Impossible Landscapes Quotes

The feelings that hurt most, the emotions that sting most, are those that are absurd - The longing for impossible things, precisely because they are impossible; nostalgia for what never was; the desire for what could have been; regret over not being someone else; dissatisfaction with the world’s existence. All these half-tones of the soul’s consciousness create in us a painful landscape, an eternal sunset of what we are.

Her sadness makes her impossibly beautiful, like snow blanketing a barren landscape.

The feelings that hurt most, the motions that sting most, are those that are absurd; the longing for impossible things, precisely because they are impossible; nostalgia for what never was; the desire for what could have been; regret over not being someone else; dissatisfaction with the world's existence. All these half-tones of the soul's consciousness create in us a painful landscape, an eternal sunset of what we are.

He had been thinking of how landscape moulds a language. It was impossible to imagine these hills giving forth anything but the soft syllables of Irish, just as only certain forms of German could be spoken on the high crags of Europe; or Dutch in the muddy, guttural, phlegmish lowlands.

What is a saint? A saint is someone who has achieved a remote human possibility. It is impossible to say what that possibility is. I think it has something to do with the energy of love. Contact with this energy results in the exercise of a kind of balance in the chaos of existence. A saint does not dissolve the chaos; if he did the world would have changed long ago. I do not think that a saint dissolves the chaos even for himself, for there is something arrogant and warlike in the notion of a man setting the universe in order. It is a kind of balance that is his glory. He rides the drifts like an escaped ski. His course is a caress of the hill. His track is a drawing of the snow in a moment of its particular arrangement with wind and rock. Something in him so loves the world that he gives himself to the laws of gravity and chance. Far from flying with the angels, he traces with the fidelity of a seismograph needle the state of the solid bloody landscape.

I should like to be the landscape which I am contemplating, I should like this sky, this quiet water to think themselves within me, that it might be I whom they express in flesh and bone, and I remain at a distance. But it is also by this distance that the sky and the water exist before me. My contemplation is an excruciation only because it is also a joy. I can not appropriate the snow field where i slide. It remains foreign, forbidden, but I take delight in this very effort toward an impossible possession. I experience it as a triumph, not as a defeat.

It is impossible to describe a landscape so validly as to exclude all other descriptions, for no one can see the landscape in all its aspects at the same time, and no single view can prevent the existence and validity of other equally possible views.

If 'dead' matter has reared up this curious landscape of fiddling crickets, song sparrows, and wondering men, it must be plain even to the most devoted materialists that the matter of which he speaks contains amazing, if not dreadful, powers, and may not impossibly be, as Thomas Hardy has suggested, 'but one mask of many worn by the Great Face behind.

But her thoughts are often of the past. That evanescent, pervasive, slippery internal landscape known to no one else, that vast accretion of data on which you depend - without it you would not be yourself. Impossible to share and no one else could view it anyway. The past is out ultimate privacy; we pile it up, year by year, decade by decade, it stows itself away, with its perverse random recall system.

Art lies, to tell the truth. Flowers from different seasons bloom impossibly together. Trees are shifted around in the landscape to frame the composition. Rooms are created like stage sets, furnished with the artist’s own possessions, where models are arranged in a speechless moment of drama.

My trip to the former Yugoslavia had opened the world for me, and my hunger for the world. In doing so, it undid the contained, safe borders of my existence. Suddenly a woman weeping over her lost son in an image on the front page of The New York Times was no longer a theoretical entity. She was real, a woman I might have met, might have known. I was connected to her. I could no longer divorce myself from her pain, her suffering. Initially this was overwhelming. I had nightmares. I felt restless and wrong in my comforting life in America. Everything seemed absurd and pointless. I came to understand why we block out the pain and atrocities of others. That pain, if we allow it to enter us, makes our lives impossible. It forces us to examine our own values and reality. It insists that we be responsible for others. It thrusts us into the messy world where there are no easy solutions or reasons, only struggles and questions. It creates great fissures in the landscape of our insulated, so-called safe reality. Fissures that, once split open, can never close again. It compels us to act.

Happiness is not a zero-sum game. It's the only case in which the resources are limitless, and in which the rich can get richer at no expense to anyone else. That day in the park, I found it remarkably easy to own my happiness and celebrate Kate's as well. It's a strange thing, though, how rare, maybe impossible, it is to have everyone you care about thriving at the same time. For a short spell, life seems certain and stable, until something shifts and redistributes, randomly, unpredictably, and when you look around at the new landscape, you see that it's someone else's turn now. You redirect your attention to focus on the friend in need. You hope - you know - they will do the same for you, when your turn comes.

It was remarkably, horribly easy to make people accept terrible things if you made them part of the normal landscape. If you designed the world around them so they didn’t stick out. People were easy to dupe into thinking that powerful meant benevolent, especially when they had no way out, no recourse but to live beneath something unfair. Reduce their sense of choice—make it seem like they could accept what was, or have nothing—and they’d fall in line. Because sometimes, finding another way felt impossible.

A single scent takes you to unseen worlds with excitement on every level, to impossible landscapes painted with colors no one has ever seen.

in 1068, it would have already been impossible for Hansel and Gretel to walk more than four miles through any English wood without bursting back out into open fields. The landscape of fairy tales is symbolic: "The forest is where you are when your surroundings are not mastered.

Without the full spectrum of emotions, we are not whole human beings. We are instead like the artist whose palette only has room for light and cheery colors. Our self-expression is boring and superficial like discount store paintings, unconvincingly ethereal in their insipid feathery pastels. The “negative” emotions add dark colors to an artist’s palette. They open up an infinite range of color, hue, and tone. Without black on the palette there are no rich colors, no depths, no contrasts, no intricacies. Without the dark colors it is impossible to capture the infinitely diverse themes and landscapes of life.

Within the grip of winter, it is almost impossible to imagine the spring. The gray perished landscape is shorn of color. Only bleakness meets the eye; everything seems severe and edged. Winter is the oldest season; it has some quality of the absolute. Yet beneath the surface of winter, the miracle of spring is already in preparation; the cold is relenting; seeds are wakening up. Colors are beginning to imagine how they will return. Then, imperceptibly, somewhere one bug opens and the symphony of renewal is no longer reversible. From the black heart of winter a miraculous, breathing plenitude of color emerges. The beauty of nature insists on taking its time. Everything is prepared. Nothing is rushed. The rhythm of emergence is a gradual slow beat always inching its way forward; change remains faithful to itself until the new unfolds in the full confidence of true arrival. Because nothing is abrupt, the beginning of spring nearly always catches us unawares. It is there before we see it; and then we can look nowhere without seeing it.

Through their discomforts Dom and Phil were missing everything of interest: the sudden strip marshes, the faces in the rock formations, the perfect lakes, the awesome måskoskårså valley grooved into the earth during the Ice Age, the golden eagle circling above it, and the views of a landscape it was impossible to believe existed in Europe.

My dreams have always tended to be elaborate and fantastical. They brim with surreal creatures, Dali-esque landscapes, impossible situations.

It is impossible for God to lie." Oh, take this precious truth into your heart, and it will shed a warm sunlight over all the landscape of your yet shadowy existence.

A large corporation is more like Australia: it’s impossible to see the whole landscape at once and there are so many things capable of maiming or killing you.

Everything becomes a blur when you travel beyond a certain speed. Distant objects may still be clear in outline, but the blurred foreground makes it impossible to attend to them. This landscape is unreal and the passengers in the express train turn to their books, their thoughts or their private fantasies. The subjectivism of our age has a good deal to do with this imprisonment in a speeding vehicle, and the fact that we made this vehicle ourselves, with all the tireless care that children give to a contrivance of wood and wire, does not save us from the sense of being trapped without hope of escape. A further effect of such vertiginous speed is a kind of anaesthesia, entirely natural when the operation of the senses by which we normally make contact with our environment is suspended. With no opportunity to assimilate what is going on, our powers of assimilation are inevitably weakened and certain numbness sets in; nothing is fully savoured and nothing is properly understood. Even fear (which exists to forewarn us of danger) is suspended. This would be so even if speed of change were the only factor involved, but the kind of environment in which a large part of humanity lives today --- the environment created by technology at the service of immediate, short-term needs – does much to intensify this effect. Outside of works of art which embody something beyond our physical needs, our own constructions bore us. Those who, when they have built something and admired the finished product for a decent moment, are ready to pull it down and start on something new have good sense on their side.

Every genetic “illness” is a mismatch between an organism’s genome and its environment. In some cases, the appropriate medical intervention to mitigate a disease might be to alter the environment to make it “fit” an organismal form (building alternative architectural realms for those with dwarfism; imagining alternative educational landscapes for children with autism). In other cases, conversely, it might mean changing genes to fit environments. In yet other cases, the match may be impossible to achieve: the severest forms of genetic illnesses, such as those caused by nonfunction of essential genes, are incompatible with all environments. It is a peculiar modern fallacy to imagine that the definitive solution to illness is to change nature—i.e., genes—when the environment is often more malleable. 10.

My dad was a different person when he lectured: his eyes sparkled, his lips turned upward.... 'Think what it must have been like for Darwin, two hundred years ago. He took that voyage on the Beagle [1831] expecting to document the natural world and he stumbled across something impossible. A creature who could defy the laws of physics--straight out of the pages of mythology...In that one moment, the entire landscape of scientific investigation was drastically and irrevocably changed. The impossible became a widespread scientific reality, as omnipresent as gravity and in some cases, nearly as hard to see.

