Huts Quotes

Out of the huts of history's shame I rise Up from a past that's rooted in pain I rise I'm a black ocean, leaping and wide, Welling and swelling I bear in the tide. Leaving behind nights of terror and fear I rise Into a daybreak that's wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise.

We who lived in concentration camps can remember the men who walked through the huts comforting others, giving away their last piece of bread. They may have been few in number, but they offer sufficient proof that everything can be taken from a man but one thing: the last of the human freedoms -- to choose one's attitude in any given set of circumstances, to choose one's own way.

Just wait until he figures out I shut him out of his slut hut.

Who are you calling?" (claire) Pizza hut" (shane) Loser" (claire)

Thought's a luxury. Do you think the peasant sits and thinks of God and Democracy when he gets inside his mud hut at night?

Jesus was not sent here to teach the people to build magnificent churches and temples amidst the cold wretched huts and dismal hovels. He came to make the human heart a temple, and the soul an altar, and the mind a priest.

The people I see from my window. In the huts, in the distance. They're all dressed the same.' 'Ah, those people,' said Father, nodding his head and smiling slightly. 'Those people...well, they're not people at all, Bruno.' Bruno frowned. 'They're not?' he asked, unsure what Father meant by that.

Because i always say that. I always say that i don't care what other people think. I say it doesn't bother me, that i don't give a shit about the opinions of assholes but it's not true. It's not true, because it huts every time, and that means i still care. It means i'm still not strong enough because every time someone says something rude, it hurts. it never stops hurting. It only gets easier to recover

You renounce your friendship even in the hour of our need ' he said. 'Yet you were glad indeed to receive our aid when you came at last to these shores fainthearted loiterers and well-nigh emptyhanded. In huts on the beaches would you be dwelling still had not the Noldor carved out your haven and toiled upon your walls.

I don’t know if you have ever seem a map of a person’s mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child’s mind, which is not only confused, but keeps going round all the time. There are zigzag lines on it, just like your temperature on a card, and these are probably roads in the island; for the Neverland is always more or less and island, with astonishing splashes of colour here and there, and coral reefs and rakish-looking craft in the offing, and savages and lonely lairs, and gnomes who are mostly tailors, and caves through which a river runs, and princes with six elder brothers, and a hut fast going to decay, and one very small old lady with a hooked nose.

You may write me down in history With your bitter, twisted lies, You may tread me in the very dirt But still, like dust, I'll rise. Does my sassiness upset you? Why are you beset with gloom? 'Cause I walk like I've got oil wells Pumping in my living room. Just like moons and like suns, With the certainty of tides, Just like hopes springing high, Still I'll rise. Did you want to see me broken? Bowed head and lowered eyes? Shoulders falling down like teardrops. Weakened by my soulful cries. Does my haughtiness offend you? Don't you take it awful hard 'Cause I laugh like I've got gold mines Diggin' in my own back yard. You may shoot me with your words, You may cut me with your eyes, You may kill me with your hatefulness, But still, like air, I'll rise. Does my sexiness upset you? Does it come as a surprise That I dance like I've got diamonds At the meeting of my thighs? Out of the huts of history's shame I rise Up from a past that's rooted in pain I rise I'm a black ocean, leaping and wide, Welling and swelling I bear in the tide. Leaving behind nights of terror and fear I rise Into a daybreak that's wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise.

The plants and flowers I raised about my hut I now surrender To the will Of the wind

Then listen to me,' he said and cleared his throat. 'It's true that a child belongs to its father. But when a father beats his child, it seeks sympathy in its mother's hut. A man belongs to his fatherland when things are good and life is sweet. But when there is sorrow and bitterness he finds refuge in his motherland. Your mother is there to protect you. She is buried there. And that is why we say that mother is supreme. Is it right that you, Okonkwo, should bring your mother a heavy face and refuse to be comforted? Be careful or you may displease the dead. Your duty is to comfort your wives and children and take them back to your fatherland after seven years. But if you allow sorrow to weigh you down and kill you, they will all die in exile.

One evening, when we were already resting on the floor of our hut, dead tired, soup bowls in hand, a fellow prisoner rushed in and asked us to run out to the assembly grounds and see the wonderful sunset. Standing outside we saw sinister clouds glowing in the west and the whole sky alive with clouds of ever-changing shapes and colors, from steel blue to blood red. The desolate grey mud huts provided a sharp contrast, while the puddles on the muddy ground reflected the glowing sky. Then, after minutes of moving silence, one prisoner said to another, "How beautiful the world could be...

Thatched huts of mud sit humped in rows. Between the rows, a stagnant stream of sewage stews like thick soup bubbling in the clotted heat. Mosquitoes swarm. Garbage rots. Parvati gathers her sari about her and steps as lightly as she can down this gutter of filth. The boy stops outside one of the huts. Parvati and Sunil push aside the sacking that is over the doorway, stoop and step down onto a mud floor. Inside, there is no window, no light and no air. Only heat. Parvati puts her hand to her long elegant throat. Above her, one end of the roof is sagging as if about to collapse. ‘Bustee, very good,’ says the boy smiling.

I've known rivers: I've known rivers ancient as the world and older than the flow of human blood in human veins. My soul has grown deep like the rivers. I bathed in the Euphrates when dawns were young. I built my hut near the Congo and it lulled me to sleep. I looked upon the Nile and raised the pyramids above it. I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I've seen its muddy bosom turn all golden in the sunset. I've known rivers: Ancient, dusky rivers. My soul has grown deep like the rivers.

The evening came to a close and the two women walked hand-in-hand back to the hut, the waves breaking gently on the beach, the stars out up above, a buzz in their heads from the wine and beer. As close to paradise as I could ever imagine, thought Dani.

If you throw me out of this house, I shall sleep on the path outside. If you return to the Continent without me, I shall follow you. I will build a willow hut at your gate; I will sleep under your window; I will be waiting for you at your own front door.

The day my mother died I wrote in my journal, "A serious misfortune of my life has arrived." I suffered for more than one year after the passing away of my mother. But one night, in the highlands of Vietnam, I was sleeping in the hut in my hermitage. I dreamed of my mother. I saw myself sitting with her, and we were having a wonderful talk. She looked young and beautiful, her hair flowing down. It was so pleasant to sit there and talk to her as if she had never died. When I woke up it was about two in the morning, and I felt very strongly that I had never lost my mother. The impression that my mother was still with me was very clear. I understood then that the idea of having lost my mother was just an idea. It was obvious in that moment that my mother is always alive in me. I opened the door and went outside. The entire hillside was bathed in moonlight. It was a hill covered with tea plants, and my hut was set behind the temple halfway up. Walking slowly in the moonlight through the rows of tea plants, I noticed my mother was still with me. She was the moonlight caressing me as she had done so often, very tender, very sweet... wonderful! Each time my feet touched the earth I knew my mother was there with me. I knew this body was not mine but a living continuation of my mother and my father and my grandparents and great-grandparents. Of all my ancestors. Those feet that I saw as "my" feet were actually "our" feet. Together my mother and I were leaving footprints in the damp soil. From that moment on, the idea that I had lost my mother no longer existed. All I had to do was look at the palm of my hand, feel the breeze on my face or the earth under my feet to remember that my mother is always with me, available at any time.

I wanted to get me a full pack complete with everything necessary to sleep, shelter, eat, cook, in fact a regular kitchen and bedroom right on my back, and go off somewhere and find perfect solitude and look into the perfect emptiness of my mind and be completely neutral from any and all ideas. I intended to pray, too, as my only activity, pray for all living creatures; I saw it was the only decent activity left in the world. To be in some riverbottom somewhere, or in a desert, or in mountains, or in some hut in Mexico, or shack in Adirondack, and rest and be kind, and do nothing else, practice what the Chinese call "do-nothing".

The darkness of the world made no distinctions; it entered its palaces as it did its huts.

