Landscape In The Mist Quotes

Every summer there are a number of nights, not many, but a number, when everything is perfect. The light, the warmth, the smells, the mist, the birdsong – the moths. Who can sleep? Who wants to?

in the mountains the cherry trees were in full bloom, and the farther he went, the lovelier the veils of mist became, until for him, whose rank so restricted travel that all this was new, the landscape became a source of wonder.

A bad black horse steals Steals into my head And moves across the landscape Of my mind, while I sleep. He does what he likes in there. Next day I feel The damage. In the quiet mist I watch her go. It feels like snow. There's a feeling that I get. I walk back home Sad and slow.

We lack - we need - a term for those places where one experiences a 'transition' from a known landscape... into 'another world': somewhere we feel and think significantly differently. They exist even in familiar landscapes: there when you cross a certain watershed, recline or snowline, or enter rain, storm or mist. Such moments are rites of passage that reconfigure local geographics, leaving known places outlandish or quickened, revealing continents within counties.

To survive in China you must reveal nothing to others. Or it could be used against you … That’s why I’ve come to think the deepest part of the self is best left unclear. Like mist and clouds in a Chinese landscape painting, hide the private part behind your social persona. Let your public self be like rice in a dinner: bland and inconspicuous, taking on the flavors of its surroundings while giving off no flavor of its own.

Are you very much in love with him?' he asked. She did not answer for some time, but stood gazing at the landscape. 'I wish I knew' she said at last. He shook his head. -'Knowledge would be fatal. It is the uncertainty that charms one. A mist makes things wonderful.All ways end at the same point, my dear Gladys.' --'What is that?' -'Disillusion.

Nestled deep within the hills and valleys or our deepest desires, we are already everything we wish to be. Our infinite potential hugging our interior landscape like a hazy mist, in the way that low clouds hug the earth. Patiently waiting for us to paint them onto the brilliant blue skies of our reality.

Every step of the road was just as she'd dreamt it all the time she'd been away. Every step took her further away from the smoke and the noise and the loneliness and fear of the city she'd left behind. Every step drew her deeper into the hollows of the landscape, the green hills and shining rivers and mist-tangled treetops.

Then he heard the hum. Vibrating in consonance with one of the tones of the ocean's churning, it slid in and out of perceptibility in the way that the landscape disappeared in the mist. But by stilling his breath and, to some degree, his jumping pulse, Jonathan was able to pick it out, the low continuo in the cantata of sea and wind.

One evening he was in his room, his brow pressing hard against the pane, looking, without seeing them, at the chestnut trees in the park, which had lost much of their russet-coloured foliage. A heavy mist obscured the distance, and the night was falling grey rather than black, stepping cautiously with its velvet feet upon the tops of the trees. A great swan plunged and replunged amorously its neck and shoulders into the smoking water of the river, and its whiteness made it show in the darkness like a great star of snow. It was the single living being that somewhat enlivened the lonely landscape.

Oliver liked to keep the windows and shutters wide open in the afternoon, with just the swelling sheer curtains between us and life beyond, because it was a 'crime' to block away so much sunlight and keep such a landscape from view, especially when you didn't have it all life long, he said. Then the rolling fields of the valley leading up to the hills seemed to sit in a rising mist of olive green: sunflowers, grapevines, swatches of lavender, and those squat and humble olive trees stooping like gnarled, aged scarecrows gawking through our window as we lay naked on my bed, the smell of his sweat, which was the smell of my sweat, and next to me my man-woman whose man-woman I was, and all around us Mafalda's chamomile-scented laundry detergent, which was the torrid afternoon world of our house.

When I awoke the next morning I looked out at a landscape blotted out by mist and the first thought that came to me was, I wonder who is going to be killed today?

I grow into these mountains like a moss. I am bewitched. The blinding snow peaks and the clarion air, the sound of earth and heaven in the silence, the requiem birds, the mythic beasts, the flags, great horns, and old carved stones, the silver ice in the black river, the Kang, the Crystal Mountain. Also, I love the common miracles-the murmur of my friends at evening, the clay fires of smudgy juniper, the coarse dull food, the hardship and simplicity, the contentment of doing one thing at a time… gradually my mind has cleared itself, and wind and sun pour through my head, as through a bell. Though we talk little here, I am never lonely; I am returned into myself. In another life-this isn’t what I know, but how I feel- these mountains were my home; there is a rising of forgotten knowledge, like a spring from hidden aquifers under the earth. To glimpse one’s own true nature is a kind of homegoing, to a place East of the Sun, West of the Moon- the homegoing that needs no home, like that waterfall on the supper Suli Gad that turns to mist before touching the earth and rises once again to the sky.

England is always remaking herself, her cliffs eroding, her sandbanks drifting, springs bubbling up in dead ground. They regroup themselves while we sleep, the landscapes through which we move, and even the histories that trail us; the faces of the dead fade into other faces, as a spine of hills into the mist.

Gradually the mist had lifted, and the sun burst forth, a ball of fire radiating the sky with unnaturally incandescent hues. Coral was reminded of the strident brushwork and wild colours of the Fauvist paintings that filled her mother's gallery, which Coral had always loved. The scene was now set for the show to begin: the drama in which the broad, breath-taking landscapes of Africa were the stage and the animals the actors.

I seemed to be walking on and on forever through a peaceful, languid garden of rice paddies. This was no longer the territory of savages, but of an ancient and high civilization. Here and there farmers were plowing their fields, using water buffaloes. As a buffalo started to move, snowy herons would fly down and perch on its back and horns. But they flew away again in fright whenever a buffalo reached the edge of the field the farmer turned his plow. Once, as I was walking along, a moist wind began to blow and the sky quickly filled with black clouds. Herons were tossing in the wind like downy feathers. Soon the rain came. Rainfall in Burma is violent. Before I knew it, I was shut in by a thick spray. I could hardly breathe--I felt as if I were swimming. After a while the rain stopped and the sky cleared. All at once the landscape brightened and a vast rainbow hung across the sky. The mist was gone, as if a curtain had been lifted. And there, under the rainbow, the farmers were singing and plowing again.

Tendrils of mist began to creep into the landscape, like the slow fingers of a dream. They covered the river's surface and blanketed the air so thoroughly that Musashi had to reach down with a pole to reassure himself that he was still on the Nile.

