Landing Page Quotes

There is no Frigate like a Book To take us Lands away Nor any Coursers like a Page Of prancing Poetry – This Traverse may the poorest take Without oppress of Toll – How frugal is the Chariot That bears a Human soul.

Books help to form us. If you cut me open, you will find volume after volume, page after page, the contents of every one I have ever read, somehow transmuted and transformed into me. Alice in Wonderland. the Magic Faraway Tree. The Hound of the Baskervilles. The Book of Job. Bleak House. Wuthering Heights. The Complete Poems of W H Auden. The Tale of Mr Tod. Howard''s End. What a strange person I must be. But if the books I have read have helped to form me, then probably nobody else who ever lived has read exactly the same books, all the same books and only the same books as me. So just as my genes and the soul within me make me uniquely me, so I am the unique sum of the books I have read. I am my literary DNA.

I love the book. I love the feel of a book in my hands, the compactness of it, the shape, the size. I love the feel of paper. The sound it makes when I turn a page. I love the beauty of print on paper, the patterns, the shapes, the fonts. I am astonished by the versatility and practicality of The Book. It is so simple. It is so fit for its purpose. It may give me mere content, but no e-reader will ever give me that sort of added pleasure.

And roots, if they are to bear fruits, must be kept well in the soil of the land.

The truest art I would strive for in any work would be to give the page the same qualities as earth: weather would land on it harshly; light would elucidate the most difficult truths; wind would sweep away obtuse padding.

This is a book, and a book is a world, and words are the seeds in which meanings are curled. Pages of oceans and margins of land are civilizations you hold in the palm of your hand. But look at your world and your life seems to shrink to cities of paper and seas made of ink. Do you know who you are, or have you been misled? Are you the reader, or are you the read?

And as he looked, turning the leaf over and back, Aethon saw that the cities on both sides of the page, the dark ones and the bright ones, were one and the same, that there is no peace without war, no life without death, and he was afraid.

There is nothing else in magic but the wild thought of the bird as it casts itself into the void. There is no creature upon the earth with such potential for magic. Even the least of them may fly straight out of this world and come by chance to the Other Lands. Where does the wind come from that blows upon your face, that fans the pages of your book? Where the harum-scarum magic of small wild creatures meets the magic of Man, where the language of the wind and the rain and the trees can be understood, there we will find the Raven King.

You who so plod amid serious things that you feel it shame to give yourself up even for a few short moments to mirth and joyousness in the land of Fancy; you who think that life hath not to do with innocent laughter that can harm no one; these pages are not for you.

He turns another page, and I read: I'M NOT ETHAN. . . . . .AND I'M NOT GOING TO GIVE UP. . . . . .UNTIL I CAN PROVE TO YOU. . . . . .THAT YOU ARE THE ONLY THING THAT MATTERS. He flips to the next page. SO KEEP SENDING ME AWAY. . . . . .BUT I'LL JUST KEEP COMING BACK TO YOU. AGAIN. . . He flips to the next page. . . .AND AGAIN. . . And the next: . . .AND AGAIN. Goose bumps rise to the surface of my skin. I shiver, hugging myself tightly. AND IF YOU CAN EVER FIND IT IN YOUR ❤ TO FORGIVE ME. . . . . .I WILL DO EVERYTHING IT TAKES TO MAKE IT UP TO YOU. . . He closes the notebook and tosses it beside him. It lands on the roof with a dull thwack. Then, lifting his index finger, he draws an X across his chest. Cross my heart.

It doesn't matter if I'm only to be gone four days, as in this case; I take six months' supply of reading material everywhere. Anyone who needs further explication of this eccentricity can find it usefully set out in the first pages of W. Somerset Maugham's story "The Book-Bag.

There is not much talking now. A silence falls upon them all. This is no time to talk of hedges and fields, or the beauties of any country. Sadness and fear and hate, how they well up in the heart and mind, whenever one opens pages of these messengers of doom. Cry for the broken tribe, for the law and the custom that is gone. Aye, and cry aloud for the man who is dead, for the woman and children bereaved. Cry, the beloved country, these things are not yet at an end. The sun pours down on the earth, on the lovely land that man cannot enjoy. He knows only the fear of his heart.

  “Yes, well, I thought you should see it. The cover page is in Arabic scribblin’, but the next hundred-plus pages are in five sections, and in English. I can’t for the life of me figure out what to make of it. This appears to be more American, and it seems to be a kind of scientific material. Have a look at it and let me know what to tell the boys in Z-land,

People seem to believe that despair is the same as anguish, but it is not. It's true that despair is surrounded by anguish, but at its core, despair is a silent, blank page.

This is how space begins, with words only, signs traced on the blank page. To describe space: to name it, to trace it, like those portolano-makers who saturated the coastlines with the names of harbours, the names of capes, the names of inlets, until in the end the land was only separated from the sea by a continuous ribbon of text. Is the aleph, that place in Borges from which the entire world is visible simultaneously, anything other than an alphabet?

The truest art I would strive for in any work would be to give the page the same qualities as earth: weather would land on it harshly, light would elucidate the most difficult truths; wind would sweep away obtuse padding. Finally, the lessons of impermanence taught me this: loss constitutes an odd kind of fullness; despair empties out into an unquenchable appetite for life.

There is only as much space, only as much time, Only as much desire, only as many words, Only as many pages, only as much ink To accept all of us at light-speed Hurrying into the Promised Land Of oblivion that is waiting for us sooner or later.

If religious books are not widely circulated among the masses in this country, I do not know what is going to become of us as a nation. If truth be not diffused, then error will be. If God and His Word are not known and received, the devil and his works will gain the ascendency. If the evangelical volume does not reach every hamlet, the pages of a corrupt and licentious literature will. If the power of the gospel is not felt throughout the length and breadth of this land, anarchy and misrule, degradation and misery, corruption and darkness will reign without mitigation or end.

Sometimes he feels he has lost his own story, fallen out of its pages and landed here, in between. But he remains in his story. He cannot leave it, no matter how he tries.

Something significant, magical, and inspiring happens with each word you read in the pages of a book. You explore new lands, meet new people, feel new emotions, and are no longer the same person you were one word prior to reading it.

I use the word mystery,rather than magic. I love magic. something magic was always going to happen. When it did, it never did anything but land me in trouble. MYSTERY is the depth of the sacred. Page 33 coming home to my self

I am not a religious man. I have not attended a service for many years. But I do believe in God. My own practice of religion, you could say, it a nonpractice. I personally feel that it's just as worthy on a weekend to rake the lawns of an elderly neighbor or to climb a mountain and marvel at the beauty of this land we live in as it is to sing hosannas or go to Mass. In other words, I think every many finds his own church- and not all of them have four walls - Judge Haig (Page 399)

Turn a page, walk the lines of sentences: the singer steps out, and conjures a world of color and noise in the space inside your head.

So I'm over there in England, you know, trying to get news about the [L.A.] riots... and all these Brit people are trying to sympathize with me... 'Oh Bill, crime is horrible. Bill, if it's any consolation crime is horrible here, too.' ...Shutup. This is Hobbitown and I am Bilbo Hicks, Okay? This is a land of fairies and elves. You do not have crime like we have crime, but I appreciate you trying to be, you know, Diplomatic. You gotta see English crime. It's hilarious, you don't know if you're reading the front page or the comic section over there. I swear to God. I read an article - front page of the paper - one day, in England: 'Yesterday, some Hooligans knocked over a dustbin in Shafsbry.' Wooooo... 'The hooligans are loose! The hooligans are loose! What if they become roughians? I would hate to be a dustbin in Shafsbry tonight.

