Hand Woven Quotes

Wisdom's daughter walks alone—” “Ella!” Frank stood suddenly. “Maybe it's not the best time—” “The Mark of Athena burns through Rome,” Ella continued, cupping her hands over her ears and raising her voice. “Twins snuff out the angel's breath, Who holds the key to endless death. Giants' bane stands gold and pale, Won with pain from a woven jail.

He wanted to make her laugh. He wanted to hold her hand. He wanted to bring her tea and walk with her through the seasons. He wanted to watch her conquer the earth.

My kingdom," he said softly. "For your hand.

No part of you is dark or ugly,' I said sharply, squeezing his hand. 'Not to me, not ever. Do you understand?

At the end of one of the bookshelves she picked up a very old book. It was truly ancient, and woven into the cover was a motif of joined hands which merged into three words: Aonaibh Ri Chéile. The dedication on the inside cover was simply “To Elbeth with Love.” The author was someone called Angus Ferguson

We are nothing more than distractions for each other, and distractions get you killed. But my hands close over his, our fingers lacing, until our bones are woven together. The fire is dying, flames reduced to embers. But Cal is still here. He will never leave me.

believe that this way of living, this focus on the present, the daily, the tangible, this intense concentration not on the news headlines but on the flowers growing in your own garden, the children growing in your own home, this way of living has the potential to open up the heavens, to yield a glittering handful of diamonds where a second ago there was coal. This way of living and noticing and building and crafting can crack through the movie sets and soundtracks that keep us waiting for our own life stories to begin, and set us free to observe the lives we have been creating all along without ever realizing it. I don’t want to wait anymore. I choose to believe that there is nothing more sacred or profound than this day. I choose to believe that there may be a thousand big moments embedded in this day, waiting to be discovered like tiny shards of gold. The big moments are the daily, tiny moments of courage and forgiveness and hope that we grab on to and extend to one another. That’s the drama of life, swirling all around us, and generally I don’t even see it, because I’m too busy waiting to become whatever it is I think I am about to become. The big moments are in every hour, every conversation, every meal, every meeting. The Heisman Trophy winner knows this. He knows that his big moment was not when they gave him the trophy. It was the thousand times he went to practice instead of going back to bed. It was the miles run on rainy days, the healthy meals when a burger sounded like heaven. That big moment represented and rested on a foundation of moments that had come before it. I believe that if we cultivate a true attention, a deep ability to see what has been there all along, we will find worlds within us and between us, dreams and stories and memories spilling over. The nuances and shades and secrets and intimations of love and friendship and marriage an parenting are action-packed and multicolored, if you know where to look. Today is your big moment. Moments, really. The life you’ve been waiting for is happening all around you. The scene unfolding right outside your window is worth more than the most beautiful painting, and the crackers and peanut butter that you’re having for lunch on the coffee table are as profound, in their own way, as the Last Supper. This is it. This is life in all its glory, swirling and unfolding around us, disguised as pedantic, pedestrian non-events. But pull of the mask and you will find your life, waiting to be made, chosen, woven, crafted. Your life, right now, today, is exploding with energy and power and detail and dimension, better than the best movie you have ever seen. You and your family and your friends and your house and your dinner table and your garage have all the makings of a life of epic proportions, a story for the ages. Because they all are. Every life is. You have stories worth telling, memories worth remembering, dreams worth working toward, a body worth feeding, a soul worth tending, and beyond that, the God of the universe dwells within you, the true culmination of super and natural. You are more than dust and bones. You are spirit and power and image of God. And you have been given Today.

If Palestinians are to be truly seen, it will be through stories woven by their own hands—not by their plunderers, not even by their comrades.

The Institute has a very old magic woven into its walls. I shall now use it to commune with my mother, wherever she might be found." He put his hands around his mouth and bellowed at the top of his lungs. "MOOOOOOOOOM!

Genet raised his hand, and I squeezed my eyes shut, sure I would be receiving the worst backhanded slap of my life. Genet froze and whimpered, but didn't back away. "Oh, ho," said a familiar voice. "That was close !" I opened my eyes as North's free hand - the one that hadn't caught Genet's wrist - gently pulled my arm free. I pushed myself away from both of them. "You interrupt my business ?" Genet sputtered. "Do you know what this wench just accused me of being ?" "A filthy pig," North said good-naturedly. "But there's only one filthy pig allowed in her life, and the position's been filled.

But Anne with her elbows on the window sill, her soft cheek laid against her clasped hands, and her eyes filled with visions, looked out unheedingly across city roof and spire to that glorious dome of sunset sky and wove her dreams of a possible future from the golden tissue of youth's own optimism. All the Beyond was hers, with its possibilities lurking rosily in the oncoming years — each year a rose of promise to be woven into an immortal chaplet.

I had stood beside my father's light. I had held Aeëtes in my arms, and my bed was heaped with thick-wooled blankets woven by immortal hands. But it was not until that moment that I think I had ever been warm.

No, Sunny. I shouldn’t be scared. You’re the least scary thing in my life. You’re not just tattooed on my skin. You’re branded on my heart. Woven into the fiber of my being. The most constant and reassuring person in my life. When I close my eyes, I see you. When you’re away from me, I dream about you. When I need someone to lean on, you are always there for me. God. You’ve loved me when I haven’t even been able to love myself.” My hands squeeze her cheeks and tears seep out over them. But she’s smiling up at me like I hung the moon.

Your clothes conceal much of your beauty, yet they hide not the unbeautiful. And though you seek in garments the freedom of privacy you may find in them a harness and a chain. Would that you could meet the sun and the wind with more of your skin and less of your rainment. For the breath of life is in the sunlight and the hand of life is in the wind. Some of you say 'It is the north wind who has woven the clothes we wear.' And I say, 'Ay, it was the north wind, but shame was his loom, and the softening of the sinews was his thread.' And when his work was done he laughed in the forest. Forget not that modesty is for a shield against the eye of the unclean. And when the unclean shall be no more, what were modesty but a fetter and a fouling of the mind? And forget not that the earth delights to feel your bare feet and the winds long to play with your hair.

It’s my own fault,” he said, and dragged both hands down his face. “I have only myself to blame. I knew better; I knew you were dangerous. You’ve had the upper hand from the moment I laid eyes on you. I saw you and saw right away that I was in hell, and I hated you for it, because I realized even then that you would be the end of me.

Elven Hymn to Elbereth Snow-white! Snow-white! O Lady clear! O Queen beyond the Western Seas! O Light to us that wander here Amid the world of woven trees! Gilthoniel! O Elbereth! Clear are thy eyes and bright thy breath! Snow-white! Snow-white! We sing to thee In a far land beyond the Sea. O stars that in the Sunless Year With shining hand by her were sown, In windy fields now bright and clear We see your silver blossom blown! O Elbereth! Gilthoniel! We still remember, we who dwell In this far land beneath the trees, Thy starlight on the Western Seas. A Elbereth Gilthoniel, silivren penna míriel o menel aglar elenath! Na-chaered palan-díriel o galadhremmin ennorath, Fanuilos, le linnathon nef aear, si nef aearon! A Elbereth Gilthoniel! o menel palan-díriel le nallon sí di'nguruthos! A tiro nin, Fanuilos! A! Elbereth Gilthoniel! silivren penna míriel o menel aglar elenath! We still remember, we who dwell In this far land beneath the trees, Thy starlight on the Western Seas.

ROSE of all Roses, Rose of all the World! The tall thought-woven sails, that flap unfurled Above the tide of hours, trouble the air, And God’s bell buoyed to be the water’s care; While hushed from fear, or loud with hope, a band With blown, spray-dabbled hair gather at hand. Turn if you may from battles never done, I call, as they go by me one by one, Danger no refuge holds, and war no peace, For him who hears love sing and never cease, Beside her clean-swept hearth, her quiet shade: But gather all for whom no love hath made A woven silence, or but came to cast A song into the air, and singing past To smile on the pale dawn; and gather you Who have sought more than is in rain or dew Or in the sun and moon, or on the earth, Or sighs amid the wandering starry mirth, Or comes in laughter from the sea’s sad lips; And wage God’s battles in the long grey ships. The sad, the lonely, the insatiable, To these Old Night shall all her mystery tell; God’s bell has claimed them by the little cry Of their sad hearts, that may not live nor die. Rose of all Roses, Rose of all the World! You, too, have come where the dim tides are hurled Upon the wharves of sorrow, and heard ring The bell that calls us on; the sweet far thing. Beauty grown sad with its eternity Made you of us, and of the dim grey sea. Our long ships loose thought-woven sails and wait, For God has bid them share an equal fate; And when at last defeated in His wars, They have gone down under the same white stars, We shall no longer hear the little cry Of our sad hearts, that may not live nor die. The Sweet Far Thing

someday i will walk under the soul-blossom tree with my hand eternally woven in yours.

In every bite, every sip I feel unseen hands— effort, labor, skill, knowledge, talent, devotion— woven together to meet my need to keep me whole.

Say you came back for me," he whispered. There was a thread of desire in his voice that threatened the good sense in her head, her very composure. "Tell me you came to find me. That you changed your mind." "How--how can you even say such things," she said, her hands beginning to tremble, "on an evening you are meant to choose another as your bride?" "I choose you," he said simply. "I want you.

I took her hand in mine, not the way I used to hold hers as a child, but with our fingers woven together. And we strode through the archway of emperors and into the open -- hand in hand, my mother and I.

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.

A child said What is the grass? fetching it to me with full hands; How could I answer the child? I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropt, Bearing the owner's name someway in the corners, that we may see and remark, and say Whose? Or I guess the grass is itself a child, the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same. And now it seems to me the beautiful uncut hair of graves. Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be if I had known them I would have loved them, It may be you are from old people, or from offspring taken soon out of their mothers' laps, And here you are the mothers' laps. This grass is very dark to be from the white heads of old mothers, Darker than the colorless beards of old men, Dark to come from under the faint red roofs of mouths. O I perceive after all so many uttering tongues, And I perceive they do not come from the roofs of mouths for nothing. ... What do you think has become of the young and old men? And what do you think has become of the women and children? They are alive and well somewhere, The smallest sprout shows there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceas'd the moment life appear'd. All goes onward and outward, nothing collapses, And to die is different from what any one supposed, and luckier.

Beauty is a wonderful tapestry embroidered by the many single threads woven together by the unspeakable tender hand of God.

I don’t know how to pray, but I’ve seen them do it on TV; kneeling by a bed in nightgowns, hands woven like secret friends.

You may feel you’ll lose half of your heart when I go, but that doesn’t give you permission to live half of a life. And half your heart will not be gone. Because I’ll always be walking beside you. I’ll always be holding your hand. I’m woven into the fabric of who you are—just as you will always be attached to my soul. You’ll love and laugh and explore … for both of us.

Terplash, & what difference make! One little white spark of light! Hair woven hands Penelope seaboat smeller Is Virgin you trying to fathom me Tiresome old sea, aint you sick & tired of all of this merde? this incessant boom boom & sand walk

My friend, I am not what I seem. Seeming is but a garment I wear-a care-woven garment that protects me from thy questionings and thee from my negligence. The “I” in me, my friend, dwells in the house of silence, and therein it shall remain for ever more, unperceived, unapproachable. I would not have thee believe in what I say nor trust in what I do-for my words are naught but thy own thoughts in sound and my deeds thy own hopes in action. When thou sayest, “The wind bloweth eastward,” I say, “Aye it doth blow eastward”; for I would not have thee know that my mind doth not dwell upon the wind but upon the sea. Thou canst not understand my seafaring thoughts, nor would I have thee understand. I would be at sea alone. When it is day with thee, my friend, it is night with me; yet even then I speak of the noontide that dances upon the hills and of the purple shadow that steals its way across the valley; for thou canst not hear the songs of my darkness nor see my wings beating against the stars-and I fain would not have thee hear or see. I would be with night alone. When thou ascendest to thy Heaven I descend to my Hell-even then thou callest to me across the unbridgeable gulf, “My companion, my comrade,” and I call back to thee, “My comrade, my companion”-for I would not have thee see my Hell. The flame would burn thy eyesight and the smoke would crowd thy nostrils. And I love my Hell too well to have thee visit it. I would be in Hell alone. Thou lovest Truth and Beauty and Righteousness; and I for thy sake say it is well and seemly to love these things. But in my heart I laughed at thy love. Yet I would not have thee see my laughter. I would laugh alone. My friend, thou art good and cautious and wise; nay, thou art perfect-and I, too, speak with thee wisely and cautiously. And yet I am mad. But I mask my madness. I would be mad alone. My friend, thou art not my friend, but how shall I make thee understand? My path is not thy path, yet together we walk, hand in hand.

Chance and Destiny have between them woven two-thirds of all history, and of the history of Ireland wellnigh the whole. The literature of a nation, on the other hand, is spun out of its heart. If you would know Ireland - body and soul - you must read its poems and stories. They came into existence to please nobody but the people of Ireland. Government did not make them on the one hand, nor bad seasons on the other. They are Ireland talking to herself.

A child said, What is the grass? fetching it to me with full hands; How could I answer the child? I do not know what it is, any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven.

All paths lie together in the hand of god like a web endlessly woven, and yours and mine are no greater or less than the beetle's or the squirrel's or the sparrow's. All are held together.

I’m not crying,” she said irritably. “I’m thinking. Sometimes I get emotional when I’m thinking—” “When you’re thinking? You mean all the time, then?” He pushed his hands through his hair and swore under his breath. “The devil really is trying to kill me.

Song of myself A child said What is the grass? fetching it to me with full hands; How could I answer the child? I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropt, Bearing the owner's name someway in the corners, that we may see and remark, and say Whose? Or I guess the grass is itself a child, the produced babe of the vegetation.

We look for wonders and the unseen reality-the hand of God- in things extrordinary, when more often his presence is to be found in the unheralded, familiar, everyday events of which life is woven.

I actually chafe at describing myself as masculine. For one thing, masculinity itself is such an expansive territory, encompassing boundaries of nationality, race, and class. Most importantly, individuals blaze their own trails across this landscape. And it’s hard for me to label the intricate matrix of my gender as simply masculine. To me, branding individual self-expression as simply feminine or masculine is like asking poets: Do you write in English or Spanish? The question leaves out the possibilities that the poetry is woven in Cantonese or Ladino, Swahili or Arabic. The question deals only with the system of language that the poet has been taught. It ignores the words each writer hauls up, hand over hand, from a common well. The music words make when finding themselves next to each other for the first time. The silences echoing in the space between ideas. The powerful winds of passion and belief that move the poet to write.

Will you be here? For I have never known such a wondrous thing in all my life as you." I had stood beside my father's light. I had held Aeetes in my arms, and my bed was heaped with thick-wooled blankets woven by immortal hands. But it was not until that moment that I think I had ever been warm.

Lyra is no longer the broken, mousy girl she shows to the world. She is a force, one woven together by the urge to kill and secret beauty. This dark, wicked woman who wants revenge. A companion of the reaper, his lover and second hand.

It’s this thing I have. I’m sorry if it scared you. I feel other people’s feelings. I imagine crumbling insides and splitting hearts, goodbyes that hang in the air before they break into tiny pieces. I hear words that aren’t said, the echoes of lonely hallways and hollow footsteps. I hear sobs that soak pillowcases when all the lights are out and the world is sleeping. I carry this inside of me, all of it. I knew you paced the floor at night, trying to walk over all the things you didn’t want me to know. But I felt every wound you ever endured when I rested against you. I felt the ache that I have, deep inside of me, on your lips. Every time we kissed, I tasted a lifetime of tangled paths and bumpy roads woven with joined hands. Love isn’t blind, you see. I felt everything you were and could be, if only you stopped hiding in the same darkness you sheltered me from. I knew who you could become if someone loved you just right. I’m sorry if that scared you. Just in case you were wondering, I still love you and I'll keep the lights dim. Come home.

A child said, What is the grass? fetching it to me will full hands; How could I answer the child?......I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. There was the hope Dr. Holden had talked about-the grass was a metaphor for his hope. But that"s not all. He continues, Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropped, Like grass is a metaphor for God's greatness or something.... And then soon after is itself a child.... And then soon after that, Or, I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broadzones and narrow zones. Growing among black folk as among white.

The Mark of Athena burns through Rome,” Ella continued, cupping her hands over her ears and raising her voice. “Twins snuff out the angel’s breath, Who holds the key to endless death. Giants’ bane stands gold and pale, Won through pain from a woven jail.

Our right brain perceives the big picture and recognizes that everything around us, about us, among us and within us is made up of energy particles that are woven together into a universal tapestry. Since everything is connected, there is an intimate relationship between the atomic space around and within me, and the atomic space around and within you - regardless of where we are. On an energetic level, if I think about you, send good vibrations your way, hold you in the light, or pray for you, then I am consciously sending my energy to you with a healing intention. If I meditate over you or lay my hands upon your wound, then I am purposely directing the energy of my being to help you heal.

How blue is the sea, how blue is the sky, how blue and tiny and redeemable everything is, even you, even your eyes, even your imagination. The Soul at Last The Lord’s terrifying kindness has come to me. It was only a small silvery thing—say a piece of silver cloth, or a thousand spider webs woven together, or a small handful of aspen leaves, with their silver backs shimmering. And

with email you did not have the heft of the pages, the life of the ink woven tight into the paper, rushing across it, a thing that had come directly from the other person’s own hand. Or from the pen in their hand, which was almost the same; which was almost like touching them for yourself. In

You’re asking me what I want for breakfast and I’m telling you about how when the worst thing happened, I didn’t even cry. You’re handing me a receipt from the laundromat down the street and I’m passing you a bundle of letters that I wrote to God when I was fourteen and scared. You’re passing me the milk after you drip it into your coffee and I’m half laughing about the psychiatrist’s office and how there’s actually a couch and it’s made of blue tweed. You’re trying to do the normal things and I am throwing up dull pieces of truth onto our kitchen table. I can’t lie anymore. These are the things I’ve done and they’re mostly sad. These are the places I’ve been and they’re mostly awful. This life has woven itself into the notches of my spine and I hear it creak every time I stand.

Mrs. Watanabe loved hand painting, quilting, and the discipline of woven textiles, but she worried these techniques were a dying art. “Computers make everything too easy,” she said with a sigh. “People design very quickly on a monitor, and they print on some enormous industrial printer in a warehouse in a distant country, and the designer hasn’t touched a piece of fabric at any point in the process or gotten her hands dirty with ink. Computers are great for experimentation, but they’re bad for deep thinking.

Through him speaks a shrewd and magnanimous people, a people who have woven together into one wisdom a profound, old, terrible, and unimaginably various experience of life. But he himself is young: impatient, inexperienced. He stands higher than we stand, seeing wider, but he is himself only the height of a man.

I had stood beside my father’s light. I had held Aeëtes in my arms, and my bed was heaped with thick-wooled blankets woven by immortal hands. But it was not until that moment that I think I had ever been warm.

You must have been the best mother in the world. Have prayed seventeen times a day...just for me. Been the strongest woman on earth. Had a direct connection to God. Have been hand-picked to parent a daughter like me. Know how much I miss you everyday. Not a day goes by that I don't think of you. You are woven into every thought, dream and ambition I possess...... Happy Mother's Day, mom. I miss you and love you.....

When a basket is woven, each strand of grass, or reed, or wool, or root, must pass repeatedly through human hands, and this, the principle of human touch, is what remains long after the artifact has lost utility or form, something, I think, about life being lived in its physical moment, something, it must be, about grace.