It was raining when Amarelle Parathis went out just after sunset to find a drink, and there was strange magic in the rain. It came down in pale lavenders and coppers and reds, soft lines like liquid dusk that turned luminescent mist on the warm pavement. The air itself felt like champagne bubbles breaking against the skin. Over the dark shapes of distant rooftops, blue-white lightning blazed, and stuttering thunder chased it.

I looked back over my shoulder to the valley below. In the light of the setting sun, the falls had gone molten gold. It must have been a trick of the mist or the angle, but it was as if the water had caught fire. The sun sank lower, setting every pool alight, turning the valley in to a crucible.

With every word the mist which had enveloped them, making them seem unreal to each other, since the previous afternoon melted a little further, and their contact became more and more natural. Up through the sultry southern landscape they saw the world they knew appear clearer and more vividly than it had ever appeared before.

When you hike through the forest you have no choice but to experience every step. The slow speed at which you move through the wilderness allows you to experience the landscape in such an intimate way. You have the opportunity to slow down and look across every stunning mountain vista, touch the blossoming azaleas, feel the cool mist of the waterfalls, and smell the rich scents of the forest as you pass through it. You have the opportunity to experience this paradise that is our planet.

To Be the Famous..." To be the famous isn’t attractive, Not this could ever elevate, You needn’t to make your archive active, You needn’t your scripts to be all saved. Self-offering’s aimed by creation, But ballyhoo or cheap success, It is a shame, if worthless persons Are talks of towns’ populace. But you’ve to live without phony, To live such life that, after all, To gain love of the space symphony, And answer to the future’s call, And oft to leave gaps in your traces In fate, but in the papers, crooked, To mark the chapters and main places On margins of your being’s book, To fully sink in the unknown, And hide in it your own steps Like hide itself, if mist is grown, The whole landscape of the place. The others, by the living traces, Will pass your way through, bit by bit, But wins and losses of your battles You have not to discern on it. You’ve never – not by fate or folly – To lose an atom of your face, But – be alive, alive and only, Alive and only, till your last.

Wild Peaches" When the world turns completely upside down You say we’ll emigrate to the Eastern Shore Aboard a river-boat from Baltimore; We’ll live among wild peach trees, miles from town, You’ll wear a coonskin cap, and I a gown Homespun, dyed butternut’s dark gold color. Lost, like your lotus-eating ancestor, We’ll swim in milk and honey till we drown. The winter will be short, the summer long, The autumn amber-hued, sunny and hot, Tasting of cider and of scuppernong; All seasons sweet, but autumn best of all. The squirrels in their silver fur will fall Like falling leaves, like fruit, before your shot. 2 The autumn frosts will lie upon the grass Like bloom on grapes of purple-brown and gold. The misted early mornings will be cold; The little puddles will be roofed with glass. The sun, which burns from copper into brass, Melts these at noon, and makes the boys unfold Their knitted mufflers; full as they can hold Fat pockets dribble chestnuts as they pass. Peaches grow wild, and pigs can live in clover; A barrel of salted herrings lasts a year; The spring begins before the winter’s over. By February you may find the skins Of garter snakes and water moccasins Dwindled and harsh, dead-white and cloudy-clear. 3 When April pours the colors of a shell Upon the hills, when every little creek Is shot with silver from the Chesapeake In shoals new-minted by the ocean swell, When strawberries go begging, and the sleek Blue plums lie open to the blackbird’s beak, We shall live well — we shall live very well. The months between the cherries and the peaches Are brimming cornucopias which spill Fruits red and purple, sombre-bloomed and black; Then, down rich fields and frosty river beaches We’ll trample bright persimmons, while you kill Bronze partridge, speckled quail, and canvasback. 4 Down to the Puritan marrow of my bones There’s something in this richness that I hate. I love the look, austere, immaculate, Of landscapes drawn in pearly monotones. There’s something in my very blood that owns Bare hills, cold silver on a sky of slate, A thread of water, churned to milky spate Streaming through slanted pastures fenced with stones. I love those skies, thin blue or snowy gray, Those fields sparse-planted, rendering meagre sheaves; That spring, briefer than apple-blossom’s breath, Summer, so much too beautiful to stay, Swift autumn, like a bonfire of leaves, And sleepy winter, like the sleep of death.

Miles vanished beneath the wheels of the Winnebago. Shadow began to imagine that he was staying still while the American landscape moved past them at a steady sixty-seven miles per hour. A wintry mist fogged the edges of things.

Everything is grey—except the green grass, which seems like emerald amongst it; grey earthy rock; grey clouds, tinged with the sunburst at the far edge, hang over the grey sea, into which the sand-points stretch like grey fingers. The sea is tumbling in over the shallows and the sandy flats with a roar, muffled in the sea-mists drifting inland. The horizon is lost in a grey mist. All is vastness; the clouds are piled up like giant rocks, and there is a “brool” over the sea that sounds like some presage of doom. Dark figures are on the beach here and there, sometimes half shrouded in the mist, and seem “men like trees walking.” The fishing-boats are racing for home, and rise and dip in the ground swell as they sweep into the harbour, bending to the scuppers.

As the prospect gradually revealed itself and disclosed the scene over which the wind had wandered in the dark, like my memory over my life, I had a pleasure in discovering the unknown objects that had been around me in my sleep. At first they were faintly discernible in the mist, and above them the later stars still glimmered. That pale interval over, the picture began to enlarge and fill up so fast that at every new peep I could have found enough to look at for an hour. Imperceptibly my candles became the only incongruous part of the morning, the dark places in my room all melted away, and the day shone bright upon a cheerful landscape, prominent in which the old Abbey Church, with its massive tower, threw a softer train of shadow on the view than seemed compatible with its rugged character.

My children,” Lik-Rifa growled, her voice like a mountain slide, like a summer storm fractured with lightning, rumbling into the distance. A tremor passed through her, from snout to tail, and then her shape was shimmering, twisting and coiling like mist, shifting and changing, contracting, shrinking, until a woman stood before Ilska and her kin. She was tall, taller than any man, at least as big as the bull troll Elvar had slain on Iskalt Island. Her body was lean and striated, skin pale and raw and scabbed, weeping pus. Blood oozed from wounds. She was clothed in a tunic of grey, red-woven at the neck and hem, a belt studded with gold about her waist and a dark cloak billowing about her like wings. Her hair, black as jet, streaked with silver, was pulled back tightly, braids woven into it. She had a sharply beautiful face. Red coals glowed in her eyes. “What has become of my world, my children, my warbands?” she said, her voice hard as the north wind, a tremor shivering through it. She looked around at the battle-plain, the shapes of the long-dead become part of the landscape. Her red eyes flickered to Ilska.

