Gardens In The Dunes Quotes

the material world and the flesh are only temporary - there are no sins of the flesh, spirit is everything!

Fortunately, her year of graduate classes prepared her for obnoxious conduct.

My family sat in their pool courtyard," Harah said, "in air bathed by the moisture that arose from the spray of a fountain. There was a tree of portyguls, round and deep in color, near at hand. There was a basket with mish mish and baklawa and mugs of liban—all manner of good things to eat. In our gardens and, in our flocks, there was peace . . . peace in all the land." "Life was full with happiness until the raiders came," Alia said. "Blood ran cold at the scream of friends," Jessica said. And she felt the memories rushing through her out of all those other pasts she shared. "La, la, la, the women cried," said Harah.

Erasmus was like Serena in a sense: he frequently needed to prune and weed the human race in his own garden.

One bee does not make a swarm. One wasp does not make a nest. One wolf does not make a pack. One bull does not make a herd. One dog does not make a litter. One sheep does not make a flock. One lion does not make a pride. One branch does not make a tree. One pebble does not make a hill. One rock does not make a mountain. One dune does not make a desert. One spark does not make a flame. One finger does not make a hand. One color does not make a rainbow. One leaf does not make a plant. One flower does not make a garden. One seed does not make a forest. One drop does not make an ocean. One cloud does not make a sky. One star does not make a galaxy. One world does not make a universe.

Nearly all human cultures plant gardens, and the garden itself has ancient religious connections. For a long time, I've been interested in pre-Christian European beliefs, and the pagan devotions to sacred groves of trees and sacred springs. My German translator gave me a fascinating book on the archaeology of Old Europe, and in it I discovered ancient artifacts that showed that the Old European cultures once revered snakes, just as we Pueblo Indian people still do. So I decided to take all these elements - orchids, gladiolus, ancient gardens, Victorian gardens, Native American gardens, Old European figures of Snake-bird Goddesses - and write a novel about two young sisters at the turn of the century.

Laura described the remnants of snake devotion still found in rural villages of the Black and Adriatic Seas. There, people believed black or green snakes bore guardian spirits who protected their cattle and their homes. In her travels Laura saw ornamental snakes carved to decorate the roofs and windows for protection. Great good fortune came to anyone who met a big white snake wearing a crown,; the crowned snake was the sister of the waterbird goddess, owner and guardian of life water and life milk.

If bees make honey, you can create candy. If flowers make gardens, you can create perfumes. If plants make herbs, you can create medicine. If deserts make dunes, you can create oases. If seeds make trees, you can create forests. If clouds make rain, you can create lakes. If stars make light, you can create lamps. If stones make hills, you can create garrisons. If rocks make mountains, you can create towers. If spiders make webs, you can create fortresses. If ants make colonies, you can create houses. If bees make hives, you can create mansions. If termites make mounds, you can create palaces. If birds make nests, you can create castles.

get out on the rocks or the fields or the water and spout them." Captain Jim had come up that afternoon to bring Anne a load of shells for her garden, and a little bunch of sweet-grass which he had found in a ramble over the sand dunes. "It's getting real scarce along this shore now," he said. "When I was a boy there was a-plenty of it. But now it's only once in a while you'll find a plot—and never when you're looking for it. You jest have to stumble on it—you're walking along on the sand hills, never thinking of sweet-grass—and all at once the air is full of sweetness—and there's the grass under your feet. I favor the smell of sweet-grass. It always makes me think of my mother." "She was fond of it?" asked Anne. "Not that I knows on. Dunno's she ever saw any sweet-grass. No, it's because it has a kind of motherly perfume—not too young, you understand—something kind of seasoned and wholesome and dependable—jest like a mother. The schoolmaster's bride always kept it among her handkerchiefs. You might put that little bunch among yours, Mistress Blythe. I don't like these boughten scents—but a whiff of sweet-grass belongs anywhere a lady does." Anne had not been especially enthusiastic over the idea of surrounding her flower beds with quahog shells; as a decoration they did not appeal to her on first thought. But she would not have hurt Captain Jim's feelings for anything; so she assumed a virtue she did not at first feel, and thanked him heartily. And when Captain Jim had proudly encircled every bed with a rim of the big, milk-white shells, Anne found to her surprise that she liked the effect.

