Forever Is A Myth Quotes

This very heart which is mine will forever remain indefinable to me. Between the certainty I have of my existence and the content I try to give to that assurance, the gap will never be filled. Forever I shall be a stranger to myself.

There’s a myth that time is money. In fact, time is more precious than money. It’s a nonrenewable resource. Once you’ve spent it, and if you’ve spent it badly, it’s gone forever.

This heart within me I can feel, and I judge that it exists. This world I can touch, and I likewise judge that it exists. There ends all my knowledge, and the rest is construction. (...) Forever I shall be a stranger to myself.

Only to a magician is the world forever fluid, infinitely mutable and eternally new. Only he knows the secret of change, only he knows truly that all things are crouched in eagerness to become something else, and it is from this universal tension that he draws his power.

Of whom and of what can I say: "I know that"! This heart within me I can feel, and I judge that it exists. This world I can touch, and I likewise judge that it exists. There ends all my knowledge, and the rest is construction. For if I try to seize this self of which I feel sure, if I try to define and to summarize it, it is nothing but water slipping through my fingers. I can sketch one by one all the aspects it is able to assume, all those likewise that have been attributed to it, this upbringing, this origin, this ardor or these silences, this nobility or this vileness. But aspects cannot be added up. This very heart which is mine will forever remain indefinable to me. Between the certainty I have of my existence and the content I try to give to that assurance the gap will never be filled.

Cosmetic surgery is not "cosmetic," and human flesh is not "plastic." Even the names trivialize what it is. It's not like ironing wrinkles in fabric, or tuning up a car, or altering outmoded clothes, the current metaphors. Trivialization and infantilization pervade the surgeons' language when they speak to women: "a nip," a "tummy tuck."...Surgery changes one forever, the mind as well as the body. If we don't start to speak of it as serious, the millennium of the man-made woman will be upon us, and we will have had no choice.

The most loathsome materialism is not the kind people usually think of, but the sort that attempts to let dead ideas pass for living realities, diverting into sterile myths the stubborn and lucid attention we give to what we have within us that must forever die.

Time meant nothing. She loved him in an instant. She would love him forever.

It wasn't until I began to see my own trauma as a creation myth that I could truthfully begin to heal. A myth is only a myth after all. It is not set in stone. It was truth, but shouldn't be truth forever...The myth can change.

His life has been lived, so far, within narrow limits and he is quite naïve about most kinds of experience; he fears it and yet is wildly eager for it. To reassure himself, he converts it into epic myth as fast as it happens. He is forever play-acting.

You are not lost. You are here. Stop abandoning yourself. Stop repeating this myth about love and success that will land in your lap or evade you forever. Build a humble, flawed life from the rubble, and cherish that. There is nothing more glorious on the face of the earth than someone who refuses to give up, who refuses to give in to their most self-hating, discouraged, disillusioned self, and instead learns, slowly and painfully, how to relish the feeling of building a hut in middle of the suffocating dust.

A man who has become conscious of the absurd is forever bound to it.

God was gone; it was the silence of his departure. It was a rainy night. It was the myth of the rainy night. Dean was popeyed with awe. This madness would lead nowhere. I didn't know what was happening to me, and I suddenly realized it was only the tea that we were smoking; Dean had bought some in New York. It made me think that everything was about to arrive - the moment when you know all and everything is decided forever.

Between "everywhere" and "forever" there is no compromise.

Forever is a myth. All we have is this moment.

During the bloodiest war in American history, Lee and his comrades killed more U.S. Army soldiers than any other enemy, ever. And they did it for the worst reason possible: to create a nation dedicated to exploit enslaved men, women, and children, forever.

This heart within me I can feel, and I judge that it exists. This world I can touch, and I likewise judge that it exists. There ends all my knowledge, and the rest is construction. For if I try to seize this self of which I feel sure, if I try to define and to summarize it, it is nothing but water slipping through my fingers. I can sketch one by one all the aspects it is able to assume, all those likewise that have been attributed to it, this up bringing, this origin, this ardor or these silences, this nobility or this vileness. But aspects cannot be added up. This very heart which is mine will forever remain indefinable to me. Between the certainty I have of my existence and the content I try to give to that assurance, the gap will never be filled. Forever I shall be a stranger to myself. In psychology as in logic, there are truths but no truth. Socrates' "Know thyself" has as much value as the "Be virtuous" of our confessionals. They reveal a nostalgia at the same time as an ignorance. They are sterile exercises on great subjects. They are legitimate only in precisely so far as they are approximate.

It was probably true that he objectified women. He thought about them all the time, didn't he? He looked at them a lot. And didn't all this thinking and looking involve their breasts and lips and legs? Female human beings were objects of the most intense interest and scrutiny on Mitchell's part. And yet he didn't think that a word like objectification covered the way these alluring - but intelligent! - creatures made him feel. What Mitchell felt when he saw a beautiful girl was more like something from a Greek myth, like being transformed, by the sight of beauty, into a tree, rooted on the spot, forever, out of pure desire. You couldn't feel about an object the way Mitchell felt about girls.

Where woman do not fit the Iron Maiden [societal expectations/assumptions about women's bodies], we are now being called monstrous, and the Iron Maiden is exactly that which no woman fits, or fits forever. A woman is being asked to feel like a monster now though she is whole and fully physically functional. The surgeons are playing on the myth's double standard for the function of the body. A man's thigh is for walking, but a woman's is for walking and looking "beautiful." If women can walk but believe our limbs look wrong, we feel that our bodies cannot do what they are meant to do; we feel as genuinely deformed and disabled as the unwilling Victorian hypochondriac felt ill.

Why should I not know what he's really called?" "Tell a man your name and he will have power over you forever," Carver muttered.

Part of the American myth is that people who are handed the skin of a dead sheep at graduating time think that it will keep their minds alive forever.

...the woods, when they give at all, give unstintedly, and hold nothing back from their true worshippers. We must go to them lovingly, humbly, patiently, watchfully, and we shall learn what poignant loveliness lurks in the wild places and silent intervales, lying under starshine and sunset, what cadences of unearthly music are harped on aged pine boughs or crooned in copses of fir, what delicate savours exhale from mosses and ferns in sunny corners or on damp brooklands, what dreams and myths and legends of an older time haunt them. Then the immortal heart of the woods will beat against ours and its subtle life will steal into our veins and make us its own forever, so that no matter where we go or how widely we wander we shall yet be drawn back to the forest to find our most enduring kinship.

We have seen that a myth could never approached in a purely profane setting. It was only comprehensible in a liturgical context that set it apart from everyday life; it must be experienced as part of a process of personal transformation. None, of this surely applies to the novel, which can be read anywhere at all witout ritual trappings, and must, if it is any good, eschew the overtly didactic. Yet the experience of reading a novel has certain qualities that remind us of the mythology. It can be seen as a form of mediation. Readers have to live with a novel for days or even weeks. It prljects them into another worl, parallel to but apart from their ordinary lives. They know perfectly well that this fictional realm is not 'real' and yet while they are reading it becomes compelling. A powerful novel bcomes part of the backdrop of lives long after we have laid the book aside. It is an excercise of make-believe, that like yoga or a religious festival breaks down barriers of space and time and extends our sympathies to empathise with others lives and sorrows. It teaches compassion, the ability to 'feel with' others. And, like mythology , an important novel is transformative. If we allow it do so, can change us forever.

Here's the progression. Feminism won; you can have it all; of course you want children; mothers are better at raising children than fathers; of course your children come first; of course you come last; today's children need constant attention, cultivation, and adoration, or they'll become failures and hate you forever; you don't want to fail at that; it's easier for mothers to abandon their work and their dreams than for fathers; you don't want it all anymore (which is good because you can't have it all); who cares about equality, you're too tired; and whoops--here we are in 1954.

The woman who presents herself to the spectator as a 'picture' forever arranged, is, for the contemplative mind, the chiefest danger. Sometimes one meets a woman who is beast turning human. Such a person's every movement will reduce to an image of a forgotten experience; a mirage of an eternal wedding cast on the racial memory; as insupportable a joy as would be the vision of an eland coming down an aisle of trees, chapleted with orange blossoms and bridal veil, a hoof raised in the economy of fear,stepping in the trepidation of flesh that will become myth; as the unicorn is neither man nor beast deprived, but human hunger pressing its breast to its prey. Such a woman is the infected carrier of the past; before her the structure of our head and jaws ache -- we feel that we could eat her, she who is eaten death returning, for only then do we put our face close to the blood on the lips of our forefathers.