The land seemed to stretch on forever. Nico was thankful that Nemesis had given him some guidance, because if he hadn’t kept himself to the left of the River Phlegethon, he would’ve had no idea where to go. After hours of walking on the strange marshy ground, Nico was exhausted. Hungry. His feet ached, and his lungs burned from the sooty air. Something else was happening to him, too. The world around him... It seemed to be shifting. That was the only way he could describe it. He’d be staring into the distance, where mist clung to a dark expanse of forest, and for the briefest of moments, the horizon would leap backward like a mirage. The landscape before him took on sharper edges, with colors so terrifyingly intense that they hurt his eyes. The land itself seemed to be rising and falling, as if it were breathing. Or was Nico imagining that?

...there should be a few places where prairie dogs can just be prairie dogs, where they can kick back and fulfill their niches in the grand scheme of the shortgrass prairie, work on their whistles, try to dig to China or least to Amarillo. Sooner or later a hungry mother kit fox will strike blood, but until then there should be a few places where prairie dogs don't have to worry about two guys bumping chests behind a pickup truck after a single exploding bullet launches them heavenward for an extra eleven points. "Montana Mist!" If not on public lands like the Cimarron National Grassland, then where?

This scroll, five hundred years old and more, had been inspired by her favorite, the great Wang Wei, master of landscape art, who had painted the scenes from his own home, where he lived for thirty years before he died. Now behind the palace walls on this winter’s day, where she could see only sky and falling snow, Tzu His gazed upon the green landscapes of continuing spring. One landscape melted into another as slowly she unrolled the scroll, so that she might dwell upon every detail of tree and brook and distant hillside. So did she, in imagination, pass beyond the high walls which enclosed her, and she traveled through a delectable country, beside flowing brooks and spreading lakes, and following the ever-flowing river she crossed over wooden bridges and climbed the stony pathways upon a high mountainside and thence looked down a gorge to see a torrent fed by still higher springs, and breaking into waterfalls as it traveled toward the plains. Down from the mountain again she came, past small villages nestling in pine forests and into the warmer valleys among bamboo groves, and she paused in a poet’s pavilion, and so reached at last the shore where the river lost itself in a bay. There among the reeds a fisherman’s boat rose and fell upon the rising tide. Here the river ended, its horizon the open sea and the misted mountains of infinity. This scroll, Lady Miao had once told her, was the artist’s picture of the human soul, passing through the pleasantest scenes of earth to the last view of the unknown future, far beyond.

The undulant road winds across hills, down into hollows where mist slithers through the darkness like a procession of spirits proceeding toward their fate. The mountains, worn low by millennia of weather, offer no steep palisades, only rolling slopes that suggest that the landscape was inspired by the female form.

She came to the ranch on one of the first pale chilly days of an autumn, hired to cook for us for a few months, and stayed on in our lives for almost three years. Her time with us is a strange season all mist and dusk and half-seen silhouettes, half-heard cries. there is nothing like it in the sortings of my memory.

Mist and the smoke of guns lie breast-high over the fields. The moon is shining. Along the road troops file. Their helmets gleam softly in the moonlight. The heads and the rifles stand out above the white mist, nodding heads, rocking barrels. Farther on the mist ends. Here the heads become figures; coats, trousers, and boots appear out of the mist as from a milky pool. They become a column. The column marches on, straight ahead, the figures resolve themselves into a block, individuals are no longer recognizable, the dark wedge presses onward, fantastically topped by the heads and the weapons floating on the milky pool. A column—not men at all. Guns and munition wagons are moving along a cross-road. The backs of the horses shine in the moonlight, their movements are beautiful, they toss their heads, and their eyes gleam. The guns and the wagons float past the dim background of the moonlit landscape, the riders in their steel helmets resemble knights of a forgotten time; it is strangely beautiful and arresting.

For years, walking round London, I had been aware of the actual land, lying concealed but not entirely changed or destroyed, beneath the surface of the nineteenth- and twentieth-century city. It has been said that 'God made the country and man made the town', but that is not true: the town is simply disguised countryside. Main roads, some older than history itself, still bend to avoid long-dried marshes, or veer off at an angle where the wall of a manor house once stood. Hills and valleys still remain; rivers, even though entombed in sewer pipes, still cause trouble in the foundations of neighbouring buildings and become a local focus for winter mists. Garden walls follow the line of hedgerows; the very street-patterns have been determined by the holdings of individual farmers and landlords, parcels of land some of which can be traced back to the Norman Conquest. The situation of specific buildings - pubs, churches, institutions - often dates from long distant decisions and actions on the part of men whose names have vanished from any record.

THE MEETING" "Scant rain had fallen and the summer sun Had scorched with waves of heat the ripening corn, That August nightfall, as I crossed the down Work-weary, half in dream. Beside a fence Skirting a penning’s edge, an old man waited Motionless in the mist, with downcast head And clothing weather-worn. I asked his name And why he lingered at so lonely a place. “I was a shepherd here. Two hundred seasons I roamed these windswept downlands with my flock. No fences barred our progress and we’d travel Wherever the bite grew deep. In summer drought I’d climb from flower-banked combe to barrow’d hill-top To find a missing straggler or set snares By wood or turmon-patch. In gales of March I’d crouch nightlong tending my suckling lambs. “I was a ploughman, too. Year upon year I trudged half-doubled, hands clenched to my shafts, Guiding my turning furrow. Overhead, Cloud-patterns built and faded, many a song Of lark and pewit melodied my toil. I durst not pause to heed them, rising at dawn To groom and dress my team: by daylight’s end My boots hung heavy, clodded with chalk and flint. “And then I was a carter. With my skill I built the reeded dew-pond, sliced out hay From the dense-matted rick. At harvest time, My wain piled high with sheaves, I urged the horses Back to the master’s barn with shouts and curses Before the scurrying storm. Through sunlit days On this same slope where you now stand, my friend, I stood till dusk scything the poppied fields. “My cob-built home has crumbled. Hereabouts Few folk remember me: and though you stare Till time’s conclusion you’ll not glimpse me striding The broad, bare down with flock or toiling team. Yet in this landscape still my spirit lingers: Down the long bottom where the tractors rumble, On the steep hanging where wild grasses murmur, In the sparse covert where the dog-fox patters.” My comrade turned aside. From the damp sward Drifted a scent of melilot and thyme; From far across the down a barn owl shouted, Circling the silence of that summer evening: But in an instant, as I stepped towards him Striving to view his face, his contour altered. Before me, in the vaporous gloaming, stood Nothing of flesh, only a post of wood.

