Gardens View Quotes

The thing about mountains is that you have to keep on climbing them, and that it's always hard, but there's a view from top every time when you finally get there.

It is easier to tell a person what life is not, rather than to tell them what it is. A child understands weeds that grow from lack of attention, in a garden. However, it is hard to explain the wild flowers that one gardener calls weeds, and another considers beautiful ground cover.

…. ‘George said he needed a break. And there was something about Jonathan taking over …’   ‘That’s exactly what I mean,’ said Maxwell, ‘It seems like there’s all kinds of goings on there now.’ ‘What did the agents say then?’ ‘Your brother … he must still have a key. I told them to check, I told them. I expect they overlooked it. Hugo’s been going in and there are some women there apparently, I mean at the Manor House, Jonathan’s up to his usual tricks taking in every Tom, Dick and Harry and giving all kinds of undesirables a home, and there’s something about them chasing Hugo and taunting him, yesterday the buyers were viewing again and measuring up for curtains and things, I said they could, and they saw something going on outside, some shouting and laughing …’   ‘Women! What women? Jonathan’s not like that …’   ‘Not like that huh! He’s flesh and blood like the rest of us.’  ‘That’s not what I meant. Please don’t be angry Max, it’s not my fault.’ ‘Jonathan this and Jonathan that. Why do people think he’s so bloody marvellous eh! What the hell does he think he’s doing. People spilling over into my garden and wrecking the peace and quiet. George was completely mad to do this …

Try to pause each day and take a walk to view nature.

It has become much harder, in the past century, to tell where the garden leaves off and pure nature begins.

There is, I have heard, a little thing called sunrise, in which the sun reverses the process we all viewed the night before. You might assume such a thing as mythical as those beasts that guard the corners of the earth, but I have it on the finest authority, and have, indeed, from time to time, regarded it with my own eyes.

The Garden of Eden," pursued Mr. Emerson, still descending, "which you place in the past, is really yet to come. We shall enter it when we no longer despise our bodies.

When will women not be compelled to view their bodies as science projects, gardens to be weeded, dogs to be trained? When will a woman cease to be made of pain?

Children have such an innocent view of their world and surroundings; every thought is a garden full of wonder.

XXVI There was set before me a mighty hill, And long days I climbed Through regions of snow. When I had before me the summit-view, It seemed my labor Had been to see gardens Lying at impossible distances.

Someone, he added, ought to draw up a catalogue of types of buildings listed in order of size, and it would be immediately obvious that domestic buildings of less then normal size – the little cottage in the fields, the hermitage, lockkeepers's lodge, the pavilion for viewing the landscape, the children's bothy in the garden – are those that offer us at least a semblance of peace, whereas no one in his right mind could truthfully say that he liked a vast edifice such as the Palace of Justice in the old Gallows Hill in Brussels. At the most we gaze at it in wonder, a kind of wonder which itself is a form of dawning horror, for somehow we know by instinct that outsize buildings cast the shadow of their own destruction before them, and are designed from the first with an eye to their later existence as ruins.

November is the most disagreeable month in the whole ear,' said Margaret, standing at the window one dull afternoon, looking out at the frostbitten garden. 'That's the reason I was born in it,' observed Jo pensively, quite unconscious of the blot on her nose. 'If something very pleasant should happen now, we should think it a delightful month,' said Beth, who took a hopeful view of everything, even November.

Our days are numbered in the book of days, Most High," Gorgon murmurs as the garden comes once more into view. "That is what gives them sweetness and purpose.

Some people find that reading novels is very therapeutic precisely because it does allow one to view reality from an entirely different perspective.

…man never regards what he possesses as so much his own, as what he does; and the labourer who tends a garden is perhaps in a truer sense its owner, than the listless voluptuary who enjoys its fruits…In view of this consideration, it seems as if all peasants and craftsman might be elevated into artists; that is, men who love their labour for its own sake, improve it by their own plastic genius and inventive skill, and thereby cultivate their intellect, ennoble their character, and exalt and refine their pleasures. And so humanity would be ennobled by the very things which now, though beautiful in themselves, so often serve to degrade it…But, still, freedom is undoubtedly the indispensable condition, without which even the pursuits most congenial to individual human nature, can never succeed in producing such salutary influences. Whatever does not spring from a man’s free choice, or is only the result of instruction and guidance, does not enter into his very being, but remains alien to his true nature; he does not perform it with truly human energies, but merely with mechanical exactness… …we may admire what he does, but we despise what he is.

God (Nature, in my view) makes all things good; man meddles with them and they become evil. He fores one soil to yield the products of another, one tree to bear another's fruit. He confuses and confounds time, place, and natural conditions. He mutilates his dog, his horse, and his slave. He destroys and defaces all things; he loves all that is deformed and monstrous; he will have nothing as nature made it, not even himself, who must learn his paces like a saddle-horse, and be shaped to his master's taste like the trees in his garden.

MARTHA’S CHEERY VIEW of things was widely shared by outsiders visiting Germany and especially Berlin. The fact was that on most days in most neighborhoods the city looked and functioned as it always had.

But after a couple of weeks of listing things I was grateful for, I came to see that the little things were everything. The little things were what I held on to at the end of the day. Single jokes that gave me the giggles. A beautiful flower arrangement, viewed through the window of a café. The fact that my cat came to cuddle me when she saw I was sad. These things gave me hope, pleasure, solace. Together, they added up to a fulfilling life. If a simple flower arrangement could make this world just a little more bearable, then perhaps my own small actions meant more than I was giving them credit for. Maybe when I made dinner, or listened to a friend rant, or complimented a woman on her incredible garden, I was helping make this world survivable for others. Perhaps that evening, when tallying up their own wins and losses for the day, someone would think of something I’d done and smile.

As I leave the garden I take with me a renewed view, And a quiet soul.

One faction views SeaWorld as a Garden Hilton for killer whales, and the other views it as a Hanoi Hilton for killer whales.

A man's minor actions and arrangements ought to be free, flexible, creative; the things that should be unchangeable are his principles, his ideals. But with us the reverse is true; our views change constantly; but our lunch does not change. Now, I should like men to have strong and rooted conceptions, but as for their lunch, let them have it sometimes in the garden, sometimes in bed, sometimes on the roof, sometimes in the top of a tree. Let them argue from the same first principles, but let them do it in a bed, or a boat, or a balloon.

As a survivor, I feel a duty to provide a realistic view of the complexity of recovery. I am not here to rebrand the mess he made on campus. It is not my responsibility to alchemize what he did into healing words society can digest. I do not exist to be the eternal flame, the beacon, the flowers that bloom in your garden.

Maybe to be in a garden and feel awe, or wonder, in the presence of an astonishing mystery, is nothing more than a recovery of a misplaced perspective, perhaps the child’s-eye view; maybe we regain it by means of a neurochemical change that disables the filters (of convention, of ego) that prevent us in ordinary hours from seeing what is, like those lovely leaves, staring us in the face.

As we read, ponder, and pray, there will come into our minds a view of the three gardens of God—the Garden of Eden, the Garden of Gethsemane, and the Garden of the Empty Tomb where Jesus appeared to Mary Magdalene.

In the first movement, our infancy as a species, we felt no separation from the natural world around us. Trees, rocks, and plants surrounded us with a living presence as intimate and pulsing as our own bodies. In that primal intimacy, which anthropologists call "participation mystique," we were as one with our world as a child in the mother's womb. Then self-consciousness arose and gave us distance on our world. We needed that distance in order to make decisions and strategies, in order to measure, judge and to monitor our judgments. With the emergence of free-will, the fall out of the Garden of Eden, the second movement began -- the lonely and heroic journey of the ego. Nowadays, yearning to reclaim a sense of wholeness, some of us tend to disparage that movement of separation from nature, but it brought us great gains for which we can be grateful. The distanced and observing eye brought us tools of science, and a priceless view of the vast, orderly intricacy of our world. The recognition of our individuality brought us trial by jury and the Bill of Rights. Now, harvesting these gains, we are ready to return. The third movement begins. Having gained distance and sophistication of perception, we can turn and recognize who we have been all along. Now it can dawn on us: we are our world knowing itself. We can relinquish our separateness. We can come home again -- and participate in our world in a richer, more responsible and poignantly beautiful way than before, in our infancy.

At Bramasole, the first secret spot that draws me outside is a stump and board bench on a high terrace overlooking the lake and valley. Before I sit down, I must bang the board against a tree to knock off all the ants. Then I'm happy. With a stunted oak tree for shelter and a never-ending view, I am hidden. No one knows where I am. The nine-year-old's thrill of the hideout under the hydrangea comes back: My mother is calling me and I am not answering.

Now, the atonement of Christ is the most basic and fundamental doctrine of the gospel, and it is the least understood of all our revealed truths. Many of us have a superficial knowledge and rely upon the Lord and his goodness to see us through the trials and perils of life. But if we are to have faith like Enoch and Elijah we must believe what they believed, know what they knew, and live as they lived. May I invite you to join with me in gaining a sound and sure knowledge of the Atonement. We must cast aside the philosophies of men and the wisdom of the wise and hearken to that Spirit which is given to us to guide us into all truth. We must search the scriptures, accepting them as the mind and will and voice of the Lord and the very power of God unto salvation. As we read, ponder, and pray, there will come into our minds a view of the three gardens of God—the Garden of Eden, the Garden of Gethsemane, and the Garden of the Empty Tomb where Jesus appeared to Mary Magdalene.

What is always needed in the appreciation of art, or life, is the larger perspective. Connections made, or at least attempted, where none existed before, the straining to encompass in one's glance at the varied world the common thread, the unifying theme through immense diversity, a fearlessness of growth, of search, of looking, that enlarges the private and the public world. And yet, in our particular society, it is the narrowed and narrowing view of life that often wins

God’s view of the family, however, is over-the-top. To him, it’s the first thing on human’s job description.

Know that...there's plenty of food and of course popcorn on the dining-room table. Just...help yourself. If that runs out just let me know. Don't panic. And there's coffee, both caff and decaf, and soft drinks and juice in the kitchen, and plenty of ice in the freezer so...let me know if you have any questions with that.' And lastly, since I have you all here in one place, I have something to share with you. Along the garden ways just now...I too heard the flowers speak. They told me that our family garden has all but turned to sand. I want you to know I've watered and nurtured this square of earth for nearly twenty years, and waited on my knees each spring for these gentle bulbs to rise, reborn. But want does not bring such breath to life. Only love does. The plain, old-fashioned kind. In our family garden my husband is of the genus Narcissus , which includes daffodils and jonquils and a host of other ornamental flowers. There is, in such a genus of man, a pervasive and well-known pattern of grandiosity and egocentrism that feeds off this very kind of evening, this type of glitzy generosity. People of this ilk are very exciting to be around. I have never met anyone with as many friends as my husband. He made two last night at Carvel. I'm not kidding. Where are you two? Hi. Hi, again. Welcome. My husband is a good man, isn't he? He is. But in keeping with his genus, he is also absurdly preoccupied with his own importance, and in staying loyal to this, he can be boastful and unkind and condescending and has an insatiable hunger to be seen as infallible. Underlying all of the constant campaigning needed to uphold this position is a profound vulnerability that lies at the very core of his psyche. Such is the narcissist who must mask his fears of inadequacy by ensuring that he is perceived to be a unique and brilliant stone. In his offspring he finds the grave limits he cannot admit in himself. And he will stop at nothing to make certain that his child continually tries to correct these flaws. In actuality, the child may be exceedingly intelligent, but has so fully developed feelings of ineptitude that he is incapable of believing in his own possibilities. The child's innate sense of self is in great jeopardy when this level of false labeling is accepted. In the end the narcissist must compensate for this core vulnerability he carries and as a result an overestimation of his own importance arises. So it feeds itself, cyclically. And, when in the course of life they realize that their views are not shared or thier expectations are not met, the most common reaction is to become enraged. The rage covers the fear associated with the vulnerable self, but it is nearly impossible for others to see this, and as a result, the very recognition they so crave is most often out of reach. It's been eighteen years that I've lived in service to this mindset. And it's been devastating for me to realize that my efforts to rise to these standards and demands and preposterous requests for perfection have ultimately done nothing but disappoint my husband. Put a person like this with four developing children and you're gonna need more than love poems and ice sculpture to stay afloat. Trust me. So. So, we're done here.

We live in a moral wasteland where human beings are desperately seeking answers to hard questions about life and sexuality. But there is hope. In the wasteland we can cultivate a garden. We can discover a reality-based morality that expresses a positive, life-affirming view of the human person—one that is more inspiring, more appealing, and more liberating than the secular worldview.

Basically, we view a portfolio in the same way that a gardener views a garden. Every business or asset in our portfolio is like a plant in a gardeners garden and is subject to similar expectations; growth, purpose, and productivity.

Queen of Night is as close to black as a flower gets, though in fact it is a dark and glossy maroonish purple. Its hue is so dark, however, that it appears to draw more light into itself than it reflects, a kind of floral black hole. In the garden, depending on the the angle of the sun, the blossoms of a Queen of Night may read as positive or negative space, as flowers or shadows of a flower.

From the Garden” Come, my beloved, consider the lilies. We are of little faith. We talk too much. Put your mouthful of words away and come with me to watch the lilies open in such a field, growing there like yachts, slowly steering their petals without nurses or clocks. Let us consider the view: a house where white clouds decorate the muddy halls. Oh, put away your good words and your bad words. Spit out your words like stones! Come here! Come here! Come eat my pleasant fruits.

Rock City begins as an ornamental garden on a mountain side: its visitors walk a path that takes them through rocks, over rocks, between rocks. They throw corn into a deer enclosure, cross a hanging bridge, and peer out through a-quarter-a-throw binoculars at a view that promises them seven states on the rare sunny days when the air is perfectly clear. And from there, like a drop into some strange hell, the path takes visitors, millions upon millions of them every year, down into caverns, where they stare at black-lit dolls arranged into nursery-rhyme and fairy-tale dioramas. When they leave, they leave bemused, uncertain of why they came, of what they have seen, of whether they had a good time or not.

I love your uneven soul, you bloom uniquely in my gardens giving me the most extraordinary view and upon tasting the edges of your temple you do remind me of ice cream.

Then something immense came into view; an enormous shock-haired giant with his arms stretched out. It was the big gum-tree outside Mrs. Stubbs' shop, and as they passed by there was a strong whiff of eucalyptus. And now big spots of light gleamed in the mist. The shepherd

Oh, horrible—worst of all—worse than death, when you have made a little clearing in the wilderness, planted your little garden, let in your sunlight, and then the weeds creep in again!

Tell me “The Subtle Briar” again,’ she asked. She knew I would still know it by heart. I whispered to her in the dark. ‘When you cut down the hybrid rose, its blackened stump below the graft spreads furtive fingers in the dirt. It claws at life, weaving a raft of suckering roots to pierce the earth. The first thin shoot is fierce and green, a pliant whip of furious briar splitting the soil, gulping the light. You hack it down. It skulks between the flagstones of the garden path to nurse a hungry spur in shade against the porch. With iron spade you dig and drag it from the gravel and toss it living on the fire. ‘It claws up towards the light again hidden from view, avoiding battle beyond the fence. Unnoticed, then, unloved, unfed, it clings and grows in the wild hedge. The subtle briar armors itself with desperate thorns and stubborn leaves – and struggling higher, unquenchable, it now adorns itself with blossom, till the stalk is crowned with beauty, papery white fine petals thin as chips of chalk or shaven bone, drinking the light. ‘Izabela, Aniela, Alicia, Eugenia, Stefania, Rozalia, Pelagia, Irena, Alfreda, Apolonia, Janina, Leonarda, Czeslava, Stanislava, Vladyslava, Barbara, Veronika, Vaclava, Bogumila, Anna, Genovefa, Helena, Jadviga, Joanna, Kazimiera, Ursula, Vojcziecha, Maria, Wanda, Leokadia, Krystyna, Zofia. ‘When you cut down the hybrid rose to cull and plough its tender bed, trust there is life beneath your blade: the suckering briar below the graft, the wildflower stock of strength and thorn whose subtle roots are never dead.

one gradually equilibrizes the whole of one’s mental structure and obtains a simple view of the incalculably vast complexity of the universe. For it is written: “Equilibrium is the basis of the work.” Serious students will need to make a careful study of the attributions detailed in this work and commit them to memory. When, by persistent application to his own mental apparatus, the numerical system with its correspondences is partly understood—as opposed to being merely memorized—the student will be amazed to find fresh light breaking in on him at every turn as he continues to refer every item in experience and consciousness to this standard.

Right View cannot be described. We can only point in the correct direction. Right View cannot even be transmitted by a teacher. A teacher can help us identify the seed of Right View that is already in our garden, and help us have the confidence to practice, to entrust that seed to the soil of our daily life.

Such frittered-away chances make me want to crawl on my hands and knees to the end of the garden, curl up into a ball on a mound of earth and wait until the nettles and the ivy choke and cover me from view.

… Could I return, I will not say to revel, but breath this sky, under which I was born: to rejoice with sea views and gardens; to consol me with your kindness; to drink this wine or this water, that might reduce my illness…

My dream, even now, is to walk for weeks with some friend that I love, leisurely wandering from place to place, with no route arranged and no object in view, with liberty to go on all day or to linger all day, as we choose; but the question of luggage, unknown to the simple pilgrim, is one of the rocks on which my plans have been shipwrecked, and the other is the certain censure of relatives, who, not fond of walking themselves, and having no taste for noonday naps under hedges, would be sure to paralyse my plans before they had grown to maturity by the honest horror of their cry, "How very unpleasant if you were to meet any one you know!" The relative of five hundred years back would have said "How Holy!

As they walked up the garden, the orange cactus fell, and Mr. Beebe’s last vision was of the garden-child clasping it like a lover, his dark head buried in a wealth of blossom. “It is terrible, this havoc among the flowers,” he remarked.

