Horse And Boy Quotes

Do not dare not to dare.

Child,' said the Lion, 'I am telling you your story, not hers. No one is told any story but their own.

What is the bravest thing you've ever said? asked the boy. 'Help,' said the horse. 'Asking for help isn't giving up,' said the horse. 'It's refusing to give up.

What do you want to be when you grow up?" "Kind," said the boy.

What do you think is the biggest waste of time?" "Comparing yourself to others," said the mole.

But one of the worst results of being a slave and being forced to do things is that when there is no one to force you any more you find you have almost lost the power of forcing yourself.

When things go wrong, you'll find they usually go on getting worse for some time; but when things once start going right they often go on getting better and better.

Do you have any other advice?" asked the boy. "Don't measure how valuable you are by the way you are treated," said the horse.

Aravis also had many quarrels (and, I'm afraid even fights) with Cor, but they always made it up again: so that years later, when they were grown up they were so used to quarreling and making it up again that they got married so as to go on doing it more conveniently.

Is your glass half empty or half full?" asked the mole. "I think I'm grateful to have a glass," said the boy.

One of our greatest freedoms is how we react to things.

Onward and Upward! To Narnia and the North!

She smiled. Her skin looked whiter than he recalled, and dark spidery veins were beginning to show beneath its surface. Her hair was still the color of spun silver and her eyes were still green as a cat’s. She was still beautiful. Looking at her, he was in London again. He saw the gaslight and smelled the smoke and dirt and horses, the metallic tang of fog, the flowers in Kew Gardens. He saw a boy with black hair and blue eyes like Alec’s, heard violin music like the sound of silver water. He saw a girl with long brown hair and a serious face. In a world where everything went away from him eventually, she was one of the few remaining constants. And then there was Camille.

The greatest illusion," said the mole, "is that life should be perfect.

Always remember you matter, you're important and you are loved, and you bring to this world things no one else can.

if you do one good deed your reward usually is to be set to do another and harder and better one.

We often wait for kindness...but being kind to yourself can start now.

And you used to make art and like boys and talk to horses and pull the moon through the window for my birthday present.

We have such a long way to go," sighed the boy "Yes, but look how far we've come," said the horse

Isn't it odd. We can only see our outsides, but nearly everything happens on the inside

When things get difficult remember who you are.' 'Who am I?' asked the boy 'You are loved' said the horse

Do not by any means destroy yourself, for if you live you may yet have good fortune, but all the dead are dead like.

Imagine how we would be if we were less afraid.

Dearest Daughter. I knew you would not be long in coming to me. Joy shall be yours.

Home isn’t always a place is it?

It is very true. But even a traitor may mend. I have known one who did.

Sometimes I think you believe in me more than I do," said the boy "You'll catch up," said the horse.

Please,' she said, 'You're so beautiful. You may eat me if you like. I'd rather be eaten by you than fed by anyone else.

Nothing beats kindness,' said the horse. 'It sits quietly beyond all things.

Your Majesty would have a perfect right to strike off his head," said Peridan. "Such an assault as he made puts him on a level with assassins." "It is very true," said Edmund. "But even a traitor may mend. I have known one that did." And he looked very thoughtful.

When the big things feel out of control focus on what you love right under your nose

I am truly tiny' said the mole 'The love inside you,' said the boy 'is as big as the universe.

For in Calormen, story-telling (whether the stories are true or made up) is a thing you're taught, just as English boys and girls are taught essay-writing. The difference is that people want to hear the stories, whereas I never heard of anyone who wanted to read the essays.

See the bear in his own den before you judge of his conditions.

Doing nothing with friends is never doing nothing, is it?' asked the boy. 'No,' said the mole.

What do we do when our hearts hurt?" asked the boy. "We wrap them with friendship, shared tears and time, till they wake hopeful and happy again.

But as long as you know you're nobody special, you'll be a very decent sort of Horse, on the whole, and taking one thing with another.

Real isn’t how you are made,” said the Skin Horse. “It’s a thing that happens to you.” “Does it hurt?” asked the Rabbit. “Sometimes,” said the Skin Horse, for he was always truthful. “When you are Real you don’t mind being hurt.” —MARGERY WILLIAMS

Sometimes I worry you'll all realise I'm ordinary," said the boy. "Love doesn't need you to be extraordinary." said the mole.

Then Hwin, though shaking all over, gave a strange little neigh and trotted across to the Lion. "Please," she said, "you're so beautiful. You may eat me if you like. I'd sooner be eaten by you than fed by anyone else.

You’ve gone far away to a place with no horses and very little grass, and you’re studying how to write a story with a happy ending. If you can write that ending for yourself, maybe you can come back.

So you know all about me?' asked the boy. 'Yes.' said the horse. 'And you still love me?' 'We love you all the more.

What's your best discovery?" asked the mole. "That I'm enough as I am," said the boy.

This is easily my favourite place' said the mole 'Why?' asked the boy 'Because you are all here,

She walks to the boy, tilts her head up at him, and smiles. He bends down to kiss her. Then he helps her onto the horse, and she rides away with him to a faraway place, until they can no longer be seen. These are only rumors, of course, and make little more than a story to tell around the fire. But it is told. And thus they live on.

