Fragments Of The Lost Quotes

Where the mind is without fear and the head is held high; Where knowledge is free; Where the world has not been broken up into fragments by narrow domestic walls; Where words come out from the depth of truth; Where tireless striving stretches its arms toward perfection; Where the clear stream of reason has not lost its way into the dreary desert sand of dead habit; Where the mind is led forward by thee into ever-widening thought and action - Into that heaven of freedom, my Father, let my country awake.

In what disorder we lived, how many fragments of ourselves were scattered, as if to live were to explode into splinters.

Maybe there is hope in the fragments, that what is lost can always be filled in by someone who knows.

Grief reunites you with what you've lost. It's a merging; you go with the loved thing or person that's going away. You follow it a far as you can go. But finally,the grief goes away and you phase back into the world. Without him. And you can accept that. What the hell choice is there? You cry, you continue to cry, because you don't ever completely come back from where you went with him -- a fragment broken off your pulsing, pumping heart is there still. A cut that never heals. And if, when it happens to you over and over again in life, too much of your heart does finally go away, then you can't feel grief any more. And then you yourself are ready to die. You'll walk up the inclined ladder and someone else will remain behind grieving for you.

Each in the most hidden sack kept the lost jewels of memory, intense love, secret nights and permanent kisses, the fragment of public or private happiness. A few, the wolves, collected thighs, other men loved the dawn scratching mountain ranges or ice floes, locomotives, numbers. For me happiness was to share singing, praising, cursing, crying with a thousand eyes. I ask forgiveness for my bad ways: my life had no use on earth.

By retracing the emotional fragments lost in the turns and splits of the past, we may learn to reconstruct a shattered self, find a sensible present, and prepare to inhabit a share of the future. ("Camera obscura of the mind" )

When it happens, you’re totally unprepared, fragmented and lost, looking for the hidden meaning in every little thing. I’ve replayed the events of that day a hundred thousand times, looking for clues. An alternate ending. The Butterfly effect. If I could find the butterfly that flapped its wings before we got into the car that day, I would crush it.

Dirge Without Music I am not resigned to the shutting away of loving hearts in the hard ground. So it is, and so it will be, for so it has been, time out of mind: Into the darkness they go, the wise and the lovely. Crowned With lilies and with laurel they go; but I am not resigned. Lovers and thinkers, into the earth with you. Be one with the dull, the indiscriminate dust. A fragment of what you felt, of what you knew, A formula, a phrase remains,—but the best is lost. The answers quick and keen, the honest look, the laughter, the love,— They are gone. They are gone to feed the roses. Elegant and curled Is the blossom. Fragrant is the blossom. I know. But I do not approve. More precious was the light in your eyes than all the roses in the world. Down, down, down into the darkness of the grave Gently they go, the beautiful, the tender, the kind; Quietly they go, the intelligent, the witty, the brave. I know. But I do not approve. And I am not resigned.

He snatched out his hand desperately as if to snatch only a wisp of air, to save a fragment of the spot that she had made lovely for him. But it was all going by too fast now for his burred eyes and he knew that he had lost that part of it, the freshest and the best, forever.

Because it begins to seem to me at such times that I am incapable of beginning a life in real life, because it has seemed to me that I have lost all touch, all instinct for the actual, the real; because at last I have cursed myself; because after my fantastic nights I have moments of returning sobriety, which are awful! Meanwhile, you hear the whirl and roar of the crowd in the vortex of life around you; you hear, you see, men living in reality; you see that life for them is not forbidden, that their life does not float away like a dream, like a vision; that their life is being eternally renewed, eternally youthful, and not one hour of it is the same as another; while fancy is so spiritless, monotonous to vulgarity and easily scared, the slave of shadows, of the idea, the slave of the first cloud that shrouds the sun... One feels that this inexhaustible fancy is weary at last and worn out with continual exercise, because one is growing into manhood, outgrowing one's old ideals: they are being shattered into fragments, into dust; if there is no other life one must build one up from the fragments. And meanwhile the soul longs and craves for something else! And in vain the dreamer rakes over his old dreams, as though seeking a spark among the embers, to fan them into flame, to warm his chilled heart by the rekindled fire, and to rouse up in it again all that was so sweet, that touched his heart, that set his blood boiling, drew tears from his eyes, and so luxuriously deceived him!

Through all he said, even through his appalling sentimentality, I was reminded of something-an elusive rhythm, a fragment of lost words, that I heard somewhere a long time ago. For a moment a phrase tried to take shape in my mouth and my lips parted like a dumb man's, as though there was more struggling upon them than a wisp of startled air. But they made no sound and what I had almost remembered was uncommunicable forever.

From the inheritance series book one Eragon. Broom The sands of time cannot be stopped years pass whether we will them or not, but we can remember.......what has been lost may yet live on in memories, that which you will hear is imperfect and fragmented yet treasure it for without you it does not exist.

If you have been brave enough to love, and somtimes you won and sometimes you lost; if you have cared enough to try, and sometimes it worked and sometimes it didn't; if you have been bold enough to dream and found yourself with some dreams that came true and a lot of broken pieces of dreams that didn't, that fell to earth and shattered,then you can look back from the mountaintop you now find yourself standing on, like Moses contemplating the tablets that would guide human behavior for a millenia, resting in the Ark alongside the broken fragments of an earlier dream. And you, like Moses, can realize how ful your life has been and how richly you are blessed.

My name is Tisaanah. I am a free woman and yet still a slave. I am fragments of many things but a whole of only myself. I am a daughter of no worlds, and all worlds. And I am not done yet.

In its severe forms, depression paralyzes all of the otherwise vital forces that make us human, leaving instead a bleak, despairing, desperate, and deadened state. . .Life is bloodless, pulseless, and yet present enough to allow a suffocating horror and pain. All bearings are lost; all things are dark and drained of feeling. The slippage into futility is first gradual, then utter. Thought, which is as pervasively affected by depression as mood, is morbid, confused, and stuporous. It is also vacillating, ruminative, indecisive, and self-castigating. The body is bone-weary; there is no will; nothing is that is not an effort, and nothing at all seems worth it. Sleep is fragmented, elusive, or all-consuming. Like an unstable, gas, an irritable exhaustion seeps into every crevice of thought and action.

The same thing happened to me that, according to legend, happened to Parmeniscus, who in the Trophonean cave lost the ability to laugh but acquired it again on the island of Delos upon seeing a shapeless block that was said to be the image of the goddess Leto. When I was very young, I forgot in the Trophonean cave how to laugh; when I became an adult, when I opened my eyes and saw actuality, then I started to laugh and have never stopped laughing since that time. I saw that the meaning of life was to make a living, its goal to be- come a councilor, that the rich delight oflove was to acquire a well-to-do girl, that the blessedness of friendship was to help each other in financial difficulties, that wisdom was whatever the majority assumed it to be, that enthusiasm was to give a speech, that courage was to risk being fined ten dollars, that cordiality was to say "May it do you good" after a meal, that piety was to go to communion once a year. This I saw, and I laughed.

