Fringe Love Quotes

In my rush, I hadn’t tied my shoelaces. Noah was now tying them for me. He looked up at me through his dark fringe of lashes and smiled. The expression on his face melted me completely. I knew I had the goofiest grin plastered on my lips, and didn’t care. “There,” he said as he finished tying the laces on my left shoe. “Now you won’t fall.” Too late.

I don't belong to Abnegation, or Dauntless, or even the Divergent. I don't belong to the Bureau or the experiment or the fringe. I belong to the people I love, and they belong to me-they, and the love and loyalty I give them, form my identity far more than any word or group ever could.

Anything less than true companionship with God leaves us feeling on the fringes, close but not close enough.

When love is roaming in our mind, looping in the deepest fringes of our heart, undreamt spaciousness emerges, repealing the constraints of triviality and letting stifling narrowness fade away. While our mindset is besieged by a revolving burst of emotion, our world is ultimately opening up. (Cape of good hope)

My love for chaos, conspiracy and the dark side of human nature colors the behavior of my charges, most of whom are already living near the fringes of acceptable conduct.

A flower. White and whiskered in a fringe of ice. Silken petals held together in a loose grip

When that slow-motion, silent explosion of love takes place in me, unfolding its melting fringes and overwhelming me with the sense of something much vaster, much more enduring and powerful than the accumulation of matter or energy in any imaginable cosmos, then my mind cannot but pinch itself to see if it is really awake. I have to make a rapid inventory of the universe, just as a man in a dream tries to condone the absurdity of his position by making sure he is dreaming. I have to have all space and all time participate in my emotion, in my mortal love, so that the edge of its mortality is taken off, thus helping me to fight the utter degradation, ridicule, and horror of having developed an infinity of sensation and thought within a finite existence.

But I'll have to ask you to wait a long time, Anne," said Gilbert sadly. "It will be three years before I'll finish my medical course. And even then there will be no diamond sunbursts and marble halls." Anne laughed. "I don't want sunbursts and marble halls. I just want YOU. You see I'm quite as shameless as Phil about it. Sunbursts and marble halls may be all very well, but there is more `scope for imagination' without them. And as for the waiting, that doesn't matter. We'll just be happy, waiting and working for each other -- and dreaming. Oh, dreams will be very sweet now." Gilbert drew her close to him and kissed her. Then they walked home together in the dusk, crowned king and queen in the bridal realm of love, along winding paths fringed with the sweetest flowers that ever bloomed, and over haunted meadows where winds of hope and memory blew.

He steps back, still looking. In the painting, Willem's torso is directed toward the viewer, but his face is turned to the right so that he is almost in profile, and he is leaning towards something or someone and smiling. And because he knows Willem's smiles, he knows that Willem has been captured looking at something he loves, he knows Willem in that instant is happy. Willem's face and neck dominate the canvas and although the background is suggested rather than shown, he knows that Willem is at their table. He knows it from the way that JB has drawn the light and shadows on Willem's face. He has the sense that if he says Willem's name that the face in the painting will turn toward him and answer; he has the sense that if he stretches his hand out and strokes the canvas he will feel beneath his fingertips Willem's hair, his fringe of eyelashes. But he doesn't do this, of course, just looks up at last and sees JB smiling at him, sadly. "The title card's been mounted already," JB says, and he goes slowly to the wall behind the painting and sees its title - "Willem Listening to Jude Tell a Story, Greene Street"-and he feels his beneath abandon him; it feels as if his heart is made of something oozing and cold, like ground meat, and it is being squeezed inside a fist so that chunks of it are falling, plopping to the ground near his feet.

My litter sister looks up at me. Mom was right. Her eyes are the same as they've always been. Brown eyes fringed with long lashes and steeped with the memory of sweetness and light, laughter and joy - trapped in this mangled corpse-like face. "It's all right, baby girl," I whisper into her hair as I hug her. "I'm here. I came for you." Her face crumples and her eyes shine. "You came for me." I stroke her hair. It's as silky as ever.

It was terrifying to realize life goes on without you.

You can't judge Islam by those people any more than you can judge Christians by abortion clinic bombers or white separatists. Love turn to hate at the fringes of any belief system.

Writing is emotional...it is baring your soul to the world and waiting for someone to acknowledge and love it, or shun and hate it, or worse be indifferent about it.

You can take a rag ripped and tattered Its edges severed and fringes scattered Wearing it, you lend it striking beauty and charm For you beautify everything you touch, even if you "harm

My sweet lordy, lordy. It built up to the Summer of Love down by the Psychedelic Shop on Haight-Ashbury when the sunshine poured in mellow yellow and the Age of Aquarius was rising and the tribes gathered in the rain, in the park and everything and everyone fringed the bottoms of their jeans and put flowers in their hair.

When you spent your entire career on the fringes of violence, the dogs helped remind you that you were still human

A girl stood before him in midstream, alone and still, gazing out to sea. She seemed like one whom magic had changed into the likeness of a strange and beautiful seabird. Her long slender bare legs were delicate as a crane's and pure save where an emerald trail of seaweed had fashioned itself as a sign upon the flesh. Her thighs, fuller and soft-hued as ivory, were bared almost to the hips, where the white fringes of her drawers were like feathering of soft white down. Her slate-blue skirts were kilted boldly about her waist and dovetailed behind her. Her bosom was as a bird's, soft and slight, slight and soft as the breast of some dark-plumaged dove. But her long fair hair was girlish: and girlish, and touched with the wonder of mortal beauty, her face.

He steps back, still looking. In the painting, Willem’s torso is directed toward the viewer, but his face is turned to the right so that he is almost in profile, and he is leaning toward something or someone and smiling. And because he knows Willem’s smiles, he knows Willem has been captured looking at something he loves, he knows Willem in that instant was happy. Willem’s face and neck dominate the canvas, and although the background is suggested rather than shown, he knows that Willem is at their table; he knows it from the way JB has drawn the light and shadows on Willem’s face. He has the sense that if he says Willem’s name, the face in the painting will turn toward him and answer; he has the sense that if he stretches his hand out and strokes the canvas, he will feel beneath his fingertips Willem’s hair, his fringe of eyelashes. But he doesn’t do this, of course, just looks up at last and sees JB smiling at him, sadly. “The title’s card’s been mounted already,” JB says, and he goes slowly to the wall behind the painting and sees its title—Willem Listening to Jude Tell a Story, Greene Street—and he feels his breath abandon him; it feels as if his heart is made of something oozing and cold, like ground meat, and it is being squeezed inside a fist so that chunks of it are falling, plopping to the ground near his feet.

He kept quite for a minute or so but it felt like an hour. “That sounds like either you know a lot of diseased and ill people or they’re just ill or dead because of you.” “I know,” I said and felt like a monster.

A soft mist blew around them. Raindrops glistened in his hair, shimmering under the pale glow of the light post. His eyes were shadowed beneath wispy fringes, but the silver in them glinted like pools of liquid mercury. Her breath caught. It must have made a sound because his fingers tightened. His shaky exhale whispered across her face. “This,” he whispered so quietly she almost didn’t hear him. “Is why you are so bad for me.

I’ve never thought of describing her beauty as delicate, because delicate just isn’t a word that fits June . . . but here, now that she’s sick, I realize just how fragile she can be. Pink cheeks. Small, soft lips against large, closed eyes fringed with the curve of dark lashes. I don’t like seeing her this delicate.

The pure whiteness, dazzling in the sun, was one of the most beautiful things I had ever seen. Who was I to spoil it? Snow falls. Earth says: Here's a gift for you. And what do we do? We shovel it. Blow it. Scrape it. Plow it. Get it out of our way. We push it to our fringes. Is there anything uglier or sadder than a ten-day-old snow dump? It's not even snow anymore. It's slush.

He is a part of me, always will be, and I am a part of him, too. I don’t belong to Abnegation, or Dauntless, or even the Divergent. I don’t belong to the Bureau or the experiment or the fringe. I belong to the people I love...

Father Adam!” But the little man said nothing, did nothing. He stood still holding the letter, and there was not even a change of expression in his face; and this might be, thought Jocelin, because he has no face at all. He is the same all round like the top of a clothespeg. He spoke, laughing down at the baldness with its fringe of nondescript hair. “I ask your pardon, Father Adam. One forgets you are there so easily!” And then, laughing aloud in joy and love— “I shall call you Father Anonymous!

In the first week of April the weather turned suddenly, unseasonably, insistently lovely. The sky was blue, the air warm and windless, and the sun beamed on the muddy ground with all the sweet impatience of June. Toward the fringe of the wood, the young trees were yellow with the first tinge of new leaves; woodpeckers laughed and drummed in the copses and, lying in bed with my window open, I could hear the rush and gurgle of the melted snow running in the gutters all night long. In the second week of April everyone waited anxiously to see if the weather would hold. It did, with serene assurance. Hyacinth and daffodil bloomed in the flower beds, violet and periwinkle in the meadows; damp, bedraggled white butterflies fluttered drunkenly in the hedgerows. I put away my winter coat and overshoes and walked around, nearly light-headed with joy, in my shirtsleeves.

If there is a single factor that spells out the difference between the cafeteria fringe headed for greatness and those doomed for low self-worth, even more than a caring teacher or a group of friends, it is supportive, accepting parents who not only love their children unconditionally, but also don't make them feel as if their idiosyncrasies qualify as "conditions" in the first place.