To those peoples in the huts and villages of half the globe struggling to break the bonds of mass misery, we pledge our best efforts to help them help themselves, for whatever period is required - not because the Communists may be doing it, not because we seek their votes, but because it is right. If a free society cannot help the many who are poor, it cannot save the few who are rich.

The story of the young woman whose death I witnessed in a concentration camp. It is a simple story. There is little to tell and it may sound as if I had invented it; but to me it seems like a poem. This young woman knew that she would die in the next few days. But when I talked to her she was cheerful in spite of this knowledge. "I am grateful that fate has hit me so hard," she told me. "In my former life I was spoiled and did not take spiritual accomplishments seriously." Pointing through the window of the hut, she said, "This tree here is the only friend I have in my loneliness." Through that window she could see just one branch of a chestnut tree, and on the branch were two blossoms. "I often talk to this tree," she said to me. I was startled and didn't quite know how to take her words. Was she delirious? Did she have occasional hallucinations? Anxiously I asked her if the tree replied. "Yes." What did it say to her? She answered, "It said to me, 'I am here-I am here-I am life, eternal life.

There was a rock in front of my hut, a tall, gray rock. By its looks it seemed to be well-disposed toward me...

In our time, political speech and writing are largely the defense of the indefensible. Things like the continuance of British rule in India, the Russian purges and deportations, the dropping of atom bombs on Japan, can indeed be defended, but only by arguments which are too brutal for most people to face, and which do not square with the professed aims of political parties. Thus political language has to consist largely of euphemism, question-begging and sheer cloudy vagueness. Defenseless villages are bombarded from the air, the inhabitants driven out into the countryside, the cattle machine-gunned, the huts set on fire with incendiary bullets: this is called pacification. Millions of peasants are robbed of their farms and sent trudging along the roads with no more than they can carry: this is called transfer of population or rectification of frontiers. People are imprisoned for years without trial, or shot in the back of the neck or sent to die of scurvy in Arctic lumber camps: this is called elimination of unreliable elements.

In India, I was living in a little hut, about six feet by seven feet. It had a canvas flap instead of a door. I was sitting on my bed meditating, and a cat wandered in and plopped down on my lap. I took the cat and tossed it out the door. Ten seconds later it was back on my lap. We got into a sort of dance, this cat and I...I tossed it out because I was trying to meditate, to get enlightened. But the cat kept returning. I was getting more and more irritated, more and more annoyed with the persistence of the cat. Finally, after about a half-hour of this coming in and tossing out, I had to surrender. There was nothing else to do. There was no way to block off the door. I sat there, the cat came back in, and it got on my lap. But I did not do anything. I just let go. Thirty seconds later the cat got up and walked out. So, you see, our teachers come in many forms.

As later Priam comes secretly to the enemy camp to plead with Achilles for the return of his son Hector's body, he says: "'I do what no man before me has ever done, I kiss the hands of the man who killed my son." Those words echoed round me, as I stood in the storage hut, surrounded on all sides by the wealth Achilles had plundered from burning cities. I thought: "And I do what countless women before me have been forced to do. I spread my legs for the man who killed my husband and my brothers.

All her violence had drained away, replaced by a fear older and deeper than anything she'd ever experienced. An old, old recognition. Something inside her knew him from a time when girls took skin bags to the river to get water, a time when panthers walked in the darkness outside mud huts. From a time before electric lights, before candles, when darkness was fended off with stone lamps. When darkness was the greatest danger of all.

I went up on my toes to kiss him, and he groaned. "Do you really think this is appropriate on school grounds?" "Nope." I wrapped my arms around his neck. "And I happen to know there isn't an appropriate thought running through your head right now." "Or any other time." Tod pulled me close and held me so tight my ribs almost hut, but I didn't want him to let go. Ever.

Hi! My little hut Is newly-thatched I see... Blue morning-glories

I am an obscure and patient pearl-fisherman who dives into the deepest waters and comes up with empty hands and a blue face. Some fatal attraction draws me down into the abysses of thought, down into those innermost recesses which never cease to fascinate the strong. I shall spend my life gazing at the ocean of art, where others voyage or fight; and from time to time I’ll entertain myself by diving for those green and yellow shells that nobody will want. So I shall keep them for myself and cover the walls of my hut with them.

In the end, without skill or talent, I've given myself over entirely to poetry. Po Chu-i labored at it until he nearly burst. Tu Fu starved rather than abandon it. Neither my intelligence nor my writing is comparable to such men. Nevertheless, in the end, we ALL live in phantom huts.

Bruno opened his eyes in wonder at the things he saw. In his imagination he had tough that all the huts were full of happy families, some of whom sat outside on rocking chairs in the evening and told stories about how things were so much better when they were children and they'd had nowadays. He thought that all the boys and girls who lived there would be in different groups, playing tennis or football, skipping and drawing out squares for hopscotch on the ground. As it turned out, all the things he thought might be there-wern't.'' -The boy in the striped Pajamas

In his imagination he had thought that all the huts were full of happy families, some of whom sat outside on rocking chairs in the evening and told stories about how things were so much better when they were children and they'd had respect for their elders, not like the children nowadays. He thought that all the boys and girls who lived here would be in different groups, playing tennis or football, skipping and drawing out squares for hopscotch on the ground. He had thought that there would be a shop in the centre, and maybe a small café like the ones he had known in Berlin; he had wondered whether there would be a fruit and vegetable stalls. As it turned out, all the things that he thought might be there - weren't.

Are all Grisha so immodest?” he asked defensively. “Boys and girls train side by side together in the First and Second Armies. There isn’t a lot of room for maidenly blushing.” “It’s not natural for women to fight.” “It’s not natural for someone to be as stupid as he is tall, and yet there you stand. Did you really swim all those miles just to die in this hut?” “It’s a lodge, and you don’t know that we swam miles.

Osla Kendall is lightly fictionalized from the real-life Osla Benning, a beautiful, effervescent, Canadian-born heiress and Hut 4 translator who was Prince Philip’s long-term wartime girlfriend

Why would we dare call someone a Literary Witch? Because all artists are magicians, and Witches wield a special magic. Witches and women writers alike dwell in creativity, mystery and other worlds. They aren’t afraid to be alone in the woods of their imaginations or to live in huts of their own making. They’re not afraid of the dark.’’ *

And then I head toward our little hut without setting her down on her feet. She’s still wrapped around me like ivy, happy and cozy and warm in my arms. Just where she belongs.

High up on Monte Salvatore the window of some shepherd's hut opened a golden eye. The roses hung their heads and dreamed under the still September clouds, and the water plashed and murmured softly among the pebbles of the shore.

Once Mo had closed the gates, he returned to his little stone hut, and his half-eaten sandwich of butter and canned sardines, and his mug of thick hot chocolate, which every night he poured carefully into a thermos labeled COFFEE.

You may write me down in history With your bitter, twisted lies, You may trod me in the very dirt But still, like dust, I'll rise. Does my sassiness upset you? Why are you beset with gloom? 'Cause I walk like I've got oil wells Pumping in my living room. Just like moons and like suns, With the certainty of tides, Just like hopes springing high, Still I'll rise. Did you want to see me broken? Bowed head and lowered eyes? Shoulders falling down like teardrops, Weakened by my soulful cries? Does my haughtiness offend you? Don't you take it awful hard 'Cause I laugh like I've got gold mines Diggin' in my own backyard. You may shoot me with your words, You may cut me with your eyes, You may kill me with your hatefulness, But still, like air, I'll rise. Does my sexiness upset you? Does it come as a surprise That I dance like I've got diamonds At the meeting of my thighs? Out of the huts of history's shame I rise Up from a past that's rooted in pain I rise I'm a black ocean, leaping and wide, Welling and swelling I bear in the tide. Leaving behind nights of terror and fear I rise Into a daybreak that's wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise.