I’m really cracking. No, I’m beyond cracking. I’m shattered. I’m lost. I’m fragmented.

You can't go home again. Your childhood is lost. The friends of your youth are gone. Your present is slipping away from you. Nothing is ever the same.

Over the years, confusing fragments, lost corners of stories, have a clearer meaning when seen in a new light, a different place.

So much of history is mystery. We don't know what is lost forever, what will surface again. All objects exist in a moment of time. And that fragment of time is preserved or lost or found in mysterious ways. Mystery is a wonderful part of life.

Out of the corner of his eye Gatsby saw that the blocks of the sidewalks really formed a ladder and mounted to a secret place above the trees—he could climb to it, if he climbed alone, and once there he could suck on the pap of life, gulp down the incomparable milk of wonder. His heart beat faster and faster as Daisy’s white face came up to his own. He knew that when he kissed this girl, and forever wed his unutterable visions to her perishable breath, his mind would never romp again like the mind of God. So he waited, listening for a moment longer to the tuning-fork that had been struck upon a star. Then he kissed her. At his lips’ touch she blossomed for him like a flower and the incarnation was complete. Through all he said, even through his appalling sentimentality, I was reminded of something—an elusive rhythm, a fragment of lost words, that I had heard somewhere a long time ago. For a moment a phrase tried to take shape in my mouth and my lips parted like a dumb man’s, as though there was more struggling upon them than a wisp of startled air. But they made no sound, and what I had almost remembered was uncommunicable forever.

I have always been tormented by the image of multiplicity of selves. Some days I call it richness, and other days I see it as a disease, a proliferation as dangerous as cancer. My first concept about people around me was that all of them were coordinated into a WHOLE, whereas I was made up of multiple selves, of fragments. I know that I was upset as a child to discover that we had only one life. It seems to me that I wanted to compensate for this by multiplying experience. Or perhaps it always seems like this when you follow all your impulses and they take you in different directions. In any case, when I was happy, always at the beginning of a love, euphoric, I felt I was gifted for living many lives fully. It was only when I was in trouble, lost in a maze, stifled by complications and paradoxes that I was haunted or that I spoke of my "madness," but I meant the madness of the poets.

The track curved and now it was going away from the sun, which as it sank lower, seemed to spread itself in benediction over the vanishing city where she had drawn her breath. He stretched out his hand desperately as if to snatch only a wisp of air, to save a fragment of the spot that she had made lovely for him. But it was all going by too fast now for his blurred eyes and he knew that he had lost that part of it, the freshest and the best, forever.

Is this how we discover the truth, evolve? By gathering together such unconfirmed fragments?...Will all of them who have remained incomplete and lost to me become clear and evident when I look back?

-What were you? Before? -I do not remember. Now I am only pieces of many things. Incomplete.” Its pain rang out in my chest, a mournful, empty cry. I am, too. Fragments.

On the way from mythology to logistics thought has lost the element of self-reflection and today machinery disables men even as it nurtures them.

And many a day's hours were like that. As if someone fashioned my likeness somewhere in order to torment it slowly with needles. I felt each sharp prick of his playing, and it was: as if a rain fell on me in which all things change.

I'm in a weird-ass mood today, Doc. Wired up, mind all over the place, looking for answers, reasons something solid to cling to, something real, but just when I think I've got it figured out and neatly filed under fixed instead of fucked, turns out I'm still shattered, scattered, and battered. But you probably already knew that, didn't you?...You might not be able to help me. That makes me sad, but not for me. It makes me sad for you. It must be frustrating for a shrink to have a patient who's beyond fixing. That first shrink I saw when I got back to Clayton Falls told me no one is a lost cause, but I think that's bullshit. I think people can be so crushed, so broken, that they'll never be anything more than a fragment of a whole person. (129)

To understand the world at all, sometimes you could only focus on a tiny bit of it, look very hard at what was close to hand and make it stand in for the whole; but ever since the painting had vanished from under me I’d felt drowned and extinguished by vastness—not just the predictable vastness of time, and space, but the impassable distances between people even when they were within arm’s reach of each other, and with a swell of vertigo I thought of all the places I’d been and all the places I hadn’t, a world lost and vast and unknowable, dingy maze of cities and alleyways, far-drifting ash and hostile immensities, connections missed, things lost and never found, and my painting swept away on that powerful current and drifting out there somewhere: a tiny fragment of spirit, faint spark bobbing on a dark sea.

Sometimes the best way to find your road is to get lost. Sometimes the only way to find a way is to get lost.

We gave each other the childhoods we had lost.

mingling with the remains of the plane, equally fragmented, equally absurd, there floated the debris of the soul, broken memories, sloughed-off selves, severed mother tongues, violated privacies, untranslatable jokes, extinguished futures, lost loves, the forgotten meaning of hollow, booming words, land, belonging, home.

I spent days and nights staring at the blank page, searching the deepest corners of my mind: who have I been, what have I seen, what did I learn? I thought about all the nights I've spent outside, all the times I laid down to cry and how I took a deep breath every morning and decided to simply go on. Because what else is there to do? Decide that this is it? I quit, I'm done? Oh if I could find words to justify those feelings I've carried. I could write the thickest of books with explosions of emotions from a young girl's lost heart. I could make you see, make you hear, make you feel, at least a tiny fragment of what's out there.

That first shrink I saw when I got back to Clayton Falls told me no one is a lost cause, but I think that’s bullshit. I think people can be so crushed, so broken, that they’ll never be anything more than a fragment of a whole person.

Ever since I was fifteen, that is to say from that moment when I lost all that was left me of my childhood, from the moment when I ceased to be aware of the present and knew only the past hurrying into the future, that is to say into the abyss, ever since I became fully conscious of time I have felt old and I have wanted to live. I have run after life as though to catch time, and I have tried to live. I have run after life so much that it has always escaped me, I have run, I have never been late and never too early, and yet I have never caught up with it: it is as though I have run alongside of it. What is life, I may be asked. For me, life is not Time; it is not this state of existence, for ever escaping us, slipping between our fingers and vanishing like a ghost as soon as you try to grasp it. For me it is, it must be, the present, presentness, plenitude. I have run after life so much that I have lost it.