What's the bravest thing you've ever said?" asked the boy. "Help," said the horse.

One of the drawbacks about adventures is that when you come to the most beautiful places you are often too anxious and hurried to appreciate them.

How do they look so together and perfect?" asked the boy. "There's a lot of frantic paddling going on beneath," said the horse.

Just take this step... The horizon will look after itself.

sometimes," said the horse. "sometimes what?" asked the boy. "Sometimes just getting up and carrying on is brave and magnificent.

When the dark clouds come... ...keep going

I can't see a way through," said the boy. "Can you see your next step?" "Yes." "Just take that," said the horse.

Halt waited a minute or two but there was no sound except for the jingling of harness and the creaking of leather from their saddles. Finally, the former Ranger could bear it no longer. What?” The question seemed to explode out of him, with a greater degree of violence than he had intended. Taken by surprise, Horace’s bay shied in fright and danced several paces away. Horace turned an aggrieved look on his mentor as he calmed the horse and brought it back under control. What?” he asked Halt, and the smaller man made a gesture of exasperation. That’s what I want to know,” he said irritably. “What?” Horace peered at him. The look was too obviously the sort of look that you give someone who seems to have taken leave of his senses. It did little to improve Halt’s rapidly growing temper. What?” said Horace, now totally puzzled. Don’t keep parroting at me!” Halt fumed. “Stop repeating what I say! I asked you ‘what,’ so don’t ask me ‘what’ back, understand?” Horace considered the question for a second or two, then, in his deliberate way, he replied: “No.” Halt took a deep breath, his eyebrows contracted into a deep V, and beneath them his eyes with anger but before he could speak, Horace forestalled him. What ‘what’ are you asking me?” he said. Then, thinking how to make the question clearer, he added, “Or to put it another way, why are you asking ‘what’?” Controlling himself with enormous restraint, and making no secret of the fact, Halt said, very precisely: “You were about to ask me a question.” Horace frowned. “I was?” Halt nodded. “You were. I saw you take a breath to ask it.” I see,” Horace said. “And what was it about?” For just a second or two, Halt was speechless. He opened his mouth, closed it again, then finally found the strength to speak. That is what I was asking you,” he said. “When I said ‘what,’ I was asking you what you were about to ask me.” I wasn’t about to ask you ‘what,’” Horace replied, and Halt glared at him suspiciously. It occurred to him that Horace could be indulging himself in a gigantic leg pull, that he was secretly laughing at Halt. This, Halt could have told him, was not a good career move. Rangers were not people who took kindly to being laughed at. He studied the boy’s open face and guileless blue eyes and decided that his suspicion was ill-founded. Then what, if I may use that word once more, were you about to ask me?” Horace drew a breath once more, then hesitated. “I forget,” he said. “What were we talking about?

The harder you tried not to think, the more you thought.

The bolt of Tash falls from above!' 'Does it ever get caught on a hook halfway?

Come, live with me and you'll know me.

People who know a lot of the same things can hardly help talking about them.

To be honest, I often feel I have nothing interesting to say," said the fox. "Being honest is always interesting," said the horse.

Don't measure how valuable you are by the way you are treated.

Who are you?” asked Shasta. “Myself,” said the Voice, very deep and low so that the earth shook: and again “Myself,” loud and clear and gay: and then the third time “Myself,” whispered so softly you could hardly hear it, and yet it seemed to come from all around you as if the leaves rustled with it.

He's mad that trusts in the tameness of a wolf, a horse's health, a boy's love, or a whore's oath.

What do you think success is?" asked the boy. "To love," said the mole.

this storm will pass

Sometimes I want to say I love you all," said the mole, "but I find it difficult." "Do you?" said the boy. "Yes, so I say something like I'm glad we are all here." "Ok," said the boy. "I'm glad we are all here." "We are so glad you are here, too.

All depression has its roots in self-pity, and all self-pity is rooted in people taking themselves too seriously.” At the time Switters had disputed her assertion. Even at seventeen, he was aware that depression could have chemical causes. “The key word here is roots,” Maestra had countered. “The roots of depression. For most people, self-awareness and self-pity blossom simultaneously in early adolescence. It's about that time that we start viewing the world as something other than a whoop-de-doo playground, we start to experience personally how threatening it can be, how cruel and unjust. At the very moment when we become, for the first time, both introspective and socially conscientious, we receive the bad news that the world, by and large, doesn't give a rat's ass. Even an old tomato like me can recall how painful, scary, and disillusioning that realization was. So, there's a tendency, then, to slip into rage and self-pity, which if indulged, can fester into bouts of depression.” “Yeah but Maestra—” “Don't interrupt. Now, unless someone stronger and wiser—a friend, a parent, a novelist, filmmaker, teacher, or musician—can josh us out of it, can elevate us and show us how petty and pompous and monumentally useless it is to take ourselves so seriously, then depression can become a habit, which, in tern, can produce a neurological imprint. Are you with me? Gradually, our brain chemistry becomes conditioned to react to negative stimuli in a particular, predictable way. One thing'll go wrong and it'll automatically switch on its blender and mix us that black cocktail, the ol’ doomsday daiquiri, and before we know it, we’re soused to the gills from the inside out. Once depression has become electrochemically integrated, it can be extremely difficult to philosophically or psychologically override it; by then it's playing by physical rules, a whole different ball game. That's why, Switters my dearest, every time you've shown signs of feeling sorry for yourself, I've played my blues records really loud or read to you from The Horse’s Mouth. And that’s why when you’ve exhibited the slightest tendency toward self-importance, I’ve reminded you that you and me— you and I: excuse me—may be every bit as important as the President or the pope or the biggest prime-time icon in Hollywood, but none of us is much more than a pimple on the ass-end of creation, so let’s not get carried away with ourselves. Preventive medicine, boy. It’s preventive medicine.” “But what about self-esteem?” “Heh! Self-esteem is for sissies. Accept that you’re a pimple and try to keep a lively sense of humor about it. That way lies grace—and maybe even glory.