Now keep in mind that the typical Greek myth goes something like this: innocent shepherd boy is minding his own business, an overflying god spies him and gets a hard-on, swoops down and rapes him silly; while the victim is still staggering around in a daze, that god’s wife or lover, in a jealous rage, turns him–the helpless, innocent victim, that is–into let’s say an immortal turtle and e.g. power-staples him to a sheet of plywood with a dish of turtle food just out of his reach and leaves him out in the sun forever to be repeatedly disemboweled by army ants and stung by hornets or something. So if Arachne had dissed anyone else in the Pantheon, she would have been just a smoking hole in the ground before she knew what hit her.

Any thought that abandons unity glorifies diversity. And diversity is the home of art. The only thought to liberate the mind is that which leaves it alone, certain of its limits and of its impending end. No doctrine tempts it. It awaits the ripening of the work and of life. Detached from it, the work will once more give a barely muffled voice to a soul Forever freed from hope. Or it will give voice to nothing if the creator, tired of his activity, intends to turn away. That is equivalent.

But somehow, he coined an idea which has echoed through the centuries. Everything used to be okay, but then a single, irreversible bad decision was made, and now we all live with the consequences forever.

everything actually was all-meaningful, that every symbol and combination of symbols led not hither and yon, not to single examples, experiments, and proofs, but into the center, the mystery and innermost heart of the world, into primal knowledge. Every transition from major to minor in a sonata, every transformation of a myth or a religious cult, every classical or artistic formulation was, I realized in that flashing moment, if seen with a truly meditative mind, nothing but a direct route into the interior of the cosmic mystery, where in the alternation between inhaling and exhaling, between heaven and earth, between Yin and Yang, holiness is forever being created.

There is a king of natural selection that takes place among myths. Those that capture something essential to the human condition can be preserved for thousands of years. Those that are relevant only to a few are lost forever.

Think of a single word. We'll use soul as our example. How do you define soul? Is it the same definition I use? Can it ever be it? My soul is not your soul. Our souls, our definitions, are shaped by the singular and cumulative experiences in our lives, the emotional weight we attach to a concept forever locked in the space behind our own eyes.

The biological imperative to live—indeed, live forever—was burned into our brains, into our emotional self-model, over the course of millennia. But our brand-new cognitive self-models tell us that all attempts to realize this imperative will ultimately be futile. Mortality, for us, is not only an objective fact but a subjective chasm, an open wound in our phenomenal self-model. We have a deep, inbuilt existential conflict, and we seem to be the first creatures on this planet to experience it consciously.

The Mountain My students look at me expectantly. I explain to them that the life of art is a life of endless labor. Their expressions hardly change; they need to know a little more about endless labor. So I tell them the story of Sisyphus, how he was doomed to push a rock up a mountain, knowing nothing would come of this effort but that he would repeat it indefinitely. I tell them there is joy in this, in the artist’s life, that one eludes judgment, and as I speak I am secretly pushing a rock myself, slyly pushing it up the steep face of a mountain. Why do I lie to these children? They aren’t listening, they aren’t deceived, their fingers tapping at the wooden desks— So I retract the myth; I tell them it occurs in hell, and that the artist lies because he is obsessed with attainment, that he perceives the summit as that place where he will live forever, a place about to be transformed by his burden: with every breath, I am standing at the top of the mountain. Both my hands are free. And the rock has added height to the mountain.

This very heart which is mine will forever remain indefinable to me. Between the certainty I have of my existence and the content I try to give to that assurance, the gap will never be filled. Forever I shall be a stranger to myself. In psychology as in logic, there are truths but no truth. Socrates’ “Know thyself” has as much value as the “Be virtuous” of our confessionals. They reveal a nostalgia at the same time as an ignorance. They are sterile exercises on great subjects. They are legitimate only in precisely so far as they are approximate.

You can’t perpetuate the myth in America of rugged individualism forever,” as she told me later. “Everyone benefits from networks and mentorships, but when men or people from affluent backgrounds network and mentor, nobody labels it like this. They are just ‘helping each other

...Take the leap, they said. Live the billionaire's myth of immortality. And why not now, I thought. What else was there for Ross to acquire? Give the futurists their blood money and they will make it possible for you to live forever. The pod would be his final shrine of entitlement.

There are four places where the spirits still wander . . . the snow-covered Dark of Night, the forgotten paradise of Sobri Elan, the Glass Pillars of Dumon, and the human mind, that eternally mysterious realm where ghosts shall forever walk. —An Exploration of Ancient and Modern Myths, by Mordove Senia

The cornerstone of the purity myth is the expectation that girls and women, in particular, will be utterly and absolutely nonsexual until the day they marry a man, at which point they will naturally and easily become his sexual satisfier, ensuring the couple will have children and never divorce: one man, one woman, in marriage, forever. For this formula to work, my girlfriends and I knew we had to follow a slew of rules. Unfortunately, none of us knew what they were.

Dutifully I knock on the table. “What does knock on wood even mean?” Daddy perks up. “Actually, it’s thought to come from Greek mythology. According to Greek myths, dryads lived in trees, and people would invoke them for protection. Hence knocking on wood: just that added bit of protection so as not to tempt fate.

Theseus and Ariande. Theseus says to Ariande, “I’ll love you forever if you can show me a way to come out of the labyrinth.” So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out. You say, “All he had was the string. That’s all you need.” CAMPBELL: That’s all you need—an Ariande thread. MOYERS: Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string.

Mariana was forever searching her memory these days—looking for the past, trying to see it clearly; trying to understand and contextualize the journey they had been on together. She would try to remember little things they did, re-create forgotten conversations in her mind, imagine what Sebastian might have said or done at each moment. But she was unsure how much that she recalled was real; the more remembering she did, the more it seemed Sebastian was turning into myth. He was all spirit now—all story.

Magellan’s fleet more ressembled the Flying Dutchman, condemned to sail for what must have seemed like forever without making port.

You struggle because you’re locating all of the magic in your life outside of yourself. When you are loved, then you are lovable. When you are left behind, you are unlovable. When you “arrive” at some point of success and fame as a writer, you will be worthy. Until then, you are worthless. As long as you imagine that the outside world will one day deliver to you the external rewards you need to feel happy, you will always perceive your survival as exhausting and perceive your life as a long slog to nowhere. Instead, you have to savor the tiny struggles of the day: The cold glass of water after a long run. The hot bath after hours of digging through the dirt. The satisfaction of writing a good sentence, a good paragraph. You MUST feel these things, because these aren’t small rewards on the path to some big reward; these tiny things are everything. Savoring these things requires tuning in to your feelings, and it requires loving yourself instead of shoving your nose into your own question marks hour after hour, day after day. You are not lost. You are here. Stop abandoning yourself. Stop repeating this myth about love and success that will land in your lap or evade you forever. Build a humble, flawed life from the rubble, and cherish that. There is nothing more glorious on the face of the earth than someone who refuses to give up, who refuses to give in to their most self-hating, discouraged, disillusioned self, and instead learns, slowly and painfully, how to relish the feeling of building a hut in the middle of the suffocating dust. If you can learn to be where you are, without fear, then sooner than you know it, your life will quite naturally be filled with more love and more wonder than you can possibly handle. When that happens, you’ll look back and see that this was the most romantic time of your whole life. These are those terrible days, those gorgeous days, when you first learned to breathe and stand alone without fear, to believe not in finish lines but in the race itself. Your legs are aching and your heart is pounding and the world is electric. You will have 30 years or 50 years, or maybe you’ll be gone tomorrow. All that matters is this moment, right now. This is the moment you learn to be here, to feel your limbs, to feel your full heart, to realize, for the first time, just how lucky you are.

You will be free from pain for a very long time. But not forever, that’s a myth. We don’t live forever, we just have expanded life spans. The average human lives what, 80, 90 years? We live to around two hundred and fifty years. And we don’t turn humans by feeding from you, and I never kill those I feed from. Sunlight doesn’t kill us but it does give us a helluva sunburn. Crosses are still just crosses and garlic, while pungent, won’t hurt us either. Holy water is just water and silver is just a metal. Does that answer all your questions?