In the month that she had lived at Bray, Maggie had felt pockets of this-this slowing down of time, these reverberations into the past. In America, everything was replaceable; ld stuf was thrown away quickly and entirely to make way for the next thing. But in Ireland, the ruined castles that dotted the landscape, the crumbling stnes walls that crisscrossed long-held family fields, these all provided the sense that the past drifted, but did not disappear. It was all around you, like mist.

The sky was cloudless, the air wonderfully transparent. A perfect calm lay over the landscape. They could no longer see the sun, now concealed, along with half the western horizon, behind the vast screen of the upper cone. Stretching off to the shoreline, its enormous shadow grew ever longer as the earth's radiant star sank slowly toward the sea, its diurnal course drawing to a close. Vapors began to rise in the east, more mist than cloud, taking on all the colors of the spectrum under the effect of the solar rays.

The rising sun silvered the mist lying low and dense on the meadow, where cattle stood on unseen legs. Over the mist the white owl was flying, on broad soft wings. It wafted itself along, light as the mist; the sun showed the snowy feathers on breast and underwings and lit the tallow-gold and grey of its back. It sailed under the middle arch of the bridge and pulled itself by its talons into one of the spaces left in the stone-work by masons. Throughout the daylight it stood among the bones and skulls of mice, often blinking, and sometimes yawning.

Indeed, it was delightful to read a man's writing again. It was so direct, so straightforward after the writing of women. It indicated such freedom of mind, such liberty of person, such confidence in himself. One had a sense of physical well-being, free mind, which had never been thwarted or opposed, but had had full liberty from birth to stretch itself in whatever way it liked. All this was admirable. But after reading a chapter or two a shadow seemed to lie across the page. It was a straight dark bar, a shadow shaped something like the letter "I." One began dodging this way and that to catch a glimpse of the landscape behind it. Whether that was indeed a tree or a woman walking I was not quite sure. Back one was always hailed to the letter "I." One began to be tired of "I." Not but what this "I" was a most respectable "I"; honest and logical; as hard as a nut, and polished for centuries by good teaching and good feeding. I respect and admire that "I" from the bottom of my heart. But- here I turned a page or two, looking for something or other - the worst of it is that in the shadow of the letter "I" all is shapeless as mist. Is that a tree? No, it is a woman. But... she has not a bone in her body.

Ah, New England. An amalgam of picket fences and crumbling bricks; Ivy League schools and dropped Rs; social tolerance and the Salem witch trials, Henry David Thoreau and Stephen King, P-town rainbows and mill-town rust; Norman Rockwell and Aerosmith; lobster and Moxie; plus the simmering aromas of a million melting pot cuisines originally brought here by immigrants from everywhere else searching for new ways to live. It’s a place where rapidly-growing progressive cities full of the ‘wicked smaaht’ coexist alongside blight-inflicted Industrial Revolution landscapes full of the ‘wicked poor’. A place of forested mountains, roaring rivers, crystalline lakes, urban sprawl, and a trillion dollar stores. A place of seasonal tourism beach towns where the wild, rank scent of squishy seaweed casts its cryptic spell along the vast and spindrift-misted seacoast, while the polished yachts of the elite glisten like rare jewels on the horizon, just out of reach. Where there are fiery autumn hues and leaves that need raking. Powder snow ski slopes and icy windshields that need scraping. Crisp daffodil mornings and mud season. Beach cottage bliss and endless miles of soul-sucking summer traffic . Perceived together, the dissonant nuances of New England stir the imagination in compelling and chromatic whorls.

Ordinarily, when he thought back upon those days, let alone upon his student years and the Bamboo Grove, it had always been as if he were gazing from a cool, dull room out into broad, brightly sunlit landscapes, into the irrevocable past, the paradise of memory. Such recollections had always been, even when they were free of sadness, a vision of things remote and different, separated from the prosaic present by a mysterious festiveness. But now, on this bright and cheerful September afternoon, with the strong greens and browns all around him and the ethereal, gently misted tones of blues verging into violet in the distance, as he trudged along at an easy pace, with frequent pauses to look about him, that walking tour of so long ago did not seem a distant paradise cut off from a resigned present. rather his present journey was the same as that of the past, the present Joseph Knecht was close as a brother to the Knecht of those days. Everything was new again, mysterious, promising; all that had been could recur, and many new things as well. It was long, long since he had looked out upon the day and the world and seen them as so unburdened, so beautiful and innocent. The happiness of freedom, of commanding his own destiny, flooded through him like a strong drink. How long it was since he had last had this feeling, last entertained this lovely and rapturous illusion.

Punishment cells were set up in the two-story cathedral ... Poles the thickness of an arm were set from wall to wall and prisoners were ordered to sit on these poles all day ... one's feet could not reach the ground. And it was not so easy to keep balance ... the prisoner spent the entire day just trying to maintain his perch. If he fell, the jailers jumped in and beat him ... Every little island and every little hillock of the Archipelago had to be encircled by a hostile, stormy Soviet seascape ... Escapes multiplied ... For half a year the sea was frozen over, but not solidly, and in places there was open water, and the snowstorms raged, and the frost bit hard, and things were enveloped in mists and darkness. And in the spring ... there were the long white nights with clear visibility over long distances for the patrolling cutters ... it was only when the nights began to lengthen, in the late summer and the autumn, that the time was right ... for those who were out in work parties, where a prisoner might have freedom of movement and time to build a boat or a raft near the shore ... and to cast off at night ... and strike out at random, hoping above all to encounter a foreign ship ... The whole long history of the Archipelago, about which it has fallen to me to write this home-grown, homemade book, has, in the course of half a century, found in the Soviet Union almost no expression whatever in the printed word. In this a role was played by that same unfortunate happenstance by which camp watchtowers never got into scenes in films nor into landscapes painted by our artists ...

