Granite Stone Quotes

The block of granite which was an obstacle in the pathway of the weak becomes a stepping-stone in the pathway of the strong.

To shut your eyes is to guess nothing of blindness. Beneath your world of skies and faces and buildings exists a rawer and older world, a place where surface planes disintegrate and sounds ribbon in shoals through the air. Marie-Laure can sit in an attic high above the street and hear lilies rustling in marshes two miles away. She hears Americans scurry across farm fields, directing their huge cannons at the smoke of Saint-Malo; she hears families sniffling around hurricane lamps in cellars, crows hopping from pile to pile, flies landing on corpses in ditches; she hears the tamarinds shiver and the jays shriek and the dune grass burn; she feels the great granite fist, sunk deep into the earth’s crust, on which Saint-Malo sits, and the ocean teething at it from all four sides, and the outer islands holding steady against the swirling tides; she hears cows drink from stone troughs and dolphins rise through the green water of the Channel; she hears the bones of dead whales stir five leagues below, their marrow offering a century of food for cities of creatures who will live their whole lives and never once see a photon sent from the sun. She hears her snails in the grotto drag their bodies over the rocks.

Children born of fairy stock Never need for shirt or frock Never want for food or fire Always get their heart's desire Jingle pockets full of gold Marry when they're seven years old Every fairy child may keep Two strong ponies and ten sheep All have houses, each his own Built of brick or granite stone They live on cherries, they run wild I'd love to be a fairy's child

People who walk across dark bridges, past saints, with dim, small lights. Clouds which move across gray skies past churches with towers darkened in the dusk. One who leans against granite railing gazing into the evening waters, His hands resting on old stones.

Always the seer is a sayer. Somehow his dream is told; somehow he publishes it with solemn joy: sometimes with pencil on canvas, sometimes with chisel on stone, sometimes in towers and aisles of granite, his soul's worship is builded; sometimes in anthems of indefinite music, but clearest and most permanent, in words.

Although men were strong like rocks, any stone could crack. Women were more like water. They nurtured life and could shape the hardest granite through unrelenting determination.

And Winterfell … grey granite, oak and iron, crows wheeling around the towers, steam rising off the hot pools in the godswood, the stone kings sitting on their thrones … how could Winterfell be gone?

Lay down these words Before your mind like rocks. placed solid, by hands In choice of place, set Before the body of the mind in space and time: Solidity of bark, leaf, or wall riprap of things: Cobble of milky way. straying planets, These poems, people, lost ponies with Dragging saddles -- and rocky sure-foot trails. The worlds like an endless four-dimensional Game of Go. ants and pebbles In the thin loam, each rock a word a creek-washed stone Granite: ingrained with torment of fire and weight Crystal and sediment linked hot all change, in thoughts, As well as things.

Children born of fairy stock Never need for shirt or frock Never want for food or fire Always get their heart's desire Jingle pockets full of gold Marry when they're seven years old Every fairy child may keep Two strong ponies and ten sheep All have houses, each his own Built of brick or granite stone They live on cherries, they run wild I'd love to be a fairy's child

Once, we built structures entirely from the most durable substances we knew: granite block, for instance. The results are still around today to admire, but we don’t often emulate them, because quarrying, cutting, transporting, and fitting stone require a patience we no longer possess.

In the dream from which he'd wakened he had wandered in a cave where the child led him by the hand. Their light playing over the wet flowstone walls. Like pilgrims in a fable swallowed up and lost among the inward parts of some granitic beast. Deep stone flues where the water dripped and sang. Tolling in the silence the minutes of the earth and the hours and the days of it and the years without cease. Until they stood in a great stone room where lay a black and ancient lake. And on the far shore a creature that raised its dripping mouth from the rimstone pool and stared into the light with eyes dead white and sightless as the eggs of spiders. It swung its head low over the water as if to take the scent of what it could not see. Crouching there pale and naked and translucent, its alabaster bones cast up in shadow on the rocks behind it. Its bowels, its beating heart. The brain that pulsed in a dull glass bell. It swung its head from side to side and then gave out a low moan and turned and lurched away and loped soundlessly into the dark.

Slim cunning hands at rest, and cozening eyes, Under this stone one loved too wildly lies; How false she was, no granite could declare; Nor all earth's flowers, how fair.

The block of granite which was an obstacle in the pathway of the weak, became a stepping-stone in the pathway of the strong.

Lines written for a thirtieth wedding anniversary Somewhere up in the eaves it began: high in the roof – in a sort of vault between the slates and the gutter – a small leak. Through it, rain which came from the east, in from the lights and foghorns of the coast – water with a ghost of ocean salt in it – spilled down on the path below. Over and over and over years stone began to alter, its grain searched out, worn in: granite rounding down, giving way taking into its own inertia that information water brought, of ships, wings, fog and phosphor in the harbour. It happened under our lives: the rain, the stone. We hardly noticed. Now this is the day to think of it, to wonder: all those years, all those years together – the stars in a frozen arc overhead, the quick noise of a thaw in the air, the blue stare of the hills – through it all this constancy: what wears, what endures.

He looked at the granite. To be cut, he thought, and made into walls. He looked at a tree. To be split and made into rafters. He looked at a streak of rust on the stone and thought of iron ore under the ground. To be melted and to emerge as girders against the sky. These rocks, he thought, are waiting for me; waiting for the drill, the dynamite and my voice; waiting to be split, ripped, pounded, reborn; waiting for the shape my hands will give them.

This exists. It can be seen. It can be touched. These in pace, these dungeons, these iron hinges, these necklets, that lofty peep-hole on a level with the river's current, that box of stone closed with a lid of granite like a tomb, with this difference, that the dead man here was a living being, that soil which is but mud, that vault hole, those oozing walls, --what declaimers!

For years, I tried not to think about Highfield Manor. The pompous rise of its granite walls, the secrets hidden in its stone-cold shadows. The dark veil of cedars shrouding the school from the outside world. But still the memories fester in me, real as a disease.

I sat on the rocks and thought of the stories I knew of nymphs who wept until they turned into stones and crying birds, into dumb beasts and slender trees, thoughts barked up for eternity. I could not even do that, it seemed. My life closed me in like granite walls.

He stood naked at the edge of a cliff. THe lake lay far below him. A frozen explosion of granite burst in flight to the sky over motionless water. The water seemed immovable, the stone- flowing. The stone had the stillness of one last movement when thrust meets thrust and the currents are held in a pause more dynamic than motion. THe stone glowed wet with sunrays. The lake below was only a thin steel ring that cut the rocks in half. The rocks went on into the depth, unchanged. They began and ended in the sky so that the world seemed suspended in space, an island floating on on nothing, anchored to the feet of the man on the cliff. His body leaned back against the sky. It was a body of long straight lines and angles each curve broken into planes. He stood rigid his hands hanging at his sides, palms out. He felt his shoulder blades drawn tight together. The curve of his neck, and the weight of the blood in his hands. He felt the wind behind him in the hollow of his spine. The wind waved his hair against the sky. His hair was neither blonde nor red, but the exact color or ripe orange rind... He stepped to the edge, raised his arms, and dived down into the sky below.

Radiation is all around us. It emanates from the sun and cosmic rays, bathing cities at high altitude in greater levels of background radiation than those at sea level. Underground deposits of thorium and uranium emit radiation, but so does masonry: stone, brick, and adobe all contain radioisotopes. The granite used to build the US Capitol is so radioactive that the building would fail federal safety codes regulating nuclear power plants. All living tissue is radioactive to some degree: human beings, like bananas, emit radiation because both contain small amounts of the radioisotope potassium 40; muscle contains more potassium 40 than other tissue, so men are generally more radioactive than women. Brazil nuts, with a thousand times the average concentration of radium of any organic product, are the world’s most radioactive food.

Ride!' went the call, and the individuals of the troop became a single lurching, streaming mass of horseflesh pounding toward the trees. The first of the men reached the tree line moments before the sound became a roar, the crack and crash of stones, of huge granite boulders large enough to smash into other parts of the cliff and send them driving downwards. The thundering sound, echoing off the walls of the mountain, was frightening and panicked the horses almost more than the boulders at their heels. It was as though the whole surface of the cliff loosened, dissolved into a liquid surface: a rain of stone, a rolling wave of stone.

Once, we built structures entirely from the most durable substances we knew: granite block, for instance. The results are still around today to admire, but we don’t often emulate them, because quarrying, cutting, transporting, and fitting stone require a patience we no longer possess. No one since the likes of Antoni Gaudí, who began Barcelona’s yet-unfinished Sagrada Familia basilica in 1880, contemplates investing in construction that our great-great-grandchildren’s grandchildren will complete 250 years hence. Nor, absent the availability of a few thousand slaves, is it cheap, especially compared to another Roman innovation: concrete.

As the track bends north-east, the ethereal sandstone disappears. The slopes turn black with granite, and the mountain's lower ridges break into unstable spikes and revetments. Their ribs are slashed in chiaroscuro, and their last outcrops pour towards the valley in the fluid, anthropomorphic shapes that pilgrims love. The spine and haunches of a massive stone beast, gazing at Kailas, are hailed as the Nandi bull, holy to Shiva; another rock has become the votive cake of Padmasambhava.