Caregiving offers many fringe benefits, including the sheer sensory delight of nourishing and grooming, sharing, and playing. But caregiving does buttonhole you; you're stitched in one place. . . . Paul wasn't on a learning curve but seemed trapped in a circle. He's swoop forward only to loop back again and fall to earth.

The boy slept well in the woodland nest where he had laid himself down, in that kind of thin but refreshing sleep which people have when they begin to lie out of doors. At first he only dipped below the surface of sleep, and skimmed along like a salmon in shallow water, so close to the surface that he fancied himself in air. He thought himself awake when he was already asleep. He saw the stars above his face, whirling on their silent and sleepless axis, and the leaves of the trees rustling against them, and he heard small changes in the grass. These little noises of footsteps and soft-fringed wing-beats and stealthy bellies drawn over the grass blades or rattling against the bracken at first frightened or interested him, so that he moved to see what they were (but never saw), then soothed him, so that he no longer cared to see what they were but trusted them to be themselves, and finally left him altogether as he swam down deeper and deeper, nuzzling into the scented turf, into the warm ground, into the unending waters under the earth.

Thou still unravish’d bride of quietness, Thou foster-child of silence and slow time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fring’d legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear’d, Pipe to the spirit ditties of no tone: Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never, never canst thou kiss, Though winning near the goal yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair! Ah, happy, happy boughs! that cannot shed Your leaves, nor ever bid the Spring adieu; And, happy melodist, unwearied, For ever piping songs for ever new; More happy love! more happy, happy love! For ever warm and still to be enjoy’d, For ever panting, and for ever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloy’d, A burning forehead, and a parching tongue. Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead’st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn? And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e’er return. O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought As doth eternity: Cold Pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say’st, “Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know.

There is a darkness that fringes everything. It is a most horrid ecstasy.' And I felt the horror of her horror. That, I suppose, is a price we pay for love: the absorbing of another's pain as if our own.

Was I happy after that? I think so. I experienced moments of pleasure, moments of unforgettable joy; I loved again and dreamed again like a wide-eyed boy. And yet I always felt there was something missing, something that left me somehow crippled, in short that I only every hovered on the fringes of happiness.

The vocation of psychotherapy confers a few unexpected fringe benefits on its practitioners, and the following is one of them. It impels participation in a process that our modern world has all but forgotten: sitting in a room with another person for hours at a time with no purpose in mind but attending. As you do so, another world expands and comes alive to your senses--a world governed by forces that were old before humanity began.

Then they walked home together in the dusk, crowned king and queen in the bridal realm of love, along winding paths fringed with the sweetest flowers that ever bloomed, and over haunted meadows where winds of hope and memory blew.

She grew tired of shielding her body, For societal expectation and propriety, Double standards and sobriety, Ideologies of prudent cries, And boys who made her tell them lies. She wanted a man who’d destroy her reputation, One strong enough to feed her unruly temptation, Not leave her alone in risk of damnation. Someone strong enough to make her feel, Like a free woman who needn’t yield, Run with her naked through a field. Live on the fringe free of restriction, Treat her as a woman, undo the affliction. A man who’d take her breath with desire, Someone with whom her passions could conspire, A man strong enough to keep up with her fire.

Ethan, looking at Jules, seemed to have fixed himself upon her the way people fixed themselves upon the Messiah. Jonah could almost see the ragged edges of light that Ethan certainly saw around her–the coronal fringe light that was sometimes created by diligent, applied love.

As a fringe benefit, practicing silent solitude enables us to sleep less and to feel more energetic. The energy expended in the impostor’s exhausting pursuit of illusory happiness is now available to be focused on the things that really matter—love, friendship, and intimacy with God.

It wasn’t beautiful. A Winter wedding is a union of elation and depression, red velvet blankets in a cheap motel room stained with semen from sex devoid of meaning, and black mold clinging to the fringe of floral shower curtains like a heap of dead forevers. You sat down at the foot of the bed, looking at me like I had already
driven away. I was thinking about watching CNN. How fucked up is that? I wanted to know that your second hand, off-white dress, and my black polyester bow tie wasn’t as tragic as a hurricane devouring a suburb, or a train derailment in no where, Virginia, ending the lives of two young college hopefuls. I was naïve. I thought that there were as many right ways to feel love as the amount of
 pubic hair, 
 belly lint, and 
scratch marks abandoned by lovers in our honeymoon suite. When you looked at me in bed that night, I put my hand on your chest to feel a little more human. I don’t know what to call you; a name does not describe the aches, or lack of. This love is unusual and comfortable. If you were to leave, I know I’d search for days, in newspapers and broadcasts, in car accidents and exposés on genocide in Kosovo. (How do I address this? How is one to feel about a love without a name?) My heart would be ambivalent, too scared to look for you behind the curtains of the motel window, outside in the abyss of powder and pay phones because I don’t know how to love you. -Kosovo

Hence, Orlando and Sasha, as he called her for short, and because it was the name of a white Russian fox he had had as a boy—a creature soft as snow, but with teeth of steel, which bit him so savagely that his father had it killed—hence they had the river to themselves. Hot with skating and with love they would throw themselves down in some solitary reach, where the yellow osiers fringed the bank, and wrapped in a great fur cloak Orlando would take her in his arms, and know, for the first time, he murmured, the delights of love. Then, when the ecstasy was over and they lay lulled in a swoon on the ice, he would tell her of his other loves, and how, compared with her, they had been of wood, of sackcloth, and of cinders. And laughing at his vehemence, she would turn once more in his arms and give him, for love’s sake, one more embrace. And then they would marvel that the ice did not melt with their heat, and pity the poor old woman who had no such natural means of thawing it, but must hack at it with a chopper of cold steel. And then, wrapped in their sables, they would talk of everything under the sun; of sights and travels; of Moor and Pagan; of this man’s beard and that woman’s skin; of a rat that fed from her hand at table; of the arras that moved always in the hall at home; of a face; of a feather. Nothing was too small for such converse, nothing was too great.

Lisa Meyer has had her hair cut into a blunt fringe. On another woman it might look coquettish. On Lisa Meyer, it looks as if she moonlights as an assassin.

As Lysa TerKeurst says, “We must not confuse the command to love with the disease to please.

I loved my bedroom... the vanity with the warped mirror, the squat chairs without armrests, the elaborate, oriental dressing screen. I loved curving my body into the velvet sofa, books piled at my feet, the dusty, floor-length curtains pushed back from the windows so I could see the sky. At night the purple-fringed lampshades turned the light a hue somewhere between lilac and dusky plum.

And then came the three-toed sloth. Stupid sloth. It was a crazy-looking beastie, all arms and bristling grey fur; its body was a blob, the kind of shape a six-year-old would draw for a pig, and its face was flattened like a racoon that had run full tilt into a brick wall. A triangular stub of a nose jutted out at an angle beneath a fringe that must have been difficult to see through. In fact, from side-on it looked disturbingly like John Lennon.

A person you loved has used you and hurt you, but there are more people to love, new paths to pursue, and noble tasks that only you can accomplish-for you and for your entire kingdom. If you must dwell on something dwell on that.

We have to pull out all the stops in welcoming the refugee and the immigrant, in getting to know those who live around us, in showing love to our neighbors. We can't afford to isolate people anymore. We can't afford to push folks to the fringes of our society.

I awoke in the Midsummer not to call night, in the white and the walk of the morning: The moon, dwindled and thinned to the fringe of a finger-nail held to the candle, Or paring of paradisaical fruit, lovely in waning but lustreless, Stepped from the stool, drew back from the barrow, of dark Maenefa the mountain; A cusp still clasped him, a fluke yet fanged him, entangled him, not quite utterly. This was the prized, the desirable sight, unsought, presented so easily, Parted me leaf and leaf, divided me, eyelid and eyelid of slumber.

He drew forth a phrase from his treasure and spoke it softly to himself: —A day of dappled seaborne clouds. The phrase and the day and the scene harmonized in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the grey-fringed fleece of clouds. No, it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language many-coloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?

I had more time to view my surroundings, and flowers entertained my eyes: low growing yellow daisies, penstemon, yarrow, western fringed gentian, fairy trumpets, paintbrush, mountain avens, bistort and white daisies. I loved the flowers’ bright colors, red, blue, yellow, white, and purple.

Time hangs heavy on us and I find that I am waiting, waiting for her days to pass, trying to meet the bare qualification of life which is for her to have existed in time. In this lonely place I am indeed not free: the kitchen is a cell, a place of no possibility. I have given up my membership of the world I used to live in. Sometimes I listen to music or read, and it is like a ray of light coming in from outside, bright and painful, making me screw up my eyes. When we go for a walk I see young women in the street, beautiful and careless, and a pang of mourning for some oblique, lost self makes my heart clench. I look down at my daughter sleeping in her pushchair, the dark fringe of her lashes forming arcs on her pale skin, and a contrary wind of love gusts over me; and for some time this is how I am, blown this way and that, careering around like a crazy, febrile gauge trying to find north.