Because complex animals can evolve their behavior rapidly. Changes can occur very quickly. Human beings are transforming the planet, and nobody knows whether it’s a dangerous development or not. So these behavioral processes can happen faster than we usually think evolution occurs. In ten thousand years human beings have gone from hunting to farming to cities to cyberspace. Behavior is screaming forward, and it might be nonadaptive. Nobody knows. Although personally, I think cyberspace means the end of our species.” “Yes? Why is that?” “Because it means the end of innovation,” Malcolm said. “This idea that the whole world is wired together is mass death. Every biologist knows that small groups in isolation evolve fastest. You put a thousand birds on an ocean island and they’ll evolve very fast. You put ten thousand on a big continent, and their evolution slows down. Now, for our own species, evolution occurs mostly through our behavior. We innovate new behavior to adapt. And everybody on earth knows that innovation only occurs in small groups. Put three people on a committee and they may get something done. Ten people, and it gets harder. Thirty people, and nothing happens. Thirty million, it becomes impossible. That’s the effect of mass media—it keeps anything from happening. Mass media swamps diversity. It makes every place the same. Bangkok or Tokyo or London: there’s a McDonald’s on one corner, a Benetton on another, a Gap across the street. Regional differences vanish. All differences vanish. In a mass-media world, there’s less of everything except the top ten books, records, movies, ideas. People worry about losing species diversity in the rain forest. But what about intellectual diversity—our most necessary resource? That’s disappearing faster than trees. But we haven’t figured that out, so now we’re planning to put five billion people together in cyberspace. And it’ll freeze the entire species. Everything will stop dead in its tracks. Everyone will think the same thing at the same time. Global uniformity. Oh, that hurts. Are you done?” “Almost,” Harding said. “Hang on.” “And believe me, it’ll be fast. If you map complex systems on a fitness landscape, you find the behavior can move so fast that fitness can drop precipitously. It doesn’t require asteroids or diseases or anything else. It’s just behavior that suddenly emerges, and turns out to be fatal to the creatures that do it. My idea was that dinosaurs—being complex creatures—might have undergone some of these behavioral changes. And that led to their extinction.

Below the surface, the force driving noir stories is the urge to escape: from the past, from the law, from the ordinary, from poverty, from constricting relationships, from the limitations of the self. Noir found its fullest expression in America because the American psyche harbors a passion for independence . . . With this desire for autonomy comes a corresponding fear of loneliness and exile. The more we crave success, the more we dread failure; the more we crave freedom, the more we dread confinement. This is the shadow that spawns all of noir’s shadows: the anxiety imposed by living in a country that elevates opportunity above security; one that instills the compulsion to “make it big," but offers little sympathy to those who fall short. Film noir is about people who break the rules, pursuing their own interests outside the boundaries of decent society, and about how they are destroyed by society - or by themselves. Noir springs from a fundamental conflict between the values of individual freedom and communal safety: a fundamental doubt that the two can coexist. . . . Noir stories are powered by the need to escape, but they are structured around the impossibility of escape: their fierce, thwarted energy turns inward. The ultimate noir landscape, immeasurable as the ocean and confining as a jail cell, is the mind - the darkest city of all.

Leaders instill courage in the hearts of those who follow. This rarely happens through words alone. It generally requires action. It goes back to what we said earlier: Somebody has to go first. By going first, the leader furnishes confidence to those who follow. As a next generation leader, you will be called upon to go first. That will require courage. But in stepping out you will give the gift of courage to those who are watching. What do I believe is impossible to do in my field, but if it could be done would fundamentally change my business? What has been done is safe. But to attempt a solution to a problem that plagues an entire industry - in my case, the local church - requires courage. Unsolved problems are gateways to the future. To those who have the courage to ask the question and the tenacity to hang on until they discover or create an answer belongs the future. Don’t allow the many good opportunities to divert your attention from the one opportunity that has the greatest potential. Learn to say no. There will always be more opportunities than there is time to pursue them. Leaders worth following are willing to face and embrace current reality regardless of how discouraging or embarrassing it might be. It is impossible to generate sustained growth or progress if your plan for the future is not rooted in reality. Be willing to face the truth regardless of how painful it might be. If fear causes you to retreat from your dreams, you will never give the world anything new. it is impossible to lead without a dream. When leaders are no longer willing to dream, it is only a short time before followers are unwilling to follow. Will I allow my fear to bind me to mediocrity? Uncertainty is a permanent part of the leadership landscape. It never goes away. Where there is no uncertainty, there is no longer the need for leadership. The greater the uncertainty, the greater the need for leadership. Your capacity as a leader will be determined by how well you learn to deal with uncertainty. My enemy is not uncertainty. It is not even my responsibility to remove the uncertainty. It is my responsibility to bring clarity into the midst of the uncertainty. As leaders we can afford to be uncertain, but we cannot afford to be unclear. People will follow you in spite of a few bad decisions. People will not follow you if you are unclear in your instruction. As a leader you must develop the elusive skill of leading confidently and purposefully onto uncertain terrain. Next generation leaders must fear a lack of clarity more than a lack of accuracy. The individual in your organization who communicates the clearest vision will often be perceived as the leader. Clarity is perceived as leadership. Uncertainty exposes a lack of knowledge. Pretending exposes a lack of character. Express your uncertainty with confidence. You will never maximize your potential in any area without coaching. It is impossible. Self-evaluation is helpful, but evaluation from someone else is essential. You need a leadership coach. Great leaders are great learners. God, in His wisdom, has placed men and women around us with the experience and discernment we often lack. Experience alone doesn’t make you better at anything. Evaluated experience is what enables you to improve your performance. As a leader, what you don’t know can hurt you. What you don’t know about yourself can put a lid on your leadership. You owe it to yourself and to those who have chosen to follow you to open the doors to evaluation. Engage a coach. Success doesn’t make anything of consequence easier. Success just raises the stakes. Success brings with it the unanticipated pressure of maintaining success. The more successful you are as a leader, the more difficult this becomes. There is far more pressure at the top of an organization than you might imagine.

Fernando Pessoa (1888-1935), a Portuguese poet, writer, and philosopher said, ‘The feelings that hurt most, the emotions that sting most, are those that are absurd – The longing for impossible things, precisely because they are impossible; nostalgia for what never was; the desire for what could have been; regrets over not being someone else; dissatisfaction with the world’s existence. All these half-tones of the soul’s consciousness create in us a painful landscape, an eternal sunset of what we are.

As any number of radical theorists from Brecht through to Foucault and Badiou have maintained, emancipatory politics must always destroy the appearance of a ‘natural order’, must reveal what is presented as necessary and inevitable to be a mere contingency, just as it must make what was previously deemed to be impossible seem attainable. It is worth recalling that what is currently called realistic was itself once ‘impossible’: the slew of privatizations that took place since the 1980s would have been unthinkable only a decade earlier, and the current political-economic landscape (with unions in abeyance, utilities and railways denationalized) could scarcely have been imagined in 1975. Conversely, what was once eminently possible is now deemed unrealistic. ‘Modernization’, Badiou bitterly observes, ‘is the name for a strict and servile definition of the possible. These ‘reforms’ invariably aim at making impossible what used to be practicable (for the largest number), and making profitable (for the dominant oligarchy) what did not used to be so’. At

I never much understood the point of the world of men. How they fed off each other. How they motivated themselves. I mean, I got the purpose, but I navigated that world the way an astronaut would an alien landscape. Trying not to breathe the same air. Which was impossible, of course.

Aiden was the whole world stretched out beneath him. Aiden’s hair spread out on the sheets, Aiden moaning in his ear. The magnitude of his certainty tipped Harvard over the edge into terrifying and unwelcome knowledge. Terrible realization dawned, remorseless illumination shed on a whole landscape. Harvard found himself looking at his entire life in a new light. Aiden on their first day of school, on their first day of fencing class, on their last day in the hospital, on their first day at Kings Row. Inextricably part of every important moment in Harvard’s life. The bright and shining center of Harvard’s life, ever since he’d turned around and seen Aiden and thought, That boy looks sad, and wanted nothing but to give Aiden everything. Finding Aiden and being too young to understand what he’d found. Only knowing Aiden was necessary to him and wanting Aiden there always. Of course he loved his best friend, of course he did. That was always such an absolute truth that Harvard could never question it. Harvard gasped against Aiden’s mouth. He should have questioned it before now. He should have asked himself what he was feeling. Only he’d been afraid. Dating someone else hadn’t been Harvard’s idea, and with this new clarity he realized he didn’t actually want to do it. He hadn’t wanted to be alone, hadn’t wanted to be left behind, but it was impossible and distinctly horrible to think of being like this with anyone but Aiden. Only very recently, as Aiden dated more and more people and the potential for distance between them started to feel far more real, had Harvard started to feel lonely. If it hadn’t been for Coach suggesting dating, it might never have occurred to him. Why would he go out and look for a partner when he had one at home? Why would he go searching for a lightning strike when there was all the brightness and all the pain he could wish for, always with him? He’d never cared about dating, never really felt the need to find someone, because he’d been otherwise emotionally committed all along. Apparently, Harvard’s subconscious was insane, bent on his own ruin. Somewhere in the back of his mind he’d just decided he was Aiden’s boyfriend, without consulting Aiden. Without even consulting himself. He’d been in love with Aiden the whole time.

We stay in that sunshine, on that marvellous summit, for an hour and an era. We don’t talk much. Up there, language seems impossible, impertinent, sliding stupidly off this landscape. Its size makes metaphor and simile seem preposterous. It is like nowhere I have ever been. It shucks story, leaves the usual forms of meaning-making derelict. Glint of ice cap, breach of whales, silt swirls in outflows, sapphire veins of a crevasse field. A powerful dissonance overtakes my mind, whereby everything seems both distant and proximate at the same time. It feels as if I could lean from that summit and press a finger into the crevasses, tip a drop of water from the serac pool, nudge a berg along the skyline with my fingertip. I realize how configured my sense of distance has become from living so much on the Internet, where everything is in reach and nothing is within touch. The immensity and the vibrancy of the ice are beyond anything I have encountered before. Seen in deep time – viewed even in the relatively shallow time since the last glaciation – the notion of human dominance over the planet seems greedy, delusory. Up there on that summit, at that moment, gazing from the Inner Ice to the berg-filled sea, the idea of the Anthropocene feels at best a conceit, at worst a perilous vanity. I recall the Inuit word I first heard in northern Canada: ilira, meaning ‘a sense of fear and awe’, and also carrying an implication of the landscape’s sentience with it. Yes. That is what I feel here. Ilira.

