivant. But it's not true. And I believe that when you get on a plane, if you start lying you are totally doomed. So I told the truth; that I am a believer, a convert. I'm probably about three months away from slapping an aluminum Jesus-fish on the back of my car, although I first want to see if the application or stickum in any way interferes with my lease agreement. And believe me, all this boggles even *my* mind. But it's true. I could go to a gathering of foot-wash Baptists and, except for my dreadlocks, fit right in. I would wash their feet; I would let them wash mine.

Now this was one of the things I had been brought up to eschew like disgrace; it being held by my father neither the part of a Christian nor yet of a gentleman to set his own livelihood and fish for that of others, on the cast of painted pasteboard.

What exists beneath the sea? I’d always pictured it in colors of emerald and aquamarine, where black velvet fish with sequined eyes swim among plankton. But, when my eyes adjust, I see gray stones, lost anchors, wet wood, buttons, hooks, and eyes, the salem witches who wouldn’t float, stars and stripes, missing vessels, windup toys, the souls of Romeo and Juliet, peaches, cream, pistons, screams, cages of ribs and birds, tunnels, nutcracker soldiers, satin bows, drugstore signs, Pandora box ripped open at its hinges.

The Earth has music for those who listen." - Kevin Ansbro

There were plenty of fishes in the pond, yet i fell in love with a crocodile.

If each day falls inside each night, There exists a well where clarity is imprisoned. We need to sit on the rim of the well of darkness and fish for fallen light, with patience. “Si cada día cae/If each day falls" EI MAR Y LAS CAMPANAS. The Sea and The Bells.

Cinema is a language. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequences. You’ve got dialogue. You’ve got music. You’ve got sound effects. You have so many tools. And you can express a feeling and a thought that can’t be conveyed any other way. Its a magical medium. For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. Its not just words or music-it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film. When I catch an idea for a film, I fall in love with the way cinema can express it. I like a story that holds abstractions, and that’s what cinema can do.

Man is now able to fly through the air like a bird, he is able to swim under the sea like a fish, he is able burrow beneath the ground like a mole. Now if only he could walk the earth like a man, this would be paradise.

You can't go fishing while you're anchored in the desert.

Gwynned lies two days westwards; still further south, the weregeld calls. Mayhap with All-Father Woden's favour, my deeds may yet inspire the skalds.

It is only in deep waters that a fish knows how strong it is.

A fish that is afraid of drowning in a river is ignorant of its gifts.

A saying from the Hindu scriptures is: “In shallow men the fish of little thoughts cause much commotion. In oceanic minds the whales of inspiration make hardly a ruffle.

I was lucky to live in the 20th century, when gefilte fish could be purchased in a jar.

The gunslinger had no idea what tooter-fish was, but he knew a popkin when he saw it.

In shallow men the fish of little thoughts cause much commotion. In oceanic minds the whales of inspiration make hardly a ruffle.

Thoughts are slippery fish in a cold shallow stream. If you are intent on capturing a worthwhile one, you need to stand very still, focus very hard on somewhere outside yourself, and then simply ignore it until it gets so close that it tickles your ankles. Then, pounce.

He is only one of a million no, a billion stories you could tell about the living beings on just this side of the mountain. The fact is that there are more stories in the space of a single second, in a single square foot of dirt and air and water, then we could tell in a hundred years. The word amazing isn't much of a word for how amazing it is. The fact is that there are more stories in the world than there are fish in the sea or birds in the air or lies among politicians. You could be sad at how many stories go untold, but you could also be delighted at how many stories we catch and share in delight and wonder and astonishment and illumination and sometimes even epiphany.

Obviously, a rigid, blinkered, absolutist world view is the easiest to keep hold of, whereas the fluid, uncertain, metamorphic picture I've always carried about is rather more vulnerable. Yet I must cling with all my might to … my own soul; must hold on to its mischievous, iconoclastic, out-of-step clown-instincts, no matter how great the storm. And if that plunges me into contradiction and paradox, so be it; I've lived in that messy ocean all my life. I've fished in it for my art. This turbulent sea was the sea outside my bedroom window in Bombay. It is the sea by which I was born, and which I carry within me wherever I go.

So in the end, what is a moment? One action? A single deed? Or is it more? Is a moment like a school of silver fish? The sum of many singular parts forming one cohesive unit? I tend to think so. Because the moment I met Ryan, that was just one of the sum parts.