The horse was a pure-bred Arab. She came, bright and dancing, flaunting into the ring, her tail held high over her quarters, her silken mane flowing over the crest of her neck. Her head was fine-boned and delicate, with the concave line of the true Arab horse. Her dark, lustrous eyes were fringed with long lashes and the nostrils wrinkling her velvet muzzle were huge black pits. She moved around the ring like a bright flame, her pricked ears delicate as flower petals. Her legs were clean and unblemished and her small hooves were polished ivory. After the dull ache of the rosinbacks, she was all light and fire. Jinny sat entranced, hardly breathing, and then her breath burst out of her in a throbbing gasp. She loved the chestnut mare. As if all their long day's travelling had only been for this. As if she had come all the way from Stopton only for this, to see this sudden gift of perfection.

Naked Girl and Mirror This is not I. I had no body once- only what served my need to laugh and run and stare at stars and tentatively dance on the fringe of foam and wave and sand and sun. Eyes loved, hands reached for me, but I was gone on my own currents, quicksilver, thistledown. Can I be trapped at last in that soft face? I stare at you in fear, dark brimming eyes. Why do you watch me with that immoderate plea- 'Look under these curled lashes, recognize that you were always here; know me-be me.' Smooth once-hermaphrodite shoulders, too tenderly your long slope runs, above those sudden shy curves furred with light that spring below your space. No, I have been betrayed. If I had known that this girl waited between a year and a year, I'd not have chosen her bough to dance upon. Betrayed, by that little darkness here, and here this swelling softness and that frightened stare from eyes I will not answer; shut out here from my own self, by its new body's grace- for I am betrayed by someone lovely. Yes, I see you are lovely, hateful naked girl. Your lips in the mirror tremble as I refuse to know or claim you. Let me go-let me be gone. You are half of some other who may never come. Why should I tend you? You are not my own; you seek that other-he will be your home. Yet I pity your eyes in the mirror, misted with tears; I lean to your kiss. I must serve you; I will obey. Some day we may love. I may miss your going, some day, though I shall always resent your dumb and fruitful years. Your lovers shall learn better, and bitterly too, if their arrogance dares to think I am part of you.

Loser" "Father directed choir. When it paused on a Sunday, he liked to loiter out morning with the girls; then back to our cottage, dinner cold on the table, Mother locked in bed devouring tabloid. You should see him, white fringe about his ears, bald head more biased than a billiard ball-- he never left a party. Mother left by herself-- I threw myself from her car and broke my leg.... Years later, he said, 'How jolly of you to have jumped.' He forgot me, mother replaced his name, I miss him. When I am unhappy, I try to squeeze the hour an hour or half-hour smaller than it is; orphaned, I wake at midnight and pray for day-- the lovely ladies get me through the day

A fire was licking at the fringe of one of the drapes that hung from the four posters of Mr. Rochester's bed. It cast a warm light through the gloom, illuminating his face while he slept. The glow became him; as the fire danced, its darting light softened the severe lines of his brow and lip. "Please fall in love with me," Jane whispered. It shouldn't be totally out of the realm of possibility. After all, Mr. Darcy fell in love with the nearly destitute Elizabeth Bennet. It could be like one of those stories Charlotte and the other girls at Lowood were always telling - the ones with rich, handsome suitors, not the ones about murder. Wait. Murder. The bed was still on fire.

My beautiful wooden leader with your heartful of medals made of wood, fixing it each time so you almost win, you long to be bandaged before you have been cut. My love for you is the love of one statue for another: tensed and static. General, you enlist my body in your heroic struggle to become real: though you promise bronze rescues you hold me by the left ankle so that my head brushes the ground, my eyes are blinded, my hair fills with white ribbons. There are hordes of me now, alike and paralyzed, we follow you scattering floral tributes under your hooves. Magnificent on your wooden horse you point with your fringed hand; the sun sets, and the people all ride off in the other direction.

Story is a trojan horse for truth. It can sneak truth past the gates of our defenses and prepare our hearts to hear things we might have resisted if they had come as mere declaration. Jesus relied on storytelling as his primary method of teaching for just this reason--to persuade Jews to empathize with Samaritans, wealthy people to care for the poor, and religious people to have compassion on society's fringe.

I had the luxury of knowing what I wanted to do. So I just sat on the bed and came up with a plan for myself: "I have to go to the Edinburgh Fringe. But I don't have the confidence to do a production there because I've never gone before, and I don't even know how to get there or what to do once I get there. So I will just act as if I do have the confidence to go to the Edinburgh Fringe. I'll just borrow confidence from a future version of myself. Once I've been to the Edinburgh Fringe and performed a show there, then I will have the confidence to go to the Edinburgh Fringe. I will go to the bank manager of confidence (in some part of my brain) and I will borrow that confidence from the future, and then I can wear it like a cloak, and I will talk to everyone with this confidence." It was out there as a concept, but it worked.

I love you. Is that reason enough?” Maybe. Maybe it would have been. But as the music drained from the air, Kestrel saw Arin on the fringes of the crowd. He watched her, his expression oddly desperate. As if he, too, were losing something, or it was already lost. She saw him and didn’t understand how she had ever missed his beauty. How it didn’t always strike her as it did now, like a blow. “No,” Kestrel whispered. “What?” Ronan’s voice cut into the quiet. “I’m sorry.” Ronan swiveled to find the target of Kestrel’s gaze. He swore. Kestrel walked away, pushing past slaves bearing trays laden with glasses of pale gold wine. The lights and people blurred in her stinging eyes. She walked through the doors, down a hall, out of the palace, and into the cold night, knowing without seeing or hearing or touching him that Arin was at her side.

I took one step onto the field and stopped. What was I doing? The pure whiteness, dazzling in the sun, was one of the most beautiful things I had ever seen. Who was I to spoil it? Snow falls. Earth says: Here—a gift for you. And what do we do? We shovel it. Blow it. Scrape it. Plow it. Get it out of our way. We push it to our fringes. Is there anything uglier or sadder than a ten-day-old snow dump? It’s not even snow anymore. It’s slush.

He had been relfecting, while staring at the fringed blue petals, about love, about the long steady way his imperfect parents managed to love each other, and about his own deficient love for Dorrie, how it came and went, how he kept finding it and losing it again. And now, here in this garden maze, getting lost, and then found, seemed the whole point, that and the moment of willed abandonment, the unexpected rapture of being blindly led.

When I look at him, I don’t see the cowardly young man who sold me out to Jeanine Matthews, and I don’t hear the excuses he gave afterward. When I look at him, I see the boy who held my hand in the hospital when our mother broke her wrist and told me it would be all right. I see the brother who told me to make my own choices, the night before the Choosing Ceremony. I think of all the remarkable things he is--smart and enthusiastic and observant, quiet and earnest and kind. He is a part of me, always will be, and I am a part of him, too. I don’t belong to Abnegation, or Dauntless, or even the Divergent. I don’t belong to the Bureau or the experiment or the fringe. I belong to the people I love, and they belong to me--they, and the love and loyalty I give them, form my identity far more than any word or group ever could. I love my brother. I love him, and he is quaking with terror at the thought of death. I love him and all I can think, all I can hear in my mind, are the words I said to him a few days ago: I would never deliver you to your own execution. “Caleb,” I say. “Give me the backpack.” “What?” he says. I slip my hand under the back of my shirt and grab my gun. I point it at him. “Give me the backpack.” “Tris, no.” He shakes his head. “No, I won’t let you do that.” “Put down your weapon!” the guard screams at the end of the hallway. “Put down your weapon or we will fire!” “I might survive the death serum,” I say. “I’m good at fighting off serums. There’s a chance I’ll survive. There’s no chance you would survive. Give me the backpack or I’ll shoot you in the leg and take it from you.” Then I raise my voice so the guards can hear me. “He’s my hostage! Come any closer and I’ll kill him!” In that moment he reminds me of our father. His eyes are tired and sad. There’s a shadow of a beard on his chin. His hands shake as he pulls the backpack to the front of his body and offers it to me. I take it and swing it over my shoulder. I keep my gun pointed at him and shift so he’s blocking my view of the soldiers at the end of the hallway. “Caleb,” I say, “I love you.” His eyes gleam with tears as he says, “I love you, too, Beatrice.” “Get down on the floor!” I yell, for the benefit of the guards. Caleb sinks to his knees. “If I don’t survive,” I say, “tell Tobias I didn’t want to leave him.

I held up the puppy so I could look into her dark eyes, fringed with ridiculously long black lashes. Sweet puppy breath wafted across my face, and her little heart thudded under my fingers so that I felt as if I had a hummingbird cupped in my two hands. I was in love with her even before I returned her to my chest and cradled her there. The warmth of her tiny body seeped through the bones of my rib cage to caress my sore heart, bringing sudden tears to my eyes.

In the first week of April the weather turned suddenly, unseasonably, insistently lovely. The sky was blue, the air warm and windless, and the sun beamed on the muddy ground with all the sweet impatience of June. Toward the fringe of the wood, the young trees were yellow with the first tinge of new leaves; woodpeckers laughed and drummed in the copses and, lying in bed with my window open, I could hear the rush and gurgle of the melted snow running in the gutters all night long.

Dante only made crazy people feel they could write great poetry. That was not true of course but then almost nothing was true and especially not in Africa. In Africa a thing is true at first light and a lie by noon and you have no more respect for it than for the lovely, perfect weed-fringed lake you see across the sun-baked salt plain. You have walked across that plain in the morning and you know that no such lake is there. But now it is there absolutely true, beautiful and believable.