It is, therefore, a great source of virtue for the practiced mind to learn, bit by bit, first to change about in visible and transitory things, so that afterwards it may be possible to leave them behind altogether. The man who finds his homeland sweet is still a tender beginner; he to whom every soil is as his native one is already strong; but he is perfect to whom the entire world is as a foreign land. The tender soul has fixed his love on one spot in the world; the strong man has extended his love to all places; the perfect man has extinguished his. From boyhood I have dwelt on foreign soil and I know with what grief sometimes the mind takes leave of the narrow hearth of a peasant's hut, and I know too how frankly it afterwards disdains marble firesides and panelled halls.

You need to be able to feel proud of yourself even if you were living in a tiny hut in the middle of nowhere, taking care of goats.

It is, I suppose, the common grief of children at having to protect their parents from reality. It is bitter for the young to see what awful innocence adults grow into, that terrible vulnerability that must be sheltered from the rodent mire of childhood. Can we blame the child for resenting the fantasy of largeness? Big, soft arms and deep voices in the dark saying, "Tell Papa, tell Mama, and we'll make it right." The child, screaming for refuge, senses how feeble a shelter the twig hut of grown-up awareness is. They claim strength, these parents, and complete sanctuary. The weeping earth itself knows how desperate is the child's need for exactly that sanctuary. How deep and sticky is the darkness of childhood, how rigid the blades of infant evil, which is unadulterated, unrestrained by the convenient cushions of age and its civilizing anesthesia. Grownups can deal with scraped knees, dropped ice-cream cones, and lost dollies, but if they suspected the real reasons we cry they would fling us out of their arms in horrified revulsion. Yet we are small and as terrified as we are terrifying in our ferocious appetites. We need that warm adult stupidity. Even knowing the illusion, we cry and hide in their laps, speaking only of defiled lollipops or lost bears, and getting lollipop or a toy bear'd worth of comfort. We make do with it rather than face alone the cavernous reaches of our skull for which there is no remedy, no safety, no comfort at all. We survive until, by sheer stamina, we escape into the dim innocence of our own adulthood and its forgetfulness.

Don`t talk to me about Matisse the European style of 1900, the tradition of the studio where the nude style woman reclines forever on a sheet of blood. Talk to me instead about the culture generally how the murderers were sustained by the beauty robbed of savages: to our remote villages the painters came, and our white-washed mud-huts were splattered with gunfire.

I am sure that there is no place in the world where your message would not be enhanced by your making the place (whether tiny or large, a hut or a palace) orderly, artistic and beautiful with some form of creativity, some form of ‘art’ (p. 213).

[Traveling] makes you realize what an immeasurably nice place much of America could be if only people possessed the same instinct for preservation as they do in Europe. You would think the millions of people who come to Williamsburg every year would say to each other, "Gosh, Bobbi, this place is beautiful. Let's go home to Smellville and plant lots of trees and preserve all the fine old buildings." But in fact that never occurs to them. They just go back and build more parking lots and Pizza Huts.

It's a booley village," Ian told her. "The islanders used to take their animals into the hills for the summ. They'd camp out in these stone huts: men, women, and children. Everyone stayed up all night, sang, told stories, watched the stars. It must have been great craic." "How do you know this stuff?" she asked, admiringly. "I' a bloody genius." When she threw him a look, he grinned. " I also read it in the guidebook.

The child, screaming for refuge, senses how feeble a shelter the twig hut of grown-up awareness is. They claim strength, these parents, and complete sanctuary. The weeping earth itself knows how desperate is the child's need for exactly that sanctuary. How deep and sticky is the darkness of childhood, how rigid the blades of infant evil, which is unadulterated, unrestrained by the convenient cushions of age and its civilizing anesthesia. Grownups can deal with scraped knees, dropped ice-cream cones, and lost dollies, but if they suspected the real reasons we cry they would fling us out of their arms in horrified revulsion. Yet we are small and as terrified as we are terrifying in our ferocious appetites.

But tonight, because Rome had fallen and Felix was dead, because of Valerius’s shame, the empty hut seemed horribly lonely, and there was a small aching need in him for somebody to notice, even if they were not glad, that he had come home.

My birthplace was California, but I couldn't forget Armenia, so what is one's country? Is it land of the earth, in a specific place? Rivers there? Lakes? The sky there? The way the moon comes up there? And the sun? Is one's country the trees, the vineyards, the grass, the birds, the rocks, the hills and summer and winter? Is it the animal rhythm of the living there? The huts and houses, the streets of cities, the tables and chairs, and the drinking of tea and talking? Is it the peach ripening in summer heat on the bough? Is it the dead in the earth there?

You are not lost. You are here. Stop abandoning yourself. Stop repeating this myth about love and success that will land in your lap or evade you forever. Build a humble, flawed life from the rubble, and cherish that. There is nothing more glorious on the face of the earth than someone who refuses to give up, who refuses to give in to their most self-hating, discouraged, disillusioned self, and instead learns, slowly and painfully, how to relish the feeling of building a hut in middle of the suffocating dust.

I don’t know whether you have ever seen a map of a person’s mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child’s mind, which is not only confused, but keeps going round all the time. There are zigzag lines on it, just like your temperature on a card, and these are probably roads on the island, for the Neverland is always more or less an island, with astonishing splashes of colour here and there, and coral reefs and rakish-looking craft in the offing, and savages and lonely lairs, and gnomes who are mostly tailors, and caves through which a river runs, and princes with sex elder brothers, and a hut fast going to decay, and one very small old lady with a hooked nose. It would be an easy map if that were all, but there is also first day at school, religion, fathers, the round pond, needle-work, murders, hangings, verbs that take the dative, chocolate-pudding day, getting into braces, say ninety-nine threepence for pulling out your tooth yourself, and so on, and either these are part of the island or they are another map showing through, and it is all rather confusing, especially as nothing will stand still. Of course the Neverlands vary a good deal. John’s, for instance, had a lagoon with flamingos flying over it at which John was shooting, while Michael, who was very small, had a flamingo with lagoons flying over it. John lived in a boat turned upside down on the sands, Michael in a wigwam, Wendy in a house of leaves deftly sewn together. John had no friends, Michael had friends at night, Wendy had a pet wolf forsaken by its parents...

I think the best life would be one that's lived off the grid. No bills, your name in no government databases. No real proof you're even who you say you are, aside from, you know, being who you say you are. I don't mean living in a mountain hut with solar power and drinking well water. I think nature's beautiful and all, but I don't have any desire to live in it. I need to live in a city. I need pay as you go cell phones in fake names, wireless access stolen or borrowed from coffee shops and people using old or no encryption on their home networks. Taking knife fighting classes on the weekend! Learning Cantonese and Hindi and how to pick locks. Getting all sorts of skills so that when your mind starts going, and you're a crazy raving bum, at least you're picking their pockets while raving in a foreign language at smug college kids on the street. At least you're always gonna be able to eat.

Gretel in Darkness: This is the world we wanted. All who would have seen us dead are dead. I hear the witch's cry break in the moonlight through a sheet of sugar: God rewards. Her tongue shrivels into gas.... Now, far from women's arms And memory of women, in our father's hut we sleep, are never hungry. Why do I not forget? My father bars the door, bars harm from this house, and it is years. No one remembers. Even you, my brother, summer afternoons you look at me as though you meant to leave, as though it never happened. But I killed for you. I see armed firs, the spires of that gleaming kiln-- Nights I turn to you to hold me but you are not there. Am I alone? Spies hiss in the stillness, Hansel we are there still, and it is real, real, that black forest, and the fire in earnest.

At the Moor Wanderer in the black wind; quietly the dry reeds whisper In the stillness of the moor. In the gray sky A flock of wild birds follows; Slanting over gloomy waters. Turmoil. In decayed hut The spirit of putrescence flutters with black wings. Crippled birches in the autumn wind. Evening in deserted tavern. The way home is scented all around By the soft gloom of grazing herds; Apparition of the night; toads plunge from brown waters.

