Great Singing Voice Quotes

Her face was sad and lovely with bright things in it, bright eyes and a bright passionate mouth, but there was an excitement in her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered “Listen,” a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour.

Fang: “Let them blow up the world, and global-warm it, and pollute it. You and me and the others will be holed up somewhere, safe. We’ll come back out when they’re all gone, done playing their games of world domination." Max: “That’s a great plan. Of course, by then we won’t be able to go outside because we’ll get fried by the lack of the ozone layer. We’ll be living at the bottom of the food chain because everything with flavor will be full of mercury or radiation or something! And there won’t be any TV or cable because all the people will be dead! So our only entertainment will be Gazzy singing the constipation song! And there won’t be amusement parks and museums and zoos and libraries and cute shoes! We’ll be like cavemen, trying to weave clothes out of plant fibers. We’ll have nothing! Nothing! All because you and the kids want to kick back in a La-Z-Boy during the most important time in history!” Fang: “So maybe we should sign you up for a weaving class. Get a jump start on all those plant fibers.” Max: "I HATE YOU!!!" Fang: "NO YOU DOOOOOON'T!!" Voice: "You two are crazy about each other.

I hope you feel better about yourself. I hope you feel alive. I hope that good things happen to you, and I hope that when the inevitable bad things happen you can handle them and learn a lesson and move on. I hope you know you're not alone and I hope you spend plenty of time with your family and/or friends and I hope you write more and get a seven-figure book deal. I hope next year no more celebrities die and I hope you get an iPhone if you want one. Or maybe a pony. I hope someone writes a song for you on Valentines Day that's a bit like Hey There Delilah, and I hope they have a good singing voice, or at least one better than mine. I hope that you accept yourself the way you are, and figure out that losing 20 pounds isn't going to magically make you love yourself. I hope you read a lot. I hope you don't have to almost die to figure out how valuable life is. I hope you find the perfect nail polish/digital camera/home/life partner. I hope you stop being jealous of others. I hope you feel good, about yourself and the people around you and the world. I hope you eat heaps of salt and vinegar chips because they're the best kind. I hope you accomplish all your hopes & dreams & aspirations and are blissfully happy & get married to Edward Cullen/George Clooney/Megan Fox/Angelina Jolie (delete whichever are inappropriate) & ride a pretty white horse into the sunset & I hope it's all sweet and wonderful because you deserve it because you did well this year in the face of sparkly vampires/great evil/low self-esteem.

Far away beyond the pine-woods,' he answered, in a low dreamy voice, 'there is a little garden. There the grass grows long and deep, there are the great white stars of the hemlock flower, there the nightingale sings all night long. All night long he sings, and the cold, crystal moon looks down, and the yew-tree spreads out its giant arms over the sleepers.

Tonight I can write the saddest lines. Write, for example,'The night is shattered and the blue stars shiver in the distance.' The night wind revolves in the sky and sings. Tonight I can write the saddest lines. I loved her, and sometimes she loved me too. Through nights like this one I held her in my arms I kissed her again and again under the endless sky. She loved me sometimes, and I loved her too. How could one not have loved her great still eyes. Tonight I can write the saddest lines. To think that I do not have her. To feel that I have lost her. To hear the immense night, still more immense without her. And the verse falls to the soul like dew to the pasture. What does it matter that my love could not keep her. The night is shattered and she is not with me. This is all. In the distance someone is singing. In the distance. My soul is not satisfied that it has lost her. My sight searches for her as though to go to her. My heart looks for her, and she is not with me. The same night whitening the same trees. We, of that time, are no longer the same. I no longer love her, that's certain, but how I loved her. My voice tried to find the wind to touch her hearing. Another's. She will be another's. Like my kisses before. Her voide. Her bright body. Her inifinite eyes. I no longer love her, that's certain, but maybe I love her. Love is so short, forgetting is so long. Because through nights like this one I held her in my arms my sould is not satisfied that it has lost her. Though this be the last pain that she makes me suffer and these the last verses that I write for her.

Then the voices of the Ainur, like unto harps and lutes, and pipes and trumpets, and viols and organs, and like unto countless choirs singing with words, began to fashipn the theme of Iluvatar to a great music; and a sound arose of endless interchanging melodies woven in harmony that passed beyond hearing into the depths and into the heights, and the places of the dwelling of Iluvatar were filled to overflowing, and the music and the echo of the music went out into the Void, and it was not void.

It is amazing to me," said Bingley, "How young ladies can have patience to be so very accomplished as they all are." "All young ladies accomplished? My dear Charles, what do you mean?" "Yes, all of them, I think. They all paint tables, cover screens and net purses. I scarcely know any one who cannot do all this, and I am sure I never heard a young lady spoken of for the first time without being informed that she was very accomplished." "Your list of the common extent of accomplishments," said Darcy, "has too much truth. The word is applied to many a woman who deserves it no otherwise than by netting a purse or covering a screen. But I am very far from agreeing with you in your estimation of ladies in general. I cannot boast of knowing more than half a dozen, in the whole range of my acquaintance, that are really accomplished." "Nor I, I am sure." said Miss Bingley. "Then," observed Elizabeth, "you must comprehend a great deal in your idea of an accomplished woman." "Yes, I do comprehend a great deal in it." "Oh! certainly," cried his faithful assistant, "no one can really be esteemed accomplished who does not greatly surpass knowledge of music, singing, drawing, dancing, and the modern languages, to deserve the word; and besides all this, she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half deserved." "All this she must possess," added Darcy, "and to all this she must yet add something more substantial, in the improvement of her mind by extensive reading." "I am no longer surprised at your knowing only six accomplished women. I rather wonder at your knowing any.

Daisy began to sing with the music in a husky, rhythmic whisper, bringing out a meaning in each word that it had never had before and would never have again. When the melody rose, her voice broke up sweetly, following it, in a way contralto voices have, and each change tipped out a little of her warm human magic upon the air.

Tonight I Can Write Tonight I can write the saddest lines. Write, for example, 'The night is starry and the stars are blue and shiver in the distance.' The night wind revolves in the sky and sings. Tonight I can write the saddest lines. I loved her, and sometimes she loved me too. Through nights like this one I held her in my arms. I kissed her again and again under the endless sky. She loved me, sometimes I loved her too. How could one not have loved her great still eyes. Tonight I can write the saddest lines. To think that I do not have her. To feel that I have lost her. To hear the immense night, still more immense without her. And the verse falls to the soul like dew to the pasture. What does it matter that my love could not keep her. The night is starry and she is not with me. This is all. In the distance someone is singing. In the distance. My soul is not satisfied that it has lost her. My sight tries to find her as though to bring her closer. My heart looks for her, and she is not with me. The same night whitening the same trees. We, of that time, are no longer the same. I no longer love her, that's certain, but how I loved her. My voice tried to find the wind to touch her hearing. Another's. She will be another's. As she was before my kisses. Her voice, her bright body. Her infinite eyes. I no longer love her, that's certain, but maybe I love her. Love is so short, forgetting is so long. Because through nights like this one I held her in my arms my soul is not satisfied that it has lost her. Though this be the last pain that she makes me suffer and these the last verses that I write for her.

Amazing Peace: A Christmas Poem Thunder rumbles in the mountain passes And lightning rattles the eaves of our houses. Flood waters await us in our avenues. Snow falls upon snow, falls upon snow to avalanche Over unprotected villages. The sky slips low and grey and threatening. We question ourselves. What have we done to so affront nature? We worry God. Are you there? Are you there really? Does the covenant you made with us still hold? Into this climate of fear and apprehension, Christmas enters, Streaming lights of joy, ringing bells of hope And singing carols of forgiveness high up in the bright air. The world is encouraged to come away from rancor, Come the way of friendship. It is the Glad Season. Thunder ebbs to silence and lightning sleeps quietly in the corner. Flood waters recede into memory. Snow becomes a yielding cushion to aid us As we make our way to higher ground. Hope is born again in the faces of children It rides on the shoulders of our aged as they walk into their sunsets. Hope spreads around the earth. Brightening all things, Even hate which crouches breeding in dark corridors. In our joy, we think we hear a whisper. At first it is too soft. Then only half heard. We listen carefully as it gathers strength. We hear a sweetness. The word is Peace. It is loud now. It is louder. Louder than the explosion of bombs. We tremble at the sound. We are thrilled by its presence. It is what we have hungered for. Not just the absence of war. But, true Peace. A harmony of spirit, a comfort of courtesies. Security for our beloveds and their beloveds. We clap hands and welcome the Peace of Christmas. We beckon this good season to wait a while with us. We, Baptist and Buddhist, Methodist and Muslim, say come. Peace. Come and fill us and our world with your majesty. We, the Jew and the Jainist, the Catholic and the Confucian, Implore you, to stay a while with us. So we may learn by your shimmering light How to look beyond complexion and see community. It is Christmas time, a halting of hate time. On this platform of peace, we can create a language To translate ourselves to ourselves and to each other. At this Holy Instant, we celebrate the Birth of Jesus Christ Into the great religions of the world. We jubilate the precious advent of trust. We shout with glorious tongues at the coming of hope. All the earth's tribes loosen their voices To celebrate the promise of Peace. We, Angels and Mortal's, Believers and Non-Believers, Look heavenward and speak the word aloud. Peace. We look at our world and speak the word aloud. Peace. We look at each other, then into ourselves And we say without shyness or apology or hesitation. Peace, My Brother. Peace, My Sister. Peace, My Soul.

New eyes awaken. I send Love's name into the world with wings And songs grow up around me like a jungle. Choirs of all creatures sing the tunes Your Spirit played in Eden. Zebras and antelopes and birds of paradise Shine on the face of the abyss And I am drunk with the great wilderness Of the sixth day in Genesis. But sound is never half so fair As when that music turns to air And the universe dies of excellence. Sun, moon and stars Fall from their heavenly towers. Joys walk no longer down the blue world's shore. Though fires loiter, lights still fly on the air of the gulf, All fear another wind, another thunder: Then one more voice Snuffs all their flares in one gust. And I go forth with no more wine and no more stars And no more buds and no more Eden And no more animals and no more sea: While God sings by himself in acres of night And walls fall down, that guarded Paradise.

What would you have me do? Seek for the patronage of some great man, And like a creeping vine on a tall tree Crawl upward, where I cannot stand alone? No thank you! Dedicate, as others do, Poems to pawnbrokers? Be a buffoon In the vile hope of teasing out a smile On some cold face? No thank you! Eat a toad For breakfast every morning? Make my knees Callous, and cultivate a supple spine,- Wear out my belly grovelling in the dust? No thank you! Scratch the back of any swine That roots up gold for me? Tickle the horns Of Mammon with my left hand, while my right Too proud to know his partner's business, Takes in the fee? No thank you! Use the fire God gave me to burn incense all day long Under the nose of wood and stone? No thank you! Shall I go leaping into ladies' laps And licking fingers?-or-to change the form- Navigating with madrigals for oars, My sails full of the sighs of dowagers? No thank you! Publish verses at my own Expense? No thank you! Be the patron saint Of a small group of literary souls Who dine together every Tuesday? No I thank you! Shall I labor night and day To build a reputation on one song, And never write another? Shall I find True genius only among Geniuses, Palpitate over little paragraphs, And struggle to insinuate my name In the columns of the Mercury? No thank you! Calculate, scheme, be afraid, Love more to make a visit than a poem, Seek introductions, favors, influences?- No thank you! No, I thank you! And again I thank you!-But... To sing, to laugh, to dream To walk in my own way and be alone, Free, with a voice that means manhood-to cock my hat Where I choose-At a word, a Yes, a No, To fight-or write.To travel any road Under the sun, under the stars, nor doubt If fame or fortune lie beyond the bourne- Never to make a line I have not heard In my own heart; yet, with all modesty To say:"My soul, be satisfied with flowers, With fruit, with weeds even; but gather them In the one garden you may call your own." So, when I win some triumph, by some chance, Render no share to Caesar-in a word, I am too proud to be a parasite, And if my nature wants the germ that grows Towering to heaven like the mountain pine, Or like the oak, sheltering multitudes- I stand, not high it may be-but alone!

Oh! certainly," cried his faithful assistant, "no one can be really esteemed accomplished who does not greatly surpass what is usually met with. A woman must have a thorough knowledge of music, singing, drawing, dancing, and the modern languages, to deserve the word; and besides all this, she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half-deserved." "All this she must possess," added Darcy, "and to all this she must yet add something more substantial, in the improvement of her mind by extensive reading.

The Trial By Existence Even the bravest that are slain Shall not dissemble their surprise On waking to find valor reign, Even as on earth, in paradise; And where they sought without the sword Wide fields of asphodel fore’er, To find that the utmost reward Of daring should be still to dare. The light of heaven falls whole and white And is not shattered into dyes, The light for ever is morning light; The hills are verdured pasture-wise; The angel hosts with freshness go, And seek with laughter what to brave;— And binding all is the hushed snow Of the far-distant breaking wave. And from a cliff-top is proclaimed The gathering of the souls for birth, The trial by existence named, The obscuration upon earth. And the slant spirits trooping by In streams and cross- and counter-streams Can but give ear to that sweet cry For its suggestion of what dreams! And the more loitering are turned To view once more the sacrifice Of those who for some good discerned Will gladly give up paradise. And a white shimmering concourse rolls Toward the throne to witness there The speeding of devoted souls Which God makes his especial care. And none are taken but who will, Having first heard the life read out That opens earthward, good and ill, Beyond the shadow of a doubt; And very beautifully God limns, And tenderly, life’s little dream, But naught extenuates or dims, Setting the thing that is supreme. Nor is there wanting in the press Some spirit to stand simply forth, Heroic in its nakedness, Against the uttermost of earth. The tale of earth’s unhonored things Sounds nobler there than ’neath the sun; And the mind whirls and the heart sings, And a shout greets the daring one. But always God speaks at the end: ’One thought in agony of strife The bravest would have by for friend, The memory that he chose the life; But the pure fate to which you go Admits no memory of choice, Or the woe were not earthly woe To which you give the assenting voice.’ And so the choice must be again, But the last choice is still the same; And the awe passes wonder then, And a hush falls for all acclaim. And God has taken a flower of gold And broken it, and used therefrom The mystic link to bind and hold Spirit to matter till death come. ‘Tis of the essence of life here, Though we choose greatly, still to lack The lasting memory at all clear, That life has for us on the wrack Nothing but what we somehow chose; Thus are we wholly stripped of pride In the pain that has but one close, Bearing it crushed and mystified.

Reyna said, swinging her sword again. “Something they’ll hate worse than Apollo.” Her eyes lit up. “Apollo, sing for them!” She might as well have kicked me in the face again. “My voice isn’t that bad!” “But you’re the—You used to be the god of music, right? If you can charm a crowd, you should be able to repulse one. Pick a song these birds will hate!” Great. Not only had Reyna laughed in my face and busted my nose, now I was her go-to guy for repulsiveness.

Water, wind and birdsong were the echoes in this quiet place of a great chiming symphony that was surging around the world. Knee-deep in grasses and moon daisies, Stella stood and listened, swaying a little as the flowers and trees were swaying, her spirit voice singing loudly, though her lips were still, and every pulse in her body beating its hammer strokes in time to the song.