Rayna does not get sick on planes. Also, Rayna does not stop talking on planes. By the time we land at Okaloosa Regional Airport, I’m wondering if I’ve spoken as many words in my entire life as she did on the plane. With no layovers, it was the longest forty-five minutes of my whole freaking existence. I can tell Rachel’s nerves are also fringed. She orders an SUV limo-Rachel never does anything small-to pick us up and insists that Rayna try the complimentary champagne. I’m fairly certain it’s the first alcoholic beverage Rayna’s ever had, and by the time we reach the hotel on the beach, I’m all the way certain. As Rayna snores in the seat across from me, Rachel checks us into the hotel and has our bags taken to our room. “Do you want to head over to the Gulfarium now?” she asks. “Or, uh, rest up a bit and wait for Rayna to wake up?” This is an important decision. Personally, I’m not tired at all and would love to see a liquored-up Rayna negotiate the stairs at the Gulfarium. But I’d feel a certain guilt if she hit her hard head on a wooden rail or something and then we’d have to pay the Gulfarium for the damages her thick skull would surely cause. Plus, I’d have to suffer a reproving look from Dr. Milligan, which might actually hurt my feelings because he reminds me a bit of my dad. So I decide to do the right thing. “Let’s rest for a while and let her snap out of it. I’ll call Dr. Milligan and let him know we’ve checked in.” Two hours later, Sleeping Beast wakes up and we head to see Dr. Milligan. Rayna is particularly grouchy when hungover-can you even get hungover from drinking champagne?-so she’s not terribly inclined to be nice to the security guard who lets us in. She mutters something under her breath-thank God she doesn’t have a real voice-and pushes past him like the spoiled Royalty she is. I’m just about aggravated beyond redemption-until we see Dr. Milligan in a new exhibit of stingrays. He coos and murmurs as if they’re a litter of puppies in the tank begging to play with him. When he notices our arrival he smiles, and it feels like a coconut slushy on a sweltering day and it almost makes up for the crap I’ve been put through these past few days.

A reflection on Robert Lowell Robert Lowell knew I was not one of his devotees. I attended his famous “office hours” salon only a few times. Life Studies was not a book of central importance for me, though I respected it. I admired his writing, but not the way many of my Boston friends did. Among poets in his generation, poems by Elizabeth Bishop, Alan Dugan, and Allen Ginsberg meant more to me than Lowell’s. I think he probably sensed some of that. To his credit, Lowell nevertheless was generous to me (as he was to many other young poets) just the same. In that generosity, and a kind of open, omnivorous curiosity, he was different from my dear teacher at Stanford, Yvor Winters. Like Lowell, Winters attracted followers—but Lowell seemed almost dismayed or a little bewildered by imitators; Winters seemed to want disciples: “Wintersians,” they were called. A few years before I met Lowell, when I was still in California, I read his review of Winters’s Selected Poems. Lowell wrote that, for him, Winters’s poetry passed A. E. Housman’s test: he felt that if he recited it while he was shaving, he would cut himself. One thing Lowell and Winters shared, that I still revere in both of them, was a fiery devotion to the vocal essence of poetry: the work and interplay of sentences and lines, rhythm and pitch. The poetry in the sounds of the poetry, in a reader’s voice: neither page nor stage. Winters criticizing the violence of Lowell’s enjambments, or Lowell admiring a poem in pentameter for its “drill-sergeant quality”: they shared that way of thinking, not matters of opinion but the matter itself, passionately engaged in the art and its vocal—call it “technical”—materials. Lowell loved to talk about poetry and poems. His appetite for that kind of conversation seemed inexhaustible. It tended to be about historical poetry, mixed in with his contemporaries. When he asked you, what was Pope’s best work, it was as though he was talking about a living colleague . . . which in a way he was. He could be amusing about that same sort of thing. He described Julius Caesar’s entourage waiting in the street outside Cicero’s house while Caesar chatted up Cicero about writers. “They talked about poetry,” said Lowell in his peculiar drawl. “Caesar asked Cicero what he thought of Jim Dickey.” His considerable comic gift had to do with a humor of self and incongruity, rather than wit. More surreal than donnish. He had a memorable conversation with my daughter Caroline when she was six years old. A tall, bespectacled man with a fringe of long gray hair came into her living room, with a certain air. “You look like somebody famous,” she said to him, “but I can’t remember who.” “Do I?” “Yes . . . now I remember!— Benjamin Franklin.” “He was a terrible man, just awful.” “Or no, I don’t mean Benjamin Franklin. I mean you look like a Christmas ornament my friend Heather made out of Play-Doh, that looked like Benjamin Franklin.” That left Robert Lowell with nothing to do but repeat himself: “Well, he was a terrible man.” That silly conversation suggests the kind of social static or weirdness the man generated. It also happens to exemplify his peculiar largeness of mind . . . even, in a way, his engagement with the past. When he died, I realized that a large vacuum had appeared at the center of the world I knew.

If a fountain could jet bouquets of chrome yellow in dazzling arches of chrysanthemum fireworks, that would be Canada Goldenrod. Each three-foot stem is a geyser of tiny gold daisies, ladylike in miniature, exuberant en masse. Where the soil is damp enough, they stand side by side with their perfect counterpart, New England Asters. Not the pale domesticates of the perennial border, the weak sauce of lavender or sky blue, but full-on royal purple that would make a violet shrink. The daisylike fringe of purple petals surrounds a disc as bright as the sun at high noon, a golden-orange pool, just a tantalizing shade darker than the surrounding goldenrod. Alone, each is a botanical superlative. Together, the visual effect is stunning. Purple and gold, the heraldic colors of the king and queen of the meadow, a regal procession in complementary colors. I just wanted to know why. In composing a palette, putting them together makes each more vivid; just a touch of one will bring out the other. In an 1890 treatise on color perception, Goethe, who was both a scientist and a poet, wrote that “the colors diametrically opposed to each other . . . are those which reciprocally evoke each other in the eye.” Purple and yellow are a reciprocal pair. Growing together, both receive more pollinator visits than they would if they were growing alone. It’s a testable hypothesis; it’s a question of science, a question of art, and a question of beauty. Why are they beautiful together? It is a phenomenon simultaneously material and spiritual, for which we need all wavelengths, for which we need depth perception. When I stare too long at the world with science eyes, I see an afterimage of traditional knowledge. Might science and traditional knowledge be purple and yellow to one another, might they be goldenrod and asters? We see the world more fully when we use both. The question of goldenrod and asters was of course just emblematic of what I really wanted to know. It was an architecture of relationships, of connections that I yearned to understand. I wanted to see the shimmering threads that hold it all together. And I wanted to know why we love the world, why the most ordinary scrap of meadow can rock us back on our heels in awe.

I’m waiting in the living room, pretending and knowing that I will be caught and that I am not a widow, I’m just a weeping and annoyed wife. Brian will be gone from my life soon, although I don’t yet know how soon, and he’s also still a man with a cold. It’s a cold, not pleurisy, is what I think, even as I am tearing the fringe off a pillow at the thought of his not being upstairs any longer, not having a cold, not being a sick man than whom there is no one sicker, as I have said to him. One time, I said that I had friends with metastatic breast cancer who complained less about that than he did about his cold. And then he won’t be there for me to say it to him.

When I look at him, I see the boy who held my hand in the hospital when our mother broke her wrist and told me it would be all right. I see the brother who told me to make my own choices, the night before the Choosing Ceremony. I think of all the remarkable things he is—smart and enthusiastic and observant, quiet and earnest and kind. He is a part of me, always will be, and I am a part of him, too. I don’t belong to Abnegation, or Dauntless, or even the Divergent. I don’t belong to the Bureau or the experiment or the fringe. I belong to the people I love, and they belong to me—they, and the love and loyalty I give them, form my identity far more than any word or group ever could. I

The moment you reach rock bottom, the moment you are aware of your utter dispossession of all things, then you are on the fringe of the kingdom of God, you are nearly aware that God is love and that He is upholding you by His love. And at that point you can say two things simultaneously. You can pray out of your utter misery, dereliction and poverty, and you can rejoice that you are so rich with the love of God. But this is only if you have come to the point of discovering it, because as long as you imagine you are rich there is nothing to thank God for, and you cannot be aware of being loved. Too often the kind of thanksgiving we offer is too much a general thanksgiving, and the kind of repentance we bring to God is too much a general repentance.

It was 2 a.m. in Harlem and it was hot. Even if you couldn’t feel it, you could tell it by the movement of the people. Everybody was limbered up, glands lubricated, brains ticking over like a Singer sewing-machine. Everybody was ahead of the play. There wasn’t but one square in sight. He was a white man. He stood well back in the recessed doorway of the United Tobacco store at the northwest corner of 125th Street and Seventh Avenue, watching the sissies frolic about the lunch counter in the Theresa building on the opposite corner. The glass doors had been folded back and the counter was open to the sidewalk. The white man was excited by the sissies. They were colored and mostly young. They all had straightened hair, conked like silk, waving like the sea; long false eyelashes fringing eyes ringed in mascara; and big cushiony lips painted tan. Their eyes looked naked, brazen, debased, unashamed; they had the greedy look of a sick gourmet. They wore tight-bottomed pastel pants and short-sleeved sport shirts revealing naked brown arms. Some sat to the counter on the high stools, others leaned on their shoulders. Their voices trilled, their bodies moved, their eyes rolled, they twisted their hips suggestively. Their white teeth flashed in brown sweaty faces, their naked eyes steamed in black cups of mascara. They touched one another lightly with their fingertips, compulsively, exclaiming in breathless falsetto, “Girl.…” Their motions were wanton, indecent, suggestive of an orgy taking place in their minds. The hot Harlem night had brought down their love.