There is a storytelling element in there. The tango form is a little like the blues in that you have a kind of structure. It’s not as rigid as twelve bar, but it's very much a storytelling medium -- and there’s an element of call-and-response, and a particular arc in the musical form, that suggest a story. It's about being in the moment, with the music; and responding to your partner, and the particular feeling and momentum in her body in any one moment. It’s a very concentrated thing; you can’t think about anything else while you are doing it. If you try to hold a conversation, it just kind of falls apart. The music was what really drew me into tango. Everyone knows a few of the more popular tango classics, but once you get into it, there’s such a rich field. It’s astonishing, this kind of miraculous musical form that developed in a very small locality: two cities on either side of the River Plate, in Argentina and Urugauy. It started in the 1880s or '90s, and there are all kinds of mysteries, myths and stories, about how tango started and developed. It was first of all considered really low-life, almost reptilian. Something to be avoided and not talked about. And then it became this word wide phenomena. . .and I could go on talking about tango forever. . . . but its also to do with movement. I try to get that into my pictures: a sense of movement, something flowing through. A while ago, I realised how much I'd been drawing dancing figures in the corners of my sketchbooks for years before I discovered tango!

Memories are treasures,” he murmured. “Lock the best of them in your mind forever, the most splendid moments, and throw away the rest. Any day when you gain such a treasure is a day well-spent.

It’s of some interest that the lively arts of the millennial U.S.A. treat anhedonia and internal emptiness as hip and cool. It’s maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it’s the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip — and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent (at least since the Reconfiguration). One of the things sophisticated viewers have always liked about J. O. Incandenza’s The American Century as Seen Through a Brick is its unsubtle thesis that naïveté is the last true terrible sin in the theology of millennial America. And since sin is the sort of thing that can be talked about only figuratively, it’s natural that Himself’s dark little cartridge was mostly about a myth, viz. that queerly persistent U.S. myth that cynicism and naïveté are mutually exclusive. Hal, who’s empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naïve and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is the way he despises what it is he’s really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia. 281 281 - This had been one of Hal’s deepest and most pregnant abstractions, one he’d come up with once while getting secretly high in the Pump Room. That we’re all lonely for something we don’t know we’re lonely for. How else to explain the curious feeling that he goes around feeling like he misses somebody he’s never even met? Without the universalizing abstraction, the feeling would make no sense.

Original sin itself comes straight from the Old Testament myth of Adam and Eve. Their sin - eating the fruit of a forbidden tree - seems mild enough to merit a mere reprimand. But the symbolic nature of the fruit (knowledge of good and evil, which in practice turned out to be knowledge that they were naked) was enough to turn their scrumping escapade into the mother and father of all sins. They and all their descendants were banished forever from the Garden of Eden, deprived of the gift of eternal life, and condemned to generations of painful labour, in the field and in childbirth respectively.

The myth that we must have “time”—more time—in order to create is a myth that keeps us from using the time we do have. If we are forever yearning for “more,” we are forever discounting what is offered.

Comprehending at one bound the myth of Demeter and knowing that she was Demeter, that the fountain between her thighs was my own youth and I Persephone, who had come to her in spring and would come forever, for she was my youth, older than I and yet my youth, my ever-recurrent spring, and spring itself only a metaphor for the source, the waters, the hidden river, the tunnel of life between her thighs.

The myth that we must have "time" - more time - in order to create is a myth that keeps us from using the time we do have. If we are forever yearning for "more", we are forever discounting what is offered.

God was gone; it was the silence of his departure. It was a rainy night. It was the myth of the rainy night. Dean was popeyed with awe. This madness would lead nowhere. I didn’t know what was happening to me, and I suddenly realized it was only the tea that we were smoking; Dean had bought some in New York. It made me think that everything was about to arrive—the moment when you know all and everything is decided forever.

Istanbul was an illusion. A magician’s trick gone wrong. Istanbul was a dream that existed solely in the minds of hashish eaters. In truth, there was no Istanbul. There were multiple Istanbuls – struggling, competing, clashing, each perceiving that, in the end, only one could survive. There was, for instance, an ancient Istanbul designed to be crossed on foot or by boat – the city of itinerant dervishes, fortune-tellers, matchmakers, seafarers, cotton fluffers, rug beaters and porters with wicker baskets on their backs … There was modern Istanbul – an urban sprawl overrun with cars and motorcycles whizzing back and forth, construction trucks laden with building materials for more shopping centres, skyscrapers, industrial sites … Imperial Istanbul versus plebeian Istanbul; global Istanbul versus parochial Istanbul; cosmopolitan Istanbul versus philistine Istanbul; heretical Istanbul versus pious Istanbul; macho Istanbul versus a feminine Istanbul that adopted Aphrodite – goddess of desire and also of strife – as its symbol and protector … Then there was the Istanbul of those who had left long ago, sailing to faraway ports. For them this city would always be a metropolis made of memories, myths and messianic longings, forever elusive like a lover’s face receding in the mist.

Death frightens us. When we see another person die, we are reminded that we are also mortal, that someday death will come to us. It is a thought we try to push from our minds. We are uncomfortable when another's death rudely intrudes into our lives and reminds us of what we will face at some unknown future date. Death reminds us that we are creatures. Yet as fearsome as death it is, it is nothing compared with meeting a holy God. When we encounter Him, the totality of our creatureliness breaks upon us and shatters the myth that we have believed about ourselves, the myth that we are demigods, junior-grade deities, who will try to live forever.

The woods are so human," wrote John Foster, "that to know them one must live with them. An occasional saunter through them, keeping to the well-trodden paths, will never admit us to their intimacy. If we wish to be friends we must seek them out and win them by frequent, reverent visits at all hours; by morning, by noon, and by night; and at all seasons, in spring, in summer, in autumn, in winter. Otherwise we can never really know them and any pretence we may make to the contrary will never impose on them. They have their own effective way of keeping aliens at a distance and shutting their hearts to mere casual sightseers. It is of no use to seek the woods from any motive except sheer love of them; they will find us out at once and hide all their sweet, old-world secrets from us. But if they know we come to them because we love them they will be very kind to us and give us such treasures of beauty and delight as are not bought or sold in any market-place. For the woods, when they give at all, give unstintedly and hold nothing back from their true worshippers. We must go to them lovingly, humbly, patiently, watchfully, and we shall learn what poignant loveliness lurks in the wild places and silent intervales, lying under starshine and sunset, what cadences of unearthly music are harped on aged pine boughs or crooned in copses of fir, what delicate savours exhale from mosses and ferns in sunny corners or on damp brooklands, what dreams and myths and legends of an older time haunt them. Then the immortal heart of the woods will beat against ours and its subtle life will steal into our veins and make us its own forever, so that no matter where we go or how widely we wander we shall yet be drawn back to the forest to find our most enduring kinship.

It is impiety to alter the myth of your local hero, it is impossible to recast the myth of your local dæmon—that is fixed forever—his conflict, his agon, his death, his pathos, his Resurrection and its heralding, his Epiphany.

It has been forever that people aspire towards liberty and rejoiced averytime they lost it. The mortals never loved with passion except those who handcuffed them . And whom they turn into myth? The executioners of their freedom

I had to determine for myself what it means to be beautiful if I ever wanted to accept my own unique beauty. This is my challenge to you: Define beauty for yourself, and I promise, your outlook on the world around you, as well the world within you, will change forever.

As far as Selidor,” they used to say on Enlad. The old stories told to children, the myths, began, “As long ago as forever and as far away as Selidor, there lived a prince. . . .” He was the prince. But in the old stories, that was the beginning; and this seemed to be the end.

all ignorance toboggans into know and trudges up to ignorance again: but winter’s not forever,even snow melts;and if spring should spoil the game,what then? all history’s a winter sport or three: but were it five,i’d still insist that all history is too small for even me; for me and you,exceedingly too small. Swoop(shrill collective myth)into thy grave merely to toil the scale to shrillerness per every madge and mabel dick and dave –tomorrow is our permanent address and there they’ll scarcely find us(if they do, we’ll move away still further:into now

What do you know of the Knights?” he asked. Fin shrugged. “I thought knights were only in children’s stories until a few days ago.” Jeannot smiled. “A man could do worse than to live in the stories of a child. There is, perhaps, no better remembrance.” “Until the child grows up and finds out the stories aren’t true. You might be knights, but I don’t see any shining armor,” Fin said. Jeannot stopped near the gate of the auberge and faced her. “Each time a story is told, the details and accuracies and facts are winnowed away until all that remains is the heart of the tale. If there is truth at the heart of it, a tale may live forever. As a knight, there is no dragon to slay, no maiden to rescue, and no miraculous grail to uncover. A knight seeks the truth beneath these things, seeks the heart. We call this the corso. The path set before us. The race we must run.