It would be incorrect in every sense to say that so near the end of his life he had lost his faith, when in fact God seemed more abundant to him in the Regina Cleri home than any place he had been before. God was in the folds of his bathrobe, the ache of his knees. God saturated the hallways in the form of a pale electrical light. But now that his heart had become so shiftless and unreliable, now that he should be sensing the afterlife like a sweet scent drifting in from the garden, he had started to wonder if there was in fact no afterlife at all. Look at all these true believers who wanted only to live, look at himself, cling onto this life like a squirrel scrambling up the icy pitch of a roof. In suggesting that there may be nothing ahead of them, he in no way meant to diminish the future; instead, Father Sullivan hoped to elevate the present to a state of the divine. It seemed from this moment of repose that God may well have been life itself. God may have been the baseball games, the beautiful cigarette he smoked alone after checking to see that all the bats had been put back behind the closet door. God could have been the masses in which he had told people how best to prepare for the glorious life everlasting, the one they couldn't see as opposed to the one they were living at that exact moment in the pews of the church hall, washed over in stained glass light. How wrongheaded it seemed now to think that the thrill of heartbeat and breath were just a stepping stone to something greater. What could be greater than the armchair, the window, the snow? Life itself had been holy. We had been brought forth from nothing to see the face of God and in his life Father Sullivan had seen it miraculously for eighty-eight years. Why wouldn't it stand to reason that this had been the whole of existence and now he would retreat back to the nothingness he had come from in order to let someone else have their turn at the view. This was not the workings of disbelief. It was instead a final, joyful realization of all he had been given. It would be possible to overlook just about anything if you were trained to constantly strain forward to see the power and the glory that was waiting up ahead. What a shame it would have been to miss God while waiting for him.

He was careful to avoid meeting anyone. There was Stubbs, the gardener, coming along the path. He hid behind a tree till he had passed. He let himself out at a little gate in the garden wall. he skirted all stables, kennels, breweries, carpenters’ shops, wash-houses, places where they make tallow candles, kill oxen, forge horse-shoes, stitch jerkins – for the house was a town ringing with men at work at their various crafts – and gained the ferny path leading uphill through the park unseen. There is perhaps a kinship among qualities; one draws another along with it; and the biographer should here call attention to the fact that this clumsiness is often mated with a love of solitude. Having stumbled over a chest, Orlando naturally loved solitary places, vast views, and to feel himself for ever and ever and ever alone.

They were happier now than they would ever be again. A tenpenny tea set made Cam happy for days. She heard them stamping and crowing on the floor above her head the moment they woke. They came bustling along the passage. Then the door sprang open and in they came, fresh as roses, staring, wide awake, as if this coming into the dining-room after was a positive event to them, and so on, with one thing after another, all day long, until she went up to say good-night to them, and found them netted in their cots like birds among cherries and raspberries, still making up stories about some little bit of rubbish-–something they heard, something they had picked up in the garden. They had all their little treasures. . . And so she went down and said to her husband, Why must they grow up and lose it all? Never will they be so happy again. And he was angry. Why take such a gloomy view of life? he said. It is not sensible. For it was odd; and he believed it to be true; that with all his gloom and desperation he was happier, more hopeful on the whole, than she was. Less exposed to human worries––perhaps that was it. He had always his work to fall back on.

So we climb," Meg announced. "Hello?" I said miserably. "Paralysed former god here." Grover grimaced at Meg. "Duct tape?" "Duct tape," she agreed. May the gods defend me from heroes with duct tape. And heroes always seem to have duct tape. Meg produced a roll from a pouch on her gardening belt. She propped me into a sitting position, back-to-back with Grover, then proceeded to loop tape under our armpits, binding me to the satyr as if I were a hiking pack. With Meg's help, Grover staggered to his feet, jostling me around so I got random views of the walls, the floor, Meg's face and my own paralysed legs manspreading beneath me.

Poem of Thanks Years later, long single, I want to turn to his departed back, and say, What gifts we had of each other! What pleasure — confiding, open-eyed, fainting with what we were allowed to stay up late doing. And you couldn’t say, could you, that the touch you had from me was other than the touch of one who could love for life — whether we were suited or not — for life, like a sentence. And now that I consider, the touch that I had from you became not the touch of the long view, but like the tolerant willingness of one who is passing through. Colleague of sand by moonlight — and by beach noonlight, once, and of straw, salt bale in a barn, and mulch inside a garden, between the rows — once- partner of up against the wall in that tiny bathroom with the lock that fluttered like a chrome butterfly beside us, hip-height, the familiar of our innocence, which was the ignorance of what would be asked, what was required, thank you for every hour. And I accept your thanks, as if it were a gift of yours, to give them — let’s part equals, as we were in every bed, pure equals of the earth.

There were thermal springs, and at the end of the preceding century the town had been laid out modestly as a spa. Hot water still ran in the bath house. Two old gardeners still kept some order in the ornamental grounds. The graded paths, each with a “view-point,” the ruins of a seat and of a kiosk, where once invalids had taken their

Each spring for a period of weeks the imperial gardens were filled with prize tulips (Turkish, Dutch, Iranian), all of them shown to their best advantage. Tulips whose petals had flexed wide were held shut with fine threads hand-tied. Most of the bulbs had been grown in place, but these were supplemented by thousands of cut stems held in glass bottles; the scale of the display was further compounded by mirrors placed strategically around the garden. Each variety was marked with a label made from silver filigree. In place of every fourth flower a candle, its wick trimmed to tulip height, was set into the ground. Songbirds in gilded cages supplied the music, and hundreds of giant tortoises carrying candles on their backs lumbered through the gardens, further illuminating the display. All the guests were required to dress in colors that flattered those of the tulips. At the appointed moment a cannon sounded, the doors to the harem were flung open, and the sultan's mistresses stepped into the garden led by eunuchs bearing torches. The whole scene was repeated every night for as long as the tulips were in bloom, for as long as Sultan Ahmed managed to cling to his throne.

The traveler from Europe edges into it like a tiny Jonah entering an inconceivably large whale, slipping past the straits of Belle Isle into the Gulf of St. Lawrence, where five Canadian provinces surround him, for the most part invisible. Then he goes up the St. Lawrence and the inhabited country comes into view, mainly a French-speaking country with its own cultural traditions. To enter the United States is a matter of crossing an ocean; to enter Canada is a matter of being silently swallowed by an alien continent.

The Garden of Gethsemane narrative gives us a vivid view of Jesus' humanity". ~R. Alan Woods [1999]

Depending on one’s point of view, Germany was experiencing a great revival or a savage darkening.

I like gardening, am proudly no good at it and do not mind this at all.

Luck I get,” she said when they’d sat in silence once more. “But why brave?” He shifted in his seat then sat forward, his gaze piercing through her. “Because, Natalia, love is a risk. Love from the depths of your soul requires a certain amount of sacrifice. It bids you to give yourself wholly to another. To allow someone to view you like a prism, assessing you at every angle, examining every flaw. You must lay yourself before them, open and bare, and say, ‘here I am. I hold nothing back. I am yours, mind, body, and soul.’ And all you can do is hope they don’t crush you.” He leaned closer. “But the man who truly loves you will tend to your heart like he tends a garden, nurturing it until it grows and blooms under his hand.

The tiny focal points of pain still glowed on his nerve endings, like stars coming into view one by one in a dark, bare sky. One by one—in the middle of his buttock, just below his collarbone, on the inside of his thigh—more stars came into focus, each glowing brightly at first before settling into the same intensity as the ones before, slowly forming a constellation.

Darwin, with his Origin of Species, his theories about Natural Selection, the Survival of the Fittest, and the influence of environment, shed a flood of light upon the great problems of plant and animal life. These things had been guessed, prophesied, asserted, hinted by many others, but Darwin, with infinite patience, with perfect care and candor, found the facts, fulfilled the prophecies, and demonstrated the truth of the guesses, hints and assertions. He was, in my judgment, the keenest observer, the best judge of the meaning and value of a fact, the greatest Naturalist the world has produced. The theological view began to look small and mean. Spencer gave his theory of evolution and sustained it by countless facts. He stood at a great height, and with the eyes of a philosopher, a profound thinker, surveyed the world. He has influenced the thought of the wisest. Theology looked more absurd than ever. Huxley entered the lists for Darwin. No man ever had a sharper sword -- a better shield. He challenged the world. The great theologians and the small scientists -- those who had more courage than sense, accepted the challenge. Their poor bodies were carried away by their friends. Huxley had intelligence, industry, genius, and the courage to express his thought. He was absolutely loyal to what he thought was truth. Without prejudice and without fear, he followed the footsteps of life from the lowest to the highest forms. Theology looked smaller still. Haeckel began at the simplest cell, went from change to change -- from form to form -- followed the line of development, the path of life, until he reached the human race. It was all natural. There had been no interference from without. I read the works of these great men -- of many others – and became convinced that they were right, and that all the theologians -- all the believers in "special creation" were absolutely wrong. The Garden of Eden faded away, Adam and Eve fell back to dust, the snake crawled into the grass, and Jehovah became a miserable myth.

The sunlight could not quite dispel the difference in atmosphere now that she had seen the interior of the garden. It was as if a dark underside had been revealed that changed the cast of the whole property. But the whimsy of it, the way the eye was drawn down through every vista, the inventiveness, the fairy-tale quality, the melancholy of the lost gardens- it all excited her.

I hate people who say, “Good moaning,” instead of, “Good morning.” What kind of a wanker, are they? I’ll tell you. It’s their little joke, you see. They view it as a clever play on words, changing one letter to make a completely different word. Do you get it? By changing the ‘r’ in morning to an ‘a’ the whole meaning of the word changes. Do you see how witty they are? WANKEEERRRSS!!!!

Dear Diplodicus; dear Pterosaur; dear Trilobite; dear Mastodon, dear Dodo, dear Great Auk, dear Passenger Pigeon, dear Panda, dear Whooping Crane; and all you countless others who have played in this our shared Garden in your day: be with us at this time of trial, and strengthen our resolve. Like you, we have enjoyed the air and the sunlight and the moonlight on the water; like you, we have heard the call of the seasons and have answered them. Like you, we have replenished the Earth. And like you, we must now witness the end of our Species, and pass from Earthly view." -Adam One

They spent the day with Lucia, who promised that the following day she would take them up to Scala, an even tinier, loftier town where her parents now lived. That evening, Mac took her to a restaurant called Il Flauto di Pan- Pan's Flute- perched at the Villa Cimbrone among the gardens and crumbling walls. It was probably the most beautiful restaurant she'd ever seen. The centuries-old villa was embellished with incredible gardens of fuchsia bougainvillea, lemon and cypress trees and flowering herbs that scented the air. Their veranda table had an impossibly gorgeous view of the sea.

Should we only be interested to view the cherry blossoms at their peak, or the moon when it is full? To yearn for the moon when it is raining, or to be closed up in ones room, failing to notice the passing of Spring, is far more moving. Treetops just before they break into blossom, or gardens strewn with fallen flowers are just as worthy of notice. There is much to see in them. Is it any less wonderful to say, in the preface to a poem, that it was written on viewing the cherry blossoms just after they had peaked, or that something had prevented one from seeing them altogether, than to say "on seeing the cherry blossoms"? Of course not. Flowers fall and the moon sets, these are the cyclic things of the world, but still there are brutish people who say that there is nothing left worth seeing, and fail to appreciate.

MARTHA’S CHEERY VIEW of things was widely shared by outsiders visiting Germany and especially Berlin. The fact was that on most days in most neighborhoods the city looked and functioned as it always had. The

Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting.

As the carriage proceeded past the main gate, the estate mansion came into view. Contrary to Pandora's expectations, it wasn't at all cold and imposing. It was a gracious, low-slung residence of two stories, inhabiting its surroundings with comfortable ease. Its classic lines were softened by an abundance of glossy green ivy that mantled the cream stucco façade, and arbors of pink roses that arched cheerfully over the courtyard entrance. Two extended wings curved around the front gardens, as if the house had decided to fill its arms with bouquets. Nearby, a slope of dark, dreaming forest rested beneath a blanket of sunlight.

I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining-board, which I have padded with our dog's blanket and the tea-cosy. I can't say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring - I wrote my very best poem while sitting on the hen-house. Though even that isn't a very good poem. I have decided my best poetry is so bad that I mustn't write any more of it. Drips from the roof are plopping into the water-butt by the back door. The view through the windows above the sink is excessively drear. Beyond the dank garden in the courtyard are the ruined walls on the edge of the moat. Beyond the moat, the boggy ploughed fields stretch to the leaden sky. I tell myself that all the rain we have had lately is good for nature, and that at any moment spring will surge on us. I try to see leaves on the trees and the courtyard filled with sunlight. Unfortunately, the more my mind's eye sees green and gold, the more drained of all colour does the twilight seem. It is comforting to look away from the windows and towards the kitchen fire, near which my sister Rose is ironing - though she obviously can't see properly, and it will be a pity if she scorches her only nightgown. (I have two, but one is minus its behind.) Rose looks particularly fetching by firelight because she is a pinkish person; her skin has a pink glow and her hair is pinkish gold, very light and feathery. Although I am rather used to her I know she is a beauty. She is nearly twenty-one and very bitter with life. I am seventeen, look younger, feel older. I am no beauty but I have a neatish face. I have just remarked to Rose that our situation is really rather romantic - two girls in this strange and lonely house. She replied that she saw nothing romantic about being shut up in a crumbling ruin surrounded by a sea of mud. I must admit that our home is an unreasonable place to live in. Yet I love it. The house itself was built in the time of Charles II, but it was grafted on to a fourteenth-century castle that had been damaged by Cromwell. The whole of our east wall was part of the castle; there are two round towers in it. The gatehouse is intact and a stretch of the old walls at their full height joins it to the house. And Belmotte Tower, all that remains of an even older castle, still stands on its mound close by. But I won't attempt to describe our peculiar home fully until I can see more time ahead of me than I do now. I am writing this journal partly to practise my newly acquired speed-writing and partly to teach myself how to write a novel - I intend to capture all our characters and put in conversations. It ought to be good for my style to dash along without much thought, as up to now my stories have been very stiff and self-conscious. The only time father obliged me by reading one of them, he said I combined stateliness with a desperate effort to be funny. He told me to relax and let the words flow out of me.

Nature had once produced an Englishman whose domed head had been a hive of words; a man who had only to breathe on any particle of his stupendous vocabulary to have that particle live and expand and throw out tremulous tentacles until it became a complex image with a pulsing brain and correlated limbs. Three centuries later, another man, in another country, was trying to render these rhythms and metaphors in a different tongue. This process entailed a prodigious amount of labour, for the necessity of which no real reason could be given. It was as if someone, having seen a certain oak tree (further called Individual T) growing in a certain land and casting its own unique shadow on the green and brown ground, had proceeded to erect in his garden a prodigiously intricate piece of machinery which in itself was as unlike that or any other tree as the translator's inspiration and language were unlike those of the original author, but which, by means of ingenious combination of parts, light effects, breeze-engendering engines, would, when completed, cast a shadow exactly similar to that of Individual T - the same outline, changing in the same manner, with the same double and single spots of sun rippling in the same position, at the same hour of the day. From a practical point of view, such a waste of time and material (those headaches, those midnight triumphs that turn out to be disasters in the sober light of morning!) was almost criminally absurd, since the greatest masterpiece of imitation presupposed a voluntary limitation of thought, in submission to another man's genius.

Because social media sites give us information that tends to confirm our view of the world—what Pariser calls “an endless you-loop”—people live in increasingly narrow content silos and correspondingly smaller walled gardens of thought.

When you read their writings, life appears to consist in a warm sun and a garden of roses,—in the smiles and frowns of a fair enemy, and the fire that consumes your own heart. How different from the manly and heroical poetry of Greece and Rome!

Emerging, as we had, from the dark and gloomy bowels of the earth, the scene before us presented a view of wondrous beauty, and, while doubtless enhanced by contrast, it was nevertheless such an aspect as is seldom given to the eyes, of a Barsoomian of today to view. To me it seemed a little garden spot upon a dying world preserved from an ancient era when Barsoom was young and meteorological conditions were such as to favor the growth of vegetation that has since become extinct over practically the entire area of the planet. In this deep valley, surrounded by lofty cliffs, the atmosphere doubtless was considerably denser than upon the surface of the planet above. The sun's days were reflected by the lofty escarpment, which must also hold the heat during the colder periods of night, and, in addition to this, there was ample water for irrigation which nature might easily have achieved through percolation of the waters of the river through and beneath the top soil of the valley.

Although both the U.S. and Canadian sides of the falls are well worth visiting, the best views, including nighttime illumination, are from the beautifully manicured flower gardens that line the Canadian side. However, to get up-close-and-personal with the falls, visit Niagara Falls State Park in New York, where there are several locations, including Prospect Point, Luna Island, Terrapin Point, and the Three Sisters Islands, that allow visitors to stand within a few feet of the raging rapids and at the brink of the falls.

You can’t go to the bank and deposit likes, views, retweets, viral explosions, social media conversations, or brand recognition. Bankers are extremely narrow-minded. They won’t even accept vegetables grown in your backyard garden or bitcoin. They want real money.

No one wanted the job. What had seemed one of the least challenging tasks facing Franklin D. Roosevelt as newly elected president had, by June 1933, become one of the most intransigent. As ambas-sadorial posts went, Berlin should have been a plum—not London or Paris, surely, but still one of the great capitals of Europe, and at the center of a country going through revolutionary change under the leadership of its newly appointed chancellor, Adolf Hitler. Depending on one’s point of view, Germany was experiencing a great revival or a savage darkening. Upon Hitler’s ascent, the country had undergone a brutal spasm of state- condoned violence. Hitler’s brown- shirted paramilitary army, the Sturmabteilung, or SA—the Storm Troopers—had gone wild, arresting, beating, and in some cases murdering communists, socialists, and Jews. Storm Troopers established impromptu prisons and torture stations in basements, sheds, and other structures. Berlin alone had fi fty of these so- called bunkers. Tens of thousands of people were arrested and placed in “protective custody”— Schutzhaft—a risible euphemism. An esti-mated fi ve hundred to seven hundred prisoners died in custody; others endured “mock drownings and hangings,” according to a police affi davit. One prison near Tempelhof Airport became especially no-torious: Columbia House, not to be confused with a sleekly modern new building at the heart of Berlin called Columbus House. The up-heaval prompted one Jewish leader, Rabbi Stephen S. Wise of New York, to tell a friend, “the frontiers of civilization have been crossed.