The river reflected whatever it chose of sky and bridge and burning tree, and when the undergraduate had oared his boat through the reflections they closed again, completely, as if they had never been. There one might have sat the clock round lost in thought. Thought --to call it by a prouder name than it deserved-- had let its line down into the stream. It swayed, minute after minute, hither and thither among the reflections and the weeds, letting the water lift it and sink it until --you know the little tug -- the sudden conglomeration of an idea at the end of one's line: and then the cautious hauling of it in, and the careful laying of it out? Alas, laid on the grass how small, how insignificant this thought of mine looked; the sort of fish that a good fisherman puts back into the water so that it may grow fatter and be one day worth cooking and eating.

Forgiveness in no way requires you to trust the one you forgive. It doesn't mean the relationship must be restored. p. 61

God had saved him from the fish cellar and that could only mean one thing. He had more work to do. (John Frith, p.64)

They would hit a man in the water, if they were hungry, even if the man had no smell of fish blood nor of fish slime on him. “Ay,” the old man said. “Galanos. Come on galanos.

There are many fish in the sea, but never let a good one swim away.

To get see food, You need a fishing rod. To get love food, You need a loving heart.

Life reached an evolutionary milestone when it climbed onto land from the ocean, but those first fish that climbed onto land ceased to be fish.

A bird & a fish can fall in love, but where do they make a home?

If you cannot catch a fish, do not blame the sea.        

All errour is prejudicial: it is by deceiving himself that man is plunged in misery. He neglected Nature; he understood not her laws; he formed gods of the most preposterous kinds: these became the sole objects of his hope, the creatures of his fear, and he trembled under these visionary deities; under the supposed influence of imaginary beings created by himself; under the terrour inspired by blocks of stone; by logs of wood; by flying fish; or else under the frowns of men, mortal as himself, whom his distempered fancy had elevated above that Nature of which alone he is capable of forming any idea.

I stressed out trying to figure out what I could say. I ate licorice. I stressed some more. I ate Dots. I stressed out even more-and wiped out a bag of Swedish Fish. And then I wrote.

Conversation between Siddhartha, who has temporarily given up all worldly possessions in order to experience total poverty first hand, talks to a merchant. That seems to be the way of things. Everyone takes, everyone gives. Life is like that" (said Siddhartha) Ah, but if you are without possessions, how can you give?" Everyone gives what he has. The soldier gives strength, the merchant goods, the teacher instructions, the farmer rice, the fisherman fish." Very well and what can you give? What have you learned that you can give(the merchant asks of Siddhartha) I can think, I can wait, I can fast." Is that all?" I think that is all." And of what use are they? For example, fasting, what good is that?" It is of great value, sir. If a man has nothing to eat, fasting is the most intelligent thing he can do. If, for instance, Siddhartha had not learned to fast, he would have had to seek some kind of work today, either with you, or elsewhere, for hunger would have driven him. But, as it is, Siddhartha can wait calmly. He is not impatient, he is not in need, he can ward off hunger for a long time and laugh at it. Therefore, fasting is useful, sir.

I’m inspired by the Darwinian nature of tables. They have legs, which makes them more evolved than fish. But they won’t truly impress me as furniture until they have wings like a duck.

If Mike convinces a woman to date him because he is dominant, the resulting relationship will be entirely different than if he had inspired this same woman to date him by convincing her that, through dating him, she could improve herself (though such dynamics might be ameliorated through therapy). One of the core reasons why people either end up in one bad relationship after another—or come to believe that all members of a certain gender have very constrained behavior patterns—is that they do not understand how different lures function (in male communities, this often manifests in the saying “AWALT,” which stands for “all women are like that”). These people do not realize that the lure they are using is creating those relationship dynamics and/or constrained behavior patterns. Talking with individuals who say guys or girls always act like X or Y feels like talking to a fisherman who insists that all fish have whiskers. When you point out that all the lures in his tackle box are designed specifically to only catch catfish, he just turns and gives you a quizzical look saying, “what's your point?

A man is a fool not to put everything he has, at any given moment, into what he is creating. You're there now doing the thing on paper. You're not killing the goose, you're just producing an egg. So I don't worry about inspiration, or anything like that. It's a matter of just sitting down and working. I have never had the problem of a writing block. I've heard about it. I've felt reluctant to write on some days, for whole weeks, or sometimes even longer. I'd much rather go fishing, for example, or go sharpen pencils, or go swimming, or what not. But, later, coming back and reading what I have produced, I am unable to detect the difference between what came easily and when I had to sit down and say, "Well, now it's writing time and now I'll write." There's no difference on paper between the two.