The sight of the huge world put mad ideas into me, as if I could wander away, wander forever, see strange and beautiful things, one after the other to the world’s end. The freshness and wetness all about me (I had seen nothing but drought and withered things for many months before my sickness) made me feel that I had misjudged the world; it seemed kind, and laughing, as if its heart also danced. Even my ugliness I could not quite believe in. Who can feel ugly when the heart meets delight? It is as if, somewhere inside, within the hideous face and bony limbs, one is soft, fresh, lissom, and desirable.

Death often frightens us. When we see another person die, we are reminded that we are also mortal, that someday death will come to us. It is a thought we try to push from our minds. We are uncomfortable when another’s death rudely intrudes into our lives and reminds us of what we will face at some unknown future date. Death reminds us that we are creatures. Yet as fearsome as death is, it is nothing compared with meeting a holy God. When we encounter Him, the totality of our creatureliness breaks upon us and shatters the myth that we have believed about ourselves, the myth that we are demigods, junior-grade deities who will try to live forever.

What I shall remember forever is the change that presently came over his face. It was to me an utter astonishment. I did not understand it. I should now. I have since seen the faces of other men as they began to believe, ‘This is death.’ You will know it if you have seen it; life more alive than ever, a raging, tortured intensity of life.

Christopher Lasch in The Culture of Narcissism describes how despair Of the future leads people to fixate on youth. The Rites teach women to fear our own futures, our own wants. To live in fear of one’s body and one’s life is not to live at all. The resulting life-fearing neuroses are everywhere. They are in the woman who will take a lover, go to Nepal, learn to skydive, swim naked, demand a raise, “when she loses this weight”—but in the eternal meantime maintains her vow of chastity or self-denial. They are in the woman who can never enjoy a meal, who never feels thin enough, or that the occasion is special enough, to drop her guard and become one with the moment. They are in the woman whose horror of wrinkles is so great that the lines around her eyes shine with sacred oil, whether at a party or while making love. Women must await forever the arrival of the angel of use, the bridegroom who will dignify the effort and redeem the cost; whose presence will allow us to inhabit and use our “protected” faces and bodies. The expense is too high to let us fire the wick, to burn our own fuel to the last drop and live by our own light in our own time. Where the Rites of Beauty have instilled these life-fearing neuroses in modern women, they paralyze in us the implications of our new freedoms, since it profits women little if we gain the whole world only to fear ourselves.

But I think that so many of the rest of us do what we can to avoid this math because if we do the subtraction, do the addition, our own personal sum will be unbearable sorrow, terror, and a feeling of being entirely out of control. I think many of us do what we can to avoid this math because we know that if we do the subtraction, do the addition, our psyches and our consciences and our lives will forever be changed; and we know that no matter how fierce the momentum that leads to this subtraction and addition, no matter our fears that we may be crushed (or perhaps more fearsome, ridiculed), that we will be led in some way to oppose the subtraction of life and the addition of toxics to this planet that is our only home.

Every transition from major to minor in a sonata, every transformation of a myth or a religious cult, every classical or artistic formulation was, I realized in that flashing moment, if seen with a truly meditative mind, nothing but a direct route into the interior of the cosmic mystery, where in the alternation between inhaling and exhaling, between heaven and earth, between Yin and Yang, holiness is forever being created.

Just say it, she thought. Say what everyone in this bunker is thinking. Say what we all know to be true. The truth that we are all going to die down here, and death is the end. Nobody wakes up to a heaven or paradise. Your life will be gone. You will be gone. Forever. Uncover the truth. Tear off the bandages of delusion. Open your hearts and minds to the real world. We were doomed the day we were born. We lived and we will die and the only immortals are the people who did something worth remembering while they lived. My genetics are prime. I am pleasing to the eyes of man and machine. A dripping fountain of pleasure. Their organic sanctuary. And in time? Aging. Fading. Graying. What am I? Who am I? What makes me human? Emotions? My conscience? The soul is an old testament myth. No one shall ascend anywhere except into annihilation. The dust of earth and stars are the only eternals, she said.

Why not?” I asked, letting my tears spill over. It was easy to cry. All I had to do was look at Alex’s limp body, and the tears came effortlessly. “You were happy enough to do it to me.” There was a beat. Then John said cautiously, “What do you mean?” “The consequences, John?” I let out a bitter laugh. “Persephone wasn’t doomed to stay in the Underworld because she ate a pomegranate. She was doomed to stay there because she did with Hades what we did last night. That’s what the pomegranate symbolizes, right?” John stared, speechless. But I could tell I was right by the color that slowly started to suffuse his cheeks…and the fact that he didn’t try to contradict me. And of course the fact that the whole thing was spelled out right in front of me by the statue Hope was sitting on. I didn’t get why the Rectors were so obsessed by the myth of Persephone that they’d put a statue of it in their mausoleum, but it was clear enough they were involved in an underworld of one kind or another. “Don’t worry,” I said, lowering my voice because I didn’t want Frank to overhear. “I don’t blame you. You asked me if I was sure, despite the consequences. I said I was. But I thought by consequences you meant a baby, and I already knew that could never happen. I guess Mr. Smith must have told you last night that he found out the pomegranate symbolized something completely different than babies or death-“ “Pierce.” John grasped my hand. His fingers were like ice, but his voice and his gaze had an urgency that was anything but cold. “That isn’t why I did it. I love you. I’ve always loved you, because you’re good…you’re so good, you make me want to be good, too. But that’s the problem, Pierce. I’m not good. And I’ve always been afraid that when you find out the truth about me, you’d run away again-“ I sucked in my breath to tell him for the millionth time that this wasn’t true, but he cut me off, not allowing me to speak until he’d had his say. “Then you almost died yesterday,” he went on, “and it was my fault. I wanted to show you how much I loved you, and things…things went further than I expected. But you didn’t stop me”-his silver eyes blazed, as if daring me to deny what he was saying-“even though I told you we could slow down if you wanted to.” “I know,” I said softly, dropping my gaze to look down at our joined fingers. We’d each kept a hand on Alex. “I know you did.” “I don’t want to lose you again,” he said fiercely. “I lost you once and I couldn’t bear it. I won’t go through that again. I…I know I did the wrong thing. But it didn’t feel wrong at the time.” I raised my gaze to his. “You’re right about that, at least,” I said. “So am I forgiven?” he asked. I hesitated, confused by the myriad of emotions I was feeling. John had known. He’d known the whole time we had been together the night before that he was forever sealing my destiny to his. Of course, he’d thought I’d known, too. He’d asked if I was sure it was what I wanted, despite the consequences. I might have misunderstood what those consequences were, but I’d been very adamant in my response. I’d said yes. And I’d meant it. “Excuse me,” called Frank’s voice from the opposite wall of vaults. “But you might want to take a look at the boy.” John and I both glanced down. Beneath the hands we’d left on Alex, he’d come back to life.

Every country has its myths, and one that successful Indians liked to indulge was a romance of instability and adaptation—the idea that their country’s rapid rise derived in part from the chaotic unpredictability of daily life. In America and Europe, it was said, people know what is going to happen when they turn on the water tap or flick the light switch. In India, a land of few safe assumptions, chronic uncertainty was said to have helped produce a nation of quick-witted, creative problem-solvers.

It's of some interest that the lively arts of the millenial U.S.A. treat anhedonia and internal emptiness as hip and cool. It's maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it's the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip -- and keep in mind that, for kids and younger people, to be hip and cool is the same to be admired and accepted and included and so Unalone. Forget so-called peer pressure. It's more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great tanscendent horror is loneliness, excluded encagement in the self. Once we've hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the sahpe of whatever it wears. And then it's stuck there, the weary cynicism that save us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent (at least since the Reconfiguration). One of the things sophisticated viewers have always liked about J. O. Incandenza's The American Century as Seen Through a Brick is its unsubtle thesis that naïveté is the last true terrible sin in the theology of millennial America. And since sin is the sort of thing that can be talked about only figuratively, it's natural that Himself's dark little cartridge was mostly about a myth, viz. that queerly persistent U.S. myth that cynicism and naïveté are mutually exclusive. Hal, who's empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naïve and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is thie way he despises what it is he's really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia.