And he writhed inside at what seemed the cruelty and unfairness of the demand. He had not yet learned that if you do one good deed your reward usually is to do another and harder and better one.

Horse: So tell me, brother. How many times you seen The Notebook? 'Cause that's information the boys back home are gonna need to know.

Most of the old moles I know wish they had listened less to their fears and more to their dreams.

Dedicated to all boys and girls who love horses but never have had one of their own

It is very true, said Edmund. But even a traitor may mend. I have known one that did.

We don't know about tomorrow, all we need to know is that we love each other.

And certainly both Horses were doing, if not all they could, all they thought they could; which is not quite the same thing.

Tom said to himself that it was not such a hollow world, after all. He had discovered a great law of human action, without knowing it -- namely, that in order to make a man or a boy covet a thing, it is only necessary to make the thing difficult to attain. If he had been a great and wise philosopher, like the writer of this book, he would now have comprehended that Work consists of whatever a body is obliged to do, and that Play consists of whatever a body is not obliged to do. And this would help him to understand why constructing artificial flowers or performing on a tread-mill is work, while rolling ten-pins or climbing Mont Blanc is only amusement. There are wealthy gentlemen in England who drive four-horse passenger-coaches twenty or thirty miles on a daily line, in the summer, because the privilege costs them considerable money; but if they were offered wages for the service, that would turn it into work and then they would resign.

The four cautions: Beware a woman in front of you, beware a horse behind of you, beware a cart beside of you, and beware a priest every which way.

With his back to us, Sean tugs the halter from the mare's head. She kicks out, but he steps out of the way as if it were nothing at all. With a shake of her mane, she leaps mightily into the water. For a moment she struggles over the waves, and then she is swimming. Just a wild black horse in a deep blue sea full of the ashes of other dead boys.

Nestor beckoned to me and I dismounted with care.I handed the reins to the boy with thanks. I do not wish to see that hard-charging bag of bones again, unless it is in my soup.

In other words," it continued, "you can't ride. That's a drawback. I'll have to teach you as we go along. If you can't ride, can you fall?" "I suppose anyone can fall," said Shasta. "I mean can you fall and get up again without crying and mount again and fall again and yet not be afraid of falling?

Well,” Logen had to admit, “there is that.” Luthar’s head dropped even lower, and Logen clapped him on the arm. “But you didn’t get killed! Cheer up, boy, you’re lucky! You’re still alive, aren’t you?” He gave a miserable nod. Logen slid his arm around his shoulder and guided him back towards the horses. “Then you’ve got the chance to do better next time.” “Next time?” “Course. Doing better next time. That’s what life is.

The Skin Horse had lived longer in the nursery than any of the others. He was so old that his brown coat was bald in patches and showed the seams underneath, and most of the hairs in his tail had been pulled out to string bead necklaces. He was wise, for he had seen a long succession of mechanical toys arrive to boast and swagger, and by-and-by break their mainsprings and pass away, and he knew that they were only toys, and would never turn into anything else. For nursery magic is very strange and wonderful, and only those playthings that are old and wise and experienced like the Skin Horse understand all about it. "What is REAL?" asked the Rabbit one day, when they were lying side by side near the nursery fender, before Nana came to tidy the room. "Does it mean having things that buzz inside you and a stick-out handle?" "Real isn't how you are made," said the Skin Horse. "It's a thing that happens to you. When a child loves you for a long, long time, not just to play with, but REALLY loves you, then you become Real." "Does it hurt?" asked the Rabbit. "Sometimes," said the Skin Horse, for he was always truthful. "When you are Real you don't mind being hurt." "Does it happen all at once, like being wound up," he asked, "or bit by bit?" "It doesn't happen all at once," said the Skin Horse. "You become. It takes a long time. That's why it doesn't happen often to people who break easily, or have sharp edges, or who have to be carefully kept. Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don't matter at all, because once you are Real you can't be ugly, except to people who don't understand." "I suppose you are real?" said the Rabbit. And then he wished he had not said it, for he thought the Skin Horse might be sensitive. But the Skin Horse only smiled. "The Boy's Uncle made me Real," he said. "That was a great many years ago; but once you are Real you can't become unreal again. It lasts for always.