We would like to go and see the field that Millet…shows us in his Springtime, we would like Claude Monet to take us to Giverny, on the banks of the Seine, to that bend of the river which he hardly lets us distinguish through the morning mist. Yet in actual fact, it was the mere chance of a connection or family relation that give…Millet or Monet occasion to pass or to stay nearby, and to choose to paint that road, that garden, that field, that bend in the river, rather than some other. What makes them appear other and more beautiful than the rest of the world is that they carry on them, like some elusive reflection, the impression they afforded to a genius, and which we might see wandering just as singularly and despotically across the submissive, indifferent face of all the landscapes he may have painted.’ It should not be Illiers-Combray that we visit: a genuine homage to Proust would be to look at our world through his eyes, not look at his world through our eyes. To forget this may sadden us unduly. When we feel interest to be so dependent on the exact locations where certain great artists found it, a thousand landscapes and areas of experience will be deprived of possible interest, for Monet only looked at a few stretches of the earth, and Proust’s novel, though long, could not comprise more than a fraction of human experience. Rather than learn the general lesson of art’s attentiveness, we might seek instead the mere objects of its gaze, and would then be unable to do justice to parts of the world which artists had not considered. As a Proustian idolater, we would have little time for desserts which Proust never tasted, for dresses he never described, nuances of love he didn’t cover and cities he didn’t visit, suffering instead from an awareness of a gap between our existence and the realm of artistic truth and interest. The moral? There is no great homage we could pay Proust than to end up passing the same verdict on him as he passed on Ruskin, namely, that for all its qualities, his work must eventually also prove silly, maniacal, constraining, false and ridiculous to those who spend too long on it. ‘To make [reading] into a discipline is to give too large a role to what is only an incitement. Reading is on the threshold of the spiritual life; it can introduce us to it: it does not constitute it.

Desire is… " Desire is the glow of bathing lunatics. Starlight is the liquid used to power a whispering machine. Humming is the music of a forest moving in unison with your eyes. * A slip of the tongue and the hummingbird’s empty throne make the acquaintance of the word frenzy, which in turn adopts the phrase: “I am closest to you when we are furthest apart,” and together they follow the anxious doorway that leads far out of the city, where travelers always meet, alone and abandoned with only their mysteries to guide them… and when the sun bleeds out of the dampness of the earth, like pale limbs entwined and exhausted, they all pause in their own fashion to reflect not upon themselves but on the white wolves in the garden shivering like mist, in the mirror hiding your face. * The nature of movement is an image lost between the objects of an eclipse fervently scratched into the face of a sleeping woman when she approaches the liquid state of a circle, wandering aimlessly in search of lucidity and those moments of inarticulate suspicion… when the riddle is only half solved and the alphabet is still adding letters according to the human motors that have not yet arrived, as a species, scintillating in the grass, burning time. Not far from your name there is always a question mark, followed by silent paws… * It is not without the mask of the Enchanter’s dance of unreason, that joy follows the torment of seductive shapes, and sudden appearances in the whisper of long corridors. Tribal veils rising out of fingerprints on invisible entrances in the middle of the landscape, assume the form of her shoulders and the intimacy of her bones making dust, taking flight. * The axis of revolt and the nobility of a springtime stripped of its flowers, expertly balanced with a murmur of the heart on the anvil of chance. Your voice arcing between the two points of day and night, where the oracle of water spinning rapidly above, that is your city of numerology, mixes with the flux of a long voyage more stone-like and absurdly graceful then either milkweed or deadly nightshade, when it acclimatizes the elements of transparency in the host of purity. * The dream birds of a lost language are growing underground in the bed of sorcery. It is all revealed in the arms of your obsession, Arachne, (crawling to kiss) pale Ariadne, (kneeling to feed) in a pool of light that exceeds the dimensions of the loveliest crime. She turns into your evidence, gaining speed and recognition, becoming a brightness never solved, and a clarity that makes crystals. * The early morning hours share their nakedness with those who bare fruit and corset fireflies in long slender bath-like caresses. “Your serum, Sir Moor’s Head, follows the grand figures of the sea, ignites them, throws them like vessels out of fire, raising the sand upwards into oddly repetitive enchantments. Drown me in flight, daughter of wonder…

Land and Sea The brilliant colors are the first thing that strike a visitor to the Greek Isles. From the stunning azure waters and blindingly white houses to the deep green-black of cypresses and the sky-blue domes of a thousand churches, saturated hues dominate the landscape. A strong, constant sun brings out all of nature’s colors with great intensity. Basking in sunshine, the Greek Isles enjoy a year-round temperate climate. Lemons grow to the size of grapefruits and grapes hang in heavy clusters from the vines of arbors that shade tables outside the tavernas. The silver leaves of olive trees shiver in the least sea breezes. The Greek Isles boast some of the most spectacular and diverse geography on Earth. From natural hot springs to arcs of soft-sand beaches and secret valleys, the scenery is characterized by dramatic beauty. Volcanic formations send craggy cliffsides plummeting to the sea, cause lone rock formations to emerge from blue waters, and carve beaches of black pebbles. In the Valley of the Butterflies on Rhodes, thousands of radiant winged creatures blanket the sky in summer. Crete’s Samaria Gorge is the longest in Europe, a magnificent natural wonder rife with local flora and fauna. Corfu bursts with lush greenery and wildflowers, nurtured by heavy rainfall and a sultry sun. The mountain ranges, gorges, and riverbeds on Andros recall the mainland more than the islands. Both golden beaches and rocky countrysides make Mykonos distinctive. Around Mount Olympus, in central Cyprus, timeless villages emerge from the morning mist of craggy peaks and scrub vegetation. On Evia and Ikaria, natural hot springs draw those seeking the therapeutic power of healing waters. Caves abound in the Greek Isles; there are some three thousand on Crete alone. The Minoans gathered to worship their gods in the shallow caves that pepper the remotest hilltops and mountain ranges. A cave near the town of Amnissos, a shrine to Eileithyia, goddess of childbirth, once revealed a treasure trove of small idols dedicated to her. Some caves were later transformed into monasteries. On the islands of Halki and Cyprus, wall paintings on the interiors of such natural monasteries survive from the Middle Ages. Above ground, trees and other flora abound on the islands in a stunning variety. ON Crete, a veritable forest of palm trees shades the beaches at Vai and Preveli, while the high, desolate plateaus of the interior gleam in the sunlight. Forest meets sea on the island of Poros, and on Thasos, many species of pine coexist. Cedars, cypress, oak, and chestnut trees blanket the mountainous interiors of Crete, Cyprus, and other large islands. Rhodes overflows with wildflowers during the summer months. Even a single island can be home to disparate natural wonders. Amorgos’ steep, rocky coastline gives way to tranquil bays. The scenery of Crete--the largest of the Greek Isles--ranges from majestic mountains and barren plateaus to expansive coves, fertile valleys, and wooded thickets.

