Heart Shaped Glasses Quotes

Around us, life bursts with miracles--a glass of water, a ray of sunshine, a leaf, a caterpillar, a flower, laughter, raindrops. If you live in awareness, it is easy to see miracles everywhere. Each human being is a multiplicity of miracles. Eyes that see thousands of colors, shapes, and forms; ears that hear a bee flying or a thunderclap; a brain that ponders a speck of dust as easily as the entire cosmos; a heart that beats in rhythm with the heartbeat of all beings. When we are tired and feel discouraged by life's daily struggles, we may not notice these miracles, but they are always there.

As she looked, the smoke puffing out of the chimney stopped curling upward and began to take on the shape of a wavering black question mark. Sebastian laughed. "I think that means, Who's there?" Clary pulled her coat closer around her. "It looks like something out of a fairy tale." "Are you cold?" Sebastian put his arm around her. Immediately the smoke curling from the chimney stopped forming itself into question marks and began puffing out in the shape of lopsided hearts.

Then we had the irises, rising beautiful and cool on their tall stalks, like blown glass, like pastel water momentarily frozen in a splash, light blue, light mauve, and the darker ones, velvet and purple, black cat's ears in the sun, indigo shadow, and the bleeding hearts, so female in shape it was a surprise they'd not long since been rooted out. There is something subversive about this garden of Serena's, a sense of buried things bursting upwards, wordlessly, into the light, as if to point, to say: Whatever is silenced will clamor to be heard, though silently.

fairy godmother says you don’t need to look a certain way to deserve someone’s heart. no matter your shape— no matter your size— be proud of all the space your body dares to take up.

There are all sorts of losses people suffer - from the small to the large. You can lose your keys, your glasses, your virginity. You can lose your head, you can lose your heart, you can lose your mind. You can relinquish your home to move into assisted living, or have a child move overseas, or see a spouse vanish into dementia. Loss is more than just death, and grief is the gray shape-shifter of emotion.

I’m going to order us a drink. A bourbon sounds excellent on this crisp fall afternoon.” Ian signaled for the waiter. “Against my better judgment, I’ll order you a glass of wine. According to your credit card statement, you had a staggering amount of chardonnay delivered to your apartment last month. I think you might want to take one of those ‘Could I Be an Alcoholic’ quizzes the next time you come across one, just to see what it says.

There are all sorts of losses people suffer—from the small to the large. You can lose your keys, your glasses, your virginity. You can lose your head, you can lose your heart, you can lose your mind. You can relinquish your home to move into assisted living, or have a child move overseas, or see a spouse vanish into dementia. Loss is more than just death, and grief is the gray shape-shifter of emotion.

You want to fuck, not be fucked,” Victoria says. “Samantha,” Eleanor intones, “is this making sense?” I stare at them all through Kira’s pink heart-shaped glasses. This is how she must see the world all the time. I look at their dark pink faces, so suddenly grave. I should call the police. I should run to Mexico. “Totally.

She walked with measured steps, draped in striped and fringed cloths, treading the earth proudly, with a slight jingle and flash of barbarous ornaments. She carried her head high; her hair was done in the shape of a helmet; she had brass leggings to the knee, brass wire gauntlets to the elbow, a crimson spot on her tawny cheek, innumerable necklaces of glass beads on her neck; bizarre things, charms, gifts of witch-men, that hung about her, glittered and trembled at every step. She must have had the value of several elephant tusks upon her. She was savage and superb, wild-eyed and magnificent; there was something ominous and stately in her deliberate progress. And in the hush that had fallen suddenly upon the whole sorrowful land, the immense wilderness, the colossal body of the pensive, as though it had been looking at the image of its own tenebrous and passionate soul.

There are all sorts of losses people suffer- from the small to the large. You can lose your car keys, your glasses, your virginity. You can lose your head, you can lose your heart, you can lose your mind. You can relinquish your home to move into assisted living, or have a child move overseas, or see a spouse vanish into dementia. Loss is more than just death, and grief is the gray shape-shifter of emotion.

Sometimes I drink coffee at 03:57am, only I call it beer, and it's really purple wine, disguised as clear distilled water, taken from my invisible car's radiator. She used to like radiator water too, so this also serves as a self-reminder to never share a glass with someone who has had hepatitis. Glasses are the main source of broken relationships. I mean glass hearts, as they only bend and change their shape under extremely high temperatures, which, unfortunately, are technically impossible to achieve in some places, like Soviet Russia, where nothing ever happens, because it doesn’t really exist anymore.

And from right to left along the lighted shore moved a wild and gorgeous apparition of a woman. She walked with measured steps, draped in striped and fringed cloths, treading the earth proudly, with a slight jingle and flash of barbarous ornaments. She carried her head high; her hair was done in the shape of a helmet; she had brass leggings to the knee, brass wire gauntlets to the elbow, a crimson spot on her tawny cheek, innumerable necklaces of glass beads on her neck; bizarre things, charms, gifts of witchmen, that hung about her, glittered and trembled at every step. She must have had the value of several elephant tusks upon her. She was savage and superb, wild-eyed and magnificent; there was something ominous and stately in her deliberate progress. And in the hush that had fallen suddenly upon the whole sorrowful land, the immense wilderness, the colossal body of the fecund and mysterious life seemed to look at her, pensive, as though it had been looking at the image of its own tenebrous and passionate soul. Her face had a tragic and fierce aspect of wild sorrow and of dumb pain mingled with the fear of some struggling, halt-shaped resolve. She stood looking at us without a stir, and like the wilderness itself, with an air of brooding over an inscoutable purpose. A whole minute passed, and then she made a step forward. There was a low jingle, a glint of yellow metal, a sway of fringed draperies, and she stopped as if her heart had failed her. She looked at us all as if her life had depended upon the unswerving steadiness of her glance

I know what the word means even when I’m not wearing my smart glasses.

For a breath she wished for a shape-shifter’s heart so she could shed her skin and weave herself into something else, the music or the wind, and blow across the world.