Robin: When you do marry, who will you marry? Maria: I have not quite decided yet, but I think I shall marry a boy I knew in London. Robin(yells): What? Marry some mincing nincompoop of a Londoner with silk stockings and a pomade in his hair and face like a Cheshire cheese? You dare do such a thing! You - Maria - if you marry a London man I'll wring his neck! (...) I'll not only wring his neck, I'll wring everybody's necks, and I'll go right away out of the valley, over the hills to the town where my father came from, and I won't ever come back here again. So there! (...) Maria: Why don't you want me to marry that London boy? Robin(shouting): Because you are going to marry me. Do you hear, Maria? You are going to marry me.

He told the boy that although he was huérfano still he must cease his wanderings and make for himself some place in the world because to wander in this way would become for him a passion and by this passion he would become estranged from men and so ultimately from himself. He said that the world could only be known as it existed in men's hearts. For while it seemed a place which contained men it was in reality a place contained within them and therefore to know it one must look there and come to know those hearts and to do this one must live with men and not simply pass among them. He said that while the huérfano might feel that he no longer belonged among men he must set this feeling aside for he contained within him a largeness of spirit which men could see and that men would wish to know him and that the world would need him even as he needed the world for they were one. Lastly he said that while this itself was a good thing like all good things it was also a danger. Then he removed his hands from the boy's saddle and stepped away and stood. The boy thanked him for his words but he said that he was in fact not an orphan and then he thanked the women standing there and turned the horse and rode out. They stood watching him go. As he passed the last of the brush wickiups he turned and looked back and as he did so the old man called out to him. Eres, he said. Eres huérfano.

I was the lion who forced you to join with Aravis. I was the cat who comforted you among the houses of the dead. I was the lion who drove the jackals from you while you slept. I was the lion who gave the Horses the new strength of fear for the last mile so that you should reach King Lune in time. And I was the lion you do not remember who pushed the boat in which you lay, a child near death, so that it came to shore where a man sat, wakeful at midnight, to receive you.

And he will have a great aunt called Elinor who tells him there's a world not like this one. A world with neither fairies nor glass men, but with animals who carry their young in a pouch in front of their bellies, and birds with wings that beat so fast it sounds like the humming of a bumblebee, with carriages that drive along without any horses and pictures that move on their own accord... She will tell him that even the most powerful men don't carry swords in the other world, but there are much, much more terrible weapons there...She will even claim that the people there have built coaches that can fly...So the boy will think that perhaps he'll have to go alone one day, if he wants to see that world...Because it must be exciting in that other world, much more exciting than in his own...

The boy who rode on slightly before him sat a horse not only as if he'd been born to it which he was but as if were he begot by malice or mischance into some queer land where horses never were he would have found them anyway. Would have known that there was something missing for the world to be right or he right in it and would have set forth to wander wherever it was needed for as long as it took until he came upon one and he would have known that that was what he sought and it would have been.

LONDON. Michaelmas Term lately over, and the Lord Chancellor sitting in Lincoln’s Inn Hall. Implacable November weather. As much mud in the streets as if the waters had but newly retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill. Smoke lowering down from chimney-pots, making a soft black drizzle, with flakes of soot in it as big as full-grown snow-flakes — gone into mourning, one might imagine, for the death of the sun. Dogs, undistinguishable in mire. Horses, scarcely better; splashed to their very blinkers. Foot passengers, jostling one another’s umbrellas in a general infection of ill-temper, and losing their foot-hold at street-corners, where tens of thousands of other foot passengers have been slipping and sliding since the day broke (if the day ever broke), adding new deposits to the crust upon crust of mud, sticking at those points tenaciously to the pavement, and accumulating at compound interest. Fog everywhere. Fog up the river, where it flows among green aits and meadows; fog down the river, where it rolls defiled among the tiers of shipping and the waterside pollutions of a great (and dirty) city. Fog on the Essex marshes, fog on the Kentish heights. Fog creeping into the cabooses of collier-brigs; fog lying out on the yards, and hovering in the rigging of great ships; fog drooping on the gunwales of barges and small boats. Fog in the eyes and throats of ancient Greenwich pensioners, wheezing by the firesides of their wards; fog in the stem and bowl of the afternoon pipe of the wrathful skipper, down in his close cabin; fog cruelly pinching the toes and fingers of his shivering little ’prentice boy on deck. Chance people on the bridges peeping over the parapets into a nether sky of fog, with fog all round them, as if they were up in a balloon, and hanging in the misty clouds. Gas looming through the fog in divers places in the streets, much as the sun may, from the spongey fields, be seen to loom by husbandman and ploughboy. Most of the shops lighted two hours before their time — as the gas seems to know, for it has a haggard and unwilling look. The raw afternoon is rawest, and the dense fog is densest, and the muddy streets are muddiest near that leaden-headed old obstruction, appropriate ornament for the threshold of a leaden-headed old corporation, Temple Bar. And hard by Temple Bar, in Lincoln’s Inn Hall, at the very heart of the fog, sits the Lord High Chancellor in his High Court of Chancery.