In other Celtic lands, destruction of the ancient bardic orders meant the loss of history and myth as well as of poetry. But not in Ireland -- at least, not entirely. There, the melding of the Christian and the pagan began early, during the great period of Celtic monasticism. Irish monks of that period provided most of our written records of Celtic mythology. In continental Europe, evidence of Celtic beliefs is found only in sculpture; in Britain, it is found only in a few verbal shards and the occasional inscribed statue; but in Ireland we find entire epics, whole chants and songs, lengthy narratives. In the curvilinear script for which they are justly famous, Irish monks wrote down the stories, poems, place-names, and other lore of their pagan ancestors before it disappeared in the mists of history.

NOT ONLY WAS THE weather miserable, with frequent rains and mists, Britain was also not worth having. The phenomenal expansion of the Roman Empire was driven by what Tacitus called the pretium victoriae, the ‘wages of victory’ or how much wealth could be extracted from the defeated by the conquerors. A sodden landscape, half-hidden by cloud, producing nothing more exciting than cattle, corn and a few substandard pearls, the place was thought simply incapable of delivering a decent return on all that outlay of men, materials and money. Roman commentators dismissed a conquest of Britain as making no sort of economic sense.

No such suspension of disbelief was needed on the morning of 13 September 1645. If I had been looking south from my house, I would have seen an awesome sight. During the civil war fought all over Britain and Ireland, the Scottish army led by General David Leslie surprised the Royalists and the Marquis of Montrose at Philiphaugh, west of Selkirk. In the early morning mist, he sent about 2,000 cavalry troopers through our little valley, perhaps keeping to the metalled surface of the old road leading to Oakwood Fort. They moved quietly around Howden Hill and, while Leslie led the rest of his army in a frontal assault, the cavalry attacked the rear of the Royalists and scattered them. Philiphaugh was a savage, sadistic rout with much unnecessary slaughter excused by fundamentalist piety. The greater part of the landscape of the valley was much altered after 1645. The fields, the thorn hedges, the shelterbelts of hardwoods, the steadings, the big houses and their policies are not old. After the middle of the 18th century, the pace of agricultural improvement quickened and shaped much of the countryside we see now and believe to be traditional. One of the most important catalysts was drainage and below where I sit in the evening stretches the 35-acre Tile Field. It is billiard-table flat because it was scraped for clay and at the western end stood a tile works. Its kilns were fired by the trees of the Hartwood and the clay puddled in a pond formed by the Common Burn and the Hartwoodburn.

The landscape is both permanent and yet also shifting—the mountain mists drift before us—as if the thoughts and feelings of the onlooker can affect a profound change in the real-life moment.

The day was fading. The sun was a ball of red gas, flattened at the top and bottom, sitting above the western horizon. The river was a long, bloody snake in its reflected glow, eight or ten miles distant, but the sound of it carrying to me on the still evening air. Blue-gray woods rose behind it in a series of ridges to the far horizon. I couldn't see a single house or road. Not a bird sang. It was as if I'd been tumbled back four hundred years in time. Or four million. The first white streamers of groundmist were rising out of the hay--which was high. Nobody had been in there to cut it, although that was a big field, and good graze. The mist came out of the darkening green like breath. As if the earth itself was alive.

After an hour of sodden stomping they saw ghostly figures beckoning them through the dense cloud. Highland snow gums, colour-swirled and hardy, and alpine yellow gums, splashed with shades of lemon and olive. Skeletal in the mist. When they reached them, they saw fluorescent pink tags hanging from the twisted artwork of their branches. Orange bike lights hammered into dolerite boulders, beneath flakes of minty lichen. (p.193)

Lewis frequently referred to Ireland as a source of literary inspiration, noting how its landscapes were a powerful stimulus to the imagination. Lewis disliked Irish politics and was prone to imagine a pastoral Ireland composed solely of soft hills, mists, loughs, and woods. Ulster, he once confided to his diary, “is very beautiful and if only I could deport the Ulstermen and fill their land with a populace of my own choosing, I should ask for no better place to live in.”[17] (In certain ways, Narnia can be seen as an imaginary and idealised Ulster, populated with creatures of Lewis’s imagination, rather than Ulstermen.)

Outside, the moon is up - the harvest moon over harvest fields. It casts a sheen upon the empty stubbles, the bare rounding slopes, so altered from the close-crowded landscape of standing corn. It has glimmering secrets among the trees, and pierces into every entanglement of foliage, and lays faint shadows across the paths. Each finds a ghost of himself beside him on the ground. An elusive radiance haunts the country; the distances have a sense of shining mist. The men move homeward from the field; the last load creaking up the hill behind them, the hoofs of horses thudding, their breath sounding short. Peace comes, a vision in the fairy armour of moonlight, the peace of 'man goeth forth unto his work until the evening.

Where does this lead?” I asked, untangling my hair from a low-hanging branch. “The ruins,” Ravyn answered. “The original castle. Or what’s left of it.” Piqued, the Nightmare’s interest spurred my steps, and I followed the Captain of the Destriers through a particularly dense thicket to a meadow beyond. My eyes widened as I took in the landscape—the dewy grass, the enormous trees, and the graveyard of stonework: the last remains of a crumbled castle, nestled in the mist.

Autumn breathes in shades of white; cloth of mist dressed fields comfortable.

They then interviewed us, asking about our love of Qingdao, how we met, why we came. Having learned quickly what they wanted to hear, we answered with the obligatory enthusiasm. Patrick, in especially fine form, waxed the kind of cheesy poetic that put yen-signs in the eyes of the producers. On a seaside boardwalk, for example, they asked him a simple question about the appeal of Qingdao to which he replied with a philosophical metaphor on what he lovingly dubbed, “The Qingdao Mist,” a euphemism for the constant polluted haze that enveloped the city. He compared it to the dreamlike state of early love, when all landscapes are a pleasant blur of fuzzy details. I, trying not to laugh, vented my amusement in a wide, photographic smile.

At length the sun’s rays have attained the right angle, and warm winds blow up mist and rain and melt the snow banks, and the sun dispersing the mist smiles on a checkered landscape of russet and white smoking with incense, through which the traveller picks his way from islet to islet, cheered by the music of a thousand tinkling rills and rivulets whose veins are filled with the blood of winter which they are bearing off.