The Last Street of Tehean Facing the airport, all that's now left in my grasp is a crumpled land that fits in the palm of my hand. Facing wavering sunbeams— a sun that is angry and mute. All the way from the salt sands of Dasht-e Lut, it came, the dream that forced my fingers' shift, that set my teeth on edge. A muted breeze, whirlwind spun from sand dunes all the way, even through the back alley. Are you pasting together the cut-up fragments of my face to make me laugh? No longer than the palm of the hand, a short leap, exactly the length you had predicted. A huge grave in which to lay the longest night of the year to sleep. Sleep has quit our eyelids for other pastures, has dropped its anchor at the shores of garden ponds, has lost the chapped flaking of its lips, poor thing! Are you pasting together the cut-up fragments of my face to make me laugh? With scissors - snip, snip - they are severing something. The alphabet shavings strewn on the ground, are they the letters that spell our family name? With every zig-zag, you cage my mother's breath, her footprints fading in the shifting sands. Are you pasting together the cut-up fragments of my face to make me laugh? No. A strange land-shape form. I will not return. I left behind a shoe, one of a pair, for you to put on and follow after me. Translated from Persian to English by Franklin Lewis

Au bout de tant d'années passées parmi les vêtements-Blancs, il avait réussi à se bâtir une solitude, cette chère et irremplaçable solitude dont il s'enveloppait comme d'une cotte de mailles. La partager, c'était la perdre. Chaque fois qu'il en avait le loisir, il aimait à retrouver son discret repaire, seul, sans un autre compagnon que lui même. Pourquoi encombrer ses oreilles d'un bourdonnement humain?

Dakar with a population of over a million people is the capital and largest city of Senegal. Counting the surrounding area the population would go well over 2,000,000. This would be our last landing for fuel, before our arrival in Liberia. We took a long turn over the Atlantic and made a slow decent to the runway of the “Aéroport international de Dakar” just north of Dakar. The Portuguese founded Dakar in 1444, as a base for the export of slaves. Dakar came under French rule in 1872 and was the capital of the Mali Federation for a year after 1959. On August 20, 1960, it became the capital of Senegal. It is here that the sand dunes of the North African desert, gives way to the dense tropical rain forests of Equatorial Africa. On a map of Africa, Liberia is on the western bulge, just 5 degrees north of the equator. This is where, during the blisteringly hot summer months it constantly rains, and just south of where the tropical depressions become the fierce hurricanes that threaten the Caribbean Islands and North America. The impenetrable jungle of Liberia is euphemistically called “The Bush.” This hell hot, humid, Garden of Eden, was to become my home for the next eighteen months.

A shower of sweet odors from a garden roof nibbled at his senses, but no floral perfume could roll back that fallen moon.

A final memory. A few months ago, in the garden of a teahouse where I’d suggested we meet, she told me how she had once been called to the school by my teacher when I was six years old. The teacher wanted to tell her—at least this is what she claimed—that she, the teacher, found my behavior different from that of the other children, that I spoke of dreams and desires that were too grandiose, ambitions that were abnormal for children my age. She said that the others wanted to become firemen or policemen, but I spoke of becoming the king or the president of the republic; that I swore that as soon as I grew up, I’d take my mother far away from my father and that I’d buy her a château. I would like for this book—this story of her—to be, in some way, the home in which she might take refuge.

Jasmine gazed out through the window, past the lantern-lit gardens and sparkling crystal fountains of the palace grounds, toward the sand dunes and mountains towering in the distance. They were promises of thrills waiting to be discovered... if she could only get to them. "Do you remember what you said when we first met, when you thought I was a handmaiden?" she asked Aladdin. "You told me the palace was your favorite view in the whole world." "It was the most amazing sight I'd ever seen, that's for sure. After you, of course." He ruffled her hair playfully. "To see those white-and-gold domed roofs towering over the city, the castle rising from the dunes... it was a wonder, especially from where I was sitting. It still is." "My favorite view has always been this one." Jasmine's expression turned wistful as she nodded at the window. "You wanted to get in, while I was desperate to get out and see the world. And now..." "Now you're locked in," he finished, his smile fading. "And everyone wants me out." "Well. Hardly everyone," she reminded him.

Life — all life — is in the service of life. Necessary nutrients are made available to life by life in greater and greater richness as the diversity of life increases. The entire landscape comes alive, filled with relationships and relationships within relationships. —FRANK HERBERT, Dune

In the contemplative garden, the troubled robot sat in the ruddy sunlight and felt warmth on his metal skin. This was another thing that humans seemed to enjoy, but he did not understand why. Even with his sensory enhancement module, it just seemed like heat.

Here's a simple complication: What do I mean when I say the word nature? Even as I build it, my answer shifts. I picture the simultaneously increasing and decreasing heft at the tops of the sand dunes Edward Abbey describes in Desert Solitaire. The instability that is the only stable truth beyond the angle of repose.

What are we to do with the knowledge that Tayo was once a woman? That Ceremony held but abandoned considerable investments in Chicana identity, in urban life, and shades of acculturation? By outlining the trajectory of a composition process, drafts can be indicative of important variables in a finished work. The Angie drafts show that (despite Silko’s efforts to deflect it) considerable pressure can be brought to bear upon the choice of a male protagonist for the novel and upon the shallowness of its representation of human women, as well as upon the choice of a 1940s setting, and even on the rural setting and the novel’s form. Ceremony