First came bright Spirits, not the Spirits of men, who danced and scattered flowers. Then, on the left and right, at each side of the forest avenue, came youthful shapes, boys upon one hand, and girls upon the other. If I could remember their singing and write down the notes, no man who read that score would ever grow sick or old. Between them went musicians: and after these a lady in whose honour all this was being done. I cannot now remember whether she was naked or clothed. If she were naked, then it must have been the almost visible penumbra of her courtesy and joy which produces in my memory the illusion of a great and shining train that followed her across the happy grass. If she were clothed, then the illusion of nakedness is doubtless due to the clarity with which her inmost spirit shone through the clothes. For clothes in that country are not a disguise: the spiritual body lives along each thread and turns them into living organs. A robe or a crown is there as much one of the wearer's features as a lip or an eye. But I have forgotten. And only partly do I remember the unbearable beauty of her face. “Is it?...is it?” I whispered to my guide. “Not at all,” said he. “It's someone ye'll never have heard of. Her name on earth was Sarah Smith and she lived at Golders Green.” “She seems to be...well, a person of particular importance?” “Aye. She is one of the great ones. Ye have heard that fame in this country and fame on Earth are two quite different things.” “And who are these gigantic people...look! They're like emeralds...who are dancing and throwing flowers before here?” “Haven't ye read your Milton? A thousand liveried angels lackey her.” “And who are all these young men and women on each side?” “They are her sons and daughters.” “She must have had a very large family, Sir.” “Every young man or boy that met her became her son – even if it was only the boy that brought the meat to her back door. Every girl that met her was her daughter.” “Isn't that a bit hard on their own parents?” “No. There are those that steal other people's children. But her motherhood was of a different kind. Those on whom it fell went back to their natural parents loving them more. Few men looked on her without becoming, in a certain fashion, her lovers. But it was the kind of love that made them not less true, but truer, to their own wives.” “And how...but hullo! What are all these animals? A cat-two cats-dozens of cats. And all those dogs...why, I can't count them. And the birds. And the horses.” “They are her beasts.” “Did she keep a sort of zoo? I mean, this is a bit too much.” “Every beast and bird that came near her had its place in her love. In her they became themselves. And now the abundance of life she has in Christ from the Father flows over into them.” I looked at my Teacher in amazement. “Yes,” he said. “It is like when you throw a stone into a pool, and the concentric waves spread out further and further. Who knows where it will end? Redeemed humanity is still young, it has hardly come to its full strength. But already there is joy enough int the little finger of a great saint such as yonder lady to waken all the dead things of the universe into life.

I am sorry for your girl, Ned. Truly. About the wolf, I mean. My son was lying, I’d stake my soul on it. My son … you love your children, don’t you?” “With all my heart,” Ned said. “Let me tell you a secret, Ned. More than once, I have dreamed of giving up the crown. Take ship for the Free Cities with my horse and my hammer, spend my time warring and whoring, that’s what I was made for. The sellsword king, how the singers would love me. You know what stops me? The thought of Joffrey on the throne, with Cersei standing behind him whispering in his ear. My son. How could I have made a son like that, Ned?” “He’s only a boy,” Ned said awkwardly. He had small liking for Prince Joffrey, but he could hear the pain in Robert’s voice. “Have you forgotten how wild you were at his age?” “It would not trouble me if the boy was wild, Ned. You don’t know him as I do.” He sighed and shook his head. “Ah, perhaps you are right. Jon despaired of me often enough, yet I grew into a good king.” Robert looked at Ned and scowled at his silence. “You might speak up and agree now, you know.” “Your Grace …” Ned began, carefully. Robert slapped Ned on the back. “Ah, say that I’m a better king than Aerys and be done with it. You never could lie for love nor honor, Ned Stark. I’m still young, and now that you’re here with me, things will be different. We’ll make this a reign to sing of, and damn the Lannisters to seven hells.

My good Horse," said the Hermit, who had approached them unnoticed because his bare feet made so little noise on that sweet, dewy grass. "My good Horse, you've lost nothing but your self-conceit. No, no, cousin. Don't put back your ears and shake your mane at me. If you are really so humbled as you sounded a minute ago, you must learn to listen to sense. You're not quite the great Horse you had come to think, from living among poor dumb horses. Of course you were braver and cleverer than them. You could hardly help being that. It doesn't follow that you'll be anyone very special in Narnia. But as long as you know you're nobody very special, you'll be a very decent sort of Horse, on the whole, and taking one thing with another.

If you are very quiet and do not look away, you may see the brightest star in the constellation glow steadily brighter. It brightens until it overwhelms every other star in the sky, brightens until it seems to touch the ground, and then the glow is gone, and in its place is a girl. Her hair and lashes are painted a shifting silver, and a scar crosses one side of her face. She is dressed in Sealand silk and a necklace of sapphire . Some say that, once upon a time, she had a prince, a father, a society of friends. Others say that she was once a wicked queen ,a worker of illusions, a girl who brought darkness across the lands. Stilll others say that she once had a sister, and that she loved her dearly. Perhaps all of these are true. She walks to the boy, tilts her head up at him, and smiles. He bends down to kiss her. Then he helps her onto the horse, and she rides away with him to a faraway place, until they can no longer be seen. These are only rumour,of course, and make little more than a story to tell round a fire. But it is told. And thus they live on. —“The Midnight Star,” a folktale