The whole island was exactly what a kid growing up in some trailer park--say some dump like Tecumseh Lake, Georgia--would dream about. This kid would turn out all the lights in the trailer while her mom was at work. She'd lie down flat on her back, on the matted-down orange shag carpet in the living room. The carpet smelling like somebody stepped in a dog pile. The orange melted black in spots from cigarette burns. The ceiling was water-stained. she'd fold her arms across her chest, and she could picture life in this kind of place. It would be that time--late at night--when your ears reach out for any sound. When you can see more with your eyes closed than open. The fish skeleton. From the first time she held a crayon, that's what she'd draw.

I owe a huge debt to Anaïs Nin, because I fell into her diaries, essays, and collected letters in my Twenties and Thirties like a fish falling into water. She was, in some ways, a deeply flawed human being, and perhaps she makes a strange kind of hero for someone like me, committed to the ethical and spiritual dimensions of my craft as well as to the technical ones, but a hero and strong influence she remains nonetheless. Source: Her blog.

Manifestation is an act of trust. It is the soul pouring itself out into its world, like a fisherman casting a net to gather in the fish he seeks; with each cast properly made, we will bring what we need to us, but first we must hurl ourselves into the depths without knowing just what lies beneath us.

I have drawn things since I was six. All that I made before the age of sixty-five is not worth counting. At seventy-three I began to understand the true construction of animals, plants, trees, birds, fishes, and insects. At ninety I will enter into the secret of things. At a hundred and ten, everything--every dot, every dash--will live

In calm waters you still find sharks.

If you want happiness for an hour; take a nap. If you want happiness for a day; go fishing. If you want happiness for a month; get married. If you want happiness for a year; inherit a fortune. If you want happiness for a lifetime; help someone else.                Chinese proverb

I love your silence. It is so wise. It listens. It invites warmth. I love your loneliness. It is brave. It makes the universe want to protect you. You have the loneliness that all true heroes have, a loneliness that is a deep sea, within which the fishes of mystery dwell. I love your quest. It is noble. It has greatness in it. Only one who is born under a blessed star would set sail across the billowing waves and the wild squalls, because of a dream. I love your dream. It is magical. Only those who truly love and who are truly strong can sustain their lives as a dream. You dwell in your own enchantment. Life throws stones at you, but your love and your dream change those stones into the flowers of discovery. Even if you lose, or are defeated by things, your triumph will always be exemplary. And if no one knows it, then there are places that do. People like you enrich the dreams of the world, and it is dreams that create history. People like you are unknowing transformers of thing, protected by your own fairy-tale, by love.

Count the inspirations. The exquisite inspirations that have whispered in the night. And swum away like fish in the cool of morning. Would any of them have altered the patterns of your life? The precise arrangement of your atoms?

In the South American rainforest, there is a tribe called the Desana, who see the world as a fixed quantity of energy that flows between all creatures. Every birth must therefore engender a death, and every death brings forth another birth. This way, the energy of the world remains complete. When they hunt for food, the Desana know the animals they kill will leave a hole in the spiritual well. But that hole will be filled, they believe, by the Desana hunters when they die. Were there no men dying, there would be no birds or fish being born. I like this idea. Morrie likes it, too. The closer he gets to goodbye, the more he seems to feel we are all creatures in the same forest. What we take, we must replenish. "It's only fair," he says.

He paused, watching Charlie breathing slowly in and out for a moments. "Were it not for the assistance of your young 'monster,' here, you almost certainly would not have survived Swift's attack. Marlowe is a good man," Jackaby added, thoughtfully, "but he only knows how to slay dragons. This world is full of dragons-slayers. What we need are a few people who aren't too proud to listen to a fish.

My mom’s smile is genuine, A lilac beaming In the presence of her Sun. Indentions in the sand prove Time’s linear progression, Her hair yet unblighted, Carrying midnight’s consistency. Clear tracks fading as the Movement slips further In the past. Cheekbones High, soft, In summer’s hue, Hopeful. Each step’s unknown impact, A future looking back. My father’s strength: One whose Life is in his arms. Squinting past the camera, He rests upon a rock Like caramel corn half eaten, Just to the left Of man-made concrete convention Daylight’s eraser Removing color to his right. Dustin sits In my father’s lap, Open mouth of a drooling Big mouth bass; Muscle tone Of a well exercised Jelly fish, He looks at me Half aware; His wheelchair Perched at the edge Of parking lot gravel grafted Like a scar on nature’s beach, Opening to the ironic splendor Of a bitter tasting lake. I took the picture. Age 11. Capturing the pinnacle arc Of a son To my lilac Who Outlived him and weeps, Still. Their sky has staple holes – Maybe that’s how the Light Leaked out.