Poets represent love as sculptors design beauty, as musicians create melody; that is to say, endowed with an exquisite nervous organization, they gather up with discerning ardor the purest elements of life, the most beautiful lines of matter, and the most harmonious voices of nature. There lived, it is said, at Athens a great number of beautiful girls; Praxiteles drew them all one after another; then from these diverse types of beauty, each one of which had its defects, he formed a single faultless beauty and created Venus. The man who first created a musical instrument, and who gave to harmony its rules and its laws, had for a long time listened to the murmuring of reeds and the singing of birds. Thus the poets, who understand life, after knowing much of love, more or less transitory, after feeling that sublime exaltation which real passion can for the moment inspire, eliminating from human nature all that degrades it, created the mysterious names which through the ages fly from lip to lip: Daphnis and Chloe, Hero and Leander, Pyramus and Thisbe. To try to find in real life such love as this, eternal and absolute, is but to seek on public squares a woman such as Venus, or to expect nightingales to sing the symphonies of Beethoven.

Eddie saw great things and near misses. Albert Einstein as a child, not quite struck by a run-away milk-wagon as he crossed a street. A teenage boy named Albert Schweitzer getting out of a bathtub and not quite stepping on the cake of soap lying beside the pulled plug. A Nazi Oberleutnant burning a piece of paper with the date and place of the D-Day Invasion written on it. He saw a man who intended to poison the entire water supply of Denver die of a heart attack in a roadside rest-stop on I-80 in Iowa with a bag of McDonald’s French fries on his lap. He saw a terrorist wired up with explosives suddenly turn away from a crowded restaurant in a city that might have been Jerusalem. The terrorist had been transfixed by nothing more than the sky, and the thought that it arced above the just and unjust alike. He saw four men rescue a little boy from a monster whose entire head seemed to consist of a single eye. But more important than any of these was the vast, accretive weight of small things, from planes which hadn’t crashed to men and women who had come to the correct place at the perfect time and thus founded generations. He saw kisses exchanged in doorways and wallets returned and men who had come to a splitting of the way and chosen the right fork. He saw a thousand random meetings that weren’t random, ten thousand right decisions, a hundred thousand right answers, a million acts of unacknowledged kindness. He saw the old people of River Crossing and Roland kneeling in the dust for Aunt Talitha’s blessing; again heard her giving it freely and gladly. Heard her telling him to lay the cross she had given him at the foot of the Dark Tower and speak the name of Talitha Unwin at the far end of the earth. He saw the Tower itself in the burning folds of the rose and for a moment understood its purpose: how it distributed its lines of force to all the worlds that were and held them steady in time’s great helix. For every brick that landed on the ground instead of some little kid’s head, for every tornado that missed the trailer park, for every missile that didn’t fly, for every hand stayed from violence, there was the Tower. And the quiet, singing voice of the rose. The song that promised all might be well, all might be well, that all manner of things might be well.

She’d reached the door when Rowan knelt as well. And began to sing the ancient words—the words of mourning, as old and sacred as Terrasen itself. The same prayers she’d once sung and chanted while he’d tattooed her. Rowan’s clear, deep voice filling the room, Aelin looped her arm through Aedion’s, and let him lean on her as they walked back to the Great Hall. “Darrow called me ‘Your Majesty,’ ” she said after a minute. Aedion slid his red-rimmed eyes to her. But a spark lit them—just a bit. “Should we be worried?” Aelin’s mouth curved. “I thought the same damn thing.

As long as we have voices, we must sing.

I can write the saddest lines tonight. Write for example: ‘The night is fractured and they shiver, blue, those stars, in the distance’ The night wind turns in the sky and sings. I can write the saddest lines tonight. I loved her, sometimes she loved me too. On nights like these I held her in my arms. I kissed her greatly under the infinite sky. She loved me, sometimes I loved her too. How could I not have loved her huge, still eyes. I can write the saddest lines tonight. To think I don’t have her, to feel I have lost her. Hear the vast night, vaster without her. Lines fall on the soul like dew on the grass. What does it matter that I couldn’t keep her. The night is fractured and she is not with me. That is all. Someone sings far off. Far off, my soul is not content to have lost her. As though to reach her, my sight looks for her. My heart looks for her: she is not with me The same night whitens, in the same branches. We, from that time, we are not the same. I don’t love her, that’s certain, but how I loved her. My voice tried to find the breeze to reach her. Another’s kisses on her, like my kisses. Her voice, her bright body, infinite eyes. I don’t love her, that’s certain, but perhaps I love her. Love is brief: forgetting lasts so long. Since, on these nights, I held her in my arms, my soul is not content to have lost her. Though this is the last pain she will make me suffer, and these are the last lines I will write for her.

Focus,” Mary muttered, chastising herself and her wandering mind. From her stereo came the soothing sounds of monks, vocalizing an ancient hymn meant to bring one closer to enlightenment. Credit where it was due, they were pretty good. Mary couldn’t remember ever hearing a bad singing monk, though. Was it just a byproduct of monkhood that one gained a great singing voice? Or maybe they had auditions before one got in. “Great, great, you want enlightenment, but I’ll need to hear you belt out some show tunes before we let you in.” Were there scouts out there scouring the vocal talents of a new generation and recruiting them to top-notch monasteries?

We lay there in the dark listening to Emili Sande’s voice. And when the song ended, it seemed that the world had gone completely silent. Then I heard Sam’s voice in the dark. “So you’ll be my river, Sally?” She was crying again. “Yeah,” I said. “‘I would do all the running for you.’” I would have sung her the whole song, but I have a not-so-great singing voice. “And you’ll move the mountains just for me?” “Yeah,” I whispered. And then I was crying too. Not out-of-control crying, but crying. Soft, like it was coming from a place inside me that was quiet and soft too, and that was better than the hard place inside me when I made a fist, or wanted to make one. Maybe the river was made of our tears. Mine and Sam’s. Maybe the river was made of everybody’s tears. Everybody who had ever lost anybody. All those tears.

The Herdsman passed, nodding, the bright star Arcturus at his knee; the Bull roared by, bearing the great sun Aldebaran and the small group of the Pleiades singing in small melodic voices, like no voices he had ever heard.

Repeat it to yourself over and over until it trumps the voices of fear and angst. "The LORD your God is with you, he is mighty to save. He will take great delight in your, he will quiet you with his love, he will rejoice over your with singing" (Zeph. 3:17 NIV)

The way to whistle for a horse is to purse your lips together loosely, blow moderately hard and sing "Whee-oo! Whee-oo! Whee-oo!" in a high-pitched voice. Try it. You can do it.

The sound of their voices mingled with the whicker of horses, the clank of steel, and the groaning hinges of the great bronze gates to make a strange and fearful music. In the sept they sing for the Mother's mercy but on the walls it's the Warrior they pray to, and all in silence.

I looked back at my cousin who began to ask me questions in her low, thrilling voice. It was the kind of voice that the ear follows up and down as if each speech is an arrangement of notes that will never be played again. Her face was sad and lovely with bright things in it, bright eyes and a bright passionate mouth--but there was an excitement in her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered 'Listen,' a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour.

You work that you may keep pace with the earth and the soul of the earth. For to be idle is to become a stranger unto the seasons, and to step out of life's procession, that marches in majesty and proud submission towards the infinite. When you work you are a flute through whose heart the whispering of the hours turns to music. Which of you would be a reed, dumb and silent, when all else sings together in unison? Always you have been told that work is a curse and labour a misfortune. But I say to you that when you work you fulfil a part of earth's furthest dream, assigned to you when that dream was born, And in keeping yourself with labour you are in truth loving life, And to love life through labour is to be intimate with life's inmost secret. But if you in your pain call birth an affliction and the support of the flesh a curse written upon your brow, then I answer that naught but the sweat of your brow shall wash away that which is written. You have been told also that life is darkness, and in your weariness you echo what was said by the weary. And I say that life is indeed darkness save when there is urge, And all urge is blind save when there is knowledge, And all knowledge is vain save when there is work, And all work is empty save when there is love; And when you work with love you bind yourself to yourself, and to one another, and to God. And what is it to work with love? It is to weave the cloth with threads drawn from your heart, even as if your beloved were to wear that cloth. It is to build a house with affection, even as if your beloved were to dwell in that house. It is to sow seeds with tenderness and reap the harvest with joy, even as if your beloved were to eat the fruit. It is to charge all things you fashion with a breath of your own spirit, And to know that all the blessed dead are standing about you and watching. Often have I heard you say, as if speaking in sleep, "He who works in marble, and finds the shape of his own soul in the stone, is nobler than he who ploughs the soil. And he who seizes the rainbow to lay it on a cloth in the likeness of man, is more than he who makes the sandals for our feet." But I say, not in sleep but in the overwakefulness of noontide, that the wind speaks not more sweetly to the giant oaks than to the least of all the blades of grass; And he alone is great who turns the voice of the wind into a song made sweeter by his own loving. Work is love made visible. And if you cannot work with love but only with distaste, it is better that you should leave your work and sit at the gate of the temple and take alms of those who work with joy. For if you bake bread with indifference, you bake a bitter bread that feeds but half man's hunger. And if you grudge the crushing of the grapes, your grudge distils a poison in the wine. And if you sing though as angels, and love not the singing, you muffle man's ears to the voices of the day and the voices of the night.

Justify my soul, O God, but also from Your fountains fill my will with fire. Shine in my mind, although perhaps this means “be darkness to my experience,” but occupy my heart with Your tremendous Life. Let my eyes see nothing in the world but Your glory, and let my hands touch nothing that is not for Your service. Let my tongue taste no bread that does not strengthen me to praise Your great mercy. I will hear Your voice and I will hear all harmonies You have created, singing Your hymns. Sheep’s wool and cotton from the field shall warm me enough that I may live in Your service; I will give the rest to Your poor. Let me use all things for one sole reason: to find my joy in giving You glory. Therefore keep me, above all things, from sin. Keep me from the death of deadly sin which puts hell in my soul. Keep me from the murder of lust that blinds and poisons my heart. Keep me from the sins that eat a man’s flesh with irresistible fire until he is devoured. Keep me from loving money in which is hatred, from avarice and ambition that suffocate my life. Keep me from the dead works of vanity and the thankless labor in which artists destroy themselves for pride and money and reputation, and saints are smothered under the avalanche of their own importunate zeal. Stanch in me the rank wound of covetousness and the hungers that exhaust my nature with their bleeding. Stamp out the serpent envy that stings love with poison and kills all joy. Untie my hands and deliver my heart from sloth. Set me free from the laziness that goes about disguised as activity when activity is not required of me, and from the cowardice that does what is not demanded, in order to escape sacrifice. But give me the strength that waits upon You in silence and peace. Give me humility in which alone is rest, and deliver me from pride which is the heaviest of burdens. And possess my whole heart and soul with the simplicity of love. Occupy my whole life with the one thought and the one desire of love, that I may love not for the sake of merit, not for the sake of perfection, not for the sake of virtue, not for the sake of sanctity, but for You alone. For there is only one thing that can satisfy love and reward it, and that is You alone.

In front of the group was a legless man on a small wheeled trolley, who was singing at the top of his voice and banging two saucepans together. His name was Arnold Sideways. Pushing him along was Coffin Henry, whose croaking progress through an entirely different song was punctuated by bouts of off-the-beat coughing. He was accompanied by a perfectly ordinary-looking manin torn, dirty and yet expensive looking clothing, whose pleasant tenor voice was drowned out by the quaking of a duck on his head. He answered to the name of Duck Man, although he never seemed to understand why, or why he was always surrounded by people who seemed to see ducks where no ducks could be. And finally, being towed along by a small grey dog on a string, was Foul Ole Ron, generally regarded in Ankh-Morpork as the deranged beggars' deranged beggar. He was probably incapable of singing, but at least he was attempting to swear in time to the beat, or beats. The wassailers stopped and watched them in horror. People have always had the urge to sing and clang things at the dark stub of the year, when all sorts of psychic nastiness has taken advantage of the long grey days and the deep shadows to lurk and breed. Lately people had taken to singing harmoniously, which rather lost the affect. Those who really understood just clanged something and shouted. The beggars were not in fact this well versed in folkloric practice. They were just making a din in the well-founded hope that people would give them money to stop. It was just possible to make out consensus song in there somewhere. "Hogswatch is coming, The pig is getting fat, Please put a dollar in the old man's hat If you ain't got a dollar a penny will do-" "And if you ain't got a penny," Foul Ole Ron yodeled, solo, 'Then- fghfgh yffg mfmfmf..." The Duck man had, with great Presence of mind, clamped a hand over Ron's mouth.

Hermes bowed his head in thankfulness to the Great Dragon who had taught him so much, and begged to hear more concerning the ultimate of the human soul. So Poimandres resumed: "At death the material body of man is returned to the elements from which it came, and the invisible divine man ascends to the source from whence he came, namely the Eighth Sphere... "Then, being naked of all the accumulations of the seven Rings, the soul comes to the Eighth Sphere, namely, the ring of the fixed stars. Here, freed of all illusion, it dwells in the Light and sings praises to the Father in a voice which only the pure of spirit may understand. Behold, O Hermes, there is a great mystery in the Eighth Sphere, for the Milky Way is the seed-ground of souls, and from it they drop into the Rings, and to the Milky Way they return again from the wheels of Saturn. But some cannot climb the seven-runged ladder of the Rings. So they wander in darkness below and are swept into eternity with the illusion of sense and earthiness. "The path to immortality is hard, and only a few find it. The rest await the Great Day when the wheels of the universe shall be stopped and the immortal sparks shall escape from the sheaths of substance. Woe unto those who wait, for they must return again, unconscious and unknowing, to the seed-ground of stars, and await a new beginning. Those who are saved by the light of the mystery which I have revealed unto you, O Hermes, and which I now bid you to establish among men, shall return again to the Father who dwelleth in the White Light, and shall deliver themselves up to the Light and shall be absorbed into the Light, and in the Light they shall become Powers in God. This is the Way of Good and is revealed only to them that have wisdom.

It was the kind of voice that the ear follows up and down, as if each speech is an arrangement of notes that will never be played again. Her face was sad and lovely with bright things in it, bright eyes and a bright passionate mouth, but there was an excitement in her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered 'Listen,' a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour.

The rook is a skilled survivor. He is ancient and has inhabited the planet longer than humans. This you can tell from his singing voice: his cry is harsh and grating, made for a more ancient world that existed before the innovation of the pipe, the lute, and the viol. Before music was invented he was taught to sing by the planet itself. He mimicked the great rumble of the sea, the fearsome eruption of volcanoes, the creaking of glaciers, and the geological groaning as the world split apart in its agony and remade itself.

He was right. I would only eke out a living as a singer. The limited success I had, which Bailey recognized, stemmed from the fact that I didn't love singing. My voice was fair and interesting; my ear was not great, or even good, but my rhythm was reliable. Still, I could never become a great singer, since I would not sacrifice for it. To become wondrously successful and to sustain that success in any profession, one must be willing to relinquish many pleasures and be ready to postpone gratification. I didn't care enough for my own singing to make other people appreciate it.

At that sound the bent shape of the king sprang suddenly erect. Tall and proud he seemed again; and rising in his stirrups he cried in a loud voice, more clear than any there had ever heard a mortal man achieve before: Arise, arise, Riders of Theoden! Fell deeds awake: fire and slaughter! spear shall be shaken, shield be splintered, a sword-day, a red day, ere the sun rises! Ride now, ride now! Ride to Gondor! With that he seized a great horn from Guthlaf his banner-bearer, and he blew such a blast upon it that it burst asunder. And straightway all the horns in the host were lifted up in music, and the blowing of the horns of Rohan in that hour was like a storm upon the plain and a thunder in the mountains. Ride now, ride now! Ride to Gondor! Suddenly the king cried to Snowmane and the horse sprang away. Behind him his banner blew in the wind, white horse upon a field of green, but he outpaced it. After him thundered the knights of his house, but he was ever before them. Eomer rode there, the white horsetail on his helm floating in his speed, and the front of the first eored roared like a breaker foaming to the shore, but Theoden could not be overtaken. Fey he seemed, or the battle-fury of his fathers ran like new fire in his veins, and he was borne up on Snowmane like a god of old, even as Orome the Great in the battle of the Valar when the world was young. his golden shield was uncovered, and lo! it shone like an image of the Sun, and the grass flamed into green about the white feet of his steed. For morning came, morning and a wind from the sea; and darkness was removed, and the hosts of Mordor wailed, and terror took them, and they fled, and died, and the hoofs of wrath rode over them. And then all the host of Rohan burst into song, and they sang as they slew, for the joy of battle was on them, and the sound of their singing that was fair and terrible came even to the City.