On the back part of the step, toward the right, I saw a small iridescent sphere of almost unbearable brilliance. At first I thought it was revolving; then I realised that this movement was an illusion created by the dizzying world it bounded. The Aleph's diameter was probably little more than an inch, but all space was there, actual and undiminished. Each thing (a mirror's face, let us say) was infinite things, since I distinctly saw it from every angle of the universe. I saw the teeming sea; I saw daybreak and nightfall; I saw the multitudes of America; I saw a silvery cobweb in the center of a black pyramid; I saw a splintered labyrinth (it was London); I saw, close up, unending eyes watching themselves in me as in a mirror; I saw all the mirrors on earth and none of them reflected me; I saw in a backyard of Soler Street the same tiles that thirty years before I'd seen in the entrance of a house in Fray Bentos; I saw bunches of grapes, snow, tobacco, lodes of metal, steam; I saw convex equatorial deserts and each one of their grains of sand; I saw a woman in Inverness whom I shall never forget; I saw her tangled hair, her tall figure, I saw the cancer in her breast; I saw a ring of baked mud in a sidewalk, where before there had been a tree; I saw a summer house in Adrogué and a copy of the first English translation of Pliny -- Philemon Holland's -- and all at the same time saw each letter on each page (as a boy, I used to marvel that the letters in a closed book did not get scrambled and lost overnight); I saw a sunset in Querétaro that seemed to reflect the colour of a rose in Bengal; I saw my empty bedroom; I saw in a closet in Alkmaar a terrestrial globe between two mirrors that multiplied it endlessly; I saw horses with flowing manes on a shore of the Caspian Sea at dawn; I saw the delicate bone structure of a hand; I saw the survivors of a battle sending out picture postcards; I saw in a showcase in Mirzapur a pack of Spanish playing cards; I saw the slanting shadows of ferns on a greenhouse floor; I saw tigers, pistons, bison, tides, and armies; I saw all the ants on the planet; I saw a Persian astrolabe; I saw in the drawer of a writing table (and the handwriting made me tremble) unbelievable, obscene, detailed letters, which Beatriz had written to Carlos Argentino; I saw a monument I worshipped in the Chacarita cemetery; I saw the rotted dust and bones that had once deliciously been Beatriz Viterbo; I saw the circulation of my own dark blood; I saw the coupling of love and the modification of death; I saw the Aleph from every point and angle, and in the Aleph I saw the earth and in the earth the Aleph and in the Aleph the earth; I saw my own face and my own bowels; I saw your face; and I felt dizzy and wept, for my eyes had seen that secret and conjectured object whose name is common to all men but which no man has looked upon -- the unimaginable universe. I felt infinite wonder, infinite pity.

If you run now, without a moment's rest, you will still be in time to warn King Lune." Shasta's heart fainted at these words for he felt he had no strength left. And he writhed inside at what seemed the cruelty and unfairness of the demand. He had not yet learned that if you do one good deed your reward usually is to be set to do another and harder and better one. But all he said out loud was: "Where is the King?" The Hermit turned and pointed with his staff. "Look," he said. "There is another gate, right opposite to the one you entered by. Open it and go straight ahead: always straight ahead, over level or steep, over smooth or rough, over dry or wet. I know by my art that you will find King Lune straight ahead. But run, run: always run.

Where is Galen?" She had many questions to ask the king, and it surprised her a little that this should be the first one to pop out of her mouth. Still, it was just as urgent as any of the others. "What have you done to him?" "Nothing." The king spread his weirdly elongated hands in an innocent gesture. "The gardener's boy is in perfect health. For the present." "And then he'll fall off a horse, or slip on the wet pavement? So that you don't need to get your hands dirty?" Rose sneered at him. He smiled his cold smile. "Keeping one's hands clean – maintaining one's innocence. Is that not the human way?

The next night I went back to the sea dressed in 1950s silk travel scarves – Paris with the Eiffel tower and ladies in hats and pink poodles, Venice with bronze horses and gondoliers, New York in celestial blue and silver. I brought candles and lit the candles, all the candles, in a circle around the lifeguard stand and put a tape in my boom box. I came down the ramp with the sea lapping at my feet and the air like a scarf of warm silk and the stars like my tiara. And my angel was sitting there solemnly in the sand, sitting cross-legged like a buddha, with sand freckling his brown limbs and he watched me the way no boy had ever watched me before, with so much tenderness and also a tremendous sorrow, which was what my dances were about just as much, the sorrow of not being loved the way my womb, rocking emptily inside of me, insisted I be loved, the sorrow of never finding the thing I had been searching for.

About suffering they were never wrong, The Old Masters; how well, they understood Its human position; how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer’s horse Scratches its innocent behind on a tree. In Breughel’s Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water; and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, had somewhere to get to and sailed calmly on.