The second thing that tore at my heart was the sight of educated yet jobless Baluch youngsters addicted to drugs. The landscape changed non-stop, but the story of deprivation and misery remained the same throughout the belt. NA-260 (Quetta-cum-Chagai-cum-Mastung) was considered the largest electoral constituency of Pakistan, spread over 700 kilometres and bordering Iran and Afghanistan. It was not only an administrative impossibility to govern, but had the additional challenges of stretching from a Pashtun stronghold in Quetta into a mainly Baluch belt. Cross-border smuggling and infiltration was a huge additional complication.

A green world, a scene of green, deep / with light blues, the greens made deep / by those blues. One thinks how / in certain pictures, envied landscapes are seen / (through a window, maybe) far behind the serene / sitter’s face, the serene pose, as though/in some impossible mirror, face to back, / human serenity gazed at a green world / which gazed at this face.

It was impossible not to stare at each of them, not only because my encounters with the courtly fae are so rare I could count them on one hand, but because they were more lovely and more disturbing than any faerie I had set eyes on before. The Ljosland Folk had seemed shaped from the harsh landscape of their home, a pattern that seemed to extend to the courtly fae of this realm. The memory blurs, much as I try to pin it like a butterfly in a display case. The best I can do is record the impressions I've retained: a woman with her hair a cascade of wild roses; a man with tiny leaves dotting his face, like freckles. Several faeries with their skin faintly patterned with whorls, like tree rings, or in the variegated shades of bark. Another woman who flashed silver-blue in the sun, as if she were not made of flesh and blood but a collection of ripples.

…for why else would we gather together in this book if we hadn’t already decided that books are precisely where magic, the great wide world, miracles, and good explanations may all converge? Are books not the last remaining place for otherwise inconceivable encounters between different people, different periods, different landscapes, and different emotions? If Love is the poetry of the senses, books are the poetry of the impossible.

A bird flashed across the empty sky. A cart immobile on the horizon, like a midday star. How could a plain like this be remade? Yet someone would, no doubt, attempt to repeat their journey, sooner or later. This thought made them feel they should bet at once very careful and very daring: careful not to make a mistake that would render the repetition impossible; daring, so that the journey would be worth repeating, like an adventure.

Remember that a little learning can be a pleasant thing. Italy gives much, in beauty, gaiety, diversity of arts and landscapes, good humor and energy—willingly, without having to be coaxed or courted. Paradoxically, she requires (as do other countries, probably more so) and deserves some preparation as background to enhance her pleasures. It is almost impossible to read a total history of Italy; there was no united country until a hundred years ago, no single line of power, no concerted developments. It is useful, however, to know something about what made Siena run and stop, to become acquainted with the Estes and the Gonzagas, the Medicis and the Borgias, the names that were the local history. It helps to know something about the conflicts of the medieval church with the Holy Roman Empire, of the French, Spanish and early German kings who marked out large chunks of Italy for themselves or were invited to invade by a nervous Italian power. Above all, it helps to turn the pages of a few art and architecture books to become reacquainted with names other those of the luminous giants. The informed visitors will not allow himself to be cowed by the deluge of art. See what interests or attracts you; there is no Italian Secret Service that reports on whether you have seen everything. If you try to see it all except as a possible professional task, you may come to resist it all. Relax, know what you like and don’t like—not the worst of measures—and let the rest go.

In a city it's impossible to forget we live in places raised and built over time itself. The past is underneath our feet. Every day when I leave the house , I may walk over a place where a king killed a wolf in the Royal Forest of Stocket, one of the medieval hunting forests ,where alder and birch , oak and hazel,willow, cherry and aspen grew. The living trees were cut down , their wood used to fuel the city's growth , it's trade, it's life.The ancient wood ,preserved in peat, was found underneath the city(The site of the killing is fairly well buried -the wolf and the king had their encounter some time around the early years of the eleventh century)It's the same as in any other city, built up and over and round , ancient woodlands cut down , bogs drained , watercourses altered, a landscape rendered almost untraceable, vanished.Here, there's a history of 8,000 years of habitation , the evidence in excavated fish hooks and fish bone reliquaries, in Bronze Age grave-goods of arrowheads and beakers, what's still under the surface, in revenants and ghosts of gardens , of doo'cots and orchards, of middens and piggeries, plague remains and witch-hunts, of Franciscans and Carmelites, their friaries buried , over-taken by time and stone .This is a stonemasons' city , a city of weavers and gardeners and shipwrights and where I walk , there was once a Maison Dieu, a leper house; there was song schools and sewing schools, correction houses and tollboths, hidden under layers of time, still there

Three miles from my adopted city lies a village where I came to peace. The world there was a calm place, even the great Danube no more than a pale ribbon tossed onto the landscape by a girl’s careless hand. Into this stillness I had been ordered to recover. The hills were gold with late summer; my rooms were two, plus a small kitchen, situated upstairs in the back of a cottage at the end of the Herrengasse. From my window I could see onto the courtyard where a linden tree twined skyward — leafy umbilicus canted toward light, warped in the very act of yearning — and I would feed on the sun as if that alone would dismantle the silence around me. At first I raged. Then music raged in me, rising so swiftly I could not write quickly enough to ease the roiling. I would stop to light a lamp, and whatever I’d missed — larks flying to nest, church bells, the shepherd’s home-toward-evening song — rushed in, and I would rage again. I am by nature a conflagration; I would rather leap than sit and be looked at. So when my proud city spread her gypsy skirts, I reentered, burning towards her greater, constant light. Call me rough, ill-tempered, slovenly— I tell you, every tenderness I have ever known has been nothing but thwarted violence, an ache so permanent and deep, the lightest touch awakens it. . . . It is impossible to care enough. I have returned with a second Symphony and 15 Piano Variations which I’ve named Prometheus, after the rogue Titan, the half-a-god who knew the worst sin is to take what cannot be given back. I smile and bow, and the world is loud. And though I dare not lean in to shout Can’t you see that I’m deaf? — I also cannot stop listening.

What if she doesn’t worry about her body and eats enough for all the growing she has to do? She might rip her stockings and slam-dance on a forged ID to the Pogues, and walk home barefoot, holding her shoes, alone at dawn; she might baby-sit in a battered-women’s shelter one night a month; she might skateboard down Lombard Street with its seven hairpin turns, or fall in love with her best friend and do something about it, or lose herself for hours gazing into test tubes with her hair a mess, or climb a promontory with the girls and get drunk at the top, or sit down when the Pledge of Allegiance says stand, or hop a freight train, or take lovers without telling her last name, or run away to sea. She might revel in all the freedoms that seem so trivial to those who could take them for granted; she might dream seriously the dreams that seem so obvious to those who grew up with them really available. Who knows what she would do? Who knows what it would feel like? But if she is not careful she will end up: raped, pregnant, impossible to control, or merely what is now called fat. The teenage girl knows this. Everyone is telling her to be careful. She learns that making her body into her landscape to tame is preferable to any kind of wildness

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

Where do you get your ideas?' people are always asking authors they admire, which I’ve always thought was another way of asking, 'How did you get my ideas, which I didn’t know I had until you put words to them?' We are known, appreciated, even cherished by our favorite writers; every word of our favorite books seems to have been written for us. Within their sentences and paragraphs, those writers are forever available, forever patient, including us in their compassionate recognition of the impossible, exhausting complexity of being human (those “many thousand” selves), never ignoring us or abandoning us or finding us dull. It’s you, they whisper, as we turn their pages, you are the one I’ve been waiting to tell everything to.

Every genetic “illness” is a mismatch between an organism’s genome and its environment. In some cases, the appropriate medical intervention to mitigate a disease might be to alter the environment to make it “fit” an organismal form (building alternative architectural realms for those with dwarfism; imagining alternative educational landscapes for children with autism). In other cases, conversely, it might mean changing genes to fit environments. In yet other cases, the match may be impossible to achieve: the severest forms of genetic illnesses, such as those caused by nonfunction of essential genes, are incompatible with all environments. It is a peculiar modern fallacy to imagine that the definitive solution to illness is to change nature—i.e., genes—when the environment is often more malleable.

renovating its welfare-warfare capacities into something different by molding surplus finance capital, land, and labor into the workfare-warfare state. The result was an emerging apparatus that, in an echo of the Cold War Pentagon’s stance on communism, presented its social necessity in terms of an impossible goal—containment of crime, understood as an elastic category spanning a dynamic alleged continuum of dependency and depravation. The crisis of state capacity then became, peculiarly, its own solution, as the welfare-warfare state began the transformation, bit by bit, to the permanent crisis workfare-warfare state, whose domestic militarism is concretely recapitulated in the landscapes of depopulated urban communities and rural prison towns. We shall now turn to the history of this “prison fix.

The most important, without doubt, is gratitude. The reason Dostoyevsky’s devil cannot feel gratitude is that only a person intent on great evil would be denied, or deny themselves, this crucial human attribute. Without an ability to feel gratitude, all of human life and human experience is a marketplace of blame, where people tear up the landscape of the past and present hoping to find other people to blame and upon whom they can transfer their frustrations. Without gratitude, the prevailing attitudes of life are blame and resentment. Because if you do not feel any gratitude for anything that has been passed on to you, then all you can feel is bitterness over what you have not got. Bitterness that everything did not turn out better or more exactly to your liking—whatever that “liking” might be. Without some sense of gratitude, it is impossible to get anything into any proper order.

But this book is about something else: what goes on in the lives of real people when the industrial economy goes south. It’s about reacting to bad circumstances in the worst way possible. It’s about a culture that increasingly encourages social decay instead of counteracting it. The problems that I saw at the tile warehouse run far deeper than macroeconomic trends and policy. too many young men immune to hard work. Good jobs impossible to fill for any length of time. And a young man [one of Vance’s co-workers] with every reason to work — a wife-to-be to support and a baby on the way — carelessly tossing aside a good job with excellent health insurance. More troublingly, when it was all over, he thought something had been done to him. There is a lack of agency here — a feeling that you have little control over your life and a willingness to blame everyone but yourself. This is distinct from the larger economic landscape of modern America.