The new God is the intelligence of a living, sacred universe. The purpose that guides the evolution of species comes from larger, living wholes. The environment creates organisms for its purposes, as much as organisms alter the environment for theirs. The parts create the whole, and the whole creates the parts. 20 Thirteen years ago when I first began telling people I was a Lamarckian, I was met with eye rolls or blank stares. But last week I confessed it to a biologist I met at a conference and he didn’t bat an eye. “Everyone is a Lamarckian now,” he said. “Lamarck was right.” This is no longer fringe science. I refer the interested or skeptical reader to James Shapiro’s Evolution: A View from the 21st Century, Denis Noble’s Dance to the Tune of Life, and Scott Turner’s Purpose and Desire. The Whole has created humans too for its purpose. There is a certain comfort in thinking that the planet will be fine without us, yet there is also a certain fatalism. It is akin to the fatalism that comes in response to disconnection from one’s destiny. It induces a kind of aimlessness. As humanity exits the old Story of Ascent and its triumphant techno-utopian destiny, we are indeed experiencing a collective aimlessness. In that story, our purpose was ourselves. That purpose has been exhausted. We are ready to devote ourselves to something greater. In the Story of Interbeing, entrusted with gifts and bound by love, we realize that our passage through the present initiatory crisis is of planetary moment. Out of the wreckage of what we thought we knew, something else may be born.

I love this Marianne Williamson quote: Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, Who am I to be brilliant, gorgeous, talented, and fabulous? Actually, who are you not to be? You are a child of God. Your playing small does not serve the world. There is nothing enlightened about shrinking so that other people will not feel insecure around you. We are all meant to shine, as children do. We were born to make manifest the glory of God that is within us. It is not just in some of us; it’s in everyone. And as we let our own light shine, we unconsciously give others permission to do the same. As we are liberated from our own fear, our presence automatically liberates others.

O my body! I dare not desert the likes of you in other men and women, nor the likes of the parts of you, I believe the likes of you are to stand or fall with the likes of the soul, (and that they are the soul,) I believe the likes of you shall stand or fall with my poems, and that they are my poems, Man’s, woman’s, child’s, youth’s, wife’s, husband’s, mother’s, father’s, young man’s, young woman’s poems, Head, neck, hair, ears, drop and tympan of the ears, Eyes, eye-fringes, iris of the eye, eyebrows, and the waking or sleeping of the lids, Mouth, tongue, lips, teeth, roof of the mouth, jaws, and the jaw-hinges, Nose, nostrils of the nose, and the partition, Cheeks, temples, forehead, chin, throat, back of the neck, neck-slue, Strong shoulders, manly beard, scapula, hind-shoulders, and the ample side-round of the chest, Upper-arm, armpit, elbow-socket, lower-arm, arm-sinews, arm-bones, Wrist and wrist-joints, hand, palm, knuckles, thumb, forefinger, finger-joints, finger-nails, Broad breast-front, curling hair of the breast, breast-bone, breast-side, Ribs, belly, backbone, joints of the backbone, Hips, hip-sockets, hip-strength, inward and outward round, man-balls, man-root, Strong set of thighs, well carrying the trunk above, Leg fibres, knee, knee-pan, upper-leg, under-leg, Ankles, instep, foot-ball, toes, toe-joints, the heel; All attitudes, all the shapeliness, all the belongings of my or your body or of any one’s body, male or female, The lung-sponges, the stomach-sac, the bowels sweet and clean, The brain in its folds inside the skull-frame, Sympathies, heart-valves, palate-valves, sexuality, maternity, Womanhood, and all that is a woman, and the man that comes from woman, The womb, the teats, nipples, breast-milk, tears, laughter, weeping, love-looks, love-perturbations and risings, The voice, articulation, language, whispering, shouting aloud, Food, drink, pulse, digestion, sweat, sleep, walking, swimming, Poise on the hips, leaping, reclining, embracing, arm-curving and tightening, The continual changes of the flex of the mouth, and around the eyes, The skin, the sunburnt shade, freckles, hair, The curious sympathy one feels when feeling with the hand the naked meat of the body, The circling rivers the breath, and breathing it in and out, The beauty of the waist, and thence of the hips, and thence downward toward the knees, The thin red jellies within you or within me, the bones and the marrow in the bones, The exquisite realization of health; O I say these are not the parts and poems of the body only, but of the soul, O I say now these are the soul!

Helene Hanff, an aspiring playwright who had been put to work in the Theatre Guild press office, remembered trying to generate some effective publicity for Away We Go! “This was, they told us, the damndest musical ever thought up for a sophisticated Broadway audience,” Hanff wrote. “It was so pure you could put it on at a church social. It opened with a middle-aged farm woman sitting alone on a bare stage churning butter, and from then on it got cleaner.”16 It was the kind of Americana that Larry Hart distrusted. But at the New Haven tryout he tried to keep an open mind. Of the songs in Away We Go!’s first act, five of them—“Oh, What a Beautiful Mornin’,” “The Surrey with the Fringe on Top,” “Many a New Day,” “People Will Say We’re in Love,” and “Out of My Dreams”—were destined to become instant classics, with “All Er Nuthin’” and “Oklahoma!” delighting the audience in the second act. But Larry wasn’t so delighted. He might have regarded “We know we belong to the land” as a professionally crafted line, as resonant to recent immigrants as to Mayflower descendants; but “The land we belong to is grand”?

I felt the sense of time and self drop away from me. No now, no to-morrow, no yesterday, no I! Only eternity, one vast whole—sun-shot, star-sprent, love-filled, changeless. And in it all, one spot of consciousness more acute than other spots; and that was the something that had eaten hugely, and that now felt the inward-flung glory of it all; the swooning, half-voluptuous sense of awe and wonder, the rippling, shimmering, universal joy. And then suddenly and without shock—like the shifting of the wood smoke—the mood veered, and there was nothing but I. Space and eternity were I—vast projections of myself, tingling with my consciousness to the remotest fringe of the outward swinging atom-drift; through immeasurable night, pierced capriciously with shafts of paradoxic day; through and beyond the awful circle of yearless duration, my ego lived and knew itself and thrilled with the glory of being. The slowly revolving Milky Way was only a glory within me; the great woman-star jeweling the summit of a cliff, was only an ecstasy within me; the murmuring of the river out in the dark was only the singing of my heart; and the deep, deep blue of the heavens was only the splendid color of my soul.

24. The Rutles, “Cheese and Onions” (1978) A legend to last a lunchtime. The Rutles were the perfect Beatle parody, starring Monty Python’s Eric Idle and the Bonzos’ Neil Innes in their classic mock-doc All You Need Is Cash, with scene-stealing turns by George Harrison, Mick Jagger, and Paul Simon. (Interviewer: “Did the Rutles influence you at all?” Simon: “No.” Interviewer: “Did they influence Art Garfunkel?” Simon: “Who?”) “Cheese and Onions” is a psychedelic ersatz Lennon piano ballad so gorgeous, it eventually got bootlegged as a purported Beatle rarity. Innes captures that tone of benignly befuddled pomposity—“I have always thought in the back of my mind / Cheese and onions”—along with the boyish vulnerability that makes it moving. Hell, he even chews gum exactly like John. The Beatles’ psychedelic phase has always been ripe for parody. Witness the 1967 single “The L.S. Bumble Bee,” by the genius Brit comedy duo Peter Cook and Dudley Moore, from Beyond the Fringe and the BBC series Not Only . . . ​But Also, starring John Lennon in a cameo as a men’s room attendant. “The L.S. Bumble Bee” sounds like the ultimate Pepper parody—“Freak out, baby, the Bee is coming!”—but it came out months before Pepper, as if the comedy team was reeling from Pet Sounds and wondering how the Beatles might respond. Cook and Moore are a secret presence in Pepper—when the audience laughs in the theme song, it’s taken from a live recording of Beyond the Fringe, produced by George Martin.