People say that certain sounds can melt a heart of stone. If there is anyone who has that sort of a heart―which I doubt (as far as I am aware hearts are made of fibrous materials, fluid sacs and pumping mechanisms)―if anyone does have a heart composed of granite or flint and therefore not at all prone to melting but just conceivably meltable when exposed to very beautiful sounds, then the sounds made by my cherrywood harp, I am confident, would do it. However, I had a feeling the heart of Ellie the Exmoor Housewife was completely lacking in stony components. I had a feeling it was made of much softer stuff.

Our eyes are always pointing at things we are interested in approaching, or investigating, or looking for, or having. We must see, but to see, we must aim, so we are always aiming. Our minds are built on the hunting-and-gathering platforms of our bodies. To hunt is to specify a target, track it, and throw at it. To gather is to specify and to grasp. We fling stones, and spears, and boomerangs. We toss balls through hoops, and hit pucks into nets, and curl carved granite rocks down the ice onto horizontal bull’s-eyes. We launch projectiles at targets with bows, guns, rifles and rockets. We hurl insults, launch plans, and pitch ideas. We succeed when we score a goal or hit a target. We fail, or sin, when we do not (as the word sin means to miss the mark70). We cannot navigate, without something to aim at and, while we are in this world, we must always navigate.

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

HOWARD ROARK LAUGHED. He stood naked at the edge of a cliff. The lake lay far below him. A frozen explosion of granite burst in flight to the sky over motionless water. The water seemed immovable, the stone flowing. The stone had the stillness of one brief moment in battle when thrust meets thrust and the currents are held in a pause more dynamic than motion. The stone glowed, wet with sunrays.

It is impossible to behold these waves without feeling a conviction that an island, though built of the hardest rock, let it be porphyry, granite, or quartz, would ultimately yield and be demolished by such an irresistible power. Yet these low, insignificant coral-islets stand and are victorious: for here another power, as an antagonist, takes part in the contest. The organic forces separate the atoms of carbonate of lime, one by one, from the foaming breakers, and unite them into a symmetrical structure. Let the hurricane tear up its thousand huge fragments; yet what will that tell against the accumulated labour of myriads of architects at work night and day, month after month? […] We feel surprise when travellers tell us of the vast dimensions of the Pyramids and other great ruins, but how utterly insignificant are the greatest of these, when compared to these mountains of stone accumulated by the agency of various minute and tender animals! This is a wonder which does not at first strike the eye of the body, but, after reflection, the eye of reason.

I, to whom nature had denied the impromptu faculty; who, in public, was by nature a cypher; whose time of mental activity, even when alone, was not under the meridian sun; who needed the fresh silence of morning, or the recluse peace of evening, to win from the Creative Impulse one evidence of his presence, one proof of his force; I, with whom that Impulse was the most intractable, the most capricious, the most maddening of masters (him before me always excepted)--a deity, which sometimes, under circumstances apparently propitious, would not speak when questioned, would not hear when appealed to, would not, when sought, be found; but would stand, all cold, all indurated, all granite, a dark Baal with carven lips and blank eye-balls, and breast like the stone face of a tomb; and again, suddenly, at some turn, some sound, some long-trembling sob of the wind, at some rushing past of an unseen stream of electricity, the irrational demon would wake unsolicited, would stir strangely alive, would rush from its pedestral like a perturbed Dagon, calling to its votary for a sacrifice, whatever the hour--to its victim for some blood or some breath, whatever the circumstance or scene--rousing its priest, treacherously promising vaticanation, perhaps filling its temple with a strange hum of oracles, but sure to give half the significance to fateful winds, and grudging to the desperate listener even a miserable remnant--yielding it sordidly, as though each word had been a drop of the deathless ichor of its own dark veins.

The block of granite which is an obstacle in the pathway of the weak, becomes a stepping-stone in the pathway of the strong.

That evening more firmly than ever fastened into my soul the conviction that Fate was of stone, and Hope a false idol - blind, bloodless, and of granite core.

The time had come to set in place the granite foundation stones of the Law.

I might as well have turned him to granite...I don’t feel like I’m cursed and full of rage. My dirty-blonde hair doesn’t slither and hiss, but the men around me are as cold and hard as stone.

Because the waters of Maine are made of hate and want to kill you. The ocean in Maine is traumatically cold. If you make the mistake of going into it, every cell in your body will begin shouting the first half of the word “hypothermia” into your brain; the second half will simply be frozen tears. And the beaches of Maine offer no relief as you launch yourself back onto shore, because the beaches of Maine are made out of jagged stones shaped like knives. Wherever the shoreline is merely slopes of smooth, unpunishing granite, Maine compensates by encrusting it with sharp barnacles and sea snails. No matter how careful you are, you cannot avoid crushing some of them under your feet. You become death when you walk on a beach in Maine, and every step is a sea snail genocide.

He paused a moment, gazing in awe at the huge mass of buildings composing the castle. It stood close to the river, on either side and to the rear stretched the extensive park and gardens, filled with splendid trees, fountains and beds of brilliant flowers in shades of pink, crimson, and scarlet. The castle itself was built of pink granite, and enclosed completely a smaller, older building which the present Duke's father had considered too insignificant for his town residence. The new castle had taken forty years to build; three architects and hundreds of men had worked day and night, and the old Duke had personally selected every block of sunset-colored stone that went to its construction. 'I want it to look like a great half-open rose,' he declared to the architects, who were fired with enthusiasm by this romantic fancy. It was begun as a wedding present to the Duke's wife, whose name was Rosamond, but unfortunately she died some nine years before it was completed. 'never mind, it will do for her memorial instead,' said the grief-stricken but practical widower. The work went on. At last the final block was laid in place. The Duke, by now very old, went out in his barouche and drove slowly along the opposite riverbank to consider the effect. He paused midway for a long time, then gave his opinion. 'It looks like a cod cutlet covered in shrimp sauce,' he said, drove home, took to his bed, and died.

The true blessing of the mountains is not that they provide a challenge or a contest, something to be overcome and dominated (although this is how many people have approached them). It is that they offer something gentler and infinitely more powerful: they make us ready to credit marvels - whether it is the dark swirl which water makes beneath a plate of ice, or the feel of the soft pelts of moss which form on the lee sides of boulders and trees. Being in the mountains reignites our astonishment at the simplest transactions of the physical world: a snowflake a millionth of an ounce in weight falling on to one's outstretched palm, water patiently carving a runnel in a face of granite, the apparently motiveless shift of a stone in a scree-filled gully. Tu put a hand down and feel the ridges and score in a rock where a glaciers has passed, to hear how a hillside comes alive with moving water after a rain shower, to see late summer light filling miles of landscape like an inexhaustible liquid - none of these is a trivial experience. Mountains returns to us priceless capacity for wonder which can so insensibly be leached away by modern existence, and they urge us to apply that wonder to our own everyday lives.

The rock I'd seen in my life looked dull because in all ignorance I'd never thought to knock it open. People have cracked ordinary New England pegmatite - big, coarse granite - and laid bare clusters of red garnets, or topaz crystals, chrysoberyl, spodumene, emerald. They held in their hands crystals that had hung in a hole in the dark for a billion years unseen. I was all for it. I would lay about me right and left with a hammer, and bash the landscape to bits. I would crack the earth's crust like a piñata and spread to the light the vivid prizes in chunks within. Rock collecting was opening the mountains. It was like diving through my own interior blank blackness to remember the startling pieces of a dream: there was a blue lake, a witch, a lighthouse, a yellow path. It was like poking about in a grimy alley and finding an old, old coin. Nothing was at it seemed. The earth was like a shut eye. Mother's not dead, dear - she's only sleeping. Pry open the thin lid and find a crystalline intelligence inside, a rayed and sidereal beauty. Crystals grew inside rock like arithmetical flowers. They lengthened and spread, adding plane to plane in awed and perfect obedience to an absolute geometry that even the stones - maybe only the stones - understood.

One day, soon after her disappearance, an attack of abominable nausea forced me to pull up on the ghost of an old mountain road that now accompanied, now traversed a brand new highway, with its population of asters bathing in the detached warmth of a pale-blue afternoon in late summer. After coughing myself inside out I rested a while on a boulder and then thinking the sweet air might do me good, walked a little way toward a low stone parapet on the precipice side of the highway. Small grasshoppers spurted out of the withered roadside weeds. A very light cloud was opening its arms and moving toward a slightly more substantial one belonging to another, more sluggish, heavenlogged system. As I approached the friendly abyss, I grew aware of a melodious unity of sounds rising like vapor from a small mining town that lay at my feet, in a fold of the valley. One could make out the geometry of the streets between blocks of red and gray roofs, and green puffs of trees, and a serpentine stream, and the rich, ore-like glitter of the city dump, and beyond the town, roads crisscrossing the crazy quilt of dark and pale fields, and behind it all, great timbered mountains. But even brighter than those quietly rejoicing colors - for there are colors and shades that seem to enjoy themselves in good company - both brighter and dreamier to the ear than they were to the eye, was that vapory vibration of accumulated sounds that never ceased for a moment, as it rose to the lip of granite where I stood wiping my foul mouth. And soon I realized that all these sounds were of one nature, that no other sounds but these came from the streets of the transparent town, with the women at home and the men away. Reader! What I heard was but the melody of children at play, nothing but that, and so limpid was the air that within this vapor of blended voices, majestic and minute, remote and magically near, frank and divinely enigmatic - one could hear now and then, as if released, an almost articulate spurt of vivid laughter, or the crack of a bat, or the clatter of a toy wagon, but it was all really too far for the eye to distinguish any movement in the lightly etched streets. I stood listening to that musical vibration from my lofty slope, to those flashes of separate cries with a kind of demure murmur for background, and then I knew that the hopelessly poignant thing was not Lolita's absence from my side, but the absence of her voice from that concord.