As TARDIS comes to rest, the only sound, its insistent hum, seems to fill the space entirely, and then this too is lost as the viewer is thrown outside, no longer a participant, but forced into the detached role of observer: the police box now sitting at a tilt in a dark and barren alien landscape accompanied by the chilling audionaturalism of wind noise [...] In the silence of electronic sound, the audience ejection is experienced as sudden sensory deprivation, making the impression of das unheimliche the dominant one. Again the fourth wall is breached, this time a figure cuts between us and the ship, carrying a spear rather than a torch, his shadow lengthening impossibly across the landscape towards TARDIS. When the end titles and signature start up, the eerie recognition threatens to become full blown horror as if the music, having transported us here, is now leaving us to face an awakening of our repressed pasts. Next week, the titles inform us, THE CAVE OF SKULLS.

But look at man, the impossible creature! Here nature seems to have thrown caution to the winds along with the programmed instincts. She created an animal who has no defense against full perception of the external world, an animal completely open to experience. Not only in front of his nose, in his umwelt, but in many other umwelten. He can relate not only to animals in his own species, but in some ways to all other species. He can contemplate not only what is edible for him, but everything that grows. He not only lives in this moment, but expands his inner self to yesterday, his curiosity to centuries ago, his fears to five billion years from now when the sun will cool, his hopes to an eternity from now. He lives not only on a tiny territory, nor even on an entire planet, but in a galaxy, in a universe, and in dimensions beyond visible universes. It is appalling, the burden that man bears, the experiential burden. As we saw in the last chapter, man can’t even take his own body for granted as can other animals. It is not just hind feet, a tail that he drags, that are just “there,” limbs to be; used and taken for granted or chewed off when caught in a trap and when they give pain and prevent movement. Man’s body is a problem to him that has to be explained. Not only his body is strange, but also its inner landscape, the memories and dreams. Man’s very insides—his self—are foreign to him. He doesn’t know who he is, why he was born, what he is doing on the planet, what he is supposed to do, what he can expect. His own existence is incomprehensible to him, a miracle just like the rest of creation, closer to him, right near his pounding heart, but for that reason all the more strange. Each thing is a problem, and man can shut out nothing. As Maslow has well said, “It is precisely the godlike in ourselves that we are ambivalent about, fascinated by and fearful of, motivated to and defensive against. This is one aspect of the basic human predicament, that we are simultaneously worms and gods.

I found Chinatown both impossibly sophisticated and unbearably out of vogue. Chinese restaurants were a guilty pleasure of mine. I loved how they evoked the living world- either the Walden-like sense of individualism of the Ocean or Happy Garden, or something more candid ("Yummies!"). Back home they had been a preserve of birthdays and special celebrations: a lazy Susan packed with ribs and Peking duck, rhapsodically spun to the sound of Fleetwood Mac or the Police, with banana fritters drenched in syrup and a round of flowering tea to finish. It felt as cosmopolitan a dining experience as I would ever encounter. Contextualized amid the big-city landscape of politicized microbreweries and sushi, a hearty table of MSG and marinated pork felt at best crass, at worst obscurely racist. But there was something about the gloop and the sugar that I couldn't resist. And Chinatown was peculiarly untouched by my contemporaries, so I could happily nibble at plates of salt and chili squid or crispy Szechuan beef while leafing through pages of a magazine in peace.

Life is a hospital, in which every patient is possessed by the desire to change his bed. This one would prefer to suffer in front of the stove, and that one believes he would get well if he were placed by the window. It seems to me that I should always be happier elsewhere than where I happen to be, and this question of moving is one that I am continually talking over with my soul. "Tell me, my soul, poor chilled soul, what do you say to living in Lisbon? It must be very warm there, and you would bask merrily, like a lizard. It is by the sea; they say that it is built of marble, and that the people have such a horror of vegetation that they uproot all the trees. There is a landscape that would suit you -- made out of light and minerals, with water to reflect them." My soul does not answer. "Since you love tranquillity, and the sight of moving things, will you come and live in Holland, that heavenly land? Perhaps you could be happy in that country, for you have often admired pictures of Dutch life. What do you say to Rotterdam, you who love forests of masts, and ships anchored at the doors of houses?" My soul remains silent. Perhaps Batavia seems more attractive to you? There we would find the intellect of Europe married to the beauty of the tropics. Not a word. Can my soul be dead? "Have you sunk into so deep a stupor that only your own torment gives you pleasure? If that be so, let us flee to those lands constituted in the likeness of Death. I know just the place for us, poor soul! We will leave for Torneo. Or let us go even farther, to the last limits of the Baltic; and if possible, still farther from life. Let us go to the Pole. There the sun obliquely grazes the earth, and the slow alternations of light and obscurity make variety impossible, and increase that monotony which is almost death. There we shall be able to take baths of darkness, and for our diversion, from time to time the Aurora Borealis shall scatter its rosy sheaves before us, like reflections of the fireworks of Hell!" At last my soul bursts into speech, and wisely cries to me: "Anywhere, anywhere, as long as it be out of this world!

I allowed myself to imagine Ronan in a landscape of light and continuous revelation, his life lived as a series of singular moments. I wondered if in some ways, the greater loss here (or at least the most stupefying one) was mine, not Ronan's. Yes, Tay-Sachs disease would take his life; the number of his days was determined long before he could make a decision to transform the life he'd been given in one direction or another. He was denied that, but I couldn't imagine that his world was so remote, so unknowable. In this short story of his life I could not believe that he had been denied wonder. What if every moment of Ronan's life was, for him, like stepping free into a space, into a "first", into a state of wonder. Wonder that exists outside- beyond- narrative, wonder that feels like entering, again and again, for the very first time, a shining room. Dazzling, but somehow expected, like the light given off row after row of luminous trees- a blaze of impossible color. Pure experience without editorializing by the intellect. Moments that aren't folded into story but instead give off their own light. That must be the world of Ronan- his body, his mind, his heart. These thoughts comforted me.

When Kate Middleton stepped onto the stage, the landscape had changed beyond recognition from the genteel tradition of portraiture of centuries past. News was no longer reported day by day on the front pages of newspapers, but minute by minute via websites and social media. Anyone, anywhere in the world, could discover what Kate was wearing within an hour of her stepping out, with dozens of images capturing every outing from all imaginable angles. In this unique combination of circumstances, the scene was set for the future Duchess of Cambridge - a sporty, middle class 'normal' girl from Berkshire - to become a new kind of royal style icon. Kate's normality was essential to conjuring her own brand of majestic magic. Her marriage to William saw her living a fairytale that many young girls had dreamed of for generations before her. This was not another aristocratic Sloane Ranger, but a girl who had been born to a flight attendant and flight dispatcher and was now destined to be Queen Consort one day. A decade on and Kate's effect on fashion is impossible to understate - she has had dresses named after her, set trends, inspired superfans around the world and has been credited with boosting the British fashion industry by up to 1 billion in a single year.

What if she doesn’t worry about her body and eats enough for all the growing she has to do? She might rip her stockings and slam-dance on a forged ID to the Pogues, and walk home barefoot, holding her shoes, alone at dawn; she might baby-sit in a battered-women’s shelter one night a month; she might skateboard down Lombard Street with its seven hairpin turns, or fall in love with her best friend and do something about it, or lose herself for hours gazing into test tubes with her hair a mess, or climb a promontory with the girls and get drunk at the top, or sit down when the Pledge of Allegiance says stand, or hop a freight train, or take lovers without telling her last name, or run away to sea. She might revel in all the freedoms that seem so trivial to those who could take them for granted; she might dream seriously the dreams that seem so obvious to those who grew up with them really available. Who knows what she would do? Who knows what it would feel like? But if she is not careful she will end up: raped, pregnant, impossible to control, or merely what is now called fat. The teenage girl knows this. Everyone is telling her to be careful. She learns that making her body into her landscape to tame is preferable to any kind of wildness. Dieting is being careful, and checking into a hunger camp offers the ultimate in care.

Whirling darkness swallowed him, and in the center of it, at the bottom of an impossibly deep hole, at the very heart of the widdershin void, lay a formless horror—ancient and evil and from which emanated a constant, merciless hunger: never sated, all-consuming, with a particular glee for the sufferings of creatures caught between the gnashing of teeth. His mind fled the horror, but it was a deadly riptide, more powerful than the Boar’s Eye between the Southern Isles of Uden and Parlim, and the harder he tried, the slower he moved…. Fear filled him. Icy, coursing fear that froze his veins and chained his limbs and turned his stomach to acid. His heart fluttered, and for a moment seemed to stop, and in the grips of his terror, he cried for help as he had when a child: “Mother!” Then Thorn’s mind touched his own, and the gaping horror receded, and for a time Murtagh felt himself lost in the vast landscape of Thorn’s thoughts. They were flying, higher and higher, until the ground faded from sight, and above and below were the same: a perfect sphere of sky, with nowhere to land and only clouds for cover. A flock of eagles screamed past, talons extended to tear out eyes, and then they were gone, and it was impossible to tell which direction was up and which down. A timeless while passed, and then a thunder of dragons rose about them: dragons of every shape and color, their scales flashing, their wings thudding until

It was a difficult time to be a Minister. The war went from bad to worse and the Government was universally detested. As each fresh catastrophe came to the public's notice some small share of blame might attach itself to this or that person, but in general everyone united in blaming the Ministers, and they, poor things, had no one to blame but each other - which they did more and more frequently. It was not that the Ministers were dull-witted -- upon the contrary there were some brilliant young men among them. Nor were they, upon the whole, bad men; several led quite blameless domestic lives and were remarkably fond of children, music, dogs, landscape painting. Yet so unpopular was the Government that had it not been for the careful speeches of the Foreign Secretary, it would have been almost impossible to get any piece of business through the House of Commons. The Foreign Secretary was quite peerless orator. No matter how low the Government stood in the estimation of everyone, when the Foreign Secretary stood up and spoke -- ah! how different everything seemed then! How quickly was every bad thing discovered to be the fault of the previous administration (an evil set of men who wedded general stupidity to wickedness of purpose). As for the present Ministry, the Foreign Secretary said that not since the days of Antiquity had the world seen gentlemen so virtuous, so misunderstood and so horrible misrepresented by their enemies.