The Doper's Dream Last night I dreamed I was plugged right in To a bubblin' hookah so high, When all of a sudden some Arab jinni Jump up just a-winkin' his eye. 'I'm here to obey all your wishes,' he told me. As for words I was trying to grope. 'Good buddy,' I cried, 'you could surely oblige me By turning me on to some dope!' With a bigfat smile he took ahold of my hand, And we flew down the sky in a flash, And the first thing I saw in the land where he took me Was a whole solid mountain of hash! All the trees was a-bloomin' with pink 'n' purple pills, Whur the Romilar River flowed by, To the magic mushrooms as wild as a rainbow, So pretty that I wanted to cry. All the girls come to greet us, so sweet in slow motion, Mourning glories woven into their hair, Bringin' great big handfuls of snowy cocaine, All their dope they were eager to share. We we dallied for days, just a-ballin' and smokin', In the flowering Panama Red, Just piggin' on peyote and nutmeg tea, And those brownies so kind to your head. Now I could've passed that good time forever, And I really was fixing to stay, But you know that jinni turned out, t'be a narco man, And he busted me right whur I lay. And he took me back to a cold, cold world 'N' now m'prison's whurever I be... And I dream of the days back in Doperland And I wonder, will I ever go free?

Suddenly, she couldn't breathe. He was close now, his eyes bright, burning. She'd never seen such tightly restrained emotion in his face or in the lines of his body. His desire was so potent it was intoxicating; she felt herself tremble under the weight of it. He wanted to touch her--she knew this, she saw it in the rigid control he maintained over his hands, in the stiffness of his stance, in the way he moved incrementally closer until she saw nothing but him. His eyes dropped to her lips and his own lips parted, drew breath. He exhaled shakily. She worried that if she said a word, she might combust.

Alizeh was no longer smiling. Her heart was beating so hard she thought it might bruise. "What shall I say, then?" "Your name. I want to hear it from your lips." She took a breath. Released it slowly. "My name," she said, "is Alizeh. I am Alizeh of Saam, the daughter of Siavosh and Kiana. Though you may know me better as the lost queen of Arya." He stiffened at that, went silent. Finally he moved, one hand capturing her face, his thumb grazing her cheek in a fleeting moment, there and gone again. His voice was a whisper when he said, "Do you wish to know my name, too, Your Majesty?" "Kamran," she said softly, "I already know who you are." She was unprepared when he kissed her, for the darkness had denied her a warning before their lips met, before he claimed her mouth with a need that stole from her an anguished sound, a faint cry that shocked her.

The de facto censorship which leaves so many Americans functionally illiterate about the history of US foreign affairs may be all the more effective because it is not official, heavy-handed or conspiratorial, but woven artlessly into the fabric of education and media. No conspiracy is needed.

He wanted to press his face against her neck, wanted to breathe in the fragrance of her skin, the perfume of the flowers he’d grown himself. He wanted to make her laugh. He wanted to hold her hand. He wanted to bring her tea and walk with her through the seasons. He wanted to watch her conquer the earth.

They exchanged notes, like children. My grandfather made his out of newspaper clippings and dropped them in her woven baskets, into which he knew only she would dare stick a hand. Meet me under the wooden bridge and I will show you things you have never, ever seen. The "M" was taken from the army that would take his mother’s life: GERMAN FRONT ADVANCES ON SOVIET BORDER; the "eet" from their approaching warships: NAZI FLEET DEFEATS FRENCH AT LESACS; the "me" from the peninsula they were blue-eyeing: GERMANS SURROUND CRIMEA; the "und" from too little, too late: AMERICAN WAR FUNDS REACH ENGLAND; the "er" from the dog of dogs: HITLER RENDERS NONAGGRESSION PACT INOPERATIVE…and so on, and so on, each note a collage of love that could never be, and a war that could

Like, to hold a hand the way we held yours as a child, with a full grip, that feels like a gesture of safety. To hold hands with each other's fingers woven together can sometimes feel like a gesture of desperation. But the way y'all were yesterday-your pinky just barely curled around hers-well, to me, that feels...intimate.

[Robert's eulogy at his brother, Ebon C. Ingersoll's grave. Even the great orator Robert Ingersoll was choked up with tears at the memory of his beloved brother] The record of a generous life runs like a vine around the memory of our dead, and every sweet, unselfish act is now a perfumed flower. Dear Friends: I am going to do that which the dead oft promised he would do for me. The loved and loving brother, husband, father, friend, died where manhood's morning almost touches noon, and while the shadows still were falling toward the west. He had not passed on life's highway the stone that marks the highest point; but, being weary for a moment, he lay down by the wayside, and, using his burden for a pillow, fell into that dreamless sleep that kisses down his eyelids still. While yet in love with life and raptured with the world, he passed to silence and pathetic dust. Yet, after all, it may be best, just in the happiest, sunniest hour of all the voyage, while eager winds are kissing every sail, to dash against the unseen rock, and in an instant hear the billows roar above a sunken ship. For whether in mid sea or 'mong the breakers of the farther shore, a wreck at last must mark the end of each and all. And every life, no matter if its every hour is rich with love and every moment jeweled with a joy, will, at its close, become a tragedy as sad and deep and dark as can be woven of the warp and woof of mystery and death. This brave and tender man in every storm of life was oak and rock; but in the sunshine he was vine and flower. He was the friend of all heroic souls. He climbed the heights, and left all superstitions far below, while on his forehead fell the golden dawning, of the grander day. He loved the beautiful, and was with color, form, and music touched to tears. He sided with the weak, the poor, and wronged, and lovingly gave alms. With loyal heart and with the purest hands he faithfully discharged all public trusts. He was a worshipper of liberty, a friend of the oppressed. A thousand times I have heard him quote these words: 'For Justice all place a temple, and all season, summer!' He believed that happiness was the only good, reason the only torch, justice the only worship, humanity the only religion, and love the only priest. He added to the sum of human joy; and were every one to whom he did some loving service to bring a blossom to his grave, he would sleep to-night beneath a wilderness of flowers. Life is a narrow vale between the cold and barren peaks of two eternities. We strive in vain to look beyond the heights. We cry aloud, and the only answer is the echo of our wailing cry. From the voiceless lips of the unreplying dead there comes no word; but in the night of death hope sees a star and listening love can hear the rustle of a wing. He who sleeps here, when dying, mistaking the approach of death for the return of health, whispered with his latest breath, 'I am better now.' Let us believe, in spite of doubts and dogmas, of fears and tears, that these dear words are true of all the countless dead. And now, to you, who have been chosen, from among the many men he loved, to do the last sad office for the dead, we give his sacred dust. Speech cannot contain our love. There was, there is, no gentler, stronger, manlier man.

Human freedom brings with it the burden of choice and of its consequences. As humankind is akin to claim for its own special privilege a certain unique destiny not afforded with equal measure to other organisms, so must it further—if paradoxically so—entertain the assumption that, in spite of this glorious determinism, there persists nonetheless a thread of free will—or, at the very least, some vague delusion thereof—woven seamlessly into the tapestry of collective experience. Of course, this conception that destiny is to be forged by one’s own hands more often engenders greater restriction than it does greater extension to the potential of human happiness.

Let Us Gather In A Flourishing Way Let us gather in a flourishing way opening with sun light grains songs we carry every day I pasture the young body happy to give and give pearls pearls of corn flowing tree of life at the four corners let us gather in a flourishing way happy life full of strength to giving birth to fragrant rivers Fresh sweet green turquoise strong rainbows flesh of our children let us gather in a flourishing way in the light and in the flesh of our heart to toil quiet in fields of blossoms together to stretch the arms With the quiet rain in the morning Early on our forehead star Heat sky and wisdom to meet us Where we toil always in the garden of our Struggle and joy let us offer our hearts to greet our eagle rising freedom woven branches celebrate arms branches nopales stones feathers bursting piercing figs and avocados Butterfly ripe fields and clear seas of our face to breathe all the way in blessing to give seeds to grow maiztlán in the hands of our love.

The way of the world isn't the strong devouring the weak, but the weak deceiving and poisoning and whispering in the ears of the strong until they become weak, too. Then it's all broken hands and silver threads, woven like ropes, and mothers who move the earth the destroy their enemies but cannot save one little boy. (Girl) (The Obelisk Gate)

Trust the soul above all things, for it is made by the Divine hand and woven with threads of truth, eternity, and light.

A man who does not like power will suffer from its cruelty. He would be unable to raise his hand in punishment or to untangle the web woven by good and evil.

I'll always be walking beside you. I'll always be holding your hand. I'm woven into the fabric of who you are- just as you will always be attached to my soul

Just when I despaired -- she was there, filling me as a melody fills a cottage. I was with her, running beside the Acis when we were a child. I knew the ancient villa moated by a dark lake, the view through the dusty windows of the belvedere, and the secret space in the odd angle between two rooms where we sat at noon to read by candlelight. I knew the life of the Autarch's court, where poison waited in a diamond cup. I learned what it was for one who had never seen a cell or felt a whip to be a prisoner of the torturers, what dying meant, and death. I learned that I had been more to her than I had ever guessed, and at last fell into a sleep in which my dreams were all of her. Not memories merely -- memories I had possessed in plenty before. I held her poor, cold hands in mine, and I no longer wore the rags of an apprentice, nor the fuligin of a journeyman. We were one, naked and happy and clean, and we knew that she was no more and that I still lived, and we struggled against neither of those things, but with woven hair read from a single book and talked and sang of other matters.

She walked the spiral corridor, running her hand along the painted horizon - sea, beach, dunes, woods, moors - the journey of her people from over the sea. The story of the Anglisc, woven with Woden back to the dawn of their songs. Ships. Fire. Bright swords. Kin and kine. Woods and wold. Hearth and home. Where was Christ in this? Christ didn't fight. Christ didn't farm.

Just as it is certain that one leaf is never totally the same as another, so it is certain that the concept "leaf" is formed by arbitrarily discarding these individual differences and by forgetting the distinguishing aspects. This awakens the idea that, in addition to the leaves, there exists in nature the "leaf": the original model according to which all the leaves were perhaps woven, sketched, measured, colored, curled, and painted--but by incompetent hands, so that no specimen has turned out to be a correct, trustworthy, and faithful likeness of the original model.

Your country? How came it yours? Before the Pilgrims landed we were here. Here we have brought our three gifts and mingled them with yours: a gift of story and song—soft, stirring melody in an ill-harmonized and unmelodious land; the gift of sweat and brawn to beat back the wilderness, conquer the soil, and lay the foundations of this vast economic empire two hundred years earlier than your weak hands could have done it; the third, a gift of the Spirit. Around us the history of the land has centred for thrice a hundred years; out of the nation's heart we have called all that was best to throttle and subdue all that was worst; fire and blood, prayer and sacrifice, have billowed over this people, and they have found peace only in the altars of the God of Right. Nor has our gift of the Spirit been merely passive. Actively we have woven ourselves with the very warp and woof of this nation,—we fought their battles, shared their sorrow, mingled our blood with theirs, and generation after generation have pleaded with a headstrong, careless people to despise not Justice, Mercy, and Truth, lest the nation be smitten with a curse. Our song, our toil, our cheer, and warning have been given to this nation in blood-brotherhood. Are not these gifts worth the giving? Is not this work and striving? Would America have been America without her Negro people?

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

Compare King William with the philosopher Haeckel. The king is one of the anointed by the most high, as they claim—one upon whose head has been poured the divine petroleum of authority. Compare this king with Haeckel, who towers an intellectual colossus above the crowned mediocrity. Compare George Eliot with Queen Victoria. The Queen is clothed in garments given her by blind fortune and unreasoning chance, while George Eliot wears robes of glory woven in the loom of her own genius. The world is beginning to pay homage to intellect, to genius, to heart. We have advanced. We have reaped the benefit of every sublime and heroic self-sacrifice, of every divine and brave act; and we should endeavor to hand the torch to the next generation, having added a little to the intensity and glory of the flame.

I looked down at our hands, our fingers woven around one another. A perfect visual of what a relationship should be. Two people whose lives were perfectly intertwined - whose truths ran seamlessly together.

I had stood beside my father's light, I had held Aeetes in my arms, and my bed was heaped with thick-woolled blankets woven by immortal hands. But it was not until that moment that I think I had ever been warm.

Farewell," she whispered. "Our time together has come to an end. We will never meet again. Our worlds will never again collide. "Don't say that," he said, suddenly serious. His hand moved to her wait, traveled up the curve of her rib cage. "Say anything but that." Alizeh was no longer smiling, Her heart was beating so hard she thought it might bruise. "What shall I say, then?" "Your name. I want to hear it from your lips.

She was moved by the tenderness of the experience, spellbound even by the soft sounds of his clothing, the articles touching him with such intimacy she feared she'd never know. She envied his sweater, molded lightly to the shape of his broad back. His trousers, cladding his long legs, strained at his thighs. His arms were thick with muscle, legible through the dark cashmere, tensing and releasing as he slid a gentle hand under the apothocarist's spine.

It is a remarkable fact that the people who do things by hand still find time to add to their work some elaboration of mere beauty which makes it a joy to look on, while our machine-made tools, which could do so at much less cost, are too utilitarian to afford any ornament. It used to give me daily pleasure in Teheran to see the sacks in which refuse is carried off the streets woven with a blue and red decorative pattern: but can one imagine a borough council in Leeds or Birmingham expressing a delicate fancy of this kind? Beauty, according to these, is what one buys for the museum: pots and pans, taps and door-handles, though one has to look at them twenty times a day, have no call to be beautiful. So we impoverish our souls and keep our lovely things for rare occasions, even as our lovely thoughts - wasting the most of life in pondering domestic molehills or the Stock Exchange, among objects as ugly as the less attractive forms of sin.

... I find myself most drawn to: art that has arisen from a deeply personal conversation between the artist and the work at hand. It is art that walks perilously close to the Edge, that crosses the river of blood into Faerie, that flies so high it is scorched by the sun, and then returns to tell the tale to us. It is art that needed to be written, or painted, or sung, or woven, or otherwise shaped. It is art gifted by the Mystery to the maker...and then, in turn, gifted to us.

I realized then, this connection with him would be difficult to cut loose, that his presence was weaving into the tapestry of my life, and that I had no wish to untangle the woven strands any more than I wished to release his hold on my hand.

wondrous thing in all my life as you.” I had stood beside my father’s light. I had held Aeëtes in my arms, and my bed was heaped with thick-wooled blankets woven by immortal hands. But it was not until that moment that I think I had ever been warm.

Even my words here, this bid for reparation, is a stranger’s story—one told by a man still dazzled by knafeh and Arabic coffee, still at the start of a journey that others have walked since birth. Palestine is not my home. I see that land, its peoples and its struggles through a kind of translation—through analogy and the haze of my own experience—and that is not enough. If Palestinians are to be truly seen it will be through stories woven by their own hands—not by their plunderers, not even by their comrades.

It was a garden, a walled garden. Overgrown but with beautiful bones visible still. Someone had cared for this garden once. The remains of two paths snaked back and forth, intertwined like the lacing on an Irish dancing shoe. Fruit trees had been espaliered around the sides, and wires zigzagged from the top of one wall to the top of another. Hungry, wisteria branches had woven themselves around to form a sort of canopy. Against the southern wall, an ancient and knobbled tree was growing. Cassandra went closer. It was the apple tree, she realized, the one whose bough had reached over the wall. She lifted her hand to touch one of the golden fruit. The tree was about sixteen feet high and shaped like the Japanese bonsai plant Nell had given Cassandra for her twelfth birthday.

This backward construction was an authorial slight of hand that Poe understood well. Pondering what he called “tales of ratiocination”—his own name for detective stories—Poe later remarked, “People think them more ingenious than they are—on account of their method and air of method. In the ‘Murders in the Rue Morgue,’ for instance, where is the ingenuity of unravelling a web which you yourself (the author) have woven? The reader is made to confound the ingenuity of the suppositious Dupin with that of the writer of the story.

The animals’ neural pathways have woven themselves into a new map that corresponds to the new arrangement of nerves in their hands. At first, he can’t believe what he’s seen. Like every other neuroscientist, he’s been taught that the structure of the adult brain is fixed.

We are part of a circle of women, sharing the same dreams, holding hands through the centuries. They are all there, if you look hard enough, if you untangle the threadwork, peeling away the layers of stitching to find the fragments of lives, of hopes, and of love woven throughout.

offending either Bernie or Jim. First he would hand to whomever opened the door the big woven basket of fruit, flowers, and candies that Professor Louisa Bourbonette had arranged as their wedding gift, and then keep the conversation focused on what they had thought of Hawaii on their

Laura opened her eyes, feeling like a stranger in her own garden. But if she was a stranger here, where was home? And who was she herself now? The real panic was a loss of identity, for she seemed inextricably woven into her body's weakness and discomfort, into her struggling sick lungs. What essence was there to be separated from her hand, her flesh, her bones. Laura lifted her hand, so thin it had become transparent. Is this I? This leaflike thing, falling away, falling away, this universe of molecules disintegrating, this miracle about to be transformed into nothingness.

She senses, too, somewhere off to the left, her own mother. She would be here with her had life taken a different turn. She would be the one holding her hand as Agnes walked to her wedding, her fingers encasing her daughter’s. Her footsteps would have followed her beat. They would be walking this path together, side by side. It would have been her making the crown, affixing it to Agnes’s head, brushing the hair so that it hung all around her. She would have taken the blue ribbons and wound them around her stockings, woven them into the hanks of her hair. It would have been her.

So it was that the Red Tower put into production its new, more terrible and perplexing, line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stages of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight and insistently grew back should one attempt to clip them. Numerous natural objects, mostly bulbous gourds, were designed to produce a long, deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough, igneous forms were sent a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in a gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling 'hands' were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of a kind which might pass through a fever-stricken or even permanently damaged brain.

This is the most beautiful dress I’ve ever worn,” she admitted, her eyes filling with light. It was not pure white, but rather a grayish offset, and its wide skirts and bodice were encrusted with thousands of minuscule crystals that reminded Celaena of the surface of the sea. Swirls of silk thread on the bodice made rose-like designs that could have passed for a work by any master painter. A border of ermine lined the neck and provided slender sleeves that only covered her shoulders. Tiny diamond droplets fell from her ears, and her hair was curled and swept up onto her head, strands of pearls woven in. Her gray silk mask had been secured tightly against her face. It wasn’t fashioned after anything, but the delicate crystal and pearl whorls had been crafted by a skilled hand. “You could win the hand of a king, looking like that,” said Philippa. “Or perhaps a Crown Prince will do.

Love, that is first and last of all things made, The light that has the living world for shade, The spirit that for temporal veil has on The souls of all men woven in unison, One fiery raiment with all lives inwrought And lights of sunny and starry deed and thought, And alway through new act and passion new Shines the divine same body and beauty through, The body spiritual of fire and light That is to worldly noon as noon to night; Love, that is flesh upon the spirit of man And spirit within the flesh whence breath began; Love, that keeps all the choir of lives in chime; Love, that is blood within the veins of time; That wrought the whole world without stroke of hand, Shaping the breadth of sea, the length of land, And with the pulse and motion of his breath Through the great heart of the earth strikes life and death, The sweet twain chords that make the sweet tune live Through day and night of things alternative, Through silence and through sound of stress and strife, And ebb and flow of dying death and life: Love, that sounds loud or light in all men's ears, Whence all men's eyes take fire from sparks of tears, That binds on all men's feet or chains or wings; Love that is root and fruit of terrene things; Love, that the whole world's waters shall not drown, The whole world's fiery forces not burn down; Love, that what time his own hands guard his head The whole world's wrath and strength shall not strike dead; Love, that if once his own hands make his grave The whole world's pity and sorrow shall not save; Love, that for very life shall not be sold, Nor bought nor bound with iron nor with gold; So strong that heaven, could love bid heaven farewell, Would turn to fruitless and unflowering hell; So sweet that hell, to hell could love be given, Would turn to splendid and sonorous heaven; Love that is fire within thee and light above, And lives by grace of nothing but of love; Through many and lovely thoughts and much desire Led these twain to the life of tears and fire; Through many and lovely days and much delight Led these twain to the lifeless life of night.