Hi there, cutie." Ash turned his head to find an extremely attractive college student by his side. With black curly hair, she was dressed in jeans and a tight green top that displayed her curves to perfection. "Hi." "You want to go inside for a drink? It's on me." Ash paused as he saw her past, present, and future simultaneously in his mind. Her name was Tracy Phillips. A political science major, she was going to end up at Harvard Med School and then be one of the leading researchers to help isolate a mutated genome that the human race didn't even know existed yet. The discovery of that genome would save the life of her youngest daughter and cause her daughter to go on to medical school herself. That daughter, with the help and guidance of her mother, would one day lobby for medical reforms that would change the way the medical world and governments treated health care. The two of them would shape generations of doctors and save thousands of lives by allowing people to have groundbreaking medical treatments that they wouldn't have otherwise been able to afford. And right now, all Tracy could think about was how cute his ass was in leather pants, and how much she'd like to peel them off him. In a few seconds, she'd head into the coffee shop and meet a waitress named Gina Torres. Gina's dream was to go to college herself to be a doctor and save the lives of the working poor who couldn't afford health care, but because of family problems she wasn't able to take classes this year. Still Gina would tell Tracy how she planned to go next year on a scholarship. Late tonight, after most of the college students were headed off, the two of them would be chatting about Gina's plans and dreams. And a month from now, Gina would be dead from a freak car accident that Tracy would see on the news. That one tragic event combined with the happenstance meeting tonight would lead Tracy to her destiny. In one instant, she'd realize how shallow her life had been, and she'd seek to change that and be more aware of the people around her and of their needs. Her youngest daughter would be named Gina Tory in honor of the Gina who was currently busy wiping down tables while she imagined a better life for everyone. So in effect, Gina would achieve her dream. By dying she'd save thousands of lives and she'd bring health care to those who couldn't afford it... The human race was an amazing thing. So few people ever realized just how many lives they inadvertently touched. How the right or wrong word spoken casually could empower or destroy another's life. If Ash were to accept Tracy's invitation for coffee, her destiny would be changed and she would end up working as a well-paid bank officer. She'd decide that marriage wasn't for her and go on to live her life with a partner and never have children. Everything would change. All the lives that would have been saved would be lost. And knowing the nuance of every word spoken and every gesture made was the heaviest of all the burdens Ash carried. Smiling gently, he shook his head. "Thanks for asking, but I have to head off. You have a good night." She gave him a hot once-over. "Okay, but if you change your mind, I'll be in here studying for the next few hours." Ash watched as she left him and entered the shop. She set her backpack down at a table and started unpacking her books. Sighing from exhaustion, Gina grabbed a glass of water and made her way over to her... And as he observed them through the painted glass, the two women struck up a conversation and set their destined futures into motion. His heart heavy, he glanced in the direction Cael had vanished and hated the future that awaited his friend. But it was Cael's destiny. His fate... "Imora thea mi savur," Ash whispered under his breath in Atlantean. God save me from love.

Lord Cut-Glass, in his kitchen full of time, squats down alone to a dogdish, marked Fido, of peppery fish-scraps and listens to the voices of his sixty-six clocks, one for each year of his loony age, and watches, with love, their black-and-white moony loudlipped faces tocking the earth away: slow clocks, quick clocks, pendulumed heart-knocks, china, alarm, grandfather, cuckoo; clocks shaped like Noah's whirring Ark, clocks that bicker in marble ships, clocks in the wombs of glass women, hourglass chimers, tu-wit-tuwoo clocks, clocks that pluck tunes, Vesuvius clocks all black bells and lava, Niagara clocks that cataract their ticks, old time weeping clocks with ebony beards, clocks with no hands for ever drumming out time without ever knowing what time it is. His sixty-six singers are all set at different hours. Lord Cut-Glass lives in a house and a life at siege. Any minute or dark day now, the unknown enemy will loot and savage downhill, but they will not catch him napping. Sixty-six different times in his fish-slimy kitchen ping, strike, tick, chime, and tock.

She walked with measured steps, draped in striped and fringed cloths, treading the earth proudly, with a slight jingle and flash of barbarous ornaments. She carried her head high; her hair was done in the shape of a helmet; she had brass leggings to the knee, brass wire gauntlets to the elbow, a crimson spot on her tawny cheek, innumerable necklaces of glass beads on her neck; bizarre things, charms, gifts of witch-men, that hung about her, glittered and trembled at every step.

She was a very pretty woman. She had dark red hair and her eyes- her eyes are just like mine, Harry thought, edging a little closer to the glass. Bright green- exactly the same shape, but then he noticed that she was crying; smiling, but crying at the same time. The tall, thin, black-haired man standing next to her put his arm around her. He wore glasses, and his hair was very untidy. It stuck up at the back, just as Harry's did. Harry was so close to the mirror now that his nose was nearly touching that of his reflection. "Mom?" he whispered. "Dad?" They just looked at him, smiling. And slowly, Harry looked into the faces of the other people in the mirror, and saw other pairs of green eyes like his, other noses like his, even a little old man who looked as though he had Harry's knobbly knees- Harry was looking at his family, for the first time in his life. The Potters smiled and waved at Harry and he stared hungrily back at them, his hands pressed flat against the glass as though he was hoping to fall right through it and reach them. He had a powerful kind of ache inside him, half joy, half terrible sadness.

We were partners in sewing. And partners in luck-hunting: four-leaf clovers, sand-dollar birds, red sea glass, clouds shaped like hearts, the first daffodils of spring, ladybugs, ladies in oversized hats. Best to bet on all the horses, dear, she’d say. Quick, make a wish, she’d say. I bet. I wished. I was her disciple. I still am.

Because I Cannot Sleep Because I cannot sleep I make music at night. I am troubled by the one whose face has the color of spring flowers. I have neither sleep nor patience, neither a good reputation nor disgrace. A thousand robes of wisdom are gone. All my good manners have moved a thousand miles away. The heart and the mind are left angry with each other. The stars and the moon are envious of each other. Because of this alienation the physical universe is getting tighter and tighter. The moon says, 'How long will I remain suspended without a sun?' Without Love's jewel inside of me, let the bazaar of my existence be destroyed stone by stone. O Love, You who have been called by a thousand names, You who know how to pour the wine into the chalice of the body, You who give culture to a thousand cultures, You who are faceless but have a thousand faces, O Love, You who shape the faces of Turks, Europeans, and Zanzibaris, give me a glass from Your bottle, or a handful of being from Your Branch. Remove the cork once more. Then we'll see a thousand chiefs prostrate themselves, and a circle of ecstatic troubadours will play. Then the addict will be freed of craving. and will be resurrected, and stand in awe till Judgement Day

broken glass is my bracelet with its heart-shaped diamond and benitoite charm.

There are strawberries growing among my bulbs. Wild ones, seeded from God knows where, poking their pale little fingers among the tulips and crocuses. Wild strawberries are invasive; not quite as invasive as dandelions, but those little heart-shaped leaves conceal a powerful hunger for conquest, sending their runners everywhere, each one an outpost preparing itself for a future invasion. And yet I cannot bring myself, père, to curb their cheery exuberance. Though more or less worthless in terms of fruit, the little white flowers and pretty leaves make excellent ground count cover, keeping the thistles and ragwort at bay without suppressing my daffodils. And besides, in summer, there may be enough of the tiny red berries to put on a tart, or flavor a glassful of sweet white wine. That is, if the birds do not steal them first. They too enjoy their sweetness. Those strawberries will creep, Reynaud, said Narcisse's voice in my mind. Let them stay, and in a month, your beds will be nothing but strawberries.

.. And from right to left along the lighted shore moved a wild and gorgeous apparition of a woman. 'She walked with measured steps, draped in striped and fringed cloths, treading the earth proudly, with a slight jingle and flash of barbarous ornaments. She carried her head high; her hair was done in the shape of a helmet; she had brass leggings to the knee, brass wire gauntlets to the elbow, a crimson spot on her tawny cheek, innumerable necklaces of glass beads on her neck; bizarre things, charms, gifts of witchmen, that hung about her, glittered and trembled at every step. She must have had the value of several elephant tusks upon her. She was savage and superb, wild-eyed and magnificent; there was something ominous and stately in her deliberate progress. And in the hush that had fallen suddenly upon the whole sorrowful land, the immense wilderness, the colossal body of the fecund and mysterious life seemed to look at her, pensive, as though it had been looking at the image of its own tenebrous and passionate soul.