Closing the door, she turned back to him, taking in the long, muscled length of him on the bed, staring at her. Waiting for her. Perfection. He was perfect, and she was bare before him, bathed in candlelight. She was instantly embarrassed- somehow more embarrassed than she had been that night in his office, when she'd touched herself under his careful guidance. At least then she'd been wearing a corset. Stockings. Tonight, she wore nothing. She was all flaws, each one highlighted by his perfection. He watched her for a long moment before extending one muscled arm, palm up, an irresistible invitation. She went to him without hesitation, and he rolled to his back, pulling her over his lovely, lean chest, staring up at her intently. She covered her breasts in a wave of nerves and trepidation. "When you look at me like that... it's too much." He did not look away. "How do I look at you?" "I don't know what it is... but I feel as though you can see into me. As though, if you could, you would consume me." "It's want, love. Desire like nothing I've never experienced. I'm fairly shaking with it. Come here." The demand was impossible to resist, carrying with it the promise of pleasure beyond her dreams. She went. When she was close enough to touch, he lifted one hand, stroking his fingers along hers where they hid her breasts from view. "I tremble with need for you, Pippa. Please, love, let me see you." The request was raw and wretched, and she couldn't deny him, slowly moving her hands to settle them on his chest, fingers splayed wide across the crisp auburn hair that dusted his skin. She was distracted by that hair, the play of it over muscle- the way it narrowed to a lovely dark line across his flat stomach. He lay still as she touched him, his muscles firm and perfect. "You're so beautiful," she whispered, fingers stroking down his arms to his wrists. His gaze narrowed on her. "I am happy you approve, my lady." She smiled. "Oh I do, my lord. You are a remarkable specimen." White teeth flashed again as she gained her courage, retracing her touch, over his forearms, marveling in the feel of him, reciting from memory, "flexor digitorium superficialis, flexor capri radialis..." along his upper arms, "biceps brachii, tricipitis brachii..." over his shoulders, loving the way his muscles tensed and flexed beneath her touch, "deltoideus..." and down his chest, "subscapularis... pectoralis major..." She stilled, brushing her fingers over the curve of that muscle, the landscape of him... the valleys of his body. He sucked in a breath as her fingers ran over the flat discs of his nipples, arching up to her touch, and she stilled, reveling in her power. He enjoyed her touch. He wanted it. She repeated the stroke, this time with her thumbs. He hissed his pleasure, one wide hand falling to the inside of her knee, sending a river of heat through her. "Don't stop now, love. This is the most effective seduction I've ever experienced.

Wait until the truffles hit the dining room---absolute sex," said Scott. When the truffles arrived the paintings leaned off the walls toward them. They were the grand trumpets of winter, heralding excess against the poverty of the landscape. The black ones came first and the cooks packed them up in plastic quart containers with Arborio rice to keep them dry. They promised to make us risotto with the infused rice once the truffles were gone. The white ones came later, looking like galactic fungus. They immediately went into the safe in Chef's office. "In a safe? Really?" "The trouble we take is in direct proportion to the trouble they take. They are impossible," Simone said under her breath while Chef went over the specials. "They can't be that impossible if they are on restaurant menus all over town." I caught her eye. "I'm kidding." "You can't cultivate them. The farmers used to take female pigs out into the countryside, lead them to the oaks, and pray. They don't use pigs anymore, they use well-behaved dogs. But they still walk and hope." "What happened to the female pigs?" Simone smiled. "The scent smells like testosterone to them. It drives them wild. They destroyed the land and the truffles because they would get so frenzied." I waited at the service bar for drinks and Sasha came up beside me with a small wooden box. He opened it and there sat the blanched, malignant-looking tuber and a small razor designed specifically for it. The scent infiltrated every corner of the room, heady as opium smoke, drowsing us. Nicky picked up the truffle in his bare hand and delivered it to bar 11. He shaved it from high above the guest's plate. Freshly tilled earth, fields of manure, the forest floor after a rain. I smelled berries, upheaval, mold, sheets sweated through a thousand times. Absolute sex.

The main signpost that helps political realism to find its way through the landscape of international politics is the concept of interest defined in terms of power. This concept provides the link between reason trying to understand international politics and the facts to be understood. It sets politics as an autonomous sphere of action and understanding apart from other spheres, such as economics (understood in terms of interest defined as wealth), ethics, aesthetics, or religion. Without such a concept a theory of politics, international or domestic, would be altogether impossible, for without it we could not distinguish between political and nonpolitical facts, nor could we bring at least a measure of systematic order to the political sphere. We assume that statesmen think and act in terms of interest defined as power, and the evidence of history bears that assumption out. That assumption allows us to retrace and anticipate, as it were, the steps a statesman - past, present, or future - has taken or will take on the political scene. We look over his shoulder when he writes his dispatches; we listen in on his conversation with other statesmen; we read and anticipate his very thoughts. Thinking in terms of interest defined as power, we think as he does, and as disinterested observers we understand his thoughts and actions perhaps better than he, the actor on the political scene, does himself. The concept of interest defined as power imposes intellectual discipline upon the observer, infuses rational order into the subject matter of politics, and thus makes the theoretical understanding of politics possible. On the side of the actor, it provides for rational discipline in action and creates that astounding continuity in foreign policy which makes American, British, or Russian foreign policy appear as an intelligible, rational continuum, by and large consistent within itself, regardless of the different motives, preferences, and intellectual and moral qualities of successive statesmen.

But nature has protected the lower animal by endowing them with instincts. An instinct is a programmed perception that calls into play a programmed reaction. It is very simple. Animals are not moved by what they cannot react to. They live in a tiny world, a sliver of reality, one neuro-chemical program that keeps them walking behind their nose and shuts out everything else. But look at man, the impossible creature! Here nature seems to have thrown caution to the winds along with the programmed instincts. She created an animal who has no defense against full perception of the external world, an animal completely open to experience. Not only in front of his nose, in his umwelt, but in many umwelten. He can relate not only to animals in his own species, but in some ways to all other species. He can contemplate not only what is edible for him, but everything that grows. He not only lives in this moment, but expands his inner self to yesterday, his curiosity to centuries ago, his fears to five billion years from now when the sun will cool, his hopes to an eternity from now. He lives not only on a tiny territory, nor even on an entire planet, but in a galaxy, in a universe, and in dimensions beyond visible universes. It is appalling, the burden that man bears, the experiential burden. As we saw in the last chapter, man can't even take his own body for granted as can other animals. It is not just hind feet, a tail that he drags, that are just "there," limbs to be used and taken for granted or chewed off when caught in a trap and when they give pain and prevent movement. Man's body is a problem to him that has to be explained. Not only his body is strange, but also its inner landscape, the memories and dreams. Man's very insides-his self-are foreign to him. He doesn't know who he is, why he was born, what he is doing on the planet, what he is supposed to do, what he can expect. His own existence is incomprehensible to him, a miracle just like the rest of creation, closer to him, right near his pounding heart, but for that reason all the more strange. Each thing is a problem, and man can shut out nothing. As Maslow has well said, "It is precisely the godlike in ourselves that we are ambivalent about, fascinated by and fearful of, motivated to and defensive against. This is one aspect of the basic human predicament, that we are simultaneously worms and gods." There it is again: gods with anuses.

One possibility is that many of these universes are unstable and decay to our familiar universe. We recall that the vacuum, instead of being a boring, featureless thing, is actually teeming with bubble universes popping in and out of existence, like in a bubble bath. Hawking called this the space-time foam. Most of these tiny bubble universes are unstable, jumping out of the vacuum and then jumping back in. In the same way, once the final formulation of the theory is found, one might be able to show that most of these alternate universes are unstable and decay down to our universe. For example, the natural time scale for these bubble universes is the Planck time, which is 10−43 seconds, an incredibly short amount of time. Most universes only live for this brief instant. Yet the age of our universe, by comparison, is 13.8 billion years, which is astronomically longer than the lifespan of most universes in this formulation. In other words, perhaps our universe is special among the infinity of universes in the landscape. Ours has outlasted them all, and that is why we are here today to discuss this question. But what do we do if the final equation turns out to be so complex that it cannot be solved by hand? Then it seems impossible to show that our universe is special among the universes in the landscape. At that point I think we should put it in a computer. This is the path taken for the quark theory. We recall that the Yang-Mills particle acts like a glue to bind quarks into a proton. But after fifty years, no one has been able to rigorously prove this mathematically. In fact, many physicists have pretty much given up hope of ever accomplishing it. Instead, the Yang-Mills equations are solved on a computer. This is done by approximating space-time as a series of lattice points. Normally, we think of space-time being a smooth surface, with an infinite number of points. When objects move, they pass through this infinite sequence. But we can approximate this smooth surface with a grid or lattice, like a mesh. As we let the spacing between lattice points get smaller and smaller, it becomes ordinary space-time, and the final theory begins to emerge. Similarly, once we have the final equation for M-theory, we can put it on a lattice and do the computation on a computer. In this scenario, our universe emerges from the output of a supercomputer. (However, I am reminded of the Hitchhiker’s Guide to the Galaxy, when a gigantic supercomputer is built to find the meaning of life. After eons doing the calculation, the computer finally concluded that the meaning of the universe was “forty-two.”)