I cannot think of the deep sea without shuddering at the nameless things that may at this very moment be crawling and floundering on its slimy bed, worshipping their ancient stone idols and carving their own detestable likenesses on submarine obelisks of water-soaked granite.

Iriel," Cara said with a soft voice. "It's like comparing granite to clay. The clay may take shape more easily, but the granite, once you've chiseled it into place, is so much stronger. For some people, motherhood comes more easily. For others, it takes a hammer and chisel. No one is made for motherhood. Motherhood is made for you.

It is at night, especially when the moon is gibbous and waning, that I see the thing. I tried morphine; but the drug has given only transient surcease, and has drawn me into its clutches as a hopeless slave. So now I am to end it all, having written a full account for the information or the contemptuous amusement of my fellow-men. Often I ask myself if it could not all have been a pure phantasm—a mere freak of fever as I lay sun-stricken and raving in the open boat after my escape from the German man-of-war. This I ask myself, but ever does there come before me a hideously vivid vision in reply. I cannot think of the deep sea without shuddering at the nameless things that may at this very moment be crawling and floundering on its slimy bed, worshipping their ancient stone idols and carving their own detestable likenesses on submarine obelisks of water-soaked granite. I dream of a day when they may rise above the billows to drag down in their reeking talons the remnants of puny, war-exhausted mankind—of a day when the land shall sink, and the dark ocean floor shall ascend amidst universal pandemonium.

No human being could live in this wasted country, thought Mary, and remain like other people; the very children would be born twisted, like the blackened shrubs of broom, bent by the force of a wind that never ceased, blow as it would from east and west, from north and south. Their minds would be twisted, too, their thoughts evil, dwelling as they must amidst marshland and granite, harsh heather and crumbling stone.

Thanksgiving My guy buys brie, a baguette, and cherry tomatoes with his food stamps. I buy firewood and wine. We go up the canyon and light a fire in a stone fire pit and sit in soft folding chairs and talk for hours, let the penny-colored pit bull walk against the river current. And as we sit, the tall granite walls of the canyon slowly purple to black, and the sky goes out, and the flames we're sitting by get brighter and warmer, until we begin to dwindle, and we douse them, and we go.

Great diggings and foundations spread across what had been the Warders’ practice yard, tall wooden cranes and stacks of cut marble and granite. Masons and laborers swarmed over the workings like ants, and endless streams of wagons trailed through the gates onto the Tower grounds, bringing more stone. To one side stood a wooden “working model,” as the masons called it, big enough for men to enter crouching on their heels and see every detail, where every stone should go. Most of the workmen could not read, after all—neither words nor mason’s drawn plans. The “working model” was as large as some manor houses. When any king or queen had a palace, why should the Amyrlin Seat be relegated to apartments little better than those of many ordinary sisters? Her palace would match the White Tower for splendor, and have a great spire ten spans higher than the Tower itself. The blood had drained from the chief mason’s face when he heard that. The Tower had been Ogier-built, with assistance from sisters using the Power. One look at Elaida’s face, however, set Master Lerman bowing and stammering that of course all would be done as she wished. As if there had been any question. Her mouth tightened with exasperation. She had wanted Ogier masons again, but the Ogier were confining themselves to their stedding for some reason. Her summons to the nearest, Stedding Jentoine, in the Black Hills, had been met with refusal. Polite, yet still refusal, without explanation, even to the Amyrlin Seat.

I cannot think of the deep sea without shuddering at the nameless things that may at this very moment be crawling and floundering on its slimy bed, worshipping their ancient stone idols and carving their own detestable likenesses on submarine obelisks of water-soaked granite. I dream of a day when they may rise above the billows to drag down in their reeking talons the remnants of puny, war-exhausted mankind—of a day when the land shall sink, and the dark ocean floor shall ascend amidst universal pandemonium.

I cannot think of the deep sea without shuddering at the nameless things that may at this very moment be crawling and floundering on its slimy bed, worshipping their ancient stone idols and carving their own detestable likenesses on submarine obelisks of water-soaked granite. I dream of a day when they may rise above the billows to drag down in their reeking talons the remnants of puny, war-exhausted mankind- of a day when the land shall sink, and the dark ocean floor shall ascend amidst universal pandemonium.

What was truly specific to Nazi architecture was its crushing monumentality, which aimed to herd the people and overwhelm or stun the subjected masses, as Speer later realized. The gigantism that characterized Nazi architecture seemed to aim to crush the individual and bear down upon the people through its disproportionate size, compressing them into a compact mass so that every interstitial space that distanced or differentiated one person from another disappeared into the greater whole of an organic totalitarian entity. The political space of the democratic agon, a space "paradoxically linked to division," was destroyed. Nazi architecture created sites for the fusion of the masses and for compressing them into a single, unified subject. It was stagecraft in granite, the physical orchestration of a new type of rapport between the individual and the state in terms of the mass, whether the compact mass of stone or the more malleable mass of humanity that, gathered into columns, made the pillars and lines of this architecture even more monumental.

FOR YEARS I have carried in my head a thought tossed out by Aldo Leopold. In the early 20th century, he worked for the U.S. Forest Service in Eastern Arizona, and he killed a wolf to protect the cattle and increase the deer. He went on to become a pioneer in wildlife management and a leading conservationist. He wrote an essay about that killing. He’d decided that when he’d pulled the trigger and helped remove the wolf from the Southwest, he’d made the mountain a lesser place. He said we had to learn to think like a mountain. I stare into the gate of rock framing the entrance to Pima Canyon. The mesquite leaves hang listless in the heat. Underfoot, a broken field of granite spreads out. Past that stone gate, the freedom of the Pusch Ridge Wilderness begins. The place feels wanting without bighorns watching me. I can’t prove this. But I’ve known it since I was a boy. That’s why we look at the mountains and crave to be near them. Maybe we can’t think like a mountain. But we can do better than we have. We can bring the bighorns back where they belong. Counting sheep, An Essay by

No human being could live in this wasted country, thought Mary, and remain like other people; the very children would be born twisted, like the blackened shrubs of broom, bent by the force of a wind that never ceased, blow as it would from east and west, from north and south. Their minds would be twisted, too, their thoughts evil, dwelling as they must amid marshland and granite, harsh heather and crumbling stone. They would be born of strange stock who slept with this earth as a pillow, beneath this black sky. They would have something of the Devil left in them still.

Maybe our life is an affair of coastlines, of touching on contours, of sand shifting underfoot, of footprints straying a shoreline. No epitaph in granite, no marble eminence, no limestone subtlety. Tracking my prints back is recovering tides’ clean sweep, the cleansing services of storms’ and winds’ abrasive erasures. The only line that matters in the end is forward since home is what we find when we find what it is, they say. Still, standing on the edge of stone seven thousand kilometres wide, my back to a whole past vivid to my eyes, I wonder why, here, it should suddenly begin.

When Harper was in among the stones she could see brass plaques screwed into the towering pillars of granite. One listed the names of seventeen boys who had died in the mud of eastern France during the First World War. Another listed the names of thirty-four boys who had died on the beaches of western France during the Second. Harper thought all tombstones should be this size, that the small blocks to be found in most graveyards did not even begin to express the sickening enormity of losing a virgin son, thousands of miles away, in the muck and cold. You needed something so big you felt it might topple over and crush you.

The notion occurs to her that the ground beneath Saint-Malo has been knitted together all along by the root structure of an immense tree, located at the center of the city, in a square no one ever walked her to, and the massive tree has been uprooted by the hand of God and the granite is coming with it, heaps and clumps and clods of stones pulling away as the trunk comes up, followed by the fat tendrils of roots—the root structure like another tree turned upside down and shoved into the soil, isn’t that how Dr. Geffard might have described it?—the ramparts crumbling, streets leaking away, block-long mansions falling like toys.