Mother trees have an effect on the oceans as well, as Katsuhiko Matsunaga and his team in Japan had confirmed. The leaves, when they fall in the autumn, contain a very large, complex acid called fulvic acid. When the leaves decompose, the fulvic acid dissolves into the moisture of the soil, enabling the acid to pick up iron. This process is called chelation. The heavy, iron-containing fulvic acid is now ready to travel, leaving the home ground of the mother tree and heading for the ocean. In the ocean it drops the iron. Hungry algae, like phytoplankton, eat it, then grow and divide; they need iron to activate a body-building enzyme called nitrogenase. This set of relationships is the feeding foundation of the ocean This is what feeds the fish and keeps the mammals of the sea, like the whale and the otter healthy.

Justification, after all, confers value on an activity from a perspective outside its performance. An activity that cannot be justified is an activity that refuses to regard itself as instrumental to some larger good. The humanities are their own good. There is nothing more to say, and anything that is said – even when it takes the form of Kronman’s inspiring cadences – diminishes the object of its supposed praise.

If you want to see the beauty of any fish, throw it into the water, you will see how best it can swim because that is its source. Do you want to see the beauty in you? Don't look in the mirror, don't put on makeups, no jewelleries or expensive designer clothes, just go back and reconnect to your source and I bet, the best of you will show up. Until you return back to God, your best won't come out because He is your source.

Turn off your television. Open your windows. Find open spaces. Run to the ocean. 
 “The sea will speak to you if you become quiet enough.” There is magic in these mountains. There are spirits in these old tall pines. These are the places they wrote about. The places they sang for and explored. These are the places that notions arise from when the wind howls. Brothers and Sisters, you are wild and infinite. You are the wolves and the fish. You are these trees and these rivers. So when you sit, sit like a mountain. None of these places will last. These buildings will fail. These trees will fall. And these mountains? Even the mountains will change. So go easy Brothers and Sisters. Be kind. It is a long walk home.

It remains one of the great inequalities of the world that some children are born light years ahead of others. They may come from more stable homes, from wealthy homes, from homes with cleaners and domestic staff, cooks and tutors. Everything is easier, more streamlined, more conducive to educational and career success. Others will come from one-bedroom huts with no running water and no electricity, little chance of a good education, and little time to do anything besides work. The child born into a rich family will, no doubt, progress at a faster rate and develop the sort of self-assurance that comes from stability. This is the case wherever you’re from; it is as true of communist societies as it is of capitalist ones. I have travelled the world and seen these inequalities. I have witnessed the problems such different starting blocks can bring. But if I’ve learned anything, it is that success is possible, whatever your situation and however your life begins. I hope that this story, my story, will prove inspirational and that it will encourage others to dream big, take a plunge, use whatever resources are available. If a small poor boy fishing for prawns on a lake in Ningbo can do it, then so can you.

Okay, I know--my superpower--I'd be able to shoot lightening bolts out from my fingertips--great big knowledge network lightening bolts--and when a person was zapped by one of those bolts, they'd fall down on their knees and once on their knees, they'd be under water, in this place I saw once off the east coast of the Bahamas, a place where a billion electric blue fish swam up to me and made me a part of their school--and then they'd be up in the air, up in Manhattan, above the World Trade Center, with a flock of pigeons, flying amid the skyscrapers, and then--then what? And then they'd go blind, and then they'd be taken away--they'd feel homesick--more homesick than they'd felt in their entire life--so homesick they were throwing up--and they'd be abandoned, I don't know...in the middle of a harvested corn field in Missouri. And then they'd be able to see again, and from the edges of the field people would appear--everybody they'd known--and they'd be carrying Black Forest cakes and burning tiki lamps and boom boxes playing the same song, and they sky would turn into a sunset, the way it does in Walt Disney brochure, and the person I zapped would never be alone or isolated again.

An artist must regulate his life. Here is a time-table of my daily acts. I rise at 7.18; am inspired from 10.23 to 11.47. I lunch at 12.11 and leave the table at 12.14. A healthy ride on horse-back round my domain follows from 1.19 pm to 2.53 pm. Another bout of inspiration from 3.12 to 4.7 pm. From 5 to 6.47 pm various occupations (fencing, reflection, immobility, visits, contemplation, dexterity, natation, etc.) Dinner is served at 7.16 and finished at 7.20 pm. From 8.9 to 9.59 pm symphonic readings (out loud). I go to bed regularly at 10.37 pm. Once a week (on Tuesdays) I awake with a start at 3.14 am. My only nourishment consists of food that is white: eggs, sugar, shredded bones, the fat of dead animals, veal, salt, coco-nuts, chicken cooked in white water, mouldy fruit, rice, turnips, sausages in camphor, pastry, cheese (white varieties), cotton salad, and certain kinds of fish (without their skin). I boil my wine and drink it cold mixed with the juice of the Fuschia. I have a good appetite but never talk when eating for fear of strangling myself. I breathe carefully (a little at a time) and dance very rarely. When walking I hold my ribs and look steadily behind me. My expression is very serious; when I laugh it is unintentional, and I always apologise very politely. I sleep with only one eye closed, very profoundly. My bed is round with a hole in it for my head to go through. Every hour a servant takes my temperature and gives me another.

