Hand Weaving Quotes

The Weaver” “My life is but a weaving Between my God and me. I cannot choose the colors He weaveth steadily. Oft’ times He weaveth sorrow; And I in foolish pride Forget He sees the upper And I the underside. Not ’til the loom is silent And the shuttles cease to fly Will God unroll the canvas And reveal the reason why. The dark threads are as needful In the weaver’s skillful hand As the threads of gold and silver In the pattern He has planned He knows, He loves, He cares; Nothing this truth can dim. He gives the very best to those Who leave the choice to Him.

Not one day in anyone’s life is an uneventful day, no day without profound meaning, no matter how dull and boring it might seem, no matter whether you are a seamstress or a queen, a shoeshine boy, or a movie star, a renowned philosopher or a Down’s-syndrome child. Because in every day of your life, there are opportunities to perform little kindnesses for others, both by conscious acts of will and unconscious example. Each smallest act of kindness—even just words of hope when they are needed, the remembrance of a birthday, a compliment that engenders a smile—reverberates across great distances and spans of time, affecting lives unknown to the one whose generous spirit was the source of this good echo, because kindness is passed on and grows each time it’s passed, until a simple courtesy becomes an act of selfless courage years later and far away. Likewise, each small meanness, each thoughtless expression of hatred, each envious and bitter act, regardless of how petty, can inspire others, and is therefore the seed that ultimately produces evil fruit, poisoning people whom you have never met and never will. All human lives are so profoundly and intricately entwined—those dead, those living, those generations yet to come—that the fate of all is the fate of each, and the hope of humanity rests in every heart and in every pair of hands. Therefore, after every failure, we are obliged to strive again for success, and when faced with the end of one thing, we must build something new and better in the ashes, just as from pain and grief, we must weave hope, for each of us is a thread critical to the strength—to the very survival of the human tapestry. Every hour in every life contains such often-unrecognized potential to affect the world that the great days and thrilling possibilities are combined always in this momentous day.

Oh her deathbed, when her hands could no longer weave or paint or mold clay, she'd told stories and filled them with the colors she loved.

Wait Wait, for now. Distrust everything, if you have to. But trust the hours. Haven't they carried you everywhere, up to now? Personal events will become interesting again. Hair will become interesting. Pain will become interesting. Buds that open out of season will become lovely again. Second-hand gloves will become lovely again, their memories are what give them the need for other hands. And the desolation of lovers is the same: that enormous emptiness carved out of such tiny beings as we are asks to be filled; the need for the new love is faithfulness to the old. Wait. Don't go too early. You're tired. But everyone's tired. But no one is tired enough. Only wait a while and listen. Music of hair, Music of pain, music of looms weaving all our loves again. Be there to hear it, it will be the only time, most of all to hear, the flute of your whole existence, rehearsed by the sorrows, play itself into total exhaustion.

Six months since we met up again we are inseparable, an intricate weave. No longer do I believe this is a temporary fling. More like total commitment. More like I have walked down the aisle, holding hands with the monster.

Desire and love act at cross purposes. love is a net cast on eternity, desire is a stratagem to be spared the chores of net weaving. True to their nature, love would strive to perpetuate the desire. Desire, on the other hand, would shun love's shackles.

Liesel shrugged away entirely from the crowd and entered the tide of Jews, weaving through them till she grabbed hold of his arm with her left hand. His face fell on her. It reached down as she tripped, and the Jew,the nasty Jew, helped her up. It took all of his strength.

The sea is everything. It covers seven-tenths of the terrestrial globe. Its breath is pure and life-giving. It is an immense desert place where man is never lonely, for he senses the weaving of Creation on every hand. It is the physical embodiment of a supernatural existence... For the sea is itself nothing but love and emotion. It is the Living Infinite, as one of your poets has said. Nature manifests herself in it, with her three kingdoms: mineral, vegetable, and animal. The ocean is the vast reservoir of Nature.

Everyone has a breaking point, Riley. He hit his long time ago. But you didn't. He smiled and sqeezed her hand.'Because of you.' Weaving his arm around her waist, they walked up the stairs in tandem. - Riley Blackthorne and Paul Blackthorne

We would live together and weave out lives into one another's and hold on to a sacred sisterhood that only a handful of women ever experienced.

Here's to the bridge-builders, the hand-holders, the light-bringers, those extraordinary souls wrapped in ordinary lives who quietly weave threads of humanity into an inhumane world. They are the unsung heroes in a world at war with itself. They are the whisperers of hope that peace is possible. Look for them in this present darkness. Light your candle with their flame. And then go. Build bridges. Hold hands. Bring light to a dark and desperate world. Be the hero you are looking for. Peace is possible. It begins with us.

The Weaver My life is but a weaving between my Lord and me; I cannot choose the colors He worketh steadily. Oft times He weaveth sorrow And I, in foolish pride, Forget He sees the upper, And I the underside. Not til the loom is silent And the shuttles cease to fly, Shall God unroll the canvas And explain the reason why. The dark threads are as needful In the Weaver's skillful hand, As the threads of gold and silver In the pattern He has planned.

You don't notice the dead leaving when they really choose to leave you. You're not meant to. At most you feel them as a whisper or the wave of a whisper undulating down. I would compare it to a woman in the back of a lecture hall or theater whom no one notices until she slips out.Then only those near the door themselves, like Grandma Lynn, notice; to the rest it is like an unexplained breeze in a closed room. Grandma Lynn died several years later, but I have yet to see her here. I imagine her tying it on in her heaven, drinking mint juleps with Tennessee Williams and Dean Martin. She'll be here in her own sweet time, I'm sure. If I'm to be honest with you, I still sneak away to watch my family sometimes. I can't help it, and sometimes they still think of me. They can't help it.... It was a suprise to everyone when Lindsey found out she was pregnant...My father dreamed that one day he might teach another child to love ships in bottles. He knew there would be both sadness and joy in it; that it would always hold an echo of me. I would like to tell you that it is beautiful here, that I am, and you will one day be, forever safe. But this heaven is not about safety just as, in its graciousness, it isn't about gritty reality. We have fun. We do things that leave humans stumped and grateful, like Buckley's garden coming up one year, all of its crazy jumble of plants blooming all at once. I did that for my mother who, having stayed, found herself facing the yard again. Marvel was what she did at all the flowers and herbs and budding weeds. Marveling was what she mostly did after she came back- at the twists life took. And my parents gave my leftover possessions to the Goodwill, along with Grandma Lynn's things. They kept sharing when they felt me. Being together, thinking and talking about the dead, became a perfectly normal part of their life. And I listened to my brother, Buckley, as he beat the drums. Ray became Dr. Singh... And he had more and more moments that he chose not to disbelieve. Even if surrounding him were the serious surgeons and scientists who ruled over a world of black and white, he maintained this possibility: that the ushering strangers that sometimes appeared to the dying were not the results of strokes, that he had called Ruth by my name, and that he had, indeed, made love to me. If he ever doubted, he called Ruth. Ruth, who graduated from a closet to a closet-sized studio on the Lower East Side. Ruth, who was still trying to find a way to write down whom she saw and what she had experienced. Ruth, who wanted everyone to believe what she knew: that the dead truly talk to us, that in the air between the living, spirits bob and weave and laugh with us. They are the oxygen we breathe. Now I am in the place I call this wide wide Heaven because it includes all my simplest desires but also the most humble and grand. The word my grandfather uses is comfort. So there are cakes and pillows and colors galore, but underneath this more obvious patchwork quilt are places like a quiet room where you can go and hold someone's hand and not have to say anything. Give no story. Make no claim. Where you can live at the edge of your skin for as long as you wish. This wide wide Heaven is about flathead nails and the soft down of new leaves, wide roller coaster rides and escaped marbles that fall then hang then take you somewhere you could never have imagined in your small-heaven dreams.

All of them with wounds that wouldn’t heal because no one acknowledged they were bleeding, and yet each of them needing the other to be near. And that—I realize—is how this story fits into my life. These generations of women, weaving a pattern into a lifelong garment, unconsciously handed down from mother to daughter to granddaughter to me.

Sometimes, when I wake up at night, I feel invisible hands weaving my destiny.

I had a dove and the sweet dove died; And I have thought it died of grieving: O, what could it grieve for? Its feet were tied, With a silken thread of my own hand's weaving.

The power, it seduced, whispering to me to weave it into my own cells." A glance over his shoulder. "Before you, I would've no doubt accepted it and it would've destroyed me from the inside out." "Before you," she whispered, "I was shut up inside my heart, protecting it from harm, and never knowing the glory I missed." She linked her hand in his. "You and I, we're a unit. I dare any evil on this earth to tear us apart.

Where the wave of moonlight glosses The dim gray sands with light, Far off by furthest Rosses We foot it all the night, Weaving olden dances, Mingling hands and mingling glances Till the moon has taken flight; To and fro we leap And chase the frothy bubbles, While the world is full of troubles And is anxious in its sleep. . . .

There's something like a line of gold thread running through a man's words when he talks to his daughter, and gradually over the years it gets to be long enough for you to pick up in your hands and weave into a cloth that feels like love itself.

My voice was a bare rasp of fear. "In the weaving room, the women say it's never been this bad before..." "They always say that when things get difficult," she answered softly. Then she sat up suddenly as though coming fully awake. Reaching down, she took my chin in her hand and tipped my face to look up at hers. "Remember, Gwen, no matter who says what, the important thing is to understand what needs to be done, and then do it. No matter how hard it is, or how much pain you feel. It's as simple as that, really. Once you know what you have to do, you just do it.

Weaving olden dances; mingling hands and mingling glances.