Hang on, you two!’ the ram said. ‘There’s a lot of turbulence over this part of the sea and –’ ‘AHHHHHHHH!’ Helle, who was not hella good at listening, slipped off the ram’s back and plummeted to her death. ‘Darn it!’ said Chrysomallos. ‘I told you to hang on!’ After that, Phrixus dug his hands into the ram’s fleece and wouldn’t let go for anything. The place where Helle died was a narrow channel of water between the Aegean Sea and the Black Sea. Forever afterwards it was called the Hellespont, I guess because Hella Stupid would’ve been impolite.

The troubadours did give us a particular myth of “true” love--the idea that real love burns brightly and passionately, and then it just keeps on burning until death, and then it just keeps on burning after death as the lovers are reunited in heaven. This myth seems to have grown and diffused in modern times into a set of interrelated ideas about love and marriage. As I see it, the modern myth of true love involves these beliefs: True love is passionate love that never fades; if you are in true love, you should marry that person; if love ends, you should leave that person because it was not true love; and if you can find the right person, you will have true love forever. You might not believe this myth yourself, particularly if you are older than thirty; but many young people in the Western nations are raised on it, and it acts as an ideal that they unconsciously carry with them even if they scoff at it. (It’s not just Hollywood that perpetrates the myth; Bollywood, the Indian film industry, is even more romanticized.) But if true love is defined as eternal passion, it is biologically impossible. p. 124

In addition to the myth that one day your life will be fundamentally different, you may believe, and hope, that one day your woman will be fundamentally different. Don’t wait. Assume she’s going to be however she is, forever. If your woman’s behavior or mood is truly intolerable to you, you should leave her, and don’t look back (since you cannot change her). However, if you find her behavior or mood is merely distasteful or a hassle, realize that she will always seem this way: The feminine always seems chaotic and complicated from the perspective of the masculine.

the typical Greek myth goes something like this: innocent shepherd boy is minding his own business, an overflying god spies him and gets a hard-on, swoops down and rapes him silly; while the victim is still staggering around in a daze, that god’s wife or lover, in a jealous rage, turns him—the helpless, innocent victim, that is—into let’s say an immortal turtle and e.g. power-staples him to a sheet of plywood with a dish of turtle food just out of his reach and leaves him out in the sun forever to be repeatedly disemboweled by army ants and stung by hornets or something.

Couples follow each other, sure of themselves and bold, in the starchy set of the easy ways. The concessions gap is growing. Dominant models who want to be the rule, like a distorted norm of bad company. Sheltered with certainties, they look at me mockingly, while I struggle in a lost erroneous and obsolete myth; they tell me where to go, how to live. The easy compromise, whatever emotional or material, shrinks your smile. It's easier to live side by side, than truly love. I know it. It's easier to hide from love, than take the forever path of its desire. To fall, at any cost, into the punished beam of a broken solitude.

But I can cite ten other reasons for not being a father." "First of all, I don't like motherhood," said Jakub, and he broke off pensively. "Our century has already unmasked all myths. Childhood has long ceased to be an age of innocence. Freud discovered infant sexuality and told us all about Oedipus. Only Jocasta remains untouchable; no one dares tear off her veil. Motherhood is the last and greatest taboo, the one that harbors the most grievous curse. There is no stronger bond than the one that shackles mother to child. This bond cripples the child's soul forever and prepares for the mother, when her son has grown up, the most cruel of all the griefs of love. I say that motherhood is a curse, and I refuse to contribute to it." "Another reason I don't want to add to the number of mothers," said Jakub with some embarrassment, "is that I love the female body, and I am disgusted by the thought of my beloved's breast becoming a milk-bag." "The doctor here will certainly confirm that physicians and nurses treat women hospitalized after an aborted pregnancy more harshly than those who have given birth, and show some contempt toward them even though they themselves will, at least once in their lives, need a similar operation. But for them it's a reflex stronger than any kind of thought, because the cult of procreation is an imperative of nature. That's why it's useless to look for the slightest rational argument in natalist propaganda. Do you perhaps think it's the voice of Jesus you're hearing in the natalist morality of the church? Do you think it's the voice of Marx you're hearing in the natalist propaganda of the Communist state? Impelled merely by the desire to perpetuate the species, mankind will end up smothering itself on its small planet. But the natalist propaganda mill grinds on, and the public is moved to tears by pictures of nursing mothers and infants making faces. It disgusts me. It chills me to think that, along with millions of other enthusiasts, I could be bending over a cradle with a silly smile." "And of course I also have to ask myself what sort of world I'd be sending my child into. School soon takes him away to stuff his head with the falsehoods I've fought in vain against all my life. Should I see my son become a conformist fool? Or should I instill my own ideas into him and see him suffer because he'll be dragged into the same conflicts I was?" "And of course I also have to think of myself. In this country children pay for their parents' disobedience, and parents for their children's disobedience. How many young people have been denied education because their parents fell into disgrace? And how many parents have chosen permanent cowardice for the sole purpose of preventing harm to their children? Anyone who wants to preserve at least some freedom here shouldn't have children," Jakub said, and fell into silence. "The last reason carries so much weight that it counts for five," said Jakub. "Having a child is to show an absolute accord with mankind. If I have a child, it's as though I'm saying: I was born and have tasted life and declare it so good that it merits being duplicated." "And you have not found life to be good?" asked Bertlef. Jakub tried to be precise, and said cautiously: "All I know is that I could never say with complete conviction: Man is a wonderful being and I want to reproduce him.

Eleven southern states seceded to protect and expand an African American slave labor system. Unwilling to accept the results of a fair, democratic election, they illegally seized U.S. territory, violently. Together, they formed a new 'Confederacy,' in contravention of the U.S. Constitution. Then West Point graduates like Robert E. Lee resigned their commissions, abrogating an oath sworn to God to defend the United States. During the bloodiest war in American history, Lee and his comrades killed more U.S. Army soldiers than any other enemy, ever. And they did it for the worst reason possible; to create a nation dedicated to exploit enslaved men, women, and children, forever.

To accept the Church's monopoly of the subjective life, or to surrender it to muddled magic and vulgar superstition, was to set limits to the examination of human experience and the pursuit of truth. The inner life could not remain forever a no-man's land, where saints, gypsies, lords, beggars, artists, and lunatics had established squatters' rights and wasted precious human energy erecting an endless series of crazy, flimsy structures. In turning his back on the realities of subjective life, Descartes rejected the possibility of creating a unified world picture that would do justice to every aspect of human experience-that indispensable pre-condition for the 'next development of man.

So Germany can’t pay France and Britain and France and Britain can’t pay America because the Gold Standard says money = gold and America already has all the gold. But America won’t forgive the loans so Germany starts printing dumpsters full of money just to keep up appearances until one U.S. dollar is worth six hundred and thirty BILLION marks. There’s so much cash, kids are building money forts it is tragic/pimp as hell. Britain does convince America to go easy and lower the interest rates on the loans but in order to do that America has to lower ALL THE INTEREST RATES so everybody back in the U.S. is like “SWEET FREE MONEY BETTER USE IT TO BUY STOCKS” and they just go nuts the whole stock market goes completely bonkers shoe-shine boys are giving out hot tips hobos have stock portfolios and the dudes in charge are TERRIFIED because they know that at this point the market is just running on bullshit and dreams and real soon it’s gonna get to that part in the dream where you’re naked at your tuba recital and you never learned to play the tuba. There are other people who are like “NAW THE MARKET WILL BE GREAT FOREVER PUT ALL YOUR MONEY IN IT” but you know what those people are? WRONG. WRONG LIKE A DOG EATING MAYONNAISE. The market goes down like a clown and a bunch of people lose a bunch of money. It happens on a Tuesday and everybody calls it Black Tuesday and then it happens again on Black Thursday also Black Monday. Everyone is so poor they have even pawned their creativity.