I discovered another analogy in the legacy of Prophet Muhammad that immediately clicked with me: that the angels put down their wings in humility for a person who seeks knowledge, and that all living things, even the ants in their anthill and the fish in the sea, pray for a person who teaches people good things. When I read this, I literally felt the goodness flow out of my heart for all creatures. The beautiful mental image it evoked resonated with my concept of the universe as one unit, and of all living things seeking to live together in peace and harmony, and being grateful when humans tried to fit into the circle of life, instead of working so hard to disrupt its equilibrium

If you’ve ever wondered what we’re missing by sitting at computers in cubicles all day, follow Jessica DuLong when she loses her desk job and embarks on this unlikely but fantastic voyage. Deeply original, riveting to read, and soul-bearingly honest, "My River Chronicles" is a surprisingly infectious romance about a young woman falling in love with a muscle-y old boat. As DuLong learns to navigate her way through a man’s world of tools and engines, and across the swirling currents of a temperamental river, her book also becomes a love letter to a nation. In tune with the challenges of our times, DuLong reminds us of the skills and dedication that built America, and inspires us to renew ourselves once again.

May the river be; may the fish live. May the river not dry up and may the fish not die. We shall not shiver; we shall not quake. When the bush is burning, may we run out to the road; and when the road is burning, may we run into the bush. We shall see that which we shall eat; whatever will eat us will not see us. Whatever will profit us, if it is inside the ground, it will germinate; if it is in the water, it will float. The source through which enmity comes our way shall turn to the source of our joy.

(I know, it's a poem but oh well). Why! who makes much of a miracle? As to me, I know of nothing else but miracles, Whether I walk the streets of Manhattan, Or dart my sight over the roofs of houses toward the sky, Or wade with naked feet along the beach, just in the edge of the water, Or stand under trees in the woods, Or talk by day with any one I love--or sleep in the bed at night with any one I love, Or sit at table at dinner with my mother, Or look at strangers opposite me riding in the car, Or watch honey-bees busy around the hive, of a summer forenoon, Or animals feeding in the fields, Or birds--or the wonderfulness of insects in the air, Or the wonderfulness of the sun-down--or of stars shining so quiet and bright, Or the exquisite, delicate, thin curve of the new moon in spring; Or whether I go among those I like best, and that like me best-- mechanics, boatmen, farmers, Or among the savans--or to the soiree--or to the opera, Or stand a long while looking at the movements of machinery, Or behold children at their sports, Or the admirable sight of the perfect old man, or the perfect old woman, Or the sick in hospitals, or the dead carried to burial, Or my own eyes and figure in the glass; These, with the rest, one and all, are to me miracles, The whole referring--yet each distinct, and in its place. To me, every hour of the light and dark is a miracle, Every cubic inch of space is a miracle, Every square yard of the surface of the earth is spread with the same, Every foot of the interior swarms with the same; Every spear of grass--the frames, limbs, organs, of men and women, and all that concerns them, All these to me are unspeakably perfect miracles. To me the sea is a continual miracle; The fishes that swim--the rocks--the motion of the waves--the ships, with men in them, What stranger miracles are there?

It’s one thing building a cloister to reflect the 768 of the numerological Bismillah, it’s another planning a giant alphabet out of an entire city before you’ve even built your first mosque.’ ‘It is, but remember, Sinan was chief architect and city planner at the time of the conquest of Cairo. He practised on that city; demolishing and building where he liked. I have no doubt that he was already forming the idea of a sacred geometry. His first building as Architect of the Abode of Felicity was the Haseki Hürrem Mosque for the Kadin Roxelana. Not his greatest work by any means, and he was working from existing designs, but it was identifiable as his first mature work. There’s a story in his autobiography Tezkiretül Bünyan that while he was surveying the site he noticed that children were pulling live fish from a grating in the street. When he went to investigate he discovered an entire Roman cistern down there. Perhaps it was this that inspired him to realize his vision. Hidden water. The never-ceasing stream of Hurufism.