Even if I ultimately do not know this stone absolutely, even if knowledge about the stone gradually approaches infinity but is never completed, it is still the case that the perceived stone is there, that I recognized it, that I named it, and that we agree upon a certain number of claims regarding it. So it seems we are led into a contradiction: the belief in the thing and in the world can only signify the presumption of a completed synthesis--and yet this completion is rendered impossible by the very nature of the perspectives to be tied together, since each of them refers indefinitely to other perspectives through its horizon. There is indeed a contradiction, so long as we are operating within being, but the contradiction ceases...if we operate within time, and if we succeed in understanding time as the measure of being. The synthesis of horizons is essentially temporal, that is...it does not suffer time, and it does not have to overcome time; but rather, it merges with the very movement by which time goes by. Through my perceptual field with its spatial horizons, I am present to my surroundings, I coexist with all the other landscapes that extend beyond, and all of these perspectives together form a single temporal wave, an instant of the world. Through my perceptual field with its temporal horizons, I am present to my present, to the entire past that has preceded it, and to a future. And at the same time, this ubiquity is not actual, it is clearly only intentional. The landscape that I have before my eyes can certainly announce to me the shape of the landscape hidden behind the hill, but it only does so with a certain degree of indetermination, for here there are fields, while over there might be a forest, and, in any case, beyond the next horizon I know only that there will be either land or sea, and beyond again, either open sea or frozen sea, and beyond again, either earth or sky, and, within the confines of the earth's atmosphere, I know only that there will be something to see in general. I possess no more than the abstract style of these distant landscapes. Likewise, even though each past is gradually enclosed entirely in the more recent past that it had immediately succeeded--thanks to the interlocking of intentionalities--the past degrades, and my first years are lost in the general existence of my body of which I know merely that it was already confronted with colors, sounds, and a similar nature to the one I presently see. My possession of the distant landscape and of the past, like my possession of the future, is thus only a possession in principle; my life slips away from me on all sides and it is circumscribed by impersonal zones. The contradiction that we find between the reality of the world and its incompleteness is the contradiction between the ubiquity of consciousness and its engagement in a field of presence...If the synthesis could be actual, if my experience formed a closed system, if the thing and the world could be defined once and for all, if spatio-temporal horizons could (even ideally) be made explicit and if the world could be conceived from nowhere, then nothing would exist. I would survey the world from above, and far from all the places and times suddenly becoming real, they would in fact cease to be real because I would not inhabit any of them and I would be nowhere engaged. If I am always and everywhere, then I am never and nowhere. Thus, there is no choice between the incompleteness of the world and its existence, between the engagement and the ubiquity of consciousness, or between transcendence and immanence, since each of these terms, when it is affirmed by itself, makes its contradiction appear. What must be understood is that for the same reason I am present here and now, and present everywhere and always, or absent from here and now and absent from every place and from every time. This ambiguity is not an imperfection of consciousness or of existence, it is their very definition.

By the time that Donald J. Trump was elected to the Presidency, the elections which chose the President had transformed from referendums about who would best administer the international slave trade into contests about who’d get the chance to reduce illiterate Muslims into pulpy masses of intestines. The people who’d voted for Trump went nuts because they’d won and had no idea what to do with their impossible victory. The country’s political liberals went nuts because Trump put them in the position of facing an undeniable and yet unpalatable truth. This was the truth that the political liberals could not deny and could not face: beyond making English Comp courses at community colleges very annoying, forty years of rhetorical progress had achieved little, and it turned out that feeling good about gay marriage did not alleviate the taint of being warmongers whose taxes had killed more Muslims than the Black Death. You can’t make evil disappear by being a reasonably nice person who mouths platitudes at dinner parties. Social media confessions do not alleviate suffering. You can’t talk the world into being a decent place while sacrificing nothing. The socialists didn’t go nuts. They were the people who’d thought about the complex problems facing the nation and decided that an honest solution to these problems could be achieved with applied Leftism. But don’t get your hopes up. Despite being correct in their thinking, the socialists were the most annoying people in America. When they spoke, it was like bamboo slivers shoved under a fingernail. I don’t know why. It was the single biggest American tragedy of the last one hundred years. Here was the difference between the priestly castes, many of whom had opinions on deadline for money, and everyone else: sane people shut the fuck up, nodded their heads, and did what they needed to survive in a toxic political landscape. In an era when public discourse was the bought-and-paid property of roughly twenty companies, and the airing of an opinion could subject a person to unfathomable amounts of abuse and recrimination, the only reasonable option was to be quiet. So when you next fawn over someone’s brave public thoughts, repeat the following: The contours of discourse are so horrendous that one thing has become certain. Any individual offering up a public opinion necessarily must be either hopelessly stupid or insane. I am engaging with a product of madness and idiocy.

Moments of doubt are unavoidable when we take on any strenuous task. I've used the One-Second Decision to regain my composure and win hundreds of small battles during ultra races, on the pull-up bar, and in stressful work situations. And the first step is to mentally take a knee. The best person in any combat scenario is the one who is composed enough to take a knee when the bullets are flying at them. They know they need to evaluate the situation and the landscape to find a way forward and that it's impossible to make a conscious decision if they or their team is running around like fire ants. Taking a knee in battle is not as easy as it sounds, but it's the only way to give yourself time to breathe through the panic and rein in your spinning mind so you are able to operate. The battle hasn't stopped. Gunfire is still lighting up the night, and you dont have any time to waste. In that one second, you must take a breath and decide to bring the fight. When you are in the grip of life and in danger of losing your shit, just think, It's time to take a knee. Get a couple of breaths and flash to your future. If you fold, what will happen next? What's your plan B? This is not some deep contemplation. There is no time to order a pizza and hash it out with your people. This must happen in seconds! p90

To really grasp how the mind pivots on a molecule's turning point we must read the quantum. At the touch of a finger, a neuropeptide bursts into life but from where does it spring? In a hidden process, a transformation of non-matter into matter, a thought of fear and the neurochemical which it turns into are somehow connected. The same thing happens all over nature except we don't call it thinking. The landscape is not one of solid objects moving around like partners in a dance, following predictable steps, when you get to the level of atoms. Subatomic particles are separated by huge gaps, making each atom empty space more than 99.999 per cent. That refers to hydrogen atoms in the air and carbon atoms in the wood which are made of tables, as well as all the "solid" atoms in our bodies. So all solids, including our bodies, are proportionately as hollow as intergalactic space. How could these vast stretches of space, filled by specks of matter at far-off intervals, turn into humans? A quantum perspective is required to answer the problem. We enter a vaster reality, spanning from quarks to galaxies, by understanding the quantique. At the same time, it turns out that the behavior of quantum reality is very intimate to us— indeed, the weakest shadow line separates the human body from the cosmic body. Whenever any mental event is required to find a physical counterpart, it works through the human body's quantum mechanical. That is the secret of how the two worlds of mind and matter became unerringly linked with each other. Mind and body are both saturated through with knowledge, no matter how different they look. Science appears to be suspicious in the face of any argument that wisdom is at work in nature (this is a curious historical anomaly, since each generation before us has embraced some sort of universal order without question). However, if there is nothing to hold things and events together outside ordinary reality, then one is led into a set of impossibilities.

was impossible not to know what was happening in this country. The answer was right before my eyes. Small, dark, emaciated people with dead eyes. A landscape devoid of any organic signs of life. I remembered how Katie had whispered the word slaves. And when I saw my students marching, I thought of the word soldiers. There they were, every direction we turned: soldiers and slaves.

John Lewis Gaddis puts it even more starkly: trying to uncover the "truth" of the past is not only impossible but also not useful. Historians map the past, much like cartographers map a landscape. Recreating an entire landscape isn't a map; it's a reproduction. It's not useful to those who seek to use it and doesn't offer any manageable insight into that landscape. In the same way, history is only useful when it is a representation, not a reproduction; it must make the past legible to those who seek to learn something about it.

One advantage of thinking of states as points in space is that it makes change easier to watch. A system whose variables change continuously up or down becomes a moving point, like a fly moving around a room. If some combinations of variables never occur, then a scientist can simply imagine that part of the room as out of bounds. The fly never goes there. If a system behaves periodically, coming around to the same state again and again, then the fly moves in a loop, passing through the same position in phase space again and again. Phase-space portraits of physical systems exposed patterns of motion that were invisible otherwise, as an infrared landscape photograph can reveal patterns and details that exist just beyond the reach of perception. When a scientist looked at a phase portrait, he could use his imagination to think back to the system itself. This loop corresponds to that periodicity. This twist corresponds to that change. This empty void corresponds to that physical impossibility.

The feelings that hurt most, the emotions that sting most, are those that are absurd: the longing for impossible things, precisely because they are impossible; nostalgia for what never was; the desire for what could have been; regret over not being someone else; dissatisfaction with the world’s existence. All these half-tones of the soul’s consciousness create in us a painful landscape, an eternal sunset of what we are.

Undoing their objectivization as goods to be bought and sold, therefore, required not only that captives escape the physical hold exerted on them by the forts, factories, and other coastal facilities used to incarcerate them but, more difficult still, that they reverse their own transformation into commodities, by returning to a web of social bonds that would tether them safely to the African landscape, within the fold of kinship and community. For most, as we have seen, distance made return to their home communities impossible. The market, they learned, made return to any form of social belonging impossible as well. If they managed to escape from the waterside forts and factories, their value resided not in their potential to join communities as slave laborers, wives, soldiers, or in some other capacity, but rather in their market price. For most, the power of the market made it impossible to return to their previous state, that of belonging to (being ‘owned’ by) a community—to being possessed, that is, of an identity as a subject. Rather, the strangers the runaways encountered shared the vision of the officials at Cape Coast Castle: the laws of the market made fellow human beings see it as their primary interest to own as commodities these escaped captives, rather than to connection them as social subjects. More often than not, then, captives escaped only to be sold again. As Snelgrave’s language articulates so clearly, the logic of the market meant that enslavement was a misfortune for which no buyer needed to feel the burden of accountability. Indeed, according to the mercantile logic in force, buyers (of whatever nationality) could not bear the weight of political accountability. Buying people who had no evidence social value was not a violation or an act of questionable morality but rather a keen and appropriate response to opportunity; for this was precisely what one was supposed to do in the market: create value by exchange, recycle someone else’s castoffs into objects of worth. Thus, then, did the market exert its power—through its language, its categories, its logic. The alchemy of the market derived from its effectiveness in producing a counterfeit representation; it had become plausible that human beings could be so completely drained of social value, so severed from the community, that their lives were no longer beyond price: they could be made freely available in exchange for currency. The market painted in colors sufficiently believable as to seem true the appalling notion that ‘a human being could fail to be a person.