A timeless classical love story our romance shall be… I'll paint it on vintage canvas cause your love transcends the realms defeats any measure of time and lasts forever. (fragment from "Utopia", chapter Hope)

There are no new stories in the world anymore, and no more storytellers. There is nothing left but fragments of phrases that signaled their telling: once upon a time; why; and then; the end. But these phrases have lost their meanings through endless repetition, like everything else in this modern, mechanical age. And this machine age has no room for stories. These days we seek our pleasures out in single moments cast in amber, as if we have no desire to connect the future to the past. Stories? We have no time for them; we have no patience.

Stephen watched the three glasses being raised from the counter as his father and his two cronies drank to the memory of their past. An abyss of fortune or of temperament sundered him from them. His mind seemed older than theirs: it shone coldly on their strifes and happiness and regrets like a moon upon a younger earth. No life or youth stirred in him as it had stirred in them. He had known neither the pleasure of companionship with others nor the vigour of rude male health nor filial piety. Nothing stirred within his soul but a cold and cruel and loveless lust. His childhood was dead or lost and with it his soul capable of simple joys, and he was drifting amid life like the barren shell of the moon. Art thou pale for weariness Of climbing heaven and gazing on the earth, Wandering companionless...? He repeated to himself the lines of Shelley's fragment. Its alternation of sad human ineffectiveness with vast inhuman cycles of activity chilled him, and he forgot his own human and ineffectual grieving.

There’s a fragment of some conversation, I’m remembering it. Someone is saying: “You have to understand: this is not your husband anymore, not a beloved person, but a radioactive object with a strong density of poisoning. You’re not suicidal. Get ahold of yourself.” And I’m like someone who’s lost her mind: “But I love him! I love him!” He’s sleeping, and I’m whispering: “I love you!” Walking in the hospital courtyard, “I love you.” Carrying his sanitary tray, “I love you.

Having lost the training and rites that prepare a girl for becoming truly queenly, a mature woman, we have instead beauty-queen contests for five-year-olds.

Etchings endure, But not in Sand Meanings Collide To Unresolved Fragments Codes fizzle to Static They are not lost But Unheard Never lost Fading slowly to Silence By infinite degrees

We are sorry about the way things turned out. We gave, in the phrasing of our words if not literally in the words themselves, the false impression that these pages might hold some small fragment, some slight fragrance of a greater truth. That there might be something here to be learned. Before we go any further the author of this cartoon wishes to make an apology. Such an impression was deliberately cultivated. It is a ruse. It is a lie. We are every bit as lost and afraid as children abandoned in a wood: every bit as lost as you.

Gather the scattered fragments of your broken heart. Pick them up off the floor and weave them into the tapestry of your life so that when you find the light again-and you will- you'll remember that love can only be lost because it was once found. You are healing and you are growing and everything you are is good enough.

I have never been joyful, and yet it has always seemed as if joy were my constant companion, as if the buoyant jinn of joy danced around me, invisible to others but not to me, whose eyes shone with delight. Then when I walk past people, happy-go-lucky as a god, and they envy me because of my good fortune, I laugh, for I despise people, and I take my revenge. I have never wished to do anyone an injustice, but I have always made it appear as if anyone who came close to me would be wronged and injured. Then when I hear others praised for their faithfulness, their integrity, I laugh, for I despise people, and I take my revenge. My heart has never been hardened toward anyone, but I have always made it appear, especially when I was touched most deeply, as if my heart were closed and alien to every feeling. Then when I hear others lauded for their good hearts, see them loved for their deep, rich feelings, then I laugh, for I despise people and take my revenge. When I see myself cursed, abhorred, hated for my coldness and heartlessness, then I laugh, then my rage is satisfied. The point is that if the good people could make me be actually in the wrong, make me actually do an injustice-well, then I would have lost.

So much is lost, he said, in the shipwreck. What remains are fragments, and if you don't hold on to them the sea will take them too.

I will meet you in the light, in the morning one, when raindrops fall on your mild skin and your blue eyes sparkle better than the sky. (fragment from "I will meet you then", chapter Hope)

The color of the sun when rises Your skin when shines, just tanned The stars raveled on a clear blue sky Your favorite dress of mine, fallen on the floor... (fragment from "Yellow", chapter Hope)

Nothing is mightier than our why, nothing stands above it, because in the end there is a why to which no answer is possible. In fact, from why to why, from one step to the next, you get to the end of things. And it is only by travelling from one why to the next, as far as the why that is unanswerable, that man attains the level of the creative principle, facing the infinite, equal to the infinite maybe. So long as he can answer the why he gets lost, he loses his way among things. 'Why this?' I answer, 'because that," and from one explanation to the next I reach the point where no explanation is satisfying, from one explanation to the next I reach zero, the absolute, where truth and falsehood are equivalent, become equal to one another, are identified with one another, cancel each other out in face of the absolute nothing. And so we can understand how all action, all choice, all history is justified, at the end of time, by a final cancelling-out. The why goes beyond everything. Nothing goes beyond the why, not even the nothing, because the nothing is not the explanation; when silence confronts us, the question to which there is no answer rings out in the silence. That ultimate why, that great why is like a light that blots out everything, but a blinding light; nothing more can be made out, there is nothing more to make out.

Physicians and mental health workers today don't speak of retrieving souls, but they are faced with a similar task—restoring wholeness to an organism that has been fragmented by trauma. Shamanistic concepts and procedures treat trauma by uniting lost soul and body in the presence of community. This approach is alien to the technological mind. However, these procedures do seem to succeed where conventional Western approaches fail.

Where the mind is without fear and the head is held high; Where knowledge is free; Where the world has not been broken up into fragments by narrow domestic walls; Where words come out from the depth of truth; Where tireless striving stretches its arms towards perfection; Where the clear stream of reason has not lost its way into the dreary desert sand of dead habit; Where the mind is led forward by Thee into ever-widening thought and action; Into that heaven of freedom, my Father, let my country awake!” —Rabindranath Tagore

The thing is to sift out the important sounds, little syllables and vowels that bring hints of their lost words, and not to mistake the fossil for the life, or the kiss for the love, not to mistake the fragment for the sentence.

ONE SUNDAY MORNING, I climbed up to the light from a weighty and complicated dream, nothing of it left but a ringing in my ears and the ache of something slipped from my grasp and fallen into a crevasse where I would not see it again. Yet somehow—in the midst of this profound sinking, snapped threads, fragments lost and untrackable—a sentence stood out, ticking across the darkness like a news crawler at the bottom of a TV screen:

Furthermore, we exist in a psychologically fragmented state, a state of continuous inner conflicts among the parts of ourselves. We have lost the principle of unity within ourselves. We are not only psychological polytheists, worshipping gods of our own creation, we are “polyselfists,” because we have many selves and have not known our essential self.

When we fall in love, we recognise in the other the fragments of ourselves that we have lost.