Cinema is a language. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequences. You’ve got dialogue. You’ve got music. You’ve got sound effects. You have so many tools. And you can express a feeling and a thought that can’t be conveyed any other way. It's a magical medium. For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music—it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film. When I catch an idea for a film, I fall in love with the way cinema can express it. I like a story that holds abstractions, and that’s what cinema can do.

I do not know what inspires the image of a fish but it comes to me, wide eyed, open mouthed and gaping, glimmering, swimming towards me as though a creature of the darkness come to claim me. I imagine it in a twinkling blue pool. It swims through the dark currents of the sea, gliding above sea weed, beneath sunlight, augmenting and shying away from the surface. It belongs to this element between land and sky, sifts through it, a creature of the deep. My mind drifts, fades, but then comes back to the fish: its glimmering scales, its strange beady eyes. Its body is contained within the water. It opens its mouth, moving it open and closed as though it’s trying to speak a language I never learned. I think about the fish’s lungs, full of water. Is not the sea contained within the fish, too?

According to the gospels, Christ healed diseases, cast out devils, rebuked the sea, cured the blind, fed multitudes with five loaves and two fishes, walked on the sea, cursed a fig tree, turned water into wine and raised the dead. How is it possible to substantiate these miracles? The Jews, among whom they were said to have been performed, did not believe them. The diseased, the palsied, the leprous, the blind who were cured, did not become followers of Christ. Those that were raised from the dead were never heard of again. Can we believe that Christ raised the dead? A widow living in Nain is following the body of her son to the tomb. Christ halts the funeral procession and raises the young man from the dead and gives him back to the arms of his mother. This young man disappears. He is never heard of again. No one takes the slightest interest in the man who returned from the realm of death. Luke is the only one who tells the story. Maybe Matthew, Mark and John never heard of it, or did not believe it and so failed to record it. John says that Lazarus was raised from the dead. It was more wonderful than the raising of the widow’s son. He had not been laid in the tomb for days. He was only on his way to the grave, but Lazarus was actually dead. He had begun to decay. Lazarus did not excite the least interest. No one asked him about the other world. No one inquired of him about their dead friends. When he died the second time no one said: “He is not afraid. He has traveled that road twice and knows just where he is going.” We do not believe in the miracles of Mohammed, and yet they are as well attested as this. We have no confidence in the miracles performed by Joseph Smith, and yet the evidence is far greater, far better. If a man should go about now pretending to raise the dead, pretending to cast out devils, we would regard him as insane. What, then, can we say of Christ? If we wish to save his reputation we are compelled to say that he never pretended to raise the dead; that he never claimed to have cast out devils. We must take the ground that these ignorant and impossible things were invented by zealous disciples, who sought to deify their leader. In those ignorant days these falsehoods added to the fame of Christ. But now they put his character in peril and belittle the authors of the gospels. Christianity cannot live in peace with any other form of faith. If that religion be true, there is but one savior, one inspired book, and but one little narrow grass-grown path that leads to heaven. Why did he not again enter the temple and end the old dispute with demonstration? Why did he not confront the Roman soldiers who had taken money to falsely swear that his body had been stolen by his friends? Why did he not make another triumphal entry into Jerusalem? Why did he not say to the multitude: “Here are the wounds in my feet, and in my hands, and in my side. I am the one you endeavored to kill, but death is my slave”? Simply because the resurrection is a myth. The miracle of the resurrection I do not and cannot believe. We know nothing certainly of Jesus Christ. We know nothing of his infancy, nothing of his youth, and we are not sure that such a person ever existed. There was in all probability such a man as Jesus Christ. He may have lived in Jerusalem. He may have been crucified; but that he was the Son of God, or that he was raised from the dead, and ascended bodily to heaven, has never been, and, in the nature of things, can never be, substantiated.