The glare of the green landscape and the air, the air that was everywhere, in us and making way for us, and we rode and were aware only of each other and ourselves for those couple of miles, and for those couple of miles I was myself, back in the neighborhood of Chacarita, where I moved with my mom after we realized my dad was never going to move out first, that we would have to leave him, and I saw on either side of me the big ugly high-rises and squat goldenrod houses and fuchsia and blue and inscrutable notes scrawled on the walls, graffiti intermingling with the shimmering, shadowing little leaves of the tipas, and as I rode I slowed at the oleander at Facultad de Medicina, those delicate pink flowers that rose over the fence in utter opulence and the lush stiff leaves that reached out through the bars that were freshly painted bright green. Then there it was: the Great Mamamushi. I slowed, and Freddie slowed. We parked our bikes. I was out of breath and all the air on Earth was in my blood, and we kissed again, and I turned around, and he put his arms around my waist, and I leaned into him, and we beheld it: a tree that was almost too much to be true, that truly was incredible, with its trunk that was almost eight meters around, a staggering circumference, glittered over by dragonflies, heavy, petite, iridescent incarnations of Irena's genius, when suddenly a flock of impossible parrots exploded out of the alders, and we looked up to see them shattering the sky. "All the oaks on this trail have their own names," I explained to Freddie. "This one is my favorite. Can you believe it's still growing?" He put his face against mine. He didn't say anything. For a while we just stood like that, together, watching the Great Mamamushi grow.

After years in Violette, his tattoos now walked all over town, the images reflecting people’s dreams, the town becoming a kind of living text, giving a second tier of life to the landscape.

It was clear that Meredith was special. Extraordinary, like Redbud had been. A conjurer. And then there was Cliff. The first seer in the family in five generations. He could see snatches of the future, but also people's emotions and the hidden qualities of things. They, not Lee, would be the ones to perpetuate the tradition and continue Belva's work. Lee would always be there to support them and to spend a day or a night around the fire. But she didn't want to dedicate her life to it. Lee had started looking at the counseling graduate program at the university a few hours away. She may not be powerful like her mother or Meredith, but she could roam around a person's internal landscape. She wanted to help people like her mother. She knew how seemingly impossible it was to treat addiction, and that was a challenge she wanted to meet. The quest for knowledge was where she'd thrived all those years ago, and she wanted to return to it. That was where she belonged. And now she would use it to serve her community, as generations of Bucks had done before her.

Let us live by dreams and for dreams, undoing the Universe and remaking it, distractedly, as best suits our moment to dream. Let us do this conscious of its utter futility. Let us ignore life with every pore of our body, stray from reality with all of our senses, and abdicate from love with all our soul. Let us fill with useless sand the pitchers we take to the well, then empty them out, only to refill them and empty them again; the more futile the better. Let us weave garlands and, once they're finished, carefully, meticulously unpick them. Let us choose paints and mix them on the palette with no canvas before us to paint. Let us send for stone to chisel when we have no chisel and we are not sculptors. Let us render everything absurd and adorn our sterile hours with more utilities. Let us play hide and seek with our consciousness of being alive. Let us, with an amused, incredulous smile on our lips, listen to God telling us that we exist. Let us watch Time painting the world and finding the resulting picture not only false but hollow. Let us think with sentences that contradict one another, speaking out loud in sounds that aren’t colours. Let us affirm - and grasp, which would be impossible - that we are conscious of not being conscious, and that we are not what we are. Let us explain all this in an obscure, paradoxical way, saying that things have a divine, othersidedness to them, and let us not believe too much in that explanation so that we do not have to discard it. Let us carve out of empty silence all our dreams of speaking. Let us allow all our thoughts of action to slide into stagnant torpor. Yet dreamed landscapes are merely the smoke from known landscapes and the tedium of dreaming them is almost as great as the tedium of looking at the world. And hovering distractedly above all this, like a vast blue sky, the horror of living.

I’m no longer inclined to get upset with these experiences though occasionally there is a temporary loss of balance when you have the vivid illusion that you’re actually seeing time herself in a clearing in the forest or, more often, on a riverbank while staring at the passing water. Another more frequent experience, say two or three times a summer, is the strong illusion of seeing holographically. You walk through a landscape and you see all sides of it at once. This is particularly hard to describe in that you’re both within and outside the sensations of your body at the same time, a plainly impossible thing though the mind can arrange it.

When I tell this story, I don't know how to put the emphases in the right places; how to make it matter in the right ways, or not matter in the wrong ways. I tell it flatly, because I don't know how else to tell it. And no one knows what to say. And then I stop... It is impossible to narrate this story in any way that makes it matter. If I offered it to you, you'd stare and stare, unsure what you were meant to be looking at. Supposedly, trauma transcends language and time, and is therefore untellable. Perhaps sometimes it does, and is. But I think traumatized people do know how to tell their stories. What's difficult is that people don't know how to hear them.

But if the Dream Kings were mine, what would I have to dream about? If I possessed the impossible landscapes, what would remain of the impossible?

all she had fallen in love with him. “I hope you’re not trifling with me,” Michael had told her one evening as they browsed along the art gallery of a London mansion during a soirée. “That is, I hope I haven’t mistaken what might be mere politeness on your part for something more meaningful.” He had stopped with her in front of a large landscape done in oils. “The truth is, Miss Hathaway . . . Poppy . . . every minute I spend in your company gives me such pleasure that I can scarcely bear to be apart from you.” And she had stared up at him in wonder. “Could it be possible?” she whispered. “That I love you?” Michael had whispered back, a wry smile touching his lips. “Poppy Hathaway, it is impossible not to love you.” She had taken an unsteady breath, her entire being filled with joy. “Miss Marks never told me what a lady is supposed to do in this situation.” Michael had grinned and leaned a bit closer, as if imparting a highly confidential secret. “You’re supposed to give me discreet encouragement.” “I love you, too.” “That’s not discreet.” His brown eyes sparkled. “But it’s very nice to hear.

Gravity tends to pull fertility downhill. Hence fertile valleys and infertile hilltops. But wait, many times the most fertile soils are on hilltops. How could that be? Herbivores graze in the fertile valleys and then trudge up to the hilltops to chew their cuds and lounge. Why the hilltop? To watch for those nasty predators. The herbivore-grass, predator-prey relationships are foundational to moving those biomass-stored sunbeams around on the landscape. Without animals, the anti-gravitational movement would be impossible. Without the predator, it wouldn't be incentivized. Truly, this whole ecosystem is fearfully and wonderfully made.

No matter which way you go, it’s a confusion of highways. Direct routes were impossible because every road has to contend with an inconvenient feature of nature’s landscaping called the Rocky Mountains.

Body bomb,' he said. All stopped. It was impossible to know who the man was or what brought him to that place, and it was hard to fathom because a moment is never long enough to account for tragedy when you are in it. Grief is a practical mechanism, and we only grieved for those we knew. All others who died in Al Tafar were part of the landscape, as if something had sown seeds in that city that made bodies rise from the earth, in the dirt or up through the pavement like flowers after a frost, dried and withering under a cold, bright sun.

(courtesy Travel Africa magazine) sums up the feeling rather well –: “Surely everyone who has had the honour of setting foot on African soil understands how difficult it is to answer the question: “Why Africa?” I’ve often found it impossible to do Africa justice in words. In the past I’ve felt that my answers never conveyed the joy I feel when I hear the word Africa, see a glimpse of her on television, or hear African people talking in the street. My answers are most often unsatisfying and frequently leave my audience unconvinced. But of late I’ve found a much simpler way to explain it. Africa is a feeling. Africa is an emotion. Of course it is much more detailed than that, but also just as simple. Africa is the awe-inspiring landscapes, the beauty in the people, the wild creatures that inhabit the land and the seas, and it’s the speed in which the sun leaves in the evening and comes again in the morning. The feeling of Africa waking up is indescribable, dramatic and incomparable. Africa seems to breathe life, into itself and into all things. And death. And the cycles in between. Africa is the longed-for lover, the oft-missed friend, and the trusted elder. Africa is all of these things but maybe none of them. Africa affects us in a deep, personal, individual way. It comes to us in an instant, inhabits our being, and never leaves. I long for Africa. I miss it every day. It embodies all that I believe about life, space and freedom, even though such things are often scarce commodities on the ground. Africa is a memory, a constant presence and is all future possibilities. Africa is old and wise, new and dynamic, and I will be there again.” Enough said...

One advantage of thinking of states as points in space is that it makes change easier to watch. A system whose variables change continuously up or down becomes a moving point, like a fly moving around a room. If some combinations of variables never occur, then a scientist can simply imagine that part of the room as out of bounds. The fly never goes there. If a system behaves periodically, coming around to the same state again and again, then the fly moves in a loop, passing through the same position in phase space again and again. Phase-space portraits of physical systems exposed patterns of motion that were invisible otherwise, as an infrared landscape photograph can reveal patterns and details that exist just beyond the reach of perception. When a scientist looked at a phase portrait, he could use his imagination to think back to the system itself. This loop corresponds to that periodicity. This twist corresponds to that change. This empty void corresponds to that physical impossibility.

Why paint at all? ... Do you like painting? Yes? Very well, then, that is a good enough reason. "But the results are rather laughable," you may say. All right, laugh. It will do you a lot of good. You find it impossible to say all that you want to say? So did Rembrandt and any other artist who ever lived. "My perspective drawing is weak." So it was in all art up to the Renaissance. "I can't get the colours as bright." Agreed - and here the position is worse than you think! Take a sheet of white paper or a piece of canvas painted with your whitest white. Hold it up against the light. It is a dirty grey. And your blackest black is not as dark as the absence of light in nature. Your keyboard, so to speak, is restricted. That is why it is stating the obvious to look at a landscape and say, "Look at that. No artist could paint it." He can paint much of what the speaker sees, however, and because the artist sees deeper, he may paint something more.