Arise my soul, arise to lighter ways, So cast aside dark shadows haunting thee; O view the orbs and spheres of brighter days, Lost fragments fraught with broken ecstasy.

On wings of moonlight Beneath the stars Breathing time I shall find Your eyes (fragment from "Beatitude", chapter Hope)

and then I look deep into your eyes and we melt into each other and enjoy that melting, like those things that belong together... (fragment from Passion beneath, chapter Passion)

The imperfect is the tense of fascination: it seems to be alive and yet it doesn't move: imperfect presence, imperfect death; neither oblivion nor resurrection; simply the exhausting lure of memory. From the start, greedy to play a role, scenes take their position in memory: often I feel this, I foresee this, at the very moment when these scenes are forming. —This theater of time is very contrary of the search of lost time; for I remember pathetically, punctually, and not philosophically, discursively: I remember in order to be unhappy/happy— not in order to understand. I do not write, I do not shut myself up in order to write the enormous novel of time recaptured.

In the waltz of the leaves in the air In the features of the playful clouds In the nostalgia carried by the wind In Paris alone, I save your love (fragment from Your presence “partout”, chapter Hope)

Her head hurt and her chest felt hollowed out, as if she’d lost more than just her memories. For a second the agony was so deep and so brutal, she clutched her heart, half expecting to find a jagged hole. But there was no wound. Her heart was still there; she could feel it beating. Yet for a devastating moment, Evangeline imagined that it shouldn’t have been, that her heart was supposed to be as broken as she felt. Then it hit her, not a feeling but a thought—a sharp, fragmented one. She had something important to tell someone.

I'm in a weird-ass mood today, Doc. Wired up, mind all over the place, looking for answers, reasons something solid to cling to, something real, but just when I think I've got it figured out and neatly filed under fixed instead of fucked, turns out I'm still shattered, scattered, and battered. But you probably already knew that, didn't you?...You might not be able to help me. That makes me sad, but not for me. It makes me sad for you. It must be frustrating for a shrink to have a patient who's beyond fixing. That first shrink I saw when I got back to Clayton Falls told me no one is a lost cause, but I think that's bullshit. I think people can be so crushed, so broken, that they'll never be anything more than a fragment of a whole person. (129)

Where the mind is without fear and the head is held high; Where knowledge is free; Where the world has not been broken up into fragments by narrow domestic walls; … Where the clear stream of reason has not lost its way into the dreary desert sand of dead habit; … Into that heaven of freedom, my Father, let my country awake.53

Emigration does not only involve leaving behind, crossing water, living amongst strangers, but, also, undoing the very meaning of the world and—at its most extreme—abandoning oneself to the unreal which is the absurd. […] to emigrate is always to dismantle the center of the world, and so to move into a lost, disoriented one of fragments.

The rock struck Piggy a glancing blow from chin to knee; the conch exploded into a thousand white fragments and ceased to exist. Piggy, saying nothing, with no time for even a grunt, travelled through the air sideways from the rock, turning over as he went. The rock bounded twice and was lost in the forest. Piggy fell forty feet and landed on his back across that square, red rock in the sea. His head opened and stuff came out and turned red. Piggy's arms and legs twitched a bit, like a pig's after it has been killed. Then the sea breathed again in a long, slow sigh, the water boiled white and pink over the rock; and when it went, sucking back again, the body of Piggy was gone.

The sands of time cannot be stopped. Years pass whether we will them or not … but we can remember. What has been lost may yet live on in memories. That which you will hear is imperfect and fragmented, yet treasure it, for without you it does not exist. I give you now a memory that has been forgotten, hidden in the dreamy haze that lies behind us.

Low patches of clouds hung over the surrounding mountains. When the wind blew, these cloud fragments, like some wandering spirits from the past, drifted uncertainly along the surface of the mountains, as if in search of lost memories.

Movies are made out of darkness as well as light; it is the surpassingly brief intervals of darkness between each luminous still image that make it possible to assemble the many images into one moving picture. Without that darkness, there would only be a blur. Which is to say that a full-length movie consists of half an hour or an hour of pure darkness that goes unseen. If you could add up all the darkness, you would find the audience in the theater gazing together at a deep imaginative night. It is the terra incognita of film, the dark continent on every map. In a similar way, a runner’s every step is a leap, so that for a moment he or she is entirely off the ground. For those brief instants, shadows no longer spill out from their feet, like leaks, but hover below them like doubles, as they do with birds, whose shadows crawl below them, caressing the surface of the earth, growing and shrinking as their makers move nearer or farther from that surface. For my friends who run long distances, these tiny fragments of levitation add up to something considerable; by their own power they hover above the earth for many minutes, perhaps some significant portion of an hour or perhaps far more for the hundred-mile races. We fly; we dream in darkness; we devour heaven in bites too small to be measured.

What’s also missing is a sense of relationship. People suffer in isolation from one another. In a world without purpose, without meaningful values, what have we to share but our emptiness, the needy fragments of our superficial selves? As a result, most of us scramble about hungrily seeking distraction, in music, in television, in people, in drugs. And most of all we seek things. Things to wear and things to do. Things to fill the emptiness. Things to shore up our eroding sense of self. Things to which we can attach meaning, significance, life. We’ve fast become a world of things. And most people are being buried in the profusion. What most people need, then, is a place of community that has purpose, order, and meaning. A place in which being human is a prerequisite, but acting human is essential. A place where the generally disorganized thinking that pervades our culture becomes organized and clearly focused on a specific worthwhile result. A place where discipline and will become prized for what they are: the backbone of enterprise and action, of being what you are intentionally instead of accidentally. A place that replaces the home most of us have lost. That’s what a business can do; it can create a Game Worth Playing.

His eyes undress his ancient unrevealable emotions. … A suffocating pain is hidden in his eyes. His heart is locked in the depth of the eternal abyss. … His smile ripped my soul and hypnotized my brain, … Seduced in an indescribable agony of dreams. … I had dreams haphazardly about a phantasmagorical creature, unbelievably beautiful, … I felt his touch disintegrating my entire body, it was the apogee of an unborn world and the fallen of the existing one, (fragment from Bewitched, chapter Passion)

Human language, for us moderns, has swung in on itself, turning its back on the beings around us. Language is a human property, suitable only for communication with other persons. We talk to people; we do not speak to the ground underfoot. We've largely forgotten the incantatory and invocational use of speech as a way of bringing ourselves into deeper rapport with the beings around us, or of calling the living land into resonance with us. It is a power we still brush up against whenever we use our words to bless and to curse, or to charm someone we're drawn to. But we wield such eloquence only to sway other people, and so we miss the greater magnetism, the gravitational power that lies within such speech. The beaver gliding across the pond, the fungus gripping a thick trunk, a boulder shattered by its tumble down a cliff or the rain splashing upon those granite fragments -- we talk about such beings, the weather and the weathered stones, but we do not talk to them. Entranced by the denotative power of words to define, to order, to represent the things around us, we've overlooked the songful dimension of language so obvious to our oral [storytelling] ancestors. We've lost our ear for the music of language -- for the rhythmic, melodic layer of speech by which earthly things overhear us.