The Oscar-nominated documentary The Act of Killing tells the story of the gangster leaders who carried out anti-communist purges in Indonesia in 1965 to usher in the regime of Suharto. The film’s hook, which makes it compelling and accessible, is that the filmmakers get Anwar —one of the death-squad leaders, who murdered around a thousand communists using a wire rope—and his acolytes to reenact the killings and events around them on film in a variety of genres of their choosing. In the film’s most memorable sequence, Anwar—who is old now and actually really likable, a bit like Nelson Mandela, all soft and wrinkly with nice, fuzzy gray hair—for the purposes of a scene plays the role of a victim in one of the murders that he in real life carried out. A little way into it, he gets a bit tearful and distressed and, when discussing it with the filmmaker on camera in the next scene, reveals that he found the scene upsetting. The offcamera director asks the poignant question, “What do you think your victims must’ve felt like?” and Anwar initially almost fails to see the connection. Eventually, when the bloody obvious correlation hits him, he thinks it unlikely that his victims were as upset as he was, because he was “really” upset. The director, pressing the film’s point home, says, “Yeah but it must’ve been worse for them, because we were just pretending; for them it was real.” Evidently at this point the reality of the cruelty he has inflicted hits Anwar, because when they return to the concrete garden where the executions had taken place years before, he, on camera, begins to violently gag. This makes incredible viewing, as this literally visceral ejection of his self and sickness at his previous actions is a vivid catharsis. He gagged at what he’d done. After watching the film, I thought—as did probably everyone who saw it—how can people carry out violent murders by the thousand without it ever occurring to them that it is causing suffering? Surely someone with piano wire round their neck, being asphyxiated, must give off some recognizable signs? Like going “ouch” or “stop” or having blood come out of their throats while twitching and spluttering into perpetual slumber? What it must be is that in order to carry out that kind of brutal murder, you have to disengage with the empathetic aspect of your nature and cultivate an idea of the victim as different, inferior, and subhuman. The only way to understand how such inhumane behavior could be unthinkingly conducted is to look for comparable examples from our own lives. Our attitude to homelessness is apposite here. It isn’t difficult to envisage a species like us, only slightly more evolved, being universally appalled by our acceptance of homelessness. “What? You had sufficient housing, it cost less money to house them, and you just ignored the problem?” They’d be as astonished by our indifference as we are by the disconnected cruelty of Anwar.

Only God—” please, I thought, trying to keep a composed expression while gathering Popchyk in my lap, for fuck’s sake look at the road—“Fyodor, please help me, I have two big questions about God. You are college professor” (what?) “so perhaps you can answer for me. First question—” eyes meeting mine in the rear view mirror, holding up pointed finger—“does God have sense of humor? Second question: does God have cruel sense of humor? Such as: does God toy with us and torture us for His own amusement, like vicious child with garden insect?

He was the first to admit that he had been singularly ill-qualified for all his previous jobs. Just a few months earlier, he had accepted the editorship of Gardening Magazine. ‘Nobody could know less about gardening than me,’ he said. But it didn't stop him dispensing advice for his readers. ‘I would solemnly give them my views on whether it were better to plant globe artichokes in September or March.’18 Now, at last, he had fallen into a job for which he was extremely well qualified, one in which the only seeds to be planted were those of wholescale destruction.

One lovely twilight, with the near garden in riotous bloom, Genji stepped onto a gallery that gave him a view of the sea, and such was the supernal grace of his motionless figure that he seemed in that setting not to be of this world at all. Over soft white silk twill and aster he wore a dress cloak of deep blue, its sash only very casually tied; and his voice slowly chanting “I, a disciple of the Buddha Shakyamuni…” was more beautiful than any they had ever heard before. From boats rowing by at sea came a chorus of singing voices. With a pang he watched them, dim in the offing, like little birds borne on the waters, and sank into a reverie as cries from lines of geese on high mingled with the creaking of oars, until tears welled forth, and he brushed them away with a hand so gracefully pale against the black of his rosary that the young gentlemen pining for their sweethearts at home were all consoled.

As Mrs. Turner took what would be her last walk around the vegetable garden, Smarty, the ginger tabby, materialized to sit beside the flowerpot man, a position that afforded him a bird's-eye view of the petit fishpond. There was a larger, more formal water feature on the western side of the house, a rectangular pool with a leafy canopy above it and marble tiles around the rim, well-fed goldfish gleaming beneath glistening lily pads, but this little pond was far more cheerful: small and shallow, with fallen petals floating on its surface. The cat's focus was absolute as he watched for flickers of rose gold in the water, paw at the ready.

unlike birds, for instance, who keep building the same nest over thousands of years, we tend to forge ahead with our projects far beyond any reasonable bounds. Someone, he added, ought to draw up a catalogue of types buildings listed in order of size, and it would be immediately obvious that domestic buildings of less than normal size—the little cottage in the fields, the hermitage, the lockkeeper’s lodge, the pavilion for viewing the landscape, the children’s bothy in the garden—are those that offer us at least a semblance of peace, whereas no one in his right mind could truthfully say that he liked a vast edifice such as the Palace of Justice on the old Gallows Hill in Brussels. At the most we gaze at it in wonder, a kind of wonder which in itself is a form of dawning horror, for somehow we know by instinct that outsize buildings cast the shadow of their own destruction before them, and are designed from the first with an eye to their later existence as ruins.

Some guns were fired to give notice that the departure of the balloon was near. ... Means were used, I am told, to prevent the great balloon's rising so high as might endanger its bursting. Several bags of sand were taken on board before the cord that held it down was cut, and the whole weight being then too much to be lifted, such a quantity was discharged as would permit its rising slowly. Thus it would sooner arrive at that region where it would be in equilibrio with the surrounding air, and by discharging more sand afterwards, it might go higher if desired. Between one and two o'clock, all eyes were gratified with seeing it rise majestically from above the trees, and ascend gradually above the buildings, a most beautiful spectacle. When it was about two hundred feet high, the brave adventurers held out and waved a little white pennant, on both sides of their car, to salute the spectators, who returned loud claps of applause. The wind was very little, so that the object though moving to the northward, continued long in view; and it was a great while before the admiring people began to disperse. The persons embarked were Mr. Charles, professor of experimental philosophy, and a zealous promoter of that science; and one of the Messrs Robert, the very ingenious constructors of the machine. {While U.S. ambassador to France, writing about witnessing, from his carriage outside the garden of Tuileries, Paris, the first manned balloon ascent using hydrogen gas by Jacques Charles on the afternoon of 1 Dec 1783. A few days earlier, he had watched the first manned ascent in Montgolfier's hot-air balloon, on 21 Nov 1783.}

The view from our garden is spectacular. I thought about people I knew who right at that moment might be plucking chickens, picking strawberries and lettuce, just for us. I felt grateful to the people involved, and the animals also. I don't say this facetiously. I sent my thanks across the county, like any sensible person saying grace before a meal.

As children', wrote Alice Raikes (Mrs. Wilson Fox) in The Times, January 22, 1932, 'we lived in Onslow Square and used to play in the garden behind the houses. Charles Dodgson used to stay with an old uncle there, and walk up and down, his hands behind him, on the strip of lawn. One day, hearing my name, he called me to him saying, "So you are another Alice. I'm very found of Alices. Would you like to come and see something which is rather puzzling?" We followed him into his house which opened, as ours did, upon the garden, into a room full of furniture with a tall mirror standing across one corner.' "Now", he said giving me an orange, "first tell me which hand you have got that in." "The right" I said. "Now", he said, "go and stand before that glass, and tell me which hand the little girl you see there has got it in." After some perplexed contemplation, I said, "The left hand." "Exactly," he said, "and how do you explain that?" I couldn't explain it, but seeing that some solution was expected, I ventured, "If I was on the other side of the glass, wouldn't the orange still be in my right hand?" I can remember his laugh. "Well done, little Alice," he said. "The best answer I've heard yet." "I heard no more then, but in after years was told that he said that had given him his first idea for Through the Looking-Glass, a copy of which, together with each of his other books, he regularly sent me.

Miss Devonshire," Mr. Lewis says and looks out the window as if what he wants to say dances in that dormant winter garden. "The fantastic and the imaginative aren't escapism." "How so?" This seems important. "Good stories introduce the marvelous. The whole story, paradoxically, strengthens our relish for real life. This excursion sends us back with renewed pleasure to the actual world. It provides meaning." "Yes," Warnie says. "It takes us out of ourselves and lets us view reality from new angles. It expands our awareness of the world." The significance of these statements creates tingles on my arms and neck. I realize fantasy and imagination aren't just for escape. And to dismiss them is absurd.

I once heard someone describe good instructors as those who bring oxygen into a room. I love that phrase, and I believe it applies artists as well. When we make art, we bring oxygen into the room. We give people something true and beautiful to breathe in. What if we stopped viewing creativity as something that takes away from our families and viewed it as something that breathes life into our families instead-through the meals we make, the pictures we take, the homes we decorate, the music we play, the stories we write, the gardens we grow? What if, instead of deeming creativity as trivial or selfish, we viewed our personal creativity as a gift, an offering, a contribution capable of blessing everyone around us?

The Consul, an inconceivable anguish of horripilating hangover thunderclapping about his skull, and accompanied by a protective screen of demons gnattering in his ears, became aware that in the horrid event of his being observed by his neighbours it could hardly be supposed he was just sauntering down his garden with some innocent horticultural object in view.

For to my mind, however beautiful a view may be, it requires the presence of man to make it complete, but perhaps that is because I have lived so much in the wilderness, and therefore know the value of civilisation, though to be sure it drives away the game. The Garden of Eden, no doubt, looked fair before man was, but I always think that it must have been fairer when Eve adorned it.

In my imagination, this life has been a path with many, many forks, each one a choice to be made. Each unchosen route fading from view as it became the past, its destination unknowable. No destination is really known until you arrive, and then it becomes merely a point along the way - a vague place rarely planned for, simply the start of another adventure. The only thing to do is be happy with the outcome, whatever it is. The path leads to the end, as all paths do. I've had some rocky paths and dead ends, and decisions that led to disaster, and others that led to love and passion and poetry, to excitement and adventure. All I can do is embrace them all and move on. People sometimes get frozen and unable to decide which path to take; others instantly regret their choices, because their dreamlike fantasies about the unchosen path were far brighter in their minds than the reality and effort of their chosen one. What could have been has never been, and never will be. This is the Tree of Life where each branch grows and bears fruit and, ultimately, ends in a bud. There are no rules, and nothing planned by humans is ever planned that way again. The way is vague and unknowable.

Fyodor, please help me, I have two big questions about God. You are college professor” (what?) “so perhaps you can answer for me. First question—” eyes meeting mine in the rear view mirror, holding up pointed finger—“does God have sense of humor? Second question: does God have cruel sense of humor? Such as: does God toy with us and torture us for His own amusement, like vicious child with garden insect?

The thing that weighed on him most, however, was the irrationality of the world in which he now found himself. To some extent he was a prisoner of his own training. As a historian, he had come to view the world as the product of historical forces and the decisions of more or less rational people, and he expected the men around him to behave in a civil and coherent manner. But Hitler’s government was neither civil nor coherent, and the nation lurched from one inexplicable moment to another. Even the language used by Hitler and party officials was weirdly inverted. The term “fanatical” became a positive trait. Suddenly it connoted what philologist Victor Klemperer, a Jewish resident of Dresden, described as a “happy mix of courage and fervent devotion.” Nazi-controlled newspapers reported an endless succession of “fanatical vows” and “fanatical declarations” and “fanatical beliefs,” all good things. Göring was described as a “fanatical animal lover.” Fanatischer Tierfreund. Certain very old words were coming into darkly robust modern use, Klemperer found. Übermensch: superman. Untermensch: sub-human, meaning “Jew.” Wholly new words were emerging as well, among them Strafexpedition—“punitive expedition”—the term Storm Troopers applied to their forays into Jewish and communist neighborhoods. Klemperer detected a certain “hysteria of language” in the new flood of decrees, alarms, and intimidation—“This perpetual threatening with the death penalty!”—and in strange, inexplicable episodes of paranoid excess, like the recent nationwide search. In all this Klemperer saw a deliberate effort to generate a kind of daily suspense, “copied from American cinema and thrillers,” that helped keep people in line. He also gauged it to be a manifestation of insecurity among those in power. In late July 1933 Klemperer saw a newsreel in which Hitler, with fists clenched and face contorted, shrieked, “On 30 January they”—and here Klemperer presumed he meant the Jews—“laughed at me—that smile will be wiped off their faces!” Klemperer was struck by the fact that although Hitler was trying to convey omnipotence, he appeared to be in a wild, uncontrolled rage, which paradoxically had the effect of undermining his boasts that the new Reich would last a thousand years and that all his enemies would be annihilated. Klemperer wondered, Do you talk with such blind rage “if you are so sure of this endurance and this annihilation”?

Neanderthal graves. Bones beneath her feet, perhaps. The rocks in the garden would’ve once been larger, bright and shadowed with early-human firelight, and the land around them would’ve seemed empty and forever. There’d have been no concept of oceans. No awareness of planets. And here, right before her, are those same silhouettes of mountains, the same spikes of peaks. A shared view, glimpsed across time.

The denial of time, so the tract on Orbius Tertius tells us, is one of the key tenets of the philosophical schools of Tlön. According to this principle, the future exists only in the shape of our present apprehensions and hopes, and the past merely as memory. In a different view, the world and everything now living in it was created only moments ago, together with its complete but illusory pre-history. A third school of thought variously describes our earth as a cul-de-sac in the great city of God, a dark cave crowded with incomprehensible images, or a hazy aura surrounding a better sun. The advocates of a fourth philosophy maintain that time has run its course and that this life is no more than the fading reflection of an event beyond recall. We simply do not know how many of its possible mutations the world may already have gone through, or how much time, always assuming that it exists, remains. All that is certain is that night lasts far longer than day, if one compares an individual life, life as a whole, or time itself with the system which, in each case, is above it. The night of time, wrote Thomas Browne in his treatise of 1658, The Garden of Cyrus, far surpasseth the day and who knows when was the Aequinox?

Beneath the surface, however, Germany had undergone a rapid and sweeping revolution that reached deep into the fabric of daily life. It had occurred quietly and largely out of easy view. At its core was a government campaign called Gleichschaltung—meaning “Coordination”—to bring citizens, government ministries, universities, and cultural and social institutions in line with National Socialist beliefs and attitudes.

A morning-flowered dalliance demured and dulcet-sweet with ebullience and efflorescence admiring, cozy cottages and elixirs of eloquence lie waiting at our feet - We'll dance through fetching pleasantries as we walk ephemeral roads evocative epiphanies ethereal, though we know our hearts are linked with gossamer halcyon our day a harbinger of pretty things infused with whispers longing still and gamboling in sultry ways to feelings, all ineffable screaming with insouciance masking labyrinthine paths where, in our nonchalance, we walk through the lilt of love’s new morning rays. Mellifluous murmurings from a babbling brook that soothes our heated passion-songs and panoplies perplexed with thought of shadows carried off with clouds in stormy summer rains… My dear, and that I can call you 'dear' after ripples turned to crashing waves after pyrrhic wins, emotions drained we find our palace sunned and rayed with quintessential moments lit with wildflower lanterns arrayed on verandahs lush with mutual love, the softest love – our preferred décor of life's lilly-blossom gate in white-fenced serendipity… Twilight sunlit heavens cross our gardens, graced with perseverance, bliss, and thee, and thou, so splendid, delicate as a morning dove of charm and mirth – at least with me; our misty mornings glide through air... So with whippoorwill’d sweet poetry - of moonstones, triumphs, wonder-woven in chandliers of winglet cherubs wrought with time immemorial, crafted with innocence, stowed away and brought to light upon our day in hallelujah tapestries of ocean-windswept galleries in breaths of ballet kisses, light, skipping to the breakfast room cascading chrysalis's love in diaphanous imaginings delightful, fleeting, celestial-viewed as in our eyes which come to rest evocative, exuberant on one another’s moon-stowed dreams idyllic, in quiescent ways, peaceful in their radiance resplendent with a myriad of thought soothing muse, rhapsodic song until the somnolence of night spreads out again its shaded truss of luminescent fantasies waiting to be loved by us… Oh, love! Your sincerest pardons begged! I’ve gone too long, I’ve rambled, dear, and on and on and on and on - as if our hours were endless here… A morning toast, with orange-juiced lips exalting transcendent minds suffused with sunrise symphonies organic-born tranquilities sublimed sonorous assemblages with scintillas of eternity beating at our breasts – their embraces but a blushing, longing glance away… I’ll end my charms this enraptured morn' before cacophony and chafe coarse in crude and rough abrade when cynical distrust is laid by hoarse and leeching parasites, distaste fraught with smug disgust by hairy, smelly maladroit mediocrities born of poisoned wells grotesque with selfish lies - shrill and shrieking, biting, creeping around our love, as if they rose from Edgar Allen’s own immortal rumpled decomposing clothes… Oh me, oh my! I am so sorry! can you forgive me? I gone and kissed you for so long, in my morning imaginings, through these words, through this song - ‘twas supposed to be "a trifle treat," but little treats do sometimes last a little longer; and, oh, but oh, but if I could, I surly would keep you just a little longer tarrying here, tarrying here with me this pleasant morn

Star-watching: at night the stars of Alastor Cluster blaze in profusion. The atmosphere refracts their light; the sky quivers with beams, glitters, and errant flashes. The Trills go out into their gardens with jugs of wine; they name the stars and discusses localities. For the Trills, for almost anyone of Alastor, the night sky was no abstract empyrean, but rather a view across prodigious distances to known places: a vast luminous map.

The Sentinels lead the way through the maze of passages in the upper levels of the palace. Like the Spiral Garden, the architecture is all curves of stone, glass, and metal, slowly turning downward. Diamondglass is around every corner, showing breathtaking views of the marketplace, the river valley, and the woods beyond. From this height, I can see hills I didn't know existed rising in the distance, silhouetted against the setting sun.

I tell myself that one day, one good and happy day, I will return and I will buy a house with a small garden that faces the sun and has a view of the mountains. I will plant the seeds of the good lady's pomegranate and I will divide its fruit among the people in the neighborhood. Those who taste the pomegranate of love will know that they are brothers and sisters. Whenever their eyes meet, their hearts will fill with joy and their soul will find peace.