few years later, Demeter took a vacation to the beach. She was walking along, enjoying the solitude and the fresh sea air, when Poseidon happened to spot her. Being a sea god, he tended to notice pretty ladies walking along the beach. He appeared out of the waves in his best green robes, with his trident in his hand and a crown of seashells on his head. (He was sure that the crown made him look irresistible.) “Hey, girl,” he said, wiggling his eyebrows. “You must be the riptide, ’cause you sweep me off my feet.” He’d been practicing that pickup line for years. He was glad he finally got to use it. Demeter was not impressed. “Go away, Poseidon.” “Sometimes the sea goes away,” Poseidon agreed, “but it always comes back. What do you say you and me have a romantic dinner at my undersea palace?” Demeter made a mental note not to park her chariot so far away. She really could’ve used her two dragons for backup. She decided to change form and get away, but she knew better than to turn into a snake this time. I need something faster, she thought. Then she glanced down the beach and saw a herd of wild horses galloping through the surf. That’s perfect! Demeter thought. A horse! Instantly she became a white mare and raced down the beach. She joined the herd and blended in with the other horses. Her plan had serious flaws. First, Poseidon could also turn into a horse, and he did—a strong white stallion. He raced after her. Second, Poseidon had created horses. He knew all about them and could control them. Why would a sea god create a land animal like the horse? We’ll get to that later. Anyway, Poseidon reached the herd and started pushing his way through, looking for Demeter—or rather sniffing for her sweet, distinctive perfume. She was easy to find. Demeter’s seemingly perfect camouflage in the herd turned out to be a perfect trap. The other horses made way for Poseidon, but they hemmed in Demeter and wouldn’t let her move. She got so panicky, afraid of getting trampled, that she couldn’t even change shape into something else. Poseidon sidled up to her and whinnied something like Hey, beautiful. Galloping my way? Much to Demeter’s horror, Poseidon got a lot cuddlier than she wanted. These days, Poseidon would be arrested for that kind of behavior. I mean…assuming he wasn’t in horse form. I don’t think you can arrest a horse. Anyway, back in those days, the world was a rougher, ruder place. Demeter couldn’t exactly report Poseidon to King Zeus, because Zeus was just as bad. Months later, a very embarrassed and angry Demeter gave birth to twins. The weirdest thing? One of the babies was a goddess; the other one was a stallion. I’m not going to even try to figure that out. The baby girl was named Despoine, but you don’t hear much about her in the myths. When she grew up, her job was looking after Demeter’s temple, like the high priestess of corn magic or something. Her baby brother, the stallion, was named Arion. He grew up to be a super-fast immortal steed who helped out Hercules and some other heroes, too. He was a pretty awesome horse, though I’m not sure that Demeter was real proud of having a son who needed new horseshoes every few months and was constantly nuzzling her for apples. At this point, you’d think Demeter would have sworn off those gross, disgusting men forever and joined Hestia in the Permanently Single Club. Strangely, a couple of months later, she fell in love with a human prince named Iasion (pronounced EYE-son, I think). Just shows you how far humans had come since Prometheus gave them fire. Now they could speak and write. They could brush their teeth and comb their hair. They wore clothes and occasionally took baths. Some of them were even handsome enough to flirt with goddesses.

At that time, a number of myths were created by the young people of the smoking carriages and forests of hallucinogenic mushrooms, the hungry for the thirst of lysergic acid, who were too tired of the suffering they grew up in and needed to take refuge in dreams. In these children's universe there were unbelievable stories about places in the mountains that women sought to retreat to, places where people were united by music and love for a mutual spiritual growth. For Aunt Jeanine, who had grown up with the image of her father, an amputee due to the war, feeding on such stories was like a haven, one she would later try to turn into her home. And one of those stories, one particular one, stood in her memory until the last stage of her life, when she passed away at eighty-one, burned with fire. (...) At that time, kid, they said that if we searched enough, we would find a place where the world wouldn't end. Men would never know what hell of a place that was, totally unconquerable! A place where the dirty hands of men would never arrive. A place men would never know about . Don't you think I could find it? To have my body disappearing in the woods, as I saw happening to kids in Japan, in that forest that swallows them to its core. Flesh turned to powder, my essence disappearing in the middle of life. They said that, when you die at a place, you'll stay at that place forever. That was why everyone was afraid to go to war. They weren't afraid of dying, kid, they were afraid of dying there.

And in front of it all are the pearly gates: the proverbial entrance to Heaven that she, in earthly life, thought might not exist. But they are real, not myth or fantasy. As she passes through them, several people greet her. In foreign tongues even, but she understands. Language no longer matter. There are no barriers between herself and others, just love. The gorgeous views seem to go on forever. Ornate structures, mansions, banquet halls, and natural beauty, orchards, gardens. People congregate around huge marble fountains. In the distance are snow-capped mountains of the purist white. She can hear the sounds of rushing rivers and the surf of the ocean at once. Everyone around her is happy, loving, thankful. A choir sings songs of joy and peace while others play musical instruments of every kind in perfect harmony. Children laugh and play in the streets as well as in the clouds above her head.

For many of us, culturally dominant definitions of happy and healthy are out of reach. For people with mental illnesses, happiness can be more a battle than a point of arrival. For chronically ill people, health may feel forever out of reach, all stick and no carrot. And for any of us, regardless of ability or mental health, happiness and health are never static states. All of us fall ill, all of us experience emotions beyond some point of arrival called “happiness.” And when those things happen—when we get sick, when we get sad—they shouldn’t impinge on our perceived right to embrace and care for our own bodies. Ultimately, “as long as you’re happy and healthy” just moves the goalposts from a beauty standard to equally finicky and unattainable standards of health and happiness. All of us deserve peaceful relationships with our own bodies, regardless of whether or not others perceive us as happy or healthy.

My hypothesis is mimetic: because humans imitate one another more than animals, they have had to find a means of dealing with contagious similarity, which could lead to the pure and simple disappearance of their society. The mechanism that reintroduces difference into a situation in which everyone has come to resemble everyone else is sacrifice. Humanity results from sacrifice; we are thus the children of religion. What I call after Freud the founding murder, in other words, the immolation of a sacrificial victim that is both guilty of disorder and able to restore order, is constantly re-enacted in the rituals at the origin of our institutions. Since the dawn of humanity, millions of innocent victims have been killed in this way in order to enable their fellow humans to live together, or at least not to destroy one another. This is the implacable logic of the sacred, which myths dissimulate less and less as humans become increasingly self-aware. The decisive point in this evolution is Christian revelation, a kind of divine expiation in which God through his Son could be seen as asking for forgiveness from humans for having revealed the mechanisms of their violence so late. Rituals had slowly educated them; from then on, humans had to do without. Christianity demystifies religion. Demystification, which is good in the absolute, has proven bad in the relative, for we were not prepared to shoulder its consequences. We are not Christian enough. The paradox can be put a different way. Christianity is the only religion that has foreseen its own failure. This prescience is known as the apocalypse. Indeed, it is in the apocalyptic texts that the word of God is most forceful, repudiating mistakes that are entirely the fault of humans, who are less and less inclined to acknowledge the mechanisms of their violence. The longer we persist in our error, the stronger God’s voice will emerge from the devastation. […] The Passion unveiled the sacrificial origin of humanity once and for all. It dismantled the sacred and revealed its violence. […] By accepting crucifixion, Christ brought to light what had been ‘hidden since the foundation of the world,’ in other words, the foundation itself, the unanimous murder that appeared in broad daylight for the first time on the cross. In order to function, archaic religions need to hide their founding murder, which was being repeated continually in ritual sacrifices, thereby protecting human societies from their own violence. By revealing the founding murder, Christianity destroyed the ignorance and superstition that are indispensable to such religions. It thus made possible an advance in knowledge that was until then unimaginable. […] A scapegoat remains effective as long as we believe in its guilt. Having a scapegoat means not knowing that we have one. Learning that we have a scapegoat is to lose it forever and to expose ourselves to mimetic conflicts with no possible resolution. This is the implacable law of the escalation to extremes. The protective system of scapegoats is finally destroyed by the Crucifixion narratives as they reveal Jesus’ innocence, and, little by little, that of all analogous victims. The process of education away from violent sacrifice is thus underway, but it is going very slowly, making advances that are almost always unconscious. […] Mimetic theory does not seek to demonstrate that myth is null, but to shed light on the fundamental discontinuity and continuity between the passion and archaic religion. Christ’s divinity which precedes the Crucifixion introduces a radical rupture with the archaic, but Christ’s resurrection is in complete continuity with all forms of religion that preceded it. The way out of archaic religion comes at this price. A good theory about humanity must be based on a good theory about God. […] We can all participate in the divinity of Christ so long as we renounce our own violence.