She said, “Do you see how I’m wearing this apron? It means I’m working. For a living.” The unconcerned expression didn’t flag. He said, “I’ll take care of it.” She echoed, “Take care of it?” “Yeah. How much do you make in an hour? I’ll take care of it. And I’ll talk to your manager.” For a moment, Blue was actually lost for words. She had never believed people who claimed to be speechless, but she was. She opened her mouth, and at first, all that came out was air. Then something like the beginning of a laugh. Then finally, she managed to sputter, “I am not a prostitute.” The Aglionby boy appeared puzzled for a long moment, and then realization dawned. “Oh, that was not how I meant it. That is not what I said.” “That is what you said! You think you can just pay me to talk to your friend? Clearly you pay most of your female companions by the hour and don’t know how it works with the real world, but . . . but . . .” Blue remembered that she was working to a point, but now what that point was. Indignation had eliminated all higher functions and all that remained was the desire to slap him. The boy opened his mouth to protest, and her thought came back to her all in a rush. “Most girls, when they’re interested in a guy, will sit with them for free.” To his credit, the Aglionby boy didn’t speak right away. Instead, he thought for a moment and then he said, without heat, “You said you were working for living. I thought it’d be rude to not take that into account. I’m sorry you’re insulted. I see where you’re coming from, but I feel it’s a little unair that you’re not doing the same for me.” “I feel you’re being condescending,” Blue said. In the background, she caught a glimpse of Soldier Boy making a plane of his hand. It was crashing and weaving toward the table surface while Smudgy Boy gulped laughter down. The elegant boy held his palm over his face in exaggerated horror, fingers spread just enough that she could see him wince. “Dear God,” remarked Cell Phone boy. “I don’t know what else to say.” “Sorry,” she recommended. “I said that already.” Blue considered. “Then ‘bye.’” He made a little gesture at his chest that she thought was supposed to mean he was curtsying or bowing or something sarcastically gentleman-like.

Then might I exemplify how an influence beyond our control lays its strong hand on every deed which we do, and weaves its consequences into an iron tissue of necessity. (Wakefield)

Their bodies were lithe and young, the peak of youth and virility. Hips rolled, backs arched, hands twined in the air above them as they began to weave around one another in circles and lines. "I told you," was all Yrene muttered to him. "I think Dorian would enjoy this," he muttered back.

Dip your hands into life, scoop up memories, dreams, questions and ideas and weave them into stories.

I am the master! I stretch forth my hands, even to the skies! I lay my hands upon the stars, as on the crystal wheels of the harmonica. Now fast, now slow, as my soul wills, I turn the stars. I weave them into rainbows, harmonies. I feel immortality! I create immortality!

The important thing for the remembering author is not what he experienced, but the weaving of his memory, the Penelope work of recollection. Or should one call it, rather, the Penelope work of forgetting? ... And is not his work of spontaneous recollection, in which remembrance is the woof and forgetting the warp, a counterpart to Penelope's work rather than its likeness? For here the day unravels what the night has woven. When we awake each morning, we hold in our hands, usually weakly and loosely, but a few fringes of the tapestry of a lived life, as loomed for us by forgetting. However, with our purposeful activity and, even more, our purposive remembering each day unravels the web and the ornaments of forgetting.

When confronted with suffering that won't go away or with even a minor problem, we instinctively focus on what is missing,...not on the Master's hand. Often when you think everything has gone wrong, it's just that you're in the middle of a story. If you watch the stories God is weaving in your life, you... will begin to see the patterns. You'll become a poet, sensitive to your Father's voice.

Okay,” he says before setting his hand on mine. He weaves his fingers in between my own and I swear I just swallowed a drummer with the way my heart pounds in my throat. I steal a glance at him, and he looks like he’s about to sweat a waterfall. “I-I’ll shift, you just worry about the clutch.” He gulps and his grip tightens on my hand. If he thinks this is less distracting, he’s dead wrong.

That was what her parents did not understand—and had never understood—about stories. Liza told herself storied as though she was weaving and knotting an endless rope. Then, no matter how dark or terrible the pit she found herself in, she could pull herself out, inch by inch and hand over hand, on the long rope of stories.

His hands fluttered like birds, each with a fancy silk ribbon to weave into their nest, as he stood at the mirror dressing for work, waving hello to himself with both hands.

What can I give you, Aislinn? Shall I weave flowers into your hair?" He opened his hand, letting go of her hair. An iris blossom sat in the palm of his hand. "Shall I bring you necklaces of gold? Delicacies mortals can only dream of? I'll do all those things anyway. Don't waste your wish.

It was good to be a stranger in a land when you felt aggressive and acquisitive, but when you began to weave your horizons into some kind of shelter it was good to know that hands you loved had helped in their spinning - made you feel as if the threads would hold together better.

He seemed to weave, like the spider, from pure impulse, without reflection. Every man's work, pursued steadily, tends in this way to become an end in itself, and so to bridge over the loveless chasms of life. Silas's hand satisfied itself with throwing the shuttle, and his eye with seeing the little squares in the cloth complete themselves under his effort. Then there were the calls of hunger; and Silas, in his solitude, had to provide his own breakfast, dinner, and supper, to fetch his own water from the well, and put his own kettle on the fire; and all these immediate promptings helped, along with the weaving, to reduce his life to the unquestioning activity of a spinning insect. He hated the thought of the past; there was nothing that called out his love and fellowship toward the strangers he had come amongst; and the future was all dark, for there was no Unseen Love that cared for him. Thought was arrested by utter bewilderment, not its old narrow pathway was closed, and affection seemed to have died under the bruise that had fallen on its keenest nerves.

I want to do something, right here, right now, to shame them, to make them accountable, to show the Capitol that whatever they do or force us to do there is a part of every tribute they can't own. That Rue was more than a piece in their Games. And so am I. "A few steps into the woods grows a bank of wildflowers. Perhaps they are really weeds of some sort, but they have blossoms in beautiful shades of violet and yellow and white. I gather an armful and come back to Rues's side. Slowly, one stem at a time, I decorate her body in the flowers. Covering the ugly wound. Wreathing her face. Weaving her hair with bright colors. "They'll have to show it. Or, even if they choose to turn the cameras elsewhere at this moment, they'll have to bring them back when they collect the bodies and everyone will see her then and know I did it. I step back and take a last look at Rue. She really could be asleep in that meadow after all. ""Bye, Rue," I whisper. I press the three middle fingers of my left hand against my lips and hold them out in her direction. Then I walk away without looking back.

He crashed over me like a wave and I was drowning. He shone so brightly and I was burning. Touched, by his hands and his body and his unintended mercies, I needed my distance back. Difficult, though, when my skin sang at his closeness and I blazed with wanting. I wanted to put my lips against his neck. I wanted to lick the sweat from where it would gather like glitter in the secret hollows of his flesh. I wanted him naked in my arms, like I'd had him in Brighton, but with not even darkness between us this time. I wanted to give him pleasure. Lavish him in it. Bedeck him with it, like pirate gold. Weave him a crown of my lost dreams. I wanted to kneel at his feet and suck his cock. I wanted him on his back, so I could look into his eyes while I fucked him.

All life is one weaving, one design by the hand of the Creator, the Great Mystery. All life is connected, thread by thread.

But Siegfried held up a restraining hand. “Just one moment,” he slurred. “The windscreen is very dirty. I’ll give it a rub for you.” The ladies watched him silently as he weaved round to the back of the car and began to rummage in the boot. The love light had died from their eyes. I don’t know why he took the trouble; possibly it was because, through the whisky mists, he felt he must re-establish himself as a competent and helpful member of the party. But the effort fell flat; the effect was entirely spoiled. He was polishing the glass with a dead hen.

Why does a young Muslim, in the prime of life, with a full life ahead, go and blow himself up in a bus full of innocent passengers? In our countries, religion is the sole source of education, and this is the only spring from which that terrorist drank until his thirst was quenched. He was not born a terrorist, and did not become a terrorist overnight. Islamic teachings played a role in weaving his ideological fabric, thread by thread, and did not allow other sources—I am referring to scientific sources—to play a role. It was these teachings that distorted this terrorist, and killed his humanity; it was not [the terrorist] who distorted the religious teachings, and misunderstood them, as some ignorant people claim. When you recite to a child still in his early years the verse 'They will be killed or crucified, or have their hands and feet on alternative sides cut off,' regardless of this verse's interpretation, and regardless of the reasons it was conveyed, or its time, you have made the first step towards creating a great terrorist.

...I can. And there's your first marvel, that I can. You have made your magic now, for now I do think I see some shred of goodness in John Proctor. Not enough to weave a banner with, but white enough to keep it from such dogs. (Elizabeth, in a burst of terror, rushes to him and weeps against his hand.) Give them no tear! Tears pleasure them. Show honor now, show a stony heart and sink them with it!

My life is but a weaving, between my God and me, I do not choose the colors, He worketh steadily, Oftimes He weaveth sorrow, and I in foolish pride, Forget He sees the upper, and I the under side. Not till the loom is silent, and shuttles cease to fly, Will God unroll the canvas and explain the reason why. The dark threads are as needful in the skillful Weaver’s hand, As the threads of gold and silver in the pattern He has planned. (Anonymous)

I will hold what I am inside, and keep my hands tight around all the things I have seen and heard, and felt. The poems composed as I washed and scythed and cooked until my hands were raw. The sagas I know by heart. I am sinking all I have left and going underwater. If I speak, it will be in bubbles of air. They will not be able to keep my words for themselves. They will see the whore, the madwoman, the murderess, the female dripping blood into the grass and laughing with her mouth choked with dirt. They will say ‘Agnes’ and see the spider, the witch caught in the webbing of her own fateful weaving. They might see the lamb circled by ravens, bleating for a lost mother. But they will not see me. I will not be there.