She was silent; the great wings almost stopped moving; only a delicate stirring seemed to keep them aloft. "Listen, then," Mrs. Whatsit said. The resonant voice rose and the words seemed to be all around them so that Meg felt that she could almost reach out and touch them: "Sing unto the Lord a new song, and His praise from the end of the earth, ye that go down to the sea, and all that there is therein; the isles, and the inhabitants thereof. Let the wilderness and the cities thereof lift their voice; let the inhabitants of the rock sing, let them shout from the top of the mountains. Let them give glory unto the Lord!

to Sam’s final and complete satisfaction and pure joy, a minstrel of Gondor stood forth, and knelt, and begged leave to sing. And behold! he said: ‘Lo! lords and knights and men of valour unashamed, kings and princes, and fair people of Gondor, and Riders of Rohan, and ye sons of Elrond, and Dúnedain of the North, and Elf and Dwarf, and greathearts of the Shire, and all free folk of the West, now listen to my lay. For I will sing to you of Frodo of the Nine Fingers and the Ring of Doom.’ And when Sam heard that he laughed aloud for sheer delight, and he stood up and cried: ‘O great glory and splendour! And all my wishes have come true!’ And then he wept. And all the host laughed and wept, and in the midst of their merriment and tears the clear voice of the minstrel rose like silver and gold, and all men were hushed. And he sang to them, now in the elven-tongue, now in the speech of the West, until their hearts, wounded with sweet words, overflowed, and their joy was like swords, and they passed in thought out to regions where pain and delight flow together and tears are the very wine of blessedness.

My nights are full of long walks and the scent of ocean breezes and the sound of people singing. Sometimes, I hear your voice in my dreams and I wake with a start, but I’m getting better at soothing myself back to sleep these days. Perhaps in time I will stop asking God for his forgiveness. Perhaps I will be able to uncurl the defenses around my heart and let someone see me the way you saw me: vulnerable and naked and totally trusting. I have one final promise to make to you, one I will never break. I promise to live, richly and shamelessly and with my arms wide open to the world. If there was any part left of you at the end that wished for our great happiness, that truly wanted what was best for us, I think it would be pleased to hear me say it. I do not know if I have justified my choice to you, but I think I have justified it to myself, and that has brought me peace enough.

no one can be really esteemed accomplished who does not greatly surpass what is usually met with. A woman must have a thorough knowledge of music, singing, drawing, dancing, and the modern languages, to deserve the word; and besides all this, she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half-deserved.” “All this she must possess,” added Darcy, “and to all this she must yet add something more substantial, in the improvement of her mind by extensive reading.

And every day there is music. One dark voice will start a phrase, half-sung, and like a question. And after a moment another voice will join in, soon the whole gang will be singing. The voices are dark in the golden glare, the music intricately blended, both somber and joyful. The music will swell until at last it seems that the sound does not come from the twelve men on the gang, but from the earth itself, or the wide sky. It is music that causes the heart to broaden and the listener to grow cold with ecstasy and fright. Then slowly the music will sink down until at last there remains one lonely voice, then a great hoarse breath, the sun, the sound of the picks in the silence. And what kind of gang is this that can make such music? Just twelve mortal men, seven of them black and five of them white boys from this country. Just twelve mortal men who are together.

. . . to my surprise I began to know what The Language was about, not just the part we were singing now but the whole poem. It began with the praise and joy in all creation, copying the voice of the wind and the sea. It described sun and moon, stars and clouds, birth and death, winter and spring, the essence of fish, bird, animal, and man. It spoke in what seemed to be the language of each creature. . . . It spoke of well, spring, and stream, of the seed that comes from the loins of a male creature and of the embryo that grows in the womb of the female. It pictured the dry seed deep in the dark earth, feeling the rain and the warmth seeping down to it. It sang of the green shoot and of the tawny heads of harvest grain standing out in the field under the great moon. It described the chrysalis that turns into a golden butterfly, the eggs that break to let out the fluffy bird life within, the birth pangs of woman and of beast. It went on to speak of the dark ferocity of the creatures that pounce upon their prey and plunge their teeth into it--it spoke in the muffled voice of bear and wolf--it sang the song of the great hawks and eagles and owls until their wild faces seemed to be staring into mine, and I knew myself as wild as they. It sang the minor chords of pain and sickness, of injury and old age; for a few moments I felt I was an old woman with age heavy upon me.

Homer's Hymn to the Moon Published by Mrs. Shelley, "Poetical Works", 1839, 2nd edition; dated 1818. Daughters of Jove, whose voice is melody, Muses, who know and rule all minstrelsy Sing the wide-winged Moon! Around the earth, From her immortal head in Heaven shot forth, Far light is scattered—boundless glory springs; Where'er she spreads her many-beaming wings The lampless air glows round her golden crown. But when the Moon divine from Heaven is gone Under the sea, her beams within abide, Till, bathing her bright limbs in Ocean's tide, Clothing her form in garments glittering far, And having yoked to her immortal car The beam-invested steeds whose necks on high Curve back, she drives to a remoter sky A western Crescent, borne impetuously. Then is made full the circle of her light, And as she grows, her beams more bright and bright Are poured from Heaven, where she is hovering then, A wonder and a sign to mortal men. The Son of Saturn with this glorious Power Mingled in love and sleep—to whom she bore Pandeia, a bright maid of beauty rare Among the Gods, whose lives eternal are. Hail Queen, great Moon, white-armed Divinity, Fair-haired and favourable! thus with thee My song beginning, by its music sweet Shall make immortal many a glorious feat Of demigods, with lovely lips, so well Which minstrels, servants of the Muses, tell.

Lorelei It is no night to drown in: A full moon, river lapsing Black beneath bland mirror-sheen, The blue water-mists dropping Scrim after scrim like fishnets Though fishermen are sleeping, The massive castle turrets Doubling themselves in a glass All stillness. Yet these shapes float Up toward me, troubling the face Of quiet. From the nadir They rise, their limbs ponderous With richness, hair heavier Than sculptured marble. They sing Of a world more full and clear Than can be. Sisters, your song Bears a burden too weighty For the whorled ear's listening Here, in a well-steered country, Under a balanced ruler. Deranging by harmony Beyond the mundane order, Your voices lay siege. You lodge On the pitched reefs of nightmare, Promising sure harborage; By day, descant from borders Of hebetude, from the ledge Also of high windows. Worse Even than your maddening Song, your silence. At the source Of your ice-hearted calling- Drunkenness of the great depths. O river, I see drifting Deep in your flux of silver Those great goddesses of peace. Stone, stone, ferry me down there.

I thought a voice had to be about what you could do. It wasn’t until I heard Billie Holiday that I realized a voice could be a collection of compensations for things you couldn’t do. It could be an ingenuity – in the same way some writers wrote books that coursed between the boulders of what they couldn’t do, and went faster, and tumbled over, fell in rills and rushed breathlessly over the stones. The great singers were also the great interpreters. She had just a single octave, and she made it her lifelong subject. I thought a voice had to be about your fluency, your dexterity, your virtuosity. But in fact your voice could be about your failings, your faltering, your physical limits. The voices that ring hardest in our heads are not the perfect voices. They are the voices with an additional dimension, which is pain.

And I've been thinking: if the human race manages to destroy itself, as it often seems to want to do, or if some great disaster comes, as it did for the dinosaurs, then the birds will still manage to survive. When our gardens and fields and farms and woods have turned wild, when the park at the end of Falconer Road has turned into a wilderness, when our cities are in ruins, the birds will go on flying and singing and making their nests and laying their eggs and raising their young. It could be that the birds will exist for ever and for ever until the earth itself comes to an end, no matter what might happen to the other creatures. They'll sing until the end of time. So here's my thought: If there is a God, could it be that He's chosen the birds to speak for Him. Could it be true? The voice of God speaks through the beaks of birds.

Relly fired off the opening riff. Butt laid down the beat, old doom and new joy mixed together. "I wait till I, like fire, shall rise," Jerod sang. And then again, louder, wailing sure and true. I was the last one to join in. I had a bass line all wroked out, of course. I'd been waiting weeks for this momment. My fingers colosed on the strings, pressed them hard to the frets. Butt and Relly were locked in, repeating the four-bar intro. Louder and louder, fierce as a war cry. "Ok," I whispered into the pounding noise. I joined in, doubling Relly at first, then splitting off to coil our riffs together. It was great, it was huge, it was endless. The song rose, churning and sucking everything in like a cyclone. "The will my voice in great goodbyes," Jerod screamed from the speakers. "Join to the chorus of the skies." Silence was inside me, riding the Ghost Metal tornado. Right at the center, at the heart of the song. I didn't need a voice. I had a bass. I didn't need to hear myself talk or sing. Jerod could make the words for me. Or maybe it was Silence herself, pouring out through the PA system. Either way, any way, They were my words. And all the world would hear them.

Someone should sing, Silver thinks, and then someone does-a low, somewhat hoarse man's voice singing "Amazing Grace" quietly but with great sincerity. Ruben's eyes grow wide, and almost in the same instant that it occurs to Silver that "Amazing Grace" is not sung at Jewish funerals, he recognizes the singing voice as his own. But Mrs. Zeiring is looking at him, not with anger or surprise, but a strange half-smile, and he decides that the only thing worse than spontaneously breaking into a Christian hymn at a Jewish funeral while dressed for a wedding would be to not finish it. So he does...

Aisling tumbled out, his gold eyes going wild about the room to take in all of them. His beak clicked as he worked it in silence. Then, as the breaking of ice may bring a cascade of water from winter’s falls, the griffin’s voice—no longer that small shrill copy of Taryn’s, but his own true voice—poured plaintively from him. “Mom!” Taryn jerked around, her mouth dropping open. Aisling bounded toward her and she swept him up into a tight embrace. He clutched at her shoulders with his talons, burying his head under her chin, and cried, “Mom! Yoo…rrrrr…oh…kay!” “Great gods,” Antilles heard himself say and he shot Tonka a startled glance. “He cannot be speaking?!” The horseman merely smiled. “And why not?” he murmured, resettling himself on his padded bolster. “For has he not been a miracle from the very first?” “You’re talking,” Taryn cried, true delight painting itself over the grief that had seemed to mask her since the dawning of this terrible day. She was radiant once more, burning with a joy and a healing light all its own as she hugged her griffin close. “Oh, my fierce prince! My big boy!” “Yoo…rrrr…Ai-sing,” whispered the griffin. His raptor’s eyes flicked to Antilles and his naked wings fluttered. “Tilly. Yoo…rrrr…sun-shy?” Taryn giggled, her face pressed to fur. “Aye, lad,” Antilles said, tossing his broken horn. “My sun and my moon and all my starry skies.

Beware of first-hand ideas!” exclaimed one of the most advanced of them. “First-hand ideas do not really exist. They are but the physical impressions produced by love and fear, and on this gross foundation who could erect a philosophy? Let your ideas be second-hand, and if possible tenth-hand, for then they will be far removed from that disturbing element — direct observation. Do not learn anything about this subject of mine — the French Revolution.Learn instead what I think that Enicharmon thought Urizen thought Gutch thought Ho-Yung thought Chi-Bo-Sing thought Lafcadio Hearn thought Carlyle thought Mirabeau said about the French Revolution. Through the medium of these ten great minds, the blood that was shed at Paris and the windows that were broken at Versailles will be clarified to an idea which you may employ most profitably in your daily lives. But be sure that the intermediates are many and varied, for in history one authority exists to counteract another. Urizen must counteract the scepticism of Ho-Yung and Enicharmon, I must myself counteract the impetuosity of Gutch. You who listen to me are in a better position to judge about the French Revolution than I am. Your descendants will be even in a better position than you, for they will learn what you think I think, and yet another intermediate will be added to the chain. And in time” — his voice rose — “there will come a generation that had got beyond facts, beyond impressions, a generation absolutely colourless, a generation ‘seraphically free From taint of personality,’ which will see the French Revolution not as it happened, nor as they would like it to have happened, but as it would have happened, had it taken place in the days of the Machine.

Justify my soul, O God, but also from Your fountains fill my will with fire. Shine in my mind, although perhaps this means “be darkness to my experience,” but occupy my heart with Your tremendous Life. Let my eyes see nothing in the world but Your glory, and let my hands touch nothing that is not for Your service. Let my tongue taste no bread that does not strengthen me to praise Your great mercy. I will hear Your voice and I will hear all harmonies You have created, singing Your hymns. Sheep’s wool and cotton from the field shall warm me enough that I may live in Your service; I will give the rest to Your poor. Let me use all things for one sole reason: to find my joy in giving You glory.

I would choose you." The words were out before he thought better of them, and there was no way to pull them back. Silence stretched between them. Perhaps the floor will open and I'll plummet to my death, he thought hopefully. "As your general?" Her voice careful. She was offering him a chance to right the ship, to take them back to familiar waters. And a fine general you are. There could be no better leader. You may be prickly, but that what Ravka needs. So many easy replies. Instead he said, "As my queen." He couldn't read her expression. Was she pleased? Embarrassed? Angry? Every cell in his body screamed for him to crack a joke, to free both of them from the peril of the moment. But he wouldn't. He was still a privateer, and he'd come too far. "Because I'm a dependable soldier," she said, but she didn't sound sure. It was the same cautious, tentative voice, the voice of someone waiting for a punch line, or maybe a blow. "Because I know all of your secrets." "I do trust you more than myself sometimes- and I think very highly of myself." Hadn't she said there was no one else she'd choose to have her back in a fight? But that isn't the whole truth, is it, you great cowardly lump. To hell with it. They might all die soon enough. They were safe here in the dark, surrounded by the hum of engines. "I would make you my queen because I want you. I want you all the time." She rolled on to her side, resting her head on her folded arm. A small movement, but he could feel her breath now. His heart was racing. "As your general, I should tell you that would be a terrible decision." He turned on to his side. They were facing each other now. "As your king, I should tell you that no one could dissuade me. No prince and no power could make me stop wanting you." Nikolai felt drunk. Maybe unleashing the demon had loosed something in his brain. She was going to laugh at him. She would knock him senseless and tell him he had no right. But he couldn't seem to stop. "I would give you a crown if I could," he said. "I would show you the world from the prow of a ship. I would choose you, Zoya. As my general, as my friend, as my bride. I would give you a sapphire the size of an acorn." He reached in to his pocket. "And all I would ask in return is that you wear this damnable ribbon in your hair on our wedding day." She reached out, her fingers hovering over the coil of blue velvet ribbon resting in his palm. Then she pulled back her hand, cradling her fingers as if they'd been singed. "You will wed a Taban sister who craves a crown," she said. "Or a wealthy Kerch girl, or maybe a Fjerdan royal. You will have heirs and a future. I'm not the queen Ravka needs." "And if you're the queen I want?" ... She sat up, drew her knees in, wrapped her arms around them as if she would make a shelter of her own body. He wanted to pull her back down beside him and press his mouth to hers. He wanted her to look at him again with possibility in her eyes. "But that's not who I am. Whatever is inside me is sharp and gray as the thorn wood." She rose and dusted off her kefta. "I wasn't born to be a bride. I was made to be a weapon." Nikolai forced himself to smile. It wasn't as if he'd offered her a real proposal. They both knew such a thing was impossible. And yet her refusal smarted just as badly as if he'd gotten on his knee and offered her his hand like some kind of besotted fool. It stung. All saints, it stung. "Well," he said cheerfully, pushing up on his elbows and looking up at her with all the wry humour he could muster. "Weapons are good to have around too. Far more useful than brides and less likely to mope about the palace. But if you won't rule Ravka by my side, what does the future hold, General?" Zoya opened the door to the Cargo hold. Light flooded in gilding her features when she looked back at him. "I'll fight on beside you. As your general. As your friend. Because whatever my failings, I know this. You are the king Ravka needs.