The troops arrived at the wall together and swept into the village, some through the gates and some through the holes blasted by the artillery. Then the slaughter began as they went from hut to hut, winkling out the defenders at bayonet point. The screaming showed the progress of the individual battles across the village until at last it was quiet.

But it is the knowledge of how contingent my unease is, how dependent on a baby that wails beneath my window one day and does not wail the next, that brings the worst shame to me, the greatest indifference to annihilation. I know somewhat too much; and from this knowledge, once one has been infected, there seems to be no recovering. I ought never to have taken my lantern to see what was going on in the hut by the granary. On the other hand, there was no way, once I had picked up the lantern, for me to put it down again. The knot loops in upon itself; I cannot find the end.

Over the plains of Ethiopia the sun rose as I had not seen it in seven years. A big, cool, empty sky flushed a little above a rim of dark mountains. The landscape 20,000 feet below gathered itself from the dark and showed a pale gleam of grass, a sheen of water. The red deepened and pulsed, radiating streaks of fire. There hung the sun, like a luminous spider's egg, or a white pearl, just below the rim of the mountains. Suddenly it swelled, turned red, roared over the horizon and drove up the sky like a train engine. I knew how far below in the swelling heat the birds were an orchestra in the trees about the villages of mud huts; how the long grass was straightening while dangling locks of dewdrops dwindled and dried; how the people were moving out into the fields about the business of herding and hoeing.

...and again she wished for Sherwood, and the dappled roof of leaves that never weighed upon her. She pulled her scarf closer around her and thought, I would rather live in a hut in the woods; a hut like the one of my first memories, with a clean-swept dirt floor, and a brown-eyed boy watching me from behind his mother's skirts as I watched him from behind mine.

Behind every door on every ordinary street, in every hut in every ordinary village in this middling planet of a trivial star, such riches are to be found. The strange journeys we undertake on our earthly pilgrimage, the joy and suffering we taste or confer, the chance events that leave us together or apart, what a complex trace they leave: so personal as to be almost incommunicable, so fugitive as to be almost irrecoverable.

One day he trapped a large raven, whose wings he painted red, the breast green, and the tail blue. When a flock of ravens appeared over our hut, Lekh freed the painted bird. As soon as it joined the flock a desperate battle began. The changeling was attacked from all sides. Black, red, green, blue feathers began to drop at our feet. The ravens ran amuck in the skies, and suddenly the painted raven plummeted to the freshly-plowed soil. It was still alive, opening its beak and vainly trying to move its wings. Its eyes had been pecked out, and fresh blood streamed over its painted feathers. It made yet another attempt to flutter up from the sticky earth, but its strength was gone.

But the address, if it ever existed, never was sent, which made me sad, there was so much I wanted to write her: that I'd sold two stories, had read where the Trawlers were countersuing for divorce, was moving out of the brownstone because it was haunted. But mostly, I wanted to tell about her cat. I had kept my promise; I had found him. It took weeks of after-work roaming through those Spanish Harlem streets, and there were many false alarms--flashes of tiger-striped fur that, upon inspection, were not him. But one day, one cold sunshiny Sunday winter afternoon, it was. Flanked by potted plants and framed by clean lace curtains, he was seated in the window of a warm-looking room: I wondered what his name was, for I was certain he had one now, certain he'd arrived somewhere he belonged. African hut or whatever, I hope Holly has, too.

Out west everything has its own space. Every little ramshackle cabin, shack, hut sits perched atop its own little piece of destiny with room to breathe, room to live, room to die. You'll see them, the dead ones, sitting by the side of the road like some faded gray and rotting mystery, thinking about the good ol days before trains and cars and wanting more.

What is true of one man, said the judge, is true of many. The people who once lived here are called the Anasazi. The old ones. They quit these parts, routed by drought or disease or by wandering bands of marauders, quit these parts ages since and of them there is no memory. They are rumors and ghost in this land and they are much revered. The tools, the art, the building--these things stand in judgement on the latter races. Yet there is nothing for them to grapple with. The old ones are gone like phantoms and the savages wander these vanyons to the sound of an ancient laughter. In their crude huts they crouch in darkness and listen to the fear seeping out of the rock. All progressions from a higher to a lower order are marked by ruins and mystery and a residue of nameless rage. So. Here are the dead fathers. Their spirit is entombed in the stone. It lies upon the land with the same weight and the same ubiquity. For whoever makes a shelter of reeds and hides has joined his spirit to the primal mud with scarcely a cry. But who builds in stone seeks to alter the structure of the universe and so it was with these masons however primitive their works may seem to us.

It’s true that a child belongs to its father. But when a father beats his child, it seeks sympathy in its mother’s hut. A man belongs to his fatherland when things are good and life is sweet. But when there is sorrow and bitterness he finds refuge in his motherland. Your mother is there to protect you. She is buried there. And that is why we say that mother is supreme.

Just wait until he figures out I shut him out of his slut hut.” The poodle whined softly. “I don’t need any criticism from you. If you can go a day without barfing or destroying my house, then I might listen to what you have to say. Until then, keep your opinions to yourself.” I fell back into my bed and put a pillow on my head. I’d just had a conversation with a poodle and accused him of criticizing me. Curran had finally driven me out of my mind.

In his life he too, like all people, had harboured ideas and dreams. Some he had fulfilled for himself; some had been granted to him. Many things had remained out of reach, or barely had he reached them than they were torn from his hands again. But he was still here. And in the mornings after the first snowmelt, when he walked across the dew-soaked meadow outside his hut and lay down on one of the flat rocks scattered there, the cool stone at his back and the first warm rays of sun on his face, he felt that many things had not gone so badly after all.

If a nurse declines to do these kinds of things for her patient, "because it is not her business," I should say that nursing was not her calling. I have seen surgical "sisters," women whose hands were worth to them two or three guineas a-week, down upon their knees scouring a room or hut, because they thought it otherwise not fit for their patients to go into. I am far from wishing nurses to scour. It is a waste of power. But I do say that these women had the true nurse-calling—the good of their sick first, and second only the consideration what it was their "place" to do—and that women who wait for the housemaid to do this, or for the charwoman to do that, when their patients are suffering, have not the making of a nurse in them.

The longer one stays here the more does the spirit of the moor sink into one’s soul, its vastness, and also its grim charm. When you are once out upon its bosom you have left all traces of modern England behind you, but on the other hand you are conscious everywhere of the homes and the work of prehistoric people. On all sides of you as you walk are the houses of these forgotten folk, with their graves and the huge monoliths which are supposed to have marked their temples. As you look at their grey stone huts against the scarred hillsides you leave your own age behind you, and if you were to see a skin-clad, hairy man crawl out from the low door, fitting a flint-tipped arrow on to the string of his bow, you would feel that the presence there was more natural than your own. The strange thing is that they should have lived so thickly on what must always have been most unfruitful soil. I am no antiquarian, but I could imagine that they were some unwarlike and harried race who were forced to accept that which none other would occupy.

We have already compared the benefits of theology and science. When the theologian governed the world, it was covered with huts and hovels for the many, palaces and cathedrals for the few. To nearly all the children of men, reading and writing were unknown arts. The poor were clad in rags and skins -- they devoured crusts, and gnawed bones. The day of Science dawned, and the luxuries of a century ago are the necessities of to-day. Men in the middle ranks of life have more of the conveniences and elegancies than the princes and kings of the theological times. But above and over all this, is the development of mind. There is more of value in the brain of an average man of to-day -- of a master-mechanic, of a chemist, of a naturalist, of an inventor, than there was in the brain of the world four hundred years ago. These blessings did not fall from the skies. These benefits did not drop from the outstretched hands of priests. They were not found in cathedrals or behind altars -- neither were they searched for with holy candles. They were not discovered by the closed eyes of prayer, nor did they come in answer to superstitious supplication. They are the children of freedom, the gifts of reason, observation and experience -- and for them all, man is indebted to man.