Cut it out!" Phillip exploded. "Cut it out right now or I swear I'm going to pull over and knock your heads together. Oh, my God." He took one hand off the wheel to drag it down his face. "I sound like Mom. Forget it. Just forget it. Kill each other. I'll dump the bodies in the mall parking lot and drive to Mexico. I'll learn how to weave mats and sell them on the beach at Cozumel. I'll be quiet, it'll be peaceful. I'll change my name to Raoul, and no one will know I was ever related to a bunch of fools." Seth scratched his belly and turned to Cam. "Does he always talk like that?" "Yeah, mostly. Sometimes he's going to be Pierre and live in a garret in Paris, but it's the same thing." "Weird," was Seth's only comment. (...) Getting new shows was turning into a new adventure.

THE STOLEN CHILD Where dips the rocky highland Of Sleuth Wood in the lake, There lies a leafy island Where flapping herons wake The drowsy water rats; There we've hid our faery vats, Full of berrys And of reddest stolen cherries. Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand. Where the wave of moonlight glosses The dim gray sands with light, Far off by furthest Rosses We foot it all the night, Weaving olden dances Mingling hands and mingling glances Till the moon has taken flight; To and fro we leap And chase the frothy bubbles, While the world is full of troubles And anxious in its sleep. Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand. Where the wandering water gushes From the hills above Glen-Car, In pools among the rushes That scarce could bathe a star, We seek for slumbering trout And whispering in their ears Give them unquiet dreams; Leaning softly out From ferns that drop their tears Over the young streams. Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand. Away with us he's going, The solemn-eyed: He'll hear no more the lowing Of the calves on the warm hillside Or the kettle on the hob Sing peace into his breast, Or see the brown mice bob Round and round the oatmeal chest. For he comes, the human child, To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than he can understand.

When they see beyond the sky, When they know beyond the mind, When they hear the song of the Burning Light; Take these Gifts of My Outstretched Hand, Weave them together. I shall come.

Love wilts under the wight of possession. Love is not something to be clutched tightly in the hand. Love is a living breathing entity. For some, romantic love comes in seasons... And for still others, love is something that comes and goes as it pleases, over a lifetime, ebbing and weaving, like the ocean tide.

Read it if you like or don't read it if you like. Because you make so little impression, you see. You get born and you try this and you don't know why only you keep on trying it and you are born at the same time with a lot of other people, all mixed up with them, like trying to, having to, move your arms and legs with string only the same strings are hitched to all the other arms and legs and the others all trying and they don't know why either except that the strings are all in one another's way like five or six people all trying to make a rug on the same loom only each one wants to weave his own pattern into the rug; and it can't matter, you know that, or the Ones that set up the loom would have arranged things a little better, and yet it must matter because you keep on trying and then all of a sudden it's all over and all you have left is a block of stone with scratches on it provided there was someone to remember to have the marble scratched and set up or had time to, and it rains on it and then sun shines on it and after a while they don't even remember the name and what the scratches were trying to tell, and it doesn't matter. And so maybe if you could go to someone, the stranger the better, and give them something-a scrap of paper-something, anything, it not to mean anything in itself and them not even to read it or keep it, not even bother to throw it away or destroy it, at least it would be something just because it would have happened, be remembered even if only from passing from one hand to another, one mind to another, and it would be at least a scratch, something, something that might make a mark on something that was once for the reason that it can die someday, while the block of stone can't be is because it never can become was because it can't ever die or perish...

Long before God the Father, there she was – God the Mother. Where did she vanish to, this great mother goddess? How did we women become so completely dispossessed? It wasn’t that I wanted to replace a male god with a female god; it wasn’t that I wanted to find a religion at all. I was simply looking for some sense that women might have worth. And I found it: there in the old stories of my own native land, I found it. Filled with images of women creating, women weaving the world into being, I took up knitting. Thread by thread, stitch by stitch, I began to knit myself back into being. I had never thought of myself as being a particularly creative soul, but I discovered that creativity was a wide-ranging affair. I simply thought about what brought me joy, and I began to cultivate it. I dug my hands into this strange foreign soil, and I began to grow things. I began to reacquaint myself with the soft animal object that was my body. Slowly, spending more and more time outside, focusing on the wisdom of my senses rather than on what was going on inside my head, I began to weave myself back into the fabric of the Earth. Some

Let me go now, Lucan.” “I can’t do that.” He took her hand and lifted it to his lips. His mouth was warm and soft on her fingertips, weaving a spell around her as only he could do. He brought her hand closer, pressing her palm to his chest, to the heavy throb that beat against his ribs like a drum. “I can’t ever let you go, Gabrielle. Because whether you want it from me or not, you have my heart. You have my love, too. If you’ll accept it.” She swallowed hard. “What?” “I love you.” The words were low and earnest, a caress she felt deep inside of her. “Gabrielle Maxwell, I love you more than life itself. I’ve been alone for so long, I didn’t know enough to recognize that until it was nearly too late.” He stopped talking then, searching her eyes intently. “It’s not . . . too late, is it?” He loved her. Joy, pure and bright, poured through her to hear those words coming from Lucan. “Say it again,” she whispered, needing to know that this moment was real, that it would last. “I love you, Gabrielle. With every ounce of life in me, I love you.

Men told that Kane was a giant in stature, more powerful than ten strong men. In battle no man could stand before him, for he fought with a sword in either hand - wielding easily weapons that another warrior could scarcely lift. His hair was red as blood, and he feasted on the still-beating hearts of his enemies. His eyes were the eyes of Death himself, and they cast a blue flame that could shrivel the souls of his victims. His only delight was in rapine and slaughter, and after each victory his banquet halls echoed with the tortured screams of captive maidens.

John Calvin called the Book of Psalms ‘an anatomy of all parts of the soul.’ All the range of emotions are expressed; the Psalms weave an emotional fabric for the human soul. These inspired lyrics take us by the hand and train us in proper emotion. They lead us to emotional maturity.

Excuse me while I throw this down, I’m old and cranky and tired of hearing the idiocy repeated by people who ought to know better. Real women do not have curves. Real women do not look like just one thing. Real women have curves, and not. They are tall, and not. They are brown-skinned, and olive-skinned, and not. They have small breasts, and big ones, and no breasts whatsoever. Real women start their lives as baby girls. And as baby boys. And as babies of indeterminate biological sex whose bodies terrify their doctors and families into making all kinds of very sudden decisions. Real women have big hands and small hands and long elegant fingers and short stubby fingers and manicures and broken nails with dirt under them. Real women have armpit hair and leg hair and pubic hair and facial hair and chest hair and sexy moustaches and full, luxuriant beards. Real women have none of these things, spontaneously or as the result of intentional change. Real women are bald as eggs, by chance and by choice and by chemo. Real women have hair so long they can sit on it. Real women wear wigs and weaves and extensions and kufi and do-rags and hairnets and hijab and headscarves and hats and yarmulkes and textured rubber swim caps with the plastic flowers on the sides. Real women wear high heels and skirts. Or not. Real women are feminine and smell good and they are masculine and smell good and they are androgynous and smell good, except when they don’t smell so good, but that can be changed if desired because real women change stuff when they want to. Real women have ovaries. Unless they don’t, and sometimes they don’t because they were born that way and sometimes they don’t because they had to have their ovaries removed. Real women have uteruses, unless they don’t, see above. Real women have vaginas and clitorises and XX sex chromosomes and high estrogen levels, they ovulate and menstruate and can get pregnant and have babies. Except sometimes not, for a rather spectacular array of reasons both spontaneous and induced. Real women are fat. And thin. And both, and neither, and otherwise. Doesn’t make them any less real. There is a phrase I wish I could engrave upon the hearts of every single person, everywhere in the world, and it is this sentence which comes from the genius lips of the grand and eloquent Mr. Glenn Marla: There is no wrong way to have a body. I’m going to say it again because it’s important: There is no wrong way to have a body. And if your moral compass points in any way, shape, or form to equality, you need to get this through your thick skull and stop with the “real women are like such-and-so” crap. You are not the authority on what “real” human beings are, and who qualifies as “real” and on what basis. All human beings are real. Yes, I know you’re tired of feeling disenfranchised. It is a tiresome and loathsome thing to be and to feel. But the tit-for-tat disenfranchisement of others is not going to solve that problem. Solidarity has to start somewhere and it might as well be with you and me

The contradictions were apparent to Makhaya, and perhaps there was no greater crime as yet than all the lies Western civilization had told in the name of Jesus Christ. It seemed to Makhaya far preferable for Africa if it did without Christianity and Christian double-talk, fat priests, golden images, and looked around at all the thin naked old men who sat under trees weaving baskets with shaking hands. People could do without religions and Gods who died for the sins of the world and thereby left men without any feeling of self-responsibility for the crimes they committed. This seemed to Makhaya the greatest irony of Christianity. It meant that a white man could forever go on slaughtering black men simply because Jesus Christ would save him from his sins. Africa could do without a religion like that. 135

I had lost sight of the fact that I want to do work that matters. I want to understand the world, and how it moves and how the intricate strings of existence weave together into a tapestry, and I want to weave those tapestries with my own two hands. I am filled suddenly by that wanting, to know things, to understand the world, to feel myself in it. It floods me with a ferocious strength. This world is mine. This work is mine. If it is selfish to want, then selfishness shall be my weapon. I will fight for everything that cannot fight for itself. Block the wind and keep away the wolves and put supper on the table. I am suddenly swollen with more than wanting to be known—I want to know.