When the pages are in the typewriter, I can't see his face. In that way i am choosing you over him. I don't need to see him. I don't need to know if he is looking up at me. It's not even that I trust him not to leave. I know this won't last. I'd rather be me than him. The words are coming so easily. The pages are coming easily. At the end of my dream, Eve put the apple back on the branch. The tree went back into the ground. It became a sapling, which became a seed. God brought together the land and the water, the sky and the water, the water and the water, evening and morning, something and nothing. He said, Let there be light. And there was darkness.

Don't think of yourself as a surrogate mule, think of yourself as an entrepreneur of the physical.

How my life has been brought to undiscovered lands, and how much richer it gets - all from words printed on a page.... How a book can have 560 pages, but in only three pages change the reader's life.

Char me the trunk of a redwood tree. Give me pages of white chalk cliffs to write upon. Magnify me thousands of times, and replace my trifling immodesties with a titanic megalomania — then might I write largely enough for our subjects.

Because there is a belief that once you begin to open books, you will become a better person. It is Pandora's box, but in a good way. You are inching toward the promised land, page by page.

Now, I can tell you about some women writers who truly are fantastic. One is Anna Kavan. She writes stories like I approach "Land of a Thousand Dances": she's caught in a haze and then a light, a little teeny light, come through. It could be a leopard, that light, or it could be a spot of blood. It could be anything. But she hooks onto that and spirals out. And she does it within the accessible rhythms of plot, and that's really exciting. She's not hung up with being a woman, she just keeps extending herself, keeps telescoping language and plot. Another great woman writer is Iris Sarazan, who wrote The Runaway. She considered herself a mare, a wild runaway. She was a really intelligent girl stuck in all these convents with a hungry mind. I identify with her 'cause of her hunger to go beyond herself. She wound up in prison, but she escaped and wrote some great books before kicking off. Her books aren't page after page of her beating her breast about how shitty she's been treated, they're books about her exciting telescoping plans of escape. Rhythm, great wild rhythm.... The French poet, Rimbaud, predicted that the next great crop of writers would be women. He was the first guy who ever made a big women's liberation statement, saying that when women release themselves from the long servitude of men they're really gonna gush. New rhythms, new poetries, new horrors, new beauties. And I believe in that completely. (1976 Penthouse interview)

A five-hour flight works out to three days and nights on land, by rail, from sea to shining sea. You can chalk off the hours on the back of the seat ahead. But seventy-some hours will not seem so long to you if you tell yourself first: This is where I am going to be for the rest of my natural life.

Every fairy tale has blood flecked on its muzzle. Sometimes it’s licked up in the second before the story begins— a queen slowly bleeding out onto her birthing bed, a plague having laid waste to a land before “Once upon a time” slouches from the dark. But every so often, one can trace the thick flow of blood as it seeps from the pages.

Of all the places I have walked into, libraries must be the most magical. Have you ever opened the cover of a book and wondered what you would find inside? Where you would go? Whom you would meet? A story has the power to send you back in time or into the future, to transport you to other lands and kingdoms. I’ve met ogres, talking rabbits, and some of my best friends in the pages of books. Librarians might just have the best jobs ever. With each library card they hand out, they offer a ticket to strange and marvelous worlds. Open a book and, like Reading Beauty, you might fall under a spell—the magic of a deep read. But chances are, unlike the Sleeping Beauty of the original fairy tale, you will never want the spell to be broken.

Rodwell wandered into No Man's Land and put a bullet through his ears. On Sunday, Robert sat on his bed in the old hotel at Bailleul and read what Rodwell had written. To my daughter, Laurine; Love your mother. Make your prayers against despair. I am alive in everything I touch. Touch these pages and you have me in your fingertips. We survive in one another. Everything lives forever. Believe it. Nothing dies. I am your father always.

No, he mustn't think about it, or indeed about anything, and especially not about heroin, because heroin was the one thing that really worked, the only thing that stopped him scampering around in a hamster's wheel of unanswerable questions. Heroin was the cavalry. Heroin was the missing chair leg, made with such precision that it matched every splinter of the break. Heroin landed purring at the base of his skull, and wrapped itself darkly around his nervous system, like a black cat curling up on its favourite cushion. It was as soft and rich as the throat of a wood pigeon, or the splash of sealing wax onto a page, or a handful of gems slipping from palm to palm.

So the beloved children's book author took a deep breath, opened his own book to the very first page, and began reading, hoping with all his heart that the story would remind him where his sister went all those years ago....

Plover’s words were like dried flowers, stiff and crumbling, crushed flat between pages, when we’d had the living, blooming blossoms all around

He had become so caught up in building sentences that he had almost forgotten the barbaric days when thinking was like a splash of color landing on a page.

Perhaps one day someone from a distant land will listen to this story of mine. Isn't this what lies behind the desire to be inscribed in the pages of a book? Isn't it just for the sake of this delight that sultans and viziers proffer bags of gold to have their histories written?

Boy, there are people who conquered half the world, slaughtered whole populations, wiped cultures off the face of the planet, and you know what history calls them? Heroes! Kings, presidents, champions, explorers. You think America was settled by white men because the Indians invited us her? No, we took this land because we were stronger, and that's how every page of human history is written. It's just our nature. We're a predator species, top of the food chain. Survival of the fittest is written in our blood, it's stenciled on every gene of our DNA. The strong take and the strong make, and the weak are there only to help them do it. End of story.

In most books, the I, or first person, is omitted; in this it will be retained; that, in respect to egotism, is the main difference. We commonly do not remember that it is, after all, always the first person that is speaking. I should not talk so much about myself if there were anybody else whom I knew as well. Unfortunately, I am confined to this theme by the narrowness of my experience. Moreover, I, on my side, require of every writer, first or last, a simple and sincere account of his own life, and not merely what he has heard of other men's lives; some such account as he would send to his kindred from a distant land; for if he has lived sincerely, it must have been in a distant land to me. Perhaps these pages are more particularly addressed to poor students. As for the rest of my readers, they will accept such portions as apply to them. I trust that none will stretch the seams in putting on the coat, for it may do good service to him whom it fits.

The planting of [orchards] represents a reduction of a complex ecology into the monocultural grid of modern agriculture, and the transformation of a complex symbiosis with the land into the simpler piecework or agricultural labour for surplus and export.

Books — the warm, leather-skinned weight of them in your hands, the way they smelled when you lifted them close to your face. The unfeasibly heart-jolting shock once, as a tome fell heavily open at some much-visited page, divided itself neatly in two blocky halves along the spine — and you thought, guiltily, that you’d broken it.

Once upon a time we all walked on the golden road. It was a fair highway, through the Land of Lost Delight; shadow and sunshine were blessedly mingled, and every turn and dip revealed a fresh charm and a new loveliness to eager hearts and unspoiled eyes. On that road we heard the song of morning stars; we drank in fragrances aerial and sweet as a May mist; we were rich in gossamer fancies and iris hopes; our hearts sought and found the boon of dreams; the years waited beyond and they were very fair; life was a rose-lipped comrade with purple flowers dripping from her fingers. We may long have left the golden road behind, but its memories are the dearest of our eternal possessions; and those who cherish them as such may haply find a pleasure in the pages of this book, whose people are pilgrims on the golden road of youth.