Rain, midnight rain, nothing but the wild rain On this bleak hut, and solitude, and me Remembering again that I shall die And neither hear the rain nor give it thanks For washing me cleaner than I have been Since I was born into this solitude. Blessed are the dead that the rain rains upon: But here I pray that none whom once I loved Is dying to-night or lying still awake Solitary, listening to the rain, Either in pain or thus in sympathy Helpless among the living and the dead, Like a cold water among broken reeds, Myriads of broken reeds all still and stiff, Like me who have no love which this wild rain Has not dissolved except the love of death, If love it be towards what is perfect and Cannot, the tempest tells me, disappoint.

Chateau and hut, stone face and dangling figure, the red stain on the stone floor, and the pure water in the village well--thousands of acres of land--a whole province of France--all France itself--lay under the night sky, concentrated into a faint hairbreadth line. So does a whole world, with all its greatnesses and littlenesses, lie in a twinkling star. And as mere human knowledge can split a ray of light and analyse the manner of its composition, so, sublimer intelligences may read in the feeble shining of this earth of ours, every thought and act, every vice and virtue, of every responsible creature on it.

9. The Moon Cannot Be Stolen Ryokan, a Zen master, lived the simplest kind of life in a little hut at the foot of the mountain. One evening a thief visited the hut only to discover there was nothing in it to steal. Ryokan returned and caught him. "You may have come a long way to visit me," he told the prowler, "and you should not return empty-handed. Please take my clothes as a gift." Ryokan sat naked, watching the moon. "Poor fellow," he mused, "I wish I could give him this beautiful moon.

Things are either devolving toward, or evolving from, nothingness. As dusk approaches in the hinterlands, a traveler ponders shelter for the night. He notices tall rushes growing everywhere, so he bundles an armful together as they stand in the field, and knots them at the top. Presto, a living grass hut. The next morning, before embarking on another day's journey, he unknots the rushes and presto, the hut de-constructs, disappears, and becomes a virtually indistinguishable part of the larger field of rushes once again. The original wilderness seems to be restored, but minute traces of the shelter remain. A slight twist or bend in a reed here and there. There is also the memory of the hut in the mind of the traveler — and in the mind of the reader reading this description. Wabi-sabi, in its purest, most idealized form, is precisely about these delicate traces, this faint evidence, at the borders of nothingness.

His large ears Hear everything A hermit wakes And sleeps in a hut Underneath His gaunt cheeks. His eyes blue, alert, Disappointed, And suspicious, Complain I Do not bring him The same sort of Jokes the nurses Do. He is a bird Waiting to be fed,— Mostly beak— an eagle Or a vulture, or The Pharoah's servant Just before death. My arm on the bedrail Rests there, relaxed, With new love. All I know of the Troubadours I bring to this bed. I do not want Or need to be shamed By him any longer. The general of shame Has discharged Him, and left him In this small provincial Egyptian town. If I do not wish To shame him, then Why not love him? His long hands, Large, veined, Capable, can still Retain hold of what He wanted. But Is that what he Desireed? Some Powerful engine Of desire goes on Turning inside his body. He never phrased What he desired, And I am his son.

You think I am so wicked, don't you? A monster. Unnatural. How cruel of me to keep you here and rattle on about my dead grandmother whom you care nothing about. To hold back the doom I keep in store for you and tease you about your mother. I am telling you all this for a reason, you curdle-brained child. Didn't you ever have a tutor? I am teaching dead, dull history—so that you will understand why your feet carried you here instead of towards some other broken old woman's hut, and what you ended when you snapped my daughter's neck. Don't keep looking at me with that same idiot stare. Listen, or you will comprehend nothing, not even your mother. Shall I just kill you now and have my revenge? It would certainly save breath, and at my age every breath is named and numbered. I entertain you at the expense of not a few figures in that scroll of sighs, boy; do not test me." She paused, grimacing as if she truly were tallying the accounts of her lungs. "And never assume that a woman is wicked simply because she is ugly and behaves unfavorably towards you. It is unbecoming behavior for a Prince.

You may write me down in history With your bitter, twisted lies, You may tread me in the very dirt But still, like dust, I'll rise. Does my sassiness upset you? Why are you beset with gloom? 'Cause I walk like I've got oil wells Pumping in my living room. Just like moons and like suns, With the certainty of tides, Just like hopes springing high, Still I'll rise. Did you want to see me broken? Bowed head and lowered eyes? Shoulders falling down like teardrops, Weakened by my soulful cries. Does my haughtiness offend you? Don't you take it awful hard 'Cause I laugh like I got gold mines Diggin' in my own back yard. You may shoot me with your words, You may cut me with your eyes, You may kill me with your hatefulness, But still, like air, I'll rise. Does my sexiness upset you? Does it come as a surprise That I dance like I've got diamonds At the meeting of my thighs? Out of the huts of history's shame I rise Up from a past that's rooted in pain I rise I'm a black ocean, leaping and wide, Welling and swelling I bear in the tide. Leaving behind nights of terror and fear I rise Into a daybreak that's wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise.

Still I Rise - 1928-2014 You may write me down in history With your bitter, twisted lies, You may trod me in the very dirt But still, like dust, I’ll rise. Does my sassiness upset you? Why are you beset with gloom? ’Cause I walk like I’ve got oil wells Pumping in my living room. Just like moons and like suns, With the certainty of tides, Just like hopes springing high, Still I’ll rise. Did you want to see me broken? Bowed head and lowered eyes? Shoulders falling down like teardrops, Weakened by my soulful cries? Does my haughtiness offend you? Don’t you take it awful hard ’Cause I laugh like I’ve got gold mines Diggin’ in my own backyard. You may shoot me with your words, You may cut me with your eyes, You may kill me with your hatefulness, But still, like air, I’ll rise. Does my sexiness upset you? Does it come as a surprise That I dance like I’ve got diamonds At the meeting of my thighs? Out of the huts of history’s shame I rise Up from a past that’s rooted in pain I rise I’m a black ocean, leaping and wide, Welling and swelling I bear in the tide. Leaving behind nights of terror and fear I rise Into a daybreak that’s wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise.

Although, fanciful's origin circa 1627 made me still love the word, even if I'd ruined its applicability to my connection with Snarl. (I mean DASH!) Like, I could totally see Mrs. Mary Poppencock returning home to her cobblestone hut with the thatched roof in Thamesburyshire, Jolly Olde England, and saying to her husband, "Good sir Bruce, would it not be wonderful to have a roof that doesn't leak when it rains on our green shires, and stuff?" And Sir Bruce Poppencock would have been like, "I say, missus, you're very fanciful with your ideas today." To which Mrs. P. responded, "Why, Master P., you've made up a word! What year is it? I do believe it's circa 1627! Let's carve the year--we think--on a stone so no one forgets. Fanciful! Dear man, you are a genius. I'm so glad my father forced me to marry you and allow you to impregnate me every year.

Then I said to myself, "If the centuries are going by, mine will come too, and will pass, and after a time the last century of all will come, and then I shall understand." And I fixed my eyes on the ages that were coming and passing on; now I was calm and resolute, maybe even happy. Each age brought its share of light and shade, of apathy and struggle, of truth and error, and its parade of systems, of new ideas, of new illusions; in each of them the verdure of spring burst forth, grew yellow with age, and then, young once more, burst forth again. While life thus moved with the regularity of a calendar, history and civilization developed; and man, at first naked and unarmed, clothed and armed himself, built hut and palace, villages and hundred-gated Thebes, created science that scrutinizes and art that elevates, made himself an orator, a mechanic, a philosopher, ran all over the face of the globe, went down into the earth and up to the clouds, performing the mysterious work through which he satisfied the necessities of life and tried to forget his loneliness. My tired eyes finally saw the present age go by end, after it, future ages. The present age, as it approached, was agile, skillful, vibrant, proud, a little verbose, audacious, learned, but in the end it was as miserable as the earlier ones. And so it passed, and so passed the others, with the same speed and monotony.