Girls, I was dead and down in the Underworld, a shade, a shadow of my former self, nowhen. It was a place where language stopped, a black full stop, a black hole Where the words had to come to an end. And end they did there, last words, famous or not. It suited me down to the ground. So imagine me there, unavailable, out of this world, then picture my face in that place of Eternal Repose, in the one place you’d think a girl would be safe from the kind of a man who follows her round writing poems, hovers about while she reads them, calls her His Muse, and once sulked for a night and a day because she remarked on his weakness for abstract nouns. Just picture my face when I heard - Ye Gods - a familiar knock-knock at Death’s door. Him. Big O. Larger than life. With his lyre and a poem to pitch, with me as the prize. Things were different back then. For the men, verse-wise, Big O was the boy. Legendary. The blurb on the back of his books claimed that animals, aardvark to zebra, flocked to his side when he sang, fish leapt in their shoals at the sound of his voice, even the mute, sullen stones at his feet wept wee, silver tears. Bollocks. (I’d done all the typing myself, I should know.) And given my time all over again, rest assured that I’d rather speak for myself than be Dearest, Beloved, Dark Lady, White Goddess etc., etc. In fact girls, I’d rather be dead. But the Gods are like publishers, usually male, and what you doubtless know of my tale is the deal. Orpheus strutted his stuff. The bloodless ghosts were in tears. Sisyphus sat on his rock for the first time in years. Tantalus was permitted a couple of beers. The woman in question could scarcely believe her ears. Like it or not, I must follow him back to our life - Eurydice, Orpheus’ wife - to be trapped in his images, metaphors, similes, octaves and sextets, quatrains and couplets, elegies, limericks, villanelles, histories, myths… He’d been told that he mustn’t look back or turn round, but walk steadily upwards, myself right behind him, out of the Underworld into the upper air that for me was the past. He’d been warned that one look would lose me for ever and ever. So we walked, we walked. Nobody talked. Girls, forget what you’ve read. It happened like this - I did everything in my power to make him look back. What did I have to do, I said, to make him see we were through? I was dead. Deceased. I was Resting in Peace. Passé. Late. Past my sell-by date… I stretched out my hand to touch him once on the back of the neck. Please let me stay. But already the light had saddened from purple to grey. It was an uphill schlep from death to life and with every step I willed him to turn. I was thinking of filching the poem out of his cloak, when inspiration finally struck. I stopped, thrilled. He was a yard in front. My voice shook when I spoke - Orpheus, your poem’s a masterpiece. I’d love to hear it again… He was smiling modestly, when he turned, when he turned and he looked at me. What else? I noticed he hadn’t shaved. I waved once and was gone. The dead are so talented. The living walk by the edge of a vast lake near, the wise, drowned silence of the dead.

The gnarled pine, I would have said, touch it. This is China. Horticulturalists around the world have come to study it. Yet no one has ever been able to explain why it grows like a corkscrew, just as no one can adequately explain China. But like that tree, there it is, old, resilient, and oddly magnificent. Within that tree are the elements in nature that have inspired Chinese artists for centuries: gesture over geometry, subtlety over symmetry, constant flow over static form. And the temples, walk and touch them. This is China. Don't merely stare at these murals and statues. Fly up to the crossbeams, get down on your hands and knees, and press your head to the floor tiles. Hide behind that pillar and come eye to eye with its flecks of paint. Imagine that you are the interior decorator who is a thousand years in age. Start with a bit of Tibetan Buddhism, plus a dash each of animism and Taoism. A hodgepodge, you say? No, what is in those temples is an amalgam that is pure Chinese, a lovely shabby elegance, a glorious new motley that makes China infinitely intriguing. Nothing is ever completely thrown away and replaced. If one period of influence falls out of favor, it is patched over. The old views still exist, one chipped layer beneath, ready to pop through with the slightest abrasion. That is the Chinese aesthetic and also its spirit. Those are the traces that have affected all who have traveled along China's roads.

There was another inspiring moment: a rough, choppy, moonlit night on the water, and the Dreadnaught's manager looked out the window suddenly to spy thousands of tiny baitfish breaking the surface, rushing frantically toward shore. He knew what that meant, as did everyone else in town with a boat, a gaff and a loaf of Wonder bread to use as bait: the stripers were running! Thousands of the highly prized, relatively expensive striped bass were, in a rare feeding frenzy, suddenly there for the taking. You had literally only to throw bread on the water, bash the tasty fish on the head with a gaff and then haul them in. They were taking them by the hundreds of pounds. Every restaurant in town was loading up on them, their parking lots, like ours, suddenly a Coleman-lit staging area for scaling, gutting and wrapping operations. The Dreadnaught lot, like every other lot in town, was suddenly filled with gore-covered cooks and dishwashers, laboring under flickering gaslamps and naked bulbs to clean, wrap and freeze the valuable white meat. We worked for hours with our knives, our hair sparkling with snowflake-like fish scales, scraping, tearing, filleting. At the end of the night's work, I took home a 35-pound monster, still twisted with rigor. My room-mates were smoking weed when I got back to our little place on the beach and, as often happens on such occasions, were hungry. We had only the bass, some butter and a lemon to work with, but we cooked that sucker up under the tiny home broiler and served it on aluminum foil, tearing at it with our fingers. It was a bright, moonlit sky now, a mean high tide was lapping at the edges of our house, and as the windows began to shake in their frames, a smell of white spindrift and salt saturated the air as we ate. It was the freshest piece of fish I'd ever eaten, and I don't know if it was due to the dramatic quality the weather was beginning to take on, but it hit me right in the brainpan, a meal that made me feel better about things, made me better for eating it, somehow even smarter, somehow . . . It was a protein rush to the cortex, a clean, three-ingredient ingredient high, eaten with the hands. Could anything be better than that?