ELOS INSTITUTE, BRAZIL FROM POWER TO PLAY On the warrior’s path, it is up to you to discern which threads have been woven by divine hands and which have been woven by human hands. When you begin to discern the difference, you become a Txucarramãe—a warrior without weapons. … When you discover what you have been doing with your life and how it is you dance through the world, little by little you let go of your weapons, those creations made to kill creations. Suddenly, you discover that when we stop creating enemies, we extinguish the need for weapons. —Kaká Werá Jecupé Indigenous teacher in Brazil

In my beginning is my end. In succession Houses rise and fall, crumble, are extended, Are removed, destroyed, restored, or in their place Is an open field, or a factory, or a by-pass. Old stone to new building, old timber to new fires, Old fires to ashes, and ashes to the earth Which is already flesh, fur and faeces, Bone of man and beast, cornstalk and leaf. Houses live and die: there is a time for building And a time for living and for generation And a time for the wind to break the loosened pane And to shake the wainscot where the field-mouse trots And to shake the tattered arras woven with a silent motto. In my beginning is my end. Now the light falls Across the open field, leaving the deep lane Shuttered with branches, dark in the afternoon, Where you lean against a bank while a van passes, And the deep lane insists on the direction Into the village, in the electric heat Hypnotised. In a warm haze the sultry light Is absorbed, not refracted, by grey stone. The dahlias sleep in the empty silence. Wait for the early owl. In that open field If you do not come too close, if you do not come too close, On a summer midnight, you can hear the music Of the weak pipe and the little drum And see them dancing around the bonfire The association of man and woman In daunsinge, signifying matrimonie— A dignified and commodiois sacrament. Two and two, necessarye coniunction, Holding eche other by the hand or the arm Whiche betokeneth concorde. Round and round the fire Leaping through the flames, or joined in circles, Rustically solemn or in rustic laughter Lifting heavy feet in clumsy shoes, Earth feet, loam feet, lifted in country mirth Mirth of those long since under earth Nourishing the corn. Keeping time, Keeping the rhythm in their dancing As in their living in the living seasons The time of the seasons and the constellations The time of milking and the time of harvest The time of the coupling of man and woman And that of beasts. Feet rising and falling. Eating and drinking. Dung and death. Dawn points, and another day Prepares for heat and silence. Out at sea the dawn wind Wrinkles and slides. I am here Or there, or elsewhere. In my beginning.

This was a habit Alizeh had mastered long ago. Cataloging moments of grace even in the midst of disaster often helped steady her mind; indeed there had been days in her life so bleak that Alizeh had resorted to counting her teeth if only to prove she still owned something of value. Just then she forced herself to listen to the susurrations of the wind, to appreciate that she'd never seen the moon so close, in all its unobstructed glory. She drew in a deep breath at the thought, tasting pure cold on her tongue, and lifted a searching hand to the night. The skies passed under her fingertips much like a cat, demanding to be pet.

Dear lady,' says a faerie, coming toward us from a shop that sells jewels. He has the eyes of a snake and forked tongue that darts out when he speaks. 'This hairpin looks as though it were made for you.' It's beautiful, woven gold and silver in the shape of a bird, a single green bead in its mouth. Had it been in a display, my eyes would have passed over it as one of a dozen unobtainable things. But as he holds it out, I can't help imaging it as as mine. 'I have no money and little to trade,' I tell him regretfully, shaking my head. The shopkeeper's gaze goes to Oak. I think he believes the prince is my lover. Oak plays the part, reaching out his hand for the pin. 'How much is it? And will you take silver, or must it be the last wish of my heart?' 'Silver is excellent.' The shopkeeper smiles as Oak fishes through his bag for some coins. Part of me wants to demur, but I let him buy it, and then I let him use it to pin back my hair. His fingers on my neck are warm. It's only when he lets go that I shiver. He gives me a steady look. 'I hope you're not about to tell me that you hate it and you were just being polite.' 'I don't hate it,' I say softly. 'And I am not polite.' He laughs at that. A delightful quality. I admire the hairpin in every reflective surface we pass.

Our life is like a journey…’ – and so the journey seems to me less an adventure and a foray into unusual realms than a concentrated likeness of our existence: residents of a city, citizens of country, beholden to a class or a social circle, member of a family and clan and entangled by professional duties, by the habits of an ‘everyday life’ woven from all these circumstances, we often feel too secure, believing our house built for all the future, easily induced to believe in a constancy that makes ageing a problem for one person and each change in external circumstances a catastrophe for another. We forget that this is a process, that the earth is in constant motion and that we too are affected by ebbs and tides, earthquakes and events far beyond our visible and tangible spheres: beggars, kings, figures in the same great game. We forget it for our would-be peace of mind, which then is built on shifting sand. We forget it so as not to fear. And fear makes us stubborn: we call reality only what we can grasp with our hands and what affects us directly, denying the force of the fire that’s sweeping our neighbour’s house, but not yet ours. War in other countries? Just twelve hours, twelve weeks from our borders? God forbid – the horror that sometimes seizes us, you feel it too when reading history books, time or space, it doesn’t matter what lies between us and it. But the journey ever so slightly lifts the veil over the mystery of space – and a city with a magical, unreal name, Samarkand the Golden, Astrakhan or Isfahan, City of Rose Attar, becomes real the instant we set foot there and touch it with our living breath.

I make landscapes out of what I feel. I make holidays of my sensations. I can easily understand women who embroider out of sorrow or who crochet because life exists. My elderly aunt would play solitaire throughout the endless evening. These confessions of what I feel are my solitaire. I don't interpret them like those who read cards to tell the future. I don't probe them, because in solitaire the cards don't have any special significance. I unwind myself like a multicoloured skein, or I make string figures of myself, like those woven on spread fingers and passed from child to child. I only take care that my thumb not miss its loop. Then I turn over my hand and the figure changes. And I start over.

Even in the warm faelight of the foyer, the gown glittered and gleamed like a fresh-cut jewel. We had taken my gown from Starfall and refashioned it, adding sheer silk panels to the back shoulders, the glittering material like woven starlight as it flowed behind me in lieu of a veil or cape. If Rhysand was Night Triumphant, I was the star that only glowed thanks to his darkness, the light only visible because of him. I scowled up the stairs. That is, if he bothered to show up on time. My hair, Nuala had swept into an ornate, elegant arc across my head, and in front of it... I caught Cassian glancing at me for the third time in less than a minute and demanded, 'What?' His lips twitched at the corners. 'You just look so...' 'Here we go,' Mor muttered from where she picked at her red-tinted nails against the stair banister. Rings glinted at every knuckle, on every finger; stacks of bracelets tinkled against each other on either wrist. 'Official,' Cassian said with an incredulous look in her direction. He waved a Siphon-topped hand to me. 'Fancy.' 'Over five hundred years old,' Mor said, shaking her head sadly, 'a skilled warrior and general, famous throughout territories, and complementing ladies is still something he finds next to impossible. Remind me why we bring you on diplomatic meetings?' Azriel, wreathed in shadows by the front door, chuckled quietly. Cassian shot him a glare. 'I don't see you spouting poetry, brother.' Azriel crossed his arms, still smiling faintly. 'I don't need to resort to it.

Earlier,” he said, lowering his voice to a hiss, “she tried to eat her way through a cloud. Her jaw, can you imagine?” He mimed a biting motion with his hand. “Snapping her head around, making some ridiculous voice, just to entertain the child. She appears to have no sense of propriety whatsoever.” Hazan’s face remained impassive as he said, “I believe she called it the hungry cloud monster voice.

Gillie caught Delilah's hand before it struck, and held it firmly in his own. He stared at her for a long time, but said nothing. Then at last he spoke softly, "Don't you hurt her. Not ever. If you ever hurt her I will come back and witch you, old trollop, and you will wish you had never been born." His words were so soft, so measured, and so filled with meaning that a shiver went through the room.

Born in the East, and clothed in Oriental form and imagery, the Bible walks the ways of all the world with familiar feet, and enters land after land to find its own everywhere. It has learned to speak in hundreds of languages to the heart of man. It comes into the palace to tell the monarch that he is the servant of the Most High, and into the cottage to assure the peasant that he is the son of God. Children listen to its stories with wonder and delight, and wisemen ponder them as parables of life. It has a word of peace for the time of peril, the hour of darkness. Its oracles are repeated in the assembly of the people, and its counsels whispered in the ear of the lonely. The wise and the proud tremble at its warnings, but to the wounded and penitent it has a mother's voice. The wilderness and the solitary place have been made glad by it, and the fire on the hearth has lighted the reading of its well-worn pages. It has woven itself into our deepest affections, and colored our dearest dreams; so that love and friendship, sympathy and devotion, memory and hope, put on the beautiful garments of its treasured speech, breathing of frankincense and myrrh. Above the cradle and beside the grave its great words come to us uncalled. They fill our prayers with power larger than we know, and the beauty of them lingers in our ear long after the sermons which they have adorned have been forgotten. They return to us swiftly and quietly, like birds flying from far away. They surprise us with new meanings, like springs of water breaking forth from the mountain beside a long-forgotten path. They grow richer, as pearls do when they are worn near the heart. No man is poor or desolate who has this treasure for his own. When the landscape darkens and the trembling pilgrim comes to the valley named the shadow, he is not afraid to enter; he takes the rod and staff of Scripture in his hand; he says to friend and comrade, "Good-by, we shall meet again"; and comforted by that support, he goes toward the lonely pass as one who climbs through darkness into light.

Now there was a supply of anonymous parts for anyone who wanted them. And even if you didn't want younger hands or brighter eyes, there were advertisements everywhere to convince you that you did. 'A new you from the inside out!' the billboards said. 'Add fifty years to your life.'" Sonia shakes her head bitterly. "They created want...and want turned to need...and unwinding became woven into the fabric of everything.

No, Rune. Listen to me.” I drew in a deep breath. “You may feel you’ll lose half of your heart when I go, but that doesn’t give you permission to live half of a life. And half your heart will not be gone. Because I’ll always be walking beside you. I’ll always be holding your hand. I’m woven into the fabric of who you are—just as you will always be attached to my soul. You’ll love and laugh and explore … for both of us.

The best use of time is to enjoy it, as I do when working in peaceful silence. I am surprised that anyone with a love for growing things will take up with artificial contrivances that come between him and nature, which break the spell woven by all the delicate garden influences, the songs of birds and insects, the sound of rustling leaves, the smell of freshly turned soil, the direct contact with the earth. What is he in the garden for?

Life is so generous a giver, but we, judging its gifts by their covering, cast them away as ugly or heavy or hard. Remove the covering and you will find beneath it a living splendor, woven of love, by wisdom, with power. Welcome it, grasp it, and you touch the angel’s hand that brings it to you. Everything we call a trial, a sorrow, or a duty, believe me, that angel’s hand is there; the gift is there, and the wonder of an overshadowing presence.

But let this be a lesson: Life is only disappointing if there is nothing after it. Otherwise, life is our time in a craftsman’s hands—the way a piece of wood is carved into a spoon by a carpenter or reeds are woven by a basket weaver. We grow into whatever we allow to be made of us, and we’re sold—like the spoon or the basket. Our afterlife isn’t the market or the workshop. It’s in the home of our master, whatever master we have spent our lives serving.

Asking a writer why they like to write {in the theoretical sense of the question} is like asking a person why they breathe. For me, writing is a natural reflex to the beauty, the events, and the people I see around me. As Anais Nin put it, "We write to taste life twice." I live and then I write. The one transfers to the other, for me, in a gentle, necessary way. As prosaic as it sounds, I believe I process by writing. Part of the way I deal with stressful situations, catty people, or great joy or great trials in my own life is by conjuring it onto paper in some way; a journal entry, a blog post, my writing notebook, or my latest story. While I am a fair conversationalist, my real forte is expressing myself in words on paper. If I leave it all chasing round my head like rabbits in a warren, I'm apt to become a bug-bear to live with and my family would not thank me. Some people need counselors. Some people need long, drawn-out phone-calls with a trusted friend. Some people need to go out for a run. I need to get away to a quiet, lonesome corner--preferably on the front steps at gloaming with the North Star trembling against the darkening blue. I need to set my pen fiercely against the page {for at such moments I must be writing--not typing.} and I need to convert the stress or excitement or happiness into something to be shared with another person. The beauty of the relationship between reading and writing is its give-and-take dynamic. For years I gathered and read every book in the near vicinity and absorbed tale upon tale, story upon story, adventures and sagas and dramas and classics. I fed my fancy, my tastes, and my ideas upon good books and thus those aspects of myself grew up to be none too shabby. When I began to employ my fancy, tastes, and ideas in writing my own books, the dawning of a strange and wonderful idea tinged the horizon of thought with blush-rose colors: If I persisted and worked hard and poured myself into the craft, I could create one of those books. One of the heart-books that foster a love of reading and even writing in another person somewhere. I could have a hand in forming another person's mind. A great responsibility and a great privilege that, and one I would love to be a party to. Books can change a person. I am a firm believer in that. I cannot tell you how many sentiments or noble ideas or parts of my own personality are woven from threads of things I've read over the years. I hoard quotations and shadows of quotations and general impressions of books like a tzar of Russia hoards his icy treasures. They make up a large part of who I am. I think it's worth saying again: books can change a person. For better or for worse. As a writer it's my two-edged gift to be able to slay or heal where I will. It's my responsibility to wield that weapon aright and do only good with my words. Or only purposeful cutting. I am not set against the surgeon's method of butchery--the nicking of a person's spirit, the rubbing in of a salty, stinging salve, and the ultimate healing-over of that wound that makes for a healthier person in the end. It's the bitter herbs that heal the best, so now and again you might be called upon to write something with more cayenne than honey about it. But the end must be good. We cannot let the Light fade from our words.

They’re woven to the ground out here,” she says quietly as the pair behind us continues sparring. “Think of an umbrella. The wardstone is the stem, and the wards take the shape of a dome over Navarre.” She motions with her hands, forming the shape. “But just like an umbrella’s spokes are strongest at the stem, by the time the wards reach the ground, they’re too weak to do much without a boost.” “Provided by the alloy,” I whisper. My heart starts to pound. “And the dragons.

He is the butcher who showed me how the price of flesh is love; skin the rabbit, he says! Off come my clothes. He makes his whistles out of an elder twig and that is what he uses to call the birds out of the air - all the birds come; and the sweetest singers he will keep in cages. He could thrust me into the seed-bed of next year's generation and I would have to wait until he whistled me up from my darkness before I could come back again. His skin is the tint and texture of sour cream, he has stiff, russet nipples ripe as berries. Like a tree that bears bloom and fruit on the same bough together, how pleasing, how lovely. I feel your sharp teeth in the subaqueous depths of your kisses. You sink your teeth into my throat and make me scream. His embraces were his enticements and yet, oh yet! they were the branches of which the trap itself was woven. I shall take two huge handfuls of his rustling hair as he lies half dreaming, half waking, and wind them into ropes, very softly, so he will not wake up, and, softly, with hands as gentle as rain, I shall strangle him with them.

Gillie was grinning at the boy's indignant anger. He put a hand on the pages shoulder and looked coldly at Augusta. "Do you call my page a liar, old woman? And who are you to speak of this lady as your charge? My page is no liar, just as Thursey is not your charge. Not in any way. She is your landlord, for it is her inn you occupy. And it is to her you will answer for its keeping. She is beholden to no one, unless it would be the people of Gies in the same manner as I am—for she may be their princess soon. If she is willing," he added gently.

Ode to My Socks Maru Mori brought me a pair of socks knitted with her own shepherd's hands, two socks soft as rabbits. I slipped my feet into them as if into jewel cases woven with threads of dusk and sheep's wool. Audacious socks, my feet became two woolen fish, two long sharks of lapis blue shot with a golden thread, two mammoth blackbirds, two cannons, thus honored were my feet by these celestial socks. They were so beautiful that for the first time my feet seemed unacceptable to me, two tired old fire fighters not worthy of the woven fire of those luminous socks. Nonetheless, I resisted the strong temptation to save them the way schoolboys bottle fireflies, the way scholars hoard sacred documents. I resisted the wild impulse to place them in a cage of gold and daily feed them birdseed and rosy melon flesh. Like explorers who in the forest surrender a rare and tender deer to the spit and eat it with remorse, I stuck out my feet and pulled on the handsome socks, and then my shoes. So this is the moral of my ode: twice beautiful is beauty and what is good is doubly good when it is a case of two woolen socks in wintertime.

So it was that the Red Tower put into production its terrible and perplexing line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stage of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight, every night like clockwork. Numerous natural objects, mostly bulbous gourds, were designed to produce a long deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough igneous forms were set a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling "hands" were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of the kind which might pass through a fever-stricken or even permanently damaged brain.

Loving the Hands I could make a wardrobe with tufts of wool caught on thistle and bracken. Lost - the scraps I might have woven whole cloth. "Come watch," the man says, shearing sheep with the precision of long practice, fleece, removed all of a piece, rolled in a neat bundle. I've been so clumsy with people people who've loved me. Straddling a ewe, the man props its head on his foot, leans down with clippers, each pass across the coat a caress. His dogs, lying nearby, tremble at every move - as I do, loving the hands that have learned to gentle the life beneath them.

I cannot hope to make you understand how the world is truly made,' he told her. 'Metaphor, then: the world is a weave, like threads woven into cloth.' His hand came out of his sleeve with a strip of his red ribbon. 'If you say so.' 'Everything, stone, trees, beasts, the sky, the waters, all are a weave of fabric,' he said patiently. 'But when you think, it is different. Your thinking snarls the fabric, knots it. If you were a magician, you could use the knot of your mind to pull on other threads. That is magic, and now you see how every simple it is. I wonder everyone does not become an enchanter.

Agnes has a patch of land at Hewlands, leased from her brother, stretching from the house where she was born to the forest. She keeps bees here, in hemp-woven skeps, which hum with industrious and absorbed life; there are rows of herbs, flowers, plants, stems that wind up supporting twigs. Agnes’s witch garden, her stepmother calls it, with a roll of her eyes. Agnes can be seen, most weeks, moving up and down the rows of these plants, pulling up weeds, laying her hand to the coils of her hives, pruning stems here and there, secreting certain blooms, leaves, pods, petals, seeds in a leather bag at her hip.

She knelt and scooped sand in her hands, sifting it through her fingers, examining organisms left squiggling in her palm. He smiled at the young biologist, absorbed, oblivious. He imagined her standing at the back of the birding group, trying not to be noticed but being the first to spot and identify every bird. Shyly and softly, she would have listed the precise species of grasses woven into each nest, or the age in days of a female fledgling based on the emerging colors of her wing-tips. Exquisite minutiae beyond any guidebook or knowledge of the esteemed ecology group. The smallest specifics on which a species spins. The essence.

IT is not impossible that among the English readers of this book there may be one who in 1915 and 1916 was in one of those trenches that were woven like a web among the ruins of Monchy-au-Bois. In that case he had opposite him at that time the 73rd Hanoverian Fusiliers, who wear as their distinctive badge a brassard with ' Gibraltar ' inscribed on it in gold, in memory of the defence of that fortress under General Elliot; for this, besides Waterloo, has its place in the regiment's history. At the time I refer to I was a nineteen-year-old lieutenant in command of a platoon, and my part of the line was easily recognizable from the English side by a row of tall shell-stripped trees that rose from the ruins of Monchy. My left flank was bounded by the sunken road leading to Berles-au-Bois, which was in the hands of the English ; my right was marked by a sap running out from our lines, one that helped us many a time to make our presence felt by means of bombs and rifle-grenades. I daresay this reader remembers, too, the white tom-cat, lamed in one foot by a stray bullet, who had his headquarters in No-man's-land. He used often to pay me a visit at night in my dugout. This creature, the sole living being that was on visiting terms with both sides, always made on me an impression of extreme mystery. This charm of mystery which lay over all that belonged to the other side, to that danger zone full of unseen figures, is one of the strongest impressions that the war has left with me. At that time, before the battle of the Somme, which opened a new chapter in the history of the war, the struggle had not taken on that grim and mathematical aspect which cast over its landscapes a deeper and deeper gloom. There was more rest for the soldier than in the later years when he was thrown into one murderous battle after another ; and so it is that many of those days come back to my memory now with a light on them that is almost peaceful.