Heart-Shaped Glasses (When the Heart Guides the Hand), the first single from Eat Me, Drink Me, features a video filmed by Titanic director James Cameron. In it, Manson croons to Wood, who – with bobbed hair, gloves and a demure frock – blankly masturbates in an audience of writhing lesbians, Manson’s image reflected in her heart-shaped glasses. I wanted to like the song, but found Manson’s threadbare voice and overdubbed music annoying, and the chorus - 'Don’t break my heart/and I won’t break your heart-shaped glasses' – suggested a pugilistic retribution ('Dump me, and I’ll punch your lights out!') more in keeping with Norman Mailer than Nabokov.

Ian took off his glasses and slid them into the pocket of his jacket. “I like those,” she said. “Put them back on.” “They’ll only be in the way when I kiss you.” “Who said we were going to kiss?” “I did. Katie, you must pay closer attention.

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

She walked with measured steps, draped in striped and fringed cloths, treading the earth proudly, with a slight jingle and flash of barbarous ornaments. She carried her head high; her hair was done in the shape of a helmet; she had brass leggings to the knee, brass wire gauntlets to the elbow, a crimson spot on her tawny cheek, innumerable necklaces of glass beads on her neck; bizarre things, charms, gifts of witch-men, that hung about her, glittered and trembled at every step. She must have had the value of several elephant tusks upon her. She was savage and superb, wild-eyed and magnificent; there was something ominous and stately in her deliberate progress. And in the hush that had fallen suddenly upon the whole sorrowful land, the immense wilderness, the colossal body of the fecund and mysterious life seemed to look at her, pensive, as though it had been looking at the image of its own tenebrous and passionate soul.

And from right to left along the lighted shore moved a wild and gorgeous apparition of a woman. "She walked with measured steps, draped in striped and fringed cloths, treading the earth proudly, with a slight jingle and flash of barbarous ornaments. She carried her head high; her hair was done in the shape of a helmet; she had brass leggings to the knee, brass wire gauntlets to the elbow, a crimson spot on her tawny cheek, innumerable necklaces of glass beads on her neck; bizarre things, charms, gifts of witch-men, that hung about her, glittered and trembled at every step. She must have had the value of several elephant tusks upon her. She was savage and superb, wild-eyed and magnificent; there was something ominous and stately in her deliberate progress. And in the hush that had fallen suddenly upon the whole sorrowful land, the immense wilderness, the colossal body of the fecund and mysterious life seemed to look at her, pensive, as though it had been looking at the image of its own tenebrous and passionate soul.

[THE DAILY BREATH] Love is the greatest mystery of the universe, and the link that literally connects us to God. Let me explain. The source of Love is God, and Love springs forth from Him. In this world Love shines in our hearts, and when expressed, it takes the shapes and forms that are most needed in the moment: a helping hand, a shoulder or a tight embrace, a glass of water, a few coins, a place to sleep, forgiveness, mercy, friendship, truth. Love gushes forth from Heaven, flows through our hearts and takes the form most needed in the moment. Our only purpose is to be the channel of God's love into the world. When we love, we merely open up the gates so that our Father's love can flow through us and pour unto another. When we judge another as unworthy or undeserving of our love, we shut the gates and block the flow. That's all we do. We hurt ourselves and nothing more. If you express love in your actions, you feel this love yourself. If you withhold love, you feel emptiness and pain. The power of your life lies hidden in this choice.

The Winding Stair My Soul. I summon to the winding ancient stair; Set all your mind upon the steep ascent, Upon the broken, crumbling battlement, Upon the breathless starlit air, 'Upon the star that marks the hidden pole; Fix every wandering thought upon That quarter where all thought is done: Who can distinguish darkness from the soul My Self. The consecretes blade upon my knees Is Sato's ancient blade, still as it was, Still razor-keen, still like a looking-glass Unspotted by the centuries; That flowering, silken, old embroidery, torn From some court-lady's dress and round The wodden scabbard bound and wound Can, tattered, still protect, faded adorn My Soul. Why should the imagination of a man Long past his prime remember things that are Emblematical of love and war? Think of ancestral night that can, If but imagination scorn the earth And intellect is wandering To this and that and t'other thing, Deliver from the crime of death and birth. My Self. Montashigi, third of his family, fashioned it Five hundred years ago, about it lie Flowers from I know not what embroidery - Heart's purple - and all these I set For emblems of the day against the tower Emblematical of the night, And claim as by a soldier's right A charter to commit the crime once more. My Soul. Such fullness in that quarter overflows And falls into the basin of the mind That man is stricken deaf and dumb and blind, For intellect no longer knows Is from the Ought, or knower from the Known - That is to say, ascends to Heaven; Only the dead can be forgiven; But when I think of that my tongue's a stone. II My Self. A living man is blind and drinks his drop. What matter if the ditches are impure? What matter if I live it all once more? Endure that toil of growing up; The ignominy of boyhood; the distress Of boyhood changing into man; The unfinished man and his pain Brought face to face with his own clumsiness; The finished man among his enemies? - How in the name of Heaven can he escape That defiling and disfigured shape The mirror of malicious eyes Casts upon his eyes until at last He thinks that shape must be his shape? And what's the good of an escape If honour find him in the wintry blast? I am content to live it all again And yet again, if it be life to pitch Into the frog-spawn of a blind man's ditch, A blind man battering blind men; Or into that most fecund ditch of all, The folly that man does Or must suffer, if he woos A proud woman not kindred of his soul. I am content to follow to its source Every event in action or in thought; Measure the lot; forgive myself the lot! When such as I cast out remorse So great a sweetness flows into the breast We must laugh and we must sing, We are blest by everything, Everything we look upon is blest

She had drawn intricate patterns around the edges of the paper. Heart-shaped petals formed into flowers, and paisley curlicues formed into leaves, all of which connected to look like lace. It was similar to the designs he'd seen decorating Charlotte's skin over the years. He opened the box and lifted out a glass ball. He held it up and saw tiny glass threads inside that reminded him of strings of batter falling from a spoon.

But in good times his family saw little of him, for then he roamed, fished, hunted, searched for roots, lay in the grass or crouched in trees, sniffed, listened, imitated the voices of animals, kindled little fires and compared the shapes of the smoke clouds with the clouds in the sky, drenched his skin and hair with fog, rain, air, sun, or moonlight, and incidentally gathered, as his Master and predecessor Turu had done in his lifetime, objects whose inner character and outward form seemed to belong to different realms, in which the wisdom or whimsicality of nature seemed to reveal some fragment of her rules and secrets of creation, objects which seemed to unite symbolically widely disparate ideas: gnarled branches with the faces of men or animals, water-polished pebbles grained like wood, petrified animals of the primordial world, misshapen or twinned fruit pits, stones shaped like kidneys or hearts.