And now let’s move to news concerning the wizard who is proving just as elusive as Harry Potter. We like to refer to him as the Chief Death Eater, and here to give his views on some of the more insane rumors circulating about him, I’d like to introduce a new correspondent: Rodent.” “‘Rodent’?” said yet another familiar voice, and Harry, Ron, and Hermione cried out together: “Fred!” “No—is it George?” “It’s Fred, I think,” said Ron, leaning in closer, as whichever twin it was said, “I’m not being ‘Rodent,’ no way, I told you I wanted to be ‘Rapier’!” “Oh, all right then. ‘Rapier,’ could you please give us your take on the various stories we’ve been hearing about the Chief Death Eater?” “Yes, River, I can,” said Fred. “As our listeners will know, unless they’ve taken refuse at the bottom of a garden pond or somewhere similar, You-Know-Who’s strategy of remaining in the shadows is creating a nice little climate of panic. Mind you, if all the alleged sightings of him are genuine, we must have a good nineteen You-Know-Who’s running around the place.” “Which suits him, of course,” said Kingsley. “The air of mystery is creating more terror than actually showing himself.” “Agreed,” said Fred. “So, people, let’s try and calm down a bit. Things are bad enough without inventing stuff as well. For instance, this new idea that You-Know-Who can kill with a single glance from his eyes. That’s a basilisk, listeners. One simple test: Check whether the thing that’s glaring at you has got legs. If it has, it’s safe to look into his eyes, although if it really is You-Know-Who, that’s still likely to be the last thing you ever do.” For the first time in weeks and weeks, Harry was laughing: He could feel the weight of tension leaving him. “And the rumors that he keeps being sighted abroad?” asked Lee. “Well, who wouldn’t want a nice little holiday after all the hard work he’s been putting in?” asked Fred. “Point is, people, don’t get lulled into a false sense of security, thinking he’s out of the country. Maybe he is, maybe he isn’t, but the fact remains he can move faster than Severus Snape confronted with shampoo when he wants to, so don’t count on him being a long way away if you’re planning on taking any risks. I never thought I’d hear myself say it, but safety first!

We turned into the rose garden where the pruned bushes appeared as piles of dead twigs, but the elaborate borders of box that surrounded them in sinuous Elizabethan patterns twisted in and out of the moonlight, showing here silver, there black. A dozen times I would have lingered—a single ivy leaf turned at an angle to catch the moonlight perfectly; a sudden view of the great oak tree, etched with inhuman clarity against the pale sky—but I could not stop.

Growing up in the projects, it was common for us to refer to where we lived as our "house." My friends would always ask if they could come over to my house, and vice versa; we never said , "Can I come over to your unit?" But after visiting Mary in a real house, I felt how marginal we were in the projects. Things they took for granted, like space, were new to me. Mary's windows opened up to the view of the garden in the back, birds, and blue sky, without bars.

By trying to understand everything in terms of memory, the past, and words, we have, as it were, had our noses in the guidebook for most of our lives, and have never looked at the view. Whitehead’s criticism of traditional education is applicable to our whole way of living: 'We are too exclusively bookish in our scholastic routine.… In the Garden of Eden Adam saw the animals before he named them: in the traditional system, children named the animals before they saw them.

Thousands of lights blinked in and out, whooshing and whirling around the plants so that everything seemed wrought of light and glass. It was beautiful. I turned around, taking in the full view of the garden. Moonlight had teased away the shadows and my world had become dream-soft and slicked in glass. For the first time since coming to Akaran, I felt at peace. “What are you doing here?” thundered a voice behind me. I nearly jumped. Even without turning, I knew who the voice belonged to: Amar.

Bill and Fleur’s cottage stood alone on a cliff overlooking the sea, its walls embedded with shells and whitewashed. It was a lonely and beautiful place. Wherever Harry went inside the tiny cottage or its garden, he could hear the constant ebb and flow of the sea, like the breathing of some great, slumbering creature. He spent much of the next few days making excuses to escape the crowded cottage, craving the cliff-top view of open sky and wide, empty sea, and the feel of cold, salty wind on his face.

No government on earth has the power to set this world free from its slavery to the corruption in which it has existed since Eve and Adam sinned in garden of Eden. And yet that is how many people today view government. They see it as being inherently endowed with the power and authority to create a world wherein all our needs—and many of our wants—are met. They look to the government to create a world devoid of consequences and accountability where they can live lives of complete autonomy apart from God.

GRASS, LIKE NEARLY EVERYTHING else in China, is subject to political interpretation. Historically, the Chinese have taken a dim view of grass. In Peking’s parks, the dirt is swept daily, since cleanliness is prized, but gardeners relentlessly uproot any tuft of grass. Grass breeds disease, generations of Chinese have been taught. Additionally, Communist doctrine teaches that grass is decadent, since it is usually associated with leisured classes and generates exploitation—one man hiring another to cut it.

I am overwhelmed. I am the most discomfited of dancers. Simultaneously chillingly I am certain that the wedding guests sense it to be a sad occasion yet all are in desperate conspiracy to produce a joyful atmosphere. They dance madly. As though ... as though if they were to stop and cast a thoughtful eye on the bride and groom the illusion would be dispelled. The party dresses and hairspray and starched collars and lipsticked lips would melt away and all present would be left standing in the rags of Huda's despair.

She was convinced the country was about to succumb to revolutionary socialism. Her own circumstances encouraged this belief: just on the edge of the really rich country set, she shared their views and opinions but lacked the financial and architechtural insulation from real or imagined political troubles. She found crushed larger cans and cigarette packets in her front garden and interpreted these as menacing signals from the Perthshire proletariat. Every flicker and dim of electric light was a portent of class war.

Miss Devonshire,” Mr. Lewis says and looks out the window as if what he wants to say dances in that dormant winter garden. “The fantastic and the imaginative aren’t escapism.” “How so?” This seems important. “Good stories introduce the marvelous. The whole story, paradoxically, strengthens our relish for real life. This excursion sends us back with renewed pleasure to the actual world. It provides meaning.” “Yes,” Warnie says. “It takes us out of ourselves and lets us view reality from new angles. It expands our awareness of the world.

The flat area immediately below was broken up into a formal pattern of beds containing oleander and more clipped clouds of box, a southern imitation of the grand parterres of aristocratic chateaux. A rose garden beyond was the first in a series of gardens created on descending levels, apparently linked by a magnificently overgrown wisteria. Dense lines of cypress hid any farther areas from view, including the memorial garden that was her special brief. As a whole, the garden was charming, luxuriant, but- from a professional point of view- dilapidated.

In taking a side, I thought uneasily, perhaps I ought to take the long view, the survival of the species as a whole. That was my problem, I thought, I was always thinking at the level of the individual, in this case the rabbit, the grim scene unfolding before me in the garden as the kite pecked at the belly of the poor beast, initiating a gyration in the corpse or almost corpse of the poor rabbit, a kind of organy wobbling. Now what was that that reminded me of? A hanging, tremulous, a doorway and a tidy garden. What happened to one’s past when one got beyond it?

patterned with different states and impressions, which my consciousness would quietly unfold while I was reading, and which ranged from the most deeply hidden aspirations of my heart to the wholly external view of the horizon spread out before my eyes at the foot of the garden, what was from the first the most permanent and the most intimate part of me, the lever whose incessant movements controlled all the rest, was my belief in the philosophic richness and beauty of the book I was reading, and my desire to appropriate these to myself, whatever the book might be.

That August, the day of the lunar eclipse—their daughters three and a half and two—Cam piled everyone in the truck to get the best view from the top of Hopewell Hill. “Maybe they won’t remember,” he said. “I just like to show them things.” This was what you did. You took your children out in the darkness to watch the moon disappear. You dissected coyote scat with them. You led your two-year-old down to the garden to press a handful of radish seeds into the soil and handed her the spatula to lick when you made chocolate pudding and turned the pages of Richard Scarry’s What Do People Do All Day?, pointing out the animal characters and naming their jobs. You gathered autumn leaves, pressed them with an iron in between two sheets of wax paper, and taped them on the window, where you’d set an avocado seed in a glass of water to watch it sprout; and carried your three-year-old outside in your arms at night—her and her sister—to let them catch snowflakes. Who knew what they’d remember, and what they’d make of it, but the hope was there that if nothing else, what they would hold on to from these times was the knowledge of being deeply loved.

There are seeds of greatness within you. You will either see them as worth planting, or you will not. You may attempt to trade them for other seeds that will never adapt to the soil of your soul, or you will realize that no seed created can match the ones already within you. Wisdom would tell you to accept the seeds, not your view of them. Prudence would tell you to embrace the soil, not your sense of its suitability. And determination would tell you to rigorously cultivate that which is already within you with great vigor, for to alter seed or soil is to destroy both and render the garden barren.

This is it. October 2, 2020, and the whole world watched, and history remembered. Alex waits on the South Lawn, within view of the linden trees of the Kennedy garden, where they first kissed. Marine One touches down in a cacophony of noise and wind and rotors, and Henry emerges in head-to-toe Burberry looking dramatic and windswept, like a dashing hero here to rip bodices and mend war-torn countries, and Alex has to laugh. "What?" henry shouts over the noise when he sees the look on Alex's face. "My life is cosmic joke and you're not a real person," Alex says, wheezing. "What?" Henry yells again. "I said, you look great, baby!

Cowperwood, who saw things in the large, could scarcely endure this minutae. He was but little interested in the affairs of bygone men and women, being so intensely engaged with the living present. And after a time he slipped outside, preferring the wide sweep of gardens, with their flower-lined walks and views of the cathedral. Its arches and towers and stained-glass windows, this whole carefully executed shrine, still held glamor, but all because of the hands and brains, aspirations and dreams of selfish and self-preserving creatures like himself. And so many of these, as he now mused, walking about, had warred over possession of this church. And now they were within its walls, graced and made respectable, the noble dead! Was any man noble? Had there ever been such a thing as an indubitably noble soul? He was scarcely prepared to believe it. Men killed to live—all of them —and wallowed in lust in order to reproduce themselves. In fact, wars, vanities, pretenses, cruelties, greeds, lusts, murder, spelled their true history, with only the weak running to a mythical saviour or god for aid. And the strong using this belief in a god to further the conquest of the weak. And by such temples or shrines as this. He looked, meditated, and was somehow touched with the futility of so

And thus it was she who first gave me the idea that people do not, as I had imagined, present themselves to us clearly and in fixity with their merits, their defects, their plans, their intentions in regard to ourselves (like a garden viewed through railings with all its flower beds on display), but, rather, as a shadow we can never penetrate, of which there can be no direct knowledge, about which we form countless beliefs based upon words and even actions, neither of which give us more than insufficient and in fact contradictory information, a shadow that we can alternately imagine, with equal justification, as masking the burning flames of hatred and of love.

Consider it a Solstice and birthday present in one.' He gestured to the house, the gardens, the grounds that flowed to the river's edge. With a perfect view of the Rainbow at night, thanks to the land's curve. 'It's yours. Ours. I purchased it on Solstice Eve. Workers are coming in two days to begin clearing the rubble and knock down the rest of the house.' I blinked again, long and slow. 'You bought me an estate?' 'Technically, it will be our estate, but the house is yours. Build it to your heart's content. Everything you want, everything you need- build it.' The cost alone, the sheer size of this gift had to astronomical. 'Rhys.' He paced a few steps, running his hands through his blue-black hair, his wings tucked in tight. 'We have no space at the town house. You and I can barely fit everything in the bedroom. And no one wants to be at the House of Wind.' He again gestured to the magnificent estate around us. 'So build a house for us, Feyre. Dream as wildly as you want. It's yours.' I didn't have words for it. What cascaded through me. 'It- the cost-' 'Don't worry about the cost.' 'But...' I gaped at the sleeping, tangled land, the ruined house. Pictured what I might want there. My knees wobbled. 'Rhys- it's too much.' His face became deadly serious. 'Not for you. Never for you.' He slid his arms around my waist, kissing my temple. 'Build a house with a painting studio.' He kissed my other temple. 'Build a house with an office for you, and one for me. Build a house with a bathtub big enough for two- and for wings.' Another kiss, this time to my cheek. 'Build a house with a garden for Elain, a training ring for the Illyrian babies, a library for Amren, and an enormous dressing room for Mor.' I choked on a laugh at that. But Rhys silenced it with a kiss to my mouth, lingering and sweet. 'Build a house with a nursery, Feyre.' My heart tightened to the point of pain, and I kissed him back. Kissed him again and again, the property wide and clear around us. 'I will,' I promised.

All that Delaura noticed, though, was the uproarious crowing of the roosters. 'There are only six of them, but they make enough noise for a hundred,' said the Abbess. 'Furthermore, a pig spoke and a goat gave birth to triplets.' And she added with fervor: 'Everything has been like this since your Bishop did us the favor of sending us his poisoned gift.' She viewed with equal alarm the garden flowering with so much vigor that it seemed contra natura. As they walked across it she pointed out to Delaura that there were flowers of exceptional size and color, some with an unbearable scent. As far as she was concerned, everything ordinary has something supernatural about it.

In awe at the sheer beauty of the setting, Celina stepped onto the balcony, which overlooked a terrace garden of fruit trees. "It's so beautiful here." She breathed in, catching the scent of fruit trees below. "What type of fruit are you growing?" "Mostly lemon," Sara said. "But also olive, grapefruit, orange, fig, and pomegranate. With our temperate climate, most everything thrives." Celina peered over the balcony's edge. To one side, a cliff dropped to the sea, while on the other, a terrace sprawled along the hilltop perch. Flaming pink bougainvillea and snowy white jasmine curled around the corners of grapevine-covered archways that framed the shimmering ocean view.

The solid lines will be new plantings. The maze will be the centerpiece of the new garden. The pond on one side, the theater on another, so that from the theater one will look across the maze to the pond. There may be viewing places in the theater itself so that visitors may see the maze and those within it. It will be— The pencil finally broke through the paper at this point. He balled his fist, frustrated, the words bottled up inside him. Slim fingers covered his fist, cool and comforting. He looked up. “Beautiful,” she said. “It will be beautiful.” His breath seemed to stop in his lungs. Her eyes were so big, so earnest, so completely captivated by his trifling drawings, his esoteric work.

What about you, Mr. Shaw?" she asked. "Are your affections engaged by someone back home?" He shook his head at once. "I'm afraid that I share McKenna's rather skeptical view of the benefits of marriage." "I think you will fall in love someday." "Doubtful. I'm afraid that particular emotion is unknown to me..." Suddenly his voice faded into silence. He set his cup down as he stared off into the distance with sudden alertness. "Mr. Shaw?" As Aline followed his gaze, she realized what he had seen- Livia, wearing a pastel flower-printed walking dress as she headed to one of the forest trails leading away from the manor. A straw bonnet adorned with a sprig of fresh daisies swung from her fingers as she held it by the ribbons. Gideon Shaw stood so quickly that his chair threatened to topple backward. "Pardon," he said to Aline, tossing his napkin to the table. "The figment of my imagination has reappeared- and I'm going to catch her." "Of course," Aline said, struggling not to laugh. "Good luck, Mr. Shaw." "Thanks." He was gone in a flash, descending one side of the U-shaped stone staircase with the ease of a cat. Once he reached the terraced gardens, he cut across the lawn with long, ground-eating strides, just short of breaking into a run. Standing to better her view of his progress, Aline couldn't suppress a mocking grin. "Why, Mr. Shaw... I thought there was nothing in life you wanted badly enough to chase after it.

hotel where their relationship had finally been consummated. The Hôtel du Cap was one of the most beautiful, exclusive, and illustrious hotels in Europe, with prices to match. The main building had marble halls, high ceilings, and magnificent rooms and suites, most of them looking out at the sea shimmering like glass. There was an impressive outdoor staircase leading down to the even more exclusive Eden Roc, with gardens on either side of the wide path and closer to the water. It was the vacation spot for aristocrats, royalty, the immensely rich, and in recent years jet-setters, Russian tycoons, and movie stars, many of whom preferred to stay at the less formal lower building, with smaller but still elegantly appointed suites, and even better views of the sea from their balconies. There

I’m the same kind of brute at bottom. This desire to govern a woman — it lies very deep, and men and woman must fight it together before they shall enter the Garden. But I do love you — surely in a better way than he does.’ He thought. ‘Yes — really in a better way. I want you to have your own thoughts even when I hold you in my arms.’ He stretched them towards her. ‘Lucy, be quick — there's no time for us to talk now — come to me as you came in the spring, and afterwards I will be gentle and explain. I have cared for you since that man died. I cannot live without you. “No good,” I thought: “she is marring someone else”; but I meet you again when all the world is glorious water and sun. As you came through the wood, I saw that nothing else mattered. I called. I wanted to live and have my chance of joy.