She said her goodbyes in the warmth of the hall and received gifts one by one and handed them unseeing to Eadfrith’s man. She walked alone into the rain, half mad with trying not to remember the soft warmth of Onnen’s motherly breast and the smell of her clothes, trying not to think of the glint of firelight on Begu’s escaping hair because then she’d remember it always, one more memory to torment her. She tried not to take deep, deep breaths of the scent of wind-whipped sea blending with rained-on cowgrass blowing down from the cliff, tried not to think of Cian, Cian woven through everything. We are us. Trying to shut it all out, keep it all away—

I stare at the writing on the wall. Hypnotised. Can’t look away. The author has a strong hand. Each letter energetic; bold strokes. Such funny shapes. Such jagged, edged lines. A patchwork woven in the deepest black ink. I reach out to touch its upright, elegant beauty. I gasp as it starts to grow. Big and threatening. Its lines stretch into long, long legs. Its shapes swell into mouths with sharp teeth that transform into gigantic knives. It jumps off the wall, out at me. I scream. Try to run away. Too late. A blade slashes me in the back. I fall. Agonising pain rips through me. I beg for mercy. The knife is a huge needle now heading for my face…

I had a new persona, not of my choosing. I was Average Dumb Woman Married to Average Shitty Man. He had single-handedly de-amazed Amazing Amy. I know women whose entire personas are woven from a benign mediocrity. Their lives are a list of shortcomings: the unappreciative boyfriend, the extra ten pounds, the dismissive boss, the conniving sister, the straying husband. I’ve always hovered above their stories, nodding in sympathy and thinking how foolish they are, these women, to let these things happen, how undisciplined. And now to be one of them! One of the women with the endless stories that make people nod sympathetically and think: Poor dumb bitch.

A child said, What is the grass? fetching it to me with full hands; How could I answer the child?. . . .I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropped, Bearing the owner’s name someway in the corners, that we may see and remark, and say Whose? Or I guess the grass is itself a child. . . .the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same. And now it seems to me the beautiful uncut hair of graves. Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be if I had known them I would have loved them; It may be you are from old people and from women, and from offspring taken soon out of their mother’s laps, And here you are the mother’s laps. This grass is very dark to be from the white heads of old mothers, Darker than the colorless beards of old men, Dark to come from under the faint red roofs of mouths. O I perceive after all so many uttering tongues! And I perceive they do not come from the roofs of mouths for nothing. I wish I could translate the hints about the dead young men and women, And the hints about old men and mothers, and the offspring taken soon out of their laps. What do you think has become of the young and old men? What do you think has become of the women and children? They are alive and well somewhere; The smallest sprouts show there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceased the moment life appeared. All goes onward and outward. . . .and nothing collapses, And to die is different from what any one supposed, and luckier.

Arianna simply wasn’t up to it. She had a pretty voice, she could carry a tune—that was never a problem. But she had no depth. She couldn’t interpret a song, place her stamp on it. Unlike Lesley, who fairly stomped on it! And that’s what you need in folk music. These are songs that have been around for hundreds, maybe thousands of years. They existed for centuries before any kind of recording was possible, even before people could write, for god’s sake! So the only way those songs lived and got passed on was by singers. The better singer you were, the more likely it was people were going to turn out to hear you and remember you—and remember the song—whether it was at a pub or wedding or ceilidh or just a knot of people seeking shelter under a tree during a storm. It’s a kind of time machine, really, the way you can trace a song from whoever’s singing it now back through the years—Dylan or Johnny Cash, Joanna Newsom or Vashti Bunyan—on through all those nameless folk who kept it alive a thousand years ago. People talk about carrying the torch, but I always think of that man they found in the ice up in the Alps. He’d been under the snow for 1,200 years, and when they discovered him, he was still wearing his clothes, a cloak of woven grass and a bearskin cap, and in his pocket they found a little bag of grass and tinder and a bit of dead coal. That was the live spark he’d been carrying, the bright ember he kept in his pocket to start a fire whenever he stopped. You’d have to be so careful, more careful than we can even imagine, to keep that one spark alive. Because that’s what kept you alive, in the cold and the dark. Folk music is like that. And by folk I mean whatever music it is that you love, whatever music it is that sustains you. It’s the spark that keeps us alive in the cold and night, the fire we all gather in front of so we know we’re not alone in the dark. And the longer I live, the colder and darker it gets. A song like “Windhover Morn” can keep your heart beating when the doctors can’t. You might laugh at that, but it’s true.

What would Buddha do? “Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment”, Buddha. Well, while Buddhism contains many valuable life lessons one of the most important is the difference between pain and suffering. Pain is woven into nature and is inevitable part of life: to desire results in disappointment, to love means you will experience loss and to be born naturally leads to aging and death. By contrast suffering is what our minds make up these experiences when they are not at hand. Suffering is the anguish we experience from worry of not getting the things we need or from loosing the things that we have. It is an anticipatory anxiety.

The world is a cage built by the hands of gods and men and woven from the threads of time and space. It hangs upon the back of a great beast which wanders through the void driven by fear. From the thread of life it hangs, a prison for the mind, a trap for the spirit, a snare for the heart. Within this cage, all things are bound: the sun and moon, the stars and seas, the beasts of field and forest, and the children of earth, for it is a prison for the souls of men. The bars are forged of necessity and desire, woven together by the threads of fate. They are as strong as mountains and as delicate as spider’s webs. For we reach out for what we want, and in doing so, we bind our souls to the world.

a simple, inspiring mission for Wikipedia: “Imagine a world in which every single person on the planet is given free access to the sum of all human knowledge. That’s what we’re doing.” It was a huge, audacious, and worthy goal. But it badly understated what Wikipedia did. It was about more than people being “given” free access to knowledge; it was also about empowering them, in a way not seen before in history, to be part of the process of creating and distributing knowledge. Wales came to realize that. “Wikipedia allows people not merely to access other people’s knowledge but to share their own,” he said. “When you help build something, you own it, you’re vested in it. That’s far more rewarding than having it handed down to you.”111 Wikipedia took the world another step closer to the vision propounded by Vannevar Bush in his 1945 essay, “As We May Think,” which predicted, “Wholly new forms of encyclopedias will appear, ready made with a mesh of associative trails running through them, ready to be dropped into the memex and there amplified.” It also harkened back to Ada Lovelace, who asserted that machines would be able to do almost anything, except think on their own. Wikipedia was not about building a machine that could think on its own. It was instead a dazzling example of human-machine symbiosis, the wisdom of humans and the processing power of computers being woven together like a tapestry.

He had been sure Sammael would stay safe in Illian behind defenses woven of the Power if he thought he had to face Rand; too many of the Forsaken had tried, and most were dead now. In spite of himself, Rand laughed—and had to hug his side; laughing hurt. All that elaborate deception to convince Sammael he would be anywhere but with the invading army, to bring the man out of Illian, and all made unnecessary by a knife in Padan Fain’s hand. Two days. By this time, everybody who had eyes-and-ears in Cairhien—which certainly included the Forsaken—knew that the Dragon Reborn lay on the edge of death. As well toss wet wood on the fire as think otherwise. A Crown of Swords, The Wheel of Time, book 7, Robert Jordan

YOU’RE NO ANGEL, you know how this stuff comes to happen: Friday is payday and it’s been a gray day sogged by a slow ugly rain and you seek company in your gloom, and since you’re fresh to West Table, Mo., and a new hand at the dog-food factory, your choices for company are narrow but you find some finally in a trailer court on East Main, and the coed circle of bums gathered there spot you a beer, then a jug of tequila starts to rotate and the rain keeps comin’ down with a miserable bluesy beat and there’s two girls millin’ about that probably can be had but they seem to like certain things and crank is one of those certain things, and a fistful of party straws tumble from a woven handbag somebody brung, the crank gets cut into lines, and the next time you notice the time it’s three or four Sunday mornin’ and you ain’t slept since Thursday night and one of the girl voices, the one you want most and ain’t had yet though her teeth are the size of shoe-peg corn and look like maybe they’d taste sort of sour, suggests something to do, ’cause with crank you want something, anything, to do, and this cajoling voice suggests we all rob this certain house on this certain street in that rich area where folks can afford to wallow in their vices and likely have a bunch of recreational dope stashed around the mansion and goin’ to waste since an article in The Scroll said the rich people whisked off to France or some such on a noteworthy vacation. That’s how it happens. Can’t none of this be new to you.

Perhaps the smell of the balm had put me in a trance, for as I moved my hands back and forth, I thought I saw hanging in the night sky a great web, its glinting threads woven from our present nature and our past actions. Karna was caught in it, as was I. Others were enmeshed there, too: Kunti, my husbands, Bheeshma, even Duryodhan and Dussasan. If there was a way to escape the web, I couldn't see it. Our puny struggles only entangled us further. A strange compassion came upon me as I watched us twist and turn in the breeze. I tried to hold on to this compassion, sensing its preciousness, but even as I reached to grasp it, it dissipated into wisps. No revelation can endure unless it is bolstered by a calm, pure mind - and I'm afraid I didn't possess that.

The marriage coverlet is woven and embroidered for the happy pair, the house is built in a few summer weeks by the meitheal of neighbours, the last twist and stitch is put to the thatch, and in they go, the fortunate couple, with strength and purpose – and at length the house is desolate and empty with only rain for a roof, the stranger comes and opens the rotted hope chest, and puts their fingers to the folded coverlet, which falls from their hand in mouldy fragments. And that’s all we can say about it, the shortness, the swiftness, and the strange unimportance of life. But when June is queen, eternally in the grasses, in the wood pigeons, in the dank rooks, in the potato gardens, in the cabbage patches, wild dreams are given birth to with all the mighty energy of the full-blowing year.

No, Sunny. I shouldn’t be scared. You’re the least scary thing in my life. You’re not just tattooed on my skin. You’re branded on my heart. Woven into the fiber of my being. The most constant and reassuring person in my life. When I close my eyes, I see you. When you’re away from me, I dream about you. When I need someone to lean on, you are always there for me. God. You’ve loved me when I haven’t even been able to love myself.” My hands squeeze her cheeks and tears seep out over them. But she’s smiling up at me like I hung the moon. “You’ve looked at me like this for so damn long. And I don’t know when I started looking back, only that I did. Forcing myself to look away for so many years has been a special kind of torture. I’ve tortured myself for long enough. I’m done hiding, done missing out on this. On us.

In essence we are pure desire. That desire is an expression of a moment and that moment becomes a series of moments we call life. Suspended on the hands of an evanescent ticking. Pending on the beat of a vein woven drum. Fragile and fleeting. Ever mysterious and expanding. My outer life was full. My inner life was like rampant Boston ivy and aspects of my soul were more akin to cities than archetypes. Deluged with words and pulses, in poetry I am but the result of all those who came before me. I represent more than I am able to comprehend. My expression is the result of all those who slain me and all those who heal me. Thank you differently and the same, for the hues of my emotional palette only deepened and multiplied like the cells of some thousand galaxies. Pent, it was time for my expression to vent.

You can sit,” Maggot said in a small, shy voice. Mia did as she was bid, holding her throbbing hand to her chest. Maggot toddled across the room, fishing about in a series of chests. She returned with a handful of wooden splints and a ball of woven brown cotton. “Hold out your hand,” the girl commanded. Mia’s shadow swelled, Mister Kindly drinking her fear at the thought of what was to come. Maggot looked her digits over, stroking her chin. And gentle as falling leaves, she took hold of Mia’s smallest finger. “It won’t hurt,” she promised. “I’m very good at this.” “All riiiiiaaaaaaaaaaaaAAAGHH!” Mia howled as Maggot popped her finger back into place, quick as silver. She rose from the slab and bent double, clutching her hand. “That HURT!” she yelled. Maggot gave a solemn nod. “Yes.” “You promised it wouldn’t!” “And you believed me.” The girl smiled sweet as sugarfloss. “I told you, I’m very good at this.” She motioned to the slab again. “Sit back down.” Mia blinked back hot tears, hand throbbing in agony. But looking at her finger, she could see Maggot had worked it right, popping the dislocated joint back into place neat as could be. Breathing deep, she sat back down and dutifully proffered her hand. The little girl took hold of Mia’s ring finger, looked up at her with big, dark eyes. “I’m going to count three,” she said. “All riiiiiaaaaaaaaaaaaFUCK!” Mia roared as Maggot snapped the joint back into place. She rose and half-danced, half-hopped about the room, wounded hand between her legs. “Shit cock twat fucking fuckitall!” “You swear an awful lot,” Maggot frowned. “You said you were going to count three!” Maggot nodded sadly. “You believed me again, didn’t you?” Mia winced, teeth gritted, looking the girl up and down. “ . . . You are very good at this,” she realized. Maggot smiled, patted the bench. “Last one.” Sighing, Mia sat back down, hand shaking with pain as Maggot gently took hold of her middle finger. She looked at Mia solemnly. “Now this one is really going to hurt,” she warned. “Wa—” The Blade flinched as Maggot popped the finger back in. Mia blinked. “Ow?” she said. “All done,” Maggot smiled. “But that was the easiest of the lot?” Mia protested. “I know,” Maggot replied. “I’m—” “—very good at this,” they both finished. Maggot began splinting Mia’s fingers, binding them tight to limit their movement. The three circles branded into the little girl’s cheek weren’t so much of a mystery anymore . . .

PSALM 139 O LORD, you have  p searched me and known me! 2    You  q know when I sit down and when I rise up;         you  r discern my thoughts from afar. 3    You search out my path and my lying down         and are acquainted with all my ways. 4    Even before a word is on my tongue,         behold, O LORD,  s you know it altogether. 5    You  t hem me in, behind and before,         and  u lay your hand upon me. 6     v Such knowledge is  w too wonderful for me;         it is high; I cannot attain it.     7  x Where shall I go from your Spirit?         Or where  y shall I flee from your presence? 8     z If I ascend to heaven, you are there!          a If I make my bed in Sheol, you are there! 9    If I take the wings of the morning         and dwell in the uttermost parts of the sea, 10    even there your hand shall  b lead me,         and your right hand shall hold me. 11    If I say,  c “Surely the darkness shall cover me,         and the light about me be night,” 12     d even the darkness is not dark to you;         the night is bright as the day,         for darkness is as light with you.     13 For you  e formed my inward parts;         you  f knitted me together in my mother’s womb. 14    I praise you, for I am fearfully and wonderfully made. [1]      g Wonderful are your works;         my soul knows it very well. 15     h My frame was not hidden from you,     when I was being made in secret,         intricately woven in  i the depths of the earth. 16    Your eyes saw my unformed substance;     in your  j book were written, every one of them,         the days that were formed for me,         when as yet there was none of them.

Everywhere, in whatever realm of life, whether among its callous, coarsely impoverished and messily moldering lower ranks, or among its monotonously gelid and tediously tidy upper strata, everywhere, if but once, a person will encounter a phenomenon on his journey that is unlike anything he has chanced to see heretofore and that, at least once will awake in him a feeling unlike any he is fated to feel for the rest of his life. Everywhere, across the sorrows, whatever they be, from which this life of ours is woven, a resplendent joy will gaily flash, just as sometimes a glittering equipage with golden trappings, picturesque steeds, and the gleam and sparkle of windows will suddenly and unexpectedly rush past some wretched little back-country village that has never seen anything but a rural cart, and long afterwards the muzhiks will stand, mouths agape, caps in hand, although the wondrous equipage has long since whirled off and disappeared from view. Such is the manner in which the pretty little blonde, suddenly and quite unexpectedly, has appeared in our story and has vanished in the same manner. If on this occasion some twenty-year-old youth had happened to be there instead of Chichikov, whether a hussar, or a student, or merely someone who had just embarked on the course of his life, then Lord! what would not have awakened, not have begun to stir, not have begun to speak within him! Long would he have remained standing, insensible, in one spot, eyes fixed vacantly upon the distance, oblivious to the road and to all the reprimands awaiting him and to the chastisements for tardiness, oblivious to himself, and his work, and the world, and everything that exists in the world.

Consider the roots of a simple and mundane action, for instance, buying bread for your breakfast. A farmer has grown the grain in a field carved from wilderness by his ancestors; in the ancient city a miller has ground the flour and a baker prepared the loaf; the vendor has transported it to your house in a cart built by a cartwright and his apprentices. Even the donkey that draws the cart, what stories could she not tell if you could decipher her braying? And then you yourself hand over a coin of copper dug from the very heart of the earth, you who have risen from a bed of dreams and darkness to stand in the light of the vast and terrifying sun. Are there not a thousand strands woven together into this tapestry of a morning meal? How then can you expect that the omens of great events should be easy to unravel? The Pseudo-Iamblichus Scroll

Neliss, why is this rug wet?” Legna peeked around the corner to glance at the rug in question, looking as if she had never seen it before. “We have a rug there?” “Did you or did you not promise me you were not going to practice extending how long you can hold your invisible bowls of water in the house? And what on earth is that noise?” “Okay, I confess to the water thing, which was an honest mistake, I swear it. But as for a noise, I have no idea what you are talking about.” “You cannot hear that? It has been driving me crazy for days now. It just repeats over and over again, a sort of clicking sound.” “Well, it took a millennium, but you have finally gone completely senile. Listen, this is a house built by Lycanthropes. It is more a cave than a house, to be honest. I have yet to decorate to my satisfaction. There is probably some gizmo of some kind lying around, and I will come across it eventually or it will quit working the longer it is exposed to our influence. Even though I do not hear anything, I will start looking for it. Is this satisfactory?” “I swear, Magdelegna, I am never letting you visit that Druid ever again.” “Oh, stop it. You do not intimidate me, as much as you would love to think you do. Now, I will come over there if you promise not to yell at me anymore. You have been quite moody lately.” “I would be a hell of a lot less moody if I could figure out what that damn noise is.” Legna came around the corner, moving into his embrace with her hands behind her back. He immediately tried to see what she had in them. “What is that?” “Remember when you asked me why I cut my hair?” “Ah yes, the surprise. Took you long enough to get to it.” “If you do not stop, I am not going to give it to you.” “Okay. I am stopping. What is it?” She held out the box tied with a ribbon to him and he accepted it with a lopsided smile. “I do not think I even remember the last time I received a gift,” he said, leaning to kiss her cheek warmly. He changed his mind, though, and opted to go for her mouth next. She smiled beneath the cling of their lips and pushed away. “Open it.” He reached for the ribbon and soon was pulling the top off the box. “What is this?” “Gideon, what does it look like?” He picked up the woven circlet with a finger and inspected it closely. It was an intricately and meticulously fashioned necklace, clearly made strand by strand from the coffee-colored locks of his mate’s hair. In the center of the choker was a silver oval with the smallest writing he had ever seen filling it from top to bottom. “What does it say?” “It is the medics’ code of ethics,” she said softly, taking it from him and slipping behind him to link the piece around his neck beneath his hair. “And it fits perfectly.” She came around to look at it, smiling. “I knew it would look handsome on you.” “I do not usually wear jewelry or ornamentation, but . . . it feels nice. How on earth did they make this?” “Well, it took forever, if you want to know why it took so long for me to make good on the surprise. But I wanted you to have something that was a little bit of me and a little bit of you.” “I already have something like that. It is you. And . . . and me, I guess,” he laughed. “We are a little bit of each other for the rest of our lives.” “See, that makes this a perfect symbol of our love,” she said smartly, reaching up on her toes to kiss him. “Well, thank you, sweet. It is a great present and an excellent surprise. Now, if you really want to surprise me, help me find out what that noise is.

MICHAEL ROBARTES REMEMBERS FORGOTTEN BEAUTY When my arms wrap you round I press My heart upon the loveliness That has long faded from the world; The jewelled crowns that kings have hurled In shadowy pools, when armies fled; The love-tales wove with silken thread By dreaming ladies upon cloth That has made fat the murderous moth; The roses that of old time were Woven by ladies in their hair, The dew-cold lilies ladies bore Through many a sacred corridor Where such gray clouds of incense rose That only the gods’ eyes did not close: For that pale breast and lingering hand Come from a more dream-heavy land, A more dream-heavy hour than this; And when you sigh from kiss to kiss I hear white Beauty sighing, too, For hours when all must fade like dew But flame on flame, deep under deep, Throne over throne, where in half sleep Their swords upon their iron knees Brood her high lonely mysteries.