Notebooks. There are dozens of notebooks. I always carry notebooks with me. I scribble in them in a barely readable scrawl. I do not write jokes. I write moments. Thoughts. Fragments that I have to sweat over as if they’re cryptic texts in a lost language when I try to interpret them. That shouldn’t be part of my process—decoding my own writing—but it has been for my entire life. What does that say about me? Why can’t I make it easy? I need to complicate everything to protect myself from success and to remain complicated and overwhelmed.

In one enciphering corner of my mind I believe still that every line in every poem is the orphaned caption of a lost photograph. By a related logic, each photograph sits in the antechamber of speech. Undissolved fragments of the past can be seen through the skin of photograph.

In other words if a man is armed, then one pretty much has to take his opinions into account. One can see how this worked at its starkest in Xenophon’s Anabasis, which tells the story of an army of Greek mercenaries who suddenly find themselves leaderless and lost in the middle of Persia. They elect new officers, and then hold a collective vote to decide what to do next. In a case like this, even if the vote was 60/40, everyone could see the balance of forces and what would happen if things actually came to blows. Every vote was, in a real sense, a conquest.

God In his malodorous brain what slugs and mire, Lanthorned in his oblique eyes, guttering burned! His body lodged a rat where men nursed souls. The world flashed grape-green eyes of a foiled cat To him. On fragments of an old shrunk power, On shy and maimed, on women wrung awry, He lay, a bullying hulk, to crush them more. But when one, fearless, turned and clawed like bronze, Cringing was easy to blunt these stern paws, And he would weigh the heavier on those after. Who rests in God's mean flattery now? Your wealth Is but his cunning to make death more hard. Your iron sinews take more pain in breaking. And he has made the market for your beauty Too poor to buy, although you die to sell. Only that he has never heard of sleep; And when the cats come out the rats are sly. Here we are safe till he slinks in at dawn But he has gnawed a fibre from strange roots, And in the morning some pale wonder ceases. Things are not strange and strange things are forgetful. Ah! if the day were arid, somehow lost Out of us, but it is as hair of us, And only in the hush no wind stirs it. And in the light vague trouble lifts and breathes, And restlessness still shadows the lost ways. The fingers shut on voices that pass through, Where blind farewells are taken easily .... Ah! this miasma of a rotting God!

she laughed I was aware of becoming involved in her laughter and being part of it, until her teeth were only accidental stars with a talent for squad-drill. I was drawn in by short gasps, inhaled at each momentary recovery, lost finally in the dark caverns of her throat, bruised by the ripple of unseen muscles. An elderly waiter with trembling hands was hurriedly spreading a pink and white checked cloth over the rusty green iron table, saying: "If the lady and gentleman wish to take their tea in the garden, if the lady and gentleman wish to take their tea in the garden ..." I decided that if the shaking of her breasts could be stopped, some of the fragments of the afternoon might be collected, and I concentrated my attention with careful subtlety to this end.

The world is so big, so complicated, so replete with marvels and surprises that it takes years for most people to begin to notice that it is, also, irretrievably broken. We call this period of research “childhood.” There follows a program of renewed inquiry, often involuntary, into the nature and effects of mortality, entropy, heartbreak, violence, failure, cowardice, duplicity, cruelty, and grief; the researcher learns their histories, and their bitter lessons, by heart. Along the way, he or she discovers that the world has been broken for as long as anyone can remember, and struggles to reconcile this fact with the ache of cosmic nostalgia that arises, from time to time, in the researcher’s heart: an intimation of vanished glory, of lost wholeness, a memory of the world unbroken. We call the moment at which this ache first arises “adolescence.” The feeling haunts people all their lives. Everyone, sooner or later, gets a thorough schooling in brokenness. The question becomes: What to do with the pieces? Some people hunker down atop the local pile of ruins and make do, Bedouin tending their goats in the shade of shattered giants. Others set about breaking what remains of the world into bits ever smaller and more jagged, kicking through the rubble like kids running through piles of leaves. And some people, passing among the scattered pieces of that great overturned jigsaw puzzle, start to pick up a piece here, a piece there, with a vague yet irresistible notion that perhaps something might be done about putting the thing back together again. Two difficulties with this latter scheme at once present themselves. First of all, we have only ever glimpsed, as if through half-closed lids, the picture on the lid of the jigsaw puzzle box. Second, no matter how diligent we have been about picking up pieces along the way, we will never have anywhere near enough of them to finish the job. The most we can hope to accomplish with our handful of salvaged bits—the bittersweet harvest of observation and experience—is to build a little world of our own. A scale model of that mysterious original, unbroken, half—remembered. Of course the worlds we build out of our store of fragments can be only approximations, partial and inaccurate. As representations of the vanished whole that haunts us, they must be accounted failures. And yet in that very failure, in their gaps and inaccuracies, they may yet be faithful maps, accurate scale models, of this beautiful and broken world. We call these scale models “works of art.

In his separation from God in whose light alone man can see the truth, man lost his catholicizing spirit- he no longer (apart from regeneration) is able to see the meaning in life and view it as a whole. His culture was fragmentized. Man sees only a part reality, but he does not see its relation as a whole, nor does he ascend from the creature to the Creator. In his apostasy, man has fallen in love with the cosmos or some aspect of reality, and he worships the creation instead of the Creator.

You are a complete mess, friend, unable to be mended. The time for solutions has passed. Yet stay close. Breathe. This is not the end. Come out of all your futures; no time for futures now. Look: you are an embraceable mess. A mess that is holy to its very core. You could never be what they wanted you to be. You were always too alive, too inquisitive, born with a heart broken open to life. They tried to close it, but it would never close. You wouldn’t fit in. You couldn’t conform. You could never squeeze yourself into their ideal of “perfection.” The perfect thoughts and feelings, the “right” way to be, the dance they told you to dance—your heart was always too big. Let everything flood in now. Give up. Fall apart. Break down. Let the old dreams of yourself die a beautiful death. Let all the lost fragments find safety in your loving arms. And in your falling, find yourself. And in your breaking, breathe. And all the creatures in all the forgotten Kingdoms are bowing to you now. Their savior. Their love.