As the years passed, new myths arose to explain the mysterious objects the strangers brought from the land of the dead. A nineteenth-century missionary recorded, for example, an African explanation of what happened when captains descended into the holds of their ships to fetch trading goods like cloth. The Africans believed that these goods came not from the ship itself but from a hole that led into the ocean. Sea sprites weave this cloth in an "oceanic factory, and, whenever we need cloth, the captain ... goes to this hole and rings a bell." The sea sprites hand him up their cloth, and the captain "then throws in, as payment, a few dead bodies of black people he has bought from those bad native traders who have bewitched their people and sold them to the white men." The myth was not so far from reality. For what was slavery in the American South, after all, but a system for transforming the labor of black bodies, via cotton plantations, into cloth?

I HAD a dove and the sweet dove died; And I have thought it died of grieving: O, what could it grieve for? Its feet were tied, With a silken thread of my own hand's weaving; Sweet little red feet! why should you die - Why should you leave me, sweet bird! why? You liv'd alone in the forest-tree, Why, pretty thing! would you not live with me? I kiss'd you oft and gave you white peas; Why not live sweetly, as in the green trees?

Who can dream of God? This man did. In his dreams God was much occupied. Spoken to He did not answer. Called to did not hear. The man could see Him bent at his work. As if through a glass. Seated solely in the light of his own presence. Weaving the world. In his hands it flowed out of nothing and in his hands it vanished into nothing once again. Endlessly.

From tattered flags and uniforms to friendships strained to the brink, the women of my country had always been the menders to all the things torn asunder. But now we’d do more than patch with needle and thread. We’d have to weave together a whole tapestry of American life with nothing but our own hands, our own crops, and our own ingenuity. And I would prove myself able to the task. There

The path of destiny pulls you forward. It exhumes you from a state of being and propels you towards the juncture you were created for. A new frontier that you are forced to tread with a cross on your back, heavy as a boulder. When you fall to your knees at the hands of your betrayer, you can only hope to find the one sent to carry you burden- shoulder the journey towards your final punishment. Sometimes duplicity and treason are markers of the ememy, and sometimes, the failed intention of a masterful ally. But, nevertheless, as they burden you with a vexing brand of love, they become nothing more than the kisdd of Judas, pressing a crown of thorns into your flesh. Seemingly with out reason- vastly disappointing, Although I am submerged in violent water, I will rise above. My enemies, my friends, are incapable of derailing me from destiny’s design. So, I press forward-move-rely on the hope of the future- create the possible out of the impossible as I weave into life’s grand tapestry. I believe in the things that wait for me- my enemies, my friends- most of all love. It is the finish line I hunger for, the promise of love in all of its glory. I can endure all things in the hold name of love. And I will.

Duncan's temper kindled, but it didn't dampen the lust seeping along his nerve endings. He could flatten this persnickety witch, or better yet, weave a love spell and bind her to him. Maybe he'd do just that and have done with things. He clasped his hands behind his back to quash the temptation to summon magic.

I SHALL WIN!" She exclaimed. "You'll see! When the smoke of battle clears away I shall be a rainbow again--and, undying name--an altar of fire that you have tried to dash to hell. I shall weave a rose wreath and hang it round your neck. You will call it a yoke of bondage and curse it--no matter. You are afraid of the light I give you. You crouch in the darkness. Come, take my hand, I will lead you." And her valediction, intimating in its restraint whole words of love and grief and passionate regret, was, simply, Miriam.

Ma was out back, head in hands, weaving in and out of her heaped-up crap. It was both melodramatic and not. I mean, when Ma feels something deeply, that's what she does: melodrama. Which makes it, I guess, not melodrama?

THE INTEREST WITHOUT THE CAPITAL The lover's food is the love of the bread; no bread need be at hand: no one who is sincere in his love is a slave to existence. Lovers have nothing to do with with with existence; lovers have the interest without the capital. Without wings they fly around the world; without hands they carry the polo ball off the field. That dervish who caught the scent of Reality used to weave basket even though his hand had been cut off. Lover have pitched their tents in nonexistence: they are of one quality and one essence, as nonexistence is.

„God is beautiful and He loves beauty. When you are true in your relationship with God, you take on that beauty in you. You become virtuous, just and balanced. Everything you do is graceful and beautiful. Every thought you think, every word you say and every action you take. Anything you weave, make, carve or cook with your hands, it all becomes beautiful.

The path of destiny pulls you forward. It exhumes you from a state of being and propels you towards the juncture you were created for. A new frontier that you are forced to tread with a cross on your back, heavy as a boulder. When you fall to your knees at the hands of your betrayer, you can only hope to find the one sent to carry you burden- shoulder the journey towards your final punishment. Sometimes duplicity and treason are markers of the enemy and sometimes, the failed intention of a masterful ally. But, nevertheless, as they burden you with a vexing brand of love, they become nothing more than the kiss of Judas, pressing a crown of thorns into your flesh. Seemingly without reason— vastly disappointing. Although I am submerged in violent water, I will rise above. My enemies, my friends, are incapable of derailing me from destiny’s design. So, I press forward-move-rely on the hope of the future- create the possible out of the impossible as I weave into life’s grand tapestry. I believe in the things that wait for me- my enemies, my friends- most of all love. It is the finish line I hunger for, the promise of love in all of its glory. I can endure all things in the hold name of love. And I will.

There is an old lady who lives on the moon. You can see her spinning thread on her spinning wheel. Her isolation and distance from the world has made her a sage. She weaves stories. She knows every wanderer who crosses the sea grass meadows, she knows every woman who uses her blackened blue hands to grind grain in the hand mill, she is friends with the little girl who got lost in the corn fields and was never found, and she knows the story of the boy who played flute on the little hill when his lambs slept. Grandmother said that if I had been a good girl the moon lady would weave for me a magical blanket and every stitch will be made from a moment of my life, a forgotten moment, a memory. Every stitch would be special. It would be made especially for me.

Their story begins on ground level, with footsteps. They are myriad, but do not compose a series. They cannot be counted because each unit has a qualitative character: a style of tactile apprehension and kinesthetic appropriation. Their swarming mass is an innumerable collection of singularities. Their intertwined paths give their shape to spaces. They weave places together. In that respect, pedestrian movements form one of these 'real systems whose existence in fact makes up the city.' They are not localized; it is rather they that spatialize. They are no more inserted within a container than those Chinese character speakers sketch out on their hands with their fingertips.

It is a formidable list of jobs: the whole of the spinning industry, the whole of the dyeing industry, the whole of the weaving industry. The whole catering industry and—which would not please Lady Astor, perhaps—the whole of the nation’s brewing and distilling. All the preserving, pickling and bottling industry, all the bacon-curing. And (since in those days a man was often absent from home for months together on war or business) a very large share in the management of landed estates. Here are the women’s jobs—and what has become of them? They are all being handled by men. It is all very well to say that woman’s place is the home—but modern civilisation has taken all these pleasant and profitable activities out of the home, where the women looked after them, and handed them over to big industry, to be directed and organised by men at the head of large factories. Even the dairy-maid in her simple bonnet has gone, to be replaced by a male mechanic in charge of a mechanical milking plant.

There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York--every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour if a little button was pressed two hundred times by a butler's thumb. At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials so long forgotten that most of his female guests were too young to know one from another. By seven o'clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and high drums. The last swimmers have come in from the beach now and are dressing up-stairs; the cars from New York are parked five deep in the drive, and already the halls and salons and verandas are gaudy with primary colors, and hair shorn in strange new ways, and shawls beyond the dreams of Castile. The bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusiastic meetings between women who never knew each other's names. The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath; already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the centre of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light. Suddenly one of the gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvas platform. A momentary hush; the orchestra leader varies his rhythm obligingly for her, and there is a burst of chatter as the erroneous news goes around that she is Gilda Gray's understudy from the FOLLIES. The party has begun.

Silence is another element we find in classic fairy tales — girls muted by magic or sworn to silence in order to break enchantment. In "The Wild Swans," a princess is imprisoned by her stepmother, rolled in filth, then banished from home (as her older brothers had been before her). She goes in search of her missing brothers, discovers that they've been turned into swans, whereupon the young girl vows to find a way to break the spell. A mysterious woman comes to her in a dream and tells her what to do: 'Pick the nettles that grow in graveyards, crush and spin them into thread, then weave them into coats and throw them over your brothers' backs.' The nettles burn and blister, yet she never falters: picking, spinning, weaving, working with wounded, crippled hands, determined to save her brothers. All this time she's silent. 'You must not speak,' the dream woman has warned, 'for a single world will be like a knife plunged into your brothers' hearts.' You must not speak. That's what my stepfather said: don't speak, don't cry, don't tell. That's what my mother said as well, as we sat in hospital waiting rooms -- and I obeyed, as did my brothers. We sat as still and silent as stone while my mother spun false tales to explain each break and bruise and burn. Our family moved just often enough that her stories were fresh and plausible; each new doctor believed her, and chided us children to be more careful. I never contradicted those tales. I wouldn't have dared, or wanted to. They'd send me into foster care. They'd send my young brothers away. And so we sat, and the unspoken truth was as sharp as the point of a knife.

There’s a pulse in my body, vibrating every pressure point. “I like kissing you.” His hand lowers to my waist. “I could kiss you forever.” I lazily glance at him from under my eyelashes. “Just kissing.” Because I think I’ll combust if we do more. The right side of his mouth quirks. “Just kissing. And some touching.” To prove his point Isaiah’s hands caress my back, weave into my hair and slide against the dip of my waist. Yes, definitely some touching. I inhale deeply, reminding myself that breathing is still a requirement. “I agree. Some touching. No new clothes off.” Because I’d probably pass out at the thought of his jeans off. They already hang low on his hips. Too low. Very low. Low enough that I start to imagine what more there is to him. Isaiah wraps his hand around the back of my neck and performs this deep massage that makes my eyes roll into my head in ecstasy. “I’ll put my shirt back on if you want.” “No,” I breathe out. “I’m fine with it off.” More than fine.