I think the educational and psychological studies I mentioned are examples of what I would like to call cargo cult science. In the South Seas there is a cargo cult of people. During the war they saw airplanes land with lots of good materials, and they want the same thing to happen now. So they’ve arranged to make things like runways, to put fires along the sides of the runways, to make a wooden hut for a man to sit in, with two wooden pieces on his head like headphones and bars of bamboo sticking out like antennas—he’s the controller—and they wait for the airplanes to land. They’re doing everything right. The form is perfect. It looks exactly the way it looked before. But it doesn’t work. No airplanes land. So I call these things cargo cult science, because they follow all the apparent precepts and forms of scientific investigation, but they’re missing something essential, because the planes don’t land.

Little Phoebe was one of those persons who possess, as their exclusive patrimony, the gift of practical arrangement. It is a kind of natural magic that enables these favored ones to bring out the hidden capabilities of things around them; and particularly to give a look of comfort and habitableness to any place which, for however brief a period, may happen to be their home. A wild hut of underbrush, tossed together by wayfarers through the primitive forest, would acquire the home aspect by one night's lodging of such a woman, and would retain it long after her quiet figure had disappeared into the surrounding shade.

Well … things are beginning to stack up a little,” said Gordo. It was the same old sod-hut drawl. He sounded like the airline pilot who, having just slipped two seemingly certain mid-air collisions and finding himself in the midst of a radar fuse-out and control-tower dysarthria, says over the intercom: “Well, ladies and gentlemen, we’ll be busy up here in the cockpit making our final approach into Pittsburgh, and so we want to take this opportunity to thank you for flying American and we hope we’ll see you again real soon.” It was second-generation Yeager, now coming from earth orbit. Cooper was having a good time. He knew everybody was in a sweat down below. But this was what he and the boys had wanted all along, wasn’t it?

It's a laughable lock—one that you would use only to guard a graveyard. Not that anyone would trouble themselves invading a timber hut in a mangrove forest farther away from the Bay of Bengal. Still, how can someone live with a lock like that? Made of ancient iron, reeking of rust. It would need a primordial key to be twisted and turned, going through several moments of mechanical trouble until the old lock opens. Good luck if you can do that without breaking the key. Oh! The key … Well, the owner of the hut has left the key right beside the lock, including instructions. The Monk, Yuan Yagmur—revealing his muscled arms from under his wide, dark shawl—takes the note (the one with instructions): Please, scan your CRAB first before touching the key. For your own safety. From what, you ask? It’s a surprise. Enter without scanning if you want to find out. —Mee-Hae Ra

Suddenly an unexpected series of sounds began to be heard in this place up against the starry sky. They were the notes of Oak´s flute. It came from the direction of a small dark object under the hedge - a shephard´s hut - now presenting an outline to which an unintiated person might have been puzzled to attach either meaning or use. ... Being a man not without a frequent consciousness that there was some charm in this life he led, he stood still after looking at the sky as a useful instrument, and regarded it in an appreciative spirit, as a work of art superlatively beautiful. For a moment he seemed impressed with the speaking loneliness of the scene, or rather with the complete abstraction from all its compass of the sights and sounds of man. ... Oak´s motions, though they had a quiet energy, were slow, and their deliberateness accorded well with his occupation. Fitness being the basis of beauty, nobody could have denied tha his steady swings and turns in and about the flock had elements of grace. His special power, morally, physically, and mentally, was static. ... Oak was an intensely human man: indee, his humanity tore in pieces any politic intentions of his which bordered on strategy, and carried him on as by gravitation. A shadow in his life had always been that his flock should end in mutton - that a day could find a shepherd an arrant traitor to his gentle sheep.

Put it on record --I am an Arab And the number of my card is fifty thousand I have eight children And the ninth is due after summer. What's there to be angry about? Put it on record. --I am an Arab Working with comrades of toil in a quarry. I have eight childern For them I wrest the loaf of bread, The clothes and exercise books From the rocks And beg for no alms at your doors, --Lower not myself at your doorstep. --What's there to be angry about? Put it on record. --I am an Arab. I am a name without a tide, Patient in a country where everything Lives in a whirlpool of anger. --My roots --Took hold before the birth of time --Before the burgeoning of the ages, --Before cypess and olive trees, --Before the proliferation of weeds. My father is from the family of the plough --Not from highborn nobles. And my grandfather was a peasant --Without line or genealogy. My house is a watchman's hut --Made of sticks and reeds. Does my status satisfy you? --I am a name without a surname. Put it on Record. --I am an Arab. Color of hair: jet black. Color of eyes: brown. My distinguishing features: --On my head the 'iqal cords over a keffiyeh --Scratching him who touches it. My address: --I'm from a village, remote, forgotten, --Its streets without name --And all its men in the fields and quarry. --What's there to be angry about? Put it on record. --I am an Arab. You stole my forefathers' vineyards --And land I used to till, --I and all my childern, --And you left us and all my grandchildren --Nothing but these rocks. --Will your government be taking them too --As is being said? So! --Put it on record at the top of page one: --I don't hate people, --I trespass on no one's property. And yet, if I were to become starved --I shall eat the flesh of my usurper. --Beware, beware of my starvation. --And of my anger!

Not long after, and while it was still twilight, the grandfather also went to bed, for he was up every morning at sunrise, and the sun came climbing up over the mountains at a very early hour during these summer months. The wind grew so tempestuous during the night, and blew in such gusts against the walls, that the hut trembled and the old beams groaned and creaked. It came howling and wailing down the chimney like voices of those in pain, and it raged with such fury among the old fir trees that here and there a branch was snapped and fell. In the middle of the night the old man got up. "The child will be frightened," he murmured half aloud. He mounted the ladder and went and stood by the child's bed. Outside the moon was struggling with the dark, fast-driving clouds, which at one moment left it clear and shining, and the next swept over it, and all again was dark. Just now the moonlight was falling through the round window straight on to Heidi's bed. She lay under the heavy coverlid, her cheeks rosy with sleep, her head peacefully resting on her little round arm, and with a happy expression on her baby face as if dreaming of something pleasant. The old man stood looking down on the sleeping child until the moon again disappeared behind the clouds and he could see no more, then he went back to bed.

A little while ago, I stood by the grave of the old Napoleon—a magnificent tomb of gilt and gold, fit almost for a dead deity—and gazed upon the sarcophagus of rare and nameless marble, where rest at last the ashes of that restless man. I leaned over the balustrade and thought about the career of the greatest soldier of the modern world. I saw him walking upon the banks of the Seine, contemplating suicide. I saw him at Toulon—I saw him putting down the mob in the streets of Paris—I saw him at the head of the army of Italy—I saw him crossing the bridge of Lodi with the tri-color in his hand—I saw him in Egypt in the shadows of the pyramids—I saw him conquer the Alps and mingle the eagles of France with the eagles of the crags. I saw him at Marengo—at Ulm and Austerlitz. I saw him in Russia, where the infantry of the snow and the cavalry of the wild blast scattered his legions like winter's withered leaves. I saw him at Leipsic in defeat and disaster—driven by a million bayonets back upon Paris—clutched like a wild beast—banished to Elba. I saw him escape and retake an empire by the force of his genius. I saw him upon the frightful field of Waterloo, where Chance and Fate combined to wreck the fortunes of their former king. And I saw him at St. Helena, with his hands crossed behind him, gazing out upon the sad and solemn sea. I thought of the orphans and widows he had made—of the tears that had been shed for his glory, and of the only woman who ever loved him, pushed from his heart by the cold hand of ambition. And I said I would rather have been a French peasant and worn wooden shoes. I would rather have lived in a hut with a vine growing over the door, and the grapes growing purple in the kisses of the autumn sun. I would rather have been that poor peasant with my loving wife by my side, knitting as the day died out of the sky—with my children upon my knees and their arms about me—I would rather have been that man and gone down to the tongueless silence of the dreamless dust, than to have been that imperial impersonation of force and murder, known as 'Napoleon the Great.