Where the mind is without fear and the head is held high; Where knowledge is free; Where the world has not been broken up into fragments by narrow domestic walls; Where words come out from the depth of truth; Where tireless striving stretches its arms toward perfection; Where the clear stream of reason has not lost its way into the dreary desert sand of dead habit; Where the mind is led forward by Thee into ever widening thought and action; Into that heaven of freedom, my Father, let my country awake!”5 RABINDRANATH TAGORE

When I wasn't internally grumbling about my physical state, I found my mind playing and replaying scraps of songs and jingles in an eternal, nonsensical loop, as if there were a mix-tape radio station in my head. Up against the silence, my brain answered back with fragmented lines from tunes I'd heard over the course of my life - bits from songs I loved and clear renditions of jingles from commercials that almost drove me mad.

We receive God's Will only in fragments; tiny fragments; one to each new now. It is our business to take them and piece them together, to fashion them into the design that is His and has been His from all eternity. What that design is we shall see only at our last moment. It will be perfect as God wills it to be perfect only if we live His Will in the now, the only fragment that is ours, the only fragment of God's plan that is allowed in our hands, the only fragment of Christ's life in us and our life in Christ that can be lived. But it is only by "gathering up these fragments, lest they be lost" that we can really live and attain life's only success - sainthood.

We Close In Fifteen Minutes by Stewart Stafford Found myself the only taker, Of a minefield guided tour, Through no man's land life, Every exit is now invisible. Stardom magnified my flaws, A broken man lost in a maze, A deadly structure's hostage, A hermit in denial's labyrinth. Glimpse dwindling fragments, In the looking glass of hubris, Flounder in glossy quicksand, The solutions devoured whole. © Stewart Stafford, 2023. All rights reserved.

I have mentioned already, by the way, that though he lost his mother in his fourth year he remembered her all his life—her face, her caresses, “as though she stood living before me.” Such memories may persist, as every one knows, from an even earlier age, even from two years old, but scarcely standing out through a whole lifetime like spots of light out of darkness, like a corner torn out of a huge picture, which has all faded and disappeared except that fragment.

The lucid, rational part of Billie wanted to laugh. Here she was, out in the woods of middle-class suburbia, with a man’s fingers inside her panties, inside her, a climax of unimaginable force trembling at the edge of her grasp. And the man who now plied her and played her…a prostitute. A gigolo. A beloved brother and son and uncle, and a suspect, with too many secrets and too much sexual prowess. A man she was falling in love with. The impossibility of it, the crazy, twisted potential swept over her, then ebbed, lost in the surge of unbelievable pleasure that built and built within her like strings drawn too tightly across a fine-tuned instrument. She would die from this, die and scatter into a million fragments and drift like dust on the wind.

The cortex craves for information, but it can longer contain and creatively process it all. How can a body subjectively and simultaneous grasp both nanoseconds and nebulae? THE CORTEX THAT CANNOT COPE RESORTS TO SPECIALIZATION. Specialization, once a maneuver methodically to collect information, now is a manifestation of information overloads. The role of information has changed. Once justified as a means of comprehending the world, it now generates a conflicting and contradictory, fleeting and fragmentation field of disconnected and undigested data. INFORMATION IS RADIATION. The most significant planetary pressure is no longer the gravitational pull, but the information thrust. The psycho-social flowering of the human species has withered. We are in the twilight of our cerebral fantasies. The symbol has lost all power. The accumulation of information has lost all purpose. Memory results in mimicry. Reflection will not suffice. THE BODY MUST BURST FROM ITS BIOLOGICAL, CULTURAL, AND PLANETARY CONTAINMENT.

As she laughed I was aware of becoming involved in her laughter and being part of it, until her teeth were only accidental stars with a talent for squad-drill. I was drawn in by short gasps, inhaled at each momentary recovery, lost finally in the dark caverns of her throat, bruised by the ripple of unseen muscles. An elderly waiter with trembling hands was hurriedly spreading a pink and white checked cloth over the rusty green iron table, saying: “If the lady and gentleman wish to take their tea in the garden, if the lady and gentleman wish to take their tea in the garden…” I decided that if the shaking of her breasts could be stopped, some of the fragments of the afternoon might be collected, and I concentrated my attention with careful subtlety to this end.

Was that what it meant to be a daughter? To have hair that smelled of your mother? To use the same soap? Or was it a shared passion, a shared frustration? Meg had never wanted to kneel in the dirt and plant bulbs like her mum; she longed to be considered - not with kindness, but with curiosity, with regard for her thoughts, with respect for her words. Was that what the mess on the floor was? Evidence of a curious mind? Fragments of frustration? An effort to understand and explain? Were Meg’s longings akin to Esme and was that what it meant to be a daughter?

It's made of poetry and art and lost hearts enhanced in magic It's the kingdom of love, where free spirits find their resilience It's the dream catcher of lost passion and deep silence It's the torso where rebel souls find their homeland It's the beginning of a dream and the end of another It's what keeps you up in the night, when you're breathing dreams It's that madness of artists caught in the wind It's the night on a full moon drown between chimeras It's you making love to me, under the blessings of Seine..." (fragment from "Paris", chapter Hope)

The Christian church, the Christian form of worship, was not invented by the fathers of the church. It was all taken in a ready-made form from Egypt, only not from the Egypt that we know but from one which we do not know. This Egypt was in the same place as the other but it existed much earlier. Only small bits of it survived in historical times, and these bits have been preserved in secret and so well that we do not even know where they have been preserved. It will seem strange to many people when I say that this prehistoric Egypt was Christian many thousands of years before the birth of Christ, that is to say, that its religion was composed of the same principles and ideas that constitute true Christianity. Special schools existed in this prehistoric Egypt which were called 'schools of repetition.' In these schools a public repetition was given on definite days, and in some schools perhaps even every day, of the entire course in a condensed form of the sciences that could be learned at these schools. Sometimes this repetition lasted a week or a month. Thanks to these repetitions people who had passed through this course did not lose their connection with the school and retained in their memory all they had learned. Sometimes they came from very far away simply in order to listen to the repetition and went away feeling their connection with the school. There were special days of the year when the repetitions were particularly complete, when they were carried out with particular solemnity—and these days themselves possessed a symbolical meaning. These 'schools of repetition' were taken as a model for Christian churches—the form of worship in Christian churches almost entirely represents the course of repetition of the science dealing with the universe and man. Individual prayers, hymns, responses, all had their own meaning in this repetition as well as holidays and all religious symbols, though their meaning has been forgotten long ago.

For many people it is depressing even to move house. A lost fragment of life always remains. To move to another town, settle in a foreign country, is for everyone a major decision. But, to be suddenly driven forth, within twenty-four hours, from one's home, one's work, the reward of years of steady industry. To become a helpless prey of help. To be sent defenceless out to Asiatic highroads, with several thousand miles of dust, stones, and morass before one. To know that one will never again find a decently human habitation, never again sit down to a proper table. Yet this is all nothing. To be more shackled than any convict. To be counted as outside the law, a vagabond, whom anyone has the right to kill unpunished.