Mma Ramotswe had a gift for the American woman, a basket which on her return journey from Bulawayo she had bought, on impulse, from a woman sitting by the side of the road in Francistown. The woman was desperate, and Mma Ramotswe, who did not need a basket, had bought it to help her. It was a traditional Botswana basket, with a design worked into the weaving. "These little marks here are tears," she said. "The giraffe gives its tears to the women and they weave them into the basket." The American woman took the basket politely, in the proper Botswana way of receiving a gift with both hands. How rude were people who took a gift with one hand, as if snatching it from the donor; she knew better. You are very kind, Mma," she said. "But why did the giraffe give its tears?" Mma Ramotswe shrugged; she had never thought about it. "I suppose that it means that we can all give something," she said. "A giraffe has nothing else to give--only tears." Did it mean that? she wondered. And for a moment she imagined that she saw a giraffe peering down through the trees, its strange stilt-borne body among the leaves; and its moist velvet cheeks and liquid eyes; and she thought of all the beauty that there was in Africa, and of the laughter, and the love. The boy looked at the basket. "Is that true, Mma?" Mma Ramotswe smiled. "I hope so," she said.

Tomorrow, in the fields of my kingdom, may you have a happy battle. May your kingly hands be terrible in weaving the sword stuff. May those opposing your sword become meat for the red swan. May your many gods glut you with glory, may they glut you with blood. Victorious may you be in the dawn, king who treads on Ireland. Of your many days may none shine bright as tomorrow. Because that day will be the last. I swear it to you, King Magnus. For before its light is blotted, I shall vanquish you and blot you out, Magnus Barfod.

Not to waste the spring I threw down everything, And ran into the open world To sing what I could sing... To dance what I could dance! And join with everyone! I wandered with a reckless heart beneath the newborn sun. First stepping through the blushing dawn, I crossed beneath a garden bower, counting every hermit thrush, counting every hour. When morning's light was ripe at last, I stumbled on with reckless feet; and found two nymphs engaged in play, approaching them stirred no retreat. With naked skin, their weaving hands, in form akin to Calliope's maids, shook winter currents from their hair to weave within them vernal braids. I grabbed the first, who seemed the stronger by her soft and dewy leg, and swore blind eyes, Lest I find I, before Diana, a hunted stag. But the nymphs they laughed, and shook their heads. and begged I drop beseeching hands. For one was no goddess, the other no huntress, merely two girls at play in the early day. "Please come to us, with unblinded eyes, and raise your ready lips. We will wash your mouth with watery sighs, weave you springtime with our fingertips." So the nymphs they spoke, we kissed and laid, by noontime's hour, our love was made, Like braided chains of crocus stems, We lay entwined, I laid with them, Our breath, one glassy, tideless sea, Our bodies draping wearily. We slept, I slept so lucidly, with hopes to stay this memory. I woke in dusty afternoon, Alone, the nymphs had left too soon, I searched where perched upon my knees Heard only larks' songs in the trees. "Be you, the larks, my far-flung maids? With lilac feet and branchlike braids... Who sing sweet odes to my elation, in your larking exaltation!" With these, my clumsy, carefree words, The birds they stirred and flew away, "Be I, poor Actaeon," I cried, "Be dead… Before they, like Hippodamia, be gone astray!" Yet these words, too late, remained unheard, By lark, that parting, morning bird. I looked upon its parting flight, and smelled the coming of the night; desirous, I gazed upon its jaunt, as Leander gazes Hellespont. Now the hour was ripe and dark, sensuous memories of sunlight past, I stood alone in garden bowers and asked the value of my hours. Time was spent or time was tossed, Life was loved and life was lost. I kissed the flesh of tender girls, I heard the songs of vernal birds. I gazed upon the blushing light, aware of day before the night. So let me ask and hear a thought: Did I live the spring I’d sought? It's true in joy, I walked along, took part in dance, and sang the song. and never tried to bind an hour to my borrowed garden bower; nor did I once entreat a day to slumber at my feet. Yet days aren't lulled by lyric song, like morning birds they pass along, o'er crests of trees, to none belong; o'er crests of trees of drying dew, their larking flight, my hands, eschew Thus I'll say it once and true… From all that I saw, and everywhere I wandered, I learned that time cannot be spent, It only can be squandered.

All human lives are so profoundly and intricately entwined those dead, those living, those generations yet to come that the fate of all is the fate of each, and the hope of humanity rests in every heart and in every pair of hands. Therefore, after every failure, we are obliged to strive again for success, and when faced with the end of one thing, we must build something new and better in the ashes, just as from pain and grief, we must weave hope, for each of us is a thread critical to the strength to the very survival of the human tapestry. Every hour in every life contains such often unrecognized potential to affect the world that the great days and thrilling possibilities are combined always in this momentous day.

Tinkerers built America. Benjamin Franklin, Thomas Edison, Henry Ford, all were tinkerers in their childhood. Everything from the airplane to the computer started in somebody's garage. Go back even further: the Industrial Revolution was a revolution of tinkerers. The great scientific thinkers of eighteenth-century England couldn't have been less interested in cotton spinning and weaving. Why would you be? It was left to a bloke on the shop floor who happened to glance at a one-thread wheel that had toppled over and noticed that both the wheel and the spindle were still turning. So James Hargreaves invented the spinning jenny, and there followed other artful gins and mules and frames and looms, and Britain and the world were transformed. By tinkerers rather than thinkerers. "Technological change came from tinkerers," wrote Professor J.R. McNeill of Georgetown, "people with little or no scientific education but with plenty of hands-on experience." John Ratzenberger likes to paraphrase a Stanford University study: "Engineers who are great in physics and calculus but can't think in new ways about old objects are doomed to think in old ways about new objects." That's the lesson of the spinning jenny: an old object fell over and someone looked at it in a new way.

Project Princess Teeny feet rock layered double socks Popping side piping of many colored loose lace ups Racing toe keeps up with fancy free gear slick slide and just pressed recently weaved hair Jeans oversized belie her hips, back, thighs that have made guys sigh for milleni year Topped by an attractive jacket her suit’s not for flacking, flunkies, junkies or punk homies on the stroll. Her hands mobile thrones of today’s urban goddess Clinking rings link dragon fingers no need to be modest. One or two gap teeth coolin’ sport gold initials Doubt you get to her name just check from the side please chill. Multidimensional shrimp earrings frame her cinnamon face Crimson with a compliment if a comment hits the right place Don’t step to the plate with datelines from ‘88 Spare your simple, fragile feelings with the same sense that you came Color woman variation reworks the french twist with crinkle cut platinum frosted bangs from a spray can’s mist Never dissed, she insists: “No you can’t touch this.” And, if pissed, bedecked fists stop boys who must persist. She’s the one. Give her some. Under fire. Smoking gun. Of which songs are sung, raps are spun, bells are rung, rocked, pistols cocked, unwanted advances blocked, well stacked she’s jock. It’s all about you girl. You go on. Don’t you dare stop.

In the courtyard there was an angel of black stone, and its angel head rose above giant elephant leaves; the stark glass angel eyes, bright as the bleached blue of sailor eyes, stared upward. One observed the angel from an intricate green balcony — mine, this balcony, for I lived beyond in three old white rooms, rooms with elaborate wedding-cake ceilings, wide sliding doors, tall French windows. On warm evenings, with these windows open, conversation was pleasant there, tuneful, for wind rustled the interior like fan-breeze made by ancient ladies. And on such warm evenings this town is quiet. Only voices: family talk weaving on an ivy-curtained porch; a barefoot woman humming as she rocks a sidewalk chair, lulling to sleep a baby she nurses quite publicly; the complaining foreign tongue of an irritated lady who, sitting on her balcony, plucks a fryer, the loosened feathers floating from her hands, slipping into air, sliding lazily downward.

It’s going to be okay,” Noam said from over his shoulder. His hand caught Dara’s, their bodies pressed together by the mob. Dara turned to look at him—and for a moment it was like nothing else existed. He tipped his face forward and rested his brow against Noam’s. He focused on Noam’s eyes, on the little threads of gold weaving through Noam’s irises like striations in marble. “I’m scared,” Dara admitted, softly enough he couldn’t even hear himself say it. But Noam must have, because he curved an arm around Dara’s waist and drew him in, burying his own face against Dara’s hair. “Me too.

Stop fussing,” Legna admonished her, tapping her finger against Isabella’s absently energetic hand. “I’m getting married in a few minutes, Legna, I think I’ve a right to fuss.” Isabella felt her heart turn over as she spoke aloud, listening to herself talk about her impending marriage. “Well, brides are supposed to be blushing, as I understand it. At the moment you are no less than five shades of gray.” Legna continued with her interrupted weaving of more ribbons in Isabella’s hair. “And as much as it matches the silver of your dress, I think you would look better with a little natural color.” Legna reached to smooth down a portion of the shimmering silver fabric that draped off of the bride’s shoulders in a Grecian fashion. “You know,” she pressed, “there are only two nights in a year when Demons perform a joining ceremony. Samhain and Beltane. If you pass out tonight, you will have to wait until next spring.” “Thanks for the bulletin. You’re too kind,” Isabella retorted dryly. “Actually, purely out of kindness, I will tell you that your future husband is just shy of tossing his cookies himself, so you can take comfort in knowing he is just as nervous as you are.” “Legna!” Bella laughed. “You’re a wretch!” She turned to look at the female Demon, briefly admiring how pretty she looked in her soft white chiffon gown. “And how would you know? You’re standing too close to me to be able to sense his emotions.” “Because when I went to fetch the ribbons, he was seated next to Noah with his head between his knees.” Legna giggled. “I have never seen anything rattle Jacob before. I cannot help but find it amusing.