There is so much silence all around that I think I can hear moonlight crashing against the windows. A foreign voice awakes inside my breast, singing a longing which is not my own. They say that ancestors, who died before their time, with young blood in their veins, with great passions in their blood, with living sun in passions, return, return to live inside us their unspent lives. There is so much silence all around that I think I can hear moonlight crashing against the windows. Oh, who knows, my soul -in whose breast you too will sing, in centur- ies to come, on sweet strings of silence on a harp of darkness, your smothered longing and your broken joy of life? Who knows? Who knows?

To sing means to use the soul-voice. It means to say on the breath the truth of one’s power and one’s need, to breathe soul over the thing that is ailing or in need of restoration. This is done by descending into the deepest mood of great love and feeling, till one’s desire for relationship with the wildish Self overflows, then to speak one’s soul from that frame of mind.

I hardly ever fall down, and I love running! Running is so great, so free. I can climb trees, and I always know what’s around me, even things that don’t make any noise. And I can hear the sun’s song every day, and the mountains all around us, and did you know there’s a night-sun? It’s true. I hear it sing almost every night. It’s mysterious and . . . misty and beautiful. It isn’t hot like the sun; it’s cold so you don’t feel it. And I can hear a million other things in the sky at night. The universe is a great big band making the best songs every night and I can hear them!” He paused and lowered his voice. No one stirred or made the least sound. Andrius raised his finger to his eye. “Because I can hear out of my eyes. And I want to teach you how too.

All my life I have wondered about the possibility of life elsewhere. What would it be like? Of what would it be made? All living things on our planet are constructed of organic molecules—complex microscopic architectures in which the carbon atom plays a central role. There was once a time before life, when the Earth was barren and utterly desolate. Our world is now overflowing with life. How did it come about? How, in the absence of life, were carbon-based organic molecules made? How did the first living things arise? How did life evolve to produce beings as elaborate and complex as we, able to explore the mystery of our own origins? And on the countless other planets that may circle other suns, is there life also? Is extraterrestrial life, if it exists, based on the same organic molecules as life on Earth? Do the beings of other worlds look much like life on Earth? Or are they stunningly different—other adaptations to other environments? What else is possible? The nature of life on Earth and the search for life elsewhere are two sides of the same question—the search for who we are. In the great dark between the stars there are clouds of gas and dust and organic matter. Dozens of different kinds of organic molecules have been found there by radio telescopes. The abundance of these molecules suggests that the stuff of life is everywhere. Perhaps the origin and evolution of life is, given enough time, a cosmic inevitability. On some of the billions of planets in the Milky Way Galaxy, life may never arise. On others, it may arise and die out, or never evolve beyond its simplest forms. And on some small fraction of worlds there may develop intelligences and civilizations more advanced than our own. Occasionally someone remarks on what a lucky coincidence it is that the Earth is perfectly suitable for life—moderate temperatures, liquid water, oxygen atmosphere, and so on. But this is, at least in part, a confusion of cause and effect. We earthlings are supremely well adapted to the environment of the Earth because we grew up here. Those earlier forms of life that were not well adapted died. We are descended from the organisms that did well. Organisms that evolve on a quite different world will doubtless sing its praises too. All life on Earth is closely related. We have a common organic chemistry and a common evolutionary heritage. As a result, our biologists are profoundly limited. They study only a single kind of biology, one lonely theme in the music of life. Is this faint and reedy tune the only voice for thousands of light-years? Or is there a kind of cosmic fugue, with themes and counterpoints, dissonances and harmonies, a billion different voices playing the life music of the Galaxy? Let

In all jazz, and especially the blues, there is something tart and ironic, authoritative and double-edged. White Americans seem to feel that happy songs are happy and sad songs are sad, and that, God help us, is exactly the way most white Americans sing them—sounding, in both cases, so helplessly, defenselessly fatuous that one dare not speculate on the temperature of the deep freeze from which issue their brave and sexless little voices. Only people who have been “down the line,” as the song puts it, know what this music is about…. White Americans do not understand the depths out of which such an ironic tenacity comes, but they suspect that the force is sensual, and they are terrified of sensuality, and do not any longer understand it. The word “sensual” is not intended to bring to mind quivering dusky maidens or priapic black studs. I am referring to something much simpler and much less fanciful. To be sensual, I think, is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort of loving to the breaking of bread. It will be a great day for America, incidentally, when we begin to eat bread again, instead of the blasphemous and tasteless foam rubber that we have substituted for it. And I am not being frivolous here, either.

Oh! certainly,” cried his faithful assistant, “no one can be really esteemed accomplished who does not greatly surpass what is usually met with. A woman must have a thorough knowledge of music, singing, drawing, dancing, and the modern languages, to deserve the word; and besides all this, she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half-deserved.

Long Live King Peter! Long Live Queen Susan! Long Live King Edmund! Long Live Queen Lucy!” “Once a King or Queen in Narnia, always a King or Queen. Bear it well, Sons of Adam! Bear it well, Daughters of Eve!” said Aslan. And through the eastern door, which was wide open, came the voices of the mermen and the mermaids swimming close to the castle steps and singing in honor of their new Kings and Queens. So the children sat in their thrones and scepters were put into their hands and they gave rewards and honors to all their friends, to Tumnus the Faun, and to the Beavers, and Giant Rumblebuffin, to the leopards, and the good centaurs and the good dwarfs, and to the lion. And that night there was a great feast in Cair Paravel, and revelry and dancing, and gold flashed and wine flowed, and answering to the music inside, but stranger, sweeter, and more piercing, came the music of the sea-people. But amid all these rejoicings Aslan himself quietly slipped away. And when the Kings and Queens noticed that he wasn’t there, they said nothing about it. For Mr. Beaver had warned them. “He’ll be coming and going,” he had said. “One day you’ll see him and another you won’t. He doesn’t like being tied down--and of course he has other countries to attend to. It’s quite all right. He’ll often drop in. Only you mustn’t press him. He’s wild, you know. Not like a tame lion.

They say the eye sees, but there’s a blind place in the mind.” “And I say it is lack of effort. You must hold him to the same standard as everyone else. Because where should it stop, this fashionable clemency, once we allow that there are things we can see and yet be blind to?” The singing voices swelled in the cellar and the bombs gave the percussion, and the great injured city went further into night. “Oh, I don’t know, darling. I don’t know where it will stop.

In 1917 I went to Russia. I was sent to prevent the Bolshevik Revolution and to keep Russia in the war. The reader will know that my efforts did not meet with success. I went to Petrograd from Vladivostok, .One day, on the way through Siberia, the train stopped at some station and the passengers as usual got out, some to fetch water to make tea, some to buy food and others to stretch their legs. A blind soldier was sitting on a bench. Other soldiers sat beside him and more stood behind. There were from twenty to thirty.Their uniforms were torn and stained. The blind soldier, a big vigorous fellow, was quite young. On his cheeks was the soft, pale down of a beard that has never been shaved. I daresay he wasn't eighteen. He had a broad face, with flat, wide features, and on his forehead was a great scar of the wound that had lost him his sight. His closed eyes gave him a strangely vacant look. He began to sing. His voice was strong and sweet. He accompanied himself on an accordion. The train waited and he sang song after song. I could not understand his words, but through his singing, wild and melancholy, I seemed to hear the cry of the oppressed: I felt the lonely steppes and the interminable forests, the flow of the broad Russian rivers and all the toil of the countryside, the ploughing of the land and the reaping of the wild corn, the sighing of the wind in the birch trees, the long months of dark winter; and then the dancing of the women in the villages and the youths bathing in shallow streams on summer evenings; I felt the horror of war, the bitter nights in the trenches, the long marches on muddy roads, the battlefield with its terror and anguish and death. It was horrible and deeply moving. A cap lay at the singer's feet and the passengers filled it full of money; the same emotion had seized them all, of boundless compassion and of vague horror, for there was something in that blind, scarred face that was terrifying; you felt that this was a being apart, sundered from the joy of this enchanting world. He did not seem quite human. The soldiers stood silent and hostile. Their attitude seemed to claim as a right the alms of the travelling herd. There was a disdainful anger on their side and unmeasurable pity on ours; but no glimmering of a sense that there was but one way to compensate that helpless man for all his pain.

It is the voice of the church that is heard in singing together. It is not I who sing, but the church. However, as a member of the church, I may share in its song. Thus all true singing together must serve to widen our spiritual horizon. It must enable us to recognize our small community as a member of the great Christian church [Christenheit] on earth and must help us willingly and joyfully to take our place in the song of the church with our singing, be it feeble or good. God’s

On this way, they reached the roof. Christine tripped over it as lightly as a swallow. Their eyes swept the empty space between the three domes and the triangular pediment. She breathed freely over Paris, the whole valley of which was seen at work below. She called Raoul to come quite close to her and they walked side by side along the zinc streets, in the leaden avenues; they looked at their twin shapes in the huge tanks, full of stagnant water, where, in the hot weather, the little boys of the ballet, a score or so, learn to swim and dive. The shadow had followed behind them clinging to their steps; and the two children little suspected its presence when they at last sat down, trustingly, under the mighty protection of Apollo, who, with a great bronze gesture, lifted his huge lyre to the heart of a crimson sky. It was a gorgeous spring evening. Clouds, which had just received their gossamer robe of gold and purple from the setting sun, drifted slowly by; and Christine said to Raoul: “Soon we shall go farther and faster than the clouds, to the end of the world, and then you will leave me, Raoul. But, if, when the moment comes for you to take me away, I refuse to go with you—well you must carry me off by force!” “Are you afraid that you will change your mind, Christine?” “I don’t know,” she said, shaking her head in an odd fashion. “He is a demon!” And she shivered and nestled in his arms with a moan. “I am afraid now of going back to live with him … in the ground!” “What compels you to go back, Christine?” “If I do not go back to him, terrible misfortunes may happen! … But I can’t do it, I can’t do it! … I know one ought to be sorry for people who live underground … But he is too horrible! And yet the time is at hand; I have only a day left; and, if I do not go, he will come and fetch me with his voice. And he will drag me with him, underground, and go on his knees before me, with his death’s head. And he will tell me that he loves me! And he will cry! Oh, those tears, Raoul, those tears in the two black eye-sockets of the death’s head! I can not see those tears flow again!” She wrung her hands in anguish, while Raoul pressed her to his heart. “No, no, you shall never again hear him tell you that he loves you! You shall not see his tears! Let us fly, Christine, let us fly at once!” And he tried to drag her away, then and there. But she stopped him. “No, no,” she said, shaking her head sadly. “Not now! … It would be too cruel … let him hear me sing to-morrow evening … and then we will go away. You must come and fetch me in my dressing-room at midnight exactly. He will then be waiting for me in the dining-room by the lake … we shall be free and you shall take me away … You must promise me that, Raoul, even if I refuse; for I feel that, if I go back this time, I shall perhaps never return.” And she gave a sigh to which it seemed to her that another sigh, behind her, replied. “Didn’t you hear?” Her teeth chattered. “No,” said Raoul, “I heard nothing.” - Chapter 12: Apollo’s Lyre

her low, thrilling voice. It was the kind of voice that the ear follows up and down, as if each speech is an arrangement of notes that will never be played again. Her face was sad and lovely with bright things in it, bright eyes and a bright passionate mouth, but there was an excitement in her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered “Listen,” a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour.

JANUARY 25 Loving Yourself I begin to realize that in inquiring about my own origin and goal, I am inquiring about something other than myself…. In this very realization I begin to recognize the origin and goal of the world. —MARTIN BUBER In loving ourselves, we love the world. For just as fire, rock, and water are all made up of molecules, everything, including you and me, is connected by a small piece of the beginning. Yet, how do we love ourselves? It is as difficult at times as seeing the back of your head. It can be as elusive as it is necessary. I have tried and tripped many times. And I can only say that loving yourself is like feeding a clear bird that no one else can see. You must be still and offer your palmful of secrets like delicate seed. As she eats your secrets, no longer secret, she glows and you lighten, and her voice, which only you can hear, is your voice bereft of plans. And the light through her body will bathe you till you wonder why the gems in your palm were ever fisted. Others will think you crazed to wait on something no one sees. But the clear bird only wants to feed and fly and sing. She only wants light in her belly. And once in a great while, if someone loves you enough, they might see her rise from the nest beneath your fear. In this way, I've learned that loving yourself requires a courage unlike any other. It requires us to believe in and stay loyal to something no one else can see that keeps us in the world—our own self-worth. All the great moments of conception—the birth of mountains, of trees, of fish, of prophets, and the truth of relationships that last—all begin where no one can see, and it is our job not to extinguish what is so beautifully begun. For once full of light, everything is safely on its way—not pain-free, but unencumbered—and the air beneath your wings is the same air that trills in my throat, and the empty benches in snow are as much a part of us as the empty figures who slouch on them in spring. When we believe in what no one else can see, we find we are each other. And all moments of living, no matter how difficult, come back into some central point where self and world are one, where light pours in and out at once. And once there, I realize—make real before me—that this moment, whatever it might be, is a fine moment to live and a fine moment to die.

I looked back at my cousin who began to ask me questions in her low, thrilling voice. It was the kind of voice that the ear follows up and down as if each speech is an arrangement of notes that will never be played again. Her face was sad and lovely with bright things in it, bright eyes and a bright passionate mouth--but there was an excitement in her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered "Listen," a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour.

is well known, the article began, in nature, usually the males with the most prominent secondary sexual characteristics, such as the biggest antlers, deepest voices, broadest chests, and superior knowledge secure the best territories because they have fended off weaker males. The females choose to mate with these imposing alphas and are thereby inseminated with the best DNA around, which is passed on to the female’s offspring—one of the most powerful phenomena in the adaptation and continuance of life. Plus, the females get the best territory for their young. However, some stunted males, not strong, adorned, or smart enough to hold good territories, possess bags of tricks to fool the females. They parade their smaller forms around in pumped-up postures or shout frequently—even if in shrill voices. By relying on pretense and false signals, they manage to grab a copulation here or there. Pint-sized male bullfrogs, the author wrote, hunker down in the grass and hide near an alpha male who is croaking with great gusto to call in mates. When several females are attracted to his strong vocals at the same time, and the alpha is busy copulating with one, the weaker male leaps in and mates one of the others. The imposter males were referred to as “sneaky fuckers.

Fall behind me States! A man before all—myself, typical, before all. Give me the pay I have served for, Give me to sing the songs of the great Idea, take all the rest, I have loved the earth, sun, animals, I have despised riches, I have given aims to every one that ask'd, stood up for the stupid and crazy, devoted my income and labor to others, Hated tyrants, argued not concerning God, had patience and indulgence toward the people, taken off my hat to nothing known or unknown, Gone freely with powerful uneducated persons and with the young, and with the mothers of families, Read these leaves to myself in the open air, tried them by trees, stars, rivers, Dismiss'd whatever insulted my own soul or defiled my body, Claim'd nothing to myself which I have not carefully claim'd for others on the same terms, Sped to the camps, and comrades found and accepted from every State, (Upon this breast has many a dying soldier lean'd to breathe his last, This arm, this hand, this voice, have nourish'd, rais'd, restored, To life recalling many a prostrate form;) I am willing to wait to be understood by the growth of the taste of myself, Rejecting none, permitting all. (Say O Mother, have I not to your thought been faithful? Have I not through life kept you and yours before me?)