My breaths stuttered over each other and I stuck my hands down between my thighs to try to pull the heat to the center of my body. I shook. It wasn’t just the cold. It was the Herja. It was Hylli. It was the wondering what I’d find at the fjord. The dirt in front of me shifted and I opened my eyes. Fiske was looking over his shoulder, his eyes running over my blanket, and he slid himself back, into the space between us. I waited for his breaths to slow before I scooted closer to him, letting the line of my body fit to his and feeling the heat come off his skin. I pushed my face into the warm place where his back met the bearskin and stared at the woven leather of his armor vest, following its pattern with my eyes until they were so heavy I couldn’t hold them open. I fell asleep to the sound of his breathing, his back rising and falling against me, like the sound of seawater kissing the fjord.

Finally when he climbed below deck after dark, wondering where his dinner was, perhaps with a storm come up and rough seas and blinding rains, I'd sulk and lure him into the warm and steamy darkness and from the hairs of his warm body I'd breed a myriad smiling, sparkle-eyed one-year-olds, my broods, my flocks. In the churning seas, below the waves, together inside our hammock woven in coarse sailcloth by Unguentine's deft hands, a spherical webbed sack which hung and swivelled between the two walls of our bedroom, we would spin round and round with lapping tongues and the soft suction of lips, whirling, our amorous centrifuge, all night long, zipped inside against the elements. Now, years and years later, those nights, the thought and touch of them is enough to make me throw myself down on the ground and roll in the dust like a hen nibbled by mites, generating clouds, stars and all the rest.

I’m sorry,” she said, wishing she could say something more meaningful. “I’m not. If he’d been a good uncle, I’d have stayed in Boston. Never would have found my way to San Francisco,” he said. Camille knew where the rest of his story led and grinned. “And you never would have rescued my father from a pickpocket,” she added. He started to laugh, a quiet, almost personal chuckle, like he was thinking about some funny memory. Camille caught the bug of laughter and wanted to join in. “What is it?” she asked. “Your father didn’t need a rescuer. He caught the pickpocket himself,” Oscar answered, a hand on his abdomen from all his laughter. “And then he invited him inside for dinner.” Her smile fell flat. She stared at him, trying to comprehend what he’d just said. “You?” she asked, dumbfounded. “You were the pickpocket?” Oscar nodded, scratching the back of his head. “Yeah. I wasn’t very good at it.” Her father could have had him arrested or shooed him away without thinking twice. But he’d invited Oscar inside. He gave him work, food…a real chance. “Why didn’t he tell me?” she asked, feeling like she’d been duped once again. All the lies her father had woven to cover up his secrets had become so frayed, Camille wondered if she had truly known him at all. “To give me a clean slate with everyone. Even you.” Oscar moved toward her in cautious, deliberate steps. “We’re alone. We should talk.” The pantry was cramped and dismal despite the oil lamp, and Camille had a sudden urge to flee. “About what?” she asked, her ears burning. She still reeled with the knowledge that the pickpocket story hadn’t been real, just like her mother’s story hadn’t been real. Oscar stopped within a few inches from her and reached a hand around her waist. “About our night together, Camille,” he answered, his dimples forming. “There’s a lot to say.

A child said What is the grass? fetching it to me with full hands, How could I answer the child? I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropt, Bearing the owner's name someway in the corners, that we may see and remark, and say Whose? Or I guess the grass is itself a child, the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same. And now it seems to me the beautiful uncut hair of graves. Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be if I had known them I would have loved them, It may be you are from old people, or from offspring taken soon out of their mothers' laps, And here you are the mothers' laps. This grass is very dark to be from the white heads of old mothers, Darker than the colourless beards of old men, Dark to come from under the faint red roofs of mouths. O I perceive after all so many uttering tongues, And I perceive they do not come from the roofs of mouths for nothing. I wish I could translate the hints about the dead young men and women, And the hints about old men and mothers, and the offspring taken soon out of their laps. What do you think has become of the young and old men? And what do you think has become of the women and children? They are alive and well somewhere, The smallest sprout shows there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceas'd the moment life appear'd. All goes onward and outward, nothing collapses, And to die is different from what any one supposed, and luckier.

Jesus said, "When thou doest alms, let not thy left hand know what thy right hand doeth; that thine alms may be in secret." This is the "secret virtue" of Buddhism. But when the account goes on to say that "Thy Father who seeth in secret shall recompense thee", we see a deep cleavage between Buddhism and Christianity. As long as there is any thought of anybody, be he God or devil, knowing of our doings and making recompense, Zen would say, "You are not yet one of us." Deeds that are the product of such thought leave "traces" and "shadows". If a spirit is tracing your doings, he will in no time get hold of you and make you account for what you have done; Zen will have none of it. The perfect garment shows no seams, inside and outside; it is one complete piece and nobody can tell where the work began, or how it was woven. In Zen, therefore, no traces of self-conceit or self-glorification are to be left behind even after the doing of good, much less the thought of recompense, even by God.

Our power connects us to life in ways ordinary people can never understand, her teacher had said. That’s why using our gift makes us stronger instead of depleting us. We are tied to the power of creation itself, the making at the heart of the world. For Corporalki, that bond is woven even more tightly, because we deal in life and the taking of it. The teacher had raised his hands, and Nina felt her pulse slow just slightly. The other students had released gasps and looked around at one another, all of them experiencing the same thing. Do you feel that? the teacher asked. All your hearts, beating in shared time, bound to the rhythm of the world? It had been the strangest sensation, the feeling of her body dissolving, as if they were not many students wriggling in their classroom chairs, but one creature, with a single heart, a single purpose. It had lasted only moments, but she’d never forgotten that sense of connection, the sudden understanding that her power would mean she was never alone.

Very few entities are powerful enough to create Patinas, and those that can guard them closely. The library is here. But Arriane’s right. We’ll need to figure out the way in.” “I heard you need an Announcer to get through one,” Arriane said. “Cosmic legend.” Annabelle shook her head. “Every Patina is different. Access is entirely up to the creator. They program the code.” “I once heard Cam tell a story at a party about how he accessed a Patina,” Rolan said. “Or was that a story about a party that he threw in a Patina?” “Luce!” Daniel said suddenly, making all of them startle in midair. “It’s you. It was always you.” Luce shrugged. “Always me what?” “You’re the one who always rang the bell. You’re the one who had entry to the library. You just need to ring the bell.” Luce looked at the empty street, the fog tinting everything around them brown. “What are you talking about? What bell?” “Close your eyes,” Daniel said. “Remember it. Pass into the past and find the bellpull-“ Luce was already there, back at the library the last time she’d been in Vienna with Daniel. Her feet were firmly on the ground. It was raining and her hair splayed all across her face. Her crimson hair ribbons were soaked, but she didn’t care. She was looking for something. There was a short path up the courtyard, then a dark alcove outside the library. It had been cold outside, and a fire blazed within. There, in the musty corner near the door, was a woven cord embroidered with white peonies hanging from a substantial silver bell. She reached into the air and pulled. The angels gasped. Luce opened her eyes. There, in the center of the north side of the street, the row of contemporary town houses was interrupted at its midpoint by a single small brown house. A curl of smoke rose from its chimney. The only light-aside from the angel’s wings-was the dim yellow glow of a lamp on the sill of the house’s front window. The angels landed softly on the empty street and Daniel’s grip around Luce softened. He kissed her hand. “You remembered. Well done.

I now found that, in the social democratic papers, I could study the inner nature of their thought-process far better than in all their theoretical literature... And what a striking difference there was between the two! In the literary text that dealt with the Social Democrat theory, there was a display of high-sounding phraseology about liberty, human dignity, and beauty. It was all promoted with an air of profound wisdom and calm prophetic assurance-a meticulously-woven glitter of words to dazzle and mislead the reader. On the other hand, the daily press hammered out this new doctrine of human redemption in a most brutal fashion. No means were too crude, provided they could be exploited in the slanderous campaign. These journalists were experts in the art of deception and twisting facts. The theoretical literature was intended for the middle- and upper-class 'intellectuals,' whereas the newspaper was intended for the masses... With an understanding of the workings of the colossal system for poisoning the popular mind, only a fool could blame the victims.

The shore is irregular enough not to be monotonous. I have in my mind's eye the western, indented with deep bays, the bolder northern, and the beautifully scalloped southern shore, where successive capes overlap each other and suggest unexplored coves between. The forest has never so good a setting, nor is so distinctly beautiful, as when seen from the middle of a small lake amid hills which rise from the water's edge; for the water in which it is reflected not only makes the best foreground in such a case, but, with its winding shore, the most natural and agreeable boundary to it. There is no rawness nor imperfection in its edge there, as where the axe has cleared a part, or a cultivated field abuts on it. The trees have ample room to expand on the water side, and each sends forth its most vigorous branch in that direction. There Nature has woven a natural selvage, and the eye rises by just gradations from the low shrubs of the shore to the highest trees. There are few traces of man's hand to be seen. The water laves the shore as it did a thousand years ago.

Here is my question," she said. "If you cannot bear to be near me now, how will you survive what's yet to come?» Now he did look at her, his breath catching as he stared into her eyes, soft and gleaming in the reflected moonlight. He seemed to sink into the grass as he gazed at her, the world blurring beyond the space she occupied. There was something so gentle about her presence, something that reminded him of magic: all curves, no edges. He wanted to press his face against her neck, wanted to breathe in the fragrance of her skin, the perfume of the flowers he'd grown himself. He wanted to make her laugh. He wanted to hold her hand. He wanted to bring her tea and walk with her through the seasons. He wanted to watch her conquer the earth. He wanted to glide his hand down her naked back, wanted to taste the salt of her, wanted to bite her bottom lip and lose himself inside her. God, the things he wanted. The longer he looked at her, the worse he felt, and the more unsteady she appeared. Her breaths had grown shallow, her eyes deeper; darker. "Cyrus," she whispered

Laurel stood on stage. She was very still. Her lovely blue eyes were lowered modestly. Her silver blonde hair fell in disheveled curls around her face, white roses and strands of pearls woven artfully throughout. A necklace of what looked like diamonds clasped her slender throat while white kid gloves were drawn up to her elbow. She held a fan of frosted silver in one hand, dangling at her side. Her dress was a shimmering sapphire blue, and it fit her exquisitely, molding to her form, hugging her small bosom and lifting her breasts until they appeared ready to spill from the satin bodice. A silver braided sash cinched her waist, emphasizing its narrowness. And then, she lifted her head, raised the hand that held the fan, then the other one and, tipping her head back, opened her eyes. They were haunting and luminous, soft in the candlelight. Her skin was pale and smooth. The crowd was utterly quiet, watching her. And then, she began to sing. If Dare had thought Laurel Spencer beautiful before, now she became goddess-like to him in an instant as a melody so heart-wrenching and lovely spilled forth from her lips.

Ode to My Socks Maru Mori brought me a pair of socks knitted with her own shepherd's hands, two socks soft as rabbits. I slipped my feet into them as if into jewel cases woven with threads of dusk and sheep's wool. Audacious socks, my feet became two woolen fish, two long sharks of lapis blue shot with a golden thread, two mammoth blackbirds, two cannons, thus honored were my feet by these celestial socks. They were so beautiful that for the first time my feet seemed unacceptable to me, two tired old fire fighters not worthy of the woven fire of those luminous socks. Nonetheless, I resisted the strong temptation to save them the way schoolboys bottle fireflies, the way scholars hoard sacred documents. I resisted the wild impulse to place them in a cage of gold and daily feed them birdseed and rosy melon flesh. Like explorers who in the forest surrender a rare and tender deer to the spit and eat it with remorse, I stuck out my feet and pulled on the handsome socks, and then my shoes. So this is the moral of my ode: twice beautiful is beauty and what is good doubly good when it is a case of two woolen socks in wintertime.

Ode to My Socks Maru Mori brought me a pair of socks knitted with her own shepherd's hands, two socks soft as rabbits. I slipped my feet into them as if into jewel cases woven with threads of dusk and sheep's wool. Audacious socks, my feet became two woolen fish, two long sharks of lapis blue shot with a golden thread, two mammoth blackbirds, two cannons, thus honored were my feet by these celestial socks. They were so beautiful that for the first time my feet seemed unacceptable to me, two tired old fire fighters not worthy of the woven fire of those luminous socks. Nonetheless, I resisted the strong temptation to save them the way schoolboys bottle fireflies, the way scholars hoard sacred documents. I resisted the wild impulse to place them in a cage of gold and daily feed them birdseed and rosy melon flesh. Like explorers who in the forest surrender a rare and tender deer to the spit and eat it with remorse, I stuck out my feet and pulled on the handsome socks, and then my shoes. So this is the moral of my ode: twice beautiful is beauty and what is good is doubly good when it is a case of two woolen socks in wintertime.

Though Eros and Psyche sat vast and magnificent in the front lawn, a prologue to the grand house itself, there was something wonderful- a mysterious and melancholic aspect- about the smaller fountain, hidden within its sunny clearing at the bottom of the south garden. The circular pool of stacked stone stood two feet high and twenty feet across at its widest point. It was lined with tiny glass tiles, azure blue like the necklace of sapphires Lord Ashbury had brought back for Lady Violet after serving in the Far East. From the center emerged a huge craggy block of russet marble, the height of two men, thick at the base but tapering to a peak. Midway up, creamy marble against the brown, the life-size figure of Icarus had been carved in a position of recline. His wings, pale marble etched to give the impression of feathers, were strapped to his outspread arms and fell behind, weeping over the rock. Rising from the pool to tend the fallen figure were three mermaids, long hair looped and coiled about angelic faces: one held a small harp, one wore a coronet of woven ivy leaves, and one reached beneath Icarus’s torso, white hands on creamy skin, to pull him from the deep.

Little girl, who gave you permission to--Oh!” She bit off her words the moment that she noticed how well I was dressed, to say nothing of the two guards attending me. Her expression transformed from sour to sweet with stunning speed. “Ah, noble lady, I see that you have a keen eye for quality,” she cried. “You won’t find better cloth anywhere in Delphi--warm in winter, light in summer, tightly woven, and proof against wind and rain. And just look at those colors!” I did. They were all drab grays and browns. I held the first cloth up to the sunlight. If that was what she called a tight weave, so was a fishing net. “I want a cloak,” I told her, tossing the cloth aside. “Something long and heavy. It’s for him.” I nodded at Milo. “Of course, just as you wish, I have exactly what you want, wait right here,” she chattered. “I’ll bring out the best I have, something worthy of the noble lord.” She raised her hands to Milo in a gesture of reverence before ducking back into her house. “‘The noble lord’?” the tall guard repeated, incredulous. He and his companion snickered. Milo looked miserable. “Ignore them,” I told him, speaking low. “I promise you, before today is over, you’ll be the one laughing at them.

No man should ever make anything except in the spirit in which a woman bears a child, in the spirit in which Christ was formed in Mary's womb, in the love with which God created the world. The integral goodness and fittingness of the work of a man's hands or mind is sacred. He must have it in his heart to make it. His imagination must see it, and its purpose, before it exists in material. His whole life must be disciplined to gain and keep the skill to make it. He must, having conceived it, allow it to grow within him, until at last it flows from him and is woven of his life and is the visible proof that he has uttered his fiat: “Be it done unto me according to thy word!” Yes, according to the will of God, as an expression of the love of God. So that it is possible to whisper in wonder and awe, and without irreverence, on seeing the finished work: “The Word is made flesh.” Every work that we do should be a part of the Christ forming in us which is the meaning of our life, to it we must bring the patience, the self-giving, the time of secrecy, the gradual growth of Advent. This Advent in work applies to all work, not only that which produces something permanent in time but equally to the making of a carving in wood or

We were already in school by then. Your friends had made fun of me. I was twelve. My higher brain functions weren’t fully developed. I was so in love with you.” The cold had woven its way into the fabric of my jeans and settled like a coating of ice in the folds of my jacket. Now I warmed again, puzzling through Hunter’s words. I didn’t know whether to take him seriously. “Your love for me was a symptom that your brain hadn’t developed, or-“ “Shut up.” He turned to face me. “I am drunk and I am trying to confess, so just let me do it, okay? I had fallen in love with you over the summer. Then this horrible thing happened to you and you stopped talking t me. I thought you blamed me, or my dad. Which he deserved.” “No,” I protested. “It was an acc-“ “I took it as a rejection.” He put his hand on my knee and looked me straight in the eyes. “It’s taken me all this time to figure that out. But I regretted it every day. And I’m truly sorry.” He sat back against the bench and faced the stars. The place where his hand had rested on my knee felt colder than ever. “I’m sorry, too,” I said, “so we’re even. I didn’t visit you in the hospital when you got crushed by a horse. For much the same reasons regarding love and rejection and being young.

My mouth kept dropping open, and I would choke on road dust as the city loomed ever closer. When I glanced over at Elka, she was in the same state—wide-eyed and torn between fear and wonderment. Everything seemed like something out of legend. In the shadow of the soaring walls, the city became less of an imposing majestic place and more a heaped, jumbled gathering of wealth and squalor existing side by side. Heady perfumes and the stink of offal wrapped around each other, woven into an overwhelming tapestry by the ocean breeze. Wicker cages full of fowl and small game swung from carts, squawking and chittering excitedly, filling the air with a haze of fur and feathers. Tens and tens of incomprehensible languages rang in my ears. Houses and temples and other buildings made of stone—structures that made my father’s great hall seem like a sheepherder’s hut—rose above the street, level upon level. All of it—the sights and sounds and smells—tangled together into an assault on my senses that made me want to clap my hands over my ears and hide my head. But there was no escaping the chaos as our cart plunged on, heading right toward the very heart of Massilia. With only the bars of my cage between me and the pushing, shoving, singing, shouting crowd, I’d never felt so vulnerable.

Leaving the paintings for a moment, he turned to a large bench-size object covered with another cloth; upon whipping off the cloth, he found himself staring into the snarling face and exceptionally long, talon-like teeth of a tiger. He fell back onto the ornately woven red rug beneath them and lay on his back, stunned, as a shower of fine dust fell over him. “You get that out of your system?” Etta asked, stepping around his prone form. His hand lashed out, closing around her ankle like an iron. The woman was mad if she thought he’d let her take another step forward— “It’s dead,” she said, looking down at him with an amused smile. “As gross as it is, it’s been preserved and stuffed to be displayed. Look.” He inhaled sharply through his nose as she reached out a hand to stroke its head. As promised, it did not move. It did not blink. The tiger was dead. “What are the chances your mother killed and stuffed it herself?” “Pretty good, I think.” Etta held up a framed photograph of an older man in the garb of an early twentieth-century explorer, who was holding a rifle. The tiger lay dead at the toes of his boots, and beside it was a grinning, tiny, blond girl—a younger version of the woman in the other photograph he’d seen. Rose. And he’d wondered from whom Etta had inherited her casual disregard for danger.

I might disagree with them, but accept that they have some purpose to play in God’s larger plan, Then Iluvatar arose, and the Ainur perceived that he smiled; and he lifted up his left hand, and a new theme began amid the storm, like and yet unlike to the former theme, and it gathered power and had new beauty. But the discord of Melkor rose in uproar and contended with it, and again there was a war of sound more violent than before, until many of the Ainur were dismayed and sang no longer, and Melkor had the mastery. Then again Ilu´ vatar arose, and the Ainur perceived that his countenance was stern; and he lifted up his right hand, and behold! a third theme grew amid the confusion, and it was unlike the others. For it seemed at first soft and sweet, a mere rippling of gentle sounds in delicate melodies; but it could not be quenched, and it took to itself power and profundity. And it seemed at last that there were two musics progressing at one time before the seat of Iluvatar, and they were utterly at variance. The one was deep and wide and beautiful, but slow and blended with an immeasurable sorrow, from which its beauty chiefly came. The other had now achieved a unity of its own; but it was loud, and vain, and endlessly repeated; and it had little harmony, but rather a clamorous unison as of many trumpets braying upon a few notes. And it essayed to drown the other music by the violence of its voice, but it seemed that its most triumphant notes were taken by the other and woven into its own solemn pattern. In the midst of this strife, whereat the halls of Iluvatar shook and a tremor ran out into the silences yet unmoved, Ilu´ vatar arose a third time, and his face was terrible to behold. Then he raised up both his hands, and in one chord, deeper than the Abyss, higher than the Firmament, piercing as the light of the eye of Iluvatar, the Music ceased. Then Ilu´ vatar spoke, and he said: ‘Mighty are the Ainur, and mightiest among them is Melkor; but that he may know, and all the Ainur, that I am Iluvatar, those things that ye have sung, I will show them forth, that ye may see what ye have done. And thou, Melkor, shalt see that no theme may be played that hath not its uttermost source in me, nor can any alter the music in my despite. For he that attempteth this shall prove but mine instrument in the devising of things more wonderful, which he himself hath not imagined.’ Then the Ainur were afraid, and they did not yet comprehend the words that were said to them; and Melkor was filled with shame, of which came secret anger. But Iluvatar arose in splendour, and he went forth from the fair regions that he had made for the Ainur; and the Ainur followed him.