Facts, however, are awkward things to disconcert, and they are obstinate. The author of this book has seen, with his own eyes, eight leagues distant from Brussels, — there are relics of the Middle Ages there which are attainable for everybody, — at the Abbey of Villers, the hole of the oubliettes, in the middle of the field which was formerly the courtyard of the cloister, and, on the banks of the Thil, four stone dungeons, half under ground, half under the water. They were in pace. Each of these dungeons has the remains of an iron door, a vault, and a grated opening which, on the outside, is two feet above the level of the river, and on the inside, six feet above the level of the ground. Four feet of river flow past along the outside wall. The ground is always soaked. The occupant of the in pace had this wet soil for his bed. In one of these dungeons, there is a fragment of an iron necklet riveted to the wall; in another, there can be seen a square box made of four slabs of granite, too short for a person to lie down in, too low for him to stand upright in. A human being was put inside, with a coverlid of stone on top. This exists. It can be seen. It can be touched. These in pace, these dungeons, these iron hinges, these necklets, that lofty peep-hole on a level with

But it wasn't all bad. Sometimes things wasn't all bad. He used to come home easing into bed sometimes, not too drunk. I make out like I'm asleep, 'casue it's late, and he taken three dollars out of my pocketbook that morning or something. I hear him breathing, but I don't look around. I can see in my mind's eye his black arms thrown back behind his head, the muscles like a great big peach stones sanded down, with veins running like little swollen rivers down his arms. Without touching him I be feeling those ridges on the tips of my fingers. I sees the palms of his hands calloused to granite, and the long fingers curled up and still. I think about the thick, knotty hair on his chest, and the two big swells his breast muscles make. I want to rub my face hard in his chest and feel the hair cut my skin. I know just where the hair growth slacks out-just above his navel- and how it picks up again and spreads out. Maybe he'll shift a little, and his leg will touch me, or I feel his flank just graze my behind. I don't move even yet. Then he lift his head, turn over, and put his hand on my waist. If I don't move, he'll move his hand over to pull and knead my stomach. Soft and slow-like. I still don't move, because I don't want him to stop. I want to pretend sleep and have him keep rubbing my stomach. Then he will lean his head down and bite my tit. Then I don't want him to rub my stomach anymore. I want him to put his hand between my legs. I pretend to wake up, and turn to him, but not opening my legs. I want him to open them for me. He does, and I be soft and wet where his fingers are strong and hard. I be softer than I ever been before. All my strength in his hand. My brain curls up like wilted leaves. A funny, empty feeling is in my hands. I want to grab holt of something, so I hold his head. His mouth is under my chin. Then I don't want his hands between my legs no more, because I think I am softening away. I stretch my legs open, and he is on top of me. Too heavy to hold, too light not to. He puts his thing in me. In me. In me. I wrap my feet around his back so he can't get away. His face is next to mine. The bed springs sounds like them crickets used to back home. He puts his fingers in mine, and we stretches our arms outwise like Jesus on the cross. I hold tight. My fingers and my feet hold on tight, because everything else is going, going. I know he wants me to come first. But I can't. Not until he does. Not until I feel him loving me. Just me. Sinking into me. Not until I know that my flesh is all that be on his mind. That he couldnt stop if he had to. That he would die rather than take his thing our of me. Of me. Not until he has let go of all he has, and give it to me. To me. To me. When he does, I feel a power. I be strong, I be pretty, I be young. And then I wait. He shivers and tosses his head. Now I be strong enough, pretty enough, and young enough to let him make me come. I take my fingers out of his and put my hands on his behind. My legs drop back onto the bed. I don't make a noise, because the chil'ren might hear. I begin to feel those little bits of color floating up into me-deep in me. That streak of green from the june-bug light, the purple from the berries trickling along my thighs, Mama's lemonade yellow runs sweet in me. Then I feel like I'm laughing between my legs, and the laughing gets all mixed up with the colors, and I'm afraid I'll come, and afraid I won't. But I know I will. And I do. And it be rainbow all inside. And it lasts ad lasts and lasts. I want to thank him, but dont know how, so I pat him like you do a baby. He asks me if I'm all right. I say yes. He gets off me and lies down to sleep. I want to say something, but I don't. I don't want to take my mind offen the rainbow. I should get up and go to the toilet, but I don't. Besides Cholly is asleep with his leg thrown over me. I can't move and I don't want to.

Supposedly several years ago Egyptologist Mark Lehner spent five hours in the Aswan quarry with a dolerite hammer stone pounding against the granite bedrock (copper is too soft to cut granite). He was trying to prove that the ancient tools could do the job. He managed to excavate a one-foot square hole one-inch deep for his efforts. And yet, the video that is played in a hall at the Aswan quarry site still portrays that the hewing of the stone for the unfinished and all other obelisks was done this way [...]. The experiments of Dr. Lehner reveal, there is no way that simple stone pounders could possibly have been the main tool to quarry and shape the granite obelisks.

The Dutchman [Brannenburg] was hard. . . he was stone. His brain was eroded granite where the few ideas he had carved deep their ruts of opinion. There was no way for another idea to seep in, no place for imagination, no place for dreams, none for compassion or mercy or even fear. He knew no shadings of emotion, he knew no half-rights or half-wrongs or pity or excuse, nor had he any sense of pardon. The more I thought of him the more I knew he was not evil in himself, and he would have been shocked that anybody thought of him as evil. Shocked for a moment only, then he'd have shut the idea from his mind as nonsense. For the deepest groove worn into that granite brain was the one of his own rightness. And that scared me.

Holly looked around and saw a vault on a nearby low hill (in this part of Ohio, all the hills were low). She walked to it, gazed at the name chiseled in the granite over the lintel—GRAVES, how appropriate—and walked down the three stone steps. She peered inside at the stone benches, where one could sit and meditate on the Graves of yesteryear here entombed. Had the outsider hidden here after his filthy work was done? She didn’t believe so, because anyone—maybe even one of the vandals who had pushed over Heath Holmes’s stone—might wander over for a peek inside. Also, the sun would shine into the meditation area for an hour or two in the afternoons, giving it a bit of fugitive warmth. If the outsider was what she believed he was, he would prefer darkness.

The U.S. Olympic eight-oared crew was as cool as could be, though. Every afternoon they boarded a boat and made their way out to the New York Athletic Club’s private retreat, Huckleberry Island, a mile off Travers Island, out in the cool waters of Long Island Sound. The island was twelve acres of paradise, and the boys fell in love with it the moment they stepped out of their launch and onto a beach in one of its many small granite coves, wearing the Indian headbands with turkey feathers that club members donned whenever they visited the island. They leapt off stone ledges, plunged into the cool green water of the sound, swam, horsed around, then stretched out on warm flat slabs of granite, toasting themselves brown before plunging back into the water again.

Local peasants, uncontaminated by scientific orthodoxy, knew better, however. The naturalist Jean de Charpentier told the story of how in 1834 he was walking along a country lane with a Swiss woodcutter when they got to talking about the rocks along the roadside. The woodcutter matter-of-factly told him that the boulders had come from the Grimsel, a zone of granite some distance away. “When I asked him how he thought that these stones had reached their location, he answered without hesitation: ‘The Grimsel glacier transported them on both sides of the valley, because that glacier extended in the past as far as the town of Bern.’ ” Charpentier was delighted. He had come to such a view himself, but when he raised the notion at scientific gatherings, it was dismissed.

To speak impartially, the best men that I know are not serene, a world in themselves. For the most part, they dwell in forms, and flatter and study effect only more finely than the rest. We select granite for the underpinning of our houses and barns; we build fences of stone; but we do not ourselves rest on an underpinning of granitic truth, the lowest primitive rock. Our sills are rotten. What stuff is the man made of who is not coexistent in our thought with the purest and subtilest truth? I often accuse my finest acquaintances of an immense frivolity; for, while there are manners and compliments we do not meet, we do not teach one another the lessons of honesty and sincerity that the brutes do, or of steadiness and solidity that the rocks do. The fault is commonly mutual, however; for we do not habitually demand any more of each other.

It is not accurate to call [the Bollinger Club dinner] an annual event, because quite often the Club is suspended for some years after each meeting. There is tradition behind the Bollinger; it numbers reigning kings among its past members. At the last dinner, three years ago, a fox had been brought in in a cage and stoned to death with champagne bottles. What an evening that had been! This was the first meeting since then, and from all over Europe old members had rallied for the occasion. For two days they had been pouring into Oxford: epileptic royalty from their villas of exile; uncouth peers from crumbling country seats; smooth young men of uncertain tastes from embassies and legations; illiterate lairds from wet granite hovels in the Highlands; ambitious young barristers and Conservative candidates torn from the London season and the indelicate advances of debutantes; all that was most sonorous of name and title was there for the beano.

We remembered the delicate fig-shaped island,stranded between the American Empire and peaceful Canada, as it had been years ago, with its welcoming red white-and-blue flag-shaped flower bed,splashing fountains, European casino, and horse paths leading through woods where Indians had bent trees into giant bows. Now grass grew inpatches down to the littered beach where children fished with pop topstied to string. Paint flaked from once-bright gazebos. Drinking fountains rose from mud puddles laid with broken brick stepping stones. Along the road the granite face of the Civil War Hero had been spray-painted black. Mrs. Huntington Perry had donated her prize orchids to the Botanical Garden in the time before the riots, when civic money still ran high, but since her death ion the eroding tax base had forced cutbacks that had laid off one skilled gardener a year, so that plants that had survived transplantation from equatorial regions to bloom again in that false paradise now withered, weeds sprang up amid scrupulous identification tags, and fake sunlight flowed for only a few hours per day. The only thing that remained was the steam vapor, beading the sloping greenhouse windows and filling our nostrils with the moisture and aroma of a rotting world