After three years of music-hall and theatre I'm still the same: always ready too soon. Ten thirty-five. . . . I'd better open that book lying on the make-up shelf, even though I've read it over and over again, or the copy of Paris-Sport the dresser was marking just now with my eyebrow pencil; otherwise I'll find myself all alone, face to face with that painted mentor who gazes at me from the other side of the looking-glass, with deep-set eyes under lids smeared with purplish grease-paint. Her cheek-bones are as brightly coloured as garden phlox and her blackish-red lips gleam as though they were varnished. She gazes at me for a long time and I know she is going to speak to me. She is going to say: "Is that you there? All alone, therr in that cage where idle, impatient, imprisoned hands have scored the white walls with interlaced initials and embellished them with crude, indecent shapes? On those plaster walls reddened nails, like yours, have unconsciously inscribed the appeal of the forsaken. Behind you a feminine hand has carved Marie, and the name ends in a passionate mounting flourish, like a cry to heaven. Is it you there, all alone under that ceiling booming and vibrating beneath the feet of dancers, like the floor of a mill in action? Why are you there, all alone? And why not somewhere else?" Yes, this is the dangerous, lucid hour. Who will knock at the door of my dressing-room, what face will come between me and the painted-mentor peering at me from the other side of the looking-glass? Chance, my master and my friend, will, I feel sure, deign once again to send me the spirits of his unruly kingdom. All my trust is now in him----and in myself. But above all in him, for when I go under he always fishes me out, seizing and shaking me like a life-saving dog whose teeth tear my skin a little every time. So now, whenever I despair, I no longer expect my end, but some bit of luck, some commonplace little miracle which, like a glittering link, will mend again the necklace of my days. Faith, that is what it is, genuine faith, as blind as it sometimes pretends to be, with all the dissembling renunciations of faith, and that obstinacy which makes it continue to hope even at the moment if crying. "I am utterly forsaken!" There is no doubt that, if ever my heart were to call my master Chance by another name, I should make an excellent Catholic.

When a fine old carpet is eaten by mice, the colors and patterns of what's left behind do not change,' wrote my neighbor and friend, the poet Jane Hirschfield, after she visited an old friend suffering from Alzheimer's disease in a nursing home. And so it was with my father. His mind did not melt evenly into undistinguishable lumps, like a dissolving sand castle. It was ravaged selectively, like Tintern Abbey, the Cistercian monastery in northern Wales suppressed in 1531 by King Henry VIII in his split with the Church of Rome. Tintern was turned over to a nobleman, its stained-glass windows smashed, its roof tiles taken up and relaid in village houses. Holy artifacts were sold to passing tourists. Religious statues turned up in nearby gardens. At least one interior wall was dismantled to build a pigsty. I've seen photographs of the remains that inspired Wordsworth: a Gothic skeleton, soaring and roofless, in a green hilly landscape. Grass grows in the transept. The vanished roof lets in light. The delicate stone tracery of its slim, arched quatrefoil windows opens onto green pastures where black-and-white cows graze. Its shape is beautiful, formal, and mysterious. After he developed dementia, my father was no longer useful to anybody. But in the shelter of his broken walls, my mother learned to balance her checkbook, and my heart melted and opened. Never would I wish upon my father the misery of his final years. But he was sacred in his ruin, and I took from it the shards that still sustain me.

Ode, Elegy, Aubade, Pslam" 1 The songbird that escapes from a burning house will build its nest in the shape of a cage. 2 This is one thing we know: song begs for the places that make it grow from seed to starling, 3 places that put the heart’s hemlock in an empty rowboat and heave it from the shore. 4 We only praise what we cannot keep: violin strings berried with rain, teacups overflowing with brandywine, radios sickened with static. 5 Glass tossed out with the tide will come back smoother and stranger, but never to the same person. 6 This is something we want to know. The woman in love never touches her ears. 7 The man in his house is always lost without her. 8 Morning pulls light from the dark like a boy hoisting a trout from the lake by its clean, pink gills. 9 When the woman escapes from a burning house she will know the path of the wind, 10 how it writes its scripture in peach blossoms blown into a baby’s empty pram. 11 She’ll feel it compose its words against her body, against the night, against the water, in an endless, artless psalm.

Sin of self-love possesseth all mine eye, And all my soul, and all my every part; And for this sin there is no remedy, It is so grounded inward in my heart. Methinks no face so gracious is as mine, No shape so true, no truth of such account, And for myself mine own worth do define, As I all other in all worths surmount. But when my glass shows me myself indeed, Beared and chopp’d with tann’d antiquity, Mine own self-love quite contrary I read; Self so self-loving were iniquity. ’Tis thee (myself) that for myself I praise, Painting my age with beauty of thy days.

Trying to live and love, With a heart that can't be broken, Is like trying to see the light with eyes that can't be opened. Yeah, we both carry baggage, We picked up on our way, so if you love me do it gently, And I will do the same. We may shine, we may shatter, We may be picking up the pieces here on after, We are fragile, we are human, We are shaped by the light we let through us, We break fast, cause we are glass. Cause we are glass. I'll let you look inside me, through the stains and through the cracks, And in the darkness of this moment, You see the good and bad. But try not to judge me, 'cause we've walked down different paths, But it brought us here together, so I won't take that back. We may shine, we may shatter, We may be picking up the pieces here on after, We are fragile, we are human, We are shaped by the light we let through us, We break fast, cause we are glass. We might be oil and water, this could be a big mistake, We might burn like gasoline and fire, It's a chance we'll have to take. We may shine, we may shatter, We may be picking up the pieces here on after, We are fragile, we are human, And we are shaped by the light we let through us, We break fast, cause we are glass. We are glass.

I want you to go home now, but take this with you.” He pressed something cool, hard, and flat into her palm, then closed her fingers around it. She opened her hand to find a piece of pink sea glass nearly two inches wide, roughly tumbled into the shape of a heart. “It’s beautiful. Where did you get this?” “In Maine. I found it at Nuns’ Beach in Saco.” He smiled and cupped his hand under hers. “It is beautiful, isn’t it? It’s really just a piece of garbage, but it’s been battered by the waves and the sand. It’s withstood a lot and come back better than before. It’s all in the way you look at it.” The heart felt solid in her palm. “Consider it a little miracle from me to you.

The Kali-Yuga happens to people you love. You see the inner shape, the real one, when they’re just walking away across the room with their backs to you, you see their secret faces when they’re alone, and you see that they’re trudging, their shoulders hunched and rounded under the burden, their faces baffled and bewildered, almost muttering, but still defiant, still determined, because they’re human, and their demand, their consciousness of birthright, is ineffaceable, ineradicable. The divine imprint. His image. And you think they haven’t got a chance, but then again you can’t really know. God alone knows their fate. It happens to the people you love. That’s what breaks your heart. Breaks your heart.

Hush little baby, don’t you cry, Mama’s gonna sing you a lullaby, and if that mockingbird don’t sing, Papa’s gonna buy you a diamond ring. Mama, Dada, uh-oh, ball. Good night tree, good night stars, good night moon, good night nobody. Potato stamps, paper chains, invisible ink, a cake shaped like a flower, a cake shaped like a horse, a cake shaped like a cake, inside voice, outside voice. If you see a bad dog, stand still as a tree. Conch shells, sea glass, high tide, undertow, ice cream, fireworks, watermelon seeds, swallowed gum, gum trees, shoes and ships and sealing wax, cabbages and kings, double dares, alphabet soup, A my name is Alice and my boyfriend’s name is Andy, we come from Alabama and we like apples, A my name is Alice and I want to play the game of looooove. Lightning bugs, falling stars, sea horses, goldfish, gerbils eat their young, please, no peanut butter, parental signature required, #1 Mom, show-and-tell, truth or dare, hide-and-seek, red light, green light, please put your own mask on before assisting, ashes, ashes, we all fall down, how to keep the home fires burning, date night, family night, night-night, May came home with a smooth round stone as small as the world and as big as alone. Stop, Drop, Roll. Salutations, Wilbur’s heart brimmed with happiness. Paper valentines, rubber cement, please be mine, chicken 100 ways, the sky is falling. Monopoly, Monopoly, Monopoly, you be the thimble, Mama, I’ll be the car.