A hip-looking teen watches an elderly woman hobble across the street on a walker. "Grammy's here!" he shouts. He puts some MacAttack Mac&Cheese in the microwave and dons headphones and takes out a video game so he won't be bored during the forty seconds it takes his lunch to cook. A truck comes around the corner and hits Grammy, sending her flying over the roof into the backyard, where luckily she lands on a trampoline. Unluckily, she bounces back over the roof, into the front yard, landing on a rosebush.

what did you think you were doing, then, when you went up through one door and down through another, turning this way and that, through the pages of a book and a deep mine and an entire ocean and the hideout of a wise old woman? My dear, labyrinths ensnare and entangle; they draw one inexorably inward-but it wouldn't be much of a labyrinth if you waited in line with a ticket to get it and the door was clearly marked, like some country-harvest hay maze. All underworlds are labyrinths, in the end. Perhaps all the sunlit lands, too. A labyrinth, when it is big enough, is just the world.

the more I seek Him the more I notice flowers landing next to my feet birds singing outside my window all love letters from the God who knows no coincidence

He turned it over in his hands with a shrug and tossed it aside carelessly, but not so carelessly that it didn't land on something soft

You fasten your seatbelt. The plane is landing. To fly is the opposite of traveling: you cross a gap in space, you vanish into the void, you accept not being in any place for a duration that is itself a kind of void in time; then you reappear, in a place and in a moment with no relation to the where and the when in which you vanished. Meanwhile, what do you do? How do you occupy this absence of yourself from the world and of the world from you?" You read; you do not raise your eyes from the book between one airport and the other, because beyond the page there is the void, the anonymity of stopovers, of the metallic uterus that contains you and nourishes you, of the passing crowd always different and always the same. You might as well stick with this other abstraction of travel, accomplished by the anonymous uniformity of typographical characters: here, too, it is the evocative power of the names that persuades you that you are flying over something and not nothingness. You realize that it takes considerable heedlessness to entrust yourself to unsure instruments, handled with approximation; or perhaps this demonstrates and invincible tendency to passivity, to regression, to infantile dependence. (But are you reflecting on the air journey or on reading?)

The sky was full of fog, with the sun behind it turning it all to a single color—not quite white, but pale and promising, like a blank page where anything could be written. Anything at all.

If there’s anything I’ve learned from polyamory, it’s that the quickest way to destroy a relationship is to try to make it into something it’s not, to force it into a box that it doesn’t really fit in, and to slap labels on something and assume that those labels give the relationship value. No, no, and no. What you end up with is damaged goods in a mislabeled package that end up absolutely where you didn’t want to send the damn thing in the first place.

You who so plod amid serious things that you feel it shame to give yourself up even for a few short moments to mirth and joyousness in the land of Fancy; you who think that life hath nought to do with innocent laughter that can harm no one; these pages are not for you

BDSM stands for Bondage and Discipline, Dominance and Submission, and Sadism and Masochism. Yeah, it should really be BDDSSM, but BDSM looks less like a cat sitting on a keyboard, so they went with that.

Imagine a land where people are afraid of dragons. It is a reasonable fear: dragons possess a number of qualities that make being afraid of them a very commendable response. Things like their terrible size, their ability to spout fire, or to crack boulders into splinters with their massive talons. In fact, the only terrifying quality that dragons do not possess is that of existence. Now, the people of this land know about dragons because their leaders have warned them about them. They tell stories about cruel dragons with razor teeth and fiery breath. They recount legends of dragons hunting by night on silent wings. In short, the leaders make sure that the people believe in all the qualities of dragons, including that key quality of existence. And then they control the people — when they need to — with their fear of dragons. The people pay a dragon-slaying tax … everyone stays indoors after dark to avoid being snatched by swooping claws … and nobody ever strays out of bounds for fear of being eaten well and truly up. Perhaps somebody will wonder if dragons aren’t, after all, fictitious because — despite their size — nobody seems to have actually seen one. And so it is necessary from time to time to provide evidence: a burnt tree or two, a splintered rock, the mysterious absence of a villager. The population is controlled by the dragons in its collective mind. It’s contrived superstition, and it is possible because the people do not know enough about the way the world works to know that dragons do not exist.

Twenty Thousand Leagues Under the Sea," translated Florent. "By Jules Verne. This book I have not read in many years." "We're reading it in French class," Joseph said. "It's hard to understand, but I found a line that Uncle Albert would love." Florent opened to a dog-eared page where Joseph had underlined a sentence and written the translation in the margin. Florent read it out loud. "'Let me tell you, Professor, that you will not regret the time spent on board. You are going to travel in a a land of marvels.

In reaching a decision on that matter, we must first be clear about certain rules of war. Rule 1, on page I of the book of war, is: "Do not march on Moscow". Various people have tried it, Napoleon and Hitler, and it is no good. That is the first rule. I do not know whether your Lordships will know Rule 2 of war. It is: "Do not go fighting with your land armies in China". It is a vast country, with no clearly defined objectives, and an army fighting there would be engulfed by what is known as the Ming Bing, the people's insurgents.

A poetess is not as selfish as you assume. After months of agonising over her marriage of words—the bride— and spaces—the groom, she knows that as soon as she has penned the poem, it’s yours to consume. So, without giving it a think, she blows on the ink and the letters fly away like dandelions on a windy day, landing on hands and lips, on hearts and hips. But more often than not, you can easily spot them trodden and forgotten, becoming sodden and rotten. Yet, she will continue to make what’s others to take because selfishness is not the mark of a poetess.

If I would be given a chance to rewrite the dictionary, I would flip through the pages so quick and would replace India with, the land where beauty is redefined in itself, kindness has been touched, warmth has been spread and emotions has been felt.

We fought, Wilkie Collins and I. We fought bitterly and with all our might, to a standstill, over a period of about three weeks, on trains and aeroplanes and by hotel swimming pools. Sometimes – usually late at night, in bed – he could put me out cold with a single paragraph; every time I got through twenty or thirty pages, it felt to me as though I’d socked him good, but it took a lot out of me, and I had to retire to my corner to wipe the blood and sweat off my reading glasses. Only in the last fifty-odd pages, after I’d landed several of these blows, did old Wilkie show any signs buckling under the assault.

I sat against one of the house’s clay walls. The kinship I felt suddenly for the old land... it surprised me. I’d been gone long enough to forget and be forgotten. I had a home in a land that might as well be in another galaxy to the people sleeping on the other side of the wall I leaned against. I thought I had forgotten about this land. But I hadn’t. And, under the bony glow of a halfmoon, I sensed Afghanistan humming under my feet. Maybe Afghanistan hadn’t forgotten me either. I looked westward and marveled that, somewhere over those mountains, Kabul still existed. It really existed, not just as an old memory, or as the heading of an AP story on page 15 of the San Francisco Chronicle. Somewhere over those mountains in the west slept the city where my harelipped brother and I had run kites. Somewhere over there, the blindfolded man from my dream had died a needless death. Once, over those mountains, I had made a choice. And now, a quarter of a century later, that choice had landed me right back on this soil.

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

It wasn't enough to catch a glimpse of these lands and ideas through the small window of the pages she turned. She wanted to step through and feel the yellow waters of the Yangtze herself, to hear the celestial music of foreign pipes, to taste the foods described by adventurers who traveled purposefully into the areas on maps labeled 'Here be tygres.

If nobody talks about books, if they are not discussed or somehow contended with, literature ceases to be a conversation, ceases to be dynamic. Most of all, it ceases to be intimate. It degenerates into a monologue or a mutter. An unreviewed book is a struck bell that gives no resonance. Without reviews, literature would be oddly mute in spite of all those words on all those pages of all those books. Reviewing makes of reading a participant sport, not a spectator sport.