Well, she would marry a man who didn't need or want her fortune. Mr. Pinter didn't fall into that category. And given how blank his expression became as his gaze met hers, she'd been right to be skeptical. he would never be interested in her in that way. He confirmed it by saying, with his usual formality, "I doubt any man would consider your ladyship unacceptable as a wife." Oh, when he turned all hoity-toity, she could just murder him. "Then we agree that the gentlemen in question would find me satisfactory," she said, matching his cold tone. "So I don't see why you assume they'd be unfaithful." "Some men are unfaithful no matter how beautiful their wives are," Mr. Pinter growled. He thought her beautiful? There she went again, reading too much into his words. He was only making a point. "But you have no reason to believe that these gentleman would be. Unless there's some dark secret you already know about them that I do not?" Glancing away, he muttered a curse under his breath. "No." "Then here's your chance to find out the truth about their characters. Because I prefer facts to opinions. And I was under the impression that you do, too." Take that, Mr. Pinter! Hoist by your own petard. The man always insisted on sticking to the facts. And he was well aware that she'd caught him out, for he scowled, then crossed his arms over his chest. His rather impressive chest, from what she could tell beneath his black coat and plain buff waistcoat. "I can't believe I'm the only person who would object to these gentlemen," he said. "What about your grandmother? Have you consulted her?" She lifted her eyes heavenward. He was being surprisingly resistant to her plans. "I don't need to. Every time one of them asks to dance with me, she beams. She's forever urging me to smile at them or attempt flirtation. And if they so much as press my hand or take my for a stroll, she quizzes me with great glee on what was said and done." "She's been letting you go out on private strolls with these scoundrels?" Mr. Pinter said in sheer outrage. "They aren't scoundrels." "I swear to God, you're a lamb among the wolves," he muttered. That image of her, so unlike how she saw herself, made her laugh. "I've spent half my life in the company of my brothers. Every time Gabe went to shoot, I went with him. At every house party that involved his friends, I was urged to show off my abilities with a rifle. I think I know how to handle a man, Mr. Pinter." His glittering gaze bored into her. "There's a vast difference between gamboling about in your brother's company with a group of his friends and letting a rakehell like Devonmont or a devilish foreigner like Basto stroll alone with you down some dark garden path." A blush heated her cheeks. "I didn't mean strolls of that sort, sir. I meant daytime walks about our gardens and such, with servants in plain view. All perfectly innocent." He snorted. "I doubt it will stay that way." "Oh, for heaven's sake, why are you being so stubborn? You know I must marry. Why do you even care whom I choose?" "I don't care," he protested. "I'm merely thinking of how much of my time will be wasted investigating suitors I already know are unacceptable." She let out an exasperated breath. Of course. With him, it was always about money. Heaven forbid he should waste his time helping her.

As my grandmother discovered long ago, the Japanese excel in cultivating nature. Their gardens come in numerous styles, including paradise gardens, dry-landscape gardens, stroll gardens, and tea gardens. Although each type has its own goal, tray all share the same principle: nature is manipulated to create a miniature symbolic landscape. A paradise garden is meant to evoke the Buddhist paradise through the use of water dotted with stone "islands." Dry-landscape gardens, usually tucked away in Zen temples, use dry pebbles and stones to create minimalist views for quiet contemplation. Stroll gardens offer changing scenes with every step, a pool of carp here, a mossy trail there, and a small bridge to link them both, while a tea garden provides a serene path to take you from the external world to the spiritual one of the teahouse.

I’m watching the day through a breeze blown slice in my curtains, obscuring nothing but my hour, summer and wind making peace, moving the leaves in the trees standing guard by my window, nervous after my attempts, the sun stroking fronds but leaving others in shadows, seeing the movement of the branches but hearing nothing but the serene sound of cars beyond the garden, limbs waving to me as a bird perches, maybe scouting for a house, onto the bough scratching the glass, knocking to bring me out into contentment while tiny flies shoot in and out of view, their quick existence something I could argue as I smell the fresh air through the dour scent of a depression that hasn’t left my room in days, then swiftly feeling like I’m outside, alive and welcoming the wind to raise the hairs on my arms, a contrast that blossoms into hope.

The road climbed higher into the mountains of Nikko National Park, the terraced farm fields giving way grudgingly to forests of tiny trees that seemed to be trimmed, the growth around them carefully cultivated. From a narrow defile the car was passed through a massive wooden gate that swung on a huge arch ornately carved with the figures of fierce dragons. From there a perfectly maintained road of crushed white gravel led up the valley to a broad forested ledge through which a narrow stream bubbled and plunged over the sheer edge. The view from the top was breathtaking. Perched on the far edge was a traditionally styled Japanese house, low to the ground and rambling in every direction. Tiled roofs, rice-paper screens and walls, carved beams, courtyards, broad verandas, gardens, ponds, and ancient statues and figures gave the spot an unreal air, as if it were a setting in a fairy tale

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

But the most constant source of enchantment during those readings came from the harlequin pattern of colored panes inset in a whitewashed framework on either side of the veranda. The garden when viewed through these magic glasses grew strangely still and aloof. If one looked through blue glass, the sand turned to cinders while inky trees swam in a tropical sky. The yellow created an amber world infused with an extra strong brew of sunshine. The red made the foliage drip ruby dark upon a pink footpath. The green soaked greenery in a greener green. And when, after such richness, one turned to a small square of normal, savorless glass, with its lone mosquito or lame daddy longlegs, it was like taking a draught of water when one is not thirsty, and one saw a matter-of-fact white bench under familiar trees. But of all the windows this is the pane through which in later years parched nostalgia longed to peer.

Alone in the observatory late one night, I heard the telephone ring persistently. When I answered, a voice, betraying a well-advanced state of inebriation, said, “Lemme talk to a shtrominer.” “Can I help you?” “Well, see, we’re havin’ this garden party out here in Wilmette, and there’s somethin’ in the sky. The funny part is, though, if you look straight at it, it goes away. But if you don’t look at it, there it is.” The most sensitive part of the retina is not at the center of the field of view. You can see faint stars and other objects by averting your vision slightly. I knew that, barely visible in the sky at this time, was a newly discovered comet called Arend-Roland. So I told him that he was probably looking at a comet. There was a long pause, followed by the query: “Wash’ a comet?” “A comet,” I replied, “is a snowball one mile across.” There was a longer pause, after which the caller requested, “Lemme talk to a real shtrominer.

That wasn’t necessary,” Benix told Kestrel. “It was,” she said. “He’s tiresome. I don’t mind taking his money, but I cannot take his company.” “You couldn’t spare a thought for me before chasing him away? Maybe I would like a chance to win his gold.” “Lord Irex can spare it,” Ronan added. “Well, I don’t like poor losers,” said Kestrel. “That’s why I play with you two.” Benix groaned. “She’s a fiend,” Ronan agreed cheerfully. “Then why do you play with her?” “I enjoy losing to Kestrel. I will give anything she will take.” “While I live in hope to one day win,” Benix said, and gave Kestrel’s hand a friendly pat. “Yes, yes,” Kestrel said. “You are both fine flatterers. Now ante up.” “We lack a fourth player,” Benix pointed out. Bite and Sting was played in pairs or fours. Despite herself, Kestrel looked at Arin standing not too far away, considering the garden or the house beyond it. From his position he would have had a view of Irex’s tiles, and Ronan’s. He would not, however, have been able to see hers. She wondered what he had made of the game--if he had bothered to follow it. Perhaps feeling her gaze on him, Arin glanced her way. His eyes were calm, uninterested. She could read nothing in them. “I suppose our game is over then,” she told the two lords in a bright voice. “Shall we join the others?” Ronan poured the gold into her purse and slipped its velvet strap over her wrist, unnecessarily fiddling with the broad ribbon until it lay flat against Kestrel’s skin without a winkle. He offered his arm and she took it, resting her palm on the cool silk of his sleeve. Benix fell in step, and the three walked toward the heart of the murmuring party. Kestrel knew, rather than saw, that Arin shifted position and followed, like the shadow line of a sundial. This was precisely what he was supposed to do as her attendant at Lady Faris’s picnic, yet she had the uncomfortable impression of being tracked.

Olmsted did think about it and began to see the exposition as an opportunity to achieve something for which he had fought long and hard but almost always with disappointing results. Throughout his career he had struggled, with little success, to dispel the perception that landscape architecture was simply an ambitious sort of gardening and to have his field recognized instead as a distinct branch of the fine arts, full sister to painting, sculpture, and brick-and-mortar architecture. Olmsted valued plants, trees, and flowers not for their individual attributes but rather as colors and shapes on a palette. Formal beds offended him. Roses were not roses but “flecks of white or red modifying masses of green.” It irked him that few people seemed to understand the effects he worked so long and hard to create. “I design with a view to a passage of quietly composed, soft, subdued pensive character, shape the ground, screen out discordant elements and get suitable vegetation growing.

All at once, something wonderful happened, although at first, it seemed perfectly ordinary. A female goldfinch suddenly hove into view. She lighted weightlessly on the head of a bankside purple thistle and began emptying the seedcase, sowing the air with down. The lighted frame of my window filled. The down rose and spread in all directions, wafting over the dam’s waterfall and wavering between the tulip trunks and into the meadow. It vaulted towards the orchard in a puff; it hovered over the ripening pawpaw fruit and staggered up the steep faced terrace. It jerked, floated, rolled, veered, swayed. The thistle down faltered down toward the cottage and gusted clear to the woods; it rose and entered the shaggy arms of pecans. At last it strayed like snow, blind and sweet, into the pool of the creek upstream, and into the race of the creek over rocks down. It shuddered onto the tips of growing grasses, where it poised, light, still wracked by errant quivers. I was holding my breath. Is this where we live, I thought, in this place in this moment, with the air so light and wild? The same fixity that collapses stars and drives the mantis to devour her mate eased these creatures together before my eyes: the thick adept bill of the goldfinch, and the feathery coded down. How could anything be amiss? If I myself were lighter and frayed, I could ride these small winds, too, taking my chances, for the pleasure of being so purely played. The thistle is part of Adam’s curse. “Cursed is the ground for thy sake, in sorrow shalt thou eat of it; thorns also and thistles shall it bring forth to thee.” A terrible curse: But does the goldfinch eat thorny sorrow with the thistle or do I? If this furling air is fallen, then the fall was happy indeed. If this creekside garden is sorrow, then I seek martyrdom. I was weightless; my bones were taut skins blown with buoyant gas; it seemed that if I inhaled too deeply, my shoulders and head would waft off. Alleluia.

There's a faulty signal on this line, about halfway through my journey. I assume it must be faulty, in any case, because it's almost always red; we stop there most days, sometimes just for a few seconds, sometimes for minutes on end. If I sit in carriage D, which I usually do, and the train stops at this signal, which it almost always does, I have a perfect view into my favourite trackside house: number fifteen. Number fifteen is much like the other houses along this stretch of track: a Victorian semi, two storeys high, overlooking a narrow, well-tended garden which runs around twenty feet down towards some fencing, beyond which lie a few metres of no man's land before you get to the railway track. I know this house by heart. I know every brick, I know the colour of the curtains in the upstairs bedroom (beige, with a dark-blue print), I know that the paint is peeling off the bathroom window frame and that there are four tiles missing from a section of the roof over on the right-hand side.

The discords of our experience--delight in change, fear of change; the death of the individual and the survival of the species, the pains and pleasures of love, the knowledge of light and dark, the extinction and the perpetuity of empires--these were Spenser's subject; and they could not be treated without this third thing, a kind of time between time and eternity. He does not make it easy to extract philosophical notions from his text; but that he is concerned with the time-defeating aevum and uses it as a concord-fiction, I have no doubt. 'The seeds of knowledge,' as Descartes observed, 'are within us like fire in flint; philosophers educe them by reason, but the poets strike them forth by imagination, and they shine the more clearly.' We leave behind the philosophical statements, with their pursuit of logical consequences and distinctions, for a free, self-delighting inventiveness, a new imagining of the problems. Spenser used something like the Augustinian seminal reasons; he was probably not concerned about later arguments against them, finer discriminations. He does not tackle the questions, in the Garden cantos, of concreation, but carelessly--from a philosophical point of view--gives matter chronological priority. The point that creation necessitates mutability he may have found in Augustine, or merely noticed for himself, without wondering how it could be both that and a consequence of the Fall; it was an essential feature of one's experience of the world, and so were all the arguments, precise or not, about it. Now one of the differences between doing philosophy and writing poetry is that in the former activity you defeat your object if you imitate the confusion inherent in an unsystematic view of your subject, whereas in the second you must in some measure imitate what is extreme and scattering bright, or else lose touch with that feeling of bright confusion. Thus the schoolmen struggled, when they discussed God, for a pure idea of simplicity, which became for them a very complex but still rational issue: for example, an angel is less simple than God but simpler than man, because a species is less simple than pure being but simpler than an individual. But when a poet discusses such matters, as in say 'Air and Angels,' he is making some human point, in fact he is making something which is, rather than discusses, an angel--something simple that grows subtle in the hands of commentators. This is why we cannot say the Garden of Adonis is wrong as the Faculty of Paris could say the Averroists were wrong. And Donne's conclusion is more a joke about women than a truth about angels. Spenser, though his understanding of the expression was doubtless inferior to that of St. Thomas, made in the Garden stanzas something 'more simple' than any section of the Summa. It was also more sensuous and more passionate. Milton used the word in his formula as Aquinas used it of angels; poetry is more simple, and accordingly more difficult to talk about, even though there are in poetry ideas which may be labelled 'philosophical.

How about something to drink. Coffee, tea, soda, water, scotch. Never too early for scotch. Violet, some scotch. Ice. I said ice. No ice, then. Me too. Always neat for me. Look at my view. No, not at the gardener. José! José! Got to pound on the glass to get his attention. He's half deaf. José! Move! You're blocking the view. Good. See the view. I'm talking about the Hollywood sign right there. Never get tired of it. Like the Word of God just dropped down, plunked on the hills, and the Word was Hollywood. Didn't God say let the be light first. What's a movie but light. Can't have a movie without light. And then words. Seeing that sign reminds me to write every morning. What. All right, so it doesn't say Hollywood. You got me. Good eye. Thing's falling to pieces. One O's half fallen and the other O's fallen altogether. The word's gone to shit. So what. You still get the meaning. Thanks, Violet. Cheers. How do they say it in your country. I said how do they say it. Yo, yo, yo, is it. I like that. Easy to remember. Yo, yo, yo, then.

I dial her mum's number, then sit down cross-legged, facing the wall. When she comes on the line, she sounds uncertain, hesitant. 'Hey! Guess where I am?' I ask, my voice loud with false cheer. 'Rami told me. The Wellesly Hospital in Worthing. What's it like?' 'For a loony-bin it's actually quite decent,' I reply. 'I don't have Sky or an en-suite, and the menu isn't exactly à la carte, but you know...' I tail off. There is a silence. 'Do you have your own room?' Jenna asks, 'Oh yeah, yeah. I have a lovely view of the sea between the bars of my window.' She doesn't laugh. 'Have you started' -there is a pause as she searches for the right word -'threatment?' 'Yeah, yeah. We had group therapy today. Tomorrow we'll probably have art therapy - maybe I'll draw you a hourse and a garden. I know, perhaps they'll teach us to make baskets! Isn't that why they call us basket cases?' 'Flynn, stop,' Jennah softly implores. 'And we'll probably have music therapy the day after. Maybe I'll get to play the tambourine. Or the triangle. I've always wanted to play the triangle!' 'Flynn-' 'No, I'm serious! I'll ask for some manuscript paper and see if I can write a composition for tambourine and triangle. Then I can post if off to you to hand in for my next composition assignment.' 'Flynn, listen-' 'Hold on, hold on! I'm making a note to myself now: Find fellow insane musician and start composing the Flynn Laukonen Sonata for Tambourine and Triangle.' 'Flynn-' 'And then, when they let me out, if they ever let me out, perhaps you could pull a few strigns and organize for me and my tambourine buddy to give a recital. I'm not sure where though -how about the subway at Marble Arch tube? Nice and central, good acoustics-' 'What are the other people like?' Jennah cuts in, an edge to her voice. I notice she doesn't use the word patients. Clever Jennah. For a moment there you almost made me forget I was locked up in a mental institution. 'Round the bend, just like me,' I reply. 'I'm in excellent company. We'll be swapping suicide tips in no time at all!' I give a harsh laugh.

One sunny afternoon, when he wasn’t feeling well, Jobs sat in the garden behind his house and reflected on death. He talked about his experiences in India almost four decades earlier, his study of Buddhism, and his views on reincarnation and spiritual transcendence. “I’m about fifty-fifty on believing in God,” he said. “For most of my life, I’ve felt that there must be more to our existence than meets the eye.” He admitted that, as he faced death, he might be overestimating the odds out of a desire to believe in an afterlife. “I like to think that something survives after you die,” he said. “It’s strange to think that you accumulate all this experience, and maybe a little wisdom, and it just goes away. So I really want to believe that something survives, that maybe your consciousness endures.” He fell silent for a very long time. “But on the other hand, perhaps it’s like an on-off switch,” he said. “Click! And you’re gone.” Then he paused again and smiled slightly. “Maybe that’s why I never liked to put on-off switches on Apple devices.

One sunny afternoon, when he wasn’t feeling well, Jobs sat in the garden behind his house and reflected on death. He talked about his experiences in India almost four decades earlier, his study of Buddhism, and his views on reincarnation and spiritual transcendence. “I’m about fifty-fifty on believing in God,” he said. “For most of my life, I’ve felt that there must be more to our existence than meets the eye.” He admitted that, as he faced death, he might be overestimating the odds out of a desire to believe in an afterlife. “I like to think that something survives after you die,” he said. “It’s strange to think that you accumulate all this experience, and maybe a little wisdom, and it just goes away. So I really want to believe that something survives, that maybe your consciousness endures.” He fell silent for a very long time. “But on the other hand, perhaps it’s like an on-off switch,” he said. “Click! And you’re gone.” Then he paused again and smiled slightly. “Maybe that’s why I never liked to put on-off switches on Apple devices.

And the house stood much too near the road for purposes of grandeur, had such purposes ever swelled the breast of any of the squires of Allington. But I fancy that our ideas of rural grandeur have altered since many of our older country seats were built. To be near the village, so as in some way to afford comfort, protection, and patronage, and perhaps also with some view to the pleasantness of neighbourhood for its own inmates, seemed to be the object of a gentleman when building his house in the old days. A solitude in the centre of a wide park is now the only site that can be recognised as eligible. No cottage must be seen, unless the cottage orné of the gardener. The village, if it cannot be abolished, must be got out of sight. The sound of the church bells is not desirable, and the road on which the profane vulgar travel by their own right must be at a distance. When some old Dale of Allington built his house, he thought differently. There stood the church and there the village, and, pleased with such vicinity, he sat himself down close to his God and to his tenants.