She goes to the window, curious to look out, and her senses awaken. It was only a moment ago (for sleep knows no time) that the flat horizon was a loamy gray swell merging into the fog behind the icy glass. But now rocky, powerful mountains are massing out of the ground (where have they come from?), a vast, strange overwhelming sight. This is her first glimpse of the unimaginable majesty of the Alps, and she sways with surprise. Just now a first ray of sun through the pass to the east is shattering into a million reflections on the ice field covering the highest peak. The white purity of this unfiltered light is so dazzling and sharp that she has to close her eyes for a moment, but now she's wide awake. One push and the window bangs down, to bring this marvel closer, and fresh air - ice-cold, glass-sharp, and with a bracing dash of snow - streams through her lips, parted in astonishment, and into her lungs, the deepest, purest breath of her life. She spreads her arms to take in this first reckless gulp, and immediately, her chest expanding, feels a luxurious warmth rise through her veins - marvelous, marvelous. Inflamed with cold, she takes in the scene to the left and the right; her eyes (thawed out now) follow each of the granite slops up to the icy epaulet at the top, discovering, with growing excitement, new magnificence everywhere - here a white waterfall tumbling headlong into a valley, there neat little stone houses tucked into crevices like birds' nests, farther off an eagle circling proudly over the very highest heights, and above it all a wonderfully pure, sumptuous blue whose lush, exhilarating power she would never have thought possible. Again and again she returns to these Alps sprung overnight from her sleep, an incredible sight to someone leaving her narrow world for the first time. These immense granite mountains must have been here for thousands of years; they'll probably still be here millions and millions of years from now, every one of them immovably where it's always been, and if not for the accident of this journey, she herself would have died, rotted away, and turned to dust with no inkling of their glory, She's been living as though all this didn't exist, never saw it, hardly cared to; like a fool she dozed off in this tiny room, hardly longer than her arm, hardly wide enough for her feet, just a night away, a day away from this infinitude, these manifold immensities! Indifferent and without desires before, now she's beginning to realize what she's been missing. This contact with the overpowering is her first encounter with travel's disconcerting ability to strip the hard shell of habit from the heart, leaving only the bare, fertile kernel.

I became expert at making myself invisible. I could linger two hours over a coffee, four over a meal, and hardly be noticed by the waitress. Though the janitors in Commons rousted me every night at closing time, I doubt they ever realized they spoke to the same boy twice. Sunday afternoons, my cloak of invisibility around my shoulders, I would sit in the infirmary for sometimes six hours at a time, placidly reading copies of Yankee magazine ('Clamming on Cuttyhunk') or Reader's Digest (Ten Ways to Help That Aching Back!'), my presence unremarked by receptionist, physician, and fellow sufferer alike. But, like the Invisible Man in H. G. Wells, I discovered that my gift had its price, which took the form of, in my case as in his, a sort of mental darkness. It seemed that people failed to meet my eye, made as if to walk through me; my superstitions began to transform themselves into something like mania. I became convinced that it was only a matter of time before one of the rickety iron steps that led to my room gave and I would fall and break my neck or, worse, a leg; I'd freeze or starve before Leo would assist me. Because one day, when I'd climbed the stairs successfully and without fear, I'd had an old Brian Eno song running through my head ('In New Delhi, 'And Hong Kong,' They all know that it won't be long...'), I now had to sing it to myself each trip up or down the stairs. And each time I crossed the footbridge over the river, twice a day, I had to stop and scoop around in the coffee-colored snow at the road's edge until I found a decent-sized rock. I would then lean over the icy railing and drop it into the rapid current that bubbled over the speckled dinosaur eggs of granite which made up its bed - a gift to the river-god, maybe, for safe crossing, or perhaps some attempt to prove to it that I, though invisible, did exist. The water ran so shallow and clear in places that sometimes I heard the dropped stone click as it hit the bed. Both hands on the icy rail, staring down at the water as it dashed white against the boulders, boiled thinly over the polished stones, I wondered what it would be like to fall and break my head open on one of those bright rocks: a wicked crack, a sudden limpness, then veins of red marbling the glassy water. If I threw myself off, I thought, who would find me in all that white silence? Might the river beat me downstream over the rocks until it spat me out in the quiet waters, down behind the dye factory, where some lady would catch me in the beam of her headlights when she pulled out of the parking lot at five in the afternoon? Or would I, like the pieces of Leo's mandolin, lodge stubbornly in some quiet place behind a boulder and wait, my clothes washing about me, for spring?

I, to whom nature had denied the impromptu faculty; who, in public, was by nature a cypher; whose time of mental activity, even when alone, was not under the meridian sun; who needed the fresh silence of morning, or the recluse peace of evening, to win from the Creative Impulse one evidence of his presence, one proof of his force; I, with whom that Impulse was the most intractable, the most capricious, the most maddening of masters (him before me always excepted)—a deity which sometimes, under circumstances—apparently propitious, would not speak when questioned, would not hear when appealed to, would not, when sought, be found; but would stand, all cold, all indurated, all granite, a dark Baal with carven lips and blank eye-balls, and breast like the stone face of a tomb; and again, suddenly, at some turn, some sound, some long-trembling sob of the wind, at some rushing past of an unseen stream of electricity, the irrational demon would wake unsolicited, would stir strangely alive, would rush from its pedestal like a perturbed Dagon, calling to its votary for a sacrifice, whatever the hour—to its victim for some blood, or some breath, whatever the circumstance or scene—rousing its priest, treacherously promising vaticination, perhaps filling its temple with a strange hum of oracles, but sure to give half the significance to fateful winds, and grudging to the desperate listener even a miserable remnant—yielding it sordidly, as though each word had been a drop of the deathless ichor of its own dark veins.

Toward an Organic Philosophy SPRING, COAST RANGE The glow of my campfire is dark red and flameless, The circle of white ash widens around it. I get up and walk off in the moonlight and each time I look back the red is deeper and the light smaller. Scorpio rises late with Mars caught in his claw; The moon has come before them, the light Like a choir of children in the young laurel trees. It is April; the shad, the hot headed fish, Climbs the rivers; there is trillium in the damp canyons; The foetid adder’s tongue lolls by the waterfall. There was a farm at this campsite once, it is almost gone now. There were sheep here after the farm, and fire Long ago burned the redwoods out of the gulch, The Douglas fir off the ridge; today the soil Is stony and incoherent, the small stones lie flat And plate the surface like scales. Twenty years ago the spreading gully Toppled the big oak over onto the house. Now there is nothing left but the foundations Hidden in poison oak, and above on the ridge, Six lonely, ominous fenceposts; The redwood beams of the barn make a footbridge Over the deep waterless creek bed; The hills are covered with wild oats Dry and white by midsummer. I walk in the random survivals of the orchard. In a patch of moonlight a mole Shakes his tunnel like an angry vein; Orion walks waist deep in the fog coming in from the ocean; Leo crouches under the zenith. There are tiny hard fruits already on the plum trees. The purity of the apple blossoms is incredible. As the wind dies down their fragrance Clusters around them like thick smoke. All the day they roared with bees, in the moonlight They are silent and immaculate. SPRING, SIERRA NEVADA Once more golden Scorpio glows over the col Above Deadman Canyon, orderly and brilliant, Like an inspiration in the brain of Archimedes. I have seen its light over the warm sea, Over the coconut beaches, phosphorescent and pulsing; And the living light in the water Shivering away from the swimming hand, Creeping against the lips, filling the floating hair. Here where the glaciers have been and the snow stays late, The stone is clean as light, the light steady as stone. The relationship of stone, ice and stars is systematic and enduring: Novelty emerges after centuries, a rock spalls from the cliffs, The glacier contracts and turns grayer, The stream cuts new sinuosities in the meadow, The sun moves through space and the earth with it, The stars change places. The snow has lasted longer this year, Than anyone can remember. The lowest meadow is a lake, The next two are snowfields, the pass is covered with snow, Only the steepest rocks are bare. Between the pass And the last meadow the snowfield gapes for a hundred feet, In a narrow blue chasm through which a waterfall drops, Spangled with sunset at the top, black and muscular Where it disappears again in the snow. The world is filled with hidden running water That pounds in the ears like ether; The granite needles rise from the snow, pale as steel; Above the copper mine the cliff is blood red, The white snow breaks at the edge of it; The sky comes close to my eyes like the blue eyes Of someone kissed in sleep. I descend to camp, To the young, sticky, wrinkled aspen leaves, To the first violets and wild cyclamen, And cook supper in the blue twilight. All night deer pass over the snow on sharp hooves, In the darkness their cold muzzles find the new grass At the edge of the snow.

Notice the granite slab you’re passing under with the lettering engraved by GT’s high-precision explosive forming process. They said nobody could work natural stone explosively so we went ahead and did it, thus bearing out the company motto at the head of the list.” A dropout near Stal moved lips in an audible whisper as he struggled to interpret the obliquely viewed writing. “Underneath are listed prime examples of human shortsightedness, like you’ll see it’s impossible for men to breathe at over thirty miles an hour, and a bumblebee cannot possibly fly, and interplanetary spaces are God’s quarantine regulations. Try telling the folk at Moonbase Zero about that!” A few sycophantic laughs. Several places ahead of Stal the Divine Daughter crossed herself at the Name. “Why is it so sheeting cold in here?” yelled someone up the front near the guide. “If you were wearing GT’s new Polyclime fabrics, like me, you wouldn’t feel it,” the guide responded promptly. Drecky plantees, yet. How much of this crowd are GT staff members hired by government order and kept hanging about on makeweight jobs for want of anything better to do? “But that cues me in to another prime instance of how wrong can you be? Seventy or eighty years back they were saying to build a computer to match a human brain would take a skyscraper to house it and Niagara Falls to cool it. Well, that’s not up on the slab there because they were only half wrong about the cooling bit—in fact Niagara Falls wouldn’t do, it’s not cold enough. We use liquid helium by the ton load. But they were sheeting wrong about the skyscraper. Spread around this balcony and I’ll show you why.” Passive, the hundred and nine filed around a horseshoe gallery overlooking the chill sliced-egg volume of the vault. Below on the main floor identical-looking men and women came and went, occasionally glancing upwards with an air of incuriosity. Resentful, another score or so of the hundred and nine decided they weren’t going to be interested no matter what.