New Rule: If you're going to have a rally where hundreds of thousands of people show up, you may as well go ahead and make it about something. With all due respect to my friends Jon Stewart and Stephen Colbert, it seems that if you truly wanted to come down on the side of restoring sanity and reason, you'd side with the sane and the reasonable--and not try to pretend the insanity is equally distributed in both parties. Keith Olbermann is right when he says he's not the equivalent of Glenn Beck. One reports facts; the other one is very close to playing with his poop. And the big mistake of modern media has been this notion of balance for balance's sake, that the left is just as violent and cruel as the right, that unions are just as powerful as corporations, that reverse racism is just as damaging as racism. There's a difference between a mad man and a madman. Now, getting more than two hundred thousand people to come to a liberal rally is a great achievement that gave me hope, and what I really loved about it was that it was twice the size of the Glenn Beck crowd on the Mall in August--although it weight the same. But the message of the rally as I heard it was that if the media would just top giving voice to the crazies on both sides, then maybe we could restore sanity. It was all nonpartisan, and urged cooperation with the moderates on the other side. Forgetting that Obama tried that, and found our there are no moderates on the other side. When Jon announced his rally, he said that the national conversation is "dominated" by people on the right who believe Obama's a socialist, and by people on the left who believe 9/11 was an inside job. But I can't name any Democratic leaders who think 9/11 was an inside job. But Republican leaders who think Obama's socialist? All of them. McCain, Boehner, Cantor, Palin...all of them. It's now official Republican dogma, like "Tax cuts pay for themselves" and "Gay men just haven't met the right woman." As another example of both sides using overheated rhetoric, Jon cited the right equating Obama with Hitler, and the left calling Bush a war criminal. Except thinking Obama is like Hitler is utterly unfounded--but thinking Bush is a war criminal? That's the opinion of Major General Anthony Taguba, who headed the Army's investigation into Abu Ghraib. Republicans keep staking out a position that is farther and farther right, and then demand Democrats meet them in the middle. Which now is not the middle anymore. That's the reason health-care reform is so watered down--it's Bob Dole's old plan from 1994. Same thing with cap and trade--it was the first President Bush's plan to deal with carbon emissions. Now the Republican plan for climate change is to claim it's a hoax. But it's not--I know because I've lived in L.A. since '83, and there's been a change in the city: I can see it now. All of us who live out here have had that experience: "Oh, look, there's a mountain there." Governments, led my liberal Democrats, passed laws that changed the air I breathe. For the better. I'm for them, and not the party that is plotting to abolish the EPA. I don't need to pretend both sides have a point here, and I don't care what left or right commentators say about it, I can only what climate scientists say about it. Two opposing sides don't necessarily have two compelling arguments. Martin Luther King Jr. spoke on that mall in the capital, and he didn't say, "Remember, folks, those southern sheriffs with the fire hoses and the German shepherds, they have a point, too." No, he said, "I have a dream. They have a nightmare. This isn't Team Edward and Team Jacob." Liberals, like the ones on that field, must stand up and be counted, and not pretend we're as mean or greedy or shortsighted or just plain batshit at them. And if that's too polarizing for you, and you still want to reach across the aisle and hold hands and sing with someone on the right, try church.

I have sometimes gone so far as to wish to banish all the melodies and sweet chants commonly used for David's psalter from my ears and from the Church as well. But I think a safer course one which I remember being often told of Bishop Athanasius of Alexandria. He used to make the reader of the psalm chant with so flexible a speech-rhythm that he was nearer to reciting than to singing. Nevertheless, when I remember the tears which I poured out at the time when I was first recovering my faith, and that now I am moved not by the chant but by the words being sung, when they are sung with a clear voice and entirely appropriate modulation, then again I recognize the great utility of music in worship.

One article on reproductive strategies was titled "Sneaky Fuckers." Kya laughed. As is well known, the article began, in nature, usually the males with the most prominent secondary sexual characteristics, such as the biggest antlers, deepest voices, broadest chests, and superior knowledge secure the best territories because they have fended off weaker males. The females choose to mate with these imposing alphas and are thereby inseminated with the best DNA around, which is passed on to the female's offspring- one of the most powerful phenomena in the adaptation and continuance of life. Plus, the females get the best territory for their young. However, some stunted males, not strong, adorned, or smart enough to hold good territories, possess bags of tricks to fool the females. They parade their smaller forms around in pumped-up postures or shout frequently- even if in shrill voices. By relying on pretense and false signals, they manage to grab a copulation here or there. Pint-sized male bullfrogs, the author wrote, hunker down in the grass and hide near an alpha male who is croaking with great gusto to call in mates. When several females are attracted to his strong vocals at the same time, and the alpha is busy copulating with one, the weaker male leaps in and mates one of the others. The imposter males were referred to as "sneaky fuckers." Kya remembered, those many years ago, Ma warning her older sisters about young men who overrevved their rusted-out pickups or drove jalopies around with radios blaring. "Unworthy boys make a lot of noise," Ma had said. She read a consolation for females. Nature is audacious enough to ensure that the males who send out dishonest signals or go from one female to the next almost always end up alone. Another article delved into the wild rivalries between sperm. Across most life-forms, males compete to inseminate females. Male lions occasionally fight to the death; rival bull elephants lock tusks and demolish the ground beneath their feet as they tear at each other's flesh. Though very ritualized, the conflicts can still end in mutilations. To avoid such injuries, inseminators of some species compete in less violent, more creative methods. Insects, the most imaginative. The penis of the male damselfly is equipped with a small scoop, which removes sperm ejected by a previous opponent before he supplies his own. Kya dropped the journal on her lap, her mind drifting with the clouds. Some female insects eat their mates, overstressed mammal mothers abandon their young, many males design risky or shifty ways to outsperm their competitors. Nothing seemed too indecorous as long as the tick and the tock of life carried on. She knew this was not a dark side to Nature, just inventive ways to endure against all odds. Surely for humans there was more.

From the Heliconian Muses let us begin to sing, who hold the great and holy mount of Helicon, and dance on soft feet about the deep-blue spring and the altar of the almighty son of Cronos, and, when they have washed their tender bodies in Permessus or in the Horse's Spring or Olmeius, make their fair, lovely dances upon highest Helicon and move with vigorous feet. Thence they arise and go abroad by night, veiled in thick mist, and utter their song with lovely voice, praising Zeus the aegis-holder and queenly Hera of Argos who walks on golden sandals and the daughter of Zeus the aegis-holder bright-eyed Athene, and Phoebus Apollo, and Artemis who delights in arrows, and Poseidon the earth-holder who shakes the earth, and reverend Themis and quick-glancing Aphrodite, and Hebe with the crown of gold, and fair Dione, Leto, Iapetus, and Cronos the crafty counsellor, Eos and great Helius and bright Selene, Earth too, and great Oceanus, and dark Night, and the holy race of all the other deathless ones that are for ever. And one day they taught Hesiod glorious song while he was shepherding his lambs under holy Helicon, and this word first the goddesses said to me—the Muses of Olympus, daughters of Zeus who holds the aegis: 'Shepherds of the wilderness, wretched things of shame, mere bellies, we know how to speak many false things as though they were true; but we know, when we will, to utter true things'.

No one spoke of the great trouble, not even Mrs. March, for all had learned by experience that when Jo was in that mood words were wasted, and the wisest course was to wait till some little accident, or her own generous nature, softened Jo's resentment and healed the breach. It was not a happy evening, for though they sewed as usual, while their mother read aloud from Bremer, Scott, or Edgeworth, something was wanting, and the sweet home peace was disturbed. They felt this most when singing time came, for Beth could only play, Jo stood dumb as a stone, and Amy broke down, so Meg and Mother sang alone. But in spite of their efforts to be as cheery as larks, the flutelike voices did not seem to chord as well as usual, and all felt out of tune.

The first time that I went to Tuskegee I was asked to make an address to the school on Sunday evening. I sat upon the platform of the large chapel and looked forth on a thousand coloured faces, and the choir of a hundred or more behind me sang a familiar religious melody, and the whole company joined in the chorus with unction. I was the only white man under the roof, and the scene and the songs made an impression on me that I shall never forget. Mr. Washington arose and asked them to sing one after another of the old melodies that I had heard all my life; but I had never before heard them sung by a thousand voices nor by the voices of educated Negroes. I had associated them with the Negro of the past, not with the Negro who was struggling upward. They brought to my mind the plantation, the cabin, the slave, not the freedman in quest of education. But on the plantation and in the cabin they had never been sung as these thousand students sang them. I saw again all the old plantations that I had ever seen; the whole history of the Negro ran through my mind; and the inexpressible pathos of his life found expression in these songs as I had never before felt it. And the future? These were the ambitious youths of the race, at work with an earnestness that put to shame the conventional student life of most educational institutions. Another song rolled up along the rafters. And as soon as silence came, I found myself in front of this extraordinary mass of faces, thinking not of them, but of that long and unhappy chapter in our country's history which followed the one great structural mistake of the Fathers of the Republic; thinking of the one continuous great problem that generations of statesmen had wrangled over, and a million men fought about, and that had so dwarfed the mass of English men in the Southern States as to hold them back a hundred years behind their fellows in every other part of the world—in England, in Australia, and in the Northern and Western States; I was thinking of this dark shadow that had oppressed every large-minded statesman from Jefferson to Lincoln. These thousand young men and women about me were victims of it. I, too, was an innocent victim of it. The whole Republic was a victim of that fundamental error of importing Africa into America.

In the deep woods of the far North, under feathery leaves of fern, was a great fairyland of merry elves, sometimes called forest brownies. These elves lived joyfully. They had everything at hand and did not need to worry much about living. Berries and nuts grew plentiful in the forest. Rivers and springs provided the elves with crystal water. Flowers prepared them drink from their flavorful juices, which the munchkins loved greatly. At midnight the elves climbed into flower cups and drank drops of their sweet water with much delight. Every elf would tell a wonderful fairy tale to the flower to thank it for the treat. Despite this abundance, the pixies did not sit back and do nothing. They tinkered with their tasks all day long. They cleaned their houses. They swung on tree branches and swam in forested streams. Together with the early birds, they welcomed the sunrise, listened to the thunder growling, the whispering of leaves and blades of grass, and the conversations of the animals. The birds told them about warm countries, sunbeams whispered of distant seas, and the moon spoke of treasures hidden deeply in the earth. In winter, the elves lived in abandoned nests and hollows. Every sunny day they came out of their burrows and made the forest ring with their happy shouts, throwing tiny snowballs in all directions and building snowmen as small as the pinky finger of a little girl. The munchkins thought they were giants five times as large as them. With the first breath of spring, the elves left their winter residences and moved to the cups of the snowdrop flowers. Looking around, they watched the snow as it turned black and melted. They kept an eye on the blossoming of hazel trees while the leaves were still sleeping in their warm buds. They observed squirrels moving their last winter supplies from storage back to their homes. Gnomes welcomed the birds coming back to their old nests, where the elves lived during winters. Little by little, the forest once more grew green. One moonlight night, elves were sitting at an old willow tree and listening to mermaids singing about their underwater kingdom. “Brothers! Where is Murzilka? He has not been around for a long time!” said one of the elves, Father Beardie, who had a long white beard. He was older than others and well respected in his striped stocking cap. “I’m here,” a snotty voice arose, and Murzilka himself, nicknamed Feather Head, jumped from the top of the tree. All the brothers loved Murzilka, but thought he was lazy, as he actually was. Also, he loved to dress in a tailcoat, tall black hat, boots with narrow toes, a cane and a single eyeglass, being very proud of that look. “Do you know where I’m coming from? The very Arctic Ocean!” roared he. Usually, his words were hard to believe. That time, though, his announcement sounded so marvelous that all elves around him were agape with wonder. “You were there, really? Were you? How did you get there?” asked the sprites. “As easy as ABC! I came by the fox one day and caught her packing her things to visit her cousin, a silver fox who lives by the Arctic Ocean. “Take me with you,” I said to the fox. “Oh, no, you’ll freeze there! You know, it’s cold there!” she said. “Come on.” I said. “What are you talking about? What cold? Summer is here.” “Here we have summer, but there they have winter,” she answered. “No,” I thought. “She must be lying because she does not want to give me a ride.” Without telling her a word, I jumped upon her back and hid in her bushy fur, so even Father Frost could not find me. Like it or not, she had to take me with her. We ran for a long time. Another forest followed our woods, and then a boundless plain opened, a swamp covered with lichen and moss. Despite the intense heat, it had not entirely thawed. “This is tundra,” said my fellow traveler. “Tundra? What is tundra?” asked I. “Tundra is a huge, forever frozen wetland covering the entire coast of the Arctic Ocean.

Now let me tell you something. I have seen a thousand sunsets and sunrises, on land where it floods forest and mountains with honey coloured light, at sea where it rises and sets like a blood orange in a multicoloured nest of cloud, slipping in and out of the vast ocean. I have seen a thousand moons: harvest moons like gold coins, winter moons as white as ice chips, new moons like baby swans’ feathers. I have seen seas as smooth as if painted, coloured like shot silk or blue as a kingfisher or transparent as glass or black and crumpled with foam, moving ponderously and murderously. I have felt winds straight from the South Pole, bleak and wailing like a lost child; winds as tender and warm as a lover’s breath; winds that carried the astringent smell of salt and the death of seaweeds; winds that carried the moist rich smell of a forest floor, the smell of a million flowers. Fierce winds that churned and moved the sea like yeast, or winds that made the waters lap at the shore like a kitten. I have known silence: the cold, earthy silence at the bottom of a newly dug well; the implacable stony silence of a deep cave; the hot, drugged midday silence when everything is hypnotised and stilled into silence by the eye of the sun; the silence when great music ends. I have heard summer cicadas cry so that the sound seems stitched into your bones. I have heard tree frogs in an orchestration as complicated as Bach singing in a forest lit by a million emerald fireflies. I have heard the Keas calling over grey glaciers that groaned to themselves like old people as they inched their way to the sea. I have heard the hoarse street vendor cries of the mating Fur seals as they sang to their sleek golden wives, the crisp staccato admonishment of the Rattlesnake, the cobweb squeak of the Bat and the belling roar of the Red deer knee-deep in purple heather. I have heard Wolves baying at a winter’s moon, Red howlers making the forest vibrate with their roaring cries. I have heard the squeak, purr and grunt of a hundred multi-coloured reef fishes. I have seen hummingbirds flashing like opals round a tree of scarlet blooms, humming like a top. I have seen flying fish, skittering like quicksilver across the blue waves, drawing silver lines on the surface with their tails. I have seen Spoonbills flying home to roost like a scarlet banner across the sky. I have seen Whales, black as tar, cushioned on a cornflower blue sea, creating a Versailles of fountain with their breath. I have watched butterflies emerge and sit, trembling, while the sun irons their wings smooth. I have watched Tigers, like flames, mating in the long grass. I have been dive-bombed by an angry Raven, black and glossy as the Devil’s hoof. I have lain in water warm as milk, soft as silk, while around me played a host of Dolphins. I have met a thousand animals and seen a thousand wonderful things. But— All this I did without you. This was my loss. All this I want to do with you. This will be my gain. All this I would gladly have forgone for the sake of one minute of your company, for your laugh, your voice, your eyes, hair, lips, body, and above all for your sweet, ever-surprising mind which is an enchanting quarry in which it is my privilege to delve.