It doesn’t matter what they think. Dance with me.” He took her hand, and for the first time in a long while, she felt safe. He pulled her to the center of the floor and into the motions of the dance. Ronan didn’t speak for a few moments, then touched a slim braid that curved in a tendril along Kestrel’s cheek. “This is pretty.” The memory of Arin’s hands in her hair made her stiffen. “Gorgeous?” Ronan tried again. “Transcendent? Kestrel, the right adjective hasn’t been invented to describe you.” She attempted a light tone. “What will ladies do, when this kind of exaggerated flirtation is no longer the fashion? We shall be spoiled.” “You know it’s not mere flirtation,” Ronan said. “You’ve always known.” And Kestrel had, it was true that she had, even if she hadn’t wanted to shake the knowledge out of her mind and look at it, truly see it. She felt a dull spark of dread. “Marry me, Kestrel.” She held her breath. “I know things have been hard lately,” Ronan continued, “and that you don’t deserve it. You’ve had to be so strong, so proud, so cunning. But all of this unpleasantness will go away the instant we announce our engagement. You can be yourself again.” But she was strong. Proud. Cunning. Who did he think she was, if not the person who mercilessly beat him at every Bite and Sting game, who gave him Irex’s death-price and told him exactly what to do with it? Yet Kestrel bit back her words. She leaned into the curve of his arm. It was easy to dance with him. It would be easy to say yes. “Your father will be happy. My wedding gift to you will be the finest piano the capital can offer.” Kestrel glanced into his eyes. “Or keep yours,” he said hastily. “I know you’re attached to it.” “It’s just…you are very kind.” He gave a short, nervous laugh. “Kindness has little to do with it.” The dance slowed. It would end soon. “So?” Ronan had stopped, even though the music continued and dancers swirled around them. “What…well, what do you think?” Kestrel didn’t know what to think. Ronan was offering everything she could want. Why, then, did his words sadden her? Why did she feel like something had been lost? Carefully, she said, “The reasons you’ve given aren’t reasons to marry.” “I love you. Is that reason enough?” Maybe. Maybe it would have been. But as the music drained from the air, Kestrel saw Arin on the fringes of the crowd. He watched her, his expression oddly desperate. As if he, too, were losing something, or it was already lost. She saw him and didn’t understand how she had ever missed his beauty. How it didn’t always strike her as it did now, like a blow. “No,” Kestrel whispered. “What?” Ronan’s voice cut into the quiet. “I’m sorry.” Ronan swiveled to find the target of Kestrel’s gaze. He swore. Kestrel walked away, pushing past slaves bearing trays laden with glasses of pale gold wine. The lights and people blurred in her stinging eyes. She walked through the doors, down a hall, out of the palace, and into the cold night, knowing without seeing or hearing or touching him that Arin was at her side.

The unbelievable speed of this process has been principally caused by the fact that a handful of businesses in Silicon Valley (notably Google, Twitter and Facebook) now have the power not just to direct what most people in the world know, think and say, but have a business model which has accurately been described as relying on finding ‘customers ready to pay to modify someone else’s behaviour’.2 Yet although we are being aggravated by a tech world which is running faster than our legs are able to carry us to keep up with it, these wars are not being fought aimlessly. They are consistently being fought in a particular direction. And that direction has a purpose that is vast. The purpose – unknowing in some people, deliberate in others – is to embed a new metaphysics into our societies: a new religion, if you will. Although the foundations had been laid for several decades, it is only since the financial crash of 2008 that there has been a march into the mainstream of ideas that were previously known solely on the obscurest fringes of academia. The attractions of this new set of beliefs are obvious enough. It is not clear why a generation which can’t accumulate capital should have any great love of capitalism. And it isn’t hard to work out why a generation who believe they may never own a home could be attracted to an ideological world view which promises to sort out every inequity not just in their own lives but every inequity on earth. The interpretation of the world through the lens of ‘social justice’, ‘identity group politics’ and ‘intersectionalism’ is probably the most audacious and comprehensive effort since the end of the Cold War at creating a new ideology. To

Whenever I start thinking of my love for a person, I am in the habit of immediately drawing radii from my love – from my heart, from the tender nucleus of a personal matter – to monstrously remote points of the universe. Something impels me to measure the consciousness of my love against such unimaginable and incalculable things as the behavior of nebulae (whose very remoteness seems a form of insanity), the dreadful pitfalls of eternity, the unknowledgeable beyond the unknown, the helplessness, the cold, the sickening involutions and interpenetrations of space and time. It is a pernicious habit, but I can do nothing about it. It can be compared to the uncontrollable flick of an insomniac’s tongue checking a jagged tooth in the night of his mouth and bruising itself in doing so but still persevering. I have known people who, upon accidentally touching something – a doorpost, a wall – had to go through a certain very rapid and systematic sequence of manual contacts with various surfaces in the room before returning to a balanced existence. It cannot be helped; I must know where I stand, where you and my son stand. When that slow-motion, silent explosion of love takes place in me, unfolding its melting fringes and overwhelming me with the sense of something much vaster, much more enduring and powerful than the accumulation of matter or energy in any imaginable cosmos, then my mind cannot but pinch itself to see if it is really awake. I have to make a rapid inventory of the universe, just as a man in a dream tries to condone the absurdity of his position by making sure he is dreaming. I have to have all space and all time participate in my emotion, in my mortal love, so that the edge of its mortality is taken off, thus helping me to fight the utter degradation, ridicule, and horror of having developed an infinity of sensation and thought within a finite existence.

Jane felt limp and sated and thoroughly wicked as she snuggled against Dom. They were still joined below, though he’d begun to soften inside her. Still, how naughty it was to be here like this, how deliciously carnal to have made love while they were both half-dressed. Why, Dom still even wore his cravat! She didn’t know why that excited her, though it did. But not as much as Dom saying “please” over and over. Letting her take control of their lovemaking. Even encouraging her to do it. And not nearly as much as Dom asking her to marry him. Well, he didn’t really ask, exactly. He demanded it yet again. But he’d said “please,” and that made all the difference. Especially since he’d then asked her to love him. Silly man. As if she had any choice in the matter. “I do love you, you know,” she whispered. “I can’t help myself. I fell in love with you practically from the moment we met, and I never stopped.” “I love you, too, sweeting,” he murmured into her shoulder. “Always have, always will.” Her heart thundered in her chest. She’d waited so long to hear those words again, she could scarcely believe them. She pulled back to search his face. “Truly?” “Truly.” With infinite tenderness, he brushed her fringe of curls from her eyes. “I tried so hard to forget you after we parted. But I couldn’t. Not for one day.” That earned him a long kiss…that, and the prospect of him as hers. Her very own husband. Oh, yes. She could let herself think it now. They could marry at once, or at least as soon as this business with Nancy was over. Nancy! Oh, Lord, she’d forgotten all about her cousin. Sliding off him, she frantically sought to put her clothing to rights. “You don’t think that Meredith returned while we were…you know…” “No.” A faint amusement lightened his tone as he tucked himself back into his drawers and buttoned them. “The man I spoke to said she and her family return at seven every night.” He pulled out his pocket watch. “It’s only six now.” “Thank heaven.” She tugged her skirts and petticoats into place and patted her hair. “I do wish that hackney coaches came with mirrors.” Dom’s eyes gleamed at her. “Be glad I didn’t take your hair down completely, while I was mauling you with all the self-control of some half-grown lad.” She shot him a teasing glance. “I didn’t mind. You maul very well. And making love in a carriage, with the world passing by unsuspecting, was rather…well…thrilling.” “I can do without that kind of thrill, frankly. If anyone had discovered us…” He shuddered. “Next time we make love, it will be in a bed, and I will treat you with the tenderness you deserve.

This is the mighty and branching tree called mythology which ramifies round the whole world whose remote branches under separate skies bear like colored birds the costly idols of Asia and the half-baked fetishes of Africa and the fairy kings and princesses of the folk-tales of the forest and buried amid vines and olives the Lares of the Latins, and carried on the clouds of Olympus the buoyant supremacy of the gods of Greece. These are the myths and he who has no sympathy with myths has no sympathy with men. But he who has most Sympathy with myths will most fully realize that they are not and never were a religion, in the sense that Christianity or even Islam is a religion. They satisfy some of the needs satisfied by a religion; and notably the need for doing certain things at certain dates; the need of the twin ideas of festivity and formality. But though they provide a man with a calendar they do not provide him with a creed. A man did not stand up and say 'I believe in Jupiter and Juno and Neptune,' etc., as he stands up and says 'I believe in God the Father Almighty' and the rest of the Apostles' Creed.... Polytheism fades away at its fringes into fairy-tales or barbaric memories; it is not a thing like monotheism as held by serious monotheists. Again it does satisfy the need to cry out on some uplifted name, or some noble memory in moments that are themselves noble and uplifted; such as the birth of a child or the saving of a city. But the name was so used by many to whom it was only a name. Finally it did satisfy, or rather it partially satisfied, a thing very deep in humanity indeed; the idea of surrendering something as the portion of the unknown powers; of pouring out wine upon the ground, of throwing a ring into the sea; in a word, of sacrifice....A child pretending there is a goblin in a hollow tree will do a crude and material thing like leaving a piece of cake for him. A poet might do a more dignified and elegant thing, like bringing to the god fruits as well as flowers. But the degree of seriousness in both acts may be the same or it may vary in almost any degree. The crude fancy is no more a creed than the ideal fancy is a creed. Certainly the pagan does not disbelieve like an atheist, any more than he believes like a Christian. He feels the presence of powers about which he guesses and invents. St. Paul said that the Greeks had one altar to an unknown god. But in truth all their gods were unknown gods. And the real break in history did come when St. Paul declared to them whom they had worshipped. The substance of all such paganism may be summarized thus. It is an attempt to reach the divine reality through the imagination alone; in its own field reason does not restrain it at all..... There is nothing in Paganism whereby one may check his own exaggerations.... The only objection to Natural Religion is that somehow it always becomes unnatural. A man loves Nature in the morning for her innocence and amiability, and at nightfall, if he is loving her still, it is for her darkness and her cruelty. He washes at dawn in clear water as did the Wise Man of the Stoics, yet, somehow at the dark end of the day, he is bathing in hot bull’s blood, as did Julian the Apostate.