But a voice said within her, Now it is too late. They found her at high noon, just as the sun came out after the storm, floating among the reeds of the Lake. Her long hair was spread out on the surface like water reeds, and Morgaine, stunned with grief, could not find it in her heart to regret that Kevin had not gone alone into the shadowed land beyond death.

Between takeoff and landing, we are each in suspended animation, a pause between chapters of our lives. When we stare out the window into the sun's glare, the landscape is only a flat projection with mountain ranges reduced to wrinkles in the continental skin. Oblivious to our passage overhead, other stories are unfolding beneath us. Blackberries ripen in the August sun, a woman packs a suitcase and hesitates at her doorway, a letter is opened and the most surprising photograph slides from between the pages. But we are moving too fast and we are too far away; all the stories escape us, except our own. When I turn away from the window, the stories recede into the two-dimensional map of green and brown below. Like a trout disappearing into the shade of an overhanging bank, leaving you staring at the flat surface of the water and wondering if you saw it at all.

There on the landing sits the typewriter. It is clogged with dust, the ribbon dried and flimsy. Looking at it gives Felix a feeling close to vertigo. He realises he can replicate in his head the exact sound it used to make. The clac-clac-a-clac of the metal letters hitting the paper, the ribbon raising itself each time to make the impression. The machine-gun fire of it, when the work was going well. The stops and pauses when it wasn't, to allow for a sigh, a draw on a cigarette. The ding every time the carriage reached its limit. The whirr as the page was snatched out, then the rolling ratcheting as a new one was wound in.

(Page 288) If my love were an ocean, there would be no more land. If my love were a desert, you would see only sand. If my love were a star- late at night, only light. And if my love could grow wings, I'd be soaring in flight. -I love poetry so getting to read something as tiny as this was very refreshing. I think I can relate to Hannah because what she is essentially saying is that she loves a lot to the point that if her love were an object in this world.. the entire world would be consumed by it just to show the amount of love she has. It got me confused because I found it kind of selfish of Hannah writing that poem because if she loved everone as deeply as her poems depict.. why would she leave them?

What is a disciple? It is not a mindless follower. A disciple is a student. When Paul prohibits women teaching men, he (in the same breath) requires Christian women to be students of the Word "Let a woman learn..." (1 Tim 2:11). Because biblical learning is required of us, we ought not to be afraid of it. We must overcome our ignorance! We ought to read good, solid books on Christian doctrine. It is good for us! We must cultivate a taste for books that will build s up in the faith- not take us to fantasy land. Just read a page or two at a time if need be, and never at the expense of your Bible reading.

This is a book, and a book is a world, and words are the seeds in which meanings are curled. Pages of oceans and margins of land are civilizations you hold in the palm or your hand. But look at your world and your life seems to shrink, to cities of paper and seas made of ink. Do you know who you are, or have you been misled? Are you the reader, or are you the read? This is a word, and a word is a spell - a promise to keep or a secret to tell. Controlling the word means the power to frame how the ages of history remember you name. Are you hero or villain? A savior or spy? Some titles are lovely. Some titles are lies. You can claim who you are, now that you've found your voice. But those who are chosen will not have a choice. This is a story as vast as the sea, but on its waters, you'll never be free. No matter your course, your future is set, and destiny laughs as she tightens the net. Words to Kelannans are breath on a glass, but if it is written, it will come to pass. Is your sight growing clearer, the closer you look? The Book is a world, for the world is a book.

Reading two pages apiece of seven books every night, eh? I was young. You bowed to yourself in the mirror, stepping forward to applause earnestly, striking face. Hurray for the Goddamned idiot! Hray! No-one saw: tell no-one. Books you were going to write with letters for titles. Have you read his F? O yes, but I prefer Q. Yes, but W is wonderful. O yes, W. Remember your epiphanies written on green oval leaves, deeply deep, copies to be sent if you died to all the great libraries of the world, including Alexandria? Someone was to read them there after a few thousand years, a mahamanvantara. Pico della Mirandola like. Ay, very like a whale. When one reads these strange pages of one long gone one feels that one is at one with one who once ... The grainy sand had gone from under his feet. His boots trod again a damp crackling mast, razorshells, squeaking pebbles, that on the unnumbered pebbles beats, wood sieved by the shipworm, lost Armada. Unwholesome sandflats waited to suck his treading soles, breathing upward sewage breath, a pocket of seaweed smouldered in seafire under a midden of man's ashes. He coasted them, walking warily. A porterbottle stood up, stogged to its waist, in the cakey sand dough. A sentinel: isle of dreadful thirst. Broken hoops on the shore; at the land a maze of dark cunning nets; farther away chalkscrawled backdoors and on the higher beach a dryingline with two crucified shirts. Ringsend: wigwams of brown steersmen and master mariners. Human shells. He halted. I have passed the way to aunt Sara's. Am I not going there? Seems not.

There are eight worlds, the first one said. They lie side by side, in degrees of perfection. This world is the most perfect one. Below these lines, written in a different ink, was: There is one single world, divided into three levels which are partitioned off from each other by greased membranes. Then in red ink: There are two worlds and they overlap. The first is the land of Day, which belongs to the humans. The second is the land of Twilight, which belongs to the free folk, and of which the woods is a little backwater part. Both lands must obey Time, but the Twilight is ruled by the Heart, whereas the Day is ruled by Thought. At the bottom of the page, large block letters proclaimed: ALL OF THIS IS TRUE.

A writer's will is the winds of dead calm in the Western Lands. Point way out he can start stirring of the sail. Writer, where are you going? To write. Here we are in texts already written on the sky. Where he doesn't need to write anymore. A slight seismic with the cat book. Always remember, the work is the mainsail to reach the Western Lands. The texts sing. Everything is grass and bushes, a desert or a maze of texts. Here you are ... never use the same door twice. Sky in all directions ... on the word for word. The word for word is word. The western sail stirs candles on 1920 country club table. Each page is a door to everything is permitted. The fragile lifeboat between this and that. Your words are the sails.

Prehistory isn't like a 'veil' or a 'curtain' that 'lifts’ to reveal the pre-set 'stage' of history. Rather, prehistory is an absence of something: an absence of writing. So a better image of the ‘dawn of history’ might be an AM radio in the pre-dawn hours: you recognize wisps of words or music across the dial, inter blending, and noise obscures even the few clear-channel stations. The first ones we find, when we switch on the radio of history about 3200B.C.E., come from Mesopotamia, and those from Egypt soon emerge. Eventually the neighbouring lands produce records, with the effect that the ancient Near East is probably the best documented civilization before the invention of printing.” (Daniels and Bright, page 19)

Read this morning of a black family—husband and wife both work in govt. printing office. They live in a nice house near U. of Maryland. They have been harassed and even had a cross burned on their lawn. It was all on the front page of the “Post.” I told Mike & Jim I’d like to call on them. We cleared the last part of the afternoon schedule & Nancy & I went calling. They were a very nice couple with a 4 year old daughter—grandma (a most gracious lady) lived with them. Their home was very nice & tastefully furnished. They were very nice about our coming & expressed their thanks. The whole neighborhood was lining the street—most of them cheering and applauding us. I hope we did some good. There is no place in this land for the hate-mongers & bigots.