Far away beyond the pine-woods," he answered, in a low, dreamy voice, "there is a little garden. There the grass grows long and deep, there are the great white stars of the hemlock flower, there the nightingale sings all night long. All night long he sings, and the cold crystal moon looks down, and the yew-tree spreads out its giant arms over the sleepers." Virginia's eyes grew dim with tears, and she hid her face in her hands. "You mean the Garden of Death," she whispered. "Yes, death. Death must be so beautiful. To lie in the soft brown earth, with the grasses waving above one's head, and listen to silence. To have no yesterday, and no to-morrow. To forget time, to forget life, to be at peace. You can help me. You can open for me the portals of death's house, for love is always with you, and love is stronger than death is.

I have been so great a lover: filled my days So proudly with the splendour of Love's praise, The pain, the calm, and the astonishment, Desire illimitable, and still content, And all dear names men use, to cheat despair, For the perplexed and viewless streams that bear Our hearts at random down the dark of life. Now, ere the unthinking silence on that strife Steals down, I would cheat drowsy Death so far, My night shall be remembered for a star That outshone all the suns of all men's days. Shall I not crown them with immortal praise Whom I have loved, who have given me, dared with me High secrets, and in darkness knelt to see The inenarrable godhead of delight? Love is a flame; -- we have beaconed the world's night. A city: -- and we have built it, these and I. An emperor: -- we have taught the world to die. So, for their sakes I loved, ere I go hence, And the high cause of Love's magnificence, And to keep loyalties young, I'll write those names Golden for ever, eagles, crying flames, And set them as a banner, that men may know, To dare the generations, burn, and blow Out on the wind of Time, shining and streaming.... These I have loved: White plates and cups, clean-gleaming, Ringed with blue lines; and feathery, faery dust; Wet roofs, beneath the lamp-light; the strong crust Of friendly bread; and many-tasting food; Rainbows; and the blue bitter smoke of wood; And radiant raindrops couching in cool flowers; And flowers themselves, that sway through sunny hours, Dreaming of moths that drink them under the moon; Then, the cool kindliness of sheets, that soon Smooth away trouble; and the rough male kiss Of blankets; grainy wood; live hair that is Shining and free; blue-massing clouds; the keen Unpassioned beauty of a great machine; The benison of hot water; furs to touch; The good smell of old clothes; and other such -- The comfortable smell of friendly fingers, Hair's fragrance, and the musty reek that lingers About dead leaves and last year's ferns.... Dear names, And thousand other throng to me! Royal flames; Sweet water's dimpling laugh from tap or spring; Holes in the ground; and voices that do sing; Voices in laughter, too; and body's pain, Soon turned to peace; and the deep-panting train; Firm sands; the little dulling edge of foam That browns and dwindles as the wave goes home; And washen stones, gay for an hour; the cold Graveness of iron; moist black earthen mould; Sleep; and high places; footprints in the dew; And oaks; and brown horse-chestnuts, glossy-new; And new-peeled sticks; and shining pools on grass; -- All these have been my loves. And these shall pass, Whatever passes not, in the great hour, Nor all my passion, all my prayers, have power To hold them with me through the gate of Death. They'll play deserter, turn with the traitor breath, Break the high bond we made, and sell Love's trust And sacramented covenant to the dust. ---- Oh, never a doubt but, somewhere, I shall wake, And give what's left of love again, and make New friends, now strangers.... But the best I've known, Stays here, and changes, breaks, grows old, is blown About the winds of the world, and fades from brains Of living men, and dies. Nothing remains. O dear my loves, O faithless, once again This one last gift I give: that after men Shall know, and later lovers, far-removed, Praise you, "All these were lovely"; say, "He loved.

What can I tell you that you do not know Of the life after death? Your son’s eyes, which had unsettled us With your Slavic Asiatic Epicanthic fold, but would become So perfectly your eyes, Became wet jewels, The hardest substance of the purest pain As I fed him in his high white chair. Great hands of grief were wringing and wringing His wet cloth of face. They wrung out his tears. But his mouth betrayed you — it accepted The spoon in my disembodied hand That reached through from the life that had survived you. Day by day his sister grew Paler with the wound She could not see or touch or feel, as I dressed it Each day with her blue Breton jacket. By night I lay awake in my body The Hanged Man My neck-nerve uprooted and the tendon Which fastened the base of my skull To my left shoulder Torn from its shoulder-root and cramped into knots — I fancied the pain could be explained If I were hanging in the spirit From a hook under my neck-muscle. Dropped from life We three made a deep silence In our separate cots. We were comforted by wolves. Under that February moon and the moon of March The Zoo had come close. And in spite of the city Wolves consoled us. Two or three times each night For minutes on end They sang. They had found where we lay. And the dingos, and the Brazilian-maned wolves — All lifted their voices together With the grey Northern pack. The wolves lifted us in their long voices. They wound us and enmeshed us In their wailing for you, their mourning for us, They wove us into their voices. We lay in your death, In the fallen snow, under falling snow, As my body sank into the folk-tale Where the wolves are singing in the forest For two babes, who have turned, in their sleep, Into orphans Beside the corpse of their mother.

Derrick flies through the portal first. “Look at you,” he says, stopping to study me. “Alive. Unscathed. Good. If you hadn’t been, I would have lopped his fingers off.” Kiaran moves to stand beside me. “I would have pulled off your wings.” “Ignore him, pixie.” Aithinne strides into the room, her long coat billowing behind her. “I should have figured he’d be sullen and moody.” Kiaran’s emotionless gaze flickers to her. “Phiuthair.” “Bhràthair.” She stops and studies him. “You look like hell. I suppose you haven’t fed in a few days, if the lack of gifts is any indication.” “Don’t.” Kiaran’s voice dips in warning. “I’m wonderful, by the way,” she continues, as if he hadn’t spoken. “Do you like my coat? Don’t I look lovely? Aren’t I the best sister for standing here, still willing to talk to you after you’ve ignored me for months, you stubborn bastard?” “Well, this is fun,” Derrick says. “I’m really feeling the love in this room. It’s beautiful. Aileana, isn’t it beautiful?” “You’re here because Kam wanted your help. Not because I did.” “Damn it, MacKay—” “You might not have wanted me,” Aithinne says, ignoring my attempts to stand between them, “but look how quickly I came. Because I still care about you. Though god only knows why, since you’re such an obstinate pain in my arse.” “I love it when Aithinne curses at people.” Derrick says to me. “I say we let them fight it out. A round of fisticuffs. No killing. I’ll go and find refreshments.” “Oh, for god’s sake,” Sorcha says from behind us. “If you’re all going to squabble, I’d prefer to be back in my prison. That wasn’t torture. This is torture.” Derrick peeks through my hair. “What’s that murderous arsehole doing here?” Sorcha blinks at him. “What did you just call me?” “You heard me, pointy-toothed hag.” “Sorcha can find the Book,” I interrupt. “And we need her blood to get there. It was her or Lonnrach.” “So given a choice between murderous arseholes you chose the one who killed you.” Derrick’s laugh is dry. “That’s interesting.” “I chose the one who was conveniently chained up, rather than the one in hiding.” Derrick doesn’t look convinced. “And we’re just supposed to believe she’s helping out of the goodness of that black hunk of rock in her chest that she calls a heart?” “I’m standing right here,” Sorcha says sharply. “Wish you weren’t,” Derrick sings. Then, to me: “Let me give you some advice, friend. If you’re going to take her along, make her go first. That way you don’t have to worry about her shoving a blade into your back.” “Sweet little pixie,” Sorcha says. “If there’s one thing you should have learned, it’s that I’m perfectly willing to stab her in the front.” She turns on her heel and heads toward the great hall, the fabric of her brocade dress sweeping across the ground like a cloak. “If you’re coming, the door is this way

THE SOLITARY REAPER. Behold her, single in the field, Yon solitary highland lass! Reaping and singing by herself; Stop here, or gently pass! Alone she cuts and binds the grain, And sings a melancholy strain; O listen! for the vale profound Is overflowing with the sound. No nightingale did ever chaunt More welcome notes to weary bands Of travellers in some shady haunt Among Arabian sands: A voice so thrilling ne'er was heard In spring-time from a cuckoo-bird, Breaking the silence of the seas Among the farthest Hebrides. Will no one tell me what she sings?— Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago: Or is it some more humble lay, Familiar matter of to-day? Some natural sorrow, loss, or pain, That has been, or may be again? Whate'er the theme, the maiden sang As if her song could have no ending; I saw her singing at her work, And o'er the sickle bending;— I listened, motionless and still; And, as I mounted up the hill, The music in my heart I bore, Long after it was heard no more.

On this side of eternity, Christmas is still a promise. Yes, the Savior has come, and with him peace on earth, but the story is not finished. Yes, there is peace in our hearts, but we long for peace in our world. Every Christmas is still a “turning of the page” until Jesus returns. Every December 25 marks another year that draws us closer to the fulfillment of the ages, that draws us closer to . . . home. When we realize that Jesus is the answer to our deepest longing, even Christmas longings, each Advent brings us closer to his glorious return to earth. When we see him as he is, King of kings and Lord of lords, that will be “Christmas” indeed! Talk about giving Christmas gifts! Just think of this abundance . . . You do not lack any spiritual gift as you eagerly wait for our Lord Jesus Christ to be revealed. (1 Cor. 1:7) And carols? You’re about to hear singing like you’ve never heard before. Listen . . . Then I heard something like the voice of a great multitude and like the sound of many waters and like the sound of mighty peals of thunder, saying, “Hallelujah! For the Lord our God, the Almighty, reigns.” (Rev. 19:6, nasb) Christmas choirs? Never was there a choir like the one about to be assembled . . . They held harps given them by God and sang . . . the song of the Lamb: “Great and marvelous are your deeds, Lord God Almighty. Just and true are your ways, King of the ages.” (Rev. 15:2–3) True, Main Street in your town may be beautifully decorated for the season, but picture this . . . The twelve gates [of the city] were twelve pearls, each gate made of a single pearl. The great street of the city was of pure gold, like transparent glass. (Rev. 21:21) Oh, and yes, we love the glow of candles on a cold winter’s night and the twinkling of Christmas lights in the dark, but can you imagine this? There will be no more night. They will not need the light of a lamp or the light of the sun, for the Lord God will give them light. And they will reign for ever and ever. (Rev. 22:5) Heaven is about to happen. The celebration is about to burst on the scene. We stand tiptoe at the edge of eternity, ready to step into the new heaven and the new earth. And I can hardly wait.

Under a Torremolinos Sky (Psalm 116)8 For Jim The first thing I notice is not the bed, oddly angled as all hospital beds are nor the pillowcase, covered in love notes. Not the table filled with pill bottles nor the sterile tools of a dozen indignities. I’ll notice these things later, on my way out perhaps. But first, my wide-angle lens pulls narrow, as eyes meet eyes and I am seen. How is it, before a word is spoken, you make me know I am known and welcome? What can I give back to God for the blessings he’s poured out on me? I’ll lift high the cup of salvation—a toast to God! You smile behind the plastic that keeps you alive, and as I rest my hand on your chest we conspire together to break the rules. The rhythm of your labored breathing will decide our seconds, our minutes, our hours. Tears to laughter and back again always in that order and rightly so. We bask under a Torremolinos sky and hear the tongues of angels sing of sins forgiven long before the world was made. I’ll pray in the name of God; I’ll complete what I promised God I’d do, and I’ll do it together with his people. Talk turns to motorcycles and mortuaries, to scotch and sons who wear their father’s charm like a crown, daughters who quicken the pulse with just a glance. Time flies and neither of us has time to waste. I’ll make a great looking corpse, you say because we of all people must speak of these things, because we of all people refuse to pretend. This doesn’t bring tears—not yet. Instead a giggle, a shared secret that life is and is not in the body. Soul, you’ve been rescued from death; Eye, you’ve been rescued from tears; And you, Foot, were kept from stumbling. Your chest still rises and falls but you grow weary, my hand tells me so. It’s too soon to ever say goodbye. When it’s my turn, brother, I will find you where the streets shimmer and tears herald only joy where we wear our true names and our true faces. Promise me, there, the dance we never had. When they arrive at the gates of death, God welcomes those who love him. Oh, God, here I am, your servant, your faithful servant: set me free for your service! I’m ready to offer the thanksgiving sacrifice and pray in the name of God. I’ll complete what I promised God I’d do, and I’ll do it in company with his people, In the place of worship, in God’s house, in Jerusalem, God’s city.

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention. Meanwhile, other hopeful inventors demonstrated various sound-and-image systems—Cinematophone, Cameraphone, Synchroscope—but in every case the only really original thing about them was their name. All produced sounds that were faint or muddy, or required impossibly perfect timing on the part of the projectionist. Getting a projector and sound system to run in perfect tandem was basically impossible. Moving pictures were filmed with hand-cranked cameras, which introduced a slight variability in speed that no sound system could adjust to. Projectionists also commonly repaired damaged film by cutting out a few frames and resplicing what remained, which clearly would throw out any recording. Even perfect film sometimes skipped or momentarily stuttered in the projector. All these things confounded synchronization. De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation. One invention De Forest couldn’t make use of was his own triode detector tube, because the patents now resided with Western Electric, a subsidiary of AT&T. Western Electric had been using the triode to develop public address systems for conveying speeches to large crowds or announcements to fans at baseball stadiums and the like. But in the 1920s it occurred to some forgotten engineer at the company that the triode detector could be used to project sound in theaters as well. The upshot was that in 1925 Warner Bros. bought the system from Western Electric and dubbed it Vitaphone. By the time of The Jazz Singer, it had already featured in theatrical presentations several times. Indeed, the Roxy on its opening night in March 1927 played a Vitaphone feature of songs from Carmen sung by Giovanni Martinelli. “His voice burst from the screen with splendid synchronization with the movements of his lips,” marveled the critic Mordaunt Hall in the Times. “It rang through the great theatre as if he had himself been on the stage.

An Atheopagan Prayer by Mark Green Praise to the wide spinning world Unfolding each of all the destined tales compressed In the moment of your catastrophic birth Wide to the fluid expanse, blowing outward Kindling in stars and galaxies, in bright pools Of Christmas-colored gas; cohering in marbles hot And cold, ringed, round, gray and red and gold and dun And blue Pure blue, the eye of a child, spinning in a veil of air, Warm island, home to us, kind beyond measure: the stones And trees, the round river flowing sky to deepest chasm, salt And sweet. Praise to Time, enormous and precious, And we with so little, seeing our world go as it will Ruing, cheering, the treasured fading, precious arriving, Fear and wonder, Fear and wonder always. Praise O black expanse of mostly nothing Though you do not hear, you have no ear nor mind to hear Praise O inevitable, O mysterious, praise Praise and thanks be a wave Expanding from this tiny temporary mouth this tiny dot Of world a bubble Going out forever meeting everything as it goes All the great and infinitesimal Gracious and terrible All the works of blessed Being. May it be so. May it be so. May our hearts sing to say it is so.