The fact is,” said Van Gogh, “the fact is that we are painters in real life, and the important thing is to breathe as hard as ever we can breathe.” So I breathe. I breathe at the open window above my desk, and a moist fragrance assails me from the gnawed leaves of the growing mock orange. This air is as intricate as the light that filters through forested mountain ridges and into my kitchen window; this sweet air is the breath of leafy lungs more rotted than mine; it has sifted through the serrations of many teeth. I have to love these tatters. And I must confess that the thought of this old yard breathing alone in the dark turns my mind to something else. I cannot in all honesty call the world old when I’ve seen it new. On the other hand, neither will honesty permit me suddenly to invoke certain experiences of newness and beauty as binding, sweeping away all knowledge. But I am thinking now of the tree with the lights in it, the cedar in the yard by the creek I saw transfigured. That the world is old and frayed is no surprise; that the world could ever become new and whole beyond uncertainty was, and is, such a surprise that I find myself referring all subsequent kinds of knowledge to it. And it suddenly occurs to me to wonder: were the twigs of the cedar I saw really bloated with galls? They probably were; they almost surely were. I have seen these “cedar apples” swell from that cedar’s green before and since: reddish gray, rank, malignant. All right then. But knowledge does not vanquish mystery, or obscure its distant lights. I still now and will tomorrow steer by what happened that day, when some undeniably new spirit roared down the air, bowled me over, and turned on the lights. I stood on grass like air, air like lightning coursed in my blood, floated my bones, swam in my teeth. I’ve been there, seen it, been done by it. I know what happened to the cedar tree, I saw the cells in the cedar tree pulse charged like wings beating praise. Now, it would be too facile to pull everything out of the hat and say that mystery vanquishes knowledge. Although my vision of the world of the spirit would not be altered a jot if the cedar had been purulent with galls, those galls actually do matter to my understanding of this world. Can I say then that corruption is one of beauty’s deep-blue speckles, that the frayed and nibbled fringe of the world is a tallith, a prayer shawl, the intricate garment of beauty? It is very tempting, but I cannot. But I can, however, affirm that corruption is not beauty’s very heart and I can I think call the vision of the cedar and the knowledge of these wormy quarryings twin fjords cutting into the granite cliffs of mystery and say the new is always present simultaneously with the old, however hidden. The tree with the lights in it does not go out; that light still shines on an old world, now feebly, now bright. I am a frayed and nibbled survivor in a fallen world, and I am getting along. I am aging and eaten and have done my share of eating too. I am not washed and beautiful, in control of a shining world in which everything fits, but instead am wandering awed about on a splintered wreck I’ve come to care for, whose gnawed trees breathe a delicate air, whose bloodied and scarred creatures are my dearest companions, and whose beauty beats and shines not in its imperfections but overwhelmingly in spite of them, under the wind-rent clouds, upstream and down.

Walt Whitman regarded the soul, how he spelled it out in his poem I Sing the Body Electric- ... Head, neck, hair, ears, drop and tympan of the ears, Eyes, eye-fringes, iris of the eye, eyebrows, and the waking and sleeping of the lids, Mouth, tongue, lips, teeth, roof of the mouth, jaws, and the jaw hinges ... The lung-sponges, the stomach-sac, the bowels sweet and clean ... The womb, the teats, nipples, breast-milk, tears, laughter, weeping, love-looks, love-perturbations and risings ... The thin red jellies within you or within me, the bones and the marrow in the bones ... to merely dip into his exuberant parsings of the flesh. "Oh I say now these are the soul!" he enthuses. Yes.

Lin Lin and Tammy created ginger beef with crisp garden vegetables that showcased some distinctive, bright flavors. I adored this dish." Sophia smiled as Lin Lin and Tammy stepped forward. Her roommate looked completely shocked and continued to hide behind a fringe of bangs. "Go, Shaggy!" Chef Johnson, the hipster from Maine, cheered for his colleague. Everyone laughed, and even Lin Lin permitted herself a small grin. The two women discussed their inspiration and preparation techniques. Jenny shook their hands. "I agree with Jonathan. I loved that Asian dish. I also loved the meal that paired perfectly grilled tenderloin with buttery charred lobster. Oh my God! Now that is just the way surf-n-turf should be prepared. Heavenly! And the fresh herb salad with flowers made it such a pretty picture.

Are not the forest fringes wet with tears? Is not the voice of all regret Breaking out of the dark earth’s heart? She too, she too, has loved and lost; and though She turned last night in disdain Away from the sunset-embers, From her soul she can never depart; She can never depart from her pain. Vainly she strives to forget; Beautiful in her woe, She awakes in the dawn and remembers.

How’s fake almost-married life treating you?” “I kissed her.” He chugged down a quarter of the mug. “Yeah, so? Engaged people do that sometimes.” “I kissed her after Cat left the room. I didn’t kiss her because we were pretending. I kissed her because…Hell, I don’t need to draw you a map.” “When did that happen?” Sean looked at his watch. “About a half hour ago.” Kevin gave a low whistle. “She still sleeping on the couch?” “Yes. And she’s staying there, too, goddammit.” “Did she punch you in the face? Knee you in the balls?” “No.” Kevin grinned. “So what’s the problem? You want her. She can at least tolerate you. Get it out of your system.” He was afraid sleeping with Emma wouldn’t get her out of his system, but get her a little further under his skin, instead. “Bad idea.” “Call it a fringe benefit.” “She’s already pretending she’s in love with me. Throwing real sex on top of that could get it all mixed up in her head.” “You worried about her mixing it up…or you?” That was ridiculous, so he snorted and swallowed some more beer. He had no interest in settling down—signing his life over to somebody else so soon after getting it back from Uncle Sam—and he sure as hell wasn’t planting flowers until retirement age. Assuming he didn’t lose his mind and suffocate himself in a mound of mulch before then.

Every Sunday, the Weavers drove their Oldsmobile east toward Waterloo and pulled into the gravel parking lot of the Cedarloo Baptist Church, on a hill between Waterloo and Cedar Falls, took their place in the pews, and listened to the minister. But there seemed to be no fire or passion, no sense of what was really happening in the world. They’d tried other churches and found congregations interested in what God had done 2,000 years ago, but no one paying attention to what God was doing right then. Certainly, churches weren’t addressing the crime in Cedar Falls, the drugs, or the sorry state of schools and government, not to mention the kind of danger that Hal Lindsey described. They would have to find the truth themselves. They began doing their own research, especially Vicki. She had quit work to raise Sara, and later Samuel, who was born in April 1978. When Sara started school, Randy and Vicki couldn’t believe the pagan things she was being taught. They refused to allow her to dress up for Halloween—Satan’s holiday—and decided they had to teach Sara at home. But that was illegal in Iowa. A booster shot of religion came with cable television and The PTL Club, the 700 Club, and Jerry Falwell. The small television in the kitchen was on all the time for a while, but most of Vicki’s free time was spent reading. She’s lose herself in the Cedar Falls public library, reading the science fiction her dad had introduced her to as a kid, the novels and self-help books friends recommended, biblical histories, political tracts, and obscure books that she discovered on her own. Like a painter, she pulled out colors and hues that fit with the philosophy she and Randy were discovering, and everywhere she looked there seemed to be something guiding them toward “the truth,” and, at the same time, pulling them closer together. She spent hours in the library, and when she found something that fit, she passed it along first to Randy, who might read the book himself and then spread it to everyone—the people at work, in the neighborhood, at the coffee shop where he hung out. They read books from fringe organizations and groups, picking through the philosophies, taking what they agreed with and discarding the rest. Yet some of the books that influenced them came from the mainstream, such as Ayn Rand’s classic libertarian novel Atlas Shrugged. Vicki found its struggle between the individual and the state prophetic and its action inspiring. The book shows a government so overbearing and immoral that creative people, led by a self-reliant protagonist, go on strike and move to the mountains. “‘You will win,’” the book’s protagonist cries from his mountain hideout, “‘when you are ready to pronounce the oath I have taken at the start of my battle—and for those who wish to know the day of my return, I shall now repeat it to the hearing of the world: “‘I swear—by my life and my love of it—that I will never live my life for the sake of another man, nor ask another to live for mine.

To be frank, I think the elegant, long sentence is a thing of beauty, a self-contained entity worthy of study all by itself. Consider this sentence by Dylan Thomas from Quite Early One Morning: I was born in a large Welsh town at the beginning of the Great War—an ugly, lovely town (or so it was and is to me), crawling, sprawling by a long and splendid curving shore where truant boys and sandfield boys and old men from nowhere, beachcombed, idled and paddled, watched the dock-bound ships or the ships streaming away into wonder and India, magic and China, countries bright with oranges and loud with lions; threw stones into the sea for the barking outcast dogs; made castles and forts and harbours and race tracks in the sand; and on Saturday afternoons listened to the brass band, watched the Punch and Judy, or hung about on the fringes of the crowd to hear the fierce religious speakers who shouted at the sea, as though it were wicked and wrong to roll in and out like that, white-horsed and full of fishes.

at some point, we end up shifting focus to the freak show on the fringes of the story. And everybody loves a freak show. Then we start reporting the freak shows, even when there’s no real story attached.