Once he’d given up trying to pretend to the world—and to himself—that he was female, his depression and anxiety had lifted like the mist that dulled the landscape around them. Everything was brighter now, more in focus. He was living the life he was supposed to have, instead of going through the motions of one he’d been allocated rather than chosen.

hollows of the landscape, the green hills and shining rivers and mist-tangled treetops, as though she was clambering into the postcard she used to keep propped up on the mantelpiece

On a morning in late spring and early summer, when the sky was still wet with night dew, my school's sightseeing convoy began to move. Cars full of laughter glided across the bridge across the peaceful, "clear" Day River, then continued on Highway 1. In the distance, behind the mist, the Non Nuoc mountain range appeared as beautiful as a picture. landscape paintings We all feel nervous because although we have heard the sound for a long time, no one has ever set foot in this land of flags and cleans before. eyes eagerly, waiting. On a morning in late spring and early summer, when the sky was still wet with night dew, my school's sightseeing convoy began to move. Cars full of laughter glided across the bridge across the peaceful, "clear" Day River, then continued on Highway 1. In the distance, behind the mist, the Non Nuoc mountain range appeared as beautiful as a picture. landscape paintings We all feel nervous because although we have heard the sound for a long time, no one has ever set foot in this land of flags and cleans before. eyes eagerly, waiting. On a morning in late spring and early summer, when the sky was still wet with night dew, my school's sightseeing convoy began to move. Cars full of laughter glided across the bridge across the peaceful, "clear" Day River, then continued on Highway 1. In the distance, behind the mist, the Non Nuoc mountain range appeared as beautiful as a picture. landscape paintings We all feel nervous because although we have heard the sound for a long time, no one has ever set foot in this land of flags and cleans before. eyes eagerly, waiting. On a morning in late spring and early summer, when the sky was still wet with night dew, my school's sightseeing convoy began to move. Cars full of laughter glided across the bridge across the peaceful, "clear" Day River, then continued on Highway 1. In the distance, behind the mist, the Non Nuoc mountain range appeared as beautiful as a picture. landscape paintings We all feel nervous because although we have heard the sound for a long time, no one has ever set foot in this land of flags and cleans before. eyes eagerly, waiting. \ On a morning in late spring and early summer, when the sky was still wet with night dew, my school's sightseeing convoy began to move. Cars full of laughter glided across the bridge across the peaceful, "clear" Day River, then continued on Highway 1. In the distance, behind the mist, the Non Nuoc mountain range appeared as beautiful as a picture. landscape paintings We all feel nervous because although we have heard the sound for a long time, no one has ever set foot in this land of flags and cleans before. eyes eagerly, waiting. On a morning in late spring and early summer, when the sky was still wet with night dew, my school's sightseeing convoy began to move. Cars full of laughter glided across the bridge across the peaceful, "clear" Day River, then continued on Highway 1. In the distance, behind the mist, the Non Nuoc mountain range appeared as beautiful as a picture. landscape paintings We all feel nervous because although we have heard the sound for a long time, no one has ever set foot in this land of flags and cleans before. eyes eagerly, waiting.

When I asked a Portuguese mathematician of my acquaintance whether he had any insight to offer me on the subject, he replied, “The foundations of mathematics are full of holes and I never felt comfortable dealing with such things.” Full of holes. Earlier generations of mathematicians assumed that the stability of the landscape on which mathematical structures were built was guaranteed by God or nature. They strode in like pioneers or surveyors, their task to map the fundamentals and in so doing secure the territory that future generations would colonize. But then the holes—of which the liar’s paradox is merely one—started popping up, and the mathematicians started falling in. Never mind! Each hole could be plugged. But soon enough another would open, and another, and another . . . Bertrand Russell (1872–1970) spoke for any number of idealistic mathematicians when he wrote in 1907, The discovery that all mathematics follows inevitably from a small collection of fundamental laws, is one which immeasurably enhances the intellectual beauty of the whole: to those who have been oppressed by the fragmentary and incomplete nature of most existing chains of deduction, this discovery comes with all the overwhelming force of a revelation: like a palace emerging from the autumn mist as the traveller ascends an Italian hill-side, the stately storeys of the mathematical edifice appear in their due order and proportion, with a new perfection in every part. I remember that when I read George Eliot’s Middlemarch in college, I was particularly fascinated by the character of Mr. Casaubon, whose lifework was a Key to All Mythologies that he could never finish. If Mr. Casaubon’s Key was doomed to incompletion, my astute professor observed, it was at least in part because “totalizing projects,” by their very nature, ramify endlessly; they cannot hope to harness the multitude of tiny details demanded by words like “all,” just as they cannot hope to articulate every generalization to which their premises (in this case, the idea that all mythologies have a single key) give rise. Perhaps without realizing it, my professor was making a mathematical statement—she was asserting the existence of both the infinite and the infinitesimal—and her objections to Mr. Casaubon’s Key hold as well for any number of attempts on the part of mathematicians to establish a Key to All Mathematics.

Already, she can feel her body yearning to disassemble, fly apart, scatter across the landscape like mist. It doesn’t frighten her, this thought of her own dissolution. She only wants to make it matter.

Then Annabeth was running along beside him, reaching out her hand. ‘Thank the gods!’ she called. ‘For months and months we couldn’t see you! Are you all right?’ Percy remembered what Juno had said – for months he has been slumbering, but now he is awake. The goddess had intentionally kept him hidden, but why? ‘Are you real?’ he asked Annabeth. He wanted so much to believe it that he felt like Hannibal the elephant was standing on his chest. But her face began to dissolve. She cried, ‘Stay put! It’ll be easier for Tyson to find you! Stay where you are!’ Then she was gone. The images accelerated. He saw a huge ship in a dry dock, workers scrambling to finish the hull, a guy with a blowtorch welding a bronze dragon figurehead to the prow. He saw the war god stalking towards him in the surf, a sword in his hands. The scene shifted. Percy stood on the Field of Mars, looking up at the Berkeley Hills. Golden grass rippled, and a face appeared in the landscape – a sleeping woman, her features formed from shadows and folds in the terrain. Her eyes remained closed, but her voice spoke in Percy’s mind: So this is the demigod who destroyed my son Kronos. You don’t look like much, Percy Jackson, but you’re valuable to me. Come north. Meet Alcyoneus. Juno can play her little games with Greeks and Romans, but in the end, you will be my pawn. You will be the key to the gods’ defeat. Percy’s vision turned dark. He stood in a theatre-sized version of the camp’s headquarters – a principia with walls of ice and freezing mist hanging in the air. The floor was littered with skeletons in Roman armour and Imperial gold weapons encrusted with frost. In the back of the room sat an enormous shadowy figure. His skin glinted with gold and silver, as

Three made many, and choices are infinite; Do not let worry color the landscape. Why not paint the heavens With this Clear Sky Brush?