He closed his eyes. This bed was a wedding gift from friends he had not seen in years. He tried to remember their names, but they were gone. In it, or on it, his marriage had begun and, six years later, ended. He recognized a musical creak when he moved his legs, he smelled Julie on the sheets and banked-up pillows, her perfume and the close, soapy essence that characterized her newly washed linen. Here he had taken part in the longest, most revealing, and, later, most desolate conversations of his life. He had had the best sex ever here, and the worst wakeful nights. He had done more reading here than in any other single place - he remembered Anna Karenina and Daniel Deronda in one week of illness. He had never lost his temper so thoroughly anywhere else, nor had been so tender, protective, comforting, nor, since early childhood, been so cared for himself. Here his daughter had been conceived and born. On this side of the bed. Deep in the mattress were the traces of pee from her early-morning visits. She used to climb between then, sleep a little, then wake them with her chatter, her insistence on the day beginning. As they clung to their last fragments of dreams, she demanded the impossible: stories, poems, songs, invented catechisms, physical combat, tickling. Nearly all evidence of her existence, apart from photographs, they had destroyed or given away. All the worst and the best things that had ever happened to him had happened here. This was where he belonged. Beyond all immediate considerations, like the fact that his marriage was more or less finished, there was his right to lie here now in the marriage bed.

There needs to be a process of reintegration, whereby we return to the experiential world again. The parts, once seen, are subsumed again in the whole, as the musician's painful, conscious, fragmentation of the piece in practice is lost once again in the (now improved) performance. The part that has been under the spotlight is seen as part of a broader picture; what had to be conscious for a while becomes unconscious again; what needs to be implicit once again retires; the represented entity becomes once more present, and ‘lives’; and even language is given its final meaning by the right hemisphere's holistic pragmatics. So what begins in the right hemisphere's world is ‘sent’ to the left hemisphere's world for processing, but must be ‘returned’ to the world of the right hemisphere where a new synthesis can be made.

Dispersal was a conscious strategy of the plunderers. Only by destroying these collections could they build up new ones. Many of these libraries were the results of decades, sometimes centuries, of careful collecting. There had been generations of learned collectors and readers. The books also said something about the people who owned and treasured them: what they read and what they thought and what they dreamed. Sometimes they left traces in the form of underlined passages, notations, notes in the margins, or short comments. The beautiful and personally designed ex librises that many readers had made for their books demonstrate the care and pride they took in their libraries. Each collection in its own right took form in a unique culture, a depiction of its creator's world, which was lost when the library was broken up. The books are fragments of a library, of a world that once existed.

...had the management of The Enchanted Hunters lost its mind one summer day and commissioned me to redecorate their dining room with murals of my own making, this is what I might have thought up, let me list some fragments: There would have been a lake. There would have been an arbor in flame-flower. There would have been nature studies: a tiger pursuing a bird of paradise, a choking snake sheathing whole the flayed trunk of a shoat. There would have been a sultan, his face expressing great agony (belied, as it were, by his molding caress), helping a callypygean slave child to climb a column of onyx. There would have been those luminous globules of gonadal glow that travel up the opalescent sides of juke boxes. There would have been all kinds of camp activities on the part of the intermediate group, Canoeing, Coranting, Combing Curls in the lakeside sun. There would have been poplars, apples, a suburban Sunday. There would have been a fire opal dissolving within a ripple-ringed pool, a last throb, a last dab of color, stinging red, smearing pink, a sigh, a wincing child.

The relevant research literature also helps clarify this sense of overload. In their original 2004 study on attention fragmentation, Victor M. González and Gloria Mark partitioned the efforts of the employees they observed into distinct working spheres, each representing a different project or objective. They found that on average their subjects worked on ten different spheres per day, spending less than twelve minutes on one before switching to another.36 A follow-up study in 2005 found the observed employees touching on eleven to twelve different working spheres per day on average.37 The large number of different spheres these subjects tackled in a given day, combined with the reality that each sphere demands the accomplishment of many smaller tasks and presumably dozens of emails, provides a harried portrayal of modern knowledge work. “At night, I often wake in a panic about all the things I need to do or didn’t get done,” writes journalist Brigid Schulte in Overwhelmed, her 2014 book on this busyness epidemic. “I worry that I’ll face my death and realize that my life got lost in this frantic flotsam of daily stuff.”38

The self-consciousness that mocks all attempts at spontaneous action or enjoyment derives in the last analysis from the waning belief in the reality of the external world, which has lost its immediacy in a society pervaded by "symbolically mediated information." The more man objectifies himself in his work, the more reality takes on the appearance of illusion. As the workings of the modern economy and the modern social order become increasingly inaccessible to everyday intelligence, art and philosophy abdicate the task of explaining them to the allegedly objective sciences of society, which themselves have retreated from the effort to master reality into the classification of trivia. Reality thus presents itself, to laymen and "scientists" alike, as an impenetrable network of social relations-as "role playing," the "presentation of self in everyday life." To the performing self, the only reality is the identity he can construct out of materials furnished by advertising and mass culture, themes of popular film and fiction, and fragments torn from a vast range of cultural traditions, all of them equally contemporaneous to the contemporary mind.* In order to polish and perfect the part he has devised for himself, the new Narcissus gazes at his own reflection, not so much in admiration as in unremitting search of flaws, signs of fatigue, decay. Life becomes a work of art, while "the first art work in an artist," in Norman Mailer's pronouncement, "is the shaping of his own personality.

You haven’t gotten to the point of leaving a glass for her, too.” He covered his eyes but said nothing. She pulled away his hands, and then, looking straight at him, asked, “She’s alive, isn’t she?” He nodded and sat up. “Rong, I used to think that a character in a novel was controlled by her creator, that she would be whatever the author wanted her to be, and do whatever the author wanted her to do, like God does for us.” “Wrong!” she said, standing up and beginning to pace the room. “Now you realize you were wrong. This is the difference between an ordinary scribe and a literary writer. The highest level of literary creation is when the characters in a novel possess life in the mind of the writer. The writer is unable to control them, and might not even be able to predict the next action they will take. We can only follow them in wonder to observe and record the minute details of their lives like a voyeur. That’s how a classic is made.” “So literature, it turns out, is a perverted endeavor.” “It was like that for Shakespeare and Balzac and Tolstoy, at least. The classic images they created were born from their mental wombs. But today’s practitioners of literature have lost that creativity. Their minds give birth only to shattered fragments and freaks, whose brief lives are nothing but cryptic spasms devoid of reason. Then they sweep up these fragments into a bag they peddle under the label ‘postmodern’ or ‘deconstructionist’ or ‘symbolism’ or ‘irrational.’” “So you mean that I’ve become a writer of classic literature?” “Hardly. Your mind is only gestating an image, and it’s the easiest one of all. The minds of those classic authors gave birth to hundreds and thousands of figures. They formed the picture of an era, and that’s something that only a superhuman can accomplish. But what you’ve done isn’t easy. I didn’t think you’d be able to do it.” “Have you ever done it?” “Just once,” she said simply, and dropped the subject. She grabbed his neck, and said, “Forget it. I don’t want that birthday present anymore. Come back to a normal life, okay?” “And if all this continues—what then?” She studied him for a few seconds, then let go of him and shook her head with a smile. “I knew it was too late.” Picking up her bag from the bed, she left. Then