I have stopped loving you. I have stopped caring about you. I have stopped worrying about you. I have simply . . . stopped. This might come as news to you but despite everything, despite the cruelty, the selfishness and the pain you have caused, I still found a way to care. But not any more. Now, I am putting you on notice. I no longer need you. I don’t think fondly of our early days, so I am erasing these memories and all that followed. For much of our time together I wished for a better relationship than the one we have, but I’ve come to understand this is the hand I have been dealt. And now I am showing you all my cards. Our game is complete. You are the person I share this house with, nothing more, nothing less. You mean no more to me than the shutters that hide what goes on in here, the floorboards I walk over or the doors we use to separate us. I have spent too much of my life trying to figure out your intricacies, of suffering your deeds like knives cutting through scar tissue. I am through with sacrificing who I should have been to keep you happy as it has only locked us in this status quo. I have wasted too much time wanting you to want me. I ache when I recall the opportunities I’ve been too scared to accept because of you. Such frittered-away chances make me want to crawl on my hands and knees to the end of the garden, curl up into a ball on a mound of earth and wait until the nettles and the ivy choke and cover me from view. It’s only now that I recognise the wretched life you cloaked me in and how your misery needed my company to prevent you from feeling so isolated. There is just one lesson I have learned from the life we share. And it is this: everything that is wrong with me is wrong with you too. We are one and the same. When I die, your flame will also extinguish. The next time we are together, I want one of us to be lying stiff in a coffin wearing rags that no longer fit our dead, shrunken frame. Only then can we separate. Only then can we be ourselves. Only then do I stand a chance of finding peace. Only then will I be free of you. And should my soul soar, I promise that yours will sink like the heaviest of rocks, never to be seen again.

One thing is needful.—To "give style" to one’s character— a great and rare art! It is practiced by those who survey all the strengths and weaknesses of their nature and then fit them into an artistic plan until every one of them appears as art and reason and even weaknesses delight the eye. Here a large mass of second nature has been added; there a piece of original nature has been removed —both times through long practice and daily work at it. Here the ugly that could not be removed is concealed; there it has been reinterpreted and made sublime. Much that is vague and resisted shaping has been saved and exploited for distant views; it is meant to beckon toward the far and immeasurable. In the end, when the work is finished, it becomes evident how the constraint of a single taste governed and formed everything large and small. Whether this taste was good or bad is less important than one might suppose, if only it was a single taste! It will be the strong and domineering natures that enjoy their finest gaiety in such constraint and perfection under a law of their own; the passion of their tremendous will relaxes in the face of all stylized nature, of all conquered and serving nature. Even when they have to build palaces and design gardens they demur at giving nature freedom. Conversely, it is the weak characters without power over themselves that hate the constraint of style. They feel that if this bitter and evil constraint were imposed upon them they would be demeaned; they become slaves as soon as they serve; they hate to serve. Such spirits—and they may be of the first rank—are always out to shape and interpret their environment as free nature: wild, arbitrary, fantastic, disorderly, and surprising. And they are well advised because it is only in this way that they can give pleasure to themselves. For one thing is needful: that a human being should attain satisfaction with himself, whether it be by means of this or that poetry or art; only then is a human being at all tolerable to behold. Whoever is dissatisfied with himself is continually ready for revenge, and we others will be his victims, if only by having to endure his ugly sight. For the sight of what is ugly makes one bad and gloomy.

She had plenty of leisure now, day in, day out, to survey her life as a tract of country traversed, and at last become a landscape instead of separate fields or separate years and days, so that it became a unity and she could see the whole view, and could even pick out a particular field and wander round it again in spirit, though seeing it all the while as it were from a height, fallen in its proper place, with the exact pattern drawn round it by the hedge, and the next field into which the gap in the hedge would lead. So, she thought, could she at last put circles on her life. Slowly she crossed that day, as one crosses a field by a little path through the grasses, with the sorrel and the buttercups waving on either side; she crossed it again slowly, from breakfast to bed-time, and each hour, as one hand of the clock passed over the other, regained for her its separate character: this was the hour, she thought, when I first came downstairs that day, swinging my hat by its ribbons; this was the hour when he persuaded me into the garden, and sat with me on the seat beside the lake, and told me it was not true that with one blow of its wing a swan could break the leg of a man.

The Chancellor’s assurances were so satisfying and so unexpected that I think they are on the whole too good to be true,” Messersmith wrote. “We must keep in mind, I believe, that when Hitler says anything he for the moment convinces himself that it is true. He is basically sincere; but he is at the same time a fanatic.” Messersmith urged skepticism regarding Hitler’s protestations. “I think for the moment he genuinely desires peace but it is a peace of his own kind and with an armed force constantly becoming more effective in reserve, in order to impose their will when it may become essential.” He reiterated his belief that Hitler’s government could not be viewed as a rational entity. “There are so many pathological cases involved that it would be impossible to tell from day to day what will happen any more than the keeper of a madhouse is able to tell what his inmates will do in the next hour or during the next day.” He urged caution, in effect warning Phillips to be skeptical of Dodd’s conviction that Hitler wanted peace. “I think for the present moment … we must guard against any undue optimism which may be aroused by the apparently satisfying declarations of the Chancellor.

At the end of the oak-lined avenue, the girls came to a weather-stained loggia of stone. Its four handsomely carved pillars rose to support a balcony over which vines trailed. Steps led to the upper part. After mounting to the balcony, Nancy and her friends obtained a fine view of the nearby gardens. They had been laid out in formal sections, each one bounded by a stone wall or an un-trimmed hedge. Here and there were small circular pools, now heavy with lichens and moss, and fountains with leaf-filled basins. Over the treetops, about half a mile away, the girls could see two stone towers. “That’s the castle,” said George. Amid the wild growth, Nancy spotted a bridge. “Let’s go that way,” she suggested, starting down from the balcony. In a few minutes the trio had crossed the rickety wooden span. Before them lay a slippery moss-grown path. “The Haunted Walk,” Nancy read aloud the name on a rustic sign. “Why not try another approach?” Bess said with a shiver. “This garden looks spooky enough without deliberately inviting a meeting with ghosts!” “Oh, come on!” Nancy laughed, taking her friend firmly by the arm. “It’s only a name. Besides, the walk may lead to something interesting.

At first my father's job was clearing ruins. He had filed a sharp protest, however, justifying his disability over ten pages of closely spaced handwriting, buttressed by statements from witnesses and discharge papers from clinics for nervous diseases. His arguments were irrefutable, particularly if we take into consideration--aside from the actual facts--his polemical tone and his brilliant style. 'I hereby state for the attention of the esteemed Commissarist,' he wrote in his appeal, 'in connection with Item A-2, in which I took the liberty of citing the causes of my total incapacity and proving--if in a very sensible fashion--my abnormality as well as my complete mental and physical worthlessness, the worthlessness of a neurotic and alcoholic incapable of taking care of his family or himself, I hereby state, therefore, with a view to the most specific information possible on this matter, although each and every one of the aforementioned matters is in itself a physical amputation, I am stating that I am also flat-footed, a certificate to which effect I am appending from the draft board at Zalaegerszeg, by which I am exempt from military service by virtue of 100 percent flat-footedness. . .

And then my thoughts, did not they form a similar sort of hiding-hole, in the depths of which I felt that I could bury myself and remain invisible even when I was looking at what went on outside? When I saw any external object, my consciousness that I was seeing it would remain between me and it, enclosing it in a slender, incorporeal outline which prevented me from ever coming directly in contact with the material form; for it would volatilise itself in some way before I could touch it, just as an incandescent body which is moved towards something wet never actually touches moisture, since it is always preceded, itself, by a zone of evaporation. Upon the sort of screen, patterned with different states and impressions, which my consciousness would quietly unfold while I was reading, and which ranged from the most deeply hidden aspirations of my heart to the wholly external view of the horizon spread out before my eyes at the foot of the garden, what was from the first the most permanent and the most intimate part of me, the lever whose incessant movements controlled all the rest, was my belief in the philosophic richness and beauty of the book I was reading, and my desire to appropriate these to myself, whatever the book might be.

The fictional exploits of buccaneering men had lost their magic for him. Besides, there were other pirates on view in Tilbury that spring. One, unredeemed by any amnesty, hung from the gibbet at Tilbury Point, tugged at by a brisk breeze off the river. His body had been bound in chains, daubed with tar and encased in a cage, denied Christian burial as a warning to the living of the hideousness of death. It did not have quite that effect on Nathan. "It's Easter," he said to Hardcastle. "A week since," said Hardcastle. "When they went to the tomb to rewrap Christ's body . . ." Harcastle threw Toby in the air and caught him repeatedly, making the child laugh and laugh. ". . . except that it had gone . . ." said Nathan. "Raised to glory," agreed Harcastle, rubbing noses with the baby. ". . . out into the garden." Suddenly it seemed to him that the tarry skull of the pirate on the gibbet might not be shouting a warning after all -- that his decaying corpse might no longer be suffering the torments of the gibbet as his executioners like to suggest with cage and chain and padlock. There were amnesties other than the King's. The man might simply be singing: singing and dancing in the bright, brittle Easter sunshine, held up in midair not by chains but by invisible hands or on invisible shoulders.

It was my father who called the city the Mansion on the River. He was talking about Charleston, South Carolina, and he was a native son, peacock proud of a town so pretty it makes your eyes ache with pleasure just to walk down its spellbinding, narrow streets. Charleston was my father’s ministry, his hobbyhorse, his quiet obsession, and the great love of his life. His bloodstream lit up my own with a passion for the city that I’ve never lost nor ever will. I’m Charleston-born, and bred. The city’s two rivers, the Ashley and the Cooper, have flooded and shaped all the days of my life on this storied peninsula. I carry the delicate porcelain beauty of Charleston like the hinged shell of some soft-tissued mollusk. My soul is peninsula-shaped and sun-hardened and river-swollen. The high tides of the city flood my consciousness each day, subject to the whims and harmonies of full moons rising out of the Atlantic. I grow calm when I see the ranks of palmetto trees pulling guard duty on the banks of Colonial Lake or hear the bells of St. Michael’s calling cadence in the cicada-filled trees along Meeting Street. Deep in my bones, I knew early that I was one of those incorrigible creatures known as Charlestonians. It comes to me as a surprising form of knowledge that my time in the city is more vocation than gift; it is my destiny, not my choice. I consider it a high privilege to be a native of one of the loveliest American cities, not a high-kicking, glossy, or lipsticked city, not a city with bells on its fingers or brightly painted toenails, but a ruffled, low-slung city, understated and tolerant of nothing mismade or ostentatious. Though Charleston feels a seersuckered, tuxedoed view of itself, it approves of restraint far more than vainglory. As a boy, in my own backyard I could catch a basket of blue crabs, a string of flounder, a dozen redfish, or a net full of white shrimp. All this I could do in a city enchanting enough to charm cobras out of baskets, one so corniced and filigreed and elaborate that it leaves strangers awed and natives self-satisfied. In its shadows you can find metalwork as delicate as lace and spiral staircases as elaborate as yachts. In the secrecy of its gardens you can discover jasmine and camellias and hundreds of other plants that look embroidered and stolen from the Garden of Eden for the sheer love of richness and the joy of stealing from the gods. In its kitchens, the stoves are lit up in happiness as the lamb is marinating in red wine sauce, vinaigrette is prepared for the salad, crabmeat is anointed with sherry, custards are baked in the oven, and buttermilk biscuits cool on the counter.

From Tomorrow to Yesterday The tree trunks move in time with the rhythm of her rubber soles on the wet path, where the air is still cool after the night rain. The woodland floor is white with anemones; in one place, growing close to the roots of an ancient tree, they make her think of an old, wrinkled hand. She could go on and on without getting tired, without meeting anyone or thinking of anything in particular, and without coming to the edge of the woods. As if the town did not begin just behind the trees, the leafy suburb with its peaceful roads and its houses hidden behind close-trimmed hedges. She doesn't want to think about anything, and almost succeeds; her body is no more than a porous, pulsating machine. The sun breaks through the clouds as she runs back, its light diffused on the gravel drive and the magnolia in front of the kitchen window. His car is no longer parked beside hers, he must have left while she was in the woods. He hadn't stirred when she rose, and she'd already been in bed when he came home late last night. She lay with her back turned, eyes closed, as he undressed, taking care not to wake her. She leans against one of the pillars of the garage and stretches, before emptying the mailbox and letting herself into the house. She puts the mail on the kitchen table. The little light on the coffeemaker is on; she switches it off. Not so long ago, she would have felt a stab of irritation or a touch of tenderness, depending on her mood. He always forgets to turn off that machine. She puts the kettle on, sprinkles tea leaves into the pot, and goes over to the kitchen window. She observes the magnolia blossoms, already starting to open. They'll have to talk about it, of course, but neither of them seems able to find the right words, the right moment. She pauses on her way through the sitting room. She stands amid her furniture looking out over the lawn and the pond at the end of the garden. The canopies of the trees are dimly reflected in the shining water. She goes into the bathroom. The shower door is still spotted with little drops. As time went on they have come to make contact during the day only briefly, like passing strangers. But that's the way it has been since the children left home, nothing unusual in that. She takes off her clothes and stands in front of the mirror where a little while ago he stood shaving. She greets her reflection with a wry smile. She has never been able to view herself in a mirror without this moue, as if demonstrating a certain guardedness about what she sees. The dark green eyes and wavy black hair, the angularity of her features. She dyes her hair exactly the color it would have been if she hadn't begun to go gray in her thirties, but that's her only protest against age.

One of the problems is that Dublin is, and I mean literally and topographically, flat - so that everything has to take place on a single plane. Other cities have metro systems, which add depth, and steep hills or skyscrapers for height, but Dublin has only short squat grey buildings and trams that run along the street. And it has no courtyards or roof gardens like continental cities, which at least break up the surface, if not vertically, then conceptually. Have you thought about this before? Maybe even if you haven't, you've noticed it at some subconscious level. It's hard to go very far up in Dublin or very low down, hard to lose yourself or other people, or to gain a sense of perspective. You might think it's a democratic way to organise a city - so that everything happens face to face, I mean, on equal footing. True, no one is looking down on you all from a height. But it gives the sky a position of total dominance. Nowhere is the sky meaningfully punctuated or broken up by anything at all. The Spire, you might point out, and I will concede the Spire, which is anyway the narrowest possible of interruptions, and dangles like a measuring tape to demonstrate the diminutive size of every other edifice around. The totalising effect of the sky is bad for people there. Nothing ever intervenes to block the thing from view. It0s like a memento more. I wish someone would cut a hole in it for you.

Presently my attention would wander still further, and it was then perhaps that the rare purity of her rhythmic voice accomplished its true purpose. I looked at a creamy cloud and years later was able to visualize its exact shape. The gardener was pottering among the peonies. A wagtail took a few steps, remembered something, and then strutted on. Coming from nowhere, a comma butterfly settled on the threshold, basked in the sun with its fulvous wings spread, suddenly closed them just to show the tiny initial chalked on the under side, and as suddenly darted away. But the most constant source of enchantment was the rhomboids of colored glass inset harlequinwise in the crisscross panes of the side windows. The garden when viewed through these magic panes grew strangely still and aloof. If one looked through the blue glass the sand turned to cinders while inky-black trees swam in a tropical sky. The yellow one led to Cathay and tea-colored vistas. The red made the foliage drip ruby dark upon a pink-flushed footpath. The green soaked greenery in a greener green. And when after such richness one turned to a little square of normal savorless glass with its lone mosquito or lame daddy longlegs, it was like taking a draught of water when one is not thirsty, and one saw the first withered leaf lying on yonder bench and the blandly familiar birch trees. But of all the windows this is the pane through which parched nostalgia would long to peer now.

Sexual desire, as it has been understood in every epoch prior to the present, is inherently compromising, and the choice to express it or to yield to it has been viewed as an existential choice, in which more is at risk than present satisfaction. Not surprisingly, therefore, the sexual act has been surrounded by prohibitions; it brings with it a weight of shame, guilt, and jealousy, as well as joy and happiness. Sex is therefore deeply implicated in the sense of original sin: the sense of being sundered from what we truly are, by our fall into the world of objects. There is an important insight contained in the book of Genesis, concerning the place of shame in our understanding of sex. Adam and Eve have partaken of the forbidden fruit, and obtained the “knowledge of good and evil” — in other words the ability to invent for themselves the code that governs their behavior. God walks in the garden and they hide, conscious for the first time of their bodies as objects of shame. This “shame of the body” is an extraordinary feeling, and one that only a self-conscious animal could have. It is a recognition of the body as both intimately me and in some way not me — a thing that has wandered into the world of objects as though of its own accord, to become the victim of uninvited glances. (...) We lost what was most precious to us, which is the untorn veil of the Lebenswelt, stretching from horizon to horizon across the dark matter from which all things, we included, are composed.

HEXAGON Snowflakes descend purposefully or wistfully but, surrounded by their tiny peers, each is confident they together will soon hide the meadows, driveways, roofs, fences, the stripped gardens. A speck of dust or pollen lofted to the top of the sky encountered a water drop that in the celestial cold adhered and froze, forming an ice crystal which, now weightier than the air it floated on, began to waft downwards, adding water particles as it traveled, six spikes or arms creating a filigree all its own as it passed through differing temperatures and amounts of dampness. Its delicate white intricacy, though, contains an inner space also unique. One offers a forest of snowy evergreens where, as afternoon light dims, a man wearing a homespun hooded garment and bent under a sack thrown over a shoulder plods along a footpath winding uphill between firs and pines. With each step, his breath appears like smoke until he and his burden are lost from view, and a chill wind sways the thin twigs of bushes emerging from drifts beside the track. In that flake is preserved an era in which the body endures and welcomes the simple opposites: icy cold against face skin and eventually a fire’s warmth, sodden feet and, at last, these dried once more, while the eye registers an omnipresent starkness —white fields, white roads, white trees— which, like a minor key, can please the mind. Here is the past returned to Earth by the water that changes form but does not die. In this vision, each frozen tuft among the millions that lower to the ground is a memento mori that affirms: No life is useless or pointless, since each in its turn advances the future. Yet all are swiftly forgotten in the beauty of the falling snow.