But Lucy liked to hear about the next territory, and the next one, even farther East. Those flat plains where water is abundant and green stretches in every direction. Where towns have shade trees and paved roads, houses of wood and glass. Where instead of wet and dry there are seasons with names like song: autumn, winter, summer, spring. Where stores carry cloth in every color, candy in every shape. Civilization holds the word civil in its heart and so Lucy imagines kids who dress nice and speak nicer, storekeepers who smile, doors held open instead of slammed, and everything—handkerchiefs, floors, words—clean. A new place, where two girls might be wholly unremarkable. In Lucy’s fondest dream, the one she doesn’t want to wake from, she braves no dragons and tigers. Finds no gold. She sees wonders from a distance, her face unnoticed in the crowd. When she walks down the long street that leads her home, no one pays her any mind at

Mathilde watched as down the street came a little girl in a red snowsuit with purple racing stripes. Mittens, a cap too big for her head. Disoriented, the girl turned around and around and around. She began to climb the snow mountain that blocked her from the street. But she was so weak. Halfway up, she’d slip back down. She’d try again, digging her feet deeper into the drift. Mathilde held her breath each time, let it out when the girl fell. She thought of a cockroach in a wineglass, trying to climb up the smooth sides. When Mathilde looked across the street at a long brick apartment complex taking up the whole block, ornate in its 1920s style, she saw, in scattered windows, three women watching the little girl’s struggles. Mathilde watched the women as they watched the girl. One was laughing over her bare shoulder at someone in the room, flushed with sex. One was elderly, drinking her tea. The third, sallow and pinched, had crossed her skinny arms and was pursing her lips. At last, the girl, exhausted, slid down and rested, her face against the snow. Mathilde was sure she was crying. When Mathilde looked up again, the woman with crossed arms was staring angrily through all the glass and cold and snow directly at her. Mathilde startled, sure she’d been invisible. The woman disappeared. She reappeared on the sidewalk in inside clothes, tweedy and thin. She chucked her body into the snowdrift in front of the apartment building, crossed the street, grabbed the girl by the mittens and swung her over the mountain. Carried her across the street and did it again. Both mother and daughter were powdered with white when they went inside. Long after they were gone, Mathilde thought of the woman. What she was imagining when she saw her little girl fall and fall and fall. She wondered at the kind of anger that would crumple your heart up so hard that you could watch a child struggle and fail and weep for so long, without moving to help. Mothers, Mathilde had always known, were people who abandoned you to struggle alone. It occurred to her then that life was conical in shape, the past broadening beyond the sharp point of the lived moment. The more life you had, the more the base expanded, so that the wounds and treasons that were nearly imperceptible when they happened stretched like tiny dots on a balloon slowly blown up. A speck on the slender child grows into a gross deformity in the adult, inescapable, ragged at the edges. A

Saturday is birthday cake day. During the week, the panadería is all strong coffee and pan dulce. But on weekends, it's sprinkle cookies and pink cake. By ten or eleven this morning, we'll get the first rush of mothers picking up yellow boxes in between buying balloons and paper streamers. In the back kitchen, my father hums along with the radio as he shapes the pastry rounds of ojos de buey, the centers giving off the smell of orange and coconut. It may be so early the birds haven't even started up yet, but with enough of my mother's coffee and Mariachi Los Camperos, my father is as awake as if it were afternoon. While he fills the bakery cases, my mother does the delicate work of hollowing out the piñata cakes, and when her back is turned, I rake my fingers through the sprinkle canisters. During open hours, most of my work is filling bakery boxes and ringing up customers (when it's busy) or washing dishes and windexing the glass cases (when it's not). But on birthday cake days, we're busy enough that I get to slide sheet cakes from the oven and cover them in pink frosting and tiny round nonpareils, like they're giant circus-animal cookies. I get to press hundreds-and-thousands into the galletas de grajea, the round, rainbow-sprinkle-covered cookies that were my favorite when I was five. My mother finishes hollowing two cake halves, fills them with candy- green, yellow, and pink this time- and puts them back together. Her piñatas are half our Saturday cake orders, both birthday girls and grandfathers delighting at the moment of seeing M&M's or gummy worms spill out. She covers them with sugar-paste ruffles or coconut to look like the tiny paper flags on a piñata, or frosting and a million rainbow sprinkles.

Amy, listen to me.  Listen to me.  Don't you ever let them tell you you're ugly!  Don't ever let them tell you you're dirty.  You're a beautiful person, inside and out, thoughtful, sensitive and kind.  I don't care what Sylvanus says, or what anyone else thinks.  You'll find yourself a nice man to marry someday, and if your family's trying to convince you otherwise, it's only because they have an unpaid servant in you and they don't want to lose you." He heard what sounded like a gulp, then a sniffle. "Amy?" "I — I'm sorry, Ch-Charles.  No one's ever said anything like that to me before, and . . . and I j-just don't know what to make of it —" "Oh, God, don't cry.  I don't know how to deal with tearful females, truly I don't." "I c-can't help it, you're being so nice to me, saying that I'm beautiful when really, I'm not, and — "You are beautiful, Amy, and don't you ever forget it." "You can't say that, you've never even seen me!" "Come here." "I am here." "Come closer, then, and let me judge the issue for myself." She did. "Now, place my hands on your face." Sniffling, she took his hands within her own.  Or tried to, given that hers were half the size of his and dainty as a bird's foot. And then she raised them to her face, placing one on each hot, tearstained cheek. The minute he felt her flesh beneath his, Charles knew this was a mistake.  A big mistake.  But to stop now would crush her. "Ah, Amy.  How can you think you're ugly?  Your skin is so soft that it feels like roses after a morning rain." "It's too dark.  Bronzy.  Not at all the color of Ophelia's and Mildred's." "And who says skin has to be milk-white to be beautiful?" "Well . . . no one, I guess." He gently pressed his thumbs against her cheeks, noting that they were hot with blush, soft as thistledown, and that the delicate bones beneath were high and prominent.  "And look at these cheekbones!  I know women — aristocratic women, mind you — who'd kill for cheekbones like these.  High cheekbones are a mark of great beauty, you know." "High cheekbones are a mark of Indian blood." "Amy." "Yes?" "Stop it." "I'm sorry." He continued on, now tracing the curve of her brow, and the bridge of her nose.  He had lost his eyesight, but it was amazing what his hands could see. "You have a lovely nose," he said. "It's too strong." "No it isn't.  Close your eyes." She did.  He could feel the fragile veneer of her eyelids, trembling faintly beneath his fingertips, and long, long lashes that brushed those cheekbones he had so admired. "What color are your eyes, Amy?" "Brown." "What color brown?  Brown like conkers?  Brown like nutmeg?  Brown like black?" "Brown like mud." "Can you think of a more flattering word?" "No." His hands moved out over her face, learning its shape, before touching the plaited, pinned-up mass of her hair.  It was straight, he could tell that much.  Shiny like glass, as soft as a fern.  He wished it was down. Good God, man, whatever are you thinking?! "My hair's brown, too," Amy said, her voice now a tremulous, barely audible whisper. "Brown like mud?" he cajoled. "No.  Brown like black.  And when the sun comes out, it's got reddish undertones." "It sounds very pretty." "It's not, really.  It's just hair." "Just hair.  Do you ever wear it down?" "No." "Why not?" "It gets in the way of things." "Don't you think that someday, a man will wish to drag his fingers through all this hair?" "No . . . no respectable man." He shook his head, his heart aching for her.  "Oh, Amy." He