There was a time when wen we did not form all our words as we do now, in writing on a page. There was a time when the word "&" was written with several distinct & separate letters. It seems madness now. But there it is, & there is nothing we can do about it. Humanity learned to ride the rails, & that motion made us what we are, a ferromaritime people. The lines of the railsea go everywhere but from one place straight to another. It is always switchback, junction, coils around & over our own train-trails. What word better could there be to symbolize the railsea that connects & separates all lands, than “&” itself? Where else does the railsea take us, but to one place & that one & that one & that one, & so on? & what better embodies, in the sweep of the pen, the recurved motion of trains, than “&”? An efficient route from where we start to where we end would make the word the tiniest line. But it takes a veering route, up & backwards, overshooting & correcting, back down again south & west, crossing its own earlier path, changing direction, another overlap, to stop, finally, a few hairs’ width from where we began. & tacks & yaws, switches on its way to where it’s going, as we all must do.

(Talking about the movement to deny the prevalence and effects of adult sexual exploitation of children) So what does this movement consist of? Who are the movers and shakers? Well molesters are in it, of course. There are web pages telling them how to defend themselves against accusations, to retain confidence about their ‘loving and natural’ feelings for children, with advice on what lawyers to approach, how to complain, how to harass those helping their children. Then there’s the Men’s Movements, their web pages throbbing with excitement if they find ‘proof’ of conspiracy between feminists, divorcing wives and therapists to victimise men, fathers and husbands. Then there are journalists. A few have been vitally important in the US and Britain in establishing the fightback, using their power and influence to distort the work of child protection professionals and campaign against children’s testimony. Then there are other journalists who dance in and out of the debates waggling their columns behind them, rarely observing basic journalistic manners, but who use this debate to service something else – a crack at the welfare state, standards, feminism, ‘touchy, feely, post-Diana victimhood’. Then there is the academic voice, landing in the middle of court cases or inquiries, offering ‘rational authority’. Then there is the government. During the entire period of discovery and denial, not one Cabinet minister made a statement about the prevalence of sexual abuse or the harm it caused. Finally there are the ‘retractors’. For this movement to take off, it had to have ‘human interest’ victims – the accused – and then a happy ending – the ‘retractors’. We are aware that those ‘retractors’ whose parents trail them to newspapers, television studios and conferences are struggling. Lest we forget, they recanted under palpable pressure.

She logged in and read a few of her old posts, smiling at the issues she had raged about and shaking her head at how some of the rants now seemed pretentious and judgmental. She had grown so much without even realizing she had. Mythili typed out the draft, spicing it up subtly and after a last read, she published it. Admiring the brand new post on her main page, she realized she missed writing. She had barely written anything since her last by-line. Typing this out, she felt like she was back with a long-lost friend who understood her. It was like snuggling up in a warm blanket when a thunderstorm raged outside.

Toot showed me how to balance a checkbook and resist buying stuff I didn’t need. She was the reason why, even in my most revolutionary moments as a young man, I could admire a well-run business and read the financial pages, and why I felt compelled to disregard overly broad claims about the need to tear things up and remake society from whole cloth. She taught me the value of working hard and doing your best even when the work was unpleasant, and about fulfilling your responsibilities even when doing so was inconvenient. She taught me to marry passion with reason, to not get overly excited when life was going well, and to not get too down when it went badly. All this was instilled in me by an elderly, plainspoken white lady from Kansas. It was her perspective that often came to mind when I was campaigning, and her worldview that I sensed in many of the voters I encountered, whether in rural Iowa or in a Black neighborhood in Chicago, that same quiet pride in sacrifices made for children and grandchildren, the same lack of pretension, the same modesty of expectations.

I was terrified of opening my marriage to outside influence. Because it was the center of my life and meant more than anything. But as I thought through my fears, I realized something: Testing that bond was a win-win scenario. Best case, we would weather the challenges, and I would have a wealth of experiences and emotional bonds with others that could complement my life. Worst case, I was wrong about the strength of what we I had together, and it would tear us apart. But if what we had were that easily ruined, was it really all that great in the first place? And wouldn’t I want to know now, 4 years into the marriage, rather than another 20 or 30 years down the road?

His deepest detestation was often reserved for the nicest of liberal academics, as if their lives were his own life but a step escaped. Like the scent of the void which comes off the pages of a Xerox copy, so was he always depressed in such homes by their hint of oversecurity. If the republic was now managing to convert the citizenry to a plastic mass, ready to be attached to any manipulative gung ho, the author was ready to cast much of the blame for such success into the undernourished lap, the overpsychologized loins, of the liberal academic intelligentsia. They were of course politically opposed to the present programs and movements of the republic in Asian foreign policy, but this political difference seemed no more than a quarrel among engineers. Liberal academics had no root of a real war with technology land itself, no, in all likelihood, they were the natural managers of that future air-conditioned vault where the last of human life would still exist.

Plût au ciel que le lecteur, enhardi et devenu momentanément féroce comme ce qu’il lit, trouve, sans se désorienter, son chemin abrupt et sauvage, à travers les marécages désolés de ces pages sombres et pleines de poison ; car, à moins qu'il n’apporte dans sa lecture une logique rigoureuse et une tension d’esprit égale au moins à sa défiance, les émanations mortelles de ce livre imbiberont son âme comme l’eau le sucre. Il n’est pas bon que tout le monde lise les pages qui vont suivre ; quelques-uns seuls savoureront ce fruit amer sans danger. Par conséquent, âme timide, avant de pénétrer plus loin dans de pareilles landes inexplorées, dirige tes talons en arrière et non en avant. Écoute bien ce que je te dis : dirige tes talons en arrière et non en avant.

She dances, She dances around the burning flames with passion, Under the same dull stars, Under the same hell with crimson embers crashing, Under the same silver chains that wires, All her beauty and who she is inside, She's left with the loneliness of human existence, She's left questioning how she's survived, She's left with this awakening of brutal resilience, Her true beauty that she denies, As much she's like to deny it, As much as it continues to shine, That she doesn't even have to admit, Because we all know it's true, Her glory and success, After all she's been through, Her triumph and madness, AND YET, SHE STANDS. Broken legs- but she's still standing, Still dancing in this void, You must wonder how she's still dancing, You must wonder how she's not destroyed, She doesn't even begin to drown within the flames, But little do you realize, Within these chains, She weeps and she cries, But she still goes on, And just you thought you could stop her? You thought you'd be the one? Well, let me tell you, because you thought wrong. Nothing will ever silence her, Because I KNOW, I know that she is admiringly strong, Her undeniable beauty, The triumph of her song, She's shining bright like a ruby, Reflecting in the golden sand, She's shining brighter like no other, She's far more than human or man, AND YET, SHE STANDS. She continues to dance with free-spirit, Even though she's locked in these chains, Though she never desired to change it, Even throughout the agonizing pain, Throughout all the distress, Anxiety, depression, tears and sorrow, She still dances so beautify in her dress, She looks forward to tomorrow, Not because of a fresh start but a new page, A new day full of opportunities, Despite being trapped in her cage, She still smiles after being beaten so brutally, A smile that could brighten anyone's day, She's so much more than anyone could ask for, She's so much more than I could ever say, She's a girl absolutely everyone should adore, She never gets in the way, Even after her hearts been broken, Even after the way she has been treated, After all these severe emotions, After all all the blood she's bled, AND YET, SHE STANDS. Even if sometimes she wonders why she's still here, She wonders why she's not dead, But there's this one thing that had been here throughout every tear, Throughout the blazing fire leaving her cheeks cherry red, Everyday this thing has given her a place to exist, This thing, person, these people, Like warm sunlight it had so softly kissed, The apples of her cheeks, Even when she's feeling feeble, Always there at her worst and at her best Because of you and all the other people, She has this thing deep inside her chest, That she will cherish forever, Even once you're gone, Because today she smiles like no other, Even when the sun sets at dawn, Because today is the day, She just wants you to remember, In dark and stormy weather, It gets better. And after what she's been through she knows, Throughout the highs and the lows, Because of you and all others, After crossing the seas, She has come to understand, You have formed this key, This key to free her from this land, This endless gorge that swallowed her, Her and other men, She had never knew, nor had she planned, That because of you, She's free. AND YET, THIS VERY DAY, SHE DANCES. EVEN IN THE RAIN.