One time I listened to Farmer give a talk on HIV to a class at the Harvard School of Public Health, and in the midst of reciting data, he mentioned the Haitian phrase “looking for life, destroying life,” Then he explained, “It’s an expression Haitians use if a poor woman selling mangoes falls off a truck and dies.” I felt as if for that moment I could see a little way into his mind, It seemed like a place of hyperconnectivity, At moments like that, I thought that what he wanted was to erase both time and geography, connecting all parts of his life and tying them instrumentally to a world in which he saw intimate, inescapable connections between the gleaming corporate offices of Paris and New York and a legless man lying on the mud floor of a hut in the remotest part of remote Haiti. Of all the world’s errors, he seemed to feel, the most fundamental was the “erasing” of people, the “hiding away” of suffering. “My big struggle is how people can not care, erase, not remember.

I’d like to run away, to flee from what I know, from what is mine, from what I love. I want to set off, not for some impossible Indies or for the great islands that lie far to the south of all other lands, but for anywhere, be it village or desert, that has the virtue of not being here. What I want is not to see these faces, this daily round of days. I want a rest from, to be other than, my habitual pretending. I want to feel the approach of sleep as if it were a promise of life, not rest. A hut by the sea, even a cave on a rugged mountain ledge, would be enough. Unfortunately, my will alone cannot give me that. Slavery is the only law of life, there is no other, because this law must be obeyed; there is no possible rebellion against it or refuge from it. Some are born slaves, some become slaves, some have slavery thrust upon them. The cowardly love we all have of freedom -which if it were given to us we would all repudiate as being too new and strange –is the irrefutable proof of how our slavery weighs upon us.

I was sitting in front of the hut and watching the ground darken and the sea grow a phosphorescent green. Not a soul was to be seen from one end of the beach to the other, not a sail, not a bird. Only the smell of the earth entered through the window. I rose and held out my hand to the rain like a beggar. I suddenly felt like weeping. Some sorrow, not my own but deeper and more obscure, was rising from the damp earth: the panic which a peaceful grazing animal feels when, all at once, without have seen anything, it rears its head and scents in the air about it that it is trapped and cannot escape. I wanted to utter a cry, knowing that it would relieve my feelings, but I was ashamed to. The clouds were coming lower and lower. I looked through the window; my heart was gently palpitating. What a voluptuous enjoyment of sorrow those hours of soft rain can produce in you! All bitter memories hidden in the depths of your mind come to the surface: separations from friends, women’s smiles which have faded, hopes which have lost their wings like moths and of which only a grub remains – and that grub had crawled on to the leaf of my heart and eating it away.

I am fearful most men of this age are like you. They have forgotten what it is to huddle in a hut with the beasts and demons howling outside their door. They no longer have want of a great and terrible spirit to protect them. They have lost their fear of the wild and with it their need to believe. And I cannot blame them, for they now have the power to chase away the shadows with a mere flick of a switch. So I must ask myself, what role can I play in a world where men worship the moving-picture box, where they make and consume potions that eat away their own brains, where they ravage and pillage entire mountains, kill the very earth itself? “Mankind has lost its connection to the land, to the earth, to the beasts and spirits. They gather their food not from the forest and fields, but from plastic bins and ice boxes. Their lives are no longer tied to the cycles of the seasons and the harvest, no longer do they need the Yule Lord to chase away the winter darkness and usher in the light of spring. Man has only himself to fear now . . . he has become his own worst devil.

A Wild Woman Is Not A Girlfriend. She Is A Relationship With Nature. But can you love me in the deep? In the dark? In the thick of it? Can you love me when I drink from the wrong bottle and slip through the crack in the floorboard? Can you love me when I’m bigger than you, when my presence blazes like the sun does, when it hurts to look directly at me? Can you love me then too? Can you love me under the starry sky, shaved and smooth, my skin like liquid moonlight? Can you love me when I am howling and furry, standing on my haunches, my lower lip stained with the blood of my last kill? When I call down the lightning, when the sidewalks are singed by the soles of my feet, can you still love me then? What happens when I freeze the land, and cause the dirt to harden over all the pomegranate seeds we’ve planted? Will you trust that Spring will return? Will you still believe me when I tell you I will become a raging river, and spill myself upon your dreams and call them to the surface of your life? Can you trust me, even though you cannot tame me? Can you love me, even though I am all that you fear and admire? Will you fear my shifting shape? Does it frighten you, when my eyes flash like your camera does? Do you fear they will capture your soul? Are you afraid to step into me? The meat-eating plants and flowers armed with poisonous darts are not in my jungle to stop you from coming. Not you. So do not worry. They belong to me, and I have invited you here. Stay to the path revealed in the moonlight and arrive safely to the hut of Baba Yaga: the wild old wise one… she will not lead you astray if you are pure of heart. You cannot be with the wild one if you fear the rumbling of the ground, the roar of a cascading river, the startling clap of thunder in the sky. If you want to be safe, go back to your tiny room — the night sky is not for you. If you want to be torn apart, come in. Be broken open and devoured. Be set ablaze in my fire. I will not leave you as you have come: well dressed, in finely-threaded sweaters that keep out the cold. I will leave you naked and biting. Leave you clawing at the sheets. Leave you surrounded by owls and hawks and flowers that only bloom when no one is watching. So, come to me, and be healed in the unbearable lightness and darkness of all that you are. There is nothing in you that can scare me. Nothing in you I will not use to make you great. A wild woman is not a girlfriend. She is a relationship with nature. She is the source of all your primal desires, and she is the wild whipping wind that uproots the poisonous corn stalks on your neatly tilled farm. She will plant pear trees in the wake of your disaster. She will see to it that you shall rise again. She is the lover who restores you to your own wild nature.

I watch these kids. They don't seem entirely unhappy. A few times I've even circled the Free Clinic on foot, trying to catch a closer glimpse of these kids and their lives as they pop in and out of the clinic's Sputnik-era, gone-to-seed building--Lancaster's future trolls and Popeyes loitering out back having hushed paranoid conversations. And once I even went to have a look where they hang out in a big way, out in the delivery bay behind the now-closed Donut Hut, the delivery bay grotto out back with a floor spongy with pigeon shit, chewing gum, cigarette ashes, and throat oysters--dank and sunless. I went to visit this place once when all the druggies were away, having their druggy lives downtown doing their druggy things: yelling at parked cars and having conversations with amber lights. I visited this place and I was confused: confused and attracted. Who do these people think they are? How can they not care about the future or hot running water or clean sheets or cable TV? These people. And on the walls down at the delivery bay, do you know what they had written? Written in letters several hands high, letters built of IV needles attached to the cement with soiled bandages and wads of chewing gum? They had written the words WE LIKE IT.

The hearth is desolate. The children, the unconscious children, who once sang and danced in her presence, are gone. She gropes her way, in the darkness of age, for a drink of water. Instead of the voices of her children, she hears by day the moans of the dove, and by night the screams of the hideous owl. All is gloom. The grave is at the door. And now, when weighed down by the pains and aches of old age, when the head inclines to the feet, when the beginning and ending of human existence meet, and helpless infancy and painful old age combine together—at this time, this most needful time, the time for the exercise of that tenderness and affection which children only can exercise towards a declining parent—my poor old grandmother, the devoted mother of twelve children, is left all alone, in yonder little hut, before a few dim embers. She stands—she sits—she staggers—she falls—she groans—she dies—and there are none of her children or grandchildren present, to wipe from her wrinkled brow the cold sweat of death, or to place beneath the sod her fallen remains. Will not a righteous God visit for these things?