I say so strange a dreaminess did there then reign all over the ship and all over the sea, only broken by the intermitting dull sound of the sword, that it seemed as if this were the Loom of Time, and I myself were a shuttle mechanically weaving and weaving away at the Fates. There lay the fixed threads of the warp subject to but one single, ever returning, unchanging vibration, and that vibration merely enough to admit of the crosswise interblending of other threads with its own. This warp seemed necessity; and here, thought I, with my own hand I ply my own shuttle and weave my own destiny into these unalterable threads.

Forget about that and kiss me," I say. I weave my hands in her hair. She wraps her arms around my neck as I trace the valley between her lips with my tongue. Parting her lips, I deepen the kiss. It's like a tango, first moving slow and rhythmic and then, when we're both panting and our tongues collide, the kiss turns into a hot, fast dance I never want to end. Carmen's kisses may have been hot, but Brittany's are more sensual, sexy, and extremely addictive. We're still in the car, but it's cramped and the front seats don't give us enough room. Before I know it, we've moved to the backseat. Still not ideal, but I hardly notice. I'm so getting into her moans and kisses and hands in my hair. And the smell of vanilla cookies. I'm not going to push her too far tonight. But without thinking, my hand slowly moves up her bare thigh. "It feels so good," she says breathlessly. I lean her back while my hands explore on their own. My lips caress the hollow of her neck as I ease down the strap to her dress and bra. In response, she unbuttons my shirt. When it's open, her fingers roam over my chest and shoulders, searing my skin. "You're . . . perfect," she pants. Right now I'm not gonna argue with her. Moving lower, my tongue follows a path down to her silky skin exposed to the night air. She grabs the back of my hair, urging me on. She tastes so damn good. Too good. !Caramelo! I pull away a few inches and capture her gaze with mine, those shining sapphires glowing with desire. Talk about perfect. "I want you, chula," I say, my voice hoarse.

I lay my fantasy in the backseat of Isa's car and slide in next to her. She snuggles up, using me as her personal pillow, her blond curls sprawled over my crotch. I close my eyes for a second, trying to get the image out of my head. And I don't know what to do with my hands. My right one is on the door armrest. My left one hovers over Brittany. I hesitate. Who am I kidding? I'm not a virgin. I'm an eighteen-year-old guy who can deal with having a hot, passed-out girl next to me. Why am I afraid of putting my arm where it's comfortable, right over her midsection? I hold my breath as I settle my arm on her. She cuddles closer and I'm feeling weird and light-headed. Either it's the aftereffects from the joint or . . . I don't want to think about the "or." Her long hair is wrapped around my thigh. Without thinking, I weave my hands in her hair and watch as the silky strands slowly fall through the V's between my fingers.

At the same moment when massive global institutions seem to rule the world, there is an equally strong countermovement among regular people to claim personal agency in our own lives. We grow food in backyards. We brew beer. We weave cloth and knit blankets. We shop local. We create our own playlists. We tailor delivery of news and entertainment. In every arena, we customize and personalize our lives, creating material environments to make meaning, express a sense of uniqueness, and engage causes that matter to us and the world. It makes perfect sense that we are making our spiritual lives as well, crafting a new theology. And that God is far more personal and close at hand than once imagined.

A Draft of Shadows' desire turns us into ghosts. We are vines of air on trees of wind, a cape of flames invented and devoured by flame. The crack in the tree trunk: sex, seal, serpentine passage closed to the sun and to my eyes, open to the ants. That crack was the portico of the furthest reaches of the seen and thought: —there, inside, tides are green, blood is green, fire green, green stars burn in the black grass: the green music of elytra in the fig tree's pristine night; —there, inside, fingertips are eyes, to touch is to see, glances touch, eyes hear smells; —there, inside is outside, it is everywhere and nowhere, things are themselves and others, imprisoned in an icosahedron there is a music weaver beetle and another insect unweaving the syllogisms the spider weaves, hanging from the threads of the moon; —there, inside, space is an open hand, a mind that thinks shapes, not ideas, shapes that breathe, walk, speak, transform and silently evaporate; —there, inside, land of woven echoes, a slow cascade of light drops between the lips of the crannies: light is water; water, diaphanous time where eyes wash their images; —there, inside, cables of desire

Usually our minds are full of things that we are afraid will defile the purity of our actions. We have this impression of our minds being like a river and we feel like it's too polluted, we beat ourselves up over the fear that the mind pollution is going to spill over into our actions. This specific type of fear causes self-consciousness and self-doubt. The root of all this is the unawareness that we are, in reality, living and acting through our hearts and not through our minds. It is not from the mind that our bodies move and not through the mind that our hands choose who to touch, whom to hold onto and what to catch in midair. None of it is the mind. It is all the heart. And the heart cannot ever become polluted, not for a second. The heart can be torn, it can bleed, it can stop sometimes and it can even die. But it can never, it will never ever become polluted. You are your heart: the way you move, the way you love, the way you reach out to touch someone. By the contents of the heart the hands choose which threads to weave and which nails to hammer or to yank asunder. You need not fear. You are pure.

Wait, for now. Distrust everything if you have to. But trust the hours. Haven’t they carried you everywhere, up to now? Personal events will become interesting again. Hair will become interesting. Pain will become interesting. Buds that open out of season will become interesting. Second-hand gloves will become lovely again; their memories are what give them the need for other hands. The desolation of lovers is the same: that enormous emptiness carved out of such tiny beings as we are asks to be filled; the need for the new love is faithfulness to the old. Wait. Don’t go too early. You’re tired. But everyone’s tired. But no one is tired enough. Only wait a little and listen: music of hair, music of pain, music of looms weaving our loves again. Be there to hear it, it will be the only time, most of all to hear your whole existence, rehearsed by the sorrows, play itself into total exhaustion.

Stand on the highest pavement of the stair— Lean on a garden urn— Weave, weave the sunlight in your hair— Clasp your flowers to you with a pained surprise— Fling them to the ground and turn With a fugitive resentment in your eyes: But weave, weave the sunlight in your hair. So I would have had him leave, So I would have had her stand and grieve, So he would have left As the soul leaves the body torn and bruised, As the mind deserts the body it has used. I should find Some way incomparably light and deft, Some way we both should understand, Simple and faithless as a smile and shake of the hand. She turned away, but with the autumn weather Compelled my imagination many days, Many days and many hours: Her hair over her arms and her arms full of flowers. And I wonder how they should have been together! I should have lost a gesture and a pose. Sometimes these cogitations still amaze The troubled midnight and the noon’s repose.

THE STAGE: The stage is empty, and you watch as the figure of Medusa steps into the gas-light. Her body is dressed in a crimson traversed by the golden branches of willow trees, colour and light held into shape by sharp black borders. Lifting languidly her hands, she reaches towards you. Her emerald vipers, in the cohesive movements of unseen mechanisms, weave loops about her head. Music is beginning, and from the shadows off-stage the narrator speaks. “Medusa had a beautiful name and a lovely voice, though no one cared to listen; seeking only the gaze of those famous eyes.” Perseus walks onto the stage, cloaked as though he were the blazing sun. Now what you have to understand is his voice – it is like nothing you could tie down. It feels peaceful to hear it, to see him flow into the song with his fine, clear looks and his finer, clearer voice. Is the head quite forgotten? Not quite but the horror exists alongside the beauty and they flow like twin rivers, and neither is able to wash the other from you.

Hana starts off down the road. I’m tempted to watch her go. I get the urge to memorize her walk—to imprint her in my brain somehow, just as she is—but as I’m watching her waver in and out of the fierce sunlight, her silhouette gets confused with another one in my head, a shadow weaving in and out of darkness, about to walk off the cliff, and I don’t know who I’m looking at anymore. Suddenly the edges of the world are blurring and there’s a sharp pain in my throat, so I turn around and walk quickly toward the house. “Lena!” she calls out to me, just before I reach the gate. I spin around, heart leaping, thinking maybe she’ll be the one to say it. I miss you. Let’s go back. Even from a distance of fifty feet, I can see Hana hesitating. Then she makes this fluttering gesture with her hand and calls out, “Never mind.” This time when she turns around she doesn’t waver. She walks straight and quickly, turns a corner, and is gone. But what did I expect? That’s the whole point, after all: There’s no going back.

REVIEW: Like a master artisan, Weisberger weaves together threads of anthropology, botany, ecology and psychology in an inspiring tapestry of ideas sure to keep discerning readers warm and hopeful in these cold and desolate times.Unlike other texts, which ordinarily prescribe structural (ie. social, political, economic) solutions to the global crisis of environmental destruction, Rainforest Medicine hones in on the root cause of Western schizophrenia: spiritual poverty, and the resultant alienation of the individual from his environment. This incisive perception is married to a message of hope: that the keys to the door leading to promising new human vistas are held in the humblest of hands; those of the spiritual masters of the Amazon and the traditional cultures from which they hail. By illumining the ancient practices of authentic indigenous Amazonian shamanism, Weisberger supplies us with a manual for conservation of both the rainforest and the soul. And frankly, it could not have arrived at a better time.