The Addams dwelling at 25 West Fifty-fourth Street was directly behind the Museum of Modern Art, at the top of the building. It was reached by an ancient elevator, which rumbled up to the twelfth floor. From there, one climbed through a red-painted stairwell where a real mounted crossbow hovered. The Addams door was marked by a "big black number 13," and a knocker in the shape of a vampire. ...Inside, one entered a little kingdom that fulfilled every fantasy one might have entertained about its inhabitant. On a pedestal in the corner of the bookcase stood a rare "Maximilian" suit of armor, which Addams had bought at a good price ("a bargain at $700")... It was joined by a half-suit, a North Italian Morion of "Spanish" form, circa 1570-80, and a collection of warrior helmets, perched on long stalks like decapitated heads... There were enough arms and armaments to defend the Addams fortress against the most persistent invader: wheel-lock guns; an Italian prod; two maces; three swords. Above a sofa bed, a spectacular array of medieval crossbows rose like birds in flight. "Don't worry, they've only fallen down once," Addams once told an overnight guest. ... Everywhere one looked in the apartment, something caught the eye. A rare papier-mache and polychrome anatomical study figure, nineteenth century, with removable organs and body parts captioned in French, protected by a glass bell. ("It's not exactly another human heart beating in the house, but it's close enough." said Addams.) A set of engraved aquatint plates from an antique book on armor. A lamp in the shape of a miniature suit of armor, topped by a black shade. There were various snakes; biopsy scissors ("It reaches inside, and nips a little piece of flesh," explained Addams); and a shiny human thighbone - a Christmas present from one wife. There was a sewing basket fashioned from an armadillo, a gift from another. In front of the couch stood a most unusual coffee table - "a drying out table," the man at the wonderfully named antiques shop, the Gettysburg Sutler, had called it. ("What was dried on it?" a reporter had asked. "Bodies," said Addams.)...

Kaleidoscope Yoga: The universal heart and the individual self. We, as humanity, make up together a mosaic of beautiful colors and shapes that can harmoniously play together in endless combinations. We are an ever-changing play of shape and form. A kaleidoscope consists of a tube (or container), mirrors, pieces of glass (or beads or precious stones), sunlight, and someone to turn it and observe and enjoy the forms. Metaphorically, perhaps the sun represents the divine light, or spark of life, within all of us. The mirrors represent our ability to serve as mirrors for one another and each other’s alignment, reflecting sides of ourselves that we may not have been aware of. The tube (or container) is the practice of community yoga. We, as human beings, are the glass, the beads, the precious stones. The facilitator is the person turning the Kaleidoscope, initiating the changing patterns. And the resulting beauty of the shapes? Well, that’s for everyone to enjoy... Coming into a practice and an energy field of community yoga over and over, is a practice of returning, again and again, to the present moment, to the person in front of you, to the people around you, to your body, to others’ bodies, to your energy, to others’ energy, to your breath, to others’ breath. [...] community yoga practice can help us, in a very real, practical, grounded, felt, somatic way, to identify and be in harmony with all that is around us, which includes all of our fellow human beings.
 We are all multiple selves. We are all infinite. We are all universal selves. We are all unique expressions of the universal heart and universal energy. We are all the universal self. We are all one another. And we are all also unique specific individuals. And to the extent that we practice this, somatically, we become more and more comfortable and fluid with this larger, more cosmic, more inter-related reality. We see and feel and breathe ourselves, more and more, as the open movement of energy, as open somatic possibility. As energy and breath. This is one of the many benefits of a community yoga practice. Kaleidoscope shows us, in a very practical way, how to allow universal patterns of wisdom and interconnectedness to filter through us. [...] One of the most interesting paradoxes I have encountered during my involvement with the community yoga project (and it is one that I have felt again and again, too many times to count) is the paradox that many of the most infinite, universal forms have come to me in a place of absolute solitude, silence, deep aloneness or meditation. And, similarly, conversely and complimentarily, (best not to get stuck on the words) I have often found myself in the midst of a huge crowd or group of people of seamlessly flowing forms, and felt simultaneously, in addition to the group energy, the group shape, and the group awareness, myself as a very cleanly and clearly defined, very particular, individual self. These moments and discoveries and journeys of group awareness, in addition to the sense of cosmic expansion, have also clarified more strongly my sense of a very specific, rooted, personal self. The more deeply I dive into the universal heart, the more clearly I see my own place in it. And the more deeply I tune in and connect with my own true personal self, the more open and available I am to a larger, more universal self. We are both, universal heart and universal self. Individual heart and individual self. We are, or have the capacity for, or however you choose to put it, simultaneous layers of awareness. Learning to feel and navigate and mediate between these different kinds and layers of awareness is one of the great joys of Kaleidoscope Community Yoga, and of life in general. Come join us, and see what that feels like, in your body, again and again. From the Preface of Kaleidoscope Community Yoga: The Art of Connecting: The First 108 Poses

...an unlikely group pieced together these past few weeks from parties and family references, friend-of-friend happenstance, and (in one case, just now being introduced) sheer, scarcely tolerable intrusiveness-five people who, in normal life back home, would have been satisfied never to have known one another. Five young expatriates hunch around an undersized cafe table: a moment of total insignificance, and not without a powerful whiff of cliche. Unless you were one of them. Then this meaningless, overdrawn moment may (then or later) seem to be somehow the summation of both an era and your own youth, your undeniably defining afternoon (though you can hardly say that aloud without making a joke of it). Somehow this one game of Sincerity becomes the distilled recollection of a much longer series of events. It persistantly rises to the surface of your memory-that afternoon when you fell in love with a person or a place or a mood, when you savored the power of fooling everyone, when you discovered some great truth about the world, when (like a baby duck glimpsing your quacking mother's waddling rear for the first time) an indelible brand was seared into your heart, which is, of course, a finate space with limited room for searing. Despite its insignificance, there was this moment, this hour or two, this spring afternoon blurring into evening on a cafe patio in a Central European capital in the opening weeks of its post-Communist era. The glasses of liqueur. The diamond dapples of light between oval, leaf-shaped shadows, like optical illusions. The trellised curve of the cast-iron fence seperating the patio from its surrounding city square. The uncomfortable chair. Someday this too will represent someone's receding, cruelly unattainable golden age. (4-5)

He’s beautiful, for one thing, although I know boys hate to be called that. I could look at him for hours, his soft, gray eyes and the long lines of his body, the birthmark I found on the right side of his neck, a dark fleck shaped like a crescent moon.

Brushing a pile of papers aside, Keelin sat at her table and looked at the package. Rectangular-shaped and wrapped in butcher paper, it wasn't the typical international envelope found at the post office. Twine wove around the package and what looked like an honest-to-God wax seal closed the twine. Keelin's name and address were written in a deep brown ink, the handwriting a beautiful old calligrapher style. Keelin squinted at the return address and remembered her reading glasses tucked in her shirt.