Cedric, where is my son?” I ask the man. He smiles. “I think you can guess, sir.” — The sounds of neoPlast swords knocking together and boots on stone greet Sevro and me as we enter the dueling grotto. There, vines crawl over granite fountains and along the damp stone floor. Evergreen needles drift in cumulous shapes from the top of the trees. And in the center of the grotto, under the watching eyes of the gargoyles adorning the fountains, a young boy and girl circle each other at the center of a chalk circle. The seven other children of their pack watch on, along with two Gold women. Sevro pulls me to the side so we remain unseen and sit out of sight on the edge of a granite fountain to watch.

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Remember that the Bennu bird came from Arabia, and this is where the black stone -which is the cornerstone of the Kaaba- exists on Earth. Most of the pyramidia which were discovered in ancient Egypt were made of black granite. The ancient Egyptian symbolism tried to reproduce Adam's heritage according to the same theme and yet on its own location and for its own bloodline aspiring thereby to assume the role of Noah's heir. The sole function of the black capstone/cornerstone was to pinpoint/receive the Messenger with the tidings which he carried; once that role was fulfilled, the stone was rendered operative only on the parallel domain of authority (i.e., Solar System and/or Political) and no more as a portal to the perpendicular (i.e., Upper Heavens). It is significant to note also that the root of the word 'Phoenix' in Arabic is the same root that delivers the word 'Ankh' and 'Enki'. The Babylonian Nabu (the son of Marduk) was in Sumerian times identified with Enki, and it is a straightforward observation to acknowledge the Semitic word 'Nabu' for what it means, i.e., Prophet. It gets even more interesting when one sees what happened to ancient Egypt once heresy broke out after waiting for so long and eventually giving up on seizing the Bennu bird exclusively for Egypt's cause: The Ankh is "finally" received by the heretic Pharaoh Akhenaten and his family through the veneration of Aten. Prior to Amenhotep IV, the sun disk served as a symbol in which major gods appeared, however, from that point on, it was the disk itself that became a god and obviously it was powerful enough to send its own prophets and tidings as one observes in the depictions of that dynasty. After all, it was an Eighteenth Dynasty ruler who succeeded in evicting the Semite Hyksos out of Egypt. [The final expulsion of the Hyksos from Egypt by Ahmose I, most probably took place by this pharaoh of the 18th dynasty, Thebes once again became the central capital of Egypt. There was no distinct break in the line of the royal family between the 17th and 18th dynasties.] This is most interestingly the time when [the New Kingdom marked a period of high-quality Shabtis (i.e., answerers). Especially during the 18th and 19th dynasties. Ahmose I, was probably the first pharaoh to take Shabtis with him into the tomb.] It is now obvious that when the Upper Heavens didn't answer Egypt, the Shabtis and Ankhs started to.

The stillest thing in the world is the corpse of someone you loved. A hunk of cold granite seems more alive than a dead human being. You don't expect a stone to move. A person robbed of all motion and cold to the touch is the most alien object in the world. Natural instinct drives us away from the decaying body, and quickly. Yet love compels us forward, to kiss the empty vessel of the soul departed. ...Lesson two: there are many fates worse than death. The most common is surviving the death of a loved one. For the dead, all questions have been answered or made irrelevant. For the survivor, some questions have been rendered unanswerable.

Chebeague Island is the largest of the islands in Casco Bay, near Portland Maine. Everyone knew everybody else on the island, and if they were not related, they were friends, or at the very least knew everything there was to know about each other, including what they had in their stew pot at any given time. Most of the islanders, including the Kimberly family, were descendants of the “Stone Sloopers.” On Chebeague Island they built three wharves. The Stone Wharf, or Hamilton Landing as it was known, is still in use today. The one masted sloops, sometimes known as Chebacco Boats, sailed along the rocky Maine coast transporting granite and stone from Maine’s coastal quarries, to east coast cities as far south as Chesapeake Bay. The Washington Monument and many of the governmental buildings in Washington, D.C., were built of granite brought up the Potomac River by the Stone Sloopers. During the 19th Century, they also supplied rock ballast for the sailing ships that came into New England ports. The Stone Sloopers are also remembered for building Greek revival homes, which can still be seen on the island.

The sheer volume of granite, diorite, and alabaster that was cut precisely into statues around Luxor attests to the ancient Egyptians' mastery of their craft. The Greeks and Romans did not sculpt statues in igneous rock. Granite was not fashioned into statues until the development of more modern power tools with steel bits. In "The Materials of Sculpture", Nicholas Penny writes: "Granite had occasionally been worked in shallow relief, for architectural ornament where it was the local building stone, and for the stiff figures of sixteenth-century cavalries in Brittany, but, before the advent of improved metals and power-driven tools in the nineteenth century, the idea of making statues out of it was seldom seriously entertained by sophisticated sculptors.

Not-withstanding the fact that cutting granite with copper chisels is an impossibility, Egyptologists have asserted that the pyramid builders predated the Bronze Age, and, therefore, were limited in their choice of metals with which to make their tools. Therefore, they say that copper was the only metal that the ancient Egyptians used to fashion the stones with which they built the Great Pyramid. They say this while evidence of prehistoric iron—proving that the ancient Egyptians had developed and used it when building the Great Pyramid—is in the keeping of the British Museum. The discoverers of this piece of iron go to great lengths to argue for and document its authenticity, as John and Morton Edgar point out in their book Great Pyramid Passages. […] Despite the [...] testimonials, because the chronology for the development of metals did not include wrought iron in the age of the pyramids, the specialists at the British Museum concluded that this wrought-iron artifact could not be genuine and must have been introduced in modern times. […] The profession as a whole has been unable to cope with the idea of a piece of wrought iron being contemporary with the Great Pyramid. Such a notion goes completely against the grain of every preconception that Egyptologists internalize throughout their careers concerning the ways in which civilizations evolve and develop. […] Egyptologists have a vested interest in continuing their teachings as they have taught them for the past century. To do otherwise would be to admit that they have been wrong. The iron plate is just a small, though significant, item in a large collection of anomalies that have been ignored or misinterpreted by many academics because they contradict their orthodox beliefs.

In 1983 Donald Rahn of Rahn Granite Surface Plate Co. told me that diamond drills, rotating at nine hundred revolutions per minute, penetrate granite at the rate of one inch in five minutes. In 1996, Eric Leither of Tru-Stone Corp. told me that these parameters have not changed since then. The feedrate of modern drills, therefore, calculates to be .0002 inch per revolution, indicating that the ancient Egyptians drilled into granite with a feedrate that was five hundred times greater or deeper per revolution of the drill than modern drills! The other characteristics of the artifacts also pose a problem for modern drills. Somehow the Egyptians made a tapered hole with a spiral groove that was cut deeper through the harder constituent of the granite. If conventional machining methods cannot answer just one of these questions, how do we answer all three?

The precision in these artifacts is irrefutable. Even if we ignore the question of how they were produced, we are still faced with the question of why such precision was needed. Revelation of new data invariably raises new questions. In this case it is understandable for skeptics to ask, "Where are the machines?" But machines are tools, and the question should be applied universally and can be asked of anyone who believes other methods may have been used. The truth is that no tools have been found to explain any theory on how the pyramids were built or the granite boxes were cut. More than eighty pyramids have been discovered in Egypt, and the tools that built them have never been found. Even if we accepted the notion that copper tools are capable of producing these incredible artifacts, the few copper implements that have been uncovered do not represent the number of such tools that would have been used if every stonemason who is supposed to have worked on the pyramids at just the Giza site owned one or two. In the Great Pyramid alone there are an estimated 2,300,000 blocks of stone, both limestone and granite, weighing between two-and-one-half tons and seventy tons each. That is a mountain of evidence, and there are no tools surviving to explain even this one pyramid's creation.

About the whole face there was a granite dignity, so that every motion seemed an impossible thing. Once at rest, it seemed the old man would be stone, would never move again. His steps were slow and certain. Once made, no step could ever be retraced; once headed in a direction, the path would never bend nor the pace increase nor slow.

The Dutchman was hard … he was stone. His brain was eroded granite where the few ideas he had carved deep their ruts of opinion. There was no way for another idea to seep in, no place for imagination, no place for dreams, none for compassion or mercy or even fear.