And so I make my way across the room steadily, carefully. Hands shaking, I pull the string, lifting my blinds. They rise slowly, drawing more moonlight into the room with every inch And there he is, crouched low on the roof. Same leather jacket. The hair is his, the cheekbones, the perfect nose . . . the eyes: dark and mysterious . . . full of secrets. . . . My heart flutters, body light. I reach out to touch him, thinking he might disappear, my fingers disrupted by the windowpane. On the other side, Parker lifts his hand and mouths: “Hi.” I mouth “Hi” back. He holds up a single finger, signalling me to hold on. He picks up a spiral-bound notebook and flips open the cover, turning the first page to me. I recognize his neat, block print instantly: bold, black Sharpie. I know this is unexpected . . . , I read. He flips the page. . . . and strange . . . I lift an eyebrow. . . . but please hear read me out. He flips to the next page. I know I told you I never lied . . . . . . but that was (obviously) the biggest lie of all. The truth is: I’m a liar. I lied. I lied to myself . . . . . . and to you. Parker watches as I read. Our eyes meet, and he flips the page. But only because I had to. I wasn’t supposed to fall in love with you, Jaden . . . . . . but it happened anyway. I clear my throat, and swallow hard, but it’s squeezed shut again, tight. And it gets worse. Not only am I a liar . . . I’m selfish. Selfish enough to want it all. And I know if I don’t have you . . . I hold my breath, waiting. . . . I don’t have anything. He turns another page, and I read: I’m not Parker . . . . . . and I’m not going to give up . . . . . . until I can prove to you . . . . . . that you are the only thing that matters. He flips to the next page. So keep sending me away . . . . . . but I’ll just keep coming back to you. Again . . . He flips to the next page. . . . and again . . . And the next: . . . and again. Goose bumps rise to the surface of my skin. I shiver, hugging myself tightly. And if you can ever find it in your (heart) to forgive me . . . There’s a big, black “heart” symbol where the word should be. I will do everything it takes to make it up to you. He closes the notebook and tosses it beside him. It lands on the roof with a dull thwack. Then, lifting his index finger, he draws an X across his chest. Cross my heart. I stifle the happy laugh welling inside, hiding the smile as I reach for the metal latch to unlock my window. I slowly, carefully, raise the sash. A burst of fresh honeysuckles saturates the balmy, midnight air, sickeningly sweet, filling the room. I close my eyes, breathing it in, as a thousand sleepless nights melt, slipping away. I gather the lavender satin of my dress in my hand, climb through the open window, and stand tall on the roof, feeling the height, the warmth of the shingles beneath my bare feet, facing Parker. He touches the length of the scar on my forehead with his cool finger, tucks my hair behind my ear, traces the edge of my face with the back of his hand. My eyes close. “You know you’re beautiful? Even when you cry?” He smiles, holding my face in his hands, smearing the tears away with his thumbs. I breathe in, lungs shuddering. “I’m sorry,” he whispers, black eyes sincere. I swallow. “I know why you had to.” “Doesn’t make it right.” “Doesn’t matter anymore,” I say, shaking my head. The moon hangs suspended in the sky, stars twinkling overhead, as he leans down and kisses me softly, lips meeting mine, familiar—lips I imagined, dreamed about, memorized a mil ion hours ago. Then he wraps his arms around me, pulling me into him, quelling every doubt and fear and uncertainty in this one, perfect moment.

This is sacred space. Libation . . . instead of pouring water on the ground, I pour words on the page. I begin with this libation in honor of all of those unknown and known spirits who surround us. I acknowledge the origins of this land where I am seated while writing this introduction. This land was inhabited by Indigenous people, the very first people to inhabit this land, who lived here for thousands of years before the Europeans arrived and were unfortunately unable to cohabitate without dominating, enslaving, raping, terrorizing, stealing from, relocating, and murder- ing the millions of members of Indigenous nations throughout Turtle Island, which is now known as North America. I write libation to those millions of Indigenous women, men, and children; and those millions of kidnapped and enslaved African women, men, and children whose genocide, confiscated land, centuries of free labor, forced migration, traumatic memories of rape, and sweat, tears, and blood make up the very fiber and foundation of all of the Americas and the Caribbean.

Here is one final reason to think that the United States may be a state that uses the language of democracy to mask an undemocratic reality. An oligarchy is a system in which only those with a certain amount of money or land have access to the political process. An oligarchy is not a majoritarian electoral democracy. For years, the political scientist Martin Gilens has been trying to test empirically the claim that the United States is, as we learn it to be in schools, a “majoritarian electoral democracy.” Gilens and his coauthor Benjamin Page conclude that the empirical evidence between 1981 and 2002 entails that the hypothesis that the United States is a pure majoritarian electoral democracy “can be decisively rejected.”40 Wealthy individuals and powerful interest groups (such as the gun lobby) have significant impact on policy. In contrast, “[n]ot only do ordinary citizens not have uniquely substantial power over policy decisions; they have little or no independent influence on policy at all.” Gilens’s work is the subject of continuing debate.41 But it seems nevertheless widely agreed that the available empirical evidence makes it at the very least worthy of serious consideration that the language of liberal democracy does not accurately explain the cause of most US policy. One must worry about even apparently robustly liberal democratic states that the language of democracy is simply used to mask an undemocratic reality.

Write a two-page reflection about your life. What do you like about it? What don’t you like about it? What do you live for? There’s a French term for the latter question. Raison d ’être. It means “reason for being.” My mum used to say that Elliot and I were her raison d’être. Mum had a reason, now she lacks a being. I have a being, I just lack a reason. I live because of the law of inertia. An object in motion stays in motion unless acted upon by an unbalanced force. If I were to reflect on my life, I would say it’s like being engulfed in quicksand, and as much as I want to get out, I slowly sink deeper, towards an inevitable end. I want someone to pull me out, but I don’t know how they can. Their only reactions are to stand on dry land and watch me with concerned expressions, urging me to just walk like they are. Living is being in the middle of a dark tunnel, claustrophobic and boxed in, and feeling something closing in behind you, and realising you can only beat it by running. But the tunnel never ends, and you come to realise that you can’t run forever. You go for as long as you possibly can, hoping to God that you’ll see a light before you can’t run anymore. You desperately want to live. But everyone has their limit. And when you eventually hit yours, there’s nothing more you can do. Life is temporary. Nothing is certain about it except for the fact that it will end. It can end on your terms or as a surprise. The thing is . . . I don’t like surprises.

If this is hard to understand from a map, the rest is harder. For one thing, the river that flows ever onwards is also seeping sideways, irrigating the fields and land to one side and the other. It finds its way into wells and is drawn up to launder petticoats and be boiled for tea. It is sucked into root membranes, travels up cell by cell to the surface, is held in the leaves of watercress that find themselves in the soup bowls and on the cheeseboards of the county’s diners. From teapot or soup dish, it passes into mouths, irrigates complex internal biological networks that are worlds in themselves, before returning eventually to the earth via a chamber pot. Elsewhere the river water clings to the leaves of the willows that droop to touch its surface and then, when the sun comes up, a droplet appears to vanish into the air, where it travels invisibly and might join a cloud, a vast floating lake, until it falls again as rain. This is the unmappable journey of the Thames. And there is more: what we see on a map is only the half of it. A river no more begins at its source than a story begins with the first page.