Manson’s ‘Heart Shaped Glasses’.

She was born, she came out of her mother singing. Everything heart-shaped. This is all she ever wanted. And now she’s here, no more longing. She can’t bounce. Her heart is too big and will get in the way. She will learn to float. I wish she could keep her eagerness. I will her to keep it.

And that was how we flew into the vast blue, into the exploding sun, looking for a heart-shaped island circled by a massive dragon, where an Electric Woman opened glass boxes to turn back the hands of time.

But endings are just cloudy glass. Looking at it from one side, everything beyond is scary, vague shapes, and you can’t imagine what’s on the other side. Then you go through and you find it’s just… just a place. Like anywhere else. I guess… you’d be surprised how natural it can feel to heal sometimes.

Embrace Efficiency, Elevate Flavor: Smart Kitchen Tools for Culinary Adventurers The kitchen, once a realm of necessity, has morphed into a playground of possibility. Gone are the days of clunky appliances and tedious prep work. Enter the age of the smart kitchen tool, a revolution that whispers efficiency and shouts culinary liberation. For the modern gastronome, these tech-infused gadgets are not mere conveniences, but allies in crafting delectable adventures, freeing us to savor the journey as much as the destination. Imagine mornings when your smart coffee maker greets you with the perfect brew, prepped by the whispers of your phone while you dream. Your fridge, stocked like a digital oracle, suggests recipes based on its ever-evolving inventory, and even automatically orders groceries you've run low on. The multi-cooker, your multitasking superhero, whips up a gourmet chili while you conquer emails, and by dinnertime, your smart oven roasts a succulent chicken to golden perfection, its progress monitored remotely as you sip a glass of wine. But efficiency is merely the prologue. Smart kitchen tools unlock a pandora's box of culinary precision. Smart scales, meticulous to the milligram, banish recipe guesswork and ensure perfect balance in every dish. Food processors and blenders, armed with pre-programmed settings and self-cleaning prowess, transform tedious chopping into a mere blip on the culinary radar. And for the aspiring chef, a sous vide machine becomes a magic wand, coaxing impossible tenderness from the toughest cuts of meat. Yet, technology alone is not the recipe for culinary bliss. For those who yearn to paint with flavors, smart kitchen tools are the brushes on their canvas. A connected recipe platform becomes your digital sous chef, guiding you through each step with expert instructions and voice-activated ease. Spice racks, infused with artificial intelligence, suggest unexpected pairings, urging you to venture beyond the familiar. And for the ultimate expression of your inner master chef, a custom knife, forged from heirloom steel and lovingly honed, becomes an extension of your hand, slicing through ingredients with laser focus and lyrical grace. But amidst the symphony of gadgets and apps, let us not forget the heart of the kitchen: the human touch. Smart tools are not meant to replace our intuition but to augment it. They free us from the drudgery, allowing us to focus on the artistry, the love, the joy of creation. Imagine kneading dough, the rhythm of your hands mirroring the gentle whirring of a smart bread machine, then shaping a loaf that holds the warmth of both technology and your own spirit. Or picture yourself plating a dish, using smart portion scales for precision but garnishing with edible flowers chosen simply because they spark joy. This, my friends, is the symphony of the smart kitchen: a harmonious blend of tech and humanity, where efficiency becomes the brushstroke that illuminates the vibrant canvas of culinary passion. Of course, every adventure, even one fueled by smart tools, has its caveats. Interoperability between gadgets can be a tangled web, and data privacy concerns linger like unwanted guests. But these challenges are mere bumps on the culinary road, hurdles to be overcome by informed choices and responsible data management. After all, we wouldn't embark on a mountain trek without checking the weather, would we? So, embrace the smart kitchen, dear foodies! Let technology be your sous chef, your precision tool, your culinary muse. But never forget the magic of your own hands, the wisdom of your palate, and the joy of a meal shared with loved ones. For in the end, it's not about the gadgets, but the memories we create around them, the stories whispered over simmering pots, and the laughter echoing through a kitchen filled with the aroma of possibility.

We decorate the heart-shaped snickerdoodles in pink and lilac frosting, topping each one with a tiny rosebud. Roisin brews a pot of passion fruit tea, sweetening it with honey before pouring it over a glass of ice and coconut milk. It turns a cloudy purple color. "This is a specialty at Petals Tea Shop," Roisin says. "Your auntie Laina named it the Midnight Rose Garden. It's one of my favorites." "It's wonderful," I say, taking a sip. It reminds me of family trips I used to take to Hawaii. My parents always said I was such a happy kid and didn't know what went wrong as I grew up. The passion fruit spilling over my tongue transports me back to placid waters--- ones that never whispered. The kind of waves that turtles call home and coral reefs burn bright. The same waves that culled my sunburnt shoulders, kissing my welted flesh and telling me I was okay. I was safe here. The water was safe. With Roisin, I am safe.

The floor is a fifteenth-century revival of medieval Cosmatesque mosaic style. The Cosmati family developed their unmistakable technique in Rome in the twelfth and thirteenth centuries. This decorating style was a fantasy of geometric shapes and swirls in cut pieces of colored glass and marble (much of which was “recycled” from pagan Roman palaces and temples). Stunning examples of authentic Cosmati floors and decorations can be found in some of the oldest and most beautiful churches, basilicas, and cloisters in Rome and southern Italy.

In Defense of Our Overgrown Garden" Last night the apple trees shook and gave each lettuce a heart Six hard red apples broke through the greenhouse glass and Landed in the middle of those ever-so-slightly green leaves That seem no mix of seeds and soil but of pastels and light and Chalk x’s mark our oaks that are supposed to be cut down I’ve seen the neighbors frown when they look over the fence And see our espalier pear trees bowing out of shape I did like that They looked like candelabras against the wall but what’s the sense In swooning over pruning I said as much to Mrs. Jones and I swear She threw her cane at me and walked off down the street without It has always puzzled me that people coo over bonsai trees when You can squint your eyes and shrink anything without much of A struggle ensued with some starlings and the strawberry nets So after untangling the two I took the nets off and watched birds With red beaks fly by all morning at the window I reread your letter About how the castles you flew over made crenellated shadows on The water in the rainbarrel has overflowed and made a small swamp I think the potatoes might turn out slightly damp don’t worry If there is no fog on the day you come home I will build a bonfire So the smoke will make the cedars look the way you like them To close I’m sorry there won’t be any salad and I love you

They swept down into a great V, sentinels at watch withdrawing, gray swirls and curves of mountains reaching upwards in carefully-shaded lines of chalk and silhouette that overlooked the enormity of a sun-kissed world dreamt in glass-blown shapes. There was a deep, pervading serenity, quiet and solitary, in this sanctuary of branch and water, drifting across in far-reaching swells, and I breathed it in—breathed it in as if it could purge any poison from my heart.

Chace glanced up from the glass of amber beer as his closest friend, Gunner, approached their usual table in the corner of the bar. Unlike Chace, who was a dragon shifter, Gunner was able to transform into a panther the size of a car. He had dark hair and almond-shaped, brown eyes, a muscular frame, a gait worthy of a cat and two pints in his hands. He sat and placed one glass down beside Chace’s untouched drink.