Mrs. Barnstable took her to a beautiful room with windows overlooking the gardens. “This is yours,” the housekeeper said. “No one has occupied it before.” The bed was made of light blue upholstered panels, the bedclothes of white linen. There was a graceful lady’s writing desk in the corner, and a satin maple wardrobe with a looking glass set in the door. “Mr. Merripen personally selected the wallpaper,” Mrs. Barnstable said. “He nearly drove the interior architect mad with his insistence on seeing hundreds of samples until he found this pattern.” The wallpaper was white, with a delicate pattern of flowering branches. And at sparse intervals, there was the motif of a little robin perched on one of the twigs. Slowly Win went to one of the walls and touched one of the birds with her fingertips. Her vision blurred. During her long recuperation from the scarlet fever, when she had grown tired of holding a book in her hands and no one had been available to read to her, she had stared out the window at a robin’s nest in a nearby maple tree. She had watched the fledglings hatch from their blue eggs, their bodies pink and veined and fuzzy. She had watched their feathers grow in, and she had watched the mother robin working to fill their ravenous beaks. And Win had watched as, one by one, they had flown from the nest while she remained in bed. Merripen, despite his fear of heights, had often climbed a ladder to wash the second-floor window for her. He had wanted her view of the outside world to be clear. He had said the sky should always be blue for her. “You’re fond of birds, Miss Hathaway?” the housekeeper asked. Win nodded without looking around, afraid that her face was red with unexpressed emotion. “Robins especially,” she half-whispered.

In the seven weeks that it took for Longwood to be refurbished and extended, Napoleon stayed at a pretty bungalow called The Briars, closer to Jamestown, with the family of the East India Company superintendent William Balcombe, where he had one room and a pavilion in their garden.66 This period was his happiest on St Helena, not least because he struck up an unlikely, charming and innocent friendship with the second of the Balcombes’ four surviving children, Betsy, a spirited fourteen-year-old girl who spoke intelligible if ungrammatical French and to whom Napoleon behaved with avuncular indulgence. She had originally been brought up to view Napoleon, in her words, as ‘a huge ogre or giant, with one large flaming eye in the centre of his forehead, and long teeth protruding from his mouth, with which he tore to pieces and devoured little girls’, but she very soon came to adore him.67 ‘His smile, and the expression of his eye, could not be transmitted to canvas, and these constituted Napoleon’s chief charm,’ she later wrote. ‘His hair was dark brown, and as fine and silky as a child’s, rather too much so indeed for a man as its very softness caused it to look thin.’68 The friendship began when Napoleon tested Betsy on the capitals of Europe. When he asked her the capital of Russia she replied, ‘Petersburg now; Moscow formerly’, upon which ‘He turned abruptly round, and, fixing his piercing eyes full in my face, he demanded sternly, “Who burnt it?” ’ She was dumbstruck, until he laughed and said: ‘Oui, oui. You know very well that it was I who burnt it!’ Upon which the teenager corrected him: ‘I believe, sir, the Russians burnt it to get rid of the French.’69 Whereupon Napoleon laughed and friendship with ‘Mademoiselle Betsee’, ‘lettle monkee’, ‘bambina’ and ‘little scatterbrain’ was born.

Aristotle very famously said in his Politics I.V.8 that some people are born to be slaves. He meant that some people are not as capable of higher rational thought and therefore should do the work that frees the more talented and brilliant to pursue a life of honor and culture. Modern people bristle with outrage at such a statement, but while we do not today hold with the idea of literal slavery, the attitudes behind Aristotle’s statement are alive and well. Christian philosopher Lee Hardy and many others have argued that this “Greek attitude toward work and its place in human life was largely preserved in both the thought and practice of the Christian church” through the centuries, and still holds a great deal of influence today in our culture.43 What has come down to us is a set of pervasive ideas. One is that work is a necessary evil. The only good work, in this view, is work that helps make us money so that we can support our families and pay others to do menial work. Second, we believe that lower-status or lower-paying work is an assault on our dignity. One result of this belief is that many people take jobs that they are not suited for at all, choosing to aim for careers that do not fit their gifts but promise higher wages and prestige. Western societies are increasingly divided between the highly remunerated “knowledge classes” and the more poorly remunerated “service sector,” and most of us accept and perpetuate the value judgments that attach to these categories. Another result is that many people will choose to be unemployed rather than do work that they feel is beneath them, and most service and manual labor falls into this category. Often people who have made it into the knowledge classes show great disdain for the concierges, handymen, dry cleaners, cooks, gardeners, and others who hold service jobs.

Behold, thou art fair, my Beloved." Song of Solomon 1:16 From every point our Well-beloved is most fair. Our various experiences are meant by our heavenly Father to furnish fresh standpoints from which we may view the loveliness of Jesus; how amiable are our trials when they carry us aloft where we may gain clearer views of Jesus than ordinary life could afford us! We have seen him from the top of Amana, from the top of Shenir and Hermon, and he has shone upon us as the sun in his strength; but we have seen him also "from the lions' dens, from the mountains of the leopards," and he has lost none of his loveliness. From the languishing of a sick bed, from the borders of the grave, have we turned our eyes to our soul's spouse, and he has never been otherwise than "all fair." Many of his saints have looked upon him from the gloom of dungeons, and from the red flames of the stake, yet have they never uttered an ill word of him, but have died extolling his surpassing charms. Oh, noble and pleasant employment to be forever gazing at our sweet Lord Jesus! Is it not unspeakably delightful to view the Saviour in all his offices, and to perceive him matchless in each?--to shift the kaleidoscope, as it were, and to find fresh combinations of peerless graces? In the manger and in eternity, on the cross and on his throne, in the garden and in his kingdom, among thieves or in the midst of cherubim, he is everywhere "altogether lovely." Examine carefully every little act of his life, and every trait of his character, and he is as lovely in the minute as in the majestic. Judge him as you will, you cannot censure; weigh him as you please, and he will not be found wanting. Eternity shall not discover the shadow of a spot in our Beloved, but rather, as ages revolve, his hidden glories shall shine forth with yet more inconceivable splendour, and his unutterable loveliness shall more and more ravish all celestial minds.

At the heart of the Reformation message was a rejection of the power of individual believers, or of the church acting on their behalf, to affect God's judgment about who should be saved and who should be damned. Martin Luther had been convinced, like Augustine, of the powerlessness and unworthiness of fallen humanity, and struck by the force of God's mercy. Good works could not merit this mercy, or affect a sovereign God; instead individual sinners were entirely dependent on God's mercy and justified (saved) by faith alone. Jean Calvin, a generation later, developed more clearly the predestinarian implications - since some men were saved and some were damned, and since this had nothing to do with their own efforts, it must mean that God had created some men predestined for salvation (the elect). This seemed to imply that He must also have predestined other men for damnation (double predestination), a line of argument which led into dangerous territory. Some theologians, Calvin's close associate Beza among them, went further and argued that the entire course of human history was foreordained prior to Adam and Eve's fall in the Garden of Eden. These views (particularly the latter, 'supralapsarian' arguments) seemed to their opponents to suggest that God was the author of the sin, both in Eden and in those who were subsequently predestined for damnation. They also raised a question about Christ's sacrifice on the cross - had that been made to atone for the sins of all, or only of the elect? Because of these dangers many of those with strong predestinarian views were unsure about whether the doctrine should be openly preached. Clever theologians, like expensive lawyers, are adept at failing to push arguments too far and there were many respectable positions short of the one adopted by Beza. But predestination was for many Protestants a fundamental - retreat from this doctrine implied a role for free will expressed in works rather than justification by faith. It thus reopened the door to the corruptions of late-medieval Christianity.

She did not like it that Jasper should shoot birds; but it was only a stage; they all went through stages. Why, she asked, pressing her chin on James's head, should they grow up so fast? Why should they go to school? She would have liked always to have had a baby. She was happiest carrying one in her arms. Then people might say she was tyrannical, domineering, masterful, if they chose; she did not mind. And, touching his hair with her lips, she thought, he will never be so happy again, but stopped herself, remembering how it angered her husband that she should say that. Still, it was true. They were happier now than they would ever be again. A tenpenny tea set made Cam happy for days. She heard them stamping and crowing on the floor above her head the moment they awoke. They came bustling along the passage. Then the door sprang open and in they came, fresh as roses, staring, wide awake, as if this coming into the dining-room after breakfast, which they did every day of their lives, was a positive event to them, and so on, with one thing after another, all day long, until she went up to say good-night to them, and found them netted in their cots like birds among cherries and raspberries, still making up stories about some little bit of rubbish - something they had heard, something they had picked up in the garden. They all had their little treasures... And so she went down and said to her husband, Why must they grow up and lose it all? Never will they be so happy again. And he was angry. Why take such a gloomy view of life? he said. It is not sensible. For it was odd; and she believed it to be true; that with all his gloom and desperation he was happier, more hopeful on the whole, than she was. Less exposed to human worries - perhaps that was it. He had always his work to fall back on. Not that she herself was "pessimistic," as he accused her of being. Only she thought life - and a little strip of time presented itself to her eyes - her fifty years. There it was before her - life. Life, she thought - but she did not finish her thought.

That the life of Man is but a dream has been sensed by many a one, and I too am never free of the feeling. When I consider the restrictions that are placed on the active, inquiring energies of Man; when I see that all our efforts have no other result than to satisfy needs which in turn serve no purpose but to prolong our wretched existence, and then see that all our reassurance concerning the particular questions we probe is no more than dreamy resignation, since all we are doing is to paint our prison walls with colourful figures and bright views – all of this, Wilhelm, leaves me silent. I withdraw into myself, and discover a world, albeit a notional world of dark desire rather than one of actuality and vital strength. And everything swims before my senses, and I go my way in the world wearing the smile of the dreamer. All our learned teachers and educators are agreed that children do not know why they want what they want; but no one is willing to believe that adults too, like children, wander about this earth in a daze and, like children, do not know where they come from or where they are going, act as rarely as they do according to genuine motives, and are as thoroughly governed as they are by biscuits and cake and the rod. And yet it seems palpably clear to me. I gladly confess, since I know the reply you would want to make, that they are the happiest who, like children, live for the present moment, drag their dolls around and dress and undress them, and watchfully steal by the drawer where Mama has locked away the cake, and, when at last they get their hands on what they want, devour it with their cheeks crammed full and cry, ‘More!’ – They are happy creatures. And those others, who give pompous titles to their beggarly pursuits and even to their passions, and chalk them up as vast enterprises for the good and well-being of mankind, they too are happy. – It is all very well for those who can be like that! But he who humbly perceives where it is all leading, who sees how prettily the happy man makes an Eden of his garden, and how even the unhappy man goes willingly on his weary way, panting beneath his burden, and that all are equally interested in seeing the light of the sun for one minute more – he indeed will be silent, and will create a world from within for himself, and be happy because he is a man. And then, confined as he may be, he none the less still preserves in his heart the sweet sensation of freedom, and the knowledge he can quit this prison whenever he wishes.

For while asceticism is certainly an important strand in the frugal tradition, so, too, is the celebration of simple pleasures. Indeed, one argument that is made repeatedly in favor of simple living is that it helps one to appreciate more fully elementary and easily obtained pleasures such as the enjoyment of companionship and natural beauty. This is another example of something we have already noted: the advocates of simple living do not share a unified and consistent notion of what it involves. Different thinkers emphasize different aspects of the idea, and some of these conflict. Truth, unlike pleasure, has rarely been viewed as morally suspect. Its value is taken for granted by virtually all philosophers. Before Nietzsche, hardly anyone seriously considered as a general proposition the idea that truth may not necessarily be beneficial.26 There is a difference, though, between the sort of truth the older philosophers had in mind and the way truth is typically conceived of today. Socrates, the Epicureans, the Cynics, the Stoics, and most of the other sages assume that truth is readily available to anyone with a good mind who is willing to think hard. This is because their paradigm of truth—certainly the truth that matters most—is the sort of philosophical truth and enlightenment that can be attained through a conversation with like-minded friends in the agora or the garden. Searching for and finding such truth is entirely compatible with simple living. But today things are different. We still enjoy refined conversation about philosophy, science, religion, the arts, politics, human nature, and many other areas of theoretical interest. And these conversations do aim at truth, in a sense. As Jürgen Habermas argues, building on Paul Grice’s analysis of conversational conventions, regardless of how we actually behave and our actual motivations, our discussions usually proceed on the shared assumption that we are all committed to establishing the truth about the topic under discussion.27 But a different paradigm of truth now dominates: the paradigm of truth established by science. For the most part this is not something that ordinary people can pursue by themselves through reflection, conversation, or even backyard observation and experiment. Does dark matter exist? Does eating blueberries decrease one’s chances of developing cancer? Is global warming producing more hurricanes? Does early involvement with music and dance make one smarter or morally better? Are generous people happier than misers? People may discuss such questions around the table. But in most cases when we talk about such things, we are ultimately prepared to defer to the authority of the experts whose views and findings are continually reported in the media.

A fierce battle was taking place at Tobruk, and nothing thrilled him more than spirited warfare and the prospect of military glory. He stayed up until three-thirty, in high spirits, “laughing, chaffing and alternating business with conversation,” wrote Colville. One by one his official guests, including Anthony Eden, gave up and went to bed. Churchill, however, continued to hold forth, his audience reduced to only Colville and Mary’s potential suitor, Eric Duncannon. Mary by this point had retired to the Prison Room, aware that the next day held the potential to change her life forever. — IN BERLIN, MEANWHILE, HITLER and Propaganda Minister Joseph Goebbels joked about a newly published English biography of Churchill that revealed many of his idiosyncrasies, including his penchant for wearing pink silk underwear, working in the bathtub, and drinking throughout the day. “He dictates messages in the bath or in his underpants; a startling image which the Führer finds hugely amusing,” Goebbels wrote in his diary on Saturday. “He sees the English Empire as slowly disintegrating. Not much will be salvageable.” — ON SUNDAY MORNING, a low-grade anxiety colored the Cromwellian reaches of Chequers. Today, it seemed, would be the day Eric Duncannon proposed to Mary, and no one other than Mary was happy about it. Even she, however, was not wholly at ease with the idea. She was eighteen years old and had never had a romantic relationship, let alone been seriously courted. The prospect of betrothal left her feeling emotionally roiled, though it did add a certain piquancy to the day. New guests arrived: Sarah Churchill, the Prof, and Churchill’s twenty-year-old niece, Clarissa Spencer-Churchill—“looking quite beautiful,” Colville noted. She was accompanied by Captain Alan Hillgarth, a raffishly handsome novelist and self-styled adventurer now serving as naval attaché in Madrid, where he ran intelligence operations; some of these were engineered with the help of a lieutenant on his staff, Ian Fleming, who later credited Captain Hillgarth as being one of the inspirations for James Bond. “It was obvious,” Colville wrote, “that Eric was expected to make advances to Mary and that the prospect was viewed with nervous pleasure by Mary, with approbation by Moyra, with dislike by Mrs. C. and with amusement by Clarissa.” Churchill expressed little interest. After lunch, Mary and the others walked into the rose garden, while Colville showed Churchill telegrams about the situation in Iraq. The day was sunny and warm, a nice change from the recent stretch of cold. Soon, to Colville’s mystification, Eric and Clarissa set off on a long walk over the grounds by themselves, leaving Mary behind. “His motives,” Colville wrote, “were either Clarissa’s attraction, which she did not attempt to keep in the background, or else the belief that it was good policy to arouse Mary’s jealousy.” After the walk, and after Clarissa and Captain Hillgarth had left, Eric took a nap, with the apparent intention (as Colville

Jane, the captain, and the colonel begged out of cards, sat by the window, and made fun of Mr. Nobley. She glanced once at the garden, imagined Martin seeing her now, and felt popular and pretty--Emma Woodhouse from curls to slippers. It certainly helped that all the men were so magnificent. Unreal, actually. Austenland was feeling cozier. “Do you think he hears us?” Jane asked. “See how he doesn’t lift his eyes from that book? In all, his manners and expression are a bit too determined, don’t you think?” “Right you are, Miss Erstwhile,” Colonel Andrews said. “His eyebrow is twitching,” Captain East said gravely. “Why, so it is, Captain!” the colonel said. “Well observed.” “Then again, the eyebrow twitch could be caused by some buried guilt,” Jane said. “I believe you’re right again, Miss Erstwhile. Perhaps he does not hear us at all.” “Of course I hear you, Colonel Andrews,” said Mr. Nobley, his eyes still on the page. “I would have to be deaf not to, the way you carry on.” “I say, do not be gruff with us, Nobley, we are only having a bit of fun, and you are being rather tedious. I cannot abide it when my friends insist on being scholarly. The only member of our company who can coax you away from those books is our Miss Heartwright, but she seems altogether too pensive tonight as well, and so our cause is lost.” Mr. Nobley did look up now, just in time to catch Miss Heartwright’s face turn away shyly. “You might show a little more delicacy around the ladies, Colonel Andrews,” he said. “Stuff and nonsense. I agree with Miss Erstwhile, you are acting like a scarecrow. I do not know why you put on this act, Nobley, when around the port table or out in the field you’re rather a pleasant fellow.” “Really? That is curious,” Jane said. “Why, Mr. Nobley, are you generous in your attentions with gentlemen and yet taciturn and withdrawn around the fairer sex?” Mr. Nobley’s eyes were back on the printed page, though they didn’t scan the lines. “Perhaps I do not possess the type of conversation that would interest a lady.” “You say ‘perhaps’ as though you do not believe it yourself. What else might be the reason, sir?” Jane smiled. Needling Mr. Nobley was feeling like a very productive use of the evening. “Perhaps another reason might be that I myself do not find the conversation of ladies to be very stimulating.” His eyes were dark. “Hm, I just can’t imagine why you’re still unmarried.” “I might say the same for you.” “Mr. Nobley!” cried Aunt Saffronia. “No, it’s all right, Aunt,” Jane said. “I asked for it. And I don’t even mind answering.” She put a hand on her hip and faced him. “One reason why I am unmarried is because there aren’t enough men with guts to put away their little boy fears and commit their love and stick it out.” “And perhaps the men do not stick it out for a reason.” “And what reason might that be?” “The reason is women.” He slammed his book shut. “Women make life impossible until the man has to be the one to end it. There is no working it out past a certain point. How can anyone work out the lunacy?” Mr. Nobley took a ragged breath, then his face went red as he seemed to realize what he’d said, where he was. He put the book down gently, pursed his lips, cleared his throat. No one in the room made eye contact. “Someone has issues,” said Miss Charming in a quiet, singsongy voice. “I beg you, Lady Templeton,” Colonel Andrews said, standing, his smile almost convincingly nonchalant, “play something rousing on the pianoforte. I promised to engage Miss Erstwhile in a dance. I cannot break a promise to such a lovely young thing, not and break her heart and further blacken her view of the world, so you see my urgency.” “An excellent suggestion, Colonel Andrews,” Aunt Saffronia said. “It seems all our spirits could use a lift.