Thee, my serenity, one can not bear, Seeing thee befuddled, bereaved, Dimmed like the midnight, secluded, darkened, Thee, my serenity, A window to my eyes, A window to laughter, and peace of mind, Thee, my serenity, one can not bear, Seeing thee wail, whine, cry, Like a gloomy, mourning brume, Thee, my serenity, Soared through fervor and delight, To the crown of heavens, the Almighty Myth, One can not bear, Seeing thee prostrate, razed, demure, Upon the dimmed streets, crawling, for a sight of the lune, Thee, my birdy in love, What befall to thy song, The very chant of my life, Cut short, stopped, along with all I gasp, Thee, my serenity, one can not bear, Seeing thee, caged in thy own night, Encumbered, through thy own heart, Lean on my shoulders now, My beautiful, wonderful Lily, That thee shall not fear, the sorrow of, Of being lonely, apart, not having a peer, As I promise, to my most dear, The girl to my heart, always near, Come what may, don’t age a year, That I will be, forever here,

My Serinity, Thee, my serenity, one can not bear, Seeing thee befuddled, bereaved, Dimmed like the midnight, secluded, darkened, Thee, my serenity, A window to my eyes, A window to laughter, and peace of mind, Thee, my serenity, one can not bear, Seeing thee wail, whine, cry, Like a gloomy, mourning brume, Thee, my serenity, Soared through fervor and delight, To the crown of heavens, the Almighty Myth, One can not bear, Seeing thee prostrate, razed, demure, Upon the dimmed streets, crawling, for a sight of the lune, Thee, my birdy in love, What befall to thy song, The very chant of my life, Cut short, stopped, along with all I gasp, Thee, my serenity, one can not bear, Seeing thee, caged in thy own night, Encumbered, through thy own heart, Lean on my shoulders now, My beautiful, wonderful Lily, That thee shall not fear, the sorrow of, Of being lonely, apart, not having a peer, As I promise, to my most dear, The girl to my heart, always near, Come what may, don’t age a year, That I will be, forever here,

The ordinary reader today knows about the Grail thanks only to Richard Wagner's Parsifal, which, in its Romantic approach, really deforms and twists the whole myth. Equally misleading is the attempt to interpret the mystery of the Grail in Christian terms: for Christian elements only play an accessory, secondary and concealing role in the saga. In order to grasp the true significance of the myth, it is necessary instead to consider the more immediate points of reference represented by the themes and echoes pertaining to the cycle of King Arthur, which survives in the Celtic and Nordic traditions. The Grail essentially embodies the source of a transcendent and immortalizing power of primordial origin that has been preserved after the 'Fall', degeneration and decadence of humanity. Significantly, all sources agree that the guardians of the Grail are not priests, but are knights and warriors - besides, the very place where the Grail is kept is described not as a temple or church, but as a royal palace or castle. In the book, I argued that the Grail can be seen to possess an initiatory (rather than vaguely mystical) character: that it embodies the mystery of warrior initiation. Most commonly, the sagas emphasize one additional element: the duties deriving from such initiation. The predestined Knight - he who has received the calling and has enjoyed a vision of the Grail, or received its boons – or he who has 'fought his way' to the Grail (as described in certain texts) must accomplish his duty of restoring legitimate power, lest he forever be damned. The Knight must either allow a prostrate, deceased, wounded or only apparently living King to regain his strength, or personally assume the regal role, thus restoring a fallen kingdom. The sagas usually attribute this function to the power of the Grail. A significant means to assess the dignity or intentions of the Knight is to 'ask the question': the question concerning the purpose of the Grail. In many cases, the posing of this crucial question coincides with the miracle of awakening, of healing or of restoration.

It is no surprise that weddings can be a little bittersweet for single people. We’re genuinely happy for our friends as they marry. But there can also be a sense of loss. It is the start of a new era for the couple. But the end of an era for our friendship. A single friend of mine in his late forties, recently said that the marriage of one of his closest friends felt like a bereavement. It feels as though you’ve been demoted. One writer, Carrie English, describes feelings of rejection that come when attending the wedding of friends. Two people announcing publicly that they love each other more than they love you. There is not denying that weddings change friendships forever. Priorities have been declared in public. She’ll be there for him in sickness and in health, till death do they part. She’ll be there for you on your birthday or when he has to work late. Being platonically dumped wouldn’t be so bad if people would acknowledge that you have the right to be platonically heartbroken. But it’s just not part of our vocabulary. However much our society might pay lip service to friendship, the fact remains that the only love it considers important, important enough to make a huge public celebration, is romantic love.

It is difficult to sneak little shreds of life this way but women do it every day. When a woman feels compelled to sneak life, she is in minimal subsistence mode. She sneaks life away from the hearing of “them,” whoever the “them” is in her life. She acts disinterested and calm on the surface, but whenever there is a crack of light, her starved self leaps out, runs for the nearest life form, lights up, kicks back, charges madly, dances herself silly, exhausts herself, then tries to creep back to the black cell before anyone notices she is gone. Women with poor marriages do this. Women made to feel inferior do this. Women filled with shame, women fearing punishment, ridicule, or humiliation do this. Instinct-injured women do this. Sneaking is good for a captured woman only if she sneaks the right thing, only if that thing leads to her liberation. In essence, sneaking good and filling and brave pieces of life causes the soul to be even more determined that the sneaking stop, and that it be free to lead life out in the open as it sees fit. You see, there is something in the wild soul that will not let us subsist forever on piecemeal intake. Because in actuality, it is impossible for the woman who strives for consciousness to sneak little sniffs of good air and then be content with no more.

He sounds like kind of a hacker. Which makes his nam-shub very difficult to understand. If he was such a nice guy, why did he do the Babel thing?" "This is considered to be one of the mysteries of Enki. As you have noticed, his behavior was not always consistent with modern norms." "I don't buy that. I don't think he actually fucked his sister, daughter, and so on. That story has to be a metaphor for something else. I think it is a metaphor for some kind of recursive informational process. This whole myth stinks of it. To these people, water equals semen. Makes sense, because they probably had no concept of pure water -- it was all brown and muddy and full of viruses anyway. But from a modern standpoint, semen is just a carrier of information -- both benevolent sperm and malevolent viruses. Enki's water -- his semen, his data, his me -- flow throughout the country of Sumer and cause it to flourish." "As you may be aware, Sumer existed on the floodplain between two major rivers, the Tigris and the Euphrates. This is where all the clay came from -- they took it directly from the riverbeds." "So Enki even provided them with their medium for conveying information -- clay. They wrote on wet clay and then they dried it out -- got rid of the water. If water got to it later, the information was destroyed. But if they baked it and drove out all the water, sterilized Enki's semen with heat, then the tablet lasted forever, immutable, like the words of the Torah. Do I sound like a maniac?

This is the fact the world desperately hides from us from birth. Long after you find out the truth about sex and Santa Claus, this other myth endures, this one about how you’ll always get rescued at the last second and if not, your death will at least mean something and there’ll be somebody there to hold your hand and cry over you. All of society is built to prop up that lie, the whole world a big, noisy puppet show meant to distract us from the fact that at the end, you’ll die, and you’ll probably be alone. I was lucky. I learned this a long time ago, in a tiny, stifling room behind my high school gym. Most people don’t realize it until they’re laying facedown on the pavement somewhere, gasping for their last breath. Only then do they realize that life is a flickering candle we all carry around. A gust of wind, a meaningless accident, a microsecond of carelessness, and it’s out. Forever. And no one cares. You kick and scream and cry out into the darkness, and no answer comes. You rage against the unfathomable injustice and two blocks away some guy watches a baseball game and scratches his balls. Scientists talk about dark matter, the invisible, mysterious substance that occupies the space between stars. Dark matter makes up 99.99 percent of the universe, and they don’t know what it is. Well I know. It’s apathy. That’s the truth of it; pile together everything we know and care about in the universe and it will still be nothing more than a tiny speck in the middle of a vast black ocean of Who Gives A Fuck.