{The resolution of the surviving members of the Eleventh Illinois Cavalry, whom Robert Ingersoll was the commander of, at his funeral quoted here} Robert G. Ingersoll is dead. The brave soldier, the unswerving patriot, the true friend, and the distinguished colonel of the old regiment of which we have the honor to be a remanent, sleeps his last sleep. No word of ours, though written in flame, no chaplet that our hands can weave, no testimony that our personal knowledge can bring, will add anything to his fame. The world honors him as the prince of orators in his generation, as its emancipator from manacles and dogmas; philosophy, for his aid in beating back the ghosts of superstition; and we, in addition to these, for our personal knowledge of him, as a man, a soldier, and a friend. We know him as the general public did not. We knew him in the military camp, where he reigned an uncrowned king, ruling with that bright scepter of human benevolence which death alone could wrest from his hand. We had the honor to obey, as we could, his calm but resolute commands at Shiloh, at Corinth, and at Lexington, knowing as we did, that he would never command a man to go where he would not dare to lead the way. We recognize only a small circle who could know more of his manliness and worth than we do. And to such we say: Look up, if you can, through natural tears; try to be as brave as he was, and try to remember -- in the midst of grief which his greatest wish for life would have been to help you to bear -- that he had no fear of death nor of anything beyond.

Who can tell how scenes of peace and quietude sink into the minds of pain-worn dwellers in close and noisy places, and carry their own freshness, deep into their jaded hearts! Men who have lived in crowded, pent-up streets, through lives of toil, and who have never wished for change; men, to whom custom has indeed been second nature, and who have come almost to love each brick and stone that formed the narrow boundaries of their daily walks; even they, with the hand of death upon them, have been known to yearn at last for one short glimpse of Nature’s face; and, carried far from the scenes of their old pains and pleasures, have seemed to pass at once into a new state of being. Crawling forth, from day to day, to some green sunny spot, they have had such memories wakened up within them by the sight of sky, and hill and plain, and glistening water, that a foretaste of heaven itself has soothed their quick decline, and they have sunk into their tombs, as peacefully as the sun whose setting they watched from their lonely chamber window but a few hours before, faded from their dim and feeble sight! The memories which peaceful country scenes call up, are not of this world, nor of its thoughts and hopes. Their gentle influence may teach us how to weave fresh garlands for the graves of those we loved: may purify our thoughts, and bear down before it old enmity and hatred; but beneath all this, there lingers, in the least reflective mind, a vague and half-formed consciousness of having held such feelings long before, in some remote and distant time, which calls up solemn thoughts of distant times to come, and bends down pride and worldliness beneath it.

Gregori stepped away from the huddled mass of tourists, putting distance between himself and the guide. He walked completely erect,his head high, his long hair flowing around him. His hands were loose at his sides, and his body was relaxed, rippling with power. "Hear me now, ancient one." His voice was soft and musical, filling the silence with beauty and purity. "You have lived long in this world, and you weary of the emptiness. I have come in anwer to your call." "Gregori.The Dark One." The evil voice hissed and growled the words in answer. The ugliness tore at sensitive nerve endings like nails on a chalkboard. Some of the tourists actually covered their ears. "How dare you enter my city and interfere where you have no right?" "I am justice,evil one. I have come to set your free from the bounaries holding you to this place." Gregori's voice was so soft and hypnotic that those listening edged out from their sanctuaries.It beckoned and pulled, so that none could resist his every desire. The black shape above their head roiled like a witch's cauldron. A jagged bolt of lightning slammed to earth straight toward the huddled group. Gregori raised a hand and redirected the force of energy away from the tourists and Savannah. A smile edged the cruel set of his mouth. "You think to mock me with display,ancient one? Do not attempt to anger what you do not understand.You came to me.I did not hunt you.You seek to threaten my lifemate and those I count as my friends.I can do no other than carry the justice of our people to you." Gregori's voice was so reasonable, so perfect and pure,drawing obedience from the most recalcitrant of criminals. The guide made a sound,somewhere between disbelief and fear.Gregori silenced him with a wave of his hand, needing no distractions. But the noise had been enough for the ancient one to break the spell Gregori's voice was weaving around him. The dark stain above their heads thrashed wildly, as if ridding itself ot ever-tightening bonds before slamming a series of lightning strikes at the helpless mortals on the ground. Screams and moans accompanied the whispered prayers, but Gregori stood his ground, unflinching. He merely redirected the whips of energy and light, sent them streaking back into the black mass above their heads.A hideous snarl,a screech of defiance and hatred,was the only warning before it hailed. Hufe golfball-sized blocks of bright-red ice rained down toward them. It was thick and horrible to see, the shower of frozen blood from the skies. But it stopped abruptly, as if an unseen force held it hovering inches from their heads. Gregori remained unchanged, impassive, his face a blank mask as he shielded the tourists and sent the hail hurtling back at their attacker.From out of the cemetery a few blocks from them, an army of the dead rose up. Wolves howled and raced along beside the skeletons as they moved to intercept the Carpathian hunter. Savannah. He said her name once, a soft brush in her mind. I've got it, she sent back instantly.Gregori had his hands full dealing with the abominations the vampire was throwing at him; he did't need to waste his energy protecting the general public from the apparition. She moved out into the open, a small, fragile figure, concentrating on the incoming threat. To those dwelling in the houses along the block and those driving in their cars, she masked the pack of wolves as dogs racing down the street.The stick=like skeletons, grotesque and bizarre, were merely a fast-moving group of people. She held the illusion until they were within a few feet of Gregori.Dropping the illusion, she fed every ounce of her energy and power to Gregori so he could meet the attack.

Gideon was quickly checking through her muscular structure and then weaving very gently into the complexities of her reproductive system. Suddenly Legna cried out again, her hands hitting his chest and grabbing fistfuls of his shirt, her entire body trembling from head to toe. This time Gideon gave the reaction his full attention. He looked into her wide eyes, the pupils dilating as he watched. Her mouth formed a soft, silent circle of surprise. “What are you doing?” she asked, her breath falling short and quick. “Nothing,” he insisted, his expression reflecting his baffled thoughts. “Merely continuing the exam. What are you feeling?” Legna couldn’t put the sensation into words. Her entire body felt as if it were pooling liquid fire, like magma dripping through her, centering under the hand he had just splayed over her lower belly. So, being the empath she was, she described it in the only way she could with any efficiency and effectiveness. She sent the sensations to him, deeply, firmly, without preparation or permission, exactly the way she had received them. In an instant, Gideon went from being in control of a neutral examination to an internal thermonuclear flashpoint of arousal that literally took his breath away. His hand flexed on her belly, crushing the silk of her dress within his fist. “Legna!” he cried hoarsely. “What are you doing?” She didn’t even seem aware of him, her eyes sliding closed and her head falling back as she tried to gulp in oxygen. His eyes slid down over her and he saw the flush and rigidity of erogenous heat building with incredible speed beneath her skin. And as it built in her, it built in him. She had created a loop between them, a locked cycle that started nowhere, ended nowhere. All it did was spill through and through them. “Stop,” he commanded, his voice rough and desperate as he tried to clear his mind and control the impulses surging through him. “Legna, stop this!” Legna dropped her head forward, her eyes flicking open and upward until she was gazing at him from under her lashes with the volatile, predatory gaze of a cat. A cat in heat.

You need to get home, both of you. Louis, I’d like to keep the letters here, if you don’t mind. I want to go over them again.” I came to my feet. “And ask the stars about them?” Jesse nodded. Armand only shook his head, gloomy. There were bruises under his eyes that hadn’t been there yesterday. “Ask the-fine. Splendid. Keep them if you like. Burn them. Turn them to gold or silver or lead. In the morning I’ll wake up and none of this will have happened.” “No, lordling,” I said to him. “You’re never going to wake like that again, and you’re never going to be able to forget.” “Bugger you, waif.” “And you.” He walked past both of us without another glance or another word, opened the door, and disappeared into the night. I went to Jesse and wrapped my arms around him. After only a second’s hesitation, his arms lifted to embrace me, too. “I don’t want to go,” I whispered. I felt his chest expand beneath my cheek. “This is going to be much more difficult than I anticipated.” “Which part?” “All of it.” He brought a hand to my hair, his fingers weaving through. “Things are about to change rapidly now, Lora. He’ll come back to us stronger and stronger. He’s going to crave you more and more, and not having you will eat him raw.” I frowned up at him. “What do you mean?” Jesse tucked a strand behind my ear, his eyes emerald dark, his lashes tipped with candlelight. “It will be in his nature. He’ll feel compelled to claim you, and he won’t stop trying to do that. Ever. When that happens-“ “That is not bloody going to happen.” “When that happens,” he said again resolutely, “I want you to remember two things. One: I’ve loved you since before he even knew you lived. Two: Spare a little pity for him. This isn’t entirely his fault. He was born into his role, just as you and I were. But, Lora-of-the-moon-only a little pity, all right?” “My pity may reach as deep and wide as the ocean,” I answered. “But my heart is already claimed.” To prove it, I clutched his shirt and lifted myself to my toes and brought my lips to his. Sweeter than raspberry jam, warmer than candle flame, softer than bread. People often spoke with religious rapture of milk and honey, but if I had nothing but Jesse to consume for the rest of my days, I’d die a heathen beast, content.