Zane turned his attention to the bus. Phoebe got a bad feeling when she caught sight of the worn sandals, tie-dyed T-shirts and woven hats on the next couple to disembark. “Hey,” the man said. “I’m Martin Lagarde and this is my wife, Andrea.” The woman, a thirtysomething brunette with freckles and glasses, shook hands with Zane. “We’re so excited to be here. Martin and I just love being in the outdoors. We’ve hiked all over, and last year we did a week at a meditation retreat in Hawaii, but we’ve never done anything like this.” She continued to pump his hand as her expression turned earnest. “We really want this opportunity to be one with the land. To experience a different kind of life. The Old West.” She finally released Zane’s hand. “We’re vegetarians. I hope that won’t be a problem.” Zane considered them for a moment, then said, “Not for me.” He jerked his head toward the compartment beneath the bus that the driver had opened. “Collect your gear and head inside. Chase will show you where you’ll bunk tonight.” “Sure thing,” Martin said. He held up his hand for a high five. When Zane simply stared at him, Martin grabbed Zane’s wrist and pulled it until it was level with his shoulder, then slapped his hand against Zane’s. When he walked away, Zane turned to look at her. “Two starving kids and tree-hugging vegetarians. I’m going to kill Chase.

Signor Renzo's lodge stood on a grassy knoll near the crest of the hill. It was a modest place, just a low stone hut, before which stretched a woven ceiling of vines. My dinner was cooked on an open fire by the table. This was no banquet, but what the cook called a pique-nique, a meal for hunters to take outdoors. After Renzo had chosen two fat ducklings from his larder, he spitted them over the fire. Then he made a dish of buttery rice crowned with speckled discs of truffle that tasted powerfully of God's own earth. 'Come sit with me,' I begged, for I did not like him to wait on me. So together we sat beneath the vines as I savored each morsel and guessed at the subtle flavorings. 'Wild garlic?' I asked, and he lifted his brows in surprise as he ate. 'And a herb,' I added, 'sage?' 'For a woman, you have excellent taste.' For a woman, indeed! I made a play of stabbing him with my knife. It was most pleasant to eat our pique-nique and drink the red wine, which they make so strong in that region that they call it black or nero. I asked him to speak of himself, and between a trial of little dishes of wild leaves, chestnut fritters, and raisin cake, Signor Renzo told me he was born in the city and had worked at a pastry's cook shop as a boy, where he soon discovered that good foods mixed with ingenious hands made people happy and free with their purses.

Where is everyone?" Alec shrugged, striding across the hall as if he owned the place, which Magnus supposed he sort of did. "I expect everyone's off gathering gear and weapons. We should just go find my mother." "How do you propose to find her?" Magnus said. "Ah," said Alec, "the Institute has a very old magic woven into its walls. I shall now use it to commune with my mother, wherever she might be found." He put his hands around his mouth and bellowed at the top of his lungs. "MOOOOOOOOOM!" Alec's voice reverberated impressively against the stone walls. Max giggled and yelled, "Maaaaaaaaaaaaaaaaaaa!" alongside Alec. The sound faded away and Magnus waited. "Well?" he said, and Alec held up a finger. After a moment, there was a flare, and a fire-message appeared in front of him. He plucked it from the air and opened it, giving Magnus a superior look. "'She's in the library,'" he read. A second fire-message appeared, in the same spot as the first. Alec opened it. "'Did you know you can send fire-messages within the Institute?'" he read. "'I just found out.'" He looked at Magnus in bewilderment. "Of course I knew that." "To the library, then?" said Magnus. A third fire-message appeared. Max lunged to try to grab it, but it was too far above his head. Magnus grabbed that one and read, "'I love fire-messages, have a great day, your friend, Simon Lovelace, Shadowhunter.' Can we go?" They heard a fourth one burst behind them as they left by the hall door, but neither of them looked back at it.

I get this feeling,' I said, pacing a step, the ancient wood floorboards creaking beneath my boots, my power a writhing, living thing prowling through my veins, 'that it's all some sort of joke. Some sort of cosmic trick, and that no one- no one- can be this happy and not pay for it.' 'You've already paid for it, Rhys. Both of you. And then some.' I waved a hand. 'I just...' I trailed off, unable to finish the words. Cassian stared at me for a long moment. Then he crossed the distance between us, gathering me in an embrace so tight I could barely breathe. 'You made it. We made it. You both endured enough that no one would blame you if you danced off into the sunset like Miryam and Drakon and never bothered with anything else again. But you are bothering- you're both still working to make this peace last. Peace, Rhys. We have peace, and the true kind. Enjoy it- enjoy each other. You paid the debt before it was ever a debt.' My throat tightened, and I gripped him hard around his wings, the scales of his leathers digging into my fingers. 'What about you?' I asked, pulling away after a moment. 'Are you... happy?' Shadows darkened his hazel eyes. 'I'm getting there.' A halfhearted answer. I'd have to work on that, too. Perhaps there were threads to be pulled, woven together. Cassian jerked his chin toward the door. 'Get going, you bastard. I'll see you in three days.' I nodded, opening the door at last. But paused on the threshold. 'Thanks, brother.' Cassian's crooked grin was bright, even if those shadows still guttered in his eyes. 'It's an honour, my lord.

Jay's downstairs waiting." With her father on one side, and the handrail on the other, Violet descended the stairs as if she were floating. Jay stood at the bottom, watching her, frozen in place like a statue. His black suit looked as if it had been tailored just for him. His jacket fell across his strong shoulders in a perfect line, tapering at his narrow waist. The crisp white linen shirt beneath stood out in contrast against the dark, finely woven wool. He smiled appreciatively as he watched her approach, and Violet felt her breath catch in her throat at the striking image of flawlessness that he presented. "You...are so beautiful," he whispered fervently as he strode toward her, taking her dad's place at her arm. She smiled sheepishly up at him. "So are you." Her mom insisted on taking no fewer than a hundred pictures of the two of them, both alone and together, until Violet felt like her eyes had been permanently damaged by the blinding flash. Finally her father called off her mom, dragging her away into the kitchen so that Violet and Jay could have a moment alone together. "I meant it," he said. "You look amazing." She shook her head, not sure what to say, a little embarrassed by the compliment. "I got you something," he said to her as he reached inside his jacket. "I hope you don't mind, it's not a corsage." Violet couldn't have cared less about having flowers to pin on her dress, but she was curious about what he had brought for her. She watched as he dragged out the moment longer than he needed to, taking his time to reveal his surprise. "I got you this instead." He pulled out a black velvet box, the kind that holds fine jewelry. It was long and narrow. She gasped as she watched him lift the lid. Inside was a delicate silver chain, and on it was the polished outline of a floating silver heart that drifted over the chain that held it. Violet reached out to touch it with her fingertip. "It's beautiful," she sighed. He lifted the necklace from the box and held it out to her. "May I?" he asked. She nodded, her eyes bright with excitement as he clasped the silver chain around her bare throat. "Thank you," she breathed, interlacing her hand into his and squeezing it meaningfully. She reluctantly used the crutches to get out to the car, since there were no handrails for her to hold on to. She left like they ruined the overall effect she was going for. Jay's car was as nice on the inside as it was outside. The interior was rich, smoky gray leather that felt like soft butter as he helped her inside. Aside from a few minor flaws, it could have passed for brand-new. The engine purred to life when he turned the key in the ignition, something that her car had never done. Roar, maybe-purr, never. She was relieved that her uncle hadn't ordered a police escort for the two of them to the dance. She had half expected to see a procession of marked police cars, lights swirling and sirens blaring, in the wake of Jay's sleek black Acura. Despite sitting behind the wheel of his shiny new car, Jay could scarcely take his eyes off her. His admiring gaze found her over and over again, while he barely concentrated on the road ahead of him. Fortunately they didn't have far to go.

She picked through the bits of jewelry, the stud earrings and ruby ring that belonged to their mother, Shirin. There was something almost meditative about this ritual of hers, combing through the photos and small keepsakes, even if she touched on some painful memories. It was as if her fingers were actually tracing the milestones each piece represented. Her hand closed on a smooth, round object, something resembling a marble egg. It was a miniature bar of lotus soap, still in its wrapper, bought on their last trip to the 'hammam'. The public bathhouse had been a favorite spot of theirs, a place the three of them liked to go to on Thursdays, the day before the Iranian weekend. Marjan held the soap to her nose. She took a deep breath, inhaling the downy scent of mornings spent washing and scrubbing with rosewater and lotus products. All at once she heard the laughter once again, the giggles of women making the bathing ritual a party more than anything else. The 'hammam' they had attended those last years in Iran was situated near their apartment in central Tehran. Although not as palatial as the turquoise and golden-domed bathhouse of their childhood, it was still a grand building of hot pools and steamy balconies, a place of gossip and laughter. The women of the neighborhood would gather there weekly to untangle their long hair with tortoiseshell combs and lotus powder, a silky conditioner that left locks gleaming like onyx uncovered. For pocket change, a 'dalak' could be hired by the hour. These bathhouse attendants, matronly and humorous for all their years spent whispering local chatter, would scrub at tired limbs with loofahs and mitts of woven Caspian seaweed. Massages and palm readings accompanied platters of watermelon and hot jasmine tea, the afternoons whiled away with naps and dips in the perfumed aqueducts regulated according to their hot and cold properties.

It was through this imposed accumulation of chaos that she struggled to move now: beyond it lay simplicity, unmeasurable, residence of perfection, where nothing was created, where originality did not exist: because it was origin; where once she was there work and thought in causal and stumbling sequence did not exist, but only transcription: where the poem she knew but could not write existed, ready-formed, awaiting recovery in that moment when the writing down of it was impossible: because she was the poem. Her hand tipped toward the paper, black stroke the pen made there, but only that stroke, line of uncertainty. She called her memory, screamed for it, trying to scream through it and beyond it, damned accumulation that bound her in time: my memory, my bed, my stomach, my terror, my hope, my poem, my God: the meanness of my. Must the flames of hell be ninety-story blazes? or simply these small sharp tongues of fire that nibble and fall to, savouring the edges and then consume, swept by the wind of terror at exposing one's self, losing the aggregate of meannesses which compose identity, in flames never reaching full roaring crescendo but scorch through a life like fire in grass, in the world of time the clock tells. Every tick, synchronised, tears off a fragment of the lives run by them, the circling hands reflected in those eyes watching their repetition in an anxiety which draws the whole face toward pupiled voids and finally, leaves lines there, uncertain strokes woven into the flesh, the fabric of anxiety, double-webbed round dark-centered jellies which reflect nothing. Only that fabric remains, pleached in the pattern of the bondage which has a beginning and an end, with scientific meanness in attention to details, of a thousand things which should not have happened, and did; of myriad mean events which should have happened, and did not: waited for, denied, until life is lived in fragments, unrelated until death, and the wrist watch stops.

It was through this imposed accumulation of chaos that she struggled to move now: beyond it lay simplicity, unmeasurable, residence of perfection, where nothing was created, where originality did not exist: because it was origin; where once she was there work and thought in causal and stumbling sequence did not exist, but only transcription: where the poem she knew but could not write existed, ready-formed, awaiting recovery in that moment when the writing down of it was impossible: because she was the poem. Her hand tipped toward the paper, black stroke the pen made there, but only that stroke, line of uncertainty. She called her memory, screamed for it, trying to scream through it and beyond it, damned accumulation that bound her in time: my memory, my bed, my stomach, my terror, my hope, my poem, my God: the meanness of my. Must the flames of hell be ninety-story blazes? or simply these small sharp tongues of fire that nibble and fall to, savouring the edges and then consume, swept by the wind of terror at exposing one's self, losing the aggregate of meannesses which compose identity, in flames never reaching full roaring crescendo but scorch through a life like fire in grass, in the world of time the clock tells. Every tick, synchronised, tears off a fragment of the lives run by them, the circling hands reflected in those eyes watching their repetition in an anxiety which draws the whole face toward pupiled voids and finally, leaves lines there, uncertain strokes woven into the flesh, the fabric of anxiety, double-webbed round dark-centered jellies which reflect nothing. Only that fabric remains, pleached in the pattern of the bondage which has a beginning and an end, with scientific meanness in attention to details, of a thousand things which should not have happened, and did; of myriad mean events which should have happened, and did not: waited for, denied, until life is lived in fragments, unrelated until death, and the wrist watch stops.

Can anything possibly be salvaged from it?” Wherever you are right now in the story, I am going to interrupt you with Isaiah 35. The wilderness and the dry land shall be glad, the desert shall rejoice and blossom; like the crocus it shall blossom abundantly, and rejoice with joy and singing. (verses 1–2) There is nothing wrong with a desert that a little rain can’t fix. Dry land is not inherently barren; the dirt itself is not evil. We are after all “formed…of dust from the ground” (Genesis 2:7). And no one’s life is apart from that basic ground from which God can bring his purposes to blossom. There are stretches of time when nothing is growing, but all the while nutrients are in the soil and seeds embedded just beneath the surface. A moment will come when the necessary moisture will bring faith to flower. Strengthen the weak hands, and make firm the feeble knees. Say to those who are of a fearful heart, “Be strong, fear not! Behold, your God will come with vengeance, with the recompense of God. He will come and save you.” (verses 3–4) You think that you have all you can take? That you can’t lift another burden? That you can’t manage another challenge? Well, “Be strong…! Behold, your God.” God comes. He comes in “vengeance.” He will take care, decisively and completely, of all that is wrong with the story. He comes with “recompense.” He will provide everything to make you whole and mature. The word recompense has a root meaning of “weaning from the mother’s breast.” A happy time, for it means you are making a transition from being a weak and dependent infant, but it’s a terrifying time too, for it means you are no longer treated indulgently as an innocent. “He will come and save you.” Everything God does is woven into the plot for your salvation—the judgments on your sin, the weaning from your innocence, the gifts of maturity. At the end of the story, for you who choose to be his people, you will have a put-together life, a life vibrant with health, a life whole and solid in love.

Fanning my arms to the side, I draw my pointe shoe forward. As I make my way towards the sea, more twinkles of music unfurl with each step, adding to the present melody. I take a breath, mustering the courage to walk on water. An aquamarine ripple flecked with golden stardust flickers to life beneath me, glowing brightly. I drag my other foot forward. The ocean sparkles, as if accepting the magic I offer. When I find comfort on the water, I relevé--- bringing myself onto pointe. My arms extend in a port de bras, and I begin a series of quick bourrée steps. A ribbon of stardust unravels from my feet, kissing the ocean with that glittering aqua glow. I embrace the beauty I've created, tilting into an arabesque. When I send my arm into the sky, the night illuminates. Stars explode like a shimmering tapestry woven from my body. I smile--- proudly owning the stage--- or in this case, the sea. I ignite the ocean with a piqué manège before leaping into a grand jeté, sending shooting stars as I fly. When I land, I fall into a series of chaîné turns before transitioning into more bourrée steps. Every move leads me closer and closer to Damien. The emptiness between us disappears as I leap into his arms. He lifts me towards the sky, moonlight showering us, before I fall into a fish dive--- my face towards the sea and my legs swept into the air. I glide my fingertips through the water, painting even more color into the night. The ocean radiates with undernotes of jade and lavender, shimmers of bright cyan and pearl. He gently places me down, guiding me into a pirouette. I tether my vision to his as the symphony of the sea blooms into a crescendo. Together, we burst into an allegro--- our own medley of fast, brisk movement. I surrender to his familiar hands around my waist, feeling weightless as he lifts me, as if I'm becoming an angel myself. Damien gives me wings, and I fly across the ocean. The once-black waves have transformed entirely. Plumes of stardust swirl like milk in water, feathering out into a soft iridescence.

Mirrors I have been horrified before all mirrors not just before the impenetrable glass, the end and the beginning of that space, inhabited by nothing but reflections, but faced with specular water, mirroring the other blue within its bottomless sky, incised at times by the illusory flight of inverted birds, or troubled by a ripple, or face to face with the unspeaking surface of ghostly ebony whose very hardness reflects, as if within a dream, the whiteness of spectral marble or a spectral rose. Now, after so many troubling years of wandering beneath the wavering moon, I ask myself what accident of fortune handed to me this terror of all mirrors– mirrors of metal and the shrouded mirror of sheer mahogany which in the twilight of its uncertain red softens the face that watches and in turn is watched by it. I look on them as infinite, elemental fulfillers of a very ancient pact to multiply the world, as in the act of generation, sleepless and dangerous. They extenuate this vain and dubious world within the web of their own vertigo. Sometimes at evening they are clouded over by someone's breath, someone who is not dead. The glass is watching us. And if a mirror hangs somewhere on the four walls of my room, I am not alone. There's an other, a reflection which in the dawn enacts its own dumb show. Everything happens, nothing is remembered in those dimensioned cabinets of glass in which, like rabbits in fantastic stories, we read the lines of text from right to left. Claudius, king for an evening, king in a dream, did not know he was a dream until the day on which an actor mimed his felony with silent artifice, in a tableau. Strange, that there are dreams, that there are mirrors. Strange that the ordinary, worn-out ways of every day encompass the imagined and endless universe woven by reflections. God (I've begun to think) implants a promise in all that insubstantial architecture that makes light out of the impervious surface of glass, and makes the shadow out of dreams. God has created nights well-populated with dreams, crowded with mirror images, so that man may feel that he is nothing more than vain reflection. That's what frightens us.

The thought is immediately accompanied by a dull ache below her shoulder. It is a phantom pain, she knows, a psychosomatic ache, but still she feels the hurt. After all, it has been many years since the blow that made her arm swell and ache for days. On the other hand, who knows? Perhaps the body has its own memory system, like the invisible meridian lines those Chinese acupuncturists always talk about. Perhaps the body is unforgiving, perhaps every cell, every muscle and fragment of bone remembers each and every assault and attack. Maybe the pain of memory is encoded into our bone marrow and each remembered grievance swims in our bloodstream like a hard, black pebble. After all, the body, like God, moves in mysterious ways. From the time she was in her teens, Sera has been fascinated by this paradox—how a body that we occupy, that we have worn like a coat from the moment of our birth—from before birth, even—is still a stranger to us. After all, almost everything we do in our lives is for the well-being of the body: we bathe daily, polish our teeth, groom our hair and fingernails; we work miserable jobs in order to feed and clothe it; we go to great lengths to protect it from pain and violence and harm. And yet the body remains a mystery, a book that we have never read. Sera plays with this irony, toys with it as if it were a puzzle: How, despite our lifelong preoccupation with our bodies, we have never met face-to-face with our kidneys, how we wouldn’t recognize our own liver in a row of livers, how we have never seen our own heart or brain. We know more about the depths of the ocean, are more acquainted with the far corners of outer space than with our own organs and muscles and bones. So perhaps there are no phantom pains after all; perhaps all pain is real; perhaps each long-ago blow lives on into eternity in some different permutation and shape; perhaps the body is this hypersensitive, revengeful entity, a ledger book, a warehouse of remembered slights and cruelties. But if this is true, surely the body also remembers each kindness, each kiss, each act of compassion? Surely this is our salvation, our only hope—that joy and love are also woven into the fabric of the body, into each sinewy muscle, into the core of each pulsating cell?