Things I know about Mr. Forkle His official name (for this identity, at least) is Mr. Errol L. Forkle, which he apparently chose because the initials spell out “elf,” and because the word “Forkle” can sometimes mean “disguise” in Norwegian. (I guess he used to spend a lot of time in Norway—no idea why.) The L stands for Loki, because he was kinda the source of some of the Loki myths—which is way too weird to think about. He claims he’s not my biological father (despite being listed that way on certain documents). Even if that’s true, he still helped create me. And he knows who my biological father is. And he refuses to tell me. He’s a super powerful Telepath. He loves to start sentences with “you kids.” He eats a lot of ruckleberries to disguise what he really looks like. He lies sometimes. Maybe all the time. Who knows? He was my annoying next-door neighbor in San Diego, always sitting in his yard rearranging his lawn gnomes (and apparently the gnomes were one of the ways he passed along messages to the Black Swan). He’s the one who triggered my abilities. And the one who stole my missing memories. And the one who planted the information in my brain. He also rescued me from the Neverseen after they kidnapped me. And probably a bunch of other stuff I don’t know about yet. He’s Magnate Leto. Also Sir Astin. I’m sure he has other identities too. I just haven’t figured out what they are yet. And… he secretly had an identical twin. Only one of them was registered (their parents didn’t want them to face the scorn of being a “multiple birth”), and they were sharing one life and switching places all the time. Sometimes I was talking to one brother, and sometimes I was talking to the other—or I was, until one of them died right in front of me in Lumenaria. I thought he was gone, but… then Granite brought us to Brumevale, and… there was the other Forkle. I still don’t really know how to process it. But I’m glad he’s still here, even if he’s a little more limited now that he can’t be two places at once. We planted a Wanderling for the Forkle-twin we lost near Trolltunga in Norway. The tree looks like it’s leaning a bit, waiting for its brother—but I’m selfishly hoping it grows alone for a really long time. Maybe forever.

Real soul work knows there is no such thing as the other. The other is a myth, and a fabrication of an imperfect mind. A true being of light, fully possessed of itself and cognizant of its presence, sees only fellow beings of the one light whose individual brightness is sometimes dimming. To this end, your greatest mission in human form is to help others shine brightly as the angels they have forgotten they are. When you live like this, perceived darkness is but a fading shadow on the bright pane of existence, and only light goes on forever.

It was a myth, a fantastical portrayal of my mentor himself, his legend forever anchoring itself to history in a way mine will never be. Spring Heeled Jack, the boogeyman with eyes like fireballs who could jump unnaturally high. Breathing blue flames he'd ravage women with his claws.

THERE IS SOMETHING DISPIRITING ABOUT THE MARCH of history. That web which never alters despite an infinite range of motifs and variations: the same struggle for power under ever-different masks; the vain triumphs, the declines and falls; the ever-recurring myths; the straining toward a future that, though it always eludes the grasp, never ceases to exert its pressure and make its demands; the turning wheel which changes yet does not change; the hopes always disappointed, the victories foredoomed to failure—whether the picture they paint of man expresses his greatness or his weakness, we shall never know. Both, probably—and both at the same time. Nothing is more futile than history, and yet history is man himself. Nothing is more accidental, nothing more necessary. Everything could probably have been otherwise. But everything is as it is, and forever.

The origin myth of the Tukano speaks of the time, eons ago, when humans first settled the great rivers of the Amazon basin. It seems that 'supernatural beings' accompanied them on this journey and gifted them the fundamentals upon which to build a civilized life. From the 'Daughter of the Sun' they received the gift of fire and the knowledge of horticulture, pottery-making, and many other crafts. 'The serpent-shaped canoe of the first settlers' was steered by a superhuman 'Helmsman.' Meanwhile other supernaturals 'travelled by canoe over all the rivers and ... explored the remote hill ranges; they pointed out propitious sites for houses or fields, or for hunting and fishing, and they left their lasting imprint on many spots so that future generations would have ineffaceable proof of their earthly days and would forever remember them and their teachings.

The history of the land is a history of blood. In this history, someone wins and someone loses. There are patriots and enemies. Folk heroes who save the day. Vanquished foes who had it coming. It’s all in the telling. The conquered have no voice. Ask the thirty-eight Santee Sioux singing the death song with the nooses around their necks, the treaty signed fair and square, then nullified with a snap of the rope. Ask the slave women forced to bear their masters’ children, to raise and love them and see them sold. Ask the miners slaughtered by the militia in Ludlow. Names are erased. The conqueror tells the story. The colonizer writes the history, winning twice: A theft of land. A theft of witness. Oh, but let’s not speak of such things! Look: Here is an eagle whipping above the vast grasslands where the buffalo once thundered bold as gods. (The buffalo are here among the dead. So many buffalo.) There is the Declaration in sepia. (Signed by slave owners. Shhh, hush up about that, now!) See how the sun shines down upon the homesteaders’ wagons racing toward a precious claim in the nation’s future, the pursuit of happiness pursued without rest, destiny made manifest? (Never mind about those same homesteaders eating the flesh of neighbors. Winters are harsh in this country. Pack a snack.) The history is a hungry history. Its mouth opens wide to consume. It must be fed. Bring me what you would forget, it cries, and I will swallow it whole and pull out the bones bleached of truth upon which you will hang the myths of yourselves. Feed me your pain and I will give you dreams and denial, a balm in Gilead. The land remembers everything, though. It knows the steps of this nation’s ballet of violence and forgetting. The land receives our dead, and the dead sing softly the song of us: blood. Blood on the plains. In the rivers. On the trees where the ropes swing. Blood on the leaves. Blood under the flowers of Gettysburg, of Antioch. Blood on the auction blocks. Blood of the Lenape, the Cherokee, the Cheyenne. Blood of the Alamo. Blood of the Chinese railroad workers. Blood of the midwives hung for witchcraft, for the crime of being women who bleed. Blood of the immigrants fleeing the hopeless, running toward the open arms of the nation’s seductive hope, its greatest export. Blood of the first removed to make way for the cities, the factories, the people and their unbridled dreams: The chugging of the railways. The tapping of the telegram. The humming of industry. Sound burbling along telephone wires. Printing presses whirring with the day’s news. And the next day’s. And the day after that’s. Endless cycles of information. Cities brimming with ambitions used and discarded. The dead hold what the people throw away. The stories sink the tendrils of their hope and sorrow down into the graves and coil around the dead buried there, deep in its womb. All passes away, the dead whisper. Except for us. We, the eternal. Always here. Always listening. Always seeing. One nation, under the earth. E Pluribus unum mortuis. Oh, how we wish we could reach you! You dreamers and schemers! Oh, you children of optimism! You pioneers! You stars and stripes, forever! Sometimes, the dreamers wake as if they have heard. They take to the streets. They pick up the plow, the pen, the banner, the promise. They reach out to neighbors. They reach out to strangers. Backs stooped from a hard day’s labor, two men, one black, one white, share water from a well. They are thirsty and, in this one moment, thirst and work make them brothers. They drink of shared trust, that all men are created equal. They wipe their brows and smile up at a faithful sun.

A bond can become a “death” pact in which the relationship has a narcotic effect on the individuals, killing off their pain and feelings of hunger. Often the bond serves as a license to act out destructive behavior because the individuals “belong” to each other and have implicitly agreed that their relationship will last forever. The myth of love in the traditional couple and the fantasy of parental love are logical extensions of this type of bond. This myth of the family’s unconditional love for its members can develop into a shared conspiracy to deny truth and cover up aloneness and pain. As such, it is a concerted effort to avoid the facts of life, death and separateness.

Stories are the legends we tell ourselves while sitting around campfires early in the morning, steam rising in coils from coffee cups scented with wood smoke dripping fog wet beyond the rim of what we see; the creations of myths told and collective extrapolations remembered limited only by our vision. Yesterday and today blend and twine into one, only to be pulled apart as the dichotomy of their existence is merged. Spiraling ever outward their memories are carried on the winds, carried to the west, the south, over the edge of the world and back. The winds of spirits gone and of those yet to come. What we dream today, we dream tomorrow for their existence is the same. There is no contextual difference. No separate language. And so the winds that blow across the mountains and plains today commingle with those whose existence began before their stories were born, dancing as they do so through the night. A night of songs. A night of dreaming and distance. A night wherein the ghosts of everything commune as one, forever seeking dissolution from the boundaries of the civilized world beyond...