I picked the Hermetic lamp off my bedside table. The bulb was made of frosted glass and shaped like a cabbage rose. I turned it over. On the underside of the brass base were etched the swirling lines of a Hermetic diagram. It was a simple one: just four interlocking sigils, those abstract designs whose angles and curves invoke the power of the four elements. With the lamp's light directed down at my lap, I couldn't make out all the lines-- but I could feel the soft, pulsing buzz of the working's four elemental hearts as they invoked earth, air, fire, and water in a careful harmony to catch sunlight all day and release it again when the lamp was swirled on at night.

I made you nervous? I was ready to get on my knees, Em." My heart flipped over in my chest, and I covered the moment by fumbling with the string holding the box closed. It slipped free with a jerk, and the box, designed to open like a flower, revealed its gift. A gasp escaped me. Nestled in a white cloud of spun sugar was a perfect little sphere-shaped gâteau covered in chocolate so dark and glossy it shone like midnight. But that wasn't what had my mouth falling open in awe. Resting on the very top of the orb was a pink-and-gold butterfly made of sugar glass. The delicate wings were so fine and thin the light shone through them. It looked so real I half expected it to fly away. "Lucian..." "This is how I see you sometimes," he said in a low voice, eyes on the gâteau. "Beautiful and rare, something not to be contained but treasured.

Hast du jemals so jemanden kennengelernt? jemanden,der so gut ist -nicht perfekt ,sondern gut -das man sich daneben wie Abfall fühlt

leaders.’ Nebe snorted and went back round his desk. ‘You’re going to have to watch your mouth, Bernie,’ he said, half-amused. ‘Get to the funny bit.’ ‘Well, it’s this. A number of recent reports, complaints if you like, made to Kripo by those related to institutionalized people leads me to suspect that some sort of mercy-killing is already being unofficially practised.’ I leant forward and grasped the bridge of my nose. ‘Do you ever get headaches? I get headaches. It’s smell that really sets them off. Paint smells pretty bad. So does formaldehyde in the mortuary. But the worst are those rotten pissing places you get where the dozers and rum-sweats sleep rough. That’s a smell I can recall in my worst nightmares. You know, Arthur, I thought I knew every bad smell there was in this city. But that’s last month’s shit fried with last year’s eggs.’ Nebe pulled open a drawer and took out a bottle and two glasses. He said nothing as he poured a couple of large ones. I threw it back and waited for the fiery spirit to seek out what was left of my heart and stomach. I nodded and let him pour me another. I said: ‘Just when you thought that things couldn’t get any worse, you find out that they’ve always been a lot worse than you thought they were. And then they get worse.’ I drained the second glass and then surveyed its empty shape. ‘Thanks for telling me straight, Arthur.’ I dragged myself to my feet. ‘And thanks for the warmer.’ ‘Please keep me informed about your suspect,’ he said. ‘You might consider letting a couple of your men work a friend-and-foe shift on him. No rough stuff, just a bit of the old-fashioned psychological pressure. You know the sort of thing I mean. Incidentally, how are you getting on with your team? Everything working out there? No resentments, or anything like that?’ I could have sat down again and given him a list of

When Cloud Yabuki-Varma takes off her heart-shaped glasses all manner of items disappear, and when she puts them on they come back, and when she holds them out in front of her nose she can see stuff in the lenses but not around the edges. Spooky. The dinosaurs in Reptile Republic, the instruments in Music Corner, the entirety of Cupcake Garden, the floating mathematical models that can be manipulated to score points: now you see it, now you don’t; now you see it, now you don’t. People do look silly in mesh when you are real world. Her classmates interact with invisible beasts, gesticulate at empty space, laugh in unison when nothing funny has happened. Some big trick. Every child is wearing i-specs in various designs

Elegy" Wind buffs the waterstained stone cupids and shakes Old rain from the pines’ low branches, small change Spilling over the graves the years have smashed With a hammer— forget this, forget that, leave no Stone unturned. The grass grows high, sweet-smelling, Many-footed, ever-running. No one tends it. No One comes....And where am I now?.... Is this a beginning, A middle, or an end?.... Before I knew you I stood middle, or an end?.... Before I knew you I stood In this place. Now I forsake the past as I knew it To feed you into it. But that is not right. You step Into it. I find you here, in the shifting grass, In the late light, as if you had always been here. Behind you two torn black cedars flame white Against the darkening fields.... If you turn to me, Quiet man? If you turn? If I speak softly? If I say, Take off, take off your glasses.... Let me see Your sightless eyes?.... I will be beautiful then.... Look, the heart moves as the moths do, scuttering Like a child’s thoughts above this broken stone And that. And I lie down. I lie down in the long grass, Something I am not given to doing, and I feel The weight of your hand on my belly, and the wind Parts the grasses, and the distance spills through— The glassy fields, the black black earth, the pale air Streaming headlong toward the abbey’s far stones And streaming back again.... The drowned scent of lilacs By the abbey, it is a drug. It drives one senseless. It drives one blind. You can cup the enormous lilac cones In your hands— ripened, weightless, and taut— And it is like holding someone’s heart in your hands, Or holding a cloud of moths. I lift them up, my hands. Grave man, bend toward me. Lay your face.... here.... Rest....! took the stalks of the dead wisteria From the glass jar propped against the open grave And put in the shell-shaped yellow wildflowers I picked along the road. I cannot name them. Bread and butter, perhaps. I am not good With names. But nameless you walked toward me And I knew you, a swelling in the heart, A silence in the heart, the wild wind-blown grass Burning— as the sun falls below the earth— Brighter than a bed of lilies struck by snow. — Brigit Pegeen Kelly, The Orchard: Poems (BOA Editions Ltd., 2004)

Hear me, healer. I have need that you hear me. Your trouble must be great that you reach out to those you do not trust. The voice was startling clear in his head; the answer came so quickly that Jacques felt a surge of triumph. He was much stronger, so much more capable than he had been even the day before. Gregori had given him blood; it flowed in his veins, pumped through his heart, restored damaged muscle and tissue. He had forgotten how easily one could communicate. I heard Byron scream. The betrayer has taken him. He must turn him over to the humans before dawn. Dawn approaches now, Jacques. Gregori sounded calm, undisturbed by even such news as this. Then we must find him. Do any of you have the ability to track Byron? Has he exchanged blood with any of you? Only you made a pact with him. If he turned and was unable to seek the dawn himself, he wanted you to hunt him, and vice versa. You did not want your brother or me to have the responsibility for your destruction. I cannot find the path for him. Jacques could not keep the frustration and self-loathing out of his voice. You are certain this scream was Byron’s? Without a doubt. We had been talking together only minutes earlier. Shea became distressed; she said someone was watching us. I could detect no one, and Byron showed no uneasiness. Jacques and Shea were moving through the narrowing rock passage upward toward the entrance. Jacques felt the normal restlessness of his kind at the approaching light. We will do our best to seek him as long as we are able. Mikhail’s woman can sometimes track those we cannot. She is very gifted. We will meet you at the cabin. Do you both have dark glasses and protective clothing? Shea does, and I can fashion mine easily enough. She is still too weak to attempt shape-shifting, and she will not go to ground. Nor will I. Jacques heard the echo of Gregori’s derision. Women were to be protected from their own foolish desire to be in the thick of conflict. When you find your lifemate, healer, your own clear thinking perhaps will cloud, Jacques defended himself.