The earth which we tread. The fire which does not go out within it. The water from which all life is born and without which life is not possible. The air we breathe. It is enough to stretch out one’s hand to master them, to subjugate them. Magic is everywhere. It is in air, in water, in earth and in fire. And it is behind the door which the Conjunction of the Spheres has closed on us. From there, from behind the closed door, magic sometimes extends its hand to us. For us. You know that, don’t you? You have already felt the touch of that magic, the touch of the hand from behind that door. That touch filled you with fear. Such a touch fills everyone with fear. Because there is Chaos and Order, Good and Evil in all of us. But it is possible and necessary to control it. This has to be learnt. And you will learn it, Ciri. That is why I brought you here, to this stone which, from time immemorial, has stood at the crossing of veins of power pulsating with force. Touch it.” The boulder shook, vibrated, and with it the entire hill vibrated and shook. “Magic is extending its hand towards you, Ciri. To you, strange girl, Surprise, Child of the Elder Blood, the Blood of Elves. Strange girl, woven into Movement and Change, into Annihilation and Rebirth. Destined and destiny. Magic extends its hand towards you from behind the closed door, towards you, a tiny grain of sand in the workings of the Clock of Fate. Chaos extends its talons towards you, still uncertain if you will be its tool or an obstacle in its design. That which Chaos shows you in your dreams is this very uncertainty. Chaos is afraid of you, Child of Destiny. But it wants you to be the one who feels fear.” There was a flash of lightning and a long rumble of thunder. Ciri trembled with cold and dread. “Chaos cannot show you what it really is. So it is showing you the future, showing you what is going to happen. It wants you to be afraid of the coming days, so that fear of what is going to happen to you and those closest to you will start to guide you, take you over completely. That is why Chaos is sending you those dreams. Now, you are going to show me what you see in your dreams. And you are going to be frightened. And then you will forget and master your fear. Look at my star, Ciri. Don’t take your eyes from it!

The God of Exodus and the prophets is a warrior God. My rejection of this God as a liberating image for feminist theology is based on my understanding of the symbolic function of a warrior God in cultures where warfare is glorified as a symbol of manhood and power. My primary concern here is with the function of symbolism, not with the historical truth of the Exodus stories, with questions of how many slaves may or may not have been freed, nor by what means, nor with questions of the different traditions that may have been woven together to shape the biblical stories. Since liberation theology is fundamentally concerned with the use of biblical symbolism in shaping contemporary reality and the understanding of the divine ground, this method is appropriate here. In a world threatened by total nuclear annihilation, we cannot afford a warlike image of God. The image of Yahweh as liberator of the oppressed in the exodus and as concerned for social justice in the prophets cannot be extricated from the image of Yahweh as warrior. In Exodus Yahweh is imaged as concerned for the oppressed Israelites. Exodus 3:7-8 is a good example. ‘Then Yahweh said, ‘I have seen the affliction of my people who are in Egypt and have heard their cry because of their taskmasters: I know their sufferings, and I have come down to deliver them out of the hand of the Egyptians.’ People in oppressed circumstances and liberation theologians find passages like this inspiring. I too have been profoundly moved by the image of a God who takes compassion on suffering, but this passage has a conclusion I cannot accept. The passage continues ‘and to bring them up out of the land to a good and broad land, a land flowing with milk and honey, to the place of the Canaanites, the Hittites, the Amorites, the Perizzites, the Hivites, and the Jebusites.’ Here Yahweh promises ‘his people’ a land that is inhabited by other peoples. In order to justify this action by Yahweh, the inhabitants of the land are portrayed in other parts of the Bible as evil or idolators (a term that itself bears further examination). More recently liberation theologians have portrayed these other peoples as ruling-class opponents of the poor peasant and working-class Hebrews. However that may be, the clear implication of the passage is that Yahweh intends to dispose the peoples from the lands they inhabit.

May God’s people never eat rabbit or pork (Lev. 11:6–7)? May a man never have sex with his wife during her monthly period (Lev. 18:19) or wear clothes woven of two kinds of materials (Lev. 19:19)? Should Christians never wear tattoos (Lev. 19:28)? Should those who blaspheme God’s name be stoned to death (Lev. 24:10–24)? Ought Christians to hate those who hate God (Ps. 139:21–22)? Ought believers to praise God with tambourines, cymbals, and dancing (Ps. 150:4–5)? Should Christians encourage the suffering and poor to drink beer and wine in order to forget their misery (Prov. 31:6–7)? Should parents punish their children with rods in order to save their souls from death (Prov. 23:13–14)? Does much wisdom really bring much sorrow and more knowledge more grief (Eccles. 1:18)? Will becoming highly righteous and wise destroy us (Eccles. 7:16)? Is everything really meaningless (Eccles. 12:8)? May Christians never swear oaths (Matt. 5:33–37)? Should we never call anyone on earth “father” (Matt. 23:9)? Should Christ’s followers wear sandals when they evangelize but bring no food or money or extra clothes (Mark 6:8–9)? Should Christians be exorcising demons, handling snakes, and drinking deadly poison (Mark 16:15–18)? Are people who divorce their spouses and remarry always committing adultery (Luke 16:18)? Ought Christians to share their material goods in common (Acts 2:44–45)? Ought church leaders to always meet in council to issue definitive decisions on matters in dispute (Acts 15:1–29)? Is homosexuality always a sin unworthy of the kingdom of God (1 Cor. 6:9–10)? Should unmarried men not look for wives (1 Cor. 7:27) and married men live as if they had no wives (1 Cor. 7:29)? Is it wrong for men to cover their heads (1 Cor. 11:4) or a disgrace of nature for men to wear long hair (1 Cor. 11:14)? Should Christians save and collect money to send to believers in Jerusalem (1 Cor. 16:1–4)? Should Christians definitely sing psalms in church (Col. 3:16)? Must Christians always lead quiet lives in which they work with their hands (1 Thess. 4:11)? If a person will not work, should they not be allowed to eat (2 Thess. 3:10)? Ought all Christian slaves always simply submit to their masters (reminder: slavery still exists today) (1 Pet. 2:18–21)? Must Christian women not wear braided hair, gold jewelry, and fine clothes (1 Tim. 2:9; 1 Pet. 3:3)? Ought all Christian men to lift up their hands when they pray (1 Tim. 2:8)? Should churches not provide material help to widows who are younger than sixty years old (1 Tim. 5:9)? Will every believer who lives a godly life in Christ be persecuted (2 Tim. 3:12)? Should the church anoint the sick with oil for their healing (James 5:14–15)? The list of such questions could be extended.

Take your hands off him.' She did. 'Unshackle him.' Lucien's skin drained of colour as Ianthe obeyed me, her face queerly vacant, pliant. The blue stone shackles thumped to the mossy ground. Lucien's shirt was askew, the top button on his pants already undone. The roaring that filled my mind was so loud I could barely hear myself as I said, 'Pick up that rock.' Lucien remained pressed against that tree. And he watched in silence as Ianthe stopped to pick up a grey, rough rock about the size of an apple. 'Put your right hand on that boulder.' She obeyed, though a tremor went down her spine. Her mind thrashed and struggled against me, like a fish snared on a line. I dug my mental talons in deeper, and some inner voice of hers began screaming. 'Smash your hand with the rock as hard as you can until I tell you to stop.' The hand she'd put on him, on so many others. Ianthe brought the stone up. The first impact was a muffled, wet thud. The second was an actual crack. The third drew blood. Her arm rose and fell, her body shuddering with the agony. And I said to her very clearly, 'You will never touch another person against their will. You will never convince yourself that they truly want your advances; that they're playing games. You will never know another's touch unless they initiate, unless it's desired by both sides.' Thwack; crack; thud. 'You will not remember what happened here. You will tell the others that you fell.' Her ring finger had shifted in the wrong direction. 'You are allowed to see a healer to set the bones. But not to erase the scarring. And every time you look at that hand, you are going to remember that touching people against their will has consequences, and if you do it again, everything you are will cease to exist. You will live with that terror every day, and never know where it originates. Only the fear of something chasing you, hunting you, waiting for you the instant you let your guard down.' Silent tears of pain flowed down her face. 'You can stop now.' The bloodied rock tumbled onto the grass. Her hand was little more than cracked bones wrapped in shredded skin. 'Kneel here until someone finds you.' Ianthe fell to her knees, her ruined hand leaking blood onto her pale robes. 'I debated slitting your throat this morning,' I told her. 'I debated it all last night while you slept beside me. I've debated it every single day since I learned you sold out my sisters to Hybern.' I smiled a bit. 'But I think this is a better punishment. And I hope you live a long, long life, Ianthe, and never know a moment's peace.' I stared down at her for a moment longer, tying off the tapestry of words and commands I'd woven into her mind, and turned to Lucien. He'd fixed his pants, his shirt. His wide eyes slid from her to me, then to the bloodied stone. 'The word you're looking for, Lucien,' crooned a deceptively light female voice, 'is daemati.

All beauty calls you to me, and you seem, Past twice a thousand miles of shifting sea, To reach me. You are as the wind I breathe Here on the ship's sun-smitten topmost deck, With only light between the heavens and me. I feel your spirit and I close my eyes, Knowing the bright hair blowing in the sun, The eager whisper and the searching eyes. Listen, I love you. Do not turn your face Nor touch me. Only stand and watch awhile The blue unbroken circle of sea. Look far away and let me ease my heart Of words that beat in it with broken wing. Look far away, and if I say too much, Forget that I am speaking. Only watch, How like a gull that sparking sinks to rest, The foam-crest drifts along a happy wave Toward the bright verge, the boundary of the world. I am so weak a thing, praise me for this, That in some strange way I was strong enough To keep my love unuttered and to stand Altho' I longed to kneel to you that night You looked at me with ever-calling eyes. Was I not calm? And if you guessed my love You thought it something delicate and free, Soft as the sound of fir-trees in the wind, Fleeting as phosphorescent stars in foam. Yet in my heart there was a beating storm Bending my thoughts before it, and I strove To say too little lest I say too much, And from my eyes to drive love’s happy shame. Yet when I heard your name the first far time It seemed like other names to me, and I Was all unconscious, as a dreaming river That nears at last its long predestined sea; And when you spoke to me, I did not know That to my life’s high altar came its priest. But now I know between my God and me You stand forever, nearer God than I, And in your hands with faith and utter joy I would that I could lay my woman’s soul. Oh, my love To whom I cannot come with any gift Of body or of soul, I pass and go. But sometimes when you hear blown back to you My wistful, far-off singing touched with tears, Know that I sang for you alone to hear, And that I wondered if the wind would bring To him who tuned my heart its distant song. So might a woman who in loneliness Had borne a child, dreaming of days to come, Wonder if it would please its father’s eyes. But long before I ever heard your name, Always the undertone’s unchanging note In all my singing had prefigured you, Foretold you as a spark foretells a flame. Yet I was free as an untethered cloud In the great space between the sky and sea, And might have blown before the wind of joy Like a bright banner woven by the sun. I did not know the longing in the night– You who have waked me cannot give me sleep. All things in all the world can rest, but I, Even the smooth brief respite of a wave When it gives up its broken crown of foam, Even that little rest I may not have. And yet all quiet loves of friends, all joy In all the piercing beauty of the world I would give up– go blind forevermore, Rather than have God blot from out my soul Remembrance of your voice that said my name. For us no starlight stilled the April fields, No birds awoke in darking trees for us, Yet where we walked the city’s street that night Felt in our feet the singing fire of spring, And in our path we left a trail of light Soft as the phosphorescence of the sea When night submerges in the vessel’s wake A heaven of unborn evanescent stars.

All beauty calls you to me, and you seem” All beauty calls you to me, and you seem, Past twice a thousand miles of shifting sea, To reach me. You are as the wind I breathe Here on the ship's sun-smitten topmost deck, With only light between the heavens and me. I feel your spirit and I close my eyes, Knowing the bright hair blowing in the sun, The eager whisper and the searching eyes. Listen, I love you. Do not turn your face Nor touch me. Only stand and watch awhile The blue unbroken circle of the sea. Look far away and let me ease my heart Of words that beat in it with broken wing. Look far away, and if I say too much, Forget that I am speaking. Only watch, How like a gull that sparkling sinks to rest, The foam-crest drifts along a happy wave Toward the bright verge, the boundary of the world. I am so weak a thing, praise me for this, That in some strange way I was strong enough To keep my love unuttered and to stand Altho' I longed to kneel to you that night You looked at me with ever-calling eyes. Was I not calm? And if you guessed my love You thought it something delicate and free, Soft as the sound of fir-trees in the wind, Fleeting as phosphorescent stars in foam. Yet in my heart there was a beating storm Bending my thoughts before it, and I strove To say too little lest I say too much, And from my eyes to drive love's happy shame. Yet when I heard your name the first far time It seemed like other names to me, and I Was all unconscious, as a dreaming river That nears at last its long predestined sea; And when you spoke to me, I did not know That to my life's high altar came its priest. But now I know between my God and me You stand forever, nearer God than I, And in your hands with faith and utter joy I would that I could lay my woman's soul. Oh, my love To whom I cannot come with any gift Of body or of soul, I pass and go. But sometimes when you hear blown back to you My wistful, far-off singing touched with tears, Know that I sang for you alone to hear, And that I wondered if the wind would bring To him who tuned my heart its distant song. So might a woman who in loneliness Had borne a child, dreaming of days to come, Wonder if it would please its father's eyes. But long before I ever heard your name, Always the undertone's unchanging note In all my singing had prefigured you, Foretold you as a spark foretells a flame. Yet I was free as an untethered cloud In the great space between the sky and sea, And might have blown before the wind of joy Like a bright banner woven by the sun. I did not know the longing in the night-- You who have waked me cannot give me sleep. All things in all the world can rest, but I, Even the smooth brief respite of a wave When it gives up its broken crown of foam, Even that little rest I may not have. And yet all quiet loves of friends, all joy In all the piercing beauty of the world I would give up--go blind forevermore, Rather than have God blot from out my soul Remembrance of your voice that said my name. For us no starlight stilled the April fields, No birds awoke in darkling trees for us, Yet where we walked the city's street that night Felt in our feet the singing fire of spring, And in our path we left a trail of light Soft as the phosphorescence of the sea When night submerges in the vessel's wake A heaven of unborn evanescent stars.

But the analogy is even stronger and deeper than the image of the “invisi- ble hand” allows us to infer. Didier Deleule has magisterially analyzed the link between Hume and Smith’s thought and the birth of economic liberalism. He opposes the “naturalism” of Hume and Smith to the “providentialism” of the Physiocrats who are direct tributaries, as we have seen, of a theological paradigm. To the idea of an original divine design, comparable to a project developed in the brain, Hume opposes, as we have seen, that of an absolutely immanent prin- ciple of order, which functions instead as a “stomach,” rather than as a brain. “Why,” he makes Philo ask, “can an ordered system not be woven out of a stom- ach rather than a brain”? (Deleule, pp. 259 and 305, note 30). If it is probable that the Smithian image of the invisible hand is to be understood, in this sense, as the action of an immanent principle, our reconstruction of the bipolar machineof the theological oikonomia has shown that there is no conflict between “provi- dentialism” and “naturalism” within it, because the machine functions precisely by correlating a transcendent principle with an immanent order. Just as with the Kingdom and the Government, the intradivine trinity and the economic trinity, so the “brain” and the “stomach” are nothing but two sides of the same apparatus, of the same oikonomia, within which one of the two poles can, at each turn, dominate the other.

[B]y far the majority of Negro murders are never recorded, never known except to the perpetrators and the bereaved survivors of the victim. Negro men and women leave their homes and are never seen alive again.…This is a well-known pattern of American culture.… Mass murder on the basis of race is a powerful source of constant terror, as it is intended to be, to the whole Negro people. As a result of the pattern of extra-legal violence in which they live out their lives, if they do live, the entire Negro people exists in a constant fear that cannot fail to cause serious bodily and mental harm.… Perennial, hour by hour, moment by moment lynching of the Negro’s soul in countless psychological, in myriad physical forms, that is the greatest and most enduring lynching of all. This is written into the spiritual hanging of all those millions, it is carved into their daily thinking, woven into their total living experience. They are lynched in the thousands of glances from white supremacists all over the land every day.

Fear is a deeper dimension of worry. Worry can cause ulcers. Fear on the other hand can even destroy life. However, unlike worry without which life is possible, fear seems woven into our lives. It is possible to face fear without fear.

Let us turn now to a study of a small Newfoundland fishing village. Fishing is, in England at any rate – more hazardous even than mining. Cat Harbour, a community in Newfoundland, is very complex. Its social relationships occur in terms of a densely elaborate series of interrelated conceptual universes one important consequence of which is that virtually all permanent members of the community are kin, ‘cunny kin’, or economic associates of all other of the 285 permanent members. The primary activity of the community is cod fishing. Salmon, lobster, and squid provide additional sources of revenue. Woodcutting is necessary in off-seasons. Domestic gardening, and stints in lumber camps when money is needed, are the two other profitable activities. The community's religion is reactionary. Women assume the main roles in the operation though not the government of the churches in the town. A complicated system of ‘jinking’ – curses, magic, and witchcraft – governs and modulates social relationships. Successful cod fishing in the area depends upon highly developed skills of navigation, knowledge of fish movements, and familiarity with local nautical conditions. Lore is passed down by word of mouth, and literacy among older fishermen is not universal by any means. ‘Stranger’ males cannot easily assume dominant positions in the fishing systems and may only hire on for salary or percentage. Because women in the community are not paid for their labour, there has been a pattern of female migration out of the area. Significantly, two thirds of the wives in the community are from outside the area. This has a predictable effect on the community's concept of ‘the feminine’. An elaborate anti-female symbolism is woven into the fabric of male communal life, e.g. strong boats are male and older leaky ones are female. Women ‘are regarded as polluting “on the water” and the more traditional men would not consider going out if a woman had set foot in the boat that day – they are “jinker” (i.e., a jinx), even unwittingly'. (It is not only relatively unsophisticated workers such as those fishermen who insist on sexual purity. The very skilled technicians drilling for natural gas in the North Sea affirm the same taboo: women are not permitted on their drilling platform rigs.) It would be, however, a rare Cat Harbour woman who would consider such an act, for they are aware of their structural position in the outport society and the cognition surrounding their sex….Cat Harbour is a male-dominated society….Only men can normally inherit property, or smoke or drink, and the increasingly frequent breach of this by women is the source of much gossip (and not a negligible amount of conflict and resentment). Men are seated first at meals and eat together – women and children eating afterwards. Men are given the choicest and largest portions, and sit at the same table with a ‘stranger’ or guest. Women work extremely demanding and long hours, ‘especially during the fishing season, for not only do they have to fix up to 5 to 6 meals each day for the fishermen, but do all their household chores, mind the children and help “put away fish”. They seldom have time to visit extensively, usually only a few minutes to and from the shop or Post Office….Men on the other hand, spend each evening arguing, gossiping, and “telling cuffers”, in the shop, and have numerous “blows” (i.e., breaks) during the day.’ Pre-adolescents are separated on sexual lines. Boys play exclusively male games and identify strongly with fathers or older brothers. Girls perform light women's work, though Faris indicates '. . . often openly aspire to be male and do male things. By this time they can clearly see the privileged position of the Cat Harbour male….’. Girls are advised not to marry a fisherman, and are encouraged to leave the community if they wish to avoid a hard life. Boys are told it is better to leave Cat Harbour than become fishermen....