It is always love of something. . . that brings joy; love of some human being, of beauty or of learning. Love is the unchanging landscape. . . at which, among the changes and chances or this mortal life, we sometimes look through the peep-hole of joy; the love of God of which human love is a tiny echo. To be lost in it will be to have eternal live. One can know no more than that.

Stella looked out at the passing countryside now. It was like England as it is depicted on exported biscuit tins, a country of little valleys and beech copses, of gilded fields and mellow, misted hollows. Green hills rolled evenly, as if they'd been landscaped by Capability Brown, and oak-framed vistas presented themselves for her approval. Even the sheep here appeared to have been shampooed and set. Stella thought that if she'd grown up in Gloucestershire, she might be painting watercolor landscapes and infinitely contemplating variations of green.

Are you all right?' he said as he scooped me into his arms to fly us to another location. I nestled into his warmth, savouring it. 'The fact that it was so easy, that I felt so little, upsets me more than the encounter itself.' Perhaps that had been my problem all along. Why I hadn't dared take that final step at Starfall. I was guilty that I didn't feel awful, not truly. Not for wanting him. A few mighty flaps had us soaring up through the trees and sailing low over the forest, rain slicing into my face. 'I knew things were bad,' Rhysand said with quiet rage, barely audible over the freezing bite of the wind and rain, 'but I thought Lucien, at least, would have stepped in.' 'I thought so, too,' I said, my voice smaller than I intended. He squeezed me gently, and I blinked at him through the rain. For once, his eyes were on me, not the landscape below. 'You look good with wings,' he said, and kissed my brow. Even the rain stopped feeling so cold.

We never know what an artist is going to do. Of course not. The artist is not a specialist. All such divisions as animal painters, landscape painters, painters of Scotch cattle in an English mist, painters of English cattle in a Scotch mist, racehorse painters, bull-terrier painters, all are shallow. If a man is an artist he can paint everything.

When you get to Tatogga, or the cliffs of Cape Breton, or the Alberta badlands, pause long enough to find an open ridge where the sky seems to shelter the Earth, or a valley where horses shake manes that quiver like sheets of distant rain. Watch for pollen in the wind, an eagle circling, ice forming on a summer lake. When you find a place where the clouds and mist envelop the peaks, creating that special illusion of depth that grants meaning to all travel, tip your hat to those who have come before you, breaking trail.

The sadness noted by Malling was at first evasive and fleeting, not indellibly fixed in the puckers of a forehead, or in the down-drawn corners of a mouth. It was as a thin, almost impalpable mist, that can scarcely be seen, yet that alters all the features in a landscape ever so faintly.

Dawn Landscape The last watch has sounded in the Amble-Awe. Radiant color spreads above Solar-Terrace Mountain, then cold sun clears high peaks. Mist and cloud linger across layered ridges, And earth split-open hides river sails deep. Leaves clatter at heaven’s clarity. I listen, And face deer at my bramble gate-so close Here, we touch our own kind in each other. Tu Fu

The Poised Edge of Chaos Sand sifts down, one grain at a time, forming a small hill. When it grows high enough, a tiny avalanche begins. Let sand continue to sift down, and avalanches will occur irregularly, in no predictable order, until there is a tiny mountain range of sand. Peaks will appear, and valleys, and as sand continues to descend, the relentless sand, piling up and slipping down, piling up and slipping down, piling up - eventually a single grain will cause a catastrophe, all the hills and valleys erased, the whole face of the landscape changed in an instant. Walking yesterday, my heels crushed chamomile and released intoxicating memories of home. Earlier this week, I wrote an old love, flooded with need and desire. Last month I planted new flowers in an old garden bed - one grain at a time, a pattern is formed, one grain at a time, a pattern is destroyed, and there is no way to know which grain will build the tiny mountain higher, which grain will tilt the mountain into avalanche, whether the avalanche will be small or catastrophic, enormous or inconsequential. We are always dancing with chaos, even when we think we move too gracefully to disrupt anything in the careful order of our lives, even when we deny the choreography of passion, hoping to avoid earthquakes and avalanches, turbulence and elemental violence and pain. We are always dancing with chaos, for the grains sift down upon the landscape of our lives, one, then another, one, then another, one then another. Today I rose early and walked by the sea, watching the changing patterns of the light and the otters rising and the gulls descending, and the boats steaming off into the dawn, and the smoke drifting up into the sky, and the waves drumming on the dock, and I sang. An old song came upon me, one with no harbour nor dawn nor dock, no woman walking in the mist, no gulls, no boats departing for the salmon shoals. I sang, but not to make order of the sea nor of the dawn, nor of my life. Not to make order at all. Only to sing, clear notes over sand. Only to walk, footsteps in sand. Only to live.

A ground mist, morning white, hid all but a suggestion of landscape. A dreamer could imagine green fields might be there, trees with leaves, even animals moving slowly over the grass. Concentrate hard enough and the smell of living plants might be conjured up. A psychic could probably manage it, someone good with ghosts. Leila Saatchi knew better.

In the daylight that followed my arrival, the pale grey Trappe resembled not so much an abbey as a hospital, an asylum or a reformatory. It dwindled off into farm buildings, and came to an end in the fields where thousands of turnips led their secret lives and reared into the air their little frostbitten banners. Among the furrows an image mouldered on its pedestal; and, under a sky of clouded steel, the rooks cawed and wheeled and settled. Across the December landscape, flat and waterlogged with its clumps of drizzling coppice and barren-looking pasture-land, ran a rutted path which disappeared beneath an avenue of elm-trees. Willows, blurred and colourless as the detail of an aquatint, receded in the mist; and, here and there, the pallor of the woods was interrupted by funereal clumps of pine. Isolated monks, all of them hooded and clogged, at work in the fields, ploughing or chopping wood, dotted this sodden panorama and the report of their falling axes reached the ear long seconds after the visual impact. Others were driving slow herds of cattle to graze.

Vin stood. “I’ll tell you why you should care, old man. Because the ash is falling, and soon it will cover up your pretty little city. The mists kill. Earthquakes shake the landscape, and the ashmounts burn hotter and hotter. Change is looming. Eventually, even Yomen won’t be able to ignore it. You hate change. I hate it too. But things can’t stay the same—and that’s well, for when nothing changes in your life, it’s as good as being dead.

All that remained for him was the Po, his landscape, the mist and that little corner of his past which opened up inside the doors of Il Sordo (a local bar).