A human life, like any mountain trail, winds and twists through a very complicated, ever-changing landscape, taking unexpected turns and ending up in unexpected places. The lay of the land, the physical or natural environment, has some influence over the path one chooses to take -- going around rather than over boulders, say, or along the banks of a stream rather than through a tangled wood. Likewise in the course of an individual life, nature helps give shape to the direction a man or woman takes and determines how his or her life unfolds. So also does one's inner self, the drives and emotions that one inherits from ancestors far back in evolutionary time, determine the route. But the trail of any one's life is also shaped by the ideas floating around in the cultural air one breathes. All those influences make it impossible to explain easily why a person's life follows this path rather than another.

Autumn days were often silent; under skies bluer than any other time of the year, and maple trees ablaze in vivid hues, nearly impossible to describe to those not familiar with our Eastern Ontario landscape.

It’s a strange thing, though, how rare, maybe impossible, it is to have everyone you care about thriving at the same time. For a short spell, life seems certain and stable, until something shifts and redistributes, randomly, unpredictably, and when you look around at the new landscape, you see that it’s someone else’s turn now. You redirect your attention to focus on the friend in need. You hope—you know—they will do the same for you, when your turn comes.

Later, when I thought about this story, it occurred to me that almost all long-distance races take place outdoors. Other than the occasional fundraiser, people don’t run ultramarathons on a treadmill. They roam wild terrain, follow the path of rivers, climb mountains, and descend through canyons. What separates even the most punishing ultra-endurance events from masochism is context. The events are not about suffering for suffering’s sake, but suffering in a natural environment that invites, almost guarantees, moments of self-transcendence. If endurance training is in part about learning how to suffer well, it helps to put yourself in surroundings that inspire awe or gratitude. Outdoors, you can be stunned by a sudden change in landscape or enthralled by the appearance of wildlife. You can find yourself entranced by the stars at night or heartened by the first light of dawn. These transcendent emotions put personal pain and fatigue in a different context. It is impossible to understand what ultra-endurance athletes are doing without taking this into account. Experiencing a state of elevation during a moment of deep exhaustion provides a reminder that flashes of pure happiness can take you by surprise even when things seem the most bleak. Knowing this is possible is how we survive our worst pain. Finding a way for suffering and joy to coexist—that is how humans endure the seemingly unendurable.

Looking at her grandmother’s hands now, it was almost impossible to distinguish scarred from wrinkled skin. The whole landscape of the woman’s body had transformed into a ruin; the young woman had been toppled, leaving this.

Egyptians built pyramids; Americans, skyscrapers; the megalithic Irish, mountain cairns. And while I admit it is impossible to be certain what Danu's people believed, the obsessive topping of Munster Hills with navel and nipples suggest they saw the land as a woman's body, the earth as feminine. And if so, what then? Did they imagine the earth acting like a woman, laughing, singing, weeping, taking a lover, nursing a child?

There was no moon. The sky was black and filled with stars, with the occasional drifting cloud. Marek led them down the hill and past the burning town of Castelgard, into a dark landscape. Chris was surprised to find that once his eyes adjusted, he could actually see quite well by starlight. Probably because there was no air pollution, he thought. He remembered reading that in earlier centuries, people could see the planet Venus during the day as we can now see the moon. Of course, that had been impossible for hundreds of years.

It’s like the very first time you take off in a plane . . . you’re speeding down the runway, exhilarated when you’re caught by air, and ascending. Minutes later, you’re so stunned you’re flying through the clouds, taking part in an experience so incredible it’s almost impossible to believe. As that initial buzz runs through you, you stare out the window and get your first good look at the landscape, only to see it’s littered with lines that act as borders. So, you start reasoning with yourself that land itself is owned and measured, but you never once expected to see it and how unnatural it looks. The view of the lines kills the vibe entirely, the impact so jarring it destroys the idea of flying for you.

The decision of when and how to self-disclose puts Autistic people in quite a double bind. In order to be known, we have to come out, but we’re usually coming out in a harsh cultural landscape where it’s likely that people won’t actually understand us. By coming out, we help to counter ignorant images people have of our disability, but because those stereotypes are so pervasive and long-standing, it’s impossible for a single counter-example to undo all the harm that’s been done. Often, when a person from the majority group encounters information that runs against their stereotypes of an oppressed group, they respond by either discounting the information (for example, by saying “you’re not really that Autistic!”) or by subgrouping the people who deviate from stereotypes (for example, by telling them “you’re not like those other Autistic people, the ones who are really impaired. You’re one of the smart ones!”).

These experiences, called “psychic” or psi, suggest the presence of deep, invisible interconnections among people, and between objects and people. The most curious aspect of psi experiences is that they seem to transcend the usual boundaries of time and space. For over a century, these very same experiences have been systematically dismissed as impossible, or ridiculed as delusionary, by a small group of influential academics and journalists who have assumed that existing scientific theories are inviolate and complete. This has created a paradox. Many people believe in psi because of their experiences, and yet the defenders of the status quo have insisted that this belief is unjustified. Paradoxes are extremely important because they point out logical contradictions in assumptions. The first cousins of paradoxes are anomalies, those unexplained oddities that crop up now and again in science. Like paradoxes, anomalies are useful for revealing possible gaps in prevailing theories. Sometimes the gaps and contradictions are resolved peacefully and the old theories are shown to accommodate the oddities after all. But that is not always the case, so paradoxes and anomalies are not much liked by scientists who have built their careers on conventional theories. Anomalies present annoying challenges to established ways of thinking, and because theories tend to take on a life of their own, no theory is going to lie down and die without putting up a strenuous fight. Though anomalies may be seen as nuisances, the history of science shows that each anomaly carries a seed of potential revolution. If the seed can withstand the herbicides of repeated scrutiny, skepticism, and prejudice, it may germinate. It may then provoke a major breakthrough that reshapes the scientific landscape, allowing new technological and sociological concepts to bloom into a fresh vision of “common sense.” A long-held, commonsense assumption is that the worlds of the subjective and the objective are distinct, with absolutely no overlap. Subjective is “here, in the head,” and objective is “there, out in the world.” Psi phenomena suggest that the strict subjective-objective dichotomy may instead be part of a continuous spectrum, and that the usual assumptions about space and time are probably too restrictive. The anomalies fall into three general categories: ESP (extrasensory perception), PK (psychokinesis, or mind-matter interaction), and phenomena suggestive of survival after bodily death, including near-death experiences, apparitions, and reincarnation (see the following definitions and figure 1.1). Most scientists who study psi today expect that further research will eventually explain these anomalies in scientific terms. It isn’t clear, though, whether they can be fully understood without significant, possibly revolutionary, expansions of the current state of scientific knowledge.

Sometimes, still, I think of grief that way—as a vast, icy mountain, seemingly impossible to survive, so frigid the cold permeates your very bones, the depths of your soul. Each step takes a monumental effort, making any real headway seem insurmountable. And yet, if you raise your eyes to the horizon, looking with your heart as well as your eyes, you can see a tiny wisp of smoke rising from a cozy cabin where you will finally, finally find warmth. Hope. And if you have another who will take your hand, drag you when necessary, and travel through that unforgiving landscape, you will emerge through the trees, changed, yes, but together. Stronger. And when you turn your head and look back at the stark, sweeping vista from which you somehow emerged, you will know, deep down to the very core of yourself, that nothing, nothing is impossible when love is greater, more vast, more solid and immovable than the mountain itself.

Never before has so much power been concentrated into the hands of such a few number of people, who literally can decide what countries live or die on a minute by minute basis. Never before has all the world’s wealth been subject to the decisions of such a small clique of individuals, who can, as we said earlier, completely alter the economic, sociological, and legislative landscape of entire nations as if with the wave of a magic wand. And if this situation weren’t bad enough, what makes it worse is the fact that the mental condition of this clique is such that makes the whole situation a ticking time bomb. It’s true, on it’s face, that such a threat from such a statistically small number of people makes no sense, except when considering what possibilities exist when this small number of people have the ear of the President of the United States, the most powerful man in the world. And, if these people can literally make the president dance on strings like a puppet, (as has obviously been the case with every American president since Lyndon Johnson) then it becomes apparent how such machinery can be made to operate. We are talking about an unprecedented concentration of the world’s power in the hands of a few individuals who are, by any standards that can be used to measure, criminally insane. They possess 90% of the world’s wealth, control the political machinery of the world’s most powerful nations, control the informational infrastructure of these nations, and are imbued with the mindset that they have a right to possess all of this by virtue of: A: Their superiority, and by B. The inferiority of the rest of the world’s inhabitants. This situation does not paint a pretty picture, even to the most shallow-minded of thinkers. When it is reduced to its irreducible minimum, the program under which such individuals have deluded themselves is that it is impossible that evil in any form may emanate from the Jewish quarter, and, conversely, that the only evil that can exist is that which works against the Jewish agenda. Like Pavlov’s dogs, the sentiments of such individuals can be turned on like a light switch in defending the agenda of their masters, sentiments completely disconnected with any true intellectual processes and which vary between loyalty for the hand that feeds them and fear of the hand that can grab them by the throat. And thus it is in this manner therefore that we must view the intellectual parrying that takes place by today’s skeptics as but a magic act, and particularly so when the other side of the coin is discussed.

Most of the poems in the collection focus upon the tension between opposites, whether male/female, order / chaos, day/night, rooms/open spaces, or the larger polarities of stasis and movement, self and other. “Journey to the Interior” explores the labyrinth of the self. It is as if the speaker in the earlier poems, having found escape from circle games impossible, has withdrawn into the self only to discover that she is enclosed in the final, most dangerous circle: “it is easier for me to lose my way/forever here, than in other landscapes”. The alternative is to abandon the egocentric self. In “Journey to the Interior”, Atwood expands the self-as-landscape metaphor, introduced in “This Is a Photograph of Me” and appearing again in the final poems of the book, because to see the self as other, as landscape, is a possible way out of the circle.

There are landscapes there, but they are like nothing seen on Earth; gone are the restrictions of natural order; these are the kingdoms of imagination, where nothing is impossible or too bizarre.

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