My dad gave me these charms, and each one represents something different. The raven protects against black magic. The bear inspires courage. The fish signifies a refusal to recognize other people’s magic.” “I never knew those charms had meaning.” Absently, Vivian reaches up and touches her own necklace. Looking closely at the pewter pendant for the first time, Molly asks, “Is your necklace—significant?” “Well, it is to me. But it doesn’t have any magical qualities.” She smiles. “Maybe it does,” Molly says. “I think of these qualities as metaphorical, you know? So black magic is whatever leads people to the dark side—their own greed or insecurity that makes them do destructive things. And the warrior spirit of the bear protects us not only from others who might hurt us but our own internal demons. And I think other people’s magic is what we’re vulnerable to—how we’re led astray. So . . . my first question for you is kind of a weird one. I guess you could think of it as metaphorical, too.” She glances at the tape recorder once more and takes a deep breath. “Okay, here goes. Do you believe in spirits? Or ghosts?” “My, that is quite a question.” Clasping her frail, veined hands in her lap, Vivian gazes out the window. For a moment Molly thinks she isn’t going to answer. And then, so quietly that she has to lean forward in her chair to hear, Vivian says, “Yes, I do. I believe in ghosts.” “Do you think they’re . . . present in our lives?” Vivian fixes her hazel eyes on Molly and nods. “They’re the ones who haunt us,” she says. “The ones who have left us behind.

Toward an Organic Philosophy SPRING, COAST RANGE The glow of my campfire is dark red and flameless, The circle of white ash widens around it. I get up and walk off in the moonlight and each time I look back the red is deeper and the light smaller. Scorpio rises late with Mars caught in his claw; The moon has come before them, the light Like a choir of children in the young laurel trees. It is April; the shad, the hot headed fish, Climbs the rivers; there is trillium in the damp canyons; The foetid adder’s tongue lolls by the waterfall. There was a farm at this campsite once, it is almost gone now. There were sheep here after the farm, and fire Long ago burned the redwoods out of the gulch, The Douglas fir off the ridge; today the soil Is stony and incoherent, the small stones lie flat And plate the surface like scales. Twenty years ago the spreading gully Toppled the big oak over onto the house. Now there is nothing left but the foundations Hidden in poison oak, and above on the ridge, Six lonely, ominous fenceposts; The redwood beams of the barn make a footbridge Over the deep waterless creek bed; The hills are covered with wild oats Dry and white by midsummer. I walk in the random survivals of the orchard. In a patch of moonlight a mole Shakes his tunnel like an angry vein; Orion walks waist deep in the fog coming in from the ocean; Leo crouches under the zenith. There are tiny hard fruits already on the plum trees. The purity of the apple blossoms is incredible. As the wind dies down their fragrance Clusters around them like thick smoke. All the day they roared with bees, in the moonlight They are silent and immaculate. SPRING, SIERRA NEVADA Once more golden Scorpio glows over the col Above Deadman Canyon, orderly and brilliant, Like an inspiration in the brain of Archimedes. I have seen its light over the warm sea, Over the coconut beaches, phosphorescent and pulsing; And the living light in the water Shivering away from the swimming hand, Creeping against the lips, filling the floating hair. Here where the glaciers have been and the snow stays late, The stone is clean as light, the light steady as stone. The relationship of stone, ice and stars is systematic and enduring: Novelty emerges after centuries, a rock spalls from the cliffs, The glacier contracts and turns grayer, The stream cuts new sinuosities in the meadow, The sun moves through space and the earth with it, The stars change places. The snow has lasted longer this year, Than anyone can remember. The lowest meadow is a lake, The next two are snowfields, the pass is covered with snow, Only the steepest rocks are bare. Between the pass And the last meadow the snowfield gapes for a hundred feet, In a narrow blue chasm through which a waterfall drops, Spangled with sunset at the top, black and muscular Where it disappears again in the snow. The world is filled with hidden running water That pounds in the ears like ether; The granite needles rise from the snow, pale as steel; Above the copper mine the cliff is blood red, The white snow breaks at the edge of it; The sky comes close to my eyes like the blue eyes Of someone kissed in sleep. I descend to camp, To the young, sticky, wrinkled aspen leaves, To the first violets and wild cyclamen, And cook supper in the blue twilight. All night deer pass over the snow on sharp hooves, In the darkness their cold muzzles find the new grass At the edge of the snow.