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

How to begin writing this down? Shall it be a simple inventory? A list of parts. Names. Dates. Genealogies. Sound begetting sound. Endless melody. If I were to say – a robin sings in the trees across the field from this coppice – would that be enough? Could you flesh things out from such a meagre outline? Or should I describe its song? Onomatopoeia. But the bird has long fallen silent before the words begin to form. And what of the other sounds – the constant polyphony? Distant hum of motorway traffic. Delicate rattle of leaf against branch. Everything in between. I fill the page as best I can, replace the diary under a stone, and retrace my steps down the darkening lane. But as I walk back under the eaves of those trees, I ask myself – could any film, recording or photograph tell you this? That whilst I dwelt within that wooded chamber, listening to those brief glimmers of song, I forgot about her, the river and its promise.

HOW ENGLISH BECAME A DOUBLE LANGUAGE After the Romans conquered England in the first century AD, they hired German and Scandinavian mercenaries from Anglia and Saxony to help fend off pirates and put down rebellions by the native Picts and Celts. When the Roman Empire abandoned England in 410 AD, more Anglo-Saxons migrated to the island, marginalizing the Gallic-speaking Celts, wiping out the Latin of the Romans, and imposing their Germanic tongue throughout England. But 600 years later Latin came back this roundabout way: In 911 AD Danish Vikings conquered territory along the north coast of France and named it after themselves, Normandy, land of the Norsemen. After 150 years of marriage to French women, these Danes spoke what their mothers spoke, a thousand-year-old French dialect of Latin. In 1066 King Wilhelm of Normandy (a.k.a. William the Conqueror) led his armies across the English Channel and defeated the English king. With that victory, French came to England. Throughout history, foreign conquests usually erase native languages. But England was the exception. For some mysterious reason, the Germanic language of the Anglo-Saxons and the Latinate French of the Normans merged. As a result, the vocabulary of what became modern English doubled. English has at least two words for everything. Compare, for example, the Germanic-rooted words “fire,” “hand,” “tip,” “ham,” and “flow” to the French-derived words “flame,” “palm,” “point,” “pork,” and “fluid.

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin.” “As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed, long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

You are to make up your mind whether it is to be God or man. Whether you are to be free or a slave. Whether it is to be progress or stagnation. As long as man loves a phantom in the sky more than he loves his fellow man, there will never be peace upon this earth; so long as man worships a Tyrant as the "Fatherhood of God," there will never be a "Brotherhood of Man." You must make the choice, you must come to the decision. Is it to be God or Man? Churches or Homes—preparation for death or happiness for the living? If ever man needed an example of the benefit of the one against the other, he need but read the pages of history for proof of how religion retarded progress and provoked hatred among the children of men. When theology ruled the world, man was a slave. The people lived in huts and hovels. They were clad in rags and skins; they devoured crusts and gnawed bones; the priests wore garments of silk and satin; carried mitres of gold and precious stones, robbed the poor and lived upon the fat of the land! Here and there a brave man appeared to question their authority. These martyrs to intellectual emancipation slowly and painfully broke the spell of superstition and ushered in the Age of Reason and the Dawn of Science. Man became the only god that man can know. He no longer fell upon his knees in fear. He began to enjoy the fruits of his own labor. He discovered a way to relieve himself from the drudgery of continuous toil; he began to enjoy a few comforts of life—and for the first time upon this earth he found a few moments for happiness. It is far more important to learn how to live than to learn how to pray. A new day and a new era dawned for him. His labors produced enormous dividends. He looked at the sky for the first time and saw that it was blue! He searched the heavens and found no God. He no longer feared the manifestations of nature.

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin. As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed,long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

Well, tell me boy," she said, "what have you been reading?" Craftily he picked his way across the waste land of printery, naming as his favorites those books which he felt would win her approval. As he had read everything, good and bad, that the town library contained, he was able to make an impressive showing. Sometimes she stopped him to question about a book--he rebuilt the story richly with a blazing tenacity of detail that satisfied her wholly. She was excited and eager--she saw at once how abundantly she could feed this ravenous hunger for knowledge, experience, wisdom. And he knew suddenly the joy of obedience: the wild ignorant groping, the blind hunt, the desperate baffled desire was now to be ruddered, guided, controlled. The way through the passage to India, that he had never been able to find, would now be charted for him. Before he went away she had given him a fat volume of nine hundred pages, shot through with spirited engravings of love and battle, of the period he loved best. He was drowned deep at midnight in the destiny of the man who killed the bear, the burner of windmills and the scourge of banditry, in all the life of road and tavern in the Middle Ages, in valiant and beautiful Gerard, the seed of genius, the father of Erasmus. Eugene thought The Cloister and the Hearth the best story he had ever read.

OLIVER DAVENANT did not merely read books. He snuffed them up, took breaths of them into his lungs, filled his eyes with the sight of the print and his head with the sound of words. Some emanation from the book itself poured into his bones, as if he were absorbing steady sunshine. The pages had personality. He was of the kind who cannot have a horrifying book in the room at night. He would, in fine weather, lay it upon an outside sill and close the window. Often Julia would see a book lying on his doormat. As well as this, his reading led him in and out of love. At first, it was the picture of Alice going up on tiptoe to shake hands with Humpty Dumpty; then the little Fatima in his Arthur Rackham book, her sweet dusky face, the coins hanging on her brow, the billowing trousers and embroidered coat. Her childish face was alive with excitement as she put the key to the lock. “Don’t!” he had once cried to her in loud agony. In London, he would go every Saturday morning to the Public Library to look at a picture of Lorna Doone. Some Saturdays it was not there, and he would go home again, wondering who had borrowed her, in what kind of house she found herself that week-end. On his last Saturday, he went to say good-bye and the book was not there, so he sat down at a table to await its return. Just before the library was to be shut for lunch-time, he went to the shelf and kissed the two books which would lie on either side of his Lorna when she was returned and, having left this message of farewell, made his way home, late for lunch and empty of heart. If this passion is to be called reading, then the matrons with their circulating libraries and the clergymen with their detective tales are merely flirting and passing time. To discover how Oliver’s life was lived, it was necessary, as in reading The Waste Land, to have an extensive knowledge of literature. With impartiality, he studied comic papers and encyclopaedia, Eleanor’s pamphlets on whatever interested her at the moment, the labels on breakfast cereals and cod liver oil, Conan Doyle and Charlotte Brontë.

I lay back with a groan and close my eyes. I am just getting comfortable when two sharp elbows land in my midsection. Hayley crawls on top of me on the couch. I think she must be part monkey. She holds a kid-sized board book in her hand. “Wead,” she says, shoving it in my face. I sit up, tucking her into my lap. I take the book from her and open it, but the words jumble. I turn it upside down. “Once upon a time,” I begin. “Dat’s not how it goes,” she complains. She’s a smart girl. “I know,” I explain. “But books are magical, and if you turn them upside down, there’s a whole new story in the pages.” “Weally?” she asks, her eyes big with wonder. No, not really. But it’s the best I can do, kid. “Really,” I affirm. She wiggles, settling more comfortably in my arms. I start to make up a story based on the upside-down pictures. She listens intently. “Once upon a time, there was a little frog. And his name was Randolf.” “Randolf,” she repeats with a giggle. “And Randolf had one big problem.” “Uh oh,” she breathes. “What kind a problem?” “Randolf wanted to be a prince. But his mommy told him that he couldn’t be a prince since he was just a frog.” I keep reading until I say, “The end.” She lays the book to the side and snuggles into me. I kiss the top of her head because it feels like the right thing to do. And she smells good. “Your story was better than the book’s story,” she says. My heart swells with pride. “Thank you.” If only it was this easy to please the adults of the world.