Chapter One: The Dawn and the Dread Heartbeat, heartbeat comes from Valhallan way, To meet down in judgment, to ply its trade. Two →swords← to join in worthy cross, Actions to be rendered, one to be lost. She did come now from ’yond northern slope, A day of reckoning did she again once hope. A devout meeting was her qwesterly bane, To stay her hand was to go insane. St. Kari of the Blade to meet her past, A wicked enemy, peerless of match. Rode Kari she her charger on down, Past the Dead Land where Gaul sat crowned. A killing job, yea, she desired to lastly kill, To set things right so her heart might lie still. Upon the mist and roaring plain, She entered in, a soul uncontained. A fierce wind in deed, and forever freed, Enemies she annihilhates (’tis hur’ creed). Her own advanced guard of a sort, Multitudes to follow in her report. Know this Valkyrie from on cold, An ancient maiden soft and bold. A warrior spirit from Ages past, A fragmented mind like broken glass. Solid in stature this eternal framed being, Yet crippled within from internaled bleedings. A sword saint so refined in the poetic art, A noble character yet with a banshee’s heart. Rhythmed horse now to the beats, Kari emboldened amid the sleet. Beyond the mountain she does come, Unto southern fields wherein rules hot sun. Far from that murderous Deadlands ground, The land up swells; the dead still abound. Traverses she those bygones of leprous civilizations Those cities crumbled by the exhalted of oblivions. Stark traces etched now bare in the land, That are no more again, save dust in the hand. A cool stream now in desert sans (Does more good when one is damned). Stopped she her mount to admire the flow, A lovely stream with skeletons packed below. Blue air whisps; dragon flied motion. Flintsteel striking!!! Sparked of commotion. Cold water chortles rushtish with tint, Told of past carnage, it whetted her glint. Fallen warriors, they are no more, Swirls and eddies mark their discord. Gurgled shouts slung and gathered, Faces glazed while steel lathered. Refreshing though it was to her mouth, She smelled an air; she flared about. Came up that ridge of loud, sanded hill, Below a man and his half-score of kills. Kari’s eyes waxed in smug contempt, Possibilities ran deep with no repent . . . On Kari, Valkyrie, Cold Steel Eternity Vol. II

Issib wasn't thrilled to see him. I'm busy and don't need interruptions." "This is the household library," said Nafai. "This is where we always come to do research." "See? You're interrupting already." "Look, I didn't say anything, I just came in here, and you started picking at me the second I walked in the door." "I was hoping you'd walk back out." "I can't. Mother sent me here." Nafai walked over behind Issib, who was floating comfortably in the air in front of his computer display. It was layered thirty pages deep, but each page had only a few words on it, so he could see almost everything at once. Like a game of solitaire, in which Issib was simply moving fragments from place to place. The fragments were all words in weird languages. The ones Nafai recognized were very old. "What language is that?" Nafai asked pointing, to one. Issib signed. "I'm so glad you're not interrupting me." "What is it, some ancient form of Vijati?" "Very good. It's Slucajan, which came from Obilazati, the original form of Vijati. It's dead now." "I read Vijati, you know." "I don't." "Oh, so you're specializing in ancient, obscure languages that nobody speaks anymore, including you?" "I'm not learning these languages, I'm researching lost words." "If the whole language is dead, then all the words are lost." "Words that used to have meanings, but that died out or survived only in idiomatic expressions. Like 'dancing bear.' What's a bear, do you know?" "I don't know. I always thought it was some kind of graceful bird." "Wrong. It's an ancient mammal. Known only on Earth, I think, and not brought here. Or it died out soon. It was bigger than a man, very powerful. A predator." "And it danced?" "The expression used to mean something absurdly clumsy. Like a dog walking on its hind legs." "And now it means the opposite. That's weird. How could it change?" "Because there aren't any bears. THe meaning used to be obvious, because everybody knew a bear and how clumsy it would look, dancing. But when the bears were gone, the meaning could go anywhere. Now we use it for a person who's extremely deft in getting out of an embarrassing social situation. It's the only case that we use the word bear anymore. And you see a lot of people misspelling it, too." "Great stuff. You doing a linguistics project?" "No." "What's this for, then?" "Me." "Just collection old idioms?" "Lost words." "Like bear? The word isn't lost, Issya. It's the bears that are gone." "Very good, Nyef. You get full credit for the assignment. Go away now.

For an immeasurable period of time, hours, days, weeks, it seemed, Celia had been struggling against tides of anguish, sinking deeper and deeper into a dreadful sea, whose waves broke at ever shorter intervals until at last there was no respite, but an endless torment that drowned and broke and shattered her to nothing. There was no longer any such person as Celia Bryant in the living world. All that remained was an anonymous hulk, a bleeding rag of flesh in a universe of pain. Her brain had long ago ceased to function. Only somewhere, at the centre of torture, an inexorable core of consciousness persisted. Hours ago, years ago, she had thought: 'This is too much. No one could bear such agony and go on living.' It seemed that something in her must break; that she must either die or fall into oblivion. Yet somehow she had gone on bearing everything. She had not died. She had not lost consciousness. All that she had lost was the sense of her personal integrity. As a human being she was obliterated; her mind was dispersed. she could not any longer envisage an end of torment. 'Not only not to hope:not even to wait. Just to endure.' At last, in some region utterly remote, a new thing came into being, words were spoken, and strangely, incredibly, the words had significance. That which had once been Celia could not grasp their meaning because somewhere else a woman's voice was crying out lamentably. Nevertheless, she heard a man speaking, and with a new searing pain there pierced her also a thin shaft of hope, the first premonitory pang of deliverance. Thereafter she seemed to fall into a black and quiet place, a dark hole of oblivion, where she lay as at the bottom of a deep well. Slowly, painfully, the disintegrated fragments of her being reassembled themselves. By long and difficult stages she returned to some sort of normality. Her brain, her senses, all the strained mechanism of her body and mind, reluctantly began to function once more. The miracle for which she no longer hoped had actually come to pass: there was an end of pain.