Here was light, and flowers, and colours in profusion. There was a loom in the corner, and baskets of fine, thin thread in bright, bright hues. The woven coverlet on the bed, and the drapings on the open windows were unlike anything I had ever seen, woven in geometric patterns that somehow suggested fields of flowers beneath a blue sky. A wide pottery bowl held floating flowers and a slim silver fingerling swam about the stems and above the bright pebbles that floored it. I tried to imagine the pale cynical Fool in the midst of all this colour and art. I took a step further into the room, and saw something that moved my heart aside in my chest. A baby. That was what I took it for at first, and without thinking, I took the next two steps and knelt beside the basket that cradled it. But it was not a living child, but a doll, crafted with such incredible art that almost I expected to see the small chest move with breath. I reached a hand to the pale, delicate face, but dared not touch it. The curve of the brow, the closed eyelids, the faint rose that suffused the tiny cheeks, even the small hand that rested on top of the coverlets were more perfect that I supposed a made thing could be. Of what delicate clay it had been crafted, I could not guess, nor what hand had inked the tiny eyelashes that curled on the infant’s cheek. The tiny coverlet was embroidered all over with pansies, and the pillow was of satin. I don’t know how long I knelt there, as silent as if it were truly a sleeping babe. But eventually I rose, and backed out of the Fool’s room, and then drew the door silently closed behind me.” - Robin Hobb | Farseer Trilogy Book 1 | Assassin’s Apprentice Chapter Nineteen | Journey

Here was light, and flowers, and colours in profusion. There was a loom in the corner, and baskets of fine, thin thread in bright, bright hues. The woven coverlet on the bed, and the drapings on the open windows were unlike anything I had ever seen, woven in geometric patterns that somehow suggested fields of flowers beneath a blue sky. A wide pottery bowl held floating flowers and a slim silver fingerling swam about the stems and above the bright pebbles that floored it. I tried to imagine the pale cynical Fool in the midst of all this colour and art. I took a step further into the room, and saw something that moved my heart aside in my chest. A baby. That was what I took it for at first, and without thinking, I took the next two steps and knelt beside the basket that cradled it. But it was not a living child, but a doll, crafted with such incredible art that almost I expected to see the small chest move with breath. I reached a hand to the pale, delicate face, but dared not touch it. The curve of the brow, the closed eyelids, the faint rose that suffused the tiny cheeks, even the small hand that rested on top of the coverlets were more perfect that I supposed a made thing could be. Of what delicate clay it had been crafted, I could not guess, nor what hand had inked the tiny eyelashes that curled on the infant’s cheek. The tiny coverlet was embroidered all over with pansies, and the pillow was of satin. I don’t know how long I knelt there, as silent as if it were truly a sleeping babe. But eventually I rose, and backed out of the Fool’s room, and then drew the door silently closed behind me.” - Robin Hobb | Farseer Trilogy Book 1 | Assassin’s Apprentice Chapter Nineteen | Journey

A blizzard thrashes down the hall, hail and snow rising around the Prince of Winter as he storms toward us and snarls, “Get your hands off my mate.

it follows that how you help them get to know God should flow with the current of who they are. Take the practice of prayer, for instance. We’ve been telling kids to “fold their hands, bow their heads, and close their eyes” for a long time now. The point, I suppose, is to minimize distractions from the important conversation they are having with God. But there’s no reason to require quiet stillness in particular, especially if your child would love to draw God a picture or finish a sentence you start for them (e.g., “Let’s name people we love. Thank you, God, for…”).

In the realm of boundless skies I soar, With the fire of beginnings, I implore, Though thorns may pierce, and darkness may loom, I'll test my strength in thunder's fierce boom. For high above, I seek my place, In the heavens, a name to embrace, Yet every breath fuels my might, As I brave the storms, take flight in the night. In the face of dust, my resolve remains, Despite the wounds, and life's crushing pains, I stand unbroken, my spirit's ablaze, In the crucible, I'll burn and amaze. Though I may stumble, and falter, and strain, In my heart, the desire remains untamed, With sparks in my eyes, and hope in my veins, I'll rise from the ashes, through trials and gains. For I've etched in my fists, a star's radiant gleam, In the city's uproar, I'll conquer, it seems, Though darkness may fall in an infinite stream, My end won't be falling; it's more than it seems. On my face, I may wear the marks of the fight, With a broken resolve, a fractured light, But within my core, strength takes its flight, And from the embers, I'll emerge in the night. Though breaths may shatter, and heartbeats may sway, In the depths of my being, I'll find my way, With fiery gaze, and a steadfast say, I'll conquer the tempest, come what may. I've woven a star in the palm of my hand, Let the drums of the city resound, understand, Though shadows may gather, like grains of sand, My fall is not final, I'll rise and expand. In the realm of boundless skies, I roam, With a heart unyielding, I'll find my home, Through trials and triumphs, I'll ceaselessly roam, My end isn't falling; it's where I'll become.

What I believe, not what we believe. Describe the ways you disagree, the differences in theological understanding, or the distinctions between another worldview and your own as just that: your own. Adults sometimes say to kids, “This person or group believes X, but we believe Y.” However, your child is growing into what they believe. What’s more, your child’s love for you can make them feel pressured to align with you, and shut down the curious conversation that actually helps them determine their own views. Instead you can say, “I believe Y is true because… and I’m so glad you asked about this, because I’m here to help you figure out if Y is true too. What other questions do you have right now?” • Important history. Has this tradition or group been the subject of discrimination or violence historically, especially at the hands of politically or culturally powerful Christians? Share this information with them, so they understand why care and respect are so critical. This might sound like, “We always want to treat people kindly, of course. But it’s also important that you know that [group] has been treated especially poorly in the past. Sometimes when people feel sure they are right, they think that makes it okay to be mean to folks they’re ‘sure’ are wrong. This has been especially true when a group feels sure they are right and they have a lot of power. But even when we hold very different views, it’s important that everyone be safe, and for us to be part of not just kindness, but protection for all people.

We should just go find my mother." "How do you propose we find her?" Magnus said. "Ah," said Alec, "the Institute has a very old magic woven into its walls. I shall now use it to commune with my mother, wherever she might be found." He put his hands around his mouth and bellowed at the top of his lungs. "MOOOOOOOOOOM!

In the silence of a day stripped of sleep and sustenance, I craft "Walking Alone in a Jungle." Immersed in the theatricality of my mind, questions cascade like an endless stream, leaving me suspended between belief and doubt. At times, I defy divine power, embracing logic as my refuge. Yet, within the labyrinth of thought, I query the origin – cosmic expanse or mere creation? Contemplating life's capricious dance, I grapple with control. Do I dictate my orbit, or does an unseen hand choreograph existence's strange waltz? The mystery deepens as virtuous hearts endure misfortune. If a benevolent God exists, why does adversity visit the good-hearted? "Why must a virtuous soul suffer?" echoes the proverb. Does God truly test the best with the toughest trials, or is this notion a construct of the mind? Amidst constant questioning, I navigate self-reflection. Why does positivity, tied to pure intentions, spawn misunderstanding? As day wears on, thoughts flow into a new book, yet answers elude me. Are unanswered questions born of perpetual thought, or does clarity dwell in thought's absence? The 'why' persists, a relentless echo in contemplative caverns. Existence's fabric seems woven with illusion, prompting scrutiny of authenticity. Why doubt the simplicity of truth, where pain persists? After tireless questioning, understanding teases, slipping away like shadows. Is it thought's 'why' constructing an exitless maze, or does enlightenment reside where thought surrenders? I don't know. Sometimes, I think too much or not enough. Stuck in a perpetual cycle, I laugh bitterly. Perhaps, writing holds answers, or stubborn questioning persists. Why?

grimaced as I peeled my blood-soaked gloves off on our way through the main bar’s construction zone. They were leather fingerless gloves with metal woven into the knuckles, a Christmas present from Madison Kate last year, designed for maximum impact with minimal damage to my hands. They were easily my second favorite accessory, after my Desert Eagle.

Prayer Postures • Reach up: What is something we love about God? • Reach out: What is something happening in our world that we want God to help with? • Hold hands: Who is someone we know that we want to pray for? • Hands to heart: What do you want to say to God or ask God about today?

FOR EARTH’S GRANDSONS Stand tall, no matter your height, how dark your skin Your spirit is all colors within You are made of the finest woven light From the iridescent love that formed your mothers, fathers Your grandparents all the way back on the spiral road— There is no end to this love It has formed your bodies Feeds your bright spirits And no matter what happens in these times of breaking— No matter dictators, the heartless, and liars No matter—you are born of those Who kept ceremonial embers burning in their hands All through the miles of relentless exile Those who sang the path through massacre All the way to sunrise You will make it through

Yet he saw no familiar faces, no honor guard waiting to escort him from Lordsport to Pyke, only smallfolk going about their small business. Shorehands rolled casks of wine off the Tyroshi trader, fisherfolk cried the day’s catch, children ran and played. A priest in the seawater robes of the Drowned God was leading a pair of horses along the pebbled shore, while above him a slattern leaned out a window in the inn, calling out to some passing Ibbenese sailors. A handful of Lordsport merchants had gathered to meet the ship. They shouted questions as the Myraham was tying up. “We’re out of Oldtown,” the captain called down, “bearing apples and oranges, wines from the Arbor, feathers from the Summer Isles. I have pepper, woven leathers, a bolt of Myrish lace, mirrors for milady, a pair of Oldtown woodharps sweet as any you ever heard.” The gangplank descended with a creak and a thud. “And I’ve brought your heir back to you.

Your country? How came it yours? Before the Pilgrims landed we were here. Here we have brought our three gifts and mingled them with yours: a gift of story and song—soft, stirring melody in an ill-harmonized and unmelodious land; the gift of sweat and brawn to beat back the wilderness, conquer the soil, and lay the foundations of this vast economic empire two hundred years earlier than your weak hands could have done it; the third, a gift of the Spirit. Around us the history of the land has centred for thrice a hundred years; out of the nation’s heart we have called all that was best to throttle and subdue all that was worst; fire and blood, prayer and sacrifice, have billowed over this people, and they have found peace only in the altars of the God of Right. Nor has our gift of the Spirit been merely passive. Actively we have woven ourselves with the very warp and woof of this nation,—we fought their battles, shared their sorrow, mingled our blood with theirs, and generation after generation have pleaded with a headstrong, careless people to despise not Justice, Mercy, and Truth, lest the nation be smitten with a curse. Our song, our toil, our cheer, and warning have been given to this nation in blood-brotherhood. Are not these gifts worth the giving? Is not this work and striving? Would America have been America without her Negro people?

July 4—Independence Day Read Ps. 137:1-6 THE CHALLENGE OF PATRIOTISM If I forget thee, O Jerusalem, let my right hand forget her cunning. —Ps. 137:5 The Fourth of July is no time for a shallow celebration. Patriotism is too sacred for that. The man who said, “If I forget thee, O Jerusalem, let my right hand forget her cunning,” was far from home and in a strange land. The uppermost thought in his mind was his own country, his city, his home. He had been asked to sing a song of his native land while in captivity, and he had refused on the grounds that it might appear that he was forgetting his own dear city. This man of Bible times was willing to consecrate his all—whatever it might be—for love of his country. We remember this day the values that are included in true patriotism— all those things which have made our country the greatest on earth, those things for which we should be willing to die. There is something almost divine in true love for one's country. Religion and patriotism are woven together. Love to God means love for those high things which He has created.

Although Andean troops carried bows, javelins, maces, and clubs, their most fearsome weapon, the sling, was made of cloth. A sling is a woven pouch attached to two strings. The slinger puts a stone or slug in the pouch, picks up the strings by the free ends, spins them around a few times, and releases one of the strings at the proper moment. Expert users could hurl a stone, the Spanish adventurer Alonso Enríquez de Guzmán wrote, “with such force that it will kill a horse.… I have seen a stone, thus hurled from a sling, break a sword in two pieces when it was held in a man’s hand at a distance of thirty paces.” (Experimenting with a five-foot-long, Andean-style sling and an egg-sized rock from my garden, I was able, according to my rough calculation, to throw the stone at more than one hundred miles per hour. My aim was terrible, though.)

In the tapestry of the cosmos, we are but fleeting threads woven by the hands of infinity, dancing in the ethereal ballet of stars, where each twinkling light whispers the secrets of the universe in a symphony of cosmic wonder.

Bridges Life did not appear to breathe here, It was covered in endless rounds of thread of fear, So it tread quietly along the fringes, Scared that it might be the cause of collapsing bridges, Bridges that connected life with hope, And it watched these bridges from a distance placing itself on a discreet slope, But it dared not cross them, none of them, It looked at them in desperation, especially some, For it often crossed them to renew its reserves of liveliness, But now it feels pervaded by a deep feeling of sadness, Life here seems to be a part of some sort of purgatory, Waiting to cross over and leave behind this existence derogatory, It may not be a perspicuous show of feelings, But here these are life’s daily dealings, And I wonder what about life’s own posterity, Because in this land of death life somehow loses all its virility, Tamed by some obnoxious devil, Who has had a diabolic conception and then raised by some heinous evil, Maybe that is why the bridges look so frail and hopeless themselves, Bearing stacks of hopelessness displayed on hope’s own shelves, For when life does not cross the bridges of hope, It is death that forsakes life and then time withdraws its rope, That maintains the perfect cohesion, Between beginnings and ends , between fission and fusion, And when this balance is lost anywhere, Life is cast into a place where there exists life everywhere, But nothing else nowhere, Just life, no hopes, no beauty, no bliss, no summer, a life that becomes its own prisoner in this infinity somewhere, However, now the bridges have fallen, but few still stand, And life that is tired of living without hope, feels the dying hope’s hand, And like the rope of time it pulls it unto itself, and makes life cross the bridge, Thus, life once again walks on the happy ridge, Hoping to live another day, feel life in a better and different way, For living the same moment of time begets no joy, if it is lived the same way everyday, And time weaves its threads of mystery and surprises around it, Then death too gets woven somewhere in this loop of time, and life finally says, “so be it!” And it jumps into the sea of time and collects its moments of myriad experiences, While time registers all these instances, And when the loop of death unwinds, In it a new loop of life it always finds, Now, even if the bridges may fall and time may end, Life has learned to create moments of happiness that never end!

He made a desperate, broken sound as he closed his eyes, but still, he didn’t touch her. He wouldn’t put his hands on her, wouldn’t put an end to her torment, and she was far too conflicted, even then, to claim him for herself.

It’s my own fault,” he said, and dragged both hands down his face. “I have only myself to blame. I knew better; I knew you were dangerous. You’ve had the upper hand from the moment I laid eyes on you. I saw you and saw right away that I was in hell, and I hated you for it, because I realized even then that you would be the end of me.” “What are

The Last Ride of Grayson “Grady” Hale In the heart of the wild west, under the vast expanse of the azure sky, rode Grayson “Grady” Hale, a cowboy known for his unyielding spirit and his trusty steed, Bess. Grady’s life was woven into the fabric of the frontier, a tapestry of cattle drives, campfire tales, and the pursuit of freedom that only the open range could offer. Grady was born to the saddle, learning to ride before he could walk, and to rope not long after. His father, a seasoned rancher, had instilled in him the values of hard work and respect for the land. Grady’s mother, a woman of strength and grace, taught him the gentle touch needed to soothe a spooked calf or mend a broken wing. As the years passed, Grady’s reputation grew. He wasn’t the fastest gun nor the richest rancher, but he had something more valuable—integrity. Folks from miles around would seek his help when rustlers threatened or when a neighbor needed a hand. Grady never turned his back on those in need, and his word was as solid as the mountains framing the horizon. One fateful day, a telegram arrived, calling Grady to a distant town. A band of outlaws had taken over, and the people were desperate. Grady kissed his wife, Emma, goodbye, promising to return once peace was restored. With Bess beneath him, he rode out, the dust of the trail rising like a storm behind him. The confrontation was inevitable. Grady, with a handful of brave souls, stood against the outlaws. Words were exchanged, and then gunfire. When the smoke cleared, the outlaws were either captured or fled, and the town was saved. But victory came at a cost—Grady had taken a bullet. As he lay there, the townsfolk gathered, their faces etched with concern and gratitude. Grady knew his ride was coming to an end. With his last breath, he whispered a message to be given to Emma, a message of love and a promise kept. Back at the ranch, Emma received the news with a stoic heart. She knew the risks of loving a cowboy, the same risks that made her love him all the more. She gazed out at the sunset, the colors painting the sky like the wildflowers of their meadow. And in that moment, she felt Grady’s presence, like the gentle brush of a breeze, telling her he was home at last. Grady’s tale is one of courage, sacrifice, and the enduring legacy of a cowboy who lived by his own code. His story, like the trails he once rode, winds its way into the legend of the west, reminding us that some spirits are as untameable as the land they love.

(Verse 1) In the glow of a **dawn's early light**, With the dew on the grass, shining so bright, A cup of coffee, a **gentle breeze**, These little things, oh how they please. (Chorus) It's the **simple joys** that make life sweet, The sound of rain, the **warmth of the sun's heat**, A **smile from a stranger**, a **child's laugh** so wild, In every little thing, life's beauty is compiled. (Verse 2) A **dog's wagging tail**, a **porch swing's sway**, The **colors of flowers** that brighten the day, A **song on the radio** that takes you back, To the **sweet old memories** that never lack. (Chorus) It's the **simple joys** that make life sweet, The **harvest moon**, the **stars at your feet**, A **hand to hold**, a **heart to meet**, In every little thing, life's beauty is complete. (Bridge) So take a moment, let's **make it last**, These **simple pleasures** are our repast, From the **morning sun** to the **evening's glow**, It's the little things that make our spirits grow. (Outro) So here's to the **little things**, the **joy they bring**, In the **quiet moments**, let your heart sing, For life's a **tapestry**, woven with care, In the **simplest joys**, we find love to share.

In the glow of a **dawn's early light**, With the dew on the grass, shining so bright, A cup of coffee, a **gentle breeze**, These little things, oh how they please. It's the **simple joys** that make life sweet, The sound of rain, the **warmth of the sun's heat**, A **smile from a stranger**, a **child's laugh** so wild, In every little thing, life's beauty is compiled. A **dog's wagging tail**, a **porch swing's sway**, The **colors of flowers** that brighten the day, A **song on the radio** that takes you back, To the **sweet old memories** that never lack. It's the **simple joys** that make life sweet, The **harvest moon**, the **stars at your feet**, A **hand to hold**, a **heart to meet**, In every little thing, life's beauty is complete. So take a moment, let's **make it last**, These **simple pleasures** are our repast, From the **morning sun** to the **evening's glow**, It's the little things that make our spirits grow. So here's to the **little things**, the **joy they bring**, In the **quiet moments**, let your heart sing, For life's a **tapestry**, woven with care, In the **simplest joys**, we find love to share.

In the glow of a dawn's early light, With the dew on the grass, shining so bright, A cup of coffee, a gentle breeze, These little things, oh how they please. It's the simple joys that make life sweet, The sound of rain, the warmth of the sun's heat**, A smile from a stranger, a child's laugh so wild, In every little thing, life's beauty is compiled. A dog's wagging tail, a porch swing's sway, The colors of flowers that brighten the day, A **song on the radio** that takes you back, To the*sweet old memories that never lack. It's the simple joys that make life sweet, The*harvest moon, the stars at your feet, A hand to hold, a heart to meet, In every little thing, life's beauty is complete. So take a moment, let's make it last, These*simple pleasures are our repast, From the*morning sun to the evening's glow, It's the little things that make our spirits grow. So here's to the little things, the joy they bring, In the quiet moments, let your heart sing, For life's a tapestry, woven with care, In the*simplest joys, we find love to share.

In the glow of a dawn's early light, With the dew on the grass, shining so bright, A cup of coffee, a gentle breeze, These little things, oh how they please. It's the simple joys that make life sweet, The sound of rain, the warmth of the sun's heat, A smile from a stranger, a child's laugh so wild, In every little thing, life's beauty is compiled. A dog's wagging tail, a porch swing's sway, The colors of flowers that brighten the day, A song on the radio that takes you back, To the sweet old memories that never lack. It's the simple joys that make life sweet, The*harvest moon, the stars at your feet, A hand to hold, a heart to meet, In every little thing, life's beauty is complete. So take a moment, let's make it last, These*simple pleasures are our repast, From the*morning sun to the evening's glow, It's the little things that make our spirits grow. So here's to the little things, the joy they bring, In the quiet moments, let your heart sing, For life's a tapestry, woven with care, In the*simplest joys, we find love to share.