Push up some mountains. Cut them down. Drown the land under the sea. Push up some more mountains. Cut them down. Push up a third set of mountains, and let the river cut through them. “Unconformity” is the geologic term for an old, eroded land surface buried under younger rock layers. Put your outspread hand over the Carlin Canyon, Nevada unconformity and your fingers span roughly forty million years- the time that it took to bevel down the first set of mountains and deposit the younger layers on top. What is forty million years? Enough time for a small predatory dinosaur to evolve into a bird. Enough time for a four-legged, deer-like mammal to evolve into a whale. And far more than enough time to turn an ape-like creature in eastern Africa into a big-brained biped who can marvel at such things. The Grand Canyon’s Great Unconformity divides 1.7 billion-year-old rock from 550 million-year-old rock, a gap of more than one billion years. One billion years. I earn my salary studying the Earth and teaching its history, but I admit utter helplessness in comprehending such a span. A billion pages like those of this book would stack up more than forty miles. I had lived one bullion seconds a few days before my thirty-second birthday. A tape measure one billion inches long would stretch two-thirds of the way around the Earth. Such analogies hint at what deep time means- but they don’t get us there. “The human mind may not have evolved enough to be able to comprehend deep time," John McPhee once observed, “it may only be able to measure it.

She dances, She dances around the burning flames with passion, Under the same dull stars, Under the same hell with crimson embers crashing, Under the same silver chains that wires, All her beauty and who she is inside, She's left with the loneliness of human existence, She's left questioning how she's survived, She's left with this awakening of brutal resilience, Her true beauty that she denies, As much she's like to deny it, As much as it continues to shine, That she doesn't even have to admit, Because we all know it's true, Her glory and success, After all she's been through, Her triumph and madness, AND YET, SHE STANDS. Broken legs- but she's still standing, Still dancing in this void, You must wonder how she's still dancing, You must wonder how she's not destroyed, She doesn't even begin to drown within the flames, But little do you realize, Within these chains, She weeps and she cries, But she still goes on, And just you thought you could stop her? You thought you'd be the one? Well, let me tell you, because you thought wrong. Nothing will ever silence her, Because I KNOW, I know that she is admiringly strong, Her undeniable beauty, The triumph of her song, She's shining bright like a ruby, Reflecting in the golden sand, She's shining brighter like no other, She's far more than human or man, AND YET, SHE STANDS. She continues to dance with free-spirit, Even though she's locked in these chains, Though she never desired to change it, Even throughout the agonizing pain, Throughout all the distress, Anxiety, depression, tears and sorrow, She still dances so beautify in her dress, She looks forward to tomorrow, Not because of a fresh start but a new page, A new day full of opportunities, Despite being trapped in her cage, She still smiles after being beaten so brutally, A smile that could brighten anyone's day, She's so much more than anyone could ask for, She's so much more than I could ever say, She's a girl absolutely everyone should adore, She never gets in the way, Even after her hearts been broken, Even after the way she has been treated, After all these severe emotions, After all all the blood she's bled, AND YET, SHE STANDS. Even if sometimes she wonders why she's still here, She wonders why she's not dead, But there's this one thing that had been here throughout every tear, Throughout the blazing fire leaving her cheeks cherry red, Everyday this thing has given her a place to exist, This thing, person, these people, Like warm sunlight it had so softly kissed, The apples of her cheeks, Even when she's feeling feeble, Always there at her worst and at her best Because of you and all the other people, She has this thing deep inside her chest, That she will cherish forever, Even once you're gone, Because today she smiles like no other, Even when the sun sets at dawn, Because today is the day, She just wants you to remember, In dark and stormy weather, It gets better. And after what she's been through she knows, Throughout the highs and the lows, Because of you and all others, After crossing the seas, She has come to understand, You have formed this key, This key to free her from this land, This endless gorge that swallowed her, Her and other men, She had never knew, nor had she planned, That because of you, She's free. AND YET, THIS VERY DAY, SHE STILL DANCES, EVEN IN THE RAIN.

Ascent To The Sierras poet Robinson Jeffers #140 on top 500 poets Poet's PagePoemsCommentsStatsE-BooksBiographyQuotationsShare on FacebookShare on Twitter Poems by Robinson Jeffers : 8 / 140 « prev. poem next poem » Ascent To The Sierras Beyond the great valley an odd instinctive rising Begins to possess the ground, the flatness gathers to little humps and barrows, low aimless ridges, A sudden violence of rock crowns them. The crowded orchards end, they have come to a stone knife; The farms are finished; the sudden foot of the slerra. Hill over hill, snow-ridge beyond mountain gather The blue air of their height about them. Here at the foot of the pass The fierce clans of the mountain you'd think for thousands of years, Men with harsh mouths and eyes like the eagles' hunger, Have gathered among these rocks at the dead hour Of the morning star and the stars waning To raid the plain and at moonrise returning driven Their scared booty to the highlands, the tossing horns And glazed eyes in the light of torches. The men have looked back Standing above these rock-heads to bark laughter At the burning granaries and the farms and the town That sow the dark flat land with terrible rubies... lighting the dead... It is not true: from this land The curse was lifted; the highlands have kept peace with the valleys; no blood in the sod; there is no old sword Keeping grim rust, no primal sorrow. The people are all one people, their homes never knew harrying; The tribes before them were acorn-eaters, harmless as deer. Oh, fortunate earth; you must find someone To make you bitter music; how else will you take bonds of the future, against the wolf in men's hearts?

The Portal Potion Success! After weeks and weeks of trying, I’ve finally discovered the correct ingredients for the potion I’d hoped to create for my son! With just a few drops, the potion turns any written work into a portal to the world it describes. Even with my ability to create portals to and from the Otherworld, I never thought it would be possible to create a substance that allowed me passage to any world I wished. My son will get to see the places and meet the characters he’s spent his whole childhood dreaming about! And best of all, I’ll get to watch his happiness soar as it happens! The ingredients are much simpler than I imagined, but difficult to obtain. Their purposes are more metaphysical than practical, so it took some imagination to get the concoction right. The first requirement is a branch from the oldest tree in the woods. To bring the pages to life, I figured the potion would need the very thing that brought the paper to life in the first place. And what else has more life than an ancient tree? The second ingredient is a feather from the finest pheasant in the sky. This will guarantee your potion has no limits, like a bird in flight. It will ensure you can travel to lands far and wide, beyond your imagination. The third component is a liquefied lock and key that belonged to a true love. Just as this person unlocked your heart to a life of love, it will open the door of the literary dimensions your heart desires to experience. The fourth ingredient is two weeks of moonlight. Just as the moon causes waves in the ocean, the moonlight will stir your potion to life. Last, but most important, give the potion a spark of magic to activate all the ingredients. Send it a beam of joy straight from your heart. The potion does not work on any biographies or history books, but purely on works that have been imagined. Now, I must warn about the dangers of entering a fictional world: 1. Time only exists as long as the story continues. Be sure to leave the book before the story ends, or you may disappear as the story concludes. 2. Each world is made of only what the author describes. Do not expect the characters to have any knowledge of our world or the Otherworld. 3. Beware of the story’s villains. Unlike people in our world or the Otherworld, most literary villains are created to be heartless and stripped of all morals, so do not expect any mercy should you cross paths with one. 4. The book you choose to enter will act as your entrance and exit. Be certain nothing happens to it; it is your only way out. The