Freddy and his brother Tesoro have not seen each other in five years, and they sit at the kitchen table in Freddy's house and have a jalapeno contest. A large bowl of big green and orange jalapeno peppers sit between the two brothers. A saltshaker and two small glasses of beer accompany this feast. When Tesoro nods his head, the two men begin to eat the raw jalapenos. The contest is to see which man can eat more peppers. It is a ritual from their father, but the two brothers tried it only once, years ago. Both quit after two peppers and laughed it off. This time, things are different. They are older and have to prove a point. Freddy eats his first one more slowly than Tesoro, who takes to bites to finish his and is now on his second. Neither says anything, though a close study of each man's face would tell you the sudden burst of jalapeno energy does not waste time in changing the eater's perception of reality. Freddy works on his second as Tesoro rips into his fourth. Freddy is already sweating from his head and is surprised to see that Tesoro's fat face has not shanged its steady, consuming look. Tesoro's long, black hair is neatly combed, and not one bead of sweat has popped out. He is the first to sip from the beer before hitting his fifth jalapeno. Freddy leans back as the table begins to sway in his damp vision. He coughs, and a sharp pain rips through his chest. Tesoro attempts to laugh at his brother, but Freddy sees it is something else. As Freddy finishes his third jalapeno, Tesoro begins to breathe faster upon swallowing his sixth. The contest momentarily stops as both brothers shift in their seats and the sweat pours down their faces. Freddy clutches his stomach as he reaches for his fourth delight. Tesor has not taken his seventh, and it is clear to Freddy that his brother is suffering big-time. There is a bright blue bird sitting on Tesoro's head, and Tesoro is struggling to laugh because Freddy has a huge red spider crawling on top of his head. Freddy wipes the sweat from his eyes and finishes his fourth pepper. Tesoro sips more beer, sprinkles salt on the tip of his jalapeno, and bites it down to the stem. Freddy, who has not touched his beer, stares in amazement as two Tesoros sit in front of him. They both rise hastily, their beer guts pushing the table against Freddy, who leans back as the two Tesoros waver in the kitchen light. Freddy hears a tremendous fart erupt from his brother, who sits down again. Freddy holds his fifth jalapeno and can't breathe. Tesoro's face is purple, but the blue bird has been replaced by a burning flame of light that weaves over Tesoro's shiny head. Freddy is convinced that he is having a heart attack as he watches his brother fight for breath. Freddy bites into his fifth as Tesoro flips his eighth jalapeno into his mouth, stem and all. This is it. Freddy goes into convulsions and drops to the floor as he tries to reach for his glass of beer. He shakes on the dirty floor as the huge animal that is Tesoro pitches forward and throws up millions of jalapeno seeds all over the table. The last thing Freddy sees before he passes out is his brother's body levitating above the table as an angel, dressed in green jalapeno robes, floats into the room, extends a hand to Tesoro, and floats away with him. When Freddy wakes up minutes later, he gets up and makes it to the bathroom before his body lets go through his pants. As he reaches the bathroom door, he turns and gazes upon the jalapeno plants growing healthy and large on the kitchen table, thick peppers hanging under their leaves, their branches immersed in the largest pile of jalapeno seeds Freddy has ever seen.

God’s goodness comes to us amidst the battle and dust of our own suffering, our own long defeat. God always arrives with healing. But he is humble and meek, a king who comes in through the back door of our hearts not to conquer and raze our imperfections away but to hold and heal us by the intimacy of his touch, his presence here with us in the inmost rooms of our suffering. The power of God is radically gentle, never rough with our needs or careless with our yearning. God is fixed upon the restoration of our whole selves and souls, not just the bits that everyone else can see. Yet the very tenderness of his power is something we sometimes treat as his weakness or cruelty because we crave a more visible result. The healing kind of power is not the sort we’ve been taught to respect by existence in a fallen world where power just means brute force. We want the swift and the visible: illness zapped away, money in our hands, brilliant doctors, prosperous lives, and conversion stories by the thousands. We crave visibility and approbation and health and big crowds that make us feel important enough to forget the frail selves we used to be. When we pray for God to come in power to save us, we often picture a scenario in which God invades our lives as the ultimate mighty man to banish our frailty and make us something entirely other than we are, capable of the will and force whose lack we so deeply feel. But God cradles and cherishes our frailty, and that is where the true power of his love is known. I always think it intriguing that in the Gospels Jesus seems far less interested in the faith and hope at work in broken people than merely the healing of their bodies. For I think God knows there is no real healing until our hearts are healed of their fear, our minds cleansed of doubt. Broken bodies, shattered hopes, suffering minds, terrible pasts - they leave us deathly ill with the twisted belief that love can never be great enough to encompass the whole of the story. We feel that we must subtract or conceal part of ourselves if we are ever to win the love of other people or God himself. We are diminished in our own eyes by our suffering, taught to despair of our dreams, to give up our hope that God will come with goodness in his hands. So God creeps in, gentle, and we know his touch because we are not discarded or dismissed, but healed. He comes to unravel our self-doubt, to untangle the evil we have believed, to call us back from the dark lands of our insecurity. He calls us by name and wakes us from sleep so that we rise to ask what this kind and precious King commands, and so often his command is simply to open our hands so that they may be filled with his goodness. For when God arrives as the healer, we learn anew that the anguished hopes we carry are held within God’s hand like the hazelnut of Mother Julian’s vision. The story he weaves for us may look radically different from what we thought we desired, but when it arrives, we will recognize it as the intimate gift of a love whose will for us is always so much greater than our own.

Near the exit to the blue patio, DeCoverley Pox and Joaquin Stick stand by a concrete scale model of the Jungfrau, ... socking the slopes of the famous mountain with red rubber hot-water bags full of ice cubes, the idea being to pulverize the ice for Pirate's banana frappes. With their nights' growths of beard, matted hair, bloodshot eyes, miasmata of foul breath, DeCoverley and Joaquin are wasted gods urging on a tardy glacier. Elsewhere in the maisonette, other drinking companions disentangle from blankets (one spilling wind from his, dreaming of a parachute), piss into bathroom sinks, look at themselves with dismay in concave shaving mirrors, slab water with no clear plan in mind onto heads of thinning hair, struggle into Sam Brownes, dub shoes against rain later in the day with hand muscles already weary of it, sing snatches of popular songs whose tunes they don't always know, lie, believing themselves warmed, in what patches of the new sunlight come between the mullions, begin tentatively to talk shop as a way of easing into whatever it is they'll have to be doing in less than an hour, lather necks and faces, yawn, pick their noses, search cabinets or bookcases for the hair of the dog that not without provocation and much prior conditioning bit them last night. Now there grows among all the rooms, replacing the night's old smoke, alcohol and sweat, the fragile, musaceous odor of Breakfast:flowery, permeating, surprising, more than the color of winter sunlight, taking over not so much through any brute pungency or volume as by the high intricacy to the weaving of its molecules, sharing the conjuror's secret by which-- though it is not often Death is told so clearly to fuck off--- the genetic chains prove labyrinthine enough to preserve some human face down ten or twenty generations. . . so the same assertion-through-structure allows this war morning's banana fragrance to meander, repossess, prevail. Is there any reason not to open every window, and let the kind scent blanket all Chelsea? As a spell, against falling objects. . . .

Unchopping a Tree. Start with the leaves, the small twigs, and the nests that have been shaken, ripped, or broken off by the fall; these must be gathered and attached once again to their respective places. It is not arduous work, unless major limbs have been smashed or mutilated. If the fall was carefully and correctly planned, the chances of anything of the kind happening will have been reduced. Again, much depends upon the size, age, shape, and species of the tree. Still, you will be lucky if you can get through this stages without having to use machinery. Even in the best of circumstances it is a labor that will make you wish often that you had won the favor of the universe of ants, the empire of mice, or at least a local tribe of squirrels, and could enlist their labors and their talents. But no, they leave you to it. They have learned, with time. This is men's work. It goes without saying that if the tree was hollow in whole or in part, and contained old nests of bird or mammal or insect, or hoards of nuts or such structures as wasps or bees build for their survival, the contents will have to repaired where necessary, and reassembled, insofar as possible, in their original order, including the shells of nuts already opened. With spider's webs you must simply do the best you can. We do not have the spider's weaving equipment, nor any substitute for the leaf's living bond with its point of attachment and nourishment. It is even harder to simulate the latter when the leaves have once become dry — as they are bound to do, for this is not the labor of a moment. Also it hardly needs saying that this the time fro repairing any neighboring trees or bushes or other growth that might have been damaged by the fall. The same rules apply. Where neighboring trees were of the same species it is difficult not to waste time conveying a detached leaf back to the wrong tree. Practice, practice. Put your hope in that. Now the tackle must be put into place, or the scaffolding, depending on the surroundings and the dimension of the tree. It is ticklish work. Almost always it involves, in itself, further damage to the area, which will have to be corrected later. But, as you've heard, it can't be helped. And care now is likely to save you considerable trouble later. Be careful to grind nothing into the ground. At last the time comes for the erecting of the trunk. By now it will scarcely be necessary to remind you of the delicacy of this huge skeleton. Every motion of the tackle, every slightly upward heave of the trunk, the branches, their elaborately reassembled panoply of leaves (now dead) will draw from you an involuntary gasp. You will watch for a lead or a twig to be snapped off yet again. You will listen for the nuts to shift in the hollow limb and you will hear whether they are indeed falling into place or are spilling in disorder — in which case, or in the event of anything else of the kind — operations will have to cease, of course, while you correct the matter. The raising itself is no small enterprise, from the moment when the chains tighten around the old bandages until the boles hands vertical above the stump, splinter above splinter. How the final straightening of the splinters themselves can take place (the preliminary work is best done while the wood is still green and soft, but at times when the splinters are not badly twisted most of the straightening is left until now, when the torn ends are face to face with each other). When the splinters are perfectly complementary the appropriate fixative is applied. Again we have no duplicate of the original substance. Ours is extremely strong, but it is rigid. It is limited to surfaces, and there is no play in it. However the core is not the part of the trunk that conducted life from the roots up to the branches and back again. It was relatively inert. The fixative for this part is not the same as the one for the outer layers and the bark, and if either of these is involved