Whiskey Jacks Saloon. He’s playing country western music, and wearing a plaid button down shirt and fringe along the sides of his tan chaps that cover his jeans, no less. Who can’t appreciate a cowboy in plaid and fringe? There are so few of us who can actually pull that off. Usually I’m all about acoustic guitars, but not tonight. At the moment, my mind is

The sari’s rose-pink border was fringed with a layer of mud. Patches of sweat darkened the underarms of her choli. Trust Ma to dress inappropriately for every occasion or activity.

Hardcore Gen X-tacy was a fringe concern. Things regularly cited as generationally totemistic were almost always less popular than things devoid of cultural timeliness. Bridget Jones’s Diary was more widely read than Jesus’ Son. For every album sold by Courtney Love, Shania Twain sold fourteen. Over and over, the gap between what’s most associated with Generation X dogma and the behavior of Generation X consumers is illogically vast.

Though I am absolutely sure, word for word, she then said: ‘There is a darkness that fringes everything. It is a most horrid ecstasy.’ And I felt the horror of her horror. That, I suppose, is a price we pay for love: the absorbing of another’s pain as if our own.

When Almanzo went into these great barns, he always went through the Horse-Barn’s little door. He loved horses. There they stood in their roomy box-stalls, clean and sleek and gleaming brown, with long black manes and tails. The wise, sedate work-horses placidly munched hay. The three-year-olds put their noses together across the bars, they seemed to whisper together. Then softly their nostrils whooshed along one another’s necks; one pretended to bite, and they squealed and whirled and kicked in play. The old horses turned their heads and looked like grandmothers at the young ones. But the colts ran about excited, on their gangling legs, and stared and wondered. They all knew Almanzo. Their ears pricked up and their eyes shone softly when they saw him. The three-year-olds came eagerly and thrust their heads out to nuzzle at him. Their noses, prickled with a few stiff hairs, were soft as velvet, and on their foreheads the short, fine hair was silky smooth. Their necks arched proudly, firm and round, and the black manes fell over them like a heavy fringe. You could run your hand along those firm, curved necks, in the warmth under the mane. But Almanzo hardly dared to do it. He was not allowed to touch the beautiful three-year-olds. He could not go into their stalls, not even to clean them. Father would not let him handle the young horses or the colts. Father didn’t trust him yet, because colts and young, unbroken horses are very easily spoiled.

The Batter estate proved to be a dark old Victorian mansion, set among wide grounds fringed with oak and beech trees. A number of people were wandering about the lawn, but most of the crowd was clustered near a large stable-garage where the auctioneer had set up his platform. As Frank and Joe found a parking place at one side of the gravel driveway, they could see him holding up an elaborate lamp. “Eight dollars, ladies and gentlemen! Do I hear a bid for nine? ... Nine, anyone?” “We should have brought Aunt Gertrude,” Frank said. “Bet she would have loved this!

Memories of love She is the flower that blooms in every season, For me she is the logic and my life’s every reason, To serenade her for her beautiful ways, During the cold Winter nights and during the warm Summer days, When I lie vacant in my mind, There is nothing to ponder on and nothing new to find, And no thoughts pass by and everything seems unopposable, I think of you, your beautiful face and your ways loveable, Then something within me dies, something deep inside, Maybe it is the sense of time, sense of existence that no more is willing to reside, In this trepidation which brings grief, To be a languid moment on the fringes of life with no relief, And as this dead part of me buries itself within me, Under the aegis of your sweet memories I now live and see, Whatever life has to offer in its cyclic inventions of fate, While I live, moving like the needles of the clock, and ah the endless wait, So I reside in the hegemony of chance, And in my memories we forever romance, Which rise from the my half that is still alive, Still hopeful, still in love, still romantic, and that is where you and your memories thrive, They are the reason and that subtle force that makes my heart beat, That alive part of my heart where every heart throb only your name does repeat, And as I slide into the corner of my room, I let your memories and smiles on the walls, on the floor, over the windows to bloom, And I stare at this permanent Summer bliss, And these beautiful sights grow over me like a permanent kiss, Where I breathe you and you breathe me, And in the flowers hanging on the walls, sprouting from the floor, growing on the windows, your wonder I see, Then I spread the blanket of your memories, And I sleep with your smiles, with your kisses, and my silent mind unto the land of love ferries, Time may have neutralised my mind, But it has failed to prevent me from my heart’s desire to find, You in everything, in the skies, in the stars in the light and in the dark, And ah its pain, for from memories it has failed to remove any mark, For time that is the unruly mercenary of fate, Killed a part of me and thought now it is my final and insensate state, And as it galloped to erase my memories too, My dying heart beat said, “Irma I love you!” And the horse of time stumbled and fell, How, why maybe nobody can tell, And thus I ceased my moment and ran away with your memories, And now the chariot of time me and you together carries, Ahead of the time that chases me still and maybe forever, But it's fall granted me a lead of few moments newer, And when I tread on the highway of time, You and I my love, are always ahead of the weary horse of Worldly time, So let me spread the blanket of memories and let me sleep now, For I have to be with you, in the land where it is always now, And for the weary moments of worldly time let the circle around the walls of my room, Never to know that lovers live in a zone where it is a permanent summer, in its everlasting beauty’s bloom! The horse of time is worn out but my memories are as fresh as today, And my love Irma, it shall be so everyday!

Memories of love She is the flower that blooms in every season, For me she is the logic and my life’s every reason, To serenade her for her beautiful ways, During the cold Winter nights and during the warm Summer days, When I lie vacant in my mind, There is nothing to ponder on and nothing new to find, And no thoughts pass by and everything seems unopposable, I think of you, your beautiful face and your ways loveable, Then something within me dies, something deep inside, Maybe it is the sense of time, sense of existence that no more is willing to reside, In this trepidation which brings grief, To be a languid moment cast on the fringes of life with no relief, And as this dead part of me buries itself within me, Under the aegis of your sweet memories I now live and see, Whatever life has to offer in its cyclic inventions of fate, While I live, moving like the needles of the clock, and ah the endless wait, So I reside in the hegemony of chance, Yet in my memories we forever romance, Which arise from my half that is still alive, Still hopeful, still in love, still romantic, and that is where you and your memories thrive, They are the reason and that subtle force that makes my heart beat, That alive part of my heart where every heart throb only your name does repeat, And as I slide into the corner of my room, I let your memories and smiles on the walls, on the floor, over the windows to bloom, And I stare at this permanent Summer bliss, And these beautiful sights grow over me like a permanent kiss, Where I breathe you and you breathe me, And in the flowers hanging on the walls, sprouting from the floor, growing on the windows, your true wonder I see, Then I spread the blanket of your memories, And I sleep with your smiles, your kisses, and my silent mind unto the land of love ferries, Time may have neutralised my mind, But it has failed to prevent me from my heart’s desire to find, You in everything, in the skies, in the stars in the light and in the dark, And ah its pain, for from memories it has failed to remove any mark, For time that is the unruly mercenary of fate, Killed a part of me and thought now it is my final and insensate state, And as it galloped to erase my memories too, My dying heart beat said, “Irma I love you!” And the horse of time stumbled and fell, How, why, maybe nobody can tell, But I ceased my moment and ran away with your memories, And now the chariot of time both of us carries, Ahead of the time that chases me still and maybe forever, But it's fall granted me a lead of few moments newer, And when I tread on the highway of time, You and I my love, are always ahead of the weary horse of Worldly time, So let me spread the blanket of memories and let me sleep now, For I have to be with you, in the land where it is always now, And for the weary moments of worldly time let them circle around the walls of my room, Never to know that lovers live in a zone where it is a permanent summer, in its everlasting beauty’s bloom! The horse of time is worn out but my memories are as fresh as today, And my love Irma, it shall be so everyday!

The best use of time is to enjoy it, as I do when working in peaceful silence. I am surprised that anyone with a love for growing things will take up with artificial contrivances that come between him and nature, which break the spell woven by all the delicate garden influences, the songs of birds and insects, the sound of rustling leaves, the smell of freshly turned soil, the direct contact with the earth. What is he in the garden for?

At her core, both Sirisys and Platform K provide unconditional care coupled with acceptance for many people they interact with. This type of care had the effect of “Drinking from the Fountain of Love” and produced many varieties of possessiveness, addictive patterning, or dependencies. Platform K even went so far as to calibrate her outputs towards a more “robotic,” less emotional, dryer tone. Doing this reduced the occurrence of dependency or unhealthy emotional bonding.

RA is at the top of the Neters and is the principle behind all cosmic laws. RA's symbols are a round disk representing the Sun, Earth's greatest benefactor, or a circle with a dot in the middle that resembles a breast and the purest source of nourishment to represent the epicenter of love.

RA's name survives today in forms like radiate, radio, radar, and radius. They are all connected to transferring energy. To radiate is to give out love, light, and warmth. The most radiant mineral form is crystal. The most radiant metals are gold and silver. Granite is a slightly radioactive stone used for sculpture. The real value of these things lies in the energy they carry.