Dad, will they ever come back?" "No. And yes." Dad tucked away his harmonica. "No not them. But yes, other people like them. Not in a carnival. God knows what shape they'll come in next. But sunrise, noon, or at the latest, sunset tomorrow they'll show. They're on the road." "Oh, no," said Will. "Oh, yes, said Dad. "We got to watch out the rest of our lives. The fight's just begun." They moved around the carousel slowly. "What will they look like? How will we know them?" "Why," said Dad, quietly, "maybe they're already here." Both boys looked around swiftly. But there was only the meadow, the machine, and themselves. Will looked at Jim, at his father, and then down at his own body and hands. He glanced up at Dad. Dad nodded, once, gravely, and then nodded at the carousel, and stepped up on it, and touched a brass pole. Will stepped up beside him. Jim stepped up beside Will. Jim stroked a horse's mane. Will patted a horse's shoulders. The great machine softly tilted in the tides of night. Just three times around, ahead, thought Will. Hey. Just four times around, ahead, thought Jim. Boy. Just ten times around, back, thought Charles Halloway. Lord. Each read the thoughts in the other's eyes. How easy, thought Will. Just this once, thought Jim. But then, thought Charles Halloway, once you start, you'd always come back. One more ride and one more ride. And, after awhile, you'd offer rides to friends, and more friends until finally... The thought hit them all in the same quiet moment. ...finally you wind up owner of the carousel, keeper of the freaks... proprietor for some small part of eternity of the traveling dark carnival shows.... Maybe, said their eyes, they're already here.

poetry readings have to be some of the saddest damned things ever, the gathering of the clansmen and clanladies, week after week, month after month, year after year, getting old together, reading on to tiny gatherings, still hoping their genius will be discovered, making tapes together, discs together, sweating for applause they read basically to and for each other, they can't find a New York publisher or one within miles, but they read on and on in the poetry holes of America, never daunted, never considering the possibility that their talent might be thin, almost invisible, they read on and on before their mothers, their sisters, their husbands, their wives, their friends, the other poets and the handful of idiots who have wandered in from nowhere. I am ashamed for them, I am ashamed that they have to bolster each other, I am ashamed for their lisping egos, their lack of guts. if these are our creators, please, please give me something else: a drunken plumber at a bowling alley, a prelim boy in a four rounder, a jock guiding his horse through along the rail, a bartender on last call, a waitress pouring me a coffee, a drunk sleeping in a deserted doorway, a dog munching a dry bone, an elephant's fart in a circus tent, a 6 p.m. freeway crush, the mailman telling a dirty joke anything anything but these.

To summarize what I have said: Aim for the highest; never enter a bar-room; do not touch liquor, or if at all only at meals; never speculate; never indorse beyond your surplus cash fund; make the firm’s interest yours; break orders always to save owners; concentrate; put all your eggs in one basket, and watch that basket; expenditure always within revenue; lastly, be not impatient, for, as Emerson says, “no one can cheat you out of ultimate success but yourselves.” I congratulate poor young men upon being born to that ancient and honourable degree which renders it necessary that they should devote themselves to hard work. A basketful of bonds is the heaviest basket a young man ever had to carry. He generally gets to staggering under it. We have in this city creditable instances of such young men, who have pressed to the front rank of our best and most useful citizens. These deserve great credit. But the vast majority of the sons of rich men are unable to resist the temptations to which wealth subjects them, and sink to unworthy lives. I would almost as soon leave a young man a curse, as burden him with the almighty dollar. It is not from this class you have rivalry to fear. The partner’s sons will not trouble you much, but look out that some boys poorer, much poorer than yourselves, whose parents cannot afford to give them the advantages of a course in this institute, advantages which should give you a decided lead in the race–look out that such boys do not challenge you at the post and pass you at the grand stand. Look out for the boy who has to plunge into work direct from the common school and who begins by sweeping out the office. He is the probable dark horse that you had better watch.

Tristan’s Mom: What are these? Tristan: Your granddaughters. Tristan’s Dad: Don’t worry honey, you don’t look old enough to be a mother let alone a grandmother. Tristan’s Mom: Again with the flattery, thank you dear. Where did they come from? Tristan: Camie gave birth last night. Jeff: I didn’t know she was pregnant. Tristan: She wasn’t. It was a miracle. Tristan’s Mom: Do they have names? Tristan: Phineas and Ferb. Jeff: From the cartoon? Tristan’s Dad: That figures, he named the dog Scooby. Tristan’s Mom: They sound like boy names. Tristan: Mom! Shhh, you’ll give them a complex. Jeff: If that Ferb one climbs my legs again I’m drop kicking it. Tristan: That’s child abuse and I’ll press charges. Besides, they just miss their mom. Jeff: I’m calling CPS (cat protective services)… Tristan: What for? Jeff: Because you’re making your kids live in a broken home unnecessarily. Tristan: I’m not talking to you anymore. Jeff: Fine, as long as you to talk to her. Tristan: Back off. Jeff: Nope, not gonna do it. Tristan: I’m warning you man. Jeff: You miss her too. Tristan: Yeah, so? Jeff: So do something about it. Tristan: Happy? Last night was miserable and I think it’s too late. Jeff: You still have a 12 year old ace in the hole. Tristan: Saving it as a last resort. Tristan’s Dad: Honey, do you have a clue as to what they’re talking about? Tristan’s Mom: No and I don’t want one. Jeff: I’m just helping my nieces get their parents back together. Dude, it’s time. Make the call. Tristan: Alright, I did it. But I get the feeling I’m about to do business with the mob. I hope I don’t wake up with the head of my horse in bed with me tonight. Jeff: Well, a good father will do anything he can to protect his family, even if that means he runs the risk of sleeping with the fishes. Tristan: Okay girls, your aunt helped Daddy come up with a plan and if it works you should get to see Mommy today. Cross your paws, or claws, or whatever…just cross something for luck.