Images of a pale dragon caged and raging, locked within a chamber among the roots of a great tree. A wolf upon a plain, a thick chain binding him, small figures swarming, stabbing, the wolf’s jaws wide as it howled. “Ulfrir, wolf-god,” Kráka breathed. “It’s the Guðfalla,” Biórr whispered. “The gods-fall.” So many images, Elvar struggled to take it all in: figures hanging from the boughs of trees, many of them, skeletal wings spiking from their backs. “The Gallows Wood,” Elvar said. She remembered that tale, of how the gods Orna and Ulfrir had found their firstborn daughter slain, her wings hacked from her back. Lik-Rifa had done it, the dragon, Orna’s sister. As vengeance Orna and Ulfrir had hunted Lik-Rifa’s god-touched offspring and slaughtered them. Ripped their backs open and hacked their ribs apart, pulling them out in a parody of wings and hanging the corpses from trees. The blood-eagle, it was now called. The first blood feud, Elvar thought. The images went on and on, telling the tale of the gods at war: Berser the bear, Orna the eagle, Hundur the hound, Rotta the rat, many, many more; and Snaka, father, maker, coiling about them all, glowing venom dripping from his fangs as he entered the blood-fray and consumed his children. “I thought all of the oath stones had been destroyed,” Sighvat said. “We are on the arse-end of the world,” Agnar said. “This one has survived.” He was still staring up at the huge slab, eyes following the glowing lines as they traced the images. “So, that is where your bloodline comes from,” Agnar said to Berak in his chains. He pointed to an image of a giant bear, jaws wide, spittle spraying. Berak said nothing, just glowered at the image. “They are the fathers and mothers of all us Tainted,” Kráka said. “Snaka loved his creations, when he was not feasting on them, and so did his children.” She stared at the serpent-coils that spiralled across the granite. “Why did they fight?” Sighvat muttered. “What started this war, led to the near-destruction of all?” “Jealousy and murder,” Uspa said. “Blood feud. Lik-Rifa the dragon thought her sister was plotting her death, and Rotta the rat fuelled her paranoia. She murdered Orna and Ulfrir’s daughter, created the vaesen in secret, would have used them to destroy Orna and all those who supported her. But Orna found out and lured Lik-Rifa into the caverns and chambers deep within the roots of Oskutreð, the great Ash Tree, and with her siblings bound Lik-Rifa there. That is what caused the war.

On Thanksgiving night in 1915, fifty years after the close of the Civil War, Simmons and fifteen other men clambered up the granite monolith of Stone Mountain in Georgia. They built an altar on which they laid a Bible, an American flag, and a sword. The men set fire to a cross and shouted to the heavens an oath of allegiance to the Invisible Empire of a new age. The Ku Klux Klan had risen, Simmons proclaimed, “awakened from a slumber of a half a century.

Closing my eyes, I can see the main entrance, the paneled front windows, the wide portico and three gray-black speckled granite steps leading up to the massive front door of whisky-colored oak, often propped open by a heavy curling stone and often manned by one red-coated footman, and inside the spacious hall and its white stone floor, with gray star-shaped tiles, and the huge fireplace with its beautiful mantel of ornately carved dark wood, and to one side a kind of utility room, and to the left, by the tall windows, hooks for fishing rods and walking sticks and rubber waders and heavy waterproofs—so many waterproofs, because summer could be wet and cold all over Scotland, but it was biting in this Siberian nook—and then the light brown wooden door leading to the corridor with the crimson carpet and the walls papered in cream, a pattern of gold flock, raised like braille, and then the many rooms along the corridor, each with a specific purpose, like sitting or reading, TV or tea, and one special room for the pages, many of whom I loved like dotty uncles, and finally the castle’s main chamber, built in the nineteenth century, nearly on top of the site of another castle dating to the fourteenth century, within a few generations of another Prince Harry, who got himself exiled, then came back and annihilated everything and everyone in sight.

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

Her shoulders were clean and well-formed; as her hands traced the neck, muscles moved where the tops of her shoulders disappeared under her tunic. She had turned to look at Hild, hand shading eyes that were more sun-warmed gray stone than cold granite.

The life of a region depends ultimately on its geologic substratum, for this sets up a chain-reaction which passes, determining their character, in turn through its streams and wells, its vegetation and the animal-life that feeds on this, and finally through the type of human being attracted to live there. In a profound sense also the structure of its rocks gives rise to the psychic life of the land: granite, serpentine, slate, sandstone, limestone, chalk and the rest have each their special personality dependant on the age in which they were laid down, each being co-existent with a special phase of the earth-spirit's manifestation.

question it is to question a fact as established as the tide. How easily and quickly we slide into our race-pattern unless we keep intact the stiff-necked and blinded pattern of the recent intellectual training. We threw it over, and there wasn’t much to throw over, and we felt good about it. This Lady, of plaster and wood and paint, is one of the strong ecological factors of the town of Loreto, and not to know her and her strength is to fail to know Loreto. One could not ignore a granite monolith in the path of the waves. Such a rock, breaking the rushing waters, would have an effect on animal distribution radiating in circles like a dropped stone in a pool. So has this plaster Lady a powerful effect on the deep black water of the human spirit. She may disappear and her name be lost, as the Magna Mater, as Isis, have disappeared. But something very like her will take her place, and the longings which created her will find somewhere in the world a similar altar on which to pour their force. No matter what her name is, Artemis, or Venus, or a girl behind a Woolworth counter vaguely remembered, she is as eternal as our species, and we will continue to manufacture her as long as we survive.

I am sitting here, you are sitting there. Say even that you are sitting across the kitchen table from me right now. Our eyes meet; a consciousness snaps back and forth. What we know, at least for starters, is: here we- so incontrovertibly- are. This is our life, these are our lighted seasons, and then we die. In the meantime, in between time, we can see. The scales are fallen from our eyes, the cataracts are cut away, and we can work at making sense of the color-patches we see in an effort to discover where we so incontrovertibly are. I am as passionately interested in where I am as is a lone sailor sans sextant in a ketch on an open ocean. I have at the moment a situation which allows me to devote considerable hunks of time to seeing what I can see, and trying to piece it together. I’ve learned the name of some color-patches, but not the meanings. I’ve read books; I’ve gathered statistics feverishly: the average temperature of our planet is 57 degrees F…The average size of all living animals, including man, is almost that of a housefly. The earth is mostly granite, which is mostly oxygen…In these Appalachians we have found a coal bed with 120 seams, meaning 120 forests that just happened to fall into water…I would like to see it all, to understand it, but I must start somewhere, so I try to deal with the giant water bug in Tinker Creek and the flight of three hundred redwings from an Osage orange and let those who dare worry about the birthrate and population explosion among solar systems. So I think about the valley. And it occurs to me more and more that everything I have seen is wholly gratuitous. The giant water bug’s predations, the frog’s croak, the tree with the lights in it are not in any real sense necessary per se to the world or its creator. Nor am I. The creation in the first place, being itself, is the only necessity for which I would die, and I shall. The point about that being, as I know it here and see it, is that as I think about it, it accumulates in my mind as an extravagance of minutiae. The sheer fringe and network of detail assumes primary importance. That there are so many details seems to be the most important and visible fact about creation. If you can’t see the forest for the trees, then look at the trees; when you’ve looked at enough trees, you’ve seen a forest, you’ve got it. If the world is gratuitous, then the fringe of a goldfish’s fin is a million times more so. The first question- the one crucial one- of the creation of the universe and the existence of something as a sign and an affront to nothing is a blank one… The old Kabbalistic phrase is “the Mystery of the Splintering of the Vessels.” The words refer to the shrinking or imprisonment of essences within the various husk-covered forms of emanation or time. The Vessels splintered and solar systems spun; ciliated rotifers whirled in still water, and newts laid tracks in the silt-bottomed creek. Not only did the Vessels splinter; they splintered exceeding fine. Intricacy then is the subject, the intricacy of the created world.

I rolled away from him with a gasp of laughter and hopped out of bed. “I need a shower.” Jack followed readily. I stopped short as I flipped on the switch in his bathroom, an immaculate well-lit space with contemporary cabinetry and modern stone vessel sinks. But it was the shower that left me speechless, a room made of glass and slate and granite, with rows of dials and knobs and thermostats. “Why is there a car wash in your bathroom?” Jack went past me, opened the glass door, and went inside. As he turned knobs and adjusted the temperature on digital screens, jets sprouted from every conceivable place, and steam collected in white drifts. Three rainfall streams came directly from the ceiling. “Aren’t you going to come in?” Jack’s voice filtered through the sound of abundant falling water. I went to the glass doorway and peeked inside. Jack was a magnificent sight, all bronzy and lean, a sheet of water glimmering over his skin. His stomach was drum-tight, his back gorgeous and sleekly muscled. “I hate to be the one to tell you this,” I said, “but you need to start exercising. A man your age shouldn’t let himself go.” He grinned and gestured for me to come to him. I ventured into the maelstrom of competing sprays, battered with heat from all directions. “I’m drowning,” I said, spluttering, and he pulled me out of the direct downpour of an overhead spray. “I wonder how much water we’re wasting.” “You know, Ella, you’re not the first woman who’s ever been in this shower with me—” “I’m shocked.” I leaned against him as he soaped my back. “— but you’re for damn sure the first one who’s ever worried about wasting water.” “How much, would you say?” “Ten gallons per minute, give or take.” “Oh my God. Hurry. We can’t stay in here long. We’ll throw the entire ecological system out of balance.” “This is Houston, Ella. The ecological system won’t notice.