So at last Ilar Sant came to this wood, which people now call St. Hilary's wood because they have forgotten all about Ilar. And he was weary with his wandering, and the day was very hot; so he stayed by this well and began to drink. And there on that great stone he saw the shining fish, and so he rested, and built an altar and a church of willow boughs, and offered the sacrifice not only for the quick and the dead, but for all the wild beasts of the woods and the streams. "And when this blessed Ilar rang his holy bell and began to offer, there came not only the Prince and his servants, but all the creatures of the wood. There, under the hazel boughs, you might see the hare, which flies so swiftly from men, come gently and fall down, weeping greatly on account of the Passion of the Son of Mary. And, beside the hare, the weasel and the pole-cat would lament grievously in the manner of penitent sinners; and wolves and lambs together adored the saint's hierurgy; and men have beheld tears streaming from the eyes of venomous serpents when Ilar Agios uttered 'Curiluson' with a loud voice—since the serpent is not ignorant that by its wickedness sorrow came to the whole world. And when, in the time of the holy ministry, it is necessary that frequent Alleluyas should be chanted and vociferated, the saint wondered what should be done, for as yet none in that place was skilled in the art of song. Then was a great miracle, since from all the boughs of the wood, from every bush and from every green tree, there resounded Alleluyas in enchanting and prolonged harmony; never did the Bishop of Rome listen to so sweet a singing in his church as was heard in this wood. For the nightingale and thrush and blackbird and blackcap, and all their companions, are gathered together and sing praises to the Lord, chanting distinct notes and yet concluding in a melody of most ravishing sweetness; such was the mass of the Fisherman. Nor was this all, for one day as the saint prayed beside the well he became aware that a bee circled round and round his head, uttering loud buzzing sounds, but not endeavouring to sting him. To be short; the bee went before Ilar, and led him to a hollow tree not far off, and straightway a swarm of bees issued forth, leaving a vast store of wax behind them. This was their oblation to the Most High, for from their wax Ilar Sant made goodly candles to burn at the Offering; and from that time the bee is holy, because his wax makes light to shine upon the Gifts.

I remember standing in the wings when Mother’s voice cracked and went into a whisper. The audience began to laugh and sing falsetto and to make catcalls. It was all vague and I did not quite understand what was going on. But the noise increased until Mother was obliged to walk off the stage. When she came into the wings she was very upset and argued with the stage manager who, having seen me perform before Mother’s friends, said something about letting me go on in her place. And in the turmoil I remember him leading me by the hand and, after a few explanatory words to the audience, leaving me on the stage alone. And before a glare of footlights and faces in smoke, I started to sing, accompanied by the orchestra, which fiddled about until it found my key. It was a well-known song called Jack Jones that went as follows: Jack Jones well and known to everybody Round about the market, don’t yer see, I’ve no fault to find with Jack at all, Not when ’e’s as ’e used to be. But since ’e’s had the bullion left him ’E has altered for the worst, For to see the way he treats all his old pals Fills me with nothing but disgust. Each Sunday morning he reads the Telegraph, Once he was contented with the Star. Since Jack Jones has come into a little bit of cash, Well, ’e don’t know where ’e are. Half-way through, a shower of money poured on to the stage. Immediately I stopped and announced that I would pick up the money first and sing afterwards. This caused much laughter. The stage manager came on with a handkerchief and helped me to gather it up. I thought he was going to keep it. This thought was conveyed to the audience and increased their laughter, especially when he walked off with it with me anxiously following him. Not until he handed it to Mother did I return and continue to sing. I was quite at home. I talked to the audience, danced, and did several imitations including one of Mother singing her Irish march song that went as follows: Riley, Riley, that’s the boy to beguile ye, Riley, Riley, that’s the boy for me. In all the Army great and small, There’s none so trim and neat As the noble Sergeant Riley Of the gallant Eighty-eight. And in repeating the chorus, in all innocence I imitated Mother’s voice cracking and was surprised at the impact it had on the audience. There was laughter and cheers, then more money-throwing; and when Mother came on the stage to carry me off, her presence evoked tremendous applause. That night was my first appearance on the stage and Mother’s last.

CUCHULAIN’S FIGHT WITH THE SEA A MAN came slowly from the setting sun, To Emer, raddling raiment in her dun, And said, ‘I am that swineherd whom you bid Go watch the road between the wood and tide, But now I have no need to watch it more.’ Then Emer cast the web upon the floor, And raising arms all raddled with the dye, Parted her lips with a loud sudden cry. That swineherd stared upon her face and said, ‘No man alive, no man among the dead, Has won the gold his cars of battle bring.’ ‘But if your master comes home triumphing Why must you blench and shake from foot to crown?’ Thereon he shook the more and cast him down Upon the web-heaped floor, and cried his word: ‘With him is one sweet-throated like a bird.’ ‘You dare me to my face,’ and thereupon She smote with raddled fist, and where her son Herded the cattle came with stumbling feet, And cried with angry voice, ’It is not meet To idle life away, a common herd.’ ‘I have long waited, mother, for that word: But wherefore now?’ ‘There is a man to die; You have the heaviest arm under the sky.’ ‘Whether under its daylight or its stars My father stands amid his battle-cars.’ ‘But you have grown to be the taller man.’ ‘Yet somewhere under starlight or the sun My father stands.’ ‘Aged, worn out with wars On foot, on horseback or in battle-cars.’ ‘I only ask what way my journey lies, For He who made you bitter made you wise.’ ‘The Red Branch camp in a great company Between wood’s rim and the horses of the sea. Go there, and light a camp-fire at wood’s rim; But tell your name and lineage to him Whose blade compels, and wait till they have found Some feasting man that the same oath has bound.’ Among those feasting men Cuchulain dwelt, And his young sweetheart close beside him knelt, Stared on the mournful wonder of his eyes, Even as Spring upon the ancient skies, And pondered on the glory of his days; And all around the harp-string told his praise, And Conchubar, the Red Branch king of kings, With his own fingers touched the brazen strings. At last Cuchulain spake, ‘Some man has made His evening fire amid the leafy shade. I have often heard him singing to and fro, I have often heard the sweet sound of his bow. Seek out what man he is.’ One went and came. ‘He bade me let all know he gives his name At the sword-point, and waits till we have found Some feasting man that the same oath has bound.’ Cuchulain cried, ‘I am the only man Of all this host so bound from childhood on. After short fighting in the leafy shade, He spake to the young man, ’Is there no maid Who loves you, no white arms to wrap you round, Or do you long for the dim sleepy ground, That you have come and dared me to my face?’ ‘The dooms of men are in God’s hidden place,’ ‘Your head a while seemed like a woman’s head That I loved once.’ Again the fighting sped, But now the war-rage in Cuchulain woke, And through that new blade’s guard the old blade broke, And pierced him. ‘Speak before your breath is done.’ ‘Cuchulain I, mighty Cuchulain’s son.’ ‘I put you from your pain. I can no more.’ While day its burden on to evening bore, With head bowed on his knees Cuchulain stayed; Then Conchubar sent that sweet-throated maid, And she, to win him, his grey hair caressed; In vain her arms, in vain her soft white breast. Then Conchubar, the subtlest of all men, Ranking his Druids round him ten by ten, Spake thus: ‘Cuchulain will dwell there and brood For three days more in dreadful quietude, And then arise, and raving slay us all. Chaunt in his ear delusions magical, That he may fight the horses of the sea.’ The Druids took them to their mystery, And chaunted for three days. Cuchulain stirred, Stared on the horses of the sea, and heard The cars of battle and his own name cried; And fought with the invulnerable tide.

It was the first time that I entered the house on the lake. I had often begged the “trap-door lover,” as we used to call Erik in my country, to open its mysterious doors to me. He always refused. I made very many attempts, but in vain, to obtain admittance. Watch him as I might, after I first learned that he had taken up his permanent abode at the Opera, the darkness was always too thick to enable me to see how he worked the door in the wall on the lake. One day, when I thought myself alone, I stepped into the boat and rowed toward that part of the wall through which I had seen Erik disappear. It was then that I came into contact with the siren who guarded the approach and whose charm was very nearly fatal to me. I had no sooner put off from the bank than the silence amid which I floated on the water was disturbed by a sort of whispered singing that hovered all around me. It was half breath, half music; it rose softly from the waters of the lake; and I was surrounded by it through I knew not what artifice. It followed me, moved with me and was so soft that it did not alarm me. On the contrary, in my longing to approach the source of that sweet and enticing harmony, I leaned out of my little boat over the water, for there was no doubt in my mind that the singing came from the water itself. By this time, I was alone in the boat in the middle of the lake; the voice—for it was now distinctly a voice—was beside me, on the water. I leaned over, leaned still farther. The lake was perfectly calm, and a moonbeam that passed through the air hole in the Rue Scribe showed me absolutely nothing on its surface, which was smooth and black as ink. I shook my ears to get rid of a possible humming; but I soon had to accept the fact that there was no humming in the ears so harmonious as the singing whisper that followed and now attracted me. Had I been inclined to superstition, I should have certainly thought that I had to do with some siren whose business it was to confound the traveler who should venture on the waters of the house on the lake. Fortunately, I come from a country where we are too fond of fantastic things not to know them through and through; and I had no doubt but that I was face to face with some new invention of Erik’s. But this invention was so perfect that, as I leaned out of the boat, I was impelled less by a desire to discover its trick than to enjoy its charm; and I leaned out, leaned out until I almost overturned the boat. Suddenly, two monstrous arms issued from the bosom of the waters and seized me by the neck, dragging me down to the depths with irresistible force. I should certainly have been lost, if I had not had time to give a cry by which Erik knew me. For it was he; and, instead of drowning me, as was certainly his first intention, he swam with me and laid me gently on the bank: “How imprudent you are!” he said, as he stood before me, dripping with water. “Why try to enter my house? I never invited you! I don’t want you there, nor anybody! Did you save my life only to make it unbearable to me? However great the service you rendered him, Erik may end by forgetting it; and you know that nothing can restrain Erik, not even Erik himself.” He spoke, but I had now no other wish than to know what I already called the trick of the siren. He satisfied my curiosity, for Erik, who is a real monster—I have seen him at work in Persia, alas—is also, in certain respects, a regular child, vain and self-conceited, and there is nothing he loves so much, after astonishing people, as to prove all the really miraculous ingenuity of his mind. He laughed and showed me a long reed. “It’s the silliest trick you ever saw,” he said, “but it’s very useful for breathing and singing in the water. I learned it from the Tonkin pirates, who are able to remain hidden for hours in the beds of the rivers.

Kruchina was an archaic word for grief, found mostly in the old folk songs and poems. Kruchina grief was not regular sadness or disappointment with everyday troubles, but rather the existential sorrow about a woman’s lot that never goes away, not even at the happiest of moments.    Masha remembered this song from one of the movies of her youth, when all the movies and books were about the war and patriotism, about the great sacrifice for the future. German soldiers were burning a Russian village. The children screamed, the helpless grandmas and grandpas shrieked, the animals and fowl scattered for their lives. A young German soldier broke into the last izba standing and found two women huddled on a bench. Except for a single candle, the house was dark and it was hard to see what was in the shadowy corner: a trunk or a cradle.    Before the soldiers could reload their guns, the women began to sing “Kruchina.” In the middle of this chaos, time stopped. The soldiers listened as the voices washed over their round helmets and tense shoulders, crept into their machine guns, and spread through their stiffened veins and cold stomachs, like mother’s milk.    Sveta might not have even seen the movie, but she and Masha always sang “Kruchina” when their hearts, one or both, were in the wrong place.

I would choose you." The words were out before he thought better of them, and there was no way to pull them back. Silence stretched between them. Perhaps the floor will open and I'll plummet to my death, he thought hopefully. "As your general?" Her voice careful. She was offering him a chance to right the ship, to take them back to familiar waters. And a fine general you are. There could be no better leader. You may be prickly, but that's what Ravka needs. So many easy replies. Instead he said, "As my queen." He couldn't read her expression. Was she pleased? Embarrassed? Angry? Every cell in his body screamed for him to crack a joke, to free both of them from the peril of the moment. But he wouldn't. He was still a privateer, and he'd come too far. "Because I'm a dependable soldier," she said, but she didn't sound sure. It was the same cautious, tentative voice, the voice of someone waiting for a punch line, or maybe a blow. "Because I know all of your secrets." "I do trust you more than myself sometimes- and I think very highly of myself." Hadn't she said there was no one else she'd choose to have her back in a fight? But that isn't the whole truth, is it, you great cowardly lump. To hell with it. They might all die soon enough. They were safe here in the dark, surrounded by the hum of engines. "I would make you my queen because I want you. I want you all the time." She rolled on to her side, resting her head on her folded arm. A small movement, but he could feel her breath now. His heart was racing. "As your general, I should tell you that would be a terrible decision." He turned on to his side. They were facing each other now. "As your king, I should tell you that no one could dissuade me. No prince and no power could make me stop wanting you." Nikolai felt drunk. Maybe unleashing the demon had loosed something in his brain. She was going to laugh at him. She would knock him senseless and tell him he had no right. But he couldn't seem to stop. "I would give you a crown if I could," he said. "I would show you the world from the prow of a ship. I would choose you, Zoya. As my general, as my friend, as my bride. I would give you a sapphire the size of an acorn." He reached in to his pocket. "And all I would ask in return is that you wear this damnable ribbon in your hair on our wedding day." She reached out, her fingers hovering over the coil of blue velvet ribbon resting in his palm. Then she pulled back her hand, cradling her fingers as if they'd been singed. "You will wed a Taban sister who craves a crown," she said. "Or a wealthy Kerch girl, or maybe a Fjerdan royal. You will have heirs and a future. I'm not the queen Ravka needs." "And if you're the queen I want?"... She sat up, drew her knees in, wrapped her arms around them as if she would make a shelter of her own body. He wanted to pull her back down beside him and press his mouth to hers. He wanted her to look at him again with possibility in her eyes. "But that's not who I am. Whatever is inside me is sharp and gray as the thorn wood." She rose and dusted off her kefta. "I wasn't born to be a bride. I was made to be a weapon." Nikolai forced himself to smile. It wasn't as if he'd offered her a real proposal. They both knew such a thing was impossible. And yet her refusal smarted just as badly as if he'd gotten on his knee and offered her his hand like some kind of besotted fool. It stung. All saints, it stung. "Well," he said cheerfully, pushing up on his elbows and looking up at her with all the wry humour he could muster. "Weapons are good to have around too. Far more useful than brides and less likely to mope about the palace. But if you won't rule Ravka by my side, what does the future hold, General?" Zoya opened the door to the Cargo hold.Light flooded in gilding her features when she looked back at him. "I'll fight on beside you. As your general. As your friend. Because whatever my failings, I know this. You are the king Ravka needs.

I have just spoken of that morbid condition of the auditory nerve which rendered all music intolerable to the sufferer, with the exception of certain effects of stringed instruments. It was, perhaps, the narrow limits to which he thus confined himself upon the guitar which gave birth, in great measure, to the fantastic character of his performances. But the fervid facility of his impromptus could not be so accounted for. They must have been, and were, in the notes, as well as in the words of his wild fantasies (for he not unfrequently accompanied himself with rhymed verbal improvisations), the result of that intense mental collectedness and concentration to which I have previously alluded as observable only in particular moments of the highest artificial excitement. The words of one of these rhapsodies I have easily remembered. I was, perhaps, the more forcibly impressed with it as he gave it, because, in the under or mystic current of its meaning, I fancied that I perceived, and for the first time, a full consciousness on the part of Usher of the tottering of his lofty reason upon her throne. The verses, which were entitled “The Haunted Palace,” ran very nearly, if not accurately, thus:— I. In the greenest of our valleys, By good angels tenanted, Once a fair and stately palace— Radiant palace—reared its head. In the monarch Thought’s dominion— It stood there! Never seraph spread a pinion Over fabric half so fair. II. Banners yellow, glorious, golden, On its roof did float and flow (This—all this—was in the olden Time long ago); And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A winged odor went away. III. Wanderers in that happy valley Through two luminous windows saw Spirits moving musically To a lute’s well-timed law; Round about a throne, where sitting (Porphyrogene!) In state his glory well befitting, The ruler of the realm was seen. IV. And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing And sparkling evermore, A troop of Echoes whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king. V. But evil things, in robes of sorrow, Assailed the monarch’s high estate; (Ah, let us mourn, for never morrow Shall dawn upon him, desolate!) And, round about his home, the glory That blushed and bloomed Is but a dim-remembered story Of the old time entombed. VI. And travellers now within that valley, Through the red-litten windows see Vast forms that move fantastically To a discordant melody; While, like a rapid ghastly river, Through the pale door; A hideous throng rush out forever, And laugh—but smile no more.