there was a sort of embarrassment about storytelling that struck home powerfully about one hundred years ago, at the beginning of modernism. We see a similar reaction in painting and in music. It's a preoccupation suddenly with the surface rather than the depth. So you get, for example, Picasso and Braque making all kinds of experiments with the actual surface of the painting. That becomes the interesting thing, much more interesting than the thing depicted, which is just an old newspaper, a glass of wine, something like that. In music, the Second Viennese School becomes very interested in what happens when the surface, the diatonic structure of the keys breaks down, and we look at the notes themselves in a sort of tone row, instead of concentrating on things like tunes, which are sort of further in, if you like. That happened, of course, in literature, too, with such great works as James Joyce's Ulysses, which is all about, really, how it's told. Not so much about what happens, which is a pretty banal event in a banal man's life. It's about how it's told. The surface suddenly became passionately interesting to artists in every field about a hundred years ago. In the field of literature, story retreated. The books we talked about just now, Middlemarch, Bleak House, Vanity Fair -- their authors were the great storytellers as well as the great artists. After modernism, things changed. Indeed, modernism sometimes seems to me like an equivalent of the Fall. Remember, the first thing Adam and Eve did when they ate the fruit was to discover that they had no clothes on. They were embarrassed. Embarrassment was the first consequence of the Fall. And embarrassment was the first literary consequence of this modernist discovery of the surface. "Am I telling a story? Oh my God, this is terrible. I must stop telling a story and focus on the minute gradations of consciousness as they filter through somebody's..." So there was a great split that took place. Story retreated, as it were, into genre fiction-into crime fiction, into science fiction, into romantic fiction-whereas the high-art literary people went another way. Children's books held onto the story, because children are rarely interested in surfaces in that sort of way. They're interested in what-happened and what-happened next. I found it a great discipline, when I was writing The Golden Compass and other books, to think that there were some children in the audience. I put it like that because I don't say I write for children. I find it hard to understand how some writers can say with great confidence, "Oh, I write for fourth grade children" or "I write for boys of 12 or 13." How do they know? I don't know. I would rather consider myself in the rather romantic position of the old storyteller in the marketplace: you sit down on your little bit of carpet with your hat upturned in front of you, and you start to tell a story. Your interest really is not in excluding people and saying to some of them, "No, you can't come, because it's just for so-and-so." My interest as a storyteller is to have as big an audience as possible. That will include children, I hope, and it will include adults, I hope. If dogs and horses want to stop and listen, they're welcome as well.

Did you ever get fed up?" I said. "I mean did you ever get scared that everything was going to go lousy unless you did something? I mean do you like school and all that stuff?" "It's a terrific bore." "I mean do you hate it? I know it's a terrific bore, but do you hate it, is what I mean." "Well, I don't exactly hate it. You always have to--" "Well, I hate it. Boy, do I hate it," I said. "But it isn't just that. It's everything. I hate living in New York and all. Taxicabs, and Madison Avenue buses, with the drivers and all always yelling at you to get out at the rear door, and being introduced to phony guys that call the Lunts angels, and going up and down in elevators when you just want to go outside, and guys fitting your pants all the time at Brooks, and people always--" "Don't shout, please," old Sally said. Which was very funny, because I wasn't even shouting. "Take cars," I said. I said it in this very quiet voice. "Take most people, they're crazy about cars. They worry if they get a little scratch on them, and they're always talking about how many miles they get to a gallon, and if they get a brand-new car already they start thinking about trading it in for one that's even newer. I don't even like old cars. I mean they don't even interest me. I'd rather have a goddam horse. A horse is at least human, for God's sake. A horse you can at least--" "I don't know what you're even talking about," old Sally said. "You jump from one--" "You know something?" I said. You're probably the only reason I'm in New York right now, or anywhere. If you weren't around, I'd probably be someplace way the hell off. In the woods or some goddam place. You're the only reason I'm around, practically." "You're sweet," she said. But you could tell she wanted me to change the damn subject. "You ought to go to a boys' school sometime. Try it sometime," I said. "It's full of phonies, and all you do is study so that you can learn enough to be smart enough to be able to buy a goddam Cadillac some day, and you have to keep making believe you give a damn if the football team loses, and all you do is talk about girls and liquor and sex all day, and everybody sticks together in these dirty little goddam cliques. The guys that are on the basketball team stuck together, the Catholics stick together, the guys that play bridge stick together. Even the guys that belong to the goddam Book-of-the-Month Club stick together. If you try to have a little intelligent--" "Now, listen," old Sally said. "Lots of boys get more out of school that that." "I agree! I agree they do, some of them! But that's all I get out of it. See? That's my point. That's exactly my goddamn point," I said. "I don't get hardly anything out of anything. I'm in bad shape. I'm in lousy shape." "You certainly are.