Facing It" My black face fades, hiding inside the black granite. I said I wouldn't, dammit: No tears. I'm stone. I'm flesh. My clouded reflection eyes me like a bird of prey, the profile of night slanted against morning. I turn this way--the stone lets me go. I turn that way--I'm inside the Vietnam Veterans Memorial again, depending on the light to make a difference. I go down the 58,022 names, half-expecting to find my own in letters like smoke. I touch the name Andrew Johnson; I see the booby trap's white flash. Names shimmer on a woman's blouse but when she walks away the names stay on the wall. Brushstrokes flash, a red bird's wings cutting across my stare. The sky. A plane in the sky. A white vet's image floats closer to me, then his pale eyes look through mine. I'm a window. He's lost his right arm inside the stone. In the black mirror a woman's trying to erase names: No, she's brushing a boy's hair.

The sorcerer pulled a variety of stones from the box and placed them at the four directional corners outside the rune circle, chanting as he went. Granite for north, turquoise for east, red jasper for south, and jade at the west.

But the grinding of even soft stones is a tedious and laborious process; granite or diorite, both extremely hard, demand a willingness to endure drudgery that no human group had ever imposed in itself before. Our very word to express ennui, 'boring,' derives from-boring. Here was ritual repetition pushed almost beyond endurance.

Spread before them past the gate was the Arena of the Sej Elders, formed of gigantic white granite blocks, rising over everything in the lower part of the city. Stone towers lined the wide avenue leading up to the arena. They had to move faster.

CONTIMENT’S END At the equinox when the earth was veiled in a late rain, wreathed with wet poppies, waiting spring, The ocean swelled for a far storm and beat its boundary, the ground-swell shook the beds of granite. I gazing at the boundaries of granite and spray, the established sea-marks, felt behind me Mountain and plain, the immense breadth of the continent, before me the mass and doubled stretch of water. I said: You yoke the Aleutian seal-rocks with the lava and coral sowings that flower the south, Over your flood the life that sought the sunrise faces ours that has followed the evening star. The long migrations meet across you and it is nothing to you, you have forgotten us, mother. You were much younger when we crawled out of the womb and lay in the sun’s eye on the tideline. It was long and long ago; we have grown proud since then and you have grown bitter; life retains Your mobile soft unquiet strength; and envies hardness, the insolent quietness of stone. The tides are in our veins, we still mirror the stars, life is your child, but there is in me Older and harder than life and more impartial, the eye that watched before there was an ocean. That watched you fill your beds out of the condensation of thin vapor and watched you change them, That saw you soft and violent wear your boundaries down, eat rock, shift places with the continents. Mother, though my song’s measure is like your surf-beat’s ancient rhythm I never learned it of you. Before there was any water there were tides of fire, both our tones flow from the older fountain.

She pushed his massive chest, which was as effective as if she pushed granite. "What are you made of, bloody stone?" He chuckled, eyes full of mirth. "Sometimes.

At the period of transition from the predynastic to the dynastic age we have the great mastaba of Aha at Nakâda, and the simplest chamber-tombs at Abydos. All these were of brick; no stone was used in their construction. Then we find the chamber-tomb of Den Semti at Abydos with a granite floor, the walls being still of brick.

INGINA-A golden shaft of sunlight cut the ghostly tissue of dawn that hung like a timeless web of mist in the rambling thicket at the river's edge. Wild grasses, weeds, and thistles bowed low beneath the weight of an overnight dew, leaving a wet and woven mat of deep greens and October browns along the unkempt nape of a broad terrace rising from the bank. The field stretched out a hundred yards or so to a silvery stand of beech, sugar maple and yellow locust at the base of a sheer granite cliff. A songbird chattered from the forested rim of the field, drawing the soft and steady applause of water pouring over the stone and grassy shallows upstream, and seeming to repeat the ancient Tutelo word for river-tak see ta, tak see ta, tak see ta.

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Another celebrated building that we saw inside the Fort was the Diwan-i-Khas. Here can be seen in Persian characters the famous inscription, “If a paradise be on the face of the earth, it is this, it is this, it is this.” At the time of the Delhi Durbar in 1903 to celebrate the proclamation of Edward VII as Emperor of India, this exquisite building was used as a supper room. “This is the Chandni Chauk [Silver Street],” said our driver as we passed along Delhi’s main street. “It is the richest street in the world.” “Used to be,” corrected Sam. “It was sacked at least four times and most of its riches carried away.” Nowadays it is the abode of the jewelers and ivory workers of Delhi. Ten miles south of Delhi, amid the ruins of another ancient Delhi, stands the Kutb Minar, which is said to be the most perfect tower in the world and one of the seven architectural wonders of India. Built of marble and sandstone which is dark red at the base, pink in the middle, and orange on the top story, this remarkable structure, 238 feet high, looks almost brand new, yet it was built in A.D. 1200. Close by is another Indian wonder, the Iron Pillar, dating from A.D. 400. A remarkable tribute to Hindu knowledge of metallurgy and engineering, this pillar, some sixteen inches in diameter and twenty-three feet eight inches in height, is made of pure rustless malleable iron and is estimated to weigh more than six tons. Overlooking both the Fort and the city, and approached by a magnificent flight of stone steps, is the Great Mosque, also erected by Emperor Shah Jehan. It has three domes of white marble, two tall minarets, and a front court measuring 450 feet square, paved with granite and inlaid with marble. “Sight-seeing in Delhi is as tiring as doing the Mediterranean,” I

Calling to Measure It’s an obsession now, this matching And measuring, comparing, for instance, The coral-violet of the inner lip Of a queen conch to the last rim of dusk On the purple-flowering raspberry To the pure indigo of the bird-voiced Tree frog’s twittering tongue, then converting The result to an accepted standard Of rose-scarlet gradations. It’s difficult to say which is greater- The brevity of the elk’s frosty bellow Or the moments of fog sun-lifted Through fragrances of blue spruce Or the fading flavor in one spoonful Of warm chocolate rum. I mark out space by ten peas Strung on a string. The pane perimeter Of my window, for instance, is twenty-eight Lengths, twelve lengths over. Seventy pea-strings stretch from bed To door, Four go round my neck. My longing for you is more painful Than the six-times folding, doubling And doubling, of a coyote’s Most piercing cry, more inconsolable Than a whole night of moonlight blinded By thunderclouds, more constant Than black at the center of a cavern Stone below leagues of granite. I gauge my cold by the depth Of stillness in the pod heart of a frozen Wren. I time my breath by the faltering Leaves of aspen in wind. I count the circles Of my dizziness by the spreading rings Of rain-lassos on the pond, by the repeating Bell chimes of the corridor clock, By the one unending ring of the horizon. Where is the tablet, where the rule, where The steel weights, the balance, the book, Properly to make measure of a loss So grand and deep I can spread and stitch it To every visible star I name- Arcturus, Spica, Vega, Regulus- in this dark Surrounding dark surrounding dark?

By the time he spotted the City of Naru from afar, moonlight sent long, wiry shadows across the hillside leading up to the towering stone walls. He told himself he could do it. No matter how hard it was to continue carrying her, he was determined to bring her home alive.  Lights flickered from countless braziers mounted hundreds of feet high on the upper part of the city. Naru stood ominous under the garish light of the four moon sisters and as the evening gong sounded from atop a watchtower, Talis knew he had made it.  He stumbled toward the main gates, barely able to stand. A group of soldiers making their rounds noticed and ran over to help.  “Young Master Talis, what’s wrong?” said Baratis, the captain of the guard. His eyes blazed in fear at the sight of Mara. “Is she alive?” “I can’t talk now… open the gates… she’s hurt!”  “Carem and Jorem! Help them,” Baratis shouted. “You! Ride and fetch a healer. Have them run straightaway to House Lei. Now go!” Two soldiers lifted Mara from Talis' arms and carried her while another raced inside the city. Massive steel shafts stared down at them from inside the stone walls as they jogged past. If they weren’t quick about it, she would die. Ahead, Talis could see a soldier speed off on horseback. He prayed that the healer would arrive in time. He ran ahead, urging them to run faster.    Past the gate was the Arena of the Sej Elders, formed of gigantic white granite blocks, rising over everything in the lower part of the city. Stone towers lined the wide avenue leading up to the arena. They had to move faster. The soldiers’ boots clapped against the cobblestone streets as they marched past the arena, finally winding up and around until they reached the gates of the upper city. Up the snaking rise, they charged past merchant shops and eyes that gawked at the soldiers carrying Mara. They continued on to the highest part of the city, beneath the Temple of the Goddess Nestria, the Goddess of the Sky. To Mara’s house, the House of Viceroy Lei and Lady Malvia, daughter of the king and second in line to the throne.  They were going to be furious; Talis knew he was in serious trouble for taking Mara out on the hunt. But he couldn’t think of that, all that mattered was Mara’s life. As the soldiers carried her into the white marble mansion, Talis worried her wounds were too grave to cure. Today was the worst day and he was all to blame. Why did he have to chase after the boar? Two servants ran up and gasped when they noticed Mara and they quickly helped her inside.  Lady Malvia rushed to them, her silver robe swirling.

I have no idea what I’m doing. Pursuing Liam is like carving granite—a block of stone that is strong, beautiful, and durable. Perfect for countertops, floors, building veneer. Headstones. Not what you choose for the finer, more delicate areas of life that require the finesse of intricate sculpting. My family would never approve.