But the main reason was that waking her would’ve meant telling her good-bye, and telling someone good-bye when you’re planning on walking into hell would’ve felt kind of…final. It was the same reason I hadn’t gone into the hut to find Mom, and why I’d skirted around Archer’s tent. I’d been nearly to the shore when I’d heard him softly call, “Mercer.” Kneeling in the doorway of his tent, his hair a mess, his Hex Hall uniform ridiculously wrinkled, he’d nearly broken my heart. And when I ran to him as soundlessly as I could and practically dove on top of him, I’d told myself that our kiss was just your normal boyfriend/girlfriend saying good morning thing. Even when he pulled me inside, the tent warm and cozy and smelling like him, I hadn’t let myself think that might be the last time I’d see him. And when he’d pulled me closer and murmured, “Mercer, I love-“ I had covered his mouth with my hand. “Don’t say that. Not now. Say it sometime when there is absolutely no chance of death on the horizon, okay?” He mumbled something beneath my palm, and I rolled my eyes as I pulled it away from his mouth. He dropped a kiss on the tip of my nose. “All I was going to say was that I love this tent you made for me. But I guess I can tell you again later. When you get back.” Curling my hand around the back of his neck, I’d pulled him down to me. “You better.” A blush creeping up my neck from the memory, I swung my gaze away from his tent and back toward the lake. I was coming back. I was going to be fine, and getting down into the Underworld to collect demonglass wouldn’t be hard at all. Maybe I’d make it back before lunch. Of course, I couldn’t make it back if I never left.

The hanging gate, of something like trelliswork, was propped on a pole, and he could see that the house was tiny and flimsy. He felt a little sorry for the occupants of such a place--and then asked himself who in this world had a temporary shelter. [Anonymous, Kokinshuu 987: Where in all this world shall I call home? A temporary shelter is my home.] A hut, a jeweled pavilion, they were the same. A pleasantly green vine was climbing a board wall. The white flowers, he said to himself, had a rather self-satisfied look about them. 'I needs must ask the lady far yonder," he said, as if to himself. [Anonymous, Kokinshuu 1007: I needs must ask the lady far yonder What flower it is off there that blooms so white.] An attendant came up, bowing deeply. "The white flowers far off yonder are known as 'evening faces," he said. "A very human sort of name--and what a shabby place they have picked to bloom in." It was as the man said. The neighborhood was a poor one, chiefly of small houses. Some were leaning precariously, and there were "evening faces" at the sagging eaves. A hapless sort of flower. Pick one off for me, will you?" The man went inside the raised gate and broke off a flower. A pretty little girl in long, unlined yellow trousers of raw silk came out through a sliding door that seemed too good for the surroundings. Beckoning to the man, she handed him a heavily scented white fan. Put it on this. It isn't much of a fan, but then it isn't much of a flower either.

You struggle because you’re locating all of the magic in your life outside of yourself. When you are loved, then you are lovable. When you are left behind, you are unlovable. When you “arrive” at some point of success and fame as a writer, you will be worthy. Until then, you are worthless. As long as you imagine that the outside world will one day deliver to you the external rewards you need to feel happy, you will always perceive your survival as exhausting and perceive your life as a long slog to nowhere. Instead, you have to savor the tiny struggles of the day: The cold glass of water after a long run. The hot bath after hours of digging through the dirt. The satisfaction of writing a good sentence, a good paragraph. You MUST feel these things, because these aren’t small rewards on the path to some big reward; these tiny things are everything. Savoring these things requires tuning in to your feelings, and it requires loving yourself instead of shoving your nose into your own question marks hour after hour, day after day. You are not lost. You are here. Stop abandoning yourself. Stop repeating this myth about love and success that will land in your lap or evade you forever. Build a humble, flawed life from the rubble, and cherish that. There is nothing more glorious on the face of the earth than someone who refuses to give up, who refuses to give in to their most self-hating, discouraged, disillusioned self, and instead learns, slowly and painfully, how to relish the feeling of building a hut in the middle of the suffocating dust. If you can learn to be where you are, without fear, then sooner than you know it, your life will quite naturally be filled with more love and more wonder than you can possibly handle. When that happens, you’ll look back and see that this was the most romantic time of your whole life. These are those terrible days, those gorgeous days, when you first learned to breathe and stand alone without fear, to believe not in finish lines but in the race itself. Your legs are aching and your heart is pounding and the world is electric. You will have 30 years or 50 years, or maybe you’ll be gone tomorrow. All that matters is this moment, right now. This is the moment you learn to be here, to feel your limbs, to feel your full heart, to realize, for the first time, just how lucky you are.

There is one in this tribe too often miserable - a child bereaved of both parents. None cares for this child: she is fed sometimes, but oftener forgotten: a hut rarely receives her: the hollow tree and chill cavern are her home. Forsaken, lost, and wandering, she lives more with the wild beast and bird than with her own kind. Hunger and cold are her comrades: sadness hovers over, and solitude besets her round. Unheeded and unvalued, she should die: but she both lives and grows: the green wilderness nurses her, and becomes to her a mother: feeds her on juicy berry, on saccharine root and nut. There is something in the air of this clime which fosters life kindly: there must be something, too, in its dews, which heals with sovereign balm. Its gentle seasons exaggerate no passion, no sense; its temperature tends to harmony; its breezes, you would say, bring down from heaven the germ of pure thought, and purer feeling. Not grotesquely fantastic are the forms of cliff and foliage; not violently vivid the colouring of flower and bird: in all the grandeur of these forests there is repose; in all their freshness there is tenderness. The gentle charm vouchsafed to flower and tree, - bestowed on deer and dove, - has not been denied to the human nursling. All solitary, she has sprung up straight and graceful. Nature cast her features in a fine mould; they have matured in their pure, accurate first lines, unaltered by the shocks of disease. No fierce dry blast has dealt rudely with the surface of her frame; no burning sun has crisped or withered her tresses: her form gleams ivory-white through the trees; her hair flows plenteous, long, and glossy; her eyes, not dazzled by vertical fires, beam in the shade large and open, and full and dewy: above those eyes, when the breeze bares her forehead, shines an expanse fair and ample, - a clear, candid page, whereon knowledge, should knowledge ever come, might write a golden record. You see in the desolate young savage nothing vicious or vacant; she haunts the wood harmless and thoughtful: though of what one so untaught can think, it is not easy to divine. On the evening of one summer day, before the Flood, being utterly alone - for she had lost all trace of her tribe, who had wandered leagues away, she knew not where, - she went up from the vale, to watch Day take leave and Night arrive. A crag, overspread by a tree, was her station: the oak-roots, turfed and mossed, gave a seat: the oak-boughs, thick-leaved, wove a canopy. Slow and grand the Day withdrew, passing in purple fire, and parting to the farewell of a wild, low chorus from the woodlands. Then Night entered, quiet as death: the wind fell, the birds ceased singing. Now every nest held happy mates, and hart and hind slumbered blissfully safe in their lair. The girl sat, her body still, her soul astir; occupied, however, rather in feeling than in thinking, - in wishing, than hoping, - in imagining, than projecting. She felt the world, the sky, the night, boundlessly mighty. Of all things, herself seemed to herself the centre, - a small, forgotten atom of life, a spark of soul, emitted inadvertent from the great creative source, and now burning unmarked to waste in the heart of a black hollow. She asked, was she thus to burn out and perish, her living light doing no good, never seen, never needed, - a star in an else starless firmament, - which nor shepherd, nor wanderer, nor sage, nor priest, tracked as a guide, or read as a prophecy? Could this be, she demanded, when the flame of her intelligence burned so vivid; when her life beat so true, and real, and potent; when something within her stirred disquieted, and restlessly asserted a God-given strength, for which it insisted she should find exercise?