Syn pulled his boxers on and quietly left the bedroom, walking angrily to the kitchen. He turned the corner and wanted to throw a shit-fit at the sight before him. Day was standing at his stove loading some type of egg dish onto a plate before turning and setting it in front of God. God folded down one side of his newspaper, peering at Syn from behind it. “Well good morning, sunshine,” Day said way too cheerily for five-fucking-a.m. “We brought breakfast.” Syn clenched his jaw, trying not to yell at his superior officers. “Have you two lost your fuckin’ minds? Come on. It’s, it’s ... early.” Syn turned his wrist, forgetting he didn’t have his watch on yet. “Damn, you guys are always at the office, or at a crime scene, or over fucking here at god-awful hours.” “Oh, it’s early?” Day said disbelievingly. God shrugged like he hadn’t realized either. “Seriously. When the fuck do you guys sleep?” “Never,” God said nonchalantly. “When do you fuck?” Syn snapped. “Always,” Day quipped. “Just did thirty minutes ago. Nice couch by the way, real comfy, sorry for the stain.” Syn tiredly flipped Day off. “Don’t be pissed,” Day sing-songed. “A dab of Shout will get that right out.” Syn rubbed angrily at his tired eyes, growling, “Day.” “He’s not in a joking mood, sweetheart,” God said from behind his paper. “You know we didn’t fuck on your couch so calm the hell down. Damn you’re moody in the morning. Unless ... We weren’t interrupting anything, were we? So, how’s porn boy?” God’s gruff voice filled the kitchen, making Syn cringe. “First of all. Don’t fucking call him that, ever, and damnit God. Lower your voice. Shit. He’s still asleep,” Syn berated his Lieutenant, who didn’t look the slightest bit fazed by Syn’s irritation. “You guys could let him sleep, he’s had a rough night, ya know.” Day leaned his chest against God’s large back, draping his arms over his shoulders. “Oh damn, what kind of friends are we? It was rough, huh?” Day looked apologetic. “Yes, it was, Day. He just–” “Try water-based lube next time,” Day interrupted, causing God to choke on his eggs. “Day, fuck.” Syn tried not to grin, but when he thought about it, it really was funny. “I knew I’d get you to smile. Have some breakfast Sarge, we gotta go question the crazy chicks. You know how much people feel like sharing when they’ve spent a night in jail.” “Damn. Alright, just let me–” “Wow. Something smells great.” Furi’s deep voice reached them from down the hall as he made his way to the kitchen. “You cook babe? Who knew? I’ll have the Gladiator portion.” Furi used his best Roman accent as he sauntered into the kitchen with his hands on hips and his head high. Syn turned just as Furi noticed God and Day. “Oh, fuck, shit, Jesus Christ!” Furi stumbled, his eyes darting wildly between all of them. “Damn, I’m so sorry.” Furi looked at Syn trying to gauge exactly how much he’d fucked up just now. Syn smiled at him and Furi immediately lost the horrified expression. Syn held his hand out and mouthed to him 'it's okay.

My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.

Precisely that. I'd give anything to hear them in concert, and I'd give even a bit more not to hear them when the orchestra is playing. I'm afraid I am a hopeless realist. Great singers are not great actors. To hear Barillo sing a love passage with the voice of an angel, and to hear Tetralani reply like another angel, and to hear it all accompanied by a perfect orgy of glowing and colorful music - is ravishing, most ravishing. I do not admit it. I assert it. But the whole effect is spoiled when I look at them - at Tetralani, five feet ten in her stocking feet and weighing a hundred and ninety pounds, and at Barillo, a scant five feet four, greasy-featured, with the chest of a squat, undersized blacksmith, and at the pair of them, attitudinizing, clasping their breasts, flinging their arms in the air like demented creatures in an asylum; (...) But even the conventions must be real. Trees, painted on flat cardboard and stuck up on each side of the stage, we accept as a forest. It is a real enough convention. But, on the other hand, we would not accept a sea scene as a forest. We can't do it. It violates our senses. Nor would you, or, rather, should you, accept the ravings and writhings and agonized contortions of those two lunatics to-night as a convincing portrayal of love. (...) I merely maintain my right as an individual. I have just been telling you what I think, in order to explain why the elephantine gambols of Madame Tetralani spoil the orchestra for me. The world's judges of music may all be right. But I am I, and I won't subordinate my taste to the unanimous judgment of mankind. If I don't like a thing, I don't like it, that's all; and there is no reason under the sun why I should ape a liking for it just because the majority of my fellow-creatures like it, or make believe they like it. I can't follow the fashions in the things I like or dislike.

And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb—on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost—climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!—for it seems at times, as though the ear also possessed a sight of its own,—behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. You can follow the dialogue, by turns grave and shrill, of the treble and the bass; you can see the octaves leap from one tower to another; you watch them spring forth, winged, light, and whistling, from the silver bell, to fall, broken and limping from the bell of wood; you admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache; you see light and rapid notes running across it, executing three or four luminous zigzags, and vanishing like flashes of lightning. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germain-des-Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars. Below, in the very depths of the concert, you confusedly distinguish the interior chanting of the churches, which exhales through the vibrating pores of their vaulted roofs. Assuredly, this is an opera which it is worth the trouble of listening to. Ordinarily, the noise which escapes from Paris by day is the city speaking; by night, it is the city breathing; in this case, it is the city singing. Lend an ear, then, to this concert of bell towers; spread over all the murmur of half a million men, the eternal plaint of the river, the infinite breathings of the wind, the grave and distant quartette of the four forests arranged upon the hills, on the horizon, like immense stacks of organ pipes; extinguish, as in a half shade, all that is too hoarse and too shrill about the central chime, and say whether you know anything in the world more rich and joyful, more golden, more dazzling, than this tumult of bells and chimes;—than this furnace of music,—than these ten thousand brazen voices chanting simultaneously in the flutes of stone, three hundred feet high,—than this city which is no longer anything but an orchestra,—than this symphony which produces the noise of a tempest.

When My Sorrow Was Born         When my Sorrow was born I nursed it with care, and watched over it with loving tenderness. And my Sorrow grew like all living things, strong and beautiful and full of wondrous delights. And we loved one another, my Sorrow and I, and we loved the world about us; for Sorrow had a kindly heart and mine was kindly with Sorrow. And when we conversed, my Sorrow and I, our days were winged and our nights were girdled with dreams; for Sorrow had an eloquent tongue, and mine was eloquent with Sorrow. And when we sang together, my Sorrow and I, our neighbors sat at their windows and listened; for our songs were deep as the sea and our melodies were full of strange memories. And when we walked together, my Sorrow and I, people gazed at us with gentle eyes and whispered in words of exceeding sweetness. And there were those who looked with envy upon us, for Sorrow was a noble thing and I was proud with Sorrow. But my Sorrow died, like all living things, and alone I am left to muse and ponder. And now when I speak my words fall heavily upon my ears. And when I sing my songs my neighbours come not to listen. And when I walk the streets no one looks at me. Only in my sleep I hear voices saying in pity, “See, there lies the man whose Sorrow is dead.”         And When My Joy was Born         And when my Joy was born, I held it in my arms and stood on the house-top shouting, “Come ye, my neighbours, come and see, for Joy this day is born unto me. Come and behold this gladsome thing that laugheth in the sun.” But none of my neighbours came to look upon my Joy, and great was my astonishment. And every day for seven moons I proclaimed my Joy from the house-top—and yet no one heeded me. And my Joy and I were alone, unsought and unvisited. Then my Joy grew pale and weary because no other heart but mine held its loveliness and no other lips kissed its lips. Then my Joy died of isolation. And now I only remember my dead Joy in remembering my dead Sorrow. But memory is an autumn leaf that murmurs a while in the wind and then is heard no more.

When an ovulating woman offers herself to you, she's the choicest morsel on the planet. Her nipples are already sharp, her labia already swollen, her spine already undulating. Her skin is damp and she pants. If you touch the center of her forehead with your thumb she isn't thinking about her head—she isn't thinking at all, she's imagining, believing, willing your hand to lift and turn and curve, cup the back of her head. She's living in a reality where the hand will have no choice but to slide down that soft, flexing muscle valley of the spine to the flare of strong hips, where the other hand joins the first to hold both hip bones, immobilize them against the side of the counter, so that you can touch the base of her throat gently with your lips and she will whimper and writhe and let the muscles in her legs go, but she won't fall, because you have her. She'll be feeling this as though it's already happening, knowing absolutely that it will, because every cell is alive and crying out, Fill me, love me, cherish me, be tender, but, oh God, be sure. She wants you to want her. And when her pupils expand like that, as though you have dropped black ink into a saucer of cool blue water, and her head tips just a little, as though she's gone blind or has had a terrible shock or maybe just too much to drink, to her she is crying in a great voice, Fuck me, right here, right now against the kitchen counter, because I want you wrist-deep inside me. I hunger, I burn, I need. It doesn't matter if you are tired, or unsure, if your stomach is hard with dread at not being forgiven. If you allow yourself one moment's distraction—a microsecond's break in eye contact, a slight shift in weight—she knows, and that knowledge is a punch in the gut. She will back up a step and search your face, and she'll feel embarrassed—a fool or a whore—at offering so blatantly what you're not interested in, and her fine sense of being queen of the world will shiver and break like a glass shield hit by a mace, and fall around her in dust. Oh, it will still sparkle, because sex is magic, but she will be standing there naked, and you will be a monster, and the next time she feels her womb quiver and clench she'll hesitate, which will confuse you, even on a day when there is no dread, no uncertainty, and that singing sureness between you will dissolve and very slowly begin to sicken and die. The body knows. I listened to the deep message—but carefully, because at some point the deep message also must be a conscious message. Active, not just passive, agreement. I took her hand and guided the wok back down to the gas burner. Yes, her body still said, yes. I turned off the gas, but slowly, and now she reached for me.

I have been so great a lover: filled my days So proudly with the splendour of Love's praise, The pain, the calm, and the astonishment, Desire illimitable, and still content, And all dear names men use, to cheat despair, For the perplexed and viewless streams that bear Our hearts at random down the dark of life. Now, ere the unthinking silence on that strife Steals down, I would cheat drowsy Death so far, My night shall be remembered for a star That outshone all the suns of all men's days. Shall I not crown them with immortal praise Whom I have loved, who have given me, dared with me High secrets, and in darkness knelt to see The inenarrable godhead of delight? Love is a flame:—we have beaconed the world's night. A city:—and we have built it, these and I. An emperor:—we have taught the world to die. So, for their sakes I loved, ere I go hence, And the high cause of Love's magnificence, And to keep loyalties young, I'll write those names Golden for ever, eagles, crying flames, And set them as a banner, that men may know, To dare the generations, burn, and blow Out on the wind of Time, shining and streaming . . . . These I have loved: White plates and cups, clean-gleaming, Ringed with blue lines; and feathery, faery dust; Wet roofs, beneath the lamp-light; the strong crust Of friendly bread; and many-tasting food; Rainbows; and the blue bitter smoke of wood; And radiant raindrops couching in cool flowers; And flowers themselves, that sway through sunny hours, Dreaming of moths that drink them under the moon; Then, the cool kindliness of sheets, that soon Smooth away trouble; and the rough male kiss Of blankets; grainy wood; live hair that is Shining and free; blue-massing clouds; the keen Unpassioned beauty of a great machine; The benison of hot water; furs to touch; The good smell of old clothes; and other such— The comfortable smell of friendly fingers, Hair's fragrance, and the musty reek that lingers About dead leaves and last year's ferns. . . . Dear names, And thousand other throng to me! Royal flames; Sweet water's dimpling laugh from tap or spring; Holes in the ground; and voices that do sing; Voices in laughter, too; and body's pain, Soon turned to peace; and the deep-panting train; Firm sands; the little dulling edge of foam That browns and dwindles as the wave goes home; And washen stones, gay for an hour; the cold Graveness of iron; moist black earthen mould; Sleep; and high places; footprints in the dew; And oaks; and brown horse-chestnuts, glossy-new; And new-peeled sticks; and shining pools on grass;— All these have been my loves. And these shall pass, Whatever passes not, in the great hour, Nor all my passion, all my prayers, have power To hold them with me through the gate of Death. They'll play deserter, turn with the traitor breath, Break the high bond we made, and sell Love's trust And sacramented covenant to the dust. ——Oh, never a doubt but, somewhere, I shall wake, And give what's left of love again, and make New friends, now strangers. . . . But the best I've known Stays here, and changes, breaks, grows old, is blown About the winds of the world, and fades from brains Of living men, and dies. Nothing remains. O dear my loves, O faithless, once again This one last gift I give: that after men Shall know, and later lovers, far-removed, Praise you, 'All these were lovely'; say, 'He loved.

DANCING ANGELS During October 2001, the Lord began to speak to me about traveling to Newfoundland, Canada. I had no desire to go there, especially in the middle of the winter! At this time I was still concerned about my inability to “feel the Lord” and began to press into God all the more. At times I locked myself into the little house and fasted and prayed for up to seven days, or until the presence of God fell. After many confirmations in the spirit, I pooled all of my earthly wealth and made the trip to the great white North. The night before I was to depart, the Lord instructed me to “pray in tongues all the way to Newfoundland.” Somehow through the grace of God I succeeded in praying in the Spirit for about 18 hours until I touched down in Canada. In Springdale, Newfoundland, Canada, the Lord began instructing me to complete a series of prophetic actions. I attended an intercessory prayer meeting on Wednesday, November 21. We were interceding for an upcoming series of healing meetings. During this meeting, I began to “see” into the spirit. As the Lord opened my spiritual eyes, I incrementally saw the heavens open over Living Waters Ministries Church. In addition to this, I also began to hear angelic voices singing along with the worship team. At one point during the meeting, I saw a stream of golden oil pour out from Heaven and land on a certain spot in the sanctuary. At the leading of the Lord, I knelt upon that spot. The glory and anointing began to flow into and over my body. The sensation and anointing was very similar to what I experienced when the angel put his hands upon me the night of August 22, 2001. As I knelt under the spot where the golden oil was beginning to pour onto the altar, I was praying earnestly. I could feel the liquid oil raining down on my body. I could sense and smell this heavenly oil as it rolled off my head. The Holy Spirit began to talk to me in a very clear and direct way that I had never experienced before. I collapsed onto the carpet in a pool of golden oil and laid there in the anointing of the Holy Spirit. Then I sensed angels dancing all around the pool and me. I felt an angel as it brushed its wings across my face. I had a “knowing” that the angel was asking me to raise my hands into the air. When I raised my hands up to about two feet, the angel would push my hands back down with its strong, warm hands. I tried again, and when my hands were almost totally up, the angel tickled my nose with the feathers of its wings. I laughed, and my hands fell. The angel and I continued to interact in this fashion for nearly an hour. I did not actually see this angel, but the force and reality of its touch was very tangible. There was no doubt that I was interacting with a heavenly being. This experience was both refreshing and real. SEEING IS BELIEVING On Thursday, November 22, the healing meetings started; they would last through Sunday, the 25th. In these meetings God began to open my spiritual eyes beyond anything I could have ever imagined. On the first night of these meetings, I began to see an “open heaven” forming in the sanctuary. I could also hear and sense the activity of angels as the heavens continued to open up to a greater degree. On Friday, I began to see “bolts of light” shoot through the church, and again the stream of golden oil was flowing from the open heaven in a greater volume. On Saturday night during the worship service, I began to see feathers falling around the church and