The garden is open to the public, although there are no signs to indicate this. It is a small place, hidden from view.

the first Amazonians did avoid the Dilemma of Rainfall Physics. Speaking broadly, their solution was not to clear the forest but to replace it with one adapted to human use. They set up shop on the bluffs that mark the edge of high water—close enough to the river to fish, far enough to avoid the flood. And then, rather than centering their agriculture on annual crops, they focused on the Amazon’s wildly diverse assortment of trees. In his view, the Amazon’s first inhabitants laboriously cleared small plots with their stone axes. But rather than simply planting manioc and other annual crops in their gardens until the forest took them over, they planted selected tree crops along with the manioc and managed the transition. Of the 138 known domesticated plant species in the Amazon, more than half are trees.

Many times creatively responding to change immediately puts us on the edge of culture and friendships. People who ride the edge are marginalized until others accept the new reality and the new adaptation. Those with diverse points of view who are willing to make changes in their living systems and risk loss of status are crucial pioneers. How else can solution be adapted unless early adopters take the opportunity?

We'd hardly stepped three feet outside when Bee gasped, pointing to the garden to our right. "Henry!" she exclaimed, surveying hundreds of delicate light green leaves that had pushed up from the soil in grand formation, showcasing a carpet of tiny lavender-colored flowers, with dark purple centers. Bee looked astonished. "How did they... where did they come from?" Henry shook his head. "I noticed them two weeks ago. They just appeared." Bee turned to me, and upon seeing my confused face, she offered an explanation. "They're wood violets," she said. "I haven't seen them on the island since..." "They're very rare," Henry said, filling the void that Bee had left when her voice trailed off. "You can't plant them, for they won't grow. They have to choose you." Bee's eyes met Henry's, and she smiled, a gentle, forgiving smile. It warmed me to see it. "Evelyn has a theory about these flowers," she said, pausing as if to pull a dusty memory off a shelf in her mind, handling it with great care. "Yes," she said, the memory in plain view. "She used to say they grow where they are needed, that they signal healing, and hope. It's ridiculous, isn't it, Henry, to think that violets can know," Bee continued. Henry nodded. "Harebrained," he said in agreement. Bee shook her head in disbelief. "And to see them in bloom, in March of all months..." Henry nodded. "I know." Neither took their eyes off the petals before them, so fragile, yet in great numbers stalwart and determined.

As though the gorgeous pool and expansive view weren’t enough, the surrounding gardens were littered with giant movie-set-like props:

Dimly, he remembered a view of Syon House on the other side of the river. He knew of someone who had held their wedding reception there, their wedding breakfast. The idea of a wedding breakfast seemed enchanting to him. He thought of Melody; a throng of people, the ghosts of his past, were the guests. And he saw it at last, farther away than he had thought, like a house painted onto the backdrop of a stage in muted colours. Was this why he had come? The lion on the ramparts reminded him of himself and his own inadequacies and his mane tied down. He veered off through the trees in the direction that the wind seemed to blow him. The leaves of eucalyptus, oak and pine roared at him behind his back.

You prefer fantastical endings rather than those which illustrate reality,” Slater said. “In my view there are cheerful endings and sad endings but they are all fantastical by definition—otherwise they would not be classified as fiction.

Angus turned to Domenica. "This view always makes me feel sad. I don't know why, but it does." He drew in his breath, savouring the freshness of the air. Freshly mown grass was upon it, and the smell of lavender, too, from Elspeth's kitchen garden. "Well, perhaps not sad--more wistful, perhaps, which is one notch below actual sadness.

Gardenscape Hack 2021 Latest sites.google. com/view/garden-scapes-hack-2021

Here at TimClad York Timber, we work to provide you with your dream timber building, whether that be a summerhouse, garden shed, timber workshop and so much more. There are multiple show-sites throughout Yorkshire and they can be found in: York, Snaith, Goole, Leeds and Chesterfield. Each site has a vast range of garden buildings, so your dream garden building might be able to be viewed on your door step.

When tourism was connected to beautification, with wildflower trails, wildflower festivals, great gardens, we pretty much took the word beauty out of the sole province of the "ladies at a tea party" to the province of the business community.

Doubtless these desperate and dark struggles are to be called superstition when viewed by the side of true religion ; and it is easy enough to speak of them as superstition, when we have been informed of the gracious and joyful result in which the scheme of Divine Governance issues. But it is man’s truest and best religion, before the Gospel shines on him. If our race be in a fallen and depraved state, what ought our religion to be but anxiety and remorse till God comfort us? Surely to be in gloom— -to view ourselves with horror — to look about to the right hand and to the left for means of safety — to catch at everything, yet trust in nothing— to do all we can, and try to do more than all — and, after all, to wait in miserable suspense, naked and shivering, among the trees of the garden, for the hour of His coming, and meanwhile to fancy sounds of woe in every wind stirring the leaves about us — in a word, to be superstitious — is nature’s best offering, her most acceptable service, her most mature and enlarged wisdom, in the presence of a holy and offended God .

The pathway back to the kitchens led through the herb gardens. At that time of year, lavender and dill and fennel grow tall, and this year they seemed even taller than usual. I heard one woman say querulously to another, “Just see how they’ve let the gardens go! Disgraceful. Pull up that weed, if you can reach it.” Then, as I stepped into view, I recognized Lacey’s voice as she said, “I don’t think that’s a weed, dear heart. I think it’s a marigo— Well it’s too late now, whatever it was, you’ve got it up, roots and all. Give it to me, and I’ll throw it in the bushes where no one will find it.” And there they were, two dear old ladies, Patience in a summer gown and hat that had probably last seen the light of day when my father was King-in-Waiting. Lacey, as ever, was dressed in a simple robe of a serving woman. Patience carried her slippers in one hand and the torn-out marigold in the other. She looked at me nearsightedly. Perhaps she saw no more than the blue of a guard’s uniform as she declared to me sternly, “Well, it didn’t belong there!” She shook the offending plant at me. “That’s what a weed is, young man, a plant growing in the wrong place, so you needn’t stare at me so! Didn’t your mother ever teach you any manners?

Truth” is a form of this honoring that we speak of and is a part of what may be known as integrity of the soul. As one may come to see, when there is any identity, there will always be a subjective viewpoint. “Truth,” in a sense, may only be experienced through this subjective viewpoint. And as we become nimble and honor each view, a more complete picture may be known of “truth”. In a sense, we all operate in “truth,” but what is the truth that we are operating through? This is a question which can be gold to each of us.

The lens can act in many different ways and lenses can be stacked on top of each other in order to produce varying types of views. Take the fish-eye lens as an example. The glass on the lens is shaped in a certain way in order for the light to enter and produce a certain kind of distorted view. We all are born with a lens, but usually we get to kind of start at ground zero in the process of beginning to understand, use, and interpret what this physical reality is. As our eyes open and we start to interface with this new reality, we form connections and synapses within our brain for interpretation and use of this new tool that we have. And much of this develops through the guidance or non-guidance of those caring for us. So much starts to become ingrained, and even in some cases we can borrow other people’s lenses in order to feel safe in the world. Sometimes the layers and layers can become quite complex. How many of you feel that anything you come in contact with gets to be translated through a menagerie of different thoughts, ideas, and histories before it fully gets seen?

Pilgrim’s Progress by Stewart Stafford Solitary steps in silence grim, As waters lapped the lakeside’s rim, In our time, before and aft, Magpies cackled, crows laughed. I drew level with a miasmic curtain, In vapour folds, to views uncertain, Sound grew thick in compensation, I took each step with trepidation. Sweet breath wind, fog dispersed, Marvelling at the ground traversed, The garden path to a shelter trite, As hailstones on my windows bite. © Stewart Stafford, 2024. All rights reserved.

Perhaps, she thought, in the future, she should listen to others and talk about issues before being so strident with her own views. She did have a tendency to assume everyone agreed with her without even asking.

During his years in America, his reading of Walt Whitman, Ralph Waldo Emerson, and the American utopians helped shape his views on how a better life might be achieved through town planning. In 1898, he published Tomorrow: A Peaceful Path to Real Reform, later retitled Garden Cities of Tomorrow. His vision of what he called “town-country” remains valid.

She would be a lighthouse, shining brightly, and she would encourage them to nourish their every gift and dream. She would never impose her views of what they should do. She would nurture them and let them have their voices, becoming who God had meant them to be.

Whenever I tell anyone my in-laws have a beach house in Sorrento, they make appreciative noises. Sorrento, ooh la la. I understand why. Tom and Diana’s clifftop beach house is arguably one of the most spectacular houses on the Mornington peninsula, a 1900s sandstone braced into the cliff with manicured gardens and a whitewashed timber path built down to the beach. There is a pool, a tennis court and a three-tiered limestone patio with uninterrupted sea views. I hate it.

We therefore need to work with what evolution has provided us to cultivate a moral society that works for the benefit of all, in the same way that we cultivate a garden.

Let us be women who Love. Let us be women willing to lay down our sword words, our sharp looks, our ignorant silence and towering stance and fill the earth now with extravagant Love. Let us be women who Love. Let us be women who make room. Let us be women who open our arms and invite others into an honest, spacious, glorious embrace. Let us be women who carry each other. Let us be women who give from what we have. Let us be women who leap to do the difficult things, the unexpected things and the necessary things. Let us be women who live for Peace. Let us be women who breathe Hope. Let us be women who create beauty. Let us be women who Love. Let us be a sanctuary where God may dwell. Let us be a garden for tender souls. Let us be a table where others may feast on the goodness of God. Let us be a womb for Life to grow. Let us be women who Love. Let us rise to the questions of our time. Let us speak to the injustices in our world. Let us move the mountains of fear and intimidation. Let us shout down the walls that separate and divide. Let us fill the earth with the fragrance of Love. Let us be women who Love. Let us listen for those who have been silenced. Let us honour those who have been devalued. Let us say, Enough! with abuse, abandonment, diminishing and hiding. Let us not rest until every person is free and equal. Let us be women who Love. Let us be women who are savvy, smart, and wise. Let us be women who shine with the light of God in us. Let us be women who take courage and sing the song in our hearts. Let us be women who say, Yes to the beautiful, unique purpose seeded in our souls. Let us be women who call out the song in another’s heart. Let us be women who teach our children to do the same. Let us be women who Love. Let us be women who Love, in spite of fear. Let us be women who Love, in spite of our stories. Let us be women who Love loudly, beautifully, Divinely. Let us be women who Love.

and Hiking: Madeira's stunning landscapes and network of hiking trails make walking and hiking popular activities for visitors. The island is crisscrossed with Levada walks, mountain trails, and coastal paths, offering opportunities to explore its natural beauty on foot. Guided hiking tours are available for those looking for expert guidance and insight into Madeira's flora, fauna, and geology. Cable Cars and Funiculars:  In certain areas of Madeira, such as Funchal and Monte, cable cars and funiculars provide scenic rides and convenient access to viewpoints, gardens, and other attractions. The Monte Cable Car, for example, takes passengers from Funchal to the hillside village of Monte, offering panoramic views of the city and harbor along the way.

is dead. ‘You’re on your own now, baby,’ he informed me more than once and gleefully from his hospital bed. I miss the discipline they all imposed on my days and I find it hard to structure life around myself, despite the necessary impositions of work. This perhaps will come with practice. But from this new freedom I have learned a great deal about what I do and don’t need; I have also learned to be careful about wishes, for they often come true. And I realise now that this is a fine time. I don’t care about being young or old or whatever. I am past the anxieties of earlier days, no longer concerned about image or identity or A-levels, no longer fearful of shop assistants or doctors’ receptionists. I can admit, without giving a damn, to being a slut, liking salad cream, holding certain politically incorrect views. I can still change and grow, mentally and physically. At this interesting point in life, one may be whoever and whatever age one chooses. One may drink all night, smash bones in hunting accidents, travel the spinning globe. One may teach one’s grandchildren rude rhymes and Greek myths. One may also move very slowly round the garden in a shapeless coat, planting drifts of narcissus bulbs for latter springs.

[A former croft worker] hated the industrial system and had found liberation by operating a market garden on the edge of the moors where he had the use of a powerful telescope erected on his land. Indoors he gave magic-lantern shows of the heavens and their constellations, and on clear evenings at the dark of the year we were invited to view the rings around Saturn, the beauty of the Milky Way or the craters and valleys of the Moon. After carefully sighting the objects he turned to us solemnly, “Sithee, lasses, isn’t that a marvelous seet; a stupendous universe, yet we fritter our lives away i’ wars and petty spites!” As youngsters we gazed, inclined to giggle; then came a moment of silent awe as awareness of “night clad in the beauty of a thousand inauspicious stars—the vast of night and its void”—seeped into consciousness.26

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.

A tea master horrified his pupils by planting a hedge in his garden, blocking the view of the Inland Sea for which his school was famous,' I said, half to myself. 'He left only a gap in the hedge and set a basin before it. Anyone drinking from it would have to bend down and look at the sea through the hole.' 'Why do you think he planted the hedge to block out the famous view?' 'Tominaga explained it to me but I've only just really understood it now - the effect of seeing the view is much more powerful than if the sea has not been obstructed.

But we are the gardener. We have to learn how to water the wholesome seeds that are in us so they will bloom into the flowers of Right View. The instrument for watering wholesome seeds is mindful living — mindful breathing, mindful walking, living each moment of our day in mindfulness.

If I find this nostalgia for a "vanished" landscape a bit strange it is probably because as I write I can look from my window over twenty miles of superb countryside to the sea and a sparsely populated coast. This county, like many others, has seemingly limitless landscapes of great beauty and variety, unspoiled by excessive tourism or the uglier forms of industry. Elsewhere big cities have certainly destroyed the surrounding countryside but rapid transport now makes it possible for a Londoner to spend the time they would have needed to get to Box Hill forty years ago in getting to Northumberland. I think it is simple neophobia which makes people hate the modern world and its changing society; it is xenophobia which makes them unable to imagine what rural beauty might lie beyond the boundaries of their particular Shire. They would rather read Miss Read and The Horse Whisperer and share a miserable complaint or two on the commuter train while planning to take their holidays in Bournemouth, as usual, because they can't afford to go to Spain this year. They don't want rural beauty anyway; they want a sunny day, a pretty view. Writers like Tolkien take you to the edge of the Abyss and point out the excellent tea-garden at the bottom, showing you the steps carved into the cliff and reminding you to be a bit careful because the hand-rails are a trifle shaky as you go down; they haven't got the approval yet to put a new one in. I never liked A. A. Milne, even when I was very young. There is an element of conspiratorial persuasion in his tone that a suspicious child can detect early in life. Let's all be cosy, it seems to say (children's books are, after all, often written by conservative adults anxious to maintain an unreal attitude to childhood); let's forget about our troubles and go to sleep. At which I would find myself stirring to a sitting position in my little bed and responding with uncivilized bad taste.

Relais Henley is an elegant boutique hotel nestled in the picturesque town of Henley-on-Thames, Oxfordshire. This charming retreat masterfully blends historic details with modern comfort, offering beautifully appointed rooms. Guests can enjoy stunning views of the River Thames, delicious farm-to-table dining at the on-site restaurant, and tranquil moments in the courtyard gardens.

Every time I am shown to an old, dimly lit, and, I would add, impeccably clean toilet in a Nara or Kyoto temple, I am impressed with the singular virtues of Japanese architecture. The parlor may have its charms, but the Japanese toilet is truly a place of spiritual repose. It always stands apart from the main building, at the end of a corridor, in a grove fragrant with leaves and moss. No words can describe that sensation as one sits in the dim light, basking in the faint glow reflected from the shoji, lost in meditation or gazing out at the garden. The novelist Natsume Sōseki counted his morning trips to the toilet a great pleasure, “a physiological delight” he called it. And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, one looks out upon blue skies and green leaves. As I have said there are certain prerequisites: a degree of dimness, absolute cleanliness, and quiet so complete one can hear the hum of a mosquito. I love to listen from such a toilet to the sound of softly falling rain, especially if it is a toilet of the Kantō region, with its long, narrow windows at floor level; there one can listen with such a sense of intimacy to the raindrops falling from the eaves and the trees, seeping into the earth as they wash over the base of a stone lantern and freshen the moss about the stepping stones. And the toilet is the perfect place to listen to the chirping of insects or the song of the birds, to view the moon, or to enjoy any of those poignant moments that mark the change of the seasons. Here, I suspect, is where haiku poets over the ages have come by a great many of their ideas. Indeed one could with some justice claim that of all the elements of Japanese architecture, the toilet is the most aesthetic. Our forebears, making poetry of everything in their lives, transformed what by rights should be the most unsanitary room in the house into a place of unsurpassed elegance, replete with fond associations with the beauties of nature.

The world around her was stratified. She saw that ever more clearly. The up top concerned itself with a blurring view, taking for granted the squeezed juice enjoyed with breakfast. The people who lived below and worked the gardens or cleaned animal cages orbited their own world of soil, greenery, and fertilizer. To them, the outside view was peripheral, ignored until there was a cleaning. And then there was the down deep, the machine shops and chemistry labs, the pumping oil and grinding gears, the hands-on world of grease-limned fingernails and the musk of toil. To these people, the outside world and the food that trickled down were mere rumors and bodily sustenance. The point of the silo was for the people to keep the machines running, when Jahns had always, her entire long life, seen it the other way around.

HAWAII is drawing a line in the sand, right where it hopes to build a presidential library for native son President Obama. The oceanfront library would have a dramatic view of the Diamond Head volcanic crater and Hawaii’s abundant sunshine would generate solar power to support on-site vegetable gardens. "You can’t beat waterfront land in Honolulu, with all due respect for the other cities," Sen. Brian Schatz (D-Hawaii) said Thursday.

snapping a bird’s-eye view of your garden; for $700, one equipped with a gyroscopically stabilised camera which, when paired with a wireless tracking device on your wrist, will film you while you ski, cycle or kite-surf. More significantly still, as our Technology Quarterly outlines this week, drones could revolutionise all sorts of businesses.

We are like every single plant and stone and view in the garden, I thought, the distance between one another carefully measured.